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RADIOHEAD SOUNDGARDEN BL SABBATH

KARMA POLICE OUTSHINED W


WA I (RIFF)

LEARN TO PL AY
TOM PETTY
FREE
FALLIN’
(VIDEO RIFF)

BECOME THE

ULTIMATE
RHYTHM
GUITA R IS T
Master the secrets behind
guitar playing’s most crucial skill
Featuring FRUSCIANTE, HETFIELD,
EVH, MCCARTNEY, HENDRIX + more

BILLY
GIBBONS
Talks blues in
our exclusive
round table

REVIEWED INSIDE! SMASHING


PUMPKINS
IBANEZ AZ SERIES
The ultimate modern electric?
Corgan and Iha
together again
EDITOR’S LETTER

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or digital format throughout the world. Any material you submit is sent at your risk and, although every assistance of contributor Jon Bishop Mike’s highlights from NAMM, and of our round table interview with ZZ
care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
to write this month’s huge cover this month, our intrepid gear whiz Top superstar Billy Gibbons for this
We are committed to only using magazine paper
which is derived from well managed, certified
feature. “This month’s lessons are a finally got his mitts on one of the issue of TG – Amit, our man out on
forestry and chlorine-free manufacture. Future great primer in all things rhythm” Japanese guitar giant’s the streets, was informed
Publishing and its paper suppliers have been
independently certified in accordance with the
says Mr B, “including helping you thoroughly contemporary that he was “a mean guitar player”
rules of the FSC (Forest Stewardship Council). tackle the tricky odd-time riffing in double-cuts. As a die-hard by one of his biggest blues heroes.
this month’s Classic Track, Outshined Smashing Pumpkins fan, he’s also Naturally, life hasn’t quite been
by Soundgarden”. Find the keen to try, try, try his hand at this the same ever since for the TG
troublesome tab on p68! month’s tutorial. feature writer.

OCTOBER 2018 TOTAL GUITAR


#311
MONITOR
048 006 First Look
008 Scene
BECOME THE 010 Five Minutes Alone: Rich Robinson

ULTIMATE 012 On The Up


014 Me & My Guitar: Hannah Trigwell
RHYTHM 016 Albums

PLAYER
018 Back Track: Ritchie Blackmore

HOW TO
020 20 Minutes To… Blues lead
022 Riff Of The Month: 030
Black Sabbath: War Pigs
024 Getting Started With…
ROUND TABLE
Fret hand muting
04 026 The FX Files: Dunlop Cry Baby THE GAS STATION
028 What The F? Locrian mode 088 Start Me Up
090 Ibanez AZ224F
094 Vox Mini Superbeetle
FEATURES 096 Martin DX1AE
030 Round Table
098 Group Test: Retro rockers
036 Idles
104 Pedal round-Up:
040 Smashing Pumpkins
Compact reverb pedals
048 Become The Ultimate Rhythm Player
106 Fuzzrocious Grey Stache
108 Fix Your Guitar
LEARN TO PLAY 114 The Playlist: Zach Blair
066JamTrack:Reggae
090 068 Classic Track: Soundgarden
IBANEZ AZ224F Outshined 036
076 Video Riffs: Arctic Monkeys,
Metallica, Tom Petty IDLES
078 The Turnaround: Joe Bonamassa

TG UNPLUGGED
083 News
084 Interview: Ruston Kelly
086 Open-Mic Songbook: Radiohead
– Karma Police

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TOTAL GUITAR OCTOBER 2018


MONITOR
PEOPLE - NEWS - NOISE

MONSTER TRUCK
Photography: Adam Gasson

Mooer has thought of everything with its


new Black Truck multi-effects

06

TOTAL GUITAR OCTOBER 2018


FIRST LOOK
PEOPLE - NEWS - NOISE

07
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F
pedal, Mooer has debuted the Black Truck all-in-
one pedalboard unit, which features six built-in
hļhfwv#ghulyhg#iurp#Prrhuġv#Plfur#vhulhv1#
The Black Truck delivers compressor, overdrive,
distortion, EQ modulation and delay/reverb, as well
as a tuner, FX loop and looper switcher. Handily, there’s also a dedicated
direct output with speaker simulation and independent volume, not to
mention tap tempo, stereo outputs and an included carry case. It’s safe
to say this will cover most playing scenarios and could prove a handy
back-up should your rig go down, especially at its £294 price tag. Here’s
wkh#orzgrzq#rq#wkrvh#rqerdug#hļhfwvĩ

UP CLOSE

Hi-gain Mod Space


The analogue high-gain circuit boasts a This section combines phaser, tremolo and Based on Mooer’s Echoverb, this pairs
mid switch, low-end tweak knob and a flanger/chorus, with a handy rate digital delay with stereo reverb – you can
built-in noise gate subdivision tap-tempo rotary use both at once or one at a time

OCTOBER 2018 TOTAL GUITAR


MONITORPEOPLE - NEWS - NOISE

LEARN
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TOTAL GUITAR OCTOBER 2018


SCENE
PEOPLE - NEWS - NOISE

DON’T MISS…
The best guitar
events coming up

Moore Blues For Gary


WHEN 31 October
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ALBUM 09
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jackwhiteiii.com

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WHEN 5 October

OCTOBER 2018 TOTAL GUITAR


MONITOR
PEOPLE - NEWS - NOISE

Martin guitars made that were based on two


40s models that he had. They’re great guitars
and I was able to write songs on those.”

Like a hurricane
“All of my gear was destroyed in Hurricane
Sandy in 2012. I lost 70 guitars, all of my amps,
my sitar. I got divorced and I lost guitars in the
divorce. But you go through life and you have to
deal with life. Those were great, but they’re
wood with pieces of string on them. Sometimes
I feel like my relationship with the instrument
ran its course and now it’s time to move on. It
gave me an attitude where I can be like, ‘You
know what? There are a million great Teles and
335s and Les Pauls out there.’ So, I’m alright!”

Break on through to the other side


“I was never the type to sit in a room and
practise scales. I kind of forged my own way
with writing, to open up these tunings that I’ve
played with and translate that into a song.
Through that, every time I would write a song,
my ability would grow. To me, the end of
everything is a great song and that’s the reason
I play guitar. It’s cool to add accoutrement to a
song and play solos, but the ultimate goal is for
a song. All of my leaps that I would go through
were from pushing myself as a songwriter.”
10
Blue Moon Of Kentucky
“One of the worst shows we ever played was in
Rich Robinson: takes Kentucky on Southern Harmony. We were in
a philosophical view this arena and it was sold-out. It was one of the
on life, love and loss biggest headline shows that we’d done to date.
We were touring with this big banner that said,
‘Free us! No narcs!’ And it had a big pot leaf on
it. When we played, these [guys] busted
FIVE MINUTES ALONE backstage and beat the shit out of everyone.

RICH ROBINSON
The former Black Crowe turned Magpie Salute
[We think] they were undercover cops. They
wouldn’t show their badges. Our security
guards went up to them and said, ‘Hey man,
you can’t be back here…’ and they were beaten
by these guys. We had to cancel the show and a
riot broke out and people ran outside and
wingman ponders narc nightmares, divorcing his turned over cars. That was pretty fucked up.”

gear and the wisdom of Neil Young Hard to handle…


“The toughest time I had was pretty much the
Got my first real six-string… This old guitar whole time I was in the Black Crowes! It was
“My dad was a musician and he had two really “I think it was Neil Young who said, ‘Every just so negative. [To be able to] make these
beautiful guitars around the house. One was a guitar has a song in it’ and I feel that. I’ve had records and play these songs was amazing. We
1953 Martin D-28 and the other was a custom- times where I would get a guitar and I would be had virtuosic people in the band: Marc Ford,
made guitar by these brothers in Tennessee. deoh wr zulwh vrph juhdw vwxļ rq lw dqg vrph Eddie Harsch and my brother was a great
As we started to get more interested, my dad guitars would just sit there and I couldn’t singer. But it was so bogged down with misery
was like, ‘Enough of this! Leave my shit connect with it. [In recent years] I got these dqg lq0Ľjkwlqj dqg shwwlqhvv wkdw L grqġw orrn
Words: Matthew Parker Photo: Will Ireland

alone!’ He bought me a Lotus Strat copy in really cool Martins that were designed by this back on it with fond memories. Luckily, with
black and white.” guy George Gruhn. He had gotten these two The Magpie Salute, everybody’s been through
that. We’re pretty vigilant about not falling into

“I THINK IT WAS NEIL YOUNG WHO SAID, ‘EVERY those traps!”

GUITAR HAS A SONG IN IT’ AND I FEEL THAT’” The Magpie Salute’s new album High Water I
is out now via Provogue/Mascot

TOTAL GUITAR OCTOBER 2018


MONITOR
PEOPLE - NEWS - NOISE

John J has learned the


beauty of subtlety in
time for a new album,
due next year

12

JOHN J PRESLEY
Darkness and dynamics from a new light in British blues
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vsdfh#dqg#gurqh#ru#vxvwdlq/Ĥ# sod|lqj1 Uhfhqw vlqjoh Wuxh
kh#whoov#WJ#ri#klv#whfkqltxh1# Oryh Zdlwv uhvrqdwhv zlwk FOR FANS OF Duke Garwood, Black Keys
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orvw#wkdw#dqg#lwġv#pruh#derxw# HITTING IT.... LETTING THE STRING DO THE WORK”
TOTAL GUITAR OCTOBER 2018
ON THE UP
PEOPLE - NEWS - NOISE

DILLY DALLY RISEOFTHENORTHSTAR


Canadians making heavenly punk hits Around the world in hate-y ways
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L Prqnv/#wkh#jxlwdu#gxr#
dw#wkh#khduw#ri#
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srvlwlyh sxqn uhfrug1 Wkhlu vrxqg Ure Vfkqdsi,/ zkloh Ndwlhġv euljkw Mdsdqhvh#vwuhhw#jdqjv#dqg#pdqjd# whoov#xv1#ģKh#frqĽuphg#wkh#idfw#
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Fdqdgldq Ohrqdug Frkhq zrxog ehfdxvh#zh#grqġw#pdnh#kdlu#phwdo# srzhuixo#eohqg#ri#doo#wkh#deryh/# sxvkhv#|rx1#Zkhq#|rx#wklqn#
sxw lw/ ohw wkh oljkw lq1 pxvlf/#grhvqġw#phdq#zh#fdqġw#sod|# phujlqj#Elrkd}dug#ulļv/#UDWP# |rxġyh#pdvwhuhg#|rxu#ulļ/#kh#zloo#
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doo wkh wlph/Ĥ vd|v Ndwlh1 ģWkh wlqwhg#vrorlqj#frxuwhv|#ri#ohdg#
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THEPRIMALS ESTRONS LALALALA


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Khqu| SOUNDS LIKE: Vrphrqh gursshg d wud| ri SOUNDS LIKE:#Guhdp|0|hw0sdudqrlg#jdudjh#
SOUNDS LIKE: Ix}}hg0xs dqg wkudvk| jodvvhv lq d GL\ yhqxh1 Vkdug0olnh/ jdlqhg xs urfn#zlwk#ndohlgrvfrslf#fkruxvhv#wkdw#vpxjjoh#
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FOR FANS OF: Nirvana, The Explosion FOR FANS OF: Marmozets, Demob Happy FOR FANS OF: Best Coast, Velvet Underground
HEAR: Hello Cruel World HEAR: Jade HEAR: Destroyer

OCTOBER 2018 TOTAL GUITAR


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1 “This is my custom
Flaxwood Rautia. I was 2 “I really like my
American
Standard Fender
approached by Zed distribution
and they asked me if I wanted Telecaster but it 1
to try out any of the Flaxwood hasn’t been set up in
models before a show when I such a long time
was supporting Walk Off The because this guitar
Earth at the 02 Academy in just feels perfect for
Brixton, which is the biggest me. It’s been in a room
show in the UK I’ve ever done. I getting dusty while
wanted to try them out this is the one that
because [Lee Bolt] from Walk comes out and gets
Off The Earth had one and I the limelight.”
thought they looked amazing.
So I tried them out backstage
and this is the one that fitted
me best.”

2
ME AND MY GUITAR
HANNAH TRIGWELL
After building a fanbase on YouTube, the
songwriter releases her debut album
14
featuring this unusual Finnish electric 4 “The way that it’s a
custom for me is
that they added a switch
on because I was a little
concerned with [the
Seymour Duncan]
3 “These guitars are really unique [the body, neck and backplate
of a Flaxwood guitar are made in moulds from a fibre-
reinforced thermoplastic composite containing spruce called flax]
humbuckers because I
was so used to using my
3 Telecaster. That has a
and that’s what gives it the crazy pattern on the body. The neck is a
twangy, trebly sound and
bolt-on. The body is hollow and that affects the weight of it a lot,
I was concerned it would
making it really light and easy to use onstage. Flaxwood guitars
be too heavy for the
[are] more environmentally friendly and although that’s not my
stuff I was playing on
highest priority – I want the guitar to be good first and foremost – it
tour. So they’ve given me
is really cool to know that it’s not damaging to the environment
an extra control [a
because I’d like to not have that guilt with me when I go on tour.”
coil-split for the
humbuckers with a
five-way switch] that
lets me play with a really
trebly tone which is
5 “The balance between
acoustic and electric songs in
my live set is about 50/50. When I
6 similar to my Telecaster.”

want to play more upbeat songs I’ll


go for this guitar and I use it with a
lot of pedals. When I’m playing
guitar I usually use my looper
6 “I used this guitar a lot when I was
recording my upcoming debut album Red,
which fits really well with the colour! I used it on
pedal, which is the TC Electronic pretty much every song and the album is a
Helicon Voicelive 3 that has voice 5 mixture of dark pop and really stripped-back
effects on there as well, which acoustic stuff. There’s one particular song
means I can build a really big sound called Without You that was just going to be an
with just one guitar. I also use an acoustic track but I realised it worked a hell of
[Electro-Harmonix] Analogizer; my 4 a lot better with the tones this was making. So
Voicelive 3 pedal has an amp that track is stripped but the tones of this
simulation, which is great but the really shine through and that’s one of my
sound is a little too digital for me favourite tracks from the whole album.”
so I just use that Analogizer pedal
to warm things up and it makes a
range of weird noises.”
Red is out now via Hannah’s label Teapot Records

TOTAL GUITAR OCTOBER 2018


MONITOR
PEOPLE - NEWS - NOISE

JOHN BUTLER TRIO


HOME

W
ith the particularly personal themes
running through many of the songs
here, it would be easy to assume this
would be intimate and perhaps downbeat. But
Butler has turned his struggles with anxiety
lqwr#d#fhoheudwlrq#ri#klv#vwuhqjwkv#rq#klv#Ľqhvw#
album since Sunrise Over Sea. He’s a master of
crafting not just the right part, but the rootsy
guitar tones to elevate his compositions; the
Zeppelin-meets-hip hop backbeat of Wade In
The Water encompasses an unexpected Indian
slide solo; <hƭ^^%F^maZ]hg^<b`Zk^mm^l#Ľqgv#
going deep into his family history via
melancholic country. This is an artist grappling
with himself and wringing out universal truths

16
THE MARCUS through superlative musicianship.
Rob Laing

KING BAND Download Running Away

CAROLINA CONFESSIONS

W
hatever is giving Marcus King swamp-funk stomp of Welcome ’Round
the blues it at least has the Here. That his band have the ability to
common decency to animate hļruwohvvo| nloo wkh yroxph dqg gurs#edfn#
his creative endeavours, and into after-hours blues to let King’s guitar
with a tangible authenticity claim the spotlight is one of their most
here that’s writ large in the violence with potent power moves. And at 22, King is still
which he executes a string bend. It’s also a colt, but he has wisdom beyond his years GREGORY ALAN ISAKOV
writ large in a searing white-heat lead tone
that suggests that, somewhere in the
to keep such talented company in a rhythm
section comprising Stephen Campbell on
EVENING MACHINES
backline, there’s a Class A combo being bass and Jack Ryan on drums. And with

C
driven so hard you could grill steak on the DeShawn Alexander on keys, Dean Mitchell all us crazy, but >o^gbg`FZ\abg^l – the
tubes. King’s solo on Homesick should be on saxophone and Justin Johnson on fourth album from Colorado indie
preserved in the Smithsonian for its tone trumpet and trombone, the Marcus King folk-type Gregory Alan Isakov - sounds
alone. And the phrasing? Unimpeachable. Band have the chops to write the next like sunsets. Positioned somewhere between
For all its pointed catharsis, Carolina chapter on blues and soul. Ben Howard’s explorations and Edward
Confessions has a celebratory feel to tracks Jonathan Horsley Sharpe’s woozy melody, there’s much to
such as How Long and the psychedelic DOWNLOAD Welcome 'Round Here explore in the soundscapes of the 12 tracks
here. Big, balmy pianos and twanging acoustics
form the base for an album that is moving,
THE LAST ALBUM I BOUGHT… fdop#dqg#vxshueo|#frqvwuxfwhg1#Lwv#hļhfw#lv#d#
Plini slow permeation: one that evolves and
envelops you in warm, lilting melodies and
TIM MILLER TRIO VOL 3
little phrases that soon stick in the head and
“The mostridiculous and he does all this crazy room.Yougetallthefinger
Holdsworth-styleplaying stuff where he records the noiseandthenthemidi the gut. Like the slow-boiled frog, you’re
– you havenoideawhat guitar as well as a midi doesxylophone.A really cooked before you notice the heat.
he’s doing.Amazing tones; pickup and a mic in the dense, layered lead tone.” Matt Parker
Download Southern Star

TOTAL GUITAR OCTOBER 2018


EXCEPTIONAL | EXCELLENT | GOOD | FOR FANS OF | POOR ALBUMS
PEOPLE - NEWS - NOISE

BOOK

Jimmy Page:
The Definitive
Biography
SOULFLY JOHN SMITH Chris Salewicz
RITUAL HUMMINGBIRD
A t this point, most guitarists probably feel

C A
rplqj#rļ#wkh#khhov#ri#5348ġv#prqvwurxv# iwhu#wkh#lqurdgv#Vplwk#pdgh#rq#534:ġv# like they have a rough handle on Page’s
:k\aZg`^e as well as last year’s Cavalera excellent A^Z]ehg`, it’s interesting to see illustrious, notorious career; Scotty
Conspiracy blitzkrieg Ilr\ahlbl, it’s him now delve back into the traditional Prruh0zruvklsslqj#vnlŀh#jxlwdulvw#
xqvxusulvlqj#wkdw#Vrxoľ|ġv#44wk#hļruw#vhhv#d# songs that have shaped him as a player. This is ehfrphv#doo0urxqg#ulļ#orug/#jhwv#lqwr#
slight drop in standards. Yet the full-blooded a record that throws his superlative acoustic trouble with drugs, women and organised
ulĿqj#dqg#hhulh#wuledolvp#wkh#edqg#duh#nqrzq# folk talents into sharper focus with a respect religion – but trust us, you ain’t seen
for crush on the title track and Demonized, with and love for the material tangible in every note nothing yet. In this exhaustive biography,
Max’s drumming son, Zyon, and the captured intimately here by producer Sam veteran music journalist Chris Salewicz
underrated Mark Rizzo playing blinders, not Lakeman. With three of his own compositions delves into the murky depths of the Led
ohdvw#rq#wkh#udslg0Ľuh#;bm^Ma^;nee^m. dovr#ihdwxulqj/#lwġv#wkh#zdup#vxpphu|#ľrz#ri# Zeppelin guitarist’s past and turns up
While the ubiquitous curveballs don’t always the opening title track that builds the clearest every possible controversy to ever plague
work as well as previous albums – the bridge from the last album, but Smith’s rich who many would consider the ultimate
NWOBHM motif of ?^^][Z\d a case in point – yrlfh#dqg#hprwlyh#Ľqjhuvw|oh#pdnh#wkh#gdunhu# guitar hero. Although the narrative of
the deathly onslaught of Under Rapture proves likes of AZk^lHgMa^FhngmZbg and the haunting backstage arguments, occult obsessions
wkdw#wkhuhġv#sohqw|#ri#olih#dqg#Ľuh#ohiw#lq#Eud}loġv# closing duet with Cara Dillon on Unquiet Grave and dubious relationships forms the
Ľqhvw#vrq1 his own. Another acoustic treasure. backbone of the book, dig deeper and
Adam Rees Rob Laing there’s some fascinating insight into 17
Download Under Rapture Download Hummingbird Page’s meticulous approach to guitar
overdubs, with a host of archival and
contemporary quotes from the man
himself peppering the group’s frequently
perilous journey to legendary status.
Michael Astley-Brown

BOOK
Heavy Duty: Days
And Nights In
BEHEMOTH THE JOY FORMIDABLE Judas Priest
I LOVED YOU AT YOUR DARKEST AAARTH KK Downing with
Mark Eglington

A R
fter the emotional turmoil that went into itzy Bryan and co have clearly spent some
The Satanist, Poland’s blackened masters time considering the risks of laurel-
have proudly shed their skin once again for
its successor. The hellish bark of Pheo^lHo
Siberia and nefarious blasphemy of @h]6=h`
resting. As such, their fourth record
eschews their dream-pop-gone-alt-rock
formula, taking the dial marked ‘mad,
D rzqlqjġv#vkrfn#5344#ghsduwxuh#iurp#wkh#
iconic metal band he co-founded over
73#|hduv#ehiruh#lv#d#nh|#vxemhfw#khuh1#Dqg#
have the familiarity of a band still conquering sv|fkhgholfġ#dqg#fudqnlqj#lw#Ľyh#qrwfkhv#wr#wkh# while some autobiographies can be a little
and summoning demons, but once the choral right. Ma^Pkhg`Lb]^ wrestles skittish too polite as their subject keeps one eye on
chants beckon ;ZkmsZ[^e the descent into Whammy-wranglings into a marching rocker, upsetting business partners, the former
Dante’s spiral becomes inescapable. From the while <b\Z]Z!EZg]HgRhnk;Z\d" melds clergyman is honest in his appraisals
grandiose >\\e^lbZ=bZ[ehb\Z<Zmaheb\Z, to the sitar-sounds with grinding Muse-y grandeur without being salacious. Following his early
progressive realms of LZ[[ZmaFZm^k’s and =Zg\^H_Ma^Ehmnl’s thundering pedal abuse awe at seeing Hendrix live, and getting
harmonies and the rumbling, acoustic-backed recalls Omar Rodriguez-Lopez. It sometimes Sulhvw#rļ#wkh#jurxqg/#lw#ehfrphv#dssduhqw#
epic AZoha^cIZgmh\kZmhk that evokes mid-period feels a bit ‘kitchen sink’ in approach – Ritzy’s from Downing’s perspective that tensions
Opeth, this is another daring and cathartic ’board must be heaving – but joyfully with his guitar partner Glenn Tipton had
testament from a band worthy of idolatry. experimental and refreshing all the same. been simmering for some time.
Adam Rees Matt Parker David Hands
Download Havohej Pantocrator Download The Wrong Side

OCTOBER 2018 TOTAL GUITAR


MONITOR
PEOPLE - NEWS - NOISE
Ritchie Blackmore: Mere
mortal or a celestial being
sent from above?

18

Back track
A GUITARIST’S GUIDE TO THE ARTISTS YOU NEED TO KNOW

RITCHIE
BLACKMORE
Richard Hugh Blackmore was born on
14 April 1945, in Somerset, but such is START WITH
the way with bona-fide rock gods,
juicier theories of the man in black’s
RISING (1976)

1
Words: Jonathan Horsley Photography: Future PLC

Rising is a Tolkien-esque tour de force that cloaks muscular arrangements in


origin seem more convincing. Perhaps epic prog-mysticism. Recorded in short order with producer Martin Birch at
it was a cosmic anomaly that saw him Musicland Studios, in Munich, Rising saw Ronnie James Dio’s leather lungs
emerge from a meteorite, a latter-day endow songs about wizards, cartomancy and death with a regal authority. The
union of metaphysical storytelling and the earthly physics of classic rock has
Kal-el with neoclassical chops and an never been bettered. Check out the irresistible groove of Tarot Woman, which sees
untutored fury, who, with Strat in Blackmore’s guitar pull you into the eye of the storm for a libinal hoe-down, or
hand, carved himself into immortality the slack groove of Run With The Wolf, Blackmore’s arcane mastery of the blues-
rock solo answering the call of the wild. And then there’s Stargazer, featuring the
through his virtuoso rock exertions
Munich Philharmonic Orchestra, it remains the acme of early heavy metal
with Deep Purple and Rainbow. expanding the boundaries of a newly-minted sound.
Recommended track : Stargazer

TOTAL GUITAR OCTOBER 2018


BACK TRACK
PEOPLE - NEWS - NOISE

THEN TRY DON’T MISS OUT ALSO RECOMMENDED


MACHINE HEAD (1972) DEEP PURPLE IN ROCK LONG LIVE
(1970)
ROCK ’N’ ROLL
2
Like Rising, Machine Head came together (1978)

3
improbably quickly, written and recorded With immodesty a virtue among the big

4
in just over two weeks at the Grand Hotel, beasts of classic rock, Deep Purple duly Essential listening for the anthemic
Switzerland. Smoke On The Water famously uhĽjxuhg Prxqw Uxvkpruh iru wkh fryhu1 ghĽdqfh ri wkh wlwoh wudfn dorqh/ Long Live
documented the experience of seeing their Ian Gillan had made his debut on Jon Lord’s Rock ’N’ Roll was the album, arguably,
preferred studio, the Casino, burn down, with Concerto For Group And Orchestra the previous that showcased the possibilities of shred guitar.
the Rolling Stones later stepping in with their year, but that was no measure of his talent. E| vpxjjolqj qhrfodvvlfdo Ľuhzrunv lqwr#klv#
mobile studio to get the album tracked. Here, he took to the kinetic urgency of Speed lead playing in referencing the exotic scales in
Highway Star opens Machine Head with a paean King and Flight Of The Rat as though it were the fantasy prog masterpiece Gates Of Babylon,
to street racing hot-rods, Blackmore a fast and mother’s milk. Meanwhile, Mr Blackmore he changed the game. It was Blackmore who
furious franchise of his own. Then there’s Space verged on the spectacular, wayfaring licks was an early advocate of the scalloped
Truckin’ with its Jupiter-sized groove, the resolving themselves in staccato chord stabs on fretboard, adding zip to his trusty Stratocaster.
psychedelic Lazy, on which Blackmore’s lead Into The Fire; syncopated jiggery-pokery run Dio’s voice, again, is peerless here. So, too, Cozy
phrasing should be a taught subject in any wild on Hard Lovin’ Man. Black Night, a single Powell, whose formidable tattoo propels
school of rock, on an album that imbued us all released to accompany the record, never made Blackmore into a technical ecstasy on Kill The
zlwk rxu Ľuvw ulļ1 the original pressings. That’s how good it was. King/ d erqd0Ľgh khdy| phwdo fodvvlf1 19
Recommended track: Space Truckin’ Recommended track: Child In Time Recommended track: Kill The King

WORTH A SPIN WILD CARD AVOID!


BURN (1974) STRANGER WINTER
IN US ALL (1995) CAROLS (2006)

5
Now fronted by David Coverdale, Deep

6
Purple were mining some serious Blackmore always knew what he wanted

7
blues-based rock on Burn, and Blackmore from his career. Introducing baroque Acid casualties stumbling in from the
some serious volume. Around this time he was elements into heavy metal? Why not. He California Jam would be forgiven for
chasing his beloved Vox tone via Marshall, the could play the blues but he was never a blues seeking medial attention after
latter building him a 280-watt amp. You could obsessive like many of his contemporaries. fkhfnlqj#lq#rq#5339#dqg#Ľqglqj#wkh#
surely grill steaks on the back of it. And if it all More often than not his instincts were right. Ľuheudqg#jhqlxv#zkr#exuqhg#wkh#vwdjh#grzq#
sounds a bit ridiculous, maybe it was, but it Dqg#|hw#khuh/#rq#Udlqerzġv#Ľqdo#doexp/#d# in ’74 revising Christmas carols for a festive
complemented the material, of which the title precursor to his Blackmore’s Night neo-folk vwrfnlqj#Ľoohu1#Good King Wenceslas, I Saw
track is a classic Purple opener. Sail Away is project and billed explicitly as ‘Ritchie Three Ships, and – of course – Ding Dong
pure Purple grooves, Mistreated made the most Blackmore’s Rainbow’, he released a vintage Merrily On High, Winter Carols is the Yule log
of Coverdale’s tobacco throat, while hard-rock album during the febrile mid-90s in the Blackmore canon. Here ends the
You Fool No One lv#d#sv|fkhgholf#ulļ0r0udpd/# iconoclasm, grunge et al. With the likes of Wolf search for the most unlikely source of
which was manna from heaven for the To The Moon, Cold Hearted Woman and the Christmas cheer – Ritchie Blackmore.
long-hairs assembled at Ontario Speedway for ridiculous but brilliant take on Edvard Grieg’s /Recommended track:
the California Jam in the summer of ’74. Hall Of The Mountain King, that was a crime. Ding Dong Merrily On High
Recommended track: You Fool No One Recommended track: Wolf To The Moon

OCTOBER 2018 TOTAL GUITAR


HOW TO

WHAT YOU WILL LEARN


How to mix major and minor scales
How to use the Mixolydian mode
Master different types of string bends

20
20 MINUTES TO…

BETTER BLUES LEAD


Improve your phrasing and melodic playing as well as tightening up some
of the most important lead techniques with TG’s blues lesson
ot only is blues a springboard for puzzle for many guitarists, however, is ri#krz#hdfk#olfn#ĠĽwvġ#ryhu#d#fhuwdlq#fkrug#ru#

N many other styles, such as


country, rock and jazz, but it can
also teach us many things about
the art of phrasing in solos.
targeting the best notes at the right moment.
With this in mind, this month we’re focusing
on how to further your lead skills through
clever use of space, harmony and note choice.
part of the progression is the key to improving.
Of course, learn the licks – if you’re into John
Mayer, BB King, David Gilmour, even Guthrie
Govan, these will be right up your street.
Often it’s the small technical details like We’ve even added an extra jam track (track 11) Ultimately though your goal should be to
string bends, slides and vibrato that go into to your Guitar Skills CD for you to play over. choose some favourite phrases and incorporate
pdnlqj d juhdw vror1 Wkh Ľqdo slhfh ri wkh There’s no right or wrong but an understanding them into your own playing.

MIXING MAJORS AND MINORS TRACK 7

q.= 80-100

n .
1/4

#
A7
j
~~

.
5 8
1/4

5
~~~
T 5 6
5 7 7 8 5 7
7 5
5
6
7
Guitars and backing: Steve Allsworth

B 7 7

We’re essentially borrowing the minor 3rd (8th fret first string and 5th fret third string) from the A minor pentatonic scale and transplanting it into our A major pentatonic
lick. It’s a classic trick used in country, blues, rock ’n’ roll and rockabilly and the quarter-tone bends are a great way to hint at the major 3rd in the A7 chord.

TOTAL GUITAR OCTOBER 2018


20 MINUTES TO BETTER BLUES LEAD

SLIDING IN TRACK 8

Eb7
A7 j
# D7 A7
~~~~~ ~~~~~~~~
1/4

#

. j j
. nœ
. bœ
j . .

n #
8 9 12 1/4
~~~~~~~~~~~~~~~~~
6 7 10
12 5 8 7 5 [5 ] 2
7 5
B 6 5 0 3 4

Approaching a note from one fret above or below is a classic phrasing idea that’s well used in blues and jazz. You can even slide in from ‘wrong’ notes, but this is the beauty
of the idea, as long as you slide to a ‘consonant’ note – that means a note that’s within the scale or chord you’re playing over.

MIXING IT UP TRACK 9

D7
n . .~~~~~
A7
~~~~~~~

j
. . .
œ
j
.

10 8 7
~~~~~~ ~~~~~~~~
5 7 10 BU
5 7 10 11 [11] 9
4 7 9 (10) 9 7
B 4 5

21
The Mixolydian mode is the same as the major scale but with a b7 interval, which makes it sound great over dominant 7th chords (D7, A7 etc) – these are major chords with
a b7, just like the mode. Mixing nicely with a D7 chord, our opening D9 arpeggio will instantly make you sound more musical. The sliding shape in bar 2 is a nice trick too.

THE BENDS TRACKS 10-11

~~~ ~~~~~~~~ j n . ~~ ~~~~~~~ .


A7
. n œ
j œ n
# œ
j

~~~~~~~~~~~~~~~ BU BD BU ~~~~~~~~~~~~
10 13 15 (17 ) (17 ) (20) 13
11 12 12 14 14 14 14
10 11
B

The opening diad outlines the A7 chord – the C# and G notes are a dissonant b 5 interval but sound great because both are in the chord (A C# E G). The challenge is the sliding
bend. Pick the first note, bend up; as you release the bend, slide up to the 17th fret and bend the string again. David Gilmour and Guthrie Govan use similar techniques.

PRACTICE PLAN
1. One minute: Play through one exercise slowly
2. Two minutes: Slow down further and focus on tricky parts such as position shifts
3. Two minutes: Gradually build your playing speed
4. Try out the other examples
This is a creative lesson, rather than a purely technical one so aim to learn these ideas in different keys so that you can use them
whenever you want. Obviously you can move the licks up or down the fretboard – that’s easy! As you get more confident, why not try
moving your favourite licks onto other strings. The fret gaps won’t necessarily be the same so you may need to get your thinking cap
on! Playing all across the fretboard is a great improv skill to develop though, especially in blues.

NEXT MONTH 20 minutes to… Altered tunings


OCTOBER 2018 TOTAL GUITAR
HOW TO
riff of the month

BLACK
SABBATH WHAT YOU WILL LEARN
Use powerchords as a melody

War Pigs
Fast hammer-on/pull-off trilling
Wide, aggressive vibrato technique

s the opener on Black verses, after all, and it’s the ear-

A Sabbath’s best-selling
1970 album, Paranoid,
and featuring guitarist
Tony Iommi’s masterful
zrup#sduw#ri#wkh#wudfn1#
\rxġoo#Ľqg#zklovw#sod|lqj#wkh#
interlude section that you’ll be using
wzr0qrwh#srzhufkrugv#lq#wkh#pdlq/#
Get the sound
8
5

2
CHANNEL OVERDRIVE

7 3

ulĿqj/#War Pigs rates as one of the but keep an eye out for the vigorous
most important tracks in heavy vibrato and trill in bars 2 and 3. The GAIN BASS MID TREBLE REVERB
metal history. wuloo#lv#wulfnlhvw>#lwġv#mxvw#d#udslg#ľxuu|#
Tony Iommi played a Gibson SG
The song has an unusual structure, ri#kdpphu0rqv#dqg#sxoo0rļv/#exw#
through a Laney LA100BL amp on
nlfnlqj#rļ#zlwk#d#vorz/#vsdfh|#lqwur#lq# you’ll need a good turn of speed. War Pigs, so you’ll need a British-
92;#wlph/#euhdnlqj#grzq#iru#d#vsduvh0 Zhġyh#dovr#wdeehg#rxw#wzr#pruh#ri# style valve amp (or a digital
sounding verse and eventually reaching Iommi’s rhythm grooves to take you emulation) and a guitar equipped
wklv#prqwkġv#ulļ1#Wkrxjk#wkhuh#duh#qr# zhoo#lqwr#yhuvhv#5#dqg#61# with a bridge-position humbucker to
get an authentic tone.
yrfdov#khuh/#wkh#ulļ#hvvhqwldoo|#irupv#
Keep the midrange low and the
the song’s chorus – it comes after the CHEAT SHEET… treble reasonably high to get close
Appears at: 1:46-2:39 to Tony’s sound. If you’re playing a
Tempo: 91bpm Stratocaster or similar single
WAR PIGS
coil-equipped guitar, dial in more
22 Westminster Music, Ltd Key: E minor
of Suite 2.07, Plaza 535 Kings Road, London, SW10 0SZ bass and less treble on your amp and
International Copyright Secured Main techniques: Srzhufkrugv 2 Bridge humbucker experiment with more gain.
All Rights Reserved
Used by Permission vibrato / trills / alternate picking

INTERLUDE TRACKS 12-13

q = 91 1. 3. 2. 4.
F#5
D5 E5 G5 F5 E5
~~~~~ F5 E5
~~~~~ F5 E5
# .. .. (œ œ) ..
. .
1:46
~~~~~~ Ÿ~~~~~
T . . .
B
. 12 14 17 16 15 14
12
. 15 14
12 (14 12) . 15 14 14
10 12 15 14 13 12 13 12 13 12 12

The 12th fret G note at the end of bar 2 has some fairly vigorous vibrato. Fret the note with your first finger and move your hand from the wrist to generate the vibrato
effect. The trill at the end of bar 3 is a set of fast hammer-ons and pull-offs at the 12th and 14th frets.

PRE-VERSE BREAK TRACKS 12-13 VERSES 2 AND 3 TRACKS 12-13

~~~~~~~~
Em
E5
# #
Play 4 times

.. .. .. ..
Play 8 times

œ œ j
œ
2:06
~~~~~~~ 2:17

. . . .
PM PM PM PM
12
T 12 T
B
. 12
. B
. 2 0 2 0 BU BD .
2 (3) (2)
≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≤ ≥ ≥
0 0 0 0 0 0 3 0 0 0 0 0 0 0
Photograph: Will Ireland

If you follow the picking directions it’s easier to nail the timing. In particular, the Like the pre-verse, this riff is based on a four-notes-per-beat idea, so use
two open-string E notes before the 3rd fret G must be played with upstrokes. down-up style alternate picking to help with the timing.

TOTAL GUITAR OCTOBER 2018


HOW TO
GETTING
STARTED WITH…
FRET-HAND
MUTING
Try one of the guitar’s most WHAT YOU WILL LEARN
versatile techniques and Master the fret-hand muting technique
Funky 16th-note rhythms

apply it to a mix of genres Distorted alt-rock style muted rhythm

“I see we’re doing muting again! Didn’t we wklv#whfkqltxh#lv#xvhg#lq#d#pruh#sdvvlyh#zd|/#


look at this last month?” riwhq#wr#sxqfwxdwh#fkrug#fkdqjhv1# SWEET 16THS…
Sort of! Last month we looked at palm muting; PLAY IN TIME NOW!
this time it’s fret-hand muting. Don’t turn the “Got it! Let’s play some guitar then.” This month’s riffs use ‘16th notes’. They get their
page though. We’re not retreading old ground. Rxu#Ľuvw#h{dpsoh#lv#edvhg#rq#srzhufkrugv1# name because you can have up to 16 of them in a
Wklv lv d glļhuhqw whfkqltxh wkdw doorzv |rx wr Hdv|#hqrxjk/#exw#qrwlfh#wkh#Ġ[ġv#lq#wkh#wde# row in a bar of music in 4/4 time. If you can
sod| lq frro/ fuhdwlyh zd|v1 Ğ#wkhvh#ghqrwh#iuhw0kdqg#pxwlqj1#Grqġw#oliw# synchronise your pick strokes with the 16th
notes, you’ll nail the timing.
|rxu#Ľqjhuv>#mxvw#uhohdvh#suhvvxuh#iurp#wkh#
“Okay. What’s it all about then?” vwulqjv#wr#surgxfh#d#gu|/#fkxqn|#vrxqg1#
œ œ œ œ
1 FOUR 16THS
Zhoo/ |rx suredeo| nqrz wkdw uhvwlqj |rxu In sheet music, four 16th
Ľqjhuv rq wkh vwulqjv ghdghqv wkh vrxqg Ğ “The muting is tricky. Some of the strings notes in a row look like this.
24 surylghg |rx grqġw iuhw dq| qrwhv/ ri frxuvh1 are still ringing out.”
\rxġyh suredeo| dovr qrwlfhg wkdw wkh vwulqjv Wu|#wr#uhvw#|rxu#iuhwwlqj#Ľqjhuv#djdlqvw#wkh#
2 ON THE œ œ œ œ
grqġw jr frpsohwho| vlohqw1 Vwulnh wkh Ġpxwhgġ dgmdfhqw#lgoh#vwulqjv#Ğ#wklvġoo#pxwh#wkhp#rxw#iru# DOWNSIDE…
vwulqjv dqg |rxġoo khdu d fkxqn|/ shufxvvlyh |rx1#Dovr/#lwġv#hdv|#wr#vwuxp#wrr#kdug/#vr#wu|#wr# Sometimes they’ll be the
vrxqg1 Jlyh lw d jr$ Li |rxġuh soxjjhg lq lwġoo wdujhw#rqo|#wkh#vwulqjv#lq#wkh#fkrugv1# other way up but they’re
vrxqg ehvw zlwk vrph glvwruwlrq1 Lqflghqwdoo|/#li#|rxġuh#vwuxjjolqj#zlwk#wkh# still 16th notes.
uk|wkp#wdnh#d#orrn#dw#wkh#er{rxw#rq#wkh#uljkw1#
“It’s really easy! It’s not very musical Wklvġoo#khos#|rx#v|qf#|rxu#vwuxpplqj#zlwk#wkh# 3 SYNCING FEELING
though. Does anyone really do this?” wlplqj#ri#wkh#ulļ1 16th notes are pretty œ œ œ œ
\hdk/ |rxġoo khdu lw d orw/ hvshfldoo| lq urfn dqg
phwdo1 Wkh ulļ lq Qluydqdġv Smells Like Teen “Can we try another style of music?”
quick, so play down up
down up to stay in time. ≥ ≤ ≥ ≤
Spirit vzdsv ehwzhhq fohdq dqg pxwhg fkrugv/ Vxuh$#Rxu#vhfrqg#h{dpsoh#fdq#eh#dssolhg#wr#
Radiohead’s Creep ihdwxuhv d pxwhg Ġfk0 vrxo0/#glvfr0#ru#ixqn0edvhg#ulļv1#Wklqn#Fklf/#
œ œ œ
4 KEEP IT UP!
fkxqnġ ehiruh wkh fkruxvhv/ dqg Jxqv ġQ Urvhvġ Mdphv#Eurzq#ru#Uhg#Krw#Fklol#Shsshuv#Ğ#|rx# Keep your down-up
Mr Brownstone opens on muted strums.
Shufxvvlyh dfrxvwlf sod|huv olnh Qhzwrq
frxog#dsso|#wklv#lghd#wr#doo#ri#wkhp1#Rqfh#djdlq/#
|rxġoo#qhhg#wr#uhohdvh#Ľqjhu#suhvvxuh#rq#wkh#
movement going,
even when some of the ≥ (≤) ≥ ≤
notes aren’t played.
Idxonqhu dqg Plnh Gdzhv xvh pxwlqj dv Ġguxpġ qrwhv#pdunhg#zlwk#dq#Ġ[ġ1#Lwġv#d#wulfn|#rqh#
vwulnhv rq wkhlu jxlwduv wrr1 Jhqhudoo|/ wkrxjk/ wkrxjk/#vr#sudfwlvh#vorzo|#wr#ehjlq#zlwk1

1 ALT-ROCK POWERCHORDS TRACKS 14-15 2 FUNK RIFF TRACKS 16-17


q = 90
Bb5 Eb5 Ab5 B5 q = 90

.. .. .. . . . ..
Play 4 times

T . ¿¿ ¿¿ . T .5 ¿ ¿ ¿ ¿ ¿ .
. ¿¿ ¿¿ ¿¿ ¿¿
8 8
¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ 66 66 ¿¿ ¿¿ ¿¿ ¿¿ 99 99 ¿¿ ¿¿ . . 5 5 5 3 5
.
¿¿ ¿¿
8 8 8 8
B 8 8 6 6 B
6
≥ ≥≥≤
6
≥≤≥
4 4
≥ ≥≤ ≥≥≥ ≤ ≥ ≤ ≥≥≥ ≤
7 7
≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤
Release finger pressure but keep touching the strings wherever you see ‘X’s. A Switch to a clean tone here – the clearer sound will help you focus on playing
distorted tone will help but don’t overdo the gain. accurately. Maintain a steady down-up picking movement.

TOTAL GUITAR OCTOBER 2018


HOW TO
THE FX FILES TG’S CLASSIC STOMPBOX GUIDE
THE MOST FAMOUS WAH PEDAL IN THE WORLD,
THE CRY BABY HAS BEEN USED BY EVERY
GUITARIST FROM HENDRIX TO HAMMETT
DRY YOUR EYES...
The true beauty of the Cry Baby is that it has only one real control
- the potentiometer that is varied by your foot moving the treadle.
Putting your toe down or up sweeps the centre frequency of the
Ľowhu#edqg1#Iuhtxhqflhv#rxwvlgh#ri#wklv#edqg#duh#dwwhqxdwhg/#dqg#
frequencies within it are not only retained, but actively boosted.
It’s this selective boosting or rejection of frequencies, combined
with the dynamic ability to rapidly change them, that gives this
famous wah pedal its instantly recognisable sound.

26

DUNLOP CRY BABY


Named after the Vox Cry Baby pedal it imitated, the Dunlop Cry Baby became
synonymous with ‘wah pedal’. Although there have been many versions and countless
classic tones created with it, the core circuit has remained largely stable since the 60s
he wah was “public saxophone”. Whether delivers 18dB of boost, and alter the Q - that is, the severity of

T
originally Ľowhulqj ihhgedfn dqg vxvwdlqhg attenuates out-of-band wkh fxuyh 0 ri wkh Ľowhu1
developed to notes through a wall of sound or frequencies. On the original Xvhg dv d yduldeoh Ľowhu/ udwkhu
emulate the adding percussive clicks to the GCB-95 model, the sweep available than as a tool to accent individual
sound of a muted opening of Voodoo Child, Hendrix from the treadle was from about notes, the Dunlop Cry Baby has a
trumpet, and remains the wah master. 450Hz to 1600Hz. Later glvwlqfwo| glļhuhqw fkdudfwhu1 E|
when combined with a rocking At the core of the circuit is an developments, such as the bass rapidly sweeping the treadle, a
treadle, allowed for a hugely dfwlyh edqgsdvv Ľowhu/ fuhdwhg version, change the frequency ‘waka’ sound can be generated as
h{suhvvlyh udqjh ri Ľowhu vrxqgv wr xvlqj dq lqgxfwru1 Wkh Ľowhu lv range - although it’s also relatively wkh Ľowhu eulqjv rxw wuheoh lq wkh
be created. An early and centred at around 750Hz, where it simple to add additional boost or guitar, particularly if the guitarist is
progressive adopter was a young using pick scratches. This classic
guitar virtuoso named Jimi
Hendrix, who had already seen the THE CLASSIC ‘WAKA’ SOUND IS sound is pervasive across the funk
genre, and it also features in a
brass parallels with the electric
guitar when he dubbed it the PERVASIVE ACROSS FUNK... number of iconic police show
soundtracks too.

TOTAL GUITAR OCTOBER 2018


THE FX FILES

# UNDER THE INFLUENCE

JIM DUNLOP CRY BABY JIM DUNLOP DIMEBAG JIM DUNLOP JD-DCR-
535Q MULTI WAH DARRELL CRY BABY 2SRUK
£150 £180 £712
Wkh#868T#Pxowl#Zdk#lv#wkh#Ľuvw#pdmru#hyroxwlrq# The Dimebag signature takes the most obvious Iru#wkrvh#prphqwv#zkhq#|rx#devroxwho|/#
of the Cry Baby circuit and it adds in controls on mods that can be done to the original circuit positively need to melt every face in the
the outside of the chassis for controlling the dqg#sdfnv#wkhp#lq1#H{whqghg#Ľowhu#vzhhsB# room, we suggest you go for the rack version.
boost level, up to the maximum of 18dB, as well Check. Six-way frequency selector for the With all the boost and frequency options
dv#d#urwdu|#vhohfwru#iru#wkh#Ľowhu#udqjh1#Zkdw#lv# ĽowhuB#Fkhfn1#Errvw#rswlrqB#Fkhfn1#OHG# you’d expect, as well as the ability to hook up
important to note here is that with hardwire lqglfdwruv#iru#erwkB#Fkhfn1#Fdprxľdjh#sdlqw# six remote foot pedals, the rack unit has 27
bypass it also attempts to solve the Achilles mreB#Qdwxudoo|1#Wkh#uhvxow#lv#dq#lqfuhgleo|# ghglfdwhg#frqwurov#iru#Ľowhu#srlqwv#dqg#d#
heel of the original: its somewhat tone-sucking ľh{leoh#wdnh#rq#wkh#ruljlqdo#wkdw#fdq#gholyhu# variable Q, allowing you to change the shape
bypassed state. more dramatic and aggressive tones. ri#wkh#Ľowhu#iurp#wljkw#wr#eurdg1

# CLASSIC TONES
MUSE DIRE STRAITS JOE SATRIANI
DEAD STAR MONEY FOR NOTHING SURFING WITH THE ALIEN
This isn’t a signature sound for Matt Bellamy, Although the original pedal used on this track Before his Vox signature, Joe used a number of
but it crops up fairly often in breakdowns and was reportedly a Morley, the parked, partly- Cry Baby pedals over the years to get his
drops. Here, the pedal is on, and completely open wah sound in the intro of this song is signature expressive lead tone. By using the
wrh0grzq#iru#d#udglfdo#Ľowhu#hļhfw#lq#wkh#lqwur# probably the most iconic non-standard use of a wah, he could drag vowel-like sounds out of his
- to up the ante, there’s a fuzz in front. Just wah pedal in rock music, and instantly instrument while slower sweeps paired with
ehiruh#wkh#edqg#nlfnv#lq/#wxuq#wkh#shgdo#rļ#dqg# recognisable. Turn the pedal on and pull it back idvw#wdsslqj#gholyhu#d#Ľowhu#ru#skdvh0vkliwhu#olnh#
ohw#|rxu#ix}}#frph#wkurxjk#xqĽowhuhg1 until you hear that sign. sound. These techniques are all over this track.

OCTOBER 2018 TOTAL GUITAR


HOW TO WHAT YOU WILL LEARN
How the Locrian and major scales are related
The character and mood of the Locrian mode
Locrian riffs and licks!

e’re not joking when we say whacky! The Locrian mode is


WHAT THE F?
LOCRIAN MODE W rarely heard in rock or pop and only occasionally found in
metal and jazz-fusion. That said, have a listen to Juicebox
by The Strokes, and Black Sabbath by, you guessed it, Black
Vdeedwk#Ğ#erwk#ihdwxuh#Orfuldq#ulļv1#Krzhyhu/#vr#zhlug#lv#
wklv#prgh/#hyhq#wkhvh#wudfnv#duhqġw#ixoo|#Orfuldq1#Wkhlu#ulļv#duh#Orfuldq/#
We wrap up our series on modal scales with a sure, but jam along on a m7 b5 chord (the root chord of the Locrian
prgh,#dqg#|rxġoo#Ľqg#lw#mxvw#grhvqġw#txlwh#Ľw1#Vwloo/#ghvslwh#lwv#xqxvxdo#
look at the whacky-sounding Locrian mode sound, the Locrian mode provides ample opportunity for fresh, creative
ideas. Read on as we take a look...

1 LEARN THE SCALE NOTES TRACK 18

The Locrian mode uses the same notes as the major scale – it just q =75
b
starts on the seventh note. That means C major gives you B Locrian. C Bm7 5 œ
Hdv|$#Qrwlfh#doo#wkh#ľdwwhqhg#lqwhuydov#+pdunhg#b). These give the
œ
mode its own dark, dissonant sound. The b2 and the b5 are the most
important intervals – they really bring out the Locrian vibe.
œ
7

1 2345678 C major
T
B 7 8 10
7 9 10 9 10
7 9 10
8 10

CDEFGABCDEFGAB
8 10

B Locrian 1 b2 b3 4 b5 b6 b7 8 Here are C major and B Locrian – they have the same notes but the Locrian mode
starts on B. Play the scales one after another to see if they sound different to you.

28
2 TYPICAL LOCRIAN CHORDS 3 LOCRIAN RIFFING TRACK 19
X X X X X X

q = 100
1 2 1 B 5dim C5
Play 4 times
3 4 1 1 2
# .. ..
3
œ n
2 3 4

Bm7b5 C B5dim
T . .
The Locrian mode has a m7 b8 urrw fkrug1 Krz vrB Zhoo/ vwduw rq E dqg krs . 9 7 9 .
over every other interval in the mode and you get the notes of Bm7b5 (B D F B 7
8 8
10
8
8
A) – it’s the same process with any mode’s root chord, in fact. Few songs
have m7b8#urrw#fkrugv#+lw#mxvw#vrxqgv#vr#ľlsslqġ#zhlug$,/#exw#rffdvlrqdoo|#
you’ll see a m7b5 followed by a major chord a semitone higher – indicating
This riff includes the vital b2 (C) and b5 (F) intervals. The bass guitar outlines the
that you may be in Locrian territory. Try jamming with these two chords to
staple Locrian semitone move from the root note (B) to the b2 (C).
get your ear in and try the simpler B5dim chord too.

4 BLUES SCALE UNLOC’ED TRACK 20-21


q =100
B 5dim ~~~~~ C5 B 5dim C5
œ
j n 1/4 ~~ ~~~~~
# .. œ ..
3

BU BD ~~~~~~~ 7 1/4
~~~ ~~~~~~~
BU BD
T . 12 [ 12 ] (13)(12 ) 10 12
9 (10) ( 9 ) BU BD 10 7
10 9 7 9 7 10
.
B
. 9 (10) ( 9 ) 9 9 7 9 9 10 10 9 [9 ] .

Our lick starts and ends Locrian, and, once again, the b2 and b5 notes (C and F) give the modal sound. However, in bar 2 we opted for the B blues scale (B D E F F# A). Why? Well, this
scale includes a b5th so it can sound Locrian, but bringing in the F# note (highlighted red) allows you to use your favourite pentatonic ideas too. Try it!

TOTAL GUITAR OCTOBER 2018


ZZ TOP HONCHO
BILLY F GIBBONS & FRIENDS
LOOK AT THE ROOTS OF
GUITAR MUSIC AND HOW THE
BLUES ENDED UP SHAPING
EVERYTHING…
BLUES MACHINE
SUPERSONIC
ROUND TABLE
Words Amit Sharma Photography James Sharrock

30

TOTAL GUITAR OCTOBER 2018


SUPERSONIC BLUES MACHINE

31

OCTOBER 2018 TOTAL GUITAR


round table
pstairs in one of London’s most prestigious rehearsal spaces, a

u
discussion is taking place – dissecting one of the oldest forms of
popular music and its place in the world today. Leading the
conversation is ZZ Top founder Billy F Gibbons, joined by his
Supersonic Blues Machine comrades Fabrizio Grossi and Kenny
Durqrļ/#dorqjvlgh#wkh#edqgġv#vshfldo#jxhvwv#Vhujh#Vlplf#dqg#wkh#
XNġv#Nulv#Eduudv1#Wrjhwkhu/#wkh#Ľyh#pxvlfldqv#h{soruh#krz#dqg#zk|#wklv#qhdu0
ancient artform, even after all these years, still has the ability to make just about any
human being feel things that other genres simply can’t come close to. Blues power,
it seems, is something that will stay in our DNA…

What do you feel when you hear the L nqrz wkdw Lġp ghĽqlwho| lqľxhqfhg e| talkin’ turkey Fabrizio: “I think everything about the
Supersonic Blues
words ‘blues power’? some of the old greats. I think blues blues stands to the wider music world
Machine discuss the
Billy F Gibbons: “Well, I think power relates to the idea of playing from power of the genre just as much as the mob stands to
those two words go together for the heart and choosing certain notes with TG organised crime – meaning everybody
sure. There’s something about with a special meaning.” knows about it but they don’t really
this thing called blues that continues to Fabrizio Grossi: “When I think understand what goes on unless they’re
resonate. There’s that old saying that of the words ‘blues power’, I feel in it. And once you’re in… you don’t get
every 10 years or so, things come back like no other kind of music has out! To the blues musician, it’s not about
and get rediscovered, but I feel as if the ever been able to generate so many playing on the coolest night of the week.
blues has more to it. I think that the genres and phenomena. Blues doesn’t We will always have the club circuit –
genre has an international and global have to be 100 per cent in its original there’s a music mob that never gives up.
dsshdo1 Lw dsshduv yhu| vlpsoh rq Ľuvw form, you don’t have to sound like the In every guitar shop I’ve visited,
glance, but when you start digging in jrgidwkhuv wr kdyh wdnhq lqľxhqfh zkhqhyhu#shrsoh#zdon#lq#wkh#Ľuvw#wklqj#
deeper you discover there are some real from it. When I think how important wkh|#sod|#zloo#eh#eoxhv0edvhg1#Wkh#lghdv#
frpsoh{lwlhv wr wklv duwirup1 Lwġv suhww| those guys were for everything we hear are so married to the guitar, there’s a
cool when you think about it… this today. I feel like 70 per cent of the music symbiosis there.”
mysterious thing that is honestly rxw wkhuh zrxogqġw hyhq h{lvw zlwkrxw Billy: “I love the idea of the blue note.
32 powerful. When you go back and listen the blues.” This thing with all this feeling behind it.
to what Freddie King was doing purely Serge Simic: “Everything from I don’t know if words will ever be
instrumentally, it’s incredible. It was doo#ri#rxu#lqľxhqfhv#frpelqhg# dghtxdwh#wr#h{suhvv#lw1#\rx#nqrz#lw#
the same transition when Muddy will have come out of the blues. when you hear it and you know it when
Zdwhuv ohiw klv dfrxvwlf dqg Ľjxuhg It’s still there today, all these years later you feel it.”
out how to plug things in and get the – which is incredible. This genre is still Kris: “There’s a tension and release to
whole electric thing going. It was a big, so powerful.” wkh#eoxh#qrwh1#Ehfdxvh#wkh#ľdw#Ľyh#lv#qrw#
big change!” xvxdoo|#lq#wkh#fkrugv/#lw#h{whqgv#lqwr#wkh#
Kris Barras: “I feel like blues It’s as if the blues is something that world of jazz and other things.”
music is very much a feeling. It any human can understand – Billy: “If you play in major thirds, it’s all
comes from inside. I wouldn’t regardless of their musical or kdss|1#Exw#klw#wkdw#ľdw#Ľyh#ru#plqru#
call myself a traditional blues player but geographic background… seventh and you will feel it… you will
get the shivers.”

Speaking of flat fives, there was a


time where tritones were banned by
the church. Thankfully, times have
changed…
Nhqq|#Durqrļ= “The religious
people in most countries would
have thrown you in jail for just
sod|lqj#d#plqru#wklug#ohw#dorqh#d#ľdw#
Ľyh$#Lw#zdv#djdlqvw#wkh#odz/#hyhq#lq#
places like England. The church wanted
all the nicer harmonies and felt like the
tritone was the devil’s interval...”
Billy: “It still is, ha ha!”
Kenny: “But check this out, even
though the tritone is the most devilish
lqwhuydo#ri#wkhp#doo/#^orqj0wlph#gluhfwru#
ri#wkh#Qhz#\run#rufkhvwud`#Ohrqdug#
Bernstein took that sound and made it
one of the most beautiful songs ever in
Maria from West Side Story. Somehow
SUPERSONIC BLUES MACHINE

33

“AS SOON AS I HEAR BILLY IT’S texas special


Billy and fellow Texan
and meanness to them while their
approach in the 80s was completely
LIKE I’M DRIVING ON A FREEWAY / Supersonic Blues
Machine glļhuhqw Ğ exw qr pdwwhu zkdw |hdu lw lv
or production style it gets, you just know
IN TEXAS...” FABRIZIO GROSSI collaborator Lance
Lopez. Both
have contributed to
it’s Billy playing. As soon as I hear him,
it’s like I’m driving on a big freeway
the band’s two
this genius made a beautiful love of them said, ‘Hey, we fucked up!’ and vrphzkhuh lq wkh plggoh ri Wh{dv1 Kh
studio albums, West
melody out of it. I think he was trying to vxgghqo| hyhu|erg| uhod{hg1 L wklqn li Of Flushing, South Of can carry his history and heritage
say, ‘Hey, this note isn’t as bad as you’d you are able to accept whatever will Frisco and through the music, which is something
think!’ Maybe he didn’t believe in the kdsshq/ lw zloo doorz qhz h{suhvvlrqv wr Californisoul not many people can do. A lot of people
devil... maybe he did!” frph iruzdug1 \rx uhpryh wklv od|hu ri
fear by saying you don’t care and just
How hard is it to reinvent yourself as a ploughing through. And sometimes
blues artist? that mistake could be the thing you
Billy: “One of the greatest turning were looking for all along...”
points for me was when Lollapalooza Kenny: “Because, at the end of the day,
came to Orange County. There was a we will always make them!”
band there called Cypress Hill who were Fabrizio: “Personally, I don’t think you
famous for smoking weed in front of the have to reinvent the blues, it’s cool just
cops. Sure enough, there they were krz lw lv1 \rx jhw glļhuhqw wdnhv iurp
smoking weed in front of the authorities glļhuhqw shrsoh ehfdxvh wkh| duh
while 20,000 young white kids individuals1 Lwġv dq h{suhvvlrq ri ihholqj/
applauded. They had three singers so how one person thinks can be miles
fronting the band and one guy holding a away from anyone else. As long as you
DAT recorder, which was all the music. are playing with your own heart and
He stepped on the wire yanking it out soul… that’s all you need. It’s not really
Photo: Will Ireland

and everything stopped – you could see about reinventing yourself as it is


the wave of tension spread, everyone putting your own stamp on everything.
zrqghulqj zkdw zloo kdsshq qh{w1 Rqh The early ZZ Top recordings have a dirt
can master pentatonics but to tell their
story without being too obvious about it
is quite rare.”

The blues also lends itself to blending


both minor and major tonalities…
Billy: “The minor seems to be the bluer.
I don’t really know much about tritones
and whatnot, but I’ve always felt the
minor side is where the blues lives. I
don’t know many blues tunes that are
pdmru0|ĩ#lw#vhhpv#wr#ehorqj#zlwk#wkh#

GOT MY MOJO sadder chords and scales.”


Kris:#ģZkhq#|rx#pl{#plqru#dqg#pdmru/# did this buzz picking
WORKING lwġv#olnh#|rx#jhw#dqrwkhu#eoxh#qrwh1#\rx#
can play the minor third and bend up to
rhythm on Frame For The Blues… it’s
like a drill noise that probably isn’t
Billy, Fabrizio, Kenny, Serge and Kris the major third, which adds to the blues. technically in time, but catches your
on their ultimate blues heroes... A lot of guitarists get confused over this. attention. Equally, if you are in
I’ve walked into loads of bars and heard major and your keyboard player is in
Billy: “Hound Dog Taylor was off the chart! His band were a dominant blues where the players minor, you can have a jazz moment.
like a punk group, they just didn’t care and there were no stick to minor pentatonic and don’t Miles Davis to the rescue! There are no
rules. I read a really good piece about them recently, resolve the minor third to major – bad notes, it’s all about how you get out
where the writer said, ‘Just thinking about the word blues which can sound horrible. It’s the same of it.”
gives me a headache… if I see one more band with baggy dv#odqglqj#rq#d#ľdw#Ľyh#dqg#kroglqj#lw# Kris:#ģL#phdq#wkh#Khqgul{#fkrug#lv#
suits, big microphones and funny hats, I’ll lose my mind with no release… without the resolve it essentially that, isn’t it? With that
– give me Hound Dog Taylor on his worst night and that can sound bad. I actually think that’s 7sharp9 chord, the sharp9 is like the
will be better than anyone!’ And I completely agreed.” one of the most important lessons for octave higher from the minor third!”
Kris: “Obviously, there are all the older guys like Robert blues guitarists. Someone like Billy Fabrizio: “I think everyone can agree if
Johnson who started it all off, but Gary Moore was my won’t need to think about it, he can just it sounds good, it really doesn’t matter
first proper introduction to the blues. I started playing at hear it in his head; most people can’t.” whether it’s technically right or wrong.
five or six years old because my dad was a guitar player Billy:#ģWkhuhġv#d#vxewoh#glļhuhqfh#zkhq# We were in India last year, playing with
and I had access to his records. We had this VHS tape of |rx#duh#lq#d#shuihfw#wulsohw#vkxŀh/#exw#lw# an incredible guitar player who was
Gary doing Stormy Monday in London and it hit me can lean towards 4/4 too – there’s a brilliant at traditional blues but also
instantly. I was six years old and I needed to find out rhythmic tension from being in pl{hg#lq#Hdvwhuq#vfdohv/#rgg#phwhuv#dqg#
more about what I was hearing.” ehwzhhq#vwudljkw#dqg#vkxŀh1Ĥ quarter tones. I just couldn’t believe
Kenny: “Growing up, all the southern rock stuff like ZZ Kenny: “It’s unbelievable how you can krz#zhoo#lw#Ľwwhg#wrjhwkhu/#wkrxjk#
Top and Allman Brothers was huge for me… I actually had go in between both… that just sounds so obviously it only works if you know
a band growing up where all we did was Allman Brothers cool to me. I like the idea of a rhythmic what you’re doing. Again, it’s another
covers! Duane was incredible, though to be honest, in my blues, sometimes a few members of the way of inventing rather than
eyes it’s all the real deal. I’ve played with BB King, Buddy band are playing more straight and the reinventing yourself.”
Guy and so many other greats... it’s amazing how many rwkhuv#duh#grlqj#d#vkxŀh#rq#wrs1Ĥ Billy:#ģ\rx#kdyh#wr#uhphpehu#wkh#jx|v#
different variations of the blues you can find out there.” Billy: “Listen to Jimmie Vaughan who that were recording blues in 1949 or
Serge: “Like Kris, Gary Moore had a massive influence on
me. But most of all, I think Jimmy Page in Led Zeppelin
had a huge effect. Sure, it was more of a rock thing, but
there’s so much blues in that early stuff.”
Fabrizio: “I don’t think anyone else out there represents
the traditional folk element of the blues as well as Hubert
Sumlin. He was the conjunction between whatever was
before Robert Johnson to the three Kings to Hendrix –
and then look at everything that happened afterwards.
Without Hubert, there would be no Hendrix and without
Hendrix, things would have been very different.”

“WITHOUT HUBERT
THERE WOULD BE NO
HENDRIX... AND
Photo Chris Morphet/Getty

THINGS WOULD BE
VERY DIFFERENT”
TOTAL GUITAR OCTOBER 2018
SUPERSONIC BLUES MACHINE

“THERE ARE NO
BAD NOTES,
IT’S ALL ABOUT
HOW YOU GET
OUT OF IT...”
BILLY F GIBBONS
1950, they were just teenagers. And
teenagers are mischievous! They were
poking at it and clearly having a blast.”

What advice can you offer players


who struggle to get their heads
around turnarounds?
Billy: “Don’t learn the turnarounds.
Don’t even go there. It goes from the
Ľyh#wr#wkh#irxu#dqg#edfn#wr#wkh#rqh/#dqg#
then starts over again. Just feel it and
play through it. I’ve always found
turnarounds pretty awkward.”
Kenny: “It’s almost more predictable to
have a turnaround than it is not to. Then
you have guys like Eric Gales who like to
substitute before they’ve even left the
one chord!”
Fabrizio: “But it’s all about how you 35
sneak it in. Just like with anything, if
you overuse it, then you will lose the
hļhfw1#Hyhq#li#|rx#dyrlg#rqh#ri#wkh#
turnarounds, it can really change the
song! Things like that make music lessons with Greg Howe, who is more kenny aronoff too… one time I saw him and he used a
“I like the idea of a
great, you add and subtract to your fusiony, but he taught me about pick for one song just to get a certain
rhythmic blues... the
own taste.” vlghvwhsslqj#0#wdonlqj#shqwdwrqlfv#rxw# tension in between sound. For him, it was not a tool of the
Kris:#ģL#olnh#jrlqj#edfn#wr#wkh#Ľyh#fkrug# one fret and then back in key to create straight and shuffle” trade, but rather another way of
zkhq#Lġp#vrorlqj1#\rx#fdq#vslfh#lw#xs#d# altered sounds.” breaking the rules. I like the idea of
bit there, throw in some altered scale setting up the threshold for as far as you
licks or something chromatic – it gives There’s a delicate art to dialling in the can go, then dialling it down and
|rx#vrphwklqj#h{wud#wr#gr1#Lġp#d#elj#idq# right amount of overdrive in blues. controlling everything from your guitar.
of the Super Locrian scale and for the How do you decide what’s right? One channel can have everything from
chromatics, you can take something like Billy: “There is a sweet spot between clean to crunch to distortion.”
a major triad and move it up a fret again clean and distortion. I don’t know how Billy: “Dynamics are integral to the
and again. It’s the same with any shape. to describe it, it’s not quite either and it eoxhv1#Mhļ#Ehfn#vdz#Kxehuw#Vxpolq#
changes depending on what you are sod|lqj#zlwk#klv#Ľqjhuv#dqg#uhdolvhg#
playing over…” that was how he wanted to sound. He’s
Serge: “My playing is all about the song. gotten so good at it; when I was 17 years
It’s not about me or the scales, it’s about rog#dqg#rq#wrxu#zlwk#Mlpl#Khqgul{/#
being a soldier for that song and the every night we would get into a motel
emotion you give to the crowd. If it and he would stay at the end of the
needs crunch, sure I will crunch it up. I hall with his door always open. He’d be
think Robben Ford is one of the masters lq#wkhuh#olvwhqlqj#wr#wkh#Ľuvw#Mhļ#Ehfn#
of that – he can get a clean sound that album with Rod Stewart and he asked
will ring out so beautifully. We had a big ph/#ĠKrz#grhv#Mhļ#gr#doo#ri#wklvBġ#L#
jam with him, Walter Trout and all these wrog#klp/#ĠEholhyh#ph/#Mhļ#lv#vdw#lq#d#
other players… everyone had their room right now, listening intently to
overdrive pedals and Robben came out your music asking himself how you do
with a clean Telecaster that sounded zkdw#|rx#gr$ġ#Lw#zdv#dq#h|h0rshqhu/#
fantastic. He just cut right through.” seeing Jimi so blown away by other
Fabrizio: “Few players can possess their guitar players, as much as they were
jxlwdu#olnh#wkdw1#Mhļ#Ehfn#lv#olnh#wkdw# with him!”

OCTOBER 2018 TOTAL GUITAR


Words Jonathan Horsley Photography Olly Curtis

BEING ANGRY IS TOO EASY,


SAY IDLES’ MARK BOWEN
AND LEE KIERNAN,
WHOSE NEW ALBUM,
JOY AS AN ACT OF
RESISTANCE, REVEALS A
NEW WAY TO PROTEST
ow that everybody in the world title of their sophomore album, Joy As An Act Of

N
is angry, it would be an ironic Resistance, articulates this mood succinctly. Idles
twist indeed if joy proved itself are looking past the anger and invite you to do
the more subversive and likewise. A colourful spectrum of candy apple
hļhfwlyh#hprwlrq#wr#uhfuxlw#lq# reds and surf greens at Fender’s London HQ
service to furious music. At rļhuv#d#sod|ixoo|#lqfrqjuxrxv#edfngurs#iru#
least, that’s how Bristol-based post-punk guitarists Lee Kiernan and Mark Bowen to
quintet Idles see it. After their strident 2017 discuss a propulsive sound rooted in grey and
debut, Brutalism, Idles have earned a reputation brutal real-world struggles. These struggles,
iru#wudĿfnlqj#lq#frpexvwleoh#dqjvw/#exw#wkh|# brought to life through vocalist Joe Talbot’s
share a belief that reshaping anger via the unsparing lyrics, tell of a country on its knees,
weaponising of joy might just help us exorcise reeling amid a supernova of resentment. So
the demons that are pulling society apart. The zkhuh#grhv#wkh#mr|#Ľw#lqB

TOTAL GUITAR OCTOBER 2018


IDLES

“People always get us confused


when we use the word ‘anger’,” says
Erzhq1 ģWkhuh lv ghĽqlwho| dq
element to what we do that is anger,
but it’s more about violence. Our
language, and our mode of expressing
any kind of emotions with each other,
or sentiments that we might have, our
language lies in violence and anything
that we are deft in expressing is
through some sort of violence. That’s
where we feel the most catharsis from.
I think that the violent element is still
in there but, from the outset, we
noticed that we were writing a more
positive thing because we were feeling
more positive, and we wanted to use
more positive chord structures, major
chord sequences, just to convey the
same kind of violence but in a happy,
joyous mode.”

nihilism be damned
Those familiar with Idles will
immediately recognise the violence
Bowen speaks of. They will recognise it
in the percussive tick-tock of
Colossus, which opens Joy . . . with an
anxious fuse. They will recognise it in
the language of Never Fight A Man 37
With A Perm, in the succinct kitchen-
sink nihilism of I’m Scum, and the
violent grief of June, a song about the
death of Talbot’s daughter. They
pljkw qrw vhh wkh mr|/ qrw dw Ľuvw1 Exw
it’s there, all right. It’s there on Danny
Nedelko, an anarchic celebration of
immigrants as our friends, colleagues,
and neighbours. It’s there on the
sweeping punk riot of Gram Rock, and
in Talbot’s arch lyrics, like when he’s
surely quoting Toy Story’s Woody on
Rottweiler – ‘There’s a snake in my
boots’ – or on the dystopian,
greetings-card romance of Love Song.
When the joy does show up, it serves a
grander purpose, softening the
dogmatic hard edges of Idles’ political
invective. Idles have the courage of
their convictions but recognise that
you can’t dissuade someone of their
beliefs by declaring they’re wrong.
ģLwġv dovr yhu| glĿfxow wr vwrs wkdw
initial anger burst,” says Kiernan.
“Every day I’m fed the news, I’m fed
this new bit of bullshit. And this is the
point: that’s your natural reaction, and
a lot of us do feel that way every time
there is a new bit of shit news that
comes out. You get angry instantly,
and that’s the whole point of this
album, to not do that. It’s not to just go
vwudljkw wr wkdw Ľuvw uhdfwlrq/ ġfrv

OCTOBER 2018 TOTAL GUITAR


feature
“OFFENDING PEOPLE IN REAL TIME IS career Idles have supported the Foo
Fighters, the Maccabees, the Dead
ALL IN A DAY’S WORK...” LEE KIERNAN Kennedys, Future Islands . . . to varying
degrees of success. “They push you
that’s the easiest option every time, to harder when they are being so
just get angry and shout at people.” qhjdwlyh/Ĥ#vd|v#Nlhuqdq1#ģDw#Ľuvw#|rx#
feel like you’ve been kicked. But then
AUTOMATIC your brain just goes, ‘Fuck it!’” That’s all
FOR THE PEOPLE sduw#ri#wkh#ixq1#Rļhqglqj#shrsoh#lq#uhdo#
Embracing the paradox is all part of time is all in a day’s work. Therein,
Idles’ ethos. On Joy . . . they put a smiling again, lies the joy. “That’s one of the
face on rage. They confront machoism nice things about our band,” says
and espouse the right for males to show Kiernan. “Some gigs, we play so fucking
vulnerability, and yet set it to badly and it’s not that often anymore,
confrontational arrangements with but sometimes it’s pretty bad. we get
Talbot straining at the mic. They might forgiven for actually having fun. You
urge caution before forming an opinion, don’t always have to play perfectly. You
but not when it comes to writing and takes. “It captures a sense of urgency,” Idles hands can go out there, do something you love,
recording, when caution becomes the says Bowen. “It doesn’t allow for any Mark Bowen with all your energy, and have a laugh.”
(above left) and
enemy. They write better to a concept kind of navel gazing. A really important Lee Kiernan
and yet strive to keep it as thing in our music is the naivety. Most Joy As An Act Of Resistance is out
improvisational as possible. “It has to of what you hear on that album is the now on Partisan Records
be urgent and automatic,” says Bowen. Ľuvw#ru#wkh#vhfrqg#wdnh1#Zh#dozd|v#nhhs#
“We try to be as automatic as possible, mistakes in. We preach in interviews
which, again, is contrived – talk about and our whole ethos is about being as
dichotomies and paradoxes!” As for honest as possible and that’s the most
guitar heroes? Bowen thinks it’s too important tool for us, and probably the
rock ’n’ roll. And yet they’ll readily cite best thing that we are at. Doing those
Dick Dale, Brian May, and James three takes is the most honest way of
38 KhwĽhog1#ģWrovwr|#lv#p|#jxlwdu#khur$Ĥ# going about things, allowing the
says Bowen. “I fucking worship certain mistakes to be included in there is the
guitar players because you have to most honest way because...”
recognise there are people who do it so “...Because we’re not that good,” says
much fucking better than me. I cannot Nlhuqdq/#Ľqlvklqj#wkh#vhqwhqfh1#Lwġv#dv#
listen to enough Dick Dale.” You can simple as that”.
hear the Dick Dale in some of Kiernan
and Bowen’s more skronky, antic YOU AIN’T NO
arrangements, but Joy . . . sees them use PUNK, YOU PUNK
their guitars more economically. “I now But, more importantly, if Idles’ sound is
deliberately play less because I know I to work, it can’t be over-worked. Were it
like to dance onstage,” laughs Bowen. to lose its danger, or be cleaned up, it PEDAL POWERED
There’s nothing explicitly hip-hop would die. The beauty of Idles lies in Bowen and Kiernan on their signal
about Idles, save for the preeminence of wkhlu#glvĽjxuhg#dqg#iudfwxuhg# path essentials
Talbot’s vocals, but it informs Kiernan’s arrangements, the chaos, the instinctive
playing in much the same way as Gang bursts of melody that complement
They are always on and always used: there is no room for
luxuries on the Idles pedalboard. Bowen looks for effects
Of Four did on Brutalism. “There is a big Talbot’s noir humour. They’ve been
that will react to his playing. He is currently using an
lqľxhqfh#ri#Zx0Wdqj#rq#wklv#doexp/#lq# called the UK’s best punk band and Electro-Harmonix POG2, an MXR Micro Amp and Smart
many respects – the single-chord stabs they’re not even really punk; it’s as Gate, but it’s Death By Audio’s overdrive Acapulco Loco,
and placements,” he says. Anything wkrxjk#sxqnġv#Ľgjhw|#lg#kdv#eurnhq# the Echo Dream 2, Reverberation Machine, and
goes, so long as it’s honest. It’s loose, free of history, to create itself Waveformer Destroyer that are the most essential items
preserved in how they communicate anew. For Bowen’s money, disco was in juicing up his tone. “The best thing I find about these
and how they record. more punk than punk, and who could pedals is that they respond to what you are doing on the
argue that Nile Rogers isn’t cooler than guitar, so if you dig in a bit more the feedback is a little bit
THREE TAKES Sid Vicious? “Even before that, you look longer,” he says. “The modulation gets a bit wilder, the fuzz
AND OUT at Chuck Berry and rock ’n’roll, people
gets a bit wilder, and I just love that they do that.”
Likewise, Kiernan uses Death By Audio’s Evil Filter, with
After tracking Brutalism in London, like Dick Dale and Link Wray, that’s
Earthquaker Devices’ Organizer offering overdrive, delay
being spread out and commuting to and punk, too,” adds Bowen, “even though and boost, and the Data Corruptor for some “bat-shit
from the studio, Idles chose Monnow it doesn’t feel that way because it was a crazy” delay. A JHS Colour Box preamp/EQ, which emulates
Valley Studio this time around. A much, much more conservative time.” a vintage Neve console, is his secret weapon. “The EQ is
residential facility with a huge drum Even now, not everyone is going to fucking enormous,” he says. “You turn it slightly and it’s
room, they could record all night if they get it. They might not care for the making a difference. With most pedals you have to turn
wanted to, but this isn’t Rush or Yes; politics. Fine. They might hate the the bass all the way up for it to kick in.”
this is Idles, and you only get three pxvlf1#Wkdwġv#Ľqh/#wrr1#Lq#wkhlu#vkruw#

TOTAL GUITAR OCTOBER 2018


THE
POWER
OF Words Joe Bosso
Photography Jen Rosenstein

THREE
ORIGINAL SMASHING PUMPKINS
40 BILLY CORGAN AND JAMES IHA ARE BACK
TOGETHER ON THE ROAD PLAYING THEIR
CLASSIC SONGS PLUS NEW MATERIAL.
AHEAD OF THEIR UK COMEBACK GIG,
CORGAN AND IHA — PLUS MORE RECENT
ADDITION JEFF SCHROEDER — TALK
REUNITING, RECORDING AND DEPLOYING
THEIR NEW THREE-GUITAR ATTACK…
lthough the concept of a Smashing Pumpkins

A ‘reunion’ still feels new for the rest of us right


now, for Billy Corgan, the idea of putting the alt-
rock titans back together originates in 2005,
when, following the breakup of his post-
Pumpkins band Zwan, he took out full-page ads
in Chicago newspapers and made his case: “I have made plans to
renew and revive the Smashing Pumpkins,” he wrote. “I want my
band back and my songs and my dreams.” It didn’t exactly pan
out as he’d hoped, as only longtime drummer Jimmy Chamberlin
signed on – and then he left and returned again. Over the years,
several other members came and went, although Corgan did find
a trusty collaborator and axe cohort in Jeff Schroeder, who has
been a constant in the group since 2007. In the back of his mind,
however, there always seemed to be unfinished business with
Iha, whom he hadn’t spoken with in years.
As it turned out, Iha felt the same way. Since leaving the
Pumpkins, he’d kept busy with various projects (producing, a solo
album, film scores), and he’d found a second home as a semi-
regular member of A Perfect Circle. But one day in 2015 he
decided to call Corgan to see if they could hash things out over
dinner and make sense of their past.

TOTAL GUITAR OCTOBER 2018


SMASHING PUMPKINS

41

OCTOBER 2018 TOTAL GUITAR


feature
“We hadn’t talked in so long, so it
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zlwk#Lkd1#ģWkh#zkroh#wklqj#lv#udwkhu#
ixqq|#wr#ph/Ĥ#kh#vd|v1#ģShrsoh#vhhp#
wr#wklqn#wkdw#Mdphv#dqg#L#vkrxog#eh# “PEOPLE THINK JAMES AND I
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wdnlqj#|rxu#mre1ġ#Exw#zhġuh#wrwdoo|#
SHOULD BE ENEMIES... WE’RE
frro/#dqg#wkhuhġv#ehhq#qr#zhlugqhvv#dw# TOTALLY COOL...” JEFF SCHROEDER
TOTAL GUITAR OCTOBER 2018
SMASHING PUMPKINS

zh#zhuh#lq#wkh#vwxglr#lq#Pdolex/#dqg# 4<<9#lwġv#ehhq#shrsoh#frplqj#dqg#
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year zero Walk us through the process of how
We have to ask, Jeff, were you ever Corgan’s new custom you went into the studio to make new
signature Yamaha
concerned for a brief moment that LJ16BC acoustic is
music with Rick Rubin.
the return of James might endanger used in the current Billy: ģL#kdg#d#frxsoh#ri#lghdv#wkdw#L#
your position in the band? Pumpkins live set vruw#ri#vhw#dvlgh/#mxvw#lq#fdvh#wkh#edqg#
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James:#ģMhļġv#d#qlfh#jx|/#dqg#khġv#d# Uhfrughu#iru#wkuhh#zhhnv#dqg#glg#
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Even so, Billy, what were your vr#wkh#zkroh#wklqj#juhz#iurp#
thoughts about putting James wkhuh/#dqg#qrz#lwġv#jrlqj#wr#eh#wzr#
and Jeff together? Did you wonder HSv1#Lw#zdv#txlwh#vxusulvlqj1Ĥ
at first whether it was a little like James:#ģLw#zdv#jrrg1#Ulfn#lv/#
putting your current wife in a room reylrxvo|/#d#juhdw#surgxfhu/#exw#khġv#
with your former wife? dovr#d#juhdw#jx|#dqg#kdv#d#ylvlrq1#Kh#
Billy: ģKrqhvwo|/#L#glgqġw#vshqg#d#orw# knows what he likes, knows what he
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Zhġyh#kdg#d#orw#ri#shrsoh#frph# Pumpkins songs.
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lqwdfw#iru#d#yhu|#orqj#wlph1#Vr#vlqfh# vkrxog#gr#zkdw1#Wkhuhġv#d#orw#ri#

OCTOBER 2018 TOTAL GUITAR


feature

44

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wr#d#ghhshu#ohyho/#ľhvklqj#rxw#lghdv# sod|lqj#edvv#dqg# “I’VE LEARNED
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TO LISTEN What kind of
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Ġw|slfdo#Sxpsnlqvġ1#Wkh#rqo|#uhdo# xqghu#d#orw#ri#suhvvxuh/#erwk#iurp# Mhļ:#ģRq#wklv#wrxu/#zh#zdqw#wr#vrxqg#

TOTAL GUITAR OCTOBER 2018


SMASHING PUMPKINS

pruh#olnh#wkh#uhfrugv#wkdq#hyhu# hslwrph ri wkh wkuhh0jxlwdu edqg1Ĥ


ehiruh1#Lwġv#jrlqj#wr#eh#d#glļhuhqw#w|sh# James: ģLwġv srvvleoh1Ĥ ^odxjkv`
ri#vkrz#wkdq#dq|wklqj#zhġyh#hyhu# Mhļ: ģRu pd|eh zh frxog gr vrph
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ylhz/#zhġuh#qrw#jrlqj#wr#gr# Billy: ģL wklqn 16; Vshfldo lv lq wkh
ghfrqvwuxfwhg#yhuvlrqv#ri#wkh#vrqjv1# wkuhh0jxlwdu idplo|1 Wkh|ġuh vruw ri
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lq#ehlqj#deoh#wr#ghdo#zlwk#doo#wkh# James: “Krog Rq Orrvho|, Fdxjkw Xs
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Billy: ģLq#vrph#fdvhv/#L#pljkw#eh#deoh# grqġw#uhdoo| khdu edqgv gr wkdw nlqg ri
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zkhq#lw#grhvqġw#vrxqg#uljkw#li#Lġp#qrw# sod|lqj d srs vrqj/ exw wkhq wkh jx|
sod|lqj1#Lġp#nlqg#ri#suhvvhg#lqwr#gxw|# vwduwv#sod|lqj wklv lqfuhgleo| phorglf
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\hvwhugd|#zh#sod|hg#Uklqrfhurv/#dqg#L# wkdw#vwxļ zdv juhdw1Ĥ
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dqg#L#kdyhqġw#sod|hg#urfn#lq#d#zkloh1# you guys have recorded new music. Is
P|#vrorlqj#lv#suhww|#uxvw|1Ĥ this the sign of an ongoing alliance?
James:#ģLwġv#vwloo#d#urfn#edqg1#Lwġv#mxvw# James: ģ\hdk/ L wklqn zlwk wkh wrxu/ lw
rqh#pruh#jxlwdu1#^odxjkv`Ĥ# zdv#lpsruwdqw wr gr qhz pxvlf dqg
pdnh#lw ihho olnh zhġuh d olylqj/
Of all the Zeppelin songs to cover in euhdwklqj hqwlw|111 Lġp wu|lqj qrw wr
your set, what made you go with jhw#wrr#idu dkhdg ri p|vhoi1Ĥ
Stairway…? Mhļ:#ģZhġyh ehhq sohdvdqwo|
Billy:#ģRk/#|rxġg#kdyh#wr#jhw#lqwr#wkh# vxusulvhg wkdw wkh uhfruglqj surfhvv
lqqhu0Sxpsnlqv#sv|fkrorj|#rq#wkdw# zhqw#vr zhoo1 Lw zdv txlwh dssduhqw
rqh1Ĥ# wkdw#wkhuh zdv d orw ri hqhuj|/ dqg lw
zdv#yhu| qdwxudo dqg xqirufhg1 Xqghu
That’s why we’re talking. Fill me in... wkh#uljkw flufxpvwdqfhv/ zh frxog 45
Billy: ģQdk1#L#grqġw#wdon#derxw#wkdw# pdnh#d orw ri qhz pxvlf wrjhwkhu1Ĥ
vwxļ#dq|pruh1#Lġyh#jurzq#fuxvw|#lq# Billy:#ģL zrxog krsh wklqjv fdq
p|#rog#djh1Ĥ#^odxjkv` frqwlqxh/ exw Lġyh ohduqhg qrw wr ohw
p|#prxwk zulwh wkh ixwxuh1Ĥ
So with three guitars, what are the
chances of you doing some Skynyrd? Smashing Pumpkins play the SSE
Billy: ģL#zrxog#oryh#wr1#Wkdwġv#wkh# Arena, Wembley on 16 October

REARM
How the trio are approaching
the tonal quandaries presented by
a three-guitar Pumpkins
Billy: “It’s a song-by-song issue. We did an old song
yesterday, and I used my Reverend [BC-1 signature]
guitar, which has a little bit of a humbucker sound, and
James was playing a Les Paul. But it didn’t sound right
to me because the sound of that song is very much the
Strat with the Les Paul rhythm. I told my guy, ‘You
gotta dig out one of those Strats.’”
James: “I think I’ll stick to the Les Pauls. For the most
part, with the Pumpkins, and even in A Perfect Circle, I
just have to play a Les Paul. They just have that
Photo: Tim Mosenfelder/Getty Images

heaviness I like.”
Jeff: “I’ve been thinking about my amps a lot. I found
an amp by a maker here in Chicago named Brian
Carstens; he’s the repair guy at the Chicago Music
Exchange. He has this model called the Warm Machine,
and it’s a 50-watt 60s-type of amp. It’s very clear, with
lots of sustain and energy. I used it for the recordings,
and it sat on top of the other guitars really well.”

OCTOBER 2018 TOTAL GUITAR


SMASHING PUMPKINS

SMASHING
STRUMMINGS…
Corgan and Iha’s playing tricks

A
s guitar duo for one of the most And, though their scale choice is often
influential 90s alt-rock bands, simple (sticking to major and natural minor
Billy Corgan and James Iha scales), Billy’s biting vocal delivery and
create intricate layered parts songwriting chops infuse the band’s
with grungy powerchords, material with attitude. Billy tends to use
ambient dream pop arpeggios bends, legato and slower melodic lines in
and heavy, fuzz-distortion infused riffs. his lead work.
Corgan’s catchy vocal melodies and We’re looking at some typical
major scale based riffs in songs like techniques used by Corgan and Iha. Play
Tonight, Tonight gave the band broad through our riffs to get some trademark
appeal, which earned them huge success. Pumpkins sounds in your own playing.

SMASHING ANGELS TRACKS 22-23


q = 90
E A5 D5 B5

# .. .. .
.
NH

. .
B
. 9
7
11
9
11
9
14
12
13
11
13
11
. 7
5
7
5
4
2
0 0 0 0 0 0 0 0 0 5 5 5 5 5 5

46 Billy uses octaves for their fat sound – perfect for melodic riffs like Cherub Rock. Here, the G# octave in bar 1 is pure Pumpkins, outlining an E chord (E G# B) thanks to the
open E note chopping away below. There’s a little Corgan-esque dissonance too – a semitone clash between the G# and an A note played by the bass.

NOW, NOW TRACKS 24-25

q =120
Cmaj 7 G/B C5 G/D Em Gmaj 7/F # G Gsus 2 G
# .. ..
let ring throughout

. 0 0 0 0 0 0 0 0 .
B
. 3
0
2
0
3
0
5
0
5
0
7
0
9
0
10
0
12
0
14
0
14
0
14
.

This clean, ringing arpeggio is typical of some of the band’s more ambient moments in songs such as Tonight, Tonight and Mayonaise. Learn the notes along the fifth string
first, then try adding in the open-string droning notes. It’s a tricky line so practise slowly at first.

PENTATONIC LEAD LINES TRACKS 26-27

q =100
A5 D5 F5 A5 D5 F5
j j
.. . . œ
œ
..

BU BU
. 5 5 8 (10) 8 5 6 5 5 5 10 (12) 10 .
. .
Guitars and backing: Charlie Griffiths

5 5 7 5 7 5 7
7 5 7 5 7
B 3 5 3 5

This Corgan style lead line is based mainly in the A minor pentatonic scale (A C D E G). Adding an F note (a b6th interval) adds that extra hint of melancholy. Take extra care
with the tuning of the bends and ensure the note goes up exactly a whole tone each time.

TOTAL GUITAR OCTOBER 2018


COVER FEATURE

48
WORDS GUITARS AND BACKING
CHRIS BIRD, JON BISHOP JON BISHOP

ON
YOUR DISC
Find audio tracks
for every example
BECOME
THE
on your Guitar
Skills CD

ULTIMATE
RHYTHM
PLAYER
Elevate your playing 49
with TG’s huge, all-
encompassing lesson
on rhythm guitar
here’s an old adage that guitarists

T spend 90 per cent of their playing


time on rhythm duties, but 90 per
cent of their practice time on lead.
There’s probablysometruthtothis
so this month we’re going to help
you with the accompaniment sideofguitarplaying.
However, it’s not all routines, drills and click tracks.
No, without so much as a metronome in sight,
we’re looking at rhythm guitar in the broadest
sense. We want you to be a better, more rounded
player by the end of this lesson! With that in mind
we’re providing you with creative new chord
shapes to try out, some textural, ambient
approaches to rhythm playing,aswellasalltheinfo
you need to improve your timing and your
understanding of rhythm. Want to play like your
Photo: David Munn/Getty

favourite rhythm guitarist? Check! All of our


examples will help you understandhowrealplayers
approach rhythm guitar. So, plug in, put your cover
disc in your CD player and let’s get started!
OCTOBER 2018 TOTAL GUITAR
soul man
Groove meister
Nile Rodgers is
partial to an Em7
01
LEARN
MORE
CHORDS!
Start your rhythm guitar workout
here as we take you beyond basic
open and barre chords with some
cool, creative shapes

TRACK 28

PARTIAL CHORDS

P
laying a few notes of a chord is a great way to Em7 is a typical Nile Rodgers shape and the C6 chord
fuhdwh#d#uk|wkp#sduw#wkdw#Ľwv#lq zlwk rwkhu gives you the kind of sound that soul session supremo
chordal instruments, such as keyboards. Our F Steve Cropper uses in songs such as Soul Man. Try out
shape is a great way to simplify an F barre chord. the Amadd9 for a dark, moody sound.

X X X X X X X X X O O O
50
1 1 2 3 1
7 5
2 4

3 1 3

3 4

F Em7 C6 Amadd9

LOOSE CHANGE…
TIGHTEN UP YOUR CHORD CHANGES WITH THREE FINGER-TWISTING EXERCISES
X O O X O X X X X

1 1 1

2 1 2 3 1 1 1 1 1 2 2

3 4 4 2 2 3 3
3 4 3 4 4 4
Photo: Graham Lowe /Redferns/Getty

Cadd9 D/F# F# Bm Dmaj7 Amaj7add11

1 ANCHOR FINGERS 2 MOVING YOUR FINGERS IN 3 USE ALL FOUR FINGERS


Anchor your fourth finger to guide your other ONE ‘BLOCK’ Moving all four fingers is a guaranteed way to
fingers. Try it with other chords you know. An exercise with both major and minor shapes. improve your dexterity and speed.

TOTAL GUITAR OCTOBER 2018


ULT I M AT E R H Y T HM

TRACK 29

WIDE INTERVAL CHORDS

T
his trick will give you a clearer, less muddy sound simple: most chords cover more than an octave; simply
than standard barre chords – an approach often ditch one or two of the middle notes to give the top and
used by John Frusciante, Eric Johnson, James Bay bottom frequencies more breathing space and a clearer,
and most notably in Blackbird by the Beatles. It’s less muddy sound. Try including an open string too.

X X X X X X X X X X X X

1 1 1
5 5 7
2 2

1 3 3

4 4
3 4

C C/E Dm Dm/F

TRACK 30

EXTENDED CHORDS

T
echnically, extended chords include 9th, 11th and +vxfk#dv#Fpdm:/#Gp<,1#Mhļ#Exfnoh|ġv#4<<7#doexp#Grace
13th intervals, but it’s easier to think of 6ths and featured dozens of extended chords. Also listen to Amy
51
7ths in the same way too. All these chords add Winehouse’s October Song. The maj7#11 chord is loved
notes to basic major or minor chords (C, Dm and by shred gurus Joe Satriani and Steve Vai. G13 sounds
so on), ‘extending’ them with more colourful sounds great in soul, jazz and blues.

X X X X X

1 1
7
2

1 1 1 3 4 1 1 1

2 2
3 4 2 3 4 3

Cmaj7 Dm9 Cmaj7#11 G13


CHORD EMBELLISHMENTS TRACK 31

q =105
Bb
C
.. Csus 4 C
.. b
F

.. .. .. ..
Play 4 times

3
b
. 8 8 8 8 6 ¿¿ ¿¿ .
¿¿ ¿¿
8 8 8 8 6 10 10

B
. 9
10
9
10
9
10
10 9
10
9
10
9
10
7
8
10
10
8
10
10
8
.
≥ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≤ ≤ ≥
8 6

Usingthethumbtoplaybassnotesonthesixthstringfreesupotherfingerstoplayextensionsandmelodynotes.JimiHendrixwasamasterofthisapproachandguitarists
likeStevieRayVaughanandJohnMayerfollowedsuit.Thetripletembellishmentinbar1ispureJimi.

OCTOBER 2018 TOTAL GUITAR


ULT I M AT E R H Y T HM

02
TEXTURAL PLAYING
Rhythm guitar isn’t just about timing! Dial in some delay and get
creative with textural techniques with TG’s riffs

I
f you ever needed a reminder that Sure, Morello and Hendrix in particular are dushjjlrv1#Lwġv#d#glļhuhqw#nlqg#ri#uk|wkp#
rhythm guitar isn’t always about the Ľhufho|#ixqn|/#exw#zhġuh#pruh#lqwhuhvwhg#khuh# playing, but, just like any other aspect of playing
guitarist’s right arm, just take a listen to in how these players have explored the guitar, you can still hone your chops! Try out
players like The Edge, Johnny Marr, Tom experimental fx-laden tones, along with our examples and try to apply what you learn to
Morello and Jimi Hendrix. dynamics and textural techniques like your own music.

ARPEGGIOS INSTEAD OF CHORDS TRACK 32


q =110
Csus 2 Asus 2

.. ..
Play 4 times

let ring throughout

T . 3
3
3
3
0
0
0
0 .
B
. 3
5
5 5
5
3
5
5 5
0
2
2 2
2
0
2
2 2
.
≥ ≤ ≥ ≤ ≤ ≥ ≤ cont. sim.
Playing the notes of a chord one at a time (known as an arpeggio) is a great way to create a relaxed more textural sound in your rhythm parts. REM’s Everybody Hurts is a
53
great example, as is Message In A Bottle by The Police. The key to our riff is to hold down the chord shape and let all the notes ring out together.

USING DYNAMICS TRACK 33


q =110
C5 D5 E5

# .. ... ..
Play 4 times

P
PM

ƒ
T . 0
0 .
B
. 5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
5
5
3
7
7
5
7
7
5
7
7
5
9
9 .
≥ ≥ ≥ ≥ cont. sim. 0 0

How loud or soft you play is one of the most underrated playing techniques – it’s crucial to getting the all-important ‘feel factor’ down. Our example is designed to help you
improve this part of your playing. Simply start quiet and gradually play louder. Start off with a palm mute then release it little by little as you pick harder.

AMBIENT DELAY TRACK 34

q =110
Em D Cmaj 7

# .. ..
Play 4 times

œ .
let ring throughout

T . 1 0 3
0
0 .
B
. 2
0 0
2
5
4
3
2 .
0

Think of delay in two ways: timed, where the repeats sync with the music to give a regular groove (as in U2’s Where The Streets Have No Name); or textural, where the timing
can be looser – generally keep your repeats quieter with this approach. Our riff is inspired by The Police and Linkin Park.

OCTOBER 2018 TOTAL GUITAR


COVER FEATURE

royal rhythm
The bass-fuelled riffs
of Little Monster are
classic Royal Blood

54

IT DOESN’T HAVE TO BE REINHARDT… TRACK 35

THREE TIPS FOR EASY GYPSY JAZZ RHYTHM!


X X X X O O X X X X X X X

1 2 1
5 5
3 2

4 4 3 4

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

Am6 A13 D6/9 E7 Am6 (bass) Am6 (treble)

1 CHOOSE A JAZZY CHORD 3 BREAK IT DOWN


Am6 gives you an instant gypsy jazz sound akin to greats Give the illusion of guitar and bass playing at
like Django Reinhardt, Birélli Lagrène and new kid on the the same time by alternating between the
block Remi Harris. Try A13, D6/9 and E7 too. bass and treble strings instead of playing the
whole chord.

2 STRUM ON EVERY BEAT COUNT: 1 2 3 4


Count to four to keep time and
Photo: Phil Bourne/Getty Images

strum a downstroke on every beat. STRUM: down down down down


Emphasise beats 2 and 4 for that
typical gypsy ‘la pompe’ groove.
ACCENT: > >

TOTAL GUITAR OCTOBER 2018


ULT I M AT E R H Y T HM

03
ESSENTIAL
RHYTHM SKILLS
Hone your technique and cover some rhythm guitar essentials
as we focus on strumming, riffing, timing and groove

S
easoned players and guitar what we’re looking at here. And if you Led Zeppelin’s Whole Lotta Love to Royal
newbies alike need to stay in shape thought the minor pentatonic scale was Blood’s bass-fuelled Little Monster. Try
when it comes to core skills like only for lead guitar, think again! This vital rxw#rxu#ulļv#dqg#krqh#wkhvh#hvvhqwldo#
strumming and timing – so that’s vfdoh#lv#dw#wkh#khduw#ri#frxqwohvv#ulļv/#iurp# playing skills.

FOLKY ACOUSTIC STRUMMING TRACK 36


3

q.= 60 q q =q q
Am Am(maj 7) Am7 D Play 4 times

.. ..

T . 0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
2
3
2
3
2
3
2
3
2
3
2
3
2
3
0
0 .
B
. 2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
2
2
0
0
0
0
1
2
0
1
2
0
1
2
0
1
2
0
1
2
0
1
2
0
1
2
0
0
0
0
0
2
0
0
2
0
0
2
0
0
2
0
0
2
0
0
2
0
0
2
0
0
0
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
0
0 .
≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤ cont. sim.
From Coldplay style pop to the folky roots-rock of Ryan Adams, basic strumming forms the backbone of countless players’ rhythm styles. This 6/8 rhythm keeps things 55
interesting by adding a light swing feel to the 16th notes so listen out for a slight ‘bounce’ to the 16ths at the end of each bar of music.

PENTATONIC RIFFING TRACK 37


q =150
N.C. E5 D5 N.C.
~~~~~~~~~
Play 4 times

.. ..
> œ œœ
> œ
j

PM PM PM ~~~~~~~~~~
T . .
B
. 9
9
7
7
7
5
0
5
0
5
0
5
7
.
≥ ≥ ≥ ≥ ≥ ≥
0 0 0 0 0 5 7 7
cont. sim.

If you fancy yourself as a bit of a riff-meister you’ll need timing, note choice and creative ideas aplenty, so, inspired by Led Zep’s Jimmy Page, we’re using the E minor pentatonic
scale (E G A B D). Powerchords and open strings help fill out the sound; accents and vibrato add flair. Develop the idea by experimenting with notes that aren’t in the scale.

ROCK ’N’ ROLL GROOVE TRACK 38

q =160
A5 A6 A5 A6 A5 A6 A5 A6 A5
# ..
Play 4 times
..
> > > >
T . .
B
. 7 7 9 7 7 7 9 7 7 7 9 7 7 7 9 7
.
≥ ≥ ≥
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
cont. sim.

Sometimes, all you have to do is just lay down a groove and stick to it. Our rock ’n’ roll style riff has a straight eighth note feel in the vein of songs like Chuck Berry’s Johnny B
Goode and Status Quo’s Rockin’ All Over The World. Use downpicking with an accent on beats 2 and 4, and aim for rock steady timing.

OCTOBER 2018 TOTAL GUITAR


COVER FEATURE

something good
Ryan Adams has
honed his strumming
style to be the
backbone of his
rhythm playing

04
LEARN
YOUR
RHYTHMS
Tell your eighth notes from
your 16ths and master musical
rhythms with TG’s ‘listen and
repeat’ style guitar exercises

Y
ou’re probably used to you don’t have to be heavily into
counting or tapping your foot reading music – we’ve played six
in time with music. Well, in a one-bar rhythm examples four times
similar way, sheet music each before leaving a gap on the
represents the timing of the notes backing track for you to join in and
based on the main musical pulse, in practise what you’ve just heard.
56 turn making it easier for us guitarists Simply listen and repeat, and trust
to work out the exact rhythm. Still, your ear to pick up the timing.

RHYTHM WORKOUT TRACK 39

q = 115
Fig. 1: Quarter notes Fig. 2: Eighth notes Fig. 3: 16th notes
Cm11 Cm7 Cm7

6 6 6 6 8 8 8 8 8 8 8 8
T 6
8
6
8
6
8
6
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
B
1 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ cont. sim.

Fig. 4: Quarter, eighth & 16th notes Fig. 5: Introducing rests Fig. 6: Quarter-note triplets
Cm9 Cm11 C 7sus 4

...
.

10 10 10 10 10 10 10 10 10 10 6 6 6 6 6 6 6 6 6 8 8 8 8 8 8
T 8
8
8
8
8 8 8 8 8
8 8 8 8 8
8
8
8
8
8
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
8
10
8
10
8
10
8
10
8
10
8
10
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
B
4 ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥
Photo: SGranitz/Getty Images

1 Simply play four downstrokes in a row, counting to four to keep time. 2 Eight downstrokes this time, but at twice the speed; try a down-up approach too. 3 Double speed
again, so there are 16 strums in this bar; you’ll have to play down-up style here! 4 This is a mixture of the quarter, eighth and 16th notes you’ve seen so far. 5 Another mixture,
this time with rests; simply avoid contact with the strings on the rests. 6 This last example is a triplet – that means playing three strums in the space usually reserved for two.

TOTAL GUITAR OCTOBER 2018


COVER FEATURE

05
HARD
ROCK AND
METAL
TECHNIQUES
Develop your pick hand technique
with TG’s look at some of rock and
metal’s greatest players

R
ock and metal techniques can not, we’ve got your back! Here we’re
power picked
eh Ľhufho| fkdoohqjlqj/ focusing on some key picking
Metallica’s James
Hetfield is a particularly when it comes to techniques, taking in a handful of
master of the accuracy and timing in vwdqgdug urfn ulļv dv zh jr1 Vlpso|
58 down-picking your picking hand. However, if you read on, try out our tab exercises and
feel like your progress is slow, fear h{sdqg |rxu duvhqdo ri ulļv dv |rx jr1

DOWN-PICKING TRACK 40

q =145
A5 Bb5 A5 G5 A5
Play 4 times
.. ..
PM PM PM PM

T . .
B
. 7
7
7
7
7
7
7
7
8
8
7
7
5
5
7
7
.
≥ ≥ ≥ ≥ ≥
5 5 5 5 5 5 5 5 5 5
cont. sim.

Metallica’s James Hetfield and Megadeth’s Dave Mustaine are bona fide riff-meisters with enviable picking stamina. Our riff is designed to help you hone your downpicking skills;
we’re showcasing thrash metal trademarks such as sliding powerchords and chunky palm-muted bass notes. Release your palm mute to let the accented chords ring out.

GALLOP TO THE HILLS TRACK 41


q =110

E5 C 5/G D 5/A

.. ..
Play 4 times

PM

T . .
B
. 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
5
5
3
7
7
5
.
≥ ≥ ≤ ≥ ≥ ≤
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 5
Photo: FilmMagic/Getty

cont. sim.

Awell-knownrockandmetalgroove,thegalloprhythmfeaturesinclassicslikeDio’s HolyDiver,IronMaiden’s RunToTheHills andHeart’s Barracuda.It’sbasedona


‘down-down-up’pickingpattern,withthefirstdownstrokealwayslandingonthebeat.Asever,listencarefullytoouraudioexampleandpractiseslowlyfirst.

TOTAL GUITAR OCTOBER 2018


ULT I M AT E R H Y T HM

PLAYING ROUND THE LEAD GUITAR TRACK 42

q = 110
C5 A5 Bb5 B5 C5 Eb5

.. ..
Play 4 times

n n
. .
T
. 5 5 5 5 5 5 ¿¿ 2 2 3 3 4 4 5 5 5 5 5 5 ¿¿ 8 .
B 3 3 3 3 3 3 0 0 1 1 2 2 3 3 3 3 3 3 6

≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥
Playing parts that act as a counterpoint to the lead guitar is a fine art – Aerosmith’s Brad Whitford and Izzy Stradlin from the Gun ’N Roses Appetite… era lineup are masters.
Our example shows how a 16th-note rhythm can inject a rock riff with a light, funky vibe – perfect for the lead guitar to weave around!

PUSH AND PULL TRACK 43

q = 140
G5 D 5/F # G5 Csus 2 A5 A6 A5

# .. .. ..
Play 4 times

.. n n # n #

T . 3
3 3
3
3 3 .
. 0 2 0 0 2 2 2 2
.
¿
0 0 0 2 2 2 4 2 2 2
B 3 2 3
3 0 0 3 4 0 0 0 0 0 0 3 4 0

As a core member of the AC/DC engine room, Malcolm Young concentrated his efforts on the band’s relentless riff work. Our riff features the powerchords and open shapes 59
Young used so heavily, but, more importantly, notice the timing of the chord changes in bars 2 and 3. Often referred to as ‘pushes’, these changes appear on the offbeat.

AIN’T WORTH A DIME TRACK 44


j 3

q =125 q q =q q
N.C. Bb5

.. ..
Play 4 times

j
œ
œ
j
œ
j b œ
j

T . .
B
. 5
7
5
7
8
8
.
12 0 0 7 0 6 5 3 0 0 7 0 6
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
5 5 5

If there’s one heavy metal guitarist known for feel and groove it’s Dimebag Darrell. We’re focusing on the kind of swing feel heard in Pantera’s Walk and Good Friends And A
Bottle Of Pills here – a rhythm more associated with blues and classic rock than metal. It’s all about feel, so make sure to lock in with the backing.

WHO’S AGGRESSIVE? TRACK 45


q =145
E5 G5 D

# .. .. .. ..
Play 4 times

..

T . 0
0
3
3
2
3 .
B
. 2
2
0
0
2
0 .
≥ ≥ ≥ ≥
0 3

Guitarists like The Who’s Pete Townshend and The Clash’s Joe Strummer mixed an aggressive strumming attack with an explosive performance style. Our example features a
mix of ringing, open-position chords that provide plenty of punch and sustain. There’s space in the rhythm for a strumming arm windmill should you feel the urge!

OCTOBER 2018 TOTAL GUITAR


COVER FEATURE

06
ODD TIME, FUNK,
RHYTHM AND LEAD
Get creative and take your rhythm playing even further
with three open-ended musical concepts

W
h#urxqg#rļ#rxu#uk|wkp#ohvvrq#zlwk# Van Halen and Jimi Hendrix for example. It’s a style funk rhythms. And if you’re bitten by the
three broad concepts. First is the idea vast topic, so it’s perhaps better to focus your odd time bug, take a look at Classic Track on p68
of combining rhythm and lead guitar. practice on rhythm and lead separately and rely where Soundgarden’s Outshined weaves
Most players do this and bands with on inspiration to bring your ideas together. wkurxjk#:27/#727/#927#dqg#82;#wlph#vljqdwxuhv1#
only one guitarist are the main exponents: Rush, We’re also looking at odd time and 16th-note Iru#qrz/#wu|#rxu#elwh0vl}hg#h{dpsoh#lq#8271

IN THE BACK OF THE VAN TRACK 46

q =150


A E/A G D A E/A G D
Play 4 times

# .. ..
NH
PM PM PM PM PM PM

T . 10 9 9 8 8 7 10 9 9 8 8 7 7 .
B
. 0 0
9
11
0
9
9
9
9
0 0
7
9
7
9
7
7 7 9 7
0 0
9
11
0
9
9
9
9
0 0
7
9
7
9
7
7 7
7
.
60
Few guitarists are as adept at combining rhythm and lead as Eddie Van Halen. Our EVH-inspired line features melodic flourishes at the end of bars 2 and 4. It’s a great way to
give your riffs a lift, so, if you’re struggling, try omitting the preceding D chord to begin with rather than ditching the colourful melodic bits.

ODD TIME TRACK 47

q =110

E5 Csus 2 G5 E5 Bb5 F5
Play 4 times

.. ..
.. ..
œ. œ œ œ. œ
T . 3 3 3 3 0 0 .
B
. 22 2
2
2
0
3
0
3
0
0
0
0 2
2
2
2
2
3 3 0
3
0
3 .
0 0 3 3 3 0 0 3

Any guitarist working on their rhythm skills needs to think about common time and odd time. The former is 4/4 time, where, in general, you’ll count to four to keep time. Our riff
is in the ‘odd’ time signature of 5/4, so you’ll count to five. Listen to bands like Soundgarden and Rush for some odd time inspiration.

GET FUNKY TRACK 48


q = 105
Fmaj 7 B6 C6 Em7 Am Asus 4 Am

.. ..
Play 4 times

¿¿ 10 ¿¿ 9 ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
T . 7 7 5 5 5 5 5
.
¿ 109 ¿ 89 ¿ ¿ ¿
10 10 10 10 10 8 8 5 5 5 5 5

B
. 9
10
9
10
9
10
9
10
9
10
7 7 5
7
7
7
7
7
7
7
5
7 .
≥ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤
Nile Rodgers and his Fender Stratocaster (nicknamed ‘The Hitmaker’) have featured on countless top 40 hits, initially with Chic but also with Duran Duran, David Bowie and
Daft Punk. You’ll need a steady down-up style strumming approach to get close to his style. Aim to strike only two or three strings at one time for the full funky effect.

TOTAL GUITAR OCTOBER 2018


DOING TIME!
TIME SIGNATURES EXPLAINED
1 4/4
4/4 is so commonly used that it’s known in music theory as ‘common time’.
Count to four to keep time.
HEAR IT! AC/DC - Back In Black

Count 1 2 3 4

2 3/4
Only three beats per bar here. Just like 4/4 then, but, er, one beat shorter, obviously!
HEAR IT! The Beatles - Norwegian Wood

Count 1 2 3

3 5/4
Predictably, a bar of 5/4 music has five beats. Count either ‘1 2 1 2 3’ or ‘1 2 3 1 2’,
depending on the song, and emphasise the ‘1’s to feel the pulse. 61
HEAR IT! Primus - Here Come The Bastards

Count 1 2 1 2 3
1 2 3 1 2

4 6/8
6/8 time has six eighth notes in every bar. Count ‘1 & a 2 & a’ and emphasise the ‘1’ and
the ‘2’. It’s harder to say ‘1 2 3 4 5 6’ while you’re playing!
HEAR IT! Gary Moore - Still Got The Blues

Count 1 & A 2 & A

5 12/8
12/8 is the same as two bars of 6/8. Sometimes you can just count ‘1 2 3 4’, making it
feel like a mix of 4/4 and 6/8 time.
HEAR IT! Wolfmother - Woman

Count 1 & A 2 & A 3 & A 4 & A


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TAB GUIDE
Get more from TG by understanding our easy-to-follow musical terms and signs
Whatistab?
This is where the key signature and time signatures are shown
Tab is short for tablature, a guitar, from the sixth (thick) down on the tab. Unfretted
q =72 This is the beats per minute (BPM)
notational system used to give vwulqj dw wkh erwwrp wr wkh Ľuvw strings are shown with a ‘0’. The
.. detailed information as to where (thin) string at the top. On these key and time signatures are
notes should be played on the lines, numbers represent which shown in the notation. TG also
2nd string 2nd string 3rd string 4th string
0 1 3rd fret 1st fret 2nd fret Open fretboard. Tab appears iuhwv |rx sodfh |rxu Ľqjhuv1 Iru includes a timestamp to tell you
1E
2B T . 3 1 underneath conventional music example, an A note on the 2nd where in the original track you’ll
3G
4D
5A
. 2
0
notation as six horizontal lines fret, third string, will be shown Ľqg hdfk h{dpsoh dqg whpsr
6E
CD time (where the part occurs on the original CD) that represent the strings of the as a number ‘2’ on the third line expressed in beats per minute.

FRET BOXES: CHORDS, SCALES AND CAPO NOTATION

HAND LABELLING NUT AND FRETBOARD CHORD EXAMPLE

2 m o o o o o o o o o
3 1 i a
4 c
1
T p
2 3
64

Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) This fretbox diagram represents the guitar’s fretboard exactly, as seen in the This diagram represents a G chord. The ‘o’s are open strings, and a circled number
Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger) photo. This design is used for ease of visualising a fretboard scale or chord quickly. is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).

CAPO EXAMPLE CAPO NOTATION D SCALE EXAMPLE


( C)
CAPO 2ND
o o o x o o Capo 2nd fret
FRET >
CAPO 2ND
FRET > 4 1 1 1 1
1
2 2 2 2
1 2
3 3
2 3 3
4 4 4 4 4
T 1
0
2
B 3 A major scale
A (G) D (C)
The blue line in the diagram represents a capo for this A chord, place it at the Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the The fret box diagram illustrates the fret hand fingering for the A major scale using
2nd fret. Capos change the fret number ordering. Here, the original 5th fret pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab black dots for root notes and red dots for other scale tones. The photo shows part
now becomes the 3rd fret, 7th fret now 5th fret, etc. as if they were open strings. of the scale being played on the fourth string with the first, third and fourth fingers.

GUITAR TECHNIQUES: PICKING

DOWN AND UP-PICKING TREMOLO PICKING PALM MUTING PICK RAKE APPREGGIATED CHORD
C E
¿
¿¿
g
@
rake

¿
PM

¿
5 0 0
T T T T T
¿
4 1 0
0 1
7 5 2 2
B B B B B 3 2

≥ ≤ 0 0 0 0 0 0 0 0

The symbols under the tab tell you the Each of the four notes are to be Palm-mute by resting the edge of your Drag the pick across the strings shown Play the notes of the chord by
first note is to be down-picked and the alternate-picked (down and up-picked) picking hand palm on the strings near with a single sweep. This is often used strumming across the relevant strings
second note is to be up-picked. very rapidly and continuously. the bridge saddles. to augment a rake’s last note. in the direction of the arrow head.

TOTAL GUITAR OCTOBER 2018


TAB GUIDE

FRETTING HAND
HAMMER-ON & NOTE TRILLS SLIDES (GLISSANDO) FRET-HAND TAPPING FRET-HAND MUTING
PULL-OFF
~~~~ 6 C

œ œ œ œ ( œ œ)

RP

T T T T ¿¿ ¿¿ ¿¿ 5 ¿¿ ¿¿
T
¿¿ ¿¿ ¿¿ 56 ¿¿ ¿¿
5
5 7 7 5 5 (7 5) 5 7 7 5 7 5
8 7 5
B B B 5 0
7 5 0 B 3 3

Pick the first note then hammer down on After picking the first note, rapidly Pick the first note and then slide to the Sound the notes marked with a square by X markings represent notes and strings
the string for the second note. Pick the alternate between the two notes shown in next. For the last two notes pick the first, hammering-on/tapping with your fret hand that are muted by your fret hand when
third note and pull-off for the fourth note. brackets using hammer-ons and pull-offs. slide to the next and then re-pick it (RP). fingers, instead of picking. struck by your picking hand.

BENDING AND VIBRATO

BEND AND RELEASE RE-PICKED BEND PRE-BEND QUARTER-TONE BEND VIBRATO


wide
j
1/4 ~~~ ~~~~
œ œ
J

RP PB 5
1/4 ~~~~~ wide
~~~~~
BU BD BU BD
T 5 (7) (5)
T 5 ( 7) ( 7)
T (7) (5)
T 7 5
T 7 5
7
B B B B B

Fret the first note (here, the 5th fret) and Bend up to the pitch shown in the Silently bend the string up from the 5th Pick the note then bend up a quarter- Your fretting hand vibrates the string by
bend up to the pitch of the bracketed brackets, then re-pick the note while fret (PB5) to the pitch of the 7th fret note, tone (a very small amount). This is small bend-ups and releases. Exaggerate
note, before releasing again. holding the bent note at the pitch shown. pick it and release to the 5th fret note. sometimes referred to as a ‘blues curl’. this effect to create a ‘wide’ vibrato.

HARMONICS

NATURAL HARMONICS ARTIFICIAL HARMONICS PINCHED HARMONICS TAPPED HARMONICS TOUCHED HARMONICS
#
65
AH 16 AH 17 AH 19 PH TH 17 TH 19 TH 17 TCH
NH

T 12 7 T 4 7
T T 5 7
5 T 2 9
12 7 5 7 5
12 7
B B B 7 B B
Pick the note while lightly touching the Fret the note as shown, then lightly place After fretting the note in the triangle, Place your finger on the note as shown, A previously sounded note is touched
string directly over the fret indicated. your index finger directly over ‘x’ fret dig into the string with the side of your but sound it with a quick pick hand tap at above the fret marked TCH (eg, TCH 9)
A chiming harmonic results. (AH‘x’) and pick (with a pick, p or a). thumb as you sound it with the pick. the fret shown (TH17) for a harmonic. for it to sound a harmonic.

VIBRATO BAR / WHAMMY BAR

WHAMMY BAR BENDS SCOOP AND DOOP SUSTAINED NOTE GARGLE WHAMMY BAR VIBRATO
w/bar
Scoop
Doop
AND DIVEBOMB
w/bar
gargle
~~~~~ w/bar
~~~~~~~~~

w/bar Scoop
w/bar
gargle
~~~~~~ ~~~~~~~~~~~
w/bar

Doop
T T T
T 5 ( 7) ( 5) (4)
10 8 T 5 [ 5]
5 [ 5]
7
B B B
B B
The note is picked as shown, then the Scoop: depress the bar just before A Note is sustained then the vibrato Sound the note and ‘flick’ the vibrato bar Gently rock the whammy bar to
vibrato bar is raised and lowered to the striking the note and release. Doop: bar is depressed to slack. The square with your picking hand so it ‘quivers’. This repeatedly bend the pitch up and down.
pitches shown in brackets. lower the bar slightly after picking note. bracket indicates a further articulation. results in a ‘gargling’ sound! This sounds similar to fret hand vibrato.
OTHERS

PICK SCRAPE VIOLINING FINGER NUMBERING PIMA DIRECTIONS PICK HAND TAPPING
D C Em7
4
3 2
3

~~~~~~~~~~~~~~~~~~~
ck scrape 1

~~~~ Vol. Vol.


0
6

2 0 T 3 T
T T T
¿¿
3 1 0 0 12 5 9

~~~~~~~~~~~
2 0 8 7 5 2 2 12 5 9
0 2 7 5 B B
B B 3 B 0
p p i a m i p

The edge of the pick is dragged either Turn the volume control down, sound The numbers in the traditional notation Any kind of fingerpicking requirements Tap (hammer-on) with a finger of your
down or up along the lower strings to the note(s) and then turn the volume up refer to the fretting fingers required to are shown at the bottom of the picking hand onto the fret marked with
produce a scraped sound. for a smooth fade in. play each note. tab notation. a circle. Usually with ‘i’ or ‘m’.

OCTOBER 2018 TOTAL GUITAR


JA M
T R AC K

JAM TRACK PLAY GUITAR WITH A BAND

REGGAE
Kick back and take in the sound of
Jamaica as you jam along with TG’s
reggae-style backing track
eggae originated in Jamaica the great Bob Marley and his band The

R and combines elements of


other Jamaican music styles,
such as ska, rocksteady and
lovers rock. Many chart-topping rock
and pop artists have incorporated the
Wailers were so famous for. The short,
accented keyboard chords on beats 2
and 4 of each bar are a key component
that is doubled by the rhythm guitar
part throughout the jam track. If you’re
reggae sound into their songs going to play chords, this is the rhythm
including Stevie Wonder, Culture Club, you’ll need to play. Reggae guitarists
The Police and The Clash – it’s less of a often concentrate on using the top
niche than you might think! three or four strings and a treble-rich
We have based our reggae jam track bridge pickup sound tends to cut
on the classic roots reggae style that through best.

66

SCALES CHORDS
ur lick uses the A major pentatonic scale (A tick to three- or four-string chord shapes for an authentic reggae rhythm sound

O B C# E F#) and is brought to life with a


quirky sounding auto-wah pedal. The
bridge switches to the relative minor key of F#
S and play with downstrokes. In faster tracks (and in ska, in particular) it’s more
frpprq#wr#khdu#wkdw#rļehdw#vndqn#jurryh#gholyhuhg#zlwk#xsvwurnhv1

minor. That means you’re using the same notes,


but F# is your root note (F# A B C# E). As long as X X X X X
you phrase your licks around the right root notes,
1 1 1
that means the two scales are interchangeable 5 5
throughout the track.
2

3 3 4

1 1 1 1 1 1 1 1 1 A D
4 2
X X X X X X
2 1 1
1 1 1 1 1 1
3 3 3 3 7 2 2
2
Guitars and backing: Jon Bishop Photography: Jorgen Angel /Getty

4 4 4 3 3 4 4 4
3 4 3 3 4

A major F# minor
pentatonic scale pentatonic scale

E F#m Bm

TOTAL GUITAR OCTOBER 2018


BACKING TRACK (TRACK 49)
This song comes with a backing track on your CD. Simply
insert the disc in your player, press play and jam along,
guitaraoke style!
JAM TRACK / REGGAE

JAM TRACK REGGAE LICK TRACK 49

j 3

q =150 q q =q q

#
A
~~~~~~~ D
œ
j E

.. œ
j . œ
j
..
.
0:17
~~~~~~~~~
T . 5 7
5 5
7 5
7 9 5 7 5
7 5 .
B
. 4 6 6 4
7 4 .

Here we’re taking inspiration from guitarists like Junior Marvin who played with Bob Marley And The Wailers. Playing simple melodic phrases sounds great, but
takes some practise as it often feels natural to want to play more notes.

JAM TRACK
CHEAT SHEET
Tempo 150bpm
Time signature 4/4
Key/scale A major

67

VER SE

||: A / / / | / / / / | D / / / | E / / / |

| A / / / | / / / / | D / / / | E / / / :||

BRIDGE

| F#m / / / | Bm / / / | F#m / / / | Bm / / / |

| F#m / / / | Bm / / / | F#m / / / | Bm / / / ||

With some chords and scales down, think about how to play over the full track. Reggae is quite hypnotic so, typically, the chord progression is simple
without any surprises. Keep your rhythm playing tight and avoid the temptation to play too busily. For solos, short and simple phrases work best.

OCTOBER 2018 TOTAL GUITAR


CL ASSIC
T R AC K

68

SOUNDGARDEN
OUTSHINED
Drop down to D, step into the light and tune into
a Cornell-penned grunge classic from the first
truly great album from the Seattle legends

TOTAL GUITAR OCTOBER 2018


CL ASSIC
T R AC K

I
n 1991 the alternative music
scene of the Seattle and
Washington State area crossed
SOUND ADVICE
over into the mainstream thanks
to three landmark albums: Everything you need to know before playing ‘Outshined’
Nirvana’s Nevermind, Pearl

O
utshined is played in drop D tuning
Jam’s Ten and Soundgarden’s (DADGBE from low to high). The
EdgprwruĽqjhu. The tide of rock music
changed almost overnight and Outshined
Get the tone CHANNEL DISTORTION amp tone is lightly scooped, so the
bass and treble controls are fairly high,
6 4 but the midrange is pulled down, creating
was Soundgarden’s breakthrough tune. 7 a heavy but hollow sound. Keep the gain
At the core of the song is a drop D under control and be careful not to use
9 1
wxqhg ulļ lq :27 wlph1 Iruphg ri too much otherwise the chords may lack
rqh0Ľqjhu srzhufkrugv/ lwġv qrw glĿfxow bite. Check the gain level by playing the
GAIN BASS MID TREBLE REVERB chords from the pre-chorus and adjust
to play, as such, but getting the feel down the gain so each note is clear.
can be tough. Logically, you’d count to
vhyhq lq :27 wlph/ exw |rx pd| Ľqg lw
hdvlhu wr frxqw wkh rļehdwv/ vr vd| Ġ4 ) 5
) 6 ) 7 ) 8 ) 9 ) : )ġ dv |rx sod| wkh ulļ1
Wkh fkruxv uhyhuwv wr 727 exw eduv 7 dqg 8 The heavy high-gain
duh v|qfrsdwhg +zklfk phdqv wkh rļehdw tone in Outshined is
best played with a
notes are emphasised) and a further bar
weighty sounding
of odd time follows, throwing yet another bridge humbucker.
curve ball! All the info can be found in our Single coils will
transcription. Just make sure to pay close require more gain.
attention to those time signatures.

CHORDS SCALES
kh#khdy|#ulļv#duh#edvhg#durxqg#gurs#G#srzhufkrug#vkdshv/ sod|hg zlwk mxvw kh Ľuvw kdoi ri wkh vror xvhv qrwhv iurp wkh G 69

T rqh#Ľqjhu#rq#wkh#Ľiwk#dqg#vl{wk#vwulqjv1#Wkh#rshqlqj#F8#srzhufkrug fryhuv
wzr#rfwdyhv/#krzhyhu/#uhtxlulqj#d#wklug#Ľqjhu#rq#wkh#wklug#vwulqj1 Lq wkh
suh0fkruxv#xvh#d#irxuwk#Ľqjhu#eduuh#dw#wkh#:wk#iuhw#rq#wkh#vhfrqg dqg wklug vwulqjv
T Pl{ro|gldq prgh1 Lq edu 6 Nlp kljkoljkwv wkh
b:wk/ urrw/ 6ug dqg 7wk lqwhuydov/ fuhdwlqj d G44
arpeggio. The latter half and the following verse are
iru#wkh#G/#Jpdm:#dqg#G2I&#fkrugv1#Wkh#orzhu#qrwhv#fdq#doo#eh#duwlfxodwhg zlwk |rxu based in D minor pentatonic. The drop D tuning
Ľuvw#dqg#vhfrqg#Ľqjhuv1# means there is a G omitted from the scale pattern.

O O X X X X X X X X X X X O X X O X

1 1 1 2 1 2
5 4 3 5 1 1 1
4 3
2 3 4 4 2 2 2 1 1 1
4 4
3 2 1
D A D G B E D A D G B E D A D G B E D A D G B E D A D G B E
D5 D D/F# Dmadd11/F Em/G 4 4 4 3 3
X X X X X X X X X X X X X X
4 4 3 1
1 2 3 3
5 6
D A D G B E

D Mixolydian mode 2
1 1 4 4
D A D G B E
D11 arpeggio
3 3
D A D G B E D A D G B E D A D G B E D A D G B E 1 1 1 1 1 1
10
Guitars and backing: Charlie Griffiths Photo: Taylor Hill/Getty Images

F5 G5 Gmaj7 Ab5
X X X X X X X X

3 3 1 1 1 1 1 1 1
7 10 3 3
3 3 3 3

3 2 3 4 2 3 4 4
4

D A D G B E
D A D G B E D A D G B E D A D G B E D A D G B E
A5 C5 C Csus4 D minor pentatonic scale

OCTOBER 2018 TOTAL GUITAR


CL ASSIC
T R AC K

SOUNDGARDEN
OUTSHINED
FULL Words and Music by Chris Cornell
Copyright © 1991 You Make Me Sick I Make Music
TAB All Rights Administered by BMG Rights Management (US) LLC

OUTSHINED All Rights Reserved Used by Permission


Reprinted by Permission of Hal Leonard LLC

SOUNDGARDEN OUTSHINED Intro

q = 94
C5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5
~~~
.. ..
Play 3 times

b
~~~ PM

. .
PM
E BU BD
T B
. .
G BU BD (6) (5)
12 5
D 10 5 (6) (5)
B A
D
10
10
0
0
0
0
3
3
5
5
3
3
0
0
3
3
3 6
6
5
5
3
3
[3 ]
[3 ]
0
0
0
0
3
3
5
5
3
3
0
0
3
3
1

This riff can be understood as one bar of 4/4 and one bar of 3/4. Before you play anything, practise tapping your foot and counting ‘1 2 3 4 5 6 7’ or ‘1 2 3 4 1 2 3’ over and again
until you have a good idea of how the seven quarter notes (aka crotchets) feel. You may find it easier to count the offbeats too, for example: ‘1 & 2 & 3 & 4 & 5 & 6 & 7 &’.

SOUNDGARDEN OUTSHINED Verse 1

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5
~~~ ~~~~~ 6

.. ..
Play 4 times

b b .
70
~~~ ~~~
0:18
PM PM

T
E
B . .
B
G
D
A
. 0 0 3 5 3 0 3 3 6 5 3 [3 ]
. 0 0 3 5 3 0 3 3 3 5
3 5 3 6 3 5 3 5

≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥
D 0 0 3 5 3 0 3 6 5 3 [3 ] 0 0 3 5 3 0 3 6
1

Ab5 G5
D5 F5 G5 F5 D5 F5
~~~~ F5 D5 F5 G5 F5 D5 F5
~~~~ ~~~~ D

.. ..
Play 3 times

b .
PM ~~~ PM ~~ ~~~~~
T . . 7

B
. 0 0 3 5 3 0 3 3 6 5 3 [3 ]
. 0 0 3 5 3 0 3 3 5
5
7
7
5
0 0 3 5 3 0 3 6 5 3 [3 ] 0 0 3 5 3 0 3
3

Keep your foot tapping the 7/4 pulse and play the riff using downstrokes throughout. The first two chords are palm-muted, but the rest are played with an open sound. The
main objective is to keep your wrist loose – this gives the riff a relaxed, grungy feel. The flurry of notes in bar 2 is played loosely, so why not improvise your own lick?

SOUNDGARDEN OUTSHINED Pre-chorus

D Gmaj 7 D/F # Em/G Dm add11/F N.C. D5

.. ..
Play 3 times
n
.. ..
. .
0:58
2:46 4:01 let ring

T
E
B . 7 7 7 7 7 5 [5 ] 3
5 5
. 5 7 7 7 7 10

B
G
D
A
. 7
5
7
5
7
5
7
4
7
4
0
5
[0 ]
[5 ] 3 . 2 4 4 4 4 7
0
D 5 0

This section switches to the more usual 4/4 time. In bar 1 use any spare part of your first finger to mute the idle strings. Similarly, in bar 2 mute the bass strings by
reaching over the top of the neck with your thumb. You should be able to strum the strings confidently without sounding the idle strings.

TOTAL GUITAR OCTOBER 2018


FULL TRACK + BACKING (TRACKS 50-51)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in
your player, press play and jam along guitaraoke style!
SOUNDGARDEN / OUTSHINED

SOUNDGARDEN OUTSHINED Chorus

A5 G5 D5 F5 G5 D5 G5 F5 D5 F5 D5 F5 Ab5 G5 F5 D5
..
œ
j
. b n
1:18 œ .
3:03 4:18
PM

T
E
B .
B
G
D
A
. 5 7 5 0 3 5 0 5 3 0 3 0 3 6 6 6 5 3 0
D 1
5 7 5 0 3 5 0 5 3 0 3 0 3 6 6 6 5 3 0

Chorus 1. 2. endings

N.C. C5

..
1:43
3:26

T .
B
. 10 10
10 10
10 10
10 10
10 10
10 10
10 10
10 10
10 0 0 10 10 10 0 10 10 0 10 0 0 10 10 10 0 10 10 0 10 10 10 10 10 10 10 10 7 19
4
≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≥ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≥

Chorus 3. ending
C5 D5 F5 D5 F5

. 71
4:41
.
T
10 10 10 10 10 10 10 10
B 10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
0
0
0
0
0
0
3
3
0
0
3
3
7

Ab5 G5 F5 D5 N.C. A5 G5 D5 F5 G5 D5

b n
T
B 6 6 6 5 3 0 7 5 0 3 5 0

≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≥
6 6 6 5 3 0 10 0 0 10 10 10 0 10 10 0 7 5 0 3 5 0
9

G5 F5 D5 F5 D5 F5 Ab5 G5 F5 D5 N.C.

. b n
.
PM
T
B 5 3 0 3 0 3 6 6 6 5 3 0

≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≥
5 3 0 3 0 3 6 6 6 5 3 0 10 0 0 10 10 10 0 10 10 0
12

OCTOBER 2018 TOTAL GUITAR


CL ASSIC
T R AC K
SOUNDGARDEN OUTSHINED Chorus (cont’d)

C5

T
10 10 10 10 10 10 10 10 [10 ]
B 10 10 10 10 10 10 10 10 [10 ]

≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≥
10 0 0 10 10 10 0 10 10 0 10 10 10 10 10 10 10 10 [10 ]
15

The main riff here is based within the D blues scale (D F G A b A C), played using powerchords on the fifth and sixth strings. Take note of the picking directions in bar 4 –
they’ll help you stay in time; keep your pick hand constantly moving down and up and hit the string only when necessary.

SOUNDGARDEN OUTSHINED Solo

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5

..
1/4 ~~~ . . 3

.
~~~~~
1:46 PB 7
1/4 BD
E
T B
G
5
5
[5 ]
[5 ] 7
5
5
7
7
(8) (7)
(8) (7)
5
5
7
7
7
7
5
5
5
5
D 7 5 4 7 5 4
B A
D
1

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5
72 ~~~~~~~ œ
j

3
~~~~~~~ 10
BU BD
BU
T 5 7 9
8 9 10 13 (15) (13 ) 10 13 10
12 10 12 10 10 12 12(14 ) 12 10 12 10 12
4 5 7 12
B 3 5 3 5
3

Kim Thayil combines the D Mixolydian (D E F# G A B C) and minor pentatonic (D F G A C) scales here. The solo is played over the 7/4 verse riff, which makes for some unusual
rhythmic phrasing. Kim uses lots of offbeat notes, too, so practise each bar in isolation to perfect the timing before connecting it all together.

SOUNDGARDEN OUTSHINED Verse 2

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5

.~~~~~~~ .
1/4

2:03
E
~~~~~~~~ 1/4

T B
G 10 12 10 10 12 12 10 [10 ]
D 12 12 12 [12 ] 12 12
B A
D
1

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5

.~~~~~~~ j .
1/4
n
œ

~~~~~~~~ 1/4
let ring

T 10 12 10 10 12 12 10 10 12
12
12 10
10
9 12 12 12 [12 ] 10 12 12
B
3

TOTAL GUITAR OCTOBER 2018


SOUNDGARDEN / OUTSHINED

SOUNDGARDEN OUTSHINED Verse 2 (cont’d)

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5

~~ ~~~~ ~~~~~~~~
w/feedback
.~~~~~
1/4

. ~~
.

~~~~~~~~~~~~~~~~~~~
w/feedback
~~~~~~ 1/4 ~~~~~~~~~~~~~
T 10 12 10 10 12 12 10 [10 ]
12 12 12 12 12 12
B
5

D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5 F5 G5 F5 D5 F5 Ab5 G5 F5 D5

.~~~~~~~ ~~ ~~~~~ .
1/4

~~~~~~~~ ~~~~~~~~~~~ 1/4

T 10 12 10 10 12 12 10 [10 ] 6
9 12 12 12 [12 ] 12 12 0
B 0
0
8

For this verse the lead guitar follows a D minor pentatonic melody. It mirrors Chris Cornell’s vocal line so it should be relatively easy to pick up by ear. You could even sing
along, if it helps. Watch out for the lick at the end of bar 4. Although not too difficult, it’s not following the vocal so it’s easy to accidentally miss it. 73

SOUNDGARDEN OUTSHINED Interlude

D C

. .. œ
j

.
3:31 .
let ring throughout
E
T B
G 5 7 5 7 5
D 7 7 5 4 4 4 5 4 7 5 4 5 5 5 5 5
B A
D
5
0
5 5
0
5 5 5 5 5 5 5 0
1

Csus 4 C D
# .
.. .. . ..
.
.
T 5 4 5
6
5
5
5 5
5 5 5 5 5 5 7 7 7 5 4 4 4 5 4 7 5 4
B 5
0
5 5
0
5 5 5 5 5 5 5
4

OCTOBER 2018 TOTAL GUITAR


CL ASSIC
T R AC K
SOUNDGARDEN OUTSHINED Interlude (cont’d)

Csus 4
.
C C D

.. j
.. .. ..
œ
.

T 5 7 5 7 5 5 4 5
6
5
5
5
5
5
5 5 5 5 5 5 5 5 5 5 5 5 7 7 5 4 4 4
B 0 5
0
5 5
0
5 5 5
0
7

Csus 4
.
C C
# .. œ
j
.. ..

T 5 7 5 7 5 5 5 4 5
6
5
5
5
4 5 4 7 5 4 5 5 5 5 5 5 5 5 5 5
B 5 5 5 5 5 0
10

Roll off your guitar volume until the tone cleans up here. The chord fragments come from the D Mixolydian mode and in places Thayil uses the drop-tuned low D as a drone
to underpin the harmony. Let the notes ring together as much as possible and try using a delay pedal to help them blend.
V I D EO
R I F FS

ON YOUR GUITAR SKILLS CD!

VIDEO RIFFS
Try out three classic riffs by Arctic
Monkeys, Metallica and Tom Petty with
TG’s slowed-down video play-throughs
s the Arctic Monkeys recently Wkh#ulļ#lv#+prvwo|$,#edvhg#lq#:27#wlph#

A urxqghg rļ#wkhlu#534;#XN#wrxu#
with their new album
Tranquility Base Hotel & Casino
in tow, we thought it would be timely of
us to take a look at one of their biggest
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Frxqw#Ġ4#)#5#)#6#)#7#)#8#)#9#)#:#)ġ#dqg#
emphasise the ‘&’s to get the feel.
D#khosixo#klqw=#Oduv#Xoulfkġv#vqduh#
hits land on the ‘&’s. Note that
ulļv/ R U Mine. Although it’s fairly easy, we’ve stayed in standard tuning
take particular care on those big for convenience.
fretboard leaps – they can throw out Finally, this month marks the
your timing. anniversary of the tragic passing of
Phwdoolfd duh vrrq#wr#uhlvvxh#d#63wk# Tom Petty, and we’re looking at the
anniversary deluxe edition of …And xsoliwlqj#ulļ#iurp#rqh#ri#klv#ehvw0oryhg#
Justice For All, so we were inspired to tracks, Free Fallin’. The magic comes
orrn dw Mdphv KhwĽhogġv#rgg#wlph# from Petty and Mike Campbell’s
76 album opener Blackened as the second layered guitar parts.
ri rxu ylghr ulļv1 Read on and all will become clear.. .

1 ARCTIC MONKEYS
CHEAT SHEET Key: F# minor
Appears at: Main techniques:
0:03-0:23 Alternate picking /

R U Mine
Tempo: 97bpm position shifting

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whenever a note lands on a click – once you’re doing this the rest of your pick strokes should fall into place.

B C# D B
F# B C#
Photograph: Rob Ball/Getty

The biggest challenge in Alex Turner’s riff is the position shifting – you’ll be constantly moving around the fretboard. We’ve laid out the notes here to help you visualise
what you’ll be playing. Take care not to overshoot when you slide up to the 14th fret.

TOTAL GUITAR OCTOBER 2018


HOW TO FIND YOUR VIDEO RIFFS
These examples can all be found as video files on your Guitar
Skills CD. Place your CD in your computer, navigate to the
video riffs folder then watch, learn and jam along.
VIDEO RIFFS

2 METALLICA
CHEAT SHEET chromatic
Appears at 0:36-0:54 Main techniques:
Tempo: 194bpm Down-picking / offbeat

Blackened
Key: E Locrian / accents / palm muting

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E E

E F Bb
7
F Bb F# B

G G G

Notes in bar 1 Notes in bar 2

The first shape shows you the notes used in bar 1 and the first half of bar 2. With its E, F and Bb notes you could say the riff is in the E Locrian mode (E F G A Bb C D). The
second shape shows you the notes that round off bar 2. Seeing as it includes F, F#, Bb and B notes, we’d just describe this as a chromatic line. 77

3 TOM PETTY
CHEAT SHEET Main techniques:
Appears at: 0:12-0:23 Strumming / twin guitars
Tempo: 84bpm / capo’d chords

Free Fallin’ Key: F major

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O O O X O O O X O O
X X X X X X X X X CAPO – 1st fret CAPO – 1st fret CAPO – 1st fret

1 2 1 1 1 2
5 5 5
3 3 4 3 4 3 4 1

4 3 4

F Fsus4 C5 F Bbsus2 Csus4

The first three chords here are played on a 12-string guitar (though it’s not essential), the last three shapes are played on a six-string guitar with a 1st fret capo and all six
are easy to play. Note that Fsus4 (F B b C) and B b sus2 (B b C F) use the same notes – that’s why they sound so good played at the same time.

OCTOBER 2018 TOTAL GUITAR


TURN
A ROU N D

THE TURNAROUND LICKS OF THE BLUES GIANTS

JOE
BONAMASSA
Surely the biggest name in 21st century
electric blues, learn a few lines from the master,
with tips on technique and phrasing
tarting on guitar at the tender age of frpsuhkhqvlyh#froohfwlrqv#ri#ylqwdjh#jxlwduv#

S four, Joe had a head start on many of his


peers, compounded by the fact that he
was taught by the great Danny Gatton at
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and amps out there, Joe’s rig is pretty simple.
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absorbing the styles of Jimmy Page and Paul sod|#Jlevrqv#h{foxvlyho|#Ğ#|rxġoo#vhh#klp#zlwk#
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Joe’s songwriting and is represented in a couple you can fatten their tone with a little extra bass
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78 bewildering range of signature guitars and the orzhu#srzhuhg#slfnxsv#wrr1#D#wrxfk#ri#uhyhue#
owner of what must surely be one of the most will also sound great.

1 WELL-EXECUTED STRING BENDS TRACK 52

q = 95

.
Gm

œ
1/4
œ
j . œ
j
1/4 1/4

1/4
BU BU BD 1/4 ~~~~~~~~ 1/4

T 12
11 13 13 (15 ) 13 (15 ) [15 ] (13) 11
12
13 11 [11 ]
12 10 12
11 [11 ]

Using a neck humbucker and a fairly high gain overdrive tone, this example introduces some nice touches. Starting before beat 1 of the first bar acts as a ‘pick-up’ into the
long sustained note that follows. There’s no vibrato here – and this makes correct pitching very important. Joe’s tidy technique allows him to play lines like this cleanly.

2 REPEATING IDEA TRACK 53

q = 95 b
.
Cm
. ~~~~~E .
Gm

~~~
1/4

œ
j
œ
r
œ
j
. .
Guitars and backing: Richard Barrett Photograph: Kevin Nixon

.
1/4
BU BU ~~~~~~~ BU BD ~~~~~~~~~ ~~~~
T 12
11 13 11 (13) 11 8 11 (13) 11 10 (11) (10) 8
10 12 BU BD
10 (11)(10) 8 8
B 10 10

Rhythmicallysimilartothepreviousphrase,thislinetakesahighlymelodicdirection,tracingafewofthenotesthatmaketheCminorchordunderneath.Repeatingrhythms
thiswayisagreatimprovisingtrickandisbynomeansBonamassa’sownidea–mostbluesguitariststakethisapproachattimes.

TOTAL GUITAR OCTOBER 2018


FULL TRACKS (TRACKS 52-58)
These tab examples come with audio tracks
on your CD. Simply insert the disc in your player,
press play and jam along, guitaraoke style!
THE TURNAROUND / JOE BONAMASSA

3 FAST, NOT SLOW TRACK 54

Dm7 Cm7 Gm7 Dm7


√ ~~~~~~~
1/4 . œ
j
œ
j œ
j
œ. œj œ . œ
j
j j
~~~~~~~~~~
œ œ
.
1/4 BU ~~~~~~~ 15 BU
15
BU
18 (20)
~~~~~~~~~ BU BD
18 17(18)(17) 15
BU ~~~~~~~~ 15
BU BD BU
T 17
15 18 18 (20) 15 18 (20) 15 18(20) 18 15
17 (19 )(17) 15 17 (19 )
17
B

Shifting to a more urgent-sounding high register, this lick brings in a few 16th notes, the speed hinting more at Joe’s rock influences. This is further enhanced by using the
bridge pickup. These high-register string bends can be tiring for the fingers so make sure to brace two or three fingers together for extra strength and control.

4 PENT UP RAGE TRACK 55

q = 93
F # m7
j
~~~~~~~~~~ j œ
j ~~~~~~~~~~
œ . œ

3 3 3
~~~~~~~~~~~ BU ~~~~~~~~~~ 2
~~~~~~~~~~~
BU BU BD
T 4 (6) 2 4 4 5 4 2 4 4 5 4 2 4 2 2 4 (5) (4) 2 4 2 2
5 (7) 5 2
4 2
4 4 4 2 4
B
79

Shifting gear to a rockier, riff-based style, this example begins with some growling, low register vibrato, moving on tosomequickerpentatonicphrasing.Repeatedideaslike
this figure highly in Joe’s faster playing and it’s not always as taxing as it may first seem! Dig in hard with the pick to createanaggressivefeel.

5 REPEATING AGAIN TRACK 56

C # m7 Bm7
√ ~~~~~~~~~~~~~~~~~~
#
1/4 j j 1/4

œ
j ~~~~~~~~~~~~~~~~~ 1/4 œ œ

3
BU ~~~~~~~~~~~~~~~~~~ 14 1/4
1/4
14 17 14
BU
17 (19)
~~~~~~~~~~~~~~~~~~~~ BU
17 (19 )
BD
(17) 14
1/4
14
T 17 (19) 17 14
16
14 17 17

B
1

F # m7 C # m7
( ) 1/4 1/4
# œ
j
œ
j
j
~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ

1/4 1/4
BU BU BU
14 14 14 14 14 14 BU
T 17 (19) 17 (19 ) 17 (19) 17 17 17 14
16
14
16 (18 )

B
3

At first listen, this example may seem complex, but as you break it down, you’ll see it stays within quite a small area of the fretboard, with lots of repeated ideas. That isn’t
to say it’s easy, but giving your fretting hand fingers a repeating routine will help you produce impressive results within quite a short time.

OCTOBER 2018 TOTAL GUITAR


ACOUSTIC

82
Unplugged
YOUR MONTH IN THE ACOUSTIC WORLD

083
ACOUSTIC NEWS
084
RUSTON KELLY
086
ACOUSTIC TAB:
KARMA POLICE

TOTAL GUITAR OCTOBER 2018


ACOUSTIC
TRACKS 59-63

FIVE 9TH
CHORDS
Essential chords to
fuel your creativity

1
9
2 3 3 3

G9
X X O

2
3

Dadd9/F#
83
X O O O

HOME EXTENSION
1
5

JOHN BUTLER EXPANDS HIS LINE-UP FOR THE ROAD

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Photo: Kane Hibbard

uhsuhvhqwhg#lq#wkh#olyh#vkrz1#Dovr# dssurdfkĩ via Jarrah Records. The John


Aadd9
wkh#wulr#lv#wkh#rqo|#edqg#Lġyh#hyhu# ģDv#dozd|v#L#xvh#d#Zdjqhu#ydoyh# Butler Trio + tour the UK and
ehhq#lq#uhdoo|#vr#wklv#lv#wkh#frqwh{w# plf#dqg#d#Qhxpdqq#gluhfwlrqdo# Ireland 11 - 17 October

OCTOBER 2018 TOTAL GUITAR


ACOUSTIC Words Matt Parker

Ruston Kelly
NASHVILLE SINGER-SONGWRITER RUSTON KELLY DOCUMENTS A HELL-RAISING
PERIOD OF LIFE ON DYING STAR. HERE HE REFLECTS ON THE SIX-STRINGS,
SOBRIETY AND SPONTANEITY THAT FED INTO HIS DEBUT ALBUM

T
here is a law in music journalism Hyhq#qrz#Nhoo|#zloo#pdnh#xs#vrqjv#rqvwdjh/# ixfnlqj#glh/#djdlq1#Dqg#pd|eh#wklv#wlph/#lw#
that says whenever a country laying whatever words come to mind over his zrxog#eh#iru#jrrg1#ĠEuljkwo|#exuvw#lqwr#wkh#dluġ#
musician channels their rshq#wxqlqjv1#ģEb F C F F C,” he says, enthusing had the feeling of extinguishing but at the same
chequered past, you must about his current favourite – dubbed “Maria wlph#jlylqj#olih#wr#vrphwklqj111#Lġg#oryh#wr#vd|#
compare them to Johnny Cash. In wxqlqjĤ1#ģJr#h{soruh#wkdw1#Lw#olwhudoo|#ihhov#olnh# wkdw#L#kdg#wklv#ĠRG#prphqwġ#dqg#hyhu|wklqj#
the case of Ruston Kelly, though, a few parallels angels singing when you play it.” Brightly Burst zdv#fohdq#iurp#wkhq#rq/#exw#lw#zdvqġw1#Exw#Lġyh#
duh#mxvwlĽhg1#Olnh#Fdvk/#wkh#ulvlqj#vrqjzulwhu# Into The Air/#wkh#forvlqj#wudfn#rq#Dying Star is a been clean for the last two years because I did,
has a pill addiction in his past and only qrwdeoh#h{dpsoh#ri#klv#vsrqwdqhlw|1#Eruq#rq# dw#rqh#srlqw/#vd|/#ĠLġp#jrlqj#wr#wdnh#wklv#urdg1ġĤ
cleaned-up when he fell in love with fellow the spot in the studio, he had only some vague Wkurxjkrxw#wklv#fkdoohqjlqj#shulrg/#Uxvwrqġv#
country star, Kacey Musgraves, now his wife. chords and a title that entered his mind a year dad, Tim Kelly, was on tour with him, witnessing
John Carter Cash himself said the couple or so previously, following an overdose. wkh#jrrg#dqg#wkh#edg1#ģLw#zdv#uhdoo|#ixfnlqj#
84 reminded him of his parents, so it follows that ģL#wklqn#L#nqhz#kdg#wzr#fkrlfhv#wkhq/Ĥ#vd|v# kdug/Ĥ#vd|v#Nhoo|1#ģZkhq#L#Ľqdoo|#jrw#wklv#
he approached Kelly and Musgraves to appear Nhoo|#ri#wkh#wlwohġv#ruljlqv1#ģWkdw#L#frxog#ohw#lw#eh# record on vinyl pressing, I listened to it and I
on the recent Forever Words album, which set the end of that chapter in my life, or I could zdv#uhdoo|#khdulqj#p|#gdgġv#sod|lqj#iru#wkh#Ľuvw#
unrecorded Cash poems to new music. time on a real record. It blew me away. I
“It does sound cliched,” Kelly dvnhg#klp#derxw#lw#d#frxsoh#ri#prqwkv#
dfnqrzohgjhv1#ģExw#lwġv#uhdoo|#wuxh#lq#p|# djr/#ĠZkhuh#wkh#ixfn#glg#wkdw#frph#
vwru|#^wrr`1#Lw#zdvqġw#xqwlo#L#phw#Ndfh|# iurpBġ#Kh#vdlg/#ĠZhoo/#L#zhqw#edfn#wr#krz#
wkdw#L#zdv#deoh#wr#vd|/#ĠL#fdq#eh#Ľqlvkhg# I felt when I watched you go through
zlwk#wklv1ġ#Vkh#ehfdph#p|#hqg0srlqw/#wkh# wkdw1#Ehlqj#|rxu#gdg/#exw#dovr#ehlqj#|rxu#
strongest redemptive force in my life.” iulhqg/#dqg#vhhlqj#|rx#vxļhu#dqg#ihholqj#
The couple utterly inhabit Forever Wordsġ# olnh#L#glgqġw#nqrz#zkdw#wr#gr1ġ#Kh#zdv#
highlight, To June This Morning – a poem olnh=#ĠWkdwġv#zkdw#L#sod|hg#iurp1ġĤ
of typical clarity, bottling the domestic There are a few of those throat-
eolvv#wkdw#zdv#pdjqlĽhg#e|#Fdvkġv# catching moments in Dying Star. It
hard-won sobriety – and yet Kelly is most becomes clear to TG how Kelly was able to
ghĽqlwho|#qrw#Fdvk#uhlqfduqdwh1#Olvwhq#wr# so convincingly inhabit those scrawled
his debut Dying Star – a record that charts Cash lines in the poems that would
a journey from bottoming-out to sobriety become Forever Words, bottling a little
Ğ#dqg#|rxġoo#khdu#dq#duwlvw#wkdw#rzhv#pruh#
wr#U|dq#Dgdpv/#wkh#Ehdw#srhwvġ#vwuhdp#ri#
PINK SLIP moment of happiness that came in a
quiet morning at home before the birth
frqvflrxvqhvv#dqg#d#ghhs#oryh#ri#eodfn# Bringing a rare ’Bird back from the dead of his son. “[Cash had] written at the
phwdoġv#eoxqw#o|ulflvp1# Kelly’s new custom Gibson Hummingbird might not be erwwrp#olnh#ĠDsulo#53/#4<:31#:dp/ġĤ#vd|v#
Aged 14, Kelly had one lesson and the first acoustic you’d expect in the arms of a country Kelly. “To me, as a sober person, when
hated it, instead developing his own outlaw. “Gibson has made me a guitar,” he tells TG. “I wkhuhġv#vrphwklqj#|rx#grqġw#zdqw#wr#
approach and jamming with his father bought a Takamine for like 900 bucks when I was 18 irujhw/#|rx#pdun#grzq#wkh#wlph1#Lw#zdv#
Tim – who now plays pedal steel in his and that’s the one I had forever. Now, Gibson has made about being clean and being happy.
edqg1#Vrqjv#txlfno|#iroorzhg1#ģL#frxog# me a baby pink Hummingbird with black trim. It’s like Khdulqj#|rxu#zlih#pdnlqj#frļhh#zkhq#
qrw#zdlw#^wr#zulwh`/Ĥ#kh#vd|v1#ģLw#zdv#olnh# something Miranda Lambert would play, but I don’t give |rxġuh#vrehu#dqg#|rxġuh#kdss|#lv#rqh#ri#
this feeling that I had a waterfall in a a fuck! It’s so pretty. They offered to send me a guitar the most phenomenal feelings, ever, that
for this tour and for some of these Late Night [TV]
closet and I just needed to open the an addict will experience… For me,
performances and I was like, ‘Man, I saw you guys have
ixfnlqj#grru#Ğ#dqg#L#kdyh#ehhq#zdlwlqj# zdnlqj#xs#dqg#kdylqj#Ndfh|#eh#olnh/#ĠKh|/
this baby pink Hummingbird. Send me that!’ They were
Photo: SteveRose

my entire life, through the pitfalls and like, ‘Oh, we don’t make them anymore...’ I said, ‘Well, I made you some toast! I hope you have a
the meanderings from the right path to you wanna send me a guitar? That’s the guitar I want!’ jrrg#gd|1ġ#Wkdw#vklw/Ĥ#kh#odxjkv1#ģWkdwġv
actually do that.” zkdw#L#ixfnlqj#olyh#iruĩ#Txlwh#olwhudoo|1Ĥ

TOTAL GUITAR OCTOBER 2018


INTERVIEW

85

OCTOBER 2018 TOTAL GUITAR


LEARN
TO PL AY

OPEN-MIC SONGBOOK
RADIOHEAD
KARMA POLICE
OK Computer’s strangely uplifting
strummer is easy to play, but tough
to learn. Confused? TG reveals all…
s the second single to be Perhaps the most challenging part of

A released from 1997’s epochal


OK Computer, Karma Police
was part of a rare run of four
Radiohead singles to reach the UK Top
10. Irrespective of the giddy heights of
this month’s track is committing the
chord progression to memory. Whereas
many songs typically follow short,
repeating chord sequences, the whole
verse in Karma Police is one
chart success, this track is one of those progression. Sure, some of the chords
unusual Radiohead songs that you can are repeated once or twice, but
actually busk! There are a fair number full-length phrases are not.
of chords to learn though, so it’s not Expect to spend a little extra time on
exactly a three-chord trick, but they’re each section just getting these tricky
all open- and barre-chord shapes that sequences down. As ever, all the chords
86 shouldn’t pose much trouble. are written out for you below.

X O O X O O O X X O O X X O

CHORDS 1 1
his seems like a whole

T heap of chords to learn,


but a lot of them are
edvhg#rq#vlplodu#Ľqjhulqjv#
2 3 2 3 1

3 4
2
1

3
2 1

3
2

or they’re simple
embellishments to basic
shapes. If you’re familiar Am Asus2 Bm C D
zlwk#wkh#Ľyh#prvw#frpprq# X O X O O O O O O O O O O O O
open chord shapes (C, A, G, E
and D), their minor variants 1 1
and a basic E shape barre 1 2 2 3 2 3 2 3 2 3 4
chord, then you should be
able to work through this 3 4
track without any problem.

Dsus4/F# D9/F# E Em Esus4


Guitars and backing: Simon Young Photo: Kristian Buus / Alamy Stock

O O O O O

1 1 1

2 1 1 1 1 1

3 4 2 2 3 2 3 4
KARMA POLICE
Words and Music by Thomas Yorke, Jonathan Greenwood,
3 4
Colin Greenwood, Edward O’Brien and Philip Selway
© 1997 Warner/Chappell Music Ltd
UK/EU reproduced by kind permission of Faber Music.
US/CAN reproduced by kind permission of Hal Leonard Corporation
All Rights Reserved. International Copyright Secured F F# G G5

TOTAL GUITAR OCTOBER 2018


BACKING TRACK (TRACK 64)
This song comes with a backing track (minus guitar) on
your CD. Simply insert the disc in your player, press play
and jam along, guitaraoke style!
RADIOHEAD / KARMA POLICE

SONG SHEET

Intro
rm
Am D9/F# Em G
Chorus Repeat chorus
Asus2 C D G F#
F Em G
This is what you get
Asus2 D G5 D/F# C Bm
C D
Outro
Am G F#
Bm D Dsus4 Bm D G D G
This is what you get
For a minute there I lost myself
C D
Verse 1 G
This is what you get
D Esus4 E
Am D9/F# Em G Am I lost my – se – elf
Bm C Bm D
Karma police arrest this man Bm D G D G
When you mess with us
F Em G Am For a minute there I lost myself
He talks in maths, he buzzes like a fridge D Esus4 E
D G
Verse 3 I lost my – se – elf
C Bm Am Bm D Am D9/F# Em G Am
He’s like a detuned ra – di – o
Karma police I’ve given all I can
Bm D G D G D Esus4 E
F Em G
Verse 2 It’s not enough, I’ve given all I can
Am

Am D9/F# Em G Bm D G D G
Am D G
Karma police arrest this girl For a minute there I lost myself
But we’re still on
F Em G D Esus4 E
Am C Bm Am Bm D I lost my – se – elf
Her Hitler hairdo is making me feel ill
the payro – o – oll 877
D G C Bm Am Bm D
And we have crashed her par – t – y Ad lib to end
RADIOHEAD KARMA POLICE Intro TRACK 64

q = 71
Am D 9/F # Em G Asus 2 F Em G

# # #
0 0 0 0 0 3 0 0 1 1 1 0 3
T 2 2
1
2 2
1
2
1
2 2
1
2 0
0
0 0
0 0 0
0 0 0 2
0
0 2 2
0
2
0
2 2
1
2
1
2
1
0 0
0
0 0
0 0 0
0 0 0 2
0
0
2 2 2 2 0 0 0 0 2 2 2 2 0 0 0 0 0 0 2 2 2 2 2 3 3 3 3 3 2 2 2 2 0 0 0 0 0 0
B 0 0 0 0
2 2 2
2
0
2 2 2
0 0 2 3 3 3 3
0 0 0 0 0 3
1
3
1
3
1
2
0
2 2 2
0 0 2 3 3 3 3
1

Asus 2 D G5 Dsus 4/F # C Bm Am Bm D Dsus 4

œœ œ œ œ œ œœ œ œœœœ
#
0 2 3 3 3 3 0 0 0 0 0 0 2 2 0 2 2 2 3 3 0
T 2 2
0
2 2 0 2 2
3
2
3
2 0
3
0
3
2
3 0 1
2 0 0
1
0 0
3
4
3 0
4 0 2
1
2
1
2
1
2 2 2
1 3 1 0
2 2 2 2 2 0 4 4
3
4
3
4
0
0
3
2
3 3
2 2 2
3
2
3
2
0
0
2 2 2 2 0 0 0 0 0 0 0 0 0 2 2 4 4 2 2 2 2 2 2 2 2 2 2 0 4 4 4 4 0 0 0 0 0 0 0
B 0 0 0 0
3 3 2 2
3 3 2 2 0 0 0 0 0 0 0 0 2 2 2 2
5

Make sure your fretting finger movements are minimal as you change chords. For example, keep your first and third fingers in the same position for the first two chords
and simply move your second finger to the sixth string. This leaves your fingers in prime position for the changes to Em and then G.

OCTOBER 2018 TOTAL GUITAR


THE GAS 96

STATION REAL WORLD REVIEWS OF THE


94

BEST NEW GEAR

Welcome to the GAS (Gear Acquisition Syndrome*)


Station! Every issue, TG scours the market for the
hottest new gear and brings you transparent reviews
that you can trust. From the smallest of accessories
that make your life easier, to big investments such as
brand new guitars, amps and effects pedals – if it’s
88 worth your attention, you’ll find it here!

HOW WE TEST BEST BUY AWARD

CURATION NO SNAKE OIL


TGBestBuyAwardsare
reservedforstand-out 089 START ME UP
productsthatearnafive-star Five new products for you to try
Our product selection is \rx#zrqġw#Ľqg#xv#jhwwlqj# rating.Thisisthebest,most
excitingnewgearthatyou
driven by our love of gear.
We select the most exciting
hung up on hokey mythology
or nonsense marketing
need tocheckout 090 IBANEZ AZ224F
products on the market every speak: we aim to bring you Has Ibanez perfected the double-cut?
month to bring you opinions bullshit-free opinions on the
you can trust. gear you’re interested in.
094 VOX MINI SUPERBEETLE
FACE-VALUE REVIEWS WE CAN’T BE BOUGHT The sound of the 60s in miniature
We’re not gear snobs here at TG review scores are a true
Total Guitar. We judge it on
whether it looks good, sounds
uhľhfwlrq#ri#rxu#h{shuwvġ#
opinion on the product
096 MARTIN DX1AE
good and plays well – not by
the name on the headstock.
they’ve been testing. You’ll
qhyhu#Ľqg#d#udwlqj#lq#rxu##
BEST FOR…
Differentguitaristshave
MACASSAR BURST
differentneeds.Thisbadge
The latest X-Series model
mag that has been bought
highlightsaparticularstrength
and paid for.

*WHAT IS GAS?
thataproducthasinaTGTest
orGroupTest,soyoucan 098 THE TG TEST:
REAL WORLD REVIEWS
Gear Acquisition Syndrome
is the guitar-player’s We test every product under
choosewhat’sbestforyou
RETRO ROCKERS
never-ending urge to acquire the conditions that they were Four guitars hosting the Bigsby True Vibrato
new gear, irrespective of designed for. For example,
whether they actually need it.
Don’t pretend you don’t
if an amp is designed to be
played loud, rest assured BEST 104 ROUND-UP: COMPACT
have it – we all do!
that we’ll have tested it at
rehearsal/gig volumes!
FOR… REVERB PEDALS
From the weird to the wonderful...

SUPERB, A BEST BUY EXCELLENT ABOVE AVERAGE KIT SOME ISSUES POOR
106 FUZZROCIOUS GREY STACHE
Fuzz? Distortion? Noisemaker? Yes!

TOTAL GUITAR OCTOBER 2018


GAS STATION

011 05

04
02
89

03

START ME UP!
Five awesome new products to get your gear engine revving this month…
DUNLOP FLOW JOYO JP-05 PORK KNUCKLE SLIDES GATOR G-TOUR BBE STOMP BOARD

1 POWER SUPPLY
3 4 5
These mighty picks promise Designed by US Two new tour-grade BBE has crammed eight

2
to add thickness and volume JOYOhasgotinonthe accessories giant Clayton, flightcases have just pedal models into its
to your notes and chords, rechargeablepedalboard the somewhat landed from Gator, which Stomp Board plugin, a
while their bevelled edges ensure powersupplyactwithone unfortunately named Pork look to be seriously resilient. The self-contained guitar effects
they don’t get stuck between ofthemostaffordable Knuckle ceramic slides promise G-Tour pedalboard cases are solution that comes with its own
strings, making for swifter lithium-ionPSUsonthemarket. to provide unmatched sustain built from heavy-duty wood with preamp section. The pedals
movement. Powerful overtones, TheJP-05offerseightDC and volume, with no uneven aluminium corner reinforcement, include the Free Fuzz, Green
courtesy of the meaty Ultex outputsandone5VUSBoutput, surfaces to dampen the tone. and come with 3M hook and loop Screamer vintage overdrive,
withoneswitchableoutput Inside the slides, you will find a fasteners, plus a heavily-padded Mind Bender vibrato/chorus,
material, make these stand out
capableofhandling9V,12Vor unique inner ribbing (quiet at the interior that ensures your pedals Opto Stomp optical compressor,
from the rest of the Dunlop
18Vat100mA.Four9Voutputs back, please, no sniggering), go nowhere while you’re on the Sonic Stomp sonic maximizer,
range, and a low-profile grip aims move. Best of all, it features two Soul Vibe rotary speaker, Tremor
cover100mAapiece,whilethree which allows air to circulate
to prevent slippage onstage. offer500mAforpower-hungry side handles, meaning you can tremolo/auto-pan and Two Timer
around your sweaty digits, while
Available in sizes ranging from digitalpedals.There’snowordon ensuring a comfortable fit. The just lift the ’board out of the case Delay. Plus four amp models, a
73mm up to 3mm, plus Andy batterylife,butwedoknowthat slides are available in small – and beneath it, there are tilt-style tone control, a gate and
James and John Petrucci the7.4V/4,400mAhbattery (ring size J), medium (V½) and storage compartments for a spring reverb. It’s available for
versions. (from £6.49 for a pack takesaround2.5hoursto large (Z½). cables and other accessories. PC and Mac in VST/AU/AAX
of six, jimdunlop.com) charge.(£89.95,joyoaudio.co.uk) (from £21.99, jhs.co.uk) (from £229, gatorcases.com) formats. ($129, plugivery.com)

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION

90

TOTAL GUITAR OCTOBER 2018


REVIEW

1 ALTER
AT A GLANCE
IBANEZAZ224F
SWITCH
The AZ224F boasts a
whopping nine tonal BODY: Basswoodbody
variations courtesy of w/ flamed maple top
2
Has Ibanez perfected the this mini-toggle and
the five-way selector
NECK: Roasted maple
SCALE: 648mm (25.5")

contemporary double-cut? £1,069


2 TUNERS
Gotoh’s Magnum
Lock tuners are
FINGERBOARD:
Roasted maple
FRETS: 22

L
onboard here,
PICKUPS: 2x Seymour
ook, we could open this Just sitting down with the AZ is complete with Height
Duncan Hyperion
review by banging on a revelation; the looks may be Adjustable Posts to
single coils,
about how Ibanez is classic, but the comfort and precisely set the
1x Seymour Duncan
tension for each string
synonymous with shred fretboard access is unprecedented. Hyperion humbucker
gods Joe Satriani, Steve Vai Ibanez’s super all-access neck
and Paul Gilbert, but we all know joint means you’ll have no 3 SIDE DOTS
Ibanez has
thought of everything
CONTROLS: 1x volume,
1x tone, 5-way pickup
selector switch, Alter
there’s more to the Japanese problem up at the dusty end, while
– the AZ’s side dots Switch
guitar giant than pointy an ergonomic back contour makes
even glow in the dark, HARDWARE: Ibanez/
headstocks. Over its six-decade for a guitar that melds into your so there’s no excuses Gotoh T1502 vibrato,
history, the company has found body. That neck will be a surprise for missed frets on Gotoh Magnum Lock
favour with guitarists of all stripes to anyone used to Ibanez’s dark stages machineheads w/
– the jazz-friendly Artcore, the legendary, super-skinny Wizard H.A.P. Graph Tech TUSQ
XL nut
indie delight that is the Talman – surĽohv/ krzhyhu> wkh rydo F/
but the AZ series marks its most erughulqj rq G/ surĽoh lv fhuwdlqo| LEFT-HANDED: No

laser-focused attempt to create pruh ri d sdop0Ľoohu/ exw zh FINISH: Brown Topaz


the ultimate ‘players’ player’ reckon it has a more universal 3 Burst (shown), Blue
IcebergGradation
guitar, courtesy of four years’ R&D appeal while still being svelte
CASE: Hybrid
and input from six-string savants enough for fretboard heroics, hardcase/gigbag 91
such as Tom Quayle, Martin Miller especially with its incredibly light
CONTACT: Headstock
and Andy Timmons. But can one vhdohu Ľqlvk1 Wkh yleudwr lv d mr| wr Distribution
guitar be all things to all players? use, too; even if you tend to shun 01215086666
www.ibanez.com

THE AZ’S PLAYABILITY IS


IMMEDIATELY GRATIFYING...
The AZ224F clocks in at the zkdpp|/ |rx pd| Ľqg |rxuvhoi
pruh dļrugdeoh hqg ri wkh adding in subtle shimmers, such is
line-up, with an Indonesian build the smoothness of the system and
and basswood (rather than the stability of the tuning.
upper-end Prestige’s alder) body, While the AZ’s playability is
but still delivers the core of what immediately gratifying, the pickup
makes the AZ range such a switching takes a bit more
winning prospect: in short, thought, and the key lies in the
everything. We’re talking a Alter Switch. Flick it down, and the
roasted maple neck and fretboard, selections are as you’d expect from
complete with hard-wearing an Alnico V-equipped HSS guitar:
stainless-steel frets, glow-in-the- d foxwfk ri idw/ kl0Ľ vlqjoh0frlo
dark side dots and a non-stick tones that excel at contemporary
Graph Tech TUSQ XL nut; Gotoh clean sounds. But switching in the
Magnum Lock machineheads, other direction opens up four
with height-adjustable posts for dgglwlrqdo wrqhv= srvlwlrq Ľyh uxqv
optimum string angle behind the the two singles in series to 1
nut; a Gotoh-designed vibrato, approximate a humbucker; next is
with a lockable tremolo arm that the neck and single humbucker
grhvqġw ľrs durxqg> dq lqfoxghg coil nearest the bridge; then the
Photography: Adam Gasson

hybrid hardcase/gigbag… oh, and singles in series with the


a set of newly designed Seymour humbucker; followed by the single
Duncan Hyperion pickups with humbucker coil nearest the neck;
nine (!) selectable positions. then the humbucker as normal.

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION
Ibanez’s super all-access
neck joint means you’ll have
no problem at the dusty end

Feel the steel


What’s the big deal with
stainless steel frets?

T
he majority of guitars
you’ve played have likely
featured nickel frets – the
industry standard for decades.
Ibanez, however, has equipped
its AZ series with stainless steel
frets, which used to be found
rqo| rq erxwltxh#rļhulqjv#iurp#
Suhr, Anderson and Vigier, but
are becoming more
commonplace on guitars from
92 the likes of Ernie Ball Music
Man and Schecter, too. The
reasons are simple: stainless
vwhho iuhwv rļhu d vprrwk ihho
ALSO TRY...
and increased corrosion FENDER DELUXE
resistance over nickel frets, STRAT HSS
meaning decreased wear from While traditional Strats
can’t boast the same
fretting and sweat. You won’t
versatility, this HSS
need to refret stainless steel model features
frets as frequently… if ever! The noiseless single coils
wudgh0rļ lv wkdw ehfdxvh wkh and an S-1 switch to
material’s so durable, it can split the bridge
’bucker.
damage luthiers’ tools – so if
you do need any fretwork done,
it’ll cost you extra. CHARVEL PRO-
MOD DK24 HSS
New for 2018, this speed
That grants you access to darker, boost in their signal chain for love the subtle output jack, hidden machine is similarly
jazzier neck tones, punchy seriously high-gain sounds. in a recess near the strap button, well-spec’d, with a
roasted maple neck,
all-pickups-on sounds, and What’s most striking is how and the thumbwheel to lock the Seymour Duncan
thinner single-coil snap. well-balanced the pickup sounds whammy bar in position. With the pickups, a Gotoh
Frpelqhg zlwk wkh#vwdqgdug# are across the range – nothing’s AZ line, Ibanez has created a guitar Custom 510 vibrato
positions, there’s an unparalleled overly dark or spiky. It all adds up that has the potential to appeal to and locking tuners.
fkrlfh ri wrqhv Ğ li#|rx#fdqġw#Ľqg#d# to an inspiring set of tones that just about any player – and in an
mid-position quack you like here, retain their character through gain. age of division, that’s a very
it doesn’t exist. It’s hard to think of an area welcome achievement.
SCHECTER SUN
That versatility makes the AZ a where Ibanez could improve here Michael Astley-Brown
VALLEY SUPER
dab hand at just about any kind of – sure, ebony fretboard and
SHREDDER III
FEATURES The Super Shredder lives
playing – although it is worth hardtail options would be nice, and
SOUND QUALITY up to its name, with a
noting that while the humbucker some players may just prefer a Floyd Rose locking
SUMMARY

does the classic rock thing simpler coil-split to a whole extra VALUE FOR MONEY
vibrato, plus an HSS
extremely well, it’s not the most set of pickup positions – but that’s BUILD QUALITY set of cutting-edge
high-output pickup in the world, testament to the company’s PLAYABILITY EMG Retro Active
OVERALL RATING pickups.
so metal players might want a meticulous attention to spec. We

TOTAL GUITAR OCTOBER 2018


T H E GA S
STATION

94

TOTAL GUITAR OCTOBER 2018


REVIEW

3 1 LOOKS
The Mini
Superbeetle’s classic
style extends to a
chrome steel tubular
stand, with the
correct trapezoid
vertical logo on the
1x10 Celestion-
1 powered cabinet

2 EFFECTS
To nail those
classic sounds from
the 60s as well as
2 more up-to-date
stuff, the Mini
Superbeetle includes
reverb and an
excellent Nutube
valve-powered
tremolo

3 POWER
The Mini
Superbeetle delivers
25 watts into its own
8ohm cabinet, but
can produce up to

VOX MINI SUPERBEETLE £349


50 watts into a
4ohm load

The sound of the 60s – in miniature


95

I
t’s Vox’s 60th anniversary Vxshuehhwoh dovr ehqhĽwv iurp d decent Rickenbacker or Gretsch –
year, and by way of digital spring reverb and tremolo, lw#vrxqgv#eljjhu#wkdq#lwv#580zdww# AT A GLANCE
celebrating it, we’ve been powered by Nutube for a vintage- rating. The digital reverb is superb,
TYPE: Hybridvalve/
blessed with a stream of new vw|oh hļhfw1 Qxwxeh lv d qhz ydoyh going from natural ambience at digital/solid state
and highly-tempting type developed by Vox’s parent lower volumes to a deep cavern OUTPUT: 25W into
products, one of the more recent company Korg, in association with hļhfw#wkdw#grhvqġw#wrwdoo|# 8ohms, 50W into
being this Superbeetle mini stack, Noritake Itron, which uses vacuum overpower the guitar. Add a decent 4ohms
which takes its inspiration from ľxruhvfhqw glvsod| whfkqrorj|1 delay and a Strat, select the bridge SPEAKER: 1x Celestion
the AC100 and Super Beatle stacks Normally seen in microwaves and pickup and you’ll get an uncanny custom 10"
Vox made in the UK and USA washing machines, VFD’s operate recreation of the classic Hank VALVES: 1x NuTube 6P1
during the 1960s and notably used very much like a traditional valve Marvin sound that powered The CONTROLS: Gain,
by the Fab Four at some of their – they have a cathode, anode and a Shadows hits of the early 60s. It volume, bass, treble,
biggest gigs. control grid to switch display also covers classic blues and rock tremolo, reverb, eco
switch, EQ deep/flat
with ease and nearly gets into switch

A STUNNING RECREATION Brian May territory with the gain


maxed out.
SOCKETS: Guitar in,
headphones/

OF CLASSIC VOX TONES As well as being a perfect


addition to any living room based
on its looks alone, the Superbeetle
recording out,
speaker out x2
WEIGHT: 9kg
Clad in black basketweave vinyl vhjphqwv rq dqg rļ1 Qxwxeh lv is a great tool for home practice DIMENSIONS
[HXWXD]:
and diamond grille cloth, the wkh Ľuvw YIG ghvljqhg iru dxglr and recording, with low enough 596x323x180mm
Superbeetle looks like a classic Vox dqg hļhfwlyho| uhsodfhv d 45D[:/ noise levels to deliver pro-level
CONTACT: Vox
from every angle, including a taking up much less space and results into a computer or DAW Amplification
scaled-down vertical logo and using a tiny fraction of the power, from the speaker-emulated 01908 304600
tubular stand for the 1x10 with an estimated lifespan of headphones socket. voxamps.com
extension cab, and a grey/black 10,000 hours. Nick Guppy
control panel with chickenhead The Superbeetle provides a
FEATURES
knobs. The electronics are based stunning recreation of classic Vox
SOUND QUALITY
on the MV50 range of mini heads, tones based on the legendary AC30
Photography: Adam Gasson

SUMMARY

combining a Nutube 6P1 valve in Top Boost channel, with a warm,


VALUE FOR MONEY
the preamp with a class D power slightly boxy midrange at lower BUILD QUALITY
stage that can produce up to 50 gain giving way to a harmonic- USABILITY
watts into a 4ohm load. The mini laden chime that’s itching for a OVERALL RATING

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION

96

TOTAL GUITAR OCTOBER 2018


REVIEW

MARTIN DX1AE 1 BACK AND


SIDES E
HPL isn’t just a

MACASSAR BURST
cost-saving material, TYPE: Dreadnought
it has the advantage electro acoustic
£679 of being sustainable
and more stable if
TOP: Sitka spruce
BACK & SIDES: HPL
your guitar is in an NECK: Brown birch
The X Factor? environment of
changing
laminate
SCALE LENGTH:

T
temperatures 645mm (25.4")
here are certain acoustic kind of organic woody experien FINGERBOARD:
brands players aspire to newcomers might expect from
own because of their Martin. The HPL has a matte 2 PREAMP
Like Martin’s other
X-Series models this
Richlite
ELECTRICS: Fishman
Sonitone w / tone and
lofty reputations, and if Ľqlvk#dqg#ihhov#sodvwlfn|#wr wkh
uses the Fishman volume controls
they can own them for touch, while the laminate neck Sonitone system, with HARDWARE: Chrome
less, all the better. Clearly Martin adds noticeable weight. tone and volume dials enclosed tuners,
and Taylor are sensitive to this and Wrqdoo|#lw#sohdvhv1#Wkhuhġv#d covertly-placed inside white corian nut, white
have made moves to woo potential zdup#orz0hqg#dqg#frqĽghqw the soundhole Tusq saddle
CASE: No
customers perusing the mid- projection in the highs that we
priced £500 market and convince
them to scrape together some
zdqw#iurp#d#guhdgġ/#zlwk#wkh
ľdwwhu#Pduwlq#Shuiruplqj#Duwlv
3 BATTERY
ACCESS
We’ve played
LEFT-HANDED: Yes
FRETS: 20
FINISH: Sunburst 1
more cash for their entry-level qhfn#vkdsh#rļhulqj#d#frpiruwd |# Sonitone-loaded CONTACT:
rļhulqjv1#Qr/#wkh|ġuh#qrw#jrlqj#wr# spacious platform for most acoustics with the Westside Distribution
nine-volt battery westsidedistribution.
give you the same thrill as a Ľqjhuslfnlqj#qhhgv1# placed in a pouch com
ixoo0idw#Ġjhqxlqhġ#G05;#ru#;47FH# Pduwlqġv#vwxfn#zlwk#Ilvkpdq inside the body that
exw#wkdw#grhvqġw#dozd|v#phdq# orz0nh|#Vrqlwrqh#suhdps#v|vwh hp can be susceptible to
wkh|ġuh#sdohu#lplwdwlrqv#hlwkhu1#Lq# on its entry models for a while coming loose. Martin
have a separate
wkh#fdvh#ri#Pduwlqġv#[0Vhulhv/#d# qrz/#exw#zhġg#dujxh#lw#pljkw eh h#
compartment
glvwlqfw#h{shulhqfh#lv#rļhuhg#dorqj# time for a change after playing accessed via the
with the expectation of the Wd|oruġv#Dfdghp|#prghov#zlwk lower bout edge
Qd}duhwk eudqgġv dwwhqwlrq wr TF their version of the superlative

1
WARM LOW-END AND CONFIDE
PROJECTION IN THE HIGH...
and playability. This time with a H{suhvvlrq V|vwhp zlwk wxqhu1
khdg0wxuqlqj#Ľqlvk1 warm character of this guitar he elps
This dreadnought Maccasar round out any harsher higher-e end 2
Exuvw#Ľuvw#fdxjkw#rxu#zdqghulqj# plugged in, which is welcome, and
a
eye on the Martin stand at the the treble can be further dialled
QDPP#vkrz#hduolhu#wklv#|hdu1#Wkh# grzq#zlwk#wkh#wrqh#frqwuroġv
sunburst says vintage but the satin uroo0rļ1#
Ľqlvk#dqg#vlpsoh#dssrlqwphqwv# Zh#vwloo#wklqn#wkh#frpsdq|ġv
jlyhv#lw#d#frqwhpsrudu|#vodqw1#Dqg# shorter scale, solid wood
now we have it up close and Guhdgqrxjkw#Mxqlru#lv#the entry y
shuvrqdo#lw#grhvqġw#glvdssrlqw1# level model to buy; for the mon
Wkh#[0Vhulhvġv#vwulshg# wklv#grhvqġw#txlwh#gholyhu#
stratabond birch laminate necks compared – especially with no
can divide opinion for their gigbag included.
dhvwkhwlf>#zhġuh#qrw#kxjh#idqv#ri# Qhyhuwkhohvv/#wkh#ehjxlolqj wr rs
the look combined with paler Ľqlvk#khuh#zloo#eh#d#vhoolqj srlq
qw#
spruce tops, but here with the for some.
darker sunburst hues of the spruce Rob Laing
and the stripes of the, rather
FEATURES
synthetic look of the wood grain
SOUND QUALITY
printed overlay on the HPL (high
Photography: Adam Gasson

SUMMARY

pressure laminate) back and sides, VALUE FOR MONEY


the brown version works better. BUILD QUALITY
The feel of this guitar in the PLAYABILITY
kdqgv grhvqġw h{dfwo| h{xgh wkh OVERALL RATING
3
OCTOBER 2018 TOTAL GUITAR
T H E GA S
STATION

98

Words Ed Mitchell / Photography Neil Godwin

BIGSBY-LOADED
RETRO ROCKERS
The Bigsby True Vibrato is the ultimate in vintage cool.
Meet four guitars playing host to the iconic whammy bar...
TOTAL GUITAR OCTOBER 2018
THE TG TEST

99

I
t might be a pensioner but, like Rolling zkhuh#lw#zdv#rļhuhg#dv#dq#xsjudgh#rq#Gxr#Mhwv#
Stone Mick Jagger, the Bigsby True dqg#J9453#Fkhw#Dwnlqv#prghov1#
Vibrato is still doing the business, and Wkhvh#gd|v/#d#Eljve|#lv#dq#hdv|#zd|#iru#
using its wiggle stick to devastating pdqxidfwxuhuv#wr#jlyh#wkhlu#zduhv#vrph#
hļhfw1#Wkh#Ľuvw#wuxo|#ixqfwlrqdo# dxwkhqwlf#ylqwdjh#frro1#Zklfk#eulqjv#xv#wr#wkh#
vibrato unit, the Bigsby was the brain jxlwduv#lq#wklv#jurxs#whvw1#Wkh#\dpdkd#Uhyvwdu#
fklog#ri#Sdxo#D#Eljve|/#lqyhqwru/# RS720B, Gretsch Electromatic G5420T, Italia
motorcycle racer and guitar tweaking Prghqd#Fkdoohqjh#dqg#KØiqhu#Yhu|wklq#Eljve|#
jhqlxv1#Eljve|#ehjdq#shuihfwlqj#klv#yleudwr#lq# Prg#Ğ#doo#ri#zklfk#duh#sdfnlqj#Olfhqvhg#Eljve|#
wkh#plg#wr#odwh#73v#dqg#e|#wkh#iroorzlqj#ghfdgh# xqlwv1#Hdfk#rqh#ri#wkhvh#jxlwduv#ehqhĽw#iurp#
klv#ghvljq#zdv#d#ihdwxuh#rq#Ihqghu#Whohfdvwhuv# wkh#wrqh#dqg#vxvwdlq#errvw#|rx#h{shfw#iurp#d#
dqg#qxphurxv#Jlevrq#dqg#Hslskrqh#jxlwduv1# Eljve|/#qrw#wr#phqwlrq#wkdw#idprxv#dhvwkhwlf#
That said, the True Vibrato’s most iconic ehdxw|1#Wkh#txhvwlrq#lv/#zklfk#ri#wkhvh#prghuq#
partnership was with the Gretsch catalogue classics wears its historic hardware best?

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION

YAMAHA REVSTAR GRETSCH ELECTROMATIC


RS720B G5420T
Carry that weight... £976 Dirty deeds done reasonably cheap £669
First impressions? Pretty guitar. Shame I don’t play rockabilly stuff, really...
The RS720B is the undisputed heavyweight champion in this Countless guitar nerds miss out on the joy of a Gretsch because they
line-up. Your plucky Gretsch, Italia and Höfner contenders average w|shfdvw#vwxļ#olnh#wkh#J8753W#dv#urfndeloo|#pdfklqhv1#Ohvw#|h#irujhw/#
a little under 3.6kg (8lbs) apiece. That’s in the same ballpark as an Malcolm Young of AC/DC plied his trade on Gretsch Jet and White
alder-bodied Fender Telecaster. The Yamaha tips the scales at a Falcon guitars. Pete Townshend of The Who also played a big-bodied
heftier 4.1kg (9.1lbs). You’d expect those sort of numbers from a Gretsch G6120 on the band’s Who’s Next and Quadropenia albums.
Gibson Les Paul Standard. Those guys didn’t play rockabilly.

Why would I want a heavier guitar? Is this based on a particular vintage model?
Well, the extra beef doesn’t hurt when you’re talking about tone. \hv/#lqghhg#lw#lv1#Wkh#J8753W#lv#d#wulexwh#wr#wkh#lfrqlf#J9453/#wkh#

100

Dgg#lq#wkh#UV:53Eġv#vrolg#pdkrjdq|#dqg#ľdph#pdsoh#wrqhzrrgv/# guitar that was beloved by Stray Cat maestro Brian Setzer, doomed
vhw0qhfn#frqvwuxfwlrq#dqg#wkh#fkxqn|#Olfhqvhg#Eljve|#E83#yleudwr# rocker Eddie Cochran and Nashville shredder Chet Atkins. Like its
anchoring the strings and you wind up with a guitar brandishing ancestor this guitar has the maple-ply hollow body, oversized
some incredible sustain. f-holes and, of course, a Bigsby, in this instance a Licensed
B60 model.
The pickups have a real Gretsch vibe...
Yeah, the humbuckers have slotted covers to echo the eye candy of a So, is it possible for me to get a decent rock tone out of those
classic Gretsch Filter ’Tron. What’s really interesting is how these pickups?
pickups are voiced. They could have chiselled in any old set of Khoo/#|hv$#Wkh#Eodfnwrs#IlowhuġWurq#kxpexfnhuv#rq#rļhu#khuh#
’buckers. Instead, Yamaha has under-wound these things to get as combine that classic Gretsch twang with some modern tonal girth.
much vintage-style warmth and clarity as possible. They’ll go from rockabilly to AC/DC without breaking a sweat.

AT A GLANCE AT A GLANCE
KEYFEATURES: Doublecutaway solid KEYFEATURES:Singlecutaway
mahogany body w/ maple top and flame laminated maple hollow body, set
maple veneer, three-piece mahogany maple neck, 304mm radius rosewood
neck, 349mm radius rosewood fingerboard, 624mm scale, 2 x Black
fingerboard, 22 jumbo frets, 609mm Top FilterTron humbuckers, Bigsby
scale,2xlowoutputAlnicoV humbuckers, B60, 2 x volume, master volume,
volume, tone with push/pull ‘Dry Switch’ master tone, three-way pickup
coil split, three-way pickup selector blade selector toggle switch
switch, brushed steel tune-a-matic FINISH: Fairlane Blue, Orange Stain,
bridge Bigsby B50 True Vibrato Aspen Green, Candy Apple Red
FINISH: Vintage Japanese Denim, CONTACT: gretschguitars.com
Ash Gray, Wall Fade, Shop Black
CONTACT: uk.yamaha.com

TOTAL GUITAR OCTOBER 2018


THE TG TEST

HÖFNER VERYTHIN ITALIA MODENA


BIGSBY MOD CHALLENGE
Mod grooves in delirious ways £649 Is there an Eko in here? £799
=

I get it. This is the perfect guitar for Brexit voters... I didn’t know that Austin Powers designed guitars...
Maybe, but this Höfner’s model designation isn’t just a clever name. Actually, British guitar guru Trev Wilkinson is the bloke behind the
The RAF roundel concealing much of this Verythin guitar’s top is Italia brand. The groovy Mondena Challenge references the bonkers
designed to attract the Mod crowd. It evokes memories of pimped rļvhw#erg|#fuhdwlrqv#vhw#orrvh#e|#Hnr#lq#Lwdo|#dqg#Whlvfr#
Lambretta scooters. in Japan back in the 1960s. We should also say that Italia build
txdolw|#lv#vljqlĽfdqwo|#kljkhu#wkdq#wkh#rog#vfkrro#fxulrv#wkdw#kdyh#
So, what’s the skinny on the actual guitar beneath the marketing inspired them.
bumpf?
Skinny couldn’t be more apt. Born in the swinging 60s, the Verythin All show and no go then?
zdv#Jhupdq#eudqg#KØiqhuġv#dqvzhu#wr#wkh#Jlevrq#HV06681#Olnh#lwv# Nope. The Modena Challenge is high spec with its German-carved

101

illustrious US inspiration, the Verythin has a semi-acoustic body Korina body, bolt-on maple neck and rosewood ’board. As for the
zlwk#d#vrolg#fhqwuh0eorfn1#Wkh#elj#glļhuhqfh#lv#wkdw#wkh#KØiqhu#orrnv# metal bits, you get three mini humbuckers, an anchored tune-a-
like it’s been on a low-carb diet. It’s sides are just 32mm deep. matic bridge with roller saddles and a set of locking tuners. Of
course, the Challenge wouldn’t be on these pages if it wasn’t for its
Is it built in Germany? Olfhqvhg#Eljve|#E83#yleudwr1
Qrw#dw#wklv#sulfh#srlqw1#KØiqhu#gr#surgxfh#vwxļ#lq#Ghxwvfkodqg/#
vshflĽfdoo|#wkh#kdqgfudiwhg#83324#Ylrolq#edvv#pdgh#idprxv#e|# What’s this ‘German-carved’ business?
former Beatle Paul McCartney. The Bigsby Mod is made in China to a Look closer and you’ll see that the edges of the body are bevelled.
very decent standard. Oh, and you get an additional set of gold ‘hat This sculpting echoes the German carving on 60s Mosrite and
box’ control knobs, just in case you’re not feeling the stock black high-end Rickenbacker 381 model guitars. What’s the point? It
‘speed’ jobs. looks cool. End of.

AT A GLANCE AT A GLANCE
KEYFEATURES: Twincutaway KEYFEATURES: Offsetsolid korina
semi-acoustic body with laminated body, bolt-on hard rock maple neck,
spruce top and laminated maple back rosewood fingerboard, 22 medium
and sides, one-piece set maple neck, jumbo frets, 647mm scale, 3 x Italia
304mm radius rosewood fingerboard, mini humbuckers, volume, tone,
22 medium jumbo frets, 627mm scale, five-way pickup selector blade switch,
2 x Höfner humbuckers with nickel anchored tune-a-matic bridge, Bigsby
covers, 2 x volume, 2 x tone, Bigsby B6, B50, E-Z Lock tuners, padded gigbag
vintage tuners with pearloid buttons, FINISH: Metallic Gold Burst,
replacement gold control knob set Metallic Turquoise
FINISH: Mod target only CONTACT: jhs.co.uk
CONTACT: hofner.com

OCTOBER 2018 TOTAL GUITAR


THE TG TEST

The build quality of the

HEAD TO HEAD
Italia Modena is higher
than the 1960s curios
that inspired it

Which Bigsby loaded retro


rocker is a modern wonder?

I
q#vslwh#ri#wkh#yhu|#glļhuhqw#vkdgrzv#wkdw#
they cast, these four guitars actually feel
txlwh#vlplodu1#Hdfk#kdv#d#volp#F#surĽoh/#
chunky frets and remarkably low action.
Now, you might have heard that Bigsby
vibratos don’t stay in tune for love nor money.
That’s not our experience. The locking heads on
our Yamaha and Italia guitars are without doubt
a nice touch but we found the tuning stability
just as agreeable on the non-locking Gretsch
and Höfner.
For the unenlightened, it’s worth nothing
wkdw#d#Eljve|#grhvqġw#rļhu#dq|zkhuh#qhdu#wkh#
range of a string-dumping Floyd Rose. The
hļhfw#lv#pxfk#pruh#vxewoh1#Soxv/#wkh#vkhhu#
chunkiness of the thing adds to the tonal depth
and sustain. You can hear that in the clean
tones of all four guitars. The Höfner and
Gretsch guitars deliver oodles of jangle in the
bridge position and bluesy warmth at the neck.
102 The Italia has more of a fat Strat voice across its
three pickups.

THE HÖFNER AND


GRETSCH DELIVER
OODLES OF JANGLE IN
THE BRIDGE POSITION
What about the Revstar? It’s in a league of its
own here. The low-output pickups reveal a
sweet woody tone that’s just as addictive on
clean and overdriven settings. It’s worth
remembering that Jimi Hendrix produced most
of his work via some of the lowest output
pickups Fender ever produced. On the RS720B
that restraint in the pickup windings means
wkdw#qr#pdwwhu#krz#kljk#|rx#fudqn#wkh#Ľowk#|rx#
can still hear the body and the strings. Splitting
the coils makes that transparency even more,
well, apparent.
Zkloh#wkh#KØiqhu#rļhuv#idploldu#Jlevrq0olnh# Hofner’s mod-
humbucker grunt, the Gretsch Filter’Tron styled retro rocker
also comes with a
sound is something that every guitarist should spare set of ‘hat
experience in their lifetime. It’s like a classic box’ gold knobs
kxpexfnhu#rqo|#lq#kljk#ghĽqlwlrq1#Dv#Pdofrop#
Young discovered, you get a big rock sound
without the wooliness inherent in some
kxpexfnhuv1#Erwwrp#olqh111#wkh#J8753Wġv#Eodfn#
Tops are never shrill but they will punch their
way out of any mix.

TOTAL GUITAR OCTOBER 2018


T H E GA S
STATION

FINAL VERDICT
Which retro rocker is the right one for you?

I
t’s bloody marvellous just what you can such a smart move for Yamaha to, er, buck divide opinion, too, yet we love the tone and
get for under a grand these days. In fact, the trend for overwound ’buckers and instead playability on tap. It really is a good
lwġv jhwwlqj kdughu wr Ľqg d wuxh gxg lq concentrate on lower output in exchange for alternative to the ubiquitous Strat and its
the sub-£1,000 market. So, yeah, no increased warmth and clarity. The result is a countless variants. And then there’s the
dogs here then but we do have our pick guitar that excels at blues and classic rock Gretsch. These Korean-made models are so
of the litter. tones. The Bigsby just sweetens the pot. good it’s getting harder to tell them apart
There’s no getting away from it. The While we like its powerful humbucker from the much more expensive Japanese
Yamaha Revstar RS720B is a truly astonishing sounds and approachable body dimensions, Professional Series models. Of course, history
guitar. In what promises to be a barrage of the Mod-friendly looks of the Höfner tells us that a Bigsby is never happier than
superlatives, we have to tell you that the build Verythin are obviously – pardon the pun – when it’s bolted to a Gretsch but as all the
quality is superb, the playability outstanding wdujhwlqj d yhu| vshflĽf dxglhqfh1 Wkh 93v contenders here can testify, this old timer can
and those pickups are exceptional. It was pawnshop prize style of the Italia might take any great guitar and make it even better.

YAMAHA REVSTAR GRETSCH ELECTROMATIC HÖFNER VERYTHIN ITALIA MODENA


RS720B G5420T BIGSBY MOD CHALLENGE

103

BEST FOR BEST VALUE BEST FOR BEST ALL-


CLASSIC ROCK FOR MONEY MODS ROUNDER

FEATURES FEATURES FEATURES FEATURES


SOUND QUALITY SOUND QUALITY SOUND QUALITY SOUND QUALITY
SUMMARY

SUMMARY

SUMMARY

SUMMARY

VALUE FOR MONEY VALUE FOR MONEY VALUE FOR MONEY VALUE FOR MONEY
BUILD QUALITY BUILD QUALITY BUILD QUALITY BUILD QUALITY
PLAYABILITY PLAYABILITY PLAYABILITY PLAYABILITY
OVERALL RATING OVERALL RATING OVERALL RATING OVERALL RATING

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION

104

COMPACT REVERB PEDALS ROUND-UP


Neunaber Fender Marine
A
s the compact pedal
arms race hots up,
multi-function pedals
are increasingly
Immerse £299
Layer Reverb £110
becoming the norm, even from
smaller manufacturers. This
TAKE THE PLUNGE LAYER UP

W A
means that when you’re here some digital reverbs can feel low lthough this is the largest pedal out of
choosing a reverb pedal, you’re on headroom, the Immerse is the group, it is far from the most
likely to get at the very least a expansive, and can also be run at 12V. feature-rich. Luckily, the sounds are
hall, plate, spring and maybe Five controls on the front panel govern level, exceptional. From in-your-face reverbs with
even a shimmer into the time, depth, reverb type and an additional wkh#gdpslqj#uroohg#rļ/#wr#frpsohwho|#dpelhqw#
bargain. Though most reverbs parameter that changes depending on the verbs that sit below the guitar signal, it’s
are digital, you’ll be surprised to patch. You can kill the dry signal and you can hļruwohvv#wr#Ľqg#d#jrrg#wrqh#zlwk#wkh#Pdulqh#
learn that they’re not just for run it in stereo. In mono, it’s a formidable Od|hu1#Wkh#wkuhh#prghv#rq#rļhu#duh#kdoo/#urrp#
space cadets, and you’re as likely beast, particularly in wet, hall and shimmer and special, with an alternate algorithm for
wr#Ľqg#d#ghfhqw#vsulqj#ru#urrp# modes, but in stereo it’s peerless. The each that can be accessed via a toggle switch.
reverb to liven up a practice amp shimmer setting is huge but it’s the wet mode The shimmer and modulated ’verb are
as you are a patch to casually that we return to, with varying levels of excellent – but the room is the most fun.
throw out huge post-rock modulation and depth for underlining clean Balanced between subtle and biting with a
crescendos. arpeggios, or accenting sparse melody lines. lightly dirty practice amp it’s heaven.
Bearing all of that in mind,
FEATURES FEATURES
we’ve brought together a few of
SOUND QUALITY SOUND QUALITY
the hottest multi-function
SUMMARY

SUMMARY

reverb options for springs, VALUE FOR MONEY VALUE FOR MONEY
rooms, halls and cavernous, BUILD QUALITY BUILD QUALITY
oceanic verbs. USABILITY USABILITY
Let’s dive in... OVERALL RATING OVERALL RATING

TOTAL GUITAR OCTOBER 2018


ROUND-UP

105
From the weird to the wonderful, these ’verbs
have all the sounds your heart could desire...

WALRUS AUDIO Electro-Harmonix AT A GLANCE


FATHOM £201 Oceans 11 £120 BYPASS:
Neunaber, Fender, EHX:
Buffered bypass
HIDDEN DEPTHS CINEMATIC ’VERBS Walrus Audio: Walrus smart
bypass

B G
ased around the FV1 chip, the Fathom is iven the price, you might not expect
POWER:
a worthy representative of the boutique much of the Oceans 11, but don’t Fender, Walrus, EHX: 9V power
pedal market. It sports four patches, underestimate it! There’s a plethora of supply
hdfk zlwk d sdwfk0vshflĽf frqwuro1 Wkhuhġv d settings, from mod and shimmer, to the wild Neunaber - 9-12V power supply
decay, damp and mix knob, and a three-way polyphonic octave, but also a rogue’s gallery of CONTACT:
toggle for modulation level. As a nice extra, standard options like echo, plate, spring, hall Neunaber: Audio Distribution
there’s a second footswitch that maxes out and reverse. While reverse has been out-of- Group +45 6574 8228
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the delay time, so you can dynamically shift it vogue on compact pedals, the demand from
Fender: Fender EMEA
to hang at the end of a passage or lick. Out of shoegazers has remained, and the 11 is likely 0845 305 1122 fender.com
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an interesting idea, the FV1 has never been wacky solo. The core hall and plate sounds are
strong as a pitch shifter and it shows. excellent, too, so it’s not just a one-trick pony.

FEATURES FEATURES
SOUND QUALITY SOUND QUALITY
SUMMARY

SUMMARY

VALUE FOR MONEY VALUE FOR MONEY


BUILD QUALITY BUILD QUALITY
USABILITY USABILITY
OVERALL RATING OVERALL RATING

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION

106

FUZZROCIOUS GREY STACHE £209 AT A GLANCE


TYPE: Fuzzpedal

Fuzz? Distortion? Noisemaker? All of the above! CONTROLS: Volume,tone,


mids,sustain

I
SOCKETS: Input,output,
ntended for use on both bass Qrupdoo|/ d Elj Pxļ lv wxqlqjv grzq wr F Ğ d wxqlqj lq power
and guitar, the Grey Stache characterised by a mid-scoop, and zklfk Pxļ ix}}hv whqg wr jhw BYPASS: Truebypass
POWER: 9VDCcentre-
has been modelled on both wkh wkuhh0zd| dowhuqdwho| vfrrsv excessively dark.
negativepowersupply
the so-called Civil War-era wkhp ixuwkhu/ ľdwwhqv wkhp/ ru Dowkrxjk Ix}}urflrxv ohg wkh only(notincluded)
Elj Pxļ dv zhoo dv wkh boosts them, for a more in-your- charge in terms of modern CONTACT:
General Guitar Gadgets modded face, distortion-like tone. boutique manufacturers, the HighTechDistribution
2htd-uk.com
yhuvlrq/ zklfk zdv lwvhoi edvhg rq Iru vwrqhu dqg grrp ulĿqj/ wkh pdunhw kdv ehhq vrphzkdw
wkh Ylrohw Udpġv Khdg Pxļ dqg scoop simply can’t be beat, saturated in terms of boutique
the 3rd late 1970s version of the nevertheless, it has to be said, gulyhv/ dqg qrz zh Ľqg wkdw zhġuh
pedal. It’s also got a momentary zlwk wkh vxvwdlq mdpphg doo wkh spoiled for choice. Make no
ihhgedfn irrwvzlwfk ehfdxvh/ zhoo/ zd| xs dqg wkh plgv frqwuro mxvw mistake though, cheaper
zk| qrwB above noon, the mid-boost mode kdqgpdgh Pxļv duh dydlodeoh/ exw
There’s your standard three Big sees the Grey Stache pulling the Grey Stache’s fantastic sounds
Pxļ frqwurov dv d uhvxow/ yroxph/ double-duty as a pretty ace dqg fohdq/ wlg| exlog pdnh lw zhoo
tone and sustain, but there’s also a distortion pedal. zruwk lqyhvwljdwlqj1
plgv frqwuro dqg d wkuhh0zd| The Grey Stache handles Alex Lynham
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FEATURES
the mid response of the pedal. dqg grhvqġw pxgg| xs lq orzhu
SOUND QUALITY
SUMMARY

VALUE FOR MONEY


FANTASTIC SOUNDS AND A TIDY BUILD BUILD QUALITY
USABILITY
MAKE IT WELL WORTH INVESTIGATING OVERALL RATING

TOTAL GUITAR OCTOBER 2018


T H E GA S
STATION

FIX YOUR GUITAR

SETTING YOUR NECK


108

ANGLE WITH A SHIM


Top Tip!
You can use a
tapered neck angle
shim on any instrumen
t
with a bolt-on neck:
Duff neck angle? A proper tapered shim will set it acoustic, electric
or bass
right once and for all. This guide will show you how...
Words:JackEllis

A
n absolutely critical you how to make a nice solid
part of a guitar’s maple wedge, which is tapered WHAT YOU NEED
0.5mmthick
setup, the angle at the right angle.
hardwoodmaple
between the neck But why taper it and not veneer
and body of fold some card over? Well, it’s Benchbeltsander
an instrument sets the plane pretty common to see all sorts (orabeltsander
for the bridge saddle’s height. of bad shim materials and mountedinavice)
Flatscrapofwood
Having a bolt-on neck shapes in a pocket but these Paperholepunch
rļhuv d juhdw fkdqfh wr will all introduce an air gap, Parceltape
change this angle with relative which is terrible for sustain! PH2screwdriver
Scissors MEET YOUR EXPERT
ease by using a shim. A shim That’s before we’ve even Jack Ellis runs Jack’s
Sharppencil
is the name of a simple, considered that a non-full Instrument Services
Markerpenthat Tuner Saddle grub screw from his workshop in
miniature, wedge-shaped surface shim will warp the matchesthebody Stringwinder allen keys Manchester. In his career
piece of material to be heel-end of the frets so even if paintjob Stringcutters he has worked on
sandwiched in between the you’ve had a fret dress, your Setofcalipers Trussrodallenkey SKILL LEVEL thousands of instruments,
from simple fixes and
neck heel and the bottom of fretboard can become uneven! (optional) Shortruler Advanced upgrades, to complete
Setuptools: Radiusgauges rebuilds. For more info, see:
the neck pocket. In this Read on to learn how to Freshstrings Feelergauge www.jacksinstrument
month’s tutorial, we’ll show avoid such eventualities… services.co.uk

TOTAL GUITAR OTCOBER 2018


FIX YOUR GUITAR

1 Let’s establish if we need a neck shim first! There are a lot of shims we see that are
installed erroneously when they needn’t even be there. Follow the setup procedure
with a capo on the 1st and fretting at the 15th fret, When tuned up you should have a
2 With the truss rod setting approved, let’s check the nut: stick a capo on the 3rd
fret and test the clearance over the 1st fret with a feeler gauge for each string. You
should be getting a clearance of .004" and marginally more on the bass side. As this is
clearance around .007" with your feeler gauge. Adjust the truss rod accordingly. crucial we’d recommend taking your guitar to a pro to get the nut cut correctly.

109

3 Our Telecaster Custom here is not happy. With the truss rod and nut settings
correct we cannot lower the saddle low enough to get a nice action at the 12th
fret – it will need a neck pocket shim. The other issue may be that you cannot raise the
4 Action at the 12th fret should be 2mm on the sixth string and 1.5mm on the first
string as an average. Decide whether you need a shim. To begin with, the neck
pocket will have to be removed – de-tune your strings to be slack and pop a capo over
saddle high enough to stop it buzzing – you’ll need a reverse shim in that case. the nut. Loosen the large neck screws on the rear with a PH2 screwdriver.

5 Did you find anything strange in there? Sometimes factories will use a card,
sandpaper or plastic to set the neck angle. If you have one try removing it and see
what difference it makes strung up – you may not need it. If the shim is at the bridge
6 We need a shim badly here! Our saddles are way out of whack and couldn’t go low
enough. A .05mm thick piece of maple hardwood veneer will be our shim. Don’t be
tempted to use a thicker one – a small change here makes a huge difference at the
side of the pocket this will tilt the neck towards the player. bridge. We’re drawing around the heel of the neck in pencil to get the shape required.

OCTOBER 2018 TOTAL GUITAR


T H E GA S
STATION

7 Cut around your maple shim-to-be with scissors. You should have the grain
lengthways for strength. Be aware that the scissors may try to steer you with the
grain. In this example we’re going to have the taller side of the shim at the heel (thinned
8 Double check which side you’d like to have the angle on, remembering the tall side
at the heel will move the neck toward the player. Orientate the side you wish to be
thinned at the edge of the board and use parcel tape or similar to stick your shim down.
side of the shim at the other side). Test fit it to check it will fit in the pocket. Don’t bother with a board that’s less than flat!

110

9 Sand down the shim on a belt sander. Experiment with different pressures and
angles and be sure to sand down the taller side too so that you have a nice mini
wedge shape. You need to sand evenly but don’t worry about the thinnest edge
10 Our shim is nearly ready. The frayed edge looks scrappy but it will do the job
perfectly. This shim will taper (ramp) from 0.5mm to nothing but it’s important
to check we have sanded it evenly and that half way along it’s 0.25mm thick. This can
fraying. The tape needs to get sanded a little to make it taper correctly. be done with a set of calipers. Carefully remove your shim by peeling the tape off.

11 Use a suitable marker pen to colour in the visible side if it’s on. Also, use a hole
punch to make the clearance holes for the neck screws in your shim – it’ll cut it
nice and clean. If you don’t do this the shim will split when you re-attach the neck.
12 With the neck on and the strings tuned up again the saddles are able to sit in the
middle of their travel and get us the right height action at the 12th fret! That’s a
full contact neck angle adjustment that gets the best out of the setup. What’s more,
Speaking of which, reattach the neck and see how you got on. the neck pocket should offer more sustain.

TOTAL GUITAR OCTOBER 2018


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OCTOBER 2018 TOTAL GUITAR


THE PLAYLIST

The Playlist
Rise Against’s modern punk hero Zach Blair on singable
riffs, unsung heroes and an addiction to arre chord The song I’d love to cover with
Rise Against…
Night Time
e – Killing Joke
he first song I remember “I’ve been on a real Killing Joke kick
k lately.
hearing… They had a record come out in 2003 3 and there’s
My Generation n – The Who d ulļ lq The Death And Resurrection Shhow that I
“When I was young my dad was a wklqn lv rqh ri wkh ehvw ulļv hyhu zuulwwhq1#Lġg#
classic rock radio DJ. As a kid I just also love to cover Night Time in Rise Against,
loved The Who. The music was loud and shuvrqdoo|1 L wklqn Jhruglh ^Zdonhuu` lv d jhqlxv1#
aggressive. I didn’t realise I was getting I’d love to have a go at anything fromm Black Flag
addictted to barre chords, even at that age. My or Fugazi as well.”
dad was
w watching Woodstock one day and I saw
Pete Townshend
T doing what he did and I’ve The most challenging song to nail live is…
ehhq d idq hyhu vlqfh1 Wkh Ľuvw vrqj wkdw# Torches - Rise Against
grabb
bed me was My Generation.” “There’s a track called Midnight Han nds from a
ihz uhfrugv djr1 Lwġv lq Gurs G dqg llwġv d olwwoh#
The track that made me want wulfn|1 Lwġv ixq wr sod| exw lwġv uhdo hd
dv| wr#phvv#
ay guitar…
to pla xs1 Torches is also tricky. That one sw witches
Iron Man
M – Black Sabbath edfn dqg iruwk1 Wkhuhġv uhdo ulļ| ph hwdo wkhuh1Ĥ
“It waas The Who and Black Sabbath. There was
114 something with both of those bands that I The riff I wish I’d written…
lghqwllĽhg zlwk dw dq hduo| djh dqg L kdyh ehhq d Rock Bottom m – UFO
lifelon
ng fan. With Sabbath, I think the “I love Rock Bottom by UFO. That is a ’70s rock
Ľuvw wklqj
w wkdw judeehg ph zdv suredeo| Iron ġqġ uroo jxlwdu ulļ e| wkh juhdw Plfkddho Vfkhqnhu#
Man1 Hyhu| nlg zdqwv#wr#ohduq#wkdw/#wkdw ulļ#lv dqg L oryh lw1 L dozd|v sod| wkdw ulļ z
zkhq#Lġp#
so sin
ngable.” wu|lqj rxw qhz jhdu dv zhoo1 L zloo sod| lw xqwlo#
vrpherg| whoov ph wr vwrs111 L fdq qġw vwrs1Ĥ#

The track I would play to so


omeone
who had never heard our b band…
Survive
e – Rise Against
“This is before my tenure wiith Rise
Djdlqvw exw L ihho olnh lw hqfdsvxodwhv#wkh#
edqg1 Lwġv idvw/ wkhuhġv d jrrgg ulļ/#d#
kxppdeoh ulļ/ wkh vrqjġv o| |ulfv duh#
hpsrzhulqj dv zhoo1 Wkh o|ulfv vkrz#wkh#
A son
ng I covered in my first band… ethos and ethic of the band. It moves
Black
kened d – Metallica quickly and is energetic.”
ģZkh hq L zdv Ľuvw vwduwlqj lq edqgv
we’d ttry to do Metallica and Anthrax What I love playing right no
ow…
covers. My brother and I joined ‘the Welcome To The Breakdow wn –
good metal band’ in our town. Rise Against
Thosee guys could do (at least to “There’s a song from our last album
p| 4880|hdu0rog hduv, shuihfw called Welcome To The Breakdo own that I’m
Metalllica covers. This was hqmr|lqj sod|lqj1 Wkdw rqh lv v fodvvlf#Ulvh#
arounnd when …And Justice Djdlqvw dqg lv uhdoo| ixq wr sod|1
s The
For All came out and I was Violence, a single from it thatt we
Words: Richard Chamberlain Photo: W ill Ireland

g to nail the solo to


trying released, is fun as well. It ha
as this
ened or something. I
Blacke fkxjjlqj ulļ doo wkh zd| dor rqj wkdw#
say naail it, I was most scratches the metal itch forr me.”
ghĽqlwho| qrw qdlolqj lw/ lw
was mmy version of it. It was Rise Against’s new albumm
vxfk d wulxpsk wr jhw forvh The Ghost Note Sympho onies,
ything like that.”
to any Vol 1 is out now on Virgin
n

TOTAL GUITAR OCTOBER 2018


9 0
900 9001