Guitar World - Holiday 2015.pdf

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CON T EN TS VOL. 37 |

NO. 13 |

HOLIDAY 2015

FEATURES

44 DEAFHEAVEN

With New Bermuda, the darlings of the American black metal scene continue their rise to prominence.

50 KEITH RICHARDS The legendary Rolling Stones guitarist revisits his musical roots with a new solo album, Crosseyed Heart, and documentary film Under the Influence.

60 IRON MAIDEN In this interview with the triple-ax attack of Dave Murray, Adrian Smith and Janick Gers, the men of Maiden discuss the making of the new Book of Souls double album and the resilience of singer Bruce Dickinson after a recent cancer scare.

70 THE BEATLES’

LOVE AFFAIR WITH THE EPIPHONE CASINO

How John Lennon, Paul McCartney and George Harrison all fell in love with the Epiphone Casino and made it their guitar of choice during the height of Beatlemania.

80 HOLIDAY GIFT GUIDE

Deafheaven’s Kerry McCoy

12

GU I TA R WOR L D • HOL I DAY 2015

COVER PHOTOGRAPH MARK SELIGER

D E A F H E AV E N : J E R E M Y D A N G E R

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CON T EN TS VOL. 37 |

NO. 13 |

HOLIDAY 2015 Matt Heafy

DEPARTM ENT S 16 WOODSHED 18 SOUNDING BOARD

Letters, reader art and Defenders of the Faith

21 TUNE-UPS

Kirk Hammett, Doyle, For Today, Dear Guitar Hero with Richie Kotzen, Devil You Know, Trivium, SayWeCanFly and more!

89 SOUNDCHECK

89. Boss Waza Craft BD-2W, DM-2W and SD-1W pedals 91. Jericho Guitars Avenger 7 Pro 26” SevenString 92. Digitech Trio Band Creator pedal 94. Epiphone Masterbilt AJ-45ME Acoustic/ Electric 96. Kiesel V8 Vader Eight-String 98. Seymour Duncan Jason Becker Humbucker

100 COLUMNS

100. Emmanuel Dexterity by Tommy Emmanuel 102. Holcomb Mania by Periphery’s Mark Holcomb 104. String Theory by Jimmy Brown 106. Shredding with the Alien by Joe Satriani 108. Acoustic Nation by Dale Turner 110. In Deep by Andy Aledort

38 Trivium

146 IT MIGHT GET WEIRD Nolan Symmonds’ Guitar Boy

“Here Comes the Sun”

“Catch Your Train”

“Silence in the Snow”

“Roll with the Changes”

by the Beatles

by Scorpions

by Trivium

by REO Speedwagon

PAGE

PAGE

PAGE

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126

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134

S C OT T U C H I D A

TRANSCRIBED

HEA R MISHA MANSOOR ON PERIPHERY’S LAT EST RELE ASE ,

JUGGERNAUT ALPHA/OMEGA

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WOODSHED VOL. 37 |

NO. 13 |

HOLIDAY 2015 EDITORIAL

POETRY IN MOTION IF YOU’RE READING this, you’re holding something in your hands that is very near and dear to our hearts: print. Despite the modern day push to turn every reading experience into a loud, screaming digital one, there are plenty of us who will always love the printed page: letting our imaginations fill in the blank spaces as ink smudges our fingers. However, if there’s a downside to print, it’s that it doesn’t move; it’s static. Stationary. Maybe that’s why I get so excited about our recent efforts with regard to video, and I wanted to make sure our beloved print readers are up to speed on what we’re doing on GuitarWorld.com, our YouTube channel and our Facebook page. Yes, we love print, but we love moving pictures too. Currently, the Guitar World YouTube channel has more than 350,000 subscribers—that’s substantial, and it’s no accident. So what’s all the fuss about? If you head over there, you’ll see for yourself. Artists are coming through our office doors almost daily, and many are being invited into our studio to film exclusive content for our YouTube channel. Recent visits include Alexi Laiho, who showed us his five favorite riffs from the new Children of Bodom record, I Worship Chaos; Joe Satriani and Tommy Emmanuel, who performed all the techniques covered in their current Guitar World magazine columns; and Queensrÿche’s Michael Wilton, who talked about and demonstrated some of his most classic riffs and licks. We’ve also enjoyed having so many guitarists come through and do playthrough videos in which they play guitar to a backing track of one of their songs: recent participants include Atreyu, Crowbar, Shinedown, For Today and Braden Barrie from SayWeCanFly. Add to that all the in-depth gear reviews and demos from our editors, and you have a YouTube channel worth subscribing to. If you’re looking for something more down-n-dirty, head over to our Facebook page and see what the other 1.5 million followers have been enjoying lately. Every few days we treat our fans to an impromptu “desk jam” featuring one of our talented editors. On any given day you may see gear editor Paul Riario in his cluttered office laying down the solo to an Eighties metal classic, or online editor Damian Fanelli showing off his immense skills as a blues guitarist and hopeless Beatles addict, all filmed with nothing more than my own iPhone 6. At the end of the day it makes me appreciate all of the incredible talent lurking behind these walls. We’ll always be magazine aficionados, and I hope you enjoy the issue you hold in your print-loving hands—but there’s plenty more to this operation, and we hope you get as much out of it as we put into it.

EXECUTIVE CONTENT DIRECTOR Jeff Kitts EXECUTIVE EDITOR Brad Angle TECH EDITOR Paul Riario ASSOCIATE EDITORS Andy Aledort, Richard Bienstock, Alan di Perna, Chris Gill CONTRIBUTING WRITERS Joe Bosso, Ted Drozdowski, Dan Epstein, Greg Evans, Randy Har ward, Peter Hodgson, Mark Holcomb, Joe Satriani, Dale Turner, Jon Wiederhorn SENIOR VIDEO PRODUCER Mark Nuñez

MUSIC SENIOR MUSIC EDITOR Jimmy Brown MUSIC TRANSCRIPTIONIST Jeff Perrin MUSIC ENGRAVER Patricia Corcoran

ART DESIGN DIRECTOR Stephen Goggi ASSOCIATE ART DIRECTOR Ben Avny ASSISTANT ART DIRECTOR Natalie Skopelja

ONLINE MANAGING EDITOR Damian Fanelli EDITORS Brad Angle, Jeff Kitts

PRODUCTION PRODUCTION MANAGER Nicole Schilling

BUSINESS VICE PRESIDENT, GENERAL MANAGER Bill Amstutz [email protected] GROUP PUBLISHER Bob Ziltz [email protected] ADVERTISING DIRECTOR - WEST Jason Perl 646-723-5419, jason@guitar world.com ADVERTISING DIRECTOR - EAST Scott Sciacca 646-723-5478, scott@guitar world.com ADVERTISING MANAGER Anna Blumenthal 646-723-5404, anna@guitar world.com GROUP MARKETING DIRECTOR Christopher Campana 646-723-5423, [email protected] SR. MARKETING MANAGER Stacy Thomas 646-723-5416, [email protected]

CONSUMER MARKETING CONSUMER MARKETING MANAGER Kara Tzinivis FULFILLMENT COORDINATOR Ulises Cabrera

NEWBAY MEDIA CORPORATE PRESIDENT & CEO Steve Palm CHIEF FINANCIAL OFFICER Paul Mastronardi CONTROLLER Jack Liedke VICE PRESIDENT OF PRODUCTION & MANUFACTURING Bill Amstutz VICE PRESIDENT OF DIGITAL STRATEGY & OPERATIONS Robert Ames VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise Robbins VICE PRESIDENT OF CONTENT & MARKETING Anthony Savona VICE PRESIDENT OF HUMAN RESOURCES Ray Vollmer SUBSCRIBER CUSTOMER SERVICE: Guitar World Magazine Customer Care, P.O. Box 469039, Escondido, CA 92046-9039 ONLINE: w w w.guitar world.com/customerser vice PHONE: 1-800-456-6441 EMAIL: guitar [email protected] BACK ISSUES: Please visit our store, www.guitarworld.com/store, or email [email protected] LIST RENTAL: 914-925-2449, [email protected]

—Jeff Kitts Executive Content Director GUITAR WORLD (ISSN 1045-6295) is published 13 times a year, monthly plus Holiday issue following December issue, by NewBay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0400. Fax: 917.281.4704. Web Site: www.nbmedia.com. Periodicals postage paid at New York, NY, and additional mailing offices. Newsstand distribution is handled by Time Warner Retail. Subscriptions: One-year basic rate (12 issues) US: $14.95. Canada: US$29.95. Foreign: US$49.95. Canadian and foreign orders must be prepaid. Canadian price includes postage and GST #R128220688. PMA #40612608. Subscriptions do not include newstand specials. POSTMASTER: Send change of address to Guitar World, P.O. Box 469039, Escondido, CA 92046-9039. Ride-along enclosure in the following edition(s): B1, B2, B3, B4, and B5. Standard enclosure: None. Returns: Pitney Bowes, P.O. Box 25542, London, ON N6C 6B2, Canada. Entire contents copyright 2012, NewBay Media L.L.C. All rights reserved. Reproduction in whole or in part is prohibited. NewBay Media L.L.C. is not affiliated with the companies or products covered in Guitar World. Reproduction on the Internet of the articles and pictures in this magazine is illegal without the prior written consent of Guitar World. Products named in the pages of Guitar World are trademarks of their respective companies. PRODUCED IN THE UNITED STATES OF AMERICA. SUBSCRIBER CUSTOMER SERVICE: Guitar World Magazine Customer Care, P.O. Box 469039, Escondido, CA 92046-9039. Online: www.guitarworld.com/customerservice. Phone: 1-800-456-6441. Email [email protected]. BACK ISSUES: www.guitarworld.com/store REPRINTS: NewBay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0414

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EDITORIAL AND ADVERTISING OFFICES 28 East 28th Street, 12th Floor, New York, NY 10016 (212) 768-2966; FA X: (212) 944-9279 NEWBAY MEDIA, LLC 28 East 28th Street, 12th Floor, New York, NY 10016 www.nbmedia.com

©2015 NewBay Media, LLC. All rights reser ved. No par t of this magazine may be used or reproduced without the written permission of NewBay Media, LLC.

I L L U S T R AT I O N BY J O E L K I M M E L

REPRINTS AND PERMISSIONS: For article reprints and or e-prints, please contact our Reprint Coordinator at Wright’s Reprints, 877652-5295, or [email protected]

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SOUNDI NG BOARD Got something you want to say? EMAIL US AT: [email protected] tentious mope who doesn’t even bother to experience something before passing judgment on it. It’s painfully obvious that you have yet to actually spin a Ghost album, yet you apparently know what’s best for our guitar loving youth. It must be terribly boring to live in your world where everything is exactly as it appears rendering experience completely unnecessary. —Kevin Miller

To Be Frank Reign Man Thank you for putting Slayer on the cover of the November issue. I’ve been a Slayer fan from the first time I heard Reign in Blood, and to me they are the best thrash metal band of all time. Frankly I don’t think they get the credit they deserve. Repentless is an amazing record—a great comeback after the tragic death and loss of Jeff Hanneman. To me, it’s the album of the year. —Travis Zboril

For Christ’s Sake

I’m a longtime subscriber and think you guys do a great job with the transcriptions—would you mind if I make a few requests? I would love to see any of these in Guitar World: Yes’ “I’ve Seen All Good People (Your Move),” Frank Zappa’s “Black Napkins” or any of these from Led Zeppelin’s live The Song Remains the Same album: “Whole Lotta Love,” “Since I’ve Been Loving You,” “The Song Remains the Same” or “No Quarter.” Thanks for all you do! —Matt Scoggins

I Love Lamp

sible to overcome it. Thank you for putting out such a great magazine. —Jason Gottstein

White Magic

I have been reading Guitar World for 26 years and have never written in until now. I have watched the band Decapitated mature from album to album and was hoping you guys could transcribe anything from their latest record, Blood Mantra. I think Vogg (guitar) has a Dimebag type of energy, sort of like a death metal groove. I am tired of rewinding licks on cassette and would pay anything for real tabs, especially for the rhythmic masterpiece “Blindness” or the solo work in “Veins.” —Larry Franco

The November 2015 cover proclaims Slayer as having the “Metal Record of the Year.” Tough to argue that, because Repentless is a great album…but personally I will go with Meliora by Ghost. The depth of the songwriting, musicianship and production are astounding on Meliora; it is a masterpiece. Many theatrical bands, like Slipknot, Kiss, Alice Cooper and Marilyn Manson, were initially written off by critics as being all style over substance, but then the music proved that narrative wrong. The Nameless Ghouls in Ghost give insightful and entertaining interviews and the tab for Cirice in the November issue showcased their nuanced arrangement skills and powerful, tasteful playing. Please continue to feature them. —Brian Balash

Head Case

Ink Spot

First ’Mate

I’m writing in regard to the comment about Ghost made by James Harris in the September issue. I am a follower of Christ and enjoy living in a free nation, and as far as GW covering Ghost, that is a freedom I treasure dearly. I am in contact with people overseas who are persecuted for their beliefs—thrown in jail just for giving someone a bible. Let’s keep things free in the USA. —Jim Chumley Thanks for the amusing diatribe James Harris. The only thing more pathetic than the sour mope who fails to get the joke is the pre-

yard lamp. It was inspired by my friend who painted his trash can in the VH style. I told him he puts his trash can in the garage whereas my Van Halen lamp is on proud display year round. —Eddie Sackss

After seeing the recent Van Halen–inspired garage door, cornhole boards and mailbox submitted by other readers in the Sounding Board, I decided to share my

I’ve been playing guitar for about 10 years, and am currently serving a sentence in the PA D.O.C. Life in here is tough, and you have a lot of time to fill with whatever rec you can get. I’ve also been an avid reader of Guitar World my entire time here. I love the articles and especially the columns. Every month I learn something new and I figure out how to add it to my playing style. The last few issues—especially the cover stories on Slayer and Lamb of God—hit a nerve in me because it was great to read how some of my heroes have overcome bad situations. The stories gave me a sense that, no matter how tough shit can get, it’s pos-

This is my holy trinity of rock and roll guitarists: Chuck Berry, Keith Richards, and Johnny Thunders. That’s Keef’s 1953 Fender Telecaster and Johnny Thunders’ Gibson Les Paul TV, which was a 1958, 1959 or 1960 depending on who you believe. —Jon Dameron GOT A TATTOO of your favorite band or guitarist you want to share with us? Send a photo of your ink to [email protected] and maybe we’ll print it or post it on our Facebook page!

SEND LETTERS TO: The Sounding Board, Guitar World, 28 East 28th Street, 12th Floor, New York, NY 10016, or email us at [email protected]. All subscription queries must be emailed to [email protected]. Please do not email the Sounding Board with subscription matters.

18


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AND GET THE LATEST GUITAR NEWS, INSIDER UPDATES, STAFF REPORTS AND MORE!

READER ART

OF THE MONTH

If you created a drawing, painting or sketch of your favorite guitarist and would like to see it in an upcoming issue of Guitar World, email soundingboard@ guitarworld.com with a scan of the image!

JOHNNY MARR BY H EC TO R LOZ A N O

DEFENDERS

DAVE MATTHE WS B Y D I A N A PA S I KO V

of the Faith

Brent Fettkether

Katina St. Onge

Trailer Park Vampire

AGE 18 HOMETOWN Dunkerton, IA GUITARS Jackson JS32T King V, ESP/

AGE 15 HOMETOWN Montreal, Quebec, Canada GUITARS Black Fender American Stan-

AGE 150 HOMETOWN Tupelo, MS GUITARS Homemade Super Strats,

LTD EX-50

SONGS I’VE BEEN PLAYING Metallica

“Am I Evil?” and “Of Wolf and Man,” Megadeth “In My Darkest Hour,” Ozzy Osbourne “Crazy Train” GEAR I MOST WANT USA-made Jackson Kelly KE2, Dean “Angel of Deth” Dave Mustaine VMNT

dard Strat, Tobacco Sunburst Fender Squire, Cream Wood Fender Tele, 1972 Fender acoustic SONGS I’VE BEEN PLAYING Bryan Adams “Summer of ’69,” Kiss “Shock Me” GEAR I MOST WANT Cherry Sunburst Gibson Les Paul

1979 Gibson Les Paul Custom SONGS I’VE BEEN PLAYING Weezer “Hash Pipe,” Ghost “Mummy Dust,” Trailer Park Vampire “Rocking Vampire” GEAR I MOST WANT Friedman Brown Eye 100-watt amp

Are you a Defender of the Faith? Send a photo, along with your answers to the questions above, to [email protected]. And pray! guitarworld.com

19

PORTRAITS

IN TONE Not just another version of the Fly Rig 5® simply bearing his name, the Richie Kotzen RK5 Signature Fly Rig was a close, year-long collaborative effort. Meticulous about every facet of his playing, singing, songwriting and tone, Richie’s attention to the details of this pedal was nothing less. What distinguishes the RK5 from the Fly Rig 5 is Richie’s Signature OMG overdrive. Tuned specifically to Richie’s ear, the OMG section brings in the organic Class A-style distortion, but with a tighter, snappier response. It is designed to articulate every nuance of Richie’s dizzying playing style for all modes and moods, from clean to aggressive and from rhythmic chords to infinite sustain when it’s solo time. The RK5 offers the same other essential features as the Fly Rig 5: the all-analog SansAmp™, reverb, delay with tap tempo, and a powerful boost. For fly gigs across the globe, jamming at the local hang, and running off to last minute sessions, just pop your RK5 into your guitar case and head for the door.

photo by greg vorobiov

Actual size: 11.5”l x 2.5”w x 1.25”h • Weight: 18.6 oz.

The Richie Kotzen OMG Signature Overdrive is also available as a stand-alone pedal.

DESIGNED AND MANUFACTURED IN THE U.S.A. WWW.TECH21NYC.COM

TUNE-UPS 24 GRAVEYARD

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FOR TODAY

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DEVIL YOU KNOW

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TRIVIUM

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WHITESNAKE

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tktktktkt

Pedal Pusher KIRK HAMMETT PUTS HIS BEST FOOT FORWARD WITH AN EXCITING NEW LINE OF EFFECT PEDALS. By Richard Bienstock

T I M T R O N C KO E

KIRK HAMMETT HAS always been, as he puts it, a “pedal junkie.” At the San Rafael, California, building that Metallica calls its headquarters, the guitarist affirms that he has “shelves and shelves full of effects—hundreds of them, for sure,” he says. Now, rather than merely collecting pedals, Hammett is making his own. The guitarist has paired up with industry vet David Karon, with whom he collaborated on his signature Randall amplifiers some years back, to form a new boutique pedal company, KHDK Electronics. The concept, Karon says, is to build high-quality, USA-made products that are “a little bit special and slightly different from what everyone else is doing.” To that end, among the first pedals that KHDK has released is the Kirk Hammett Ghoul Screamer, which, the guitarist says, “is like a Tube Screamer on steroids. It’s something I’ve been wanting to do for years.” The Ghoul Screamer boasts three control knobs (drive, tone and volume), as well as five P H O T O S B Y J AY B L A K E S B U R G

guitarworld.com

21

NEWS + NOTES

PLAYLIST

JOAKIM NILSSON OF GRAVEYARD

1 “Tensions” Charles Mingus “Really cool psychotic wind instrument in this tune, which makes me doubt my own musical skills…and that’s a good thing if you want to keep your feet on the ground!”

2

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—KIRK HAMMETT products, including an octave fuzz and a wah. “And you know how I am about wah pedals,” Hammett says. “I’m addicted to them. So we’re going to take the wah pedal, throw it on the ground, break it open and see where we can go with all the individual components to make something new.” “Kirk’s strength is his tone knowledge,” Karon says. “He comes to us with an idea, we create the rough draft, and he comes in and perfects it. He has a great ear for these things.” As for whether or not Hammett will be using his new pedals with Metallica, the guitarist says, “I’ve been messing around with the Ghoul Screamer a lot at home and in rehearsal, and I’ll definitely have it in my back pocket when I go in to start recording leads in a few weeks.” When asked if that means a new Metallica album is imminent, Hammett laughs. “All I can say is that if I’m recording leads, then that means all the backing tracks to whatever batch of songs we’re working on are done. So it’s a pretty good indication that we’re pretty deep into things.”

3 “On Battleship Hill” PJ Harvey “I almost never get blown away by music anymore, but PJ never lets me down. She and her music are as beautiful as ever and also truly amazing live, and that is extremely rare in my book.”

4 “Raging River of Fear” Captain Beyond “Extremely talented musicians, and one of the most underrated bands in history. Great vocals from Rod Evans, who was an original member of Deep Purple. He influenced me a lot when I was younger.”

5 “With You There to Help Me” Jethro Tull “Ian Anderson is a genius at making melodies. And it doesn’t hurt that he plays the flute standing on one leg—it’s how it should be played!” GRAVEYARD'S NEW RECORD INNOCENCE & DECADENCE IS OUT NOW.

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extra switches—bass, high, body, and two for compression—that greatly expand the tonal options. “So you have more ability to shape and mold the sound,” Hammett says. “The most important part for me in that regard is the two compression switches. I like to mess around with compression, and that was always a major thing I felt was missing on a Tube Screamer—to be able to have control over how much compression you want. So that’s one of my favorite components on this pedal.” Adds Karon, “We wanted to take a circuit that everybody knows and loves, and that Kirk has been using since the beginning of Metallica, and create a pedal that offers a little something different than all the other products that are out there.” Along with the Ghoul Screamer, KHDK has issued two additional pedals, the No. 1 Overdrive and the No. 2 Clean Boost, both of which, Karon says, “are original circuits that we created with our lead engineer, Antonin Salva [owner of Salvation Mods]. So the line is going to be a mix of pedals that boast completely new circuits, and ones that pay homage to already existing ones.” Adds Hammett, “We’re going to take ideas and morph them, mutate them, expand on them and see where we wind up.” To that end, the company is currently in the midst of developing roughly 15 new

“It's like a Tube Screamer on steroids!”

“Roscoe” Midlake “Nice song to just lie down, close your eyes and listen to. Bonus that it sounds like the theme to M*A*S*H in the beginning.”

NEWS + NOTES

“I slammed my guitar so hard that it broke into three pieces.” brother got it for me for eighth-grade graduation. What was the first song you learned? “Smoke on the Water.” [laughs] What do you recall about playing your first gig? It was at Irving Plaza in New York City. Technically, our first gig was, like, a TV show out on the coast. But Irving Plaza, you had to have a pass to get in. I thought I was at the top. It was totally cool. Ever had an embarrassing moment onstage, or a nightmare gig? Not really, no. No fights, equipment failures, falling off the stage… That shit happens every day—all of that has happened to me. The most recent thing that happened, I was playing at Golden Gods 2013 and, on the last song, I slammed my guitar so hard that it broke into three pieces. Your last album was Abominator in 2013. Are you working on a new one? Yeah, we just gotta mix it, master it and title it. We’re kickin’ some shit around; we don’t know what we’re calling it yet.

INQUIRER DOYLE

What influenced you to you pick up a guitar? Well, I always loved music. My mom was a Fifties kid and when we were little, we used listen to all her 45s.

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And that transpired into, you know, heavier stuff—Alice Cooper, David Bowie and Led Zeppelin and all that shit back in the Seventies. And when I realized I wasn’t


gonna play in the NFL, I picked up a guitar. What was your first guitar? It was a 1955 Les Paul. My

Do you have any advice for young players? Don’t spend your life in your room learning all those arpeggios and G clefs and all that bullshit. Learn how to write good songs and get a good singer. —RANDY HARWARD

MANDI MARTINI

What is your favorite guitar or piece of gear? Gorilla Snot. It’s this glue that holds the pick in your hand.

NEWS + NOTES

Hate Eternal

Ryan Leitru

For Today

IOWA-BASED CHRISTIAN METALCORE OUTFIT SHAKES THINGS UP ON THEIR SIXTH ALBUM, WAKE.

CHRISTIAN METALCORE BAND For Today are no strangers to lineup changes. When guitarist Mike Reynolds abruptly left in 2013, Sam Penner stepped in. But he was asked to leave earlier this year after the band felt he was too divided between family and music. Then it looked like Jim Hughes would be the new rhythm guitarist, until lead guitarist Ryan Leitru realized the ideal rhythm guy was right under his nose: his brother and For Today’s bass player Brandon. “He’s stepping in and playing guitar because he’s always been able to,” Ryan says. “He’s been writing guitar parts with me for the entire time in the band, so he will become the guitar player for all intents and purposes.”

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The lineup change hasn’t affected the sound of new album Wake, given that Ryan has always handled the guitar tracking. “It just tends to go faster that way, so we’ve never really gone through a lineup change with that,” he says. But when the band hits the road he expects a new level of precision, power and synchronicity. “Every guitar player has their same language, but Brandon and I have the same one because we learned to play together. We have our own little mindmeld thing. We can say things like ‘play the geek chord’ and we’ll know exactly what we’re talking about.” Leitru’s latest guitar is a sleek black custom Ibanez FR with dual-mode Fish-

man Fluence pickups selected to dial in more refined high-gain and clean tones. “I’ve played RGs for about five years but I like Tele bodies and Ibanez has a really cool line of them,” he says. “It’s a giant chunk of mahogany and it resonates very well: it feels like an adult’s guitar. When it feels like it’s heavy and you have to earn it, you sound so much better for it.” The rhythms were tracked through a Mesa overdrive into an old Peavey 5150 and a PRS Archon. “We shot out 10 different overdrives and about 40 different delay and reverb pedals. It’s those little things that no one will ever notice, but that’s what makes it fun for the guitar dorks of the world!”

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DEAR GUITAR HERO

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PHOTO BY JAMEL TOPPIN

RICHIE KOTZEN

He’s released 20 solo albums, played guitar for Poison and Mr. Big, and is now on a “hot streak” with Billy Sheehan and Mike Portnoy in the Winery Dogs, but what Guitar World readers really want to know is… Interview by Joe Bosso

A WHILE BACK, YOU OPENED FOR THE ROLLING STONES IN JAPAN. DID YOU ACTUALLY GET TO JAM WITH KEITH?—CAROLYN JENKINS

I didn’t jam with Keith, but Ron Wood gave me a fantastic compliment. We were all standing together for a group shot, and he put his hand on my throat and said, “Oh, my God. Mick, did you hear him sing? He sounds like a cross between Rod Stewart and Bernard Fowler.” Bernard’s an amazing singer who’s been with the Stones for 20 years. After Ronnie said that, I had a real attitude problem for a couple of weeks.

The band’s new song “Captain Love” reminds me of classic Deep Purple. Do you guys toss around older bands when you’re recording? —Sherman “Old” Yeller We don’t. I’ve never consciously said, “Hey, let’s do something like so-and-so…” It probably happens subconsciously, because you have influences, but it’s not planned. That song started happening when I was in the bathroom—I had this idea for three huge power chords that just ring. We tried it out, and before you knew it, the whole thing was there. Actually, I take back what I said somewhat: I thought of the Darkness when writing the lyrics. If you read the words, they’re silly and comical, just like what they do. The Winery Dogs’ new song “Oblivion” features massive shredding and cool

unison licks. Will you guys ever do an all-instrumental album just for us shredders? —Perry Blotz I personally wouldn’t. I feel so far removed from that world, and I have for probably 20 years. That first record I did defined me as a shredder, and it was a blatant, deliberate shred record. Aside from that one and an instrumental record I had to do to get out of a contract, I haven’t been in that genre for a long, long time. “Oblivion” is a clever song that is a shred vehicle, but you can sing the chorus. To me, that’s more valid than an entire instrumental record—a personal opinion. As for an all-instrumental record, no, I wouldn’t want to do it. You worked with Billy Sheehan before, but what’s been the biggest surprise in working with Mike Portnoy? —B.T. Mosely

comes down to how I play within the context of the band. Billy and Mike are very impressive players and can be over-the-top, which fits the music, so I have to find a way to fit into that. I really can’t overplay—it’ll sound like chaos. I know how to listen well, and I know what to do and what not to do. I really think that’s the key to sounding good.

How quickly we got along and really understood each other’s personality. With musicians who’ve achieved a certain level of success, sometimes their style or persona is set in stone. I have my thing that I do, as does Billy and as does Mike. Sometimes that can make it complicated to create something new. You’re trying to break out of each other’s established “thing.” I knew Billy, but Mike was a wild card—I didn’t know him. Somehow we hit it off instantly; it was like we knew each other for years. I love Mike. We mess around and have a great time.

I checked out the Winery Dogs song “Fire”—it sounds like a great, not-cheesy ballad. Have you ever written a ballad and scrapped it because you thought it was cheesy? —Marco Pinner Probably. I’ve probably written a lot of non-ballads and scrapped them because I thought they were cheesy. On the other hand, I’ve probably written and released some things that were totally cheesy. [laughs] You never know. When I listen to something that I’ve done and I like it, I want to put it out. There’s been some things I’ve held on to because I didn’t like them. Whether they were cheesy or not, I don’t know. “Cheesy” is subjective.

Your live guitar sound is always great. What’s the secret? —Timmy Kehoe I think it’s because of what I play and when I play it. On my last few tours, I’ve used different rigs—Marshall Plexis, Fender Vibro-Kings, two Fender Twins— so I’ve changed gear a lot. It really

You have your own a signature Fender Telecaster. What do you like about Telecasters so much? Do you have a “no pointy guitar” rule? —Barbara Farmington I don’t mind pointy guitars. When I was a kid, my fantasy guitar was

guitarworld.com

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DEAR GUITAR HERO a B.C. Rich—I loved the Warlock and the Bich. I thought they were the coolest things ever. Maybe I should treat myself and buy them now. As for Teles, to me they feel like a blank canvas, particularly my signature Telecaster, which I’ve tweaked a bit. I can make it sound traditional, I can make it sound huge like a Les Paul, and I can do everything in-between. The transparency of the instrument is what I love. You can really hear the player. Do you ever “practice” the guitar anymore—you know, sit down and play scales and work on technique? —Angel Santori I don’t do that, no. I look at the guitar so differently than when I was a teenager. Back then, I wanted to practice and play stuff to impress people. Pretty soon, I realized that it wasn’t going to work—there’s so many people with that objective who do it better than me. I didn’t want to be in a competition I couldn’t win. So I went back to when I was a child, wanting to be creative and make music. The guitar is just one of many tools for me to make songs. If I practice at all now, it’s because I’m trying to take what I hear in my head and make it something I can play and record. But I don’t do scales and all that stuff anymore. How can we get you and Chris Cornell to record a duet? Your voices are very similar. —Carson McMullen Yeah! How can we do that? That would be fucking cool. We could do a great R&B thing—he’d probably be into that. I could play guitar, he could drum, and we’d both sing. But I think that once people heard us on the same song, they would stop comparing us. First off, I’m nowhere near as good a singer as he is. Second of all, we sing pretty differently. When we scream in a high register, we have a similar tonality, but beyond that, we’re not the same at all. It would be interesting to try to do something together. I’d be into it.

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MY GIRLFRIEND THINKS YOU’RE HOT, SO I HAVE A REQUEST: CAN YOU STOP BEING SO HANDSOME? THANK YOU.

—MANNY ALBRIGHT

I’m working on getting less handsome, and I’m doing a hell of a job of it. I weigh more now than I ever have—I’m not overweight, but I’m getting there. I drink a lot and I smoke a lot, although I just quit smoking and haven’t had a cigarette in eight days. So I’m doing everything I can to fuck myself up. I do have an 18-year-old daughter I have to look after, so I don’t want to kill myself. But as far as fucking up my appearance, it’s on.


Do you own any guitars that are just for show, or is everything in your collection functional? —Gary Levett I have one that’s functional, but it’s also for show. It was given to me in Japan—I was doing an autograph signing, and a kid gave me a Telecaster that looks like it was made out of bark. I don’t know how they did it. It’s really, really cool. Now that I think of it, I should hang it on the wall in my house. It should be seen. I understand that you left Poison on less than friendly terms. Did you guys ever bury the hatchet? —Karl Botwin I think we did. My leaving the band was a long time ago, and so many stories got out about it. What happened was, I fell in love with Rikki Rocket’s ex. We got married, and my daughter, August, was born two years into the marriage. Rikki and his ex weren’t together at the time

when we started going out. I was the one who told Rikki that I was going to start to see her, and that’s when the chaos started and I left the band. But we did bury the hatchet, eventually. I’ve shaken everybody’s hands. Brett Michaels hugged me at one of his shows. I’ve seen Bobby [Dall] a bunch of times—we’ve laughed and joked. I’ve seen Rikki and shook his hand, too. So there’s no issues there. I saw you guys live and you did “Shy Boy” by Billy’s old band, Talas. Would you ever attempt a Dream Theater song? —Terry Johnston Probably not, because I’m not as familiar with Dream Theater as I am with Steve Vai and Billy Sheehan. I can only do a cover song if I can connect with it on some level. “Shy Boy” reminds me of the Richie Kotzen who was 15, 16 years old, listening to albums like [Vai’s] Flex-Able and trying to figure out how to play like that.

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NEWS + NOTES

Devil You Know

ALL SHALL PERISH GUITARIST FRANCESCO ARTUSATO AND HIS BAND OF METALCORE NOTABLES RETURN WITH A SCORCHING SOPHOMORE EFFORT, THEY BLEED RED. By Richard Bienstock THE BEAUTY OF DESTRUCTION, the 2014 debut from Devil You Know, was a fierce slab of technically accomplished metalcore, and lived up to the high expectations set by its pedigreed lineup, which boasts former Killswitch Engage vocalist Howard Jones, All Shall Perish guitarist Francesco Artusato, former Bleeding Through bassist Ryan Wombacher and drummer John Sankey, who has played with Fear Factory, among others. Now, the metalcore supergroup is back with a follow-up, They Bleed Red, which proves to be both a deeper and also more ferocious effort. Says Artusato, “We wanted to make a record that showed a little more of what we do. This one is a little more intricate in terms of guitar work, for sure, but there’s also some very aggressive, simple and straightforward stuff. There’s a little bit of everything.” The album kicks off with “Consume the Dead,” a song that Artusato calls “pure energy.” But it’s hardly the heaviest track on the disc. That would be the first single, the blast beat–propelled “Stay of Execution.” Explains Artusato, “John [Sankey] kept saying, ‘I want to have a song that has a little bit more of an extreme kind of sound, with a lot of blast beats.’ ” He laughs. “And we already had some of that, but him being a drummer, he wanted more of it.” While Artusato says that Devil You Know is now “everyone’s main priority,” he also says that, “musically, we’re still free to do other things.” To that end, Artusato last year released his second instrumental solo album, Our Dying Sun, and is currently working with All Shall Perish on a new record, their first since frontman Eddie Hermida left to join Suicide Silence (says Artusato, “We have a new singer—we just haven’t announced who it is yet”). Right now, however, he’s solidly focused on Devil You Know. “We’re having a lot of fun and people are really liking the music,” Artusato says. “And next year is looking to be very, very busy for us. So it’s an exciting time, and there will definitely be more records to come.”

• GUITARS Ibanez RGA LA custom shop and RGA427Z seven-strings; Ibanez RGA LA custom shop eight-string; Ibanez RG2750QV and RG520QS (All with Seymour Duncan Sentient pickups in neck and Distortion pickups in bridge) • AMPS Laney IRT120H head and GS412PS cabinet • EFFECTS Seymour Duncan 805, Mesa/ Boogie Grid Slammer, MXR Analog Chorus, EBS MultiComp, MXR Talk Box

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H R I S TO S H I N D O V

AXOLOGY

NEWS + NOTES

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I L L U S T R AT I O N B Y J E R E M Y E N E C I O

Stone Cold Classic

ON THEIR NEW ALBUM, SILENCE IN THE SNOW, TRIVIUM CHANNEL MAIDEN, PRIEST, DIO AND OZZY TO ADD SOME RETRO GOODNESS TO THEIR FIERY BRAND OF AMERICAN METAL. By Dan Epstein

I

T’S EARLY IN the afternoon of June 8, 2006, and a throng of Dutch metal fans is swarming across the parking lot of the GelreDome, a cavernous, 34,000-capacity soccer stadium in Arnhem, Netherlands. Metallica, in the midst of their Escape from the Studio ’06 tour, are headlining tonight, with Avenged Sevenfold, Bullet for My Valentine and Trivium making up the rest of the bill.

While standing in line to enter the venue, Guitar World makes small talk with a black-hoodied Dutch teen who seems incredibly pumped to be there. “You stoked to see Metallica?” we ask. “No, man,” he defiantly responds. “I’m just here to see Trivium. I’m going to leave right after they play!” Nine years later, when Guitar World shares this story with Trivium’s Matt Heafy and Cory Beaulieu, the two guitarists burst out laughing. “The biggest question I have,” says Beaulieu, “Is that kid still a Trivium fan? Does even he follow the band anymore?” “Yeah,” seconds Heafy with a rueful chuckle. “Anything is possible!”

I

NDEED, IT IS. At the time of that Arnhem show, Trivium were known chiefly for 2005’s Ascendancy, their acclaimed second album, which contained a ferocious mixture of thrash, metalcore and melodic death metal. But the brash young Florida quartet was also just a few months away from throwing their nascent fanbase a major curveball with The Crusade, an ambitious follow-up that completely ditched the metalcore aspects of Ascendancy in favor of a progressive-thrash approach that owed a heavy debt to early Metallica. Critical (and fan) opinion was decidedly split on The Crusade, but that record essentially

“You have to always make what you want to hear, and not worry about whether people are going to love it or hate it.” — M AT T H E A F Y

set the course for their next three studio albums—2008’s Shogun, 2011’s In Waves and 2013’s Vengeance Falls—in which each release took a strikingly different artistic and sonic tack from the previous one. “We don’t want to be the band that writes the same album six times, where every record has the same production, same type of songs and same formula,” Beaulieu explains. “We don’t want to be a stagnant sounding band. We wanted to make a record that sounds fresh and exciting in 2015, and doesn’t sound like it should have come out in 2005.” Though Trivium’s never-ending quest to push their own creative envelope has lost them some fans along the way (while also gaining others), it’s kept the band remark-

ably vital, as evidenced by their seventh and latest studio opus, Silence in the Snow. Produced by Matt “Elvis” Baskette, Silence eschews the modern metal precision of the David Draiman–produced Vengeance Falls in favor of punchy, melodic, concisely arranged songs like “Blind Leading the Blind,” “Pull Me from the Void,” “Breathe in the Flames” and the title track, and an organic vibe that is clearly rooted in the hard rock sounds of the late Seventies and early Eighties. “We’ve always looked to do the opposite of what we’ve done previously, and what everyone else is doing at the time,” says Heafy. “That’s the big reason why there was no screaming, no breakdowns or dropD tuning on The Crusade, because all the other bands in the world were doing the same style. It was the same thing with Silence; we said, ‘What’s the opposite of what we’ve been doing, and what’s the opposite of what everyone else is doing?’ And the answer was, ‘Let’s go back to the Seventies and Eighties!’ “We wanted to dig further into the heroes of our heroes,” Heafy continues. “What was Metallica listening to when they were getting into metal? What was In Flames listening to when they were getting into metal? And it all seems to stem back to Iron Maiden, Judas Priest, Ronnie James Dio and Ozzy Osbourne. Those were things that we were already into, but we wanted to delve further into them and truly allow them to influence us, and see what happened to our music when we did that.” Adding to the “throwback” feel of Silence is the fact that Heafy, who has screamed and growled on a sizeable chunk of the Trivium discography, sings only clean vocals on the album. In May 2014, Heafy blew out his voice while performing at Rock on the Range, which forced the cancellation of the band’s subsequent tour

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NEWS + NOTES

Matt Heafy

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members’ homes in Orlando, Silence saw Heafy and Beaulieu sticking with the stripped-down gear arsenal they’ve typically employed in the past, both onstage and in the studio. “I’ve always felt that the least amount of gear between the listener’s ears and the guitar player’s hands, the better,” says Heafy. “Our sound has always been some form of 5150 with a Tube Screamer in front of it, and whatever cab sounds right.” “The rhythm guitars for this record were all done through a 5150 III,” adds Beaulieu. “The melodies were done through a Kemper profile of a 5150 III that I have; and then all the guitar solos were done on one of those Rhodes Colossus amps, and that’s pretty much it.” Beaulieu used his signature Jackson King V on all of the tracks, while Heafy recorded his rhythms with a late-Nineties Les Paul Custom (“The same one I’ve

had since I was twelve,” he laughs) and his seven-string parts with his Epiphone signature MKH7; he also used an MXR EVH Phase 90 and a Dunlop Dimebag Cry Baby wah for color. “It’s a very minimalistic setup,” says Beaulieu, “but that’s pretty much been our M.O. for our whole career. We know what we want to hear, and we know what equipment we need to get that kind of tone.”

L

OOKING BACK AT a career which has now spanned well over a decade, it becomes apparent that “We know what we want to hear” should probably be Trivium’s official motto. Though their fans might not always agree with their choices, the band has consistently displayed a well-defined sense of musical purpose—even in their early days, when they ruffled a lot of feathers in the metal world by telling the press


dates. But after working for over a year with famed vocal coach Ron Anderson, the singer says that he’s regained the ability to scream—it’s just that he chose not to do so on the new album. “When we were writing and making the album, we said, ‘If this thing requires screaming, we’re not doing it,’ ” Heafy explains. “The screaming style I used to do almost killed me as a vocalist. Luckily, Ron has been able to teach me a new way of screaming, which sounds the exact same but is one hundred percent a different technique. We still do the screaming live on the old stuff, and if we’d needed it, we would have put it on the record. But when we finished all the clean vocals—because we always do the clean vocals first—we said, ‘This record doesn’t need it!’ ” Recorded at Baskette’s Paint It Black Studio, just a quick drive from the band

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NEWS + NOTES

“We wanted to make a record that sounds fresh and exciting in 2015, and doesn’t sound like it should have come out in 2005.” —COREY BEAULIEU

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Corey Beaulieu


that they wanted to be “the next Metallica.” “Yeah, that rubbed a lot of other bands the wrong way,” Heafy recalls. “We tried to dial it back and be a little more humble after that, at least for a while. But what we’ve come to realize is, why should anyone ever be afraid to admit what their goals are? “When I was a kid and I first heard the Black Album and I first watched Binge and Purge, I said to myself, ‘I want to be in a metal band that sells out arenas every single night, and I want to change the history of music and metal!’ That was my goal when I was 12; and when someone sets a lofty goal like that, you should never stray from that path.” One thing that Heafy and Trivium have never embraced is being pigeonholed into a particular sub-genre of heavy metal. “Early on, people were trying to pin the term metalcore on us,” Heafy says. “ ‘New Wave of American Heavy Metal’ was another one. But we stayed away from that, because we knew that we were always going to try to diversify, and try to progress and see where we’re going as a band.” “I think why we’ve stuck around this long is that we’ve always focused on writing songs, and not heaviness or ‘Hey, check me out, I’m shredding my ass off!’ ” says Beaulieu. “With us, it’s always been about the overall, and not the individual.” “We’ve seen whole scenes and genres disappear since we started making music,” says Heafy. “We’ve also gone through a number of lineup changes, we’ve had massive crew and personnel and label and management changes—there have been some people along the way that haven’t represented us well, including ourselves at times. “But nowadays, people know who we are. They know that we’re good dudes, and they know that we have constant motivation, determination and hard work behind us. We just want to play our instruments well, play shows for people around the world, and continue to grow this band. That’s all that we want out of life.”

NEWS + NOTES

SayWeCanFly

BRADEN BARRIE, THE YOUNG ACOUSTIC SINGER-SONGWRITER BEHIND EMO SENSATIONS SAYWECANFLY, VENTURES OUT ON THE ROAD AND CONNECTS WITH HIS RABID FOLLOWERS. By Greg Evans

“I DON’T BELIEVE in love, so don’t get your hopes up, darling,” Braden Barrie sings on the title track of his new EP Darling, a lyric that’s not so much mission statement or midnight confession as a reconciliation with the sacrifices of the road. Three years after the now-20-year-old singer/songwriter/guitarist from small-town Ontario built a considerable following on social media, Barrie—who performs under the one-manband name SayWeCanFly—has jumped full-throttle into the life of a touring musician, and all the goodbyes required. Barrie is following up his recent gig on the Vans Warped Tour with a September series of club dates from Ontario to Florida. Dubbed the Conversation Tour, the shows will include solo acoustic performances as well as speaking workshops organized by Hope for the Day, a nonprofit suicide prevention organization. But despite his angsty lyrics (one of his new songs, “High School,” draws parallels between teen bullying and global violence), Barrie seems altogether happy and grateful—for the pre-tour cottage he rents not far from the friends and family of nearby Lindsay, Ontario, to the new EP that showcases a steady development of the acoustic songwriting displayed on his first album (Between the Roses debuted earlier this year at Number 14 on Billboard’s Heatseekers chart and Number Five on iTunes’ singer/songwriter chart). He says he’s especially thankful that the mostly female fans of his whisper-to-a-shout vocals, percussive guitar (he plays a PRS Private Stock Angelus for its clean tones and the durability to withstand his hardplucking style) have taken the leap from social media to social gathering. Before he began touring, he says, his mental image of his fans was based on little more than Twitter handles and selfies. “I don’t think I’d really formed an idea of who they were,” Barrie says. “A lot of them are just very lost, and very young, so it’s important for me to lay everything out lyrically and say, ‘Hey, this is what I’m going through, how I’m feeling, so it’s okay.’ ”

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Photo of Noah And The Whale

SETLIST

REB BEACH

OF WHITESNAKE

VENUE: NYCB Theatre at Westbury DATE: July 27, 2015 LOCATION: Westbury, NY Interview by JOE LALAINA

BAD BOYS

BURN

“When David Coverdale originally wrote this song in Deep Purple, he didn’t have much control since he was a new band member. On Whitesnake’s new album, The Purple Album, he did everything how he wanted it. He wanted another guitar solo section on 'Burn' so both guitarists could play their own part. I wrote a new middle guitar section, but I decided I’d rather play the Ritchie Blackmore solo and let [coguitarist] Joel [Hoekstra] play the guitar part which I wrote. I’m glad I did—Joel kicked ass on it and I got a real kick out of playing the Blackmore solo.”

“It’s a challenge to play this song live because the guitars need to be very tight. Soundmen generally aren’t crazy about songs that are really fast, especially songs with double-kick drums, because they sound huge through the P.A. system and tend to muck up the mix. I wanted the guitars to sound as close as possible to the original album [Whitesnake, 1987], so Joel and I worked closely to get them down pat. We do this song right after ‘Is This Love,’ and it smacks you in the face.”

LOVE AIN’T NO STRANGER

“This is a funky, uplifting song. People know the hook—the crowd absolutely loves this tune! There is a lot of air in the chorus, so it always works live. It’s just a perfect midtempo rock song.”

“David wrote this song with [former Whitesnake guitarist] Bernie Marsden. Bernie one day showed me a picture of his mansion in England, which he told me he bought with the large sum of money he made from this tune. This is a rock song that will never die. The audience waits to hear it every night.”

STILL OF THE NIGHT MISTREATED

“When David said he’d be devoting an entire Whitesnake album to redoing Deep Purple songs, I got super-excited. I put the most into the 'Mistreated' guitar solo—I knew it had to be as melodic as possible, and I had to emote. When I first started recording it, I was wailing. Then David pulled me over and said, in his characteristic British accent, ‘Rebel, don’t play too much too soon—this is a long solo.’ My guitar solo shows a bluesy side of my playing that I hadn’t shown in any of my previous bands.”

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“Every musician in every incarnation of this band wants to play this song. It’s classic Coverdale, with the band stopping on a chord, and then he belts outs the title of the song a cappella and the crowd goes wild. It’s riveting! It’s the ultimate arena song, and every hard-rock guitarist’s favorite riff.”

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PG

GUITAR WORLD

BY J ON WIEDERHORN

P H O T O S

B Y

J E R E M E Y

D A N G E R

With NEW BERMUDA, the darlings of the

American black metal scene continue their rise to prominence.

D E A F H E A V E N

WHEN HIGH SCHOOL pals Kerry McCoy (guitar) and George Clarke (vocals) formed Deafheaven in 2010, they wanted to be an atmospheric black metal band in the vein of their European heroes Alcest, Lantlos and Coldworld. They started with a limited, loyal following, then when they wrote their second full-length album, Sunbather, Deafheaven combined the blast beats of Marduk and Mayhem with the psychedelic soundwashes of My Bloody Valentine and Slowdive—and no one flocks to anything resembling shoegazing like hipsters. By the time Sunbather hit the street, outlets from NPR to Pitchfork were calling Deafheaven the best thing to happen to metal since Black Sabbath. “We view the whole thing as a fortunate accident,” says McCoy from his home in Los Angeles a week before Deafheaven released their third album New Bermuda. “When we started, we understood we weren’t doing anything new. And since all of our friends knew about the bands we were influenced by, we assumed everyone else did as well. But we were pretty much mistaken.” McCoy is humble when addressing the flurry of superlatives and hyperbole that erupted in the wake of Sunbather. Even so, much of the praise was justified. Deafheaven surely had their influences, but they wielded them well, combining rapidfire tremolo riffs and undulating, echoing rhythms with clean arpeggiated passages and experimental interludes in a way that took the music of their predecessors to new levels of transcendence.

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The resulting success allowed Deafheaven to focus on music full time, but following up such a well-received album was no easy task. The band members had to distance themselves from the showers of hype and focus on evolving as musicians. At the same time, McCoy and Clarke wanted to write their most relentlessly metal songs to date.

“I was listening to a lot of [Metallica’s] Kill ’Em All and a bunch of Slayer, Dissection and Behemoth, and I really felt like we should integrate that kind of playing in our music,” McCoy says. “On the other end of the spectrum, I love the whole postrock and shoegazer sound, but it has been beaten within an inch of its life. So I wanted

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D E A F H E A V E N

“ The frustration and tension we were feeling comes across on the album.” K E R R Y M c C O Y

to focus more on hooks and not so much on airy, pretty atmospheres.” New Bermuda succeeds on both fronts. Open-minded black metal adherents should thrill to the extra bursts of chaos and aggression that spatter through the songs like blood spray at a violent crime scene. And indie rock fans will likely embrace the broader scope of influences for the textural parts, including Low, Red House Painters and Oasis. Also, whether Deafheaven are roaring like a feral beast or playing clean, melancholy phrases, the passages fluidly link together. “I don’t like jarring starts and stops or ring outs,” McCoy says. “Anyone can put a random rock part in the middle of a metal song, the question is, can you make the different styles work together in a way that’s cohesive?”

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AXOLOGY

When Deafheaven started writing New Bermuda last November they felt the pressure to match or exceed the artistic and commercial success of Sunbather without emulating that album. Yet, they had a mere six months to do so if they wanted a new record out in 2015. “We had a full 18 months to write Sunbather, so we definitely had our backs against the wall this time,” McCoy says. “It was extremely stressful, and toward the end of the process George and I weren’t sleeping at night. We entered the studio in April, but the songs weren’t all done which freaked us out. But fortunately, the frustration and tension we were feeling comes across on the album and makes for a better listening experience.”

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GW

KEITH RICHARDS evokes his musical roots with a new solo album, Crosseyed Heart, and documentary film Under the Influence. by ALAN Di PERNA

STUDIO IS ONE of Keith Richards’ few

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(from left) Waddy Wachtel, Steve Jordan and Keith Richards

which finds him duetting with Norah Jones. He was in such top form, in fact, that the Stones pinched one of the songs slated for Crosseyed Heart, “One More Shot,” as a bonus track for their 2012 compilation GRRR! This was one of several developments that kept pushing back the release date for Richards’ solo outing. But it was well worth the wait. Crosseyed Heart is a glorious and heartfelt summation of the musical styles—country, folk, blues, reggae and early rock and roll—that have deeply influenced Keith Richards’ musical life and, through him, several generations of guitarists. Armed with a Thirties koa-bodied Martin acoustic guitar, Richards channels Robert Johnson on the album’s opening and title track. As always, his interpretation of the blues is anything but slavish or rote. The guy sure isn’t reading tab or

watching instructional videos. He’s shooting straight from the heart, allowing who and what he is—the quintessential English baby boom rock and roller—to filter the traditions he so reverently evokes. And so it goes throughout the disc, whether he’s performing one of his own compositions or offering his rendition of Leadbelly’s folk waltz classic “Goodnight Irene,” or reggae crooner Gregory Isaacs’ “Love Overdue.” The palette of classic guitar textures is rich. And time has mellowed Richards’ voice down to a wizened, whiskey-barrel croak—half spoken, half incantatory—which gives Crosseyed Heart an intimate, almost confessional feel. You lean in close to hear what the master has to impart. The album’s release coincides with the release of the Netflix “making of” documentary film, Keith Richards: Under the Influence.

JANE ROSE

remaining addictions, albeit one of the more benevolent among the many he’s known in his 50-plus years as guitarist and co-leader of the Rolling Stones. “Yeah, I’d agree with that,” Richards admits with a laugh grown raspy from an unfathomable number of cigarettes and potent beverages. “The studio is certainly one of my more productive addictions. I just love recording—especially with the guys I work with. The recording studio is basically my second home. I can feel quite good there. Wander around and put tracks down until you think you’ve got something.” Shortly after the completion of his 2010 autobiography Life, Richards found himself jonesing for a studio fix pretty badly. “I didn’t believe how long that process ended up taking,” he says of the book project. “So by the time that was finished, I realized I hadn’t been in the studio for four years!” With the Stones on hiatus, Richards got together with a coterie of musicians he’s always used for solo projects, including drummer Steve Jordan, guitarist Waddy Wachtel and keyboardist/singer Ivan Neville. The result is Richards’ third solo album to date, Crosseyed Heart. It is the most fully realized of Keef’s solo efforts. His songwriting on the disc is particularly strong this time out, from the tough-as-nails lead track “Trouble,” to the country weeper “Robbed Blind” to the late-night ballad “Illusion,”

It’s such a weird process, songwriting. I wouldn’t recommend it to the

And the album was recorded kind of piecemeal around Stones obligations?

Oh man, this thing was recorded over a couple of years. Steve Jordan and I would do a session for two or three days and then we wouldn’t see each other for a month. The record was put together in bits and pieces. Whenever we were in town and we felt like it, we’d go into the studio. And the pleasure of it was—no deadline. We’ll just do it until we’re sure we’ve got something to deliver. And then it was, “Okay, you’ve finished it; now you can’t put it out!” [laughs] So that took a couple of years. A lot of the tracks started with just you and Steve Jordan in the studio—just guitar and drums?

The cameras follow the guitarist not only into Manhattan’s Germano Studios to make Crosseyed Heart, but also out on the road with the Rolling Stones on the band’s recent Zip Code tour. As the journey winds through New York, Chicago and Nashville, Richards reflects on all the regional American roots musical styles that have made him what he is today. Taken together, Crosseyed Heart and Under the Influence offer another kind of autobiographical portrait of Keith Richards—an ideal complement to the Life book. Where Life tells Richards’ story in words and momentous events, his new album and film pretty much let the music do the talking. The weird thing about Keith Richards is that people tend to think they’ve got him figured out. The crudely drawn caricature usually references Chuck Berry, Muddy Waters, booze, dope and a series of stunning blondes.

But there’s so much more behind that wrinkle-creased, elegantly wasted facade. And the surest way to find that out is to sit down and have a chat with him, which Guitar World recently had the honor of doing. It has been 23 years since your last solo album, Main Offender, in 1992. Why has it been so long since you’ve done another one?

Well, the Stones have always been so busy. I mean the Stones have always been, obviously, Numero Uno. If I do anything by myself, I certainly don’t want it to clash with anything the Stones are doing. This particular record has actually been finished for over a year. But just as I finished it, the Stones decided to go back on the road. So I’ve been looking for a space where I could put it out. And in September we found it.

Yeah, which is a great way to do it. Steve said to me, “I’m really interested in how you wrote ‘Street Fighting Man’ and ‘Jumpin’ Jack Flash.’ How did you do that?” And I said, “It was just me in the studio with Charlie Watts.” and Steve goes, ‘Well, I ain’t Charlie Watts, but I am a drummer!” But you know, it was Charlie Watts who first told me to work with Steve Jordan many, many years ago. This was in the middle Eighties. Charlie said, “If you’re ever going to do anything by yourself, Steve Jordan’s your man.” How did you end up playing bass on most of the record this time?

Since it started off with just Steve and me, we’d lay down a good track with just guitar and drums and then say, “Let’s see what it sounds like if we throw a bass on it.” And I am basically a closet bass player. I always have been. Sometimes I wish I’d taken that up, but it wouldn’t have worked. Still, I do love playing bass. And this was the perfect opportunity to do it. And it was cheap as well, ’cause I don’t pay myself.

guitarworld.com

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And any real Stones fan knows that you played bass on a lot of their tracks, like “Sympathy for the Devil” and “Happy.”

Yeah, and this gave me an opportunity to expand on that. Was the album’s lead single “Trouble” written about any troublesome lady in particular?

It was more a combination of ladies that you wouldn’t wish to know. Musically, you’ve said that “Trouble” began more as a Hank Williams kind of acoustic guitar song, rather than the fullon rock and roll track it became.

Absolutely. Right where I’m sitting now in my sunroom where I wrote it, it seemed like a real Hank Williams kind of song. But I think Waddy Wachtel pointed out to me that Hank Williams songs—that style of music—can easily be rocked up and moved up. Of course, it could be a rock and roll song! Turning Hank into rock and roll is not particularly accepted or thought about, but in actual fact Hank Williams’ impact on rock and roll was enormous. I think from that you get the Everly Brothers stuff, and [songwriters] Felice and Boudleaux Bryant. So here I’m doing “Trouble,” and I’m seeing it shifting from like 1949 to like 1958. And yeah, How would the Everlys have handled this? Or Chet Atkins? Or Hank Garland, who is also another guitar player with that kind of style? So we just moved it up with the drums. Also, in the back of my mind, I always thought of “Trouble” in terms of “Poor Jenny” by the Everly Brothers.

I am basically a closet

I always have been.”

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GUITAR TECH PIERRE DE BEAUPORT DETAILS HIGHLIGHTS OF KEITH RICHARDS’ STUDIO RIG. “BRING ME THE USUAL, PLUS SURPRISE ME.” That’s what Keith Richards would generally tell his longtime guitar tech, Pierre de Beauport, before the start of a session for Crosseyed Heart. It was de Beauport’s enviable job to visit Richards’ equipment storage locker and fill his car with a selection of guitars and amps to provide a basic, “go to” setup, while also throwing in a few more “out there” options for experimentation. With nearly a thousand guitars in Richards’ collection, there’s quite a lot from which to choose. “The usual” will invariably include several of Richards’ iconic Fender Telecasters such as the 1953 model he calls “Micawber” and the ’54 named Malcolm. Both of these are set up in the guitarist’s trademark five-string open G tuning (low to high: G, D, G, B, D, with the low E string removed.) There are also always a few Teles set up in six-string standard tuning, such as Richards’ ’59 with rosewood neck. The electric guitar selection for the Crosseyed Heart sessions always also included one of Richards’ vintage black Gibson ES-355s and at least one of his vintage Les Paul Juniors. Richards’ guitar and amp choices all tend to be vintage. A Danelectro electric sitar is heard on “Suspicious.” And as Richards played bass on all but one of the album’s tracks, another key electric instrument was a 1962 Hofner hollowbody bass guitar used throughout the album sessions. Richards’ stock guitar amp setup in the studio is a tweed Fender Champ with an eight-inch speaker, combined with a tweed Fender Harvard modified with a 6L6 output stage tube and a 12-inch speaker, nicknamed “One Love.” The modification makes the Harvard a single-ended or Class A amp, like the Champ. “The Harvard adds a little bottom end and clarity,” de Beauport explains. “And Keith is always plugged into Input 2 on the Champ, not Input 1. We turn the Champ up to about 4, no higher—to where it’s just starting to break up.” Amps for overdubs included a tweed Fender Bandmaster with three 10inch speakers and an early-Sixties Watkins Joker. “It’s a four-channel amp with a Watkins Copicat tape delay build in,” says de Beauport. “It has this other effect that isn’t really reverb, called ‘Halo.’ And it has a mic stand that pulls out of the top. It’s one of the most whacked-out amps of the Sixties. There aren’t a lot of them. Finding one that works has been fun.” Richards’ main acoustic guitar for the sessions was his 1958 Martin 00-21. But as the album delves deeply into his folk and country roots, many other acoustics came into play. “Goodnight Irene” features a truly historic Keef guitar: his 1963 Harmony 1270 12-string acoustic, heard on classic Stones tracks from the Sixties such as “Good Times Bad Times,” “Play with Fire,” “Not Fade Away” and “Tell Me.” Also heard on “Goodnight Irene” is a cavaquinho, a small, guitarlike instrument used in Portuguese and Brazilian music. Richards’ guitar solo on “Robbed Blind” was played on a 2008 Vicente Carillo classical guitar. And the acoustic mix on “Just a Gift” includes one of Richards’ Martin tiples. “A tiple is a four-course, 10-string ukulele with two triple courses and two doubles,” de Beauport explains. “But I changed the spacing on the nut to make it five double courses and tuned it to open G.” So, in essence, it’s an acoustic, short-scale counterpart to Richards’ openG Telecasters. As de Beauport notes: “You walk into the studio and it’s not just a room full of Teles. It’s everything…all over the place.” –by Alan di Perna

Jon Foreman | Switchfoot

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As long as the songs keep coming…that’s all I’m good for and that’s

There’s a vital link there somewhere. And one that hasn’t been articulated so much. People think of rock and roll’s origins more in terms of artists like Chuck Berry or Bo Diddley.

Yeah, but there was a lot of rock and roll that was made by white guys too. I’d put it at 50-50. Did you deliberately design the album as a summary of the musical styles that have been influential on you?

As any of the guys I work with will tell you, I’m very bad at planning anything. But I’m pretty good at seeing the way the drift is going. For example, after we had four or five tracks down, somebody sent me a huge book on Leadbelly. At the same time, my guitar man, Pierre de Beauport, arrived at the studio with this 12-string guitar. I was sort of getting a message—Leadbelly, the King of the 12-String…I gotta do “Goodnight Irene,” one of the classic American folk songs of all time. It’s been bastardized and screwed up by many people since. But I went back to Leadbelly’s original lyrics. I felt, “Yeah, I gotta do this.” So much of what I do is based on American music; and that, after all, is where it comes from for me. You’ve also got some pretty deep roots in reggae as well. And of all the great Gregory Isaacs songs in the world, how did “Love Overdue” get selected for inclusion on your album?

It’s one of the many great songs he wrote that I’ve always wanted to do. So I indulged myself. And Steve Jordan can really play reggae, with insight from listening to great reggae drummers like Sly Dunbar and Horsemouth [Leroy Wallace]. It’s just a nat-

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ural thing with him. “Love Overdue” is a song I’ve had a soft spot for forever. I miss Gregory dearly. It’s always pretty spot-on whenever you do a reggae track. I remember your guest shot on “Careless Ethiopians” on Toots and the Maytals’ True Love album a while back. It seems like you really step up to the plate with the vocals.

Well I lived in Jamaica for many years. [laughs] It’s in the bones.

What’s interesting about the vocals on the new album is this kind of narrative style of delivery you’ve developed—half talking, half singing. What led you in that kind of direction?

It’s just what you do with your voice as you get older. I was feeling more comfortable about singing. And no, I’m not going to go to the top register all the time. The way my voice is now, it’s better down low. I know what I can do with it. I’m a great singer with a lousy voice. But I know there’s a certain timbre that my voice can touch. As long as I can do that, I’m happy. How did your vocal duet with Norah Jones on “Illusions” come about?

We had the track down, and I had my vocal part on it, but Steve Jordan said, “You know this is really written for a duet. Without female input, this song will cry in the wilderness.” We were thinking about who was around in town, and suddenly Steve got hold of Norah. So she wrote the female part, came into the studio and did it. It was a real joy. I wasn’t expecting ladies to feature on this record. But it’s Norah Jones— who’s gonna say no, right? Bless her. There are a lot of really beautiful ballads on this album—stuff like “Robbed Blind” and “Suspicious.” Are you at a particularly introspective place in your life right now?

Not especially. I’ve always liked ballads. I mean I wrote “Angie” and “Ruby Tuesday”! And I didn’t want to deny that side of me on this record. Also I sort of work by popular vote when it comes to including songs on an album. If the guys who are working around me say, “Hey, that’s a good song,” I’ll go for it. Speaking of the guys on your record, what’s special about your guitar interrelationship with Waddy Wachtel? How does it differ from playing with Ron Wood, Mick Taylor or even Brian Jones for that matter?

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Mmm…it’s hard to pick the bones out of all that, really. But with certain guys, there’s an immediate, unspoken understanding: you can complement one another. To me, the greatest joy in the world is playing guitar with another guy and just getting off on each other’s feedback—till it gets to the point where you can play with it and you don’t know where one guitar’s picking up and the other one’s interchanging and taking up another rhythm. This is what I love. It’s the reason I do it. And it’s sadly missing in a lot of current music. In a way it’s a shame things got so focused on the single note lead thing— Clapton, Bloomfield, etc.

I know. You could blame Hendrix as well. [laughs] All brilliant guitar players, but very little simpatico, you know? Speaking of playing with Ron Wood, what were some of the highlights of the most recent Rolling Stones tour for you?

Overall, the high point was hitting the heartlands—the Midwest, the South and the West. We didn’t hit one major city. No New York, no Chicago, no San Francisco, no L.A. It was just fun to get out there where, in historical terms, all the music came from. And I must say it was an amazing tour. We had an incredible welcome everywhere. Enormous crowds and great appreciation. I’m really still reeling from it a little bit, because I’ve never known a tour to go so sweet and beyond expectations. And the band is playing probably the best that it ever has, surprisingly enough, after all these years. As I said to Charlie, “I think we’re getting the hang of it.” Did you capture any of it live? Might there be some recordings?

I know they said they’d be recording a few shows, but it’s too early yet for me to say and know which ones. Indianapolis was a nutty show. Fantastic. But so was everywhere else. Nashville was an incredible show. I have pretty high standards that I expect from the band, but they exceeded them. How did the material from Sticky Fingers go down? After the deluxe reissue of the album came out, and at the outset of the tour, I remember there was a lot of talk about “Should the band play the whole album live?”

Yeah, I know. That was never up for the whole tour. But we did do it in L.A. at the Fonda Theater. We played the whole album through and it was actually great. There are two or three songs on there which we hadn’t touched live in I don’t

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know how long—if we ever did. And it sounded very interesting, especially “I Got the Blues,” which is not something that we usually play. We realized that this song is so slow that it’s a real test of, “Can you keep the tempo that slow?” It’s a tough song to perform, but it came out great. And I loved playing the whole album through, it took me back a while. “I Got the Blues” is in there with those great, slow r&b ballads in the Stones catalog, like “Love in Vain” and even going back to some of the real early ones like “Cry to Me.”

Yeah, and “That’s How Strong My Love Is.” Absolutely. There’s an art to doing those.

There is—a real control you have to put on yourself to stop the thing from moving up in tempo.

You said recently that there might be another Stones album as well? Have you got any material or ideas for that?

The material is always there. Mick is always writing, and so am I. My own task, as I see it, is to get them in the studio. [laughs] It’s time for the Stones to record again! Are the songs flowing as easily and readily for you as they always have?

I’ve not thought about that really. I’ve got a backlog of songs. So I can kick back and just sit on those and hold them in readiness. And then there are other moments when you wake up in the morning and there’s a song at your fingertips. It just happens like that. It’s such a weird process, songwriting. I wouldn’t recommend it to the weak of heart. You’ve got one of the most amazing resumes in all of rock. Is there anything you’d still like to accomplish that you haven’t?

Really, for me, I mean…no. Is there anything more you could wish for if you were Keith Richards? I’ve done it all. Once you’ve reached that point you just think, “Yes, I would like to do it better.” And as long as the songs keep coming…I mean that’s all I’m good for and that’s why I’m here. Does the guitar still possess some mystery for you? Are you still discovering stuff?

Are you kidding me? The more you explore that little thing, the more you realize you don’t know. All the possibilities…it’s quite incredible. A few strings and whatever works. And also it doesn’t leave you alone. It’s always sitting in the corner, looking at you, saying, “Come on, play me, play me.”

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A Sound Decision


Richard Bienstock ILLUSTRATION BY PHILLIP BANKEN

S U R V I V O R S

It’s been 35 years since the release of their debut album and IRON MAIDEN show no signs of slowing down. In this interview with the triple-ax-attack of DAVE MURRAY, ADRIAN SMITH and JANICK GERS, the men of Maiden discuss the making of the new Book of Souls double album and the resilience of singer Bruce Dickinson after a recent cancer scare.

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(from left) Adrian Smith, Dave Murray and Janick Gers

“I hate it when bands come out and say, ‘This is the best album we’ve ever done,’ ” says Iron Maiden guitarist Janick Gers. “Because then you think, Well, what about the last one? At the end of the day, you just try your best with each and every one of ’em. So, really, they’re all great albums.” 62


Gers, who, alongside Dave Murray and Adrian Smith, constitutes one-third of Iron Maiden’s triple-guitar-attack team, is speaking to Guitar World about The Book of Souls, the new and 16th studio effort from the British metal legends. True to Gers’ statement, it is indeed a great album. And while Gers won’t say that Souls is the absolute “best” they’ve ever done, for a band responsible for some of heavy metal’s—if not all of rock and roll’s—most classic platters (among them 1982’s The Number of the Beast and 1984’s Powerslave) this is hardly a mark against it. What’s more, The Book of Souls is perhaps the most adventurous and expansive record in Iron Maiden’s—which also includes singer Bruce Dickinson, bassist and founder Steve Harris, and drummer Nicko McBrain—storied catalog, spreading 11 tracks over two discs and more than an hour-and-a-half of music. And while the band has never been one to shy away from an epic-length piece of music (beginning with “The Phantom of the Opera,” from their 1980 self-titled debut), on The Book of Souls they take things further than ever in this direction, with three songs eclipsing the 10-minute mark, and one of them, the Dickinson-penned “Empire of the Clouds,” clocking in at more than 18. According to Murray, there wasn’t any plan from the get-go to indulge the proggier side of the band to such an intense degree. Rather, he says, “The only real hard and fast rule is we do what feels right to us at the time.” Which does help to explain how The Book of Souls ended up being the first double-disc studio album of Iron Maiden’s 35-year recording career. “We just had so much material,” Smith says. “Everyone was inspired. Everyone was firing.” He laughs. “Plus, Steve had a song called ‘The Red and the Black’ that was 14 minutes long. Bruce had ‘Empire of the Clouds,’ which is 18 minutes long. Right there, you’ve got an album, you know?” In addition to the marathon tracks, there are also a handful of more succinct, upbeat hard rockers like the Dickinson/Smith collaborations “Speed of Light” and “Death or Glory,” the pounding Smith/Harris cut “When the River Runs Deep,” and the Gers/Harris collaboration “Shadows of the Valley,” which references the band’s classic “Wasted Years” in its opening guitar pull-off figure. But the album’s masterpiece is undoubtedly “Empire of the Clouds,” which is not only the longest song in Iron Maiden’s catalog, but perhaps also their most uncharacteristic. Composed by Dickinson on piano, the track, which tells the story of the 1930 crash of the R101 British airship in France, opens with Dickinson singing over a bed of piano and strings, with nary a guitar in earshot until several minutes in. The song continually twists and turns, picking up steam until it eventually explodes in a galloping-guitar climax. Says Smith, “It was really fun doing that one. And there are a few real great things on there. Like when the drums come roaring in—it’s a bit like a ‘Stairway to Heaven’ moment! We all really enjoyed it. “In fact,” he continues, “we all enjoyed doing the whole record. Sometimes you think about recording a new album, and reconvening with everyone, and going back into all the baggage a band gathers over a 35-year career, and you almost say, ‘Oh, god. Can we do it?’ But we got in the studio and we were all happy to be there with one another and we were really productive. We were all remarking on what a good experience it was.”

But as has been well documented, once the recording was completed things within the Iron Maiden camp took a frightful turn, when doctors discovered a cancerous tumor on Dickinson’s tongue. The news, Murray says, “was devastating.” Dickinson underwent chemotherapy and radiation to treat the growth, and the release of The Book of Souls, as well as plans for an upcoming world tour, were put on indefinite hold. Today, the band members are happy to report that their singer is on the mend. “Bruce, he’s up and about again,” Smith says. “He’s buzzing around, traveling all over and back to doing what he does. He’s very positive and very physically strong, and so he was in a good position to kick [the cancer’s] ass. He wasn’t going to let it knock him down. And I When did the band first get together to begin work on The Book of Souls?

KEVIN ESTRADA

DAVE MURRAY Well, we toured last sum-

mer doing festivals all over Europe, and finished around August. We took a couple months off, and then got together in the middle of October, I think it was. And we went straight into a studio. Usually we’d go into a rehearsal room for a couple weeks and start rehearsing songs up, so that when

personally never doubted he would. He’s just not that sort of guy.” With The Book of Souls in the can and Dickinson back out front, Iron Maiden is getting set to hit the road once again, on yet another extensive globetrotting live jaunt. To that end, it was recently announced that the band would be traveling to shows in style— aboard a massive Boeing 747-400 Jumbo Jet piloted by Dickinson himself, as they hit a proposed six continents and more than 30 countries on next year’s Book of Souls tour. “We’re saving up all that battery power and getting it ready for next year,” says Gers. “And I look forward to getting out there in front of the fans and playing these new songs.” “Oh, yeah, it’s gonna be great,” Smith adds. “I mean, what a job!”

we get to the studio we already have maybe a half dozen songs ready to go. This time we went in and everybody had ideas from CDs and tapes and whatever and we just started straight from scratch. Kevin Shirley was producing it and mixing it and he was on standby. And as soon as we had part of a song worked out, or had a general idea of how the song was going to be, we just started recording. So a lot of it was very

spontaneous, and done a lot quicker as far as the backing tracks. JANICK GERS We went back to Guillaume Tell Studios in Paris, which is where we recorded [2000’s] Brave New World. And we had the band all facing each other, which is a great vibe. When you’re in the studio playing the songs together you can bounce things off each other. And we just had that connection. So we would put

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something together, learn it and then have a go at it. It was great because it gave the songs a kind of live feel, I think. ADRIAN SMITH Having said that, we had rough demos, musically, of all the songs. Maybe not all the way through, but quite a bit of them. So we had something to work off of. But what we’d do is we’d go into the studio in the morning, and the writers would sit down together, whether it was me and Steve, or Steve and Jan, or whoever. We’d go through the arrangement, and then get Bruce in to sing vocals and make sure everything’s in the right key. Then we’d

you might go in and try to pull it back a little bit and get it slightly better. Because we never play to a click song. But there were no restrictions, really. Sometimes you’re going at it a bit blind, but that kind of gives you an edge. If you’re overlearning the songs, sometimes you play the notes but you don’t quite get the vibe. MURRAY And then some of the shorter songs—you know, the five-minute ones [laughs]—we’d learn the chords and things, and we’d have pieces of paper and we’d write down sequences, changes, melodies. So we’d have that in front of us. But basi-

in sections. And Bruce and Kevin would be in the control room saying stuff like, “This section’s a bit too bluesy. We want it more classical sounding.” They’d sort of direct us through it, and we’d try different approaches until we had the right one. Then we put the orchestration on after that. Adrian, your songs on the record are actually some of the shorter ones, like “Speed of Light” and “Death or Glory.”

SMITH Yeah, because I think it can be a bit

heavy going if everyone brings in 10-minute songs, you know? It’s just too much. And I knew we would probably be doing some long songs, so I thought I’d just try to keep things moving with some shorter ones. Otherwise you’d have had a triple album. SMITH Yeah! [laughs] But I

think what we ended up with is well balanced. You have the longer songs, and then you have the punchier ones, which is ideal. Longer, epic-type songs have always been a big part of Iron Maiden, but it seems that since Brave New World that “proggier” side of the band has become much more pronounced. Do you prefer doing the longer tracks or the shorter ones?

TK TKTKTKTKT Caption Here and Here and Here

Steve Harris

start going through it as a band. And at that point Kevin would press record. And you know, some of the stuff you hear might be us actually learning the song and rehearsing it. There’d be a bit of magic that happens on that very first take.

cally you were flying by the seat of your pants. You never quite knew what was coming next. We were all in the same room with headphones on, playing together. You’d be like, “Okay, there’s a change coming up here…” and you’d just kind of go for it.

Some of these songs are so long and involved. How did you tackle them without having had much rehearsal?

Speaking of the 18-minute song, “Empire of the Clouds,” it’s pretty different from anything in Maiden’s catalog.

18-minute song, you’re learning pieces at a time, really. But what you might find is you’ll play a 10-minute song straight through, and two verses will have come out perfect, and one was maybe a bit fast. So

the guitar solos, obviously, but everything else. And he recorded it from start to finish just on piano. It took him a couple days to do that because it’s quite complicated. From there, we played along to it as a band

GERS Obviously, with something like an

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SMITH Bruce wrote everything on that. Not

played “Rime of the Ancient Mariner” [from Powerslave] for several tours, and that’s, like, 15 minutes long. And it’s a piece where there’s a lot of time changes. The kind of focus and energy and commitment you need to play a 15-minute song from the beginning to the end, it’s intense. It’s like being in a classical music band. [laughs] But it encourages you as a player and I think it improves you. But then doing something like “Can I Play with Madness” [from 1988’s Seventh Son of a Seventh Son], which is a really short one, we play that live and it goes down really well, too. So it’s all great. How did the three of you work together on your guitar parts on the new album?

GERS It’s a pretty easy process. We might get together and say, “You play this bit and I’ll play that bit,” but more often than not we tend to just naturally all play things slightly different. We have different styles and we have different sounds and it seems to gel together. For instance, in

G O N Z A L E S P H OTO/ C H R I S T I A N H J O R T H V I A G E T T Y I M A G E S

MURRAY I like it all, really. We

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tion where we all get a chance to play a bit. But it just seems to work out, you know? It’s almost like a second nature thing with us now. It’s instinctive. One thing I can say about my stuff is, I think probably a few years ago if I’d had written a song I would have put three solos in it. Now I think it’s more important to just have the song flow. One song that I think has a really great flow is “The Red and the Black.” There’s an incredibly long instrumental section, but you guys spend much of the time building melodies, rather than just switching off on leads.

SMITH That’s really Steve’s thing. He’ll get

Bruce Dickinson

When you guys were in the studio recording The Book of Souls, nobody had any idea of Bruce’s condition. SMITH We didn’t. Bruce didn’t know either,

“The Red and the Black,” I might be playing the melody while Adrian is hitting the chords and Dave is just kind of chuggin’. So you have three different things happening. And it’s great—years ago, when I was with [the band] Gillan or playing with Bruce on [his 1990 solo album] Tattooed Millionaire, I mean, some of that stuff had about eight guitars on it. And it was just me in the band. You’re playing high, you have the bottom notes, you’re trying to create this sonic thing. So when you play it live you have to decide what you’re gonna do. With three guitarists, you can cover all of it. MURRAY Sometimes if we’re in the studio and maybe everyone else has gone off

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to have a cup of coffee or something, we’ll say, “Okay, let’s the three of us sit down…” That way once the whole band is playing we’re ready to go. Then again, at other times you’re overdubbing in the control room with Kevin and it’s like, “Try to solo over that section,” or “Play a harmony there.” And you’re just kind of making it up on the spot. [laughs] So sometimes we work it out, and other times we’re just flying by our coattails. How do you deal with solos?

SMITH Usually whoever brings the song in plays the main solo in it. And if Steve brings a song in, because his songs are usually quite long, he usually has a whole solo sec-

but he suspected something was wrong. And I was in the studio when he was doing these vocals and, you know, he just gave it everything, 100 percent of the time. And he sounded great. But he said later on that he knew something wasn’t right. And he’d had a few people look at his throat and they said, “Just rest.” The usual singer’s problems, you know? It wasn’t until he went to Paris and the doctor there looked at him and said, “When you get back home you better get this checked out. It doesn’t look good,” that he knew it was something more. Then he discovered he had a big tumor on the back of his tongue. God knows how he managed to sing at all. It was pretty incredible that he did that.

G O N Z A L E S P H OTO/ C H R I S T I A N H J O R T H V I A G E T T Y I M A G E S

a melody and expand on it and make variations…it’s quite an unusual way of working. But that particular song turned out really well. I thought it might be repetitive, but if you really listen to it, yeah, it has a flow. It makes sense, you know? But Steve definitely thinks outside the box a little bit. GERS What’s going on in that one, it’s almost classical. And you know, I think people have become very snobby about classical and heavy metal, like it has to be just “this” or “that.” But if you listen to it, it’s very deep music. There’s melodies and countermelodies flying off everywhere. And we do a lot of that. People say we’re a heavy metal band—and we are a heavy metal band—but we also have lots of other facets in there. There’s rock, blues, jazz feels, metal. With “Empire of the Clouds,” there’s almost a Broadway feel to it. There’s so many weird things happening there. But it stills sounds as heavy as Maiden’s ever sounded. So we’re never scared to take things in new directions. You have to do that if you’re a band that wants to grow and get better. You have to push the boundaries a little bit, rather than just sit on your backside.

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What was your reaction when you heard the diagnosis?

MURRAY We were devastated. We recorded

the album through last October, November and December, and then I heard the news, I think, in late January. I got the phone call. But then in the same sentence that they told me what was going on, they also said that the prognosis was excellent and they were confident he was going to recover. So Bruce had a couple months of treatment, and he’s now back and bouncing around, doing all the stuff he loves doing. It wasn’t going to keep him down. He got it, he got rid of it, and now he’s stronger than ever. We’re just pleased that he’s back and he’s fine and in good shape. GERS The news was a total shock. And to be honest, I didn’t even want to hear the album until I knew he was better. And we put everything off this year—we canceled everything, because we knew he’d be doing chemo and radiation. And now he’s clear. I was out with him a few weeks ago and everything’s great. He’s not running a marathon yet, but he’s looking fitter, he’s looking healthy. And his voice sounds good— what he had was on the back of his tongue. It wasn’t near his vocal cords. And he feels he’s going to be fully recovered soon. So we’re looking forward to getting out on tour possibly early next year. So in grand Maiden tradition, there will be an extensive live campaign.

SMITH Oh, yeah. We want to get out and

play the album to our fans. We desperately want to do that. After all these years, does it amaze you how large and devoted the Iron Maiden fan base continues to be?

SMITH It’s quite amazing, yeah. We’ve been

touring hard since 1980. And we’ve built up a very loyal fan base, but we’ve done it the hard way. We’ve always taken our music out to the people. It’s not like we’ve relied on the internet or a couple of hit records. So I guess that kind of breeds loyalty. Because we’ve shown a commitment to what we do. And I think the fans see that. Recently there was a story online about a fan from Spain who has seen the band play more than 200 times. SMITH Wow. I hadn’t seen that. But god

bless ’im! MURRAY That’s incredible, really. Maybe he

needs a free ticket this time! But that kind of thing, it never ceases to astound me. We’ve done 16 albums, and it’s something you never take for granted. It’s been a fantastic journey. And you know, I’d do it all again…if I could. [laughs] But the thing is, people love hearing us play as much as we love playing. And I think they can see that it’s genuine. It’s coming from the heart. So everyone’s plugged into it—we plug into our amps, they plug into the band and it’s off we all go.

Iron Maiden AXOLOGY Janick Gers

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, NNON E L N JOH and n How CARTNEY ll fell i c a e M PAUL HARRISON piphon E E GEORG ith the e it w ad love and m hoice fc ino Cas uitar o ht of ir g e heig the g th a. n i r du ani m e l t Bea

E M R A D A BY MUTTE PERL

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P R E V I O U S S P R E A D : M C C A R T N E Y: C H R I S WA LT E R V I A G E T T Y I M A G E S ; L E N N O N & HARRISON: K & K ULF KRUGER OHG/REDFERNS VIA GETTY IMAGES

T THE HEIGHT OF BEATLEMANIA, PAUL MCCARTNEY, JOHN LENNON, AND GEORGE HARRISON COULD HAVE PLAYED ANY GUITARS THEY WANTED. Cost certainly would have been no issue. But the guitar each of them chose was a modest budget thinline: the Epiphone Casino. From 1965 to 1969, the Beatles would put the Casino’s woofy midrange tone to memorable use on countless songs, including “Another Girl,” “The Night Before,” “Drive My Car,” “Taxman,” “Revolution,” “Get Back,” and “The End.” McCartney, in particular, was an Epiphone fan, and also purchased an Epiphone Texan acoustic guitar, which he used for writing and recording acoustic gems like “Yesterday” and “Michelle.” While Gretsches, Rickenbackers, and Gibsons were also well represented among the Beatles’ guitars, only Epiphone can claim to have had one model that was favored by each of the group’s guitarists. To quote an obscure Beatles tune, that means a lot. 72


Lennon and Harrison, with Casinos in hand, backstage with McCartney before performing at Ernst Merck Halle, Hamburg, in 1966

T H I S S P R E A D : L E F T: N I G E L O S B O U R N E / R E D F E R N S V I A G E T T Y I M A G E S ; R I G H T: R O B E R T W H I TA K E R / G E T T Y I M A G E S

Lennon, McCartney, and Harrison were still finding their way as musicians when Gibson bought out the Epiphone brand in 1957. Epiphone had been in decline since the death of its leader, Epaminondas “Epi” Stathopoulo, in 1943. After the purchase, Gibson started making the two brands alongside each other in its Kalamazoo, Michigan, factory, using up leftover Epiphone parts. Introduced in 1958 as a continuation of Epiphone’s FT79 flattop acoustic, the Texan serves as an example of the company’s thrift. The earliest versions paired a mahogany 25 1/2–inch-scale Epiphone neck with Gibson’s slope-shouldered J-45 body, which featured mahogany back and sides and a spruce soundboard. McCartney, the Beatles’ bassist, was the first to take the Epiphone plunge. Toward the end of 1964, he purchased his natu-

ral-finish 1964 Texan and sunburst 1962 Casino. Both were righthanded models that the southpaw guitarist had modified for lefthanded use. The two guitars made their first appearances on the 1965 album Help!, on which McCartney began to assume more guitar duties on the group’s recordings. The Casino was heard on his solos for “Another Girl,” “The Night Before,” and “Ticket to Ride,” while the Texan was employed for “I’ve Just Seen a Face” and “Yesterday,” his standout solo moment on the album. He also played the Texan onstage for performances of “Yesterday,” strapping it on over his Hofner violin bass when playing the song with the Beatles, or performing with it solo, as he did for the group’s 1965 appearance on the Ed Sullivan Show. Unlike the Texan, the Casino was an entirely new model for

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LONE STARS V

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Lennon and Harrison’s Casinos along with McCartney’s 1964 Rickenbacker 4001S-LH bass

Epiphone when it was introduced in 1961. With its laminated maple body, twin cutaways, and 16th-fret neck junction, this fully hollow guitar was essentially a slightly less-expensive version of the ES-330, Gibson’s student-level thinline electric that debuted in 1959. The guitar was available in single- (E230T) and doublepickup (E230TD) models, and while it was advertised as having humbuckers, the pickups were in fact single-coil P-90s. Keith Richards played a Casino on the Rolling Stones’ 1964 American tour, before McCartney bought his. However, it wasn’t Richards who inspired McCartney’s purchase but rather British bluesman John Mayall. During a late-night listening session at his house, Mayall poured McCartney a drink and played him a selection of tracks by Eric Clapton and his antecedents, like B.B. King and Freddie King. Mayall also handed the Beatle an old hollowbody that he’d bought as an army reservist while stationed in Japan. McCartney immediately fell for its tone.

G U I TA R : N I G E L O S B O U R N E / R E D F E R N S V I A G E T T Y I M A G E S ; G U I TA R S O N TA B L E : R O B E R T W H I TA K E R / G E T T Y I M A G E S

INTAGE EPIPHONE TEXANS ARE easy to come by and not forbiddingly expensive. The cheapest excellentcondition example we found was a 1966 model for $1,850, while one from 1964 with repaired top cracks and a replacement bridge sold on eBay for $1,212 and another 1964 model in better condition went for $2,500. Epiphone’s limited-edition USA-made Texans, on the other hand, are scarce and very costly. In 2005, at Gibson’s Bozeman, Montana, Custom Shop, Epiphone made a run of 40 aged Texans, each one duplicating every mark and scratch on McCartney’s original guitar and hand-signed by the Beatle himself on the soundboard. We saw two listed on eBay, ambitiously priced at $49,999 and $59,999.99. The following year the Custom Shop made 250 Texan replicas, each with a soundhole label signed by McCartney. One sold recently on eBay for $4,700. Less expensive is the Japanese-made Elitist Paul McCartney 1964 Texan, also made in 2006, limited to 1,964 copies worldwide. This guitar recreated some of the details found on the original guitar, like the eighth-inch gap between the center strip and the head block. We couldn’t find any examples for sale, nor did we see any of the 2014 Elitist 1964 Texans, which were made to historic specs and apparently limited to the Japanese market only. Epiphone’s Inspired by 1964 Texan, available in Antique Natural like McCartney’s, or in Vintage Cherry Sunburst, is an updated version of the flattop. Unlike the original guitar, the new model has Shadow’s Sonic Nanoflex system, which is tucked discreetly inside the soundhole, so as not to interfere with the instrument’s vintage vibe. At $399 street, this Texan is a steal. — Adam Perlmutter

“He used to play me a lot of records late at night,” McCartney told Andy Babiuk for his book Beatles Gear. “You’d go back to his place, and he’d sit you down, give you a drink, and say, ‘Just check this out.’ He’d go over to his desk and for hours he’d blast you with B.B. King, Eric Clapton… I was turned on after that, and I went and bought an Epiphone.” McCartney purchased his Casino on the strength of its Bigsby tailpiece, an option he couldn’t find on any other thinline. Unlike later Casinos, which featured Epiphone’s trademark narrow hourglass-shaped headstock, the head on this particular example had a wider “open book” shape, an early remnant of the Gibson influence. McCartney modified the right-handed instrument for lefthanded playing by inverting the bridge and adding a strap button to what was originally the treble bout. McCartney never played the Casino in concert with the Beatles, but the guitar became his constant studio companion. OMPARED TO OTHER GOLDEN-ERA ELECTRIC GUITARS, ORIGINAL VINTAGE In addition to his work with it on Help!, he Sixties-era Epiphone Casinos are a relative bargain. At press time, we saw single-pickused his Casino for his solo on “Drive My up models listed for as little as $2,150 and twin-pickup versions starting at $2,500. Car” and to record his absolutely blisterEpiphone’s new imported Casino reissues are also smart buys. The basic model, ing lead work on “Taxman,” from 1966’s available in natural, vintage sunburst, and cherry, is equipped with USA-made P-90s Revolver, and “Good Morning Good Morn($599 street). Pricier, at $1,999, the Elitist 1965 Casino is a Japanese-made version boasting ing,” from 1967’s Sgt. Pepper’s Lonely top-quality craftsmanship and updated features, like larger fretwire, Grover tuning maHearts Club Band. chines, and a second strap button. Impressed by the guitar’s sound and In the late Nineties, Epiphone offered its USA Collection John Lennon Casino. Made with versatility, Lennon and Harrison simultaYoko Ono’s blessing, this guitar was based on measurements, tracings, and photographs of neously purchased their own Casinos in Lennon’s Casino and was offered in both incarnations: with a vintage sunburst finish and with spring 1966. Each scored a new sunburst a “stripped”—natural—finish as well as replacement Grovers and plugged tuner holes. Though 1965 example. The guitars were practithe two guitars were limited to 1,965 models, we were able to find one on eBay in pristine concally identical, except Lennon’s was outdition for $2,400 or Best Offer, while another example had sold recently on Gbase for $1,849. fitted with a trapeze tailpiece and had an Epiphone’s Inspired by John Lennon Casino ($899–$999) is a bit more affordable. It nods to uncommon but stock black plastic gromthe guitarist’s 1965 model with its natural satin finish, gold Grover tuners, black plastic ring around met ring surrounding the toggle switch, the toggle switch, and pickguard (included in the case). The guitar is also available with a glossy while Harrison’s had a Bigsby vibrato tailsunburst finish, an installed pickguard, and reproduction Kluson tuners. — Adam Perlmutter

THE SURE BET

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L E N N O N & G U I TA R S : B O B W H I TA K E R / H U LTO N A R C H I V E / G E T T Y I M A G E S

Lennon and Harrison’s Casinos among other guitars and basses that were part of the Beatles’ 1966 stage gear

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“A refined player from Toronto, Galen Weston straddles a myriad of styles on his auspicious debut as a leader. From his singing six-string work on the urgently funky ‘Bensonite’ to his mellow lyricism on the melodic anthem ‘The Yellow Guitar’, his soulful expression on ‘Song for Daphne’ or the unapologetic chops showcase of ‘Tasteless’, Weston wails with conviction and rare facility. Definitely a talent deserving of wider recognition.” Bill Milkowski Contributor to Down Beat, Jazziz and author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius blu azz p r o d u c t i o n s

Plugged In, the ambitious debut album by Toronto Jazz guitarist Galen Weston, features 10 originals by Weston along with bold arrangements of Keith Jarrett's ‘Country’ and Jimmy Van Huesen's ‘Like Someone in Love’. It is inspired by essential guitarists such as George Benson, Pat Metheny, Mike Stern, Eric Johnson and Mark Knopfler.

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piece. McCartney, Lennon, and Harrison all had their Casinos at hand when they began working on the Revolver sessions. Lennon took a particular shine to his Casino, and was rarely seen without it in the years after. He first played it live in 1966 on the British television program Top of the Pops (with Harrison also on the Casino) and used it on the Beatles’ celebrated farewell performance, on the rooftop of the Apple building, in London, on January 30, 1969. Along the way, before the market for vintage guitars really took off, Lennon made a few modifications to his Casino that would raise eyebrows today, although at the time were common practices in attempt to improve a guitar’s tone or appearance. Sometime in 1967, during sessions for Sgt. Pepper’s Lonely Hearts Club Band—practically an all-Casino album—he spray-painted a white outline on its back. The next year, while the Beatles were on a pilgrimage to India, Scottish singer-songwriter Donovan Leitch encouraged both Lennon and Harrison to sand the finishes off their Casinos, saying this would allow the wood to breathe and enhance the tone. Lennon took his advice, and while he was at it swapped the original nickel Kluson tuners for gold Grovers. He ditched the guitar’s plastic pickguard as well. It’s impossible to say if these modifications actually improved the tone of Lennon’s Casino. But on the 1968 recording “Revolution,” the guitar—plugged directly into the board and overdriven by two microphone preamps—has a killer, wild voice, and it sounds full and warm on the A-to-D chord figure that opens “I’ve Got a Feeling.” Harrison also removed his Casino’s finish in 1968, but by then

he rarely used the guitar, thanks to a pair of solidbody guitars he received and put into service: a cherry-refinished 1957 Gibson Les Paul Standard gifted to him that year by Eric Clapton, and a prototype all-rosewood Fender Telecaster, which he received the following year. On the group’s swan song, “The End,” while Harrison wails on the Les Paul, Lennon and Harrison trade two-bar howling solos on their Casinos, a fitting tribute to the guitar they’d used to make so much great music. How much did the Beatles’ use of Epiphone guitars help the company’s sales? It’s impossible to say, but it’s worth noting that, in the Sixties, the company sold more than 6,700 Casinos—more than twice the amount of any other model in its roster. Considering that both Lennon and Harrison used their Casinos extensively on the group’s final tour—where they were frequently photographed with them—it’s certainly conceivable that they turned other guitarists onto the model. Unfortunately, high demand for a single guitar didn’t allow Epiphone to return to its robust prewar form, and in late 1969, not long before the Beatles’ demise, the company ceased production of all its U.S. models and offered only models produced in Asia. In the years since then, players like Noel Gallagher and Paul Weller have favored their vintage Casinos, while Kurt Cobain, Peter Frampton, and others made good use of the Texan. More impressively, Paul McCartney continues to play both his Texan and his Casino, which he still regards as his favorite electric. As he told Babiuk, “If I had to choose one electric guitar, it would be this.”

THE ULTIMATE BEATLES GEAR GIVEAWAY IS ON!

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PA U L C O O P E R

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UITAR-LOVING FANS OF THE FAB FOUR won’t want to pass up this opportunity to win not one, not two, but three incredible Epiphone guitars as part of the company’s Beatles Gear Giveaway, which is happening right now at GuitarWorld.com/contests. Each guitar is just like the one played by John Lennon (Casino in Natural finish), George Harrison (Casino in Vintage Sunburst) and Paul McCartney (Inspired by 1964 Texan in Antique Natural). The grand prize winner will receive all three guitars as well as a copy of Beatles Gear: The Ultimate Edition, a one-of-a-kind book written by guitar historian Andy Babiuk that examines all the instruments and equipment the Beatles used to compose, perform and record their most beloved works. Five second-prize winners will each receive a copy of Beatles Gear: The Ultimate Edition; all entries receive a free digital subscription to Guitar Player magazine. To enter this once-in-a-lifetime Beatles guitar contest, head over to GuitarWorld.com/contests.

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ERNIE BALL MUSIC MAN ST. VINCENT SIGNATURE The Ernie Ball Music Man St. Vincent Signature features an African mahogany body, full rosewood neck with St. Vincent inlays. Other features include three custom mini-humbucking pickups with chrome covers and five-way switch with custom wiring, Schaller locking tuners, 22 frets, and 10-inch radius with 25 1/2-inch scale length. Available in black or St. Vincent Blue finishes. $1,899; music-man.com

WICKED-COOL GIFTS THIS HOLIDAY SEASON. 4

GUITAR GODS ZAKK WYLDE BOBBLEHEAD What better way to have Zakk Wylde standing on your desk and not crushing it under his hulking physique than with a limited edition bobblehead? This seven-inch figure is made of a lightweight polyresin and features the Black Label Society frontman in all his bearded, denim-vested and bulls-eye-guitar-playing glory.

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$24.95; guitargodscollectibles.com

DOPPLER LABS DUBS ACOUSTIC FILTERS These stylish, high-design earplugs utilize advanced acoustical physics to reinvent hearing protection. The DUBS Acoustic Filters lower sound by approximately 12 dB, while still preserving audio fidelity. Not only are the Acoustic Filters excellent for attending live concerts, they’re pretty killer for band practice and jam sessions too.

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$25; getdubs.com

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PARKMAN SUNGLASSES Sunglasses made from guitars? Yes, they exist, thanks to brothers Christopher and Andrew Parkman and their unique brand of shades. Their recent partnership with Patterson Guitars gives the brothers access to leftover mahogany and rosewood from the guitar-building process, which they use to create these distinct frames in their Mountainside, New Jersey, workshop. $195; parkmansunglasses.com

WAY HUGE SAUCY BOX OVERDRIVE

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The Way Huge Saucy Box Overdrive combines discrete clean and overdrive signal paths to deliver organic, amp-like overdrive in a pedal. The Saucy Box Overdrive automatically balances the optimum ratio of the two signals with a single gain control. This unique design provides for everything from a unity-gain buffer to a clean boost and buttery overdrive. $129.99; jimdunlop.com

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MARSHALL STOCKWELL SPEAKER

IBANEZ IRON LABEL RGIX27FESM SPALTED MAPLE

Marshall speakers are known for having very big sound—and this latest addition to the speaker line is no different even though it comes in Marshall’s smallest package to date. The new Stockwell weighs less than three pounds and is designed to go anywhere thanks to its rechargeable lithium-ion battery. With Bluetooth technology, the Stockwell can handle calls through your phone or play music, or use the 3.5mm jack to connect another playback device.

The Iron Label RGIX27FESM Spalted Maple—Ibanez’s new hardtail solidbody sevenstring—adds an element of dramatic flair to the company’s “Made for Metal” series. The spalted maple is distinctively handsome, and the guitar also features a basswood body, Ibanez three-piece maple/bubinga Nitro Wizard neck with a bound rosewood fretboard and jumbo frets, Gibraltar Standard II bridge, EMG 707 pickups, and a performance-enhancing killswitch.

$229; marshallheadphones.com

$1,239.99; ibanez.co.jp

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THE DILLINGER ESCAPE PLAN DELUXE VINYL REISSUES: CALCULATING INFINITY, MISS MACHINE AND IRE WORKS As part of Relapse Records’ ongoing 25th anniversary celebrations, the first three releases from legendary extreme music pioneers The Dillinger Escape Plan are getting the deluxe vinyl reissue treatment. Calculating Infinity, the band’s landmark 1999 debut, along with 2004’s Miss Machine and 2007’s Ire Works will be printed on three exclusive colors. The reissues are set for worldwide release on November 27, and will also include full album digital download codes. $17.99 (each); relapse.com/dillinger

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FRETLIGHT 5 GUITAR Beginners and first-time guitar players would be hard pressed to find a better learning system than a Fretlight guitar— particularly the new Fretlight 5, which features lights in the nut and first five frets that show basic songs, riffs, chords and scales when used in conjunction with the included PC/Mac software. $199 (electric)/$229.99 (acoustic) fretlight.com

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L’AMOUR: ROCK CAPITAL OF BROOKLYN Due for release in December, this longawaited hardcover book looks back at the concerts and history of L’Amour, one of the most famous heavy metal venues of all time. Compiled by former L’Amour DJ Alex Kayne and noted photographer Frank White, the book features more than 1,000 photos, ticket stubs and memorabilia from the club’s heyday, as well as interviews with musicians who performed on the famous stage and recollections from venue staff and club regulars. $TBD; rarebirdbooks.com

PANTERA: THE COMPLETE STUDIO ABUMS 1990-2000 Pantera records have been reissued on vinyl multiple times in the past few years, but this new set from Rhino—coming December 11—is a must-have for fans of Dimebag and Co. The deluxe vinyl version of the set (there’s also a cheaper CD version) features the following albums on colored vinyl: Cowboys from Hell, Vulgar Display of Power, Far Beyond Driven, The Great Southern Trendkill and Reinventing the Steel, as well as a seven-inch single of “Piss” and “Avoid the Light.” $74.98; rhino.com

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FENDER ACOUSTIC SFX The Fender Acoustic SFX Professional acoustic amplifier offers state-of-the-art technology for a lush sonic experience. The amp features a lightweight design, portability and room-filling Stereo Field Expansion technology, as well as onboard hall reverb, echo, delay, chorus and Vibratone effects. If you’re also looking to add an accompaniment to your performance, the integrated handle doubles as a convenient cradle for mobile playback devices, via the Aux In jack. The SFX is the ultimate solution for the acoustic player looking for a grab-and-go rig for small venues. $899; fender.com

ULTIMATE EARS UE 900s

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The Ultimate Ears 900s Noise-Isolating Earphones deliver incredible sound thanks to four-armature speakers per ear and a three-way crossover in a universal fit. The UE Sound Signature faithfully recreates the original recording and adds a low-end kick. Six silicon tips and three memory foam tips each designed with a large-bore opening ensure audio is delivered cleanly. Two detachable, braided cables let you swap out the standard cable for the cable-plus-mic and controls option. Ear loops offer a secure, comfortable fit you can wear for a long time. $399; pro.ultimateears.com 14

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108 ROCK STAR GUITARS The Hal Leonard Books softcover edition of 108 Rock Star Guitars, by photographer/author Lisa S. Johnson, is an exquisite 396-page book featuring hundreds of up-close, color portraits of the cherished guitars belonging to some of the world’s most iconic players including Jimmy Page, Keith Richards, Jeff Beck and many more. A portion of the proceeds from sales of the softcover edition will benefit the Les Paul Foundation, which supports music education, engineering and innovation as well as medical research. $54; 108RSG.halleonardbooks.com

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H O LI DAY 2015

the gear in review

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JERIC H O G U I T A R S Ave n g er 7 Pro 2 6 ” Sev en -St ri n g

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DI G I T E C H T r io B a n d C rea t o r Peda l

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E P I P H ON E M a st erbil t AJ- 4 5ME A c o u st i c / El ec t ric

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K I E SE L V8 V a der Ei g h t St rin g

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SE YMOU R DU N C A N J a so n B ec k er H u mbu c k er

GUITAR WORLD

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Mighty Boss Tones

BOSS WAZA CRAFT BD-2W, DM-2W, AND SD-1W PEDALS By Chris Gill

THERE ARE MANY very good reasons why Boss pedals have remained mainstays of countless pro guitarists’ pedalboards. Boss compact pedals are built like tanks, exceptionally durable and reliable, and readily available from most retailers should one ever need to be replaced, plus they sound pretty damn good. These are the qualities that have made Boss compact pedals some of the most popular products for pro and aspiring guitarists alike for nearly four decades. However, the boutique pedal phenomenon has bred a new variety of discriminating tone connoisseur (a.k.a. the cork sniffer) that demands a certain level of refine-

ment that few mass-produced products can match. Then there is the cottage industry of techs who make good money modifying and customizing Boss pedals to improve and even hot-rod those effects’ performance. In their own pursuit of tonal perfection, Boss has introduced its new Waza Craft series compact pedals that offer refined circuits, all-analog components, and new customized features to offer performance that goes beyond their usual standards of excellence. FEATURES So what’s a Waza? It’s not what a sushi chef yells when he wants you to buy him a Bud, nor is

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For video of this review, go to GuitarWorld.com/Hol2015

CHEAT SHEET STREET PRICES $149 (BD-2W and SD-1W, each), $179 (DM-2W) MANUFACTURER Roland Corporation, rolandus.com The mini S/C toggle switch selects a standard mode that sounds like the regular version of the pedals or a custom mode that greatly expands sonic versatility and performance.

it a rogue syndicate of the Yakuza. It’s a word that has no direct English translation, but rather has many meanings, including “skill” and “technique.” All you need to know is that the Waza Craft series currently consists of three impressive pedals—the BD-2W Blues Driver, DM-2W Delay, and SD-1W Super Overdrive. While the standard BD-2 and SD-1 pedals have been mainstays of the Boss line for a few decades now (since 1995 and 1981, respectively), the biggest news is the return of the coveted DM-2 analog delay, which was produced only between 1981 and 1984. The BD-2W and SD-1W also look almost identical to their standard counterparts, having the same triangular configuration of level, tone, and drive/gain controls and mono input and output jacks. The DM-2W also has the same controls as its predecessor (repeat rate, echo, and intensity), but it provides a 1/4-inch rate jack for controlling delay time with an optional expression pedal and a direct output in addition to the input and output jacks of the original version. A mini toggle switch located below the Check LED is the secret weapon that unleashes the Waza Craft pedals’ inscrutable magic. In the “S” (standard) position the pedal performs like the regular, classic version of the pedal (albeit with a few sonic improvements), while the “C” position engages a customized circuit. The “C” mode increases sustain and body on the BD-2W, boosts gain and expands tonal range on the SD-1W, and increase the maximum delay time of the DM-2W from 300ms to 800ms.

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PERFORMANCE Both the BD-2W and SD-1W

feature circuitry that consists entirely of discrete components (in other words, no op amps). As a result the tone of both is much more organic, dynamic, and responsive. This is particularly noticeable in standard mode, where the pedals have the same basic tonal personality of their classic counterparts but have an entirely different feel that responds to every nuance of your playing. Both pedals provide outstanding clean boost functions with the level control cranked up and the gain/ drive control turned all the way down, with the SD-1W providing a greater range of midrange textures via its tone control. The BD-2W’s tone control has a less dramatic effect on the overall tone, maintaining more of your guitar’s inherent character. With the gain/drive control turned up, both deliver luscious, harmonically rich distortion with silky smooth sustain, particularly in the stellar custom mode, which pushes the front end even harder without ever sounding fuzzy or gritty. As for the DM-2W, if you’re an analog delay fan, buy it now. This pedal delivers the warm, fat delay effects and hypnotic true echo sounds that dreams are made of in delay times ranging from 20-300ms in standard mode and up to 800ms in custom mode. The custom mode adds a touch more clarity that’s perfect for the “Cathedral” and the Edge-style echo trick with warmth that sounds like a second guitar instead of an effect. Crank up the intensity and play with the repeat rate control to summon trippy dub echoes or generate a variety of spaceship and buzzsaw noises.

The DM-2W adds a rate jack for controlling delay time with an optional expression pedal and a direct output to the classic DM-2 analog delay’s design. The DM-2W’s custom mode increases the delay time to 800ms, a full 500ms more than the standard mode’s 300ms maximum delay time. All three pedals feature all-analog circuitry that’s designed to provide improved dynamic responsiveness and more natural overall tone.

THE BOTTOM LINE If you love the rock-solid reliability of a Boss compact pedal but are also a discriminating tone connoisseur who can’t live without the refined performance of a hot-rodded boutique stomp box, the Boss Waza Craft line offers the best of both worlds.


Seventh Heaven

JERICHO GUITARS AVENGER 7 PRO 26” By Ch ris G ill

T

HE MARKETPLACE FOR solid-

body electric guitars is very crowded, and most companies seem content to take a “me too” approach to extended range instruments. Jericho Guitars wisely took a different approach by specializing in long-scale and extended range guitars that are more in tune with the wants and desires of modern guitarists, both figuratively and literally. Jericho’s new Avenger 7 Pro 26”, which features a 26-inch scale, offers an “in between” option that bridges the gap between a 25.5-inch standard scale guitar and a 27-inch scale baritone to provide playing comfort similar to the former and the ideal string tension and more accurate intonation of the latter. FEATURES The overall size of the Jericho

Avenger 7 Pro is slightly longer than that of a standard six-string, but that’s due to a combination of a bigger body and longer headstock in addition to the extra 1/2 to 1 1/4 inches of scale length. Jericho offers four different versions of the model: ash body/maple fretboard, natural or blue spalted maple top, and satin blacked out finish—the latter three featuring mahogany bodies and rosewood fingerboards with block inlays. We tested the satin black version. Other features com-

CHEAT SHEET

DIRECT PRICE $849.99 MANUFACTURER Jericho Guitars, jerichoguitars.com

The 26-inch scale provides more accurate intonation for a sevenstring guitar with 24 frets while also providing playing comfort for guitarists used to standard scale lengths.

mon to all Avenger 7 Pro models include a three-piece maple neck with “set-thru” construction, 24 frets, recessed TonePros locking tune-o-matic bridge, string-thru-body design, and Grover Rotomatic locking tuners. Electronics consist of direct-mounted Seymour Duncan JB7 (bridge) and ’59 Reissue (neck) humbuckers, a three-way blade pickup selector, master tone control, and master volume knob that does double duty as a push-pull coil tap switch. PERFORMANCE Jericho determined that

the 26-inch scale was the ideal length for a seven-string guitar with a 24-fret design. Playing the guitar, it’s immediately apparent that they made the right decision, as the intonation is dead-on when playing the lowest notes on the lowest strings and the highest notes on the highest strings—the most common problem areas for standard- and extended-scale guitars, respectively. Even better, the guitar feels familiar and comfortable for players who are used to instruments with 25.5-inch scales, which can be attributed to both the 26-inch scale length and Jericho’s outstanding construction, the guitar’s overall streamlined feel, and its slim neck profile. The instrument sounds amazing too, with crisp attack and detailed articulation thanks to the responsive Seymour Duncan pickups. Jericho’s Avenger 7 Pro may offer players the ideal seven-string design.

Direct-mounted Seymour Duncan JB7 (bridge) and ’59 Reissue (neck) humbuckers produce huge tones with crisp attack and detailed articulation.

THE BOTTOM LINE The Jericho Avenger 7 Pro’s 26-inch scale hits the “just right” sweet spot for a seven-string guitar with a 24-fret neck, providing the ideal balance of comfort, string tension, and intonation for players exploring extended note ranges.

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GUITAR WORLD

PLATINUM AWARD EX

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Instant Rhythm Section DIGITECH TRIO BAND CREATOR PEDAL By Ch ris G ill

FEW THINGS ARE more creatively fulfilling for a guitarist than improvising and jamming. The problem is trying to get other musicians together to do that, especially when most drummers prefer to spend their time camped out at Taco Bell waiting for new dollar menu items to appear and many bass players can’t afford to buy gas because their unemployment checks are six months late. For years Band-in-a-Box software was the guitarist’s best friend for spontaneous jam sessions, but now DigiTech has harnessed the power of Band-in-aBox software in a compact pedal format that players can use with their regular rigs and without a computer. FEATURES The DigiTech Trio is a true “band in a box” that automatically generates bass and drum parts that match rhythm parts that you play. It offers seven selectable genres (blues, pop, alt rock, rock, country, R&B, and jazz) and 12 style variations per genre as well as adjustable tempo and separate level controls for the bass and drum

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parts. Jacks include a standard 1/4-inch guitar input, a control in jack for an optional DigiTech FS3X foot controller (very useful for live performance applications), and three outputs (amp, mixer, and headphone) that perform differently depending upon which jacks are used. Using only the amp output engages an EQ circuit that optimizes the bass

and drum tones for playback through a guitar amplifier; using mixer out only applies speaker emulation to the guitar signal; and using both the mixer and amp outputs feeds the guitar signal only to a guitar amp via the amp out while the bass and drum signals are routed to the mixer out. The headphone output mutes the amp and mixer outputs and features its own independent level control. When using just a guitar amp, the bass and drums sound best when using a clean setting. If you don’t want a clean guitar tone as well, the pedal provides a Guitar FX switch that provides distortion and other effects that change to correspond with the musical genre selected. Trio can learn three different song parts (such as verse, chorus, bridge) that can be selected via buttons at the top of control panel or with the optional footswitch. There’s also an Alt button for selecting an alternate tempo— usually half or double speed. PERFORMANCE Although the Trio is not

an intuitive, “plug and play”-without-reading-the-manual product, it is very easy to use. The manual is only 28 pages long, and most functions are easy to remember once


TC Electronic SENTRY NOISE GATE

CHEAT SHEET you’ve performed them a few times. Mastering the learn function is the key to success, and this basically requires that you play a chord progression with clearly fingered chords, keep the rhythm steady, and properly time the downbeat when disengaging the learn mode. Chances are this alone will make your playing ten times better before you’ve even jammed to your first groove. Hearing the bass and drum parts that Trio comes up with is totally cool. Granted, we’re not talking a Geddy Lee and Neil Peart level of sophistication here, but more often than not the parts fit and have some substance and style. While the bass and drum sounds aren’t reasonable substitutes for real bass and drums in the studio or when performing showcase gigs, they certainly sound good enough to jam along with or for casual solo performances. The accompaniment even includes perfectly timed fills and transitions. Equally cool is how the bass lines and drum patterns adapt to the selected genre and how each style setting varies. In addition to being helpful for practice, the Trio could even help you get out of a creative rut when writing songs.

The TC Electronic Sentry Noise Gate is the latest addition to the company’s line of TonePrint-enabled pedals and is a state-ofthe-art multiband noise gate. The Sentry Noise Gate’s multiband setting provides seamless and organic noise reduction, and also offers a classic hard-gate mode, perfect for heavy players who demand instant noise removal, along with a loop send/return for silencing noisy pedals and amps, all without cutting out dynamics or feel. This loop can even be used for creative side-chaining, so the gate can be in precise sync with other signals. STREET PRICE $129.99 tcelectronic.com

LIST PRICE $279.95 MANUFACTURER DigiTech, digitech.com Seven genres and 12 style variations provide an impressive variety of parts to jam along with, all based on the chord progressions that you “teach” the unit. The bass and drum parts have their own level controls, and the Guitar FX switch automatically selects distortion and effects that complement the selected genre.

THE BOTTOM LINE Easy to use, surprisingly versatile and intelligent, and even inspirational, the DigiTech Trio is the perfect practice buddy that’s always ready to jam when you want to and always pays attention to what you play.

Korg

GA CUSTOM TUNER The Korg GA Custom is a new type of compact, hand-held tuner that packs highend functionality into a convenient and highly portable package. The GA Custom features a large 3D visual meter, the first of its kind for a compact tuner, with three versatile display modes that delivers unprecedented visibility and ultra-high ±0.1 cent tuning precision. The GA Custom has input/output jacks to be used when tuning an electric guitar or bass, and a built-in high-sensitivity mic that allows tuning for acoustic guitars, wind and string instruments, and keyboards. STREET PRICE $29.99 korg.com

guitarworld.com

93

SOUNDCHECK


Horse Sense

EPIPHONE MASTERBILT AJ-45ME ACOUSTIC/ELECTRIC By Ch ris G ill THE J-45 IS one of the most successful and popular flattop guitar models of all-time. From its introduction in 1942 through the Seventies, the J-45 was known as a “workhorse” guitar due to its affordable price and reliable performance, but as time progressed both vintage and new models, which are still produced today, became too expensive for the everyday working guitarist. Epiphone’s new Masterbilt AJ-45ME brings the price of this beloved slope-shouldered dreadnought model back down to earth without compromising the quality, playability, and tone that have made the J-45 a favorite of both pros (like Bob Dylan, Bruce Springsteen, and Jeff Tweedy) and average Joes alike.

GUITAR WORLD

GOLD AWARD P

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FEATURES The basic features and con-

struction of the Masterbilt AJ-45ME are identical to those of the classic J-45, including the solid Sitka spruce top, solid mahogany back and sides, mahogany neck with 24.75-inch scale length, rosewood fretboard with 20 medium frets and pearloid dot inlays, and 16-inch wide slope-shouldered dreadnought body. Vintage-style appointments include five-ply body binding, Grover Sta-Tite 18:1 tuners with nickel-plated butterbean buttons, and the “reverse belly” rosewood pin bridge. The Masterbilt also offers a few modern improvements, such as its SlimTa-

CHEAT SHEET

94

LIST PRICE $999 MANUFACTURER Epiphone, epiphone.com


The solid Sitka spruce top, solid mahogany back and sides, and mahogany neck with 24.75-inch scale are all faithful to the original classic J-45 design.

per D-shaped neck profile, compensated saddle, satin finish, and built-in electronics, which consist of a Shadow NanoFlex under-saddle pickup and Shadow Sonic Soundhole controls. PERFORMANCE The Masterbilt AJ-

45ME’s natural acoustic tone is rich, warm, and vibrant with similar personality to coveted vintage J-45 examples. While the J-45 is technically a dreadnought, its sound is much more balanced and bigger than what is generally accepted as the norm for dreadnought tone. The midrange is more predominant, the bass more focused, and the treble more belllike and less “zingy.” The tone is also quite impressively complex for a guitar in this price range, with reverb-like resonance, smooth sustain, and assertive attack. As a result the AJ-45ME is a very versatile guitar that equally suited both for aggressively strummed rhythm playing and more nuanced fingerstyle performances. The built-in Shadow pickup and electronics also perform well beyond the systems typically offered in the AJ-45ME’s price range. Acoustic purists will appreciate how the controls are hidden from view inside the soundhole, but they’ll especially love how warm and natural it sounds during occasions when an amplified boost is necessary. The bass and treble EQ controls, antifeedback phase switch, and master volume controls provide players with the essentials literally at their fingertips.

Built-in Shadow electronics consisting of an under-saddle NanoFlex pickup and sound hole– mounted controls provides warm, natural amplified tone.

THE BOTTOM LINE Although the original “workhorse” J-45 has become a pricey object of desire, Epiphone’s Masterbilt AJ-45ME puts that popular, beloved model back in the hands of the working musicians that it was designed for.

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KIESEL V8 VADER EIGHT-STRING By Chris Gill

WHEN CARVIN RECENTLY split into two

separate companies for instruments, and amps and audio equipment, the guitar division was named Kiesel in tribute to Lowell Kiesel, who founded Carvin in 1946 and passed away in 2009. At Kiesel Guitars, Lowell’s son Mark and grandson Jeff are carrying on the family tradition, offering custom guitars under the Kiesel name as well as Carvin brand models. Kiesel Custom Guitars is their flagship line, offering a staggering variety of options that allow customers to select features that perfectly fit their needs and preferences in exacting detail. We took a look at a Kiesel V8 Vader eight-string fully loaded with a variety of impressive options. FEATURES The Kiesel V8 Vader features a compact, headless design that is ergonomically designed for maximum playing comfort and balance. All V8 Vader models have a 27-inch scale neck-thru-body design—our example had an ash body with

CHEAT SHEET

96

DIRECT PRICE $1,199 (starting); $1,599 (as tested) MANUFACTURER Kiesel Guitars, kieselguitars.com


antique ash treatment, five-piece black limba and koa neck, zebrawood fretboard with no inlays, 24 jumbo gold alloy frets, and a 20-inch radius. Kiesel even offers a choice of seven different logo styles—ours had a gold drop-shadow logo. The hardware and pickups were both black to perfectly complement the dark, rich colors of the zebrawood and antiquetreated ash. The Hipshot headless system bridge also houses the eight tuner mechanisms, and controls consist of master volume, master tone, and a five-position pickup selector switch. Pickups are a pair of Kiesel’s Lithium Series passive humbuckers with Alnico V magnets and Patented Torx head adjustable pole pieces. PERFORMANCE Kiesel’s emergence as

a separate company has enabled them to focus exclusively on developing new models and improving on existing designs. It has also enabled them to cut costs significantly, and the savings are passed on to

Kiesel Lithium Series passive humbuckers provide powerful, crisp, defined tone across the entire frequency range.

customers thanks to the company’s direct sales model. As a result, our V8 Vader offered craftsmanship, attention to detail, and materials comparable to a guitar costing three to four times more than our example’s street price. The V8’s light weight and ergonomic design makes it ideal for six-string players making the transition to eight strings as well as anyone who wants an eightstring that is simply very comfortable to play. (Kiesel also offers the Vader in six and seven-string versions in both 25.5-inch scale or 27-inch scale.) The five-position pickup selector delivers instant access to an impressive variety of full humbucking and split-coil tones, and the pickups are well balanced across the entire extended frequency range, providing crisp, defined tone whether using a clean setting or saturated high-gain distortion on a wide variety of standard guitar amps. The V8 is a particularly wise choice for guitarists who want to make an eight-string their main instrument.

The headless neckthru-body design offers players a compact, comfortable design that feels and plays like a standard six-string instrument.

THE BOTTOM LINE An incredible value, the Kiesel V8 Vader is an affordable alternative for guitarists looking for their first eight-string as well as an outstanding upgrade for eight-string players looking for a more comfortable axe.

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Feel the Fire

SEYMOUR DUNCAN JASON BECKER PERPETUAL BURN HUMBUCKER By Paul Riario

IF ANYONE EXEMPLIFIES a guitar hero, it’s Jason Becker. The virtuoso guitarist is not only idolized for his red-hot playing in Cacophony, with David Lee Roth, and as a solo artist, but also for his tireless work ethic composing new music despite having ALS. Right before he was diagnosed with the debilitating disease in 1991, Becker had been working with Seymour Duncan on a signature pickup based on the company’s popular JB model, and now after many years, his vision for a dynamically responsive pickup with a singing lead tone is fully realized in the Seymour Duncan Jason Becker Perpetual Burn humbucker. FEATURES The Perpetual Burn pickup features an Alnico 5 bar magnet and a 12.11k DC resistance, which translates to incredible warmth for rolledoff clean tones using the volume knob, and searing output when turned up and used with distortion. The pickup is a drop-in replacement for humbucker-equipped guitars and requires no

98


modification to your instrument. Each Perpetual Burn is hand built, vacuum wax-potted to eliminate squeal, and available in standard or trembucker spacing. The pickup comes in black, white or zebra or can be custom ordered in an assortment of colors. PERFORMANCE The Per-

petual Burn sounds powerful but not overwhelming. The pickup has a hotter output than a vintage-voiced pickup, and its Alnico 5 magnet and overwound wiring offers a perfect blend of bass and upper mids that add body, but without the wooliness of a high output pickup. Compared to a Duncan JB, the Perpetual Burn has more defined character, more dynamics in pick attack, and with boosted highs that deliver a desirable singing lead tone, especially with a high-gain sound. I found that just by using my volume knob, I was able to get a warm clean tone, a clear overdriven sound with enough bite for rhythm, and stinging lead tone all the way up. Remarkable.

CHEAT SHEET STREET PRICE: $94.95 MANUFACTURER: Seymour Duncan, seymourduncan.com THE BOTTOM LINE The Seymour Duncan Perpetual Burn is a totally shred-worthy humbucker, but it’s also sonically versatile for all kinds of music with its robust output that produces crystal-clear note definition and warm chunk.

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For video of this lesson, go to GuitarWorld.com/Hol2015

by Tommy Emmanuel

ON THE RANGE

The Chet Atkins/Merle Travis fingerpicking style, and how to play, “El Vaquero”

FIG. 1 1 (all examples performed with thumbpick and fingers) FIGURE Am

100


1

2

2

0

FIG. 2 2 FIGURE Am

HELLO EVERYONE, AND welcome to

my new Guitar World instructional column. Over the course of the next few months, I will demonstrate a wide variety of the specific right- and left-hand techniques I use most often, as applied to the songs from my latest release, It’s Never Too Late, plus some of the other tunes in my repertoire that I am asked about most often. I’d like to kick things off with a look at my approach to the song, “El Vaquero,” written by the great Chet Atkins and Wayne Moss, which I recorded for It’s Never Too Late. A vaquero is a cowboy, and, as the name implies, this song has a “western” feel, with a Spanish/Mexican flavor. I first heard this song as recorded by Chet for his Hometown Guitar album, on which Wayne played the rhythm guitar part and Chet added the melody, or lead, part on top, along the lines of FIGURES 1 and 2. To execute the rhythm part properly, use the standard Merle Travis fingerpicking technique, wherein the notes on the bottom three strings are picked with the thumb, with light palm muting, in an “alternating bass” fashion, and the notes on the top three strings are picked with the index and middle fingers. My goal with this tune was to find a way to play the song as a solo piece, so I had to devise a way to cover both the rhythm and melody in one guitar part. FIGURE 3 represents my take on the first six bars, and throughout this section (as with most of the song), my pick-hand thumb alternates between the bass notes in steady eighth notes. While doing this, my index and middle fingers pick the melodies and harmonies, often with the index picking the G string while the middle finger strikes the B string; if the index finger needs to move up to the B string, the middle finger will then be used to sound the notes on the high E, as the fingers work together (in most places) on adjacent strings. In bar 1, notice that I use a hammer-on to move the melody note from C to D on the B string right on the downbeat of beat three. Using a hammer-on here works well because of the consistent alternating bass. In bar 2, I

1 2

0

1

2 0

2

1

2

FIG. 3 3 FIGURE

Am

3

2

0

2 0

2

2

1 3

3

3

3

0

3

3

(3)

2

Dm/ F 3

1 3

0

1

0 1

Am 5

0

1 0

0

3

2 0 0

3

2 0

7

9

(9) 0

5 7

E( 9)

0 0 1 3 2

0

2 3 2

G 7

9

10

3 0

3 0

2

7 8

0

1

0

take a similar approach, using a pull-off from C to the open B string on the downbeat of beat two. The second time through (second ending), this B-string melody is a little different, as it ascends up to a high E over the A chord in the last bar of the example. Be sure to play through this figure slowly and carefully, with focused attention paid to the subtle syncopations between the “bass” parts and melody. FIGURE 4 recalls the subsequent five-bar

0

3

8 8

9

2 2

0

2

3 0

2

8

9

2

3 0

3

C

7 8 10

1

1 2

1

2

2

2

0

2

0

G 0

0

2

2

0

D/ F#

1 3 3

2

0 2

0

FIG. 5 5 FIGURE

0

0

0

3 0

3

1 1

0

2

Am

0

2

FIG. 4 4 FIGURE

5

1

A 3

2

Am

0

1.

2. G 3

1

G

3 0

2

1 2

0

G

D/ F#

1

3 5

2

2

D/ F#

2

4

1 2

0

10

8 8

8 8 8

1

2

0

2

1 0

(2)

2

1

0 0

0

E7/ G# 4 3 4

0

4

0

E( 9) 8

12 9 10 9

0

Am 3

1

0

1

0

2

section, wherein the bass notes ascend in half steps every two beats, from F (Dm/F), to Fs (D/Fs), to G (G), to Gs (E7/Gs), setting up the return to Am. Notice that the highest note of the melody replicates this movement on the first string. The first section of the tune ends with FIGURE 5, as somewhat unusual chord voicings for E(f9) resolve to Am. I’ll be back next month with part two of “El Vaquero.” See you then!

Australian-born virtuoso fingerstyle guitarist Tommy Emmanuel is world renowned for his brilliant acoustic performances, arrangements and compositions. His latest studio album, It’s Never Too Late, is available through his website, tommyemmanuel.com, and iTunes.

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Seymour Duncan stands for those who want to create unforgettable music that lends itself to a place and time. Helping you find that sonic voice, that perfect pickup that makes a smile widen across your face when you hit the first chord - that’s our mission. Built in America, tried and tested on thousands of albums; Seymour Duncan is here for you. Acoustic – Bass – Humbucker – Strat – Tele – P90 – Custom Pickups – Pedals

REAL SOUL. GENUINE TONE.

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HOLCOMB-MANIA

by Mark Holcomb of Periphery

RIFF PROGRESSION

How to use chord changes to devise inventive song riffs ONE OF MY favorite ways to write prima-

ry song riffs with Periphery and Haunted Shores is to first come up with a chord progression built from interesting and unusual voicings, then break up each chord into single-note patterns built primarily from the chord tones. The challenge is to devise different ways to connect all of the chords in the progression via these singlenote phrases. This way, I will end up with a riff that melodically “describes” specific and shifting harmonies without actually sounding any chords, per se. A great example of this technique in practice is the bridge of the song, “Have a Blast,” featured on Periphery II. The first thing I came up with was the chord progression detailed in FIGURE 1: with the guitar tuned to drop-D down one whole step (low to high, C G C F A D), the progression is Gm9sus4 Csus4 F/A Bf(maj7) C/F C/E. You’ll notice that chords like Gm9sus4 and Csus4 convey a really cool, unresolved feeling, creating a harmonic ambiguity that I really love the sound of. As soon as I had this progression together, I knew I wanted to create a riff out of it. Personally speaking, when I’m looking to write a complex, “note-y” riff, I find it very helpful to come up with the chord progression first. It serves to provide “markers,” so, in the space between chord 1 and chord 2, as long as I land on chord 2 at the right spot, everything else in between is okay and acceptable. FIGURE 2 illustrates the “Have a Blast” riff as heard on the track: it’s played at a pretty brisk tempo, 200 beats per minute, and bar 1 is built from the notes of the chord played individually, with a finger slide added from A to Bf on the D string. Bar 2 functions as an arpeggiation of G6/7, with the open high E string used as a common tone carried over from bar 1. Bars 3 and 4 feature the full voicings of Csus4 and F/A, as does the beginning of bar 5 with the sounding of the full Bf(maj7) chord. At the end of this bar, into bar 6, I break into a single-note line built from wide intervals and fretboard slides, which

102



FIG. 1 1 FIGURE

Drop-D tuning, down one whole step (low to high, C G C F A D)

Gm9sus4 5 6 5 8 5 5

Csus4 10 10 10 10

F/A

B (maj7)

C/F

C/E

10 10 8 7

(10) 10 12 8 8

5 5 3 3

5 5 3 2

FIG. 2 2 FIGURE

FIGURE 2 tuning) (same Gm9(sus4) FIGURE 2 tuning) G5 (same 1 G5 (same tuning) FIGURE 2 Gm9(sus4) 6 1 5 Gm9(sus4) G5 FIGURE 2 tuning) 6 7 8 (same 1

0 0 0

5 5 Gm9(sus4) 7 8 G5 5(same5 tuning) 6 1 5 5 Gm9(sus4) 0 G5 5 5 7 8 6 1 5 0 5 5 7 8 5 6 5 (maj7) 5 B 7 8 5 5 4 5 B (maj7) 5 5 4 (10)10 10 10 10 B (maj7) 10 10 10 10 4 (10) (10) 10 (8) 10 8 8 10 8 10 8 (10) 10 (7) 10 7 7 10 7 10 7 B (maj7) 8 8 (8) 10 8 8 10 8 10 8 4 (10) 10 (7) 10 7 7 10 7 10 7 B (maj7) 8 8 (10) 10 4 (8) 8 8 8 8 (10) 10 (7) 10 7 7 10 7 10 7 8 8 (10) 10 10 10 10 (10) 10 (8) 10 8 8 10 8 10 8 F5 (10) 10 (7) 10 7 7 10 7 10 7 8 C/E8 7 (8) 8 8 8 8 F5 (7) 7 7 7 7 8 C/E8 7

F5 3 7 15 15 3 F5 15 3 3 7 15 F5 15 3 7 15 3 15 15 33 15 3 15 3 1015 0 3 15 3 8 10 810 0 10 810 8 10 0 10 810 8 10 0 10 8 10 810 0 10 810 8 10 14 14

10

3 3 3 3 3 3 33 3 3 033 0 10 0 10 0 10 0 10 10

14 17 14

0 8 10 8 0 10 8 10 8 10 0 8 10 8 0 10 8 10 8 0 10 8 10 8 10

8 8 8 8 8 8 8 8 8 8

(3) 3 C/E (3) 3 (3) 3 C/E 2 2 (3) 3 2 2 (3) 3 C/E (3) 3 (3) 2 2 (3) 33 (3) 3 3 (3)Csus4 2 2 (3) 3 3 2 2 8 (3)Csus4 10 (10) 8 Csus4 10 10 (10) 10 (10) 10 10 10 (10) 8 Csus4 10 10 (10) Csus4 10 10 (10) 8 10 10 10 (10) (10) 10 10 8 10 10 (10) (10) 10 10F5(10) 10 10 (10) 10 10F5(10) 17 10 18 10 (10)

1410 12 14 17 14 15 17 18 12 15 17 18 1410 14 17 14 15 17 18 14 12

10 14 17 14 12 15 17 18 10 14 17 14 12 15

F5 15 15 F5 15 15 F5 15 15 15 15 15 15 15 15

(10) 10 (10) 12 10 8 12 8 (10) 8 10 8 12 (10) 8 10 8 (10) 12 10 8 12 8 8 8

2 2 2 2 2

3 3 3 3 3 3 33 3 3 3 3

0 0 0 0 0

3 2 3 2 3 2 F/A 32 F/A 32 10 F/A 10 10 8 10 F/A 7 8 10 F/A 7 10 8 10 7 10 10 8 10 7 8 7 3 3 3 3 3 3 33 3 3 3 3

(3) (3) (3) (3) (3) (3) (3) (3) (3) (3) (3) (3)

serve to accentuate the harmonically unresolved vibe of the musical passage. Bar 7 begins with an octave slide from F5, fretted across the bottom three strings at the 15th fret, down to the third fret; the

(10) (10) (10) (12) (10) (8) (12) (8) (10) (8) (10) (8) (12) (10) (8) (10) (8) (10) (12) (10) (8) (12) (8) (8) (8)

Csus4 Csus4 Csus4 10 10 10 Csus4 10 Csus4 10

0 8 0 10 8 10 0 8 0 10 8 0 10 8 10 10 12 10 12 10 12 10 12 10 12

3 3 3 2 2 2 3 3 3 2 2 2 3 3 3 2 2 2 3 3 3 2 2 2 3 3 3 2 2 2 (10)10 10 (10)10 10 (10) (8)10 8 10 8 (10) (7)10 7 10 7 (8)10 8 10 8 (10) (7)10 7 10 7 (10) (8)10 8 10 8 (10) (7) 7 7 (10)10 10 (10) (8)10 8 10 8 C/E (10) 10 (7) 7 10 7 (8) 8 8 C/E (7) 7 7

3 C/E 3 3 C/E 2 2 2 3 3 C/E 2 2 2 3 33 2 2 2 3 3 2 2 2 3 3 2 2 2

10 10 10 10 10 10 10

12 1212 12 1212 12 1212 12 1212 12 1212 5 5 3 53 2 52 3 53 2 52 3 35 2 52 3 53B 2 52 3 3B 2 2 10 10 B 10 10 10 8 10 8 10 7 10 7B 8 10 8 10 7 10 7B 10 8 10 8 10 7 7 10 10 10 8 10 8 10 7 10 7 8 8 7 7 3 2 3 2 3 2 3 2 3 2

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 12 10 12 10 12 10 12 10 G5 12

(10) (10) (10) (10) (10) (10) (10) (10) (10) (10) (10) (10) (10) (10) 14 17 14 17 14 17

0 0 0

F/A F/A 10 F/A 10 10 8 10 F/A 7 8 10 F/A 7 10

8 10 7 10 10 8 10 0 7 8 0 717 14 15 17 14 15 17 14 15 17 14 17 14 15 17 14Gm9(sus4) 17 14 15

18 18 18 18 18

Gm9(sus4) 0 G5 6 0 5 5 Gm9(sus4) G5 6 5 7 8 53 5 5 0 Gm9(sus4) 52 G5 5 5 7 8 6 5 53 5 0 G5 5 5 Gm9(sus4) 52 7 8 6 35 5 0 5 5 7 8 5 6 52 53 5 5 (maj7) 52 5 5 7 8 3 5 (maj7) 2 5 (10) 5 (10) (maj7) 10 (10) 10 (10) 12 (10) (12) 12 121212 10 8 (10) (8) 10 (maj7) 12 8 8 8 8 (10) 8 (12) (8) 12 121212 (10) 8 (10) (8) 10 10 (maj7) 8 8 8 8 (10) 8 (10) (8) 12 121212 12 (12) 8 (10) (8) 10 10 8 (8) 12 121212 8 8 8 8 (10) (10) 12 (12) 10 8 (10) (8) N.C.10 (D5)121212 12 8 8 8 8 12 8 (12) (8) 8 (8) N.C. (D5) 8 8 8 8 8 (8) 5 5 N.C. (D5) 5 5 3 3 3 3 53 53 N.C. (D5) 2 2 2 2 52 52 0 3 3 3 3 53 53 N.C. (D5) 2 2 2 2 25 25 0 3 3 3 3 53 53 2 2 2 2 52 52 0 3 3 3 3 53 53 2 2 2 2 52 52 0 3 3 3 3 3 3 2 2 2 2 2 2 0

F5 here substitutes for the C/F in the progression, though either could be used. I anticipate the change to C/E by switching to this chord on beat four of bar 7, instead of hitting it squarely on beat one of bar 8.

Mark Holcomb plays guitar in Periphery, whose latest pair of albums Juggernaut: Alpha and Omega is out now.

From

The Best Note-for-Note Transcriptions Available

00690178 00142819 00123558 00690820 00123216 00691051 00690489 00694930 00694832 00129737 00139086 00119629 00129545 00690936 00124873 00694869 00138731 00139967 00130786 00127184 00690819 00122443 00125661 00128917 00691024 00120220 00139460 00113073

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COLUMNS

STRING THEORY


By Jimmy Brown

CLASSIC PIANO

FIG. 1 1 "Moonlight Sonata," 1st movement, accompaniment (l.h. piano part), bars 1-35 FIGURE C m

How to play the dreamy arpeggios in Beethoven’s “Moonlight Sonata”

FOR OVER 20 years, I’ve had this idea in

my head for a cool classic rock-style arrangement of Ludwig van Beethoven’s famous piano piece, “Moonlight Sonata,” specifically the slow first movement (Adagio), which features a hauntingly beautiful chord progression unfolding as hypnotic triplet arpeggios supporting a sparse, poignant melody. My idea, which I’ve finally written down, recorded and am excited to now share with you, was to arrange the piano’s left- and right-hand parts for two electric guitars—rhythm and lead—with bass and drums accompaniment, in a dramatic, British hard/prog-rock style inspired by Pink Floyd’s “Shine On You Crazy Diamond,” Led Zeppelin’s “Since I’ve Been Loving You” and Brian May’s playing on the Queen songs “We Are the Champions” and “In the Lap of the Gods…Revisited” (Sheer Heart Attack). Here I present approximately the first half of the left-hand piano part—the accompaniment—which I perform with a slightly dirty bridge-pickup tone and a generous amount of concert-hall reverb, which helps emulate the ringing piano sound Beethoven achieved by using that instrument’s sustain pedal (see FIGURE 1). This part of the arrangement has you playing an unbroken stream of slow, steady eighth-note-triplet arpeggios, à la Chicago’s “Color My World,” and requires some practice to master, as you will need to anticipate some of the challenging fingerings. It’s mostly flatpicked single notes, but you will need to use hybrid picking (pick-and-fingers technique) in order to simultaneously pluck two notes on non-adjacent strings on most of the chord changes. First, familiarize yourself with the chord shapes, making sure your fretting fingers are properly positioned, then work on the picking, striving for an even triplet rhythm throughout. The goal is to try and allow the arpeggios and bass notes to ring together as much as possible, although that becomes impossible in the last half of bars 34 and 35, where you need to let go of the bass note as your fret hand shifts up the neck to play the extended diminished arpeggios. This is where the thick reverb helps to emulate

104


1

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Cdim7

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D dim7F m/ C# G 7/ B# 6

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FIGURE 1 "Moonlight Sonata," 1st movement, accompaniment, bar 36 to the end

G 7 9 sustain pedal function. As you’ll the 36 piano’s 8 5 7 4 7 performance 4 7 I 4addhear in the video online, 5 5 5 5 7 4 7 7 4 ed a bass guitar part, which octave doubles 6 4 4 the built-in bass line and sustains the low notes during these parts. I also doubled the G 7 9 D/ G# F m/ G# G 7 9 A bass39notes with a lightly overdriven single2 2 1 21 1 2 panned 1 note guitar (double-tracked and 4 4 4 7 47 4 4 2 2 3 4

5

4

3 4

4 5

4

F m/ G# right), G 7 which 9 D the dim/Brian G# F m/ G# hard left and is May/Queen influence I mentioned earlier. 1 2 1 7 4 4 7 4 4 4 7 4 7 of 6Next 4 month I’ll 3 show you the 6 remainder 4 4 the arpeggio part, then we’ll move on to the melody, which features lots of wailing string F m6 G C m bends and vibratos, played with 0a high-gain 0 0 2 2 1 1 2 2 2 2 2 tone, 2 à la 1 Pink 1 Floyd’s 1 David 1 1Gilmour. 1 lead 1 1 1 1 2 2

To download Jimmy Brown’s Mastering Arpeggios 3 DVD and

G 7/ B# C m F mor the complete E/ B B7 others—as individual chapters disc—visit

43

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4 4 4 4 2 2 2 2 the official 0 0 4 World 4 1 guitarworldlessons.com 1 1 1 1 1or download 2 2 1 1 Guitar 4 4 7 7 3 Lessons app in iTunes. 4 2 2 7

E 6 0

4

5

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4

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COLUMNS

SHREDDING WITH THE ALIEN


by Joe Satriani

GOT THE JIMIS

FIG. 1 1 FIGURE

Hendrix’s rhythm guitar inspiration

(E) 9 9 11

ONE OF THE most important aspects of

becoming a competent, well-rounded and in-demand guitar player is a dedication to the art of rhythm guitar playing. This is something that doesn’t get addressed nearly enough within instructional parameters, and I believe that is because it can be more difficult to practice rhythm guitar than it is to practice soloing techniques. All guitar players love to play and practice licks, solos and scales all day long, but having the discipline to practice rhythm guitar is another matter entirely. For me, the study and appreciation of the art of rhythm guitar was greatly inspired by the music of Jimi Hendrix. Jimi himself had been a keen student of the R&B/soul rhythm playing of guitarists such as Curtis Mayfield, Ike Turner and Steve Cropper, all of whom had devised creative ways to fill out musical arrangements with small chord voicings, voice leading techniques and an overall sense of melody. Just a cursory listen to Jimi’s “Castles Made of Sand,” “Little Wing” or “Bold As Love” tells you all you need to know about his brilliance as a trailblazing rhythm guitarist. Let’s say, for example, you had a chord progression of E to C to A and you wanted to spruce it up with some little connecting passages. The overall approach is to put together a major pentatonic-based “toolbox” and apply elements of major pentatonic to each of the chords. In FIGURE 1, my index finger is barred across the A, D and G strings at the ninth fret, and I use my ring finger to hammer-on to the 11th fret on the A and D strings, creating the sound of E/Gs along with a quick reference to A/Cs. The notes that are accentuated here are the second, third, fifth and sixth of E, and all of those intervals are found within the E major pentatonic scale, as illustrated in FIGURE 2. I will use those pitches for chordal improvisation when playing over the E chord. When I switch to the C chord, I’ll use the notes of C major pentatonic—C D E G A—to create two-note harmonies to embellish the sound of C major. The same approach can be applied to the A chord, using A major pentatonic—A B Cs E Fs—played similarly in harmonized two-note pairs, as shown in bars

106


FIG. 2

FIGURE 2 9 9 11

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FIG. 3 3 FIGURE C5

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3 FIG. 4 4 FIGURE 1

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34

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3 9 9 9 9 911 911 911 9

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FIG. 5 5 FIGURE E 2 2 0

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10 0 8 12

A 1010 101210

12

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3 E

5 7

7

1 and 2 of FIGURE 4. In bar 3, I switch back to E and shift down to the lower area of the fretboard, followed by a return to ninth position, as demonstrated in FIGURE 1. Bar 5 features a return to C and more chordal embellishment based on C major pentatonic. In bar 6, on the switch to A, I instead opt to play a single-note melodic line based on A major pentatonic, and in bars 7 and 8 I return to E and navigate through

9

7 7

7 79

9 (9) 9 (9) 11 (11)

12

7 7 79 7

9

14 14 141416 16

12

1214

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911

11

harmonized note pairs in E major pentatonic in a similar manner. Let’s say the chords in the progression change more frequently: in FIGURE 5, I play two beats of E then two beats of C, followed by a full bar (four beats) of A. Once you have these shapes down, experiment with the myriad of ways in which one can weave interesting rhythm parts based on the techniques illustrated here.

Legendary guitarist and longtime Guitar World contributing columnist Joe Satriani’s latest album is Shockwave Supernova.

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COLUMNS

ACOUSTIC NATION by Dale Turner

MODERN MINSTREL

The sublime accompaniment stylings of eclectic songsmith Chris Cornell WIDELY REGARDED AS one of the great-

est rock singers of all time, Chris Cornell has fronted two of the most unique and successful bands of the modern era, namely Soundgarden and Audioslave. Between (and in some cases, during) those projects, Cornell also penned pieces for film soundtracks (Singles, Great Expectations and Casino Royale, among others) and issued a trio of solo albums, resulting in an impressively diverse body of work. Since 2011, Cornell has been taking much of this massive song catalog, including a few songs he wrote and recorded with Temple of the Dog and some creative covers, and delivering it in two-and-a-half-hour solo acoustic shows, as documented on his live Songbook album. As much joy as this has brought Cornell—to the point where “solo acoustic artist” is now a cherished part of his musical identity—feelings of being trapped in the format began feeling more “nostalgic” than newly creative. Enter Higher Truth, Cornell’s first ever all-acoustic studio record—a platter influenced by Nick Drake’s Pink Moon, Bruce Springsteen’s Nebraska and Daniel Johnston’s Songs of Pain, but ripe with modern production. Let’s celebrate this new Cornell accomplishment with a look at some of Higher Truth’s future classics! Cornell penned “Josephine” for his wifeto-be; as the proverbial ink dried, he sang it over the phone (while on tour) as a marriage proposal. Played fingerstyle, capo-2, the song’s emotional intro features tasty hammer-ons and pull-offs in open position, similar to FIGURE 1. Note the use of thumb fretting on the low F notes in bar 2, which facilitates a pull-off to the open G string within the chord, a feat not possible if using a conventional F barre chord fingering. “Murderer of Blue Skies” opens with Cornell’s acoustic guitar and voice, but soon blossoms into an epic production, all interlaced with a fingerstyle arpeggio riff, similar to that shown in FIGURE 2. This passage features upper-register common tones— notes shared among chords on the top two strings—and an interesting rhythmic device

108



FIG. 1 1 FIGURE Am

Em

Capo. fret 2 0

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F

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4 0

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FIG. 2 2 FIGURE

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FIG. 3 3 FIGURE

drop-D tuning (low to high, D A D G B E)

D

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FIG. 4 4 FIGURE

Tune down one half step (low to high, Eb Ab Db Gb Bb Eb)

a) G

Gaug

3 0 0 0 2 3

b) F

C

3 0 0 1 2 3

0 1 0 2 3

A

1 1 2 3 3 1

c) C

C

4 4 5 6 6 4

0 1 0 2 3

E

0 1 0 2 3

Am

0 0 1 2 2 0

0 1 2 2 0

FIG. 5 5 FIGURE

Mandolin arr. for gtr.

Am Capo. fret 5 4 5

0

A 5F m7 5

E

5 4

0

1

2

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E5

0 4

0 2

known as hemiola, which in this case creates a “three-against-two” phrasing scheme, as three-note groupings are played an even eighth-note rhythm. The drop-D-tuned gem “Worried Moon” tells the tale of a man down on his luck and forced to sleep outdoors, with only the moon for company. For the song’s verses, Cornell thumps his low D string throughout, often in alternation with the open fourth string, in support of a melodic passage (bars 1-2) and arpeggiated texture (bars 3–6), not unlike FIGURE 3. When it comes to writing rock songs, Cornell is king of the unexpected chord change—exotic progressions tracing back

Am

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A5

E 0

5 4

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E5 0

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4

0

4

0

to Soundgarden’s “Black Hole Sun,” developed to new heights on 1999’s Euphoria Morning and employed in new album cuts like “Higher Truth.” Following its opening D-to-Fsm change, FIGURES 4a–c present three clever ways of navigating around a basic C chord, moves all employed within the song’s first verse! We’ll close this lesson with a nod to Cornell’s “Nearly Forgot My Broken Heart” mandolin riff, akin to FIGURE 5 (arranged here for guitar, capo 5). Initially conceived as a country tune, the song quickly ventured into new territory—sonic terrain highlighted by an electric guitar solo, played by Cornell himself!

To download Dale Turner’s Secrets of the Great Acoustic Songwriters DVD—as individual chapters or the complete disc—visit guitarworldlessons.com or download the official Guitar World Lessons app in iTunes.

LESSONS

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COLUMNS

by Andy Aledort

PERFECT PAIRS

How to harmonize improvised melodies within the structure of E major pentatonic HARMONIZED GUITAR LINES are a

staple of classic rock from the Seventies, as exemplified by many well-known songs from the Allman Brothers Band, Lynyrd Skynyrd, Thin Lizzy and Steely Dan, as well as NWOBHM bands, such as Iron Maiden and Judas Priest. Though most often associated with country music, harmonized lines built from the major pentatonic scale have found their way into a great many rock songs, such as those by the abovementioned artists and Jimi Hendrix. To review, major pentatonic is a five-tone scale with an intervallic makeup of the 1 (root), 2 (major second), 3 (major third), 5 (fifth) and 6 (sixth). Over the past few columns, we’ve explored harmonized patterns built from thirds that are based on both the major pentatonic and the major hexatonic scales. As the name declares, major hexatonic is a sixtone scale that is identical to major pentatonic but also includes the fourth (spelled 1, 2, 3, 4, 5, 6). In the previous examples, we chose a pair of adjacent strings and moved from one harmonized pair to the next, traversing the fretboard while staying diatonic to the specific scale. In this month’s column, I demonstrate how to apply the technique to improvised, harmonized two-note melodies played within specific fretboard positions. When harmonizing in major pentatonic, the majority of these two-note harmonies are fourths (the two notes are four major scale degrees apart); the only time a harmony of a third is produced is when the root note is the lower of the two notes in the pair. FIGURE 1 illustrates descending twonote harmonized pairs on adjacent strings played in ninth position. Most of these note pairs are fretted as barres, with either the index finger, ring finger or pinkie, with only one pair, B with Fs below it, fretted with two different fingers. Now let’s try moving through these note pairs in a free, improvised way, as shown in FIGURE 2: in this example, the “line” is played primarily in steady 16th notes, and as I move from pair to pair, I am listening for a melodic contour to take shape, from which I can develop the line further as I proceed. Another element is the articulation, as I favor

110


IN DEEP


FIG. 1 1 FIGURE (E) 12 12

9 9

12 11

9 9

11 11

9 9

11 11

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11 12

FIG. 2 2 FIGURE (E)

912 9 9 912 912 912 9 11 11 9

11 911 9 111111 911 9 1111 11 11

9 9

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9 9

12

9 1212 9 9 9 12 9 12 9 1212 9 912 9 9 11 9 11 9 11 11 9 9 11

9 11 911 9 11 911 11

9 11 12 9 12

5

FIG. 3 3 FIGURE (E)

912 91212 9 11 9 11 9 9 11 9 11 9 11 9 11

9 9

11 9 11 9

9 11 9 9 9 11 9 11 9

11

11 9 11 9 7

97

9 7 9

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FIG. 4 4 FIGURE (E)

12 9 11 9 11 9 11 11 9 11

9 9 9 11 9 11 9 11 9 9 (9) 12 9 (9)

9 9

9 11 9 12

11 11

99 99

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3

FIG. 5 5 E major pentatonic FIGURE 9

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9 9

6 6

hammer-ons and pull-offs as much as possible in order to yield a smooth, even sound. Another effective approach is to move between two-note pairs and single notes, as this tactic will afford more melodic freedom. FIGURE 3 illustrates this type of approach, as bars 1 and 2 consist mostly of harmonized pairs, while bar 3 is played as single notes only. It can be a little tricky to move smoothly in and out of the pair that’s fretted with two different fingers, so work through

9 9

6 6

9 9

6 9 6 6 6 9 6 9 6 9 6 9 6 6 9 9 7 9 7 9 7 9 7 9 9 7

FIGURE 4 carefully and try to make those transitions as smoothly as possible. Now let’s move down to the next lower fretboard position of E major pentatonic, as shown in FIGURE 5. FIGURE 6 illustrates harmonized note pairs played in this position, and FIGURE 7 offers an improvised line that is articulated in a similar manner as FIGURES 2 and 3. Once you’re comfortable with these examples, try devising some harmonized two-note melodies of your own.

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TRANSCRIPTIONS

HERE COMES THE SUN Beatles

As heard on ABBEY ROAD Words and music by GEORGE HARRISON • Transcribed by ANDY ALEDORT

Acous. Gtr. w/capo at 7th fret All music sounds a perfect fifth higher than written (key of A). All chord shapes and tablaure positions are relative to the capo. D

G

132

A

21

2



 

2 3 2 0





A7sus4

3

2

E7

4

F

2314

Intro (0:00) Moderately q = 126 D

Acous. gtr. (capo 7) let ring

1

A7

0 3

321

 



2 3

2

3 2

0

0



0

0



3 2

0

0 0 0 2 3

0 0

0 0 0 2 3

0 3

3

2 3

 

2 0



3 2

0 2

0 3

0 3

3 2



Bass Fig. 2

** 7

0 2

0 2

2 0 2 0

0

7

7



3 2

2

 7





2

0 3

3 2

0

2

0 0 0 3

0 2

2 3

0 3

3

2 3

sun

2 0

7

112

It’s

all

2 3

0 3

2 0 0

0 0

and

0



7



7

7

3

0

1 2 2 0

0 0

7

4

7

4

5





5



5





7

5

5

5

5

 4

3

0



(D/F#) 2

3

 

(Em7)

0

0

3



(D) 0

2



(A7)

5

0 I

say

3 1 2 2 0

7


 5

7

3 1 2 2 0

3

0

3

2

 4

2

 4 G4 



2

 5

2

end Bass Fig. 2 0

4

7

7



7



7

7

6

1st Verse (0:27)

D

 4

2 2

2 0 2 0 0

3 1 2 2 0

1 2 2

C

N.C.(G6)

2



2 0

***Dbld. 2nd time by another gtr. w/fast Leslie rotating spkr. effect.

7

3

0 2 0

let ring

2 0

3

right 0 3

34

E7

0 0

0

3 0

2 0 2 0 0

0 0

1.

13

2 0 2 0

3

3

Herecomes the

**Don’t play bars 9-13 on 1st Chorus.

D



0 0

A7

0 0 0 X 3

0 0

2

A7sus4 A7



3 0

G ***

2 3

2 3

do do do do

let ring

2 3 2

*Play 2nd time only.

Bass

 

3 2

0

1st and 2nd Choruses (0:14, 0:42) Here comes the sun D

Gtr. 9 *

0

3

A7

2

G 2 3

2 0

B

1

A7

D

5

32

G/B

G

 

3

C

2 0



Little

darling

2 3

0 3

3

2 3



3 2



Bass Fig. 1 7

7

7

 

7

7



HERE COMES THE SUN WORDS AND MUSIC BY GEORGE HARRISON COPYRIGHT (C) 1969 HARRISONGS LTD. COPYRIGHT RENEWED 1998 ALL RIGHTS RESERVED REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION

“ HERE COMES THE SUN ”

it’s 17 3 2

2

7

been 2 3

7

it 21 3 2

2

0 3

7

0 3

long G

cold

3 2

0 0 0

3 0

0 3

 



7

feels 2 3

a

0 3

3 2

0 0 0

25

7



7

(D) 0 2

3

 5

2

3

0

The I 3 2



7

2

4

smiles feel 2 3

It It 3 2

2

2 3

4

5

0 3

0 3

2 3

4

2

*

2

2 3

2 0 2 0

7

3 2

0 0 0

7

3 0



7

2 3

3

0

7

0 0 2

7

7

2 0 2 0



0 0

clear clear A7

3

2 0 2 0 0

0 0



7

4

4

6

2 0

Little

darling

2 3

0 3

3

2 3

3 2



7

7



7

N.C.(G6)

3 0

7

0 0 0

 4 

3 0

 

end Bass Fig. 1



2 0 2 0

3

4



7

6

 

7

A7

 



7



7

2 0 0

0 0

0 0

7

2 0 2

3 0

2 0

2 0 2 0

3 0

3 0





sun

2 0

3

3 *Doubled by another acous. gtr. w/fast Leslie rotating spkr. effect.

0 0



0 2 0

0 3

3

7



2 3

7

7

Little Little

darling darling

2 3

0 3

3

0

2 3



1 2 2 0

2 2 0

1 2 2 0

1 2 2 0

Here comes 2 3 2

2 0



3 2



0 3

the

0 3

2 3



D 1 2 2 0

7

3rd and 4th Choruses (1:14, 2:26) D

and I say

E7

3 2



 

2

3 0

3

2



D

0 2 0 0

0 2 0

G4

4



A7sus4 A7 0



0

Bass plays Bass Fig. 1 simile (see bar 16)

A7sus4

the

0

7

(Em7) 0

3

2

2 3

2 0



3

(D/F#)

0


Here comes



2nd and 3rd Verses (0:59, 2:11) darling 2. Little darling 3. Little

D

F

2 0 2 0 0

5

E

0 2 0

3

7

2 0 2 0

been been

2



0

A7sus4 A7

7

0 0

0 2

0 2 0

3 0

0 0 0

7

2 0 2 0

5

3 0

0 2

3

G

2 3

0 0

to the faces slowly melting

0



0 0





2

0 0 0

3 0

A7sus4

7

2 3

7

0 3

3 2

2 0 2

D

2.

2 0 2 0

5



7

7

3

it’s it’s

0 3



4

7

here A7

0 0

0 3

since since

3

5

0

A7 2 3 2

2 0

do do do do 3 2



5

returning that ice is G



37

3 0

seems like years seems like years G 0 3



A7sus4 A7

2 0 2 0



5

2

5

0 2

been

0 0

0 0

D



33



(A7) 0

2

Gtr. 29

4



5

since it’s 2 0 0

3 0

0 2

5

years G



7

0 2

5

like

winter A7

0

2 3

7

lonely

2 0

it’s

all

2 3

0 3 0

sun 3 2



right 0 3

3

 guitarworld.com

 

2

113

TRANSCRIPTIONS

2nd time, skip ahead to

N.C.(G6)

Gtr. 41

4

Bass 5

G

(D/F#) 0

3



0

3

2

(Em7)

(D) 0

3

0

 4 G

2

D

3

 5



4

0

3

2

(bar 68)

H

(A7)

2

2

0

4

4

2

2 3 2

2 0

7

7

7

A7

0 3

3

7

2 3



7

7



0 0

2 0

7



5

N.C.(A)

0



0 2 0 2 0

7

0



7

4

2



Bridge (1:31) (F)

(C)



46

let ring 1

2

3

2

3



Bass Fig. 3 10

Gtr.

52

10

Sun (F)







0

2

 3

0

0

2



0

2

sun (G/B)

Here it (G)

let ring

let ring

0

0

2



2

3

A7

 

0 2 3 2

0



4

5





2

3





D

let ring

  9



let ring 1

(G)

let ring

sun (C)

let ring 3

(G/B)



let ring

7

7

 7

7

7



5

comes D



2 0 2 0

2 0 2 0

7

7



0



2 3 2 0

2 3 2 0 0



0 0

4

6

7

A7 2 3 2

0

N.C.(A)

2

9

N.C.(A)

2 0 2 0



2 0 2 0

0

2

4

Bass repeats Bass Fig. 3 (see bar 46)

Sun (F)

sun (C)

Gtr. 58

 

3

2

sun (G/B)

1 2

3

 10  

Bass

10

0





4

5



2 0 2

7

2 0 2

7

2 0 2 0

7

2

7

2 0 2 0

7

0 0

7

2 0

7

3 0 2 0

7


0 3

3

2 3

7

7



2 0 2



7

N.C.(A)



7

7

0

3 0 2

7

7

7

7

2 0 2

7

3 0 2

7

0 2 0

0 2 0

0 2 0

2 0

7

7

7

7

7

7

7

0 0

7



3 0 0

7

2 0 2



5

A7

3 0 2 0

7

A7 2 3 2

0

A7sus4

 114



2

3

1., 2., 3.

comes D

0

  9



4.

64

2

0

Here it (G)

3 2 0 2 0

7



2 0 2



7

Go back to

3 2 0 2 0

7

3 2 0 2 0

7

3 2 0 2 0

7

3 2 0 2 0

7

0

4

6

7

E

9

   

3rd Verse (bar 28)





3 2 0 2 0

7

2

3 2 0 2 0

7



7

0

“ HERE COMES THE SUN ”

H 68

(2:39)

D 2 0

74

the

2 3 2

2 3

0 3

3 2

7

3 2

2 2 0

3 1 2 2 0

7

7

7

7



7



3 1 2 2 0

7

(D) 0



2

5

3

0



2

 5

2

7

2 0

4

2

6

3

0

 3

0

4

4

(A7) 2

4

2 3

3

0 3

2 3

2

G

 4

It’s

all

2 3

0 3

5

7

5

Here comes

the

sun

2 0 0

2 0

3

0 0 0

7



3



8

3

4

7

2

1

0 0



4



7

5

(D/F#) 0

3

4

7

7

(Em7) 0

3

2

5





0

 4 G 

3

2

4



4



N.C.(G6)

2 3

2

(D/F#) 0

3

0

3

2



(Em7) 0

3



4

7

4

5

(C)



2



 4  G

0





(G)

let ring

2

 

0



4

(G/B)

let ring





5

 7

0 3

3

5

2

right

4

let ring

4

N.C.(G6)



7



7





3

Slightly slower (F)

7

0 3

0



7

right

It’s all 2 3

7

2



0

5

2

7

0 0

0

7

D

0

do

D

0 3



2

2



0 2 3 2 0 0





3 1 2 2 0

3

do

7

(A7)

(D) 0

7

do

3

D

1 2 2 0

do



E7

2

77

0 3

sun



7

71

Here comes





guitarworld.com

115

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lundgrenpickups.com

TRANSCRIPTIONS

CATCH YOUR TRAIN Scorpions

As heard on VIRGIN KILLER Words and music by KLAUS MEINE and RUDOLPH SCHENKER • Transcribed by JEFF PERRIN

All guitars are tuned down one half step (low to high, Eb Ab Db Gb Bb Eb). Bass tuning (low to high): Eb Ab Db Gb. All music sounds in the key of Ab minor, one half step lower than written. A5

A5add7 7fr

134

G5

144



8 !

8

*Gtr. 1 (w/dist.) Rhy. Fig. 1







10 9 7

10 9 7

  

8 !



10 9 7



10 9 7

5

5

5

5



10 9 7



10 9 7

Gtr. 2

Bass Fig. 1 5

5

5

5

10 9 7







8 9 7

8 9 7



8 9 7



8 9 7

A5add7  5 !

5 !

  15 15

1

15

15

20

 GU I TA R WOR L D • HOL I DAY 2015

A5add7 ( 20 )



8 9 7



8 9 7

8 9 7

8 9 7



8 9 7

 w/fdbk. 

let ring into next meas.



*

7

7

5

7

5

7

6

*Gtr. 2 “punches-in” solo.

5

5 !

5

* “punch-in”

A5 5 X X X

1

8 9 7

A5

pitch: G

1

1342

A5add7

P.H. *1/2     8 8 8 8 7 ! ! ! !

5 !

1342



Bass plays Bass Fig. 1 three times (see bar 1)

118



8 9 7

P.H.

8

14

8 9 7



A5 Gtr. 1 plays Rhy. Fig. 1 three times (see bar 1)

5

10

134

  8 8 8 ! !

*doubled throughout

Bass

G

A5add7

1

8

1444

F 7fr

134

Gtr. 2 (w/dist. and sporadic wah pedal usage)



8fr

1444

B5 8fr

134

F 7fr

144

C5

5fr

144

E 7fr

144

C5

Intro (0:00) Moderately Fast q = 148 A5

1

E5 8fr

134111

G5 5fr

13421

F5 5fr

134

D5 7fr

144

Am 3fr

132

Em 10fr

A

F5

7fr

12 14 16

14 15

16

14 15 17 14 15 17

14

17

14

3

  20 ( 20)

1/2



20



19

20

3

19

20

19

3

17

20

17

3

19

17

19

3

18

“CATCH YOUR TRAIN ”

B 17

1st Verse (0:25) man A5

1. Wake up

it’s late but

not too

late

It’s

six o’clock F5



19 !

0

 

0

10 9 7

10 9 7

10 9 7

everyday



19 !

Rhy. Fig. 2

like







6 5 5

1

6 5 5

0

0

1 !

1 !



8



6 5 5

*doubled throughout

Bass Fig. 2 5 !

A5 Gtr. 1 plays Rhy. Fig. 1 (see bar 1)



Gtr. 2

21

5 !

8 !

A5add7

1

8

1

8

8

1

1

8

Bass plays Bass Fig. 1 (see bar 1)

1½

10 !

8

10

8

5

8

8

5

8

3

3

Get your things run and forget A5 Gtr. 1 plays Rhy. Fig. 2 (see bar 17)

the rain

5

8

7

3

power F5

Take

  7 7 7 ! !

25

1/2

pills

5

7

5

7

3

don’t miss your

train



7

5




A5 Gtr. 2 29

w/bar

w/fdbk.   (10 ) 10 !

1

10 !

10 !



Gtr. 1 Rhy. Fig. 3 10 9 7

Bass

10 9 7



10 9 7



10 9 7

5

5

5

5

Bass Fig. 3 5

And you’d

A5add7

5

5

5

10 9 7



10 9 7

 

10 9 7







8 9 7

8 9 7

8 9 7



8 9 7

8 9 7



8 9 7

like G

2



10 10 10

 



8 9 7

8 9 7

8 9 7

8 9 7

8 9 7

0

8 7 5

5

5

5

5

5

5

5

3

guitarworld.com

119

TRANSCRIPTIONS

C

1st and 2nd Choruses (0:49, 1:48) to be another A5 G5 2nd time, Gtr. 2 plays Fill 1 (see below)



Gtr. 1 33

8 7 5

Bass

8 7 5

X X X

8 7 5

3

3



10 9 7

10 9 7

3

5

5

A different



10 9 7

X 10 X 9 X 7

5

guy G5

and a better



8 7 5

8 7 5

5

3

3



8 7 5

X X X

8 7 5

3

3

For your

lover A5





10 9 7

10 10 10 9 9 9 7 7 7

3

5

5



love F5

X 10 X 9 X 7



5

5

10 10 8



Bass Fig. 4 3

3

3

3

for your



37

10 10 10 10 10 10 8 8 8

5

life E5



X 10 X 10 X 8

5

9 9 7

5

3

3

Check your way E A5



9 9 7

5

9 9 7

X X X

9 9 7



3

5

5

5

And you



10 9 7

5



10 10 10 9 9 9 7 7 7

10 9 7





10 9 7

8

like G5

10 10 10 10 10 10 9 9 9 9 9 9 7 7 7 7 7 7

8 7 5

end Bass Fig. 4 8

8

8

8

8

8

8

7

7

7

7

7

7

7

7

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5




Gtr. 1 41 8 7 5

8 7 5

the rock ’n’ X X X

8 7 5

roller A5



10 9 7

A different



10 9 7

10 9 7

X X X

10 9 7

life G5



8 7 5

10 10 8

10 10 8



Keep your own

10 10 8

X X X

10 10 8



8 7 5



Bass plays Bass Fig. 4 (first four bars only) (see bar 33) Gtr. 1 45

than whiskey

8 7 5

X X X

8 7 5

cola A5



10 9 7

style E5



9 9 7

9 9 7

9 9 7

9 9 7

9 9 7

9 9 7

9 9 7

9 9 7

9 9 7

Bass 8

8

8

8

8

8

8

7

7

7

7

7

train A5 A5add7 Gtr. 1 plays Rhy. Fig. 1 twice (see bar 1) Gtr. 2 48

8 !

1

7

7

7

10 9 7



9 9 7



7



(bar 72)

E

But don’t be

10 9 7

X X X

10 9 7

3

low F5



10 10 8

And catch your









A5

P.H. 1

  8 8 8 0 ! ! ! 0

12 14 16

Bass plays Bass Fig. 1 twice (see bar 1)

Fill 1 (1:47) Gtr. 2



(G5)

 ! 15 120

7

10 9 7

5


(A5)



15

15

14 15 17

14 15 17 15 14

17 15 14

16 14


 

53 16

D

18

18

18

17

 2nd Verse (1:24) 2. Don’t be lazy

Gtr. 1 56

A5add7

  17

16



17

14



10 9 7

16

 

10 9 7

14

14

16

0

6 5 3

16

11 !

11

He’s the boss you gotta do what he says

F5

0

0 10 9 7



16

man and work off your ass

A5

(let ring next two bars)



 

0

6 5 3

6 5 3

6 5 3

10 9 7


60



A5 10 9 7



10 9 7

10 9 7

10 9 7



Ooh



10 9 7



10 9 7

yeah 10 9 7



Bass plays Bass Fig. 1 (see bar 1) 64

Catch your train A5





run and forget those ways

 

0

0 10 9 7

10 9 7

8 9 7

8 9 7

8 9 7

8 9 7

8 9 7



8 9 7

Keep it cool It’s

F5

10 9 7



A5add7

not

0

6 5 3

 

8 9 7

8 9 7

8 9 7

8 9 7

6 5 3

8 9 7

too late

0

6 5 3



8 9 7

6 5 3

10 9 7


A5 Gtr. 1 plays Rhy. Fig. 3 (see bar 29)

Gtr. 2 68 19 20 19 17 19 17

20

17 19 20 19 17 19 17

3

20

17

3


19

E

20

17

19

20

19

17

19

19

Gtr. 2 72

17

17 19

18

17

G5 F5

E5 your own style

10 10 10 10 10 10 8 8 8



X 10 X 10 X 8



9 9 7

9 9 7

9 9 7

9 9 7

7

7

7

7



Bass 8

19

8

8

8

8

8

8

18 17

X

18

17

17

20 17

20

7

12 12 10

 

10

8



2nd Chorus (bar 33)

15

17

Em

like 

15

G5 F5 15

  10  10  8

C

Ensemble Break (2:09) 1½





Gtr. 1

17

17 20

 And you’d

F Keep

19 20

Go back to



(2:07)

F5

17

20

3

A5add7

70

19 20 19 17 19 17



8 9 9 7 0

8 9 9 7

8 9 9 7

8 9 9 7

8 9 9 7 0

7

7

7

7

7



 15 14 ! 12

1/2

15

15 12 12





3





14

3

12 10 12 10 10 8

 

10

8

 



guitarworld.com

121

TRANSCRIPTIONS

Em 76

 22



8 9 9 7 0

8 9 9 7

7

80

7

8 9 9 7

7

10 10 10 8

8

8 9 9 7 0



7

7

8

14 15 14

10 10 10 8

8

Guitar Solo (2:22) train A5



22



22

1

22

1

22

1

22 !



17 17 15



3







12 12 10



 10  10  8

8 9 9 7 0

 8



10

16 16 15 16 17

10 10 10 8

8

17 19





10 9 7

5



7

5

5

15 16 15

17 17



10 10 10 8



8 9 9 7

8 9 9 7

7

7



8 9 9 7

7











3

0 0

3

17  18

17 19

X X X

10 9 7



10 9 7

10 9 7

5

5

5

5

5


12 12 10

catch





3

9 9 7

7 7 5



5

7

  

your



17 18 17



17

19



12 12 10

3

17 !



18 18 17 18 19

12 12 10

14



3



17 19



16 17 16

17 14

3

and

12 12 10

16 15 14

3



7

15

16 15

3

8 9 9 7 0

16 17 18

12 12 10



8

w/bar



10 9 7

5

E5 D5

pitch: G





w/bar let ring

17 19

122



8 9 9 7

1

Em

G5

10 10 10 8

82

1

F5

F 14 15 16

G

G5

P.H.



3



G5



17 19

A5

w/bar

18 17

17 19



10 9 7

5

5

5



18 17

16



8 7 5

8 7 5

8 7 5

10 9 7

3

3

3

5


84

 20

G5 17

19 18

17

19 18 16



10 9 7

10 9 7

5

5

5

5

15 14

16 14

X X X

10 9 7

5

5

14

16 14

16 14

17



10 9 7

10 9 7

5

5

5

17 16

14

17 16 16 17 16 14



10 9 7

5

5

5

14

17

16

14

17

15

14

15

17

14

16

14

17

16

17

 19

16 14

17 16

8 7 5

8 7 5

10 9 7

3

3

3

5

14

A5



1/2

 16

17

17

8 7 5

G5



86

A5

 16

14

14

17



3



10 9 7

10 9 7

5

5

5

5

X X X

10 9 7



10 9 7

10 9 7

5

5

5

5

5



10 9 7

5

5

5

8 7 5

8 7 5

8 7 5

10 9 7

3

3

3

5

C5

88 19

16

19

18

3

19

3

10 9 7

5

5

17

19

3



10 9 7

5

16

19

15

5

15

17

17

3

X X X

10 9 7

5

5

14

17

15

3



10 9 7

10 9 7

5

5

5

14

16

17

3



5

15

14

16

3

10 9 7

5

D5

5

14

12



3

5 5 3

5 5 3

5 5 3

7 7 5

3

3

3

5

guitarworld.com

123

TRANSCRIPTIONS

90



 11

!

C5

0

10 12 15

12 10

12 11

14 12 14

10 12 13 10

11 12

1½

D5

10

22

5 5 3

5 5 3

5 5 3

7 7 5

3

3

3

5

12

3



7 7 5

7 7 5

5

5

5

5

X X X

7 7 5

5

5



5

7 7 5

7 7 5

5

5



7 7 5

5

F

92 22

22



7 7 5

5

1/2

* 17

20

*punch-in

7 7 5

5

5

19

5

20

19

3

20 19

20 17 19 19

3

X X X

7 7 5

5

5



5

19

17 16

19

17

3

124

19

7 7 5

7 7 5

5

5



7 7 5



15

5

5

5

0 20

14 17

15

2 3 3 1

2 3 3 1

4 5 5 3

4 5 5 3

1

1

1

3

3

16 15 18

3



4 5 5 3

3

3

16

3



3

3

15 18

3



4 5 5 3

3

4 5 5 3

3

3

And you’d like G5

1

22

22 !

22 !

18

14 17

3

4 5 5 3

3

19

2 3 3 1

E5

17



3

19

5

3

18

3

4 5 5 3

3

16

G

3

F5 95



5

3


 

10 10 8

10 10 8

10 10 8

9 9 7

9 9 7

0

0

1

1

1

0

0 !

0 !

9 9 7



9 9 7



8 7 5



3


H

3rd Chorus (2:45)

G5



Gtr. 1 98 8 7 5

 

to be another the rock and roller A5

8 7 5

X X X



8 7 5

A different A different

10 9 7

10 9 7



10 8 7

X X X

10 9 7



8 7 5

Check your way and catch your train Am E

For your life Keep your own style E5



102

10 10 10 10 10 10 8 8 8



X 10 X 10 X 8

4.

9 9 7



9 9 7

9 9 7

keep your own

Gtr. 1 106 10 10 8

10 10 8

10 10 8



X

style E5



10 10 8



9 9 9 7

X X X

9 9 7

5 5 5 7 7 5

8

8

8

8

8

8

7

7

X X X



5 5 5 7 7 5

and catch your C5 B5

9 9 7

7



5 5 5 7 7 5

10 10 8

7

8 7 5



7

8

7

5 5 5 7 7 5



5 5 5 7 7 5



1

(Am)

 

19

1

20 17

Fill 3 (3:06) Gtr. 2 (Am) 1





0 0 15 18

17

20



20

1

17

20

17

5

5

 20

2

10 9 7

love low F5



10 10 8

And you like And you’d like G

5 5 5 7 7 5

5 5 5 7 7 5

X X X

5 5 5 7 7 5

5 5 5 7 7 5

5 5 5 7 7 5

5 5 5 7 7 5

5 5 5 7 7 5



5 5 5 7 7 5



1

17

5 5 5 7 7 5

5 5 5 7 7 5



1

5

5

5

5 5 5 7 7 5

5 5 5 7 7 5

8 7 5

 

 



20

 1

1

15 18

15 18

1

15 18

1

15 18

1

15 18

 15 18

15 18



3

Fill 4 (3:18) Gtr. 2



 19



10 10 10 9 9 9 7 7 7

train Am

Fill 2 (2:54) Gtr. 2

10 9 7





9 9 7



Bass 8

8 7 5

For your But don’t be

lover cola A5

1st time, Gtr. 2 plays Fill 2 (see below) 2nd time, Gtr. 2 plays Fill 3 (see below) 3rd time, Gtr. 2 plays Fill 4 (see below)

5 5 5 7 7 5



9 9 7



8 7 5




1.- 3.

and a better than whiskey

guy life G5



(Am)

 20 19

1

 1 1 20 19

20 19



20 19

1



19



20 20 20 20 20 20 20 20

 guitarworld.com

125

TRANSCRIPTIONS

SILENCE IN THE SNOW Trivium

As heard on SILENCE IN THE SNOW Words and Music by MICHAEL BASKETTE, COREY BEAULIEU, PAOLO GREGOLETTO and MATTHEW HEAFY • Transcribed by JEFF PERRIN

Seven-string guitars, tuned down one half step (low to high, Bb Eb Ab Db Gb Bb Eb). Five-string bass, tuned (low to high): Bb Eb Ab Db Eb. All music sounds one half step lower than written. B5

G5

F#5

E5

A5

B5 5fr

1

14

C#5

1

G5

E5 8fr

14

A





 

0

15

11

12

9

10

14



0

G#5 7fr

G5

14

14

F#5

D5

14

Intro (0:00) Moderately q = 112 (w/half-time feel) B5



14

5fr

14

Gtr. 5 (elec. w/dist.) 1 12 9 7 15

14

7fr

14

14

E5

15 12 10

14

15

11

12

9

10

4fr

 

F#5



0 0 0 0 14

14

11

12

9

*Gtrs. 3 and 4 (elec.) (w/dist.) (bottom and middle notes respectively)

10

15

14

12

11

10

9

(Guitarist Corey Beaulieu performs the bottom two voices as strummed octaves live.)

Gtrs. 1 and 2 (elec. w/dist.)





 15

0 2 0

    14 Bass

0 !

B5 5

12

14

15

9

11

12

7

9

10

0 2 0

0 !

126

5 3

0 2 0

0 4 2

0

3 !

0 !

2 !

2 !

0 15 12 10

0 5 3

3 !


4 2

(end half-time feel)

G5



0



0

(B5)    14 18 19 14 14   11  15 11  16 12 9 13 14   9 E5

14

15

11

12

9

10

F#5

(A#5)

00 00 10

0 2 0

0 !

0 4 2

2 !

8 6

0 1 !

 

 9 7

 0











SILENCE IN THE SNOW WORDS AND MUSIC BY MICHAEL BASKETTE, COREY BEAULIEU, PAOLO GREGOLETTO AND MATTHEW HEAFY COPYRIGHT (C) 2015 MICHAEL BASKETTE PUBLISHING AND CO-PUBLISHERS ALL RIGHTS FOR MICHAEL BASKETTE PUBLISHING ADMINISTERED WORLDWIDE BY SONGS OF KOBALT MUSIC PUBLISHING ALL RIGHTS RESERVED USED BY PERMISSION REPRINTED WITH PERMISSION OF HAL LEONARD CORPORATION

“SILENCE IN THE SNOW” 1.

B5

Gtrs. 1 and 2 Rhy. Fig. 1 P.M. 10

   Bass

 

B

2 0

2 2 0 0

N.C.

B5

P.M.

2 0

2 2 2 0 0 0

5 2 2 0 0 3

4 2

2 0

2 2 0 0

2 0

2 2 2 0 0

3 2

2

3 2

5

2

0

0 0

0

0 0 0

0 0 3

2

0

0 0

0

0 0

5

2

G5

A5

P.M.

5 3 2

 

2 0

2 2 2 0 0 0

5 2 2 3 0 0

7 5

5 3 2



0

0 0 0

0 0

3

5

Bass Fig. 1

Verses (0:27, 1:19) 1. Here we all 2. Hell hath no

13

2.

N.C.(D5) (C#5) B5

stand on this canvas of hold on a warrior’s

white mind

Our

holds but only one shade tonight palette us blind See how the snow has made each of

B5 Gtr. 3 plays Fill 1 on 2nd Verse (see below)



9 7

P.M.





0 0 0 0 0 0 0 0 0 3 2

G5





0 0

0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 3 2

0 0 0 0 0 0 0 0

A5 P.M.

5 3

3

0 0

0 0

7 5

5

2nd Verse, skip ahead to F 2nd Pre-chorus (bar 37)

Silence Vibrant C#5 17

snows in chill in her wintery Let’s paint the ground red with the blood of colors spray from new dead staining the earth such a beautiful N.C.(E5) (D#5) C#5 N.C.(E5) (D#5)C#5 Gtr. 3 plays Fill 2 (see below)

P.M.

P.M.

P.M.

7 6 4 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2 2 5 4

4 4 4 4 4 4 4 5 4 4 2 2 2 2 2 2 7 7 5 4

2 2 2 2 2 2 2 2 2 5 4

2 2 2 2 2 2

Fill 1 (1:19) Gtr. 3 (B5)



 11  !

4 5 4

7

4

7 5 4

our kill red A5

P.M.

B5 P.M.

4 4 4 4 4 4 2 2 2 2 2 2

7 6 4 4 4 2 2 2 5 4

7 9 4 4 4 4 4 4 5 7 2 2 2 2 2 2 2 2 5 5

2 2 2 2 2 2

2 2 2 5 4

2 2 2 2 2 2 2 2

5 5 5 7

Fill 2 (0:38, 1:29) Gtr. 3 (C#5)



 

7

9

7

10

7

10

9

7

guitarworld.com

127

TRANSCRIPTIONS

C

1st Pre-chorus (0:44, 1:36) Kill N.C.(B5) (D5)(C#5) (B5) Rhy. Fig. 2

the battle G5 E5



21

7 5 5

0

0 0 0 0 0

10 9

Bass Fig. 2 7 5 7

0

D

0 0 0 0 0

0

7

 

0

0

goes N.C.(B5)



P.M.

7 5 7

7 5 7

0

0

10 8

3

7 5

5

Chorus (0:53, 1:53, 2:58) snow N.C.(C#5) (A5) Gtrs. 1 and 2 substitute Rhy. Fill 1 on 3rd Chorus (see below)

7 5 5

0

7 5 7

0

we

Silence in the C5 A5

(D5)(C#5) (B5)

10 9

0 0 0 0 0

0 0 0 0 0

0

7

 

0

7 5 7

0

5 3

7 5

 0

7 5 7

fight (F#5)

must



P.M.

0

3

5

’til

Gtrs. 1 and 2 Rhy. Fig. 3 25 P.M.

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

Gtr. 5 Rhy. Fig. 3a



14

16

17

11

13

14

9

11

12

0



0 17 14 12

16

17

13

14

11

12

 

0 0 16 13 11

Gtrs. 3 and 4 Substitute Bass Fill 1 on 3rd Chorus (see below) Bass 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

they (G#5) 28

P.M.

4 4 4 4 4 4 4 4 4 4

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

die (C#5)

all

7 7 5 5 4 4

5 7 5 7

17

16

14

16

17

14

13

11

13

14

12

11

9

11

12

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

 128

 

C#5

0 4 2


12

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

their

5 5 5 5 5 5 5 5 5 5 7 7 5 5 4 4



0 17 14 12

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

Bass Fill 1 (2:58) C#5

  

2 !

16

17

13

14

11

12

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

Rhy. Fill 1 (2:58)

Gtrs. 1 and 2

14

in

 

0 0

16

(A5)

2 2 2 2 2 2 2 2 2 2 2 2

0

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

“SILENCE IN THE SNOW”

cold (F#5)

On 2nd Chorus, skip ahead to On 3rd Chorus, skip ahead to

blood

2

K

(bar 45) (bar 68)

2

2

2

2

2

2

2

2

2

2

2

5

5

5

silence (G#5)



end Rhy. Fig. 3

P.M.

31

G

5

0

4

0

13 11

2

E

33

16

13

14

11

12

2

2

2

2

2

2

2

2

 2

2

2

1st Guitar Solo (1:10) snow B5 N.C.(D5) (C#5) Gtrs. 1 and 2 play Rhy. Fig. 1 one and one half times (see bar 10)



Gtr. 3

5

4

Gtr. 4

9

12

10







4

4

5

5

6

7



14 









14 

 w/dist.)  9 9 7

7

6

9

7

7

7

9

10

8

12

8

3

8

Gtr. 3

B5 Gtrs. 1 and 2 play Rhy. Fill 2 (see below)

 14  11

Gtr. 4 (elec.

10

Go back to

N.C.(D5) (C#5)

B

2nd Verse (bar 13)

A5

20

0

19

0

17

0

15

0

17

0

15

0

14

0

10

0

24

0

22

0

20

0

19

0

20

0

19

0

17

0

14

0



dip w/bar -1/2

10

4

P.M.

7

dip w/bar -1/2

12

2



1/2

3

Gtr. 3 35 10

2



B5

Bass plays Bass Fig. 1 one and one half times (see bar 10)

B5

2

P.M.

4

7 !

2

the

P.M.

end Rhy. Fig. 3a    16

16

in

9

10

9

  14

10



Bass plays Bass Fill 2 (see below)

Rhy. Fill 2 (1:16)

Gtrs. 1 and 2



 

(B5)

2 0

(A5)

2 0

2 0

2 0

2 0

2 0

 15

7 5

7 5



Bass Fill 2 (1:16) (B5)

  

0

0 0 0

(A5)

0

14

5

guitarworld.com

129

TRANSCRIPTIONS

F

2nd Pre-chorus (1:36) Red N.C.(B5)



Gtrs. 1 and 2 37

7 5 5

0

0 0 0 0 0

10 9

Bass 7 5 7

0

The battle G5 E5

(D5)(C#5) (B5)

0 0 0 0 0

0

7

goes N.C.(B5)



P.M.



0



0

7 5 7

0

7 5 7

10 8

3

0

7 5

0

5

0

on D5

and F#5

0

5 3

9 7

0

3

7

(D5)(C#5) (B5)

7 5 5

7 5 7

0 0 0 0 0

0 0 0 0 0

10 9

0

9

P.M.



0



0

7 5 7

7 5 7

Go back to

on N.C.(B5) Gtr. 2 plays Rhy. Fig. 2 (see bar 21)



Gtr. 1 41

0

Make your G5 E5

10 9 10

9 7 0 0 0 0 0





Gtrs. 1 and 2

0

10 0 8

7 5

0

10 9 10



Chorus (bar 25)

Silence in the E5 A5

P.M.

10 9 10

D

stand N.C.(B5)



9 7 0 0 0 0 0



P.M.

0

10 9 10

0

5 3

7 5




G

H

(2:07)

Silence G#5

Gtrs. 1 and 2 P.M. 45 6 6 4 4 4 4 4

Gtr. 4 13 11

Bass



the

in N.C.

 6 4

 13  11

3

8 5

6 6 6 4 4 4



3

5 4 2 5 4 2

10 9 7 10 9 7 7 6 4 7 6 4

5 4 2 5 4 2

(C5) Gtrs. 1 and 2 48 3 3 3 3

1 1 1 1

130

9 7

5

 

4 4 4 4



2 2 2 2



(D5)(C#5)(D5)

4 4 4 4



2 2 2 2

4 4



4 4 4 4

2 2



2 2 2 2

4 4 4 2 2 2



3 3 3 3



1 1 1 1



1 1 1 1

3 3



1 1



1 1

3 3 3 3



1 1 1 1



1 1 1 1




 5  3

  5   3

4 2

(first time only)

 



6 4



2 2 2 2



2 2 2 2

  1 1 1 0 1 0 3 3 3

1 1 1 0

3

 1 0

4 4 4 4



2 2



2 2 2 2



2 2 2

 3

  3

2

(D5)(C#5) (D5)



2 2 2 2

2 2 2 2

 





(B5)(C5)(B5) (C#5)

1 1 1 1

Bass

5

Interlude (2:10) snow N.C.(C#5)

4 4 4 4



2 2 2 2



2 2 2 2

4 4



2 2



2 2

4 4 4 4



2 2 2 2



2 2 2 2



  3

4 4 4 5

4

2 2 2

2

2 2 2 3



2

  3 5

3




I

Bridge (2:26) I’m left in the cold

as winter unfolds

(C#m)

(Cm)

(B)

(A#m)

0

0

0

0

0

11

0

0

0

9 !

8 !

7 !

6

Gtr. 1 Rhy. Fig. 4 52 11

10

9

9

8

Gtr. 2 Rhy. Fig. 4a 14

13

12

Bass

The blood on my hands

is

my own (Cm) (C#m) end Rhy. Fig. 4

0

0

0

56 6

9

0

10

4

11

11

(G#)

5

6

13

(A)

7

8

7

8



8

8 !

8

8

11

11 11 11 11 11

11

11 11

9

9

9

9 9

0

0

9

9

9 9

end Rhy. Fig. 4a

0 0

0 11 9

5 555555555555555

J

10

13

8

11

4 4444444

14

14

12

3 3333333

12

4 444444444444444

4 4 4 4 4 4 4  16 16 16 16 16



2nd Guitar Solo (2:42) (C#m) Gtr. 1 plays Rhy. Fig. 4 (see bar 52) Gtr. 2 plays Rhy. Fig. 4a (see bar 52)

Gtr. 3 (w/wah) 1/2 60 12



Gtr. 4 1/2 (w/wah)



16

12

16

 9

 

12

9

12

11

14

12

16

(Cm)

(B)



11

( 11 )

11



  ( 14 ) 14 

 13

16

11

14

12

16

14

17

 ( 12) 12   12

12

  ( 16) 16  16



Bass 2



2 2

2

2 2 2 2 2 2 2 2

1



1 1

1

12

16

14

17

16

19



14



17

 1 1 1 1 1 1 1 1

0



0 0

0

0 0 0 0 0

0 0 0

guitarworld.com

131

TRANSCRIPTIONS

(A#m)   63 ( 14)



16 14 11



( 17)

6

(A)



19 17 14

6 6

6

(C#m)



Gtr. 4 66

9

X

14



9

19 !

12

14



 14

16

6 6 6 6 6 6 6 6

12





9

14



9



9

12

12 9

9

12

3

Gtr. 1 11

11

11

11

11

11

11

9

9

9

9

9

9

9

14

14

14

14

14

14

14

14

12

12

12

12

12

12

12

12

4

4

4

4

4

4

4

12 9 12 9

3

 14

9

11

3

11

4 4 4 4 4 4 4 4

11 9 11 9

3

9

 9 11

   12  9 11 9

Go back to

3

11

9

3

14

14

14

14

14

12

12

12

12

12

 18

18

18

18

18

18

16

16

16

16

16

3

3

the

11 9 11 9

3

3

Chorus (bar 25)

D

in

12





11

Silence

Gtr. 3

9

 

9

1

11

(Cm)

9

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

 

(Gtr. 3) X

11

12

(G#)



9

11

11

3

17

Gtr. 2



Bass

16

17 6

4

4 2

K

(3:13)

Silence

in

the

*Gtrs. 3 and 4 P.M. P.M. 68 8 8 10 9 7 9 10 10 9 7 5 5 9 8 7 6 4 6 7 7 6 4 3 3 7 6 5 4 2 4 5 5 4 2 5 4 3

Gtrs. 1 and 2

3

3

4

4

16

16

16

16

16

16

16 16

2

L Outro (3:15) (w/half-time feel) snow N.C.(C#5) (A5) Gtrs. 1 and 2 play Rhy. Fig. 3 simile (see bar 25) Gtrs. 3-5 play Rhy. Fig. 3a (see bar 25)



Gtr. 6 (elec. w/dist.) 16 12

14

16 12

14

16 12

14

16 12

14

16 12

14 16

12 9

10

12 9

10

12 9

10

12 9

10

12 9

10

3

*Gtr. 3 plays middle voice, no palm mutes; Gtr. 4 plays top voice.

Bass 3

Bass Fig. 5 5 4 2 4 5 3

132

3

3

5 4 2 3


5 4 3

2

2

2

2

2

2

2

2

5

5

5

5

5

5

5

4

9


71

Silence (G#5)

(F#5) 9

5

9

7

5

7

9

5

9

7

5

9

7

5

5

7

11

7

in 9

11

7

9

11

7

the 11

9

7

9

11

7

7

9

end Bass Fig. 5 2

2

2

2

2

2

snow (C#5)

Gtr. 6 73 16 12

2

3

4

4

4

4

(A5)

14

16 12

14

16 12 17 16 14 17

17

14

12 9

17 16

Gtr. 7 (elec. w/dist.) 17 16 17 16 17 16 21 19 17 19 16 17 16 17 17 19

16 12

4

4

4

4

(F#5) 10

14

12 9

16 12

10

14

12 9 12 11 9

12 12 14 12 10

9 5

16 12 16 14 12

16 16 17 16 14

12 9

9 5

7

10

12 9

7

10

9 5 9 7 5 7 4 5 4

12 9 12 11 9 11

12

9

7

12 10


Silence (G#5)

Gtr. 6 76 11

Gtr. 7 14

7

11

in

9

12

11

14

7

11

9

12

11

14

7

11

Gtrs. 3 and 4

0

12

16

the

11

14

9

12

12

16

10

14

snow C#5 9

12

11

14



   14 !

16



P.M.

4

14



18

15

Gtrs. 1 and 2

4

13

11

0

17

11

13

9



0

13

9

   11 !

4

4

4

4

4

4

4

7

5

4

0 4 2



Bass 4

4

4

4

4

7

5

4

2 !

guitarworld.com

133

TRANSCRIPTIONS

ROLL WITH THE CHANGES REO Speedwagon

As heard on YOU CAN TUNE A PIANO, BUT YOU CAN’T TUNA FISH Words and music by KEVIN CRONIN • Transcribed by JEFF PERRIN

Chords for Gtr. 1 B¨5

D5

C5

B¨5

F5

5fr

14

F

8fr

14

14

8fr

14

8fr

11

1333

Chords for Gtr. 2 (piano arr. for gtr., capo 3) [A]

[D/A]

111

[G/A]

3121

[G]

3211

[Bm]

2

3

[E7no3]

13421

[A/E]

[E]

111

21

132

All music for Gtr. 2 sounds in the key of C, a minor third higher than written. [Bracketed chord changes are for Gtr. 2.]

A

Intro (0:00) Moderately q = 94 [A]

[D/A]

Gtr. 2 (capo 3) (piano arr. for gtr.) 1 let ring throughout 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 2





  

0

*C

Bass

2

2 3

2

4

2 2 2 2

4

2

2 2 3 3 4

3 !

4

3 3

4





3 2 5 4 0

3 3

3 2 2 4 4 0

2 3

G3



2

0 2 2 4 2 0

3 3

*Concert-key (non-transposing) chord names

*Gtr. 1 (elec. w/dist.) (pick scrape) 3





0 0 0



X

*doubled throughout

0 G X  

(0:11)

F/C

 

0 15 15

1

1/2 15 15

15 15 15 1515 15 0

[A] Rhy. Fig. 1

Gtr. 2

2

2 2 0

2

2 2 0

2

0

2 2 2

2

2

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

let ring 1

1/2  15 ! 15 15 15 0 0 0

15 15 ( 15)

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

(repeat previous bar) 10 3 3 5 5 6 6 7 7


8

8 8

0 0

[D/A]

Bass

134

5

0

3

C

3 !

4

3 !

B

0 2 2 2 0

2

F/C

3

3 5

4

[D/A]

[G/A]

10 8 8 8 8 8 8

8

8

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0



ROLL WITH THE CHANGES WORDS AND MUSIC BY KEVIN CRONIN COPYRIGHT (C) 1978 FATE MUSIC (ASCAP) INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION

“ ROLL WITH THE CHANGES”

B¨/C

 20

7

F/C

C

1

20 17 20 17

[G/A] 3 3 4 5 0

3 3 4 5 0

3 3 4 5 0

 3 3 4 5

20 17

19 17

17

2 3 2 4 0

0

C

8

9

Bass

15

15 15

8

8

2 3 2 4 0

8

1/2

15 15

15 15



1

15 15

13

13



[A] 2 3 2 4 0

2 3 2 4 0

8

8

2 3 2 4 0

8

Woman I am felt the tables

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0

8

8

0 2 2 2 0

7

8

0 2 2 2 0

8

0 2 2 2 0

8

0 2 2 2 0

8

0 2 2 2 0

9

end Rhy. Fig. 1



0 2 2 2 0



0 2 2 2 0





end Bass Fig. 1

10

10





8

are on to make the break that we The brink me through my darkest Got [G/A] [D/A]

willing turnin’ [D/A]

[A] Rhy. Fig. 2 0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

2 3 2 4 0

C Bass Fig. 2

G8



10 8

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

F/C 10

8

8 8

8

3 3 4 5 0

8 8

10 8 8

8

my cup is on the table I heard the thunder clappin’

8 8 8

8

8

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

3 3 4 5 0

3 3 4 5 0

3 3 4 5 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

2 3 2 4 0

10

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

10

8

8 8 8

8 8 8

8

Waiting until

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

F/C 10 8 8 8 8

2 3 2 4 0

[D/A]

10 8

2 3 2 4 0

Our love is spilling Felt the desert burnin

C 8

3 3 4 5 0

F/C



[A] Gtr. 1 plays Fill 1 second time (see below) 2 3 2 4 0

3 3 4 5 0

B¨/C

10 8 8 8 8 8

of hour

12

15 15

10

Verses (0:21, 1:12)

Gtr. 2

1/2

15 0 15 0

[D/A]

10 8

0 19 0

1. As soon as you are able 1

5 5 6 6 7 7

8

8 8

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0

2 3 2 4 0



10 8 8 8 8 8 8

2 3 2 4 0

8 8

Fill 1 (1:21)

Gtr. 1



(C)

 

(F/C)

 3



 X

6

X

7

8 !

(B¨/C) 1

3 !

3 !

(F/C)

(C)

w/fdbk.

3 !

3

3

8 ! pitch: Bb

guitarworld.com

135

TRANSCRIPTIONS

Gtr. 1 15

here for poured on

you B¨/C

you me

to take and drink like a sweet sunshower F/C C

of 1





Gtr. 2

[D/A]

[G/A] 2 3 2 4 0

3 3 4 5 0

3 3 4 5 0

3 3 4 5 0

3 3 4 5 0

3 3 4 5 0

3 3 4 5 0

2 3 4 2 0



0

0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

8



2 3 4 2 0

2 3 4 2 0

10

2 3 4 2 0

2 3 4 2 0

2 3 4 2 0

2 3 4 2 0

2 3 4 2 0

D

 

17

   

8

8

8

8

8

0 2 2 2 0

0 2 2 2 0

10

8

8

1st and 2nd Pre-choruses (0:42, 1:32) So if you’retired of the same I’ll be here when you are ready D5 C5 B¨5

3 1

3 1

[G] Rhy. Fig. 3 3 0 0 0

0 0

0 0 7 5

7 5

5 3

0 0 0 0

[Bm]

3 0 0 0

3 0 0 0

3 0 0 0

3 0 0 0

3

3 3 3

3

0 0 0 0

2 3 4 4 2

8

old

5 3

0 0

[A]

2 3 4 4 2

2 3 4 4 2

2 3 4 4 2

2 0 3 0 4 0 4 2

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

10 10

8

8 8

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

10 6

10 10 10 10

8 8 12

0 2 2 2 0



0 2 2 2 0

3 2 4 0

1

20 11



11

 0 X

[A] 0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 2 2 2 0

0 0

 

3 2 4 0

2 2 2 0

0 2 2 2 0

 

 

3 2 4 0

2 2 2 0

8

136

8 8

8

8

7

8

8 7


8

0 2 2 2 0

0 2 2 2 0

7

8

8

9

10

D5

3 1

0 0 9

0 0 0 0 7 5

X

[Bm]

3 0 0 0

3 0 0 0

3 0 0 0

3 0 0 0

3

3 3 3

6

6 6

3 0 0 0

0 0 0 0

3 0

6


Yeah Ah

3 4 2

[A] 3 3 4 4 2 2

3 3 4 4 2 2

3

2 3 4 4 2

2 3 4 4 2

2 3 4 4 2

2 3 4 4 2

2 0 3 0 4 0 4 2

10 10 10 10

F

10 10

2nd Guitar Solo (bar 27)

(woo)

0

0 0 0 0 0 0 0 0 0 0 0 0

3 3 3 3

[E7no3] [A] [E] Substitute Rhy. Fill 1a second time (see next page)

3 3 3 3 2 4 4 4 4 2 2 2 2 2 2

3 4 2

3 3 4 4 2 2

3 3 4 4 2 2

3 2 2 2 0 4 2 2 2 1 2 2 2 2 2

0

end Bass Fig. 3 10

7

8

[G] 2 2 2 0

0 2 2 2 0

turn some pages

3 1

0 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 2 4 0

3 2 4 0

0

0 2 2 2 0

end Bass Fig. 2

0 0 0 0 3

[D/A] [A] [E7no3] end Rhy. Fig. 3

2 2 2 0

0 2 2 2 0

Substitute Rhy. Fill 1 second time (see next page)

[D/A] [A] 3 2 4 0

0 0

8

N.C.(G7)

11 11 11 11 11

0 2 2 2 0

oh with the changes B¨5

10 10 10 8

2.

N.C.(C)

8

[D/A] [A]

8 6 6

8

to roll

7 0 0 5

Bass Fig. 3 6

8

0 2 2 2 0

1.

story

7

end Rhy. Fig. 2

0 2 2 2 0

10

8 8

7

[A]

Bass 8

7

X

Substitute Bass Fill 1 second time (see next page) 3 3

3 3 3 3 3

3 3 3

3 3

3

3 3 3

3

3 3 5 5 6 6 7 7


E

1st Guitar Solo (1:02) C [A] Gtr. 2 plays Rhy. Fig. 1 (see bar 5)

Gtr. 1 23



1

8 11

11

11

F/C [D/A] 1



8 11

1

8 11

8 11

8 11

  11 11 !




B¨/C [G/A]

25

15

F/C [D/A] 8 11

0 0

F

8

10 10 13

12 15

C [A]

15 15 18

0 0

12 12 15

2nd Guitar Solo (1:53) F/C [D/A] Gtr. 2 plays Rhy. Fig. 2 simile (see bar 9)



0

27

8 11

1

8

8

11

8

13 13 18

13 20

(grad. bend

0 0

0 0

only)

11 11

8

8



11

8



F/C [D/A] 1

8

0 0

2

15 15 15 15 15 15 15 15 16 17 17 17 17 17 17 17

1

8

0 0

Go back to C 2nd Verse (bar 9) 2. I knew it had to happen

B¨/C [G/A] 1

0 0

1

8 11

8 11

8 8 8 11 10 10 8 0

8

7

7

7

7

5 5

5 5

0 0

7


Woo

C [A]



1

30

8 7

5 7 5 7 5

3

5 5

5



B¨/C [G/A]

33

0 7

9

1



0 0 0 0 0 0 0 0 0

8 8 5 5 8 8 5 5 8 5 7 7 7 5 7 5 5 5 7 5 7 7 7

F/C [D/A] 8 10

8

10 8

8

10

8 12 8

1

10

8 10 8

G

 

35

3rd Pre-chorus (2:13) of the same If you’re tired old I’ll be here when you are ready C5 B¨5 D5 [A] [Bm] [G] Gtr. 2 plays Rhy. Fig. 3 (see bar 17) 3 1

3 1

F/C [D/A]

0 0

0

7 5

7 5

5 3

0 0 0 0

5 3

story

10

8

8 0 11 0

11

C [A] 8

5

7

1

8

1.

oh to roll with the changes B¨5 [G]

7

7

5

1

8 8 11

8



7

1

0 0

7 0 0 5 0 0 3

3 1

0 0 7 5 0

1

8 8 8 8 11 11

8

8 8 11

0 0

0 0

0 0

baby turn some pages D5 [Bm]

N.C.(C) [A] 1

3 1

0 0 0 0 5 0 0 5

7 5 5

0 0 0 0 7 5



8

9

11 !

 11

1

11 8 8

11 11

0 0 0 0

 


Rhy. Fill 1 (1:50)

Gtr. 1



Rhy. Fill 1a (1:50) 1

(G7)

 

3 3 3 3 3 3 3 3



8 0 0 0 11 0 0 0

Gtr. 2



 

[E7no3]

0

[A]

[E][A]

3 3 3 3 3 3 2 2 2 0 2 4 4 4 4 4 4 2 2 2 1 2 2 2 2 2 2 2 2 2 2 2 2 0

Bass Fill 1 (1:50)

 

(G7) 3 3 3 3 3 3 3 5 5 6 6 7 8

guitarworld.com

137

TRANSCRIPTIONS

2.

baby with the changes

roll

Oh

you roll

you roll you roll

you got

to

N.C.(G7)

Gtr. 1 39

 

3 3 3 3 3 3 3 3 3 3 3 3

3

3

[E7no3]

 

3 4 2

3

[A/E]

Gtr. 2

 

3

3 3 4 4 2 2

3 3 4 4 2 2

3 3 4 4 2 2

3 4 2

3 4 2

H

3

3 3 3

3 3

3

3

3

3 3 3 3 3 3 3

3

[A/E]

3 3 3 3 3 3

[E7no3]

3 3 3 3 2 4 4 4 4 2 2 2 2 2 2

5 5 5

5 7

2 2

3

3

8

6 3

5

[A/E] [E]

3 3 3 3 4 4 4 4 2 2 2 2

3 3 3 2 4 4 4 2 2 2 2 2

0 1 2

0

5 5 5 5 2 5 3

Chorus (2:39) oh Oh yeah (Keep on rollin’) (Keep on rollin’) (Ooh oh you got Oh baby to learn to (Keep on rollin’) (Keep on rollin’) (Ooh (F/C) (B¨/C) N.C.(C) [D/A] [G/A] [A] Gtr. 2 plays Rhy. Fig. 2 (see bar 9)

3

Roll ooh roll ooh (F/C) [D/A]

3 5 5

5 6 6

with the changes ooh) with the changes ooh) (C) [A]

6 7 7 7 7

Keep

3 !

3

3

5

3

3 !

 3 !

3

3

5

3

3

3

5

3

3

3

3

3

5

 

3

3

5



6

  2  



Substitute Bass Fig. 2 simile on repeat (see bar 9)

Oh yeah oh Now roll with the changes (Ooh (Keep on rollin’) (Keep on rollin’) ooh) ooh to keep on rollin’ Got to keep on Oh you got to learn to Got to learn to Got to learn to roll (Ooh (Keep on rollin’) (Keep on rollin’) ooh) ooh (B¨/C) (C) (F/C) (C) (F/C) [G/A] [A] [D/A] [A] [D/A]

Bass 46

3 !

I

3

3 5

3

3 !



3

3 5

3

3

3

3 5

3 3

3

3

3 5

3

3 3

2



Oh

baby yeah

3 3 3 3 3 4

5

  

Substitute Bass Fill 2 second time (see below)

Keyboard Solo (3:20) (F/C) N.C.(C) [A] [D/A] Gtr. 2 plays Rhy. Fig. 2 (see bar 9)

Gtr. 1 50

 



3

Got to got to got to got

3 !

3

0 2 2 2

on rollin’

Gtr. 1 42 (first time only)

  !3 Bass  3  !

3

[A/E]

0

2 5

3

5

[E7no3]

0

  5

4 4

Gtr. 1

[A/E]

3 3 3 3 2 4 4 4 4 2 2 2 2 2 2

0

 

Bass 3

3

 

2 2 2

  3 5

[E7no3]

0

3

Gtr. 3 (elec. w/dist.)

 

(F/C) [D/A]

(B¨/C) [G/A]





(C) [A] (4th time)



1

1

15

15

15 15

Bass plays Bass Fig. 2 twice simile (see bar 9)

138


8

8

1

(play 4 times)

15    11   X  !  

Gtr. 3

(pick scrape)

Gtr. 1

Bass Fill 2 (3:17) (C)

  

15

7

7

8

8

9

9

10 10

7

7

8

9

10 8


J

3rd Guitar Solo (4:00) (F/C) (C) [D/A] [A] Gtr. 2 plays Rhy. Fig. 2 twice (see bar 9)

 !  11 8 11 8

Gtr. 3 54 11

8

8

11

(B¨/C) [G/A}

(F/C) [D/A] 1

8

8 10

8 11

8

8 10

8 8 8 8 8 10

8

8

10 8

8

12 8

10 8

8

8

12 8

1

8 10 10 10 8 10 10 8 8

Bass plays Bass Fig. 2 twice simile (see bar 9)

(C) [A] 57

(F/C) [D/A]

Gtr. 1

P.H. 1







X

7

X



1

7





1

1

7

7



10 8 10 8

6

7

7

7

5

7

5

7

7



P.H.

7

7

5

10 8

8 8 10 8

8 10 8

P.M.

P.M.

7

7

P.M.

5

7

8

8 8

8 8

11 !

7

7

(C) [A]

P.M.

7

15

8 8

8 8

1

1/2

1/2

15 15 15 15 15 0 0

 88

8 8

P.M.

5

P.M.

7

7

P.M.

5

7

!

7 7

 88

15 15

20

15 15 0 0 0 0

10

8

10

12

8

10

8

10

7

7

8 8

8 8

8 8

8 8

8 8

8

7

P.M.

5

5

5

7

7

8 8

scrape)  (pick

P.M.

7

5

5

5

X

(C) [A]

1

8

8 10

8

8 8

8 8

8 8

7

5

8



8 10 8 0 9 6

7 7

 88

8 8

7 7



(let ring into next four bars)

let ring

(F/C) [D/A]

(F/C) [D/A] 68

P.M.

(F/C) [D/A] 1

1/2

15 15 15 15

8 8

5

11 !

(B¨/C) [G/A}

1  

7

(let ring into next bar)

(F/C) [D/A]

5

7

0

8

7

slight P.H. 1 1

pitch: E

(F/C) [D/A]

 88

7



pitch: F#

(B¨/C)

Gtr. 1 [G/A] P.M. 60

Gtr. 1 66

7

1

1

Gtr. 3

Gtr. 3 62 15 15

1

1

5 7 7 5 7 5 7 0 7

!

7

 88

8 8

8 8

8 8

8 8

 88

(B¨/C) [G/A} 0 0

0 0

(C) [A] 8

9

8

9

5

7

5

7

5

7

5

7

5

7

5

7

5

7

6

3

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TRANSCRIPTIONS


K

Outro (4:41) Keep on rollin’ Keep on rollin’ (F/C) N.C.(C) [D/A] [A] Gtr. 2 plays Rhy. Fig. 2 (see bar 9) 70 3 !

Ooh (B¨/C) [G/A]

3 !

ooh

ooh (F/C) [D/A]

(C) [A]

3 !

3 !


Keep on rollin’ (C) [A]

Keep on rollin’ (F/C) [D/A]

ooh (F/C) [D/A]

Ooh (B¨/C) [G/A]

ooh (C) [A] 1

74

 8 8

0

0 5 3

12 8

Keep on rollin’ F5 [D/A] Gtr. 2 plays first six bars of Rhy. Fig. 2 (see bar 9)

C5 78

Keep on rollin’

 5  3

0

0



 12  8

0

10 8

0

0

 /108 0 

0 0

0 0

15 15 15 15 15 15 15 15 15 15

ooh F5 [D/A]

ooh

N.C.(C) [A] 1

0

15 15 15 15 15 15

15 15

0 0



ooh B¨5 [G/A]

 8 8

1

1

0

10 8

 /108 0 

0 0

0 0

12 12



12

12



11 0 11

X X

 

0

Bass plays first six bars of Bass Fig. 2 (see bar 9)

82

C5 [A]

Keep on rollin’

0 5 3

L

5 3

(5:17)

Ooh B¨5



Gtr. 1 84

0 3 1

[G]



Gtr. 2

ooh F



0

Keep on F5 [D/A] 5 3

7 5

5 3

0 0

10 8

 12  2

1

13 12

[D/A]

[A]

3

Bass

140

2 3 2 4 0





8 !

8 !

0

0

3

3

N.C.(C)

12 11 11 10 10 12

11 11 10 10

  

0 0 0 3 0 0 0



X

3

3

0

0

Freely

10 10 10 8



5 3

rollin’

0

(trem. strum)

0 2 2 2 0

0 2 2 2 0



0 2 2 2 0



(trem. pick)

8




8

9 7 5



8



8

8 !

7 5

7

5

7

7 5



5 7 5 7 5 7



(pick scrape)

 X  !  

0 0 2 2 2 0

 3





0 2 2 2 0



8

8



8 !

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Correspondence Course. Certificate issued on completion. Beginning courses also available. Course outline and enrollment order form for this and other home study courses, write to: Jim Sutton Institute of Guitar, 23014 Quail Shute, Spring, TX 77389-3944, USA 1-800-621-7669 E-mail: [email protected] Web Site: www.JSIGuitar.com Guitar World Magazine Statement of Ownership 2015 Post Office Notice: Statement of Ownership, Management and Circulation for Periodicals class privileges as required by 39 USC3685: 1. Title of Publication: Guitar World. 2. Publication No. 10456295. 3. Date of Filing: 10/01/15. 4. Issue Frequency: Monthly plus Holiday issue following December issue. 5. Number of Issues Published Annually: 13. 6. Annual Subscription Price: $14.95. 7. Complete Mailing Address of Known Office of Publication: NewBay Media L.L.C., 28 East 28th Street, 12th Floor, New York, 10016. 8/9. Complete Mailing Address of Headquarters of General Business Offices of Publisher, Editor and Managing Editor NewBay Media L.L.C., 28 East 28th Street, 12th Floor, New York, 10016; Publisher: Bill Amstutz - New Bay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016; Editor: Jeff Kitts- New Bay Media, LLC, 28 East 28th Street, 9th Floor, New York, NY 10016; Managing Editor: Brad Angle – New Bay Media, LLC, 28 East 28th Street, 9th Floor, New York, NY 10016. 10. Owner: The Wicks Group of Companies, LLC, 405 Park Avenue, Suite 702, New York, NY 10022. 11/12. N/A. 13. Publication Title: Guitar World. 14. Issue Date for Circulation Data below: November 2015. 15. Extent and Nature of Circulation Given in This Order: Number of Average Copies Each Issue During Preceding 12 Months Followed by Actual Number of Copies Published Nearest Filing Date: a. Total Number of Copies: 173,983; 165,784. b. Paid Circulation: (1) Mail Subscriptions Outside-County: 54,948; 57,119. (2) Paid In-County Subscriptions: 0; 0. (3) Sales through Dealers and Carriers, Street Vendors, Counter Sales, and Other Non-USPS Paid Distribution: 26,936; 24,396. (4) Other Classes Mailed Through USPS: 0; 0. c. Total Paid Distribution: 81,865; 81,515. d. Free or Nominal Rate Distribution: (1) Free Outside-County Copies: 898; 698. (2) Free In-County Copies: 0; 0. (3) Free Mailed at Other Classes Through USPS: 0; 0. (4) Free Distribution Outside the Mail: 246; 0. e. Total Free or Nominal Rate Distribution: 1,144; 698. f. Total Distribution: 83,009; 82,213. g. Copies Not Distributed: 90,974; 83,571. h. Total: 173,983; 165,784. i. Percent Paid: 99%; 99%. %. 16. Total Circulation does not include Electronic copies. 17. Publication of Statement of Ownership is required and is printed in this issue of this publication: Holiday 2015. 18. I certify that all information furnished on this form is true and complete: Bill Amstutz, Vice President & Publishing Director.

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IT MIGHT GET WEIRD INSIDE THE MINDS OF SOME OF THE WORLD’S MOST CREATIVE CUSTOM-GUITAR BUILDERS.

SUPER GUITARIO LAND Nolan Symmonds’ Guitar Boy

T

HE CORRESPONDING EXPONENTIAL growth in

the popularity of video games and decline in electric guitar sales over recent years sent alarm signals to the musical instrument industry. But an enterprising inventor named Nolan Symmonds (a.k.a. fibbef) has come up with a possible solution with his Guitar Boy, which combines a Game Boy–style video game unit and an actual electric guitar (and not some glorified pushbutton controller like Guitar Hero or Rock Band) in one. “I initially planned to build an ‘arcade guitar’ with an actual joystick, momentary pushbuttons, and games found in an Eighties-style arcade,” says Symmonds. “My first guitar was a Gibson Maestro, and I realized I could fit a small video screen between the neck and pickup. The project shifted to a Game Boy when I decided to host a build-off competition on the BitFix Gaming web site with a Game Boy theme. It was the perfect opportunity to make my guitar a reality.” A Peavey Rockmaster guitar that Symmonds bought from a pawnshop for $40 became the source of most of the guitar’s parts, including the neck, pickups and hardware. Using the same proportions as a Game Boy unit, he increased the size to 15” x 9.5” and made the body from pine lumber. Pushbutton pots salvaged from a Power Gig guitar controller serve double duty as traditional guitar volume and tone controls and Game Boy A/B operation buttons. The heart of the system is a Raspberry Pi (a credit card–size computer) loaded with various games and installed in the body between the end of the neck and the bridge humbucker. An output switch allows users to send either the guitar output or video game sounds to an external amplifier. “The shape was really easy to make because the Game Boy is a brick!” says Symmonds. “The hardest part was the planning phase. I had to figure out where all the buttons, switches and wires would go before diving in and have faith that my electronics abilities were up to the task. I spent maybe $150 on everything and worked about 80 hours over a three-month period to build it. My brother-in-law got pretty excited about the Guitar Boy and started pitching similar ideas to me. He’s not a musician, but if my work encourages him to start playing, that’s a win in my book.” — By Chris Gill For more information, visit bitfixgaming.boards.net and youtube.com/fibbefcreations

Have you created a custom work of guitar art suitable for It Might Get Weird? Email us at [email protected]!

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