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» 4 Learn to play guitar like the experts_ refi ler aE ‘ = TECHNIQUES 7 Pe ET : a ¥ = DRO Uy . . al beautiful instrumental oo “ " ‘Kayleigh Oe gh ei ny 0 J ae Bie. | oe Sit Steve Rothery 2 “a ‘This Strange Engine 4 Easy Like... Milk And Alcohol ~ Dr Feelgood Meo! It took years for the brewers to cath up with the idea of alcoholic milk 20 Jazz Standard ‘The Nearness OF You - He How close can you get? 26 Phil Hilborne’s A-Z Of Great Riffs N—Ted Nugent They call him The Hunter sy Carmichael Transcription Scuttle Buttin’— Stevie Ray Vaughan Instrumental éour- dt-frce from SRV Inside GUITA GT September 1997 Vol 4 No 06 TECHNIQUES Smash Hit Kayleigh ~ Marillion A lavelorn ballad from one of Py rocks nest Genesis (circa 1972) Taylor Made Blues For Toby ~ Martin Taylor Funky jaz blues from the master’s pen Geoff's Blues Help The Poor ~ Robben Ford He's played with everyone from Barbra Streisand to Miles Davis. Taken from Robber’s seminal “Talk To Your Daughter album, this is how blues should sound! Shaun Baxter's Beyond Rock G Spot Blues — Shaun Baxter definitely marks the spot — in more v than one 5 Hot Country Bayou Slide Slip-side into that spiey Cajun ¢ sound GP Tips MOT your guitar Don't fret! All your fingerboard problems salved Stevie Ray Vaughan bend those notes, boy? Unplugged Horizons — Steve Hackett Stel-strng instrumental from Funk Rhythm — get into the groove Stay Tuned Gossip from the guitar world ‘Trading Lines What have you got to say for yourself? Cue And Review A round-up o O77 ‘his month's releases fy Readers’ Ads Buy! Buy! Sell Sell! ‘The Digitech Whammy ah Win a Digitech XP100 Whammy-Wah Impress your friends with this pitch shifting pedal Guitar Techniques @ setenbe: 197 .and on thf 1 Intro and tuning notes © and ©1997 Widdle Music 2 Geof’s Blues page 34 Help The Poor = Robhen Ford 21997 Ceoft Whitehorn 3 Geoff's blues page 34 Help The Poor backing track © 1097 Geoff Whitehorn 4 Phil Hilhorne’s A-Z Of Great Riffs page 26 N-Ted Nugent ©1907 Widdle Music 5 Jazz Standard page 20 ‘The Nearness Of You - Hoagy Carmichael © 1997 Frank Evans 6 Easy Like page 14 Milkand Alcohol - Dr Feelgood ©1997 Wile Music 7 Main Transcription page 48 Scuttle Btn’ - Stevie Ray Vaughan © 1997 Wide Music 8 Main Transcription page 48 Scuttle Buti’ hacking track Wide Music 9 Unplugged page 66 Horizons - Steve Hackett ©1997 Widdle Music eT er cea lm 8 ® Guitar Techniques: Hot Country page 56 Bayou Slide © and @Widte Must 11 Hot Country page 56 Bayou Slide backing track © and@ 1997 Widale Music 12 Shaun Baxter's Beyond Rock page 40 G Shot Blues ~ Shaun Banter 997 Widdle Musi 13 Smash Hit page 60 Kayleigh ~ Marillion ©1997 Widdle Music 14 GT Tips page 74 Funk Rhythm 097 Dave Kikinster lor Made page 70 Blues For Toby ~ Martin Taylor © Martin Taylor/Widdle Musi 16 Taylor Made page 70 Blues For Toby backing track © 1997 Martin Taylor Widdle Music nent DO) GUITAR een) Sa pee or) Cee et Cy From the top he other day somebody asked me what thought about the quote attributed to the late, great jazz saxophone player Charlie Parker, about learning ‘your instrument. Charli alleged that you should learn everything you could and then, ‘Forget ital and just play!" I was asked if thought it was possible ~ afterall, how ean you learn something, forget it and still be able to function? I said tha it was possible to do exactly what Parker was recommending, but that maybe you had to Took atthe situation in a slightly more than literal sense, Fora start, [believe that everyone can improvise; Ifyou don't believe me, try talking for 30 seconds about your last sommer holiday, Now! Ii you managed it, and I can't believe that you dida',let’s look at what you were actually doing. I gave youa theme, or subject, and you talked around it fora short space of time. You kre your subject and were perfectly acquainted with the means to ‘communicate your ideas and feelings, using fanguage. In actual fact, you were improvising ~ nobody gave you a script. But ‘were you thinking about ensuring that each of your sentences contained a verb? Did you worry about the finer points of grammar, syntax or semantics? Of course not! You got all of that out of the way by the time you finished school ~ and alot of it was dealt with by the end of primary school. You've not forgotten il; you're just no longer conscious of using it and I'm sure that's exactly what Charlie Parker was talking. about, too, When we learn to play an instrament, believe that we are learning to ‘speak music = we're learning a different form of language which we will come to express non-verbally: Once we've dealt with all the initial stumbling blocks, overcome the physical resistance that our instrument puts up, attained a basic understanding of music's funny little ways, then we should be ‘capable of playing without the need to worry about those basic elements, In other words: forget it ll and just play! See you next month David Mead Biitor Midnight’s Children De eto concerts to mark the anniversary of the independence of India and Pakistan, to be broadcast from eee Pree es ead eee Sa SNCs cer the ‘Concert For Bangladesh’ all over y ea) The head of the Becb's Network Cee eer ee concerts. This will be a unique line-up eee Perfect Harmony ow woul you like a couple of backing singers in your band who will sing in tune, never get a sore throat or run off with the bass player? The small but perfectly formed RPG Drop their prices, that is! Ina ft o ‘unswerving generosity the Arbiter Group announced that it has reduced the price of two of Digitech’s preamp/processors. The RP-12, which now retails at £479.95, features analogue distortion with cover 3 effects which are aided and abetted the company’s revolutionary S-DISC processing chip. With 256 patches under your feet, you an now feature more © Stay Tuned cw from the EMEDIA Corpor af Seattle, the Guitar Method CD- ROM promises a fun way to learn the instrument with alittle help from your riondly PC. The disc is available in either PC or Macintosh formats (heorah! = At last, something you can do with an Apple...) and features 60 lessons covering everything from how to string your instrament to different fingerpicking styles. There are 30 full-motion videos, and 100 exercises and songs on the disc, too, which all adds up to ahout a year's worth of private lessons, fr a trifling £49.95. Well, Digitech’s Vocalist Performer ‘might just be the thing you're looking for ‘The refreshing! MIDI-free Big brother is here! The Digitech RPI2 special effects than Alien 4, and on a much lower budget! The RP-12' lit he RP-5 has had its price paired too. Now retailing at £279.95, the litt'un will faithfully serve up ‘80 patches and can deal with nine effects Check both units out at your local dealer today (or tomorrow, if you're reading this on a Sunday) and tell them QT sent you! Learn to play guitar from one of those silver CD-ROM thingies @T hasn't had a chance to check this CD-ROM out yet but, meanwhile, if your computer is pouting at you from the corner of the roam, besging you to play guitar with it, then contact your local computer or music dealer or phone Arbiter’s on 0181 202 1199, Performer features built-in reverb and two high quality harmony voices. also features 50 user-presets, each with six scale variations (three ‘major/three minor) and hands free’ operation is ‘ssible by using the optional FS-300 footswitch, The Vocalist Performer should be able retailer ~ failing that, Avbiter’s would be delighted to hear from you on 0181 202 1199, Bohemian Rhapsody, anyone? Guitar Techniques # sete: aught on sage vith Me Sth and none cher nn Ban one who has thrilled to the amazing lity ofthe @T CD may like to w that the man responsible for mastering itis now making his services ailable tothe general public, The man concerned is former Guitarist magazine ior Eddie Allen, who has formed a aled Galahul Productions which specialises in turning compar judi Visual tal masters into those small shiny things you buy from record shop Wve Guitar Techniques storm with the lads. Brian's new studio album is st for autumn release and we hear ‘on the grapevine’ that a tour will follow. Meanwhile, the Queen stringsmith keeps his hand in with the occasional superstar jam! Eddie is responsible for mastering Guitarist’ CD as well as GTS but, in the recent past, he has also taken on work from Fender, Celestion and Yamaha — post production work for Steely Elliot Randall's new CD. Galahurst’s range of services is ves as well as Dan guitarist anything from bands who want to put out a CCD demo, to far mare complex protections and all ata price which will delight your Bank manager. “Producing a CD is cheaper than people think, and it ean more than pay itself," Eddie told @T, Why not give Eddie 666022 (Fax 01253 662480/ Mobile 0802 340366) or write to Calahurst Ltd, Mill Rw, Beatord Bank West, Welney, Cambs PEL 9 call on 01353 [el ee erect Ce ae ns further. Improve your chances of getting heard by a record company ~ the Band gets A Ee as eed re ere end Cen ees ee ee eee tet ene rae Cee et Se ee eer ene most sult your hand's needs. And all this Coe snr es ay peer band Master Plan Pedal On roxas introduced a couple of eects pedals te conjure up some classic overdrive magic from your favourite amp. The V810 Valve Tone employs totaly analogue circuitry to create the natura expressive overdrive you would expect from the classes valve amps, The controls ae simplicity itself—Tone, Lev and Gain andallow you to dial up your dream guitar tone withthe least fuss. Vox claim thatthe V8108 cunning electronics won' interfere with your amps natural character Youtalso may be interested in checking out he Vox V830 Distortion Booster, Once again, the ts ofthe thing ae ll analogue which {uarantees to maintain a warm tone and deli considerable well. For further information, contact Korg UK on 01908 8570. The X Fyides ention Earthlings! The Fylde guitar company is rapidly approaching its 25th anniversan and the man behind the operation, Roger Bucknall, has set himself the daunting task of tracking down some of the company’s rst instraments which date back to the early 70s, This sort of ‘where are they now?’ idea was dreamt up so that the abase of Fylde owners, There were about 300 guitars built between and these instruments company can set up a d 3 and 7 are identified by the blue label beneath the soundhole. After "75, the company used an orange label, hefore moving on to the current creamy parchment in 1978, Basically, Roger would he interested in tracking down any Fylde guitar, whether new oF old, Fylde owners should contact. Roger at Fylde's new factory in the Lake District, either by fax on 01768 868998, or by post to: Fylde Guitars, Hartness Road, Gilwilly Industrial Estate, Penrith, Cumbria, CA11 9BN, Trading Lines Send your angst-ridden prose to us care of: Trading Lines, Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW bar GT The CD with forgotten No Many thanks he Tull ifs was excellent Pa aby! Martin Barre Jethro Tull Germany le praesent cnre era ee Der GT have just finished the August edition of GTand is anyway of being able to get back issues? I have the very first issue of GT which is the reason I stopped buying the Americar ‘mags, and there are only afew I haven't got Good luck and all the best Wayne Russell ncoln © You departme mphone the GT back issues 5 822511, or write lo shing, Preepost (884900) Somerton, Somerset, TAI1 SBR. Dear @T Whilst potting around the Ancient satolia/Asia Minor (i Turkish} exhibit in nest interested to the British museum, [is find the names Phrygia, Lydia and Acclia on an old map. Also, the columns outside the ‘museum were described and being Ionian. teresting! So, can anyon why our modes are named after long lest GGroek and Turkish places and whe find the missing three, of whieh T could find em no reference. Now for a quick gripe. Am Ihe only person who finds it incredibly tiresome to read letters that cover age old arguments such as to read oF not to read, the validity of certain music styles, of complain that pieces are too easy/hard, etc? Obviously everyone's entitled to their own opinion, but for the ‘most part, these sort of points have all been diplomatically answered by editor DM, and probably every editor of gultar magazines since the davin of time, Be honest DM after umpteen years in the business, I et you'd be ateful not to have to drag up the same rather obvious replies to these letters, 80 come on folks, give us all break Advian Farrell London, © in brief, the mores originated in Greece as ng ago as a couple of hundred yoars BC were adonted by the Romans (who had no ‘musical attributes of their own) spread by the onset of Christianity in carly sacred music. It east until much later on (around 1547, apparently) that the ‘modes were named after places in ancient Greece and I gather that cer mg the way! I was only at while later that the modern system of diatonic major and minor scales took over ‘and the modes themselves ook abit of @ enioved a Renaissance with ‘moder, start of the 60 and in rock a bit later on. The modes still feature in fall music across the world, stow same old tonics s back seat. Th 12 at th our ‘quick gripe’ F agree that the ublication letters pages, but the issues they adress ure impassi solve, largely subjective in content and will probably never Der GT Aer consulting almost every single music hardware outlet in England | am turning to you in sheer desperation and on bended knee Thea of you does anyone know where I can set an E-how?t! Ifyou could help me in any way [ould be sooo happy ‘Adam Whittaker Lancashire (© For those who don't know, an E-bow isa ttle gizmo wh he principles of electro-magnetic induction to ereate energy ults in abmost not dissimilar to ina guitar string which res infinite sustain and a sou that produced by a violin bow. U2 The Edge fs a well-known E-Bow user. E-Rows are distributed in this country by Omec sarki, London ard you tether on 0171-240 8292, Distribution, an toleph Der GT Well, ow that’s as surprise, a special edition with the best ofthe silent era and what do we ft? Another Eric Clapton song Now, before all you Claptonites write in screaming for my blood, let me just say afew things. Ike Mr C and have spent many enjoyable hours learning his songs, but there isa limit to how much Lean take, Granted, Clapton has a lot of tracks up his sleeve but i's time hie sleeves were sein up ~ at least fora while, We need a break from the ms 1nd I would lke to see some other guitarists liven a bit mote attention, Even Neville Marten sa, in the February 1895 issue, ‘By all means copy your heroes... but don't et trapped into becoming a clone. Use several key playets to learn from, Listen to all types lof musica’ and he was talking about how he made the mistake of only playing Clapton! Issues 1 and 10 ad Satch and Va’ licks ettencourt’s Lave OF My Life and issue 2 had the great plus Nuno Reinhardt’ Nags: acoustic Rabe had the killer tapping song Maltshop Serenade, and Issue 7 had Paul Gilhert ris and acoustic Vinnie Moore. If that isn’t a variety of techniques and styles then I'm struggling to grasp the concept of what a well-rounded player needs to know How about redoin and hove about a more taxing Guns N' Ri song than these featured previously and a ‘complete Malmsteen, Vinnie Moore Bettencaurt, Householder, Gilbert, John Finn, Verheyen and Reinhardt song? Granted, all have appeared before, but only a isolated solos oY licks. Please give us complete instrumental tunes please, and eave Eric alone fora bit and let some other guys have a chance or change the mag's name to E ‘Techniques. CE Pain Wakefield © The decision to pu for the second time in fi Tapton on the cover suns de the overwhelming number of readers who our ‘etro teyote in requesting Hideaway f iesue'— the track's popularity alone justi ‘aconer. The other pieces featured in August's issue were all chosen by @T re Tm heppy th the result. 1 ‘most people were satisfied by glad that you ackneneledge the balance of music styles available in OT we da strive to keep things as generally varied as we car. The August issue was a collector's edition. and if you did't write i ‘and vote for the tracks you think we should ‘have featured, I don't think you should Blame us for listening to those who did! GT Quitar Techniques # eit: 197 Strange Engineer Marillion’s Steve Rothery Marillion would win a ‘most underrated British band competition’ hands down. They'd walk it! David Mead talks to the keepers of the prog-rock flame cellent! Really well Since the last alhum, ‘Afraid OF Sunlight, the band has changed record bel from the mighty EMI to a new label, fa, part of the Castle Communict uup. The change seems to have brought, outa slight renaissance in terms of it's free and more open rillion’s sound uld Steve agree? We didn't fe any sorb of AGR involvement Hnatsoever from Castle, and so we were left to get on with it and make the sort of cord we wanted to make, basically. There sas nobody breathing down our necks jing, “Hey, where's the single, guys?. So, ally we had to take responsibility for ita le bi, because we produced it ourselves well, That's the first time we've taken at kind of responsibility and I think it was about time! Especially when you've been making records for this long. You get 0 the point whe Ibis, really,” he agrees ou know what you ant to do and what you want to sound ike and, as long as you've gat a good engineer to tape, then it's fi tho can translate those ideas on We're all experienced enough to take responsibility for our own parts, s0 to speak In the past, Marillion have never been afraid of making concept albums, The last two albums, ‘Afvaid OF Sunlight and Brave’ have both been thematic in content. So, what's the story with ‘This Strange Engine”? “There isn't an overall therm Ste It is more just a collection of songs. The title track is one of Steve's really,” reflects Iyries inspired by a poem he wrote for his father. When Steve was growing up and was very little, his father worked away in the Merchant Navy and was sailing around the world, but he gave up his job to come back ta Yorkshire to work down a coal ould be near his family, So Steve wrote this poem to express his ‘understanding to his father and th sacrifices he'd made so that he could be with them, That's how the lyric came about on that particular song. “Some of the lyrics are written hy John. mine so that he Helmer, who has written with us quite a Tot in the past. John’s lyrics tend to b litle more obscure at times, but very clever. Man OF.A Thousand Faces is one of his and was inspired by a hook called Hero OFA Thousand Faces by an American historian whose name I forget. I's basically about how common myths appear throughout time, history and different races. The myth of the hero runs throughout al these diferent cultures, and that's where the lyric eame from for that particular track, It's about this character who appears in different guises throughout time; almost like a spirit It'sa track with a pretty mammath ening to it choirs ‘n’ alll Swtenber IST @ Guitar Techniques You know what you want to do and what you want to sound like and, as lony as you've got a good engineer Who can translate those ideas on to tape, then it's fine “Yes. ILall ets pretty epic towards the endl But if there was a track on “This Strange Engine’ that kind of sums Marillion up, is probably SeigR tem did that song come about? “Well, Steve was on a flight or something — I think it was in Seandinavia andi he bumped into this English chap and they got talking. It turns out the guy was the only English survivor from the Estonia fery disaster and he told Steve the story about how he was asleep in the restaurant part ofthe ship as it started to go under, and how all the lights went out and the ship started to Eventually, he managed to scramble out and get into a raft ora lifeboat or something, and survived in the freezing Baltic for seven or eight hours. A litle while afterwards, Steve was doing a benefit concert near Henley for all the families of the victims of the Bstonia, and so three of the band went down there and did a little acoustic st. Steve took one of the ideas we had been working with from the ‘Afraid Of Sunlight’ alburn and added a chorus to it ‘and that was how the first incarnation of the song came about. We performed i a this charity event and when we came to make the album we added to it and od itabout abit. ‘The other remarkable thing about the new album isthe long gap at the end of the final track before some rather manic Taughter from Steve Hogarth kicks in “Thal. was somebody's warped sense of humour! You can blame (keyboard player) Mark Kelly for that one, It was actually the fact that the original intro for Man With Thousand Faces had a pianoWocal on it ‘which ison the single, if you ever get a chance to hear it, Steye and the engineer had just come back from the pub that night and decided to record a take of the lead vocal, and Steve just started cracking up, really ~ and didn't stop! A moment o silliness. I's funny, because a lot of people have said that they have been freaked out by that. Ifthe CD is still playing, especialy night, and you get this sudden manic laughter start coming in, it ean be a bit neople, I suppose! recollections about this month’s Smash Hit feature, ‘Kayleigh. Hoyt did the track evolve, for instance? “It was funny because I was trying to explain to my wife, who was my girlfriend at the time, how I wrote. | was there with just a guitar and an echo unit and I was trying to demonstrate the delays and how 1 try to combine a melody with a rhythm, and I started playing the guitar part Shortly afterwards, we started writing for the album ‘Misplaced Childhood! in’S5 and it evolved into Kayleigh just from that one little spark ofan idea What guitar was used for the original recording? Twas using an old Roland guitar synth with the big blue bos, pre- MIDI, > e asked Steve for a fe eS underrated Rock The old Marlton line-up with Fish sil present. sh seam off into new waters and «solo career > The guitar was an Ibanez in a sort of Strat configuration and that was the guitar 1 used for all of that album. We wrate it down at a place called Barwell Court which is d actually wrote the first half of the album in about a week. There's quite a fat of that wa near Chessington, and we kind of synth guitar on that record, and since then P've tried just about every MIDI duitar synth under the sun, and some are OK, but there's always a sort of inherent Jelay in all the modern systems which you didn’t get in the old blue box because thing way they used to ereate the sound simpler. Ib was all in the alot of character What about the Iyries to Kayleigh? Well, Kayleigh was a track that (Marillion ocalist in those days) Fish wrote for an old girlfriend. Aways a dangerous enterprise to undertake! Absolutely! Especially when you get ‘anew girlfriend! A lot of Fish’s lyrics were autobiographical or inspired hyplaces, anyway. White Russians, for instance, came about when ve were ona tout of Poland and they took us to one of the concentration camps which was just such 8 harrowing experience, really. Nothing Te experienced since has affected me in quite the same way and it provide! the tatalyst for White Russian. Actually, White ‘Russian was on a subsequent album | thought I'd better point that out! Butt vas taings like that I think, that would inspire a lyrical flaw from Fish b those days Kayleigh certainly ttt its mark on a generation when you eonsider the amoun of girls who have heen named after the song. ‘Yes, well, Kayleizh wasn’t actually a ‘name up until that time, It's funny 12 sherever you ga in the UK, and to some extent in America, you find a Kayleigh or two You certainly hear the name in Basildon shopping malls quite a lot! Yeah, i's a funny thing! Subsequently, of couse, Fish let the hand and went on to other things, and Marillion found the equally charismatic Steve Hogarth to fill the space behind the sly, a change in lead vocalist has a significant effect on a hand's overall sound, In retrospect, what does Steve think that Hogarth hrought to Marillion? ‘Oooh... where do you start? I suppose Steve isa vocal mike, Qby he main difference is th musician as well a a singer and a lyricist, and so he has a bit more sensitivity towards the music, and perhaps the music is more important to him than it was to Fish, Sometimes, wi little more than a backdrop for what he ‘wanted to say in the lyri, basically, But they're just so different in terms of how ish, the music ves they write as Iyricsts, how they si they'te really worlds apart, But we didn’t want to just try and res with Fish, anyway we wat someone who was different. [twas the only \way that the hand could have earried on, [ think, Maybe we have a lot more freedom with Steve to touch upon different styles of ‘use. It got to the point with Pish where wed grown apart: there wasn't mucl ate what we had ted to find ‘common ground there anymore, So it ws best thing that could have happened to the band, creatively. The band are in the middle of a tour at present. How does Marillion fare in other parts of the world? do quite well in Germany — we're playing there in October, The place where ‘we're most successful, per head of population, is Holland, though. We do really well there. You're leaving for Sout ‘evening, how do the band find they go ‘down over there? neriea this ‘Well, South America isa funny one, really. You could say th sell many records through offical sources we don't seem to cover there. ‘black market suecess, then? ‘Well, t's always a fun experience, put it that way Marillion strive to reereate their often complex music as faithfully as possible live ‘on stage, What sort of gear does Steve need to cover the guitar side ofthe business? It's funny because, wherever you go in the UK, and to ‘some extent in America, you find a Kayleigh or two. Guitar Techniques e Sestenter 197 My amps are the same as they've been for awhile; I've got a couple of Marshall Master Volume amps with two 4x12s, and tho Roland JC-120s. In the rack, the main ‘ontvller is 1C2290, which controls various effects like a BOSS DS-1 distortion, a Dimension C, a BOSS rack- mounted chorus, some Rockman modules ing into a Quadraverb, again controlled Then everything goes in to a alpture which is a 16.way programmable matrix, allowing me to send either the dry signal or the 2290 signal to either, bth oral four of the amps, or even blend everything together, Occasionally Ill use my TCM 5000 in there; [used that for the ‘Afraid Of Sunlight’ tour, but nat so much this time ~ its too much of a studio item to drag around the world. That's pretty much it! For me, a programmable delay, a BOSS DS-1 for the solos into the JC-120 and some sort of chorus and delay for the clean picking sound and the Marshalls for the grunge ~ that’s the essence of what I Go most of the time, What about guitars? ‘My main guitar is still a Squier Strat with EMC SA pickups and a Kabler tremolo. The other guitar is a Steinberger sixand 12 (double neck) which was custom-made for me. Its got three single I tend always to go back to the Strat, really. For me, it has a little bit more character than anything else. It's a little bit harder to play coils for each neck. Then I've got a couple of acousties: a Takamine Santa Pe anda 12-stving.” So the guitar retinue is quite lean, then? "Well, nearly everythings Ido inthe studio ison the Strat, anyway occasionally ll use a Les Paul or whatever else is to hand, but I tend always to go back to the Strat, really, For me, it has a little hit more character than anything clse, It's litle bit harder to play, especially where it comes to bending or very fast stuf, because the action I have {sn’t that low. I prefer ita bit higher to get some tone, really, Does Steve use a heavy string gauge, toa? “Not that heavy, no; [use 946s, They're Super Slinkys, so they're pretty light, reall What are the high spots during the current live tour from the point of view of material? “suppose Faster is still one of my favourite tracks because it encapsulates a lot of what I think is good about the band, as does The Great Bscape, There are points in the set when the slow, melodic stuff is ‘perfect for that moment, but then you get to the point where something rocky is oing to be just right. At the end of the day you just want to come offstage feeling that the audience have heen satisfied.” Then there's the visual aspect, too. ‘The Buropean part of the tour was a pretty complex production... We're not taking much to South America because everything is supplied ~ its pretty much a case of turn up and see what they've got ‘On the UK shows there was quite alot in the way of moving lights and a backdrop from the inner sleeve of the new album. Are there any more UK dates scheduled? ‘Nothing's planned at the moment, although there isa faint possibilty that we ‘might do some Christmas shows.” @T EEG yrs WAREHOUSE SANE DN ING NEXT DAY DELIVERY BE SURI rer a ‘ps ses ee Uc ANGE SOCKS mara Gavel sie” NO PACE EDGE! Ne cad! me wie ti tll al Gaze) YAMAHA CEES 4-7 Eo i ins | Mahal | FAG WELLOME Ted ete es a zy um ovekienos (enero Fre) Seen Peiieretor et APDLOGIES 70 MAKE Sora ora eryan ee H The Feelgoods established themselves as a world class R&B outfit and were SUE am UNM CS SM CTO EN) * RECTUS UC ae hs Ce iy CURSE ee SRM RUS USS UO Re ase oe Men RRS] al Fao Alcohol oe ed uitarist Gypie Mayo co-wrote this tne (with Nick Lovee) and I was always very impressed with how he kept things raw and simple yet threw in the occasional clever fick —a talented and versatile guitarist, for sure! ‘Milk And Alcohol was actually the Feelgoods’ biggest hit, rising to the upper echelons of the Top 20 in 1978, making them one of the few bands to achieve recognisable success from the pub rock background which they'd championed for some five years previously. Gypie (nee John) was original guitarist Wilko Johnson's replacement, and he brought an equally rough-hewn guitar sound to the hand via his beaten-up black and white “60s Strat, as opposed to Wilko's ‘more frenetic Mick Green-inspired jagged Telecaster riffing. ‘To get the ‘authentic’ Southend R&B ine shutte 2D +170 [soi] nom mer A |] © 2 renarr ‘mse NG. September 1987 Guitar Teenniques vibe necessary for songs like this, stick a fag in your beak, stick a Strat straight into a Marshall, turn it UP, and you're off Observe a blues shuifle type of groove throughout and, despite it heing easier to \rite/read in 4/4, technically a shuffle is ‘more akin to 12/8 —ie four triplets per bar. This is evident in gtr 3's part which has tight alternating strumming where the down beat (coinciding with the tune's pulse) will he performed by a ‘down’ then ‘up’ stroke in turn. For these kinds of shuffles you commonly play triplets with the mide bit silent (as evidenced in gtr Y's part much ofthe time), Gtr 2, hhowever. does occasionally play the more complete-sounding juggada- jatda’ kind of rhythm, cs By the way, Pd sometimes be passing the time in Tim Gentle's music shop and eavesdrop on the likes of another local R&B hero, Mickey Jupp, who'd be trying ‘out some vintage guitar while strumming an earthy Chick Berny sort of rhythm \hich I found enthealling, and it made ‘me go home and practise such things, as ‘well asthe Larry Carlton licks Iwas into at the time (1 nas only sixteen, so I still hhad a lot to earn about respect for all types of music and different guitar styles). In Bx I, the intro/chorus section, notice how guitar I (left channel) is including the 3rd chord tone (ie the nate E in C). This is allowable because the sainidistortion is not set excessively, While gte 2, on the other side of the stereo imix, sticks to the good old ‘power’ or ‘5! chord, ie omitting the 3rd chord tone. > Ex2is the verse section which is sandwiched between Ex 1. I've shown that Chuck Berry kind of rhythm guitar move at two different locations just forthe sake of it although the less obtrusive- sounding gtr 2 may well have been played on the fatter-sounding bottom two strings, as suggested. ‘Observe in bar 13 how ger V's part ‘accommodates a pick up’ note — eg the E note a semitone below (an open 6th string | | | oar] Yt oe ort (Uta) 6 ‘ov 2.qvenennan (90 30) cera Fo Fs rs Fe (n03%e) (m0 re) here) to grease up the move back into a power chord with a low F root. Also, take note of hits just before chord changes being muted or damped. When I was learning. [ thought you were supposed to strike a clean-sounding full chord right up to the last eighth (or sixteenth) beat then negotiate a chord change seamlessly, but I soon discovered that even the pros don't attempt that because it’s often impossible to achieve! (cave c5 (0310) (v0 30) Im any ease, things usually sound more natural and perfectly acceptable leaving a small gap or rest, or just catching a damped sound on one or more strings If you're trying the song alone or you're the only guitarist, and you had to choose between playing that simple yet, tasty rif (gtr3 at bar 17), or maintaining that chugging Chuck groove, just think about what’s going to keep the audience's fet tapping and the energy level high. 6 (Couss) FS) FS FS (70 3a) (70 319) (8 (Causa) cs a . cole callcs eo Guitar Techniques @ Sen) 1) Milk And Alcohol — Dr Feelgood irs (Uehanet RSS sin Re oi tt fs Fs 2 (Rehan) * Res AMARA om Fs 3 (cent) es Ne @ “ 6 ‘The guitar solo is, again, a model of ‘over the late Lee Brilleau’s vocal melody the same chorus (see bar 19 after the simplicity and efficiency, and it reminded _as the chorus followed on it was neither solo) Mr Mayo played his one-and-only me of early Eric Clapton. Rather gratuitous nor grandstanding, just doing lead lick for this tune, and with enough ‘unusually, Gypie made his solo continue what seemed right. A little further into conviction to make a point. ‘aurran soLo i io fou eu Le (ave 3S pay arco © (orm ROLL) Deon MARTIN TAYLOR picks DAQUISTO STRINGS Madde tn the USA MANUFACTURERS OF SUPERIOR QUALITY GUITAR AND BASS STRINGS. Classical, Acoustic, Blectric, Jazz, Rock & Roll, Bass, Mandolin and Banjo “sheritna’siitt teeta ate ete te Bu LD ldo we les x = 300 aad chionus $8 % nag, Sidhe) 90 co 8885. Be a F G © te Guitar Techniques e Sesenber 191 Milk And Alco! Dye rastxaeytt 8x3, which appears just after that bluesy Is really ait silly of me to have broken T'm just letting you know that you really lick, is merely a transposition of the ddown the song into such small chunks, ought to be practising everything chorus section. In other words, the whole and T certainly don’t intend encouraging (including Easy Like) in bigier sections ‘move is played five frets (technically an _ breaking the flow or avoiding building and, of course, working up to playing the interval ofa fourth) higher, for F. stamina. I've merely tried to make things pieces as a whole. @T™ ‘extra digestible and manageable here, but (CHORD CHART / ARRANGEMENT R'n'B shuts 122) ~ Besse) £20 jis ORO oh conn EES al ei eed fl 7 é ] © Ge F @ Le e ] | | (e5i] [OWORUS) crmasex i) [Bnd VERBE] As et VEREE (ocx 2) [Fs] [Bnd OHORUS] =AsseFONE wee%), G7R-SOLO ENTERS TOWARDS ENO A. [138 Tit] [GTRSOLO] OVER VERSE SECTION Go =x2) [331] [Be@EHORUS) LEAN Grp caRmeS ovER FROM SOLO TO JOHN TH MELODY. (exoruvar [8] 43) x4 (400) [H| [FRANSPOSED cHoRUS TAG) 6 DE [Ta8] [WALF CHORUS] -2naHALE OF x1 (753) [SrA VERSE] 8 orHen venses BUT LAST FOUR BARS TO BE REPEATED. [Bi] [ath enORUS| (. cuTAR voLUME SWELLS ie"i") REPEAT CHORUS TO FADE., Er Teer For the GT CD reconstruction I used my Squier Silver Strat, ee eve nee Ten CO en eae es ek ets vce SC Cu Mige oeoeeen e ceed EUR as reese ile & Alcohol writen by Lowel Mayo. (© 1978 Rock Music Company Limited Plangent Visions Music Limited Jazz Standard Cote glad Lilo de— The Nearness Of You ee ee "Teenie retinas ae ane nerd voce ncading El, Peggy Lee ce eee Corge Searing the Bish jas pans tee eae eee US, an then wore ith hs quit Sey eral by sng locked hand chord onthe Smee ae 20 ‘The George Shearing quintet stil exists and works in the States with my buddy Louis Stewart on guitar. Performance Notes This month, I've chosen to use just one chorus ofthe song dressed up with various fills and substitute chords, making ‘one of those numbers you could play almost anywhere without offending the fickle listening public or the jazz pundits and aficionados! by Hoagy Carmichael Arrangement by Frank Evans The pen of Hoagy Carmichael proved to be an unstoppable force in the creation of so many fine standard The Introduction A simple diatonic run leading to the ‘opening four quavers ofthe song. Follow he written instructions carefully Bar 1: this close-voiced chord, using the pen E on top, makes an unusual voicing for an Fmaj7 (minus the root followed by a close-voiced Frmaj9. Be careful with the following chord; anchor the first finger on the B, and slide the B, melody note down a semitone to the J Bar 2: the Bmaj7 in bar 2 isa substitute for F7, leading nicely onto the B, with fill Bar 4: the AZ9- B9 are typical Hoagy surprise chords which are the hallmark of his wor Bar 5: I've used an F, A and A7 in bar 5 to lead into the Gm7. Bar 15: the pedal point on A, makes a nice change from the original. Watch the timing here Letter B Bar 17: another of Hoagy’s surprises in bar 17 with the use of the C7.9 when normally you would expect G7, Bar 21: the arpeggios on Bimaj7, B,6 and Am? take the melody line down an octave from the original then rise again in bar 23 where the stopped notes and artificial harmonics give a harp-like effect. Keep the barre at the third position held firmly hile you negotiate the run. Bars 26-28: here are some ideas on how 0 fil bars which are otherwise a litle stagnant, You should have fun with the Guitar Techniques « setenie: 131 e Nearness Of You — He arpegigios in bars 27 and 28, followed by some swift changes in bar 29 a Ty Bar 30: this is the start of the tag ending. The half diminished run (whole (AA ae ea tonelsemitone alternately falls uncer the [iat fingers after the F¥(,5) straightforward, Clee ey your set conerstion Coda rey Now on to the coda bars: ve used an = minor in place of major. Toke the arpeggios in bar 35 at whatever Have fun, hope you enjoy and thanks speed you fancy hut do observe the again forall your letters. Datiseson the last tuo semiquavers before playing the last three chords. Bye fornov. @T Cae eet Dt ty Ts 1 yout oy gran me the right, Lene oe nt ay on Cmca a igi. Copan CS ed yet a Sa ‘Beh remeron The Nearness Of You Leb SHEET (eriginalchord sequence) 1 F C7 Fo cm? Fe Bb °& or Fam 67 F Cs aim hm y Carmichael — The Nearn ‘SOLO ARRANGEMENT nro. v SY] Gtomen | Fannie orto The Nearness Of You — Hoagy F6/9 FmayrFmaje Fal? imal Fo ie wy SSS m7 Fra F7/b@bmai7 cos eyo ATO 59 ‘Gar cre Frei —Fmaj@ Gm7D c1aibo | J ok om va oma Fraia Bima? Arbo erie Foie Fmaj7 FOF Am? Ai? Gm? co Fits Fm mae = Bim Foie é Pe ela coms A-Z of Great Riffs Sere era ere A OMe SMa ra nd Comes to riffs, he plays a real mean Killer ong heen one of rock After this, ful characters, Known knames such as: ‘Nuge otor City Madman’, h ‘commen with other larger-than-life cha 5 Ten Cities Lee Roth, one of those people d Damn flamboyant life made! Ted’ first suec Ambo uitaritvocalist Tommy Shaw Drummer Mi Dukes, was formed in 1965 —he recorded quite a few albums w Cartellone. The band releas ims: ‘Damn Yankees’ (1990) them ine ? » The Centre OF Your Mind’ (19 and ‘Don't Tread! (19 pas ed bis ‘Survival Of The Fittest’ (1970), and “Tooth, Fang an (1974), career with the recent album ‘Spirit Of Th 26 Guitar Techniques 5