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“MOGG*WAY’^ .‘•MINOIOURNEr’ "ixm Of THE MILLENNIUM" . . ‘lOOKlN’Ur TRUE OBSESSIONS’

Lead vo^ist John West (Artension) George Bellas' debut rel^Vaii ahum of Greg Howe's newest album, Five"
Legefiuary English vocalist Phil Veteran blues/ rock guitarist Pat
breaks out, "Mind journey" featuring heavy neo^asskal compositions with Megadeth guitarist Marty is.an instrumental offering
Mogg and bassist Pete Way, known
Shrapnel solo artist George Bellas on innovative odd-time signatures and fiercely Travers’ new album “Lookin’ Friedman returns to
for their work as the bacldwne of comprised of aggressive rock and
nitar, Barry Sparks(Malmsteen, progressive overtones. Reminiscent of Up” is a showcase for Pat’s hard- Shrapnel with an album of fusion compositions which highlight
international recording artists
MSG) onbass and drummer Ma^ne, Malmsteen and Roth, Bellas driving, blues-based rock that songs which showcase his
UFO, are reunited inMogg-Way to Howe's renowned technique and
MikeTerrana(Malmsteem,MacAlpine) leads ^ way for a new breed of guitar
deliver a collection of original has gained him an immense trademark guitarwork in a strong sense of melody. Howe
plus keyboardist Matt Guillory.Tne players as he navigates the outer realms of
aggressive rock numbers backed by players join forces to create a neo- following. Smoldering blues riffe, hard rock context. serves up a heavy yet unpredictable
cutting edge guitar musk. "Turn OfThe
stellar drummer Aynsley Dunbar classically flavored album rem¬ played with aggression, set the Friedman's phrasing and combination of blues and fusion that
Millennium" features Deen Castronovo on
(Bowie, Zappa, journey, and many iniscent of progressive metal bands technique continue to set highlight this world class album.
drums. And will amaze even the most tone for this classic Travers LP.
more) and Shrapnel Records new him apart from the rest.
discerning, progressive instrumental music
guitar prodigy George Bellas.

^^GUrraftCHRONICLE" “A SAIUTE TiS'S'CEFREHLCY’' “CACTUS CRUZ”

Albert Lee, Steve Morse, John “Cactus Cruz” is Firkins’ Testament guitarist, James
This tribute gets together some of rockY A salute to a guitarist from one of the
Sykes,Trevor Rabin, Steve Murphy ventures out on his own
premier guitar playm and singers to pay most popular rock groups in latest instrumental
with "Convergence,"his first solo
Stevens, Scott Hill, Doug Aldrich, a tribute to one of the greatest history unites contemporary artists who masterpiece displaying
album for Shrapnel, featuring
Mark Kendall, Richie Kotzen, blues/rock guitar players in rock history. are ai» fens. Performs indude; Marty Firkins’ inimitable guitar Murphy's stylized guitar
Stanley Jordan, and Walter Trout Performers include; Bruce Bouillet,Vivian Friedman, Gilby Clarke, Scott Ian, Frank solos over compositions work. This heavy, progressive
perform smoking renditions of Campbell, Phil Collen, Warren Bello, Charlie Benante, Ron Young, Jeff that range from rock to collection includes guest
songs made fomous by one of DeMartini, Paul Gilbert, Jake L Lee, Vfetson, Snake Sabo,Tradi Guns, John
Steve Lukather, George Lynch, Mick bluegrass to jazz swing artists,such as vocalists Devin
the all-time blues guitar Norum, Bruce Bouillet,Dimeb^ Darrell,
Mars, Stevie Salas,W^er Trout, Gregg which combine to create Townsend and Chuck Billy,
greats.ln this incredible display Vinnie Paul, Sebastian Bach, Russ Parrish,
Bissonette, Russ Parrish, Jeff Martin,Tony a cohesive album that all guitarist Greg Howe and
of 90’s blues guitar talent. John Akferete, Scott Travis ^ more. drummer Deen Castronovo.
Franidin, Billy Sherwood ^ n^ guitar fans should own.

• ANOTHER DESTINATION - •INTOTHE EYE OFTHE STORM" •PARANORMAL ACTIVITY"

This LP is comprised of ^ressive
John Norum’s new album Artension is centered around Rock’s premier vocalists and Mayadome ban ultra heavy
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showcasing Richie’s virtuosity and
exactly what guitar fons keyboardist Vitalij Kuprij and Purple with performances by Sweden, characterized by incredible
diversity in a ground-breaking
have been clamoring for. Swiss guitarist Roger Staffelbach. Glenn Hughes, joe Lynn
jazz/fusion context Veteran ensemble playing, solo tradeoffs,
Highlighted by phenomenal The players meld together to Turner, Kip Winger,Tony
drummer Gregg Bissonette lays and odd-meter musk. Strong
solos, reminiscent at times create a Progressive Metal MacAlpine,Vinnie Moore,
down an innovative series of fusion vocak, phenomenal double bass
of Moore, Roth, and sound inspir^ by bands such as John Norum, Richie Kotzen,
grooves, while bass legend Jeff Berlin
Malmsteen, this new release Rainbow, Queensryche, Rising Yngwie Malmsteen, Don diommingihelp to complete this
displays his phenom-enal chops on
is a classic guitar album that Force and Dream Theater, with Dokken, Reb Beach and dassk album.
wailing solo trade-offe. three songs.
you need to hear. more.

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 32 Robert Cray by Mike Mettler
The man in blue is back^ and serving up Sweet Potato Pie

36 Metallica by BobGullaand Rich Maloof

Hetfield & Hammett talk a load about their ivorld tour,
and their plans to release a new album later this year

44 Fingerstyle Guitar by Jon Chappell

Featuring Doyle Dykes, John Fahey,
Michael Hedges, Leo Kottke, and Adrian Legg

56 Great Guitar... tame Song! by Rich Maloof

In this month’s Riffology, moments of unexpected guitar genius

66 Catching Up With Satch by Jon Chappell

With a G3 album, a new G3 lineup, an album on the way
and more, Joe Satriani is keeping busy

70 Seventh Chords by Jon Finn

So little math, so many chords. . . .

profiles
23 Cake 25 Cheap Trick 28 Peter DiStefano 29 Dave Navarro
by David Simons by Greg Pedersen by Stefanie Schwalb by Rich Maloof

departments
7 Opening Act 154 Contest
American Showster Giveaway
10 Input
176 Tracks
12 Groundwire
182 Advertiser Index
148 The Crossroads
Guitar's Classified Section

columns
76 Carl Verheyen studio city 155 Robben Ford over the top
79 Steve Morse open ears 156 RonBienstock the biz

encore
184 “Back When Jimi Sucked” by Pete Prown

gear factory
161 Lexicon MPX1 166 Guitar Picks
162 Optek SmartLIGHT Guitar 168 The Recording Guitarist
Becoming Self-Reliant
162 Rainsong Dreadnought
170 F/X The Wallflowers “One Headlight’
163 Fender Frontman 15G
170 Rigs Ritchie Blackmore
164 Tech Head
GearFest ’97 173 Pro Talk Dan Erlewine

81 Explaining Tab 111 I WILL SURVIVE

Cake
82 Performance Notes
122 THE SHORTEST STRAW
83 SIGN OF THE TIMES Metallica
Queensryche
136 SOUTHERN MAN
97 ONE HEADLIGHT Neil Young
The Wallflowers
 J% Jr

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 Winner
Opening Act 'n'liiir" "TT-'

Just before we went to press with this

issue, a few Guitar editors headed
down to Austin, Texas, to join the rest
of the music industry for its annual refueling—the South By Southwest
music festival. There wasn’t a quiet corner in Austin, and apparently at the crossroads of blu(
that’s just how they like it. We’re talking about a city that was home to soul and rock and roll
Stevie Ray Vaughan (‘Tust hasn’t been the same since we lost Stevie
Ray,” a middle-aged cabbie told me), saw Janis Joplin sing for pitchers
of beer, and hosted Frank Zappa’s jam sessions. True to the legacy,
young bands roared at every club, record store, art parlor, and back¬
yard barbecue in town. We must’ve seen 25 bands in the three days we
were there, and that included a lot of guitar slingers. We heard blues
trios who’d been slogging it out in clubs for 15 years, garage bands tak¬
ing their big shot at being noticed, and signed acts who were hoping
against hope not to be dropped before their second release. Some of
them were great, and will emerge from the underground to enjoy suc¬
cess; some of them stunk and the same will be true; and most of them
we’ll never hear another note from again. Sad but true.
Cut back to New York, one week before the music festival, where
Kirk Hammett and James Hetfield sat in their dressing rooms while
23,000 fans stomped their feet overhead, urging Metallica to the stage.
The crowd was thundering for this trend-defying, multi-million-selling
foursome to rage through two hours of music they already knew inside
out. Unless they broke into a dance tune or Jason Newsted fell off the
front of the stage, Metallica couldn’t go wrong. The audience was sold.
For all the differences between the two scenarios, the link was
undeniable: all these musicians had spectacular hair, the best you ever
did see. No, wait, that’s a joke. Here it is: whether they filled an arena or
a bar, whether they would ever be heard again or not, all of these musi¬
cians were playing music they believed in. The small bands wore their
hearts on their sleeve—what’s to lose?—and drove their songs home in
front of skeptical industry audiences. And Metallica, who could “fart
into the mike” (as James so delicately put it) and crowds would go bal¬
listic, still fights the good fight, too. They are a rare case in this busi¬
ness. While scores of talented players dream of achieving Metallica-
sized success while they play in those little clubs, Metallica has man¬
aged to maintain club-level credibility. Speaking to Hammett, especial¬
ly, we couldn’t get over how earnest he still is about his music and the
guitar: he explores techniques from every musical style, looks for new
sounds in every imaginable piece of equipment, and seeks out obscure
Hendrix recordings as if he’s going to start a library. Like the rest of the
band, his fans would grab up any crumb he threw out, but he feeds
them elaborate meals.
When someone doesn’t play with conviction, you can smell it on
’em. You might think Yngwie Malmsteen was a wanker or that Kurt
Cobain couldn’t tune a guitar, but you can’t doubt they meant every¬
SwE E t
thing they played. If you’re spending time on your guitar just to show
people you’re good, drop the instrument—do everyone a favor, go knit
yourself a nice sweater. If you look at a sheet of music and think it’s a
bad joke, even if it’s in this magazine, tear it out and line the litterbox.
Pot A to
Make room for the aspiring musicians who are trying to get across
something sincere. Especially if you are one of them. PiE W-

4
The new album
in stores May 6th
On Tour All Year

%1997 Mercury Records

,|itlp;//www. mercuryrecords.com/mercury,.
 EDITOR-IN-CHIEF
Rich Maloof

ASSOCIATE PUBLISHER
Barbara Seerman-Caravetta

EXECUTIVE EDITOR
Jon Chappell
SENIOR EDITOR
Bob Gulla
ASSOCIATE EDITOR
Christopher Scapelliti
ASSISTANT EDITORS
Jason Zasky
Stefanie Schwalb
MUSIC EDITOR
Mark Phillips
MUSICTRANSCRIBERS
Jeff Jacobson, Paul Pappas,
Steve Gorenberg
MUSIC ENGRAVER
Wojciech Rynczak
CONTRIBUTORS
Ron Bienstock,Jon Finn, Mike Mettler,
Buzz Morison, Steve Morse, Pete Prown,
Lisa Sharken, James Sullivan, Carl Verheyen

EDITORIAL ASSISTANT
Kristine Garcia

ART DIRECTOR
Stephanie L.Warzecha
ASSISTANT ART DIRECTOR
Rosemary Cappa-Jenkins
GRAPHIC ARTISTS
Daniel V. Zaccari
Gary V. Planamento

ON OR TH NATION TOP IVI USIO TAI FIS ADVERTISING DIRECTOR

Christopher Gentri
ACCOUNT MANAGER
Liam Sullivan
ADVERTISING TRAFFIC MANAGER
Anne Bristol

DEALER SALES MANAGER

Robert E. Kudyba

PUBLISHER
Howard Cleff

ASSOCIATE PUBLISHER/CIRCULATION
Simon Schatzmann

PRODUCTION DIRECTOR
Glenn R. Filippone

CUSTOMER
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their ages (hype), their appeal to other Jonathan Larson did not die
CompuServe:
teenage players, and lastly, the public’s the night before Rent opened on
GO GUITARISTS
outright ignorance of electric blues Broadway. Tragically, and perhaps
and their all-consuming hunger for even more poignantly, he died the
e-mail:
the seemingly fresh commodity. I night after our first Off-Broadway
74774.2131
find it inconceivable that at their ages dress rehearsal, January 25th, 1996.
@compuserve.com
CLASSICAL Shepherd et al. have truly paid their He saw the show mounted in all its
[email protected]
CONSENT dues and amassed enough personal glory only that once, which was well
I’ve just finished devour¬ experience in their brief lifetimes before the buzz about it began to
World-Wide Web:
ing your April 1997 and to command the respect and atten¬ take off. Jonathan’s death assured
http://www.guitarmag.com
only have six words to say: tion befitting stalwart blues icons as nothing more than a bit of morbid
thank you, thank you, B.B. King, Buddy Guy, and the late publicity.
THANK YOU!! As an acoustic guitar Albert Collins. The statement that “playing in this
player I was delighted to find situation is very different than playing
“Classical Guitar 101,” the demo for in a band” is a curious one. One of the
“While My Guitar Gently Weeps,” and aspects that makes Renf different from
five (actually ten) essential classical ordinary Broadway musicals is the fact
pieces in one issue. that the five of us in the band had the
Also a belated thank you for the opportunity to develop our own parts
transcriptions to the acoustic guitar and our own band sound; we were not
songs “Manha de Carnaval” and spoon-fed someone else’s concept of
“Tears In The Rain,” the rock songs rock and roll. If someone sees Rent
with strong acoustic guitar presence and does not get that there is truly a
like “Don’t Speak” and “I’m Your band onstage and not just a conglom¬
Captain” (Feb/97). erate of theater musicians, we have
Jay '‘Andy” Milligan failed in our quest to “rock” on a
North Wilkesboro, NC Broadway stage.
Like La Boheme, the opera it was
While reading through the April inspired by. Rent successfully merges
issue, I came to the piece on classical its narrative flow with the force of its
guitar. I quickly dismissed it and music. The band is called upon each
moved on. After working through the night to match the energy of the per¬
transcriptions, I noticed the classical It can be understood that your mag formers on stage who, in turn, are all
sheet music. I decided “what the hell” must try to cater to the wishes of your accomplished rock, gospel, R&B, and
and started playing. I’m glad I did. I’ve readers, but glorifying these popular pop singers.
always liked to think I was pretty open but one-dimensional players will only In a little more than a year’s time
to playing different styles of music, serve to encourage young players who there is already a legacy to Rent, as it
but classical had never really appealed are interested in blues that one need took Jonathan Larson seven hard years
to me, until now. Needless to say, I only buy Are You Experienced and to develop the show. We are thrilled to
went back and devoured the article. Texas Flood to obtain a thorough and be a part of something that has been
Thank you for opening my eyes to a well-rounded blues education. so well received.
genre that I had previously dismissed. DJ. Stoyanovich Kenny Brescia (guitar)
Derek A. Bakker Windsor, Ontario Steve Mack (bass)
derekb@iquest. net Canada

KENNY? GEE... MUSICIANS FOR RENT

I was very disappointed to see your As two of the musicians for the
magazine (amongst others) has decid¬ original Off-Broadway and current
We ran a feature on
ed to embrace the spate of “nouveau Broadway production of Rent, we were
Collective Soul in our
teenage” blues artists (Shepherd, more than a little interested in your April issue, which was
Lang, and Welch) and laud them March and April features by Jon Finn, a perfectly fine piece
except that we screw¬
as though they belong amongst “Playing For Rent” While we are happy ed up a photo. The
the genre’s elite [“Kenny Wayne the show provided an interesting focal guitarist pictured on
page 33 is not Dean
Shepherd,” April/97]. Admittedly, point for Jon’s instructional article, we Roland, as identified
these guys are not totally devoid of tal¬ feel it’s important to clear up any mis¬ (it’s Todd Nicholas from Toad The Wet Sprocket,
who had a played a gig with Collective Soul the
ent. However, the majority of these information or possible misconcep¬
day we photographed the band). Our apologies
players’ popularity can, for the most tions about the nature of the show’s to Dean—pictured here, for real—and the band.
part, be attributed to the novelty of creative process.

10 GUITAR JUNE 1997

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 •

G roundwn re
KEWS ’EIEWS IPREVIEWS

"‘JAyHAWKS
F ollowing the release of the Jayhawks’ last collection, Tomorrow The Green Grass,
founder Mark Olson flew the coop, severing a 10-year tie with fellow songwriter and soul¬
co¬

mate Gary Louris. Much to the dismay of Jayhawks aficionados, word circulated of the
band’s intentions to split; given the radio strength of Tomorrows “Blue” and “I’d Run Away,” the
demise seemed all too premature.
And that it was. “I couldn’t imagine giving up at this point, when this band still has a lot to
prove,” says guitarist Louris, who pulled together Tomorrows alumni Mark Perlman and Karen
Grotberg and new drummer Tim O’Reagan and re-grouped at Minneapolis’ Terrarium Studios
for the making of Sound Of Lies. “I think there’s something to say for not having peaked early
or having sold a billion records. You’re still kind of grasping for the brass ring—you still want
to try to prove to people that you’re the best thing out there.”
With Louris handling the lion’s share of the songwriting chores (“I’m still a control junkie”),
Sound Of Lies comes across as a slightly beefier version of the Jayhawks, with layers of tough
guitars and a noticeably harder rhythm section. “We kind of went down a little different road
this time,” confirms Louris. “When we originally got into country, it was kind of a new discov¬
ery, it was our own. But we did it for 10 years, and you eventually need to change and chal¬
lenge yourself. So we basically went back to our roots—I was an art-rock freak and punk-rock
freak way before I was a country-music freak. It’s something that’s been a little held back, so
now just seemed to be the time to take some chances.”
A player of the Flying V, a ’68 SG and “anything else I can borrow,” Louris muses about the
state of the cult celebrity wanting to be something more in “Big Star.” As it turns out, it’s no
joke. “You hope you can be happy and normal, but at the same time most musicians are inse¬
cure and they need the love of everybody in the world to feel worthwhile. I’d love to be a
star—I’d love the band to be successful. And it certainly wouldn’t be an overnight success.”
—David Simons

This year marks the 50th anniversary of Chess Records, and

to help celebrate this monumental event, MCA is reissuing a
series of titles highlighting the very best of this legendary
blues and soul label. The initial offerings are comprised of
single as well as multi-artist compilations. Purists and new¬
comers alike will appreciate Chess 50th Anniversary Collection sets by the likes of Muddy
Waters and Chuck Berry, and compilations like Chess Biues Classics 1947 to 1956 (featuring
early cuts by John Lee Hooker, Little Walter, Willie Dixon, and others), and Chess Blues
Classics 1957 to 1967 (Otis Rush, Buddy Guy, Elmore James). Congratulations, Chess, and
happy anniversary. —Stefanie Schwalb

ansas City-based stained glass artist Bryan W. Lewis has completed a memorial to the late
mL Stevie Ray Vaughan entitled “From Soul To Soul The piece depicts a winged Stevie Ray,
m\ along with two of his biggest influences, Albert King and Jimi Hendrix. After poring over hun¬
dreds of photos to choose just the right SRV shot on which to base his image, Lewis spent an esti¬
mated 350 hours painting and firing (and repainting) every one of the 155 pieces of glass that make
up the 3'x6' work. At press time the window was still available for sale—with the House of Biues
franchise and a major Las Vegas gaming company as potential buyers. Lewis is accepting bids
from private collectors as well, although he admits he’s hoping to sell to a buyer who will display
the window publicly so it can be appreciated by SRV fans. You can’t argue that Lewis is dedicated
to his work and to Stevie Ray; his follow-up project is a door-sized panel of Stevie’s famous
“Number One” guitar. —Jason Zasky
 R msKldns Mth
Time
extra
arose for good
guTfar soiling are in for a
tre^^^Hpisecond half of
1997. The Chronicles imprint will
be issuing remastered versions of
the Rush catalog (in three phases
through September), the entire
Kiss catalog, most of the Moody
Blues canon, including essential overdue multi-disc collection
early titles, as well as a clutch of of Thin Lizzy material in early
classic Allman Brothers issues. If fall. Learn more about
that’s not enough, the same label Chronicles releases at
will see a summer release of a www.Polygram-US.com/
five-disc box of material by early Polygram/inrb/. Start savin’,
punk wavers The Jam, and a long bro’. —BobGulla

G ibson USA has recently been designated the official guitar

of the 1997 Fruit of the Loom Country Comfort Music
Series. Sixty concert dates, a touring Country Comfort
Experience—that is, state-of-the-art mobile festival grounds (a la
_ Lollapalooza), including 10-foot-high Les Pauls as an entryway—
I and the mega-concert CountryFest ’97 are all scheduled to make
I up the cornucopia of what Fruit of the Loom has to offer this year.
I The list of performers includes Vince Gill, Hank Williams Jr., Travis
I Tritt, Randy Travis, and The Charlie Daniels Band. Over 80 Fruit of
I the Loom All-American Gibson Hawk guitars will be given away on-
site during the tour, and through local radio-station promotions as
^ well. We bet one of those would make for a comfortable fit. —SS

Jimmy Vivino
alum, bassist Harvey Brooks, to play with drummer Anton Fig.
“I’m obsessed with Mike, and I always have been,’’ the 42-year-old Vivino
admits. “But the important thing Allen taught me right away was not to copy
him. He said, ‘Man, forget about him, but don’t forget about him. Just play
from your heart.’”
Vivino grew up in Glen Rock, New Jersey, digging the blues with his best
friend, Brian Bisesi, who later became Muddy Waters’ “auxiliary guitar player
and personal cat.”

T
“I saw firsthand how that band was put together, and absorbed Muddy’s
concept of arrangement—the way there would be three guitars going and it
he buzz around the Big Apple is that Jimmy Vivino, the dapper guitarist would never be a mess,” says Vivino.
and arranger for Late Night with Conan O’Brien, has cut a solo album that Those early observations serve him well in his TV gig as a member of the
may finally fill the void left by the early death of legendary electric-blues Max Weinberg 7. The job, in turn, allows Vivino a few enviable luxuries, such as
guitarist Michael Bloomfield. In fact, Bloomfield’s own brother, Allen, is excited flying around the country to play with artists he admires, like Lowell Fulson,
about Vivino and attended the recording sessions for Do What, Now? Chuck Berry pianist Johnnie Johnson, and other greats. And even though he’s
(Musicmasters), taking photos for the CD’s cover. Even Al Kooper, who pro¬ enjoying success and a strong reputation, it’s not uncommon for Vivino to pay
duced and played a Hammond B-3 organ on Mike Bloomfield’s 1968 hit Super his own way into blues clubs around the country. “The blues is like art to me,”
Session, did the same for Vivino. Kooper brought in another Super Session he says simply. “It needs to be funded.” —Deb DeSalvo

GUITAR JUNE 1997 13

 Ozzy Guitarist Splits,
Gmmdwire
J oe Holmes had been filling some big
shoes, slinging guitar for Ozzy Osbourne
AH h
in a slot previously filled by the likes of
Zakk Wylde, Jake E. Lee, and Randy Rhoads (who taught Holmes years ago). But now Holmes has
elected to just say no: a recent “born-again Catholic” (we’ve never heard of it either), Joe decided he
did not want to be associated with Ozzy, given his reputation, and left the band.
Undaunted, the Oz man moves forward. Online ’zine /IZ/sfar reports that three of the four original
members of Black Sabbath will reunite for 20-plus dates on the multi-bill metal tour, Oz Fest. The only
casualty, drummer Bill Ward, is apparently on the wrong side of the Unholy One and will be replaced
by Faith No More’s Mike Bordin, who has been touring and recording with Osbourne’s solo band for
the past year. (Ward’s solo effort on the Cleopatra label is out now.)
The two-stage metal fest stomps into Florida this month and bleeds into the summer. Marilyn
Manson will be playing eight of the shows, while other mainstage headliners include Pantera, Type 0
Negative, Fear Factory, and the fast-rising Powerman 5000.
Apparently, the original members of Sabbath—Osbourne, Tony lommi, and Geezer Butler—have
no intention or desire to stay together beyond these dates, so catch the sparks as they fly. —BG

Je were lucky enough to

into SjT and
Dean DeLeo in
recently, who gave us a tip-^
the^lT5itarg report on the state and'
fate of §t^e Temple Pilots. At
press time, tn« brothers DeLeo and
drummer Eric^etz had already
written and recorded an entire
album of new material—without
vocalist/generally-trwbled-guy Scott liland pit^ng in ^

RAWI>EAI.I note. “STP had nat been about

bassist Robert said regretfully.
muhic in two
Eager/o get t^k
they do best, tha three have t^en on a herefofore
unknown vocalist,/and plan to rel^se the album later this
yeari,"
to What

summer as an enitrely new bppa —Rich Maloof

I t has been nearly 25 years, but

the unthinkable has happened.
rlMQEHTlr>|
Original punk rocker Iggy Pop has
finally decided to remix and remaster
f^e. l/ll?, jcoffiyj
W
his 1973 landmark album, Raw Power.
The recording, one that many old-
school punks refer to as the genuine hat is the single worst thing about being a of the guitar), the trebles go left (also to the inside).
inception of the punk/hardcore idiom, guitarist? No, it’s not having to learn Hootie Once you’ve bent
retains the original song lineup, covers: it’s changing those dang strings. the string at roughly a
though the better mastering quality Despite such high-tech tools as speed cranks and right angle, pass the
brings startling clarity to those songs. wire cutters, there’s still no way of getting around loose end under the
Fans of the original David Bowie- the mundane, soul-numbing task of manually insert¬ string, re-grab the tip,
produced album, also known as ing the string end through the post hole and crank- and pull up tight.
“purists,” may balk at the newly crank-cranking along. While holding the end
gussied-up recording; to some, the But you can make a sort of game out of it and in in the air, begin wind¬
hiss and buzz of the original LP gave the process wind your strings correctly for optimum ing the peg. You’ll
it its manic charm. From a commer¬ tone and longevity. Stick the proper end of the string have one hand hold¬
cial standpoint, though, the renovated (you know, the one without the ball) through the ing the string end tight and the other winding the
version gives new listeners a chance post hole. Leave enough slack between the post and peg. As you wind, make sure the string wraps down¬
to hear Iggy and the Stooges from a the bridge to allow for several (three or more on ward around the post. This will ensure the steepest
decidedly ’90s viewpoint, where wound strings, five or more on plain) wraps down “breaking angle” between the post and nut, which
psychotic guitarist James Williamson the post. Kink (put a crease in) the string in the produces the best tone. Cut the remainder off with
has an opportunity to strike fear into opposite direction of how the string will wrap. For wire cutters for rattle-free tone, or wrap the excess
a whole new generation of aurally example, on a Fender, kink all six strings to the left. in a circle if you think that’s cute.
intrepid hearts. —Bob Gulla On a Gibson, the bass strings go right (to the inside —Jon Chappell

14 GUITAR JUNE 1997

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WINGER
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Mi
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HOTOGRAPHY: HIDEO OIDA
1997 DOMO RECORDS, INC.
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avement is "Shop Where The Pros Shop^^

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a
our all,” he says. “Our songs are innocent and Department Head
played with heart, but maybe it’s our shyness
that comes across. That can make us hold back.
Or sometimes we get anxious or tired of doing a
song, and instead of doing a track over and over
again, we just let it hang out. We just don’t like
doing songs that many times over. That’s how a ngeies
lot of music gets drowned out and loses its
freshness.”
Not to worry, boys—there’s freshness around
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selecting among an old Gretsch hollow-body, a Mike ]
bunch of Strats, an SG, and a goofy old electric Wayne

sitar—but credits Easter for being the real tone

monger. “Mitch has this big old Neve board and all
of this really great equipment,” he explains. “You’d
say to Mitch, ‘Hey, I want this big fat Leslie
West/Mountain guitar,’ and he’d have the right
piece of gear to get the sound. He helped get our
bass sound warmer than it’s ever been before with
these great Orange amps. He’s got all sorts of
weird keyboards, Mellotrons, and amps, and he
never got in the way. He just kept saying.
Everything’s fab.’” —Michael Gelfand
K Los Angeles Music Academy • 370 South Fair Oaks Ave • Pasadena, CA 91105 USA
818 568 - 8850 phone • 818 568-8854 fax • [email protected] eMail
 Grxmndwlre'
GRISTAL Fans who learned about you post-5^50 proba¬

^ CLEAR bly don’t know much about your guitar playing.

I’ve always wanted to be a guitar player.
Every time I started or joined a band, early on, I
always ended up singing because I was the
only one who could sing. Then, established
bands tried to get me to just sing for their

ILES
band. Ronnie Montrose asked me to join his
band after he left Edgar Winter, but he wanted a
trio, so he asked me to sing only. After I was
kicked out of that band, I spent 10 years as a
solo artist, singing and playing lead guitar.
Then here comes Van Halen: “We want you to
just sing.” Now I’m back to being a guitar play¬
er again. I’m much more comfortable standing
onstage with a guitar.

Anybody who’s ever caught your in-concert

guitar duels with Gary Pihl or
EVH knows you’re no slouch.
, Did you perform all the guitar
solos on the new record?
SAM
S
I had at least five hot-shot
sound exactly guitar players play on the

the same as you ince the news of

vocalist Sammy HAGAR record, but we ended up using
all my solos. My producer,
wired system Hagar’s departure Mike Clink, would inevitably

but allow you the from Van Halen last say, “Sammy, you play better
summer, fans have sort¬ than that guy. That’s the solo
freedom to roam. ed through accusations \/^/(^ Jo pocf:: that’s supposed to be on this
TheA2den211IT of betrayal, inhaled the song.” Either he was stroking
stench of irony, and by Greg Pedersen me or maybe it’s true!
includes the following: waited in nervous antic- _
Your song writing approach
31IT instrument transmitter ipation as both camps seems to have changed.
recorded new studio albums. While the next VH
made of lightweight, durable album has been pushed back to the fall, the
I was a riff monster before, now I’m a
rhythm monster. I got into all these rhythms by
ABS, with fixed 1/4" cable, in-put wait for Hagar’s new album is over. Marching percussionists from all over the world. I stud¬
To Mars (Track Records) is an exciting return to
level control, and 3-position The Red Rocker’s first love: guitar. Yep, Samuel
ied them, picked the grooves I liked, and
rocked ’em up a little bit.
power switch with “Standby” is plugged in, turned up, and delivering the
for muting. goods as if his career depends upon it. Did any well-known musicians play on
the album?
/ would be remiss If we didn’t spend a little time
211R receiver, in a rugged metal reviewing the Van Halen split. Briefly what’s
Oh, yeah. I used the original Montrose
band on “Leaving The Warmth Of The Womb.”
case, with Power (red) to your take?
It was so fun hanging out with them again.
Our manager had been pushing for a great¬
Receiving (green) LEDs, 1/4" out¬ est-hits record for two years—that’s all he want¬
Hell, Van Halen was invented from our first
record! I used Bootsy Collins, Huey Lewis,
put jack, and volume adjustment. ed. It was just a big setup to get Roth back in, do
Damon Johnson, Mickey Thomas, and Eric
a world tour with Roth, and so forth. Either the
Martin, too.
‘Limited time offer, only available manager didn’t have any faith in the band’s future

at this price until 6/30/97. or he wanted to make a quick couple extra mil¬ Will you have another guitar player join you in
lion instead of what we usually make! Of course, your touring band?
For a full line Azden it didn’t work, which was a burn. I thought their Yeah, I’m trying out all sorts of people. I’ll
new stuff with Roth was okay, but it certainly allow absolutely no hammer-ons in my band,
catalog, and the name wasn’t worth breaking up a great band for. though—I don’t want my poor guitar player
of your local Azden It was hell for the last seven months. We’d to have to stand up there and be compared
to Eddie.
dealer, write or call: just done a grueling 148-city world tour and
these guys wanted to jump right back into the
Do you feel a new direction in your musical
studio and do that silly-ass Twisterth'mQ. The
approach was inevitable after the Van Halen

^AZDEN soundtrack sold, like, 80,000 records—it was

the biggest flop Van Halen’s ever been involved
with, and it was embarrassing. You don’t go
split?
When Don Henley left the Eagles, he made
a change. When Clapton left Cream, he made a
147 New Hyde Park Rd., Franklin Sq., NY 11010 out and ask your fans to go out and buy one of change. When Sting left the Police, he made a
(516) 328-7500 • FAX (516) 328-7506 your songs that’s on a record with a bunch of change. That’s what Sammy Hagar is trying to
[email protected] people like Stevie Nicks and k.d. lang. And then do, make a change. I’m trying to grow up a lit¬
In Canada: INTELLIMIX you’re going to give ’em a greatest-hits record tle bit and be taken more seriously as an artist.
after that? Until the record’s out, who knows?

18 GUITAR JUNE 1997

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 Hard RockCMtHiiWl
I f you’re a regular here at our Rewind/Fast Forward page,
you may be intrigued by Australian Andrew McNeice’s
web site. Focusing on (relevant or otherwise) bands like
Dokken, Dream Theater, Whitesnake, Night Ranger, and
Motley Crue, McNeice’s newly developed page includes
news and notes, release dates, album reviews, and tour itin¬
eraries, as well as an obvious zest for the hard rock and
metal of bygone days. One advantage of bookmarking the
e site is that a good percentage of major albums are released “There’s a few songs where I feel you
Down Under earlier than they are Stateside, and McNeice’s could have a little Philharmonic orchestra
playing, like on ‘Phantom of the Opera.’.
uring the coverage, complete with terrific band and label links, allows
You never know, one day there might be
late 80s fans to get the skinny post-haste. Sure, the man’s biases Philharmonic orchestras playing Iron
while stray toward Australian acts (the new Harem Scarem, any¬ Maiden.” —Dave Murray, Iron Maiden
guitarists one?), but it’s fun and well executed nonetheless. Check
(Editor’s note: It didn’t happen.))
everywhere him out at www.southcom.com.au/~ccajm/. —BG
tackled those I
abstruse modal
scales, Poison’s
guitarist C.C. DeVille
gladly churned out derivative
glam-rock suitable for say, 17 mil¬
lion consumers. Poison’s ballad
“Every Rose Has Its Thorn”
reached #1, and anthems like
“Talk Dirty To Me” and “Nothin’
But A Good Time” were MTV
favorites.
“Sometimes growing up is
admitting your limitations and
concentrating on your strengths,”
says DeVille. “A lot of guitarists
working at McDonald’s can shred
me, but at least I tasted success.
Sure, I got pissed that nobody
cared about my playing tech¬
nique, but I was dressed like a
woman!”
Sadly, DeVille devoured every
morsel of excess that stardom
offered and left Poison in ’91. “I
was depressed and just getting includes «6 cracks
high,” he says. “I’d go into bars
saying shit like, ‘Don’t you know from Che
who I am?!’ Eventually I realized
life’s not over ’til you’re dead.” Casablanca years:
Meanwhile, Poison lived on
with other guitarists but still were
unable to reverse the course their DETROIT ROCK CITY • HARD LUCK WOMAN
entire genre was taking. Logically, SURE KNOW SO*METHING • DEUCE
DeVille rejoined Poison. Expect a DO YOU LOVE ME
summer tour and a new album I WAS MADE EOR LOVIN' YOU
in ’98. CALLING DR. LOVE • CHRISTINE SIXTEEN
“I’m realistic about our future, BETH • STRUTTER • COLD GIN
but I’d rather play a club than PLASTER CASTER
nothing at all,” he says. “I’m ROCK AND ROLL ALL NITE
straight and playing my ass off, so FLAMING YOUTH • TWO SIDES OF THE COIN
who knows, maybe there’ll be a SHOUT IT OUT LOUD (new video version)
second hoorah.”

completely digitally remastered

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CLASSIC GEAR: ’61 Strat, B.C.
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©1997 KISS CATALOG, LTD. http://www.mercuryrecords.eom/mercury

GUITAR JUNE 1997 21

 ©1996 Taylor Guitars. 1940 Gillespie Way. El Gajon. CA 92020. Tayl< ind Taylor Guitars' are registered trademarks of the company.

Jak Marshall had been, in his words,

"yearning after” a certain used guitar for 2 V2 years.

He had saved his money for "months and months

and months,” and one day, he was happily standing
in a music store actually buying it.

That’s when he wandered over to a corner of

the acoustic room and, while the salesperson was
writing up his order, he picked up a Taylor.

It didn’t take long.

By the time the salesperson was counting out his change,
Jak had learned something important about himself.

Sometimes it takes 2% years

of yearning before you actually know
what you’re yearning for.
 (profiles)
O ne of the more
resourceful
groups to crack the
charts in recent memory,
Sacramento’s Cake collects influ¬
ences the way archeologists gather
loot from lost cultures. Comprised of
frontman John McCrea, guitarist Greg
Brown (pictured far right and center,
respectively), bassist Victor Damiani,
drummer Todd Roper, and trumpeter
Vince Di Fiori, Cake plays everything
from Southern boogie to mariachi to
Doris Day—often within the confines
of a single song.
A band of many features. Cake’s
most distinguishing marks are
McCrea’s comically sullen delivery
and Brown’s fluid six-string synthesis
of innumerable pop styles. Says
Brown, “I think you can take a Sex
Pistols song—many of them—and
just strum ’em like country songs and
come out with something really
great.”
A few years ago, this young prod¬
uct of Sacramento’s fertile punk scene helped found Cake with spoken Brown says
McCrea, an edgy singer-songwriter who had some well-defined diplomatically.
ideas about art, commerce, and class consciousness. “He “Basically, the band
JAY BLAKESBERG/RETNA

introduced me to a lot of country music,” says Brown. “It has a lot of input in
opened up a whole new world to me.” McCrea also acquainted just about every¬
Brown with the not-so-guilty pleasures of ’70s soul, as evi¬ thing that goes on
denced on the second single from Cake’s second album. musically. Any
Fashion Nugget a droll but faithful reading of Gloria Gaynor’s song might be
disco smash “I Will Survive.” complete in a
“I always liked some of that stuff,” Brown admits, “but I skeletal way—the
guess I never really gave it a good listen. It changed me a lot as chords are there,
a player. I came to revere some of these country guitarists— the melody is
and especially these soul rhythm players—and tried to incor¬ there—but the
porate [their styles] into my style. Although I think basically I’m band’s function is to arrange it, to push the song in an unusual
still a rock player.” direction. That’s the way we work.”
Brown’s far-flung influences have worked to the group’s Both Brown and McCrea play guitars that have seen better
favor. He’s become adept at stringing up a clothesline of days. Brown strums a Guild 1965 Starfire through a Sears and
melodic ideas on which the band can hang their myriad musi¬ Roebuck Silvertone amp. “Some people think that new equip¬
cal interests. His own economical technique, he suggests, is a ment is an improved version of old equipment,” notes Brown,
product of his punk upbringing: The stuff he grew up on “but I always thought I got a better performance out of old
favored “the song itself” over “extravagant instrumentalism,” equipment.”
while the lyrics signaled a return to politics, relations, and what McCrea’s instrument, a holdover from his threadbare cof¬
he refers to as “ordinary-experience-type things.” feehouse days, is a pint-sized Goya classical. “He’s been
Enter McCrea, who sees “ordinary-experience-type things” playing that thing a long time,” Brown says. “It looks to me
through the thumbnail of a Magritte or a Terry Gilliam. The like a three-quarters. It’s nylon-stringed, and he runs it
band’s self-pressed debut album, 1994’s Motorcade Of through a little Fender Sidekick amp. It’s a little beat-up,” he
Generosity, featured such a steady stream of McCrea’s wry laughs.
observations that it nabbed the attention of Nashville’s As witnessed on Fashion Nugget, such modest gear does¬
Capricorn Records. Reissued by the label. Cake’s debut imme¬ n’t stand in the way of the rich Cake listening experience.
diately produced an alternative-radio hit with “Rock ’N’ Roll Brown praises the quartet of sound engineers who worked on
Lifestyle” and soon after contributed the track “You Part The the record, which was produced by the band in a pair of low-
Waters” to the big-screen comedy Fiirting With Disaster. key Sacramento studios. “We know what we want to sound
Although McCrea writes virtually all of Cake’s original mate¬ like, but none of us are experienced engineers,” he says.
rial (the new album, in addition to “I Will Survive,” features “We’re very fortunate that the engineers we’ve worked with are
Willie Nelson’s “Sad Songs And Waltzes” and Doris Day’s top-notch. They’ve all been out of sight.”
“Perhaps, Perhaps, Perhaps”), Brown gets sole songwriting Such fortuitous developments seem to be gracing this
credit for the deluded-lover ditty “The Distance,” the steady¬ band at present, as they continue touring constantly and chug¬
selling single that has already pushed the whimsical Nugget ging toward platinum sales. “I’m not the type to complain
well past gold. about having too much to do,” says Brown, “because usually
“I’m not sure if I can take all the credit for that,” the soft- that means something’s going right.”

GUITAR JUNE 1997 23

So there yo
Working it.

music.

Randy Jackson
Bass Artist/Producer

Madonna
Bruce Springsteen
Journey
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T he hotel’s rooftop entrance swings open,

and Rick Nielsen immediately scouts for a shady
locale away from the blistering Hollywood sun. A
few feet away, an alabaster-skinned businessman sud¬
denly stops frolicking in the pool. Toweling off, he sheep¬
ishly approaches Nielsen.
“Sorry to bother you, Rick, but can I get an autograph
for my thirteen-year-old daughter?” he inquires. A mis¬
chievous grin spreads across Nielsen’s face. “She’s thir¬
teen, huh?” he blurts out. “My son is sixteen. What do
you say we get them together?” Dad’s grin moseys south:
another humor-impaired fan successfully rattled by Cheap
Trick’s quick-witted guitarist.
As the custodian of Cheap Trick’s affairs since the
early ’70s, Nielsen has been deadly serious about his
band’s survival. Sometimes they hit paydirt, with million¬
selling power-pop masterpieces like “Heaven Tonight”
and “Dream Police.” Dther times, well... does the title
Busted ring any bells?
With their new eponymous album, however. Cheap
Trick has issued some of their strongest material in years.
Naysayers be warned: Cheap Trick isn’t going away
quietly—orsoon.
Cheap Trick has survived treacherous terrain fora quarter
century. What’s the key to your longevity?
You’ve got to work the whole time. You have to believe
I in what you do so much that you can put up with almost
e£
t:
ll; anything to make it happen. We’ve been totally lucky, but
O
I we’ve worked real hard being this lucky. i
o It also seems that the band has survived because you attract !'
o diehard rock fans—people who digest whole albums and I
crave B-sides, not just the singles.
Rivera
That’s one-hundred percent accurate. I never heard anybody say that before,
made for

TfiEk
but it’s a really good analogy. Our big singles would fit on one side of a short
me, and
cassette! We’ve had tons of B-sides and they’re not leftovers, they’re cool
Fender Deluxe amps
songs. I think that’s why Billy Corgan put out all those [Smashing Pumpkins] B-
that he jazzed up for me
sides, ’cause they’re just cool songs.
years ago. He put mas¬
Cheap Trick is on a new label, and the band is playing a lead role in management ter volumes, six-way
and production. What prompted these changes? tone switches, and stuff
Well, we really can’t blame anybody else for the mistakes we’ve made in our like that on them. For
career. But a lot of people did help us make decisions that were the antithesis of guitars, I used a cherry
where we wanted to be. Where we wanted to be was making the record we just Hamer Thunderbolt,
did. The old “We’ll fix it when we mix it—now run off on tour, boys” routine ain’t which was originally
by Greg Pedersen
going to happen anymore. just this computerized
spoof of a Flying V someone saw in a magazine. Hamer made me one and
What did co-producer/engineer Ian Taylor bring to the Cheap Trick recording
Fernandes in Japan made me one out of Korina wood. I also used my Hamer
sessions?
Prototype Korina Explorer and a sunburst ’58 Les Paul that I’ve used
Ian was [producer] Roy Thomas Baker’s engineer for One On One, so we
on all of our records.
knew he could get great sounds. Ian’s also great at working on songs, so we
asked him to co-produce the album. Actually, we were ninety percent done with You don’t seem concerned with showing off your chops.
the songwriting when Ian came in, but [on] that last ten percent—stuff like I’ve said it from day one: The song is king. If you’ve got a great guitar player
arranging and adjusting tempos—he was a big help. playing a bad song, it’s still just a good version of a bad song. Nobody taught
me the guitar tricks I can do, either. I learned them with these hands, ears, and
Your gritty, Pete Townsend-type sound has been MIA on the last few albums. It
musical visions, by playing on the road and in the studio.
seems to have been restored on Cheap Trick.
I agree. For this record we played almost everything live, [and] we recorded What did you think of the new Cheap Trick tribute record?
in a big room. My amps were loud but controlled. I don’t use volume for the I think it’s cool that anyone would want to do it. Everclear did a real cool
sake of volume but for the sake of tone. To minimize the bleeding, we put my version of “Southern Girls.” In a way, every one of our records is kind of a
amps inside a box made of baffles, blankets, and junk. Sometimes I’d go in and tribute to our past influences.
unbaffle my amps to get the room sound. We miked my amps at different dis¬
tances, which we’ve been doing for years. There’ll be a “shotgun” mike across The new breed of guitar-driven bands, like Smashing Pumpkins, practically
the room and a mike real close to the speaker. We use a little of each and blend worships Cheap Trick. Why?
them. We’re a band’s band. They’ve watched us play the Corndog Fest, bar
Basically, we use the same junk in the studio that we do on the road. We mitzvahs, and The L.A. Coliseum, and no matter what, we never gave up.
used vintage Marshall 50-watt combos, Marshall heads, Rivera amps that Paul That’s inspirational. [i

GUITAR JUNE 1997 25

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 orno For FVros guitarist Peter DiStefano is Urge or the next Porno album. Instead it was given God’s Urge, on the other hand, was written and
hard-charging his way back into action. After to Howard Stern for use in his mega-hit movie, recorded over the course of a year and a half, and
a frightening diagnosis during the band’s Private Parts. Stern, a big fan of the band, has been was largely Inspired by island natives the band
nationwide tour in support of Good God’s Urge, very supportive of them on his show, and used the played with during their many surf trips. Also hav¬
DiStefano immediately underwent treatment for song at the close of the movie. ing an impact on the recording process for Good
prostate cancer, and all future plans for the band Though the song’s relatively new, “Hard God’s Urge was the place in which they chose to
were put on hold. With the cancer now successfully Charger” is more characteristic of the self-titled record—Shangri-La Studios in Zuma Beach,
California. This house/studio is famed as the place
where Eric Clapton and The Band laid down some
of their best work in the ’70s. It was here, with
the vibe of “good spirits,” that PFP began a new
recording process. DiStefano told us a little bit
about the process when we spoke to him from his
home in L.A.
“On the first album we basically stayed with one
amp setup and delivered all the basic tracks. On
Good God’s Urgem did each song individually, in
its entirety—we played it, we mixed it, we finished
it, and that was it. Then we’d tear down and do the
next song. I used different guitars on every song—
and different pickups, settings, and amps—and I
tried my hardest not to use any distortion. I used
the E-Bow a lot, and tried to make the guitar sound
like a synthesizer, so a lot of the things that sound
like different instruments are actually the guitar.”
DiStefano says his departure from distortion
and his desire to explore new sounds required a
lot more time and thought than he put in the first
time around. This, in turn, has expanded PFP’s
musical horizons, and inspired a new set of goals.
“Right now we’re getting into computers, and
we’re making music for the Web. We’re always
into playing island-style music, and I think if you
can make great music acoustically, then you can
do it electrically as well. A lot of people hide
behind volume, distortion, and screaming, but we
want to be really melodic. We want to have two
eyes. The trick is to create something simple; as
simple as you can be, but clever. And that’s so
hard. In order to do something innovative you
gotta be wacked. You’ve got to do something
weird so people go, ‘Wow, that’s great.’ But at the
same time it has to have a sense of familiarity so
people can still relate to it.”
Meshing the familiar with the innovative doesn’t
seem to be a problem for DiStefano. Originally a
student of classical and flamenco guitar, he disre¬
garded his teacher’s insistence that he keep his
solos strictly within the modes, and instead learned
to jam on pentatonics by playing along to Jimmy
Page and Led Zeppelin. Page’s impact on DiStefano
is still strong, and most evident by their shared use

R ^
of the violin bow.
“I used it on both albums. It’s amazing to me..
.. I mean, everyone plays the wah-wah, everyone

iST
plays the whammy-bar, but no one uses the bow.
And Jimmy Page did some amazing sounds with
that bow. I think it’s pretty wicked.”
Wicked as well is the raw ability of this gui¬
tarist, though he’s seldom credited for it. Peter
says he will try to maintain the chops his fans
in remission, DiStefano and crew have picked up debut Porno for Pyros released back in 1993. crave while continuing to explore what he finds
where they left off, re-igniting their musical spark According to DiStefano, the differences in musical musically interesting himself.
with the release of the hit single “Hard Charger” and moods between the debut and Good God’s Urge “People just want to hear the guitar. They want
a little help from some friends. stemmed from real-world experiences the band wit¬ to hear it wail and stuff. I can play really fast, and
Chili Peppers Dave Navarro and Flea both went nessed while writing. Porno For Pyros ms released I’ll continue to do that. But I’ll also try to use things
into the studio with PFP to record “Hard Charger,” a shortly after the L.A. riots in 1992, and was finished like samples with my guitar and keep trying to
song originally slated to appear on Good God’s in a relatively short amount of studio time. Good come up with something new.” g
 F or months, things had been too quiet
in Dave Navarro’s dark little corner.
BY RICH MALOOF
He stepped into the light briefly to
revisit his friends in Porno For Pyros, but
the smattering of notes he contributed to
“Hard Charger” on the Private Parts
soundtrack only left us hungry for more.
Before he slipped away again, we stole a
few minutes of his time to see what was
brewing down in the Navarro laboratory.
Turns out, things are far from quiet.
Dave was a little mysterious (characteris¬
tically), but he made it clear that a respite
for the Red Hot Chili Peppers is not going
to keep him from making music.
“I’m working on something full-time,
and it definitely is a major project for me.
What I’m going to do with it, and what
label it might be released on, I can’t say. It
would be like saying what your son’s
going to do for a living before he’s even
born. I’m using the time I have off to be
productive and creative.”
Don’t expect to find Navarro straying
too far from familiar ground. Musically,
the project is rock-oriented, with writing
duties shared by Navarro and Peppers
drummer Chad Smith. “It’s certainly a
self-indulgent project,” Navarro con¬
cedes, “but it’s by no means a ‘guitar’
record. It’s not like when guys like Joe
Satriani or Steve Vai do a record; it’s a
song-oriented project. I’ve got the desire
to do a flashy guitar record, of course,
but at the same time, I would be afraid
there would be no substance to the mate¬
rial if I were to do that.”
Despite the decidedly upbeat funk of
his work with the Peppers, Navarro’s pro¬
ject is keeping more in his sullen nature. hard not to think of Dave as the band’s odd man and Steven Perkins (whom Dave met in a high-
“Emotionally, it’s kind of cleaning house of a lot of out—a deep, wide slash of black in a brash kaleido¬ school marching band) brought a unique element
darkness, I suppose. There’s a lot of darkness in scopic painting. He’s got a lighter side, to be sure, of his playing back to life.
the material we’re doing. It’s certainly not uplifting but it’s tough to picture this Baudelairian guitarist However, joining Porno For Pyros for “Hard
and funky, by any means.” doing a photo shoot while clothed in a single sweat Charger” was, he says, just a quick session. “I went
Though Navarro has always stayed busy with sock. in and did two solo passes and said they should
an array of small projects, ranging from All of which had us wondering whether the Chili just pick whichever one they liked. I think on that
Honeymoon Stitch (the name he and Smith took for Peppers might be more like a 9-to-5 gig for song I didn’t really put any thought into it. The way
the Joy Division tribute album A Means To An End) Navarro, especially given that the music he pro¬ the Porno guys work, they put overdubs on tape
to his self-released Deconstruction album in 1994, duces on his own is of a distinctly darker hue. “In a and then pick out what they want. The song sound¬
the big surprise with this latest construction is that way it does feel that way,” he concedes, “but only ed one hundred percent different when I laid the
Navarro is assuming vocal duties himself. (Another to the extent of the work involved, not the material. part down. There wasn’t anything really odd or
surprise is that Dave and Chad have laid down a It ends up feeling that way when you’re on the road groundbreaking about it, but we had a good time. It
number of covers, including Cream’s “Tales Of playing shows night after night, but it’s only in was fun. They were certainly able to do the track on
Brave Ulysses.”) An accomplished, versatile player, terms of the workload. their own—they certainly have the talent to play the
Navarro still feels that vocals provide a better bee¬ “The thing is that, when I’m feeling happy, I song without Flea or me. I think the idea was to
line to emotion than guitar playing can. “Doing have no reason to exorcise that feeling. If I’m feel¬ create a little family and have some fun.”
vocals is not necessarily something I’m afraid of, ing uplifted, the last thing I’m going to do is sit in While no one should expect him to join up with
and it’s not necessarily something I’m excited my house and write songs; I’m going to go out and the band anytime soon, Navarro says relations
about. I’m [hoping that it] hits closer to the inner be engaged in the world. I suppose I put my posi¬ remain good with him and his Porno friends.
nerve that I’m looking for. So far I’ve only done that tive energy into the world and into my relation with “Steven and I still talk regularly, and obviously I’ve
on guitar. Rawness might be a part of it, but I think others. It’s usually when I’m feeling sad that I feel known Perry for a long time, as well as Peter
it’s more about the willingness to expose oneself. like I need a source of relief. That’s when I gravitate DiStefano. Peter is a good player. He’s underrated.
It’s like, there’s not much you can do to stray away towards my instrument. I get the happier, more He just thinks of a lot of cool things, and that’s what
from who you are. Sometimes the things that upbeat stuff out with the Chili Peppers, so I feel like a cool player does.”
you’re not accustomed to can represent what you I have the best of both worlds.” “Hard Charger” might not be quite enough
feel a little bit deeper.” Straddling those two extremes, Dave and his Navarro to satisfy his fans, but it will have to do for
Getting Navarro in their guitar slot was the best guitar work came of age in Jane’s Addiction. His now. He’s keeping us in the dark until he’s ready to
move the Chili Peppers had made in years. Yet, it’s involvement with former bandmates Perry Farrell emerge again, g

iiitiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiii
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 R obert Cray is one easygoing
son of a smoking gun. When
asked if he agrees with the
assessment in his record-compa¬
ny biography that he’s a “modern-
day journeyman,” Cray is quite
humbie in his response: “Oh, I
don’t mind. That’s not a bad
thing.” indeed, like the fabled
portrait of Dorian Gray, Cray never
seems to age—now 43, he Just
keeps rolling aiong. His tenth
aibum. Sweet Potato Pie, is a
tasty, r&b-driven confection that
brings the Memphis Horns (trum-
petist/trombonist Wayne Jackson
and tenor saxophonist Andrew
Love) back into the foid after the
hornless, four-piece-band groove
showcase that was 1995’s Some
Rainy Morning.
While the blues has long been his
acknowledged forte, Cray admits that
he first got into music because of The
Beatles. “Watching the Anthology
series on TV reminded me of the good
old days,” he reminisces. (When it’s
suggested that he put a horn arrange¬
ment on one of his favorite Beatles
tunes for a future B-side, “Yellow
Submarine Blues”
^ y.is the first thing
that comes to
his mind.)
His first guitar,
acquired at age
11 while Cray was
growing up in the Pacific
Northwest, was a Harmony Sovereign
acoustic. “Why’d I get it? Because
everybody was playing one—every¬
body—and I was the last one on the
block to get one. Then I got an electric
Harmony sunburst with one pickup and
a white pickguard for $69.”
Horns have been a long-standing
tradition when it comes to Robert
Cray’s music, and they resurfaced dur¬
ing the songwriting for Pie. “Yeah, we
brought the horns back for a little
change of pace,” he recalls. “It turned
out that when we were rehearsing, the
songs that we had written before going
into the studio just worked better with
horns on them. Song after song after
song turned out to be this way, so the

i horns became a given.” ,

Robert Cray
Arranging horns can be a tricky job for Slices of Pie like “Nothing Against You” summer with B.B. King, Tower of Power, and
any guitarist and songwriter. “You should and “Jealous Minds” are perfect examples of Jonny Lang, among other folks. The Memphis
have an idea as to where the right spot is to the symmetry Cray feels when working with Homs will also be in tow.)
place them,” Cray counsels. “Of course, the Memphis Horns. “As a songwriter, I think Then there’s the famed Cray tone, so pure
horns work especially well in blues or r&b of places where they’ll best fit within the that it makes Ivory soap look like an Exxon
arrangements, or to back up a solo. If you songs, but all of the rules get thrown out the Valdez byproduct. Testifies Cray, “Actually, I’m
don’t do everything yourself [as the guitar window when you work with Wayne and looking for that Steve Cropper/Bo Diddley
player], you can let the horns play over a Andrew,” he clarifies. “That’s the magic of it. slow vibrato, pitch-bending thing—true vibra¬
vamp, and then you can play over the top of When you go back and listen to what they did to, the kind you find on old gospel records.”
that.” Cray offers up two songs as great in the ’60s, they have a very unique way of Cray remains loyal to his signature Strats,
examples of the right way to mix horns with doing things. I mean, yeah. I’ll throw hints at which are essentially hybrids of ’58 and ’64
guitars: B.B. King’s “I’ve Got Papers On You, them [laughs], but they do things their way— models. One distinguishing characteristic of
Baby” and Albert King’s “Let’s Have A Natural and I like the results. I might say, ‘Well, this is his models are the unusually wide frets, which
Ball.” Observes Cray, “Those are two great what I hear going here,’ but they’re not going take a beating from his strong, percussive
songs, but they’re also two songs that have a to do it that way. They’re gonna come up with attacks and bends. “I like ’em jumbo. I never
bebop thing going on, and all of the elements something even cooler, so we’re going to let liked narrow frets. I don’t know why; they’re
work really well together.” them do it.” (When Cray hits the road this weird. I play sideways, so they don’t last very
long.” Cray also used a custom James Tmssart
Steel Deville on the seven-minute shuffler “Not
Bad For Love.” Shaped like a Telecaster, the
hollow Deville sports a rosewood fingerboard
and a pair of Joe Barden pickups.
The bluesman continues to use Matchless
Clubman 35 amps, which replaced his tmsty
Fender setup a few years back. “They’re really
great; I get such a consistent sound,” he
enthuses. “I’m not into changing much at all.”
In the studio, Cray used a Magnatone 480
stereo amp, a rare model from the late ’50s that
also featured tme pitch-altering vibrato.
Effects have never been big on Cray’s gear
list, but a Roland Space Echo found its way
into Pie’s signal chain. “I used the Echo on ‘I
Can’t Quit’ and ‘Back Home,”’ he outlines. “It
just fit in nicely.” Heavy strings are another
Cray trademark: D’Addarios that mn .011, .013,
.018, .028, .036, and .046. “I’ve always used the
.011 and .013, but the others came through

THE MOST ADVANCED trial and error,” he notes. “As for picks, I still
use Dunlop Tortexes. That I don’t change.”
AQIVE CIRCUITY AVAILABLE Sweet Potato Pie has such a slinky r&b vibe
IN A PICKUP to it that you often feel like popping the disc
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ULTRA QUIET response curve of each coil. Tnis means inherent in Pie’s groove. “‘Do That For Me’ is
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harmonics than otherwise possible with left out that extra kick that would’ve put it over
When it’s time to lay it passive pickups. the top.” The aforementioned “Not Bad For
Love” is another nod to Howlin’ Wolf. “I have to
down it’s no wonder top do that—it’s a tradition on every album,” he
professional musicians THE MOST AFFORDABLE grins. “Live, though, we may stretch it to run 15
choose EMG’s. No hum in ADDITION YOU CAN MAKE TO minutes. Most everything gets stretched. We
just go, improvise; we don’t stick to any strict
the studio and no shock YOUR LIVE OR STUDIO SYSTEM regimen. If I’ve written a song I present it to the
on sta^e, what could Your pickups are the source of your guys, but everybody has a hand in the way it
gets arranged. And I’m always looking for
be better? whole sound. Why replace the pickps in somebody to do something different live.”
your guitar with the same Albert King once sang that everybody can
get the blues—even a baby. Cray agrees with
passive thin^? Step out of the sentiment, laughing heartily, and then
the cluttered mix and into quotes King directly: “A baby can’t get his milk
the forefront with EMG fast enough/You know he got the blues.” With
young guns like Kenny Wayne Shepherd,
Monster Mike Welch, and Jonny Lang currently
EMC, Inc. / Dept. CPM / P.O. Box 4394 / making names for themselves on the scene, it
Santa Rosa, CA 95402 / 707-525-9941 looks like the blues—^which was given an ’80s
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E/MG INC, booster shot by way of Cray and Stevie Ray—
will continue to reinvent itself. As long as
Robert Cray is making music, it’s a safe bet. tE

34 GUITAR JUNE 1997

 Rock Country Grand Prize Winners in Each Category
Jazz Pop World $15,000 for "Song of the Year" courtesy of Maxell
Gospel / Inspirational $60,000 in EMI Music Publishing Contracts
Rhythm & Blues $60,000 in Yamaha Project Studio Equipment
Hip-Hop Latin Dance Over $200,000 in Cash Awards and Prizes
Folk Children's A Total of 120 Winners!

CONTEST APPLICATION AND RULES

To enter your original song(s) fill out this application and... J

Mail your entry to; John Lennon Songwriting Contest 3. Contest is open to amateur and professional songwriters. Employees of JLSC,
Name One Haynes Avenue, Suite 113 their families, subsidiaries, and affiliates are not eligible.
Newark, NJ 07114 4. Winners will be chosen by a select panel of judges comprised of noted song¬
Please read all rules carefully, and then sign your name in the space writers, producers and music industry professionals. Songs will be judged based
Address provided. If entrant is under 18 years oid, the signature of a parenf or upon originality, lyrics (when applicable), melody and composition. The quality
guardian is required. of performance and production wili not be considered. Prizes will be awarded
jointly to all authors of any song: division of prizes is responsibility of winners.
Apt Each entry must consist of:
Void where prohibited. All federal, state, and local laws and regulations apply.
■ Completed and signed entry form (or photocopy). All signatures must be
5. Winners will be notified by mail and must sign and return an affidavit of eligibil¬
original.
ity/recording rights/publicity release within 14 days of notification date. The affi¬
City_State Zig ■ Audio cassette(s) containing one song only, five (5) minutes or less in
davit will state that winner's song is original work and he/she holds all rights to
length.
song. Failure to sign and return such affidavit within 14 days or provision of
■ Lyric sheet typed or printed legibly (please include English translation if
Phone ()Age false/inaccurate information therein will result in immediate disqualification and
applicable).
an alternate winner will be selected. Affidavits of winners under 18 years of age at
■ Check or money order for $30.00 per song (U.S. currency only) payable to
Circle one (if paying by credit card): Visa MasterCard time of award must be countersigned by parent or legal guardian. Affidavits sub¬
John Lennon Songwriting Contest. If paying by credit card, $30.00 per song
ject to verification by JLSC and its agents. Entry constitutes permission to use
will be charged to your account.
winners names, likenesses, and voices for future advertising and publicity pur¬
Card # Entries must be postmarked no later than 8/15/97.
poses without additional compensation.
1. Each song submitted must be contestant’s original work. Songs may not exceed 6. To insure anonymity for judging purposes, entrant’s name should appear only on
five (5) minutes in length. No song previously recorded and released through the entry form. Do not put name or address on cassette or lyric sheet. Cassettes
Exp.Signature national distribution in any country will be eligible. Contestant may submit as and lyrics will not be returned. Winners will be determined by December15,1997.
many songs in as many categories as he/she wishes, but each entry
I have read and understand the rules of The John Lennon Songwriting
Make your check or money order for $30.00 per song requires a separate cassette, entry form, lyric sheet, and entrance
Contest and I accept the terms and conditions of participation.
fee. One check or money order for multiple entries/categories is per¬
payable to: John Lennon Songwriting Contest (If entrant is under 18 years old, the signature of a parent or guardian
mitted. (Entrance fee is non-refundable. JLSC is not responsible for late, lost,
is required.)
damaged, misdirected, postage due, stolen, or misappropriated entries.)
Check category: □ rock □ country □ jazz □ pop 2. Prizes: Twelve (12) Grand Prize Winners wili receive $2,000 in cash, $5,000 in
Yamaha project studio equipment, and a $5,000 advance from EMI Music
□ world □ gospel/inspirational □ rhythm & blues Publishing. One (1) Grand Prize Winner will receive $15,000 for the “Song of
the Year” courtesy of Maxell. Thirty-six (36) Finalists will receive $1,000. Signature_Date
□ hip-hop □ latin □dance □folk □children’s Seventy-two (72) Winners wili receive portable CD players.

For more informationiwww.jlsc.com John Lennon is a Registered Trademark, Estate of John Lennon Artwork Copyright, 1996 Estate of John Lennon / Licensed exclusively through Bag One Arts, Ltd., NYC
Coming off the
LOAD Road,
Hammett & Hetfield
Gear Up for Their
Next Release
Getting to Metallica that night was like puncturing a
suit of armor with a wet pretzel. Through armies of secu¬
rity, management, and band personnel we marched,
finagling escorts and talking our way through levels of
obstruction. Finally, we reached Metallica’s inner sanc¬
tum in the underground corridors of the coliseum.
When James Hetfield entered ready to talk, we knew
we had limited time to ask an unlimited number of ques¬
tions, so we fired away. Amiable and talkative, he wel¬
comed every query, fielding each with the skill of an all-
star shortstop.
Kirk Hammett followed his bandmate through the
interview mill, and though the time to hit the stage was
quickly creeping up, he never lost his cool or seemed
the least bit pressured. “You have a great magazine,”
he said, picking up an issue we left lying on a nearby
table. “I’ve learned a lot from you guys_” If he had
done nothing else but puff on his Cuban cigar for the
remainder of our meeting, we would’ve thought things
went just fine.
Later, Hetfield and Hammett, along with Jason
Newsted and Lars Ulrich, would roar through the set list
of their LoadXour before a sold-out crowd, peppering the
Loacf selections (“Wasting My Hate,” “Hero Of The Day”)
with an array of career classics, including “One,”
“Master Of Puppets,” and “Sad But True.” It was a long,
rowdy night of ear-shattering favorites.
Then again, would you expect any less? The live
stage is where Metallica proves at once how human and
how devastating an outfit they’ve become. Hetfield
has his monstrous riffs, tireless growl, and copious
spitting; Ulrich his dead-on drumming and ^
taunting poses; Newsted his well-grounded
thump and endearing vocal sneer; Hammett
his lightning leads and slow preening.
From the bandmembers’ onstage personae
to someone’s daughter down in the pit
who decided shirts were optional, this is
the Metallica experience.
/JJejgpefjBTice a^ proved that these onstage mon-
j^lfflMWBMffifentlemen and players who still sin-
l^j^dvSKamn. James’ songwriting is his proud pas¬
sion, and he’ll draw on any source to create Metallica’s
music. Kirk soaks up every drop of guitar knowledge he
can; he’s a lifetime student of the instrument even though
he’s a seasoned pro. And as a band, the foursome are
tireless musicians who have already made headway on
^eir next album. While packing up the last leg of itiis
ifprid tour, Metallica has been planning the late-’97
^flbse of Load's follow-up (they asked us to keep mum
atibufthe title for now). Just minutes before they blew the
doorsDff of Long Island’s Nassau ColiseumJiei^^h^
they ha^ to say. gmHHP
FRANK FORCINO

IgUITAR JUNE 1997 37

 say fuck it, and see where else it can go. Or if Are the more challenging vocal things the
there’s a big crescendo at the end of the song. more melodic or down-tempo songs, like
I’ll end up somewhere else on the neck. I’ll ‘'Nothing Else Matters’" or—
just kind of slide around until 1 find some¬ Where there’s less music to hide the vocal?
thing that sounds right [laughs]. It comes [laughs] Yeah. It was a challenge for me to
with confidence, 1 think. We discovered a lot actually sing some of this shit, to actually get
of that in the studio, working with [producer] some notes out. I’m getting on Jason’s case all
Bob Rock. He pulls stuff out of us and we the time about singing, too. 1 love the way he
have learned to feel a lot looser with him. 1 barks. He’s also got to hit some harmony parts
might try to sing something, and 1 know I’m along with me now. He’s doing the vocal
going to crack or 1 can’t do it, but, dare or fail warm-ups with me and everything. So it kind
by it, you know? It used to be that if, say, Lars of gives him a little more to grab on to too,
tried to do some weird roll or something, we’d because I know he gets a little frustrated here
laugh behind his back. And now it’s like... it’s and there because a lot of his writing ideas
not so much kid shit. We help each other out. aren’t getting used. He needs to feel like he’s a
1 guess it’s a little more grown up, in a way. part, and live is definitely what he’s good at.

Is there ever a situation where you don’t have Do you get at all nervous before a
the confidence to pull something off? show anymore?
Mmm... on guitar, not really. Most of the It’s more like a nervous excitement. If it’s
time it will be whether 1 can sing and play this in New York City or L.A., most of the time
song. 1 might write this pretty intense guitar you’ve got management bringing down peo¬
thing, and now and then we’ll go [record] the ple from the industry and there are sports
vocals, and I’ll wonder, “How the fuck am I guys or other musicians—maybe then you’re
going to do both live?” So I’ll just sit and going, “Oh, shit!” and you think a little more.
practice it. Sometimes the guitar gets sacri¬ But if 1 know someone like Ted Nugent’s out
ficed a little bit to have the vocal spot on it, there watching me, it makes me want to play
or the other way around. As better or harder sometimes, and show him,
far as “can’t do” stuff, mostly hey, look at us, man—we’ll kick your ass!
it’s singing. [laughs]. But it’s more nervous excitement
than anything. It’s not any
real lack of confidence.

YouYe detuned a half-step for

the whole show. Does that
make it easier on your
vocals?
I can sing way easier now,
so that’s worth everything. I
How is the Load material going over was afraid the tuning might
live? Are fans digging it? make things a little sluggish,
Well, we’re making them dig it! We but it adds weight. [COC gui¬
play it as intensely as the other shit, tarists] Pepper and Woody
you know? It’s just how we play right tune everything down a step
now. We’re doing maybe four or five of and a half, to C—the strings
the new songs, and playing some of must be flapping and shit
the older stuff, too. It’s meshing well. [laughs], sticking to the pick¬
It’s always more aggressive live, and up. But it’s so heavy.
you get to fuck with the songs, too—
they’re heavier sounding, but we also Are you switching guitars
get to fiddle with them. You find your¬ much onstage?
self kind of reinventing parts, as we Yeah. I’ve got a lot of cool
now do with some of the older stuff. ones. ESP is treating me
We’re just updating it with how we feel good! I’ve got a wood-burnt
now. Lars gets a little pissed when I guitar. I’m getting a leather-
change parts [laughs]. He plays along covered guitar—I come up
with my beat most of the time—he’s with these crazy ideas, and
got only me in his monitors—so it’s fun they’ll pull it together for me.
to, like, not play for a second and then I’ve got a new [signature
come back in. Surprise! It’s fun, and it model] guitar now. It’s a fly¬
loosens it up for us onstage. ing V with hot-rod flames on
it. They work their ass off for
Was it always that loose? us, and don’t ask much of me
Not as much as it is now. It’s a lot at all. Every once in a while
more fun. We’re just discovering ways I’ll do a poster or something.
to keep touring exciting and breathe They’re great guitars for me.
life into the set. I guess we’re a little They survive. That was the
more confident in our own playing. If I problem I had with most
know how the vocal line goes. I’ll just guitars before. I’m pretty
abusive to most of my guitars. Some of the
music really has us punching the shit out of
them, and they can take it. ESP's hold up. 1
bill? This is alternative! This is our little elite
festival.” Then Metallica wheels in and crush¬
es all, and we were hated again. It was great.
.JKILLER\
PLAY ^
run those through Mesa/Boogie Tri-Axis
heads, for the most part, and a Roland JC-120 Great to be hated again, like in the old days?
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Day,” it was one of those songs that we really challenge is, here’s a great riff, let’s not put this when I started to play?” — Pete Prawn
didn’t like much, collectively. 1 just didn’t anything else with it at all. Let’s go in [to the ‘ ‘A comprehensive survey! Solid music theory, chord & scale concepts, licks,
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Do you find crowd reactions to be pretty much
specialists in every area. We carry
able things are kind of attractive in a way. You
the same from one city to the next? learn them after a while, and you get used to Alesis, Gibson, Korg, Mackie,
It’s pretty even, but I find that on the them. But, yeah, going back and listening to Rickenbacker, Roland, Tascam, and
coasts they’re a little more skeptical, a little Justice is painful for me. What were we doing? most other major brands. Plus all the
more like “Impress me.” They’re spoiled, real¬ We’d be on a good groove and all of a sudden latest in sequencing, digital audio, and
ly, because they get a lot of shows through we threw this totally different thing in there, notation software.
there. They’re expecting to not like you. Most like a fuckin’ house fell out of the sky and we
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around the Great Lakes and a lot of the “B” thinking? We don’t play a lot of the Justice Call for toll fnee number
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good to go out and whatever you do they love Do you write much material that’s not suited We perform, so you can perform.
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 thinks it's garbage. Yeah, a littie more gang mentality. Now it's
a lot more four confident individuals bringing
Does that mean the even more to the table.
four of you may be
growing in different Are there things you miss about the
directions? old days?
There's no doubt Traveling on the bus, maybe. It's been
that personally we are, fun hanging out with COC on their bus. It
so I'm sure musically brings back the old days. But then I look at
we probably are as the bus and think, nahh—our plane is pretty
well. But that's what's cool [laughs].
cool, that's what makes But you know, every plateau has been |
the band so great. You great. We've always felt in each stage, this is |
don't need four guys great, this is perfect, this is good enough. We ^
on the same mission. do our first tour, it's great. Then we get the
all. Those were for me. Somehow, I guess the It's like, what if everyone goes to the store and Ozzy tour, it's great. We start playing arenas,
band liked them. But there's some stuff that I gets the same beer? What's the use of that, you we play the Grammys. . . . It's human drive
don't think would work with Metallica, stuff 1 know? Let's bring some different stuff to the and the will to score more and move for¬
just like doing: slowing tapes down, totally table, fix it up, and have some serious cocktail ward. It goes with the writing as well. Some
crazy shit that no one likes except me. I'll going on. It's more exciting. people want you to write the old stuff
play it back and go, “That's sick . . . great!" because they like it. I think: Listen, we've
That's what's so great about music. It Thafs a change, though. It used to be that you already done that, we have it. It's our band,
stirs something in me, even if everyone else guys were on a mission. you know? Don't look back.

The tour is going well?

The tour is kicking ass all over the place. I
really can't complain, other than that I never
get enough sleep.

James mentioned that the band is feeling freer

to change parts around and improvise.
Absolutely. We're more confident. Plus,
we've never really played around with these
types of arrangements live before. There's so
much going on, guitar-wise, on Load—there's
a lot more textures and layers. We pick and
choose which layers we want to play live,
which is kind of fun. You can either play the
solid riff, like the way the song was written, or
you can play the counterpoint part. Or you
can play the texture parts, or you can try to
simulate some little studio trick. We can just
play off all those guitar options we have.
Sometimes I even find myself playing a
combination of two parts. On “Bleeding Me"
I'm playing a combination between the main
riff and my arpeggiated chord part, which is
kind of neat. And then in the middle of all
that I'm playing a guitar line that James put
down. It's something he doesn't want to play
while he's singing, he just wants to bang out
chords, so I'll do them all within the can always be better. We can always add als, or something freaky like that, on various
same pass. something to the track. We need a deadline so points of the stage. So if I'm on stage B and I
that we can say, “Stop, already!" [laughs] have to play wah for something, I don't have
Did it take a lot of prep time to work out the to run back to stage A. I think I have two on B
new arrangements, or has it been trial and You play from so many different points and three on A.
error on the road? onstage—how many floor setups are there?
Mostly trial and error. But when we're in There are monitors all over, but it's all What about guitars and the rest of your setup?
the studio, our big problem is that we think it through the same rig. I have like six wah ped¬ I've been playing my custom ESP's and a

40 GUITAR JUNE 1997

 The Kirk Hammett Signature Series

“ESP guitars are built to last. My guitars have endured numerous world tours
and stay in tune and sound better every year. The KH models are designs based
on what works for me as far as playability, sound and looks are concerned.
I like a certain kind of neck, pickup configuration and design in my guitars,
and hopefully other players can relate to that. ”

GSU*
Call 800-423-8388 to find your nearest authorized ESP dealer.
THE ESP GUITAR COMPANY 1536 N. Highland Ave. Hollywood , CA 90028
WWW. espguitars. com
pictured: KH-2
black Les Paul. Those are with Dean Markley size of a lunch box, and it’s called the Little
strings. I go through a Mesa/Boogie Double Lanilei—and that’s funny because my girl¬
Rectifier run into 4x12 cabinets. 1 use these friend’s name is Lani. It’s a small tube amp,
totally adjustable, rackmountable wah pedals and 1 can’t get a bad sound out of it. It’s got
[custom made byMattBacchi of EMB Audio— four gain stages in it. It’s amazing. I think it’s
Ed.]. I use one of those Boss multi-effects only available by mail-order. [Songworks
units that’s about the size of a car stereo. Systems & Products, 25271 De Salle St.,
That’s about it. 1 have echo on one thing, 1 Laguna Hills, CA, 92653. 714-454-3106. E-
have chorus on another point, 1 have my wah mail: [email protected]]
pedal. . . . Okay, can 1 be honest? I’ve been
using the same rig for so long that 1 forgot You guys have wah pedals and mikes all over
what’s in it! [laughs] the stage. Is your positioning choreographed?
My hotel guitar is a ’92 Custom Shop Only in terms of monitors. Certain mixes
Strat, which is just a great guitar. Some peo¬ can only go into certain monitors at certain
ple say it’s only the early Strats that sound times. If I’m blasting guitar through my mbc
good, but it’s not true. Another thing that 1 and I’m right next to James, who needs to be
love is this portable tube amp that’s about the singing and playing a mellow part, it won’t

Fully Authentic
Introduced in 1969 os a rotating available. And like all Voodoo
speaker simulator for key¬ Lab pedals, the Micro Vibe
boards, the Uni-Vibe is handwired in a rugged
achieved leg¬ aluminum case and fea¬
endary status tures a heavy duty metal
on landmark switch and true bypass.
work. It’d be too loud for him, so I’ve got to go
recordings by
"Capable of producing to the other side of the stage. But we can go
Jimi Hendrix, wherever we want to go on those stages.
a more authentic
Robin Trower
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and Stevie Ray
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-Guitar Shop
The Voodoo
Lab Micro Vibe" aston¬ Was that whole apocalyptic stage breakdown
the band’s idea?
delivers the lush, ishingly big... Yeah, it’s something we pretty much came
psychedelic swirl this elegant up with ourselves, throwing ideas around.
of the original Vibe little box And on paper, it looked like a big mess. It did¬
n’t come across on paper like it did live—it
in the smallest, most delivers a rich, looked like a ride from Disneyland. We were a
elegant and least bright sound that stands little worried about it, but we said let’s build it
expensive package up to any we've Aeorcf"-Guitar Player and see if it works.

When I last saw you, you smashed a guitar. Are

you doing that at every show?
No. I smashed that guitar that night
because it was a total piece of crap and it
deserved to be destroyed! The action was too
high, it wasn’t set up right....

We hear you guys have already started work¬

Bosstone Overdrive Tremolo Proctavia ing on your next album. What’s the story?
Reissue of rare Jordan Early '70s design. Clean The buttery, seductive Exact Tycobrahe Octavia It’s 12 songs that were written at the same
Electronics 1968 classic. boost to singing sustain tone of a vintage tube replica. Octave fuzz with time that the Load songs were written. So
The ultimate '60s fuzz. and rich crunch tones. amp tremolo in a pedal. germanium diodes. these songs are about a year and a half old
already. All the drum tracks are done. Two
songs already have guitars, bass, and vocals—
it just needs to be mixed. What we intend to
^/boar>oo Lab do at the end of this tour is go into the studio
and start recording guitars again and vocals.
Digital Music Corp. • 5312-J Derry Avenue • Agoura Hills • CA 91301 • Tel 818 991 3881 • Fax 818 991 4185 • http://www.voodoolab.com And hopefully we can turn that around quick¬
©1996 by Digitol Music Corp. All rights reserved. ly enough for a November release.

42 GUITAR JUNE 1997

That doesn’t sound like much downtime Lightning and “Escape" could've been on the summer of our career, although some peo¬
between the road and studio. black album. To me it all makes sense. The ple think we're in the winter. We're right
Well, we're going to take a month off best I can do is say which one is more uptem¬ about in fune [laughs].
before starting, and we're going to be record¬ po than another! There's always a lot of guitar,
ing at home, so it's going to be a break from there's always a lot of soloing. I'd like to get Do you feel the same way creatively?
touring but not really a break from work. into more technology, but you're not going to We're comfortable with our playing,
Initially we wanted Load to be a double get an industrial album out of us by any we're more confident to try different things.
album, and then we realized it was going to stretch. I see the albums as just groups of Anything is possible still. If we wanted to,
take double the time [laughs]. So we would've songs, and maybe they're in a particular vein, we could bend with the trends, but if we'd
been putting it out right about now if we but they're still part of the overall picture. done that we would've been gone a long
would've done that. And this sort of breaks it time ago.
up a little bit, rather than putting out an Can you get some objective perspective on 1 was reading an old issue of a guitar
album and going out on the road and being where you guys are in the course of Metallica’s magazine yesterday, and this ad named just
away from our home life for two and half career? Is it still early? about every '80s band there was in 1985.
years, like we did for the last album. It should 1 think we're not quite in the middle— And our name was in there. I looked at it
be interesting. We've never come off a tour we're approaching the outskirts of the middle and then thought. Wow—we're the only
with 12 songs already written. Plus, our tour of our career. 1 guess I'd say we're in the ones who are still around. [l
chops will be up; to be able to apply that to
the album will be a first.

Some players say they always seem

to be recording when their chops are at a
low point.
Yeah, and there's a certain amount of ener¬
gy that you acquire on the road—I guess it's a
matter of playing five nights a week.
Whenever I come off the road, I feel like I can
play like a motherfucker! Hopefully that'll add
to the overall vibe of the album.

If the material was written at the same time, it

probably falls in the same vein as Load, right?
Totally the same vein. Although, this
album is a bit more uptempo, and we'll have
less ballads, I would say—though, they're not
really “ballads" on Load. It's completely notan
album of new songs, because the songs to us
are a year and a half old. The public will inter¬
pret it however they want to, but to us it's not
really new songs. Every album we've put out
has been different from the last—^this one
won't be too much different, except that it's a
bit more uptempo. Other than that. . . I just
can't wait to go in and do the guitars.

Are you recording fewer ballad-type songs

because there’s been an energy drop when you
play some of those live?
Not at all. In fact, when we play “Hero Of
The Day" live, the whole fucking hall lights up.
It kind of surprised us, because people had
given us flak for putting out a song like that.
Y'know, it's an uptempo song that's also more
melodic than most of our songs.

Godforbid.
Right. And the people who like to hear
“Seek And Destroy" 24 hours a day just can't
relate. But for the people who actually like the
song, it goes over well.

Might you be in the studio for this new album

and say, “I’m going to stretch out here like I did
on Master Of Puppets, not like I did on Load ”?
It's really hard for me to answer that ques¬
tion because to me, our material is all relevant
and pertinent. I think that “Sandman"
could've been on Master Of Puppets and
“Bleeding Me" could've been on Ride The

GUITAR JUNE 1997 43

 Fingerstyle guitar is a solitary art form.
The body of important works of this plucky polyphonic style
featurin^f
are produced exclusively by individual artists on unaccompanied

guitars. Styles are not defined so much by movements—like pmik,

new wave, grimge, Goth metal—as by the artists themselves. Think of the

artist and you will have the style. For example, there is the venerable alter-

nating-thumber Merle Travis who begat Travis picking, a technique used in

everything from ragtime to Paul Simon songs. Chet Atkins’ name is synony- |
I
Leo Koiilie
mous with a diverse approach and elegant arranging, whether his fingers ren- f

der the Beatles or John Philip Sousa. Tuck Andress’ complex, percussive Adrian Lrgg
style, which incorporates polyphonic lines and jazz chording, could hardly

be called derivative or much-copied, and Phil Keaggy is just plain

inimitable. To study fingerstyle guitar is to study the musical

makeup of the people inventing it. Join us as we to talk to

five top practitioners of fingerstyle guitar, each of

whom has a imique approach to the art form.

GUITAR JUNE 1997 45

Fingerstyle Guitar
With all these great instrumentalists run¬ play the melody on the lower ones with my
ning around, it could be said that the state of thumb. I call it the ‘weed eater.’ I see people
fingerstyle guitar music of any given period have a real spiritual experience listening to
depends on the artists who are alive and that tune, but I don’t take all the credit; I can
actively plying their craft for audiences, either only take it to a certain level. But if God can
in live performances or on recordings. It’s as if breathe life into Adam, He can breathe life
Bach, Mozart, Beethoven and Aaron Copland through my fingers, and that’s what I feel
were all alive and writing at the same time. people are reacting to.”
With the exception of the late Mr. Travis, all Aside from Dykes’ deeply spiritual side,
are peacefully coexisting in today’s fingerstyle there is his flashy side which is unparalleled,
performance arenas, sharing concert stages as shown in the ripping melodic figures and
and listeners—and playing radically different thundering Travis picking in “Twin Six
styles. Shooters” or “Jazz In The Box” from
Fingerstyle Guitar. Listen to “Shooters” to hear
a breathless tour-de-force in open-string
To get an idea of the diversity in finger¬ Travis picking.
style music going on today, let’s begin with Dykes recently signed with Windham Hill
Doyle Dykes. Dykes is the brightest new star Records, and has upped his touring schedule
in the Merle Travis/Chet Atkins lineage. He so that his following will no longer be limited
serves up a fiery folk-based style, combining to a grassroots effort. “I’ve noticed my audi¬
authentic Travis picking with Celtic melodies, ences include younger guys who are saying
country blues, gospel, cascading harmonics, ‘I’ve always wanted to do that,”’ says Dykes. anymore,” says Fahey. “In fact, when I get
and lickety-split single-note runs. Dykes “These are people who grew up on the Seattle requests for it, it’s usually from older people
came on the scene slowly, first by doing clin¬ sound, and I play stuff by Merle Travis, and who are feeling nostalgic, and I’m not inter¬
ics for Taylor Guitars, and then releasing two they go ‘Whoa, that’s great!’ To which I say, ested in that. And actually I’m quite rude to
‘Yeah, and can you imagine that older people sometimes. They walk out, too.
this was being done by a guy in That’s funny. You want to live in the past, go
the 1940s?’ I think MTV gets ahead, but I don’t.”
younger people interested in Fahey has exhibited a fascination with
acoustic guitar in the first place, noises—particularly machine-generated
and then these kids will come ones—and they permeate his recent works.
and hear guys like me and real¬ His latest album, City Of Refuge (Tim/Kerr
ize there’s a whole world of fin¬ Records), has more in common with the
gerstyle players out there.” industrial movement of Sonic Youth and Nine
John Fahey is, in a manner of Inch Nails than it does with acoustic blues. In
speaking, the elder statesman of “Fanfare,” the first cut, there are clear traces of
modern fingerstyle guitar. Back samples and machine-like noises. “That’s a
in the ’60s he was the inspira¬ juicer,” explains Fahey of the opening sound.
tion to Leo Kottke and an entire “We just plugged it in and let it whir. We also
generation of imitators, and he use a cheap electric harmonium—a keyboard
founded the influential Takoma instrument. But this one’s broken, so you just
Records to release his debut. plug it in and it makes this chord. That’s all it
The Transfiguration Of Blind Joe will do, so I wrote a piece around it.”
Death. An amazing player of Fahey’s experimentalism has been
great versatility and originality, picked up by members of the industrial
Fahey was a contemporary of community as well. “I just recently finished
the English school of folk rock¬ a tour with Sonic Youth’s Thurston Moore,”
independent albums, Fingerstyle Guitar ers which included Pentangle, with Bert says Fahey. “He’d play in various duets that
(Doyle Dykes Productions) and H.E.A.T. (Step Jansch and John Renbourn, and Fairport he took along with Sonic Youth, although at
One Records). Convention, with the brilliant Richard CBGB’s in New York, he’d play. I’d play, and
Dykes cites influences as diverse as jazz Thompson. Kim [Gordon, Sonic youth vocalist/bassist]
guitarist Lenny Breau (perhaps best known While the British school popularized a would play. Kim is a great guitarist, and we
for his harmonic technique) and traditional hybrid of folk and rock with Celtic and all got along really well.”
folk and country-based pickers like Travis Renaissance influences, Jansch, Renbourn, All of his life Fahey has been a pioneer,
and Atkins. “More than anyone else, it’s been and Thompson were also accomplished blues whether it’s been popularizing obscure blues
Les Paul, Merle Travis, and Chet Atkins,” says players, and owed much of their inspiration forms or exploring noise-based textures, as
Dykes. “I also listened to Speedy West, the to Fahey. Fahey, the American, was responsi¬ he is doing now. “I’d say 50 percent of my time
steel player, and his partner jimmy Bryant. I ble for disseminating fingerstyle blues as is taken up making sound collages,” says
was just a kid when these guys were in their heard in the rural South and the Mississippi Fahey. “I record sounds on my portable DAT
prime, but my dad played me all their music.” Delta. He always championed black with a good stereo microphone and
Like Atkins, Dykes shows a mature, American blues players (revitalizing the then make musical pieces out of them. I
orchestral approach to arranging. His rendi¬ career of Bukka White) and did his Ph.D. the¬ particularly like factory and machine sounds.
tion of the traditional gospel hymn “How sis on early blues pioneer Charley Patton And I like noise. And the kids like the noise.
Great Thou Art” {Fingerstyle Guitar) is a (who influenced Robert Johnson, Howlin’ I’ve always wanted to do that kind of thing,
resounding showstopper and sounds as if an Wolf, and John Lee Hooker). but I could never get away with it. But the
entire orchestra has moved inside his guitar Always an innovator, Fahey continues to current alternative kids are much more
to deliver an epic treatment of this reverent challenge himself and his audiences with sophisticated, musically. They’ll listen to it
tune. “Part of that’s a tremolo effect that I do his radical approach to music on the and love it.”
with my fingers on the upper strings while I acoustic guitar. “I hardly play my old stuff For some reason Michael Hedges’ name

46 GUITAR JUNE 1997

fi Division ofj
Fingerstyle Guitar
seems linked to the new age movement, but ble of cerebral and dreamy compositions cialist. Hearing covers of songs by the Beatles,
there could hardly be one single genre that (such as “Aerial Boundaries,” from his second Jimi Hendrix, and the Who as interpreted by
could contain all the elements of Hedges’ album), but he is also a vocalist, percussion¬ Michael Hedges is an enlightening and
talents. True, he is an acoustic guitarist capa¬ ist, tireless experimenter, and cover-tune spe- ear-opening experience. “I worked out a

ESJ-

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(8va) /O O Harm. d h n u d u
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3 3 I
dill

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let ring
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move guitar.I
PHPHPH PH PH
'—4--> -9-ft-9—ft—9—ft—9—ft—9—ft—9 ~n~~9 -a--
T '—*--
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Tuning: C! G D D A E (low to high)

PRACTICE
cover of the Peter Gabriel song ‘Talk To Me,’
which he does as a duet with Sinead
O’Connor,” says Hedges of his latest interpre¬
tive work, “and I’m doing the Rolling Stones’
‘No Expectations.’” This is all worked out on a
Hedges trademark, the harp guitar.
REVERBERATION After taking various creative excursions
that have resulted in a mix of vocal, ensem¬
ble, and solo guitar projects. Hedges has
finally returned to instrumental guitar with
his new album Oracle (Windham Hill).
Hedges describes the circumstances that led
to his return to all-instrumental music. “It
was really two events that happened at the
same time, so I see them as one. 1 got an old
guitar back that was stolen in 1989. Someone
heard the story about how my guitar was
stolen at a show and felt sorry for me. So here
was this great guitar that was returned to me.
That was the first thing. The second was that
my record label, Windham Hill, was being
sold to BMG [a major record label], and they
were more interested in my instrumental
stuff than the vocal. 1 had planned on making
it half and half, but ended up doing an all¬
instrumental record.”
SINCE THE DAWN OF ELECTRONIC MUSIC, WE'VE BEEN Oracle features Hedges’ gutsy and visceral
playing on such tunes as “Jitterboogie,” and
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theme. That’s the literary inspiration, anyway,
but what 1 wanted was to write a boogie on
accutponics® the guitar and have the melody included.”
Sound Enhancements, Inc., Cary, ILMnois The tuning of ‘Jitterboogie’ is DADGAC, a
variation of the popular DADGAD, where
the 1st string is tuned down a step.

48 GUITAR JUNE 1997

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 Fingerstyle Guitar
An inextricable part of Hedges’ sound is delicate and artsy, Kottke plowed through
his use of open tunings. With every new with the drive of a freight train. Most notable
project seems to come new tunings. “All of the was his electrifying 12-string picking, which
songs on Oracle use new tunings,” says he played with a thumbpick and three metal
Hedges, “except for older songs that I put on fingerpicks (he has since stopped using picks
there. I pretty much make up tunings for all entirely), and his deft slide work, as evidenced
the new songs I do. It’s part of the process of by the Bach piece “Jesu, Joy Of Man’s
arranging.” Look at Example 1 (page 48), Desiring.” Kottke third release, 6 & 12 String
which is the opening strains to “Breakfast In Guitar (Takoma, 1972) is the bible for modern
The Field” {Breakfast In The Field/Wfindham alternating-thumb technique.
Hill) to see how Hedges uses the open tuning Since his debut on John Fahey’s Takoma
along with unorthodox technique to create his Records, Kottke has released 25 albums of
modern instrumental approach. Especially instrumental, ensemble, and vocal music, all
interesting is the way he moves the guitar featuring his unique brand of fmgerpicking.
through the air on the sustained notes, creat¬ His most recent release. Standing In My Shoes
ing natural phase shifts and distu bances. (Private Music), features an eclectic approach
In the late ’60s it was Leo Kottke who to the instrumentation: There are solo pieces,
transformed the fingerpicked acoustic guitar songs with a rhythm section, and overdubs of
from a dainty folk accompaniment instru¬ other exotic instruments. “After you’ve spent
ment to a mighty rhythmic juggernaut. While your whole life playing by yourself, it’s fun to
other folk artists (including those in the go into the studio every year for a littie while radio basically ignores solo music of any kind,
British school) had kept the fingerstyle genre and play with other people,” says Kottke. “The and as a result, labels tend not to be that
interested in solo stuff.”
Kottke has managed to keep the labels
happy and satisfy his own creative impulses
by blending catchy ensemble works with con¬
templative solo compositions. “Across The
Street,” from the newest album, is a haunting
piece inspired by a tragic tale of a man who
was imprisoned for his political beliefs. From
his cell he could look across the street to the
balcony where his family lived, and for his

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 Fingerstyle Guitar
whole imprisoned life, watched his children {My Father’s Face/Private Music), and there
grow up unaware of their father’s existence. are obvious repetitious elements—such as
“That’s the story I based the title on,” says the alternating bass notes—but it’s contained
Kottke, “but I’ve never really known where within a completely nonrepetitive meter
the actual musical ideas come from. In this scheme and phrase organization. “I’ve
case, though, it was a mechanical thing that noticed that by always anticipating the down-
happened with Chet Atkins. I was sitting beat, you can change people’s perception of
there at Steve Wariner’s house, and he and where [beat] one is,” says Kottke. In this case
Chet and I were passing my guitar around, he does it with the three-note chords, but he’s
and Chet tuned the guitar to a G[? tuning— just as likely to do it with bass notes. That he
one that’s popular with the Hawaiian guys. I has managed to transform a rhythmically
really liked that tuning, and altered it by repetitive right-hand style into one of metric
dropping the low E further, because I didn’t ambiguity while still retaining the drive of his
have a low enough note. So I changed the earlier works (and perfecting a technique that
tuning, and that of course changed the whole eludes even Chet Atkins) is a testament to
line, and the whole direction of the tune, and Kottke’s genius and continuing evolution as a
then it sort of wrote itself. So that one had a guitarist.
lot to do with the tuning.” When Adrian Legg released Guitars And
Despite his ability to compose haunting Other Cathedrals (Relativity) in 1990, he not
works of great sadness and pathos, Kottke’s only exhibited a fresh and vital approach to
signature sound is his driving, propulsive fingerstyle technique, but also to the overall
right hand. It’s not quite a strict alternating sound. Eschewing the more “politically cor¬
thumb approach, but it carries the same rect” Martins, Taylors, and Gibsons, Legg has
insistence. “Chet Atkins always asks me how I been a faithful Ovation player his entire
get that sound,” responds Kottke. “Chet likes to sound like you’re just playing a pattern. recording career, and it gives him his signa¬
those ‘little machines’ that I put together in The way my right-hand rhythm works for me ture sound of steely modern timbres and
the right hand. There’s no trick to it, there’s is to avoid that repetitiveness. One way to do crystalline ambient effects processing.
nothing peculiar happening, except the thing that is to lengthen anything that you can Although he is one of the most sonically
that I’ve always known which is if you’re play¬ call a pattern, so that it’s too long to be progressive guitarists on the scene, Legg’s
ing rhythm with your fingers, repetition is the noticeable.” music has deep roots, with unmistakable
enemy. You want repetition—that’s a pop Look at Example 2 (page 51) to see an traces of Celtic, Renaissance, blues, Cajun,
gold mine, and we all like it—but you don’t example of the way Kottke employs this and country influences. Too melodic and
want to sound repetitive, and you don’t want approach. This is the opening to “Mona Ray” definitive to be called “new age,” Legg’s music

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GUITAR JUNE 1997 53

Fingerstyle Guitar

ferent musical styles. Doyle Dykes may have

roots in country, but a cool jazz chording
technique is what makes up his dazzling
“lazz In The Box.” Adrian Legg can go from
beautiful Celtic-based melodies to blazing
- r-i
Albert Lee-style doublestops to avant-garde
classical. The common thread is the instru¬
Tuning: C G D G A D (low to high)
ment, not any one way of approaching it.
The uncommon element is the body of cre¬
nevertheless has a mystical and celestial the nails of the right-hand fingers are ative minds that all see unique musical
quality to it, owing in large part to the pro¬ dragged downward over the strings, not potential in the same instrument. As Doyle
nounced ambient treatment he coats his plucked upward as in traditional fingerstyle. Dykes says, “Since fmgerpicking is an entity
pieces with. Songs like “Mrs. Crowe's Blue unto itself, there are a lot of eclectic players
Waltz” {Mrs. Crowe’s Blue Wa/rz/Relativity), who are not restricted to one genre, as pop
“The Irish Girl” {High Strung Tall Perhaps the best thing about fingerstyle music tends to be. You can have it all there in
Ta/es/Relativity Records), and “Bayou Belles” guitar is that it can encompass so many dif¬ one style, from Celtic to cowboy.” g
{Waiting For A Dancer/Red House Records)
are all good examples of a traditional musical
approach treated to a modern electronic
sound. They are also exquisite compositions
that show Legg's talent for writing beautiful
melodies.
A witty conversationalist and erudite
speaker, Legg has no problem discussing the
itself
seeming dichotomy of coupling these lovely
acoustic melodies with a highly processed
sound. “Any time you put a microphone in
front of a guitar, you impoverish it,” says
Legg. “You limit what the listener will hear by
focusing that mic on one part of the guitar.
Then you compress it—intentionally or
not—and send it through electronic circuitry
and out another unidirectional device, a
speaker.”
Legg’s point is that once you’ve electrified
a guitar in any way, it’s just a matter of
degrees. There’s nothing less electric about a
Martin with piezo than a shallow-body
Ovation through a digital delay. “It’s not
about playing the guitar in the kitchen for
three friends,” says Legg, “where people hear
the full resonance of the instrument—from
the top, from the reflected sound, even from
the neck. Once you go onstage and go elec¬
W Buddy Guy
tric, it’s about communicating to an audi¬
$:eve Cropper
Otis Rush
ence. When you decide to do that, you have
to do it the best way possible.”
Legg sees the difference between so-
called acoustic and electric guitar as some¬
L ^ Taj Mahal
Ike Turner
m tJRtle Charlie Baty
thing more philosophical than musical. W Otis Grand
“Electric guitar is a very male, tribal thing,” I Scotty Moore
says Legg. “Which is good. Every society Kobert Lockwood Jr.
needs that. But acoustic guitar has all these Matt “Guitar” Murphy
political associations, such that when a per¬ e “Gatemouth” Brown
son is onstage with a solo acoustic guitar, and a very special guest!
there are certain expectations. That’s what
the acoustic guitar is about. It’s not the issue a/^0 lOitn
of magnetic pickups versus piezo pickups.” The Tower of Power Horns
“Queenie’s Waltz” {High Strung Tall
Ta/es/Relativity, see Example 3) is character¬ Ay^^ve Cropper and Joe Louis Walker
istic of the traditional Celtic influences in one of the mosv celebrMeti modern
Legg’s playing. The melody is lyrical and bluesmenTl^dis wivh an unprecedented gathering of
playful, the bassline supportive, and the guitar heroeR in a raucous, sexy, and compievety
thrilling exploration of blues styles
middle-voice chords are sparse. But Legg
adds a twist in these brushed chords. They visiPk Mjuww.verveinteractive.com

have a modal, non-triadic color, and bring

the song to a different level. Also, these
chords must be played frailing-style, where

54 GUITAR JUNE 1997

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 In all fairness, a good portion of the
Sometimes the voice of artistrc and gur- "fame** songs we*fe lambasting here were
taristic integrity within each of us draws the not thought of as lame in their own time—
fine, “f wilf not do the wedding if I have to pfay which is, overwhelmingly, the *70s, a decade
The Macarena,^ ''Sorry, \ wifi not do the box that often confused cheese and art. Listening
step through each chorus,*" But other times you back, these tunes have by and large not with¬
wifi hear that fittfe devil on your shoulder—cleverly stood the test of time. The guys in Bread were
assuming the form of a Visa bill or maybe a land¬ accomplished songwriters, but c*mon^—^they were
lord—saying, Take the gig. permanent residents of Wimptown (which apparently
The truth is, better players are offered more gigs, is somewhere near Orleans), The guitar work, howev¬
and that means more bad gigs, too; which is not to say er, is another story.
the guitarists represented on the next pages did their So here*s to the songwriters who knew enough to put
playing under duress or coercion. Most of them, in fact, a solid guitar track together even when they didn't write a
are members of the band, and as professionals we recog¬ song that could keep up. For this first edition of "Great
nize that sometimes you do it for the money, sometimes for Guitar,,, Lame Songi*^ we*re sending up a handful of soupy,
the exposure, sometimes as a favor, Joe Satriani did the Greg sappy, or otherwise sorry songs that had just enough guitar
Kihn tour to pay for his first album, Robben Ford is all over muscle to pull them out of the hopper. If you like the song but
Rick Springfield*s Working Ciass Dog album (though it*s Neil are afraid to admit it, we think your pride can be salvaged by
Geraldo, another talented player, whom we excerpt in "Jesse^s getting these riffs and solos together. Let us know of any other
Girl**), Long before he cut tracks for Steely Dan, studio legend guitar parts you're reluctant to play outside of your room, and
Hugh McCracken was laying it down for the Monkees, you might see them in print here next time around.

56 GUITAR JUNE 1997

 (Eddie Van Halen)

If ever there was an incongruent pairing in pop history, it was Michael Jackson and Eddie Van Halen. Those of us who remember "Beat If' coming across
the airwaves for the first time also recall the bewilderment of recognizing the soloist: "Could ... that... be ... ?" Yes, it was, and in a mere i6 bars our hero
Eddie bestowed rock cred upon the Gloved One.
Following the trem-bar dip in his sleepy entering phrase, EVH guickly slips away to the flurry of taps and pulls that spell out his name. You might recall that
the solo ends with a series of climbing, trem-picked notes that Weird Al Yankovic later resolved with the explosion of his guitarist.

Em D
8va-

C D

Continued on page 61

58 GUITAR JUNE 1997

 A

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 ieniiiiiiiiiiiwiH'—'
Most any guitarist who tried to play an acoustic guitar in the 1970's owes a debt to the band America, because in two easy chords you could hit the
campfire circuit with your rendition of "A Horse With No Name." Featherweight rockers Dewey Bunnell, Dan Peek, and Gerry Beckley helped promote 12-
string guitars and major 7 chords with their string of hits, which included Bunnell’s ode to California grooviness, "Ventura Highway."
At the top of the tune, a pair of acoustics harmonizes in ards before a third guitar enters with a backing rhythm. Though it's clear that the threesome had
their heads together when they wrote their guitar parts, we're not sure what was blowing around southern Cal that prompted them to write about "alligator
lizards in the air."
N.C. G Dmaj?

Mlltl WIIH ME
This is a great song. It truly doesn’t deserve to be roasted by us. But the fact is, ifs too damn lovely, and you really have to roll up the car windows before
cranking it. The guitar work in "Dance With Me" is impeccable throughout, with matched acoustics and a mandolin creating a stringed chorus to rival
Orleans' three-part vocal harmonies. This example, from the song's opening, is exceptional because in less than a single bar (measure 1), the guitars outline
both the instrumental motif and the hook on which the song relies.

Dmaj7

GUITAR JUNE 1997 61

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 2
J[SS[’!I Gim
At first it seemed that the biggest obstacle Rick Springfield would have to overcome was the role he played on General Hospitat, little did he sus¬
pect it would be the music he later recorded. But the good doctor knew enough to call in a few specialists, and believe it or not, he shares guitar duties
with Neil Geraldo and Robben Ford (!) on his 1980 LP, Working Class Dog. Geraldo, who made his mark with Pat Benatar (as sideman, songwriter, and
husband), muscles his way into the solo on Springfield's hit "Jesse’s Girl" by pumping a i2th-fret D, then briefly outlining an arpeggio before he twists
into a few bends and pulls, articulating every note with a strong pick attack.

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 MHISIIIKI
Gerry Rafferty had a tough time playing music-industry politics, and his earliest band, Stealers Wheel, was ill-fated. (Unfortunately, and perhaps unfairly,
they're only noted these days for "Stuck In The Middle With You," which is heard in a current commercial for women's underwear.) But he knew how to
choose guitarists, and Rafferty's albums are graced by the likes of session aces Hugh Burns and Jerry Donahue, and even occasional appearances by fel¬
low Scot Richard Thompson.
Just when you're expecting the Infamous "Baker Streef' sax hook to come around for the umpteenth time. Burns steps up and sgueezes out this bend¬
ing, overdriven line with a tone, vibrato, and attitude that guite literally beat the band. Ifs an unexpected dose of rock reality in a llte-rock world.

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 (Bread)

Young, sensitive musicians who get beat up in high-school hallways by members of the football team have bands like Bread to thank for the wimpy
image. The long string of doughy hits that David Gates & Co. put together helped cement the perception of musician-as-wuss, but the band's mastery
of their gentle craft is undeniable, and their talent in the genre is tough to top. Five bars comprise the entire solo in "Baby I'm-A Want You," and in that
short space we hear a subdued, melodic line that just as easily could have been laid down by George Harrison (as in "Something") or Eric Clapton
("Wonderful Tonight"). Still, would you ever send a drink over to someone and have the nerve to say, "Baby, I'm-a want you"?

A D/A

(Red Shea)

His name really says it all, but Gordon Lightfoot never claimed to be too heavy. He was a Canadian folkie who had hits with "Sundown," "The Wreck
Of The Edmund Fitzgerald" and "If You Could Read My Mind," among others. Lightfoot's longtime guitarist. Red Shea, was fleet of finger and endowed
Lightfoot's easy-listening songs with tasteful guitar lines, often tapping into styles far beyond folk to put together a good part. As Lightfoot murmurs
through the lyrics, this simple, bluesy line creeps down the back stairs of the song, rescuing it from blandness and boredom.

Ff
1/2 1/2 1/2 1/2 1/2 1/2

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That's all we have room for this month, but there's an inexhaustible reserve of lame songs out there. If there's any good guitar hiding In the
grooves, we'll dig It out. g

GUITAR JUNE 1997 65

 It seems Joe Satniani, ring-
leatlen of the historical G3 tour,
doesn't know when to quit. After
the conclusion of his highly successful
traveling guitar summit a few scant

• GS LIU£ ALBUM months ago, Satch sat down and pro¬

duced the live G3 album, culling the
best Steve Vai, Eric Johnson, and Joe

• G3 LIUe UIDEO Satriani performances from the tour

and mixing them down. He’s also pro¬

• N£U G3 LIN£UP ducing a live video of the tour's stop in

Minneapolis. Now he’s set to work
organizing the next tour, due to begin
• SATCH'S N£U ALBUM in late summer. The personnel will
change, as will the songs, and there’s
plenty of planning to be done to ensure
the success of the sophomore effort.
Joe’s been upgrading his web site to
include live chat, and he’s launching
his own online magazine, called
CyherSatch (www.satriani. com). If that
weren’t enough, Satch is in the middle
of recording a new album of his own,
due to be released by the fall.
Does this guy ever sleep? “I just hit a
reaUy creative time in my life after com¬
ing off the tour,” says Satriani, from his
home in San Francisco. “I didn’t have to
worry about any of the sonic part of
it—just concerned myself with writing
music. The ideas just flowed.” Satriani’s
juices are flowing in many directions
these days, helping him lubricate the
wheels of his productivity speed-
machine. We caught him in a rare
moment when he could idle long
enough to talk to us about his latest
goings-on.
 Joe Satriani
Is the live G3 album completely finished? the biggest task my management and I faced the next song is going to come from.
We’re waiting for approval from Steve with this tour—getting people to agree. The But in the last month I’ve just
and Eric on cover photos, but yes, it’s finally second time around is the proof that we did pumped out a lot of music, and I did
done. Now we’re on to mixing the live video. that successfully. Anyone can do it once, but it in a different way. I didn’t turn on
to get the combination of repeaters plus new the tape recorder at all; I just put
Was the recording taken from just one night? talent shows that we can agree and make it music paper in front of me and sat
For the Joe Satriani Band it was. It was in happen. down at it with my guitar. I didn’t
Chicago, at the Aragon Ballroom. The jams worry about how it was going to
were also taken from that same night. As far Who's on the second tour? sound at all. I didn’t worry about the
as the other guys, I think they centered on Steve Vai, Robert Fripp, Kenny Wayne drum machine or the sequences or
Chicago too, although they may have taken Shepherd, and myself. That’s a good example whether I was going to record it in
cuts from one of the other nights. We were of how we’re branching out. We’ve pulled in four tracks or eight tracks—any of
there for four performances. But the video is players from the opposite ends of the spec¬ those demo things.
taken entirely from the Minneapolis show. trum: a young blues player and someone I
don’t know how to describe except to say Will any of this new material make
So audiences will get two completely different that he’s a master of the electric guitar and the new tour?
performances? an innovator in rock music. That’s a good question. In one
Sure. I mean why buy the video if you sense a G3 tour is the worst place to
have the CD, and, vice-versa? Plus they’re Will Shepherd be the opening act then? play new material that won’t be out
remarkably different performances. Well, the weird thing is when we contact¬ for six months, but at the same time,
ed Robert Fripp, he was very excited about you want to play new material for
You would expect any two shows to be dijfer- joining, but he specified that he wanted to people; that’s why you do it, and
ent in some way, but how are these so com¬ open. We said, “Sure, great, anything you that’s where your mind has been for
pletely different? want.” I got tell you, I don’t know what’s the last six weeks—not in the old catalog.
The most obvious aspect is the gonna happen in the jam when it’s me,
improvs—those went in completely different Kenny, Steve, and Robert Fripp, but I know I There was obviously so much good about the
directions. But as far as the two shows them¬ want him on my side so I can watch him and first G3 tour, but what was not so good and
selves, Chicago was just a rocking, electrify¬ hear what he’s doing [laughs]. what are you changing the second time
ing experience; the audience was really ener¬ around?
getic. Minneapolis was more of an upscale, Seeing that you and Vai are returning as two We’re getting better buses, that’s a defi¬
^ sit-down-type theater. It brought out a dif¬ of the main acts, the obvious question is why nite [laughs]. We’re bringing back the same
ferent performance. not Eric Johnson? crew, and I’m keeping the same rig. Steve
I’m going defer to Eric on that one, and I have agreed to change the jam songs.
What ifyoud videotaped the Chicago show? except to say that Eric Johnson remains a We don’t know what they’ll be, but we’ll
Well, that would have changed it. It’s like mystery to me both in what he does and by have Robert and Kenny’s input on that.
that physics principle: You can’t observe his immense musical talent. There are times Those are some changes, anyway. The only
something without changing it. I’m very on the live CD where he would amaze me thing about the last tour that was always a
happy we didn’t film it, just because of the and I listen in wonder. But Steve and I are in difficulty was the volume in the jams. It was
oneness we achieved with the audience. I synch because we have sort of the same very hard for the guests—in this case, Eric
just wouldn’t want to do anything to alter agenda, even though we write different and Steve—to walk in cold to a band that
that experience in any way. Billy Gibbons music. It’s just easier for Steve and me to col¬ was already pumped. So volume became a
walked up to me before the show and laborate and get on the same stage. Eric is an problem. It’s only natural when you’re in
wished me luck, our soundman had amazing guitar player, but an enigma, that situation. I know exactly what it’s like
returned from having a baby, the audience wrapped up in a puzzle. because I’ve been there. You can’t adjust
was screaming—it all just clicked. immediately to the new situation, and the
How have you found time to write a new only way to hold your own is with volume—
Did all three of you agree on which jam songs album? to be just a little bit louder. And at times it
to pick? I guess it’s because I’ve been through became unmanageable. We couldn’t hear
Yes, which is very unusual. I mean, for us times where I don’t have time to write at all each other. So we’re going to watch that, but
to agree on anything is hard [laughs]. That’s and I wake up nervous, wondering where we’ll figure it all out. ^
I

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68 GUITAR JUNE 1997

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 3 FO RMS
+ RULES
4
H CHORDS
I remember looking through the
books on the rack at my local music
store as a kid. One in particular caught
my eye. It was called 2,001 Chords. 1
opened it up and sure enough, it had
2,001 chord diagrams in it. 1 didn’t
count them, but there were plenty. As 1
flipped through the pages, 1 kept
thinking, “I’ll never learn them all!”
Two or three years ago, I saw the
same book again. I realized that not
only had I learned all the chords, but I
knew many more ways to play them
than were presented in that book. And
I hadn’t done it through memorization,
either.
That got me thinking about how we
guitarists pass information along to
each other, especially regarding
chords. Most of the time, the process
consists of two guitarists jamming
together and saying, “It goes like this. .
. .” Theory isn’t discussed, nor is there
any question of why one approach is
used over another. It’s just, “Play this
form here at the 6th fret.” So much gui¬
tar knowledge is conununicated in this
informal manner.
Even in traditional guitar methods,
chords are taught as shapes. Chord
theory tends to be explained in a “non¬
guitar” way, as abstract concepts with
little or no relevance to the fretboard.
The result is that guitarists often have a
hard time understanding theory.

B Y Jon Finn

GUITAR JUNE 1997 71

 This month we’ll explore how to play ring, and no notes in the chord
three fingerings of any 7th chord— are doubled. Be careful not to
you know, minor 7th, major 7l?5, all play the 5th string or the 1st string.
those types of 7th chords. This Good muting technique comes in
method applies to anything handy here. Be sure to memorize
called “something 7th,” and the chord degrees (root, 3rd, 5th,
involves nothing more than 7th) on each string. This is important,
memorizing three chord shapes as we’ll see in the subsequent steps.
and four rules (which, coinci¬ In the next fingering (Example 2),
dentally, adds up to seven). Along the root is found on the 5th (A)
the way, I hope to demystify those string. In some cases it can
cryptic chord symbols found on lead be played as a barre chord
sheets, which look more like algebra (especially in the upper frets).
than music. In others, one finger per
string works best.
There is no strict rule
The Shapes except what sounds
and feels best in a
For this article we’ll limit our¬ given situation. Be
selves to three shapes. There are sure to mute the 1st
many more possibilities, of course, and 6th strings.
but you’ll be surprised how much
you can get from just these three.
Staying consistent with the ter¬
minology used in William G.
Leavitt’s Modern Method For
Guitar series (Bill was my
teacher), we’ll call the first one
“root 6.” That means the root of
the chord, which gives the chord
its name, is located on the 6th
(low E) string (see Example 1). I like to think
of this next one
This bears a strong resem¬ (Example 3) as
blance to a 7th-chord barre the “Beatles
form you may already 7 th-cho rd
know. There are two form.” To see
differences, though: what I mean,
You play one play this form
string per fin¬ at the 5th fret,
ger instead strum away, and tell
of bar- me it doesn’t remind you of
I Saw Her Standing There.”
If it doesn’t, you’re too
young. Ask your parents.
If you’re taking the time
to memorize the chord
degrees, you’ll start to
notice that among the
three forms, the order of the
degrees gets juggled quite a bit with
respect to string number. That is exactly
why things can get a bit tricky. Just make
a mental note of where each chord
degree falls in each of the forms. In
Example 3, the root is found on the 2nd
(B) string. Hence, “root 2.”
By moving some of the notes around
in these chord forms, you get different
chord qualities. For example, if you
slide the 3rd down one fret, you’ll have a
minor 7th chord. Before getting
into the nitty-gritty of music theory,
experiment freely. Creative accidents are
always good.
 Chord symbols are more logical than they Ex. 5
first appear. They follow four basic rules:

1) Unless told otherwise by the

chord symbol, the 5th is natural Chord Formula: H3 5 7
In other words, Dm7, C7, and Fmaj7 all have 5th IS natural J
unaltered 5ths, but “G7^5” is your clue to flat
the 5th. When you see '‘aug” or it’s an indi¬
cation to raise the 5th one half-step (one fret),
as in E-i- or Faug.

2) "7" means \>7

Unless you are told otherwise, always assume
the 7th is flat (a \>1 is a half-step lower that the
“normal,” or unaltered, 7th degree of the
major scale). These chords are also referred to

as “dominant 7” chords. So when you see G7,

it has an Ft] in it, since F# is the 7th degree of
Ex.6
the G scale.

3) "min" or "m" means to flat the 3rd

If you don’t see either of these, the 3rd is
natural. The 3rd is what determines whether a
chord is in the major or minor family, and
when it’s lowered, it’s minor.

4) "mni" refers only to the 7th

It doesn’t mean it’s a major chord. It’s only
telling you the 7th is not flatted, as in Fmajll
or Dmaj7.

Good information is worth repeating. To

memorize these rules, let’s work through a few
examples to see how the four rules apply.
Examples 4 through 7 show how the four
different rules apply using actual chord sym-
iGUITAR JUNE 1997 73
 Oscillate In Magnitude, Diminutive Fusion-Bonded Mass Of Hydrogen Atoms IL.
Fine
Cmaj7 Fmaj7 Cmaj7 Em7l>5 Fmaj7 F7 Em7 B7l»5 Dm7 Bl?7l>5 Cjlm7b5 Dm7b5 G7 Cmaj7

D.C al Fine
Em7 El»maj7 Dm7 Dtnnaj7 Cmaj7 Em7 Dm7 Em7 Eknaj7 Dm7 Dknaj7 Cmaj7 Em7 Dm7

bols. You should be able to build chords Oscillate in Magnitude, Diminutive Fusion- balance between the notes within each
from the root up, listing each of the degrees Bonded Mass of Hydrogen Atoms chord. Part of the charm of this piece is how
and alterations (if any). Then start over, (Twinkle, Twinkle Little Star) the chord tones interact underneath the
concentrating on the names of the pitches. Above is an exercise to help build a toler¬ melody. There is a lot of chromaticism and
For example, FYbS and D7l?5 will have the ance for the three 7th-chord forms we’ve smooth voice leading.
same formula but different pitches. studied. Admittedly, this piece is harder to Scare your friends by telling them you
When using the four rules, the basic play than what most situations will require. spent three months perfecting “Twinkle,
idea is to be able to look at a chord symbol, It’s designed that way deliberately so that if Twinkle Little Star.” Then amaze them by
know what it means, and be able to con¬ you master it, you’ll be “over-trained” when playing this version. While they may sug¬
struct the chord fingering. It’s a system that encountering situations that require more gest you have a bit too much time on your
requires less memorization but more reasonable uses of 7th chords. hands, you’ll be the one that knows all
thinking. Each melody note of “Oscillate” is a new those chords.
Think more about where the notes are chord. The chord symbols (and chord-form
on the fretboard, and less about whichfiger types) are shown. Study them. As you play the
While the pre-pro¬
you use to play the note. If you find your¬ piece, try to put as little silence as possible duction process has
self doing a lot of “finger juggling” to follow between each chord. This is known as playing finally begun for Jon's
legato. Practice switching from one chord to next solo record, he is
the rules and fulfill the requirements of the
still looking for a
chord symbol, you’re probably on the right the next in the smoothest possible manner. label deal He's pretty
track. It means you’re thinking about Pay close attention to which strings should be sure that his haircut
muted. Make sure all the fingered notes in is holding him back.
the individual notes and not falling back
on comfortable shapes. each chord are sounding. Also, listen for the
 - J I— ^ 9 ^ » «»-■ rc»-»•

tsjiue to gfcvv 4% arti^t^ Ufee Head

a^d 'VfaJiky take tii|e power
^nd Jiicreaeed tonal range of tJie
7-%tr*ng snto new realni%-
'And now wstn tine introductson cf
tnW new. Ttore affordable ibane*
l*G\even %trsng> even n»ere players
can V*n tbe rank% of tbe 7-%tr*ng
revoli}lion>

Watch for Korn on the

1997 Lollapaloozo tour.
Korn's new release, "life
is Peachy," in stores now.
Photos; Jen Lowery

For more informotion on Ibanez guitars, send $5.00 ($7.00 in Canada) to:
Ibanez dept. GG57, P.O. Box 886, Bensalem, PA 19020, or P.O. Box 2009,
Idaho Falls, ID 83403. In Canado; 2165-46th Ave., Lathine, Quebec H8T 2P1
studio city

the bad guy jumps out from under

TIME ON THE DIME the stairs.

It works like this: As you begin for¬
mulating the musical idea that will
become your main groove or melody,
I write this month’s column from was not only that worker-bee side- you select a tempo. A metronome will
30,000 feet in the air, as I am heading man, but that slave-driving producer do, but I use an Alesis SR-16 drum
to Europe with my band for a three- as well. I had taken on a writing (and machine because the 50 preset pat¬
week tour. We begin in Copenhagen, recording) assignment for a music terns are fun to play with. Once you
Denmark, and will work our way production library. (Library music is come up with the optimum tempo for
down through Germany, Belgium, that relentless rock and roll you hear your song, you divide 60 by your
and the Netherlands. 1 feel very fortu¬ under TV sports shows, or shows like tempo. This gives you your beat
nate to have the opportunity to play Hard Copy and Extra. It’s even used as length in seconds—the actual length
my own music for the next 18 gigs. source music on sitcoms and dramat¬ of each beat.
Besides being the most challenging ic shows.) My gig was to write 10 Let’s say my tempo is 106.1 divide
thing I do, it's also the most therapeu¬ two-minute rock pieces in various 60 by 106 and come up with a beat
tic. That first note onstage in a styles ranging from grunge to surf. length of .566 seconds, or a littie more
responsive room washes away all Most of you out there who play in than half a second. Now, since my
those tedious hours of being a work¬ bands will probably never need to assignment was to write a two-
er-bee sideman (like those days when know how to write a song that is minute song, I divide 120 seconds
the bass player and drummer are out exactly two minutes long, but you (two minutes) by .566. This figure will
in the lounge drinking coffee and may find the assignment interesting. be the number of beats in a two-
making phone calls, and the producer It’s also the same formula they use to minute song at mm=106 tempo. The
says, “Just one or two more guitar make a jingle time out to exactly 60 number is 212, which we then divide
overdubs before we move on to the seconds. It’s the same formula film by four (since we’re in 4/4 time) to
next song”). composers use to make the whole find the number of bars in the tune.
But on a few sessions last week, I orchestra hit a triple forte stab when We get 53 bars—an odd number, but
 2 New RFX Effects
there are many musical solutions: a one-
(well actually, 4)
bar drum fill at the top, a five- or seven-bar Introducing the RFX920 PhasOVibe, and the RFX925 Panelo,
bridge. In my case, I subtracted a measure
each only $109.99
from the piano solo.
Knowing that the entire song needs to The PhaseOVibe features a six-stage regeneration circuit for a rich, lushous phaser
be 53 bars (including reverb ringout), I sim¬ effect, and with the touch of a switch it becomes a smooth, classic vibrato effect at the
ply map it out and work backwards. Since same rate of motion.
the A section repeats. I’ve got eight bars at The RFX925 PanelO pedal is a stereo panner and a tremolo effect. The unit has a
the top. The B section is a five-bar phrase, Speed control, a Wave control which varies the oscillator waveform continuously from a
bringing me to 13 bars. I keep adding up sine wave to a square waveform, and a Depth control to adjust the amount of oscillation
the measures right through the guitar solo distance.
at letter E. That brings me to 45 bars, so I
Check out both new pedals at your nearest RFX dealer and check out all four effects.
D.S. (repeat back to the sign) to pick up
another five bars before taking the three-
bar coda. Exactly 53 bars. I leave a technical Make RFX
note on the track sheet that the reverb is to
last three beats and be “off on one” of the
Your effects.
next bar.
To get a 30-second version of this song I
would divide 30 by .566 and get 53. This is
the number of beats in a 30-second song at
our 106 tempo. Divide that by four and I get
13.25, which is 13 bars and one quarter 5143 South Main Street
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It’s as simple as that. When a film com¬
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formula not only for determining the
length of the cue, but also to nail the “hit
points” in the scene. And the jingle guys use
it to make a 60-, 30- or 15-second version of
their “McDonalds” song. (That’s why they
always drop a bar out of a song you’ve ■ The Latest News & Updates! ■ Mailing Addresses!
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 open ears)

SPIT HAPPENS
A S we came to the end of our sec¬
ond song, I watched the entire
guys were getting too weird. Security
was spending all their time throwing
tion” Tunnel vision? “100 percent ” Brain
temperature? “150 percent overload!
PA and lighting tower buckle water at these people being trapped Abort! Abort!”
and fall into the crowd as if in slow and crushed at the front of the stage. I heard my guitar hit the stage after
motion. There were at least 60 guys who Any females or couples had long since the last note and suddenly I was down
had climbed up to get a better view, and abandoned this war zone in front of us. in the pit heading for my new friend. As
now they were leaping into the rows of As I bent down to beg a security man to my left hand was in motion and just a
innocent people below to break their stop this brain-dead guy from spitting few inches away from showing my
fall. Within a few seconds, there was a at the band, he asked me for a guitar appreciation, the comatose security
huge jet of sparks as the high-voltage pick and did nothing else. If you are like guys suddenly found something to do.
power lines near the collapsing frame¬ me, having someone spit at you is a With both of my arms immobilized,
work were cut and shorted. I held my huge insult, right? Apparently in Chile it someone, presumably my new friend,
breath waiting to see if our light and is expected, somewhat tolerated, and had a hold of my neck in an unfriendly
sound guys would make it out of there even construed as a twisted, aggressive way. Someone stole a precious momen-
without being burned or electrocuted. form of approval. This is the explana¬ to from our African trip that I was wear¬
By the light of the melting and arcing tion that dozens of people gave me after ing on a necklace. Then I was traveling
copper \viring, I saw only one of them the show. I’m not making this up! backwards, writhing in an attempt to
get out for sure. Anyway, imagine playing a solo with break loose, but most definitely travel¬
This was a jammed Deep Purple sta¬ your eyes closed and suddenly your face ing backwards and up towards the
dium show in the country of Chile, and is splattered with someone else’s spit. stage. The crowd had been roaring the
we were told that it is just a sign of Nice mental picture, eh? My eyes whole time as the band took their bows.
excitement when people throw various popped open and I motioned to the They roared a bit more for me—the guy
items onstage like shirts, hats, banners, group in front of me to point to who did who looked like he was going into the
other unidentified and perhaps previ¬ it. They just smiled and asked for picks. crowd to shake hands and give away
ously worn garments, and coins. At this Ian, who had been in the exact same sit¬ picks. The first wave of embarrassment
point the lights were out everywhere uation years before, walked over and hit me as I realized tens of thousands of
and vocalist Ian Gillan was saying over wiped my face with a towel without people had a great time—including the
the microphone that everybody should missing a beat. Now, I, the spittee, had spitters. I actually finished the gig, and
stay still and be quiet. But the main unwittingly given the spitter my except for a few guys in front, the crowd
sound system was out and all that was approval to continue his target practice thought I was warmly thanking them by
working was the monitor system. In the by showing my animated reaction. jumping down. I felt like a real politician
darkness and confusion, the pieces of By now we’d had the equivalent of a (getting credit for something unintend¬
gear and rigging being thrown around major garage sale worth of clothing ed), but I made no more embarrassing
couldn’t be identified. We were ushered thrown up onstage, the security staff in moves and headed offstage to drench
back to the dressing room. front of us thought that their only job my face with disinfectant.
We were told to leave until facts was to grab guitar picks, the lights that
were gathered about injuries and the had been hard-wired on full brightness They told me that the main spitter
possibilities of hooking up some kind of were smelling kind of funny, Robert the got chased out of the stadium by the
sound-mixing capability. The band was monitor man was so busy that changing guys in front. Soon after, we played one
not too excited about leaving, and we the monitor mix seemed like an inap¬ of the best shows ever in another
decided that waiting around wouldn’t propriate request, and Ian was starting packed venue, and this time there were
be too bad of an idea. After seeing the to slide around on the saliva-soaked absolutely no problems or conflicts. Life
sound and light boards smashed, and stage. I began a mantra in my head: “I’m on the road is as good as I can imagine.
covered with twisted metal, we were a professional. I’m going to finish this This month’s “Open Ears” is dedicat¬
relieved to see that our guys Alan and gig. . . .” The spit snipers fired literally ed to those innocent people who got
Pat were okay, though Pat was looking every time I momentarily got back into knocked down. I hope you get a laugh
bloody from a cut. Finally, we relaxed the music and closed my eyes. Luckily, from reading about my slapstick adven¬
when we heard that nobody was killed there were no more hits above the neck; ture onstage, and thank God there were
or critically injured and the crowd was in fact, very few hits at this point. no serious injuries to any of you. g
staying in control. Maybe we could still At the end of the last encore, there
save the show. was a breakthrough in the case: I, the
The stadium was still full. The sound spittee, made brief eye contact with the
and light boards were dead, so we ran spitter. He gave the unmistakable
the PA off the monitor mix, wired a gesture that he was proud of his
bank of lights, and went back on. work and would like to make more Steve Morse is one of the
The place went completely bonkers meaningful contact. As the smoke busiest guitarists in the
industry. He records and
with this kind of violent mosh pit in full poured from each of my ears, I pictured performs with the Steve
force near the front of the stage. There an airline cockpit checklist: Logic? Morse Band, pursues vari¬
ous solo projects, and still
was so much pent-up energy and angst “Off” Reasoning ability? “Bypassed” has time to be the lead
from this disaster that some of these Adrenaline? “High pressure boost posi¬ guitarist in Deep Purple.

GUITAR JUNE 1997 79

 E ver wonder why some guitars just sound great? Well, it all starts with the pickups. "Just a
coll of wire wrapped around a magnet, you say? Well actually, many variables shape the tone.
The wire gauge. The type of Insulation.
The number of turns. The distance between
each strand on the bobbin. And we're just %
talking about the coll! It's all about
Classic tone,sweet
Inscious, crystalline, a Seymour Duncancommitment to make you ^

■i
sound and play better.

Seth r^over’
A fond tribute
by Seymour to
the Father of
the Humbucker

The archetype,
hot-rdkded
humbuciler that
started it all

The Jazz
A most versatile
hua^jucker, especially
in the neck position

D on't just settle

for plain vanilla,
stock tone! When you get
Seymourl7,ed , you make
The Invader”
your guitar sound the way
Think; interplanetary
you want It to sound. Do tonal invasion by
you want way-chunty, power hostile forces

chords? Ultra-sweet, vintage

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leap off the neck? Then get
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catalog. And get bucked!

SeiTOOiir
5427 Hollister Avenue • Santa Barbara, CA 93III-2345 • Telephone; (805) 964-961O
Fax: (805)964-9749 • E-mail; info^seymourduncan.com • Website; www.seymourduncan.com
rHiiicau
For Tone M Sets you Opart!
<m btf» g,000 tarat of tiro, Xf |ox { i,is9sp^ win la
 TABLATURE EXPLANATION
TABLATURE: A six-line staff that graphically represents the guitar fingerboard, with the top line indicating the highest sounding string (high E). By placing a
number on the appropriate line, the string and fret of any note can be indicated. The number 0 represents an open string.

1st string - High E -XJ

2nd string - B in
lU
n
u
3rd string - G Q
9
i1
4th string - D q
£
5th string - A q q
£
6th string - Low E _O_

5th string, 3rd fret 2nd string, 10th fret an open E chord
and 3rd string, 9th fret
played together

Definitions for Special Guitar Notation

BEND; Strike the note and bend VIBRATO; Vibrate the note by PULL-OFF; Place both fingers PALM MUTE; With the right
up ’/z step (one fret). rapidly bending and releasing on the notes to be sounded. Strike hand, partially mute the note by
1/2
the string with a left-hand finger. the first (higher) note, then sound lightly touching the string just
the lower note by pulling the fin¬ before the bridge.
ger off the higher note while keep¬
ing the lower note fretted.

BEND; Strike the note and bend MUFFLED STRINGS; Lay the left
WIDE OR EXAGGERATED VI¬ hand across the strings without
up a whole step (two frets).
BRATO; Vibrate the pitch to a TRILL; Very rapidly alternate be¬
depressing them to the fret-board;
Full greater degree with a left-hand tween the note indicated and the
strike the strings with the right hand,
finger or the tremolo bar. small note shown in parentheses
producing a percussive sound.
by hammering on and pulling off.

Full

BEND AND RELEASE; Strike

the note and bend up'/z (or whole) PICK SLIDE; Rub the pick edge
TAPPING; Hammer (‘lap”) the fret
step, then release the bend back down the length of the string to
indicated with the right-hand index
to the original note. All three notes SLIDE; Strike the first note and produce a scratchy sound.
or middle finger and pull off to the
are tied; only the first note is struck. then with the same left-hand
note fretted by the left hand.
finger move up the string to the
1/2 (or Full)
second note. The second note
is not struck.

TREMOLO PICKING; Pick the

note as rapidly and continuously
as possible.
NATURAL HARMONIC; With a
PRE-BEND; Bend the note up ’/z left-hand finger, lightly touch the
(or whole) step, then strike it. string over the fret indicated,
then strike it. A chime-like sound
SLIDE; Same as above, except is produced.
the second note is struck. Harm.

RHYTHM SLASHES; Strum

chords in rhythm indicated. Use
chord voicings found in the fin¬
gering diagrams at the top of the
first page of the transcription.
PRE-BEND AND RELEASE; Am D
ARTIFICIAL HARMONIC; Fret
Bend the note up ’/z (or whole)
the note normally and sound the
step, strike it and release the harmonic by adding the right-
bend back to the original note. SLIDE; Slide up to the note indi¬ hand thumb edge or index finger
cated from a few frets below. tip to the normal pick attack.
A.H.
(8va)

SINGLE-NOTE RHYTHM
SLASHES; The circled number
above the note name indicates
which string to play. When suc¬
cessive notes are played on the
UNISON BEND; Strike the two
HAMMER-ON; Strike the first same string, only the fret num¬
notes simultaneously and bend TREMOLO BAR; Drop the note
(lower) note, then sound the bers are given.
the lower note to the pitch of by the number of steps indicated,
higher note with another finger @3fr. 2fr. open © 3fr.
the higher. then return to original pitch. C B AG
by fretting it without picking.
Full
j. )

Full
H

GUITAR JUNE 1997 81

Performance Notss ■ ” ^° n Chappella

Sign Of The Times guitaristic color. The part stays fairly static, written here in half-time to facilitate reading.
Queensryche’s Michael Wilton and Chris hitting long tones in the first bar and then At Rhythm Figure 6, the song returns to the
DeGarmo kick off this arena-rock number by restricting itself to chord tones for the rest of original groove, as root-fifth chords are
playing thickly distorted guitars in perfect the passage. combined with single-note lines, a staple of
unison. After a brief statement of power The chorus finds the guitars in full Metallica’s music. The basic tonality here is E
chords offset against single notes, they settie strength, with a heavily distorted guitar Phrygian (E F G A B C D).
into Rhythm Figure 1—a set of four staccato (Guitar IV) playing sustained chords. The At 3:46 Riff A enters (again, played against
16th-note strums played five times, separated gentle lead recurs, drawing us back into the a double-time drum beat) and is primarily
by an eighth rest. This has the effect of second verse. Here, guitar activity in the clean based on E Aeolian (E F# G A B C D), but the
placing the figures in a rotation where each guitars picks up, as Guitar I continues to fill first note in each bar ascends chromatically to
begins on a different part of the beat. In this while Guitar V, a clean electric with echo, follow the chord movement.
case, that results in the groups starting at plays high, distant sustained notes. Kirk Hammett starts his guitar solo with
beats 1, 2/^, 4, , and 3 over two bars. That At 2:54 we’re treated to the Dobro again as heavily abused harmonics via the trem bar,
singer Geoff Tate can put forth a cohesive it plays the eight-bar solo leading to the third moving into a phrase based primarily on E
melody over this aggressive syncopation is a verse. The opening phrase is a classic Dobro Dorian (E F# G A B C# D), with the inclusion
testament to the band’s talent for making the line in that it connects three long notes of C^. In bars 5 and 6, Kirk utilizes the E Blues
complex seem effortless. without re-articulating. Note how the Dobro scale (E G A Bl? B D) and adds the major
The bridge is unusual in that the electric usually supplies the 3rd of the chord tones in second (F#). Bars 9-11 feature E Aeolian, and
guitars drop out completely and leave the the rhythm part indicated above it: B in the in bar 12, E Dorian. Bars 13 and 14 feature a
groove entirely in the hands of a six- and 12- G5 chord, Ff in the D5, and D in the B5. Both chromatically descending riff based on
string acoustic. The six-string plays chord Dobro and Guitar I get to strut their stuff major 3rds, and bar 15 features a riff which
forms in eighth- and 16th-note divisions in the outro, which is great, but the starts in major triads, tritones apart. The
while the 12-string plays a looser, more real musicality comes in the verse fills triads are E major (E Gi B) and B^ major {B\>
arpeggiated part. Notice that none of the and passages connecting the different D F). The last four bars of the solo are made
drive or forward motion is lost just because song sections. up of major triads, which outline each chord:
the distorted, power-chord-playing electrics F# (Cl Al Ft), G (D B G), E/Gl (E B Gl) and A
are absent. An electric does come back in I Will Survive (E Cl A). Riff A is then played a whole-step
halfway through the bridge, but only to add a This was originally a hit for Gloria Gaynor higher than when it first appeared.
singing line in counterpoint to Tate’s in the ’70s and is still played by wedding —AndyAledort
pleading vocal. bands as the archetypal disco song. It’s given
DeGarmo’s solo (1:20) is based in 15th- a rather different treatment here by Cake, Southern Man
position G pentatonic minor (G Bl> C D F). whose lead singer John McCrea drones out Neil Young’s admonishment-in-song of
The chord progression goes from G5 to B\>5 to the vocals in a back-phrased monotone. But an entire region of the United States’ menfolk
A5 to Ab5, but DeGarmo makes littie effort to the song has something catchy about it, and brought on a storm of controversy when it
accommodate the out-of-key chords A5 and while the guitar parts are not the stuff of was released, not the least of which included
A[j5, at least harmonically. This is obviously woodsheds, there remains some inventive Lynyrd Skynyrd’s musical retort, “Sweet
not out of ignorance (for DeGarmo is a work in this interpretation. Home Alabama.” Whatever your political
thoughtful and studied player) but out of a First, a little theory. The chord progression reactions to the song, you can’t deny the
choice to place a harmonically stationary line here is a romp through the circle of 5ths. A to power and conviction behind Young’s stirring
against a changing progression. Especially D is V-I progression, as is D to G, and so on. lyrics and forceful guitar playing.
effective is the gesture in bars 6-8 where The song goes from A all the way back to E in As is typical in the guitar of a Neil Young
DeGarmo defiantly pits a bending B\> against V-I movements. As such, it makes a great song, the rhythm parts are of more interest
three chromatically moving chords, B[?5, A5, progression for practicing modes, arpeggios, than the leads. The memorable riff in this
and At>5. He effects the same discordance and other theory-oriented approaches. song comes in the first four bars of the tune,
with his repeated gesture in the slide guitar Guitarist Greg Brown begins his solo in 5th climaxing in bars 3 and 4, where Young hits
part in the following chorus. position, playing out of A pentatonic minor (A three chunky quarter notes in a row and nails
C D E G). He throws in a B, which, though not a held G minor chord on beat 4. He then plays
One Headlight part of the pentatonic scale, is part of the G a G-to-A melody beginning on beat 3 of bar 4.
This song begins with a gentle arpeggio chord above. He outlines the G chord by That’s the essence of the chorus riff, though
treated with moderately deep amp tremolo. If playing a back-and-forth motif of B and D in Young gives it endless variation throughout
your amp doesn’t have this feature, bar 3. He acknowledges the B5 in bar 6 the the song.
investigate getting an outboard trem pedal, as same way by nailing an El?, which is the The chorus riff is comprised of a
it’s an important vintage-sounding effect and enharmonic equivalent of D#, the major descending bassline progression starting on
can’t be emulated successfully with choruses 3rd of B major. The second part of Brown’s D minor. It goes from a D minor to an
and such. As a mildly distorted guitar creeps solo is played almost entirely in 6ths. The Fmaj7/C, then to a Bk But notice there’s no
in with palm-muted gallop figures, the lead presence of Ft in the A minor section yields actual Bl? root as played by Neil. You can hear
guitar (without the trem) plays clean-tone Dorian sound. the root descension in your head, but it’s not
lead fills. These warmly overdriven fills actually played here. Verses 1 and 2 are
continue in the verses. The Shortest Straw played more in a block-chord style, with
Perhaps the most striking guitar sound This song begins with a root-fifth chord fewer discernible riffs than are contained in
comes in the form of the open-G-tuned progression played rubato, or free of strict the chorus. And though they are extended
Dobro (D G D G B D, low to high). Its first rhythm, for eight bars. To play this correctly, and occur twice, the solo sections are best
appearance is four bars before the first chorus the band must feel the “implied” groove as a left unexamined, except to say that if you
(1:12). Other than reverb and a distant whole, with visual cueing if necessary. After love Neil, you accept everything the man has
presence, the sound is just the normal tone of Rhythm Figure 2 is played twice, the song to offer with appreciation—even his lead
the Dobro, but it adds an entirely different goes into double-time, although the music is guitar playing, g

82 GUITAR JUNE 1997

 SIGN OF THE TIMES As Recorded by Queensryche
(From the album HEAR IN THE NOW FRONTIER/EMI Records)

Transcribed by Jeff Jacobson

Tabbture Explanation page 81 Words and Music by Chris DeGarmo and Geoff Tate

Fsus2 Gsus2 G6/B Am G5 Etsus4

X o o X oo c
lOfr.

13411 13411 32 1 2 34 134211

F5 G5<‘yp*2) B^5 A5 A\?5 Ek5
XXX X_XX
3fr. 3fr. 5fr. Gfr.

i134 134

Tune down 1/2 step:

®=El;
®=A^ ©=Bl;
@=D^ ®=El»
Slow Rock J =84
A5 N.C. Csus2 N.C. F5 N.C. F5

Copyright © 1997 Published by Melodise Ltd. (BMI)

All Rights Reserved

GUITAR JUNE 1997 83

 SIGN OF THE TIMES
1st Verse
w/Rhy. Fig. \{\Vi times)

w/Fill 3
G5 F6/9 N.C.

84 GUITAR JUNE 1997

 SIGN OF THE TIMES
w/Fill 1 A/G
A

GUITAR JUNE 1997 85

 SIGN OF THE TIMES
Bridge
Fsus2 Gsus2

**12-stg. acous.

(end Rhy. Fig. 3A)

C G6/B G5
w/Rhy. FiU 1
j ^ ^ F G

86 GUITAR JUNE 1997

 SIGN OF THE TIMES

Fsus2 Gsus2

Gtr.VlJ J

C G6/B Am G5 F e17Sus4

GUITAR JUNE 1997 87

SIGN OF THE TIMES
F5
Gtrs.

1'^ ^
Gtr. Ill si.

i ? Lf'
w/o slide

-9^-20^’*^'
_^_

Gs^ypez) 3 [,5 si.

G5 A5

At5 G5 G5 (type 2)

88 GUITAR JUNE 1997

 SIGN OF THE TIMES

3rd Verse
G5 w/Rhy. Fig. 1 (I'/a times)

GUITAR JUNE 1997 89

SIGN OF THE TIMES

A/G A

w/Rhy. Fig. lA

w/Rhy. Fig. 2 (3 times)

F6/9 N.C. A5 N.C. Csus2 N.C.

90 GUITAR JUNE 1997

 SIGN OF THE TIMES

A5 N.C. Csus2 N.C. A5 N.C. Csus2 N.C.

w/Rhy. Fill 1

spun out of con - trol?- Has the cap - tain let go of the wheel?.

Rhy. Fill 2 (Gtrs. I & II) (G^rs. I & II out)

GUITAR JUNE 1997 91

 SIGN OF THE TIMES
w/Rhy. Fig. 3A
A Fsus2 Gsus2

w/Fill 5

92 GUITAR JUNE 1997

 SIGN OF THE TIMES
aI>5 G5(>>p«2)

J J—7^ J—;—^^ J—7^ J—J-^

o

|(&f‘
V'
—
..
— r *’r r i
—I
r-
1--
p

1
^r Lir uJ ^r
, - r~]

-5-(5)^^ 1--5-- -4-(4)^^0-116 ^^-4—M—e-

F5 El.5

j—p ;—T^-}—3—j=^’^ j j 7^ jn. ^

rit.

Freely
G5
❖ ❖ "

dim.
(Otr. IV out)

m T' I r ^ c
; r 1^
*Gtr. VII a tempo
accel.

A
*3 ^^
-M-(14).
1Z 14 “tS-^-
1Z -T4-T4—M-t5-

♦Violin arr, for gtr.

Begin fade
^ ^___^ ^ _^ Fade out

8va.-.^
di.

f^0 _ -_„
ilvr.r r r P r f r r Ui - —f'— - T "P
..^
rit.
accel.
si.

-19- -22-21-19-21-r 19^5-

-47-15-
CJ
CJ

<1
<1

-1f5-15-26-
--14--16-
-12-14-16-17-

GUITAR JUNE 1997 93

 BASS LINE FOR
SIGN OF THE TIMES As Recorded by Queensryche
(From the album HEAR IN THE NOW FRONTIER)
Transcribed by Steve Gorenberg Words and Music by Chris DeGarmo and Geoff Tate

Tune down 1/2 step:

0=El. ©=Dl.
®=Al. ®=Gl> *

Slow Rock J = 84
A5 N.C. Csus2 N.C. ’ F5 N.C. F5

A A/G A 2

2
“ -
-5 5 5- 5-5 5 5 5-5 5 5-5 J-5-5-5-5-5 5 5 5 5 0—

^ 1st, 2nd, 3rd Verses

^ A A/G

yT nButt
Jt ' • I 7 17 II 7 Jm Ji_i
'
J 4 « J M M m m m m m m

c^ocal:) 1. Head - ing for the class - room yes - ter - day...
2. An - oth - er church is burn - ing to the ground.. • •
3. On the Sen- ate floor they con - gre - gate...

-5-5-5-5-5-5-5-5-5-5-5-5- -5—5—5—5-5—5—5—5—5—9-

A A/G G5
====
V * * J J 7>< * JJ

-5 5 5 5-5 5 5 5-5 5 5 5* -5 5 5-S -5 5 5 5 5—9 -L-9—9 0 9 9-K-9 -■9-9 -9-9- 0 -9

F6/9 N.C. A A/G

1 dddd:fxddd
H H 1 1 1 1 dd
1 1 .A~d^^
Ml jjjjl JJJJV JJJJ
^
'
-bd
' \y si
H

-1—1 111-X 1 -9-^ 5 5 5 5-5 5 5 5-5 5 5 5* -5 5 5 5-5 5 5 5 5—9-

^ si.
H

Copyright © 1997 Published by Melodise Ltd. (BMI)

All Rights Reserved

94 GUITAR JUNE 1997

 SIGN OF THE TIMES

Chorus
F6/9 N.C. A5 N.C. Csus2 N.C.

tpp V 9 W W Y • • • • • si
- - - t]# ^
H
A sign of the times...

q-q-q-q-q-
-1-1—1—1-1-X—1-1-1-1-1-0- ^-5-5-5-3-0----9-
" To Coda

A5 N.C. Csus2 N.C. A5 N.C. Csus2 N.C.

Bridge

Guitar solo
G5 b1^5

■5-5-5-5-5-5-5- -A-4—4—4-e-A-

GUITAR JUNE 1997 95

SIGN OF THE TIMES

D.S. (take 2nd ending) al Coda

T P p

si.

^- 3 J

TP TP TPj/. TP P
—^~ -
r 77" n n n n n n n— 16 8-t6-r-10 Ox 14-22-15-14-
-4-4—4—4—4—V ^- -iz--u
sl.
Coda Bridge
A5 (Guitar)
#— 0- » bp
sl. 6
-tv- ltul : g 0-— 0- 0— •- 0- rri-1
-IT ^ .

11
W()uld so ne please let me know...

ITS IZ lU 1Z 1Z 1Z ' 12—10

--12^^*
sl.

F5 G5 8^5 A5

-1-1-1-1-1-1-1-9-6-9-9-9-9-9-9-^—6-6 6 6 6 6 6 5—5—5 5 5 5—5 5-

aIS G5

Freely
G5 Begin fade Fade out

-A- —A- —A 1^ J J. ^ m- - - I
accel. a tempo

II
II
- - 9 - - —e9i- -- II
96 GUITAR JUNE 1997
 ONE HEADLIGHT
As Recorded by The Wallflowers
(From the album BRINGING DOWN THE HORSE/Interscope Records)

Transcribed by Paul Pappas Words and Music by Jakob Dylan

Tablature Explanation page 81

Moderate Rock J = 108

D5
Intro *Gtr. I

H
mf let ring
semi-clean tone w/amp tremolo
H
_
— y-? ^- 4-94-
-e—2- U IL V fc/

D
-- - 0 0
_ n- —A-

*Gtr. I w/drop-D tuning: ® = D.

®open

N.C. G5 D5 E
Gtr.
II 7^

Fj5 B5 A5 G5
•Rhy.Fig.1
77^77^77^77^5777 ^^77^7777775
1/2

Copyright ©1996 Brother Jumbo (ASCAP)

For Australia/New Zealand; EMI Music Publishing Australia Pty. Ltd. ACN 000 040 951 RO. Box 481. Spit Junction. NSW 2088
For Scandinavia: Permission given by EMI Music Publishing Scandinavia AB
International Copyright Secured AJI Rights Reserved

GUITAR JUNE 1997 97

 ONE HEADLIGHT
©open
D5 E F|5 B5 A5
(end Rhy. Fig. 1)

^*1 si. (Gtr. I out)

Q K. ^^ -—--- >r *
^---
.. [J f
—•
H

# u J (5) S''? -9- -—-— ■

(4 /)-—9_A
& V

♦Accents are generally omitted when

1st Verse recalled, but are included occasionally ad lib.
w/Rhy. Fig. 1 (5 times)
(^open
G5 D5 E Fj5 B5 A5

So long a - go, I don’t re-mem-ber when,- that’s when they say I lost myon-ly friend.- Well, they
©open

©open
G5 D5 E Fjl5 B5 A5

98 GUITAR JUNE 1997

 ONE HEADLIGHT
©op en

B5 A5 G5 D5 E

^^open

G5 E
Rhy. Fig. lA (Gtr. II)

Fits B5 A5
RM..

GUITAR JUNE 1997 99

ONE HEADLIGHT
®2fr. ^^open

G5 Fit GS E Fll5 (end Rhy. Fig. lA)

Chorus open 5fr.

G5 D5 E5 E A
Rhy. Fig. 2

100 GUITAR JUNE 1997

 ONE HEADLIGHT

A5 j/G5 D5

@open Sfr.

E5 E A A5
(end Rhy. Fig. 2)

(end Rhy. Fig. 2A)

GUITAR JUNE 1997 101

 ONE HEADLIGHT

w/Rhy. Fig. 1 (4 times)

B5 A5 G5

Fll5 B5 A5 G5

102 GUITAR JUNE 1997

 ONE HEADLIGHT
(5) open
G5 D5 E Fll5

open

B5 A5 G5 D5 E

GUITAR JUNE 1997 103

ONE HEADLIGHT
w/Rhy. Fig. lA @open

Fh B5 A5 G5 E

©2fr. ^)open w/Rhy. Figs. 2, 2A & 2B

G5 fJ G5 E Fll5 G5

rr
Hey,. come on, try a lit - tie.

1«» r r I ©- —-- . ..
J----

-.
■. e_c_a
^ U O
.
a
It V H;

$ ipTfr-^r
-vu/ -- ■ V -u-0-ti- —0-U-0-0—0—0—0—
-a-a_a a_a_a_a a
& & Z Z z Z Z Z Z 'Z Z O "
A_J - A A A A M A
J J ' ' J 0/ 3 3 3 3 3 3 0

104 GUITAR JUNE 1997

 ONE HEADLIGHT

Gtr. I substitute 6th bar of Rhy. Fig. 2A @open Sfr.

E A A5 G5
D5 E5

Noth-in’ is for - ev - er. There’s got to be— some-thin’ bet - ter than in the mid - die.

Gtr. I substitute 2nd bar of Rhy. Fig. 2A w/Rhy. Fill 1 ©open sfr.

But me and Cin-der- el - la, we put it all to - geth-er. We can drive it home-

w/Rhy. Fig. 1 (2 times) ©open

G5 D5 E

8va

Rhy. Fill 1 (Gtr. IV)

GUITAR JUNE 1997 105

 ONE HEADLIGHT
3rd Verse
w/Rhy, Fig. 1 (4 times)
G5

106 GUITAR JUNE 1997

 ONE HEADLIGHT

Fj(5 B5 A5 G5

^-
4^ -4
^n -H- -9- -^
-0-^ -0- -0- •4- -4-4-
■4-4^ ^-
■+ -4

GUITAR JUNE 1997 107

ONE HEADLIGHT
w/Rhy. Fig. lA ©open ® 2fr. j)open

G5 E G5 Ft G5 E F|l5

£
Hey, hey,_ hey,- hey,_

(Gtr. V oul
■\ |iH— ■-^
hMFn r f p7 ff f
‘ 1
/ - -. -

-- - -u- y
-
^ , . in'
lU n
J 2 ■“2“
—3-
44
-o
V
VII/ -

i t: MMB
-o-o— -0- -1-®-1-T~ -0--8- -0--G--0--0-n
-a_a z--z-
9-9-9— z m—2——2— 2 —2——2—-2-—0-
-A_4
-V H 4 ■■ 4 9 -9—9— TnT"“9—“-9— 9 ~~9~'—9——9——6-
V **-

Chorus
w/Rhy. Figs. 2, 2A (both 1st 7 bars only) & 2B (complete) ©open 5fr,

G5 D5 E5 E A

- come on, try a lit - tic. Noth-in’ is for - ev - er. There’s got to be- some-thin’

A5 G5 D5

f b
F ^ ^ hy-..f i
-P
bet - ter than in the mid-die. But me and Cin-der- el - la, we put it all to - geth - er.
A5 Outro

108 GUITAR JUNE 1997

 ONE HEADLIGHT
©open 5fr.

D5 E5 E a A5 G5

GUITAR JUNE 1997 1 09

 ONE HEADLIGHT
©open 5fr. Begin fade
D5 E5 E A A5 G5

--14- rW-- -^^^14-14-19-

-«--M.. 11_ li "10 IZ 10
1Z 12 -H-14-19-

110 GUITAR JUNE 1997

 I WILL SURVIVE
As Recorded by Cake
(From the album FASHION NUGGET/Capricorn-Mercury)

Words and Music by Dino Fekaris and Freddie Perren

Transcribed by Steve Gorenberg
Tablature Explanation page 81

Moderately J = 93
A5 D5

F5 B5

Copyright ©1978,1979 PolyGram International Publishing. Inc. and Perren-Vibes Music, Inc.
All Rights Reserved International Copyright Secured

GUITAR JUNE 1997 111

 I WILL SURVIVE
1st, 2nd Verses
*w/Rhy. Fig. 1 (2 times)
2nd time w/Fill 1
^ A5 D5

spent so man - y nights— just think - ing how you’d done me wrong. I_ grew

A5 D5

112 GUITAR JUNE 1997

 I WILL SURVIVE

G5 C5

F5 B5

—
— P—

Weren’t you the one who tried to break me with de - sire?- Did you think I’d

1 1 1r 1r ^
—H-:-F-F-F-F-F F F P-T-1 v ^ ^ ^^^ ^ M-
-:r—»-1hi- ■- m— —M wm 1 1 1□1 3 ::x -1 —i
r— “- r— li^F • 5 3 z —a -Z
VMr-T-r--IT--1 III 1 ^ n m m_m_c_m.-m-m.-m-m-

)
-10 10 10-tO-10 10-10
_ __---- 4 4 4 4 4 4 4

-tO-10-10-10-10-10-10-
^ ^^- - - - 4 4 4

-to—10-10-10—10-10—10

A5 D5

GUITAR JUNE 1997 113

 I WILL SURVIVE

-B-0-6-6-8-8-B-
■5-5-5-5-5-5-5-

F5 B5

iJL# f f f f f f r r —p f p-M f 0 P 0 P
^ r 1 H jr-j r}j J j j *1 j~]

si y/. P 1/2
--- -r-m-
-c—a—a—a—a-a
---7- ^ I-^ 1 ^-—-
---ie-e—1g 10-10 12 10-12-^0-10-10 11
-■-7M0 12 -«—-—1*-1
P
si H

114 GUITAR JUNE 1997

I WILL SURVIVE

GUITAR JUNE 1997 115

I WILL SURVIVE
D.S. al Coda

Coda w/Rhy. Fig. 1

^ E7 A5 D5

G5 C5

116 GUITAR JUNE 1997

 I WILL SURVIVE
F5 B5

U___—-^-
-WPK- --
h-ir--53 II ... * ..3
^:-.
[
da, da, da. Hey!

A 10* 1^ 1 t- 1 1 ft- 1f- «■ ^ ■ I

—-W-W-F-F-F-F F ”F-P- 1 v ^ ^ ^ ^ ^^^-
-JT-»- ■-F-
K -K ■-m— ■ 1 11 M-1 -—-M—9 —1-
A 15 5 33 z 3—S —3-
- L^- 1 m_m□!-*—

j M_4_4_4-4-4-
-TO--TO--TO--TO——ni- 4 A- 4
-ru”—ru
-10— 410
A 4_4_4-4-4-4-
— io 10
-to-—10--10
-to-—10—-10 -10——10—-10“ 10
M M___
4 4 4-4-4-

E E7

w/Fill 2
A5 A7sus4 D5 D7sus4

G5 G7sus4 C5 C7sus4

GUITAR JUNE 1997 117

 I WILL SURVIVE
w/Rhy. Fill 1
F5 F7sus4 B5 B7sus4

118 GUITAR JUNE 1997

 I WILL SURVIVE
w/Rhy. Fig. 1 (1st 6 bars only)

Additional Lyrics
2. It took all the strength I had just not to fall apart.
I’m trying hard to mend the pieces of my broken heart.
And I spent oh so many nights just feeling sorry for myself.
I used to cry, but now I hold my head up high.
And you see me with somebody new.
I’m not that stupid, little person still in love with you.
And so you thought you’d just drop by and you expect me to be free.
But now I’m saving all my loving for someone who’s loving me. (To Chorus)

GUITAR JUNE 1997 119

 BASS LINE FOR
I WILL SURVIVE As Recorded by Cake
(From the album FASHION NUGGET/Capricorn-Mercury)

Transcribed by Steve Gorenberg

Words and Music by Dino Fekaris and Freddie Perren
Moderately J =93 *Verse, Chorus, Guitar solo

5th time substitute Bass Fill 2

F5 B5

hi-1 1 r i|. r ? 71 f ■ 1 —-Hr:: r ^ ..A r ^ r .. r

H

w • • W T
-1-^—I—I-^^^^—
mR-if----
L- 1 i => 1 ^ ■ —1

E E7 A5

|- 1 1 r _ !■_(Tm 1

t t • 1-1

si. H
-7^-
^ V & & A £ i ■—* 2—-#-9-9-6 6- -7-5-5—7-
-e—0—--- —:-9-s-^F-—7 5
^—5-5---

Copyright ©1978,1979 PolyGram International Publishing, Inc. and Perren-Vibes Music, Inc.
All Rights Reserved International Copyright Secured

120 GUITAR JUNE 1997

 I WILL SURVIVE
3rd time substitute Bass Fill 2
3rd, 6th & 7th times substitute Bass Fill 1 6th & 7th times substitute Bass Fill 3
D5 „ G5 C5

F5 B5 E

rrr-H it. ■ —..1

-♦■fi—** ^ bm m —m P-r
y. 1 1 \ ^ \ 1 T 1 1 r
\ n——•J —1—1—1—« 1 ^ "1- — 1 J ^ y -j
^ L t 7 1 1 1 r- ^ I — —■ 7 B 111 1 L J LJ 7 7..J 1
f f «-5asa tSBSs^ [
H •
-4-4-4-4-4-n
-6 1—1-e-1 3 X--4-4—4- -2-O-R-2-2-2-2-
-9-3-j1-
-1-1--- L9-0-

Freely
E7 . E E7 Am7 ^
. m m im « j 1
'R-w-nr m j
yT *-“-^ r r
J_Li ii II1
-O- 1
mp
4-4-5-5-6-6-4 HF-
-7- -w-
[L 9- -5- -

Bass Fill 1

1 •.f p ]r ^ r r r ^ , 1
^ 1 - 1 *4 \ 1-1 *Vl 1 1^
—T-r M1 / 1
l J
7 9 0 T !>
-7--7-7—5—
-5-5-

Bass Fill 3

-TV?
•y T-F1t»—
■ •J •7 4/ •/ r y •
T 7 7 7 7 7' “ 1

-5--9-
-5--5--4-9-
-9- -5-4-9—

GUITAR JUNE 1997 1 2t

 THE SHORTEST STRAW As Recorded by Mefallica
(From the album ...AND JUSTICE FOR ALL/Elektra Records)
Transcribed by Larry Meyer Words and Music by James Hetfield and Lars Ulrich
Tablature Explanation page 81
E5 F5 G5 Bb5 FJI5 A5 Ab5 D/Fl FI G E/GI A
O XXX XXX X XX XXX XXX
^3fr. 2fr. ^3fr, ^ 4fr. 5fr.
T*
11 133 133 133 133 133 133 14312 134211 134211 14312 134211
Moderate Rock J = 126
E5 F5 E5 F5 E5 F5 E5 G5 F5 E5 F5

^ ^ •/ ^ ^ •/

• Not in strict time till Rhy Fig. 1

E5 E5 F5 E5 Blt5 E5 E5 F5 E5 G5 F5 F5 E5 F5 E5
^7 ^ ^ J ^ >J ^ J

® open
E5 F5 E5 E ' E5 F5 E5 G5 B!>5 F5 E5 E E5 F5 E5 BbS G5
RJiy. Fig. 1 J—^ J
J ^J J J ^ J

©open ©open rj--

F5 E5 E E5 F5 E5 G5 Bb5 F5 E5 E > E5 F5 E5 G5 fIS F5

Copyright ©1988, 1989 Creeping Death Music (ASCAP) International Copyright Secured All Rights Reserved

122 GUITAR JUNE 1997

 THE SHORTEST STRAW

(end Rhy. Fig. 2A)

E5 N.C. E5A5 E5A5 E5 N.C. G5 Ft5 F5

:-3 —

1st, 2nd, 3rd Verses (£)open (^open (g)open (Dopen

Rhv, ®e'’" „
F5 ,E F5 ^
E G5 E G5 -
E _
r~i rT^r7^-p~)
your_ name. Your hon-es - ty to- blame, Put dig - ni ty to— shame,
Sus - pi - cion is
tions- fly. Dis- crim - i - na - tion,_ why? Your in - ner self to— die.
The ac - cu - sa
are tied. Your be - ing os - tra - cized. Your hell is mul - ti - plied.
Be-hind you hands
/ J nu tr .3. w/Rhy. Fig. 3 ©open
®op.n (end Rhy, Fig. 3) ©open ©open

E G5_^5 _F5 E F5 E F5 E G5 E G5

Dis - hon - or. Witch-hunt, mod - em— day. De - ter-min - ing de - cay.
In - trud - ing. Doubt sunk it - self in — you. Its teeth and tal - ons— through,
Up - end - ing. The fall - out has be gun. Op - pres-sive dam - age— done.
Rhy. Fig. 4
®2fr. ®2fr-
FI G5 FK G5
©open ©open
F5 E F5 E G5 FIS

ar - ray. Dis - fig - ure. The pub- lie eye’s dis - grace.
The bla- tant dis -
catch two - two. De - lud - ing. A mass hys - ter i a.
Your liy - ing
to_ none. To noth-•ing. You’re reach - ing your na dir.
• Your man- y turn
®2fr. ®2fr. ®2fr. ®2fr. ®2fr. (end Rhy. Fig. 4)
Ft asfJ as Ft G5 Fit G5 FI A AbS GS

nr n n
J, '17~> .

De - fy - ing com mon_ place, Un - end-ing pa - per— Un - end - ing.

A meg- a - lo-man i - a. Re - veal de - men - ti Re - veal_
Your will has dis sp - peared. The lie is crys - tal — De - fend - ing.
w/Rhy. Fig 4
®2fr. ©2fr. ®2fr. ®2fr. ®2fr.
®2fr.

w/Rhy.Fig. 2 w/Rhy. Fig. 2

AS A\>5 GS ES N.C. ESFSESFS ES N.C.

This ver - ti - go, it doth bring.

In ver - ti - go you will be.
With ver - ti - go make you dead.

GUITAR JUNE 1997 123

 THE SHORTEST STRAW

Tempo 1

124 GUITAR JUNE 1997

 THE SHORTEST STRAW
_ E5 FS D Fl
o
E5 F5 E5 F5 Riff- A

n r~i hjn ^' '—j 1 n

H P H P

*» «» o_n ? T ?
*1 /»»\ <» *%
-2-d-1 {cf J t 2-4-5-7—7-7-
—2-a---a- —3-3-3- 4-

G5 FtS F5 E5 F5 D/Fj
J J o o o
■ p-j f^i
li* f .n —■hi'-^—■ yr^-.y'T-p ■1 ri.n r
-whm—■—“-
m= --jl-: --L 3-
A' H P ^ ^ H P

H P H P

-7-7--2-3-2(2) 3 ?--2-3-2 (2) 3-2--2-4-5-7-7—

—4-
-5-4-5-4--2-2-2-- -3-3-3-

Guitar solo I
w/Rhy. Fig. 3 (1st SVi bars only)

E F5 E F5 G5 F>SFS E F5 E F5
8va- FuU P FfX JU
P P
P H P P H P P H

trem. bar
Harm.
P P Full H P Full,
-i7 15 14-12 15 1412-—14-«-^ — v-12--12-| -f-1 -7““»*—-7 —7—;pBz—

-^0-- f r F r r‘ «a_1 j
f & & D w
^ r r f r
t y 3 5 5

®op«n ®op.n F5 F5 ®l'*" G5 Fl5 F5

GUITAR JUNE 1997 125

THE SHORTEST STRAW
E5 E5 FS E5 F5 F5 G5 F5 G5

P P PPPPPPP PP PP FuU
-go --iQ t?---taTyc_ir
-19-to >6 17-1?—tG-14- ««tA_O«»
-IT — >0 ty
^ ^ ^
6-r— ■ 6-5-4--
-13-IV tO" ■ 9-8——7~ O' 5

F5 G5 F5 G5 E5 F5 E5 F5 E5 G5 Fl5 F5

126 GUITAR JUNE 1997

 THE SHORTEST STRAW

Tempo 1
w/Rhy. Fig. 1 ©open ©open

E5 F5 E5 E E5 F5 E5 G5 FS E5 E E5 F5 ES 8^5 GS
Qjt J 5 J -1 I ^ ^ '1 r - j
• 1
Pulled for you. Pulled for
(Short - est straw. Short - est straw.
©open • ©open

F5 E5 E ES FS ES GS bI-S FS ES E ES FS ES GS FiS FS

FS FS ES FS

GUITAR JUNE 1997 1 27

 BASS LINE FOR
THE SHORTEST STRAW As Recorded by Metallica
(From the album ...AND JUSTICE FOR ALL/Elektra Records)

anscribed by Steve Gorenberg Words and Music by James Hetfield and Lars Ulrich
Moderate Rock J= 126

*Not in strict time till bar 9

E5 F5 E5 Bl>5 F5 ES F5 E5 F5 E5 G5 FS E5 F5 E5 * F5 E5

~ ' Jijj J
—-)-
-e-G—1—e-1—'L-8-e—1— L-e-e—1—0—a- 1—e-e—1 -e-e—e—i—e-

E5 F5 E5 F5 E5 G5 Bl>5 E5 F5 E5 FS E5 BbS G5

[2--
F5 ES GS FjIS FS ES FS ES FS N.C.(E)

"• J-hJ - J. J. ^ ^ *la- ■ ..ujL j »i J. bJ ■ J;-^—j.

>

-e—1—G-G—a-^ -2-1-1 —e—1—G-e—8—8-e-o -G—1-1—11—e--

• Copyright ©1988,1989 Creeping Death Music (ASCAP)

International Copyright Secured All Rights Reserved

128 GUITAR JUNE 1997

 THE SHORTEST STRAW

N.C.(E) E5 G5 E5 G5 N.C.(E)

E5 A5 E5A5 N.C.(E) G5 F(t5 F5

N.C.(E) F5 N.C.(E) G5 F|t5 F5 N.C.(FJ) G5

GUITAR JUNE 1997 1 2»

 THE SHORTEST STRAW

N.C.(E) E5 F5 E5F5 B5

130 GUITAR JUNE 1997

 THE SHORTEST STRAW
Tempo I substitute Fill 1

Chorus

GUITAR JUNE 1997 131

THE SHORTEST STRAW

Double-time feel
 THE SHORTEST STRAW

F ^|I
N.C.(E) G5 Fits F5 N.C.(E) G5 F»5 F5 ES E5 F5 E5 F5

E5G5 E5 G5 ES FS ES FS ES GS F|S FS F{S

GUITAR JUNE 1997 1 33

THE SHORTEST STRAW

Tempo I

F5 E5 F5 E5 G5 Fit 5 F5 E5 F5 E5

F5 E5 G5 Bb5 E5 F5 E5 F5 E5 Bb5 G5 E5 F5 E5

134 GUITAR JUNE 1997

 THE SHORTEST STRAW

Double-time feel
E5 F5 E5 N.C.(E) F5 N.C.(E) G5

Pulled foir you.

1

-j- L ■ -■ . 1 1 H 1 1 J ^-4-::--
- :J--M— '

-G-1-\-e- -0—0—0—3-0—3-U

<>
(>
<>

<>
(>

<»
(>

(>
L-e-0—e—0

Additional Lyrics

2. The accusations fly. Discrimination, why?

Your inner self to die. Intruding.
Doubt sunk itself in you. It’s teeth and talons through.
Your living catch two-two. Deluding.
A mass hysteria. A megalomania.
Reveal dementia. Reveal.
Secretly. Silently.
Certainly. In vertigo you will be. (To Chorus)

3. Behind you, hands are tied. Your being, ostracized.

Your hell is multiplied. Upending.
The fallout has begun. Oppressive damage done.
Your many turned to none. To nothing.
You're reaching your nadir. Your will has disappeared.
The lie is crystal clear. Defending.
Channels red. One word said.
Blacklisted. With vertigo make you dead. (To Chorus)

GUITAR JUNE 1997 135

 SOUTHERN MAN As Recorded by Neil Young
(From the album AFTER THE GOLDRUSH/Warner-Reprise)

Transcribed by Jeff Jacobson Words ond Music by Neil Your^g

Tablature Explanation page 81

Moderately fast Rock J = 160

Half time feel

Bt Gm

r-j9-r--
.0-:-
P
#■
S- II

P.M. p
z±- •
P
-—H- - 4 4
p
I-r;-?- "r®!-3-5-e—n
—3-3-3-
>(>(>

>oo

><>

---
p-H.---=-

International Copyright Secured All Rights Reserved

136 GUITAR JUNE 1997
 SOUTHERN MAN

B^add N

»[ head..
11 Don’t- for get what your

f
RM.- RM. RM. RM.
-------0-0- -0-0-1- -u.— V— u
1 1 11^0 a_a_a-a-
^ O W W
-2-2-2-2- ' 'w W W ^^ -nO <1
w n
-9-9-9- w w W ^n- n
^ n a- -
-9-9-9--

w/Rhy. Fig. 1
G7 Dm
--
—y----- 5r» ^ . 1p A • m
0 0-
^ ^ Hr r ' Itf. —m_E [i.--
-1 p • J
U- 1[J U. t
r
gr»r»^ h'")ok s;avs South - e rn cihanee—

(end Rhy. Fig. 1)

A
=#= --1-
-/k-?—:: -W-
VvO --•
■ -1 : Y 11. J.
IP^ ■ •»I- 1r R•
R^4.. H
RN1. .H R. M.
- 1-
- 0- -—-—-——-a
-0-0- 0 0
-0 .-0- 0 0
-9-0-
L-6-^-9-

Fmaj7/C _ BkaddN
((
((1

^-P
1
1
—6—1—-b--1—:-1 -1— t_t_L
-JT U— -E- p-0 Fr'-'\r \ S F*• T
r/W K Tn r A. 11 ^-'\ 1
-■i:A::z=|
1-V—^-'

gon - na come- at last_Now- your

G7

A h J -~- J1
\J . .JLM ^ w ^ ^ V
-Jr L yo k■
A
-O-——

S(Duth - ern man.

R P

A
U 1 .. 1 a]S^
ir L-• -tf J ■-
P-B J W1 _1\-
-U -9
fj-• -9
P P
r.i> n
PX
-1-9-1-0-
-9-9-9-3- -9-9--
--2-2-2-2- -2-
-0-0-0-e-

GUITAR JUNE 1997 137

 SOUTHERN MAN
2nd time substitute Rhy. Fill 1
Dm

1st, 2nd Verses

w/Bkgd. Voc. Fig. 1 (3 times)
Dm

♦Refers to cue notes only.

138 GUITAR JUNE 1997

 SOUTHERN MAN
Gm Dm

black, tall_ white man - sions— and

brown. I’ve seen your black man-

Hi \,t ; ' f ] -ft-- -

p-
1 0

W
- 0

9
Pt(J-
.
0 0

0
——

PM..H P.M..-.H P.M.

9 9 5 0
- - - - - n- -^ 1 —::-::—’-1 - 1-1-0-
g_a_a-
-9-9 9
- - - 9 3 3 9 3 a_a_a-
-9-9-9-9- Z £ IL IL Z Z
-5- 0 ■■ 0-0- an
U u u

bI^ Gm Dm

'J
s
n J:
p r
lit - tle- shacks.- South - ern man,.
com - in’ ’round.. Swear by

♦T PM
P.M.
-9-5-
-3-9-
-6-^
-0-9-

♦T
♦T = thumb
bI? Gm

V
when will you pay- them back?-
God I’m gon - na cut him down. -

P.M. P.M.
.1 If f [
-0-1- -1-0- -5-
-9-9-
-9-9-

—f—^
^1 1. r ft p- ^
Jf z—>-1-tr- urn ff- r
r/W PI * • il_d n j fL r J— V
^-r 1 ^ ^

I heard scream - in’ and bull whips c rack - in’.

fill" —r-
y 1 iri 1 ITJ J J J J itj J J, J J_g—J-g-
Jr :: 1r« r m m m llfll fli « fli m Lr■■m■
—m-wm m m m m Ttl 111 1
-3-T-3—3—3 3^ 3_3 3j 3_3 3_3_3_3 3 3
^ ^ ■©■
> >

--2-2-2—2—2—-2-2-2-2-2- --2-2—2—2-_2-2-2-2-2-
-2-2-2-2—2—2—-2-2-2-2-2- _2-2-2-2—2—2-_2-2-2-2-2-
-2-2-2-2—2—2—-2-2-2-2-2- _2-2-2-2—2—2--2-2-2-2-2-
-6--■-e0^- -0- -
GUITAR JUNE 1997 139
 SOUTHERN MAN

Full

Dm Bl’ Gm

H
140 GUITAR JUNE 1997
 SOUTHERN MAN

Dm

B \? Gm Dm p
. m. R R .R R
.R R^ ^
_ R _ R ‘ j

p
-1 -113-113-113-113-113-r-t3-113-113^ -W-r■43--^-113-r^==-T-113-
-19- -13--13-13-

P PP PPP PP P_P_P_P
^
-^^ r\^\--/"“V-TO-TO- ■ 10 ' ^ ' ' 10 '■ '
4n 4A *f%. 4A 4A m - -40_4A_40-4-A-
-T3-lO lZ—W t3 W TX Iv "TX W TX lU
--^ --
(
(

B \f Gm Dm
Full
 SOUTHERN MAN
Gm

Bl.

‘Played behind the beat.

142 GUITAR JUNE 1997
 SOUTHERN MAN

b1> g™

D.S. (half time feel) al Coda

Gm Pull ^

GUITAR JUNE 1997 143

 SOUTHERN MAN
Outro solo
*Dm Gm.
Full Full Full Full Full Full Full
Coda >-

$ d

Full Full Pull Pull Pull Pull Pull

■ 4 A / -! /I*r^\T_AA L 1 ..M /
iw 1 r%^-- -toy ijy-T07-
IW \ 1*1/--T3-TO- -13-13-13-

♦Chords played by piano till end.

♦♦Till end
Dm
Full Full Full Full Full
J
'J J
i
Full Full Full Full Full
1-37 13
“1^
4
-13^
- loj
13^

bI; Gm Dm
Full Full Full 8va-
J- Full Full Full
1. je
j-

i d

Full Full Full Full Full

-10-7 • 10/-TO- ■tw-T07-to-23-r-^-1^7-W-
-44
IV&I_44A-_
10 ^_ -13~-
A —23-23^^-23

Bl’ Gm
8va -
Full Full Full Full Full
A-

d d

Full Full Full Full Full

-rrr-\-try . tf/-rr-y- —T^T-Yf-y—^- r23-23-23-17-
-\ OA J-9A--OA ._ JtU 2CU v^/

♦Played behind the beat.

Dm Bt Gm
Full ^ loco

144 GUITAR JUNE 1997

 SOUTHERN MAN

m±n--ift 40-43-43-
-43-43-41£-43- —TO-nc-TO rw ■&
-46---

GUITAR JUNE 1997 145

SOUTHERN MAN

Dm Gm

i ■ f ^ f
lU-TtJ-TtJ- 1 MU -TU-16- r^»6-16-
--46-13 \U/ U lil 16 16 16-

Dm

Iril? . f . f „ if .
-TO-TV-TV- 1 MO -16-16- pt6-16-16-
-4.0-40_4.A
1 liP 10 1 4I \iw/ 10 "“13 -16-16-

Begin fade
B Gm Dm

BI Gm Dm Fade out

146 GUITAR JUNE 1997

 Beginning Guitar Volume 1
Parts of the guitar are described (acoustic and electric), how to
tune, how to get good tone with an amplifier, holding the pick,
left- and right-hand positioning, open chords, power chords,
strumming patterns, getting started soloing. Features rock, blues,
and country rock styles.
00320049 .$9.95

Beginning Guitar Volume 2

This picks up where Volume 1 leaves off, and is ideal for the
beginning to intermediate guitarist. Includes information on
barred chords, 7th chords, 9th chords, funk rhythms, double
stops, scales, sequences, vibrato, hammer-ons and
pull-offs. Rock, blues, and funk styles are covered.
00320050 .$9.95

Beginning Drums 1
Teaches setting up the drums and proper positioning,
holding the sticks, basic grooves, bass drum patterns,
snare drum rudiments, and more. Includes everything
that's, needed to start playing the drums right away.
00320055 .$9.95

Beginning Drums 2
Covers flams, paradiddles, fills and phrasing, snare accents,
funk grooves, shuffle grooves, and position exercises for
developing fluid movement around the drum set.
00320056 ..$9.95

Beginning Keyboards 1
A great introduction to the keyboard! Covers note names, finger
positions, scales, chords, left-hand bass, and playing with a band.
00320053 .$9.95

Beginning Keyboards 2
Includes information on the circle of fifths, more on chords and
chord progressions, getting started soloing, improvising melodies over
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00320054 .$9.95

Beginning Bass 1
Parts of the bass are described, as well as how to tune,
how to play with fingers or with a pick, right- and left-
hand positioning, bass lines (from root, 5th) to walking
bass lines, getting good tone, scales, and more.
00320051 .$9.95

Beginning Bass 2
For the beginning to intermediate bassist, this video
covers pentatonic scales, harmonics, chords, more bass
lines, picking up speed, funk grooves, and locking in with
the drummer.
00320052 .$9.95

Please rush me the foHowing books: CHECK/MONEY ORDER ENCLOSED. (Make checks payable to
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 With

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I Robben Ford, “so that ment, shows Ford’s melodic approach. Bars 1 and 2 outline a
my ears would know what traditional blues line, while bar 3 enters into more jazzy territo¬
the note sounded like before ry by emphasizing the 9th in D minor (E) at the height of the
I played it. There’s no tech¬ run. He follows with a major-sounding blues lick, which ham¬
nique to that approach, other mers on to the major 3rd from the minor 3rd (F^ to F#). He nails
than to use the finger closest an just before the chords change to B minor where he
to the note I hear to play it.” changes positions.
Sounds basic enough, though the music that comes forth After the doublestop entrance at the pickup to bar 6, Ford
from Ford’s formidable digits is anything but simplistic. His pas¬ plays a repeated-note line that establishes the new tonal center,
sionate, heart-rending riffs are often punctuated by inspired B minor. In bar 7, he uses the open B string to get a loopy, wide-
passages of rippling jazz scales and fieet-fingered arpeggios. interval effect that creates an exciting sound. “To say that I’m
Yet there is also the sense that the governing force in all of using an open string is not really it—it’s more abusing,” Ford
Ford’s playing, with its wealth of variety, is taste. You’ll never says of the passage. “1 couldn’t tell you exactly what I played,
hear an extraneous note in a Ford phrase, nor a passage of because it’s just basically wrong, but somehow it works. It’s just
naked virtuosity for its own sake. “That’s because playing by ear some wild shit that sounds cool because it goes by so fast. It’s
has taught me about space/' says Ford. “I rely on my ear to get all attitude.”
me from one place to the next, rather on than my technique. The virtuosic passage doesn’t sound wrong at all—it
When you do that, you tend to hear more space, whereas other sounds in-the-pocket right, coming as it does after the
guitarists might fill the void with their technique. Often I would repeated gestures. It works because the cascade of pull-offs
have to invent technique real quick to play what my ear and wide-interval leaps provide the release to the build-up of
already heard. the stationary line. If Ford doesn’t intellectually admit to
“Tm a melodist,” Ford continues. “I like texture, variation in knowing how to create a dramatically brilliant phrase, then at
tone, nuance. That’s where my technique is, and that’s what you least we—and he too—can rely on his ears to take him there
find in the blues.” You can find examples of these three impor¬ automatically. One thing is certain, though: The phrase does
tant qualities in “Rugged Road,” the first cut from Ford’s have major attitude, g

1/2 1/2 Bm

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-15-T1-

GUITAR JUNE 1997 155

 EXPOSE YOURSELF
U nless you’ve been able to keep up a reg¬
ular guest spot on 90210 or convince a
ject—when a better choice comes along (better
not always meaning bigger). Thus, a buyout of
world-famous act that their North the options is unnecessary, which is one less
American tour needs an unsigned, unknown, cost that a purchasing label will want to
and seldom seen act from Boise to open for recoup from you. Another big advantage of
them, you probably fall into the category of acts the DIY release is income. Since you are paid
that need the attention of people who can help wholesale, you can make $6.50 to $7.00 for each
forward their career. unit sold, as opposed to collecting an artist
There is a glut of bands out there. Some are royalty and a capped mechanical royalty
more professionally savvy than others. If you are that under any condition would not be near
career minded—which does not connote selling the same amount you’d receive from your
out or compromising—you are trying to move distributor. Plus, as your own label you own the
your act to the next level, and there are several masters, so the album can’t be profitable for
paths you can take toward that goal. anyone else without you overseeing and approv¬
To start with, there is the traditional ing the deal. If you’ve written all the composi¬
approach that we covered here last month: tions, you control those publishing rights as
demoing and sending tapes to managers and/or well, which can contribute significantly to
attorneys to have them shop for you. You can future income.
also send material directly to A&R persons “It’s always a great idea [to release your own
whose label allows unsolicited tapes. And there CD],” says Karp, “but use common sense: think
have certainly been success stories with the lat¬ realistically what your goals are for the release.
ter approach. According to Joe Bosso, VP. of A&R Put your best songs first, bar code it, include
at Island Records, Island signees Local H spent contact numbers-These are all practical con¬
“a solid year demoing and then researching who siderations.” Island’s Bosso states it somewhat
they thought would like them at labels, includ¬ differently: “If you’re really ready, someone will
ing Island.” Likewise, Andy Karp, who handles find out about you. But putting out a record
A&R at Atlantic, tells us that the Atlantic band yourself is a good way of getting attention. It is
Muse researched who specifically might still a completely valid method.”
respond well to them at Atlantic. The indie route has had some advantages of
However, in the retail world where there are its own. Those small labels generally can sup¬
diminishing outlets and tough competition for port and promote an act at a higher level than
available shelf space, building interest in your your DIY budget may allow. Additionally, the
act even before a first indie- or major-label indies have in-house promotion or may be able
release can’t hurt you. The do-it-yourself (DIY) to hire indie PR and marketing people to push
label is a powerful tool in getting attention. your record at radio or at retail. With contacts
DIY puts you in the record business. It and a reputation already in place, they may
means recording, mastering, finalizing artwork, have better luck than you would calling a radio
pressing, manufacturing, and supporting your station and attempting to disguise your voice
product on your own dime. It may mean finding as a lunatic fan who must hear that song by
a small-territory distributor or placing a few your band Cheesecloth. It also beats your
hundred units with a more national distributor repeated attempts to show up at a major record
to work yourself into national-act status. Most stores demanding the album of the year, by
DIY’s begin working within the small-territory Cheesecloth, be ordered by the thousands.
area, since bandmembers most often have to As you can see, there are a few valid methods
keep their day jobs, impeding heavy touring. by which to get yourself some significant,
This is true even if touring is available as an widespread attention. Just don’t take too long
option. Working your territory and selling units to decide which path you’ll pursue, because
locally also increases your live-venue income as while you are deciding, someone else is already
a demand for one increases the other. With hard exposing themselves, g
work, this scenario eventually allows you to
focus more time on your musical career.
Putting out your own product through a dis¬ Ron Bienstock is a New York-based entertainment attorney with Horing,
Welikson & Bienstock, whose guitar clients have included Joe Satriani,
tributor has certain contractual advantages over Steve Morse,Tony MacAlpine.Vinnie Moore, Reb Beach, Al Pitrelli,Johnny
signing with indies. For one, you are not com¬ Rzeznik, Marty Friedman, Adrian Legg, Rob Balducci, Ira Seigal, and oth¬
ers. Address your questions to Ron care of Guitar, or e-mail him directly
mitted to label options—that is, you are not
at [email protected].
bound to a record company for your next pro¬

156 GUITAR JUNE 1997

 Arlen Roth’s Masters of the Telecaster
Book and Two CDs (GF9512CD) $34.95
Book and Cassette (GF9512AT) $34.95
Possibly no other instrument in history has had such a
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1 ' Telecaster history
|rl • Licks, solos and techniques of all the great
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Over 140 music examples, all contained on the included recordings
Hundreds of photos
Eight pages of color photos

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 m^GKABHM
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ua caoR WAPt wrw 36432311 Red & White Logo 33325 MINISTRY Flipped Scar 33037 GREEN DAY Insomniac 21533 OFFSPRING Group 32811 HOLE Photo Lollapalooza ‘95 Tour 16891 PANTERA Vulgar Display 92 Vip
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IAU1V NYLON tUTKlAL 33891 BUSH ITS Gavin Photo 19199 NAPALM DEATH Voodoo Doll 11170 PINK FLOYD Darkside Of The Moon
19259 IRON MAIDEN No Pra;
34776 IRON MAIDEN X-Factor 12217 JIMI HENDRIX Hall Of Fame 16981 PRIMUS Staff *92
21194 C. CORPSE The Bleeding 21405 NINE INCH NAILS Black Downward 14571 JIMI HENDRIX Burning Guitar 33366 PRIMUS Group In Penguin Suits 14968 RED HOT CHILI PEPPERS ‘91-’92
}8BAD RELIGION Cross 33338 NINE INCH NAILS The Becoming 12157 KISS Crazy Nights
M BIOHAZARD Band Photo 31097 DEICIDE Upon The Cross 11166 JIMI HENDRIX Live 32834 RAGE AGAINST MACHINE Live 12258 SEX PISTOLS Anarchy In The U.K.
32131 DOORS Morrison Motel 34411 NO DOUBT Flames Logo 12220 KISS Destroyer
ISBOBMARLEYLive 33256 JIM MORRISON American Poet 33531 R. A. MACHINE Woman Least Paid 12240 SLAYER World Sacrafice
36637 FEAR FACTORY Machines Of Hate 21523 OBITUARY World Demise 21801 RANCID Group In Car 14959 KISS The Return Of Kiss '79
18 C. CORPSE Bleeding 32998 ORANGE 9MM Driver Not Included 32258 KISS History Collage 14958 KISS Revenge World Tour “92 19097 SMASHING PUMPKINS '94 Tour
^DEICIDE Group Photo 18269FUGAZINotAFugazi 36259 KISS 2nd Comming 33515 R.H.C.PEPPERS Eating Melon
20517 GRATEFUL DEAO^ Bears 21876 PEARL JAM Two Headed Child 12180 LED ZEPPELIN U.S.1977 14092 STEVIE RAY VAUGHAN In Step Vip
M DOORS Portrait 13037 LED ZEPPELIN Individual Photos 36824 RUSTED ROOT Remember 16982 STONE TEMPLE PILOTS Core Tour
36436 GRAVITY KILLS Explosion 36444 PRESIDENT OF U.S.A. Mount Rainier 34764 SEPULTURA Bloody Roots 32813 LIVE'95 Tour Crew
58 F. FACTORY Demanufacture 32135 PRIMUS Toy Boat 15371 MADONNA Nude Pose 12307 LYNYRD SKYNYRD Tribute Tour 19091 VAN HALEN Right Here Right Now
32132 HOLE Swirl Logo 33260 MARILYN MANSON Group Shot 18511 SLAYER Nuclear Skull
261. MAIDEN Chained Eddie 33347 JIMI HENDRIX Experience 34353 RANCID Guy With Mohawk
25 IRON MAIDEN X-Factor 33596 SEPULTURA Bloody Roots 22012 MEGADETH Father Vic. 20421 SMASHING PUMPKINS Siamese
36153 KISS Faces In Logo Letters Tye Dye 34774 S. RAY VAUGHAN Playing Guitar
56 JIM MORRISON Jim Live 32974 LED ZEPPELIN X-Ray Icarus 32968 SKINNY PUPPY Rok Dog 13717 METALLICA 4 Faces
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24JIMI HENDRIX Sweet Angel
28 J. HENDRIX Experience
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22226 MACHINE HEAD Burn My Eyes
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53 LED ZEPPELIN Stairway 33333 TOOL Medicine Twins 14791 METALLICA Sad But True 33520TYPEO NEGATIVE Group
32133 MARILYN MANSON Blue Face
42 LED ZEPPELIN Swan Song 36790 MARILYN MANSON Lightning Logo 35827 TYPE 0 NEGATIVE October Rust 14576 MCTALLICA Stage Collage 34775 WHITE ZOMBIE Songs Of.
19L.0F AGONY Band Photo 35829TYPED NEGATIVEVinniand ...\l&
34777 MINISTRY AI& Pi Paul WiffiU.S Flag 34331!1 WHITE
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21444 MEGADETH Dr. Vic 33694 MACHINE HEAD Diamond Logo
32 M. HEAD Jesus Wept Stripe
33699 ALICE IN CHAINS Black/Logo 32669 MARILYN MANSON Black/Logo
74 MEGADETH Father Vic 36179 M. MANSON Striped Logo
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22 METALLICA Master Puppets fVOVClf PATCHES $5 wpomBi mt. u.i^. KCCKIACES^ BACK PATCNCS $T 33884 ANTHRAX Stomp 442
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35PANTERA Faces & flames 13552 AC/DC Fly On The Wall 15060 NIRVANA Happy Face 33689 DEICIDE Logo 36545 NIRVANA Blue & Gray Striped Logo
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29 PINK FLOYD The Wall 20434 AEROSMITH Get A Grip 32404 PANTERA Green/Lc
67 RANCID Out Come Wolves 22774 BIOHAZARD Kid W/ Gas Mask 20445 NIRVANA Nevermind 17299 AEROSMITH Wings 33705 FILTER Black/Logo
22776 DANZIG Skull With Cross 34802 OZZY OSBOURNE Face 14803 BEASTIE BOYS Logo 20432 A. IN CHAINS Rooster 32415 G. DEAD Nayy/Steal Your Face 33698 PRESIDENT OF f
17 SEPULTURA Band Photo 32902 BAD RELIGION Stranger Than Fiction
24 SEPULTURA Roots 13733 DOORS American Poet 22760 PANTERA Flame Logo Pot Leaf 21578 BIOHAZARD Loop 32664 GREEN DAY Black/Logo 32410 PRIMUS Navy/Logo
35942 GRAVITY KILLS Logo 18479 RAMONES Logo 14927 CANNIBAL CORPSE Logo 32904 BIOHAZARD Virus Of Hate 34832 HELMET Black/Logo 36546 RAMONES Blacldogo
38 S. PISTOLS God Save Queen 20435 DANZIG Thrall - Demonsweatlive 32412 RED HOT CHILI r“ ‘
i70 SLAYER Devine Intervention 13389 KISS Destroyer 34801 RANCID Out Come The Wolves 12672 DANZIG Skull 32409 HOLE Black/Logo
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20 T. 0 NEGATIVE Hammergear 21611 IRON MAIDEN A Real Dead One 33688 SEPULTURA Trite! S
13393 KISS Rock'N Roll Over 18477 R. A. MACHINE Man / Smoke 12644 DEF LEPPARD Logo 36178 KISS Red & Black Striped Logo
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Swan Song 13159 MEGADETH Killing Is My Business
SX 10 COLOR 21635 MEGADETH Vic Bones Chains 15020 SLAYER Crossed Swords
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12638 MEGADETH Logo
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13161 METALLICA Metel Up Your Ass
12981 METALLICA Alcoholica
PHOTOS $7.50 22756 METALLICA Hetfield Design 22763 S. TEMPLE PILOTS Logo 13800 METALLICA Sad But True
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14414 METALLICA Sad But True
BVTTOIfS H EACH
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155 AC/DC Angus 35943 WHITE ZOMBIE X Head Monste 36512 NINE INCH NAILS Broken ‘N' 21622 NIRVANA Kurt Cobain Portrait 12545 LED ZEPPEUN 55 Styles 21935 RANCID 5 Styli4es
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Brian Live 13559 MISFITS Skull
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PEPrti 25 Styles
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172 ALICE IN CHAINS Uyne Profile 22740 OBITUARY World Demise 14917 A. IILfHAIMS 10 Styles
196 BLACK CROWES Chris Closeup 22315 OBITUARY World Demise 19404 BEASTIE BOYS 10 ^les 13814 NIRVANA 13 Styles 12552 SEX PISTOLS 20 Styles
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22746 PANTERA Far Beyond Driven
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11194 DOORS Jim Morrison 21814 NIRVANA Kurt Cobain Memorial 32905 RAGE AGAINST MACHINE Rebei Nuns 12589 JIMI HENDRIX 30 Styles
r91 GREEN DAY Tre Playing Guitar 14493 R.H.CHILI PEPPERS Logo 21929 R. A. MACHINE 5 Styles 19428 TOOL 4 Style
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^85 HOLE Courtney Playing Guitar 33510 JIMI HENDRIX Portrait 14596 PINK FLOYD Dark Side 36073 KORN 4 Styles 12599 RAMONES 11 Styles 12555 VAN HALEN
TLEN 30 Styles
13959 SEPULTURA Tribal S 18487 RAMONES MondoBizarro
392 KISS Paul,Gene& Ace Saluting 14987 JIMI HENDRIX With Guitar 18050 PRIMUS Group 22742 SEPULTURA Chaos A.D.
110 L ZEPPELIN Original Zeppelin 22257 SLAYER Devine Intervention 22317 SLAYER Devine Intervention
11199 KISS Destroyer 14603 SOUNDGARDEN Badmotor 13619 SLAYER Crucified Skeleton
149 METALLICA Jim & Kirk Live 11202 KISS Faces With Makeup 33512 SOUNDGARDEN Logo
417 METALLICA Lars Live 20425 LED ZEPPELIN Four Faces . ^
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18981 TOOL Big Wrench
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148 METALLICA Jim Holding Guitar
152 MINISTRY Jorgensen & Baker 34375 311 Logo 16914 NIRVANA Happy Face
781N. INCH NAILS Trent Singing 11291 AC/DClogp 20904 NIRVANA Cto'67-‘94
783 N.l. NAILS Trent W/Leg Up BAdCBAU CAPS mmmD logos ^ plsig^js HOCKEY 7ERSCY0 155 14568 ALICE IN CHAINS Logo
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36586 NO DOUBT Logo
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183 PEARL JAM Eddie & Jeff Live ooQQo Q-111 nnn 11118 KISS LoQO 34751 PRES. OF U.S. Smiley ONE SiZf RTS AU. MAPt OUT OF NYION MESH 22603 BUSH Logo 21789 NOFX Logo
189 P. JAM Eddie Starring At Crowd AC/Dcl^ue Logo 2M22 KORN Logo 36108 RANCID Out Come Wolves 21000 BUnHOLE SURFERS Logo 22602 OASIS Logo
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213 PINK FLOYD Roger Closeup 14768 /Ke IN CMS Logo mU M jJaNSON God Of F**K 352« g-A. MACHINE Star
33681 BOB MARLEY Logo With Flag 35662 METALLICA Skull $89.50 14567 DANZIG Logo
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233 PRIMUS Les Clay Singing 33682 C. HILL Temple Of Boom 33676 M. VOODOO MACHINE 8 Ball
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253 R. A. MACHINE Zack With Mic 22189 BmHAWRD BroolSyn Logo 3^61 MfrAf-LICA Metallifijnkin 13738 15319 HELMET Logo
^"^909 BUSH M'A'S'H* 21988 NIRVAnA Happy Face 22531 SLAYER Silver Logo 336^ FW FACTORY Logo " 33669 OBITUARY Pile Of Skulls 20480 JIMI HENDRIX XLogo
I 14367 PRIMUS Logo
259RAMONES Group Live 34622 EVERCLEAR Star Logo SiTO NINE INCH NAILS Insect ]§501S. PUMPKINS HmiIL^ 33683 GRATEFUL DEAD [Sncing Bear 33668 SEPULTURA Tribal S 35557 RAMONES Logo
292 SEX PISTOLS Johnny Live 33678 GRATEFUL DEAD Steal Face 33680 WHITE ZOMBIE Monster Logo 11293 KISS Logo
& FACE TO FACE Name Logo ^ glN Further Down Coil J® l°T^PiFnT?i 35250 KISS Ace Solo Makeup 21788 RANCID Logo
1294 SOUNDGARDEN Chris Singing 33671 LIFE OF AGONY Logo'% 33679 WHITE ZOMBIE X-Head 35249 KISS Gene Solo Makeup 17913 R. AGAINST MACHINE Logo
1266 STEVIE RAY VAUGHAN Live 14560R.H.C. PEPPERS Logo
35251 KISS Paul Solo Makeup
1303 S.T. PILOTS Scott Singing 14564 SEPULTURA Logo
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11301 SLAYER Logo
34380 KORN Logo
34373 KMFDM Logo 17912 S. PUMPKINS Logo
FREE CATALOG// 36583 MARILYN MANSON Hat Logo 13776 SOUNDGARDEN Logo
decal magic $5 COLOR OTICKERO $2 WlTW OVER 10,000 22488 MARILYN MANSON Logo 17490 S. TEMPLE PILOTS Logo
17910 TOOL Logo
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STATK OING E." X f WINDOW DKAIS WITH GIOWING COUKS 17965 PANTERA Photo PIFFERENTT ITEAAS 13226 METALLICA Splash Logo 34381 TYPE 0 NEGATIVE Logo
33423 311 Logo 34804 WHITE ZOMBIE Monster
14983 ALICE IN CHAINS LogG 16624 PEARL JAM Stick Figure 20999 MISFITS Skull
r369 AC/DC Back In Black 18370 LED ZEPPELIN SwanSong 18374 P. FLOYD Screaming Head
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1945 G. DEAD Spiral Bears 16758 METALLICA Puppets
13890 METALLICA Sad But True
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21803 RANCID Mohawk
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7376 IRON MAIDEN High 14478 NIRVANA Never Mind 13880 SLAYER Crucified Skeleton 22288 METALLICA Flaming Skull
3^ NIN Bronze Logo '
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OSEP TO PROMOTE THE PANPS. CONTAINS WO,PRESS RaESES. PHOTO $ PACKSTAGE PASS
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^ 32830 WHITE ZOMBIE Monster
17287 AJNCHAJNS;92 History,Photo ^496 M. JWNSON ■ “Jdren 17486 PRIMUS '93 Pork Soda Bio, Photo
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33087 BEASTIE BOYS III Communication 35874 M. MANSON Smells
35281 BUSH Sixteen Stone,Bio,Photo 35288 MEGADETH Youthanasia 36490 R. A. MACHINE Time Line
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All OVER PRIKT TECS $21 8X10 PROMO TOWPNOTO 22573 GREEN DAY History,Bio,Photo 20547 NIRVANA Historical Bio 12797 SLAYER South If Heaven
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0563 AEROSMITH Face To Face
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28054 L. ZEPPELIN Wheatfield W/Blimp
28189 LYNYRD SKYNYRD Devil OSBP TO PROI^Tl PANPS CONTAINS Ifc FOU CaOR PHOTOS 13075 LED ZEPPELIN'69 Bio,Photo 19167 PEARL JAM '93 Vs. With itinerary 17488 S. TEMPLE PILOTS'92 Core
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8058 DEICIDE Upon The Cross
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22528 MEGADETH Megamachine
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VKYRARt 12798 L. SKYNYRD Bio,Photo,Legend 22498 P. FLOYD Division Bell Bio,Photo
20002 A. IN CHAINS 20664 NIRVANA
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5239 JERRY GARCIA A Bowl Of Jerry’s 34333 PINK FLOYD Wall Gas Mask 35276 FILTER Group Sitting On Step 17609 KISS New 31374 S.T. PILOTS 22392 KISS Group With Makeup 21858 NIRVANA Smile Face Logo 21854 R. A. MACHINE Text Logo
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6341 JIMI HENDRIX Photo Collage 22506 GREEN DAY Group By Toilet 17613 METALLICA 31373 VAN HALEN __
21855 DANZIG Logo/Skull .HLYN
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DAY DookiLl. _ 21859 METALUCA Splash Logo
3905 JIMI HENDRIX Jumbo Photo
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3540 LED ZEPPELIN Faces 36239 KISS ‘96 Group On Scaffolding
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11946 METALLICA 4 Pictures 35155 DOORS Rife...Storm 35163 KISS Logo/Photo 35150 LED ZEPPELIN Zoso 35160 WHITE ZOMBIE Route 666
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 finger bone’s connected
to the gwar Bone.

to the comp
com

and ,thafshow
youleamlD
play guitar.
G-VOX will challenge you with skill building
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G-yOX IS available at Fender dealers everywhere. Works with most electric & acousti
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F or years Lexicon has been known
for creating processors that have
had “serious” applications, such
as studio-quality reverbs, delays, and
other post-production boxes. Then,
just recently, they began releasing fun,
avant-garde effects (the Vortex, the
■ Equipment Reviews ■ Recording Guitarist
Jam Man) designed for the lower end
Lexicon MPX 1, Optek SmartLIGHT, Self-Reliance
of the market. Now comes a multief¬
Fender Frontman, Rainsons Dreadnought
■ f/x
fects processor that has the ease and
familiarity of Lexicon’s lower-priced
units coupled with the high-end power ■ Tech Head The Wallflowers’ "One Headllsht”
Gear Trends for '97
■ Rigs
and quality of their “studio” units, like
Ritchie Blackmore
the PCM80 and PCM90.
Enter the MPX1, an effects ■ Guitar Picks
processor that, for a street price of Checking Out New Products ■ Pro Talk Dan Erlev^ine
around a grand, gives you versatile
signal routing and deep parameter
editing in an easy-to-use front-panel
interface, a full complement of hard¬
ware connectibility options (including
a digital interface!), and the gorgeous
reverb and chorus quality that comes
from Lexicon engineering.
five different parameter settings at dif¬
ferent rates in a given program or can
LeMicon MPX 1
What It Is and Isn’t “morph” between two effects. There
are knobs for Bypass, Mix, and Patch,
Multieffects Processor
Though it has no front-end guitar-
distortion circuitry, the MPX 1 does an Options knob (which reveals para¬ for Guitar or Studio
have lush and complex time-based meters you may want to have access
effects (reverb, chorus, delay, etc.), to). Edit and
EQ, phase shifter and rotary effects, Store knobs, and
and incredible routing configurability. more. The effect
You could very well employ the MPX 1 buttons not only
via your preamp’s F/X loop, as a sub¬ light on and off, they
sequent processor to say, a DigiTech blink at different rates,
2112 or other multieffects processor, depending on their edit status. There’s
at least a hundred user-programmable tweak the sounds, because the “soft
or as the last effect in your chain for even a “soft row” of editable parame¬
locations with a reset switch (or key row” assignments put the most im¬
the onboard digital I/O port which ters in Program mode that allows you
combination) that would recall the fac¬ portant parameters right up front. The
allows you to convert any sound to edit the most obvious settings with¬
tory programs. searchable/sortable database also falls
you’ve created to a digital signal for out having to enter the Edit mode.
The only major drawback of the into the ease-of-use category. The
direct-to-digital input into your DAT, These parameters change from pro¬
MPX 1 is that it runs out of processing routing map lets you see just how
MDM, or hard disk recorder. Con¬ gram to program (thus the term
power rather quickly. Though it’s pos¬ your signal chain is constructed, and
versely, you can come out of any digi¬ “soft”). Very slick.
sible to have up to five effects simulta¬ the A/B switch is useful in toggling be¬
tal machine, process the signal and go Features, Features
neously, realistically, the number is tween alternate versions of the same
back (or to another device) digitally. One hip feature of the MPX 1 is
lower. The reason is that if you have a effect (such as open-back and closed-
The MPX 1 functions as a recording that it allows you to reorder any effect
program requiring any degree of pro¬ back cabinet simulation) and morph¬
device (as an additional processor in the chain, to designate a feedback
cessing intensity—such as a stereo ing. All this editing power wouldn’t
accessed by a mixer’s aux sends or loop, or to create any mono-to-stereo
pitch shifter—^you don’t have enough mean squat, though, if the quality
direct outputs) as well as an in-line scheme you desire, including the abili¬
power left over to add, say, three wasn’t there. To that end, the MPX 1
performance processor. ty to use the two lines independently
effects plus a stereo delay with a 500 is simply the best sounding box out
Power Editing to process separate inputs. The dis¬
millisecond delay time. There’s no way there for reverb and other time-based
One of the MPX 1 ’s biggest selling play gives you a graphic representa¬
to tell when you’ll go too far, except by effects, and the routing flexibility
features is the front-panel editing tion of this, so it’s quite intuitive.
trial and error. The MPX 1 has no allows you to create some highly origi¬
interface. Despite its one-rack-space Programs on the MPX 1 are
“memory available” indicator or other nal and stunning effects (as many of
size, the unit provides plenty of display sortable by different criteria, such as
guide to warn you when the processor the presets prove). Unless you abso¬
and tweakable hardware. Each effect name, type, and number. What’s
will post the “sold out” sign. On the lutely have to have five full-bore effects
type has its own lighted button, so that great about this system is it not only
plus side, the most important effect of at once or are seeking a distortion box
when you dial up a preset, the appro¬ allows you to view your programs in
all, reverb, is handled by a dedicated inside your multieffects processor, you
priate effect buttons light up. Pushing several organizational schemes, but
processor, which is unaffected by the can’t beat this Lexicon unit for func¬
a lit button turns off the light as well as you can search ior programs as well.
It’s a miniature database that gives other effects’ requirements. No matter tionality or quality. m
the effect. Simple enough. But there
you easy access to any of the what wacky programs you set up,
are additional buttons and functions
onboard 250 programs. you’ll always have the full power of
that give the front panel a lot of power
While the MPX 1 is designed as a Lexicon’s reverb algorithms.
for parameter control without ever
multipurpose unit capable of handling Conclusion
descending into a menu. For example,
any signal that requires processing, it The best thing about the MPX 1 is
there’s a dedicated Tap button that
seems especially suited to guitar how quickly and easily you can edit
allows you set any tempo-based effect
effects. This is encouraging, as 200 of and program the parameters. The pro¬
by hitting it in time to the music (you
the 250 memory locations are read¬ grams are well written, and often you’ll
can also assign this function to a foot
only, though I would rather have seen never have to leave Program mode to
pedal). An A/B switch accesses up to
GUITAR JUNE 1997 161
 Optek’s SmartLIGHT Guitar
The Way to Better Visualization
f hen Optek exactly something you can do on the ed fretboard. If you’re comfortable
released the flyatJ=220. with this concept to learning notes,
original Fretlight So with their second generation, you can find many uses for this
guitar, they were attempt¬ the SmartLIGHT, Optek made sure to unique system. For example, seeing
ing to help guitarists in address that shortcoming with a the notes of a given scale all at once
their age-old quest to bet¬ computer interface that now allows helps greatly with intervallic playing.
ter visualize the notes of any guitarist with a Mac or Windows You can leap around the fretboard,
scales and chords on the PC to hook his guitar up to the com¬ playing out of position without wor¬
guitar fretboard. Optek’s puter. Optek’s G-Man software allows rying about hitting wrong notes. As a previous, somewhat static system.
solution was to provide a you to compose and play back user- teaching tool it’s valuable, because Other than tilting the guitar up or
guitar that was in all defined sequences (using standard you can show “potentialities” visually moving my head to avoid parallax
ways conventional, ex¬ musical language of quarter notes, with the lights. error when matching LED’s to
cept that it had LED’s half notes, and measures) that There is a slight ergonomic prob¬ strings, the system works as adver¬
(light-emitting change the LED patterns for you as lem when playing the SmartLIGHT tised. Players eventually have to go
diodes) you jam along in time to a click track. Guitar (which comes in four Tele¬ lightless, like all the greats from
imbedded in The software also enables you to cre¬ style models): You have to move Segovia to Cobain have done when
the finger¬ ate your own scales and chords, save your head over the fretboard, or tilt creating their music, and it’s a matter
board. These them to a library, and have them be the guitar up to see all of the lamps of individual case as to when the
lamps light up part of the sequence. For those of accurately. It’s not a major lights go from being instructive to
at the appro¬ you without computers, Optek has adjustment, but over time, it could being a crutch. But those are issues
priate string retained the original Fretlight concept prove to be a strain (as a about the SmartLIGHT philosophy,
and fret as well by taking the circuitry and workaround, you could play in front not their technology. Whatever your
location for selector knobs off the guitar and of a mirror). Optek gives you the preconceptions are, get one in your
any chord, putting them in a box (the Fretlight choice of having the chord or scale’s hands before you dismiss or
note, or PLUS Connection kit). While they root blink, but the blinking rate is not embrace the technology. It’s definitely
scale. You were at it, they added some features. fast enough to allow your peripheral a new experience in fretboard
choose a A supplied footswitch turns the lights vision to target a note with any musi¬ visualization. ^
scale or chord of any off and on, to help in memorizing cal usefulness.
SPEC SHEET
type (via three onboard knobs that the patterns. The software is simple and intu¬
select root, function and quality), like, So Optek has covered their bases Price: Guitar: $479.95
itive for creating sequences. You can
PC/Mac Connection Kit: $199.95
say, a scale, and voil^aW the well. They’ve made the guitar (now a even import MIDI files, which the Fretlight PLUS Connection Kit: $249.95
notes belonging to that scale or Tele-style model) compatible with program analyzes for pitch content
chord light up instantly and simulta¬ either the SmartLIGHT system (com¬ and then maps to the guitar neck. OPTEK MUSIC SYSTEMS, INC.
neously over the entire fretboard puter inftfface plus software allowing Hopefully, future upgrades will in¬ P.O. Box 90485
(including open stings. Great con¬ Raleigh, NC
for real-time changes) or the original, clude the ability to sync to a MIDI
800-833-8306
cept, except that to change scales non-computer configuration of the clock, which would allow you to play fax: 919-954-8389
(like to the resolution of that BIj71?9, Fretlight (now in a box, with improve¬ against real music, not just a click optekmusic.com
E[>m), you had to redial two knobs ments). What remains unchanged is www.optekmusic.com
track. This upgrade with real-time
while peering at the settings. Not the heart of the unit itself—the light¬ changing is an improvement over the

RainSong Dreadnought
strumming In The Rain by Michael Ross

>
\ 0 you are a singer/songwriter playing your first big
outdoor festival. The next thing you know, the
heavens open up and raindrops the size of mar¬
has popularized graphite necks and Ovation has had success with
man-made bodies, but RainSong offers the first acoustic guitar
that is devoid of any wood (except for the ebony machine heads).
bles are soaking you and your 1954 D-18. The audi¬ With the help of luthier Lorenzo Pimentel, Decker has designed an
ence is game to keep going. Do you; a) punk out impressive line of instruments including classical, flamenco,
and race to the dressing room trailer, or b) con¬ steel-string, archtop and bass models.
\\ ■ .
tinue playing and kiss off your guitar? The dreadnought we tested seemed born for the stage, with its
Well, thanks to Dr. John Decker & Co., there is striking black finish and abaione inlay work. The topless hula girl
another option. Decker has developed an all¬ on the headstock and the leaping dolphin at the 12th fret are prime
graphite acoustic instrument that is impervious video material (the hula girl is available in a PG-13 version with a
to changes caused by time or weather. Modulous lei covering her assets). The graphite and Kevlar (another synthet-

162 GUITAR JUNE 1997

 by Pete Prown

Fender Frentman 15G

A Uttle Amp With A Big Attitude
A h, memories. My first amp 20 years ago
was a tiny transistor combo with three
tortion with a shiny, brittle edge, but
you’ve got to marvel at the sustain
here, which is where old tranny-dis-
knobs (volume, bass, treble), one channel,
tortion circuits always failed. Push
one 8" speaker, and about a halt a watt of power. It
the Gain to three o’clock and you’ll be
had the coldest, most brittle tone imaginable.
greeted by a surprisingly meaty wall
Needless to say, my guitar tone blew. Rocket sci¬
of crunch, replete with tons of har¬
entist I was at the time, I soon plugged a Electro-
monics for you edge-of-the-pick
Harmonix Muff Fuzz into the amp’s input jack and
squealers. To combat any fuzzbox
then strapped on my extra-cheesy (and thankfully
rasp, knock that Treble knob back and
soon discontinued) Gibson Marauder to complete
you’ll get a distortion sound that will
the rig. At that point, my tone blew worse. What’s
both impress your friends and annoy
the point of this misty reverie? For a long time,
the crap out of your parents. (That’s
practice amps stunk, big time. Bad sound, no dis¬
the whole point, right?) The manual
tortion, and ugly cosmetics all added up to some
also provides a neck-position Strat
younger players having bad-first-amp nightmares
setting a la SRV that works very well
for years—myself included.
for a 15-watter. The headphone jack
Fender, however, is rectifying that situation
works satisfactorily, though you
with their new Frontman series, which is con¬
should note that the tone will be fatter
structed in the company’s plant in Esenada,
on real stereo phones versus those
Mexico. The line ranges from the non-reverb 15G
Walkman-type units. Again, it’s just
that we’re reviewing here to two reverb models
about 12 o’clock on the Volume knob. This means a matter of physics.
(15-watt and 25-watt) and a bass amp. The perks
you get a solid clean tone that doesn’t break up In sum, the Frontman 15G is a fun little amp. I
right off the bat are the slick, black Tolex/metal
when you whack the strings real hard, depending, of think the combination of price, features, and that
grille cosmetics, two channels, and prices to beat
course, on the output of your guitar’s pickups: sin¬ chunky Gain channel will make this unit a popular
the band. But enough gratuitous commentary.
gle-coils will stay cleaner than, say, “distortion” practice amp. Considering what starter amps
Let’s see if the 15G is any more dreamy than my
humbuckers. It’s reasonably fat considering the sounded like when I was a novice, this is the kind
micro-amp nightmare of 20 years ago.
amp’s diminutive size, and should be fine for begin¬ of gear that will make us old geezers smile, and
For about a hundred clams, the Frontman 15G
ners or folks who plug in their own favorite fuzzbox. newer players
gives you a pair of non-footswitchable channels
(I use the term “reasonably” because we’re talking roar with
with independent master volumes, a Gain control
about a small practice amp, not a larger, higher-end authority.
on the Drive Channel, a three-band EQ (bass, tre¬
unit which should be expected to produce a better- “Fley Mom,
ble, midrange), a headphone jack, one 8" speaker
quality clean tone. So, for $100 worth of amp, I’m can me and
(with two tiny ports in the cabinet, presumably to
not complaining—just pointing out the reality of ^ my buddies
add a wee bit more bass), and an output jack to
amp physics.) jam in the
hook up an 8-ohm extension cabinet. There’s also
The Frontman really becomes fun over in the garage?
a five-year transferable warranty for you con¬
Drive channel. A long way from that first amp, the We’ll keep it
sumer-minded folks.
15G packs an impressive wallop of crunch when down...
So howzit sound, you ask? Pretty good, actual¬
ly. The Clean channel has decent headroom up to you punch up the gain. Sure, it’s still solid-state dis¬ promise!" g

unusual. No neck block or end-pin block is neces¬ Don’t expect the Rainsong to provide the tone
ic material) top exhibited a woodlike grain, com¬
sary, but there was a slight bulge to reinforce the of a vintage Martin, Gibson or Guild. But those
plete with faux flame and bird’s-eyes. The good
end-pin jack of the Fishman Axis+ pickup system guitars can be finicky travel companions, where¬
news is that the wood resemblance extends to the
sound. Rather than the perfectly even but cold in our unit. Instead of a typical X-bracing, the as this instrument
response one usually associates with graphite, dreadnought sports two sets of parallel braces; offers consistency of
the RainSong dreadnought resonated to a specific one set across each side of the soundhole and playability and tone.
If you are in the [Price: $3,500
frequency (in this case, F) just like a wood guitar. one set diagonally across the lower bout. Our
The volume from string to string was similar, but guitar played perfectly right out of the case (all market for an eye¬ RAINSONG
the slight inconsistencies from note to note instruments come tuned to pitch). The medium- catching, durable 300 Ohukai Road, C-14

helped give the instrument personality. The bass gauge strings allowed some serious pounding instrument that can Kihei, HI 96753
cut through a band 808-879-0434
strings had that huge piano quality often found in without buzz; which is good because the guitar fox: 808-879-4261
graphite instruments—think Steinberger—and seemed to sound better when played harder. or a busy mix, check [email protected]
the high-end leans more toward cutting than Plugged in, the sound opened even more, giving out the RainSong. i http://rain5ong.com
added support to the concept that this is a great And you can play it
warm.
As you might expect, the bracing system is stage instrument. in the rain, m

GUITAR JUNE 1997 163

 Pro 212s, a MIDI-programmable combo with
a big onboard effects processor to create end¬
less combinations of digital and analog
sounds. From TransTube mega-crunch to lay¬
ered effects, this wild Peavey unit is clearly
not the same old thing. So as you can tell, dig¬
ital amps are back in business as of 1997, and
you owe it to yourself to check out these new
technological wonders.
There are also a spate of new practice
amps on the market, many of which combine
super-low price tags with a surprising
amount of overdrive punch. Such is the case
with Fender’s new Frontman series. Park’s G-
Series by Marshall, and DOD’s I.T. line, which
includes various models with potent over¬
drive, distortion, and chorus effects, just like
their famed stompboxes. One can’t forget the
acoustic-amp arena, either. Long known for
their concrete-melting electric guitar amps,
Rivera has just introduced the Sedona, a cool
tube amp that offers both state-of-the-art ^

T
acoustic and electric sound—all from one \
unit. Trace Elliot, meanwhile, is exploring the \
o musicians and folks in the MI (musical instmment) biz, the words “new affordable range with their $399 TA30R, a \
year” also inevitably bring to mind “new gear.” Each January, players, retail¬ small acoustic-electric combo that has both a \
ers, manufacturers, and a few fans all moke their annual pilgrimage to notch filter (for controlling feedback) and !
Anaheim, California, for the humongous Winter NAMM show, where members of reverb. But whether you check out these or \
the Notional Association of Music Merchants display their latest wares for music the acoustic amps from Fishman, Marshall, I
store owners from around the world. If you’re into new gear, this is where it all Crate, Laney, Peavey, Roland, or whomever, i
begins. 1997’s show revealed a number of inviting trends in guitar equipment, all of just make sure you do it soon. If you’ve just
which you os a player should be aware of. Here ore just a few samples of what’s bought yourself an acoustic-electric guitar,
heading your way. If you wont to check out the whole gear enchilada for ’97, head don’t even think of plugging it into your elec¬
over to your local music store and prepare to do some serious tweaking. tric-guitar amp, unless, of course, you really
like a muddy tone. This new wave of acoustic
amps is the only way to go for “unplugged”
AMPS the different sounds you have available— players, short of plugging into that PA you
In many people’s minds, the hottest area from Vox, Fender, and Marshall amps to a have sitting around.
of gear today is amplifiers. Every company variety of speaker cabinets, and even a few of Don’t worry, tube fans—the 100 percent
seems to be making them, and many are your favorite stompboxes. All of these sounds tube-fueled amplifier is still alive and well. If
coming up with new and clever innovations have been digitally “modeled” by the software you’re hungry for the fat, warm tones of
for the modern player. One interesting area is within the amp, and are available to you at tubes, there are plenty of new amps out there
the concept of the “digital” amp. Digital the touch of a button. Clearly, this is new to from Mesa/Boogie, Matchless, Fender,
sound for guitarists got bashed in the early amplifiers (though you can see modeling Marshall, Garvin, Crate, Ampeg, Peavey,
’90s for being too thin and cold-sounding, similarities with Roland’s VG-8 guitar emula¬ Soldano, Egnater, Wizard, Bogner, Kendrick,
especially when trying to emulate overdrive tor system, introduced two years ago). Top Hat, Blue’s Pearl, and rest of ’em. No
and distortion tones. But today, the “electron¬ Other digital amps include Yamaha’s question, tube amps are still alive and well.
ic amp” seems to be making a rebound. For DGIOOO, a dedicated guitar preamp that
starters there’s the Line 6 AxSys 212, which derives its potent crunch tones completely in GUITARS
aims to faithfully replicate the sounds of the digital realm. Just hook it up to a good There are some interesting trends in elec¬
many famous amps and effects—all you have power amp and cabinet, and you’ll be in tric guitar, most of them continuations of
to do is plug in your guitar. A menu lists all business, with lots of presets and user-pro¬ recent movements. The “signature guitar” fad

164 GUITAR JUNE 1997

 ■U^TMNIAC
is showing no signs of slowing down—wit¬ Box (using real tape echo!), and Rocktron’s
sustainers
ness the introduction of the long-awaited Banshee voice box. A little Frampton, any¬
GA-5 SERIES
Jimi Hendrix Stratocaster from Fender. one? There’s even a gizmo called the Batman, sustainer for
Peavey’s EVH Wolfgang (with a nifty drop-D from Rocket Amps, that you can plug your STRAT-STYLE guitars
tuner on tremolo models) is finally showing AC-adapter effects into and then simulate • Adds amazing sustain
effects to guitars
up in stores, while other new celebrity axes the electric tone of your favorite 9-volt bat¬
• Easy installation into
include the ESP James Hetfield Model, teries. This one’s for you, Eric “Mr. Duracell”
most "Straf-style
Garvin’s Allan Holdsworth, Modulus’ Flea Johnson. guitars
Bass, Washburn’s P-1 (for Nuno), Cort’s LCS-1 There has also been a reappearance of the • Works with most
(for Larry Coryell), Fender’s Limited Edition guitar synthesizer. Just when some pundits pickup types

had declared this gear species extinct, it’s • Natural overtones

Ritchie Blackmore Strat and Noel Redding
• Preserves "Strat"
Jazz Bass, Epiphone’s BaxterMaster (for Jeff come back to life with surprising vigor. There
appearance
“Skunk” Baxter), Gibson’s Joe Perry and Ace are new modular units from Yamaha (the G-
Frehley Les Pauls (sorry, the pickups on the 50) and Axon, as well as the extremely
Ace guitar don’t spew smoke), and a fresh
Ibanez Pat Metheny hollow-body, the PM 100.
And for acoustics, dig Martin’s Paul Simon
affordable GR-30 from Roland. With its
impressive array of new sounds and effects
(including an arpeggiator), further appealing
Handi-Jack”
Musical Instrument Battery Charger
guitar, and Taylor’s Leo Kottke 12-string with its very low price, the GR-30 promises to STOP BUYING
(LKSM) and Dan Crary six-string (DCSM) lure many guitarists into the seductive world BATTERIES I!
Signature Models. Another cool item in the of guitar synthesizers. Charge our 9.6
acoustic world appears on Ovation’s 1997 volt battery in
PICKUPS your instrument
Collector’s Edition; instead of the typical
through the
onboard volume knob, this slim-bodied gui¬ For starters, lots of folks are making a big
output jack.
tar has touch-sensitive bumps on the upper push in the bass and piezo-acoustic area.
• Convenient
bout that change the volume as you slide There’s no doubt about that. But the biggest
• Easy to install
your finger across each ridge. Beam me up, twinge I’m sensing in my gut is that the pure
• Tiny size
dude. single-coil sound isn’t as hot as it was a few
• Non-polluting
There are also fresh goings-on in the years ago. The trend seems to be moving
Maniac Music, Inc. Dept. GM 6-97
acoustic-electric area, specifically in the back toward full humbuckers, as well as sin¬ 8230 Meadowbrook Dr. Indianapolis, IN 46240
combination of piezo-acoustic pickups on gle-coil-sized ’buckers that fit nicely into Phone: (317)259-8295 email: [email protected]
We're Back!
solid-body and semi-solid guitars. The Parker Strat- and Tele-style guitars without routing.
Fly appeared with several new models (all Two years ago, it was cool to have the 60-
using Fishman piezo pickups), including the cycle hum of a real single-coil coming out of
affordable Nitefly, and Godin also has a few your amp. But today, I get the feeling that it IT’S HERE! The New
new winners, such as the ACS nylon-string has started to get on some players’ nerves. GALAXY GUITAR RACK SYSTEM
solid-body and A6 steel-string semi-acoustic. After all, this is the so-called Information Age, Holds 7 guitars or basses
for the stage, studio, or home.
Godin’s LGX-SA and three Brian Moore solid- an era of high-tech wizardry a la the Internet,
home computers, and satellite TV Why, then,
MODERN DESIGN. Packs up into
bodies (MC/1, C-90, and C-55) are now avail¬
flight case. Available in white, black or
able in a “triple-platform” format, which is would you want your guitar to hum like an
blue. Also available, Galaxy Guitar or Bass
the ability to jump from electric to acoustic old toaster? Granted, there will always be a
Pro Series or ATA (3ases.
to guitar synth/MIDI at the flick of a switch. If sect of players who remain devoted to the
you really want to venture into the future, pure sound of single-coils, but again, I think
these guitars are helping pave the way. that the sound of electronic “silence” is com¬
ing back. Am I alone?
EFFECTS
The trend in effects seems to be, simply, IS RETRO DEAD?
more sounds/fewer buttons. There’s a huge If you walked around NAMM for a few
movement away from the cursors and menus days and didn’t collapse from exhaustion or
that have dominated guitar effects for the last blistered feet, you might get the impression
decade, largely because guitarists just don’t that the “retro thing” isn’t as hot as it was
like them. The industry has finally realized even a year ago. My feeling is that it’s still a
that guitar players are not keyboard players, force to be reckoned with, even though man¬
TO ORDER CALL TOLL FREE 1-888-77GUITAR
and therefore aren’t enchanted with thick ufacturers are dabbling with new concepts,
OR FAX: (516) 678-9176 OR,
manuals and long programming tasks (let such as the aforementioned digital amps and
Send check or money order for $395.00 -f- $19.95
alone Rick Wakeman’s solo albums). guitar synths. Still in the retro game in a big (for shipping and handling to your door)
Guitarists don’t want to push buttons—they way are, obviously, Gibson and Fender (with To: Galaxy Guitar Products U.S.A. Inc.
want that new sound now. the latter’s Squier Super Sonic and Venus 100 Daly Blvd., Unit 1702
Look at the new pedals, floor units, and axes), along with Fernandes (notably, the Oceanside, NY 11572
Native and H-Series slabs), Tom Anderson NY residents add 8.5% sales tax. Allow
rack gear from just about anyone—Rocktron,
3 weeks for delivery. Rush service available.
Lexicon, Roland, DigiTech, Yamaha, Peavey, guitars, G&L, Gretsch, Hamer, Guild, and Visa & Master Card accepted. Patent Pending.
DOD, Zoom—and you’ll find these manufac¬ innumerable stompbox and boutique amp
turers replacing those pesky cursors with makers. So if you’re gear-heart lies in the
more familiar knobs and a more accessible
interface overall. About time, eh? There’s lots
past, don’t worry: Retro isn’t history yet. But
we may have crested the vintage-gear hill wi;wmno.u,K.
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Danelectro stompboxes, the Matchless Echo ment roads that are truly uncharted.
Dealer Inquiries Welcomed
 c SAFE AND SOUND
Furman PlugLock
($58)

Picks The PlugLock is

an AC outlet strip
with an adjustable
forked clamp
over each sock¬
et. The
clamps
lock up to
OPEN AND SHUT CASE five “wall
wart” transform¬
SKB-56 ers in place, keeping them from falling out in transit or in the middle of a
Les Pcnil gig. The forks also make it possible to lock ordinary plugs in place. The
Case ($132.95) PlugLock is rated at 15 amps, comes with a heavy-duty 5-foot, 14-gauge,
In keeping with their commitment 3-conductor cord, and is circuit-breaker protected. More power to you.
to continually improve their cases, FURMAN SOUND INC. 1997 S. McDowell Blvd., Petaluma, CA 94954-6919
SKB has introduced a redesigned Les 707-763-1010 fax: 707-763-1310 e-mail: [email protected], website:
http://WWW. furmansound. co
Paul case. The new 56 features a
sleek countoured look and an archtop
design for added strength and
protection. The shock-absorbent, d
plush-lined foam interior has K NDT JDST A PHASE
been engineered to fit most after- ^
market versions of the Paul, and ADA Final Phase
fits both right- and left-handed Pedal ($249.95)
models. It’s easy to make a case
ADA has recently released a reis¬
for it.
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a differential bi-polar driver. Connect the Banshee in
power amp. It yields line with your pedals, hook
about 7 watts into a the tube to the mic stand,
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(pre-master volume) guitar’s notes with your
which can be used for an mouth. The preamp section
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processor or power amp. You know what they say: It’s not the size that and Gain. This box gives a whole new meaning to
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GUITAR JUNE 1997 167
 Becoming Self-Reliant
L ast month we talked about getting that clean country sound:
bright, tight, and spanky. This month. I’ll detail just what can
ly change whatever element I wanted, because I owned the board
(and the room) as well as the guitar gear. Not enough highs? Just
happen to your sound—or any sound—when it’s set up in turn a board knob to get back some sizzle. Too much trouble to
isolation and brought out into the real world. I’ll also relate bend over the stompbox or enter the multieffect’s edit menu. Well, I
some warnings about using gear in your own studio versus don’t do that anymore. I realized that while my guitar gear traveled
someone else’s.
with me, my board did not. And every board has its own character,
First of all. I’ve discovered that as a recording guitarist, you’re especially with regard to EQ. Even if you nominally dial in the same
expected to have your sound together effects-wise. That may seem parameters on another board, you can never be guaranteed
the same sound.
After I had recorded all the tracks for my
country riffs book and CD project (discussed in
detail last month), I decided to mix at my
friend’s studio. I did this for two reasons. One,
he had better gear than I did. We’d use his near-
field monitors, his reverb, his compressor. The
second reason was that I wanted to use not
only my friend’s gear but his ears. I trust him
implicitly anyway, but especially with regard
to my own stuff where I’ve (by now) lost all
objectivity. I always worry about creating
something from start to finish in a vacuum. I
was pretty sure I had recorded everything so
that with the faders at zero, the EQ flat, and a
touch of ambient reverb sitting on top, I would
be 95 percent there.
Boy, was I wrong. To my horror, the lead on
the first cut—a medium tempo ballad with lots
of bends—was out of time. Out of time! I was
extremely embarrassed, to say the least.
Because I had my gear with me, my friend said,
“No biggie, just set up and re-record it. I’ll run
the board and we’ll have it done in a jiffy.”
Trouble was, we couldn’t match my sound to
the tone in cut #2. We even matched the EQ on
Any TGcording signal chain should includ© th© mixor, bGcaus© th© mic pr©’s his board to what I had on mine, but it didn’t
and onboard EQ shap© your signal’s character as much as any other effect. work because my friend’s board (being a better
one) had a subtler EQ effect, and no attempt
we made could nail the original. We decided
obvious for things like distortion and hangers, but not so obvious there was something “extra” going on in my board’s EQ and pre¬
for things like EQ and reverb. Many engineers will tell you to leave amp that gave my sound a “sizzle.” Because I had employed the one
off your crappy-sounding reverb because they’ve got a much better “effect” that I didn’t bring—my mixing board—we couldn’t match
one, and besides, they don’t want to “print” with effects. That’s legit¬ the lead sound. I began to despair.
imate, except if you’ve tailored a reverb to be an integral part of your We ended up solving the problem by having me run home,
sound. Then it’s necessary to have a discussion with the engineer to
unhook my board, and bring it back to the studio. It worked. We
make sure you understand each other.
joked around about how I should put the mixer in my stompbox
EQ is an even dicier situation because engineers don’t usually chain and bring it to club dates with tiny stages. This was not so
see it as an effect, but as a means to correct deficiencies in the absurd as it first seemed, though, when we realized that many gui¬
instrument itself, or to better highlight a signal in the mix. If you tarists—including Eric Johnson, who works with an old Neve con¬
start telling the engineer how to set the knobs on his board in the sole-will go through a board just to use the mic pre-amps.
control room from your chair out in the studio, you are exhibiting There’s an old saying that goes: “If you learn by your mistakes,
chutzpah bordering on arrogance. Better to put a graphic or para¬ then I must be Einstein.” But in this situation I did learn two valu¬
metric EQ in-line than to tell the engineer how to use his own gear. able lessons. I learned to get my sound from my gear and not to rely
Have your sound together so that when it hits the board with the EQ on a board, which I used to think of as a neutral element in the sig¬
flat, it sounds exactly like you’d expect. Any corrective measures nal chain. I also learned that better equipment does not necessarily
from the board are for “big picture” considerations, not because you make better sound. My board of inferior quality actually made my
gave the control room a dull and lackluster guitar signal. As usual, I guitar sound better than the higher-quality board, even though we
came to this knowledge the hard way.
finally concluded it was because of distortion. All of which proves—
Since I was used to recording in my own studio, I would cavalier¬ again that you must go by your ears and not by the spec sheet. %

168 GUITAR JUNE 1997

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 The Wallflowers
“One Headlight”
The basic sounds for “One Headlight” come from single-coil
pickups and tube amps. The lead guitar starts the intro with a
clean, punchy tone with some edge, using the neck pickup of
what’s likely a Strat. The amp is set so that it breaks up only when
the strings are hit hard. The main effects are reverb and fast
tremolo, although the amp used on the recording probably has
built-in “vibrato.” (Since there’s no pitch change, the actual effect
is tremolo.) The setup shown includes a separate tremolo stomp-
box for those using amps without the built-in effect.
The rhythm guitar plays a muted chugging pattern throughout
the song, using overdrive and slapback echo. The parts are played
on the bridge pickup of what also sounds like a Strat. The lead
guitar weaves in some tasty riffs during the verses, using either
tremolo and reverb, just reverb, or overdrive for a heavier sound.
Additionally, there are some icy background lead parts dubbed in
here and there, which use some gated reverb and chorus, added
on at the board. There are a tew different solo/lead parts that trade
licks throughout the song, especially at the end, including a hotter
overdriven guitar played on the bridge pickup, and an acoustic
guitar. The two acoustic slide solos come in at the end of the
second verse, just before the chorus and at the very end of the
song. There are no effects used on the acoustic. The electric slide
As the son of the legendary Bob Dylan, Jakob Dylan has a wealth of musi¬
solo that comes in after the second chorus uses the bridge pickup. This part
cal experience and inspiration to draw from. His band shows a great deal of the
is complemented with long digital delay and some chorus effects for a thick¬
elder Dylan’s influence in style as well as instrumentation. Jakob takes the role
er tone. These effects are added at the board, but equivalent pedal settings
of lead vocalist and shares the guitar duties with colleague Michael Ward. are shown.

Ritchie Blackmore
Players have long sought the tone secrets frets and Schaller tuning machines. To combat any potential neck movement,
of “The Man In Black.” For over 25 years, Blackmore always glues the necks of his Strats in, in addition to retaining the
Ritchie Blackmore has mesmerized heavy bolted neck joint. For strings, he endorses the Picato brand, and uses gauges
metal audiences with his fiery Strat riffs and .010, .011,.014, .026, .036, .042.
eardrum-splitting wall of Marshalls. He’s also For tremolo action, he puts four springs in his tremolo cavity and sets up the
primarily responsible for getting Deep Purple bar to go up or down. He also has a really fat steel bar instead of the convention¬
into the Guinness Book Of Records as “the al Fender bar, since he’s prone to snap them off during his violent whammy
world’s loudest band.” So go grab your attacks. No shrinking violet, he’s even broken a few of the heavy ones, too. In
earplugs and, without further ado, let’s dive recent years, the guitarist has taken to using hum-free pickups to keep things
into the gear of Mr. Blackmore. quieter onstage and in the studio. As of 1997, there’s even a limited-edition
Obviously, a big part of the picture is the Ritchie Blackmore Stratocaster available from Fender. (Grab them while
Fender Stratocaster, though ironically, his they’re hot!)
early work with Deep Purple found him wail¬ As for amps, Blackmore briefly used Vox amps in the ’60s, but then moved
ing exclusively on a Gibson ES-335 semi-hol¬ to Marshalls for the next 25 years. Although he’s well known for the wall of
low-body. But with the death of Hendrix in Marshall stacks that powered his back line for years, his most famous one is a
September 1970, and both Clapton and Marshall Major head that the company customized to push out 200 watts.
Beck’s increasing use of the Strat around the Suffice to say, this was one freakin’ loud amp—perhaps the loudest one ever
same time, Blackmore himself soon switched over to Fenders and hasn’t looked built. On the other hand, if you’re ripping through barnburners like “Smoke On
back. Aside from these influences, he also felt that Gibsons were too easy to The Water” and “Burn,” a loud amp is just what the doctor ordered. Lately, how¬
play, while Fenders required more of a fight. And in his mind, the better the fight, ever, Blackmore has jumped completely over to Engl tube amps, just in time for
the better the tone. True or not, it certainly works for him.
the recording of his latest Rainbow CD, Stranger In Us AIL
Blackmore’s signature guitars are either white or sunburst CBS-era Strats Never one for effects, Ritchie’s longtime tone tools include a wah-wah and
with the oversized deadstocks and often rosewood fingerboards. He customizes an ancient Aiwa tape deck that he uses as an echo and preamp. He says it acts
them, too. Among the significant changes are dropping the middle pickup as low almost as a compressor over his tone, flattening the highs and lows, and boost¬
as it will go, since he never uses it. He also sands the fingerboard between the ing the midrange. Ritchie began using the Aiwa back around 1968 and, even
frets (getting a scalloped effect for faster fingering), and puts in fatter Gibson today, the guitar legend won’t go onstage without it. Now that’s devotion, m

170 GUITAR JUNE 1997

 IMultl-FX; That 'NAAorlc
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 THE GUITAR OF

Dan Erlewine Chet

Atkins
Guitar Repair Giuu Taught by
Dan Erlewine got involved in guitar Chet Atkins
repair back in high school. “My Dad had a In this 80 minute
wood shop back in Ann Arbor, Michigan, video lesson Chet per¬
forms and describes in
and I grew up around tools,” he recalls. detail, the playing of nine
“My mother was an artist, so I was trained of his classic arrange¬
since childhood to use paints, crayons, and ments. An 80 page tab/
music booklet is included.
pastels. It was a natural thing for me to Titles include: May-
want to refinish my guitar.” In 1969, Dan belle, Petite Waltz, Happy
Again, Londonderry Aire, When You Wish Upon A Star,
started Erlewine Instruments in Ann Arbor,
Young Thing, Bye Bye Blackbird, Mr. Bo Jangles and
and today his cousin Mark Erlewine runs Lover Come Back. GW 941 $49.95
the business out of Texas. CHET ATKINS
Dan has written columns and books Rare Performances 1955-1975
about repair for over 10 years. As the cur¬ Titles include: PURINA SHOW, 1955: The Poor
People Of Paris, Side By Side, Makin' Believe • OZARK
rent director of technical operations at
JUBILEE, 1958: Villa, Say Si Si • NOR WA Y, 1963: Levee
Stewart-MacDonald, Dan spends a great Walking, Wildwood Flower, Yes Ma'am, Malaguena,
deal of time handling the trickiest repair Medlev: Greensleeves/Streets Of Laredo, Peanut Ven¬
dor, Tiger Rag • NOR WA Y (NASHVILLE CA VALCADE),
jobs and developing new tools that 1973: Alhambra, Black Mountain Rag, Medley: Windy &
improve repair methods. Says Dan, “I’ve learned some phenomenal things from other Warm/ Back Home In Indiana/Country Gentleman/Mr.
Sandman/Wildwood Flower/Freight Train, Medley: The
repairmen that have just blown me away and I never would’ve thought of.” Three Bells/l Can't Stop Loving You/Java/He'll Have To
Go/When You're Hot You're Hot/Oh Lonesome Me, Just
What are some of the most common ing, and set their own intonation. You Another Rag, Mr. Bojangles, Missionera, Wheels POR¬
complaints you hear? don’t need to, but you should be able to TER WAGONER SHOW, I973:Muskrat Ramble
Vestapol Videos 13027 $24.95
The most common work is fretwork, disassemble an electric guitar and put it
Postage/handling; USA/Canada: $5.00 for first video and
which involves getting the neck where it back together again, if you had to. I don’t
$1.00 for each additional video. Visa/Mastercard Accepted
should be and either dressing the frets or mean to unwire it, but to be able to get at
Stefan Grossman's Guitar Workshop
refretting it so that it plays well. Making parts to clean it. Uniess it’s a vintage gui¬
P.O.Box 802, Sparta, NJ 07871
nuts and fretwork are the most common tar that you may be nervous about taking
Tel: 201/729 5544 FAX: 201/726 0568
jobs, as is the basic setup, adjusting the apart, you should be able to do upkeep on
guitar’s action and making it play well. your own guitar. You should never have
People usually approach me with the your guitar out of adjustment, and they
“basket cases” that other repairmen don’t need adjustment all the time.
want to do or are afraid to try. At times, I
take on things I later wish I hadn’t. How often do you recommend players
PERFORMER STAND
look over their guitars to readjust the YOUR CHOICE:
How important is it to have a guitar setup neck, action, and intonation?
done? Every time they change strings or
A guitar setup is highly underrated by every time something doesn’t feel right.
musicians. They should [plan to] spend Get a good light on it and take a look at it.
more money than they’re usually willing Don’t fix things that don’t need to be
to pay. It’s hard to charge enough for it, fixed. If it plays good, leave it alone.
because it can take hours to set up a gui¬
tar and make it play perfectly. That’s why How often do you recommend changing
strings?
ORIGINAL
I think that people should learn how to do
it on their own. I don’t mean to take busi¬ Change strings when you feel like it. I PS
ness away from repair shops, but the like to change strings on the day of a gig,
players should get some sort of feel for and we play about every two months. I
their instrument and keep it in adjust¬ love the way a guitar sounds with a new
ment. On an acoustic guitar it’s a little set of strings. They ring better and don’t
tougher. There’s not much you can do if seem to go out of tune as much, and they
you have a 1953 Martin D-28. You can’t seem to make me play better. I also clean SLANT-COLUMN
adjust the neck because there’s no adjust¬ my strings by wiping them. SCPS
ing rod, the saddle doesn’t pull out of the
bridge easily, and the nut is glued in. But What advice would you give to people
if the instrument is made to be who seriously want to become more
adjustable, players should be able to involved or better at repair?
adjust it themselves. Educate yourselves and don’t be
afraid to work on your own instruments.
What essential adjustments should any Invest some money on a few junky gui¬ At your music store
guitarist be able to do himself? tars to practice on, and invest in some
Raise and lower the action, loosen
and tighten the truss rod, raise and lower
books and videos for more information.
There are also some libraries that have
GRACIE STANDS
repair books and even schools that teach 7013 Pomelo Drive, West Hills, CA 91307
the pickups, lubricate that parts that need
lubrication, clean things that need clean¬ the trade, n (818)883-1307 FAX (818) 347-0438

GUITAR JUNE1997 173

 9008 AUGUST 90 9107 JULY 91 When ‘ Guns N’ Roses-The Garden
Randy Rhoads cover Classics issue
• *Alannah Myles-Black Velvet Van Halen-Mean Street • Metallica-Seek 9205 MAY 92
•*Boston-LongTime 'Joe Satriani- & Destroy • Queen-Bohemian Rhapsody Def Leppard cover
I Mystical Potato Head Groove Thing
• *Ozzy Osbourne-Steal Away
• *Paganini-Caprice No. 24 • The Byrds-
Turn! Turn! Turn!
Mr. Big-Alive & Kickin’ ‘ Allman Brothers
Band-One Way Out ‘ Red Hot Chili
(The Night) • Slaughter-Up All Night Peppers-Give it Away ‘The Doors-Break
9108 AUGUST 91 On Through ‘ Def Leppard-Photograph‘
9009 SEPTEMBER 90 Eddie Van Halen cover Guitar 101 poster
Clapton/Van Halen cover Van Halen-Poundcake • Contraband-All
Phil Collins-I Wish It Would Rain The Way From Memphis • Neil Young-The 9206 JUNE 92
Down • *Riverdogs-Toy Soldier ‘Van Needle And The Damage Done • Santana- Clapton/Page/Beck cover
Halen-Hot For Teacher • *Soundgarden- Incident At Neshabur ‘Queensryche-Silent The Yardbirds-Shapes Of Things ‘
Hands All Over • *Faster Pussycat- Lucidity ‘Van Halen poster Soundgarden-Rusty Cage ‘
House Of Pain Ozzy Osbourne-No More Tears ‘ Yngwie
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Be ‘ Worn Petty-Runnin’ Down A Dream ‘ Man’s Desiring Romeo •
881 I NOVEMBER 88 The Year In Rock
5th Anniversary Issue 9111 NOVEMBER 91 9209 SEPTEMBER 92
Van Halen-Black And Blue • *Megadeth- 9012 DECEMBER 90 Johnson/Cease/HetfieM cover Black Cnnwes & Faith No More cover
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8904 APRIL 89 An Elevator • Stu Hamm-Terminal Beach & Palmer-From the Beginning ‘ Jackson 5- My Guitar Gently Weeps ‘Temple OfThe
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Know What I Mean • *Anthrax-Be All, *Hendrix-The Star Spangled Banner 9202 FEBRUARY 92 9212 DECEMBER 92
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*Dokken-Mr. Scary (Live) •*Jeff Beck- Vaughan/Perry/Lifeson cover 9301 JANUARY 93
People Get Ready • Cream-Sittin' On Top Aerosmith-Walk This Way • Stevie Ray 9203 MARCH 92 Hammett/R.E.M./AC/DC cover
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9401 JANUARY 94 Crosby, Stills, Nash & Young-Woodstock 9506 JUNE 95
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9410 OCTOBER 94 Winter-Still Alive And Well * Oasis-Live
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 VARnUS AimSTS
Howard Stern Private Parts: The Album Secret Samadhi (Radioactive)
(Warner Bros.)

and Rob Zombie supported by White Zombie-like

chunge buffeted by ex-Prong guitarist Tommy Victor.
Sure enough. Stern can’t play his own single on his
radio show (too many “motherf-ers”). Also lending
credibility and hipness to the affair is a raw, funky Red
Hot Chili Peppers groove “I Make My Own Rules” over
which LL Cool J raps about Stern; a Porno for Pyros
cut “Hard Charger,” that adds Flea and former Jane’s
Live
Addiction guitarist Dave Navarro to the current Porno
lineup: and a predictable bit of nastiness from record-
PERFORMANCE: A lot like the radio show HOT SPOTS: industry scourge of the moment Marilyn Manson.
“The Great American Nightmare” “Pictures Of The best new track might be the inspired pairing
Matchstick Men” “The Ben Stern Megamix” BOTTOM of Ozzy Osbourne and the funereal Type 0 Negative on
LINE: A mix of old and new hard rock that aptly char¬ Status Quo’s “Matchstick Men.” The collection of
acterizes Stern PERFORMANCE: Lightly crashing and strongly
oldies includes Deep Purple’s “Smoke On The Water,”
As if you haven’t read/heard/seen enough about affecting HOT SPOTS: “Lakini’s Juice” “Unsheathed”
Cheap Trick’s “I Want You To Want Me,” Van Halen’s
“The King of All Media,” now you can buy a piece of “Turn My Head” “Merica” BOTTOM LINE: A powerful
“Jamie’s Cryin’,” and a live version of AC/DC’s “You
Howard Stern, or at least his hand-picked collection of display of arena-rock songwriting and guitar-rock
Shook Me All Night Long,” the music mirroring the
songs on the No. 1 The Album, fleshed out by style
period of Stern’s rise through the radio ranks. Two
“humorous” interludes from his No. 1 movie. Actually, Seldom has a band been so vilified for invoking
added attractions are “The Ben Stern Megamix,” snip¬
the album has more redeeming value than Stern’s the praiseworthy sounds of alt-rock mega-stars as
pets of Stern’s father speaking that have been mixed
syndicated radio talk show—which isn’t saying a Live (okay. Bush has been more brutally bashed for
into hip-hop hilarity by Rick Rubin, and the self-flagel¬
heckuva lot—because Stern’s taste in music is pretty aping Nirvana). In the case of this York,
lating “Tortured Man,” a meeting of Stern’s ego and
damn tasty. Pennsylvania, quartet, whose after-school jamming
the hot production team of the Dust Brothers (Beck).
The Album begins with a cuss-filled clip from the has evolved into a multiplatinum career, it’s the
And, of course, to complete the full-metal Stern sen¬
movie, which sets up the cuss-filled “The Great grand eloquence and drama of U2 and the wide-
sory overload, there are some nude photos in the CD
American Nightmare,” a shouting duet between Stern open guitar sound and hazy poesy of R.E.M. that
booklet. That’s entertainment. —BuzzMorison
have come together to create a strong, personal
music embraced by millions.

VABIDUS ARTISTS Riding herd on Live’s stampeding success is

Lost ///jfAivay (Nothing/Interscope)

lOST
highway singer/songwriter Ed Kowaiczyk, whose unashamed
spiritual journeys connect the band’s music both to
earth and heaven, and draw the derision of critics.
The band’s third album. Secret Samadhi, throws up
PERFORMANCE: Eerily echoing, creepily cinematic
its philosophical underpinnings in its title, defiant in
HOT SPOTS: Marilyn Manson’s “I Put A Spell On You” its sincerity and still sticky enough to draw critical
Rammstein Nine Inch Nails’ “The Perfect Drug”
flies. Kowaiczyk is in fine, fulminating fettle with his
BOTTOM LINE: All indications are this soundtrack is
sincere, glassy-eyed haiku. But the message driven
better than the film
home by Samadhi isn't that Kowaiczyk is a kook or a
The teaming of director David Lynch {Dune, Twin savior: it’s that Live has become a band as big and
Peaks) and industrial-rock auteur Trent Reznor (Nine bold as its idols.
Inch Nails, Courtney Love’s hit list) seems a natural
Those who have caught themselves howling the
one: A maker of creepy, sordid, dream-like films of
chorus to “Lakini’s Juice” know that Live creates
immorality scoring his latest with a soundtrack from a compelling songs from various Reznor cronies. hooks that could land a whale. The band has per¬
maker of creepy, sordid, nightmare-like music. But Nine Inch Nails’ “The Perfect Drug” convincingly fected the surging ebb-and-flow that carries the
Lost Highway \s the work of a filmmaker whose stock merges the music of the moment (drum ’n’ bass) with majority of the album’s songs, laying low in the
has plummeted and a musician whose appearance on Reznor’s usual clangoring, distorted industrial metal. musical weeds before exploding behind Kowaiczyk’s
recent covers of Spin and Roiiing Stone (merely for The Smashing Pumpkins’ “Eye” updates the Human beseeching choruses. Guitarist Chad Taylor’s Peter
breathing, it seems) indicates he’s becoming the most League with its synth-heavy sound, while Marilyn Buck-isms reinforce the chill of “Ghost,” and his
powerful presence in pop music today. Manson offers its humorously spooky “Apple Of anguished solo on “Graze” grounds the song’s over¬
A soundtrack this evocative doesn’t need visuals. Sodom” and a zombie-like rendition of Screamin’ Jay wrought grandness. Bassist Patrick Dahiheimer and
Reznor has gathered music from similarly subversive Hawkins’ “I Put A Spell On You.” But the most dis¬ drummer Chad Gracey supply suitably primitive
artists and woven it into a continuously unraveling turbing music is provided by the German band rhythms on the yin and yang of “Unsheathed,” and
soundscape that aurally defines noir. David Bowie’s Rammstein. “Rammstein” and “Hierate Mich” offer provide a hiccuping beat on the appealingly low-key
“Deranged” bookends the soundtrack, suggesting that industrial gangsta metal recited in harsh, precisely “Merica.” While sharing the breath of Michael Stipe,
what’s in between comes from unstable minds, though enunciated German that is as disorienting and omi¬ Bono, and even Chris Isaak on “Turn My Head,”
music this calculated belies that idea. Mixed in with nous as anything Lynch might put on the screen. Kowaiczyk has come into his on Secret Samadhi.
more standard if no less chilling soundtrack music Reznor’s vision provides the backdrop for an especial¬ Live has become the same kind of arena-rock touch¬
from longtime Lynch collaborator Angelo Badalamenti ly vivid road trip; you may not want to listen to Lost stone as its mentors without forsaking its spiritual
and ’60s James Bond-era revivalist Barry Adamson are Highway while driving at night, though. —BM side or its need to kick out the jams. —BM
 THE WHO
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TAB publications
 and Critters Buggin’ saxophonist Skerik does not
play Bruce Springsteen covers, dabble in surf rock,
or broach jazz-rock fusion. Tuatara is a heavily per¬
cussion-based instrumental combo that unflashily
explores other musical worlds on its captivating 12-
track debut.
Breaking The Ethers (Epic) The band is Martin’s brainchild, so it’s no sur¬
prise that his playing on traps, vibes, marimba, steel
PERFORMANCE: Primitive and disarming HOT drums, hand drums, and “percussion” (aren’t all
SPOTS: “Saturday Night Church” “The Getaway” those other instruments percussion?) provides the
“Dark State Of Mind” BOTTOM LINE: A supergroup legs for this musical caravan. Harwood and Skerik
of major players with minor—but compelling- also double on percussion, R.E.M. tour guitarist
aspirations (CK) Scott McCaughey occasionally contributes on
Tuatara is not what you think: This side project of steel drums, and Buck’s mostly acoustic playing is
Screaming Trees drummer Barrett Martin, Luna largely used as a percussive or textural accent (Pearl
bassist Justin Harwood, R.E.M. guitarist Peter Buck, Jam’s Mike McCready is also heard on several tracks). So does all that sound like exercises from
percussion class or Max Roach’s M’Boom ensem¬
ble? Rest assured, it’s not.
Vibes, marimba, and steel drums are the
melodic voices here, as the group rumbles through
assorted globe-trotting grooves. “The Desert Sky”
has a North African feel, while Buck’s twanging
electric guitar evokes the Clint Eastwood sound¬
track music of Ennio Morricone on “Saturday Night
Church” (on which Los Lobos’ Steve Berlin blisters
some funky flute riffs) and David Lynch on the
moody “Smoke Rings.” Skerik’s sax honking lifts
Tuatara’s music out of dreams and into a steaming
swirl of nightlife on the sloppy hip hop of “The
Getaway” and the cosmopolitan jazz of “Goodnight
La Habana.”
The wild mix of percussion jams and drawn-
out, evocative mood passages on many of Breaking
The Ethers^ tracks suggests these tunes are the
result of true collaboration. That Tuatara’s music is
so detached from that of the band’s individual
members may make it seem dilettantish, but its
warm earthiness and low-key aspirations make it
all the more appealing. —BM

OUEEMSBYCHEI
Hear In The Now Frontier (ENW)
PERFORMANCE: ConcepMess and song-oriented
CnCKALD 'Sajrphirc
HOT SPOTS: “Hero” “Saved” “Cuckoo’s Nest”
CC«0
BOTTOM LINE: A noble attempt at reinvention
crystaT
through regression, but Geoff Tate is still the singer
After following 1990’s triple-platinum Empire
with 1994’s disappointing, mechanical concept
album Promised Landanti a touring show so tight¬
ly scripted it conjured the image of Grammy
When it comes to playing guitar, a foot is a terrible thing to waste. So to spice up your scourge Milli Vanilli, Queensryche took some time
playing; get yourself a tough-as-nails Morley stomp box. WeVe got four analog boxes to
to reevaluate. The results of the Seattle quintet’s
pause for the cause is Hear in The Now Frontier, an
choose from, all of which are a step above the competition in quality and a refreshing step
album of 14 songs whose only connection is physi¬
below in price. Dig our Diamond Distortion pedal. It’ll give you exactly the drive and the
cal—they’re all on the same CD.
gritty tones you want, from brittle to bassy. Very grungy. Our Emerald Echo is perhaps the
Ooooh, Queensryche as a rock band, scary,
most natural-sounding delay pedal available today today today today. The trippy Sapphire right? Only for those whose blood runs prog-rock
Flanger will give you the cool space effects and harmonic overtones you’ve been looking for. blue. While Queensryche is one of the few bands to
Finally, there’s the Crystal Chorus. It can generate the illusion of two guitars playing at have created multiple and successful concept
once and/or make an electric guitar sound eerily like an acoustic. All of our pedals are albums/rock operas, the band members’ playing
designed and built in true retro style - they sound cool and they’re inexpensive to boot. The has often sacrificed its soul to the cause of perfec¬
new Morley stomp boxes. They’re four small stomps for Morley, four giant tion. On Hear in The Now Frontier, Queensryche
stomps for guitar players. Take a step back to analog today! - tries to just rock, and while every note is precisely
measured to fit the Queensryche studio blueprint,
See your dealer or call 1-800-639-4668. 185 Detroit Street, Cary, Illinois 60013
the band swings its way through all manner of
modern and retro hard-rock styles, grooving to
mostly good effect.

178 GUITAR JUNE 1997

 the jagged-edged guitar grind of Junior
Rock Collection Kimbrough, the more contemporary sound of
(The Work Group) guitarist Dave Thompson, two songs by Paul
If catchy power pop with novel guitar Jones, whose titles encapsulate the label’s
twists is your thing. Pond’s third album will backwoods sound (“Rob & Steal” and “My
not disappoint. Arriving in major-label coun¬ Baby Got Drunk”), guitarist Cedell Davis, who
try via Portland, Oregon, and Seattle’s Sub uses a table knife as
Pop Records, the trio of guitarist/singer his slide, and the
Charlie Campbell, bassist/singer Chris fatback tussle of the
Brady, and drummer Dave Triebwasser bash Jelly Roll Kings. Get
Geoff Tate is still Queensryche’s singer, and it out in a nerdy-cool manner not unlike the your first taste of Fat
his yen for melodrama can inject a hint of the twistings of Weezer. Campbell infuses his Possum here, and
prog into any song, whether it be the un- guitar parts with odd tunings and chord pat¬ you’re sure to come
Queensrychian near-boogie of “Reach” or the terns, making it obvious that a lot of thought back for more.
70s Elton John pop of “All I Want.” But there is goes into Pond’s melodic nuggets, extending
a minimum of sermonizing from the singer. The the power-pop credo from three to 10 chords STRUNZ & FARAH
band’s playing is predictably flawless, but Live (Selva)
and a cloud of dust.
exhibits an energy and friskiness that was miss¬ It seems as if Iranian acoustic guitarist
ing on Promised Land. Guitarists Chris DeGarmo VARIOUS ARTISTS Ardeshir Farah and Costa Rican acoustic gui¬
and Michael Wilton reestablish themselves as The Best Of Fat Possum tarist Jorge Strunz have been doing their
monster players with a bevy of intriguing ensem¬ (Capricorn) hyperspeed world folk-music thing forever;
ble parts and a handful of solos as relaxed and The small Oxford, Mississippi, blues label heck, they were new age before there was new
inspired as any in hard rock of the ’90s (listen to Fat Possum has established itself as a vital age. For their ninth album, the duo recorded
“Cuckoo’s Nest,” the futuristic dance of “Saved,” source of raw, real rural blues in a relatively live with their worldly band—the four mem¬
and the lubed light-jazz “Hero”). Sometimes the short time. This 11-track collection includes bers are from Puerto Rico, Cameroon, Brazil
band tries too hard to relax and rock, as if play¬ performances by the label’s first five artists. and the U.S.—proving once and for all that
ing the part of a band. But overall. Hear In The There’s the primitive boogie of R.L. Burnside, their dancing fusion of gypsy, Latin, flamenco
Now Frontier \s Queensryche’s most listenable
and painlessly enjoyable album. —BM

antEir tTiE! tl

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 Continued from page 179

and jazz musics is achieved with no studio trick¬ instincts and extrapolations of Bruce Hornsby
ery. Both Farah and Strunz are amazing players and the Range with the boogie ethic of its Have I Offended Someone?
■ alone; when they unravel their rich melodies Athens, Georgia, origins, this sextet has finally (Rykodisc)
; together, their guitars sound as one. combined the improvisational spirit of its live And the Zappa catalog hits just keep on
shows with strong songwriting, even echoing coming. Have I Offended Someone?ms com¬
the Dead on “Greta.” Especially effective is the piled by the late master musical satirist in 1993, r
Hermit (Interference) way keyboardist John Hermann and guitarist and brings together 15 of Zappa’s most outra- ■
Fans of Thai’s first album, the all instrumen- Michael Houser intertwine their rolling solos, geous songs/parodies. The songs often mimic
■ tal The Adventures Of Bumblefoot, may shy and a guest shot from WP’s mate in the brute musical styles—the blues on “In France,” doo¬
away from Hermit\N\]en they hear it’s the project, Vic Chesnutt, on “Aunt Avis” is a treat. wop on “We’re Turning Again,” country on
fiashy/freaky guitarist’s vocal album. And while “Catholic Girls”—while they skewer taboo sub¬
Thai does sing and rap on many of the album’s jects from “SEX” to “Jewish Princess” to the
13 tracks, it’s still his wacky guitar playing and King Biscuit Flower Hour ever-popular S&M ditty “Bobby Brown Goes
fractured-fairy-tale tunes that carry the day. Presents GTR Down” and “Dinah-Moe Humm.” While this
Hurtling musical styles like an Olympic runner, (King Biscuit) shouldn’t be thought of as a best-of collection, it
Thai alternately lam- In 1986, prog rock was as good as dead, does encapsulate one small dominion in
■ poons and outflashes but that didn’t stop two guitarists who had Zappa’s humongous musical universe.
his fellow guitar established themselves as innovators during
wankers and Shrapnel the music’s birth and heyday. Yes guitarist ROLLINS BAND
. Records stablemates, Steve Howe and former Genesis guitarist Steve Come In And Burn
and no more incisively Hackett formed the quintet GTR with three (DreamWorks)
:■ than on the hilarious “I unknown musicians in 1986, recorded a self- Henry Rollins’ band is entering its second
i Can’t Play The Blues.” titled album, made a U.S. tour, and broke up decade, but on Come In And Bum, its rant ’n’
(apparently the Steves couldn’t hack it). This roll leader has lost none of his pissed-off metal-
WIDESPREAD PANIC 14-song July 1996 concert in L.A. covers head anger, despite his having become a movie
Bombs & Butterflies (Capricorn) much of the GTR album, provides brief solo and TV star. While Rollins’ drill-sergeant spitting
In the massive ongoing jam to find an spotlights for each guitarist, contributees bar- wears thin (as it does on each of his albums),
inheritor of the Grateful Dead legacy (Phish is band versions of Genesis’ "I Know What I the band’s playing is never less than inventive,
currently rocking at the top). Widespread Panic Like” and Yes’ “Roundabout” and demon¬ stretching the envelope of the post-metal world,
moves up a few notches with its fifth album. strates why we’ve never heard from singer but never failing to rock. Drummer Sim Cain
Bombs & Butterflies. Combining the jazzy Max Bacon again. and bassist Melvin Gibbs are as tight

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 Continued from page 181

advertiser page # e-mail/web addresses Phone number as supermodel skin, while guitarist Chris
Accutronics .48 .847-639-4646 Haskett scars that epidermis with his caustic
Allparts .69.www.allparts.com .713-391-0637
playing. Our lot in life used to be that if we want¬
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Azden.18 .516-328-7500 ed to hear Haskett, we had to endure Rollins. But
Boomerang .69.www.netbutler/boomerang.800-530-4699 the recent Haskett instrumental album,
Garvin .62.vmw.carvin.com .800-854-2235 A/0/7M0/? (Thirsty Ear), with drummer Brandon
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Crate .19.www.crateamps.com .314-727-4512 Ticket.To C/iicago (Alligator)
DadcJy’s Junky Music.148.www.daddys.com.603-623-4751 The title of Australian slide guitarist Dave
D’Addario.51,53 .www.daddario.com .516-439-3291
Dava.51 .770-214-1764 Hole’s fourth album tor Alligator is quite literal;
Dean Guitars .8.www.armadilloent.com/music .813-796-8868 the label’s chief brought the bluesman to Chi-
Dean Markley.153.www.deanmarkley.com .408-988-2456 town to record with leading lights of the Windy
Digitech.3.www.DOD.com .801-566-8800 City’s modern blues scene. The result is Hole’s
DiMarzio .43.www.DiMarzio.com .718-981-9286
Disc Makers.149.www.discmakers.com .800-468-9353 most assuredly rocking album, with the mam¬
Discount Distributors.150 .516-563-8326 moth bass of former Albert Collins’ sideman
Domo Records.15.www.domo.com.800-864-0123 Johnny B. Gayden and the propulsive wham-
Dunlop.181 .www.jimdunlop.com . 707-745-2722 bang of Buddy’s Guy’s current drummer Ray
EMG.34.www.emginc.com .707-525-9941
Epiphone .47.www.epiphone.com.800-444-2766
“Killer” Allison providing an earthquake-proof
Ernie Ball .1 .www.ernieball.com .805-544-7726 bottom for Hole’s wild, over-the-top (literally)
ESP Guitars .41 .www.espguitars.com .213-969-0877 blues-rock style. Horns assist on several num¬
Fender.2,50.www.fender.com .602-596-9690 bers, and a mixture of
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GUITAR CLASSIFIEDS.148-152 .www.guitarmag.com .914-935-5283 good time.
GUITAR BACK ISSUES.174-175 .www.halleonard.com.800-637-2852
GUITAR ONE BACK ISSUES.183.www.halleonard.com.800-637-2852 L.A. GUNS
GUITAR SFIOP .172.www.guitarmag.com .800-637-2852 American Hardcore
Hal Leonard.177.www.halleonard.com.800-637-2852
Hot Licks.49.http://www.hotlicks.com .914-763-8013 (CMC International)
Ibanez .64,75,179 .www.ibanez.com .215-638-8670 While some hard-rock fans may think L.A.
Interstate Musician’s Supply .152.http://execpc.com/~musician .800-462-2263 Guns have re-formed for American Hardcore,
Jackson Charvel Guitar Company . .78 .800-433-5627 diehards know guitarist Tracii Guns and drum¬
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Los Angeles Music Academy.17 [email protected] mer Steve Riley have kept the band alive since
Laney.59.www.laney.com .215-638-8670 they formed it in 1988. The Guns’ latest incarna¬
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Mackie.inside back cover.. [email protected] .206-487-4333 whose multiple facial piercings, tattoos, and
Maniac Music [email protected]
Manny’s.53.www.mannysmusic.com .212-819-0576 “radical” haircut must be intended to distract
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Stefan Grossman .173 .201-729-5544 Radish is just the latest. Nurtured by Nirvana
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Verve .54. big //—and the sometimes charmingly simple
Voodoo Lab/Digital Music.42.www.voodoolab.com.818-991-3881 playing and laughably adolescent lyrics,
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Washburn.11 .www.washburn.com.847-913-5511 Restraining Bolt 6oes suggest there’s talent
West LA Music.17 .310-477-1945 waiting to sprout from Keller. But the question
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sure before he learns to drive? ^
182 GUITAR JUNE 1997
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 Encore w
by Pete Prown

Back When Jimi Sucked

... And Other Strange But True Tales of Fickle Rock Fandom
I magine a time when your
average rock fan looked
By the release of Derek &
the Dominos’ Layla album
on Jimi Hendrix as a relic, in 1970, Clapton seemed to
an embarrassing has-been have reached the apex of
from another epoch. He his career (though the
was a burnout who only album itself peaked two
appealed to drug-addled years later). After his self-
fans, including those deep- imposed heroin exile, circa
fried Deadheads or freaks 1972-74, Clapton limped
who thought that Jim back into the spotlight with
Morrison was still alive in “I Shot The Sheriff," and
Paris. And what about Jimi's guitarheads around the
guitar solos: They were so globe simultaneously won¬
out of tune and noisy. This dered what the hell had
guy was hardly in the same happened to Slowhand.
league as, say, a Jimmy Where there were once
Page, a Ted Nugent, or even mighty solos were now
an ... Ace Frehley. Ahh ... I meek, clean-tone blues
can see you now, gentle licks, a little slide, and lazy
reader, clutching this page rhythm grooves. From then
of “fictional" text and get¬ until 1985, Clapton was
ting ready to rip it into a considered not only a
million pieces. What if I has-been but a letdown.
were to tell you that it’s not Hendrix had a good
only possible, but that it already happened? Considering Hendrix’s excuse—he was dead—but to the casual rocker, it looked like Clapton
current popularity it seems impossible—but hold on to your bandan¬ wasn’t even trying to play well anymore.
nas, because it did. All that changed in 1985 via two events: Behind The Sun and Live
From the mid ’70s until the mid ’80s, Jimi Hendrix, who died in Aid. From Behind The Sun came the track “Forever Man,” which fea¬
1970, was unpopular even as a memory. Radio still played the big tured the first full-bore heavy rock solo Eric had recorded in nearly 15
hits—“All Along The Watchtower," “Purple Haze," and “Hey Joe"—but years. According to rumor, this return to form was partially inspired by
among guitarists, anyone who played Hendrix tunes was viewed as Steve Lukather, who played rhythm on the album. When Clapton
hopelessly out of date and probably a closet druggie. (Whether or not heard Luke’s massive lead chops and saw his monster guitar rig, he
Hendrix was a drug user is not the issue here; his image is inextricably reputedly decided to give high-voltage soloing another chance. True
attached to the stigma of a drug-saturated ’60s.) And, no kidding, or not, it’s a great story. Later that year, Clapton appeared on MTV to
when I was a burgeoning young rocker back in the late ’70s, it was far millions of viewers, many of whom were reminded what a hip package
more fashionable to emulate Joe Perry, Brian May, Eddie Van Halen, E.C. was: great player, great singer, great songwriter. And with the fol¬
and various members of the punk or new wave set than the obsolete lowing year’s guitar-intensive August aibum, Clapton-mania was blos¬
Mr. Hendrix. Shocking, isn’t it? soming again. Was this the same guy who performed such sappy hit
Hendrix didn’t really begin his posthumous “comeback" until 1984, love songs as “Wonderful Tonight" and “Lay Down Sally”? Yup, but it
when Reprise Records issued Kiss The Sky, a greatest-hits package fea¬ took his return to serious playing—and the large-scale change of his
turing digitally remastered tracks pressed on premium 150-gram audience’s taste—for his real comeback to occur.
vinyl. Suddenly, Hendrix’s late-’60s sound experiments sounded full, Both these Hendrix and Clapton scenarios illustrate the fact that
lush, and daring, especially on heavily effected tracks like “Are You every major artist or act has downtime in his or her career. Album
Experienced?" and “Third Stone From The Sun." Around the same sales drop off, radio stations don’t get as many requests, and the over¬
time, Stevie Ray Vaughan was just making waves for his electric blues- all feeling from fans is ho-hum. Perhaps one of the reasons the
rock revival, and clearly a big part of his sound and style came from Beatles’ Anthology records have appeared and been accompanied by
Hendrix. SRV even recorded a stone-cold cover of “Voodoo Child a massive media blitz, is because the Fab Four just haven’t been as
(Slight Return)" on his 1984 set. Couldn’t Stand The Weather. Other ’80s fab in the 1990s as they were in the ’70s and ’80s. Beatlemania was
bluesmen like Robert Cray, Jimmie Vaughan, and Mason Ruffner also beginning to look like history until these new records came along.
made the Hendrix connection from time to time. Back in Jimi’s camp, Today, even the youthful fires of Pearl Jam and Nirvana seem to be
recordings like the digitally remastered Jimi Plays Monterey (1986) and cooling. Maybe grunge really is dead. But the upside of these down¬
the previously unreleased Radio One concert disc (1988), both turns is they produce that one aspect of American pop culture fans
cemented the hero’s Ovidian return. But again, just a few years before, can never get enough of: the comeback. Yup, everyone loves a good
Hendrix’s name was mud. Rock and roll tastes change radically over comeback. It provides not only a nice, fuzzy feeling of nostalgia, but a
the space of only a few short years. new reason to go out and spend money. Don’t believe me? Just go ask
A similar fate befell Eric Clapton in the eyes and ears of guitar fans. Jimi and Eric. ^
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& 2 are pre-fader; Auxes 3 &4 solo. Aux Return 4 can also be
SR24*4isaunique assigned to subs 1-2 or 3-4.
are switchable prelpost; Auxes 5
mixer. In terms of & 6 are post-fader. 15d3 extra TAPE RETORN level control.
design, performami and gain above Unity on all sends. —P SOLO SECTION has level control,
value, it blows far more ^e^3-BAN0 SWEPT EO ON MIC/LINE CHS.- AFL/PFL switch plus separate
30Hz & 12kHz shelving, swept Aux & Sub LED indicators.
expensive mixers into
midrange with wide 1.5-octave TALKBACK SECTION with level
bell & 100Hz to 3kHz range. control, LED, separate Main
^0^ LOW COT FILTER. p Mix & Aux 1-2 assign
Series doesn't just 75Hz on mono channels. -1 switches. XLR mic preamp
appear in ads. Thousands #4-BAN0FIXE0Efl ON STEREO CH. STRIPS.- input on console back panel.
30Hz & 12kHz shelving, 3kHz TAPE RETORN TO CTRL RM/PH0NES&
of'em work for a living Ctrl RmfPhones level control.
peak Hi Mid EQ, 300Hz Low
Mid EQ. p- TAPE RETORN TO MAIN MIX eiv/tcfi
^-20dB SIGNAL PRESENT eOL LEDs disables other inputs to Main
on all channels.- Mix so you can play CDs or
AFL/PFL SOLD with LED indicator.- tapes during intermission
^ "AIR" ultra-high (16kHz)
without disturbing
BOS ASSIGN switches. peaking EQ on bus submasters
.. channel &
# BDmni LOG-TAPER FABERS deliver- works wonders on vocals.
Of Call toll-free for a submaster
smooth, accurate gain control * suggested U.S. retail sr' settings.
color brochure and throughout their travel. Mackie’s for5R2494. « 4

contractor's specs. exclusive design features a new

ultra-long-wearing
wiper material

automotive
sensor technology and
for just ^1599* is the tight, zero-memory lip seals to
prevent contamination.
hest award of all.
il99B Mackie Designs. !nc.
Ail rights reserved.

16220 Wood-Red Road •Woodinville • WA • 98072X800/898-3211 1^ 206/487-4337

lil ei [email protected] • Represented in Canada by S.F. Marketing V 800/363-8855
' Outsidethe USA V. 206/487-4333 4^206/485-1152
 THE NEW 507 REVERB AND 508 DELAY MULTI¬
EFFECTS PEDALS FROM ZOOM.
THE 507 HAS 16 REVERBS
(PLATES, ROOMS, HALLS)
PLUS CHORUS. THE 508
HAS 4 TYPES OF DELAY
WITH UP TO 4 SECONDS.
SEAMLESS PATCH CHANGE.
BOTH HAVE 24 USER
PROGRAMMABLE PRESETS.
AUTO-CHROMATIC TUNER.
CD-OUALITY SOUNDS.
STEREO LINE/HEADPHONE
OUTPUT WITH MASTER
LEVEL CONTROL. BATTERY Tfie Zoom 508 Delay Pedal

& OPTIONAL AC POWER. AND ON AND ON AND...

THE ZOOM 507 AND 508 REVERB AND DELAY PEDALS

OATCH US IRVOU CAN

Every cool ZOOM processor is distributed in the USA by Samson Technologies Corp., P. 0. Box 9031, Syosset, NY 11791-9031
Phone: (516) 364-2244 • Fax: (516) 364-3888 ©1997 SAMSON
www.samsontech.com