Guitar World - July 2014.pdf

KIRK HAMMETT GEORGE THOROGOOD JOHN PETRUCCI d

d

AN

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many more!

THE ALBUM THAT w i CHANGED MY LIFE! t h

5 SONGS guitar & bass tabs!

Led Zeppelin “How Many More Times” Ace Frehley “Rip It Out” OneRepublic “Counting Stars” AvicIi “Hey Brother” Born of Osiris “Follow the Signs”

NEW COLU M N!

M Ar t y Friedman

the history of

TAYLOR GUITARS

LED ZEPPELIN Whole Lotta Rarities!

jimmy page opens his secret vault & reveals all! AC E FR EHLEY SEA N ONO LENNO N DOWN THE STRY PES A LBERT LEE

Alternate Takes New Songs Unheard Live Recordings free zeppelin poster i nside!

Tone You Can Trust

S2 Singlecut

© 2014 PRS Guitars / Guitar Photos by Marc Quigley / Concert Photo by Graham Fielder

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S2 Custom 24

S2 Starla

S2 Custom 22

The S2 Series from PRS Guitars provides tone you can trust whether you’re rocking an arena or gigging in the bar around the corner. Now, with two new models, the S2 Custom 22 and the S2 Singlecut, it’s easier than ever to find the one that’s right for you. Affordable, Maryland-made guitars with classic PRS sound and playability.

©2014 taylor guitars

S pe e c h i m p ai red and com ple t el y

blind to limitations.

in elementary school nancy stuttered severely. it was the kind of disability that caused anxiety almost every single time she opened her mouth. but when nancy’s 7th grade teacher introduced her to guitar, she developed something much more than musical talent — she developed confidence. so, knowing full well that the stage is no place for a stutterer, she made the choice to step onto it anyway. and when she began to sing something astonishing happened: her stutter completely disappeared. since then nancy has written over 100 different songs, and performed in front of audiences of more than 500 people. it’s the kind of story that inspires us at taylor, and reminds us that the world needs more people like nancy. for more about nancy and other stories of people with the courage to step forward, visit taylorguitars.com

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CON T EN TS vol. 35 |

no. 7 |

JUly 2014

FEATURES 40 Ace Frehley The legendary Kiss guitarist is clean, sober, engaged to a pretty blond and enjoying life— much to the chagrin of some of his former bandmates. He speaks with GW about his healthy attitude, the Rock and Roll Hall of Fame debacle and his upcoming solo album, Space Invader.

46 Jimmy Page

As he prepares to release newly remastered recordings and rarities from Led Zeppelin’s vault, the guitarist and producer sits down with Guitar World for a revealing talk about the making of the group’s music.

51 inside the Zep reissues

Guitar World explores the numerous package options and formats in which the new Zeppelin remasters are available.

58 The Record That Changed my Life

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The history of Taylor Guitars Forty years ago, Bob Taylor and Kurt Listug built their idea of what an excellent acoustic guitar should be. Today, Taylor Guitars is the definition of excellence for players everywhere.

COVER photo BY ross halfin

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gu i ta r wor l d • J u LY 2014

Pa g e : r o s s h a l f i n ; H a i r a n d M a k e U p by J a c k i e T ys o n

Guitar World asks 26 guitarists—including Kirk Hammett, John Petrucci, Mikael Åkerfeldt and Yngwie Malmsteen—to tell us about the album that put them on a musical fast track.

CON T EN TS vol. 35 |

no. 7 |

JUly 2014

DEPARTM ENT S 18 Woodshed 20 Sounding Board

Letters, reader art and Defenders of the Faith

23 Tune-Ups

Kenny Wayne Shepherd, Buzz Osborne, Down, Dear Guitar Hero with Albert Lee, Inquirer with Aerosmith’s Brad Whitford and more!

81 Soundcheck

81. Fender 60th Anniversary and American Deluxe Stratocasters 83. Sterling by Music Man Luke LK100D 84. Boss DS-1X Distortion and OD-1X Overdrive 86. Vox Night Train NT50H-G2 head 88. ESP LTD EC-401 90. Graph Tech Ratio Tuned Machine Heads 90. Audix Cab Grabber and i5 microphone

92 Columns

92. Full Shred by Marty Friedman 94. Making Tracks by Tom Beaujour 96. Thrash Course by Dave Davidson 98. Rockin’ the Country by Joe Don Rooney 100. String Theory by Jimmy Brown 102. Metal for Life by “Metal” Mike Chlasciak 104. Talkin’ Blues by Keith Wyatt 106. Hole Notes by Dale Turner 108. In Deep by Andy Aledort

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162 It Might Get Weird

Sean Lennon

Gigs Carved Guitars’ Dark Side of the Moon

TRANSCRIBED “How Many More Times”

“Rip It Out”

“Hey Brother”

“Follow the Signs”

“Counting Stars”

by Ace Frehley

by Avicii

by Born of Osiris

by OneRepublic

page

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page

128

page

134

page

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jimmy hibbard

by Led Zeppelin

WOODSHED vol. 35 |

no. 7 |

JULY 2014

THE SONG REMAINS THE SAME… BUT DIFFERENT “Whole Lotta Love,” “Immigrant Song,” “Heartbreaker”… We all know these songs like the backs of our hands. Or do we? That’s the musical question Led Zeppelin’s Jimmy Page asks on the forthcoming, meticulously curated reissues of the band’s nine studio albums. The series will launch on June 3 with the release of Zeppelin’s first three albums, each remastered and accompanied by an additional disc of unheard bonus material culled from the group’s archives. The bonus tracks include alternate takes, different mixes, live versions, new songs and wonderfully stripped-down working tapes. For fans and serious musicians, these outtakes promise to be revelatory, if not downright mind blowing. “Much of this music will give people a real window into our creative process and how we recorded our songs,” Page says. “This is not so much for people that have casually heard Led Zeppelin but more for people who have listened to us and want to know more about what made the band tick. It’s going to be a wonderful experience for those fans.” Intrigued? I certainly was. For this month’s cover story, I traveled to London to get the complete scoop on this Zeppelin extravaganza. I not only got a sneak preview of these unheard studio and live recordings but also spoke with Page at length about the origins of the mysterious new tracks. The goal was to conduct an interview that would serve as a companion to these historic reissues, and with Page’s intense commitment to the conversation, I was able to do just that. For those interested in reading more on Led Zeppelin’s recording process, as well as discovering the backstories to their classic albums, you might benefit from picking up a copy of my book, Light & Shade: Conversations with Jimmy Page (Crown). It offers detailed accounts of the creation of each Zeppelin album as well as an overview of Jimmy’s entire career (not to mention plenty of cool chit-chat about amps, guitars and effects!). You can purchase your copy through Amazon or buy a signed edition at the GuitarWorld. com online store.

EDITORIAL EDITOR-IN-CHIEF Brad Tolinski MANAGING EDITOR Jeff Kitts EXECUTIVE EDITOR Christopher Scapelliti Senior EDITOR Brad Angle TECH EDITOR Paul Riario associate EDITORS Andy Aledort, Richard Bienstock, Alan di Perna, Chris Gill CONTRIBUTING WRITERS Stacey Anderson, Tom Beaujour, Mike Chlasciak, Dave Davidson, Ted Drozdowski, Dan Epstein, Marty Friedman, Paul Hanson, Randy Har ward, Eric Kirkland, Ed Leonard, Joe Matera,Corbin Reiff, Joe Don Rooney, Dale Turner, Jon Wiederhorn, Keith Wyatt Senior Video Producer Mark Nuñez

MUSIC senior MUSIC EDITOR Jimmy Brown MUSIC transcriptionist Jeff Perrin MUSIC ENGRAVERS MusiComp, Inc., Matt Scharfglass

ART design director Stephen Goggi Art director Patrick Crowley Photography Director Jimmy Hubbard digital imaging specialist Evan Trusewicz DESIGN INTERN Natalie Skopelja Photo INTERN Carlos Jaramillo

ONLINE managing EDITOR Damian Fanelli EDITORS Brad Angle, Jeff Kitts

PRODUCTION PRODUCTION COORDINATOR Nicole Schilling

BUSINESS Vice President, General Manager Bill Amstutz [email protected] Group Publisher Bob Ziltz [email protected] ADVERTISING DIRECTOR Jason Perl 646-723-5419, jason@guitar world.com ADVERTISING SALES Scott Sciacca 646-723-5478, scott@guitar world.com advertising sales 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 Director Cr ystal Hudson Audience Development Coordinator Kara Tzinivis Fulfillment Coordinator Ulises Cabrera Marketing Coordinator Dominique Rennell

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]

—BRAD TOLINSKI Editor-in-chief

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): B6. 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 guitarworld@ pcspublink.com. 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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BACK ISSUES: Please visit our store, www.guitarworld.com/store, or email [email protected] LIST RENTAL: 914-925-2449, [email protected] Reprints and permissions: For article reprints and or e-prints, please contact our Reprint Coordinator at Wright’s Reprints, 877652-5295, or [email protected] 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

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SOUNDI NG BOARD Got something you want to say? EMAIL US AT: [email protected]

build a pedal board. This is something I’ve tried a number of times without much success due to issues with noise, cable length and power. I read your article with great interest, and was able to build a great pedal board to use during my weekly jam. Thanks again for the detailed information, which was very helpful for a novice such as myself. And the article on Death Angel in that issue was the icing on the cake. Keep up the good work. —John Gyselbrecht

May Day I just got the May 2014 issue with Zakk Wylde and Joe Satriani on the cover, and it’s already one of my favorites! The interview with the two “Ax-Men” was terrific, but the John Frusciante interview really hit home for me. His approach to composing music and his candid view of the music business was an eye opener. Can’t wait to check out John’s latest solo effort! —Steve Engleman

Totally Board I really loved the “How to Build Your Pedal Board” article in the May 2014 issue, especially because I’m nowhere near advanced when it comes to playing and gear. Some of the lesson columns in the magazine are interesting, but they make my head hurt. Articles that discuss the basics, like the pedal board guide, are right up my alley—tons of detail, but written so the reader doesn’t need a degree in music theory to understand and learn. Keep on rocking! —Patrick Johnson Thank you so much for the informative article on how to

Excellent story on building your own pedal board! I would like to suggest a follow-up article, perhaps “Why Does the Pedal Board You Built Sound Like Shit?!” It would be great to hear about some tips or techniques on balancing out your sound and reducing some noise, etc. —Lyle Bolton

Great Expectations It surprised me to read how John Frusciante has basically holed himself up in his room writing and composing music with a “whatever” attitude, completely oblivious to the outside world. He has a point when he talks about the current state of the music

business and how it controls the artist too much, but even when he was with the Red Hot Chili Peppers, the powers that be still expected a product with an image and style. It’s always been that way. Frusciante just doesn’t want to accept that rock and roll is not just pleasure, there’s business to it as well. —Mike Holmes

I took the lightning bolt out of the Dead’s Steal Your Face album and put in the original Dose album [Gov’t Mule] logo. Tattoo done by Buck in Spokane, Washington. Have a Grateful Day. —Aric Frank

World View I should start this by saying that I am a metal guitarist and a lover of many kinds of music, and as I sit here this evening watching the ACM [Academy of Country Music] Awards, I was brought back to the negative feedback you guys received after the Brad Paisley cover story last year [May 2013]. All those negative people need to be reminded that your magazine is called Guitar World, not “metal world.” Thank you for putting out an amazing, informative publication. —Johnny Gearjammer

Ink Spot I had this tattoo done in 1998 as a tribute to Jerry Garcia. I also am a huge Gov’t Mule fan ever since their first album in 1994, so

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!

Corrections The following tuning information should have appeared at the beginning of the “Stillborn” transcription in the May 2014 issue: All guitars are tuned down one half step (low to high, Ef Af Df Gf Bf Ef). Bass tuning (low to high: Ef Af Df Gf). Al music sounds in the key of F minor, one half step lower than written. There was also a tab error on page 102 of the May issue. In FIGURE 1 of Joe Don Rooney’s Rockin’ the Country column, the fifth chord, C#m7 should have been tabbed, low to high, 4 2 4 0 0 (with the bottom two numbers switched).

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.

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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 [email protected] with a scan of the image!

dave gro hl B y d an simonsen

DEFENDERS

jimi hendrix by todd condon

of the Faith

Bray Van Volkmann

Richard Berndt

Justin Pickering

AGE 13 HOMETOWN N/A GUITARS Hagstrom Deuce-F, Takamine G Series 12-String, Fender Mandolin SONGS I’VE BEEN PLAYING Eric Clapton’s “Layla,” Jimi Hendrix’s “Little Wing,” Sonny Rollins’ “Oleo” GEAR I MOST WANT Fender American Honey Burst Maple Neck Stratocaster

AGE 37 HOMETOWN Sydney, NSW, Australia GUITARS Fender Jeff Beck Stratocaster and 1962 Stratocaster Reissue, 1981 Gibson ES-335 and 1979 Les Paul Custom, PRS McCarty SONGS I’VE BEEN PLAYING Cream’s “Crossroads,” John Mayall and the Bluesbreakers’ “Have You Heard” GEAR I MOST WANT Gibson 1959 Les Paul Reissue, Soldano SLO-100

AGE 16 HOMETOWN Newmarket, Ontario, Canada GUITARS 2008 Gibson Les Paul Standard, Epiphone Les Paul SONGS I’VE BEEN PLAYING Protest the Hero’s “Bloodmeat,” Veil of Maya’s “Punisher,” the Contortionist’s “Vessel” GEAR I MOST WANT Fractal Axe-Fx II and a pair of KRK Rokits

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

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POWERING A PARADIGM SHIFT In tribute to the 20th Anniversary of Korn's groundbreaking debut record, Ibanez proudly unveils a special collection of limited editions. Limited Signatures: (Left to Right)

Check out KORN’s latest release THE PARADIGM SHIFT

KOMRAD20 K5WHLTD APEX20 APEX200 (Live shot)

For band info, visit korn.com

See your authorized Ibanez dealer

Live photos: Sebastien Paquet

TUNE-UPS N e ws

p l ayli s t

News

DGH

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“...cheesy labels like psychedelic, progressive, epic or pop.”

News

inquirer

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The guitarist is joined by Joe Walsh and other old friends on Goin’ Home. by Alan di Perna

n e e d to b r e at h e : s u l ly s u l l i va n ; s e a n l e n n o n : j i m m y h u b b a r d

The title of Kenny Wayne

Shultz (left) and Parish

PHOTOs BY mark seliger

Shepherd’s new album is Goin’ Home, and it’s an apt one in many ways. The star-studded disc finds Shepherd playing some of the blues classics that made him want to pick up a guitar in the first place—bona fide blues blasters by B.B., Albert and Freddie King, Stevie Ray Vaughan, Buddy Guy, Muddy Waters and others. And Shepherd recorded it in his blueshistoric hometown of Shreveport, Louisiana, at Blade Studios, which is owned by his childhood friend, drummer Brady Blade. As if all that weren’t enough, he’s joined on the disc by a group of friends that includes Joe Walsh, Ringo Starr, Warren Haynes, Robert Randolph, Keb’ Mo’ and Fabulous Thunderbirds harmonica ace Kim Wilson. “This is basically me going back and exploring the music of my youth,” Shepherd says. “It turned into a real labor of love.”

guitarworld.com

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NEWS + NOTES

“When I graduated high school, I went out on the road opening for the Eagles.”

(from left) Riley Osbourn, Chris Layton, Shepherd, Noah Hunt and Tony Franklin

Shepherd and his white-hot band laid down the album’s tracks in just 11 days, recording live in the studio to analog tape. Shepherd also has close ties to many of the blues greats whose music is honored on the album, not to mention several of the Alist guest artists who play on the

disc. Some of these bonds go back to Kenny Wayne’s emergence in the mid Nineties as the new blazing young gun of blues guitar. “When I graduated high school, I went out on the road opening for the Eagles when they first got back together [in 1994],” he recalls. “So I’ve known

Joe Walsh since I was 17 years old. I’ve known Ringo for about 11 years. He’s a big blues fan too. And Buddy Guy—I first met him when I was 14 years old. I met B.B. King and Bo Diddley both when I was 15 and did one of my first real tours opening for those guys. After opening the show, my band would come back on as the backing band for Bo Diddley, which was so awesome. So a lot of these songs brought me way back. Vivid memories from my childhood came to the surface, listening to this music and exploring the material for this album.”

Shepherd says he based the disc’s song selections solely on the strength of the tunes themselves. “There are two songs each from Muddy Waters and Albert King, but only one each from B.B. King and Johnny ‘Guitar’ Watson. So song inclusion was based only on each tune’s contribution to the album as a whole, rather than some fair-and-balanced representation of each of my influences, with an equal number of songs for each one. Also, for the most part, we didn’t choose obvious songs. We dug a little deeper into these artist’s catalogs, partly because I want to encourage listeners and fans to do the same thing: dig a little deeper and get beyond the obvious songs.” Of course the common denominator to it all is Shepherd’s revved-up Strat soloing and fiercely energetic performances by his entire band. “I wanted to keep the integrity of the original artists and songs we were paying tribute to,” he says, “but also to interject some of our own personalities into our versions of these songs.”

Buzz Osborne Goes Acoustic

The Melvins’ guitarist unplugs on This Machine Kills Artists. By Brad Angle For the past 30 years, Melvins

guitarist Buzz Osborne has led his alt-metal act into heavy, loud and far-out sonic landscapes. But with his new solo record, This Machine Kills Artists, he’s gone in a direction no one would have expected: acoustic. “I don’t see a lot of difference between acoustic and electric,” Osborne says of his decision to unplug. “You certainly have to do things different as far as phrasings and the way you play them. But a guitar is a guitar, and they each have their different stories to tell.” A quick scan of the album’s song titles— which include “Useless King of the Punks,” “How I Became Offensive” and “The Blithering Idiot”—shows King Buzzo’s acerbic storytelling is still alive and kicking. A deeper listen to the record reveals that he hasn’t abandoned his signature dark aural vibes for feel-good, “Kumbaya” campfire songs. “I don’t want to sound like a singer-songwriter,” Osborne says. “I like the same guys as everyone, like Hendrix, but I’ll add other stuff, like the flavorings of Throbbing Gristle. On

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gu i ta r wor l d • j u ly 20 14

paper it doesn’t look like it would work, but in practice I think it’s pretty surprising.” The guitarist recorded the 17 tracks on This Machine Kills Artists with just acoustic guitars, including a vintage Buck Owens American acoustic, which belongs to Osborne’s wife. “She got it from the guy who actually made Buck Owens’ guitars,” he says. “He made seven or eight of them, and five of them went to Buck. That guitar is irreplaceable.” And while he’s a fan of classic country pickers and folky strummers like Bob Dylan, Osborne avoids cowboy chords and Travis picking on This Machine. Instead, he detunes his acoustic and takes the listener through an experimental trip marked by droning tones and meaty riffs, all of which are accompanied by Osborne’s haunted, effect-laden, vocals. “I have no interest in sounding like a bad version of Woody Guthrie or a shitty version of James Taylor,” he says. “And that’s not a diss on either one of those artists. I wanted to find something different that would work for me on an acoustic guitar, and I think I did it.”

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Concert Photo: Dave Jones (Empire West Live)

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NEWS + NOTES (from left) Landgraf, Keenan and Anselmo

Down Keep the EPs Coming

Phil Anselmo and band mates discuss their latest disc and Kirk Windstein’s departure. By Jeff Kitts When Down—the New Orleans–based

doom-metal band fronted by Phil Anselmo—announced in June 2011 that their next project would be a series of four separate EPs released in relatively quick succession, skepticism in the hard-music community ran high. After all, the group had released only three studio albums in the 12 previous years; four new EPs would surely take them an eternity. So far, it would seem, Anselmo and Co. are living up to their end of the bargain. The first EP, Down IV Part 1—The Purple EP, was released in September 2012, and the second, Down IV—Part Two, has just seen the light of day. It’s certainly an unorthodox way to release new music, but it’s one that suits the members of Down just fine. “Usually when you do a full-length album, the record company throws

26


it out there and maybe you get a couple of months out of it,” guitarist Pepper Kennan says, “but we wanted to do something that would stretch that out for a couple of years. Doing the EPs will give us more freedom to tour and put new music out more frequently. Plus we have different types of songs in this band, and this will let us bring out some of that material that doesn’t otherwise fit on an album. You’ll probably start seeing more of that on the third EP.” While the six songs on Part Two—in all their dense, monolithic, Sabbathy glory—aren’t exactly dissimilar from the six tracks on The Purple EP, there is one major difference: the absence of guitarist Kirk Windstein, who left Down in 2013 to focus solely on his primary band, Crowbar. “We completely understood

where Kirk was coming from, because Crowbar is his baby,” Keenan says. “We were just going in separate directions, and that’s okay. But we also made sure he knew that Down wasn’t going to waste one second finding a replacement.” The group didn’t have to look far to find Windstein’s successor. Down stage manager Bobby Landgraf had all the qualities the band was after: guitar chops, a wicked beard and the ability to mesh with the likes of Anselmo, Keenan, drummer Jimmy Bower and bassist Pat Bruders. “The truth is, we’re really not the easiest band to get along with,” Keenan says. “We kind of have our own language and way of doing things. So we wanted someone we knew we could hang out with. After we got Bobby in the game, everything started rolling. It reinvigorated us to have some new blood in the band.” PHOTO BY JIMMY HUBBARD

NEWS + NOTES

What's on My iPod?

Playlist

Tommy Victor of Prong “Here Comes the Singularity” Killing Joke “This is a more recent track that brings together all the greatness of Killing Joke. It features a top-notch riff from a big influence, the amazing Geordie Walker.”

The Strypes Lay It on the Line

The young Irish quartet whips up maximum rock and roll. By Dan Epstein “I like a lot of one-guitar bands,” says

Josh McClorey, lone guitarist for Irish teenage mod/garage upstarts the Strypes. “I’ve always liked Pete Townshend’s playing in the Who, and I like Paul Weller’s playing in the Jam and Jimmy Page’s playing in the late Yardbirds and Led Zeppelin. If you get it right, it can be a very powerful setup.” McClorey and his mates have been getting it right, all right. Snapshot, their punchy fulllength debut, has been praised by the august likes of Roger Daltrey, Jeff Beck and Mr. Weller, while their raucous live shows—which are reminiscent in sound and energy of a cross between the early Stones, the Who and the Yardbirds— have been going down a storm on both sides of the Atlantic. Not bad for a group of childhood friends whose average age is still just 17. “We all kind of grew up on our parents’ record collections,” McClorey explains. “My dad’s really into heavy stuff, like Sabbath, Maiden and AC/DC. Angus Young has always been my favorite guitarist, because what he’s playing is really just Chuck Berry, but really loud.” But it was the Beatles, Stones and (yes)

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Chuck Berry records owned by the parents of Strypes drummer Evan Walsh that actually inspired McClorey, Walsh, bassist Pete O’Hanlon and singer Ross Farrelly to put a band together. “To be honest, it was all a bit of fun that got out of hand,” McClorey says with a laugh. “We just wanted to be in a band and be really good and play really ballsy music. And I guess that by doing that, hopefully, we’ll influence kids to not want to play fuckin’ pop drivel or go on these shit TV shows to try and get famous. Hopefully, we’ll influence them to pick up a guitar or a set of drumsticks and do it the right way.”

AXOLOGY • GUITARS Gretsch Electromatic Double Jet, Japanese Fender Telecaster • AMP Vox AC-15 • effects MXR MC-402 Custom Audio Electronics Boost/Overdrive • STRINGS Ernie Ball Slinky 10s

“Bridges” Reflections “I’m not a math-metal guy, but this song surpasses anything I’ve heard in this ilk. These guys can play this stuff outside the studio too, which is amazing.”

“Moonchild” Fields of the Nephilim “This song is simply classic, infectious and powerful goth-rock. It’s got all the Sisters of Mercy, Cure and Echo [& the Bunnymen] nods, but there’s just a heavier yet classier overtone to it.”

“The Deathsurround” Butcher Babies “It’s powerful and unique. I describe it as Godflesh meets Exodus and the Plasmatics, but with more technical prowess.”

“Repetition” Helmet “The Strap It On record brings me back to the good old days in New York City. This song has all the noise, atonal guitars, groove and spooky Bowery dinginess to set me straight again.” Prong’s latest album, Ruining Lives, is available now.

PHOTO BY andrew stuart

NEWS + NOTES

Needtobreathe Get Back in Action Rivers in the Wasteland chronicles the group’s hard times. By Corbin Reiff With their spirited folk-gospel

sound and unique DADDAD guitar tunings, southern alt-rockers Needtobreathe have seen their audiences grow over the past decade and enjoyed a rising chorus of praise. But by 2012, after yet another grueling world tour, it seemed like the band had hit its breaking point. Tensions between Needtobreathe’s songwriting duo, brothers Bo and Bear Rinehart, had reached an all-time high, and they were no longer on speaking terms. “We lost our way a little bit,” Bo says. “I lost sight of why we were even doing this thing in the first place.” The group had been playing roughly 200 shows a year. As it turned out, Needto-

breathe just needed to take a breather. When the brothers got back together, they brought new perspectives on their relationship, their musical partnership and what they need from one another. “I went in and said to my brother, ‘These things have to change or I can’t do this anymore,’ ” Bear recalls. “I think he had a similar speech written, and it was an amazing thing, because from that day, everything has changed for our band.” With a renewed energy and a new drummer (Randall Harris), Needtobreathe spent the last half of the year finishing up the aptly titled Rivers in the Wasteland. It’s a semi-personal chronicle of their recent

trials and tribulations and the place they made it to in the end. “I think, lyrically and thematically, what happens on the record is a biographical look at the past year, and it’s sort of sequenced in that way,” Bear says. “You can feel the fog sort of lifting as the record goes on.” Time will only tell how the record is received. For the Rineharts, however, finding more of themselves and letting it all hang out is a real achievement unto itself. “We’ve always prided ourselves on being a band that’s genuine and honest,” Bo says. “On this record we’re that but more vulnerable, and I think that’s kind of been the missing piece with this band.”

Bear (left) and Bo

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P H O T O B Y s u l ly s u l l i va n

Weapon of choice Richard Fortus reloads with the V-Type Performing on the front line with Guns N’ Roses requires legendary tone. And when Richard Fortus needs extra firepower he calls on the V-Type, a thrilling new 12" guitar speaker from Celestion, built on 90 years of experience, know-how and passion for great sound.

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F i n C o s t e l lo/ R e d f e r n s/ g e t t y i m a g e s

DEAR GUITAR HERO

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Albert Lee

He’s a veteran breakneck picker and fingerstylist who has performed with Eric Clapton among many others. But what Guitar World readers really want to know is… Interview by Damien Fanelli

How often do you practice, and do you follow a regimen?

—earl Pobjoy

[laughs] Not at all. I’m fortunate enough to have a technique that comes together pretty quickly. I pick up a guitar and everything falls into place, more or less. If I’m not working for two or three weeks, I generally won’t pick up a guitar. I might pick up an acoustic and strum a bit, but that’ll be it. And I generally don’t warm up for gigs. I should, really. I guess soundcheck is good enough. I’m sure that if I were to spend time practicing, I’d come up with some new things.

My all-time favorite Albert Lee solo is on Eric Clapton’s live Just One Night version of “Cocaine” [recorded December 1979]. What can you tell me about it? What gear were you using? —Jim Mikmaq I have a fairly fluid technique, and sometimes it runs away with me when I play too many notes. [laughs] I can’t remember exactly what I played, but I’d hazard to guess I played four times as many notes as Eric did on his solo, for good or bad. More than a few people thought it was Eric at the time, but the more you listen to it, the more you hear how different the two solos are. I was using the Gibson Les Paul Custom that Eric gave me. That’s the one he used with Delaney & Bonnie and Cream. He gave me that guitar when we started playing together in ’79. It’s one of my treasures. We were both using Music Man amps,

130-watt heads with large, openback cabinets with two 12s. What was it like being onstage at the Concert for George, the 2002 George Harrison tribute show at the Albert Hall? How well did you know him? —Lena Sciancalepore It was quite an event and such a large band. There were six guitar players and three keyboard players. At one point, there were three or four drummers, and there was a small string section behind us. It was amazing, not only because it was for George but also just to be in the middle of all that. George and I didn’t hang out a lot, but I’d met him a number of times and he was always very friendly. The first time I met him was at an Eric Clapton gig. At the ends of his tours, Clapton would do a local gig at a church hall just for

the fun of it. George came to one of those. We went back to his house and had a jam. Then I ran into him at the first Australian Grand Prix in ’85. He showed me around the pits and introduced me to the drivers, because he was into Formula One. When performing, do you make up your “Country Boy” solos on the spot? [The song was a 1971 hit for his band, Heads Hands & Feet, and was later covered by Ricky Skaggs.] —John Thomas In all the breaks in “Country Boy,” there are certain things I will go to. But even though I start out playing something I’ve played before, it always ends up being different. It’s the nature of my playing. I’m lucky enough to be able to think on my feet and let things take their own course. If I make a mistake, I’ll turn it into something else. None of my

solos are planned, but you’ll notice a certain familiarity if you’ve heard me play a number of times. What string gauge do you use? —Mike Caro I’m using .010 to .046, an Ernie Ball Regular Slinky set, except I’m using a .015 instead of a .017. I like to be able to bend that third string. When I started using pre-gauged sets, I used Fender Rock N’ Roll strings, which were .010, .013, .015, et cetera. That’s what I’m using now, but with Ernie Ball. Were you involved with the unusual shape of your Music Man Albert Lee model guitar? —Pete Canard I didn’t design it. It’s different, but I don’t think it’s weird looking. I see a lot of guitars people play now, and I think, Boy, that thing is ugly. They’ve got ugly horns on them and they look like a battle ax from the Middle Ages or something. I think this one is very cool, because it’s understated but doesn’t have the curves of a Strat-type guitar. How did the Albert Lee/ Music Man association come to be? —Gifford Pinchot When I first came to the States with Heads Hands & Feet, we were playing in Los Angeles, and our record [“Country Boy”] had been on the radio. Ernie Ball and his son Sterling heard it, liked it and were surprised to find out we were English. They came to gigs, we became

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DEAR GUITAR HERO

Lee at London’s Advision Studios during the making of jazz flutist Herbie Mann’s album London Underground, November 5, 1973

What amps are you using these days? friends, and I started using Ernie Ball strings. Sterling’s godfather was Tom Walker, who started Music Man with Leo Fender, so I was showered with Music Man amps in the early Seventies. Leo left Music Man to start G&L, and Ernie ended up buying the Music Man name. They decided they wanted to build a new electric guitar. A number of us pitched in our ideas. Even Steve Morse was involved. The first guitar they came out with was the Silhouette, which I loved. But they also made a prototype, which they tried at the NAMM show, but there wasn’t much interest. They kind of shelved the idea for a while, but Sterling had a nice prototype made up for himself, which was all maple. He told me about it: “You’ll love this guitar when you see it.” I fell in love with it, and he gave it to me. That became my main guitar. At that time, it was called the Axis. I played it for a number of years. They weren’t able to do much with it at that time, because they had limited production and they were starting to make guitars for Eddie Van Halen. So I had to wait until they built a new factory. That’s when they brought out my guitar. They’ve been quite popular. I’m fortunate to have a first-class guitar with my name on it. Why and when did you start using B-benders? —Lucy Lepore I was mesmerized in the late Sixties

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“I show people how I came across things, and I tell them, ‘This may or may not work for you.’ ” listening to Clarence White bend strings, thinking, How did he do that? It’s too perfect to be a regular string bend! Then I read about the StringBender [the mechanical device invented by White and Gene Parsons that is now known as the B-Bender], but I still couldn’t picture it. On my first trip to the States, we went to see [bluegrass band] the Dillards. I went backstage and met their guitarist, Billy Ray Latham, and he had this Tele with a B-Bender in it. I think his was made by Gene Parsons—one of the originals. I said, “Where can I get one?” He said, “There’s a guy in L.A. making them named Dave Evans.” He was making Tele bodies out of exotic woods. I bought one of the bodies, and he put a humbucker in it. This would’ve been around ’71 when I started playing my B-Bender. Not long after that, Evans kind of disappeared, but I’m glad to say I’m back in touch with him. I loved Gene Parsons’ units, because they were the first. Actually, I have to qualify that, because I saw Carl Perkins play a Gibson Switchmaster in the U.K. He had this little bit of metal he’d attached

to the headstock. When he was playing in the first position, he could press this little lever with his thumb and it would raise the second string a whole tone. He could get these banjo bends with his thumb. I have two or three Teles with B-Benders and three of my signature Music Man guitars with B-Benders. You can’t buy them; I had them modified by the factory. Sterling called me recently and said, “Joe Bonamassa wants one of your guitars with a B-Bender in it. Are you okay with that?” I said, “Of course I am!” I know you’ve done clinics for Ernie Ball, but do you offer private or online lessons? —Clarence LeBlanc I’ve had people over to the house once or twice, but I’m not a good teacher. I’m self-taught. I had piano lessons for a couple of years, but there was no one to learn from in 1957. It was just from listening to records. You start out with Buddy Holly solos and go from there. When I do clinics, I show people how I came across things, and I tell them, “This may or may not work for you.”

M i c h a e l P u t l a n d/ G e t t y Im a g e s

—Zooey F.

I use Fender Tone Masters. In the late Seventies when I joined Clapton’s band, he was using Music Man amps, and he had vents cut in the back of his big cabinets. I thought that was a great idea. I never really liked the idea of a big 4x12 closedback cabinet. I know it’s supposed to be more efficient, but I just like the overall surround-sound of an open-back cabinet, like you’d get from a Twin. So I had the idea of having cabinets built like Eric’s. The first thing I did when I got my Fender Tone Master was cut ports in the back of them. They work really well. I love the sound of them.

NEWS + NOTES

The Ghost of a Saber Tooth Tiger Rises Again

Sean Lennon discusses the group’s long-awaited disc, Midnight Sun. by Alan di Perna “We’re definitely a post-modern

psychedelic band,” Sean Ono Lennon says of the Ghost of a Saber Tooth Tiger, the group he co-leads with his girlfriend, the beguilingly beautiful model and musician Charlotte Kemp Muhl. “Not that we think in terms of cheesy labels like psychedelic, progressive, epic or pop,” Lennon quickly adds, obliquely echoing the witty, sardonic tone of his legendary parents, the rock icon John Lennon and avant-garde provocateuse Yoko Ono. “What we’re thinking has to do more with notes and textures, sounds and words.” Midnight Sun, the new album by the GOASTT, is a masterful collection of ambitiously crafted yet eminently tuneful tracks, awash in abstract layers of meltdown guitars and kaleidoscopic vintage keyboard textures. The music bears an unmistakable kinship to the trippy, late-Sixties work of Pink Floyd. But it also somehow manages to sound completely contemporary. Lennon and Muhl first met at Coachella in 2004. They come from very different musical pedigrees: he’s the scion of rock royalty; she’s the daughter of a classical pianist. But they gradually forged a common language of music and love. “We both tend to like similar kinds of notes,” Lennon says. “We both like the flat ninths, flat fifths and minor ninths—the notes that are spooky. And I think that forms the musical character of our band.” Guitarwise, Lennon favors early Sixties Fender Jazzmasters, which on Midnight Sun he often played through a Fender Bassman amp that he inherited from his father. The amp was also employed to warp the sound of keyboards and even drums. “We write a certain kind of surrealist lyric, and we like songs that take you on a journey,” Lennon says of GOASTT’s modus operandi. “We like our songs to be almost like movies, in terms of having a long narrative. We like for the music to take you by surprise.”

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NEWS + NOTES Do you remember the first song you learned to play? It was something very mundane like “Twinkle, Twinkle Little Star.” I don’t really remember learning a particular song, as back then you’d be learning whatever was popular on the radio at the time—everything from the Young Rascals to the Beatles. I actually put a band together about a year after I first started playing, and we would be playing what was contemporary at the time. Do you remember your first time onstage? I played a duet with a friend of mine when I was around 15. We were both taking lessons at the time from the same teacher. The teacher had a showcase for his students, and so we performed a duet together. I remember being incredibly nervous and having horrible stage fright, but by the time we finished the song, I was just in love with the whole idea of being onstage and being in front of people. I had this immediate connection with performing in front of people. What is your favorite piece of gear? I did a bunch of sessions a few years back with an old Fender amplifier that was built in 1959, and I’ve used it on a bunch of different recordings as well. It is an amazing amplifier, so that’s my favorite at the moment.

INQUIRER

Brad Whitford of aerosmith

What inspired you to start playing the guitar? A lot of it had to do with the Beatles when I was 13 years old. Then it just became a rush of the British Invasion, with bands like the Rolling Stones. I was totally

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gu i ta r wor l d • j u ly 2014

enamored with what these young English musicians were doing, which was reinterpreting basically American blues and also writing really good songs as well. I became a huge fan of Eric Clapton, Jimmy Page and

Jeff Beck. So the whole British Invasion really opened my eyes. Do you remember your first guitar? My first guitar was a Fender Jaguar, and because I was inspired by Jimi Hendrix, I knew I had to have a Fender of some sort. So my parents helped me and laid out the money for it, and then later on I paid them back as I earned it.

If your house were on fire and you could save only one guitar and one non-musical item, what would you choose? My house would probably be filled with guitars and they’ll all be nice ones, so I’d take whatever was closest to the door on my way out, but ideally it would be a Stratocaster. And if I had any pets in the house, they would come too. Do you have any advice for young players? I’d encourage them to learn how to listen—it is really an art to listen and to know what to listen for. And that can be a huge advantage, because, really, that is how you learn everything. — Joe Matera

PHOTO BY RODERICK TRESTRAIL II

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GU I TA R WOR L D • J U LY 20 14

AND

At 63, legendary Kiss guitarist Ace Frehley is clean, sober, engaged to a pretty blond and enjoying life—much to the chagrin of some of his former bandmates. In the following interview, he speaks openly about his healthy attitude, the Rock and Roll Hall of Fame debacle and his upcoming solo album, Space Invader. B Y Jeff Kitts P H O T O S B Y Jimmy Hubbard

PAGE

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THIS YEAR STARTED OFF

innocently enough for Ace Frehley. Just one week prior to Christmas 2013, the former Kiss lead guitarist learned that he and his comrades in the original Kiss lineup— Gene Simmons, Paul Stanley and Peter Criss—were finally being inducted into the Rock and Roll Hall of Fame after 15 years of eligibility (and 15 years of outcry from the Kiss Army). A cause for celebration, no doubt—and a golden opportunity for the four founding members of the legendary rock band to perform onstage together again for the first time since October 7, 2000, the final North American date of their Farewell Tour. And then, somehow, it all imploded. In the weeks preceding the Rock and Roll Hall of Fame induction ceremony on April 10 in Brooklyn, New York, Kiss became the primary focus of every public and private discussion surrounding the event after they announced that there would be no Kiss performance—let alone a Kiss reunion—that night. To make matters worse, the band members seized every opportunity to lambast one another in the press on a seemingly daily basis, effectively rendering what was supposed to be a triumphant reunion performance loaded with all the blood-spitting, fire-breathing, makeup-running pageantry that fans had been clamoring for all these years into a pitiful non-event. “I was like, Jesus Christ, after 40 years of support you can’t give the fans 10 minutes?” says a still worked-up Frehley over a cup of black tea at Guitar World headquarters in New York. “The fans wanted it, the Rock and Roll

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Hall of Fame wanted it. But Gene and Paul didn’t. It’s sad. They definitely lost some fans because of this decision. “I think the reason they didn’t want to get together with the original members was because they’re afraid of history repeating itself. When we did Unplugged in 1995, you saw what happened: because the fans were so excited about me and Peter playing with those guys, they had to scrap their last record [with then-current members Bruce Kulick and Eric Singer] and do a reunion tour [with Frehley and Criss in 1996]. Although at this point I don’t think Peter could do a two-hour show and a full tour. But I still got the chops. I definitely blow [current Kiss guitarist] Tommy Thayer off the stage.” It’s obvious that Frehley is fired up, and with good reason. With the Rock and Roll Hall of Fame fiasco behind him, the clean-andsober Spaceman is able to focus on the things in life that make him happy, like living in San Diego with his pretty blond fiancé, Rachael Gordon, writing books, working with Gibson on various signature guitars and recording new music. Space Invader, his first record since 2009’s top-notch Anomaly, is due out in a few weeks, and Ace couldn’t be more excited. “I haven’t had a drink in more than seven and a half years, and I feel great now,” says the 63-year-old guitarist. “I’m writing great songs and I’m singing great, and I’m super excited about this new album. It’s gonna be even better than Anomaly. I played some tracks for a couple of guys I was considering using for mixing, and the first thing out of their mouths was, ‘God, your voice sounds like it did on your 1978 solo record.’ Unlike some other people, whose voices aren’t maybe what they used to be. Not to name names, or anything.” Your love affair with alcohol during Kiss’ heyday—and, well, all through the Eighties and Nineties—is well documented. Do you miss it? Are there days when you want a drink?

No. I haven’t had the urge to drink in a long time. And I don’t miss the hangovers, I don’t miss the smells, the late nights at the bars, or the people. I was hanging out with some pretty shady people in my heavy-drinking-and-coke years. I was in some situations that really could have gone sideways. I was just lucky. And you have to realize that my fans used to emulate my behavior when I was a crazy man—“Ace is a party animal, let’s go get loaded!” Then they’d go crash their car, and I’d feel terrible. Now it’s turned around. And when someone comes up to me and says that they haven’t had a drink in six months and that they’re doing well because I am, that makes my day. Maybe that’s one reason why God has kept me alive. By all rights I should have died a half dozen times already, so every day above ground I’m thrilled. Did you think Kiss would ever be inducted into the Rock and Roll Hall of Fame?

I knew that [the Hall] had to buckle to popu-

lar opinion. It was only a matter of time. We were first eligible 15 years ago, so I knew it would happen eventually. I mean, how can you exclude Kiss, one of the biggest American rock groups in history? Even though we didn’t perform, I’m still thrilled to be in it. Where were you when you found out that you were being inducted?

I was at home in San Diego and got a call from my manager. Then, about a week later, I got the “congratulatory” call from Paul and Gene. And I could tell that there was some hesitancy on their part about the whole thing. I was asking them if we were gonna play, and Gene avoided the question by saying, “Well, we’re just looking forward to getting the four of us up there together and celebrating…whatever.” It was a noncommittal congratulatory call. Then, about a week later, I was told that the Rock and Roll Hall of Fame absolutely wants the four original members to reunite, and I said, “Great, I’ll do it.” And there was silence from Gene and Paul. And finally it was shot down. The next thing I heard is that Paul and Gene wanted to perform with the current Kiss lineup [with Tommy Thayer and Eric Singer]. And I said, Well, that’s kind of a slap in the face. I mean, they’re not even being inducted. I have to sit through a Kiss cover band when I’m receiving an award? I don’t think so. I also heard at one point that they wanted me to perform in makeup with Tommy at the same time. I really didn’t want to be onstage with Tommy, but I said I would do it, as long as I got to play the bulk of the songs and that I could wear the Destroyer costume. Then a few days later [it was], “No, we’re not gonna play at all.” It was almost like they were trying to bait me, so that if I said no to anything they would just blame me for there being no performance. I was almost going to boycott the whole thing.

“I have to sit through a Kiss cover band when I’m receiving an award? I don’t think so.” The weeks leading up to the induction ceremony were filled with all sorts of public drama. A lot of negative comments were hurled back and forth in the press between the four original members of Kiss. Why do you think Gene and Paul are always so quick to disparage you publicly?

I don’t know. I think they’re just cranky. For years, when I was fucked up, Gene used to say that I was a drunk and a drug addict and that I was unemployable. Kick a guy when he’s

( P R E V I O U S ) H A I R A N D M A K E U P BY B R A N DY M C D O N A L D ; S T E V E M O R L E Y/ R E D F E R N S/ G E T T Y I M A G E S

Gene Simmons (left) and Frehley onstage in the Seventies

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Frehley photographed at Guitar World headquarters, April 7, 2014

down, right? But they can’t do that anymore, so it’s like they’re scratching their heads trying to come up with new ways to insult me. The most recent thing was that I’m anti-Semitic, that I’m a fucking Nazi. That’s just below the belt. Next I’ll be a member of the Ku Klux Klan. And my fiancé is Jewish! My whole life I’ve worked with Jewish people in all different capacities— my accountants, my attorneys, people on the road. Jesus Christ, I can’t believe the stuff that comes out of their mouths. But the truth is that I don’t want to be negative. I just want to keep everything light and be happy. Paul has been so goddamn cranky lately. I mean, what’s wrong, Paul, aren’t you happy? I know they must be frustrated because people are always writing about how Ace was the real guy or Ace was the real deal. It’s gotta rub them the wrong way. They would like nothing more than for me to start drinking again, start taking drugs again and end up as a bum on skid row. But that’s not gonna happen. Anybody who says anything bad about me is foolish, because a lot of people like me. You’re gonna make enemies when you put down Ace Frehley. And that’s because I’m a straight shooter—I tell it like it is. Gene is that way too. He’ll sit across from you in a room and say this

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“When this record gets released, everybody’s gonna say, ‘Well, Ace did it again.’ ” or that and tell it like it is. Whether you like it or not, he lays it out, right to your face. Paul will tell you one thing, then walk out the door and stab you in the fucking back. That’s Paul Stanley. And now he’s trying to take credit for the fucking Kiss logo? Unbelievable. I designed the logo—all he did was draw straighter lines. And you know, I told Paul to wear the star on his eye. Do you know what his makeup was before he put the star on his eye? It was a round circle. He looked like the dog from the Little Rascals [Pete the Pup, a.k.a. Petey]. It told him it looked kinda silly and that he should put one star on his eye. But do I go around taking credit for that? No. I let him say he designed it. Who cares, you know? Let’s not be petty.

You would think that if Gene and Paul had half a brain, they would realize what’s going on and start saying good things about Ace. I mean, keep bad-mouthing me. No one’s gonna show up at your fucking tour this summer. Let’s talk about your upcoming solo album, Space Invader. It’s been five years since Anomaly. Why the delay?

I don’t know. [laughs] I’m not disciplined, and I can only create when I’m in the zone. I get preoccupied with other things—moving, family stuff, whatever—and then years go by. I had two record labels courting me, and I decided to go with E1 Music because of their reputation in the business and because they offered me more money. And when someone writes you a check, you gotta make the record! [laughs] The truth is, I work better when there’s a deadline. And I usually have to extend the deadline. But the end result is usually quality. Do you enjoy the whole process of writing and recording?

Yes. I’m actually enjoying writing and recording more than ever, because I’ve become a lot more comfortable with Pro Tools, which means I can edit my own solos now. {continued on page 160 }

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L E D Guitar World

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VAULT Led Zeppelin guitarist and producer Jimmy Page remasters his band’s brilliant catalog and takes the opportunity to open their personal archives and share its vast riches.

by Brad Tolinski ▼ photos by Ross Halfin

A S

jimmy page ▼ led vault 48

my taxi pulls up to Olympic Studios, located in the quiet West London suburb of Barnes, I’m a bit surprised and amused. With its red brick exterior and modest white archway entrance, the building looks more like a quaint American high school than a rock and roll landmark.

But a landmark it is. From the mid Sixties through the Nineties, Olympic was one of England’s finest recording facilities and birthplace to some of the greatest music of the 20th century, including the Jimi Hendrix Experience’s Are You Experienced, the Rolling Stones’ Let It Bleed, Queen’s A Night at the Opera, and large portions of Led Zeppelin I, II and III. Olympic is now an ultra-hip movie theater/ café, decorated with candid in-studio photos of rock’s finest musicians and tasteful bric-a-brac that celebrates the building’s past glories. The recording consoles and microphones are long gone, but, fortunately, some of the old spirit still remains. It is here that Led Zeppelin’s producer and guitarist, Jimmy Page, has decided to unveil the band’s latest archival project to a handful of curious journalists. As long rumored, during the course of the next year, deluxe editions of all nine Led Zeppelin studio albums will be released, three at a time, in chronological order, each remastered by Page. But the real news is that the band will also open its vaults to share dozens of unheard studio and live recordings.


Each remastered studio album will have a second disc of companion material comprised entirely of unreleased music related to that album.

I

’m ushered into the

movie theater, which is a treat in itself. It is clean in a way that American theaters rarely are. The pristine drapes, seats and walls are matching shades of bright crimson, and for extra drama the Led Zeppelin logo has been expertly etched in black on the sides of the hall—an expensive touch for a record company event in these cashstrapped times. After the 20 or 30 writers are settled, Page walks onstage, dressed completely in black, with his white hair providing a stark contrast to the red surroundings. He offers a brief explanation of the forthcoming reissues and describes the companion discs as “a portal to the time of the recording of Led Zeppelin… a selection of work-in-progress, with rough mixes, backing tracks, alternate versions and new material recorded at the time.” He also notes that we are sitting in what was once Olympic’s famed

Studio A, where Zeppelin recorded their entire first album. After the chills have subsided, the presentation segues into a world premiere playback of bonus disc selections culled from the band’s first three albums, Led Zeppelin (1969), Led Zeppelin II (1969) and Led Zeppelin III (1970), all which will be released in June. As the music explodes out of the theater’s sound system, it’s both entertaining and somewhat surreal to hear some of rock’s most familiar tracks so shockingly deconstructed. “Whole Lotta Love,” from the Led Zeppelin II companion disc, allows the listener to eavesdrop on a hard rock masterpiece in progress. In this early “working version,” many of the song’s signature elements are yet to be recorded—the iconic solo break is missing, and so are the slide guitar punctuations and the vocal refrains that give the song its title. Instead, we are rewarded with a powerful alternative vocal take by singer Robert Plant, an illuminating glimpse at the foundations of the middle “freak out” section, and a clearer image of the rhythm guitars and John Bonham’s powerful drumming. In the same vein, a stripped-down early take of “Gallows Pole,” sans banjos, mandolins and electric guitar overdubs, illustrates just how driving and focused the Zeppelin rhythm section was. If you’re looking for a stairway to heaven, just listen to Page and bassist John Paul Jones get busy as Bonham kicks the whole band into high gear and the song races to its urgent conclusion. However, not all the bonus tracks are alternate mixes. For example, the first album is paired with a pulse-pounding live show from 1969, featuring a version of “Dazed and Confused” that rivals the studio original. The bonus disc that accompanies the third album contains a different take of “Since I’ve Been Loving You,” and the Led Zeppelin II companion disc offers “Heartbreaker” with an alternate guitar solo. There’s even an unreleased rarity from the Zep III sessions—a one-take improvised blues medley of “Keys to the Highway” and “Trouble in Mind,” featuring Page

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H a i r a n d M a k e U p by J a c k i e T ys o n

I

mmediately after the

playback, I meet with the guitarist for an exclusive one-on-one chat for Guitar World. Jimmy recently turned 70, and you can’t help but be in awe of his youthful enthusiasm and the hardcore dedication that he has brought to this rather gigantic undertaking. “I knew the only way to do this project properly was to leave no stone unturned and to listen to every Led


Zeppelin tape and performance,” he says emphatically. “Additionally, I really researched what had been bootlegged and what stolen material had surfaced, and I was determined to offer things people had never heard. People will be genuinely surprised by what we have and what we have in store for these albums. We wanted to give these bootleggers a real fright! I’ve actually read reviews of the new albums by people who think they know what the extra material will be, based on bits and pieces they’ve heard online. I thought, Oh yeah, you think that’s what I’m gonna do. I’ll scare the pants off you!” He pauses for a moment and adds with a laugh, “They’ll probably do bootlegs of what we’ve just done!” How did the general concept of adding companion discs to the remastered albums come about?

It happened in reverse order. We had been discussing the unreleased material, and decided to take the oppor-

tunity to update everything. It’s been over 10 years since the studio albums were last remastered, and the technology has gotten better since then. It didn’t make sense to have the companion albums come out with “old stock.” It turned out to be a good decision. The new remasters definitely sound better. I hear an appreciable difference. There’s more space to them. John Davis, who remastered both Mothership and Celebration Day, did a great job. Creating alternate versions of each album is a completely original way to release music from the vaults. In retrospect, it seems quite obvious.

Yes. As we began to collate all the material, it became more apparent to me that it was the right way to organize and choose the outtakes. I see it as creating a mirror image—or maybe, I should say a tinted image—of each album. But even though we retained the same running order, we still wanted to surprise the listener with

Mirrorpix/Courtesy E verett Collection


on acoustic guitar in a way you’ve never heard him play before. Jimmy has always taken pride in adding his own twist to the blues, but on this rendition he demonstrates his expert ability to play in a completely traditional vein. According to Page, the first three bonus albums only scratch the surface of what lies ahead. As he explains in the following interview, the treasures get richer as the band goes deeper into its discography. No doubt, there will be plenty for dedicated Zep-ologists to discuss and debate for years to come.

our choice of working mixes or, in some cases, completely different takes. “Since I’ve Been Loving You” is an example of a completely different take from the one you hear on Led Zeppelin III, but one that is completely undeniable and shows just how well we were playing at the time. Was there an overall yardstick for which versions would make the cut?

Most of the selections were chosen from working mixes that chronicled the progress of a particular evening. Many of them have guide vocals, but some are purely instrumental. There were occasions when Robert would take instrumental tracks home to work on words. But the overriding criteria was that it had to reflect all the positive qualities of how we played collectively, our various contributions and just how damn good everybody was. It’s really a terrific time capsule, because you’re hearing the creative process in action, unaltered. For example, I really like the alternate “Gallows Pole,” because you can hear the basic track very clearly without all the layers, and it’s just amazing! Don’t get me wrong, I love the final “Gallows Pole,” but the alternate version has a different sort of excitement and urgency. I’m sure some people will think it’s a different take, but that’s what is really going on underneath everything. That’s also part of the beauty of this project. It allows people to hear things they never would on the original tracks. Was it difficult to decide which track to use?

Yes. Each song was a gallery unto itself, and there were often 30 paintings in the room to consider. I had many options to pick from during the evolution of any given track, but the most important thing to me was to show the energy and performance.

BRING IT ON HOME Whether you’re old school or new school, there’s a

Led Zeppelin package that is right for you.

I

f you plan to buy the first three albums in the Led Zeppelin remaster series on June 3, you may want give some thought as to which format, because there are a bunch of ’em! Yes, the legend lives on, and in every size, shape, format and price you can imagine. The following are your options. Single CD – Remastered album packaged in a gatefold card wallet.

Deluxe Edition (2 CD) – Remastered album, plus a second disc of

unreleased companion audio.

Single LP – Remastered album on 180-gram vinyl, packaged in a

sleeve that replicates the LP’s first pressing in exacting detail. (For example, III will feature the original wheel and die cut holes.) Deluxe Edition Vinyl – Remastered album and unreleased companion audio on 180-gram vinyl. Digital Download – Remastered album and companion audio. Super Deluxe Boxed Set – This collection includes: •Remastered album on CD in vinyl replica sleeve. Companion audio on CD in card wallet •Remastered album on 180-gram vinyl in a sleeve replicating first pressing •Companion audio on 180-gram vinyl •High-def audio download card of all content at 96kHz/24 bit. (Live tracks are 48kHz/24-bit) •Hard-bound, 70+ page book filled with rare and previously unseen photos and memorabilia •High-quality print of the original album cover, the first 30,000 of which will be individually numbered •Led Zeppelin will also include a replica of the band’s original Atlantic press kit.

The differences on “Immigrant Song” are subtler than on some of the other tracks, but they’re still interesting. The guitars are super dry, and the reverbs on the vocals are different, but it demonstrates just how many different paths the song could have taken.

I agree that some of the changes you hear are subtle, but some are really major. I thought it was important to show some of the bigger ideas that we decided not to pursue. Toward the end of “Immigrant Song,” for example, you hear an interesting experiment with vocal harmonies that we ultimately decided against. Or on “Whole Lotta Love,” you can hear some attempts at using repeat echo that were eventually rejected. You produced all the albums. What did that mean within the context of Led Zeppelin?

Being the producer meant that I was in charge of the overall vision of each track

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It was important for us to put our own spin on things and present a new attitude. I think our powerhouse rhythm section of John Paul Jones and John Bonham naturally brought a difference to everything we played.”

Pull quote

and the way they were shaped via the musical colors of the overdubs. I was also involved in the mixing and mastering, picking the studio, picking the engineer and, of course, writing a lot of the music. After I left the Yardbirds in 1968, I always intended to be the producer of whatever band I was going to play with. That was my thing. The advantage was I didn’t have anybody getting in the way of what I was doing or suggesting.

Yes, I worked out the crossfades on “Your Time Is Gonna Come” and “Black Mountain Side” and counted out how quickly I wanted each song to follow each other in order to create flow or excitement. Robert Plant was extremely young and relatively new to the recording process when the band started. As producer, did you have to work with him much?

Robert was absolutely extraordinary in those days. He was so bombastic and fearless that neither the songs nor the studio intimidated him. He very quickly got to a point where no other singer could touch him. You mentioned that you were aware of the numerous Zeppelin bootlegs floating around the internet and that you were determined to not duplicate them in this package. It begs the question: how did they get out in the first place?

I don’t know how they got out there, and it’s actually pretty aggravating to me. I know some of the tapes were actually stolen from here [Olympic], and it would

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▼

Led Zeppelin performing circa 1969

be interesting to have them. Believe me, these things were not given away in some goodwill gesture. They were stolen, and they should all belong to the holding company of Led Zeppelin. There was a reference tape of a song called “Jenning’s Farm Blues” that we recorded for the third album sessions that got nicked from my house. Then there were tapes recorded at studios that were supposed to be returned and never were. But when you’re touring, writing new music and recording, the mechanics of the office sometimes aren’t as thorough as you’d like. The version of “Whole Lotta Love” on the bonus disc is exciting but missing some key elements: the guitar solo, the chorus tag, the backward slide and some of the guitar and Theremin parts in the middle. Why did you choose this particular take?

At this point in the song’s evolution,

I knew in my head how the whole arrangement was going to go, but I wanted people to hear how focused we were on creating a foundation that was intense. And it is intense! We weren’t the Beatles, so you’re not going to hear us sing “whole lotta love” together on the chorus while we were playing. [laughs] But I think Robert’s performance on this track is also a revelation. He’s just singing a guide vocal, but it’s pretty damn good, isn’t it? And even though you only hear some of the drums, little bits of the final Theremin part and some of Robert’s vocal in the middle section, it’s really atmospheric and stands on its own merits. While we’re on the subject, how did you create the otherworldly sounds in the middle section that we hear on the final studio version of “Whole Lotta Love”?

I always envisioned the middle to be quite avant-garde. If ultimately I

C H A R L E S B O N N AY/ g e t t y i m a g es

jimmy page ▼ led vault

I assume you even decided the length of the spaces between songs. When I revisited the first album, I was struck by how the standard two-second space between songs is altered on several tracks.

blues. We also enjoyed playing blues, but we felt that our collective group character was so strong and original that, instead of blending in, it would have the opposite effect. Playing our version of the blues would show just how bold and different we were. We picked two songs that had dramatic elements we could explore. The original Otis Rush version of “I Can’t Quit You,” has this section in the song where the chord moves up a half step, and we saw that we could turn it into a real moment. A big moment. Essentially, we put Rush’s song under a microscope and figured out how to give it a bit more dynamic suspense. I felt the band brought a certain psychological angst and darkness to “You Shook Me” that isn’t present in Muddy Waters’ original version.

Hmm… I don’t know if I agree. You can never underestimate Muddy Waters. What I mean is, it’s a very dark song. The singer has just had sex with a woman that was so good, it destroys his “happy home.”

Well, that’s how life goes!


wasn’t able to pull it off, I might’ve had to edit the song down, but I knew what I wanted and I knew how to go about it. It was just a matter of doing it. I created most of the sounds with a Theremin and my guitar. The Theremin generates most of higher pitches and my Les Paul makes the lower sounds. I detuned it radically and just basically pulled on the strings to make an assortment of growling noises—evil sounds that you’re not suppose to hear on commercial radio. [laughs] I might’ve detuned it to a chord, but really, I’m just pulling on strings and making them howl! And then, during the mix, with the aid of engineer Eddie Kramer, we did all the panning and added the effects, including using low-frequency oscillators on the tape machine to really pull the whole thing down and lift it back up, so the sound is moving in rhythm. It was something no one had ever done before in that context, let alone in the middle of a song. That’s how forward thinking we were, that’s how avant-garde it was, and that’s how much fun we were having. That was the advantage of having artistic control. None of that might’ve happened if we had an outside producer. They might’ve questioned, or not understood, what I was doing, or thought I was just making a bunch of noise. I was able to make sure our ideas were carried out without interference.


Somebody was trying to sell me a Gibson Flying V at the time. I don’t know what made them think I could afford it, but I asked them if I could just try it out. I brought it into Olympic and used it on ‘You Shook Me.’”

“Whole Lotta Love” has so many cool touches. How did you go about constructing it?

I was always good at hearing complete arrangements in my head. When we rehearsed the first album at my home in Pangbourne, I was able to envision the finished arrangement of “How Many More Times” before we got into the studio. I knew what was going to be overdubbed and how I was going to use the bow as melodic counterpoint. The same with “Whole Lotta Love.” On the first album, the band plays two blues covers. What attracted you to “I Can’t Quit You” and “You Shook Me”?

When we first started rehearsing at my house, in 1968, we were working on a live set and the material that would become our first album. At that time, there were a lot of bands playing the

The way Muddy sings the lyrics, it doesn’t sound like he’s in despair. He’s almost smirking. Robert, on the other hand, makes it into something heavier, more angst-ridden and emotional.

It was important for us to put our own spin on things and present a new attitude. I think our powerhouse rhythm section of John Paul Jones and John Bonham naturally brought a difference to everything we played. But the blues were very important to us. It was our pathway on the first album. “Dazed and Confused,” for example has a progressive arrangement, but it still has strong blues elements. The first three albums fuse elements of blues, progressive acoustic folk, hard rock and world music. What was the end game?

You have all these colors on your pallet

jimmy page ▼ led vault

and now you can blend them to introduce new colors and textures people have not heard before. For example, playing something like “Black Mountain Side” with a tabla drummer had never been done. “Babe i’m gonna leave You” from the first album is another example. i had heard Joan Baez’s version, but if you compare ours to hers, most people would say, “How the hell did you come up with that?” they don’t really sound anything alike. the reason they are different is because we were able to fuse her acoustic approach with heavy guitars, which was something that hadn’t been done. additionally, i was able to incorporate a

flamenco-style guitar solo, as well. You recorded “Black Mountain Side” with an Indian tabla player. What was that session like?

i had never worked with the musician before, and i didn’t have much time to waste in the studio to get it done, but i wanted to try. if it didn’t work, i would’ve tried something else. i imagine it would’ve been difficult for him to play over what was essentially western music, but he did a fine job. i found out years later that he was also a sitar player, so perhaps that made it easier for him to understand what i was doing.

I thInk I just got better. My playIng and wrItIng grew In leaps and bounds. If you coMpare the InItIal atteMpt at the solo In ‘heartbreaker’ on the coMpanIon dIsc to how I’M playIng It on the lIve parIs show, you’ll see why I had to go back and re-record It.”

—Page

On the photo shoot for this issue, you specifically brought two acoustic guitars with you. Could you explain the significance of each?

You can’t be different if you’re playing what everyone else is. Visit reverendguitars.com to start your journey to becoming an individual.

the Harmony guitar is quite special to me. it is what i used to write all the acoustic songs and many of the electric songs on the first three albums. i also used it to record all the acoustic tracks on the third album, and it’s the guitar i played on “Stairway to Heaven.” i pretty much used it until i started playing a Martin on Houses of the Holy. the second guitar is a mid-Sixties gibson J-200, similar to the one i used to record all the acoustic parts on the first album. the J-200 used on Led Zeppelin I belonged to Mickey Most, the producer of the Yardbirds, and it was an amazing-sounding instrument. He graciously let me use it for the first album but didn’t let me use it for the second album, because, i think, by then he knew he wasn’t going to be the producer. [laughs] Mickey owned the acoustic and a great Fifties Strat with a maple neck, and he kept them in his studio. unfortunately, many years later, someone stole them. He told me, and i said, “Mickey, i’m so desperately sorry to hear that.” they were his instruments! that’s terrible. So, anyway, i thought it was fair to bring the Harmony and a J-200 to the shoot. the gibson is, of course, not the original—i wasn’t the one who stole it! But i was talking with guitar collector Perry Margouleff about Mickey’s guitar and we were able to determine the model, because the one i played had a tune-o-matic bridge, and there weren’t many of those made. Now that i’ve said that, they’ll probably triple in price! Perry recently found one and gave it to me for my 70th birthday, and i really thank him for that. The Harmony is a rather ordinary guitar. What did you like about it?

what did i like about it? it helped me come up with all these amazing songs! [laughs] it encouraged me. it didn’t fight back, and it didn’t go out of tune. it would say to me, “go on, man, give me more! C’mon!” {continued on page 158 }

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gu i ta r wor l d

THE ALBUM THAT CHANGED MY LIFE

It’s a question almost as old as the history of recorded sound: “What was the record that changed your life?” We take it for granted today, but the advent of commercial records in the late 19th century gave musicians greater reach and influence than they had ever had before. In turn, many of their far-flung listeners were inspired to pick up instruments themselves and emulate what they’d heard on recordings, bringing the art form forward and shaping it through their own creativity and talent. Undoubtedly, each of them owed a debt to one record that influenced them more deeply than any other. Not surprisingly, every time we ask guitarists to name the album that changed their life, they have an answer on the tip of their tongue. More significantly, they can tell us in detail why the album is important to them and how it changed them. Those answers will tell you a lot about an artist and give you valuable insights into not only their music but also the music that inspired them. But don’t take our word for it. Here are 26 guitarists to prove it themselves. —Christopher Scapelliti Compiled by

Brad Angle, Alan di Perna, Jeff Kitts, Joe Lalaina and Jon Wiederhorn Illustrations by

Patrick Crowley

PAGE 58 • GW

ORIANTHI Sacred Fire: Live in South America Santana (1993) “There’s just so much wonderful soloing throughout that entire concert—really inspired soloing—and that inspired me to want to play electric guitar. I had been playing since I was six, but I was studying classical guitar and just strumming at that point. When I was around 11, my dad took me to see Santana live, and then I got Sacred Fire, and everything changed for me. My dad is actually an amazing guitarist, and he always had an incredible record collection, which is how I discovered things like Jimi Hendrix and Santana. I’ll always be grateful for that. “Everything about that album and the concert, which I had on video tape, changed my life. The band was amazing; the energy of the crowd was incredible. It’s just a really special performance. I actually wore out the video from pausing it so many times because I was trying to learn all of his solos.”

p h oto g r a p h e r t k t k t k

JINXX of BLACK VEIL BRIDES Tribute — Ozzy Osbourne (1987) “I may be too young to have experienced the immediate crushing blow that the Blizzard of Ozz laid on the heavy metal climate of 1980, so the first time that I heard the earth-shattering riff of ‘Crazy Train’ was a live version from Tribute, released five years after Randy Rhoads’ tragic and untimely death. “MTV was prevalent in the house I grew up in, and my older brother Travis’ extensive heavy metal cassette collection would remain the basis for my rock and roll education for oncoming years. It was during this time I was introduced to—and relentlessly exposed to—Guns N’ Roses’ Appetite for Destruction, Mötley Crüe’s Shout at the Devil, Metallica’s …And Justice for All, et cetera. But it was Tribute that made me want to pick up the guitar and inevitably, what chiseled my fate in stone. “I was four years old, learning on my brother’s black Chiquita travel guitar, which was perfect for my little fingers, and using a little Peavey Decade amp, which I still have. I wouldn’t stop until I had that classic, crunching Bach-inspired ‘Crazy Train’ riff down. From there, I went on to tracks like ‘Goodbye to Romance’ and the studio outtakes of ‘Dee.’ I was in awe at how Randy didn’t just strum basic chords like everyone else; it was like he was playing the piano on his guitar. His performances and improvisations on Tribute are a true testament to the virtuoso that he was and will sound thunderous echoes through the halls of metal for all young promising guitarists of future generations to come.”


SEAN ONO LENNON

of THE GHOST OF A SABER TOOTH TIGER The Inner Mounting Flame The Mahavishnu Orchestra with John McLaughlin (1971)

of DOWN

The Wall Pink Floyd (1979) “That album was a paradigm shift for me. Back then, in the early Eighties, I was mostly into punk rock, like the Ramones, and I dabbled in a little Robin Trower and Black Sabbath here and there, but The Wall just shifted everything for me. I saw the Wall movie in ’82, before I really knew the record, and it was so overwhelming on the senses that it started getting me into the songwriting aspect of music and not just the one-dimensional rock and roll that I was into at the time. Everything that Pink Floyd encompassed on The Wall—the sounds, the textures, the storyline—changed everything I thought I knew. “I started playing acoustic guitar after that, learning different types of things and not just beating the E chord to death like I had been. It amazed me that it was Pink Floyd’s 11th album and that they could still be that prolific after all that time. It was very inspiring to me.”

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DAVE DAVIDSON of REVOCATION Warp Zone Martyr (2000) “As a kid I had an insatiable urge to discover new death metal and thrash metal bands. I would read interviews, scour thank-you lists inside albums and peruse online forums in search of the holy grail. The further I went down the rabbit hole, the more and more bands I discovered, some of them great, others not so much. “I was on MySpace and stumbled across a band called Martyr, and when I checked out their stuff, I was in awe. The level of musicianship floored me, and the more I listened, the more I appreciated their compositional skills. Dan Mongrain [Martyr’s main songwriter and lead guitarist/vocalist] is one of the best guitarists playing extreme metal. After I bought the record, I picked up the tab book for Warp Zone [the group’s 2000 album]. Learning the riffs and solos really opened up my mind to completely new possibilities in the realm of death metal. If Stravinsky composed for a death metal band and then had Allan Holdsworth solo over it, that’s what it would sound like. Learning those tunes totally kicked my ass, but they also inspired me to push myself as a player. “Over the years, I’ve had the pleasure of seeing Martyr live and sharing the stage with them in my own band. They’re currently on hiatus, but I’m keeping my fingers crossed that they’ll reunite.”

K E E N A N : J i m m y H u b b a r d ; L enn o n : J i m m y H u b b a r d

PEPPER KEENAN

“I was about 15 or 16 when I first discovered The Inner Mounting Flame, and it really did change my life. I’d gotten into John McLaughlin through his work on Miles Davis’ album Bitches Brew. There’s even that track on there called ‘John McLaughlin.’ I’d never really been interested in be-bop, but free jazz just blew my mind, particularly things like Miles Davis’ Live Evil album, and of course John McLaughlin. “The Inner Mounting Flame really showed me how total freeform creativity could be applied to the electric guitar. And I prefer Inner Mounting Flame to later albums like Birds of Fire or the George Martin stuff like Apocalypse, because Inner Mounting Flame is less produced. You can really hear Billy Cobham and Jan Hammer’s contributions. So there’s that real purity there.”

CAMERON LIDDELL of Asking Alexandria

Iowa — Slipknot (2001)

BEN BRUCE of Asking Alexandria

A d a m G a s s o n / Tota l G u i ta r Maga z i n e / G E T T Y IM A G ES

Metallica — Metallica (1991)

“This was the album that turned me on to heavy music. I grew up listening to a lot of blues stuff, and then pop-punk, like Blink-182. The first time I heard Metallica was during art class in school when I was around 12 years old. Our art teacher was really cool and he’d let people bring in CDs for everyone to listen to. My friend brought in Metallica’s Master of Puppets. I wasn’t really familiar with them, but I remember hearing it in the background when I was painting pictures of skateboarders or whatever, and thinking it was really cool. So I waited until the weekend when I could get my pocket money. I went straight to the CD store to buy a Metallica record. But there were, like, a million of them, and at the time I didn’t know which Metallica album we were listening to in art class. So I just picked the one with the black cover. “I took it home and went into my bedroom, and I did that thing where you go through and listen to the first few seconds of every track just to get a feel for it. When that guitar riff from ‘Through the Never’ came on, I remember turning into this little bitch of a kid and jumping up and down on my bed. It was the same feeling as when Christmas was coming around and I knew I’d be getting presents. “And since then, the Black Album hasn’t left my CD player. It’s a staple, go-to album. It’s so simple and effective. that point I’d already been playing guitar for about a year—lots of ‘Smoke on the Water,’ Nirvana, Papa Roach and Blink-182…just all those cool, nice easy riffs. But when I heard the Black Album it was game over!”

“I first heard it when I was around 12. The first show I ever went to was the Leeds Festival, which was, like, 20 minutes from where I grew up in England. I got the record six months prior to the show. When I saw Slipknot perform, it completely changed my life. It was in 2002, right around the time they released the DVD Disasterpieces. I wasn’t even playing guitar yet. I started when I was 14. But because of Iowa, I got super into Mick Thomson. He’s pretty much the reason I started playing guitar. I would play along a lot to the DVD. They had those shots where a camera was on the headstock of the different guitars, and I would play along to a lot of songs, like ‘People=Shit,’ which is one of my favorite tunes on Iowa. I didn’t have a seven-string, so I would just detune on a six. “I’m a lefty, so back when I was a kid, it was hard for me to get a guitar that I actually wanted. Eventually, I managed to get a B.C. Rich Warlock, which is what Mick used back then. My parents bought one for me when I was 16, and I was super stoked. I actually met Mick once, a few years ago on the Mayhem fest. It was Slipknot, Slayer and Motörhead, and we got to open for all those guys on the main stage. I met Mick at one of the afterparties. I was really drunk, but I was still nervous to meet him! That tour for me was a dream come true. We still listen to Iowa all the time. We have this thing we call Power Hour, which is an hour before we go onstage when we’ll all take a shot and listen to super-heavy music to get into the mood. More often than not, it’s Iowa.” guitarworld.com

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JOHN PETRUCCI of DREAM THEATER 2112

“If I had to pick a favorite band of all time, it would be Rush. As a teenager, I was already familiar with the group and its albums like Moving Pictures and Signals. But once I discovered 2112, it opened me up to this whole concept that rock music could be bigger than just a tune—that it could be used as a vehicle to tell a story or to transport you to some other world. The idea of a big piece like that being broken down into numbered sections like they were chapters in a book was just unbelievable to me, and it’s a technique that I continue to use to this day. “I have so much respect for [Rush drummer] Neil Peart, especially as a lyricist. And 2112 was the first time I heard something where, lyrically, it didn’t have to just be about the typical rock and roll topics, that it could be about something more heady or esoteric, something that makes you think. That really influenced me as a lyricist. “I was also blown away by how a three-piece band could sound so majestic and huge and play in a style that’s inherently rock and roll yet still pushes the boundaries of what they’re doing musically—this idea of being experimental, using different time signatures and not really being concerned about song length and traditional constraints. I can’t tell you how huge of an impact that had on me. 2112 basically set the course for my musical career and how I approached Dream Theater.”

Myles Kennedy

of Alter Bridge/Slash featuring Myles Kennedy and the Conspirators Grace — Jeff Buckley (1994) “When I heard Jeff Buckley’s Grace for the first time back in 1994 it was a complete sonic revelation. Both ethereal and haunting, this record was a major guidepost in my musical journey. “Most people equate Jeff with his vocal prowess, which was stunning to say the least, but his guitar playing was equally as compelling. He was able to take a wide variety of musical influences and combine them into something that was very much his own. He appeared to be fearless when it came to breaking new ground as an artist. He made it sound effortless. “From the intro of ‘Mojo Pin’ to the final decrescendo of ‘Dream Brother,’ Grace stands out as one of the most important records of the last 20 years. It will forever define Jeff’s legacy.”

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P E T R U C C I : R o b M o n k / To ta l G uita r M a g a z i n e v i a G ett y I m a ge s ; K E NN E DY: T h e o Wa rg o/ W ire I m a ge / gett y im a ge s

Rush (1976)

BUZZ OSBORNE of THE MELVINS The Who Sell Out The Who (1967)

Josh McClorey of THe STRYPES

My Aim Is True

M C C LO R E Y: A N D R E W S T U A R T; O S B O R N E : R ob M on k / Total G u i tar M aga z i ne v i a G etty Images ; A M OT T: J i mmy H ubbard

Elvis Costello (1977) “I chose this record not so much for the guitar playing—well, a little bit for the guitar playing— but just for the songwriting, and how you can really write punk rock and roll tunes while still being intelligent about it. Costello just hit me like a ton of bricks when I got into him. His lyrics blew my mind when I first heard them. And that record is so great because it’s so raw; it’s like a real snapshot of where he was at the time. There’s not a bad tune on there, not even a mediocre one. They’re very catchy tunes, but very punky and just really angry, but also with really intelligent lyrics. “My Aim Is True was a huge influence on our first record. We all really love rhythm and blues and the immediacy of it—that sort of ballsy thing—but I also really love melodies; I’m a huge fan of Scott Walker and all those big-sounding Sixties records with beautiful melodies. Costello seemed to just get it right in the middle.”

“The band that changed my life was the Who. It’s hard to pick just one album, but if I had to pick the one that really showed me how things could be done, it’s The Who Sell Out. They really went to town on that, doing something that no one had ever done before. “That album has the song ‘I Can See for Miles,’ which really put the hooks in me. The Who Sell Out is still weird now! Nobody does anything that cool today. It’s great and goes all over the map, musically speaking. And I don’t even think it was a big hit back then, unfortunately. “I remember talking to the guitar player in the Stooges, Ron Asheton, about what bands he liked as a kid, and he said one of the main things for him was seeing the Who open for Herman’s Hermits in the mid Sixties when they destroyed all their gear. In order to be that weird now to middle America, I don’t know what you’d have to do. The Who really opened my eyes, and I’ve continued to love their stuff ever since.”

MICHAEL AMOTT of ARCH ENEMY

Never Mind the Bollocks, Here’s the Sex Pistols The Sex Pistols (1977) “I grew up with my parents’ record collection, and they listened largely to classical, along with some jazz, blues, Motown, Stevie Wonder and David Bowie. I had a good foundation. When I first found my own music, it was Kiss. They were massive in Scandinavia. I wasn’t playing guitar yet, but I loved their music and image—especially Destroyer and ‘Detroit Rock City,’ with the harmonized guitar. Later, when I was about 11 and had started playing music, my friend came over one day after school and said, ‘Mike, we’re gonna be punks now.’ And I was like, ‘Okay! What’s that?’ He showed me a magazine with a picture of the Sex Pistols and played me their first album, Never Mind the Bollocks, on cassette tape. I loved it! And we started a band that day.”

guitarworld.com

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MICHAEL SWEET of STRYPER

Van Halen Van Halen (1978)

“When I was young, I discovered punk rock, and through my early adolescence the music on my turntable and Walkman rarely ventured outside the seething universe of punk, hardcore or classic rock. I liked loud guitars, angry emotional singers and high-energy music. “However, after several years of a steady punk diet, I grew hungry for something new. In 1997, I had left my hometown to go to art school. I had become increasingly dissatisfied with the state of pop music, and I wasn’t inspired by the majority of the underground music of the late Nineties. I needed to hear something fresh, a record that didn’t need a style or genre watermark to define it. A friend of mine who was mutually interested in electronic music asked if I’d heard OK Computer. I was a fan of Radiohead’s earlier records, but I’d written them off as either ‘too popular’ or ‘too cool,’ which were ridiculous critiques in retrospect. But I decided to give this new record a listen. “I can recall the smallest details of the moment I heard OK Computer: the forsaken hoarder’s nest of a Toyota Land Cruiser I was riding in, the acrid odor of chain-smoked cigarettes, the grey pallor of a typical New England autumn afternoon. Hook. Line. Sinker. I drank this Kool-Aid in deep drafts. “How to be progressive without being prog-rock? How to harness millennial disillusionment, melancholy and psychedelia in a convincing way, without imitating Dark Side of the Moon? How to approach frustrated, disenchanted and detached themes and lyrics with the conviction, artistry and insight I had been missing? More simply: how to keep the idea of guitar-based rock interesting? These were my questions, and I felt like this record provided many of the answers. “Here were wonderfully composed guitars that ran the gamut from the serene and delicate orchestrations on ‘Let Down’ to the agitated and angular bursts of ‘Paranoid Android’ to the dense and heavy bass lines of ‘Exit Music.’ Here was top-notch musicianship, indignant innovation, pop song structures blended with punk rhythms and avant-garde noise tendencies. OK Computer was the sound of free expression within the confines and parameters of a rock band, but it also seemed to leave plenty of open road on which to explore further. It’s a shame to think that at one point I considered this a guilty pleasure. It’s a humbling listen, and like any hallmark of music history it has come to mean more to me than the simple sum of its parts. It is human expression laid to tape. For the musician, the artist, the layperson and the dissenter alike, this record can offer a glimpse of something new.”

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B A I Z L E Y: J I M M Y H U B B A R D ; S W E E T: TAY LO R H I L L / G E T T Y I M A G E S

JOHN BAIZLEY of BARONESS OK Computer — Radiohead (1997)

“When I heard the first Van Halen album, I immediately thought, What the hell is this? I was not only inspired by the guitar virtuosity of Eddie Van Halen but, equally as important, by the songs and the energy of the band. David Lee Roth was and will forever be one of the greatest frontmen to grace the stage. “That record exploded at a volatile time in music and will always be remembered as an album that rewrote music history. I’m proud to say that it was a huge part of my musical education, and it really helped to shape me as an artist and a musician. I recall practicing a little harder and a little more often after hearing Van Halen for the first time. And to this day, Eddie is one of my biggest influences. I really started experimenting more and more with guitar tone and trying new things to improve mine. “Not too many bands or albums come along that have the impact that Van Halen had, and I’m grateful to have been there through it all.”

StudioLive AI speakers are available in three full range sizes and a matching 18-inch subwoofer. ©2014, PreSonus Audio Electronics, All Rights Reserved. Sceptre, CoActual and StudioLive are trademarks of PreSonus Audio Electronics. Temporal EQ is a trademark of Fulcrum Acoustic.

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BEN WEINMAN OF THE DILLINGER ESCAPE PLAN Apocalypse

The Mahavishnu Orchestra (1974)

LEE McKINNEY OF BORN OF OSIRIS Cowboys from Hell — Pantera (1990) “My dad turned me on to all the metal I listened to when I was younger. We’d listen to a lot of Randy Rhoads and Ozzy Osbourne. But when he played Pantera’s Cowboys from Hell for me, that was what really made me want to play metal and be in a band. That Pantera record changed everything for me. I was probably 12 when I first heard it, which was about 10 years after the record came out, and I would look up all their videos online. I remember the ‘Primal Concrete Sledge’ video in particular. It was live, and so crazy. Pantera had that clicky kick drum and rhythmic chugging, and of course Dimebag Darrell’s lead work. The groove behind Cowboys from Hell was a different take on the other stuff I was listening to at that time, and it really drew me in. “Unfortunately I never got to see Pantera live, which is a major bummer. But traveling on the Mayhem festival, I’ve met a lot of people that were close to Dime, like Rita [Haney, Dimebag’s longtime girlfriend]. It’s cool to hear all the stories about him. He seemed like such an awesome guy. To this day, I still listen to Pantera. We tour a lot with another band from our label, Sumerian, called After the Burial. When we get with them, it always turns into a Pantera listening party, and Cowboys from Hell is always in the mix.”

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W E I N M A N : J I M M Y H U B B A R D ; M C K I N N E Y: N AT E K AT S I A F I C A S

“This record helped shaped my career and made me interested in guitar at another level. It was a huge part of what led me to make Dillinger, along with a lot of other punk and metal stuff, obviously. I was working at a local record store, and whenever promos or records came in that were kind of weird, the other guys were always like, ‘Give it to Ben.’ Apocalypse was one of those records. “I was already playing guitar, but I hadn’t gotten into fusion yet. I came up listening to blues and learning Eric Clapton and Stevie Ray Vaughan licks. Then I got into heavy death-metal stuff, which introduced me to more technical guitar playing. But it wasn’t long before all that stuff started to sound formulaic to me. “When I came across Apocalypse, a whole new world of fusion opened up to me, and I got into Miles Davis and King Crimson. That record spoke to me because it wasn’t really a fusion record; it was more like a progressive-rock record. I think jazz purists may criticize that one because it was a little more experimental. It incorporated a lot more rock elements and more orchestration. Apocalypse was produced by George Martin, who obviously worked a great deal with the Beatles, and his stamp was definitely on that record. “I’ve always felt that that record was like a rock-fusion Peter and the Wolf. It was so unhinged, but at the same time you can visualize every part of it. It was like a soundtrack in that way. Every instrument had its own personality and dynamic. That record was the perfect combination of premeditation, with orchestrated elements and jazzimprov going on at the same time. And that’s what I’ve always tried to do with Dillinger is have this combination of premeditated ideas and cleverness mixed with the pure unpredictable emotional energy of jamming in the room and making sure you can feel something.”

THE LEGEND RETURNS ABSARA AUDIO, NEW YORK

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ACE FREHLEY

KIRK HAMMETT

Are You Experienced?

OF METALLICA

Jimi Hendrix ((1967)

“I was 15 years old and a friend of mine brought it over to my house insisting that I had to hear it. My parents had a very loud stereo system. My friends would come over and we would just blast it up to what we thought was concert level. Boy, was I naïve! The first track my friend played was ‘Mother Mary,’ and I thought, Wow, these guys are just as heavy as Thin Lizzy, Aerosmith, Montrose and all the other hard rock stuff that I was listening to before I got into heavy metal. “When it got to the guitar solo, I was just blown away by Michael Schenker’s tone, phrasing and technique. By the time the second solo came on with what was just the fastest descending lick I’d heard up to that point in my life, I was totally hooked! I immediately grabbed the album cover and saw the picture of Schenker playing a Flying V. From that point on, I knew there was an entire rock vocabulary out there that was not just based on pentatonic scales, and I set out to learn as many Schenker solos as possible while trying to write heavy riffs just like UFO. I also wanted a Flying V so bad! “I really learned a lot about solo structure, phrasing and melody, as well as playing for the song from that record. I was amazed how UFO could be so heavy and so melodic in the course of one song. I think the band I was in at the time added two UFO songs to our set later on that week. “For me the standout tracks on Force It are ‘Mother Mary,’ ‘Shoot Shoot,’ ‘This Kid’s,’ ‘Out on the Street’ and ‘Let It Roll.’ Every time I pick up the guitar, I think a lick or two from that album squeaks out of my improvisation.”

JAKE PITTS

OF BLACK VEIL BRIDES Metallica Metallica (1991) 68


“Metallica’s Black Album changed the way I looked at the guitar and what my goals were going to become in life. I was around 13 years old and had gotten this new cool toy for my birthday called the Rhythm Bandit. It was a little device you would hook up to your CD player and flip a switch that was supposed to isolate the rhythm guitar. I remember sitting in the living room of our little house in Boise, Idaho, for hours and hours, learning every song on the Black Album with the help of the Rhythm Bandit. “I actually went to one of my guitar lessons and said I wanted my guitar to sound like Metallica, but I wasn’t talking about my playing—I was talking about tone. I don’t know anyone who understands tone at that age, as most kids just want to crank the gain to 10, but I’ve always had a good ear for sound. I never would have thought back when I was sitting on my living room floor learning those songs that I would be doing one of my albums with the legendary Bob Rock himself.”

“I was about 16 when I first heard it. I lived with that album until someone ripped it off at a party. Of course, I went right out and bought another one. My guitar style was modeled after a lot of musicians, and Hendrix was definitely one of them. But even more than the music, what really influenced me was his attitude: the way he dressed, the way he looked. He was so antiestablishment, and nobody wrote music like him. I loved ‘Are You Experienced’ and ‘Purple Haze.’ He wrote about LSD, he wrote about sex and drugs and rock and roll and what was going on at the time. It was all about rebellion. He was so radical and ahead of his time that it swallowed him up. “I got a chance to meet him when I was 18. I snuck backstage at his last New York appearance at Randall’s Island and they ended up putting me to work with the road crew. Back then, they didn’t have laminates or heads of security, and if you looked like you belonged with the band, they let you go backstage. I had hair down to my waist, lemon-yellow hot pants and a black T-shirt with a snakeskin star on it, so they let me in. But after a while, they were like, ‘Who is this fuckin’ guy?’ But before they kicked me out, they said, ‘Can you do anything?’ and they put me to work setting up Mitch Mitchell’s drums and working on the stage when Jimi was playing. It was bizarre.” H A M M E T T: J I M M Y H U B B A R D ; F R E H L E Y: J I M M Y H U B B A R D

Force It — UFO (1975)


KENNY WAYNE SHEPHERD Hard Again

TOMMY THAYER OF KISS Montrose — Montrose (1973) “I came of age in the early to mid Seventies, and in that era, the most influential album to me was the first Montrose record. I still remember the first time I heard it. It was actually at a party at my house. I had these older brothers and sisters, and we would have these huge parties when my parents were out of town. We’d have kegs and hundreds of people there. So this guy brought the first Montrose record out and put it on. When I heard ‘Rock the Nation’ into ‘Bad Motor Scooter,’ I was like, ‘Oh, my god. I love this!’ It was so powerful. People that grew up in the Sixties might scoff at that and say it’s derivative or second generation…and it is. But I was 13 years old when I heard it, and it blew me away. There’s no doubt that Ronnie Montrose was one of the quintessential hard rock–blues guitarists of all time.”

GEORGE THOROGOOD OF GEORGE THOROGOOD AND THE DESTROYERS

12 X 5 and The Rolling Stones, Now! — The Rolling Stones (1964 & 1965) 70


“These are the first two Rolling Stones albums I got, and I bought them both on the same day. I listened to those albums over and over again. At that time, the Beatles and Bob Dylan were the big things, but they both wrote their own songs. The Rolling Stones were on the eve of coming out with ‘(I Can’t Get No) Satisfaction’ and some great originals, but at the time they were doing very obscure blues covers. I listened to these two albums and thought, There’s a chance for a guy like me. “I knew I’d never be able to write something like [the Beatles’] ‘Day Tripper,’ ‘Yesterday’ or ‘Strawberry Fields Forever.’ And I’d never be able to play the guitar like Jimi Hendrix or do what Dylan’s done. But when I heard the Stones do ‘Little Red Rooster’ and Howlin’ Wolf, Chuck Berry and Bo Diddley I thought, This is what I can do. So I did it the best that I could. And that was that.”

“Hard Again is not just one of the greatest blues albums of all time, it’s one of the greatest albums of all time. It came out the year I was born, 1977, on Blue Sky Records. Johnny Winter produced and played guitar on it. It’s packed with great blues musicians: James Cotton on harmonica, Pinetop Perkins on piano, Willie ‘Big Eyes’ Smith on drums and ‘Steady Rollin’ ’ Bob Margolin on guitar as well. When I was three years old, my dad took me to see Muddy Waters and John Lee Hooker. That was my first concert and my introduction to the blues. So even though I was young when I discovered Hard Again, I was already a fan. “My dad was a DJ who did the morning show at a local radio station when I was growing up. I would drive into work with him in the morning and hang out until it was time for me to go to school. Then another DJ who had the overnight shift would take my dad’s car and drive me to school…only we would pull around the corner—I was 13 years old at the time—and the guy would jump out of the driver’s seat and we would switch places. He would let me drive my dad’s car to school. And the first thing I would do is put on this Muddy Waters album and crank it up, man. Every single day, on the way to middle school. “That album changed me in a lot of ways. It has a lot to do with my interest in blues music. But also I decided that, if I was gonna sing, I wanted to sound like Muddy Waters. But I couldn’t do it when I was young. That’s one reason why I shied away from singing for so long and just focused on the guitar. So that album definitely changed my life, because for as long as I can remember listening to it, it’s been my favorite album and it’s made me want to play the blues. It inspires me every time I listen to it. It makes me want to run and pick up a guitar and start playing.”

T H AY E R : K R I S T I A N D O W L I N G / G E T T Y I M A G E S ; T H O R O G O O D : M I C H A E L T U L L B E R G / G E T T Y I M A G E S ; S H E O H E R D : M I C H A E L KO VA C / W I R E I M A G E / G E T T Y I M A G E S

Muddy Waters (1977)

WWW.VOXAMPS.COM


MISHA MANSOOR OF PERIPHERY

Metropolis Pt. 2: Scenes from a Memory

“This is the album that got me into progressive music and made me think differently about guitar. It’s the most formative album for me in deciding I was going to be a musician and take guitar seriously. Before hearing Scenes from a Memory, I was mostly a drummer. I was probably 15 or 16 when my friend from high school played it for me. I had heard the name Dream Theater before, but I didn’t pay attention because sometimes the word prog gets a bad rap, so I kinda wrote them off. But my friend lent me the album along with their DVD, Metropolis 2000: Scenes from New York, where they play the album live. The combination of hearing the record and also seeing that they could actually play that stuff live was amazing. They nail it. I didn’t even know it was possible, and it rocked my world. “Before that, I played guitar a little bit, but it was mostly about playing drop-D power chords. Nothing serious. But the possibilities of what music could be expanded so much after I heard Scenes from a Memory. It was a mind fuck. I stopped playing drums and took guitar seriously. I sat down and learned as much of the solos and riffs on that album as I could. That’s how I started developing my chops. “The beauty of John Petrucci is that he’s the whole package. Shredders are a dime a dozen, but this guy writes some of the sickest riffs and best songs ever. I wanted to emulate him and absorb as much of his music as possible. I didn’t even want to be original. Dude, I wanted to straight up be John Petrucci! Scenes from a Memory was my introduction to Dream Theater, and it’s still my favorite record by them. It has so much sentimental value for me because it had such a big impact on my guitar playing.”

JACKY VINCENT OF FALLING IN REVERSE

Surfing with the Alien —Joe Satriani (1987) “Surfing with the Alien inspired me to become a musician and want to learn guitar. My dad had the CD in his collection before I was even born. As a young kid I would pick it out and play it, and I have vivid memories of attempting to learn ‘Crushing Day,’ ‘Midnight,’ ‘Always with Me, Always with You,’ ‘Surfing with the Alien’ and ‘Satch Boogie.’ It meant so much to my development as a player because it was the album that introduced me to the guitar and songwriting techniques I use today. “Surfing with the Alien made it apparent to me early on that you didn’t even have to have a vocalist to create an incredible and enjoyable album. It’s safe to say I wouldn’t be the player I am now, or probably even be a musician at all, without this album being available to me when it was. The guitar tones, songs and soloing on the record remain some of my favorites to this day.”

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MANSOOR: JIMMY HUBBARD

Dream Theater (1999)

It left the factory perfect 46 years ago. Then it got better.

Willie Nelson’s beloved Martin N-20. To find a guitar you‘ll love to pieces, visit martinguitar.com.


ROBBY KRIEGER OF THE DOORS

Bringing It All Back Home Bob Dylan (1965)

Fireball — Deep Purple (1971) “My sister gave me Fireball for my eighth birthday, June 30, 1971, and that day my life forever changed. I knew immediately that I was going to be a guitarist for life and there would be no turning back. It’s like one minute I was a kid playing with cap guns, and then someone handed me a fuckin’ nuclear bomb! “I’d already started playing guitar. I had Hendrix and Clapton records in my house, and I liked the Beatles and the Monkees, but Deep Purple were it to me. When I heard Fireball, I didn’t have many albums to compare it to, and even if I did, it would’ve still kicked my ass to hell and back. There is amazing guitar playing on it. Hendrix is godlike to me, but for a kid who wants to play guitar, the early Ritchie Blackmore solos were more challenging to play. I worked on the guitar solo to ‘Demon’s Eye’ forever until I could play it. “There’s no question that Blackmore was a big part of my development. I learned how to play the blues from studying him. He has a unique sound and look, and there’s a cool mystique about him. There’s no one like him.”

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MIKAEL ÅKERFELDT OF OPETH

Moon Madness — Camel (1976) “I was in my twenties when I first heard it. I was working at a record store in Stockholm at the time, and one of my co-workers, who was in his early forties, suggested I check out Camel. I bought a couple of their albums on second-hand vinyl, including Moon Madness and The Snowgoose, and took them home on a lunch break. I was floored by Moon Madness and especially by Andy Latimer’s guitar playing. It was just what I’d been looking for. I had always leaned toward hard-rock players like Blackmore, but this was something new. It was so heartfelt and emotional, and every note felt like it served a purpose. “I was also amazed by the compositions, as well as the solos, and of course, Latimer’s guitar tone. One of the best guitar solos is in a song called ‘Lunar Sea.’ He really builds it to a splendid climax. That solo has highly influenced me. In fact, there’s a song on our album Ghost Reveries called ‘The Baying of the Hounds,’ and my solo on it definitely has Andy’s sound and his way of building up the drama.”

M A L S T E E N : E B E T R O B E R T S/ G E T T Y I M A G E S ; K R I E G E R : C H R I S WA LT E R S/ G E T T Y I M A G E S ; Å K E R F E L DT: J I M M Y H U B B A R D

YNGWIE MALMSTEEN

“This guy from Marblehead, Massachusetts, who I knew in school named Bill Phinity turned me onto Bob Dylan. We had a jug band called the Back Bay Chamberpot Terriers. This was the same time that Jerry Garcia, Bob Weir and Pigpen were playing in a jug band before they formed the Grateful Dead, but they were a lot better than us. Our only gig was for the Ladies Auxiliary. We played a bunch of Dave Van Ronk stuff. “I was 19 and attending [The University of California] Santa Barbara when Bringing It All Back Home came out. I was taking a lot of acid in those days, and everything Dylan said just really connected with me. There are a lot of great songs on that album— ‘Maggie’s Farm,’ ‘Mr. Tambourine Man,’ ‘It’s All Over Now, Baby Blue.’ ‘Subterranean Homesick Blues’ is one of my favorites. That was actually the first rap song as far as I’m concerned. Dylan used the words like notes. He didn’t really care what they said, just how they sounded. “I always liked the way that Dylan played guitar, although I never tried to copy the way he played. I was always amazed by how he could play guitar and sing or play harmonica at the same time. But the spirit of Dylan’s music has always stayed with me through everything I’ve done with the Doors and the Robby Krieger Band.”

700 Series

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(from left) Kurt Listug and Bob Taylor in Taylor Guitars’ early days; Taylor and Listug today and (at bottom) in 1985

T ay lor

Bob Taylor

Kurt Listug

F o r t y y e a r s a go , an d b u i l t t h e i r i d e a o f what an e xce lle n t aco us ti c gui tar s h o u l d b e . T o d a y , T a yl or Gui tars is the def initio n o f e x c e l l e n c e fo r p la yers everywhere.

I t wo uld be d i ff i c ult to imagine the universe of acoustic guitars without Taylor Guitars. The Southern California– based company, which celebrates its 40th anniversary this year, has taken its place among the great names in the acoustic guitar realm, forging a unique reputation for beautifully crafted instruments that offer balanced tonality, great playability and alluring looks. Prominent Taylor players include revered instrumentalists and global stars alike, including Leo Kottke, Prince, Lindsey Buckingham, Jason Mraz, John Petrucci, Tony Iommi and, fittingly, Taylor Swift. Headquartered in El Cajon, near San Diego, Taylor Guitars was cofounded four decades ago by Bob Taylor and Kurt Listug, a partnership that has proved to be highly complementary: Taylor brought his high level of design and manufacturing expertise to the brand, while Listug provided the business acumen to help make the company a leading force in the modern guitar industry. Recently, Taylor entered a

new phase of leadership with the addition of up-and-coming luthier Andy Powers, whose stellar work on the company’s recently redesigned 800 Series has garnered rave reviews. “We had a dream,” Listug says of Taylor Guitars’ origins. “We started with something we could build on and developed it from there.” Bob Taylor first began building guitars when he was in high school. He was still in his teens in 1973 when he met an equally youthful Kurt Listug. Both were working at American Dream, a guitar-making shop owned by Sam Radding. “American Dream was a little shop,” Listug recalls. “We did repair work, which is what kept money coming through the door, and we built some instruments, including banjos. Greg Deering worked there, and he went on to found Deering Banjos. And Sam had developed the peg-head shape that became the Taylor peg head. We started from there.” Listug, Taylor and a third partner bought American Dream

M a de by Alan di Perna

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from Radding in 1974, launching what the world would eventually come to know as Taylor Guitars. The making of acoustic guitars, as compared with electrics, has always been very much Opposite: a conservative field. It comes with a (clockwise from built-in attitude that acoustic guitar left) The 814 makers should be old-world craftsmen ce and 816 CE; laboring at a wooden workbench detail of an 814 ce neck; the cluttered with hand tools and pots ES 2 pickup of lacquer in the manner of Antonio Stradivari in the 18th century or Christian Frederick Martin Sr. in the 19th. From day one, Taylor went against that expectation. For a start, Bob Taylor has always built acoustic guitars with bolt-on necks rather than with the more traditional dovetail neck joint. “A lot of acoustic guitar builders take Martin guitars as their frame of reference,” Listug says. “They try to put their own spin on that and make their idea of the ultimate Martin guitar. But that’s not us at all. Bob didn’t even know what a Martin guitar was when he first started building. He just made a sound he was happy with. What he had in mind was a more balanced tone than other acoustic guitars. Some people describe that as a brighter tone. And really Bob’s whole mission since we’ve been in business has been to redesign the guitar to make it a more reliable, adjustable, robust instrument that would also be easier to manufacture.” In this regard, Bob Taylor is very much the Leo Fender of the acoustic guitar domain, an eminently pragmatic thinker able to utilize the resources of modern manufacturing technology to produce a more user-friendly instrument that would forge a unique sonic identity in the music of its time. By 1999, the company’s bolt-on neck designs had evolved into the Taylor NT (New Technology) neck, which allows (clockwise from lower left) Andy Powers at work; Bob Taylor and Powers

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for easier neck-angle adjustments than more traditional designs, while maximizing soundboard vibration for improved tonal response. Taylor was also a leader in the use of exotic African tone woods like sapele and ovangkol. “Somewhere around our 25th anniversary [in 1999], we made a quilted sapele guitar as an anniversary model,” Taylor recalls. “I found a load of sapele from a wood dealer in Europe and bought enough to make about 1,000 guitars as anniversary models. It turned out to be a really great tone wood, so we started ordering more. “And a few years later, as we were learning more about sapele and where it comes from, we also discovered ovangkol. We thought it would be a smart move to pioneer both of those woods and get them into the marketplace, because it relieved a lot of stress on supplies of traditional tone woods like mahogany and rosewood. And as both sapele and ovangkol are wonderfulsounding guitar woods, they’ve made a mark in the industry and have become standard, go-to woods. There are a lot of people who think ovangkol is one of the finest sounding woods there is.” Sustainability—safeguarding an adequate supply of premium wood for guitar building long into the future— is a key issue for Taylor. The company

even maintains its own ebony mill in Cameroon, Africa, with some 70 employees, and has revolutionized the use of variegated ebony across the musical instrument industry, all in the name of conservation. Earlier this year, the company was recognized by Secretary of State John Kerry for building a new model of responsible social forestry and thereby transforming the ebony trade. Taylor has been just as innovative and active in the field of acoustic guitar amplification. After early collaborations with Barcus Berry, L.R. Baggs and Fishman, Taylor went to a proprietary new design, the ES or Expression System, created by David Hosler and boasting a preamp designed in conjunction with the legendary Rupert Neve, whose recording consoles are coveted by world-class studios around the globe. The ES preamp in turn led to the development of Taylor’s line of semihollow electric guitars, which includes the T5 and new T5z. A new iteration, the ES2, further refines the concept by placing a piezo pickup behind the saddle to enable the capture of a more dynamic range of sound. Just as Bob Taylor has become somewhat obsessed with the issue of sustainable woods, he also began to think about the sustainability of the Taylor brand as

he approaches retirement age himself. He began to search for a collaborator/ protégé with whom he could work on present-day Taylor designs with a view toward the newcomer eventually taking charge of the Taylor legacy from a design perspective. “One day, I wrote a wish list down on paper,” Taylor recalls. “ ‘Dear God, I need one guitar maker, self-taught, who’s a pro player, willing to make a lifetime commitment and who understands the history of guitars.’ That last element is what I didn’t have. I listed all these things, down to, ‘Oh yeah, he has to be from the San Diego area.’ “And one day,” Taylor continues, “we were at the NAMM show in Anaheim. Jason Mraz was playing on our stage, and I got introduced to Andy Powers, who was playing guitar with Jason. Andy and I realized our paths had crossed once or twice in the past— how many guitar builders are there in San Diego?—but we didn’t really know each other. But as we got to know one another, I realized that he fulfilled all the qualifications that I’d written down. It’s been three years since he’s come to work for us, and it’s been wonderful. Plus, his middle name is Taylor. I didn’t even ask for that.” Powers’ first Taylor design was the Grand Orchestra for the compa-

ny’s high-end 800s Series. The goal was to replace the Series’ big-bodied jumbo model with a more versatile, less “boomy” adaptation of more traditional jumbo designs. Powers responded with an elegant body shape and innovative bracing system that has made the Grand Orchestra an exceptional instrument in every regard. The guitar, in turn, became the launching pad for a redesign of Taylor’s entire 800 Series. “Bob has such great abilities as a toolmaker and machinist,” Powers says. “He’s able to look at a thing and know how it could be built consistently well. And my real strength is knowing how to build a really good guitar. So it’s very enjoyable to work with Bob and say, ‘Here’s the design. Here’s how I want to make it. But I typically would do it with a chisel and a hand plane. How are we going to do this a thousand times over and have it be this precise every time?’ “It’s really rewarding to collaborate on that level, to create something like the new 800 Series and put it in the hands of thousands of musicians everywhere. Because this is largely a guitar that you would see coming off the bench of a really good luthier. We go back to using protein glue and a real delicate, very deliberate kind of bracing structure. Even the finish—to be able to do something that’s the thickness of a

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traditional French polish, and do it on a scale where it can remain within the it’s really means of a working musician—we’re really proud of that.” reward“I’m teaching Andy the economics ing to of guitar design,” Taylor adds. “Where create something the pitfalls are. And I play the wise old owl, because I’ve had a lot of beat downs like the over 40 years—things that didn’t work new 800 or that typecast me. I try to protect him series—a guitar you from things that could be a mistake would see in the marketplace. What Andy is quickly realizing is that he’s going to be coming making guitars for thousands of people off the around the world in different cultures bench of who all have an opinion about what a a really great guitar should be. And I’ve gotten good pretty good at knowing what people luthier.” will think—what will please everyone, ANDY POWERS from the beginner all the way up to the enthusiast and pro player.” The hard numbers bear that out. “We sold 130,000 guitars last year,” Listug says. “Taylor is one of the leaders in the acoustic guitar field. And now that we’ve redesigned the 800 Series and are offering some different tones, we’re starting to hear from people who haven’t previously been in our camp, saying, ‘This new guitar is fantastic! I love it.’” Adds Taylor, “The guitars have grown up. We’ve achieved great market penetration. The company has just really expanded and done well. We’ve got over 800 people employed at Taylor Guitars. Recently, we’ve had a sizable handful of people who’ve been able to retire with a good nest egg put aside. To me, that’s an important thing. It took 40 years to do all that, but it doesn’t seem like all that long in the end.” guitarworld.com

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JULY 2014

GUITAR WORLD

PLATINUM AWARD

the gear in review

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60th Anniversary Commemorative Stratocaster

Past, Present, Future

FENDER 60TH ANNIVERSARY AMERICAN VINTAGE 1954 STRATOCASTER, 60TH ANNIVERSARY COMMEMORATIVE STRATOCASTER AND AMERICAN DELUXE STRAT PLUS By Ch ris G ill IN SOME WAYS, the Fender Stratocaster has changed little since it was introduced 60 years ago in 1954, but in other ways it has changed quite a lot. Part of this is due to the staggering selection of Strat models that Fender has offered over the years (Fender. com currently lists 170 different versions). Some, like the 60th Anniversary American Vintage 1954 Stratocaster, are faithful reproductions of past models, while others, like the American Deluxe Strat Plus, offer bold new innovations that pave the way for an exciting future. Then there are models like the 60th Anniversary Commemorative Stratocaster, which combine vintage features that guitarists love with modern improvements.

FEATURES The 60th Anniversary American Vintage 1954 Stratocaster is based on Fender’s first version of the guitar. Like the original, it has a two-piece ash body with two-tone sunburst finish, a one-piece maple neck with 21 vintage-style frets and a 7 1/4-inch radius, three singlecoil pickups, a synchronized vintage tremolo bridge with six bent steel saddles (which are even stamped “Pat. Pending”), “mini-skirt” control knobs and a single-ply white plastic pickguard. The main significant difference between this model and an original vintage ’54 Strat is that this one ships with a five-position pickup selector, although a three-position switch is provided for purists. On the surface, the 60th Anniversary Commemorative Stratocaster looks similar to the ’54, but a closer look reveals several significant differences, including the neck’s compound radius and 22 medium-jumbo frets, gold-plated hardware, tuners with white pearloid buttons, and three-ply parchment pickguard with guitarworld.com

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cheat sheet

60th Anniversary American Vintage 1954 Stratocaster

American Deluxe Strat Plus

LIST PRICES 60th Anniversary Commemorative Stratocaster and American Deluxe Strat Plus, $2,099.99 (each); 60th Anniversary Vintage 1954 Stratocaster, $3,099.99 MANUFACTURER Fender Musical Instruments Corporation, fender.com The 60th Anniversary Vintage 1954 Stratocaster faithfully replicates numerous features of the original ’54 Strat. The 60th Anniversary Commemorative Stratocaster includes player-approved features like a compound radius and no-load tone control.

beveled edges. Underneath the hood are upgrades like a no-load tone control for the middle and bridge pickups, a two-point synchronized tremolo, a bi-flex truss rod with micro-tilt adjustment and a contoured heel. The American Deluxe Strat Plus also looks a lot like the original Stratocaster, but in many ways it’s a radical departure from the classic Strat that remains faithful to its roots. It shares several features in common with the previous example, including a compound radius and 22 medium jumbo frets. Where it differs, though, are in its noise-free N3 single-coil Strat pickups and plug-andplay modular Personality Cards, which provide instant access to different pickup and circuitry configurations. In addition to the standard configuration card loaded in the guitar, the American Deluxe Strat Plus ships with two additional cards: Cutter, which transforms the tone controls into master treble and master bass cut controls, and Blender, which turns the middle tone control into a master treble cut and the other tone control into a neck/bridge pickup blend control. (The neck and bridge pickups are also engaged in each pickup selector position except three, which engages only the middle pickup.) The Personality Cards are solderless and can easily be swapped out. PERFORMANCE A non-playing collector recently paid $250,000 for a 1954 Strat that allegedly was the first one produced. But aside from a magic number

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stamped inside the tremolo cavity plate, there’s not much difference between that guitar and the 60th Anniversary Vintage 1954 Stratocaster to justify the $247,000 difference in price. If you’ve ever played an original ’54 Strat, the 60th Anniversary model will feel and sound just like that familiar old friend. The neck profile may be a little chunkier than today’s sleek examples, but when it comes to classic Strat tone, this new version truly delivers. From a tone perspective, the 60th Anniversary Commemorative Stratocaster is a lot like the original ’54 Strat as well, with similar tones that every guitarist knows and loves. However, the feel of the neck is an entirely different matter, offering a comfortable C-shaped profile, medium jumbo frets and a compound radius that makes it significantly easier to play. The tremolo is also a little more refined and can handle deep dives much more competently and without going out of tune. The American Deluxe Strat Plus model’s Personality Card feature is a major game changer. The different cards install in just seconds and transform the guitar into an entirely different beast. The Blender, in particular, can significantly expand the Strat’s tonal spectrum. The locking tuners and noise-free N3 pickups respectively provide rock-solid tuning and studio-quality quiet performance, and the guitar’s overall tone is bolder, bigger and more aggressive.

The American Deluxe Strat Plus includes Fender’s acclaimed noise-free N3 single-coil pickups, which provide fat, assertive tone. The Personality Card feature of the American Deluxe Strat Plus allows guitarists to instantly change pickup and circuitry configurations. THE BOTTOM LINE Whether you’re a vintage purist, present-day practitioner, or modern visionary, these three new Fender Stratocaster models satisfy the needs of almost any guitarist and celebrate the Strat’s 60th anniversary in style.



It Won’t Hold You Back

GUITAR WORLD

GOLD AWARD P

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STERLING BY MUSIC MAN STEVE LUKATHER SIGNATURE “LUKE” LK100D By E ric Kirkla n d STEVE LUKATHER IS one of the most

prolific session guitarists of the past 30 years. In that time, he’s held gigs with Toto and Ringo Starr while contributing guitar work to more than 1,500 records. To date, Ernie Ball Music Man has produced three Luke Signature Series guitars for Lukather. The newest incarnation is the LK100D from Sterling By Music Man, created as a mid-priced offering based on the Ernie Ball Music Man LIII. While this is certainly an affordable guitar, its quality, unique tone and playability might make it the first choice for Luke buyers of all budget levels. FEATURES The LK100D is a handsome instrument, but as with any great guitar, its design achievements trump any aesthetic considerations. It features a basswood body, which delivers a deeper and less sparkling tone compared to the alder-bodied Ernie Ball LIII. It’s contoured across the top and neck heel in a way that prevents any part of it from cutting into the player’s forearm or wrist, and the long, thin horns act as resonance-enhancing tone forks while contributing to the guitar’s assertive looks. The floating Sterling bridge features a palm rest, and the bent-steel bridge saddles open the treble response to an almost Stratlike jangle. The guitar’s electronics are nearly identical to the LIII’s and feature directmounted DiMarzio Lukather Signature Transition humbuckers, a five-way switch,

CHEAT SHEET

LIST PRICE $1,243 MANUFACTURER Sterling by Music Man, sterlingbymusicman.com

Solos and overall drive are enhanced by a push/push volume pot that engages an active preamp which provides up 12db of clean signal boost.

a passive tone pot and a push/push volume knob with a nonadjustable active preamp to boost the signal to 12db. The bolt-on maple neck’s mild V shape is reminiscent of a neck from the Fifties that’s been played continuously for the past 60 years. It has a deeper V contour at the nut that tapers almost to a C shape at the 12th fret. Its narrow, palm-supporting carve makes perfect sense when you take note of Lukather’s tendency to play with his thumb well over the fretboard edge rather than pressed against the neck’s hill. A 12-inch radius across the rosewood board allows for multi-step bends, and the small headstock has the familiar 4/2 configuration of locking tuners. PERFORMANCE The LK100D’s clear and deep base tones provide a neutral foundation that works well with a range of amps. The DiMarzio Transition pickups really create the guitar’s voice, offering dense layers of overtones that become stronger as the gain is increased, making this guitar ideal for intense jazz fusion and shredders who don’t muddy their gain with lots of effects. Both pickups are well balanced, with the bridge pickup offering gobs of tonal fat and the neck pickup more capable as an articulate, clean-channel option. Metal players may also prefer the LK100D for how the basswood blends with high-gain rigs.

A soft, tapering V carve and narrow fretboard make the neck brilliantly comfortable for all styles of play, especially for guitarists with smaller hands.

THE BOTTOM LINE The Sterling by Music Man Steve Lukather “Luke” LK100D has a comfortable body and neck and an adaptable tone personality that will reward experienced and first-time ax-swingers alike.

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Guitar worLd

platinum award eX

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True Colors

Boss Ds-1X Distortion anD oD-1X overDrive By Ch ris G ill

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ince the late Seventies, thousands of guitarists have relied on a dependable pair of orange and yellow Boss stomp boxes known respectively as the DS-1 Distortion and OD-1 Overdrive. The DS-1 is so popular that Boss still manufactures it, a full 35 years after its introduction in 1979. The OD-1 was one of the three very first pedals to feature Boss’s compact design, though the pedal was replaced in 1985 with the OD-2 Turbo Overdrive. The new Boss DS-1X and OD-1X pedals are not reproductions of the original DS-1 and OD-1 but rather entirely new distortion and overdrive pedals that use modern technology to provide essential, everyday staple tones, just like their predecessors. These pedals have their own distinct sonic character, and with their low-noise performance, dynamic response and tonal versatility, they are significantly expanded versions of two of the most beloved compact pedals of all time.

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FEATURES Whereas the original DS-1 and OD-1 pedals had three control knobs, the DS-1X and OD-1X each have four: level, low, high and distortion (on the DS-1X) or drive (on the OD-1X). The control knobs and control plate boast a chrome-mirror finish, and the battery access screw is silver (just like on the earliest made-in-Japan Boss pedals) instead of black. Beyond these differences, both models have the standard features of every Boss compact pedal, including a durable cast-metal case, easy-access battery compartment, nonslip rubber rear and switch surfaces, silent FET switching, recessed knobs, nine-volt adaptor jack and an on/off LED that doubles as a battery-power indicator. Like the original DS-1 and OD-1 pedals, the DS-1X and OD-1X are orange and yellow, respectively, just deeper, darker shades of those colors.


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The new Boss DS-1X and OD-1X pedals are entirely new distortion and overdrive pedals that take advantage of modern technology.

Breedlove

DISCOVERY SERIES

PERFORMANCE The DS-1X and OD-1X may have the familiar appearance of Boss compact pedals, but their tones are comparable to what you might achieve with sophisticated amp modifications. Their assertive tonal personalities shine through no matter what guitar or amp you’re using. The OD-1X is much more aggressive than the typical modern overdrive/clean-boost pedal, veering into distortion, although the essence of the bypassed guitar/amp tone remains, even when the drive control is turned all the way up. The attack, bite and body of a guitar’s clean tone remains, but it’s perfectly blended with a rich, dynamic layer of grit that’s punchy and satisfyingly ballsy. Compared side by side with the DS-1X, it seems to have more midrange, but actually it’s primarily the guitar’s natural tone without the bass and treble emphasized as dramatically. The DS-1X is like an extra high-gain channel that delivers smooth sustain, harmonically complex crunch and outstanding note-to-note clarity. The pedal retains presence and a thick, dominant voice by retaining all of your guitar and amp’s natural midrange. The EQ controls boost bass and treble frequencies well beyond the range of most amps, but even at full settings the tone never gets muddy or shrill. When the distortion control is set between three and five o’clock, there’s a slight boost in treble as well as distortion, but the high control can tame the treble boost if you desire. Both pedals provide dead-quiet performance, even with all of the controls fully boosted. They also clean up when you turn down the guitar’s volume control and respond quite satisfyingly to playing dynamics.

CHEAT SHEET

Created for guitar newbies, Breedlove’s Discovery models feature solid Sitka spruce tops and sapele laminate back and sides. The guitars are available in dreadnought and concert sizes; each is available with no cutaway or electronics, or as CE models with a cutaway and Fishman ISYS-T electronics. Both the concert and dreadnought have many of the features found in higher-end Breedlove models, like a radiused fretboard, slimmer neck profile and pinless bridge, which helps maintain the integrity of the top by eliminating the need for six drilled string holes. LIST PRICES $399; CE models, $532 breedlovemusic.com

LIST PRICES DS-1X, $243.50; OD-1X, $243.50 MANUFACTURER Roland Corporation U.S., bossus.com Both pedals are modern versions of classic Boss distortion and overdrive pedals, but with their own distinctive tonal character and vastly improved performance. The DS-1X and OD-1X each feature low and high EQ controls that provide a wide range of useful, naturalsounding tones. THE BOTTOM LINE The DS-1X and OD-1X are incredible, modern improvements of Boss’s original distortion and overdrive pedals that should prove to be indispensible to guitarists, just as the originals were in the Seventies and Eighties.

D’Addario

NYXL ELECTRIC GUITAR STRINGS NYXL electric guitar strings are D’Addario’s strongest set of strings available and have been re-engineered from the ball end up to offer this level of increased stability. NYXL strings stay in tune 131 percent better than ordinary strings can bend farther. The reformulated nickel-plated steel alloy boosts amplitude in the 1 kHz–to–3.5 kHz range, modernizing overall tone without giving up the nickelplated steel feel guitarists love. With six percent more magnetic permeability, NXYL electric guitar strings offer higher output for more punch, crunch and bite. LIST PRICE $19.95 nyxlstory.com, daddario.com

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Black Box

Vox Night traiN Nt50h-g2 head By Ch ris G ill

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t’s been about five years since Vox introduced the 15-

watt Night Train amp head, a diminutive lunch-box-format mini amp that packs an impressive punch. Since then, Vox has expanded the Night Train line, most recently with its next-generation G2 Series, which includes the 50-watt Night Train NT50H-G2 head. An upgrade of the previous NT50H head, the Night Train NT50H-G2 is the most powerful, gig-worthy and versatile Vox Night Train amp to date, providing several new features like digital reverb, an XLR speaker-emulated DI jack and more performance-friendly functionality than its predecessor. FEATURES The Night Train NT50H-G2 is a 50-watt head driven by two EL34 (power amp) and three 12AX7 tubes (preamp). The amp provides two fully independent channels—Bright and Girth— each with its own set of gain, treble, middle and bass controls, while the Girth channel also includes a volume control. The thick switch now functions on both channels (not just the Bright channel as on its predecessors), and the master section includes reverb, tone cut and master volume controls. The rear panel offers a single 16-ohm and a pair of eight-ohm speaker output jacks, mono send and return jacks for the effect loop, a 1/4-inch footswitch jack for the optional Vox VFS2A footswitch and a new XLR speaker-emulated DI output.

cheat sheet

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LIST prICE $978.60 maNUfaCTUrEr Vox Amplification, voxamps.com


The thick switch functions on both channels, providing the Bright channel with added crunch and bite and the Girth channel with fat sustain and impressive gain boost.

The main differences between the Generation 2 and its previous incarnation include its glossy black finish (which replaces the previous flashy chrome-plated housing), digital reverb, XLR DI, thick switch for both channels, and the deletion of the tight and effect loop bypass switches. PERFORMANCE One of the most impressive features of the original mini Night Train amp was its stellar clean tone. The NT50HG2’s Bright channel delivers similarly excellent clean tones that feature the distinctive Vox chime and the original Night Train’s bite and satisfyingly full body, but with significantly more clean headroom and output. Overdrive crunch emerges when the gain control is above 12 o’clock, but the clean character remains even at full gain. The Girth channel produces ballsy high-gain distortion with a crisp, harmonically complex crushed-glass sparkle, and when the thick switch is engaged it goes into modern metal territory. The built-in digital reverb pairs quite nicely with both clean and high-gain distortion tones, sounding lush and deep on the former and providing a sense of space while retaining clarity on the latter. The thick switch is like a built-in overdrive pedal, providing a preset gain and midrange boost that expands the amp’s tonal palette and functions like additional channels.

Built-in digital reverb provides the Bright channel with lush, deep textures and the Girth channel with an added sense of space, while retaining clarity.

THE BoTTom LINE The Vox Night Train NT50H-G2 is a compact but versatile amp head that provides a wide variety of tones and impressive volume output that’s ideal for live gigs and the studio alike.

PURE RECTO + REVERB ®

Introducing the Recto®-Verb™ Twenty-Five, the new Reverb-enhanced Combo and Head version of our mighty Mini Rectiﬁer®. Designed and Hand-Crafted in Petaluma, CA. Shown: Optional Hot White Bronco Vinyl, Black Knobs with Black Jute Grille

Available formats: Head, 1x12 Combo & Rackmount

Featuring our Fillmore™ FM-75 Speaker Custom-Crafted here in the USA by Eminence®.

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SOUNDCHECK



GUITAR WORLD

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A Testament to Tradition

ESP LTD AS-1FM LB ALEX SKOLNICK SIGNATURE By E ric Kirkla n d

ALEX SKOLNICK IS among a few guitarists who have achieved

multigenre success and acclaim, first as a wild young gun with the iconic thrash metal band Testament, and then as a tasteful and technically impressive jazzbo with the Alex Skolnick Trio. In recent years, he has become something of a vintage guitar enthusiast. So when ESP approached him about building a signature guitar with his name on it, Skolnick was skeptical that a modern company could create a guitar capable of matching the refined sounds of aged classics. ESP met this lofty challenge and, after rigorous testing by the man himself, is now offering the Alex Skolnick signature model. I tested the budget-friendly AS-1FM LB, which differs in some details to the highend version but otherwise offers the same bold response, unblemished build quality and significant tonal versatility. FEATURES Make no mistake, the Skolnick signature plank is absolutely a modern-built vintage guitar. Forget about weightrelieving contours and thin necks—this is a thick guitar. Elements of ESP’s Eclipse model are evident in the styling, but its design otherwise harkens back to the roots of great guitar building, demonstrating why it’s so hard to beat the tonal matchup of a thick, single-cut mahogany body topped with flamed maple and married to a beefy but oh-so-

CHEAT SHEET

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LIST PRICE $1,356 MANUFACTURER The ESP Guitar Company, espguitars.com


The chunky 24 3/4–inchscale mahogany neck is deep but not wide in the hand, with enough mass to transfer rich blasts of volume and resonance into the loudringing mahogany body.

comfortable U-shaped mahogany neck. Contemporary performanceenhancing elements include a TonePros locking Tune-o-matic bridge and tailpiece, precise Grover tuners, Dunlop Straploks and extrajumbo frets. The Seymour Duncan SH-4 (bridge) and SH-1 (neck) humbuckers have dedicated volume knobs but share the master tone pot, which can be pulled to coil split the neck pickup. PERFORMANCE If handed the ESP Skolnick guitar while blindfolded, I might easily assume it to be a true vintage piece, not just for the Fiftiesstyle neck shape and overall weight but also because of its immediacy and loud acoustic response, which brings to my mind the last few chord blasts from the Who’s “Won’t Get Fooled Again.” It delivers equally powerful spikes in the low and high mids rather than the centered-midrange focus that makes so many all-mahogany guitars sound similar. This opens the top end beyond mahogany’s typically mellow range, making it highly capable of screaming treble harmonics, pick chirps and serious punch. Both Duncan pickups are well matched to Skolnick’s tone, offering enhanced lows and searing treble from the bridge bucker and clear but warm neutrality from the neck pickup. Single-coil tones from the tapped neck pickup are surprisingly snappy and sparkling, yet sound almost like a smooth semihollow when the tone is rolled off.

Pulling the tone pot taps the neck pickup into singlecoil mode, ideal for blues, classic rock and old-time jazz tonalities.

THE BOTTOM LINE Mirroring Alex Skolnick’s vast musical range and evolved taste, the economical ESP’s LTD AS-1FM LB signature guitar is a true multigenre instrument that’s capable of delivering world-class acoustic response, impressive volume and versatility.

Gibson Custom Shop Collector’s Choice #9 1959 Les Paul “Believer Burst” Serial # CC09A045, 8.76 lbs.

T

here’s a guitar that was built just for you—a one-of-a-kind combination of wood grain, weight, feel and tone; it’s your musical soulmate. At Private Reserve Guitars, we’ll help you compare these qualities from among our vast selection of instruments. In some ways, it’s as if we’re helping the right guitar choose you. Call our Guitar Advisors today: 866-926-1923 Monday–Friday, 8 a.m.–5 p.m. CST

www.privatereserveguitars.com

For videos of these reviews, go to GuitarWorld.com/July2014


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Buzz Bin

gUITAR wORLd

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A Different Kind of Tension

Audix Cab Grabber and i5 microphone

GrApH TECH rATIo TunEd MACHInE HEAds By Ch ris g ill

You’ve undoubtedlY noticed that some

strings, like the high E, require quite a few more turns of a tuning peg to reach the desired pitch while others, like the G, is so sensitive that even a small tuning adjustment can overshoot the pitch. In this age of high-gear-ratio precision tuners, most guitarists have accepted these differences as the norm without asking why. However, the good folks over at Graph Tech realized that there was a better way to tune up. This led to the development of the company’s Ratio Tuned Machine Heads, on which the ratio of each tuner is matched to the string’s core diameter and tension. FEATURES Graph Tech’s Ratio tuners are designed so that one complete turn of the tuner button equals one whole tone. Graph Tech accomplished this by providing each tuner with its own gear ratio. On the electric guitar set, the ratios are, low to high, 39:1, 24:1, 20:1, 35:1, 20:1 and 12:1. Essentially, this translates to finer tuning on strings with thicker cores and coarser tuning on strings with thinner cores. The ratios

cheat sheet

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STREET PRICES $99.99–$109.99 MANUFACTURER Graph Tech Guitar Labs, graphtech.com


for the acoustic set are identical, with the exception of a 14:1 ratio to accommodate the wound G used for most acoustic guitar string sets. The sets are available with various buttons and finishes, and in six-inline and 3+3 versions for electric guitars and offset-screw and twopin versions for acoustic guitars. Graph Tech is also offering locking versions. PERFORMANCE Ratio tuners provide a consistent feel for each string, and the “one turn/one tone” calibration of each tuner allows for predictable and precise tuning on all strings. This makes Ratio tuners ideal for guitarists who use open, down and alternate tunings, as they can change tunings quickly, on the fly. In addition, because their tuning response is based on strings’ core diameters, Ratio tuners have no problem with gauges such as light top/heavy bottom. Even if you’ve been tuning guitars for decades, you’ll become comfortable with Ratio tuners almost immediately and wonder why you’ve tolerated the imbalanced feel of standard tuners for so long.

THE BOTTOM LINE By providing a balanced feel across all six strings, Graph Tech’s Ratio Tuned Machine Heads make it exponentially easier to tune up quickly and accurately, without having to adjust your touch separately for each string.

Tone connoisseurs know that it can take a considerable amount of time to find the sweet spot when placing a microphone in front of a speaker. Even worse is having to repeat this process every time, but even the most careful placement won’t guarantee the same results in the recording studio, where a millimeter or two can make a big difference in tone. The Audix Cab Grabber is a springloaded mic clamp that solidly attaches to cabinets. It provides an elegant and low-cost solution for miking a guitar cabinet that also makes it easy to maintain or replicate mic placement every time. The standard-size version accommodates cabinets eight to 14 inches deep (ideal for most combos), and the XL version is designed for cabinets with a depth of 14 to 21 inches (perfect for large 4x12 cabs). The Cab Grabber’s 90-degree tubular arm rotates and locks in any position. With a standard mic clip (not included), it can hold a typical dynamic mic or a condenser mic weighing up to one pound. Audix also offers the Boom CG, which allows complete positional control and lets the Cabgrabber work with front-address mics. For that matter, the Cab Grabber pairs quite nicely with Audix’s new i5 dynamic microphone, which can handle up to 140dB without distortion and has a slight boost at 5kHz—ideal for capturing a guitar’s body and clarity. —Chris Gill LIST PRICES Standard, $65; XL, $75; Boom CG, $24.95; i5 mic, $150 MANUFACTURER Audix, audixusa.com

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Eventide and Harmonizer are registered trademarks of Eventide. All other trademarks are the property of their respective owners. ©2014 Eventide Inc.

COLUMNS

NEW COLUMN! for iPhone, iPad and Android! * optimized

By Marty Friedman

to each is own Finding your path to musical individuality

When it comes to evaluating a musician, individuality is the characteristic that I hold in highest regard. We all have our heroes and favorite players from whom we’ve learned a great deal through trying to emulate their playing styles. In rock, for example, most players list Jimi Hendrix, Jeff Beck and Jimmy Page as major influences, and in metal it’s not uncommon to hear the names Eddie Van Halen, Randy Rhoads, Zakk Wylde or Dimebag Darrell mentioned as primary influences. In that sense, many of us have learned from the same sources. The trick is to take those influences and push yourself in your own unique and distinct direction. Though it may be easier to learn other people’s solos— which is fine if that’s the goal you’re pursuing—I believe it’s much more rewarding to go out on a limb and take some musical chances, just to see what new and different sounds you can discover in the pursuit of forming a style that you can eventually call your own. For example, playing fast is not the be-all and end-all of anything. In fact, it’s utterly unimportant. But if you are like most guitar players, you’ll want to be able to play fast, because everyone wants to play fast. So to my mind, you might as well try to do it in a way that’s cool and different from everyone else. The first step to playing fast in a unique way is to find things that are easy for you to play. For this, I suggest using patterns rather than things that you hear on recordings or have found in a book or magazine. FIGURE 1 is a pattern built from four notes—D Cs Bf A—that is played between the B and G strings quickly, using hammerons and pull-offs, and can be thought of as something one might play over an A chord. Notice that the order of the notes is altered slightly as the lick progresses, which gives it its “unpredictable” sound. Just the fact that this phrase is not constructed from an identifiable repeated pattern makes it appealing to me right away. If we use this type of idea as a jumping off point, we can move it up the fretboard and change one of the notes in the pattern. FIGURE 2 is played in fifth position and can be thought of as working over a C chord, Am or even A7. The one twist I add here is

92

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FULL SHRED

gu i ta r wor l d • J u lY 2014

FIG. 11 FIGURE 1 FIGURE 1N.C.(A)

   1      3

32 32 232 32 32 32 232 32 32 232 32 FIGURE 1N.C.(A) 1 3 323 3 323 3 3 23 3 323 323 3 3 N.C.(A) 3 2 3 2 2 3 2 3 2 3 2 3 2 2 3 2 3 2 3 2 232 32 1 FIGURE 1 3

3 323 3 3 23 3 323 323 3 3 232 32 32 32 232 32 32 232 32 323 3 323 3 3 23 3 323 323 3 3 3 2 3 32 3 25 3 2 3 32 3 2 5 3 2 3 32 3 32 3 32 3 32 3 32 3 32 3 32 3 323 3 323 3 3 23 3 323 323 3 3 3 3 3 3 5 3 FIGURE 3 2 3 3 5 3 3 3 3

32 32 N.C.(A)

323

3

3 3 3 3 5 3 2 3 3 32 3 3 32 3 2 33 2 3 32 3 3 253 2 32 32 232 32 3 23 3 323 3 32 3 233233232323233232 3 2 3 32 3 32 35 2 3 32 2 23 3 323 3 32 5 3 3 3 3 2 8 5 6 8 5 6 5 6 5 6 5 6 6 5 6 5 5 3 3 3 3 5 6 5 6 5 2 8 5 8 5 6 63 5 6 3 6 3 6 5 5 3 2 8 5 6 8 5 6 5 6 5 6 5 6 6 5 6 5 3 5 6 35 8 35 8 35 6 35 6 6 5 6 6 6 5 3 3 3 3 FIGURE33

3 3  3 5 (6)  6 5 (6)  6 5 (6)

N.C.(C) 33 3 3 FIGURE 1 FIG. 3 N.C.(C) 363 5 36 5 3 FIGURE 1

3

6 6 6 3 6 3 3

1FIG. 3 FIGURE 3 2 3 5 2 3 25 635 6 635 6 5 655 1 3 6N.C.(C) 3 FIGURE 6N.C.(C) 1 FIGURE 25 6 5 6 6 5 6 5 6 5 6N.C.(C) 5 56 565 1 6 656 3 5 6 35 6 35 5 36 6 656 38 5 3 8 5 3 5 6 5 6 35 6 3 6 3 63 36 5 6 5 6 5 8 5 8 5 6 3 6 3 63 6 5 6 5 6 5 8 5 8 53 6 6 6 6 5 6 35 6 35 8 35 8 35 6 6 6 6 3 3 3 3

       3

N.C.(C)

3

3 3  3 (4) 6   3 (4)

3 3 3 85 85 3 6 3 6 5 36 65 85 85 6 65 6 656 65 85 85 6 65 6 656 3 65 8 35 8 35 6 65 6 656 3 3 3 5 6 5 6 5 5 6 6 36 5 3 3 5 6 5 6 5 5 6 6 6 53 5 6 5 3 6 53 5 6 6 6 5 3 5 6 35 6 35 5 6 6 6 5 3 3 3

6

3

65

3

36 5

3

3

5 5 5

           4 3  4 3

3

5

3 3 3 3 3 3 3  6 5 5 3 2 8 7 4 3 3 4 3 6 5   N.C.(C) 6 4 3 2 3 6 5 6 5 5 3 2 1  6 5 8 7 4 3 3 4 3   6 5 36 5 6 5 3 2 6 4 3 32 3 3 6 8 7 4 3 3 3 4 3 4 3 (4) 6 5 5 (6) 3  6 4 3 32 3 6 5 3 2 3 3 6 8 7 4 3 3 3 4 3 4 3 (4) 6 5 6 5 6 5 6 5 5 6 5 6 5 8 5 8 5 5 6 5 6 5 5 3 5 6 6 6 4 3 32 63 6 5 6 5 6 6 5 6 5 36 65 6 656 6 63 6 6 

N.C.(C) FIGURE 63 5 6 5 1

5

3

3

 



5

5 6

5

5 6

5

5 6

5 5 5

6 5

5

6 5

 

8

8 6 55 8 6 55 8 5





5

65 65 65 65 565 65 85 85 36 65 6 656 6 63 6 65 65 65 65 565 65 85 85 6 65 6 656 6 6 6 3 5 6 35 6 35 6 35 6 5 6 35 6 35 8 35 8 35 6 65 6 656 6 6 6 3 3 3 3 3 3 43 3 FIGURE C N.C.(Bm7) 3 3 3 3 3 3 3 3 FIGURE 4 710 8 9 C5 N.C.(Bm7) 3 3 3 3 3 3 3 FIGURE 4 710 10 7 10 7 3 9 9 710 8 9 C55 FIG. 49N.C.(Bm7) FIGURE 4710 5 10 7 10 7 74 3 5 3 710 8 9 9 9 9 C5 N.C.(Bm7) 710 10 7 10 7 5 9 9 9 74 3 3 710 8 9 5 5 7103 10 7 10 7 74 3 5 3 9 9 9 5 3 74 3 3 3

   

          

56565 5 3 6 65656 6 56565 5 6 6 65656 3 5 36 5 6 35 5 3 6 6 65656 3 3 3 3 3

3

3

5 5

5 5

3

3 11 11 11 11

65

8 8

65

8

8 65 65 3 8 3 8 65 65 3 8 3 8

 3  3    

3

3 3 3 3 6 868 76 76 9 9876 6 6 9 7 868 76 76 6 9 9876 6 868 76 76 9 7 9 9876 6 6 9 7 868 76 76 9 9876 6 9 7

3

to alternately change one of the notes on the B string from F to G. My penchant is to constantly change the order of the notes to create a random feeling and sound. In FIGURE 3, I elaborate on the idea of using F to E and Df to C by playing lines based on the C Phrygian-dominant mode (C Df E F G Af Bf). In FIGURE 4, I take a simple

idea based around a B7 arpeggio (B Ds Fs A) and add a few passing tones to make the phrase more interesting. It’s fine to copy other players just to learn about the guitar and to see how things tick. Ultimately, though, what’s most important is to find your own musical identity. Hopefully, these examples will help get you on your way.

MaRtY FRieDMan is a world-renowned American-born virtuoso guitarist living in Japan. His latest album is Inferno.

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THRASH COURSE By Dave Davidson of Revocation

PENTATONIC TWISTS

Varying and applying a common guitar scale in interesting, unusual ways The penTaTonic scale is the one scale that just about every rock, metal, blues, jazz and country guitar player is well familiar with. Its minor and major forms sound great and fall easily on the fretboard, earning them their prevalence in all popular guitar-driven music. One of my favorite things to do when writing riffs or soloing is to take a pentatonic form in one key and superimpose it over another. The result is often a sound that combines the familiarity of the melodic shapes and patterns with the ambiguity or unusual harmony created by this twist on the conventional approach to using pentatonic scales. FIGURE 1 is based on E minor pentatonic (E G A B D) played in 9th/10th position. As I ascend the scale in steady 16th notes, I switch from a four-note pattern, played on beat one, to four consecutive ascending five-note patterns that carry through to the end of the phrase (plus a repeat of the last three notes of the final five-note pattern). You can either alternate pick through this entire phrase (down, up, down, up, etc.) or use economy, or “rest-stroke,” picking, as I do. Economy picking involves using the same picking direction when crossing from one string to another. When moving from a lower string to a higher string, two consecutive downstrokes are employed. Conversely, when moving from a higher to a lower string, two consecutive upstrokes are used. A standard way to spice up a pentatonic lick is to include the flatted fifth (f5). When adding the f5 to minor pentatonic, the resulting scale is known as the blues scale. In the key of E, it would be spelled E G A Bf B D. FIGURE 2 is a lick that ascends through the E blues scale in a manner similar to FIGURE 1. Notice that, on the top two strings, I eliminate the fifth, B, altogether, so in effect I end up with a five-note “minor pentatonic flat-five scale,” spelled E G A Bf D. Now that you have the idea, try experimenting with different ways to ascend through the E blues scale while accentuating the flatted fifth, as I demonstrate in FIGURE 3. At the beginning of the pattern, a diminished quality is formed by the use of three consecutive notes that are one and a half whole steps apart: E, G and Bf. Adding the flatted third and flatted fifth to the root note in this way creates what is

94

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for iPhone, iPad and Android! * optimized

7-string 7-string gtr. gtr. arranged arranged for for 6-string 6-string gtr. gtr. Tune Tune down down one one half half step step (low (low to to high: high: Eb Eb Ab Ab Db Db Gb Gb Bb Bb Eb). Eb).

7-string gtr. gtr. arranged for 6-string 6-string gtr. gtr. Tune Tune down down one one half half step step (low (low to to high: high: Eb Eb Ab Ab Db Db Gb Gb Bb Bb Eb). Eb). 7-string for FIGURE 11 arranged E run FIG. 1gtr. FIGURE E minor-pentatonic minor-pentatonic 7-string arranged for 6-string run gtr. Tune down one half step (low to high: Eb Ab Db Gb12Bb Eb). 10 12 FIGURE E minor-pentatonic minor-pentatonic run 7-string gtr. for 6-string run gtr. Tune down one half step (low to high: Eb Gb12Bb Eb). 10 Ab 12 Db10 10 FIGURE 11 arranged E 10 10 10 12 12 10 12 10 12 12 10 12 12 10 FIGURE 11 arranged E run 12 12 7-string for gtr. down (low to Ab Db Gb Bb Eb). 9 9 12 FIGURE E minor-pentatonic minor-pentatonic run 10 12 12 10 12 Eb 12 9 12 12one 9 step 12 10 12 7-string gtr. gtr. arranged for 6-string 6-string gtr. Tune Tune down one half half step (low to high: high: Db10 Gb12 10 Ab 12 12 10 12Bb Eb). 10 12 Eb 9 9 9 12 12 9 12 10 12 12 9 12 12 9 12 12 9 12 10 12 12 12 10 12 12 10 12 12 9 12 10 12 10 12 12 FIGURE 1 E minor-pentatonic run 9 12 9 12 12 10 12 10 12 9 12 12 9 12 9 12 12 9 FIGURE 110 12 E minor-pentatonic run 12 10 12 12 10 12 10 12 12 10 12 12

       10 12 1010 1212 12 1010 1212 9 12 1212 9 12 9 12 12 9 12 12 10 12 10 12    1010 1212 10 12 1212 10 12 9 12 12 9 12 9 12 12 9 12 1010 1212 12 1010 1212 1212    10 12 12 10 12 12 9 12 12 9 12 12 FIG. 2221010 1212EE blues-scale FIGURE run 9 12 FIGURE blues-scale run 9 12 12 12 9 9 12 12 12 10 12 10 12 10 10 FIGURE blues-scale run 10 12 12 10 run 12 12 10 12 12 10 12 12 15 15 12 12   2221010 1212EEE blues-scale FIGURE 10 10 12 12 10 12 15 12 15 10 11 11 10 11 11 10 12 10 11 11 10 12 FIGURE 15 12 15 9 9 10 11 12 10 11 10 10 11 10 15 FIGURE blues-scale run run 9 12 12 9 12 12 10 12  2 E10blues-scale 10 12 10 12 15 12 15 11 10 11 9 9 12 12 9 12 10 11 12 10 9 12 12 9 12 12 9 12 12 9 11 12 10 11 10 12 10 11 10 12 15 12 15 13 10 FIGURE 9 12 12 9 12 9 12 9 12 13 10 12 12run 12 10 11 10 11 10 11 15 FIGURE blues-scale run   101022 1212EE101010blues-scale 9 12 12 12   1010 1212 10 131313 12121212 101010 121212 999 121212 121212 999 121212 99 1212 121212 99 1212 1010 1111 1212 1010 1111 1010 1212 1010 1111 1010 1212 1515 1212 1515   13 12 10 12 12 9 12 12 9 12 12   101033 1212EE1010blues-scale 9 12 FIGURE run 9 12 12 12 9 9 12 12 12  FIGURE blues-scale run 13 10 12 10 13 10 12 12 1012 1012 FIGURE 3 E blues-scale run  1012 1012 1412 1412 12 12 12 FIG. 310 FIGURE 3 12 run 10 12E blues-scale 12 1011   1012 1011 1012 1412 15 12 151215 1011 1011 1011 1012 1011 1012 15 151215  FIGURE 3 E blues-scale run 9 1011 12 1011 1012 1011 1012 1412 15 12 151215  FIGURE E blues-scale run9 12 99 12 12 9 12 12 1011 12 1011     3 1013 1412 12 1011 15 151215 9 12 12 9 12 12 9 12 1011 12 1011 1012 1011 1012 1412 15 12 151215 9 12 9 12 9 12 1011 12 1011 1013 13 FIGURE 33 1013 E 9 12run 9 12 9 12 12 9 1013 9 13 9 1011 15 151215    FIGURE E blues-scale blues-scale run   1012 12 9 12 12 12 12 12 12   1012 1013 12 1013 9 12 13 9 12 9 12 12 9 12 12 1012 1011 1012 1012 1412 1412 15 12 12 151215 13   1012 1012 1013 12 1013  1011 12 1011 1011 1011 15 151215 1013 12 1013 9 12 13 9 12 9 12 12 9 12 1011  1012  1013 13 9 12 12 9 12 12    1012 9 FIGURE 44 1013 12 1012 12 FIGURE 9 12 12 13 9 9 12 12 12 1013 1013 10 12 10 12 10 12 FIGURE 4 1013 1013 13 10 12 10 12 10 12  12 FIGURE 10 10 11 12 1012 12 12 10 12 10 12 15 10 11 11 10 11 11 10 12 11 10 12  1012 FIG. 444 FIGURE 10 12 15 9 9 FIGURE 4 11 12 10 11 10 11 10 12 15 12 15 9 12 12 9 12 12 10 11 12 10 15 12 12 10 12 15 11 10 11 9 9 9 12 12 9 12 10 12  9 12 12 9 12 12 9 12 10 12 10 12 10 12 15 12 10 11 10 11 11 12 9 12 12 10 13 10 13 13 FIGURE 4  FIGURE   101041212 101010 131313 1212 101010 131313 999 121212 131313 999 121212 99 1212 121212 99 1212 10 11 1212 10 11 1010 1212 11 1010 1212 1010 1212 15 1212 15151515   1010 1212 10 13 1212 10 13 9 12 13 9 12 9 12 12 9 12 1010 1111 12 1010 1111 11 15  11 15 12 12 15  13 9 12 12 9 12 12 15   1010 1212 1010 1313 1212 1010 1313 99 1212FIGURE 9 12 5 Eb pentatonic minor over E 9 12 12 FIGURE 5 Eb pentatonic minor over E 13 12 1114 11 10 13 10 13 13 FIGURE 5 Eb pentatonic minor over E 1212 1010 1212 1212 1515  FIGURE 1114 11 pentatonic minor over 1114 1114 111414 1114 E 11141114 14111411 1411 11 11  5555 Eb FIGURE Eb pentatonic minor over E 12 151412 14 1113 1113 FIG. 15  111413 111411141411 141113 111311 14 12 12 1113 minor 1113 over 13 1311 1311 FIGURE Eb pentatonic E1114  12 151412 11  15 1114 14 14 14 1412 1113 1113 13 15141214141412141215  1113131113 1114131114111414111411 1311131113 1113 1113  12 151412 1411 141412141215  FIGURE 111313 1113 over 13 1311131113 1113 13 5 Eb pentatonic minor E  14 1113 1113 13 1113 13 1114 1114 14 1411 FIGURE 5 Eb pentatonic minor E   001113 151412141414121412 111313 1113 over13 13 131113 12 1114 11131113131113 1113131113 13 12 15141214141412141215  11141411 1114111311131113 131113  1114 1114 011131113 14 14 141215  1113 1113 13   1114131114 14 14111311131113 13 01113 1113 33151412 33 14  13 151412 14 12 121412 1113131113 13 13 131113 0   1113 1113 FIGURE 66131113  0  3 3 14 FIGURE 14 14 14  1412 1113 1113 13 1113 13 3 3 11 14 16 14 11 FIGURE 6 1113 13  11 14 16 14 11    3 3 0 FIGURE 614  11 16 14 11   0 11 14 16 14 11 11 14 16 14 11  313 311 9 11 9  FIGURE 8  13 11 9 11 9  8   FIGURE  888 999 888 999 ! ! 88   11111166141414 111111 141414 161616 141414 111111 161616 141414 111111 15151515 13131313 11111111 1616 1313 1111  3 13 13 11 9 11 9 8 8   13 3 ! 313 311 9 11 9  8  8 9 8 9 ! 8  FIGURE  13 FIG.    6116614 1111 1414 1616 1414 1111 16 14 11 1515 1313 1111 161616 131313 111111 00 13 13 11 9 11 9 8 0 8 9 8 9 ! 8    FIGURE 13 13 11 9 11 9 8 0 8 9 8 9 ! 8   1111 1414 16 0 0  13  16 14 14 11 11 15 13 11 16 13 11 0 0 13 8 33 33 33 11 33 !  13 13 11 11 9 9 11 11 9 9 8 8 0 8 8 9 9 8 8 9 9 ! 8 15 13 0    16 13 11 0  3 3 3 3 13 16 13 11 0 3 3 3 3  minor over E FIGURE  G# pentatonic pentatonic minor over E FIGURE 77 G# 0 0 16 G# pentatonic pentatonic minor over over E E FIGURE 77 G# 16 1919 3331919 1616 333 333 333  00 minor FIGURE 16 16 16 16 19 19 16 16 19 19   G# pentatonic minor over E FIGURE 7 16 18 16 19 16 3 16 3 16 19 16 16 19  19 3 19 16 18 minor over FIGURE 16 18 E 16 19 16 16 18 18 163   77 G#16 pentatonic 19 19 19 16 18 16 16 16 18 18 16 19 16 19 18 16 18 18 18 16  16 18 18 16 18 18 16 18 16 18 18 18 16 16 16 19 16 19 19 19 16  FIG. 18 19 18 16 18 18 G# pentatonic minor over E FIGURE 7  16 18 18 minor 16 18 16 18 18 18 18 16   18 16 over E 16 19 16 19 16 16 19 19 19 16 18 16 18 FIGURE   16167 1919G#161616 pentatonic 18 18 16 18 18 18 18 16 18 18 16 18 16 18 18 16 19 18 16 18 16   1616 1919 16 1818 16 18 1818 16 18 16 18 18 16 19 1616 1919 1616 1919 1919 19193 1616 18 163 1818 18 1818 1616     18 16 3 3 18 18 18 16    1616 1919 16 18 16 18 18 16 18 16 18 18 16 19 3 3 18 3 3 18  1616 1919 1616 1818 16 18 1818 16 18 18 3 3 3 3 11 1 1 1 1 1 1

11 1 1 1 1 1 1

T T T T T T T T

11 1 1 1 1

11 1 1 1 1

1 1

1 1

3 3

known as a diminished triad. FIGURE 4 offers another lick based on this idea, ending with more conventional E blues scale–style licks. When playing over an E major chord, a cool twist is to play Ef minor pentatonic licks, as shown in FIGURE 5. In this example, I ascend as I did previously, switching from four- to five-note patterns. The notes of Ef minor pentatonic are Ef Gf Af Bf Df. If we alternatively think of the scale as Ds minor pentatonic, the notes are Ds Fs Gs As Cs. When played over E,

T T T T T T

T T T T T T

T T T T T T

T T

T T

T T

3 3

they create an E Lydian sound, as they all live within that mode (E Fs Gs As B Cs Ds). A neat twist here would be to incorporate fretboard tapping, as I do in FIGURE 6. Another great device is to play minor pentatonic shapes off Gs, which is the major third of E. Gs pentatonic minor is spelled Gs B Cs Ds Fs, and these notes are included in the E major scale (E Fs Gs A B Cs Ds). FIGURE 7 offers an example of moving through Gs minor pentatonic over an E pedal tone.

DAVE DAVIDSON is the founding guitarist for technical death metallers Revocation. Their latest, self-titled release is out on Relapse Records.

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ROCKIN’ THE COUNTRY

For video of this lesson, go to GuitarWorld.com/July2014 for iPhone, iPad and Android! * optimized

By Joe Don Rooney

BATTLE READY

Rooney (left) onstage with Rascal Flatts

Making sure all your gear is solid and ready to rock THIS MONTH, I’D like to talk about what’s expected of a professional guitarist, particularly in terms of having all your gear up to big-league standards so that you’ll be able to sound and play your best and be ready for that great gig when it comes along, be it touring or studio work. I’m fortunate to have benefitted from the wise counsel and dependable service I’ve received over the years from my guitar tech, Mr. David Graef, who is one of the finest and most experienced in the business. Dave and I have had many conversations about how to achieve the cleanest and most direct and robust signal path between my guitar and amp while getting all the different sounds and effects I want to have at my disposal onstage. Dave designed my pedal-board setup and touring rig, which is pretty massive and, with its various amp heads, racks and knobs, kind of looks like a home entertainment center. We routinely discuss things like keeping my cable runs as short and neat as possible and using effect loops and only topquality cables, pedals and footswitches, all in an effort to minimize signal degradation and any kind of unwanted noise between my strings and speakers, such as hum, hiss or popping sounds when I step on a footswitch. One of the things I’ve learned over the years from Dave and others in the Nashville guitar community is that, when it comes to gear, start by strategically investing in the two most important components: your instrument and amp. Buy the very best that you can afford. And if you’re going to introduce effect pedals into your signal path, use only high-quality products that won’t cause your tone to suffer due to inferior components and designs. I like to think in terms of a golfer who uses the finest irons, woods and putters he or she can obtain and chooses the right one for any given shot. Like anything that you use on a regular basis, your gear will eventually break down and require servicing. If you have a cable that’s starting to crap out, a jack that’s buzzing or intermitently shorting out, or a scratchy potentiometer, get it fixed as soon as possible. Just hoping and praying that the problem won’t occur onstage at the worst possible moment is not a rational or acceptable way to deal with it. If being a professional guitarist is your passion and dream, you need to make gear maintenance—and, when necessary, replacement—a top priority.

96


When it comes to your instrument, you will be more intimately familiar with it than anyone else, and it should conform to and serve your personal playing style and inspire you musically. But that same familiarity and subjectivity could work against your better judgement if something starts to feel or sound out of whack, especially if the problem’s onset is gradual, which might keep you in denial of it for a while. As soon as you notice something is not quite right, such as buzzing frets or action that’s too low or too high, you should take your guitar to an experienced repair technician for an objective evaluation and servicing. Ask for help at your local music store. If they can’t peform the work, they can almost certainly recommend someone who can. For your playing to sound its best, it is vital that your guitar’s intonation is set correctly. You can tell that your intonation is out if, after tuning your guitar with a high-quality electronic tuner (another item you should never skimp on), you find that various chords or octaves played in different areas of the fretboard still sound out of tune. You can easily check your intonation with an electronic tuner by comparing the pitch of any open string or low fretted note to the note one octave higher on the same string, which would be 12 frets

higher—for example, the G notes on the low E string’s third and 15th frets. Alternatively, you could compare the 12th-fret harmonic to its equivalent fretted note. If the tuner shows a discrepancy between the low and high octave notes or between the 12th-fret harmonic and fretted note, then your intonation is out. You can adjust it by moving your bridge saddles, but if you’re unsure how to do this, let an experienced guitar tech do it for you. Again, ask for help at your local music store. But before you do that, change your strings, which is something you should do regularly anyway. Fresh strings not only sound noticeably brighter and richer and ring longer than worn strings but also make your guitar play more in tune, once they’re stretched out. Equally important, fresh strings are far less likely to break in the middle of a performance! Hey folks, this is my last Guitar World column for the time being. It has been an absolute blast and an honor having this opportunity to share some of my guitar playing experiences with y’all. I hope you’ve learned some useful things from these 14 articles and put them to good use in your own playing! Until next time, take care, and always follow your inner musical voice.

JOE DON ROONEY is the lead guitarist of Rascal Flatts, whose latest album is Rewind.

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COLUMNS

STRING THEORY


By Jimmy Brown

MY GENERATION Learning some hip chord changes and voicings from a mid-Sixties jazz classic

OF ALL THE STANDARDS I learned as a cadet in jazz college, one of my favorites is “Song for My Father,” the classic title track to the 1965 album recorded by pianist and bandleader Horace Silver with the Horace Silver Quintet. The tune features a sinuous, well-written melody, harmonized by trumpet and tenor saxaphone, and some rather coolsounding chord changes played over a laidback Latin-flavored bossa nova beat and signature root-fifth alternating bass line, which was later borrowed nearly verbatim by several pop artists, most notably Steely Dan on their 1974 hit song “Rikki Don’t Lose That Number.” “Song for My Father” is built around a handful of closely related chords and played at a moderate tempo that is conducive to improvising 16th-note “double-time” licks over the changes. These are attributes that would appeal to rock musicians who want to get into jazz, making it, like “Blue Bossa,” which we looked at in the December and Holiday 2013 installments of String Theory, an ideal “gateway” tune. The recording of “Song for My Father” showcases some inspired improvising by Silver and tenor saxophonist Joe Henderson, and Silver and countless other jazz artists have later taken some breathtaking solos in live performances and/or cover versions of the tune. In this and the next two columns, I’d like to turn you onto the tune’s hip chord changes and show you some cool approaches to improvising over them. We’ll start by looking at the chord structure and some voicings. “Song for My Father” is in the key of F minor and built on what is known as an AAB form, consisting of three eight-bar sections (24 bars altogether), with the first eight bars, the A section, being repeated before the B section is played. (The letters A and B are symbolic nomenclature and do not represent the names of the chords used.) As is customary in jazz and blues, the entire form is then repeated, along with the melody, or “head,” and then repeated an open-ended number of times without the melody for soloists to take turns improvising, or “blowing,” over before reprising the melody twice and concluding the performance. FIGURE 1 presents a set of rootless, upperregister chord voicings I like to use for the tune’s changes, played in a punctuated and fairly sparse “comping” (short for accompanying) rhythm over a sample bass line. Use hybrid picking (pick-and-fingers technique) to

98



FIG. 11 FIGURE

A

Moderately q = 124 Fm9

 

Gtr. (clean tone) w/pick and fingers 1 15 15 15 15 13 13 13 13 13 13 13 13 13 13 13 13

  

E¨13

/0

   15 15 13 13 13 13 13 13 13 13  13  13 13  13  12 12 12  12 13 13 11 11 11 11         15 15 13 13 13 11 11    

     Bass       13 1515 13 13 D¨13 C13sus4    5 11 11 11  10 11 11 11 10   10  10   10 10 9 9 9 8 

9

B 9

13

 



11 11

9

15 13 13 13

Fm9

0 8 8 8 6

   8



8 8 8 6

 



3 3

 

8 8 8 6



11

0



1

 13 13 13  13 12  12  11 11     13 13 11    

8 8 8 6

1





3 3

  

 15 15 15 15  15 15 13 13  13 13  13  13       13 13 13 13  13 13 13 13 13 13 13 13                 13 13 13 13 15 15 15 15 11 11 11 11 13 13 13 13         E¨13 D¨13 C13sus4 C7#5¨9 Fm9    8 8 13 13 11 11 10 9 8 8 8 13 13 11 11  10 9 8 8  88  88 88 12 12 10 10 10  9 8 8 11 11 9 9 8 8 6 6 6 6 6              15 15 15 15 11 11 9 8 8 8 13 13 13 13 13         E¨13

13 13 12 11

13 13 12 11

13 13 12 11

13 13 12 11

/0 13 13 12 11

 

1

8 8 8 6

/0 13 13 12 11

Fm9

13 13 12 11

13 13 12 11

/0

15 13 13 13

0

0

FIG. 22 FIGURE Fm9

E¨13 6fr

31444

D¨13 5fr

21334

C13sus4 3fr

21334

C7#5

3fr 11114

achieve a piano-like simultaneous note attack. As you can see, the progression mostly “hangs out” on each chord for two bars, which gives a soloist a generous amount of time to get inside the changes and express modal melodic ideas over them. This is opposite to improvising over the quickly changing chords of a typical bebop progression, which necessitates a more arpeggio-based approach, as you have little time to run through a scale or mode before the

Fm9 8fr

1 234

6fr 2134

next chord change arrives. FIGURE 2 offers an alternative set of midregister voicings for the same chords that include their bass notes, which you may prefer to use if there is no bass player accompanying you. It’s good to vary your voicings over the course of a performance, especially when playing the same changes repeatedly. Next month, we’ll look at some soloing approaches.

Senior music editor JIMMY BROWN has transcribed hundreds of songs and authored instruction books and DVDs. His latest DVD, Mastering Scales 2, is out now! Get yours at store.guitarworld.com.

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COLUMNS


by Metal Mike

THE POWER OF ONE How to develop appealing metal riffs and solo ideas using only one string

When Writing songs, you can develop solo ideas as well as signature riffs by creating melodic patterns on a single string. This is a useful and often overlooked technique that can greatly aid your creativity. Yngwie Malmsteen and—his biggest influence—Richie Blackmore have frequently exploited this technique, traversing the fretboard while playing fast licks on one string. You will also hear it used frequently in classical guitar and violin music. Playing up and down on a single string produces a pleasingly consistent tonal quality that cannot be achieved in any other way. It’s also a great way to work on your scale knowledge on the fretboard, and it can help you build up speed and endurance in both hands. In this month’s column, I’d like to detail a few different patterns that I’ve devised to demonstrate the value of this technique. FIGURE 1 presents our first single-string lick. Using alternate (down-up-down-up) picking throughout, I gradually move up the B string using notes from the E Aeolian mode (E Fs G A B C D), also known as the E natural, or pure, minor scale. In bars 7 and 8, I switch from straight alternate picking to double pulloffs, wherein a picked fretted note is followed by a pull-off to a lower fretted note and then an additional pull-off to the open string, phrased as eighth-note triplets. Simple as it may seem, it can be difficult to synchronize the steady alternate picking with quick alternating between fretted and open notes. Start out slowly at first, and gradually increase the tempo. You can also execute these licks with pull-offs to the open strings, which yields a smoother, legato sound. Played entirely on the A string, FIGURE 2 is based on the A Aeolian mode (A B C D E F G), also known as the A natural, or pure, minor scale, and is built from a combination of fretted notes and an open-A pedal tone. I start off creating a “threes on fours” rhythmic syncopation across the first six beats by playing what are essentially three-note groups in a rhythm of even, or “straight,” eighth notes, with each fretted note followed by two open A notes. Notice that bar 4 switches to 3/4 meter, followed by a return to 4/4. The figure ends with a big

100


METAL FOR LIFE


FIG. 11 FIGURE

         sim. 7 0 7 0 8 10 8 0 8 0 8 0 10 12 10 0 10 0 12 0 13 0 12 *         sim.  1 FIGURE 1 5 0 5 0 7 8 7 0 7 0 7 0 8 10 8 0 8 0 8 0 10 12 10 0 10 0 12 0 13 0 12 FIGURE 1   Em  Em 1 = downstroke        =sim. **  upstroke   sim. 1         * 5 0 5 0 7 8 7 0 7 0 7 0 8 10 8 0 8 0 8 0 10 12 10 0 10 0 12 0 13 0 FIGURE * 51= 0downstroke  8 0 8 010 12 10 0 10 0 12 0 13 01212 5 5 0 7 8 7 0  =7upstroke 0 7 0 8 10 8 0 Em 5 0 5 0 7 8 7 0 7 0 7 0 8 10 8 0 12 8 0 13 10 0 12 8 0 13 10 0 12 8 0 10 7 0 !  sim.       5 51 *          5 *05=5 0downstroke 0 5 7 0 8 77 80 7 0 7 0 77 00 78 0 10 88 100 8 12 0 13 12 08 12 0 10 0 8 08 130108 0 012108 12 10100 0 10 0 7130 ! 05 12  = upstroke * = downstroke  3  3  3  3  3  3  5  5 0 5 0 7 8 7 0 7 0= 7upstroke  8 0 13 10 0 12 8 0 13 10 0 12 8 0 10 7 0 !5 5 0 8 10 8 0 12 FIGURE 2 5 *0=5 downstroke 0 7 8 7 0 7 0= 7upstroke 0 8 10 8 0 12 38 0 13 10 5 3 0 12 38 0 13 10 3 0 12 38 0 10 37 0 ! N.C.(Am)  FIGURE 2       5 5  0 78 7 0  7 sim. 13 10 0 12 8 0 13 10 0 12 8 0 10 7 0 !5 N.C.(Am) 5 0 0 7 0 8 10 8 0 12 8 0sim. 1 3 3  3 3 3  3 2        sim.  FIG. 2 3 3 3 3  FIGURE  sim.    3  3   1 FIGURE 2  N.C.(Am)   N.C.(Am) 3 0 0 7 0 0 3 0 sim.0 7 0 0 5 0 8 0 3 3 0 30 7 03 0 10 38  7 38 10 03 12 0  FIGURE  8 7 8 10 0 12 0 1 0 0  7 0 0 10 23 0 0 7 0 0 3 0 sim.0 7 0 0 5 0 8 0 3sim.  N.C.(Am) sim.     A5   1  5      sim.             7 0 0 10 8  7 8 10 0  A5 20 12    15  3 0 0 7 0 0 3 0 0 7 0 0 5 0 8 0 3sim.0 0   2   3 30 00 70 07 00 300 3 00 7 00 07 50 008 50 0 88 70 5 73 70 5 03 75 0 30 0107 80 2 078 80 10 020 12 0    3 0 0 7 0 0 3 0 0 7 0 0 5 0 8 0 8 7 5 7 7 5 3 5 3 0 7 0 2 0 8 0 A520   5 3 0 0 7 0 0 3 0 0 7 0 0 5 0 8 0 3 0 0 7 0 0 10 8 7 8 10 0 12 0 A5 5 FIGURE 3 2  N.C.(A5) (Em) (A5) (Gsus2) (A5) 22  3 0 0 7 0 0 3 0 0 7 0 0 5 0 8 0 8 7 5 7 7 5 3 5 3 0 7 0 2 0 8 0 0 FIGURE 3   A5 2 5 sim. 3 0 0 7 0 0 3 0(Em) 0 7 0 0 5 0 8 0 3 5 3 0 7 0 2 0 8 (A5) 0 0 N.C.(A5) (A5)8 7 5 7 7 5 (Gsus2)          sim. 12 0 FIGURE  3 30 70 07 70 00 73 00 7 00 97 00 0 5900 8 0 87 70 57 70 77 05 3 5 5 03 70 07 50 02 0 8 0 220  FIGURE 3   (Em) 12 0 (A5) (Gsus2) (A5)   N.C.(A5) 5 0 5 0 3 0 5 7 0 9 0 9 0 (A5) 7 0 7 0 N.C.(A5) (A5) sim.    7  0   7  0 (Em) 7 0 7 0 7 0 (Gsus2) 5 0 5 0  5330       sim. 5 0 3 0 5 FIG. FIGURE  N.C.(A5)  (Em)9 0 12 0 9 0 (A5) (Gsus2) 7 0 (A5)  7 0 7 0 12 0 7 0 9 0  9 0 5 0 7 0 7 0 7 0 3 0 5 0 7 0 5 0   5 0 77 00 7 0 77 00 sim. 5 7 0 5 0 5 0 7 0 7 0  5 0 3 0 5  5 0   7 0 7 0 7 0 7 0 9 0 12 0 9 0 7 0 7 0 7 0 7 0 5 0 5 0  50 5 0 3 0 5 Em

FIGURE 1 1 *

Em 5 0 5 0 7 8 7 0

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M. P.M.

P.M. P.M.

P.M. P.M.

P.M. P.M.

P.M. P.M.

P.M. P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

P.M.

jump from B (second fret) to F (eighth fret), so be sure to work on your accuracy in shifting from one fretboard position to another while building up speed. FIGURE 3 offers a slight twist on the concept by detailing a riff built from single fretted notes followed by an open string. To begin, I play off of an A5 power-chord shape on the bottom three strings and then switch things

00 00 0

up with a wider stretch up to the 12th fret of the G string. As with the previous examples, alternate picked is employed here, so strive for precision and clarity in your articulation. One of rock’s most beloved single-string licks is AC/DC’s classic “Thunderstruck” intro. It sounds great and it’s fairly easy to play. Check it out, then try coming up with your own single-string licks and riffs.

METAL MIKE CHLASCIAK plays guitar for Halford and with his own solo band. His latest releases are The Metalworker and This Is War, available from metalmike.net.

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COLUMNS


by Keith Wyatt

STREET-CORNER VIRTUOSO The “unplugged” artistry of Snooks Eaglin, New Orleans’ best kept secret

THE ROLL CALL OF top-tier New Orleans musicians from the 20th century is loaded with horn and piano players, but when it comes to guitarists, only a few names—including Lonnie Johnson, Guitar Slim, Earl King and Leo Nocentelli—are consistently recognized. However, there is one more Crescent City guitar player that unquestionably belongs among them: Snooks Eaglin. Born in New Orleans in 1936, Eaglin lost his sight to glaucoma soon after his first birthday. He began learning guitar at age five by copying songs from the radio and records, and at 14 he dropped out of school to devote his life to music. For the next decade, he worked steadily in clubs and on sessions until he made his solo recording debut, in 1959, with New Orleans Street Singer, an eclectic album that revealed Eaglin to be a vocalist and acoustic guitarist with few equals. Drawing on a huge repertoire—he claimed to know 2,500 songs, ranging from New Orleans staples to country, R&B, blues, folk and jazz standards—he seamlessly integrated accompaniment patterns with solos that often included astonishing bursts of virtuosity. Snooks’ percussive, bare-fingered attack was augmented by flamenco rasgueado technique (fanning the strings with the backs of the fingernails), an effect that he highlighted on his signature instrumentals “High Society” and “Funky Malagueña.” FIGURE 1 compiles some examples of Eaglin’s acoustic style over a 12-bar medium-tempo shuffle in A, comparable to his “Sophisticated Blues,” that are also suitable for flatpicking technique. (Note the pick-stroke indications in bars 2, 5 and 6.) Signature moves include the fast sweep/pull-off phrase in bar 2 and the triplet minor-to-major chord figure in bar 3. Bars 5–8 feature an expansive rhythm pattern with thumb-fretted chords and sweep-picked, or “raked,” embellishments, an approach that presages Stevie Ray Vaughan’s similar method. (Be sure to mute the unused fifth string in bars 5 and 6 by lightly touching it with the tips of your fret-hand thumb and ring finger.) The final four bars include more Eaglin-esque me-

102

For audio of this lesson, go to GuitarWorld.com/July2014

TALKIN’ BLUES


FIG. 1 1 medium shuffle FIGURE FIGURE 1A medium shuffle A7 1 1

  

3 3

A  A7  9 9 9 9 9 9 9 9 10 10 10 10 10 10 8 8

*(A) *(A)

5 5 5 5

3 3

5 5 6 5 6

3 3

7 7 7 7

D

5 5 5 5

3 3

5 5 6 5 6

7 7 7 7





**Th. D **Th.

10 11 10 12 11 12 10 10

10 11 10 12 11 12 10 10

12 11 12 12 11 12 10 10

5 6 5 7 6 7 5 5

7 7 7 7 5 5





A

9 9

11 11

5 6 5 7 6 7 5 5

E7 E7 1 7 7 7

A A

5 5 6 6 0 0

1

7 5 7 5

7 7 7

7 5 7 5

3 3

5 5 5 5

5 5 6 5 6

7 7 7 7

   10

12 11 11 10 12 12 12 11 11 12 12 10 10 10 10 10 10

7 7 7 7 5 5

5 6 5 7 6 7 5 5

7 7 7 7

3 3

5 5 6 6 7 7

7 5 7 5

5 7 5 6 7 6

7 7

8 8

9 9 10 9

5 5 5 5

5 5 6 5 6

1/4

1/4 1/4

8 5 8 8 8 5 8 8

3 3



7 7 7 7

A7 ++ A7 5 5

6 6

7 7 3 3

8 8

9 9

3 3

1/4 1/4

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

3 33 3

3 3

5 6 5 6 5 6 5

10 11 10 12 11 12 10 10

13 13 11 11 12 12

7 7 7 7 5 5

5 6 5 7 6 7 5 5

7 7

5 7 5 6 7 6

13 11 13 12 11 12 10 10

7 7 7 7 5 5 5 5

5 7 5 6 7 6



10 11 10 12 11 12 10 10

10 11 10 12 11 12 10 10

12 11 12 12 11 12 10 10

12 11 12 12 11 12 10 10

5 6 5 7 6 7 5 5

7 7 7 7 5 5



5 5 7 5 7 5 5

5 6 5 7 6 7 5 5

D D 0 0



5 6 7 5 76 7 7 7 7



7 7 7 7 3 3

8 8 8 8

5 5

6 5 6 5 6 5

6 5 6 5 6 5

3 3

9 9

1/4 1/4 1/4 1/4

5 6 5 6 5 6 5

5 6 5 6 5 6 5

5 6 5 6 5 6 5

0 0 0 0

12 11 12 12 11 12 10 10

13 11 13 12 11 12 10 10

3 3

12 11 12 12 11 12 10 10

  55  

N.C. 1/4 N.C.

3 3

3 3

**fret sixth string w/thumb **fret A sixth string w/thumb

7 7

A

9 9 9  99 99 99 99 99 99 99 99 899 99 899 989 10 10 10 10 10 10 8 8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 9

3 3 *overall3 implied harmony 3 *overall implied harmony

5 5

A 9 10

 9 8

7 7 7 7

5 7 5 5 7 5

7 7

5 5 6 6

5 5 7 7

7 7 7 7



3 3

 99  9 9

7 5 7 5

5 7 5 6 7 7 6 7

7 5 7 5

7 5 7 5

3 3

7 7 7 7

5 5 7 7

5 5

7 7

3 3

E7 E7 5 7 5 6 7 7 6 7

7 5 7 5

5 7 5 6 7 7 6 7

75 75 7 7

5 5 6 6

3 3

5 7 5 6 7 7 6 7



5 7 5 6 7 7 6 7

3 33 3

lodic touches over the five chord, E7, and turnaround. (Flat-pick the first and third strings while muting the second string with the side of your fret hand’s ring or middle finger.) Despite his acoustic mastery, “street sing-

ing” was a mere sideline for Eaglin, who made his living mainly by fronting bands as a vocalist and electric guitarist. Next month, we’ll look at what happened when he plugged in.

KEITH WYATT tours with American music legends the Blasters and teaches blues guitar at Musicians Institute. His

latest DVD, Talkin’ Blues 2, is available at store.guitarworld.com.

Y D O B Y R E EV WANTS SOME.

www.evhgear.com ©2014 Fender Musical Instruments Corporation. The distinctive headstock design commonly found on the EVH guitar is a registered trademark of FMIC. EVH®, the EVH® logo, 5150®, and Wolfgang® are registered trademarks of ELVH, Inc., and the unique stripe design found on EVH guitars is a copyright (2001) of ELVH, Inc. All rights reserved.

COLUMNS


by Dale Turner

BLIND JOE DEATH

The unusual tunings and techniques of John Fahey AS THE AMERICAN folk-music revival grew in the late Fifties, John Fahey stuck out like a sore thumb. He played solo steel-string acoustic guitar music that melded influences like Igor Stravinsky and Béla Bartók— composers known for dissonant sounds—with blues artists like Charley Patton and Blind Willie Johnson. To this, Fahey added unusual open tunings (open D minor, open G minor) and a dose of occasionally cringe-inducing humor by employing faux-musicology speak in his albums’ liner notes and mythologizing his fictional guitar inspiration, Blind Joe Death. The result was a style he dubbed American Primitivism. Let’s examine some signature techniques and tunings from the late guitarist’s earliest albums. In 1959, Fahey issued Blind Joe Death on his own Takoma Records. The title was a nod to Fahey’s inspirations, including Blind Boy Fuller, Blind Blake, et al., and the album itself features traditional blues tunes, among them “Poor Boy, Long Ways from Home,” which informs FIGURE 1, played in open-D tuning (low to high, D A D Fs A D). Over the three droning D strings that this tuning provides, pluck out the upper strings’ bluesy melody (bars 1–2), carefully bending the second string to avoid muting the open fourth string. Death Chants, Breakdowns and Military Waltzes (1963) is a collection of Fahey originals played on an 1890s Martin 0-28 “New Yorker.” Among its oddities is “Stomping Tonight on the Pennsylvania/ Alabama Border,” a standard-tuning gem containing peculiar bluesy figures like those in FIGURE 2. Here, the lower notes of a G6 chord are thumb picked while the index and middle fingers pick out a line on upper strings. Fret G6 without the index finger and shift that shape up two frets for Aadd2. Fahey’s 1964 album, The Dance of Death and other Plantation Favorites, opens with “Wine and Roses” (a.k.a. “The Red Pony”), which is the result of his attempt to play Henry Mancini’s “Days of Wine and Roses” after hearing it once. He performed the song in open Dm tuning (low to high, D A D F A D) on a borrowed Gibson (at various points in Fahey’s career, he had guitars in and out of pawn shops). FIGURE 3 similarly cops the vibe of the tune’s haunting intro. The lowest notes are (optionally) thumb-fretted over the top of the neck, a technique Fahey used to

104


HOLE NOTES


FIG. 1 1   = FIGURE



Pick-hand fingering: p = thumb, i = index finger, m = middle finger.  3   

open D tuning (low to high: D A D F# A D) D

 

1/2



   8

7

0

0 m

  =    p

 3

standard tuning G6

i

    2

   

0

p

p

p

0 0

3 0

p

5 0

2 3

3

m i

p

m i

m i p



 

0

0

0

m i

0

0

0 0

8

FIG. 4 4 FIGURE

 3   =   



 

0

0

0

2

0

p

G 0 0 m p

2 2

i p

i



2

0

0

p

i



p m p

i

0

2 3

2 3

m i p

m i p

m i p

0 2

3

2

i p

0 m p

2

i p

p

D.C.

0

0



4

2

m i



i

p m p

i

4

i



2

i p

create better “muting separation” between the open fifth and fretted sixth-string notes. Open C tuning (low to high, C G C G C E), sometimes known as “sun tuning,” is another peg-twisting treat Fahey used in songs like “Sunflower River Blues” and “The Revolt of the Dyke Brigade.” His 1965 album, The

 

2 0 i p

0 1 0 2

i p

m

p

p

0

m i p p



3

m p

0

i



i

0 0

0

m

m

p

p

i p

i p

C

0 0

i p

4

0 0

2

i

m i p

p

5

4



2

0

m

0

0

0 p

0 0 0

0

0

 

p

3 1

p

0



G

0

3 2

3

p



m i

0 0

m i



3

p

p

2 3

0

p

C

 

0 0

0

p

p

p

3 2

3 3

 

0 0



0 m i

0

0 3

0

2.

0

p

m i p

m i

0 0 p

0 0



2

m i p

0 0

2 3

 5 5 3

 

0

3

p m p

2

0

0 3

m p m p

1.

 

p

2 1 0

0

m

4 5

p m p i p m p i

(play 3 times) 0 0

2

0 0

open C tuning (low to high: C G C G C E) C C6 C C6 C let ring 0

0

0

3 0

(play 3 times) 0 0

0

6

p m p i p m p i

0

0

5 0

open Dm tuning (low to high: D A D F A D) Dm let ring 0

2

D

G6 3 0

4 5

m i p

 3 FIG. 3 3   =    FIGURE

0 2 1

m i p

Aadd2

0 3

i p

0



m

p



0



G/B

7

0

0

FIG. 22 FIGURE



7

8

0

i p



7



1/2

p

0

p

 0

p

Transfiguration of Blind Joe Death, features “Old Southern Medley” (FIGURE 4), a hairraising arrangement of American classics, including Stephen Foster’s “Camptown Races.” Fahey uses a familiar picking pattern before launching into the “campy” passage in bars 3–8.

Musician’s Institute instructor DALE TURNER’s latest CD is Mannerisms Magnified (intimateaudio.com). Get his newest DVD, Acoustic Rock Guitar Part 2, at store.guitarworld.com.

“Beautiful Maple top, awesome sounding Mahogany back... all the parts are excellent... Rosewood fingerboard, big tall frets, DiMarzio® pickups. You just gotta pick one up and PLAY IT.

IT’S GONNA BLOW YOUR MIND! ” Watch Paul demo his FRM250MF 25th Anniversary FIREMAN at ibanez.com. “Listen to the sustain.”

Photo by James Chiang

COLUMNS


by Andy Aledort

GUIDED BY VOICES

How to create inventive rhythm parts by connecting mode-based chord voicings STUDENTS HAVE OFTEN asked how I go about building creative, interesting rhythm parts when playing over a repeating one- or two-chord vamp. As touring guitarist for Great Southern, the group formed by Allman Brothers Band founding guitarist Dickey Betts, I’m required to lay down musical rhythm parts behind extended solos on songs like “Blue Sky” and “In Memory of Elizabeth Reed,” and it’s a challenge to craft supportive rhythm parts that will enhance the power of the soloing instrument while locking in with the rhythm section to drive the groove along. This month I’d like to address this worthwhile topic. A technique I often rely on is to take an unusual chord voicing and move similar voicings up and down the fretboard on the same group of strings. I do this by using a specific mode as the basis for connecting each chord tone in each voicing to the next. To demonstrate, I’ll use the A Dorian mode (A B C D E Fs G) to formulate improvised, chordbased rhythm parts. FIGURE 1 illustrates A Dorian played in third-fifth positions. Play this pattern up and down several times to memorize its structure and become familiar with the mode’s sound and musical quality. FIGURES 2 and 3 offer examples of soloing “freely” through A Dorian in these positions, so play through these examples and then try inventing some of your own soloing patterns in different areas of the fretboard. The Dorian mode is spelled intervallically 1 2 f3 4 5 6 f7. It’s essential that you recognize the quality of each interval, or scale degree, as it relates to the root, or tonic. I suggest playing each interval—the second, third, fourth, fifth and so on—against the low A root note (more on that in a moment). FIGURE 4 depicts an unusual Am13sus4 chord voicing that’s based on the A Dorian mode and built from stacked fourths. The voicing is structured by combining a series of notes, each of which is located four scale degrees above the previous one. Starting from A, D is a fourth above it; G is a fourth above D; C is a fourth above G; and Fs is an augmented, or “sharped,” fourth above C. We have to use Fs instead of F here for the

106


IN DEEP


   4 5 7 7 5 4 3 5 7 8 7 5 4 5 7 7 5 4 5 7 8 7 5  3 5 7 5 7 4 5 7 7 5 4   5 17 A Dorian FIGURE 8 7 ! 5  4 5mode 7 7 5 4 3 5 7 8 7 5 3 5 7 5 7  2 4 1 2 4 1 2 4 1 2 4 2 4 1 2 4 4 3 1 4 3 1 3 1 1 4 2 1 4 1 4 3 1 5 7 7 5 8 5 7 8 7 5 !  1 A Dorian mode 4 5 7 FIGURE 7 5 4  7 5 4 FIGURE 224 1 2 4 4 1 5 2 7 4 1 2 4 2 4 31 5 2 7 4 4 3 1 4 3 1 3 1 1 4 2 1 4 1 4 3 1 8 7 5 5 7 5 7 8 7 5  Freely  52217 A3 Dorian 8 7 5 ! Am7 mode 4 5 7 5 7  FIG. FIGURE 7 5 4  78753 7 4 55 7 7 5 4 Freely 3155 8 4 15 2 4 1 2 4 2 45 2 7 4 4 7 3 5 1 4 3 1 3 1 1 4 2 1 5 4 7 1 4 3  1 7   52 74 31 52 Am7 5 7 7 5 8  5 7 5 4 5 4 4  8 7 ! 5 5mode 7 8 745 53 77 FIGURE 1 7A Dorian 7 5 5 7 7 55 4 FIGURE 2  5 5 5    4 5 7 7 7 51 37 552 43 24 012 4 03 1 2 57 4 1 2 4 1 2 4 2 4 3 1 5 2 77 45 4 8 45 47 3 5 1 4 4 3 1 3 1 4 2 1 5  Freely 5 7 3  5 5   52 771747A31 Dorian Am7 7 5 8 57 75 5  5mode 5 7   8 7 5 ! FIGURE 7 8 7 5 3 7 7 7 5 3 5 2 3 2 0 2 0 FIGURE    2 24 1 2 4 41552 74 41 52 74 2 45 315532 74 845 73 51 3 1 73 51 41 74 52 41 4 1 34 3 5  5  1 57 5 Am7 FIGURE intervals 5 7 7 5 4 5 4 7 5 4 8 5775 5 FIGURE 4 5 7 8 7   57377A3 Dorian  Freely w/bar 5 ! 3 5 5 7 8 7 5 3 7 4 5 7 4 7 5 5 37552Am13sus4 3 2 0 2 0   3 17 3 1 7FIGURE FIGURE   23 A Dorian FIGURE 5 5 7  44  Freely  45 5intervals 4 1 2 4 1 2 4 2 4 1 27 45 4 5 4343 51 4! 1 4 2 1 5 4 7 1 3 4 3 5 7 2 51w/bar 2  57  Am13sus4    52 74731 52 Am7   5 7 17  1  75 57 5 8 5 !   5 7 8 7 5 3 7 5 4 55 573 7 7 5 3 5 2 3 2 0 20 0 2 0 FIGURE 2 3 5 ! 7 7 2   5 intervals   FIGURE 3 FIGURE 4 FIG. 3 FIG. 4 A Dorian  4 5 7 7 0 0 3 5 5 2 4 1 2 5 4 1 2 4 1 2 4 2 4 1 27545 4 4 43 1 4 3 1 3 1 1 4 2 1 4 1 4 13 1w/bar 75 1 Freely  3 5 7 0 0 Am7    4 5 7 0 0    752 77 75  57 5   Am13sus4   547 8 3 5 5 7 75 3 77 00 2 0 0 7 7 5 3 5 2 3 2 FIGURE   57 intervals 5 5   3 5 7 2 2 3 5 0 0  ! FIGURE 3 FIGURE 4 A Dorian  3 5 5  Freely  w/bar 54  4 4 8 4 9 1 7 2 b3 5 6 b7 8 1 2 b3 4 755 7 6 5b7 1   1   5 Am7  (root)  Am13sus4 7 75  57 5 4 5 7 0 0   5 7 8 7 5 3 7  71 2 5b3 543 5 6 53b7 58 !79 7 7FIGURE  2 403 200 2 3 0 52 5 002  5 3 5 46 5 b3 4 5 intervals b7 78  7351 A2 Dorian  FIGURE the D string 3 5 57on  w/bar 75 5 7 4 54 4 1 1    (root)   Am13sus4 5 77  5 75  57 5 4 5 73 0 0   5   A Dorian on the D string 7 7 7 5 3 5 2 3 2 0 2 0 FIGURE 5 4 5 7 7 0 0   13 2A Dorian   3 5 79 2 ! b3 5 4 7 5 intervals 6 b7 8  1 2 b3 4 56 b7 8 FIGURE FIGURE 40 3  52 5w/bar 3 0  5 7 1 1  (root)  5 0 27 4 5 7 9 10 12  14416517719 21  21 19 17 16 14 12 10 9 Am13sus4 7 5 40 2 02  00   3 5   4 5 7 7 0 0  A Dorian on the D string FIGURE 5   3 21 5 79 16 14 12FIGURE 2 FIGURE 3 22A Dorian 1 b3 55 4 77 5 intervals b7 8 19! 0 43 96 10b7128  114216b3174195 216 17 10 9 4 7 5 4 2 02 2w/bar 0 0 5 7 1 1   (root)   5 7 Am13sus4  4 5 7 0 00         FIGURE 6 let ring 4 5 7 7 0 0 FIG. 5 A Dorian on the D string FIGURE 5 3 5 7 2 2  ! 1 2 b3 4 5 6 b7 8 1 2 b3 4 5 6 b7 8 9  (root) 0 0 2 43 55 77 9 10 12  14 16 17 195 217  21 19 17 16 14 12 10 9 70 5 4 21 0 2 1    56 7 FIGURE let 0 4 5 7 0   5 A Dorian on4 the  00ring    5 7 7 0 D string FIGURE 1 2 b3 4 5 6 b7 8 1 2 b3 4 5 6 b7 8 9 17 19 17 16 17 16 14 16 14 12 14 12 10 12 10 9 10 9 7 9 7 5 7 5 4 5 4 2 4 2 0 2 4   05 27 43 55 77 9 10  12   14 16 17 19   16 14 12 10  0 22 00 2 21  21 19 17   9 70 5 4 2   2 0ring  (root) FIGURE 6  17519A17 14 16 14 10 4 let 2    164 175 16  the  112214b3124 105126  9810 9 97 9 7  5 7 5  4 5 4 2 4 2 0 2   Dorian on D string FIGURE 0 1 2 b3 6 b7 8 b7 (root)  0 2 4 5 7 9 10 12  14 16 17 19  21  21 19 17 16 14 12 10 9 7 5 34 2  0 2  A Dorian on the G string FIGURE 7 FIGURE  let0ring 12   176519A17Dorian string  9 10 9 7 9 7  5 7 5  4 5 4 2 4 32 0 2 10 on 14 the16 D14 FIGURE  16 17 16  12 14 12  10  4 2 2  the string FIGURE   00722A44Dorian  5 7 9on10 12G 14 16 17 19 21 21 19 17 16 14 12 10 9 7 5 4 2 0 2 0     19 17 16 14 12 11 9 7 5 4 2 0 2 let0ring 2 FIGURE FIG.  176619 17 51671791611 1412161414 121614171219 1021121021   9 10 9  7 9 7  5 7 5  4 5 4 2 4 2 0 2  4 20 2  3 55 77 99 11 12 14 2 on the 10 12G 1416 1617 1719 1921 FIGURE  string 212119191717161614141212111099 7755442 20 022let00  0076 22A44Dorian 21 FIGURE ring   17 19 17 16 17 16  14 16 14  12 14 12  10 12 10  9 10 9  7 9 7  5 7 5  4 5 4 2 4 2 0 2  4 20 2  3  string FIGURE 5 7 9 on 11 the 12 G 14 16 17 19  21  21 19 17 16 14 12 11 9 7 5 4 2 0 20 2   07682 A4Dorian    FIGURE let ring    0 FIGURE 8 17 19 17 16 17 16 14 16 14 12 14 12 10 12 10 9 10 9 7 9 7 5 7 5 4 5 4 2 4 2 0 2 4 2   12 G14   15 17 19  21 19  17 16  14 12    3   2  11the  55 77  99on FIGURE 11 12  string 14 16 17 19  21  21 19 17 16 14 1211 11 99 7 75 5 44 22 00 22 0 2   00722A44Dorian   0 0 0 0 0 14 0 12 012 19 0  10 010 09  712 0 5 94 0 0 0 0  0 2 4 5 7 9 11 12 14 15 17 21 19 17 16 14 11 7 5 4 0 2 0 17 19 17 16 17 16 16 14 14 10 12 9 9 7 5 7 5 4 2 4 2 0 2 4 2          the G string        3  02 FIGURE  0787020A40Dorian  FIG. FIGURE 5 70 9 on 11 12 14 16 17 19 21 21 19 17 16 14 12 11 9 7 2  0 0 0 0 5 04 2 00 20   0 0 0  0   0 0 2 4 5 7 9 11 12 14 15 17 19 21 19 17 16 14 12 11 9 7 5 4 2 0 2 FIGURE   on the   string        3   0872 A4Dorian FIGURE 5 7 9 11 12 G 14 16 17 19  21  21 19 17 16 14 12 11 9 7 5 4 2 0 2 2    0 0 0 0 0 0 0 0 0 0 0 0 0 0 0  11  12 14  15 17  19 21  19 17 16 14  12 11  9 7  5 4  2 0 2 0  FIGURE   00822 44  55 77  99 11 12  14 16 17 19 21  21 19 17 16 14 12 11 9 7 5 4 2 0 2 2  0 0 0 0 0 0 0 0 0 0 0 0 0 0 0  20  FIGURE   08 2 4  5 7  9 11 12 14  15 17 19 21 19 17 16 14 12 11  9 7  5 4  2 0  0 0 0 0 0 0 0 0 0 0 0 0 0 0 FIG. 808 2 4  5 7  9 11 12 14  15 17 19 21 19 17 16 14 12 11  9 7  5 4  2 0 02  FIGURE     00 02 04  5 07  9 110  12 140  15 170  19 210  19 170  16 140  12 110  9 07  5 04  2 00 02   0 0 0 0 0 0 0 0 0 0  000 0 0 FIGURE FIG. 11 A Dorian mode FIGURE 1 A Dorian mode

5 7

3 5 7

8 7 5

8 7 5

fingering:

fingering:

fingering:

4

fingering:

4

fingering:

4

fingering:

4

fingering:

4 4 4

(octave)

(octave) (2)

(octave)

(octave) (2)

(octave)

(octave) (2)

(octave)

(octave) (2)

(octave)

(octave) (2)

(octave)

(octave) (2)

(octave)

(octave) (2)

00 0 0 0 0 0

ANDY ALEDORT is a GW associate editor. His solo blues-rock album Live at North Star 2009 is available on Steve Vai’s Digital Nations label.

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3/25/14 2:55 PM

IN DEEP BY A N DY A L E D O R T

sake of staying true to A Dorian, which is the whole point of the exercise. To move chord voicings up and down the fretboard within the parameter of any given mode, it is helpful to learn how to play the mode up and down each individual string. For example, FIGURE 5 illustrates A Dorian played entirely on the D string. Try playing each of these notes in tandem with the open A string. I suggest you also try playing within the structure of A Dorian on a single string, in a melodic way, to solidify your understanding of the structure of the mode on that particular string. FIGURE 6 shows a descending pattern on the D string to illustrate this point. Now let’s move A Dorian over to the G string, as shown in FIGURE 7. Again, it’s very useful to play each note in this pattern simultaneously with the open A string, as demonstrated in FIGURE 8. Notice that I included articulation devices, like finger slides, to help smoothly connect the notes of the mode as you move along the string. FIGURE 9 depicts A Dorian ascending and descending the B string, and FIGURE 10 offers an example of playing a symmetrical melodic figure moving down the string. FIGURE 11 shows A Dorian played on the high E string. Again, try playing the B and high E string patterns against and in conjunction with the open A-string pedal tone while memorizing the shapes on each string. Now let’s go back to our stacked-fourths chord voicing of Am13sus4. To create a series of chords based on A Dorian that maintains the stacked-fourth structure, simply move up to each successive scale degree on each string when moving from one chord voicing to the next, as demonstrated in FIGURE 12. When moving from the first chord, Am13sus4, to the second chord, A7sus4, the open D note moves up to the next scale degree of A Dorian, E, at the second fret; the open G note moves up one scale degree, to A; the C on the B string’s first fret moves up to D at the third fret; and the Fs on the first string’s second fret moves up one scale degree, to G at the third fret. This process is then repeated when moving to each higher chord voicing in the series. Some of these voicings may be unfamiliar to you, so take the time necessary to memorize the forms as well as how one changes to the next as you move around on the fretboard. Trying to memorize numerous chord voicings and shapes across the entire neck is a tall order and can seem overwhelming. It’s helpful to focus on small areas and particular strings groups. I like to take groups of four consecutive voicings and create repeated rhythm parts. This way, I can study the concept across smaller and very specific

108


   20 19 17 15 13 12 10 9

FIG. 99 A Dorian on the B string FIGURE





0 1 3 5 7 8 10 12



13 15 17 19 20

FIGURE 10 FIG. 10





Am7

19151517171313151512121313101012 12 8 8 10 10 7 7 8 8 5 5 7 7 3 3



0 2 3 5 7 8 10 12

FIGURE12 12 FIG.



A 69 5 5 4 4 0

Am13sus4 A7sus4 2 3 1 3 0 2 0 2 0 0



  20 19 17 15 14 12 10 8 



  

* Am7sus4

2 1 0 0 0



4

5 5

3 3 2 2 0

5 5 4 4 0

5 5 4 4 0

7 7 5 5 0

  

5 5 4 4 0 0

5 5 4 4 0

  

7 7 5 5 0

7 7 5 5 0

8 8 7 7 0

  

8 8 7 7 0

7 7 5 5 0

 

3 3 2 2 0

5 5 4 4 0

7 7 5 5

5 5 4 4 0

  



7 5 3 2 0

Am13 Am7sus4 19 20 19 20 17 19 17 19 0 0

0

A7sus4 Am13sus4 3 2 3 1 2 0 2 0 0 0

4 4

0 0 0 0 0 0

*chord name represents implied overall harmony

 3   32   20 

FIGURE 15 FIG. 15 1

3 3 2 2 0



14 16 17 19 20

A7sus4 Am13sus4 Am13 A69 sus4 Am7sus4 Am13 A 69 15 14 12 10 8 7 5 15 13 12 10 8 7 5 14 12 11 9 7 5 4 14 12 10 9 7 5 4 0 0 0 0 0 0 0

A 69 17 17 16 16 0

Am13 19 19 17 17 0

FIGURE 14 FIG. 14



 

 7 78755

Am13 Am7sus4 A 69 sus4 Am13 Am13sus4 A7sus4 A 69 7 8 10 12 14 15 17 7 8 10 12 13 15 17 5 7 9 11 12 14 16 5 7 9 10 12 14 16 0 0 0 0 0 0 0

FIGURE13 13 FIG.



5

0

FIGURE 11 A Dorian on the high E string FIG. 11





7 5 3 1 0 1

Am7sus4 5 5 4 4 0

77    75 75  55

7 7 5 5 0

Am7sus4

5 5 4 4 0

5 5 4 4 0

5 5 4 4 0

 7 7  75 75 55

5 5 4 4

5 5 4 4

8 8 7 7



8 8 7 7

8 10 8 10 7 8 7 8

8 8 7 7

8 8 7 7

7 7 5 5 0

 8  87 7

0



5 5 4 4

8 8 7 7

8 8 7 7

 

(play 3 times) 7 7 5 5 0

  554  775  XX 887   4 5 X7 5 7 5 X 7 4 X 5 4 X 5 0



10 X 10 X9 X9

areas of the fretboard at one time. FIGURES 13–15 offer examples of rhythmically syncopated ideas that are designed to help you to master switching from one stackedfourth voicing to the next. Once you have the

10 10 9 9

  

5 5 4 4

10 X 10 X9 X9



8 8 7 7

8 8 7 7

8 8 7 7

8 8 7 7

8 8 7 7

5 5 4 4

7 7 5 5

0 8 8 7 7

etc.

7 7 5 5

 

5 5 4 4 0

8 8 7 7

7 7 5 5

0

 7 7  75 75 55 7 7 5 5

7 7 5 5

0

5 5 4 4

7 7 5 5

5 5 4 4

5 5 4 4

0

0

0

8 8 7 7

8 8 7 7



 5 5 5 5etc.  54 54 54 54 4 4 4 4

concept down, try starting with a variety of chord voicings based on A Dorian and then move these voicings around the fretboard in the same manner. There are endless variations to be discovered.

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AL

LAC I N OU - O VE S T NE lr IC ba N gg U s.c E PE om /v D ™ D AL en I u e

COLUMNS

MAKING TRACKS

By Tom Beaujour

METAL MASTER Acacia Strain producer Will Putney reveals his guitar techniques.

When you’re producing a record, do you generally dial in different guitar sounds for different songs, or do you find one killer tone and go for it?

I do a lot of things in layers, which seems to work out well for me, because I can use tonal themes across a whole record. I’ll always tell bands, “We’re going to do passes of the record.” We’ll do the principal rhythm tracks first, and then if we know that there’s going to be a fuzz layer, we’ll go through all of the songs and just drop that fuzz layer wherever we think it might be appropriate. Then maybe we’ll do a picky layer to accent certain types of riffs, or a really tight, gated layer. When it’s time to mix, I’ve got all of these variations of tones that I can then blend together. On an average verse, how many guitar tracks are we hearing on one of your records?

Sometimes there is just a pair of guitars panned left and right, but you’re usually hearing two pairs and sometimes three, with one or two prioritized. I pretty much always do things in stereo, including leads, unless it’s a kooky one-off sound that is supposed to just appear on one side.

110


I gather that you have to keep the playing incredibly precise for all of those tracks not to smear or muddy the riffs.

I do a lot of stuff with looping, where I’m having the guy cycle through a section and play the part over and over until I’m getting the consistency that we need and we have a pair of takes that are almost identical. Sometimes, however, I’ll do the opposite and we’ll do sloppy layers where I let the guitarist just play through it and keep it a little looser to fill in the holes. The context determines the approach. What are some guitar-recording no-no’s that you hear on demos or recordings by other people?

People have a tendency to overedit guitars. When you do so much slicing and dicing and gridding and quantizing, it starts to thin things out and make it too robotic. It’s fine to do editing where you need to, because things need to be tight, but you should still try and get a performance out of it. It really helps the band and the mix sound more like a live animal. There are definitely big misconceptions about a need for a record to be overly tightened to be “pro,” but actually the biggest metal records in the world don’t sound like that at all. What are some of your favorite amps for tracking metal guitars?

I’ve had a Peavey 5150 II since I was 15, and that is a staple for me, because so many bands are familiar with it. That head is in the mix constantly. I also really like the Bogner Überschall, and I have a VHT Pitbull that I’ve been using a lot on tight rhythm stuff. I also just got a Mesa/Boogie Mark V and I love it. It’s a really versatile head that’s great for doing some more unique stuff. On the Acacia Strain record that I just finished, I got a lot of use out of an Orange Rockerverb with the gain on 10 and the sound totally blown out. Is there a miking scheme that you favor?

I generally stick with a Shure SM57–and– Sennheiser 421 combination. By playing with different positions on the speakers, you can pretty much do everything with those mics. I’ve been experimenting with condenser mics on guitars a lot lately as well, because I’ve heard some mixes that I thought sounded great and later realized that they were recording with condenser mics on the guitar cabs. So I’ve been trying things like a Neumann KM84 and an AKG 451. If you have the budget, it also helps to get a few transformer-based mic preamps. The bump that you get from driving those is definitely better than if you’re running through the mic pres on a budget mixer.

TOM BEAUJOUR runs Nuthouse Recording in Hoboken, New Jersey (nuthouserecording.com). He has recorded, mixed and produced Guided by Voices, Nada Surf, Phoenix and Scale the Summit, among others.

K E E YA H TAY L E W I S/ D E A D B O LT P H OTO S

ALTHOUGH HE ENTERED college planning to become a biomedical engineer, the music recording classes that Will Putney took as electives—plus a chance meeting with legendary producer Machine (Lamb of God, Clutch)—changed the course of the nowubiquitous metal recordist’s career arc. “Machine took me under his wing, showed me the ropes and introduced me to the philosophy of using a hybrid of analog and digital technology that is common today but was way ahead of the curve at the time,” Putney says. In the ensuing seven years, he has become one of metal’s most in-demand producers in his own right, thanks to his precise, aggressive and forward-thinking work with bands like the Acacia Strain, Northlane, Stray from the Path, For Today, the Amity Affliction, Body Count and even his own group, Fit for an Autopsy. We caught up with Putney at his home base at the Machine Shop in his native New Jersey, and he was kind enough to share some of the heavy truths that inform his production technique.

performance tips How to play this month’s songs “How Many More Times” Led Zeppelin

This ambitious closing

track from Led Zeppelin’s debut album was one of the band’s favorite jamming vehicles, featuring openended interludes that allowed Jimmy Page to stretch out with scorching, bluesy lead licks, echo- and wahtreated violin-bow excursions and, in this case, some funky riffing. The guitarist told GW in 1993 that the song “was made up of little pieces I developed when I was with the Yardbirds, as were other numbers, such as ‘Dazed and Confused.’” He added, “It was recorded live in the studio, with cues and nods.” The arrangement embodies an eclectic blend of stylistic elements and innovative production techniques, such as the psychedelic “ping-pong” panning of guitars. It also includes an interesting variety of rhythms. The song kicks off with a “hard-bop” jazzstyle swing feel and signature ostinato bass riff; later, it changes, in tempo and feel, to a straight-eighths funk groove with a southern/ Memphis soul-style riff and lots of 16th-note snare-drum “chatter” (see bar 188 in the transcription). There is, as well, a Latin bolero rhythmic motif with triplet chord strums that bring to mind the Jeff Beck instrumental classic “Beck’s Bolero,” a recording on which both Page and Led Zeppelin bassist John Paul Jones had previously played. In lieu of a violin bow, you can emulate its soft attack at section F (see bar 111) by rolling off your guitar’s tone control and playing the notes with your pick. Interestingly, the apparently unintended half-step-sharp double-stop at the very end of the song is almost like the intended and enigmatic-sounding minor-seventh interval Page later used in his “Ramble On” chorus riff, which is one fret higher. —Jimmy Brown

“Rip It Out” Ace Frehley

In 1978, Kiss simultaneously released four solo albums by each member of the band, with lead guitarist Ace Frehley’s disc capturing the greatest critical and commercial acclaim. The album shipped over a million copies within weeks of its release and reached Platinum status. The song’s opening riff consists of a descending chord sequence played against

112


an open low-E-string pedal tone. Ace doesn’t employ palm muting in this riff, but he does use some fret-hand muting to silence the chords when he goes to pick the open low E note. He does this by slightly loosening his fret hand’s grip on the strings. The chorus (section D) is built from a repeating power-chord progression that mimics the rhythm of the vocal melody. An interesting twist on a standard pop arrangement is the inclusion of a drum interlude following the second chorus, at section F, which features flashy drum fills and serves to set up the subsequent guitar solo (see section G), which is played over the intro/verse riff. Ace begins his solo, which is based primarily on E pentatonic minor (E G A B D), in bar 49 with a five-note pick-up phrase, which he uses as a recurring theme throughout. He revisits this melodic idea for the outro solo (section G), in this case transposed down one whole step, to the key of D, and based on D pentatonic minor (D F G A C). In bars 58 and 59, Ace plays fast triplet double pull-offs on the B string. Start with your fret ring finger on Ds at the fourth fret, pull off to the index finger on Cs, at the second fret, and then to the open string. This three-note sequence is repeated several times over these two bars. For the final two bars of his solo, bars 64 and 65, Ace shifts way up to 19th position and plays lines based on B pentatonic minor (B D E Fs A).—Andy Aledort

“Hey Brother” Avicci

Swedish DeeJay and producer Avicii creatively combines folky acoustic guitar and guest vocalist stylings with his own electronica production to create this appealing, bluegrass-meets-house dance track. Before attempting the song, familiarize yourself with the chords illustrated in frames at the beginning of our transcription. The numbers below each grid show which fret-hand fingers you should use for each note (“1” for the index, “4” for the pinkie), while an arc appearing above a row of black dots indicates that you’ll need to barré the indicated finger across multiple strings. As you learn the chords, also pay attention to the Os and Xs above the chord frames, as these indicate which open strings you should and should not play, respectively. You’ll notice there are two different guitar parts, each of which plays different voicings of the song’s chords. Gtr. 1 employs first-position open chords, while Gtr. 2 plays through the

song using mostly barré chords. Once you choose which part you’d like to learn, memorize the appropriate chord fingerings in order to move more easily through the transcription. You can best recreate the folk-style strumming heard throughout by using an alternating down-up-down-up approach with the eighthnote rhythms. For example, when playing Gtr. 1’s part in the verse (see section D, bars 14–18), begin with a downstroke on the open A note on beat one of bar 14, immediately followed by an up-strum for the chord on the subsequent eighth-note beat. Continue through the next few beats and bars using the same approach. When playing through the slightly more varied rhythms in the chorus, maintain an eighth-note “pendulum”-style strumming motion throughout the progression, whether or not your pick makes contact with the strings. Whenever a chord’s rhythmic duration is longer than an eighth note, simply let the hand pass silently over the strings, producing a “ghost” strum while the chord continues to ring. The key to a solid rhythm performance here is to make sure you start all the downbeats with downstroke attacks. Finally, to play along with the recording, you’ll need to tune all your strings down one whole step, as indicated. —Jeff Perrin

“Follow the Signs” Born of Osiris

Kicking off Born of Osiris’

2011 sophomore album, The Discovery, “Follow the Signs” features the band’s signature gut-wrenching death-core riffs, courtesy of Lee McKinney and Jason Richardson’s detuned sevenstring guitars. The guitarists create many of the tight, heavy-sounding rhythms heard throughout the song by employing heavy pick-hand palm muting (indicated in the tablature by the abbreviation P.M.). The technique is performed by pressing the outer edge of your palm against the strings, just in front of the guitar’s bridge as you pick. You can control the sound of a muted note by varying the amount of palm pressure applied to the string. Here, McKinney and Richardson use a heavy-handed mute to achieve the aggressively short and chunky-sounding rhythms you hear throughout the recording. The dense and complex rhythms in bars 10–16, which include 16th-note syncopations, will be especially challenging to perform. The best way to master this section is to take it slowly and memorize the riff one bar at a time. Tempo-altering software can also be beneficial,

allowing you to slow down the recording to hear these fast-moving riffs in context and more easily practice playing along with them. McKinney’s guitar solo (see section K) features blistering major and minor arpeggios played across the upper strings. To tackle an advanced solo like this, first figure out which fingerings you need to use to play through each arpeggio. Once you feel comfortable with a particular bar, start working on a pick-hand scheme to attack the notes. To get you started, we’ve provided suggested fingerings and picking prompts for the first two bars of the solo (bars 55 and 56). Mastering these first two bars will provide invaluable lessons in how to tackle the subsequent arpeggio licks. —Jeff Perrin

“Counting Stars” OneRepublic

Pedal and Amp Suggestions by Paul Hanson (paulhanson.net)

S i g n a l pa t h f l o w s f r o m l e f t t o r i g h t

“HOW MANY MORE TIMES” VOX SIXTIES “GREY” WAH PEDAL

LEVEL

ATTACK

TONE BENDER PROFESSIONAL MKII SOLASOUND (FOR FUZZ ON VIOLIN BOW EFFECTS)

GENERIC DIGITAL REVERB SET TO ROOM OR HALL TO SIMULATE SIXTIES STUDIO ECHO CHAMBER

VALCO SUPRO 1690T OR MODEL 24 WITH 12-INCH SPEAKER. USE VIOLIN BOW, REVERB AND WAH (FOR EFFECTS IN THE BREAKDOWN) CHANNEL NO 1

CHANNEL NO 2

TREMOLO CONTROL

This hit track from One-

Republic’s 2013 album, Native, mixes fingerpicked, folk-style guitar with the band’s signature up-beat, pop-rock dance-track rhythms. Lead guitarist Zach Filkins plays the song’s intro on a nylon-string acoustic guitar with a capo at the fourth fret. He fingerpicks through each arpeggiated chord melody by using his thumb to sound the root note for each chord and assigning his index, middle, and ring fingers to cover the upper chord tones on the higher strings. As the song picks up at bar 6, Filkins continues this folk-style fingerpicking, alternating between plucking the root notes on the downbeats with his thumb and sounding the three-note chords on the upbeats with his index, middle and ring fingers together. At the end of beat four in bar 6, he plays a couple of 16th-note rhythms, interjecting a little extra rhythmic motion into his fingerpicking. Beginning players who are just learning to fingerpick should feel free to simplify these trickier 16th-note rhythms by replacing them with an easier eighth-note rhythm chord “pluck,” as played in the previous beat. It’s better to focus on performing the fingerpicking with solid, steady rhythms than trying to recreate every note on the recording verbatim. As such, it’s worth mentioning that Filkins himself plays a similarly streamlined version of the part when performing the song live. If you don’t have a capo, you can still play along with the recording by following the tablature for Gtr. 2, which plays through the song in the key of Cs minor using barré chords. You can follow along with this non-capoed guitar part throughout the entire song by observing the bracketed version of the chord symbols that appear above the tab. Whichever guitar part you choose to learn, try to memorize the song’s repeating four-chord progression as soon as possible. Committing the parts to memory will help you focus your attention on the task at hand without having to refer to the transcription. —Jeff Perrin

114


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PRESENCE

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MIDDLE

TREBLE

VOLUME I VOLUME II

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POWERBALL HEAD. USE CLEAN CHANNEL AS A POWER AMP INTO TWO ORANGE 4x12 CABS

ENGL BASS

MIDDLE TREBLE- TREBLECLEAN CRUNCH

CLEAN VOL 1

CLEAN PRESENCE DEPTH VOL 2 PUNCH

TRANSCRIPTIONS

how many more times Led Zeppelin

As heard on led zeppelin

Words and music by jimmy page, john paul JONEs and john bonham • Transcribed by jimmy brown E

Dsus2

E5

9fr 444

E

.

7fr

1444

(0:07)

E

Dsus2

E5 5fr

T 321

7fr

11444

E5

144

E

D5/E

  =   

144

 3

144

5

7

A5 7fr

0

E

 gliss.   9  9 

 

D 5fr

1444

G5

E5

Gtr. 1 (w/dist. and wah) 3 0 0 9 9 7 7 9 7 7

A 5fr

144

B5

2134

5

D 5fr

6fr

12224

7

0

321

E7#9

Intro (0:00) Moderately q = 132 w /swing-eighths feel N.C.(E7) Bass Fig. 1 1 Bass

   

10fr

144

E 7fr

21

D5

7fr

11

E 6fr

A

D

7fr

even

0 0 0



7

9 9 9

11

231

7

5

Dsus2

111

Ah

E5

 



7 7

0 7 7

9 9 7

 

5

7

even gliss.

0 0 0 0

11

 





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

D





(tremolo strum)

11

0 0 0 10 11 12

10 11 12



B





10 11 12

10 11 12



1. How

5



C

1st Verse (0:41) many more times more times N.C.(E)

How

N.C.(E)





Gtrs. 1 and 2 (w/Tonebender dist.) 19 7

5

5

7

0

7

5

 7

5

0

7

5

7

5

 0

7

5

7

5

 

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

treat me treat me the way



25

0

116

7

5

7

5

0



gu i ta r wor l d • J U ly 2014

5



0

5



7

5



5

7

7

0

5

7

5

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

the way you

7





10 11 12



Main Riff (0:34)

0



0 0 0





10 11 12

7

you wanna do wanna do

5

0

7

5

 7

5

 0

7

5

How many When I

 7

5

0

7

5

7

5

 0

7

5

7

5

 

HOW MANY MORE TIMES  Words and Music by JIMMY PAGE, JOHN PAUL JONES and JOHN BONHAM © 1969 (Renewed) FLAMES OF ALBION MUSIC, INC. • All Rights Administered by WB MUSIC CORP.  Exclusive Print Rights for the World Excluding Europe Administered by ALFRED MUSIC All Rights Reserved • Used by Permission

“ how many more times”

31

give

you

7

5

0



all

my

5

7



love

7

0

please

5

5

7

7

0

5

 5

7

0

please



7

5

5

7

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

Gtrs. 1 and 2 35 7

0

be true

5





5

7

7

0

5

    *  7 7 7 5 5 7 7 7 6 6 7 7 7 7 7 5 5 5 5  5 5 D

5

7

7

0

5

7

   5 5 5

Bass 7

0

D

5

5

7

7

0

2nd Verse (1:24) got to give all I’ve all I’ve got to give N.C.(E)

 

0

7

5

5

7

5

7

7

0

5

5

7

rings rings



Gtrs. 1 and 2 41

5

pearls

 7

0

5

A

pearls

5

7

0

5

0

   5 5 5

7

5

5

7

0

7

and all

5

7

0

0

5

7

7

5

7

5

7

5

5

0

7

5

and all



5

7

5

*fret sixth string w/thumb

 7

5 6 7

2. I give you



N.C.(E)

 5

7

7

0

5

5

7

 7

0

5

5

7


I give you I got to



47

0

7

5

7

5

7

0

5

7

5

get you together

 

7

0

5

 5

7



baby

7

0

5

I’m

7



sure

5

0

7

5

5

7


52



sure

0

you’re

7

5

gonna

5

7



call



5

0

7

5

5

7

 7

0

5

5

7

Oh D

  

Gtr. 1 56

0

7 7 7 5

5

7 7 7 5

7 7 7 5

3

E Rhy. Fig. 1



0 9 9 9 7 0

0

5

7

5

7

5

Bass 0

7

5

7

5

wanna love some other man too



0

0

9 9 9 7 0

0 !

0 !

0

0

9 7

5

D

9 7

0

7 7 7 5 5

Gtr. 2 7

7

0

 

0 7 5



7 7 7 5 5



0 7 5

 guitarworld.com

117

TRANSCRIPTIONS

E

Guitar Solo (2:10) E Gtr. 1 plays Rhy. Fig. 1 eight times (see bar 57)

Gtr. 3 (w/dist.)

61

1

15 !



15

 1 

Gtr. 2 15

!

15

Bass Fig. 2 Bass

0 9 7



 12 15  12 15 1



1

 12 15  12 1



15

9 7

D



1

14 14 12

1

14 !

14

14 14 12

14

14

14 12 14 12 14



14

14 12

  14 14 14 12 !

1

14

  

14

Gtr. 2

12 !

14 12 14

3

 

14 12

14

14 12

3

14

12

14

12 13

3

3



7 5

E

 14 12 14 12  ! 11 11

1

15

14

3

7 5

D

1

15

14

  12 12 !

7 5

1

12 !

14 12

0

  15   ( 14 ) 14 ( 14 ) 14 14 1

12 14 14

3

E

Gtr. 3 65

14

1



9 7

1

3

  2420 9 !

9 11

3

3





Bass plays Bass Fig. 2 seven times (see bar 61)

D 70

 2420  2420 2420  3

3

0 !

3

2 0



0 !

1

*





1

*

1

1

1

0 !

1

1

3 3 3 *Bend string behind the nut.

1512

12

12

1512

12

3

1512

1512

12

12

1512

1512

12

12 15

3

12

1512

3

151215

12

15 12

12

3

15 1512

15 12

12

1

15

3  15 15 !

1512

14

14

12

14

12

3

12

14 14

12

15 12

3

12

15 12

3

12

15 12

3

15 12

1

1

12

15 12

 0 ! 

15

15 12

12

3

1

15

14121412

141214121412

1412 11

3

 



3

E

D

11

 118

12

3

3

77

1512



0

3

D 74

6

2

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



E





12 11 12 11 12 11 12 3

11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12

11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12

17 16 17 16 17 16 17 16 17 16 17 16 17 16 17 16

17 16 17 16 17 16 17 16 17 16 17 16 17 16 17 16

3

17 16 17 16 17 16 17 16



E



80

 21 17 

21

11 12 11 12 11 12 11 12

1

  

 19 

17 !

17 16 17 16 17 16 17 16 17 16 17 16 17 16 17 16

1½

15

15

 

15





15



15 17

 

 15 17



3

17

17 15

17 17 15 17 15

15

0 !

 15 17

15

17 15



17

 1512 

  1512 

1

1

1/2

91

12

14

12



1

15 12

12

3

15 12

12

15 ( 15 )

15 12

 1512

1512

12

3

12

1512

3



12

1512

3



12

E5

12

12 !

1

12

14

16

12

7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 3

3

7 7 7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 0 0 0

3

3

0 9 7

3

3

3

1/2

1

16 16 16



3

Elec. Gtr. 1

9 7

D

1



1

1/2



17 17 15 17 15 15



12

15 12 15

14



1

15

12

12

15

3

12

1512

12

1512

3

12

1512

3

12

3

1512

12

1512

3

12

3

1

15

14 14 12

14

14 12

14

12 12

12

14

3



E

12 !

0

  17 17

3

1512

Gtrs. 2 and 3

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

Bass



3

Gtr. 3 93

9 9 7 0

1/2

3 3  15 15 ! 



17 17

1

12 14 14 14 12 14 12

14

17



1

14

1½

3

3

D







 1512 

17

17 17 17 17 17 17 17

3



 1512



17 15

3

15

    E 1512  1512 15 12 1512      

 15 17

3

 88

17 15

15

 17 !

 1/2

15



1½

1

E 84

17

D

1½

16

14 16 14 

16

3

3

6 6 6 6 7 7 7 7 0 0 0 0 3

6 6 6 7 7 7 0 0 0

6 7 0

3



Bass Fig. 3 7

1

3

6 7



   16 16 !

7 7 7 7 3

7 7 7 3

7

6 6 6 7 7 7 7 9 0 0 0 0

9 11

3

7 9

3

7 7 7 7 7 7 5 5 3

3

5

3

guitarworld.com

119

TRANSCRIPTIONS

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

97

12 !



14 16 16 16



3

7 9 0

6 6 6 7 7 7 0 0 0

6 7 0

6 6 6 7 7 7 0 0 0

6 7 0



3



3



7 7 7

7

7 7 7

3

13 14 13

12 !

7

 14 16 16



6 6 6 6 7 7 7 7 0 0 0 0



5



3

7

7 7 7 7

3

3

7 7 7 5

3



7 7 7



16 16 16 14 16 14



3

7

7 7 7 5

7

   16 ! 16 16 1

16 16

5

9 9 7 0

9 9 7 0



3

9 9 9 7 0

9 9 7 0

9 9 9 7 0 3

7

9 9 9 7 0

9 9 9 7 0

9 9 9 7 0



3

9 9 9 7 0

9 9 9 7 0

9 9 9 7 0



3

7

9 9 9 7 0

9 9 9 7 0

9 9 9 7 0

7 7 7 0

3

3

 11 !  12 !

7 7 7 0

12 12 12 12 12 12 12 12 12 12 12 12 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 0 0 0

7 7 7 0

3

3

3

3

7 7 7 7 7 7 7 7

3

7

3

3

3

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

3

3

3

3

3













12 12 12 12 12 12 12 12 12 12 12 12 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 0 0 0

12 12 12 12 12 12 12 12 12 12 12 12 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 0 0 0

3

3

3

3

9 9 9 7 7 7

3

5 6 6

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


9 9 9 7 0

7 7 7



3

3

9 9 9 7 0

7 7 7 7



9 9 9 7 7 7

3

9 9 9 7 0

3

E5

12 !

3

9 9 9 7 0

14 16 14 3

3

3

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

3

9 9 9 7 0

7 7 7

3

12 12 12 12 12 12 12 12 12 12 12 12 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 7 7 7 7 7 7 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 0 0 0

9 9 9 7 0 3

7 7 7 7

3

3

9 9 9 7 0



3

3

3



7

6 6 6 7 7 7 0 0 0

E

13 14 13

16

6 6 6 6 7 7 7 7 0 0 0 0

3

1

16 16

7 9 0

3

D5/E







7 5

1

14



3

3

14 14

12 !

33

6 6 6 7 9 7 7 7 7 9 11 9 0 0 0 0

3

   13 14 ! 14 14

11

120

6 7 0

3

3

  11 13 ! !

3

6 6 6 7 7 7 0 0 0

3

6 6 6 7 9 7 7 7 7 9 11 9 0 0 0 0

3

7 9 0

1

 14

3

3

106

7 7 7 5 7

1

12 !

7



3

Gtr. 3







3

3

3

Bass

16



1

E



6 7 0

3



16 !

6 6 6 7 9 7 7 7 7 9 11 9 0 0 0 0

3

Gtr. 2 102

Gtr. 1

1

12 !



7

1

3

3

3

3

3

3

3

7 7 7 5 5 5 3

3

9 9 7





0

 



0

3

7 7 7 3


F

Violin-bow Interlude (3:39) E

Gtr. 1 111 9 9 9 7

(w/violin bow, wah, and tape echo)



Bass





7



0 !



0 !



0 !

7 !

7 !



12 9 9 9

    

G0

0 !

7 !

* 12 9 9 9

7

7 !

0 !

0 ! 9

9 !



7 !

*tremolo “strum” w/bow

119

0 !

 0 !

7 !

7 !

 

9

7



7 !

 7

7 !





7 !



0 !

7 !

7 !

7 !

10 !

7 !

G7

7 !



8



9

 

7



7

 

just what I had missed

7 !

9

9

7 !



10 !



 10 !

10 !

7 !

Started thinking it over

7 !

7 !



0 0

I was a young man I couldn’t resist

127



0 !

7 !

Got me a girl and I kissed her and

132

 7

7 !

137

10 !

7 !



 10 !

8

10 !

7 !

9

7

G7 

9 7 !

9



then and then

10



 10 ! 9

7 !

12 !



7 !

10 !

7 !

7 !



0

G7 

7

Whoops Oh no



 9



G9 

9 !

9



9

9





Yeah well I did it again

10 ! 



12 ! 



12 ! 

7 !

7 !

7 !



9

3

9

9

Now I’ve got ten children of my own

143 10 ! 



10 ! 

7 !

7



I

10

7

9

7

7

9

9 7 !





12

12

10 ! 



9

7

7 ! 3

10 ! 



9

7

5

8

7 !

3 guitarworld.com

121

TRANSCRIPTIONS

148

got another child on the way that makes eleven

10 ! 

7 !





5

7 !

7

( 12 )



7

I

7 !



( 12 )



9 7



14 16

3

3



3

7 5 7 5 7 5 7 5 5 5 7 3

 10 ! 

! 



12 14 12  10

14

3

7 !

5



7





14 16

7

9

7

14

3

9 x7

7

5

 10 !

10 ! 



3

7 !

5



7 7

9

9

7

7

5

6

10

3

little schoolgirl and she’s

10

0 !

7

7 !

12 ! 



G 

9



7

3

all

158



( 12 )

mine



I can’t get through to her ’cause it doesn’t permit



14

16

14

10 ! 



12 14 12 3

3

10 !

9 7 !

G

7

G7

7 !

7



9

9

9

10

7

7

9

9

7

0

7

7

5

6

(5:03)

But I’m gonna

E5

give her everything

I’ve

got

to

give

Gtr. 1 161

 12 !

0

Gtr. 2



9 9 7 0





( 12 )



9 9 7 0





9 9 7 0





9 9 7 0









14

9 9 7 0





9 9 7 0



16

14

12 14 12 3



9 9 7 0





3

9 9 7 0



10 ! 





9 9 7 0





9 9 7 0





9 9 7 0





9 9 7 0



Bass 7

7

7

7

7

3

122


7

7

7

7

7

7

7

7 3



7

7 9

3

’cause I got a

12 14 12

10

7 9

7

3

know it’s all right in my mind



12 ! 

 !0



5 3

153





12 ! 



But I’m in constant heaven

7

7

7

7 3

7


0

164

0

12 12



10 ! 





9 9 7 0



7





9 9 7 0



7

0

12 12



9 9 7 0



7





9 9 7 0



7

0

12 12

12 12



9 9 7 0





7

9 9 7 0



7



9 9 7 0



7





9 9 7 0



7



9 9 7 0



7



9 9 7 0



7



9 9 7 0



7





9 9 7 0



7

9 9 7 0



7



9 9 7 0



7





9 9 7 0



7

9 9 7 0



7

E 168

0

0

12 12



9 9 7 0

0

12 12

12 12



9 9 7 0

9 9 7 0

9 9 7 0

9 9 7 0

3

9 9 7 0

9 9 7 0

3

7

7

9 9 7 0

9 9 7 0

9 9 7 0

3

5

7

9 9 7 0

9 9 7 0

9 9 7 0

3

5

9 9 7 0

9 9 7 0

9 9 7 0

9 9 7 0

3

7

7



9 9 7 0

9 9 7 0

3

7

9 9 7 0

9 9 7 0

9 9 9 7 0

9 9 7 0

3

7

7

7

0

7

7

7

9 9 9 7

9 9 9 7

9 9 9 7

3

9 9 9 7

9 9 9 7

9 9 9 7

9 9 9 7

9 9 9 7

3

3

7 7 7

7 7

3

3

9 9 9 7

7 7 7 5

7 7 7 5

3

9 9 9 7

3

7 7

7

9 9 9 7 0

9 9 9 7 0

3

7

7

9 9 9 7 0

3

7

3

9 9 9 7 0

7

7

7

3

9 9 9 7

9 9 9 7

9 9 9 7

3

9 9 9 7

3

9 9 9 7

9 9 9 7

3

9 7

7

3

9 9 9 7

9 9 9 7

9 9 9 7

3

7

9

9 9 7 3

7 7 7 5

7 7 7 5



9 9 9 7

3

7

7

7

3

3



7

9 9 9 7

9 9 9 7

5

6 3



9 9 9 7

9 9 9 7

9 9 9 7

9 9 9 7

9 9 9 7

3

3

7 7

7 5 5

3

3

9 9 9 7

7 7 7 5 0

7

3

12 12

3

7

7 7 7 5 0 3



7 7 7 3

7

9 9 9 7 0

12

9 9 7 7

9 9 9 7 0

0



9 9 9 7

9 9 9 7 0

12 

12 12



7

3

0

12 12

9 9 9 7 0

3

3

171

9 9 9 7 0

9 9 9 7



9 9 9 7



7 7 0



9 9 9 7

9 9 9 7

3

5

7

3 guitarworld.com

123

TRANSCRIPTIONS

H

Breakdown (5:30) Slower q = 88 w/even-eighths feel ( iq = iq ) Rosie oh girl Oh N.C. E7#9

Gtr. 2

174

 

Riff A

 



 



Bass

8 7 6 7

 7









Steal away now Gtr. 2 plays Riff A 10 times (see bar 174) Bass 178



7

away



 7









7













8 7 6 7

 7

7



7









away

 8 7 6 7

 7

baby





7

come and play



All right



girl



7







Steal



7

oh

away

Why don’t you come to me baby Steal away 184

Rosie

Little Robert Anthony wants to





8 7 6 7



7

steal 181



steal



9

Oh









All right

 7



7





7

Gtr. 1 plays Fill 1 12 times (see below)

I

(6:08)

N.C.(E)

E5

Gtr. 2 Riff B

0 0

Bass

Bass 190

 

1/2

188 0 0

0 0

5

7

7

3

5

5



6

6

8 7 6 7

0

0 0





0 0

0 0

5

7

7

3

5

5



7

6

6

8 7 6 7

0

9 5

7

7

7

5

7

7

7

Well

5

3

7

0

7

7

5

Fill 1 (6:??)

Gtr. 1 (w/wah)

 gu i ta r wor l d • J U ly 2014

9

 



12 12 12

7

X

7

9

7

Gtr. 2 plays Riff B twice (see bar 188)

7

124

 

1/2

7

8

9

9

they

7

9

“ how many more times” call me the Hunter Gtr. 2 plays Riff B eight times (see bar 188)

192

7

7 7 7 5

5

X 7

call

7

me

5

the

196 7 7 7 7 5 X 7 7 7

Ain’t B5

no

need

4 4 2

4 4 2

4 4 2

4 4 2

9

9

9

9

8 9

That’s my name

5 7 7 7 7

X

7

7 7 9 9 9

Hunter

7 9

7

7 7 7 5

That’s how I

7 7 7 7 7 5

hide

4 4 2

4 4 2

4 4 2

4 4 2

9

9

9

9

7 7

7 5 0

7

7 7 7 5

J

9

9

9

11

2 4

9

9

(6:49)

Faster (original tempo) q = 132 w/swing feel you

got E5

204

0 0 209

K



the



2 2 0

7 0

in N.C.





2 2

11

9

4 2

11

4

2

2

4

11 11

9 9

 3 �   =   

sights

4

2

9

5

7

need to run

2 2 0

2 2 0

2 2 0

6

7



4

of



5

7 7

7 8 9

7 7

Ain’t no A5

7

7

my fame

X 7 5 0

2 2 0

4 5 5 7 7

4 5 6 7 7

7

to

Bass

3 4 0

got

Elec. Gtr. 2 200 4 4 2

X 7

They

X

9 7 7

’cause I G5

2 2 0

2 2 0

2 2 0

5

6 6

7

2 2 0

7

5

2 2 0

7

0

5 5 5 3

5 5 3 3

5 !

5

my



































gun



7

Main Riff Reprise (7:05) 3. How

N.C.(E)



Gtrs. 1 and 2 214

0

5



7

5

7

5

7

5

 0

7

5

7

5

 7

5

0

7

5

7

5

7

5

 0

7

5

7

5

7

5

Bass 0

7

5

0

7

5

0

7

5

0

7

5

guitarworld.com

125

TRANSCRIPTIONS

L

 

219


3rd Verse (7:11) many more times many more times got to get you to N.C.(E)

Barrelhouse



7

0

5

5

7

baby

So

 7

0

all night Barrelhouse

long all



5

5

7

7

0

5

5

7

night

 7

0

5

5

7


long please

1., 2.

all night come home



Gtrs. 1 and 2 223 7

0

5

5

7

    *  7 7 7 5 5 7 7 7 6 6 7 7 7 7 7 5 5 5 5  5 5 D

 7

0

5

5

7

7

0

5

7

Bass 7

0

5

5

7

7

0

5

How Well I’ve

7

X

7

0

5

5

7

5

D

A

   5 5

3.

 

5 6 7 5

    5  5

A

   *   7 7 7 5

7 7 7 5

*fret sixth string w/thumb

5

7

7 7 7 5

5 6 7

5 6 7

5 6 7

5

5

5

3

3

7

7

7

7

3

Why don’t you listen to me babe N.C.(E)



228 7

0

5

5

7

7

0

5

    *   7

5

7

0

5

5

7

7 7 7 5

7 7 7 5

7 7 7 5

5 6 7

5 6 7

5 6 7

5

5

5

3

7

0

5

5

7

7

0

5

7

X

7

0

5

5

7

4

5

Why don’t you please D A

    *  

 7

0

5

7

5

7 5

0

7

7 7 7 5

5

7 7 7 5

7 7 7 5

5 6 7

5 6 7

5 6 7

5

5

5

3 9

7

0

5

7 X

7 5

0

7

11

3

9

7

5

9

11

239

A

   *   7 7 7 5

7 7 7 5

7 7 7 5

5 6 7

5 6 7

5 6 7

5

5

5

3

5

7

7 5

3

126

3

7

home E



0 0 0 1 2 2 0

7 0 !

3




0 0 0 1 2 2 0

7 0 !

3

come D

9

come home E

7 5

D 7 7 7 5

7 7 7 5

5 6 7

5 6 7

5 6 7

5

5

5



5



3

5

5 3

3

5

5

5 3

7 7 7 5

7 7 7 5

5

0 9 9 7 0

5 6 7

5 6 7

5

5

5

7

3

4

7 7

 0 !

7

5

7

5

7

7

5

5



4

Why don’t you please E



0 0 0 1 2 2 0

0 !

3

 

E7#9

9 9 7 0



0

5 6 7

3

E5



7

A

3

A

7 7 7 5

4

   *   7 7 7 5

5

3

D

3

   *  

0



3

3

233

3

Why don’t you please come home D A N.C.(E)



7

 

0 8 7 6 7 0



0 ! 

N.C.

8  8 



7

   

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TRANSCRIPTIONS

rip it out Ace Frehley

As heard on ace frehley

Words and Music by ace frehley, sue kelly and larry kelly • Transcribed by andy aledort

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 E b, one half step lower than written. E5

D5/E 7fr

A/C# 5fr

144

A5

B5

B

G5

4fr

144

14

D5

11

C5

133

G5

1333

2

5fr

6fr

133

A

Intro (0:00)

*Gtr. 1 (w/dist.)



*doubled

13

13

D5/E

A/C#

7 5

7 4

1334

9 9 7 0

0

0

0

0

0

A5

B5

0

0

7 4

2 2 0

2 2

4

4 2

4 4 2

4 4 2

4 4 2

2

2

9

9

9

9

9

9

9

9

0

let ring w/pick 7

9

7

9

7

9

7

9

7

9

9

7

9

7

9

7

7 *Use fret-hand muting to silence chords when playing open low E notes.

1.

B

2.

1. Now I

B

2 2

4

9

9

to D5/A

4 2

4 4 4 2

4 4 4 2

4 2

4 2

0

9

9

9

9

9

9

and lyin’ be with A/C#

   

7

2 2

4

9

9

Verses (0:14, 1:04)

know

B5

4

7

133

1 *

 

   Bass

133

E5

 

 

3

E¨5

Bsus4

F#5

4 2

4 4 2

4 4 2

4 2

4 2

0

7

7

5

5

4

4

   

you’ve been cheatin’ not glad

(2.) I’m

E5 Rhy. Fig. 1 *

9 9 7 0

0

0

0

0

0

0

7

7

7

7

7

Bass Fig. 1 7

7

all the time you today A B5

I didn’t And it’s end Rhy. Fig. 1

7 7 5

0

7 4

7 4

0

2 2 0

2 2

4

4 2

4 2

4 2

4 2

4 2

4 2

2 2

4

4 2

4 2

4 2

4 2

4 2

0

end Bass Fig. 1 5

128

0

4

4

0


5

5

7

7

7

7

7

7

7

5

7

7

7

7

7

7

5

Rip It Out Words and Music by Ace Frehley, Sue Kelly and Larry Kelly © 1978 HORI PRODUCTIONS AMERICA, INC. All Rights Controlled and Administered by UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC. All Rights Reserved • Used by Permission • Reprinted by Permission of Hal Leonard Corporation

“ rip it out” know bad E5

you were gonna ’cause I can’t

Gtr. 1 10 *

9 9 7 0

0

0

0

0

0

0

be stop the D5/A

so pain A/C#

7 5

7 4

0

unkind day by A

7 4

day B5

2 2 0

0

2 2

4

4 2

4 2

4 2

4 2

4 2

4 2

Bass plays Bass Fig. 1 three times (see bar 6)

I’ve been tryin’ If I knew

just to how to E5

13

out you I D5/A

how don’t A/C#

7 5

7 4

we went think I’d A

*

2 2

4

4 2

4 2

4 2

4 2

4 2

9 9 7 0

0

0

0

0

0

0

0

0

7 4

2 2 0

0

But I know I think it’s better E5

wrong try B5

16

that I if we

can’t just

0

0

*

2 2

19

C

find stop

4

4 2

4 2

trust you part and D5/A

girl don’t A/C#

7 5

7 4

0

4 2

4 2

4 2

4 2

2 2

4

4 2

4 2

7 4

2 2 0

0

2 2

4

4 2

4 2

Bass 3

Gtr. 1 26

 

7 7 5

 

3

3 0 0 3

3

X X X

X X X



2 2 0

5

 

2 2 0

 

5

5 5 3



2 2 0

5

5 5 3



5 3

7 7 5

15

4 2

9 9 7 0

0

4 2

0

0

0

0

5

the F#5



4 2

2 2

4

4 2

4 2

4 2

4 2

4 2

4 0

Chorus (0:44, 1:35, 2:46) out

7 7 5

5

start G5

5 3

Take G5

C5



7 7 5

Bass Fig. 2



from G5

C5

7 7 5

4 2

Rhy. Fig. 2

it



4 2

Rip it D5

A5

wanted D5

7 7 5

4 2

D

G5 3 0 0 X 3

4 2

anymore say goodbye B5 A5

Verse Tag (0:41, 1:31, 2:43)

Gtr. 1 22 3 0 0 X 3

4 2



5

You

 5 3

my heart F#5 G5

You



(on repeat, Gtr. 2 plays pick slide)

5 5 3

5 5 3



3



3



5 3



got D5

it

7 7 5

7 7 5

3

 

4 2

5 3

5 3

2

3

3

now C5

7 7 5



5 5 3



5 5 3

guitarworld.com

129

TRANSCRIPTIONS 3rd time, skip ahead to

So G5 29



goodbye F#5 G5

rip D5

it

out

Watch G5

C5

(on repeat, Gtr. 2 plays pick slide)



5 3

So

4 2

5 3

7 7 5

5 3

7 7 5



7 7 5

5 5 3



5 5 3





2 2 0

Bass

2 2 0

2 2 0



5





5

Go back to

B

5

X X X

38

2. It’s so

 

0

 

9 !



2 2 0

2 2 0



2 2 0

X X X

X X X

X X X

4 4 2



7

2nd Verse (bar 6)

B5

4 2

G5 end Rhy. Fig. 2 5 3

5 3

7

Bsus4



4 4 2

4 4 2

2



7

7





7

5 4 4 2

9

2.

B5 4 4 2

7

I



4 4 2

4 4 2

2



7

7





7

hope you Bsus4

suffer B5

0

5 4 4 2

4 4 2

7

9

9 !

Drum Interlude (1:55) D5

E¨5

4 4 2

0

4 4 2

0

4 4 2

0

4 4 2

0

7 7 5

8 8 6

9 !

9 !

9 !

9 !

5

6

E5

42

130

0

7

4 4 2

E

5 3

Outro (bar 66)

cry

B5

Gtr. 1 32

7



G

1.

A5

35

me F#5

D5

9 9 7

9 9 7

7

7














E¨5

E5 9 9 7

9 9 7

7

7

7 7 5

7 7 5

8 8 6



5

6



5

  









D5

E¨5

7 7 5

8 8 6

5

6

“ rip it out” E5

46

F

D5

9 9 7

9 9 7

7

7











E5 9 9 7

9 9 7

7

7

7 7 5

7 7 5

8 8 6



5

6



5

  

1



Gtr. 2

 14 12 12 12 X  X    Gtr. 1 pick slide



0





Guitar Solo (2:15) E5 D5 Gtr. 1 plays Rhy. Fig. 1 four times (see bar 6)

Gtr. 2 50

1

1

15

Bass 7

53



E¨5

1/2



15

9

7

9

7

A/C#

1

15

15

7

15



15

1

15

15

 14 14 !

15

12

14

7

E5 12

12

14



1

14

12



(repeat previous bar)

9

B5

1



9

A5

12

1

1

15

15

9

 15

 14 !

9

7

12

1



7

15

12

9

7

9

12

14

3 7

9

7

D5 15

A/C#



15



15

7

9

1

1

55

9

15



1

15



1/2

15

7

9

A5

B5



1

1

15

1

17

17

9

7

9

7

 17

7

58 15



15

9

7

9

D5



1

4 2 0 4

4 2 0

3

17

1

9 11

1

10 12

3

1



4

11 13

12 14

4 2 0 4

E5 12

12

7

3

1

14

9



3

1

17

7

1

1/2

17

9

1

17

17

12

14

12

9

9

7

9

9

7

9

A/C#


61

9

12

12



 1

7

1

3

E5

9

15

1

15

9

7

9

7

A5

5

3



hold bend

15

15

3

  

15 15 15

3

3

4 6



1

4

1

5 7

1

5 7

A/C# 15 15 15 15

3

7 9



3

D5 15

5

B5

4 2 0 4 2 0 4 2 0 4 2 0 4 2 0

3

1

9

15 15 12



A5 12



3 guitarworld.com

131

TRANSCRIPTIONS

“ rip it out”

G go back to

B5 1

64



19

21

19



22 19 22

Take G5



12

12 10

19

19

wanted D5

you 1/4



10

12

70

it

10

Watch G5

me F#5



13 10

13 12 10

3

3

G5

it

it

out

1

80 10 12

12

10 12



it



13

1

10

13 10 13

C5

10 12

10 12

10 12

10 12

12

3

you

 10

12

8

out

 13

13 10



13

Rip it out D5 C5

trem. pick 1

1

13

13 !

13 !





G5

1

10 12

1



1

1

10 12

10

12

F#5

1

10 12

12

G5 F#5 G5

G5

1

10 13 10

C5



G5

1

12

1

1

10 12

10



1

G5

10 12

10 12

1

1

10 12

10 12

10 12

12

1

12

1

10 12

Rip D5

10

12



10 12

it

10 12 10 12

out

10 12

10 12

 

1

22

*harmony lead overdub

10 12

12

12

10 12

10 12

1

22

22



10 12

C5

1

10 12

10

C5

10 12

out

1

1

hold bend

*Gtr. 3


10 12

1

it

 10 12



Rip D5

G5

1

10 12 10 12

F#5

F#5

Fill 1 (2:41)

132

rip D5

out

12

1

C5

1

10 12

10 12

10 12 10

10 10

out

3 1

the start F#5 G5

1

13

C5

10

from G5

1

13

13

3

Begin fade Rip D5



3

Rip D5

13 13



83



Rip it D5

12 11 10

1

0

G5



13

13 10 13

3

(w/random overdubbed pick slides)

1/2

10

12



3

F#5 G5

 13  13

77



13

10



12

So

1

13

3

12 11 10

10

3

goodbye F#5 G5

1

12



10 13 10

1

13 12 10

1

13

1

cry G5



C5

13 10 13

So G5

  10 13

13 10





73

10

1

12



22

1

C5



22

1

now 1

22

1

it

12

*semi-harm.

got D5

22 19 22

1





12

1

21

heart G5

*

10

12

1

my F#5

Rip it out D5 Gtr. 1 plays Rhy. Fig. 2 till fade (see bar 24)

Gtr. 3 plays Fill 1 (see below)

1





67

1

Outro (3:00)

Verse Tag (bar 22)

C

10 12

1

10 10 10 12 12 12

G5 F#5 G5



10 12

1

10 12



Fade out

LEGENDARY MUSIC STRINGS SINCE 1958

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gw_rf_qp.indd 1

23/07/2013 17:58

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TRANSCRIPTIONS

hey brother Avicii

As heard on true Words and Music by Tim Bergling, Salem Al Fakir, Ash Pournouri, Vincent Pontare and Veronica Maggio Transcribed by jeff perrin

All guitars are tuned down one whole step (low to high, D G C F A D). Bass tuning (low to high): D G C F. All music sounds in the key of G minor, one whole step lower than written. Am

Fmaj7

C

G

Am

C

G5

Am

Fmaj7

5fr 134111

T3 4 2 1 T = thumb

1333

134211

4

  

C 7

   





light P.M. on

2

2

0

2

0

3111

1444

0

0

to but

0 5



3



5

3

5

1st Pre-chorus (0:21) Oh G

5 3

if

the

0

sky C

3

5 3

5 3


0

2

2

0

2

0



2

0

0

thicker Am

3 3 4 5 5 3



3



5

5 3

0

end Rhy. Fig. 1

5 5 5 7 7 5

light P.M. on

2

 



0

2

2

0

0

down G

for

0 0 5

3


0 1 2 3 3 1

5 5 5 3

5 3

3 1

you

 

there’s

3 3 4 5 5 3

5 3

2 0

0

3 3 4 5 5 3

3 1

There’s an Know the

5 5 5 7 7 5

fallin’ Fmaj7

0

3 3 4 5 5 3

5

0 5 5 5 7 7 5

0

comes

333

brother sister

re-discover blood is G

5 5 5 3

3211

1st Verse (0:03)

   

2

0

road sweet C

5

136

34

Am Rhy. Fig. 1

0 1 2 3 3 1

3

2

Hey Hey

endless water’s Fmaj7

3

32 1

B

  

Gtr. 1 (acous.)



231

Intro (0:00) Moderately q = 125

Gtr. 2 (acous.) 1



C 5fr



A

G

5fr

5 3

5 3

5 3



Hey Brother Words and Music by Tim Bergling, Salem Al Fakir, Ash Pournouri, Vincent Pontare and Veronica Maggio © 2013 EMI Music Publishing Scandinavia AB, Pompadore Publishing AB, Ash Pournouri Publishing and Universal Music Publishing AB All Rights on behalf of EMI Music Publishing Scandinavia AB, Pompadore Publishing AB and Ash Pournouri Publishing Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 All Rights on behalf of Universal Music Publishing AB in the U.S. and Canada Controlled and Administered by Universal PolyGram International Publishing, Inc. International Copyright Secured • All Rights Reserved• Reprinted by Permission of Hal Leonard Corporation

“ hey brother” nothin’ in C

11

this

world Fmaj7

do Am

I wouldn’t

0

0

0

0 1 2 3 3 1

5 5 5 3

5 5 5 7 7 5

light P.M. on

5

5

3

D

3

3

0

5 5 5 7 7 5

2

3

1



0

1

2

2

0

2

0

0 !

0

2nd and 3rd Verses (0:34, 2:22)

2. Hey

brother sister

Do you Do you

3. Hey

brother sister

There’s an endless road to Do you still believe in Fmaj7 C

Hey

Hey Am Gtr. 2 plays Rhy. Fig. 1 (see bar 2)

Gtr. 1 let ring throughout 14 0 0 1 1 2 2 2 2 0 0 0

 

0 1 2 2

0

0 1 2 2



still still

1

believe believe

0 1 2 3 3

1

0 1 2 3 3

3

in in

0 1 0 2

3

one love

another I

re-discover love I G5

0 1 0 2



3

wonder Am

3



3



3 3 0 0

3 3 0 0

wonder

0

0 1 2 2

0

0 1 2 2

0

0 1 2 2

0

0 1 2 2

 

(doubled throughout)

 

Bass

E

5

5

5



5

1

3

1



3

3

5

5

5

 

5

2nd Pre-chorus (0:51, 2:39) Oh G5

Gtr. 1 19

if the

3 3 0 0

3

3 3 0 0 3

3 3 0 0 3

sky C

3 3 0 0

Gtr. 2 Rhy. Fig. 2

  

0 3 3 4 5 5 3

Bass

3 3 4 5 5 3

X X X X

0 1 0 2

3

3

X X X X

5 5 5 3

comes

3

 

0 1 0 2 1

X X X X X X

down G5

fallin’ Fmaj7 0 1 2 3 3

1

0 1 2 3 3

for

3 3 0 0 3

3 3 0 0 3

3 3 0 0 3

3

3

3

3

3

1

0

3 3 4 5 5 3

1

3



3

3 3 4 5 5 3

Bass Fig. 1 3

there’s

3 3 0 0

0 0 0 1 2 3 3 1

you

3

3

3

3 3 4 5 5 3

  

X X X X X X

 guitarworld.com

137

TRANSCRIPTIONS

23

nothin’ in C

3

0 1 0 2

I

this world Fmaj7 0 1 0 2

3

0 1 2 3 3

1

wouldn’t

do Am

0 1 2 3 3

1

0

0

0 1 2 2

0

0 1 2 2

0

0 1 2 2

0

0

0 1 2 2

0

0 1 2 2 0

0

0 1 2 3 3 1

5 5 5 3

(Ah)

3

end Rhy. Fig. 2

5 5 5 7 7 5

3

5 !

end Bass Fig. 1 3

F 26

3

1

1

(Ah) Am

What if

I’m

5

far from Fmaj7

5



5

home C

Well

brother I

will hear you call Am

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0



0 1 2 3 3 1

0 1 2 3 3 1

0 1 2 3 3 1



0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

2

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

5 5 5 7 7 5



0 1 2 3 3 1

0 1 2 3 3 1

0 1 2 3 3 1



5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

2

3

3

3

2

5

5



5

What if I

138

5

2

Chorus (1:05, 2:53)

5

30

2

1

1

lose Fmaj7

Am



it

3

3

all C

3

Oh

3

sister

I

will help you out

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0



0 1 2 3 3 1

0 1 2 3 3 1

0 1 2 3 3 1



0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

0 1 0 2 3

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

5 5 5 7 7 5



0 1 2 3 3 1

0 1 2 3 3 1

0 1 2 3 3 1



5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5 5 5 3

5

5



1

1

3

3

5

5




3

3

3

3

3

3

0 1 2 2 0

 0 0

0 1 2 2 0

0 0

“ hey brother”

G

(1:18, 3:06)

if the sky Oh C G5 Gtr. 2 plays Rhy. Fig. 1 (see bar 19)

Gtr. 1 34 3 3 0 0 3

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3

3

3

3

3

comes

0 1 0 2 3

0 0 0 0

0 1 0 2 3

fallin’ Fmaj7 0 1 0 2 0 3 3 1

0 0

down G5 0 1 2 3 3 1

0 1 2 3 3 1

for

you

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3 3 0 0

3

3

3

3

3

3

3

there’s

   3

H

0 1 0 2 3

0 1 0 2 3

0 1 2 3 3 1

0 1 2 3 3 1

3 3 0 0

3

3

3

3

3

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0



0

0 1 2 2 0

0 1 2 2 0

17

16

Gtr. 1

1st and 2nd Interludes (1:32, 3:19) Am

Fmaj7

Gtr. 3

 19 !

41

3 3 0 0

Gtr. 3 (horns arr. for elec. gtr. w/sub-octave doubling effect)

do Am

0 1 2 3 3 1

3 3 0 0



0 1 0 2 3

world I wouldn’t Fmaj7



38

this

3 3 0 0



Bass plays Bass Fig. 1 (see bar 19)

nothin’ in C

3 3 0 0

19

17

17

17 20

G 17

Am

20

20

17 !

17 19

Gtr. 1 (keyboard arr. for gtr.) Rhy. Fig. 3 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 7 7 7 7 7 7 7

 

C

17 17

17 20

17



G (play 3 times)

19 17

20

17

0

0

0

0

0

0

0

5 5 5 7

5 5 5 3

0

1

Am Gtr. 1 plays Rhy. Fig. 3 (see bar 41) Gtr. 3 45 19 !

17

17

19

5 5 5 3

5 5 5 3

5 5 5 3

3 3 4 5

3 3 4 5

3 3 4 5

3 3 4 5

5 5 5 7

5 5 5 7

5 5 5 7

5 5 5 7

5 5 5 7

5 5 5 7

5 5 5 7

5 5 5 7

5 5 5

5 5 5

5 5 5

3 3 4 5

5 5 5

3 3 4 5

20

1

1

1

3

3

Fmaj7

17

3

0

3

0

0

0

G

17

20

0

0

0

0

3

3

3

19

17

17

20

17

20

17

17 !

19

G 17

Am

20

20

! 17

C

17

17

17

20

N.C.(Am) Gtr. 3 Fill 1 53

Gtr. 1

D

Am Rhy. Fill 1

0

17

I go back to

19 ! 0

2 0

 

2

2

2

2

 

20

17

20

2nd time on 2nd Interlude, skip ahead to I (bar 55)

17 19

2

3 3 4 5

G


2

3

Am

17

Am Fmaj7 Gtr. 1 plays Rhy. Fig. 3 (see bar 41)

 19  !

3 3 4 5

(play 3 times)


49

 

(play 3 times)

Bass (3rd time only on 1st Interlude, all three times on 2nd Interlude) Bass Fig. 2 (synth bass arr. for elec. bass)

 

19 17

2 0

0 0 1 2 2 0

Gtr. 1

2nd Verse (bar 14)



G 19 17

20

17

19 17

 

(4:05)

Gtr. 1 plays Rhy. Fill 1 (see bar 54) Gtr. 3 plays Fill 1 (see bar 53) Gtr. 2 55



0 5 5 5 7 7 5

guitarworld.com

139

TRANSCRIPTIONS

follow the signs Born of Osiris

As heard on the discovery Words and Music by Born of Osiris • Transcribed by JEFF PERRIN

All guitars are 7-strings in drop-A tuning down one whole step (low to high, G D G C F A D). Bass is a 5-string in drop-A tuning down one whole step (low to high): G D G C F. All music sounds in the key of G minor, one whole step lower than written. A5

G5

B¨5

D5

E¨5

5fr

14

11

A

Moderately q = 120 Follow the Gtr. 2 (elec. w/dist.)





1



6fr

11



  

B

C5

B/E¨

B5

7fr

11

6fr

11

11

11

12

Intro (0:00, 2:13)

signs A5

0

0

5 0 0 0 0 0 3 0 0 0 0 0

0 0

We

G5

P.M.

0 0



are



0 0 0

1 1 1 0 0 0

5 5 5 3 3 3 2 2 2 2 P.M.

0 0

0

0 0

0

0 0 0 0 0 0 0 0 0 0

0 !

0 !

0 0 0 0 0

2

3

 

0 0 0

1 1 1 0 0 0

5 5 5 3 3 3 2 2 2 2



1 1 1 0 0 0

0 !

5 5 5 3 3 3 2 2 2 2

(0:08, 2:21)

victims who A5

judge

can

but is

us

we

are the

also earth

the in N.C.(G5)

Gtrs. 1 and 2

5

 

the

P.M.

P.M.



5-string Bass

E5 8fr

11

Gtr. 1 (elec. w/dist.)



F5

* P.M.

0 0

0 0

0 0

0 0



0 0

0 0

0 0

0 0

0 0

0 0

0 0

0 0

0 0

0 0

0 0

0 0

0 0



0 0

0 0

0 0

0 0

0 0

0 0

0

0

0

0

0

0

2

3

*use heavy palm pressure throughout

Bass Bass Fig. 1



7

0

0

0

0

0

0

0

0

P.M.

0 0 0 0

0

0

0

0

0

0

0

0

2nd time on reprise, skip ahead to

crime time A5

0 0 0 0 0 0 0 0

140

0



the (4th time) We

And

 

only are the

one

 H

(bar 39)

P.M.

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

1 1 1 0 0 0

5 5 5 3 3 3 2 2 2 2

   0  0

0 0 0 0 0


0 0 0 0 0

5 5 5 3 3 3 2 2 2 2

0

   0 !

end Bass Fig. 1 1 1 1 0 0 0

3

P.M.

0 0 0 0 0 0 0 0

0 0 0 0

 

Follow the Signs Words and Music by Born of Osiris © 2011 Sumerian Records. All rights administered by Sumerian Records / Sumerian Music Group

“ follow the signs”

C

(0:28, 1:36)

( q = 155) (on reprise only) They

10

   

P.M.

0 0

0



0 0

0 0



0

0

tremble

0 0

0 0

0

0

0 0

0

0 0

0 0

0

0 0

0



0 0

0

in



0

0 0

0 0

0

0 0

0

0

fear

0 0

0

0 0

0 0

0

in

0 0

0

0 0

0

0

the



0 0



undercover



0 0

0



0

 0

0 0

0

 

0

0

1.

sanctuary 13

0 0

0 0 0 0

0

D

0 0

As the walls undercover

 

0 0 0 0

0 0 0 0

0 0

0 0

0 0 0 0

0 0

0 0 0 0

  

0 0

 

P.M.



0 0 0 0



0 0

   

0 0 0 0

0 0

0

P.M.

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

Gtr. 2 5

 



6 5 6 5 5

5

0



0 0 0 0



0 0

0 0 0 0

0 0

in the

0 0 0 0

0 0

0 0 0 0

0 0

0 0 0 0

0 0



more (A discovery) thought (Believe)

what beyond And let your



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



12

0 0 0 0 0 0 0



13 12 13

0 0 0 0 0 0

(0:53)

We’re

Gtrs. 1 and 2

 

21

0 0 0 0 0 0



12 12

12

0 0 0

well far

As

P.M.

0 0

0 0

0 0

0 0

0

0

0

0

0

P.M.

0 0

0 0 0 0

0

0 0

more (A discovery)

And let your

 

5



5

7 8 7 7

8

0 0 0 0

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

 

5

6 5 6 5

7

8





P.M.

000 000

you soul

perceive unleash



0 0 0 0



0 0

 

soul

unleash

2nd time on reprise, Gtrs. 1 and 2 substitute Rhy. Fill 1 (see bar 25)

  0

0 0000 0000000 0 0 0 0000 0000000 0 0 0

3

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



000 000

3



0 0 0 0 0 0 0 0 0



0 0 0 0 0 0 0 0 0



0 0

0 0

0 0

0 0

0 0



on as

0 0

0 0

our we’ve

0 0

0 0

way made

0 0

0 0

but only

0 0

0 0

they

0 0



0 0

3

3

  0

0 0000 0000000 0 0 0 0000 0000000 0 0 0 3

3

3

2nd time on reprise, substitute Bass Fill 1 (see bar 25) 000

0 0000 0000000 0 0 0

3

E

0 0

sanctuary

 

3

Bass Bass Fig. 2



0 0

2nd time on reprise, skip ahead to F (bar 26)

Gtr. 1

 

0 0

0 0

despair

(0:40, 1:47)

I will show you As you’re tangled in (no vocal first time through on reprise, at 1:47) I will show you

17

0 0

 

0 0

2.

disguise

0 0 0 0

 

3

as

lead one

0 0

0 0

3

3

us we

0 0

0 0



astray can save

0 0

0 0

0 0

guitarworld.com

0 0

141

TRANSCRIPTIONS

They

1.

perpetutate

humanity

Gtrs. 1 and 2

23



P.M.

0 0 0 0

with

0 0 0 0 0 0 0 0 0 0

0 0 0 0



0 0 0 0 0 0

0 0

0 0 0 0 0 0 0 0

3

Bass



0 0

0 0 0 0 0

0 0



0

3

0 0 0 0

3

F

Gtr. 1 P.M. 26

0

4

The leave you stranded



  6

0

4

6

9

7



Gtr. 2

0

1

0

0

1

0

3

0

1

3

3

0

1

Rhy. Fill 2 (2:11)



0 0 0 0 0 0 0 0

0 0



0

0

0 0 0 0

3

6

4

0

9

7

3

6

4

0



 

5

0





0

0 !

0





1

4

0

  6

0

4

6

9

7



1

0

0

3

0

1

3

6

4

0

3

0

1

3

6

4

0

Rhy. Fill 2a (2:11)



6

4

0

0



Gtr. 2

  

0





0

0 !



1

4

0

0

0 0 0



3

2nd time on reprise, go back to A Intro (bar 1)

stem from fear 2nd time on reprise, substitute Rhy. Fill 2 (see below)



  





Bass Fill 2 (2:11)


what you hold





0

2.



3

3



Gtr. 1

0 0 0 0 0 0

Bass Fill 1

3

absence of Heartache will

0

 

Gtr. 1



0

 



Bass

0 0

1.

It’ll

0

0 0

P.M.

3

0 0 0 0 0 0 0

3

0 0 0 0

 

3

(1:05, 2:00)

dear

142

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

3

0 0 0

2.

distractions

    

9

7

0

P.M.

0

0

0

0

2nd time on reprise, substitute Rhy. Fill 2a (see below)



6

4



P.M.

0

0

0

0

0

2nd time on reprise, substitute Bass Fill 2 (see below)



6





0

0 !

4

0

3

4

4

4


G

(1:18)

D5

B¨5

Gtr. 4 (elec. w/dist.) 31 5 8 8 15 14 12



7

5

15

12

5

7 15

6

7

8

12 15

13 15

6

8

5

12 14 15



(repeat previous two bars)

8



12

Gtr. 3 (elec. w/dist.) Gtrs. 1 and 2



Bass

5 5



5 5

5

5 5

5

5 5

5

5 5

5

5

  

P.M.

5

P.M.

1 1

 

1

H

1 1

1 1

1

1 1

1

5 5

5

5

P.M.

17 17 14 17 14 17 12 15 12 15 12 13 13 13

  

5 5

5 5

5 5

5

1 1

1

1

1 1

1

5 5

5

the choice is up disbelief can’t be

Ultimately But in the end B¨5 35

5 5

P.M.

5

5 5

5

5 5

5

1

1 1

1 1

1

1 1

1

1

5

5 5



5

1 1

1 1

1 1

1 1

1 1

1 1

1 1

1

1

1

1

1

1

1

to you (The choice is up Cannot denied D5

to you) be refused

P.M.

P.M.

P.M.

20 17 21 15 19 17

20 17 21 15 19 17

17 17 17 14 17 14 17 14 17 15 12 15 12 15 13 13

1 1

5 5



1 1

1

1 1

1

1 1

1

1 1

1

 

5 5

5 5

5 5

5 5

5 5

5 5

1 1

1 1

1 1

1

1

1

1

1 1

1 1

1 1

1 1

3

3

3

3

go back to C (bar 10) 1

P.M.

15 17

1 1

1/2

P.M.

20 17 21 19

5 5

5 5

20 20 20 20 17 21 21 21 15 19 19 17

5 5

5 5

5 5

5

5 5 1½



5

5

5

5

5

5

5

5

5

5

15 17

5 5

 

5



*

5

5

5

 

*Note in parenthesis played on repeat only.

(2:38)

( q = 120) victims A5

yet we are the crime

Gtr. 2 P.M. 39



P.H.

0 0 0 0 0 0

0 0

0 0



0 0

0 0

0 0

0 0

0 0

 



Fill 1 P.M.

3 !

0 0 0 0 0 0

0 0

0 0



P.M.

0 0

0 0

0 0

0 0

0 0

5

0

5

8

7

0

pitch: F

Gtr. 1

P.M.

0 0 0 0 0 0

Bass

0 0

0 0



0 0

0 0

0 0

0 0

0 0

 



P.H. 

P.M.

5 !

0 0 0 0 0 0

0 0

0 0



0 0

0 0

0 0

0 0

0 0









pitch: G

Bass Fig. 3

0

0

0

0



0

0

0

0

0

 



0

0

0

0



0

0

0

0

0

guitarworld.com

143

TRANSCRIPTIONS And

the

only

one end Fill 1

P.M.

42 7 8 7 0 2 3 5

who

5

7 0 7

3 5 8

can

P.M.

judge



4 5 0 0 0 0 0 0 0 0 0 0

us

0 0 0 0 0 0 0 0 0 0

is

the E¨5 A5

P.M.

 



P.M.

P.H.

1½

3 3 0 0 6 0 0 6

0 0 0 0 pitch: F

P.M.





0 0 0 0 0 0 0 0 0 0



0

0 0 0 0 0 0 0 0 0 0



0 0 0

0 0 0 0 0

P.M.

 



6 6 0 0 6 0 0 6



0 0 6

0 0



(2:55)

A5

Gtr. 2 plays Fill 1 (see bar 41) Gtr. 1 P.M. 45

0 0 0 0 0 0 0 0 0 0



Gtrs. 1 and 2

P.M.

0 0 0 0 0 17 0 17 20 0 0 0 0 0

P.M.

19 0

19 20 19 0 14 15 17

15 17 20

19 0 19

17

16 17

 


Gtr. 1 (Gtrs. 1 and 2) P.M.

000 0 0 000 0 0

2 3 0 0 0 0 0 0 010 0 0 0 0 0 0 010

0 0 0 0 0 0 0 0 0 0



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

000 0 0 000 0 0



2.

Follow the

A5

48

P.M.


1.

G5

P.M.

0 000 0 0 0 000 0 0 0 000 0 0 0 000 0 0

111000

5553332222

P.M.

 

111000

55333333333333

Gtr. 2

3

3

3

3

(3:11)

F5 E5 C5 D5 C5 B5 F5 E5 C5 D5 C5 B5

Gtr. 1 P.M.

52

8

0

8

P.M.

7 10 0 10

7

10 0

5

7

8

7

5

7

8 8

P.M.

7 7

3 3

5 5

3

Gtr. 2

5

Bass

 0

0

5

3 3

2 2

8 8

3

8

7

0

7

8

7

0

2

3

5

3

2

4

8 8



8


3 3

5 5

3 3

2 2

7 7

3 3

5 5

7

3 3

2 2

8 8

3

3

5

3 3

7 7

3 3

5 5

3

2

8

7 3

E5



7 7













3

P.M.

3



7 7 3

P.M.

P.M.

3

144

0 0 0 0

(2nd time) signs

earth

J

1½ P.H.

pitch: Ab

  I

P.M.

3 3

2 2



3

3

5

3 3

2



7 7

 7


K

Guitar Solo (3:16) E5

C5

Gtr. 3 Solo A

55



        

      

19 15

17

15

17

16

17

16

17

16

17

19

17

16

41 2 1 2 1 2 1 2 1 2 3 2

17

15

24 19

1 2 1

20

19

20

21

20

19 24 19

4 1 2 1 2 3 2 1 4 1

Gtrs. 1 and 2 Rhy. Fig. 4



P.M.

7 7 7 7 7 7 7 7

Bass



58





7 7

7 7 7 7

7 7 7 7





7

7 7

21 16

2 3



7 7777 7 7777



7 7 7 7

7 7

7 7 7 7

5 7 7 8 7 7

3

1

7 7777 3

13 15 12 13

15

13

7 7

7

7 7

7

3

3

(Gtrs. 1 and 2) P.M.

5 4 4 7 6 7 X 7 X

2

13

T

3 1 1



3 3 3 3 3 3 3 3



3 3



2 1 3

3

3 3 3 3



3 3 3 3

33333 3 33333 3 3



3

3

13 16

13

12

12 13



3 3

3

33333 3 3

3

3 3

3 3

3 3

3 3

3 3

3 3

2 3

15

22

15

20

19

20

P.M.

P.M.

1 2

5 7

X X

4 6

5 3

7

5 3

5 3

5 3

Gtr. 2

3

3

3

3

3

3

3

2

2

1

3

3

3

20

19

20

3

18 22 23 22 18

3

3

20

19

20

19

20

18 20 17 18

3 3

20 19

3

3

19

20

18 22 18 23 18

20

19

20

3

3



5 3

5 3





5 3



5 3

5 3

5 3

5 3

3



3

3

3



3

3

5 3

5 3

3

3

3

3

3

3

3

3 3

3 3

3 3

2 3

3

3

3

1 2

5 7

4 6

0

1

X

3

2

16 19 20

17

3

20 19 16

3

19 17 15

3

19 17 16

3

18 17 15 17 18 3

3

16 17 19

3

(Gtrs. 1 and 2)



7



Gtr. 2

3

3

15 17 19

3

Gtr. 1

3 3

20

N.C.

T

60

19

(Gtrs. 1 and 2)

Gtr. 1

P.M.

3

15

12

T

1115 19 1522 15

G5

20 15 11

3 3

14

13

Gtr. 2

T

22

17 14

Gtr. 1 P.M.

3

Bass Fig. 4

20

T

11152015 11

3

3

3

3





end Bass Fig. 4

guitarworld.com

145

TRANSCRIPTIONS

“ Follow the signs”

L Gtr. 3 62 17 19 20

19 20 22 15 16 19

3

3

15 17 18

3

16 19 20

3

15 16 18 22 20 18

3

3

end Solo A Gtr. 4 18 20

22

3

Gtrs. 1 and 2

15 12

3

7 6

7 6

12

P.M.

7 6

7 7

Bass

7 7

7 7

7 7

Bass 6

6

Gtr. 4 64 19 15

6

12

12

12

12

14

12

14

14

12

14

6

7

7

7

7





7 7



7 7



7



7 7

C5 17

17

16

17

15 19 15

17

16

17

19 14

T

14 15

15

13

12

13

11 15 11

13

12

7

7 7 7 7 7 7 7 7 7 7 7 7 3



7

12

13

3

7 7 7 7 7 7 3

Bass plays Bass fig. 4 (see bar 55) 15

12

3

T

11 18 11 18 11

15 11

13

13

12

12 13

13

12

13 12 13

14 15

16 16

G5

17

17

15

17

15

15

15

15

15 18 15 20 15

15

15

17

17

17

15

15

3

N.C.

Gtr. 4 69 15 17 18 20 18 17 15 15 16 19 19 16 15



Bass

3

3

3

Gtr. 4 71

Gtr. 3



3

3

15 18 20 18 15

3

3

15

15

17

15

15

15 17

17 15 14

17 16 13 16 17

3

3

3

14 15 17

15 16 19

3

15 17 18

3



19 20 22

3

3

3

18 20 22

20 22 23

3

20 22 23 22 20 18

3

3

6

2

  22 22 !   19 19 !  0 0 0 0 0 0 0 0 

7

7

7

7




15

16 15

3

0

0

  0 !

w/bar

7

7

7

7

 7

7

7



3

5

N.C.(E5)

Gtrs. 1 and 2 Bass

19

B/E¨

0

146

12

Gtrs. 1 and 2 play Rhy. Fig. 4 simile (see bar 55) Gtrs. 1 and 2

end Rhy. Fig. 1

7 6

67

(3:32)

E5 Gtr. 3 plays Solo A (see bar 55)

(to slack)



22

18 20

3

Each 6" x 9" book includes complete lyrics, chord symbols, guitar chord diagrams, and short melody cue. Folsom Prison Blues Melody:       

Words and Music by John R. Cash

I

B7

Intro Verse 1

 B7



E

hear

 the

  train

   

a com

-

in’;

(Capo 1st fret) E

E

2 13 4

2 31

A



123



I hear the train a-comin’; It’s rollin’ ’round the bend, And I ain’t seen the sunshine since I don’t know when. A

I’m stuck at Folsom Prison E

And time keeps draggin’ on. B7

But that train keeps rollin’ E

On down to San An-tone. Verse 2

Acoustic Hits 00701787 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Acoustic Rock 00699540 � � � � � � � � � � � � � � � � � � � � � � � � � � � $17�95 Adele 00102761 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Alabama 00699914 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�95 The Beach Boys 00699566 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�95 The Beatles (A-I) 00699558 � � � � � � � � � � � � � � � � � � � � � � � � � � � $17�99 The Beatles (J-Y) 00699562 � � � � � � � � � � � � � � � � � � � � � � � � � � � $17�99 Bluegrass 00702585 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Blues 00699733 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Broadway 00699920 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Johnny Cash 00699648 � � � � � � � � � � � � � � � � � � � � � � � � � � � $17�99 Steven Curtis Chapman 00700702 � � � � � � � � � � � � � � � � � � � � � � � � � � $17�99 Children’s Songs 00699539 � � � � � � � � � � � � � � � � � � � � � � � � � � � $16�99 Christmas Carols 00699536 � � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Eric Clapton 00699567 � � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 Classic Rock 00699598 � � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 Coffeehouse Hits 00703318 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Country 00699534 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Country Favorites 00700609 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Country Standards 00700608 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Cowboy Songs 00699636 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Creedence Clearwater Revival 00701786 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Crosby, Stills & Nash 00701609 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 John Denver 02501697 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Neil Diamond 00700606 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99

Disney 00701071 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 The Doors 00699888 � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 The Best of Bob Dylan 14037617 � � � � � � � � � � � � � � � � � � � � � � � � � � � $17�99 Early Rock 00699916 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Folksongs 00699541 � � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Folk Pop Rock 00699651 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�95 40 Easy Strumming Songs 00115972 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Four Chord Songs 00701611 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Glee 00702501 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Gospel Hymns 00700463 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Grand Ole Opry® 00699885 � � � � � � � � � � � � � � � � � � � � � � � � � � $16�95 Green Day 00103074 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Guitar Chord Songbook White Pages 00702609 � � � � � � � � � � � � � � � � � � � � � � � � � � $29�99 Hillsong United 00700222 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Irish Songs 00701044 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Billy Joel 00699632 � � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 Elton John 00699732 � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 Latin Songs 00700973 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Love Songs 00701043 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Bob Marley 00701704 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Paul McCartney 00385035 � � � � � � � � � � � � � � � � � � � � � � � � � � $16�95

FREE SHIPPING with any order of $25 or more! Call 1-800-637-2852 or visit musicdispatch.com Please mention ad code GCS14.

E

When I was just a baby

Steve Miller 00701146 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Modern Worship 00701801 � � � � � � � � � � � � � � � � � � � � � � � � � � $16�99 Motown 00699734 � � � � � � � � � � � � � � � � � � � � � � � � � � $16�95 The 1950s 00699922 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 The 1980s 00700551 � � � � � � � � � � � � � � � � � � � � � � � � � � $16�99 Nirvana 00699762 � � � � � � � � � � � � � � � � � � � � � � � � � � $16�99 Roy Orbison 00699752 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Peter, Paul & Mary 00103013 � � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Tom Petty 00699883 � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 Pop/Rock 00699538 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�95 Praise & Worship 00699634 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Elvis Presley 00699633 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�95 Queen 00702395 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Red Hot Chili Peppers 00699710 � � � � � � � � � � � � � � � � � � � � � � � � � � � $16�95 Rock Ballads 00701034 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Rock ‘n’ Roll 00699535 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�95 Bob Seger 00701147 � � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Sting 00699921 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Taylor Swift 00701799 � � � � � � � � � � � � � � � � � � � � � � � � � � $15�99 Three Chord Songs 00699720 � � � � � � � � � � � � � � � � � � � � � � � � � � $12�95 Top 100 Hymns Guitar Songbook 75718017 � � � � � � � � � � � � � � � � � � � � � � � � � � � $12�99 Ultimate-Guitar 00702617 � � � � � � � � � � � � � � � � � � � � � � � � � � � $24�99 Wedding Songs 00701005 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Hank Williams 00700607 � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 Neil Young – Decade 00700464 � � � � � � � � � � � � � � � � � � � � � � � � � � � $14�99 My mama told me, “Son, Always be a good boy;

Don’t ever play with guns.” A

But I shot a man in Reno

© 1956 (Renewed 1984) HOUSE OF CASH, INC. (BMI)/Administered by BUG MUSIC All Rights Reserved Used by Permission

52

GUITAR CHORD SONGBOOK

101569 AC/DC Grey Classic Logo

94565 BOSTON Self Titled Lp

90299 B. SABBATH Flying Demon

25331 DANZIG Classic White Skull

45830 DOORS I Am The Lizard King

125101 B. SABBATH Purple Logo

71797 C. OF FILTH Vestal Masturbation

25104 DIO Holy Diver

110532 L. ZEPPELIN Exploding Blimp

25484 JUDAS PRIEST 40992 KING CRIMSON 101194 KISS 121007 LAMB OF GOD British Steel In The Court Of.... Makeup Group Faces No One Left To Save

94653 GOJIRA The Way Of All Flesh

46338 EXODUS Bonded By Blood

51329 DIMEBAG He Came To Rock

93789 CLASH London Calling

124714 BLACK KEYS Logo On Drumhead

107878 A. LAY DYING Sailing Ship Art

48736 A. IN CHAINS Classic Sun Logo

95867 JOURNEY Don't Stop Believing

109720 GHOST Opus Eponymous

92088 E. THE FATE Dying Is Your Fashion

102106 DEFTONES Self Titled Lp Art

86577 BUL. FOR VAL. Allover Jumbo Skull

10625 BLACK FLAG Bars Logo

53038 ANTHRAX Spreading Disease

93664 ALICE COOPER Welcome Nightmare

101834 JOHNNY CASH Giving Middle Finger

93472 IRON MAIDEN The Trooper

112587 G. N ROSES Appetite Destruction

93469 IRON MAIDEN Number Of The Beast

71009 FOO FIGHTERS Lightning Bolt Logo

108107 F. F. D. PUNCH 112900 F. F. D. PUNCH Allover Ninja Eagle Knuckles

71078 DOWN Crown Of Thorns

96823 DEATH Red Bloody Logo

61134 BATHORY Goat Head

109660 A. T. REMAINS 96089 A. AMARTH Splattered Logo Thor's Hammer Logo

41099 A P. CIRCLE 13th Clover Logo

99188 A. ALEXANDRIA 64096 A. SEVENFOLD Stand Up & Scream Death Bat Skull Logo

71611 A. IN CHAINS Winged Heart Logo

115512 A DAY TO REM Octopus Monster Art

126090 A DAY TO REMEMBER Death Skull 126088 A DAY TO REMEMBER Heart With Dagger 57740 A PERFECT CIRCLE Characters Text Logo 48211 A PERFECT CIRCLE Roots Logo 86619 AC/DC Highway To Hell Tour ‘79 Crew Logo 116828 AC/DC Live Band Photo Within Classic Logo 117486 AEROSMITH America’s Greatest Rock Photo 117488 AEROSMITH Let The Music Jukebox 93662 ALICE COOPER Love To Death Makeup Eyes 93488 ALICE IN CHAINS Dirt On 49465 ALICE IN CHAINS Layne Staley Live Tribute 126933 ALL THAT REMAINS For We Are Many 91962 ALL THAT REMAINS Lightning Logo 45941 ALLMAN BROTHERS Distressed Eat A Peach 83805 ALTER BRIDGE Winged Skull Logo 114776 A. AMARTH Bearded Skulls With Swords 96087 A. AMARTH Thor Sitting On Throne W/ Wolfs 53039 ANTHRAX Among The Living 65196 ANTHRAX Not Man Riding Skateboard Logo 117054 ARCH ENEMY Wages Of Sin Circle Logo 77958 AS I LAY DYING Winged Skull & Metal Logo 99187 ASKING ALEXANDRIA Slanted Green Logo 117409 AUDIOSLAVE Audio Tigers Logo 93559 AUGUST BURNS RED Yellow Stripes Logo 103777 A. SEVENFOLD Nightmare Reaper Hand Art 75183 A. SEVENFOLD Oversized Death Bat Skull 125439 A. SEVENFOLD Skull Wearing Old Helmet 77352 BARONESS Blue Fleurskull Art 48952 BEASTIE BOYS To The 5 Boroughs Train Logo 125472 BEHEMOTH Skeleton Reaper Circle Art 107738 B. BURIED AND ME Satellites Collage Art 110549 BIKINI KILL Yeah Yeah Yeah Photo Negative 125566 B. DAHLIA MURDER Gold Ritual Lp Art Circle 125564 B. DAHLIA MURDER Rawhead Rex In Church 10952 BLACK FLAG Everything Went Black 89606 BLACK KEYS Akron OH Arched Athletic Logo 75202 B. L. SOCIETY SDMF Doom Crew Iron Cross 33161 B. L. SOCIETY Old English BLS Logo 36445 B. SABBATH Logo/We Sold Our Souls 126287 B. SABBATH Sabbath Bloody Sabbath 124729 B. SABBATH Tour '78 Flying Human Demon 47382 B. SABBATH World Tour '78 Group Poster 112013 BOB DYLAN Wearing Hat & Scarf Photo 93791 BOB DYLAN Electric Lunch 116296 BORN OF OSIRIS Artwork From Discovery Lp 99540 BOSTON Vintage Distressed Don’t Look Back 74239 BRAND NEW Burning Oak Tree Logo 112196 BRING ME HORIZON Ribcage With Logo 103782 BRING ME HORIZON Wolves Eating Carcass 86575 B. MY VALENTINE Chopped Off Hands Logo 44815 BURZUM Hvis Lyset Tar Oss 112872 BURZUM Self Titled Lp 89628 CAGE THE ELEPHANT Self Titled Lp 115760 CAKE Crown Logo From Fashion Nugget Lp 36323 CANNIBAL CORPSE Bloody Logo 69609 CANNIBAL CORPSE Butchered At Birth 90901 CARNIFEX Pentagram Logo 60807 CELTIC FROST Morbid Tales 110958 CHARLIE MANSON Helter Skelter Face Photo 105478 CHEAP TRICK Self Titled Lp 108602 CHELSEA GRIN Girl With Bloody Face Logo 102445 C. OF BODOM Allover Reaper Holding Earth 77572 C. OF BODOM Green Dripping Logo 114566 CHIMAIRA Splattered Chaos Arrows Symbol 110551 CHOKING VICTIM Goat Pentagram Circles 45527 CLASH Japanese Skull & Crossbones Logo 108872 CLASH Strummer 77 87164 CLUTCH Compass Collar & Shoulder Print 125340 CLUTCH Dark Sour Ale Sun Logo 119101 C. AND CAMBRIA Cracked Keywork Symbol 102390 CONVERGE Jumbo Jane Doe Face 114903 C. OF CONFORMITY Classic Spiked Skull 115415 CRADLE OF FILTH Cruelty And The Beast 117724 CRADLE OF FILTH Dusk... And Her Embrace 93140 CRAMPS Bad Music For Bad People 101344 CYNIC Rainbow Gradient Tone Traced In Air 37601 D.R.I. Skanking Guy Symbol W/Scratch Logo 36087 DARK THRONE Transilvanian Hunger 51255 D. MATT. BAND DMB Red Brick Fireball Logo 106605 DAVID BOWIE Bowie Smoking Cigarette 97289 DEAD KENNEDYS DK Logo 27970 DEAD MILKMEN Cow Head 101744 DEADMAU5 Dripping Mau5head Stencil 123622 DEATH Symbolic 96822 DEATH White Logo With Black Scythe 95283 DEEP PURPLE Burn 97352 DEEP PURPLE Stormbringer 52727 DEF LEPPARD Pyromania 107707 DEF LEPPARD Pyromania Crosshairs Logo 106519 DEFTONES Adrenaline Screaming Kitty 103383 DEFTONES Logo Within Flowers Burst 116253 DEFTONES Gold Day Of The Dead Skull 114820 DEICIDE Self Titled Lp 76492 DETHKLOK Dr. Rockso: Rock N Roll Clown 91255 DEVIL WEARS PRADA Stacked Logo 77630 DILL. ESCAPE PLAN Distressed Flag Logo 59281 DIMEBAG Tribute Photo Chest Up Photo 59280 DIMEBAG Tribute Rest In Peace Photo 102050 DIMMU BORGIR Abrahadabra 115165 DINOSAUR JR Farm 58416 DIO Photo Of Ronnie Giving Dual Metal Signs 25105 DIO Last In Line 120940 DISTURBED Hooded Mean Smiley Face Guy 95286 DOORS Full Body Jim From Behind Photo 103242 DOORS Jim Singing Into Mic Live Outdoors 83036 DOORS Waiting For The Sun 107884 DOWN Dual Lions From Over The Under Lp 115765 DOWN Jumbo Print Diary Of A Mad Band 43135 DROP. MURPHYS Its So Lonely Round Fields 116415 DYING FETUS Skeletons By Body In Coffin Art 70746 DYSTOPIA Human = Garbage 110563 EINSTURZENDE NEUBAUTEN Symbol Logo 125070 EMERSON LAKE & PALMER Tarkus 117634 EMPEROR In The Nightside Eclipse 115425 EMPEROR Rider 114929 EVANESCENCE Blue Shining Logo With Rays 106434 EXODUS Piranha Logo W/Triple Piranhas Art 112896 F. F. D. PUNCH American Capitalist Eagle Seal 112150 F. F. D. PUNCH 5FDP Brass Knuckles Skull 103806 F. F. D. PUNCH Pres. 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Counting stars OneRepublic

As heard on native Words and Music by ryan tedder • Transcribed by jeff perrin

Gtr. 1 is capoed at the fourth fret. All chord shapes and tablature positions are relative to the capo. Gtr. 1 sounds in the key of C# minor, two whole steps higher than written. Gtr. 1 chords (capo 4) * [C#m]

Gtr. 2 chords (no capo) [B] G

[E] C

Am

[F#m] Dm

[A] F

* [C#m]

[E] 4fr

231

32 1

134211

134211

231

*Chord names in brackets indicate concert-key harmony.

A

Intro (0:00) Moderately q = 108 Lately baby * [C#m] Am

I’ve I’ve

Gtr. 1 (acous., capo 4) fingerstyle let ring throughout 1 1 2 2 2 0



  

pick hand: p

i

(p = thumb

we We’ll [A] F

4

a m

i

been been

p

a m

could countin’

be

1 2

3

i

a m

i

1333

0 1

0

2

p

5

3

5

i

 

3

a m

a

1 2

3

we’ll be countin’ stars

3

Gtr. 1 Rhy. Fig. 1 6 1 1 2 2 2 2 0 0

C

0

1 2 2

1

0

2

[C#m]

G 0 1 0

2 3

0 1 0 3

0 1 0 3

0

1

3

F

3 4 5 3

[E]

Gtr. 2 (elec., w/clean tone) fingerstyle Rhy. Fig. 1a

3 4 5 3

3 4 5 3

5

4

Bass

150

4

5 6 6

4

1 2 3

4

3

1

[B]

1 2 3 1

1 2 3 1

1 2 3 1

[A]

Rhy. Fill 1

let ring throughout

5 6 6

  3



1

(0:22)

Faster q = 122 Am

5

3 4

3

Yeah

1

134211



3 4

But

3

134211

3

r = ring finger)

1 2

5fr

[B] G

3

be stars

1

B

p

m = middle finger

[A] 7fr

dreamin’ about the things that Said no more counting dollars

hard

0

2

3

i

i = index finger

0 1

1 2

2

0

13421

I’ve been losin’ sleep I’ve been prayin’ [E] C

[B] 7fr

5 6 6

4

6 6 6 6

 gu i ta r wor l d • J U ly 2014

7

9 9 9

7

9 9 9

7



9 9 9

7

7 8 9

9 9 9 7

7 8 9 7

7 8 9 7



9 7

5 6 7

8 5



5 6 7 5

5 6 7

5 6 7

5

5



4

2

Counting Stars Words and Music by Ryan Tedder © 2013 Sony/ATV Music Publishing LLC, Velvet Hammer Music and Midnite Miracle Music All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 International Copyright Secured • All Rights Reserved Reprinted by Permission of Hal Leonard Corporation

“counting stars”

(0:30, 1:49)

1. I 2. I

(2nd time)

stars hey [C#m] [E] Am C Gtr. 1 plays Rhy. Fig. 1 (see bar 6)

Gtr. 2 (strum w/fingers) 10 5 5 6 6 6 6 4 4 4 Bass

6 6 6 6

4

4

4

4

4

4

4

7

6

Verses (0:38, 1:57) life like a swingin’ vine love and I feel it burn [C#m] Am 1 2 2

0

7

0

1 2 2

0

1 2 2

0

7

9 9 9

7

2

7

7 8 9

9 9 9

7

7

0 1 0

2 3

old But I’m not that old Old But I’m not that old [C#m] Am

7

9

7 8 9

7

7

7

7

7 8 9 7

7

7

7

0 1 0 3

0 1 0

0

3

1

7

3 4 5

3

3

Bass plays Bass Fig. 2 simile on 2nd Verse (see bar 22)

5 6 7

5

5 6 7

5

5

5

9

5

3 4 5

3 4 5

3

3

5 3

5

5

5

5

1 2 3

4

1 2 3

1

I don’t think the world is sold I don’t think the world is sold [B] G

7

Seek it out and ye shall find the Make that money Watch it burn [A] F Gtr. 1 substitutes Rhy. Fill 2 on 2nd Verse (see below)

1

1 2 3 1

1 2 3 1

I’m just doing what we’re told I’m just doing what we’re told [A] F





feel something so feel something so

[C#m] Am Gtr. 1 plays Rhy. Fig. 1 (see bar 6) Gtr. 2 plays Rhy. Fig. 1a (see bar 6)

[E] C

4

7

right wrong [B] G

by doing by doing

the wrong thing the right thing [A] F (omit repeat on 2nd pre-chorus)

Bass Bass Fig. 2

22

4

4

4

4

4

4

6

7

6

7

9

7

9

9

9

9

9

9

7

7

7

7

* 9

 

*Note in parenthesis played first time only.

I I

couldn’t couldn’t

lie lie

lie lie

couldn’t couldn’t

couldn’t lie couldn’t lie

Everything Everything [A] N.C. F

[A] F Gtr. 2 plays Rhy. Fill 1 twice (see bar 9)

26

5 6 7

Pre-chorus (0:54, 2:12)

I (1.) (2., 3.) And I

 

5 6 7

8

9

In my faceis flashing signs Hope is our four-letter word [B] G

Young but I’m not that bold and Young but I’m not that bold and [E] C

(repeat previous four bars)

D

9 9 9

swing my heart across the line down this river every turn [E] C

Gtr. 1 14

18

9 9 9

[A] F

Bass Fig. 1 4

C

5 6 6

[B] G

see this feel the

Gtr. 1


1 2 3 1

1 2 3

1 2 3

1

1

1

5

5

5

Bass 5





1 2 3



5 !

Rhy. Fill 2 (2:03) Gtr. 1 [A] F





3

1 2

3

1 2

3



that that

drowns me makes me wanna fly kills me makes me feel alive

 

  guitarworld.com

151

TRANSCRIPTIONS

“counting stars”

E

Chorus (1:18, 2:28, 3:26) Lately I’ve been I’ve been losing sleep Lately I’ve been I’ve been losing sleep [E] [C#m] Am C Gtr. 2 plays Rhy. Fig. 1a simile (see bar 6)

Gtr. 1 30

 

1 2 2

0

1 2 2

0

1 2 2

0

0 1 0

1 2 2

0

0 1 0

3

dreamin’ about dreamin’ about [B] G

0 1 0

3

0

3

1

3

3 4 5

3 4 5

3

3

the things that we the things that we [A] F

3 4 5

3 4 5

3

1 2 3

3

Bass plays Bass Fig. 1 simile (see bar 10)

could could

be be

But But

1 2 3

1

1 2 3

1

1 2 3

1

1

2nd time on 1st Chorus, go back to bar 10 2nd time on 2nd Chorus, proceed to F (bar 38) 2nd time on 3rd Chorus, skip ahead to H (bar 46)

Said no more counting dollars We’ll be counting stars Said no more counting dollars We’ll be we’ll be counting [B] [A] F G

I’ve been I’ve been prayin’ hard baby I’ve been I’ve been prayin’ hard baby [C#m] [E] C Am Gtr. 1 plays Rhy. Fig. 1 (see bar 6) Gtr. 2 plays Rhy. Fig. 1a (see bar 6)

Bass Bass Fig. 3 34 4

F

4

4

4

6

7

7

G

(3:00)

Oh



9

7

that

money

 



9

9

9

11

12

12

12

watch it burn

Sink

in the river the lessons I’ve learned



 

 go back to

Sink in the river the lessons I’ve learned

Take that money watch it burn

Gtr. 2 (right-hand piano part arr. for gtr.) 42 9 9 9 9 9 9

0

  

0 9 9

 

9 9

Bass (left-hand piano part arr. for bass gtr.) (on repeat only) 4 4  ! ! H

46

 

12

Breakdown (3:04)

Take [C#m] (Am)

N.C.

38

6

7

 

0

kills me [F#m] Dm

that

Everything [A] F

E

Chorus (bar 30)

makes me feel alive



Gtr. 1 1 1 2 3 3 1

0 1 3 2 0





(3:58)

(stars) Take that money watch it burn Sink in the river the lessons I’ve learned Take that money watch it burn Sink in the river the lessons I’ve learned [C#m] [E] [B] [A] G F Am C Gtr. 2 plays first three bars of Rhy. Fig. 1a simile (see bar 6) 1 2 2

0

1 2 2

0

1 2 2

0

0 1 0

1 2 2

0

3

0 1 0

3

0 1 0

3

0 1 0

3

3 4 5 3

3 4 5 3

3 4 5 3

3 4 5 3

1 2 3 1

1 2 3

1 2 3

1

1

1 2 3 1

Bass plays Bass Fig. 1 simile (see bar 10) Take that money watch it burn Sink in the river the lessons I’ve learned Take that money watch it burn Sink in the river the lessons I’ve learned [C#m] [E] [B] Am G C Gtr. 2 plays first three bars of Rhy. Fig. 1a simile (see bar 6) 50 0

1 2 2

0

1 2 2

0

1 2 2

0

1 2 2


152


0 1 0

3

0 1 0

3

0 1 0

3

0 1 0

3

3 4 5 3

3 4 5 3

3 4 5 3

3 4 5 3



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157

led zeppelin

continued from page 56 What electric songs did you write on it?

i know i wrote “ramble on” and “what is and what Should Never Be” on it. But stuff like “the lemon Song” and “Moby dick” were composed on an electric guitar. Did you use an unwound G string on your acoustic guitar? Your tone, especially on the first album, is pretty bright.

i did sometimes. let me think. i’m not infallible on this stuff, but that’s a good question and i should know the answer. i can tell you with certainty that i used a wound g on the first album, because i was using Mickey’s guitar and i didn’t restring it. i’d have to research the rest. On “Ramble On,” I was wondering how you achieved that smooth, sustaining violin-like tone on the solo?

i used the neck pickup on my les Paul and backed off on the treble knob on the guitar, and ran it through the sustainer roger Mayer made for me years before. when i was recording it, i was thinking in terms of making a sound sort of like a string arrangement. A debate has raged for many years on what electric guitars were used on the first album.

it’s hard for people to believe, but i just used my Fender telecaster for the entire album, except for one track. Somebody was trying to sell me a gibson Flying V at the time. i don’t know what made them think i could afford it, because i clearly couldn’t, but i asked them if i could just try it out. i brought it into olympic and used it on “You Shook Me.” with those big humbuckers, it was so powerful you can hear it breaking up the amp in the middle of the song. i could’ve tidied it up, but i really liked hearing the amp really struggle to get the sound out. it’s really fighting through the electronics to get out of that speaker. i’m not sure what happened to the guitar. it might’ve found its way to Keith richards, but i really don’t know. The first album was recorded in only 36 hours over a period of a few weeks. Was it because of lack of funds or did you want that urgency.

Probably more of the former. we weren’t signed to a record label yet, so everything was done with ruthless efficiency. we weren’t recording in a hurry and we were still being creative, but we were mindful of the clock. truth is, we didn’t really need a lot of time. we had rehearsed the material and played it on the road. after that, anyone should be ready to go in and record an album, and it shouldn’t take forever to do it. when you hear “good times, Bad times,” it took exactly the amount of time it should’ve taken. there’s not too much wrong with it, apart from a couple of dodgy guitar phrases at the end. recording the first album was almost like when we recorded our BBC

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Sessions. we didn’t need countless takes of messing about. we knew how to play the songs. Where did the live show from Paris that accompanies the first album come from? You guys are really on fire.

ironically, i actually became aware of it from a bootleg i discovered in Japan. i listened to it and thought, we’re doing all right there. we’re doing all right at that show. So we did some detective work and discovered it was recorded in 1969 for French radio, and we were able to locate a clean digital file of the concert. As you have pointed out, Zeppelin’s live shows were always evolving, and no two concerts were completely the same. What is the possibility of releasing more live shows in the future? It would make a great series or box set.

well, doing this has been a bloody long haul! i’ve put a lot of my time into two major projects over the last few years. the first was the Celebration Day reunion [the 2012 concert film documenting Led Zeppelin’s 2007 reunion for the Ahmet Ertegun Tribute Concert in London] and the other one is this series, and both are equally invaluable to the whole history of led Zeppelin. there are still six more albums coming out in this series, so that’s the focus for now. The Paris show has some of the flashiest and fastest playing of your entire recorded career. But as your career went on, it seemed you became more concerned with note choice than raw speed. Was that conscious?

i think i just got better. My playing and writing grew in leaps and bounds around that period. if you compare the initial attempt at the solo in “Heartbreaker” on the companion disc to how i’m playing it on the live Paris show, you’ll see why i had to go back and re-record it. I thought the bow solo on the live version of “Dazed” was beautiful—really quite different than the studio version.

i was all right. Every night, i was trying to seek out something i never did before. i’d find new things and discard others until i arrived at something like the bow solo you hear on the live version on Song Remains the Same, which really holds up. Do you see these first three albums as representing a certain chapter in the story of Led Zeppelin?

i think each album is a chapter. the first album represents the coming together of this undeniably talented band, with its extraordinary energy and an attitude that is second to none. we begin this process of fusing ideas that have never been done before, a process that would continue throughout our career. the second album has the fire and the energy of us on the road. i really believe you can hear that. and then the third is where, after working for two solid years, we were able to sit back and take a short breather on our home soil. and i think you can hear that as well.

NAIL HEADS

ACE FREHLEY

continued from page 44 And that’s just fun. I prefer having an engineer there, but if there’s not one around, I can do my own editing and not have to depend on anyone else. Vocals too. I can do it all myself. Which is quite different from recording with Kiss in the early Seventies.

With Kiss we used to do a slave reel. We’d mix down on two-inch tape, 24 tracks. [Producer] Eddie Kramer would mix down a stereo track of drums, and he’d give me a whole reel just to do solos. And Eddie was great at editing tape. But the flexibility you get nowadays with Pro Tools is just night and day compared to those days. Digital editing is a dream. What was the songwriting process like for Space Invader?

You know, all my life I’ve never had a formula for writing songs. Sometimes it starts with a guitar riff, sometimes it’s a lyrical idea or just a melody. Sometimes I wake up with an idea. There’s no rhyme or reason. Sometimes I write on an acoustic, sometimes on a bass. There’s a song on the new album called “Into the Vortex.” It’s a riff song, but I wrote it on a bass guitar. Why? Because I write differently with a bass guitar in my hand than an acoustic guitar or an electric guitar. When I feel creative, I just sit down and start playing. Did you write differently in the early days of Kiss?

Yes. I wasn’t as structured as I am now. Even though I’m not really structured—I’m at least cognizant of what’s going on. [laughs] Back then it was more hit or miss—and when I hit, I hit big. You know, I go back and listen to my 1978 solo record, and it still holds up. My whole body of work that I’ve created over the years has withstood the test of time. I know that I still have the goods. And when this record gets released, everybody’s gonna say, “Well, Ace did it again.” Were there things about Anomaly that you wanted to change with Space Invader?

I know that everyone is hoping that this album is heavier than the last one, and it is. I’m also doing an instrumental this time, called “Starship,” that isn’t slow. It’s a departure from the “Fractured Mirror” style. It’s more fast paced and has a lot of transitions in it. You cover the Steve Miller song “The Joker” on the new album. How did that come about?

It was the record company’s idea, to be honest. And I was a little resistant when it first came up. But then I thought back to my 1978 solo record, when Eddie Kramer’s assistant said to me, “Why don’t you try this song?” And it was “New York Groove.” At first I said, “I don’t want to do that,” and it turned out to be my biggest hit. So maybe history can repeat itself.

Where was Space Invader recorded?

I did most of the recording at my friend’s studio in Turlock, California, called the Creation Lab. Turlock is in the middle of nowhere— it’s like a farming community—and that’s why I loved it. I have Attention Deficit Disorder, and there are absolutely no distractions when working at this place. You record for eight or 10 or 12 hours, then you go back to the hotel and go to sleep. You wake up and go back to the studio. There’s nothing else to do there, which means it’s the perfect place for me to record. Plus, I like working with the least amount of people, and this studio is great because it’s quiet and there aren’t all kinds of people walking through. I did most of this record with just me and a drummer, Matt Starr. For a couple of songs I brought in Chris Wyse from the Cult to play bass. What guitars and amps are you using on the album?

I’m using a big variety of guitars. I have 35 or 40 different guitars hanging on the wall, and I just grab different ones. There’s a sevenstring on one song, a Dobro, some 12-string acoustics… Sometimes I get the urge to use the double-neck. I like flexibility. The more variety, to me, the better. As for amps, it’s basically the same stuff I used on Anomaly: Marshalls and Voxes and Fenders. The “Budokan” Les Paul replica guitar you did with Gibson in 2012 was a huge success. Are you planning another signature model?

I remember when I first did that deal and I went to the Gibson office to sign a bunch of the guitars, I said to [Gibson senior VP] Rick Gembar, “How are they selling?” And he said, “What do you mean, ‘How are they selling?’ They’re already sold. They were already sold before we put them out. Ace, anything you do turns to gold.” That was a good feeling. I’m trying to figure out what to do next. I keep asking people what they think, and some say to do the three-pickup black Les Paul; some say to do the first one I had, the sunburst Standard. But I don’t have to make that decision today, so I’m not worrying about it. But Gibson does an amazing job with these guitars. I don’t know how they make guitars that look 30 or 40 years old, right down to the screws and scratches and little details. I’m working on a design for a new amp right now that I think is just going to be too cool. I can’t talk about it yet because I haven’t finished the prototype. I also have a prototype guitar in the works that’s gonna be revolutionary. But that deal’s not done, so I can’t talk about that either. Amp and guitar— both completely different from anything else on the market. I’m always coming up with new ideas. I invented an electric guitar, like, 20 years ago. [laughs] My father was an inventor. It’s in my blood. I also have an idea for a really cool clock. But I can’t even talk about it because it’s so brilliant.

It Might Get Weird inside the minds of some of the world’s most creative custom-guitar builders.

The Great Gig with the Knives Gigs Carved Guitars’ Dark Side of the Moon

P

robably 99 percent of the guitars built with

graphics inspired by Pink Floyd’s The Dark Side of the Moon feature the album cover’s iconic prism design. Mark “Gig” Goldstein’s Dark Side of the Moon guitar also includes the prism, but it is just one small detail in a larger tableau that he carved into the front of a Gibson SG—a scene that tells the album’s entire story. Here the prism is incorporated into the pyramid seen on the back of the U.S. dollar bill (a nod to the album track “Money”), surrounded by various images that depict a solar eclipse (“Eclipse”), a rabbit running while holding a shovel (“Breathe”) and many other details, including the grave marker of Floyd founder Syd Barrett. “The idea for the guitar originated with a Pink Floyd fan who lives in Alberta, Canada,” Goldstein says. “He wanted a design based on the album’s lyrics. I was actually quite nervous about doing this, because I had always done carvings based on existing visual themes and not subjective ideas. The most challenging part for me was taking the lyrics and turning them

into tangible visual representations of their written forms. My representations were generally literal but still abstract enough to allow the viewer to interpret them in their own way. ” Goldstein started carving wood about 15 years ago when his first attempt at chainsaw carving was a success. From there he moved to smaller, more detailed objects, and soon he started selling wooden fish figures. When a guitarist friend dropped by one day to view his work and asked if Goldstein would carve one of his electric guitars, a whole new world opened up to him. Since then he’s carved more than 20 guitars for customers in the U.S. and Canada. “I always start my design by placing two or three main subjects in the large, open areas of the guitar’s body. From there, I keep adding smaller subjects as I move along. I never have the entire design worked out before I start. I begin with a basic vision and let the rest come together. The owner of this guitar gave me free reign on the entire project, which normally makes the end result turn out better. I feel this is one of my most interesting guitars.” —Chris Gill

For more information, visit www.facebook.com/GigsCarvedGuitars

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