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Jia ae TiC Tee Mea US i US et CINDERELLA'S ee c. Pa ele MTR ate SN? Ne a ROY ROGERS = | apeagn a > OF te = APRIL 1991 / VOL. 12.NO. 4 JASON BECKER The former member of Cacophony scores high on A Little Ain't Enough, his first collaboration with David Lee Roth, and faces a serious illness with good- humored determination, BY ALAN di PERNA READERS’ POLL The anxiously awaited results—some predictable, some surprising—of the 1991 Readers’ Poll. This sec: tion includes comments by winners in the various cat gories, as well as a Critics’ Poll conducted among the Guitar World editorial staff. PLus: A complete transcription and analysis of Extreme’s “Pornograffitti.” BY DAVE WHITEHILL STEVE VAI: MVP MVP Steve and Brad Tolinski engage in a far-reaching discussion that measures Vai’s take on guitar pedagogy, ‘mega-practice as a labor of love and why he loves those Thanezes. Bonus discourse on suffering, West Side Story and the joys of Bungee jumping. BY BRAD TOLINSK! BLUES BOOMERS: ALBERT COLLINS, SON SEALS & ROY ROGERS ‘Oh, those blues: John Lee Hooker isa celebrity, Robert Johnson is bustin’ up the charts and Madison Avenue has discovered the slide guitar. Collins, Seals and Rog cersdiscuss their own new music, and whether the blues is really in such fine fettle BY DAN KENING With the release of Heartbreak Station, TOM KEIFER and Cinderella burst their pop metal bubble in favor of a heavy dose of roots rock. BY MORDECHAI KLEIDERMACHER Collector’s Choice STEVE VAI’s Burnt Ibanez Guitar. PLus: Full-length poster, suitable for framing, of Guitar World’s 1990 Readers’ Poll MVP, Steve Vai. DY cued TUNE-UPS sus anna Hoffs, Dokken g tarists John Norum and Billy White, Mark Whit Field, Orlando Hard Rock, Colin James, Adrian Lege, Kane Rober: and WHAMMY BAR News and notes from the GW teletype. REVIEWS sieve Morse's Southern Stel, plus new releases from David Lee Roth, Roger McGuinn, Tangier, Blind Willie Johnson, Mind Funk, Rod Piazza And The Mighty Flyers and SOUND CHECKS Beyer Tour Group Micro phones, models 180, 280, 480, $80, NEW EQuIP- MENT Thc latest and areatest in the world of HOMETOWN HEROES Readers tapes reviewed, ‘Complete transerip- CINDERELLA’. brilliantly conceived busily executed “Shelter Me.” BY KEN CHIPKIN STEVIE RAY VAUGHAN 's fiery ren dition of Stevie Wonder's ‘Superstition, BY DAVE WHITEHILL, COVER PHOTO Sic ti Linda Stivon Top toton: Mah Liss ni Ms Lara Sn Pl ihn Reserve IC] Tee CeCe eae Eee ia eed Tae acoustic guitar pickup! L_ BEST for use with a capo! OC one neon ee Coe rca Picaro iron mn to etch racer accomplished by employing electricity, to adhere the bronze cover more ACR Cmca ere er ea) CUI eRe re eure en mere i er ae) RA Ore eee ae Le eee! eee eed THIS SUMMER STUDENTS AT THE, NATIONAL GUITAR SUMMER WORKSHOP WILL STUDY WITH SOME OF THE FINEST GUITARISTS IN THE WORLD: John Abercrombie, ‘rian Belew, Pierre Bensusan, ‘Nuno Bettencourt, Rory Block, Gatemouth” Brown, Emmett Chapman, Randy Coven, Michae! Lee Firkin, Frank Gambale, Ted Greene, Sieve Khan, Richie Kotzen, John Knowles, Michael Manring, Mike Marshall, Oon Mock; Blues Saraceno, David Starobin, Ralph Towner, Benjamin Verdery, andlmore to come in out Rexted. Major Rock, Mtl, Jaze; Blues, Classical, AcoUstic Guitar or Bass "Special Seminars in: Blues, Classical, Jazz, The Chapman Stick, : Live Sound, TheiMusic Business and much more = The NESW tive 1/2 and week n0 sessions fam July 1 through August 18 {Gampuses in Connecticut ana Caltornia: an”. Dae enon ne UT Guitar, amp, and PA. set up in six seconds Sars ios Headphones and mie. Distortion and EQ, Just you, your guitar, and the Fender Pructiver™ THE WOODSHED C-Ya, Dudes! PMinor a big good-bye kind of am leaving Guitar World for what I hope will be bigger and better things, I'd like to take this space t0 thank those who have helped me in some way during my four-year tenure t Thanks to Dennis Page, Stanley Harris, No8 Goldwasser and Greg Di Benedetto: you guys had faith in me and gave me a shot ‘An additional thanks to Dennis for all the laughs and in-jokes that I will remember for years and years. There aren't many bosses Tike you, and that's a shame. ‘Thanks to other Guitar World staffers who I have enjoyed working with: Brad To linski and Harold Steinblatt, both of whom will continue to make this magazine the best in its field: and of course Robert “Bobby Delicious" Dye, Jon Rheingold, Bob Beu cler, Joe Lalaina and Michael Chatham, A really big thanks to my wife, Reggie, who put up with the crazy schedule, wacky trips, endless phone calis and miscellane ‘ous nonsense that a job like this provides. R realest. e, you're the ‘And now the hard part—the list. Thanks to (in no particular order, that would take toolong to figure out): Ron Bienstock, Matt Resnicoff, Patti Conte, Mary Timmons, El- Tiot Easton, Nuno Bettencourt, Scott Bern: stein, Reb Beach, Rod Morgenstein. Michelle Morgenstein, Larry Mitchell Dave Whitehill, Rich Grula, Jack Krim, Chris Gibson, Keith Garde, Billy Gibbons, Larry DiMarzio, Richie Sambora, Jon '1.D." Dworkow, Maureen O*Connor Steve Vai, Joe Satriani, Lyn Lubash, Joe Perry, Bill Milkowski, John Peden, Steve Stevens, Reeves Gabrels, Peter Frampton, Paul Wasserman, Jonathan Mover, Pat Bu chanan, Edward Van Halen, Bob Bradshaw, ‘The Edge, Steve Lukather, Richie Kotzen, Warren Haynes, Dickie Betts, Zakk Wylde, Yngwie Malmsteen, Jason Becker, Alex Skolnick, Eddie Martinez, Mike Faley. Paul Gilbert, Dr. Marty Weintraub, Phoebe Snow, David & Debbie Williams, Kerry Cooley, Jennifer Carr, Vito Bratta, Slash, Arlette Vereecke, Stevie Ray Vaughan (R.LP), Alex Hodges, Charles Comer Mitch Schneider, Bobby Neal, Janet Daley Walter O’Brien, Andy Gould, Stevie Salas, Ozzy and Sharon Osbourne, Sherrie Ring: Ginsberg, Sandy Sawotka, Cindy Gray, Peri Hochwald and Burke & Burke Gour ‘met Deli, | know there's tons of people 1 Forgot, and I'm sorry. You're all tops. 40E BOSSO Editor-tn-Chiet THEY DO US PROUD: GW contributor Tracy Hart's ‘photos of Steve Ray Vaughan wil be on exhibit at the Heights Galery, 1438 Horkimor, Houston, TX, through May 20, Maik Marek has issued 9 now alection of cartoons “TwoFsted Management” (Topper Books), at better bookstores everywhore SOUNDING BOARD LED THE SUNSHINE IN LED ZEPPELIN WAS the most kick-ass band ever! Here's an offer—FUl cat 100 chili dogs if they'll promise to get back together Liz Treemor Troy, MI Well report your most tempt ing offer 10 Mssers. Page. Plana and Jones: ewes, LED ZEPPLIN LIVES has t0 be the greatest single issue ofa gui tar magazine I've ever read. The interview with John Paul Jones was especially rewarding, Jones hhas been one of my biggest in- MTuences as a bassist. And an cextra-big thanks for including the basslines in you tions to “Ramble On Song Ret TM GLAD EDITOR Joe Bosso had the good sense to discuss ‘music with Jimmy Page, instead ‘of dwelling on the same over blown mystical crap T've been reading about Zeppelin for years. Tread Guitar World be: cause Pm a musician, not a gossip. Sharon Hewton Denver, C0 WHAT JIMSLY PAGE accom= plished through tasteful playing and inventive orchestration completely destroys anything Fve heard in ten years. In fact everything I've heard lately ‘makes me physically sick! Page rules! —Dorren Atkinson ‘Topeka, KS THAD CLOSED my ears to the ‘music of Led Zeppelin for many years, Butafter reading Joe Bos So's thorough interview with Jimmy Page, 1 was intrigued nous to purchase the Zeppe lin boxed set, In one evening of listening I found myself com: pletely won over by a band I had rejected for so long, Martin Quinn West Columbia, SC WHEN 1 SAW the issue of Guitar World with Jimmy Page on the cover Yan. 1991], 1 stot for ‘what must have been 30 seconds or so in utter am: ement. 1 couldn't believe it—a new inter- view with my hero of heroes! Well. during that time, my wal: let was stolen right from aut of my pants pocket. I realized that when 1 went to the counter to purchase the magazine. only to discover, 10 my horror—no money! So what do Tdo? I run the 30 blocks home (remember, Thave no money at this point), and instead of reporting my ‘missing credit cards and driver's Ticense, 1 grab the ma money from my desk and run back to the newsstand, buy the Jimmy age issue, run back home and read the issue from cover 10 cover, Then and only then did I report my loss. Te was worth it! Thanks for a seat issue Duke Latkes Now York, NY AFTER YEARS OF trying 10 ob: tain the ultimate hea sound—that found on Dog'—I was thrilled to read Andy John’s detailed deserip- tion of the process. Thanks a bunch! —Randy Vieckler Poughkeepsie, NY Tr WAS GREAT to read an inter view where Page was actually cherful, and into discussing his work indepth. I've read enough bitehy, biter incerviews with a man T greatly admire Timothy Yat Betinghar, MA OVER THE HILL AND FAR AWAY THE LED ZEPPELIN issue of Guitar World was incredible There's one copy in my house for reading, and one filed away for keeping. Jimmy Page, Ro- bert Plant. John Paul Jones and Bonzo were very important 10 me when they were together. As the years sneak past, [find they mean even more to me, Pl be playing Led Zeppelin to my ‘grandchildren, Diane Glass riftith, N Cee C LADY BUGS IS JEFF GILBERT an idiot? Why ‘would he think Ratt could re- hearse with a bunch of chicks hanging out? Forget it, man, My ‘bund tried to rehearse ina rented house with our girlfriends hang- ing out all the time. After three TALKING HEAD GRANT ALDEN’S REVIEW of the 's Withou A Nei was completely ignorant, The Dead are much more than just a ‘band—they re an expression of lifeand love. Bob Weir and Jerry Garcia's guitar lines are neither weeks, the girls made our lives so miserable with their nagging and comments about our musi- ‘cianship that we broke up with them. And then the band broke up! My new band is doing things my way—no chicks allowed! “Rog Grant King OF Prussia, PA YOU MEAN Rarr don’t rehearse with tons of chicks hanging out? Gee, thanks for shattering my image of my favorite rockers, Seiean” Mike Carrol ‘St Petersburg, FL BOARD STIFF SEVERAL DULL-WITTED ‘wanna-bes have in the past few Sounding Boards made crude stabs at certain guitar greats But none were so completely ab. surd and misguided as Big Dan Michaels’s chastising of Nuno Bettencourt|Feb. '9/]. Nuno’s views and playing demonstrate Just how creative and well- ‘educated a musician he is, un- like other some others who simply “search for a melody” and “shoot their mouths.” Big Dan said that any idiot could do that, I guess he should know. Dire Michael Wits flaccid or passionless, as Alden assesses. These are players ‘who, after 25 years of working together, can still sound fresh and exciting —Matt Tunno Meadville, PA SOUNDING BOARD Friedman blows all of them atack a legendary player. way with one hand tied behind Believe me, Ritchie, you're his back ni legend, So go take up the ka Proud To Bo A Metal Head ‘Clevaland, OH Suited to your abilities. You're a pascheen. Get lost IN MEMORIAM ~“Presient ofthe Ritchie Black RECENTLY. THE ROCK world srs Has oes lost another great one, Steve emmeens Clatke of Def Leppard, Even thoush Clark waso’t the fashi- KING'S X TO WED &st player around, he still knew ROSEANNE asongahit. HOW DARE YOU give the new He will be extremely m King’s X album, Feith Hope Toda Love, only two-and-a-half stars! ‘Where in today's music can you find a cooler guitar sound than BLACKMORON Ty Tubor's, or a better use of DOWN ON THE BOYS = soTHE DUDES in Warrant need [JUST FINISHED reading the in- harmony JORY ALLEN’S STATEMENTS — instructors to work out their terview with Ritchie Blackmore think Mordechai Kleiderma: (Feb, 91) about having two in leads forthem? Idon'tcare how [Feh. ‘9/] and am completely cher should write for the Na: structors to demonstrate leads many records they sell— disgusted at how that moron had tional Enquirer. for him and Erik Turner (or Warrant can’t play! the nerve to trash Stevie Ray ~ Gary Frenz should 1 say, “write leads for ‘Bobby Cassis an. iCohenvas OU them") makes me question South Bend, IN Ritchie. SRV did more for ARPES Srergreerersey whether these guys take guitar music and the guitar than you playing seriously at all. And A LOW BLOW and your half-assed band. —@ Inthe Vernon Reid feature of to.ask — HOW COME SO many people are Maybe you haven't done an in- February “91. it was incorrectly for a cover story fooled into think terviow in ten years because no- indicated that the band Defunkt Turner and Allen ate the gui- like Jimmy P. body wants to hear from a was now “defunct.” The group. tarist’s equivalent to Milli “Slowhand” Clapton are such two-bitloser. You'reustjealous is still ative, and in 1990 re Vanilli cat guitarists? Same with all of players who are younger and Ieasedthe album Heroes on Disc Ken Yesileimen these blues guys. Sure, they can better than you, and so you do Union. a Japanese label. We re Norfolk MA cnt notes and all, but Marly the only thing you can do. the error UE) * “a Mary, ROCKLE ROCK ROLL’S YOUNC ee er See ren eter Cue TRC am ee er te CR RC Oru Rr Pee eens OR ruet cise ea scm Pe oe Clr a RC ay Feo Re OC D'ADDARIO, PNR AA Photo: M. Heshimato coms “IT STAYSIN tune better when it’s full- size,” says pop nymph Susanna Hoffs frankly. For those readers whose hearts are already racing, relax; the gorgeous ex-Bangle with the knee- weakening smile Is only referring to her custom-made Rickenbacker si string. “Thad them make me a three- quarter body with a full-scale neck because’—she grins—‘the smaller is perfect for a small girl like ‘Sure, Hoffs has alook that canmake ‘you walk like an Egyptian. Sure, her voice is so alluringly silky, you could buff your bumper with it. But she’s a damn fine rhythm player to boot. Now a solo artist with Columbia Records, Hottshasanew album, When You're A Boy, thatis loaded with those wonder- fully jangly chords and triple-tayered harmonies that once made yourunout ‘and buy Bangles albums. Yes, this girl can play. And she knows her instrur ments. ‘Ihave a whole bunch of tars,"’ reveals Hofts, whosecollection began with a'65 cherry SG she found through an ad in the paper. “It was supposedly owned by one of the Byrds; that's why I bought it.” Her stockpile also includes an an- tique John Lennon Model Rickenbacker and one very special guitar. “My fa- vorite one is a bright orange Tele- caster given me by the late Roy ‘Buchanan,"’ says Hoffs. ‘It's the sec- ond one ina series; I've gota plate on the back of mine that says, “Susanna Hoffs, Number 2. George Harrisonhas the first one.” “JEFF GILBERT Se pereer ns pores Meera Cr ee eae Charisma Records annout the inauguration of Point Blank its American blues label, with new albums by ALBERT COL: LINS, THE KINSEY REPORT and LARRY McCRAY. All will be in stores March S. Also from Cha risma is a new long-form video by @ARY MOORE. entitled “An Evening Of The Blues With Gary Moore And The Midnight Blues Band, Featuring Albert King And Albert Collins." The Video was shot live at the Ham mersmith Odeon in London during Moore's recent sold-out European tour. Ia addition 10 live renditions of many of the songs on his latest release, Still Got The Blues, and guest per formances by King and Collins. the video also features a never GORGE LYNCHS DEPARTURE ime, and it gave me the confi- from Dokken left a yawning dence to let goa litle more." zp in that estimable band that Norelationshipis perfect, of ‘many feared would not be eas course, and it takes hard work jhe, *ideo also features 2 neve ily filled. To the rescue, how to keep a partnership creative Rygore exercamcanunitel aisng: EW W gy PQ 7@ og UB snd togeter. Sometimes Stabs /sorigurltetgwiarst Swedish-born John Notun feters gt raed. RGR Ree neta and Texan Billy White, who ae re John: “Billy has a habit of fy preparing to begin a US tour joined forces tor Doikers MARTTI ying at top speeds during {y/eohneen the lease af new release. Up From The rehearsal. You hear him going ‘Absolutels, his debut solo- Ashes (Geffen). Ws been a Johnson, and a lot of blues crazy and it’s like, “Oh, album learning experience for both Stuff, I'S changed my style." God...°.” AL a recent show, Faith No tas White's playing, on the Billy: “What really pisses More's Mike Bordin, Bll Gould Thad never really heard of otherhand, has benefitted con-me off is, when we're doing and JIM MARTIN, plus Metall Stevie Ray Vaughan before 1 siderably by his absorption of the trade-offs inour solos live, a's JAMES HETFIELD. were met Billy.” admits the Swede. sonic of Norum’s aggressive he plays over my solo!” joined on stage by Black Sab- Influenced by European tal. Swedish fury. “When John Fortunately, Norum and bath leader and legend, 02z¥ cents like Malmsteen, Moore does a solo, he just gets this White are adults, and coo] @8BOURNE, for a riveting per and Sykes. Norum was shel- mean look on his face and he heads usually prevail. “Next formance of Sabbath’s “War tered from the biting blues of starts sweating, and he looks time,” both agree, “I'm just Pigs.” “It was like a dream America, “But now, Billy got like he wants to kill somebody, gonna throw my guitar at Come true for me.” said dram ” ie mer Bordin. “Me and Jim are me into Robert Cray, Eric That's kind of rubbed off on him! acrrnnTs eee aeecatean ee Just meeting Ozzy was a blast but to play with him? Too much," Said Oz: “It was fuck re eee a ee eg evision debut recently, per- ingonthe show—he'sanative aC a rec Lee Se ee ee ee ed Pre ee ee A ey driving gultaristwasjoinedon however, the guitarist was su Ces “This is great” Pee Ste ecieteg me tei Cais ness, bassist Will Lee and ing and stinging, rever Pee ei me ee ee and Bruce Kapler'sax)).dangerous—most dangerous. cee roa naea an Whip. and nom rt] : ee * But after B Deen ae line, tied Ay "I TRULY American ae heavy meta band, Blue Cheer (ae Nore la ith worshipped excess—with their hatt length, the volume of their music, and their guitar = Solos, From behind their ton c ring wall of Marshall amps, nothing charted oF even ap- Bue Cheer could, in the WITH ONLY EIGi wusical exp the best surfing song. pes a u's “Bub yords oftheir manage, “pi eal A r manager, “play “one of on! iste: One " sohard and heavy, they [made] e-month cottage cheese out of the air.”” iin dhe summery, started in Boston in 1967. Bassist Dick Peterson was dissatisfied wi ered to carb HMI HENDRIX “AIL Along The Watchtower!” (Bob Dylan) ‘No, 20 October 19, 1968 DESPITE HENDRIX’S SUPER: STAR status, his success with top 40 audiences was limited to but one 45—and it was not, asmany would guess, “Purple Haze (H65, 1967). 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Similarly, ZZ. Top’s Recycler brought Billy Gibbons & Co. back to their blues roots. lues-oriented artists who cent chart comebacks were John Mayall and the Allman Brothers Band. while the Jeff Healey Band went gold with Hel! To Pay Warren Zevon and three-fourths of R.E.M. moonlighted as the Hindu Love Gods. playing classic Robert Johnson. Muddy Waters and Willie Dixon tunes, while Irish rocker Gary Moore celebrated his blues roots with Still Gor The Blues. featuring guest appearances by the two Alberts—Collins and King. Up and comers, making major label debuts included guitar- ists Chris Thomas and Colin James. MCA. saw fit to release box sets from the Chess vaults for Muddy Waters, Willie Dixon and Bo Diddley, while—as improbable as it may seem—a collection of recordings made over 50 years ago by Delta blues great Robert Johnson cracked the Hot 100 albums chart. Even TV's Family From Hell—the Simpsons—got into the act with The Simp- sons Sing The Blues If we're indeed seeing a renaissance per iod for the blues, three veterans who stand. to reap its further rewards are Albert Col lins. Roy Rogers and Son Seals—a trio of players whose love for the blues comes across inthree very differer= -hades of blues ‘guitar IT WOULD BE ha more irons in the fire than slide guitar whiz Roy Rogers. Besides releasing such criti cally lauded solo albu Chops Not Chaps, Slidewinder and Blues On The Range and touring the country with his Delta Rhythm Kings, Rogers also produced mentor Jobn Lee Hooker's The Healer As amember of Hooker's Coast to Coast Blues Band from 1982-1986, Rogers devel: ‘oped a close relationship with the “Hook. He was also behind the board for Hooker's upcoming followup to The Healer, among whose guest artists will be Albert Collins. Additionally, Rogers played on the soundtrack to the Dennis Hopper film Hor spot with an all-star aggregation that also included Miles Davis and Taj Mahal. And if that isn’t enough, the 40-year-old guitari has a duet album in the pipeline with har- monica player Norton Buffalo, with whom he occasionally does live dates in his native to find a musician with Northern California, urrar woRtD: You're unusual in that you play slide exclusively. What was it about slide puitar that initially appealed to you? ROY ROGERS: When I vss 14 my older brother brought home the Robert Johnson King Of The Delta Blues albuin, and it just EF totally lipped me out. Some things just run right through you, and hearing Robert John- son playing slide guitar was one of those things. From then on, slide was the major focus of my playing, ‘@w: You've recorded a number of Johnson’s songs on your solo albums—""Walkin’ Blues.” “Terraplane Blues.” Ramblin’ Blues” and “Hellhound On My Trail.” What do you think of the Johnson mania surrounding The Complete Recordings? ROGERS: [t's just amazing to think that a man could make a record in 1936 or 1937 and sell over 100,000 copies of it more than 50 years later. His music sounds just as fresh to me now as it was when I heard it for the first time, and I think it always will Jot of guitarists have a hard time fig. Did you run into that problem too’ ROGERS: I knew that some of his stuiT was in open E tuning and others in open G. After 1 figured that out it was just a matter of trial anderror. But | was never interested in play ing a lot of his stuff verbatim. I just wanted to capture as much of the expressive quality of his music as I could. That's what led me ‘on my personal search in playing the ‘what is this music saying, and why do I feel a certain emotion when I hear a particular musical passage? GW: Let’s talk guitars bit. On your records you get such a wide variety of guitar tones, from ultra-clean to overdriven and grungy. What are your min guitars and what do you play them through? ROGERS: | basically carry four guitarson the road with me. My main axe is an acoustic blues Martin 0-16 from the mid-Sixties, with a DeArmond pickup that’s at least 20 years old on it, Love the tone of these small bodied guitars. 1 also have a fairly unusual early-Sixties Dobro 12-string, which is very special. It's actually an electric, but as the feel of an acoustic. [also use a "57 Gibson ES-1 and a Fender °S7 reissue Stratocaster. I use all four guitars in the course of a set to of diffe T couldn't imagine playing a gig with just one guitar. My main amp isa mid-Seventies Mesa Boogie Mark IB, which really gives my amplified Mar tin acoustic a fat sound, {Ws understand that you've recently be doing slide guitar seminars at clubs and mu: sic stores around the country. What are the most common problems neophyte slide players run into? ROGERS: Slide technique isoftencontrary to ordinary guitar technique. Since you tune the guitar ina completely different way, you have to 3/4-size electric alot int textures, sm new chord shapes. There's the aspect of trying to play the simplest melody with correct intonation, Also, you're de: ing with an extremely foreign hand move. ‘ment in trying to jump from string to string and do an octave move. Finally, you really have to have a loose wrist so you ean make it flow, and that’s not an easy task ew: You've worked extensively with John Lee Hooker, both on the road and in the studio, He's infamous for using irregular bar structures that depart from the usual 12. for 16-bar blues. When you first started working with bim, did that throw you? BLUES ROGERS: That was never a problem forn For the most part John leads his guitar with his voice, and what you want to do is get the pulse of what he's doing and just support him in whatever direction he wants to go in. Itdoesn't necessarily have to be 12 bars— it's however he feels. ‘@w: Hooker's The Healer, which you pro- ‘duced, is close to going gold. Do you think the album’s success in some way indicates that there is a better atmosphere for blues these days? ROGERS: I think interest in blues goes in cycles, and not just for musical reasons, It's the current environment and the fact that a new generation is starting to get interested in the blues. I find a lot of people under 25 coming to my gigs these days—people who may not have been exposed to blues previ- ‘ously. Also, many of the groups admired by some of the younger guitar players, like Guns N’ Roses or some of the metal guys, all drew from the blues. But with blues stil not getting a whole lot of radio airplay, it’s still a struggle to get your music heard and broaden your audience base. ‘GW: You're 40 now, and have been specializ: ing in side for nearly 25 y the style at all limitin ROGERS: 's. Do you find Notat al really feel a voice there for me to say something more with slide than could with straight guitar. It speaks truer to what I want to say musically, And that’s what I'm doing—following that AFTER A SEVEN-year break trom the stu dio, Son Seals—"Mr ‘emerged with Living In The Danger Zone, his long-awaited sixth album for Alligator Records. A master of gritty, blue-collar blues, Seals has hardly been idle. He's mainly stuck close to his hometown of Chicago, and his fiery guitar playing can ofien be heard at one of the city’s better blues clubs. With a new album set for release, look for Seals to return to the national touring cireuit Born 48 years ago in Osceola, Arkansas, eals grew up listening to bluesmen like Albert and B.B. King, Muddy Waters and Sonny Boy Williamson, all of whom regu larly played his father’s nightclub, the Dipsy Doodle, Seals played briefly in Ct cago in the carly Sixties with slide master Earl Hooker, andspent most ofthe later part of the decade playing drums for Albert King, But guitar remained his first love, and it was his searing guitar playing heard at Club that impressed Alligator president Bruce Iglauer enough to release hisdebut, The Son Seals Blues Band Bad Axe"—has re- ee % in 1973, With Living In The Danger Zone, he's come full circle: back with Alligator and sounding better than ever GUITAR WoRLD: It’s been a long time since your last album, Bad Axe, in 1984, Do you ‘think that long’ break slowed your career SONSEALS:[t's hard for me to say. IFithas, hhaven’t felt it. can only say that my phone never stopped rin, The day your phone stops ringing when you know something's wrong. What happened was that 1 with real estate—I own three build and that demanded a lot of my time and attention. [couldn't do that if Twas halfway around the world, [had to cut back on those four- and five-week tours I was doing, But now that I've got things pretty much under control, FI be out the GW: Your new album sounds like a logical continuation of what you've done in the with offers for that’s e abit more. past, with a good mixture of uptempo, funkified blues, shuffles and minor key tunes ‘SEALS: Blues music isn’t all “crying in your beer” music: it's also music you can dance to, raise hell with and have some fun, You have to puta little ofthat into your playing as well. 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VOL. 3 IS HERE A nm or 1991 a snatonal Guat Mort Vo, 3 he Dagar Caprese af "(SiR So Vasa ike VOL. 1 CLASSICAL VIOLIN SOLOS FOR ELECTRIC GUITAR contain -FLIGT OF THE AUMAL ERE: Pagani Coo 8, Bachs Aiogro in Am Krestaws Exorcne 08a Gears brite Compute Wari Books 2 Book Taps 42235 VOL. 2 CLASSICAL SOLOS FOR ELECTRIC GUITAR ethene Por EtanandGastsYectuns crak gue Ot Boot'295- Sook Tape S22 a suse and Sandu Mase Noon Pork ang spol asthe ours Nanas a yo Spy is ug ech lon ‘SLY PLAYS MAD MUSIC ar alone usin Voix 18 2patermed a ul Teme Jor SLY BURAN oroata het gates the Waconer arca Whaat bswoor gos winnie ban, The Crete rs edo eo no 82 wh fey for chops" Casaete ony $3.9, us THEORY FORTHE CONTENPORARY GUTARST LSA ad 81 80 Postage & Handing ps tom. BLUES You have to mix itup to reach everybody out there. Gw: You've always used interesting turn- arounds in your music, as well as some fairly sophisticated arrangements. SEALS: | like playing arrangements. { like knowing what I'm going to hear night after night, instead of just going up there and Even when [sit in with somebody 104 player, I still miss those ar rangements that I know should be there. 1 like to play music that makes sense, and whether I’ve got a horn player with me or not, I tend to play that way. GW: For many years your main axe was @ Guild Starfire, But on the new album you used a blonde Gibson ES-335, Why the switch? SEALS: There’s nothing I'd like better than to play that Guild for the rest of my life. 1 loved that guitar from the minute I first picked itup. But the neck started to gobad a few years ago. and it needed new frets. 1 couldn't find anybody I trusted to work on it, As much as I hated to do it, I decided to go and get myself another guitar: something that I could at least be halfway pleased with, [ended up getting a new Gib- son, as well asa new Fender Twin Reverb at the same time. With them I can get a sound that’s pretty closeto what T would get on my Guild, ‘GW: If you got it repaired, would you bring your Guild out of retirement? ‘SeaLS:I don’t know. That guitar is a keep- sake. It’s pretty rare guitar and I've been told that it's valuable. I'd be scared now 10 take it out of the house oF leave it ata club, ‘Gw: Regardless of what guitar you're using, ‘your style is so unique and identifiable that hearing just a couple of notes is enough for someone to identify your playing SEALS: try to get my sound together no matter what I play. The amp has lot to do with it too. If T can find a good amp, the guitar doesn’t have to be that good. The Norma guitar that [used on my first album cost me $20, and I still got a pretty good sound out of it. But it’s really what you put inco the guitar that counts, And that’s goto come from you through your hands, GW: You played drums for Albert King in the late Sixties—the time of the first blues re: vival. How would you compare the climate for blues music then with what's happening at present? ‘SEALS: That's kind of like comparing a "65 Cadillac with a'91. Thebluesis doing okay, but it could be doing a lot better if it got the right kind of support. Millions of people around the country love this music, but it doesn’t get the support in the right places. You don't turn on Johnny Carson every night and see a blues band, or tune in the biggest radio stations in the country and hear any blues. They're playing everything who's BLUES bur blues. But in spite of that, the blues survives—because there's so many out there who love this music WHEN IT COMES to creating a distinctive personal sound, few blues guitarists can walk with the “Master of the Telecaster, Albert Collins. His patented “icy tone which he achieves by tuning t0 a minor ‘chord and playing his eapoed modified "61 Telecaster with hi: bare fingers—is one of the most instantly recognizable in all of blues: After a five-year break since his last al- bum, Cold Snap, Collins has bounced back stronger than ever with Zeeman. Its release also finds him switching allegiance from Alligator Records, his label for the last 10 years, to Charisma Recon” new blues sub- sidiary, Point Blank. (The first major- affiliated label to specialize in blues, Point Blank will simultaneously release three al- ‘bums: ceman, The Kinsey Report's Power- hhouse and Larry McCray’s Ambition.) On Iceman, Collins turns the funk factor up a notch, and adds a new element t0 hi musie: female backup singers. Before any purists turn blues with indignation, it should be noted that when that Arctic guitar cuts in, the $8-year-old Collins leaves no doubt that he isa chillin’ bluesman through and through. GUITAR WORLD: | guess the big question is: Why did you take so long between Cold Snap and Iceman? COLLINS: Yeah, I know. For the last few years I've had people coming up to me at gigs and asking, “Hey man, aren't you gonna cut any more records?” It made me Feel a little bad at first, because people can forget about you if you hang back too long. Thad been with Alligator for 10 years. We didn't have no falling our, it was just a ques- tion of getting with a label that had better distribution. I just laid out for a while and waited. Then I got a chance to go with Cha- risma and Point Blank. So now this is my chanee to come back on the market GW: Since you had so long to think about this, album, did you have a particular game plan ‘when you went into the studio? COLLINS: I wanted to do something a bit different—to put my guitar playing with a funkier thing. You know, the licks I'm play: ing may sound new to the kids, but I've been playing this style for years. Now I'm just trying to update ita bit GW: While your All hhad that element, J funk-oriented—especially the pl your bass player, Johnny B. Gayden, CoutiNs: I love Johnny. He’s been with me for a long time, and he’s very important to my music. Johnny and my drummer, Sokol Richardson, are the foundation. You've got ApRIL 1991 GUITAR WoRLD to have a good rhythm seetion. GW: You used several different shythm gui tarists on the album, including Debbie Da vies, from your touring band, Jack Holder, and Teenie Hodges, who played on all those Al Green hits in the Seventies. Is that him doing the choppy, percussive, James Brown-style rhythm guitar parts? COLLINS: Yeah, that’s him on most of it Teenie and I did some recording with Ike and Tina Turner back in 1969. He's got alot of great ideas, and gave me a couple of nna do on my next album. ale singers on “Mr Collins, Mr. Collins,” who plead with you, ‘Don’t play so loud, Mr. Collins!” cracked me up FIRST, THERE WAS M07 Denia ey Pee ee a NOW, ROCKIT DIGITAL INSTRUCTION as Mote than just licks, tis jm along” it will have you playing ANY lick Peete The perfect practice companion! Included as part of the Speed tho First time I heard it COLLINS: [Laughs] I got th from an old tune that goes, “You can stay, but the noise has got to go!” It’s like when the landlord tells you to cut it down because you're playing your guitar too loud. ‘GW: Do you have any favorite tunes on the album? COLLINS: “Put ‘The Shoe On The Other Foot,” with the girl singers on it, is kind of my favorite, I think maybe “Mr.‘Collins, Mr. Collins” is one that radio might pick up GW: “Travelling South” and “Blues For Gabe” have a lot of that Hammond organ you're partial to, idea for that On eK a Reed aera ate Sree an ete ADDS TO ITS Sta A ed ae Te best way ever to lea ses an! meses: on CD! "] Team wo erete moti CLEANER & FASTER! ing Kits his valuable solos aver any chor Includes the Speed for ing CD is also progression or iceeleate Guitar CD, the Digital available on its own. Play your Tearing of curent ‘Timokeeper CD. chars long witha click track or Songs, Finally the diagrams and more. It anactal hee rom basi picking (0 advanced runs. Our "earn beats per by playing” method ets m Tempo from 100 10200 How’ and Why's" of putting scales over chords explained and demonstrated. Includes ‘on hear rel instantly ‘The Digital Timekeeper is jam along practice tunes. While our exclusive charts ‘THE way to practice in the ‘laminated charts and more Teryou clock your speed! nineties Perfect fr insractor 0 ‘The ultimate Speed and "Timing workout! (Begins Shipping May 15.) Why 6D? Irstant access. Programmediessors Resale ting lopeatabe sessions. Lon Hetand the fphest possie sourd quality! (Begins shipping May 15.) oisie DIGITAL AUDIO tse as a teaching ai, Onder today and hear what you've been sist compact Why ROCKIT? Quakiy Praduets, promt sore, Exclusive providers oF Compact Bise netuctional Stems! BLUES Blues For Gabe" iy trumpet player, Gabriel Fleming passed away about a year and a half Gw: Would I be safe in assuming that you jemark axe on the album COLLINS: Yeah was for used your tra your *61 Tele with the humbucker on it CoLLINs: Yep, that and my regular amp, a 12 Fender Quad Reverb GW: How much is the specific guitar you play responsible for your sound? Could you still get that “Albert Collins tone” from different guitar? COLLINS: Oh, yeah. I might just take me while to get used to playing another guitar. ve got another one I'm breaking in now, justin case something happens to my regi Tar guitar GW: assume you're talking about Fender's Albert Collins model Telecaster. It to have your own must be a nice feelin COLLINS: I've been playing their products since 1952, but I never thought they’ do that—I just thought maybe they'd give mea guitar or something [laughs]. It’s a replica of my °61 Telecaster, with the humbuckin pickup on the front of it and the white bind. ing. I brought my Telecaster to Fender to let them wei 0 shoulder. They still made them a litle too heavy. They say they're gonna correct that I jusi hope the ‘Gw: Bonnie Raitt had a Number One album recently, John Lee Hooker sold over 500,000 copies of The Healer in the U.S. alone through major label distribution, and ith Charisma, which is part of Are major labels finally les potential of blues send some of “em! Virgin Records. artists COLLINS: Well, it’s 100 percent better than it was 10 years ago, And I'm glad about that. It started from the Blues Brothers thin; actually. And then there were people like Johnny Winter, Bonnie Raitt and Stevie Ray ‘out there, bless his soul. Those kind of peo: ple were sticking up for us, making the bed alitle softer. Gwen the last fe sd with (relatively) younger musicians like David Bowie, Gary Moore, Jack Bruce and George Thorogood. Is it that interaction with rock players that keeps your perspec tive youthful? COLLINS: I always tell youngsters, stop listening, you're in trouble. guys—and T don’t want (0 1 just lay back on what the belore, That don’t get it, man. I play for young people, and I don’t ever w anybody get bored and Uh-uh!@ g 10 see the s If you * A lot of ‘ve done JASON BECKER continued from page 34 ready, We didn’t think about its sounding like Aerosmith until after it was recorded (Gw: Did you play the solo on that one? BECKER: Yeah. I was partly inspired by An. us You ordi next door, [Ed. note: AC/DC was record ing its album at the time.) And we heard that Bruce Fairbairn gave him three or four tak and then he would piece them together. A couple of solos prior to that one, I'd been working out each little section, doing a lot of punch-ins. But this ‘one was the last tune we were doing, And we all wanted to go to dinner and celebrate, but I still had this solo to do, So I said, all right if Angus can do it in three takes—Angus is great, of course—I'm going to do it in three akes too. I actually had it by th take, ‘GW: That solo has an interesting percussive quality, It sounds like chords BECKER: Actually, it’s picking—I'm not sure exactly what it’s called: you might cal it “chicken pickin’ Is that what Steve Morse calls it? I'm not sure if its exactly his kind of thing ‘GW: Like muted picking who was re in the room second a lot of hand BECKER: I kind oaks turns between mt fg ved biti T was actually cing the pick fr there poe third and mide Finger for the clean par Gin, The recon! was cut in Vancouver, at Tite Mountain Studios. How was that for deexem: We ct it up there with Bob Rock That was great because I'm originally from the San Francisco Bay area, and Vancouver tras ike San Francisco Tras ls like Fring avy fom home twas a relly col vite eit, Gr: Yes? Wht about the strip clubs in Van about them becxen Th where Just te test chicks, Ifyou gota Strip club in LAI just moved there Butin Vancou the strin 's a lot of strip elubs and rock ‘cep hearing wonderful things re just the coolest ever. Any there are some nice chicks ver, they're really beautiful GW: always thought that Atlanta, Georgia was the strip capital ofthe world. BECKER: Hey, you know, I went to a strip club there, That's the only other one I've ‘ever been to. And that was pretty happening two, GW: But Vancouver was better? BECKER: It was, on the level, maybe a little better. The funny thing is those are the three places I've been to strip clubs. ‘GW: So you don’t spend clubs, then, BECKER: No. much time in strip Not me. @ CINDERELLA ‘continued from page 26 There's technique to both. I's really just a ‘matter of opinion. I'm not saying that peo- ple who play fast aren't good. They're great, I's just not what I like. And maybe ‘what I play isn’t what they like, butit’s a big world, Everyone's entitled to their own thing. GW: Have you ever gotten into tapping? KEIFER: When I was in club bands, playing covers, I learned how to do it “cause we were doing Van Halen, and some Judas Priest stuff is like that too, But when 1 started doing my own music, I got outof it. often wonder if Keith Richards picks up his Tele and does finger tapping and then says, “Nah,” and puts it down [laughs] @w: Who are your favorite guitarists and why? KEIFER: Jimmy Page and Keith Richards, back from when I was a kid. My first expo: sure to blues was through them—y'know, second generation blues. I wondered where they got it from, and then somebody gave me a B.B. King album and T got into learn ing those simple two or three note riffs, 1 started listening to Johnny Winter and then Muddy Watets. I learned by listening to the same things that maybe influenced the rock players that I liked, and then interpreting it in my own way GW: What is it about those play KEIFER: I's the feel and the simplicity. Ex~ erything they played. it sounded like they meant it, GW: Have you e nitar styles—the KEIFER: I was really blown away by Ozzy Osbourne’s album with Randy Rhoads, h it was a lot of classically influ ‘and a lot of scales. I was really curious about it, I started practicing scales forhours, butit just didn'tcome naturally to ‘me to play that way. But the way T play nov just simple blues-style rock and roll comes very naturally to me. That's what feels best for me. Because that’s what I started out doing as a kid. Yeah, well, along the way. when Van Halen came out T got into that trip, Itsjust curiosity, ButT've always come back to the pentatonic blues fee (GW: There's just something about those five notes. F tried to get into other soclassical stuff, for in KEIFER: Yeah, and those three chords.@ AT 5329; IT WON'T TAKE LONG TO SAVE UP FOR A QUALITY 4-TRACK. See ese MEM eee ete aa eC Bae Seu uutec Deca UR eps RLS reduction, and a 2channel mixer with input Stee ieee eee ele Perec neering features and functions that'll get you into multi- Ree Skee il notime. tence eD ny reg aes Aol AAO) live with, And easy to buy. Now, Eselgeenicceuic ad Ferree tone eS in lights and royalties just roling in. For nov Nolet sre eter Bc pecese a Weuerue hte es your hands on the multitrack thatll help make your dreams come true. Ret ae re ones) you couldnt afford, but nen Oe ty Setter aan only a Tascam could do it bergen ered aa Rebel Yell STEVE MORSE BY BILL MILKOWSKI JUST AS STEVE Vai's Passion And Warfare itar event of 1990, Steve Morse’s Soushern Steel may very well go down as the guitar event of 1991. Yes. it's carly, and Quite a few other capable entries may erop months, But I can’t im ng this incredible guita was the ine anyone topp heavy showease While Morse's High Tension Wires was learly an experiment, a detour into Celtic cesoterica and textural fare, Southern Steet rocks with a frightening intensity and focus that recall his Dixie Dreg his ease. from jump with “Cut To The Chase,” u blazing workout that has Van Ro- rmatine’sdouble bassdrums setting tempo, Morse comes out of the chute with days. He states his wheels sereeching, and from there it’s pedal-to-the-metal as he trades mondo licks with guest-guitarist Jeff Watson. Steve plays it hard and heavy again on “Simple Simon,” nonchalantly tossing off few pat ‘And on the tented sextuplets along the » sarthy “Sleaze Factor.” he recalls his Dregs” glory days with @ nasty Southern: Exenonthe album's lone Vista Grande,” Morse cranks up the gain on his solo and lety it rip with a vengeance. But if you really want to know where Steve's head is at on this project. Look no further than “Arena Rock.” an anthemic offering that features some of his fiercest playing and fattest tones on the reeord, This, time. the boy goes str ‘ng bagpipe effects or Celtie whimsy on this, fone, He means to rock the joint and set our dentures a-chatterin’ on Southern Steel Whereas High Tension Wires was an auteur affair with a few assorte album is very much a band project. Drum: mer Romaine and bassist extraordinaire Dave LaRue put in much road time with Morse after the release of High Tension Wires. and obviously had established a ‘close rapport by the time of this record Few rack rhythm sections could cut the complexities of Morse’s contrapuntal lines 4 and odd time signatures on pieces like “Bat 3 tle Lines,” “Wolf Song” and the title cut 2 but these two seem to take it all in stride sts. this REVIEWS LaRue is particularly brutal: Not only does ‘he propel the aggressive numbers with rock-solid bass, but in some cases he also rnimbly doubles Morse’s impossible lines to fatten the attack. Also fine as fine can be are his two-handed ostinatos on “Vista Grande,” his urgent slapping and relentless 16th-note pulse on “Weekend Overdrive and his tapping solo on the ferocious “Cut ‘To The Chase.” Perhaps this amazing al- bum will help this long-underrated bassi finally get his due. Afier exploding godhead chops on nine burning tunes, Morse closes this spectacu lar showcase with a sedate number, over- dubbing two acoustic guitars on the appropriately titled “Point Counterpoint.” After 36 minutes of throbbing beats and torrents of 32nd notes, these gentle baroque stylings come as something of a surprise, hinting at yet another, entirely different side to this remarkable talent. The man who never fails to amaze has done it again. DAVID LEE ROTH ite Ain tEnougn ‘THE ONLY THING larger than David Lee Roth's ego is the national debt. While t no great revelation, it does say a lot about his new album. For starters, the vocals are mixed louder than anything else on the re- cord. It also explains why the guitar solos are kept to a bare minimum. Why let gui- tar do your talking when your mouth is so big? Butisn’tthat David Lee’s charm? And the fact is, he’s always been able to surround himself with some of the hottest guitar tal- cent going. Jason Becker (ex-Cacophiony) steps in with some fairly tasty licks, but in these verbose, overcrowded songs, most of those chops have been reduced to meaty morsels. There are, however, a hot bit of riffs that cook their way out of the blues- heavy “Sensible Shoes,” with Becker trad- ing Screams with rhythm and slide player Steve Hunter (of Lou Reed's Rock And Roll Animal fame). For one brief moment, Dia- mond Dave is forced to share the spotlight. Lots of hard rock, lot of fun, lots of Roth. But not nearly enough Becker. A little ain't enough, indeed. —IEFF GILBERT agerags © BLIND WILLIE JOHNSON Swester As The Years Go By THIS NEW RELEASE may well disappoint ‘admirers of the previous Blind Willie John- son collection on Yazoo, Praise God I’m Satisfied. Where that album was chock-full of the brilliant slide guitar playing for which Johnson is renowned, Sweeter As The Years Go By is more a showcase of the gospel singer's fingerpicking skills. While these are not nearly as spectacular as his bottle- neck prowess, they are nevertheless int esting and distinctive in their own right. Johnson was no ragtime or Delta-style picker, alternating the bass with his thumb and plucking out a lead on the treble strings ‘with his finger. On most of the tunes here he echoes the vocal melody on the bass strings with his thumb, or plays a call-and- CAUTION! SHARKFIN AREA The compe’ ion out there is fierce fact it's a regular frenzy. Sometimes you need an edge or maybe three edges. The Sharkfin pick sharpens your pick attack side for a ser whichever sui and a serrated ing metallic feel... ur sourid. offering three inded int For,a limited time send us $1 to cover shipping and we'll send you two varying gauge sharkfin picks, so you can test the waters and get an edge or three. ‘Make your check or money order payable to J.D’ Addario & Co., nc. © WS dollars only please) Offer expires April 15, 1991. ——_ REVIEWS response countermelody—also with his thumb. His fingers primarily brush the higher strings. On such tunes as “John The Revelator” and “If | Had My Way” the playing is incredibly dynamic, with John- son thumb-picking, string-brushing, and banging his guitar in rhythmic fervor. This, is not the bottleneck of “Keep Your Lamp Trimmed And Burning,” but it should put the fear of God into you nevertheless. “HAROLD STEINBLATT (Blind Willie Johnson's Sweeter As The Years Go By and Praise God I'm are available in music stores or from Yazoo isfied Records. POB, 208 Newton, New Jersey 07860) ‘SCREAMING TREES Uncle Anesthesia SCREAMING TREESHAIL fromasmall town in the mountains of Washington State, an hour east of Twin Peaks. This isolation has rendered the Trees neither fancy nor unso- phisticated—they are simply four curious ‘musicians unimpeded by most of the sounds their big city counterparts seek to harness. Yes, Gary Lee Conner’s guitar is laced HOSONO GUITAR WORKS #20, THORSON Ave“ UNIT 13, OL Nene Eee Races Caer with psychedelia. But unlike his British re~ vivalist counterparts, the vocabulary came to him effortlessly, naturally. This is no homage, but simply Conner's idiosyncratic view of the present. And despite those over: tones, the Trees don’t languish in murky, self-indulgent swirls of druggy nonsense Mark Lanegan’s vocals run rough and mel- low, like good single-malt Scotch, through a thoughtful cocktail of alternately loud and GRANT ALDEN ‘cautiously private songs. MIND FUNK MORE OFTEN THAN not, the intermarriag: of heavy metal and funk results in a chaotic display of confusion. For this reason, I was fearful that here was just another group of Er een perplexed musicians passing off their lack ‘of direction as “innovation, I was wrong. Big, loud power grooves dominate the debut from New Jersey's Mind Funk, and fortunately for metal fans, the funk is kept to a tolerable minirmum, The screaming guitar work of Louis Svitek and Jason Coppola sounds like it won't rest tuntil you've headbanged yourself into an aching pulp. Their passion is limitless, tak- ing you with ease from the Soundgard like crunch of “Fire” to the acoustical magic of “Sister Bl JEFF KITTS ROGER MeGUINN Back From Reo McGUINN'S FIRST OUTING in a decade is a welcome dose of intelligent, unpretentious Ded 2 ee ead Pico aaa a (Ghee rn ae ae ea Nee ee Maleed Tella canon Teo THE PRICE. Give your amp what it needs to keep ts power and punch—_ premium quality AudioGlassic tubes. Every tube is backed by an unconditional six month perfor ‘mance guarantee. Matched Output Tubes: Reka 6LBGC/R’ (Pair) $36.00 5881 (Pair) — "40.00 6vecr (Pair) 32.00 EL4/6CA7 (Pair) 40.00 EL/6BQS (Pair) 24.00 (Pai) 70.0 KTS, (Pair) 100.00 Preamp Tubes: VAX?A (Premium) — 14.00 1RAXTA/BCC83/7025 9.00 BAT7A/ECC81 00 12AUTA/ECCS2 Recifier Tubes: SUsG 20.0 BARI/GZ34 30.00 Prease contact us if the tube required is no! {ia cary nerf tke psn fe For ordering information or to find your nearest dealer, lease cll to ee 18OD-456L6GC, (205) 8801660 (or FAX (205) 880-8077. To write AudioGlassic, Suite C 8200'S. ‘Memorial Patioway, Huntsville, Alabama 35802, REVIEWS Nitta nn eS pop anda reminder of how distinct a sound the former Byrd created with his 12-string Rickenbacker. The opening track, “Someone To Love,” is McGuinn at his best—poetic, romantic lyrics, loping bassline, chugging best, all framed by the jangly 12-string. Most of the allum succeeds similarly. With help from the likes of Elvis Costello, Tom Petty, Heartbreakers’ Mike Campbell, Stan Lynch and Benmont Tench, and former Byrds-mates David Crosby and Chris Hill man, MeGuinn has erafted a work which blends his Sixties folkie sensibilities with a Nineties’ pop sheen. Co-producer David Cole rarely over-meddles, creating just a couple of globs of gooey syrup. Costello's “You Backed Down” is ma terful—a brilliant collaboration by two of ‘our best pop tunesmiths. “King Of The Hill,” co-written and co-sung by Petty, is another score—a haunting, surging song driven by Campbell's screaming guitar, barely audible behind MeGuinn’s 12- string. Like “You Bowed Down,” “King Of The Hill” is about the vapidity of the L.A. high life and serves as further proof that Back From Rio represents a gathering Of some of our smartest, most self-aware rock stars. Crosby and Hillman’s harmony voices levitate McGuinn’s lead vocals on the ach- ingly beautiful “Without Your Love.” “If ‘We Never Meet Again,” Jules Shear’s ode to friendship, is an appropriate closing track for this album of vital collaborations. ALAN PAUL TANGIER Stanged ‘THE BINS OF your local record store often tell tales of strange bediellows: bands whose success in the music business is as much @ matter of who they know as how they play. Casein point: a sure as Bon Jovi begat Cinderella, so did Cinderella whelp Stranded, Tangier’s latest release, fea- tures a new vocalist and is one guitarist Playability * Value * Feel Power ® Performance NEED WE SAY MORE? lighter than the band’s previous album, Four Winds, Guitarisw/songwriter Doug, Gordon uses the opportunity to let loose some rocking rhythms behind his inventive, energetic lead work, Unfortunately, both Mike LeCompte’s vocals and a good number of the songs are derivative in the extreme. “*Caution To The Wind” and “You're Not The Lovin’ Kind” ‘could pass for Whitesnake outtakes, while “Excited” walks in the shadow of Aero- And the bluesy “Takes Just A Little Time” evokes Fleetwood Mac’s “World Turning.” "MICHAEL CHATHAM eee ROD PIAZZA AND THE MIGHTY FLIERS Blues In The Dark BLUES IN THE DARK is another sparkling Black Top release featuring fresh, BOROE BDOL OOK IDLO IONS 2 SSROE WHEN IT COMES TO RUSH ORDERS... THOROUGHBRED ROCKS! IMUSIC ‘SAME DAY SHIPPING ON ITEMS ORDERED BEFORE NOON THE BEST VALUES HUGE INSTORE INVENTORY (OUR SALESPEOPLE ARE MUSICIANS MAILORDER LAYAWAY AWARD-WINNING SERVICE CENTER i THOROUGHBRED or tou OL RE ee how the-board blues. Piazza is a mighty harp- man, laying down cool, jazzy riffs, fiery blasts of blues and distorted chromatic wail ings. He’s also a swinging vocalist, shining (on uptempo R&B and jump blues numbers like “Hear Me Knockin” and “In The Dark.” The Mighty Flyers are a tight en- semble, with guitarist Alex Schultz having litle trouble moving from tasteful accom- paniment and surging rhythm to front and center leads, Schultz takes his time on “Hear Me Knockin’,” winding his way through the song’s groove, while on “The Toddie ” he rips off a smoking, surf- sounding solo, ALAN PAUL Poh ee ero peers rt is peers peers pene ty eine BORSS 7 i ‘ ' ' i (813) 237-5597 FAX (813) 238-5443 Guitars, Percussion, Amps, Keyboards, Electroni Pro Audio, Accessories, Rentals “ 2204 East Hillsborough Avenue, Tampa, Florida 33610 Sees SORE IORSE wiayew ) 4+1 Bass Conversion Kit # string Precisionstye bass comerts 4 5 string ‘© No routing, no deiting ‘Another winner! Excellent Dan Erlewine, (GUITAR PLAYER MAGAZINE Distributed by BBE Sound, Inc. (714) 887-6766 Wifiyeu Use nereased sastain and igh-end response User selectable string tension Let ight individual string spacing Locking saddles Distributed by BBE Sound, Ine. (714) 897-6766 Roller Nut for 3 a-side headstock * Recduce friction * Precise tuning Accurate pitch recovery Distributed by BBE Sound, Inc. (74) 897-6766 Beyer Tour Group TG-X Microphones Models 180, 280, 480 and 580 “These are truly all-purpose microphones.” ENGINEERS HAVE LONG memories. I have used Beyer mics in the pas, for sound rein- forcement—and was in every instance in- formed that [had the best live sound in the area. Engineers remember these things, so Iwas happy to receive this series for review. ‘And since Beyer has now shock-mounted the capsule in all of these new mics, I was ‘eager to put them through their paces—and to see if my memory served me well GETTING PHYSICAL Physically, these are nice microphones. ‘The 180 and 280 are about the size of @ Shure SM-58, while the 480 and 580 are larger—approximately the size ofa stand- ard wireless mic. All four are finished in a nice satin black, with a spherical wind- screen. They feel solid and purposeful Each mic also comes with a soft carry-bar, a clip (for a stand) and a detailed frequency response chart. One nice feature ofthe clip is tat its flexible enough for a vocalist to remove the mic without sliding it forward. ‘The response curve isa blessing. Not only does it show the mie’s performance, it also reflects the proximity effect—the change in bass response as the mic is moved closer to the source. More manufacturers should supply such information LeT’s GET Busy | first headed to the studio with the mics, figuring they could easily be put to the test there. T was working on some bass guitar tracks, and I occasionally mic the cabinets. Because of its more pronounced bass re- sponse, I chose the 280 to replace a Shure SM-57 on an 18 driver. The results were impressive. I got more- and better-defined low end from the 280 than from the 57, and even got that rumbling presence that bass guitar needs to project offa tape. I then set ‘upa vintage Marshall 100-watt Super Lead head, cabinet, Echoplex and flanger, browned it up a bit witha variae, and set up my reference Sennheiser 421. Next to it I placed the 580. lopened the 421, setalevel, and gota basic guitar sound. Then I opened the 580. The Beyer had a natural, clear gui- tarsound, with more open high end than the 108 421. Italso had good low-end presence, and really let the Marshall knock come through loud and clear. I could've used a bit more ‘midrange information from the mic, butthis, can be added in with EQ orby using the 580 con one speaker and a 421 on another. The results ofthis are nothing short of stunning. 1 got some of my best guitar sounds and samples ever using the 580, I also tried the ‘mies ona Leslie cabinet, and their perform- ance was staggering. used the 480 and 580 48 a pair on the top left and right of the Leslie, and Icouldn’ttell them apart. I man- aged to get my best dirging organ sound ‘ever on tape, complete with the lurching, surging bass of an earthquake. Subse- quently, as I worked on some acoustic guitar tracks, the power supply for my MKH 40, (Sennheiser) began buzzing. I reached for the Beyers. It was then that I realized how much cleaner and crisper the 480 and 580 are than the 180 and 280. Is interesting, through, how similar they are to each other in basic tone, with the 480 and 580 being more enhanced in detail. I chose the $80, and completed the track. I must admit that the 580 lacked some of the clarity of the MKH 40, and the 580 tends to be a bit boomy on acoustic guitar. But I'm compar- ing it to a mic that costs roughly twice as ‘much, and the Beyer provides at least 90% of the quality and performance ofthe much more expensive Sennheister. Next, I was off to sample drums. It was really dificult to tell the mics apart. All of them provided clean, crisp drum sounds ‘with plenty of ballistics and oomph. Here is. ‘where the proximity effect was really shown, to be valuable, because as the mics moved closer to the drum head, the bass frequen- cies picked up, so the wetness of the drum could be controlled. Toms came out thun- derous, and the kick and snare could be felt inthe chest. Finally, I tried the mics on vocals. I set ‘one up, my vocalist eame in, and we opened it up. Once we had a good level, his re sponse was, “Wow. I's warm. Beefy.” He was right. The Beyers immediately provide 4 nice smooth, warm sound. Lyrics seem cleaner and are easier to understand than they usually are through the old faithtuls. But the Beyers seem softer in tone and slower in response time than the MKH 40, ‘This difference is only noticeable when you put down two vocal tracks and A-B them coming off of the tape. At a rehearsal, 1 discovered where this mic really shines. My vocalist uses the standard SM-57 or $8 on , and in rehearsals we have had prob- lems of inaudibility. When we tun itup, he feeds back. After a brief “check 1,2" on each, he settled on the 580, What a differ ence it made! There was so much more of his voice and no feedback ‘THE BOTTOM LINE ‘What Beyer seems to have accomplished is taken their excellent sound quality and packaged it in a more durable microphone —I.can vouch forthe fact that they are more durable than their predecessors. Imight add that these are truly all-purpose mics. Where some of my more expensive mics excel in certain areas, they are generally deficient when comes to guitar cabinets and drums, mainly because of bass response. The Be- yers, on the other hand, sound great on ev- erything, and would make welcome additions to your tool box under any cir- ccumstance BOB CANCRO EEO The ADA Vintage Splitstack is an 8-ohm. lestions. Vintag. traditional 4x12 “full-stack” arrang ments or split in half for true stereo per: formance. Each Splitstack is capable of handling up to 100 watts ADA Signal Processors, Inc. 7303D Edge 12-inch cabinet loaded with 50-watt Ce- Splitstacks can be setup in eee aoe 241-8888. water Drive, Oakland, CA 94621; (800) The Washburn AB2OFL fretless acoustic bass features a maple neck with a rosewood fingerboard that is complemented. by unique dot-inlay pattern position markers. The AB2OFL also features full-time active electronics with specially designed pickups. mounted under the bridge. Preamplifi- cation and equalization are accomplished ‘with Washburn’s new EQUIS II system. Re- tails for $699.90 Mashburn International, 230 Lexington Drive, Buffalo Grove, 11. 60089; (800) AA sensor probe held in the player's mouth Soul Kiss instantly translates mouth and lip ‘movements into moving resonances and ar ticulations in the music. It produces dra matic results on keyboards, guitar, bass, electronic percussion and other instru- ments, Retails for $120. New Sensor Corporation, Suite 526 245 East 63rd St. , New York, N.¥. 10021; (212) 877-6863. Bie mc) to being a musician than just playing an instrument. AIG's Musicianship Certificate Program trains Guitarists and Bassists for the real world. You say you want fo be a musician. You say youre ready to do whatever it takes. Well, what it takes is a rigorous training program. One that teaches all styles and all levels. One that gives you a solid grounding in theory and ensemble work. One that teaches you such real-world skills as songwriting, midi production, studio techniques, and the music business. The AIG Musicianship Cerificate Program offers all these things in a recognized, comprehensive program, staffed by some of the finest professionals in New York. ‘So whether you're an aspiring pro or a serious hobbyist, come to what Guitar Player Magazine called "New York's Oasis for the Guitar.” Register now for next semester. For more information, call or write: AMERICAN INSTITUTE OF GUITAR 250 W Séth St, #608, NYC 10019 (212) 757-3255 980-6748. @. — The road to success is a long and lonely journey. Take the short-cut with Performance Guitar, and run with the pack. WEST ARKEEN JOHN SHREVE (THE BIG F) MARK CHRISTIAN (THE BIG F) U.K. SMITH (RED RANDY) WARREN DeMARTINI (RATT) STEVE VAI THAURNE E. HALO (BLOOMSOAY) BRIAN YOUNG (BEAU NASTY) MEGADETH DWEEZIL APPA MIKE KOSSLER (| LOVE YOU) FRANK ZAPPA JEFF NOLAN (I LOVE YOU) 6.1 ALUMNI cusTOM onDERS PIoKUPS UPGRADE NECKS & BODIES 5 AND 6 STRING BASSES ‘CORSAIR SERIES GUITAR'S NOW AVAILABLE PERFORMANCE GUITAR is where inspiration becomes passion, Guitars and basses for the professional frame of mind, Service and quality for the educated consumer. Send $4.00 for color catalogue and poster. Performance O_o PERFORMANCE GUITAR, 01.5 Yucca Street, Hollywood, CA 90028 — 4 = ioe reacts eae spat ede farmetce The DiP-swzch slecabie ee ee ce | : ser ycchinl pater Bear s ths The CRC-Ican alo be prspamned erat Sonng pereroaes Perle $150. = Fe Lake Butler Sound Co., 5331 West Lake | Butler Rd., Windermere, FL 34786; (407) SSOSSIS OES ‘The Engl all-tube stereo power amp comes. with an output power of 2 x S0or2 x 100 watts RMS. Both stereo channels have two" inputs, two volume and two presence con: trols, allowing the user to switch between ‘ovo preamps with two different overall vol- ume and presence level settings. Optional MIDI footswitching or Engl Program Sys. tem switching is available. The unit also features 10 speaker outputs with three dif ferent impedances, allowing for many com binations of speaker cabinets, Engl Amplifiers, Inc.—48 Cheese Spring Rouid, Wilton, CT 06897. (203) 762-9437, ss Steed The Slide-A-Scale is an instant scale trans: poser that will transpose songs to any key desired. Also a valuable compositional tool Includes detailed instruction sheet. Retails for $7.95 The Sherwood Company —7615 Menaul N.E. Albuquerque, NM 87110. (505) 292-5900. Sac anere ete Tome ene Scammer ele Te ny ee cry So Re peor a pee ram UL UR UE Nt ase SRS eases sean : PoWo8 BET ef eae rue Ee nse SNe TLE Sree oe ene 4 tn i BES ee ig Ce ee The Best Parts of Guitar Playing Come from Warmoth ur a a Mae Made in the U.S.A. For your copy of the most comprehensive catalog of ||] —t2:tzterstetayaemmame sesso sosmsgmeeme see premium quality guitar parts & hardware (in gold, EE ahi rt tnt a et 4 chrome or black), send $2.00 to: _ ‘oars eae ene “ef Warmoth i Guitar Products Inc. 6424B 112th St. E., Puyallup, WA 98373 + (206) 845-0403 A EDITED DANNY PERINI Franktin Square, New York “LOOKING FOR NEW York's finest guitar: ist,” said the ad in a music paper. Forty- year-old Danny Perini (or Blues Dog, as he’s commonly known) was at first relue tant to enter the contest, but his friends” coaxing—"Everybody was telling me, “Man, you should enter that" —wore down his initial resistance: “So I called them [the contest’s organiz cers},” Perini says, “and they told me that to enter I had to submit tape with three min utes of my best soloing. I sent them a live version of me doing [Hendrix's] “Red House." A few weeks later, Perini was informed by telephone that he was one of en finalists, selected from over 300 aspiring BY WILLIE contest’s finals were held at a huge -y-metal club in Franklin Square, Long Island. Blues Dog and the other finalists were required to perform live on stage, to the accompaniment of a pre-recorded rhythm track each guitarist prepared be: forehand Perini describes what happened. “Each guy was good, but they were all playing in a heavy-metal style, with real fast scales, lots Of tapping and tons of tremolo bar stuff. When it was my turn, I got up there and played my white Stratocaster through a Marshall with a wah-wah pedal. I played an instrumental version of Hendrix's “Voodoo Chile,” and itjust brought the house down.” He won the competition, and besides earning the title “New York’s Best Guitarist of 1989,” Blues Dog won 10 hours’ worth of 24-track studio time, which he put to good use by recording a demo. Perini makes his living singing and play- ing the blues at clubs and bars, but hopes to move on to bigger and better things. His major influences are Beck, Clapton and Hendrix, as is evident by his bluesy, tasty licks and screaming bends. MAIN GUITARS: '79 Fender Stratocaster, "67 Gibson ES 335, '64 Fender Jaguar. AMPLIFICATION: Late Sixties 100-watt ‘Marshall head and Marshall cabinet with 4x12 Celestions. EFFECTS: Cry Baby wah-wah, Boss oc- tave pedal. Washington, D.C. “[DIDN'T PICK up a guitar until I was 18, says 28-year-old Gina Grace. Prior to that Grace played piano and flute under the ‘watchful eye of her music-teacher mother— ust like a good little girl.” ‘Then John McLaughlin came into her life, and, voila, MARR Danny Perint (Blues Dog”) she would never be the same again—the good little girl metamorphosed into the Shred Queen Grace explains: “My best friend used to play John McLaughlin's Shakti and Ma- havishnu Orchestra stuff on acoustic guitar with her fingers; she never picked. It just blew me away to watch her do this. So she © started showing it to me, and it just ean me, really quickly.” So Grace set aside her flute and piano, bought an acoustic guitar, and within ayes ‘was at the Berklee School of Music, totally immersed in the study of her new-found instrument After graduating Berklee, Grace moved back to New Jersey and joined a New York- based, four-piece, all-girl hard-rock band called Pantara. Musically, it was a depar- ture for her. “I wanted to toughen up my playing. I looked at it as a learning experi- cence,” Grace says. The band played New York clubs such as the Ritz, the Cat Club and L'Amour, and was noticed by record industry people. Rock Scene magazine called Grace one of rock's “most promising guitarists.” Ultimately, the project fell apart when the band fired the singer be- “she got fat and started cause, says Grace, taking drugs.” After spending ninemonths trying to find another singer—with no luck—one ques- Gina Grace tion kept echoing in Grace’s mind: “Why don’t I just do it? Why don’t I just do it?" She did. She quit the band developing a solo act that focus guitar playing and singing abilities Grace’s main influ aside from McLaughlin, are Allan Holdsworth, Jeff Beck and Eddie Van Halen. Her playing is fan amalgam of lightning-fast runs, biting blues licks and elegant melodic lines, MAIN GUITARS: DiMarzio Custom Strat; ‘Charvel Strat. AMPLIFICATION: 50-watt vintage Ma ‘shall head, ’68 Marshall cabinet with 4x12" Celestions. EFFECTS: Lexicon L SPX 90, DBX comp li ESE Think you deserve the Guitar World treatment? Then proveit! Send: sette tape showcasing your abilities (solo guitar or with a if you've got what it takes, w. world your story in Hometown Heroes. Each submission should include no more than three songs; be sure to include a ‘good black and white photo and bio, Ad dress it to: Guitar World's Hometown Heroes, Guitar World Magazine, 1115 delay, Yamaha Broadway, New York, NY 10010. Our A&R staff await your entries. ee You'll derive enormous Satis- cro Mtg Sola) PUTT Rare die ST a Cc etn) aa NAO ae CRS eS Meee ema ea en ata cg een ens cuils oes Ptcatry TRADING LICKS crete arin a8 ino Motrele Rock detain =) PATTY} Fe coum 4h) F +02 (os wate “arte npnsunes ©-0 © ©0O6O800 Bhaverse Everybody needs a litle place they can hide, somewhere to.——call__ their own, don't_—_let__ nobody inside, . —_ Dn SS Every now and then we all need to let go, for some i's the doctor, for me i's rock and roll, For c 6 D © 1990 by Eve Songs, Inc. and Chappell & Co. All rights reserved. International copyright secured, Allright reserved. Used by permission. some It's a bottle, for some i's pill, some people wave the bible ‘cause it's giving them = atl, c 6 9 6 8 a (thers point thelr finger it they don't like what they see. it you live In a glass house, don't be throwing rocks st me. We all c 6 a D 7 [Elchorus need 2 tle shelter, ust ale ° 6 m7 helper, to get us by, We all TRADING LICKS eed 2 tle shor Just a ite helper, coh, and Rll be alight [Dlend verse Check out Mr. Politician in his sul and te, but when the doors are closed there aint nothing he won't ty cs 0s 69 (Eee) (61 et []sn) f “GrSieakoinopon Garg Meanwhile, Mr. Medicine's treating his best friend's. wife. a 8 co 05 Tipper led the war against the record industry, she sald. she sew the devil on her MTV. To 45 85 85 os @s ook into the cabinet it takes more than @ Key, just’ like Jimmy's. skeletons and his ministry. We all a os as Ds [Elerous od ede str vot ate ee ee (tems helper, to get us by. We all TRADING LICKS need a litle shelter. usta litle a % FC co Fe c Foo © helper, ooh and twill be alright. as 05 3 Gn [E]sexoprone Soo e Fe ce 05 FoG Fo 65 mi 65 9 Foc FCC cS FCC FOO OOS A Ds [Blouttar soto ooo os neo RS or 3 "Grd _(Gv.3 continue Fig[E] simio) Lv xe ordis mained nig FCC HOC OS A 0s a — mee [Hor verse some it's the needle, for some i's the pill, some people wave the bible ‘cause i's giving them a thrill, on 05 8 @ "A Jamnnnr 85 d ps. % atcoae $- You can spend your money betore you get your pay, with @ toss of the dice you cen piss it all away. We all 96s @ As 05 TRADING LICKS ote need 2 tle eter ut te ee ee helper, ooh, and it wil be alright We al ow 8 Ds os Gn7 o Tow need a ile. shelter, just a title 1036S 05 helper, 0h, it will be alright We all 105 cs 05 6 (Repent and Face) 126 GUITAR WORLD-APRIL 199% cornet! ne Medium Funk 1am LAT Te ¥ “as aly ona © 1972, 1974 by JOBETE MUSIC CO., INC. and BLACK BULL MUSIC, INC., 6255 Sunset Bl., Hollywood, CA 90028 Used by permission. International copyright secured. ‘Made in USA. All rights reserved. TRADING LICKS [Bs and, rd verses Very superstitious, tious, = tious, En? writings on the wall Very —super— wash your face and hands. Rid me of the ‘nothing more to say. Very super— 11 En? = stitous, ladders ‘bout to fal. Thirteen month old baby problem, do all that you can Keep me in the daydream, = 'sttous, the devil's on his way. Thireen month old baby 14 En? (2 (Gr cra se) broke the lookin’ glass. Seven years of bad keep me goin’ strong. You don't wanna save broke the lookin’ glass. Seven years of bad 18 uk, ood things In the pas. ne, se is my song When you be= Wek, 00d things in the pas 2 Ent ne = (ictorus = lieve In things that you don't understand, then you suffer. Superstition ain't the 2 c7ant 87 aoe as Baug 2 (rt way. 2. Very supers — 30. E07 ns (r20pate Fe Bn) TRADING LICKS way. 3. Very superti — & 1 En? ort (@e2repese Fo [sin [loate soo 8 Irak pisupend pe. A, mee ori af r (622 coneues Fe [sini 20 GUITAR WORLD-APRIL 1993 APRIL 1991-CUITAR woRLD tat 2.0 ed BDAY OES XS >> "e) Bro rads a 85 8m Bn En n am . 1 aaa GuITAR WORLD-APRIL 1991 anima wof TEMES)