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Oey setae ~~ Di tild arom ariel ae enh ery ie plus novice, acoustic, | blues and bass tutoridls! © Vox AC15 all-valve combo © Zoom 8080 multi-FX cite peeererees ~ Laney Hardcore guitar amp y peers ~ Guild Bluesbird 6-string. Oe erred el meld mo aoe td cs New ge Oe) here cant be anyone wlio’ lived for guitar music more than ‘bluesman John Lee Hooker =1 mean, even his dog is called Boogie! This issue this everhip 77 year-old invited TG over to his San Francisco home to tak about his new LP ~ and to show off bis anray of guitars and Cadillac, of course, At the other end of the age spectrum, we've also got Silverchair, fresh from School, but already making itbig on the rock seen. ‘They did't have any Cadillacs to show us, but give ‘em time... What else? Oh yeah, an interview with Paul Rodgers, who gave us alive version of All Right Now when he heard we were doing it this issue Anything else? How about Glenn Tipton’s monster soloing? Or Jimi Savages tips for no-messin’ metal John Willams’ Cavatin, Funk from James Brown ~ and the list goes on. No wonder TQ’ the best- selling guitar mag around, I FE a 7 SIWEREHAIR PAGE 15 Metal mayhem ~ ftom 16 year-olds ‘GLENN TIPTON Pa Ex Judas Priest guitarist in solo mode BETH ORTON nae 16 Soulful acoustic balay from a new voce HME HENDERSON Country Rnest session man turns to blues PAUL RODGERS Free’ guitarist and singer returns with a new SOHN LEE HOOKER ‘The grovliest ever bluesman talks to TC 00m #080 MULTT-FX The most powerful FX box around Vor acts THR OE 24 Updated valve amp from a UK legend ‘CuLD BLUESEIRO ‘Guilds new axe looks Tot ike a Les. PRO (CO BRAT FUZZ PEDAL Pare fitz — raw, brash and very lod {LANEY HE2SR HARDCORE COMBO ‘The bedroom amp that’s big enongh to gig with ‘THNGLEWOO0 $2500 BARETTA CUSTOM PGE ‘A new slant on a dassic design oe) ‘CLASSIC TRACK ~ FREE pi ‘That if, that voce, Its All Right Now {GOUSTIG MASTER - JOHN WILLS. ‘The Deer Hunter theme, Cacatina Novice - BARRE CHORDS PAGE 82 Essential chord techniques RAYTHM - JAMES BROWN GROOVES PAGE 8 How to get fy OK ARPEDEIO SOLOS Break lke the wind, with Jini masterclass BASS - NEW ORDER'S PETER HOOK PAGE 104 The tifftastic base machine behind New Order BLUES - PENTATONIG TWISTS A nev twist on pentatonic blues ‘AcousTie- GORDON Atmospherte acoustics, from the UK's finest player = On life, guitars, and why the Boogie miust go on... Pot Soe nee Coes ray ENS STORIES & TWA ORDER PGE Ti ree es! READER ADS =P oe (NEW RELEASES: VIDEOS, sere fe! CDs & TUITION PA wat ‘il a ae TN Dont miss out! icoR MORTIS. Ph ISSUE 28 MARCH 1997 a Se es ne Te CD Contents Free’s gum-chewing anthem, John Lee Hooker's hluesist hits and Peter Hook’ TRACK PAUL RODGERS AlLRight Now (ive) Podge) ex) Foe snger Paul Rodgers plas his ‘las song lve, Taken from the B Sik of the new singe Soul Of Lae © 1900 Ratsbuckle Music PAGE 6 TRACK 2 (GLENN TPTON ‘optem oF Fre pin) (19) A shredding astern, Taken fn the alu aptem OF F 06 Alte Corp IGE TRACKS SIVERCHAIR Stove lohstiiesosnno) 58) THe opeher fron NG abun by Asta test ne band. © 109 Columbia Record PAGE TRAGK ¢ ~ BETH ORTON horever (OcolBaraies) (352) Time to case ef with» Deaf song fra gil witha gut Taken fron the abn Trae Park © 998 Heavenly Reconis PAGE ® TRAOK 5 HOKE HENDERSON So Sad To Be Lonesome (Goon Boy Wtanson) 16) A soll tae on Chicago ues Ey the reformed Contry gutarst, Taken fa the LP First Blood ©1996 Deal Reckoning PAE 1 TRACK 6 SAULT ST MARIE ‘hiken (sou st tana 229 Frlickng folkines. PARE 17 TRACK ‘JOHN GRINDEY Mes ops (inde (227| Flecir-chscal oii PE 37 Eee) TRACKS 8-9, 700M 9080 MUIT-FK Sounds 128) ‘Si Pranceot- deme (06 Ambont angie, PAGER? ‘TRMGK 10 VOX ACIS TBR COMBO ary On emo (8) Retro jungle PAGE 24 Track #1 ‘OULD BLUESBIRO Free asa lust ~ dam 05) Al meets jez. Nice, PANES TOK ® RO CO BRAT DisToRTion 20 Brat demo (101) Fumio than bears ott, PAGE SO TRACK (UNEY HARDCORE 25M COMBO iw tn Te Bark amo 0) Hard meets core, PAGE 33 ‘TRAGK 14 TANGLEWOOD BARETTA cusTOM Taya Big Str - domo 13) Rockmecis,er ick PAGE BL tana TRAGK 15 RUFF OF THE MONTH! last Pan To Gras The Monkees cua) 13) Hey Hey Hey PAGE 6 TRACK 16 (A SPECIAL oomy Heat phaser demo (009) Whoosh sys Lenny, PABERT ‘TRAGKS 17-22 JOHN LEE HOOKER VE RIFFS ‘0 The Mood to (08) ra’ Kingsoae (025) oom Boom ete (9) Deep Biv Se (7) ‘pol Blues (16 (racks: Hoke) ‘qm Boom backing (021) How How How PAGE 60 RAK 23 TUNG GUIDE TRAGKS 24-28 CLASSIC TRAD: FREE AU Right Now eo, vera 12) ‘utr seo (121) Novos version oft (022) Neves wesin of eras (725) al backing tab (79) (Potgesrasan Fred clase 7s rock masterpiece ‘th ful solo and nove ‘runsriptons. And a col back track to jam ov AGE 72 TRACKS 8-14 , er, hookiest - HARRY WYLIE reveals all... ‘TRAGKS 29-30 ACOUSTIC MASTER: SN WILLIAMS Cavatna- payed trough (03) _Apegso backing 05) (aera) Sonnitrack o The Deer Han hn Willans, PAGE 86 ‘TRACKS 31-34 NOVICE: BARRE CHORDS. 8A chord shapes (40) {lasso cheats (105) Surmertine Bis (11) Backing tack (1) Essent chord workshop, PAGE 82 TRACKS 35-38, YT “JAMES BROWN GROOVES ‘et On Te Good Foo, Sox Machine. ‘ile roe ts (025) ey America, A Greedy Man Say Mt oud atts 5) Five James Brown patterns (18) Backing track (48) Techique editor Joe Heanett comes overall funky, FAMERS ‘TRAGKS 39-41 ROCK: ARPEGGIO OLS ght essential Savage leks (04) Domo tack (12) Backing in Fen 257) eaeerayaen eter ud speed tryour paying. PME 100 TRACKS 42-43 BASS: PETER HOOK {ove Tear Us Apart Atmosphere Coremony (ok Sunes ut) £8 Regret (ibercoW Mors Sunne Haye) 20) Backing tacks 220) Het mati to Mes Merton sunt he? AGE 104 TMCS 63-45 BWUES: PENTATONG TWISTS Example slo 01 Incim (219) estate He advanced est, Pace 107 ‘TRGK 46 Acoust: GORDON GHLTRAP ‘ho Lara's Seat 208 (tap) A now tuning, and a great new pce fiom Garda, AGE 111 [ronan currar| GUITAR 0 evo sme, pa oa 20 [MESSE gotten Sel ater le ate sei psy ater ys Telus ear ean eins en ee Petar oy cd aren ‘eo Jn Sn non Fe, ‘Som Foret: ston ages ed Slay Sh, ‘ren og, rnp mae ee Sins Wap san Pty st fi Bute Sin Ded Pair oy ash onan ret Ss Fas avin manip Gx Pe "Gass Str are Cts Prd arta en Yah Prtucon manger ise ape rescore ‘Sel ong Ce aie ‘Creator ret Si Hy eee in ja Etneagedta ba a share ozs cae “Sswrenlneoee seer Few ss EEO 0, siepon pce 12 ee Trewin fps ete sie ‘oi tris mantra Be aa ee 8 MARCH 1997 ISSUE 28 Piva PAu eo hee = ee tr CC a att a) TRACK 15 smncrrten or not yon know the track, ‘youll almost certainly recognise this 7 as Soon as you bea it. On the original meording, te played with ovo variations, bath of which are shovsn here, ‘Wayne Erwin (one of four guitarists on the ‘original! plays the simpler yersion ofthe nlf ‘ae tice, followed by the more complex eross- picked par. Althongh you may find this easier to phy with theee fingers, Erwin actually picks each note with im “The rest of the songis sed in the key of ANPSOund, compression and reverb G and uses the chords of G, G7, C7and D7, played as tied and fifth fet bares. X31 EELESD the ino rom cast an 70 Clarks, played a it appears on he Monkees’ original studio cording. The puter was a Valley Arts custom, an the ‘wore supplied by a olanc GP-100. Guitars and backing: Simon Young = MARCH 1997 ISSUE 25 th Estee’ singer Gary W: eee ab areca Vin Halen gg rumours ve now begun circulating that bassist Michael Anthony is set to leave the band. There’ no olficil word on the situation, but Billy Sheehan (phyingonthe TG g cp ths vonth, trick 2!) has apparently been spotted with the band I in LA. Meanwhile, Shechan’ old sparring partners, Steve Vai and David Lee Roth, are ramoured to be getting together again for Roth’s next solo album. As yet, neither party has confirmed (or denied) a re-union, What a twisted web they weave PIs tee Jones ofl S$“: pine US Roses, despite reports claiming that the Ses Pistols set to All the shoes ofthe recently departed Slash on the band’s next albu, The Guns are cureently without «guitarist, unless you count the meagre riffing talents of Axl, A release date has yet tobe set for the LP. Slash has yet to announce details of his new band venture, wON FR: NG streme’s guitarist Nuno Bettencourt is poised to release his fist solo album (see review p28). Sohizo phrenie fds Nuno singing as well as playing guitar Speaking about Extreme vocalist Gary Cherone’s decision to jin Van Halen, he said he'd already quit the band himself anyway; “eft ISSUE 28 MARCH 1997 THO? Known nnder a variety of monickers — Prince, Artist Formerly Known As..., Symbol, Paisley Park, Spooky Electric plus a whole hest of mysterious peendonyms, BORN Prince Rogers Nelson Minnesota, USA. th June, 1958, Minneapolis, ORIGINS His dad, John Nelson, was a member of 50 R&B band The Prince Roger Thio. The young Prince not only got his name from the band, but also his st guitar, which is Bist bought for him by his father when he was 10. Form band, Grand Central, atthe tender age of just 13, STYLE? He honed his musial style with the emergence of the soulunk Uptown scene inthe mid-T0' included othe artists like Terry Lew, Jellybean Johnson and Alexander (O'Neal (who Prince later worked with), cat his first proper demo in 1976, and was soon snapped up on ‘long-term contract with Wamer~ the deal that he was later to 2? Prince claim tumed him into a slave’ of the tyrannical record industry SEST Mt Prince has churned out musie ata terrfjing rate since his debut album, For You, in 1978, Scored his fist US number one with When Doves Gry in 1984. His finest hour was in 1986 when Kiss gave him his third US. number one, while the Bangles’ Manic Monday = « track he wrote under the pseudonym ‘Christopher ~ sat at number 3 LENTED? Oley, yet this:on the Loveery tour in 1988, Prince not only played a note-for-note guitar rendition of Ornithology by jazz legend Churie Parker — he played it blindfolded. Not just vastly hhagely, disgustingly talented, but a consummate performer (read show-off too, Allin all he’ a fants ie guitarist, keyboard player, producer, singer... you name i, he's brilliant att, Basta worked with a succession of comely female ppotegees over the years ~ he even managed to revithlise the earcer of Seats singer Sheena Easton inthe 80s. Got hitched last year GUITAR $2 Kicked off asa Tee player hhut Prince often used Hohner eopies rather 1 prelerred them, He’ sitee moved on to eustom than Fender originals, claiming a variety of weird symbol-lke shapes LR? 100 million LPs sold over the Tast 15 years, Not bad, ears Chaos And WY) Disorcer~ alo his lst VY Warner lease was sppropristely named indeed. that seems to have brought to LATEST WORK? His new cov NPG label, sa widely hel tobe a trumphant 2 1 to form, “Tm free ‘and my musics free,” the purple one si atthe launch party: Not so distebutors EM were quick to point ‘ot; the album in fice retais at £14.99, [isc sec Sct oe atl Dac ects yl ade ela danco tunes’. Tylor confirmed thatthe band almost sphit during the sessions; “The rest of the band were told by a former associate that [ws high on drugs agai., which is not eof them belived i, and [wanted to spitthe band up becaus true, However, son ion. In the end we got in a mediator and talked i throu The first single, Falling In Love (Is Hari On The Knees), s nelease this month hing o Nive thew that bate anihe Siar Ware spor etlivae caret: November Rhino see Chonan the Stars Str Wars has. Tl ve) Sener es el ey aa Liverpool-based calling Horses have ncn asked Squire to find sad LP, ist released in 1980, features the timeless classics HO D2.We Wish You A Merry Christmas themselves Sea dierent moniker. Ten years into sung by none other than an ISyear old Jon Bon Jost! Be he’s happy tobe ised a few albums and even played Ghstonbury four times. they're not any good, really reminded of that, pengraylinns rank ‘Son’ Seals, a stalwart of ‘currently in hospital after heing shot in the jaw by his wife, The 54 year-old guitars is renowned for an agaressive live style, but he gave up touring several years ago. Although « bullet remains lodged in his nock, hie condition is Aeseribed by doctors as good! GUILD DEALER LIST Billy McEwen Keyboard Centre, Ayr (01292 2895¢ Matchetts, Belfast 01282 32669 Musical Exchanges, Birmingham..... Everest Music, Bray Co. Wicklow... Tiger Music, 0121 236 754 1.286 193 Brighton 01273 69973 ‘Omega, Carlisle 01697 7307 A Roundabout Sounds, Cheltenham rvnenes Dawson's Music, 01242 57838 Chester 01244 34860 ‘Axe Music, Colehesier: 01206 76565 Maitland Music, Dingwall 01349 6319 Fox's Music Doncaster... Mansons Exeter... Guitar Viliage, Farnham... Kingfisher Music, .01302 32033 01892 49637 01252 72682 Fleet. 01252 62121 Andertons, Guildford ... 01483 3821 Project Electronics, Hounslow... Music Shop, 0181 597 081 Inverness 1.01468 28887 Zebra Musi iikestone.... .01602 30836 Angel Music, London 0171 833 454 Rose Morris, London 0171 836 09s Mairants London... 0171 636 148 Rock Around The Clock, London .rsrsnensrsanene-s 0181 348 231 Peter Cook's Guitar World, London... snes 181 840 124 Soho Soundh London 171 379 67€ Micro Music, Liverpool... 0151 793 11¢ Coda Music, LUION nse 1882 2562 Carisbro, Nottingham 0115 958 188 Wavelength, Sheffield 01742 58049 Kempster, Swindon 01795 63652 TR, Waisall 01922 61310 FSC, Whitstable 01227 77009 sae” Sk Tipton BAPTIZM OF FIRE He's part of the British rock establishment, he’s into leather ‘n’ studs, and he’s just recorded a solo album. Meet Glenn Tipton, as he takes PETE WADESON through a Baptizm of Fir F one single band ever truly epitomised as [always have, with Celestion G12 speakers. 1 heavy metal, it was Judas Priest. At the nan throng a couple of preamps, Marshall JMP- hands of twin Priest guitarists Glenn Is, Roektrons, then into an Alesis EQ. I'm sill Tipton and KK Downing, some of metals using the old Hamer guitars that I had made for finest moments were crafted ~ nfs me ~ I've got four or five with different pickups forged on an anvil of true British steel, _ setups - EMCs and DiMarzios mainly ‘The man behind one half ofthat guitar assault has T decided to gee « couple of Les Pauls and at lst recorded a solo albuin, Bapticm Of Fire. that’s where I stumbled on something special. I Glenn: “Its something [had in mind for many was in a shop in Birmingham and noticed a Gibson years, but in truth, if Rob Halford (vocals) hadn't 835 on the wall, took it down, out of curiosity left Priest when he did, I probably never would but as soon as I played it, heard the exact place have got around to actually doing it. Aer Rob quit on thealburn I could use it.I just sings.” sve dida’t lnow whether there would ever be & For the album, Glenn assembled a fine Priest again. So basically I had time to doit selection of ryt players. “I had a great time apticm. 6a reloose full of enthusiasm, playing with some excellent musicians. My old passion, eyperience and that classic Priest ‘mate Cory Powell came and played a few tracks, as endorsed Tipton guitar scimd. Glenn: “The tone of did Billy Sheehan. Tt was very relaxed, as their the guitars the most important aspoct ofits schedules allowed. overall character, and is very personal to me. Tm lena’ philosophy is imple: “Tye abvays been Jorever hiying mies and trying different setups to drawn to progrossve guitarists: Hendrix, Gallagher, get the sound just right.” He might be a total Blackmore ~ but always listen to new guys and to perfectionist when it comes to recording, but new musie. When I started writing the album, I Tipton freely admits to using an eclectie mix of probably went too far Teft-feld, but when I allowed equipment when playing: “I've got the Marshalls, it to.come naturally Las well vay. t JUDAS PRIEST FACTS IN?. Glena Tipton joined Judas Priest in 1073, after leaving the Flying Hat Band. Judas Prieat have wold over 20 ‘million albums - their biggest-selling LP, Screaming For Vengeance, released in 1982, went Platinum | ‘album Inter this year, Entitled Juggernaut, it ew vocalist 4 MARCH 1997 ISSUE 28 D-TRACKS 4-5 OF me {Whonover's taken rom the Beth On aloum Taller Park, © Heavenly cords Beth wrote this Song on hor son J200, and its beaut ‘amie of hr sosured -songwitng was aways ‘esti for te TOO; bath ‘Beth andra incependenty ‘tought the perfect number to piten, “remember the summer when Iovate she says, Tas iting onthe root where used tov, ad his song just came toma out of roting?” Her elbum fs out now. 50 Sad To Bo Lonesome Mike Henderson ondarson takes a breather ‘rom the traditional barroom “boogie af Fist Bod with tis sll tke on Chicago bes in ‘Dm. Hear him mix soe and regular fretting styles in hi Son with inuences including Freddie King-siyle Ait No ‘Sunsine phrases to stinging Os Rush blues. Henderson: "The ctu partis ‘making sure you dn’ ply too ‘uch, Once you gett learn that’s whet te audence wants, ‘he rests sy" From the alum Fst Blood (© 1996 Dead Reckoning 16 Beth Orton TRAILER PARK Beth Orton may be the female singer/songwriter of the nineties. TIM TUCKER finds ont where she’s at. ow do we clasify Beth Orton? If she’ a fol singer, then she certainly didn't start her singing career conventionally her first recorded work was with ambient mixmaster William Orbit providing vocals om bis seminal Strange Cargo IV album. But as she's happy to point out, this is one of the many influences that informs her fresh and highly personal sound, “I Tas like al sorts of musi,” says Beth,“ brought up around my brothers, and alot of punk rock, 50 I think the mest rebellions thing I could do in my household was become a folk singer. I playod alittle guitar at schoo, but I really leamt to play when I started singing, Lactually startod playing guitar so I could write songs Her debut album, Toller Pork, is « fine testament fo her very natural songera and diverse musical influences, mixing fingerpicking guitar (courtesy of Beth and her musieal partner Ted Barnes), ambient soundscapes and trip-hop Mike Henderson FIRST BLOOD A respected Conntry session ace turns his hand to the blues, with blistering results. DOMINIC PEDLER tunes in. 1 these days of the blues revival when so much is ‘mass produced, how refreshing itis to find an act that comes charged with originality and all the dive of a runaway railroad train, Ina nifty eaeer move, fomer Country-picker Mike Henderson ditches his cowboy boots and takes the Chicago Bhies tral via the Delta snd Memphis. His new album First Blood proves he's emerged as ine of the most shi-kicking har-room boogie blues ‘guitarists since the great Hound Dog Taylor. Until his recent spot on Jools Holland's show, Henderson may have been unsung in the UK, but for the last decado, he's enjoyed cult status as « adhe session King and songwriter, His big toned leks have graced recordings by established stars such as Emmylou Haris and John B So, after his previous release Edge of Night, which he describes us “our atterapt to break Country radio,” why the quantum switch? The bles is something I've always loved but, rhythms as if they were natural partners. “We recorded eight tracks in five days all ve. I wanted it tobe done lke that, to keep the inspiration and pat it all down, Thanks to some fortuitous meetings, Beth has already made high-profile guest appearances with Williamn Orbit and the Chemical Brothers. and theres talk of another notable collaboration coming up in the spring. But i there's one person she'd like to work with above all others, its Ry Cooder Indeed, she becomes breathless with ave when, talking about one of her greatest musical Inspirations: “think he's an amazing guitar player he’ just ineredible. I met him, actualy. gave him fe was beautiful. He told me about the (Cuban musicians he was working with, and how sometimes ho has to eave the room because it's 0 Dbeautiful it hurts. And I'm thinking like "Yep, 1 know that feeling. .”” at my album, ‘with my work in Nashville, ts taken me that long to get it on record, While drawing on musial strands from his overflowing melting pot of influences, Henderson says originality is something he’s strived for. Tve rade a conscious effort not to sound like anyone else, Sure, ve listened to everyone from Charley Patton on up But I want it to end up as me Tedues. And not just because of his musical Just check Henderson's authentic blues voice, individual guitar tunings and set-up. philosophy Tonly ply in open C tuning, and switeh key with play in op i ‘capo, even though i ced jumbo strings, My bottom string is an ‘0 and my top Bis a'14 s0 tsa good size gauge!” Er... right. Those telephone wie strings are fitted t0 asolid-body Danelectro Sivertone which, with its Fendertype headstock, looks ike an upside-down Gibson. Figebird. Strange, but it really works, MARCH 1997 ISSUE 28 aU boa really enjoyed your recent artiele (on the BRC Snooker Theme, ve got another idea for TV hits — id the greatest example of soul music ever recorded, the or : to Hangin’ With Mr Cooper, Soul Man by Sam And Dave. I really want to know how to play this song its great for getting a crowd going n you play it live. Parish, Welicyn GE soit he Sts an soul guitar might well be in the pipeline, Watel this space iypop man, again FB wrete in recently about the guitar Tmade out of lollipop sticks. This photo shows you the guitar so you will take my story to be true, Steve Amos, Orkney EE teeter ast month Steve, And we didn’ doube you for ‘one second. Oh no. ‘le goltar fom leliy sid, iy 5 Futuristic fingers, frozen hodily secretions, a weird European conspiracy and the start of TG’s own version of Blind Date - it’s all here on the letters page! Write to: TG Letters, 30 Monmouth Street, Bath BA1 2BW. QP fer reading the letter by Sieve [sioot on Orley alan are ie eas fuld and bunged It into the freezer ‘Chul you Fat me in tock wit a Sere tiekec ere nee Glen, Periole atte i eee ee sre you talking ab that's hest kept to yourself reat mag, but it could be even etter. Do the following, please, D1. A complete round-up of blues single coil pickups, for that warm soulful, bluesy sound. © 2. A round-up of guit Thanex RG/JSIJEM-ser Washburns, ete 3. Give me advice on how to improvise jazz solos; I find it hard, Follow this fabulous advice or I'l Sandberg, Finland actly? 1m 17 years old and I live in i Belgium - I'm also a huge Guns N’ Roses fan, and I've been trying for ‘many years to get Slash’s signature. Could TC please ask him for a signature for me, or give me his contact address, He really i very special tome and y are my only hope. I do hope that you will really want to do this for me. Aline, Oostende, Belgium GEpPs ths so fete fom Buepean readers that we like receiving, Nicely phrased, polite and agreeably fawning. The answer’ stil no, though, Ea scent enced my subscription to Total Guitar as 1 think its the best guitar magazine. But Tm a bassist as well as a guitarist, so 1 really appreciate the ass features you do —last month's transeription of Stevie Wonder’ Sir Duke was great. Can you include more transcriptions of bass songs in future? Ob, and why not start a Total Bass Guitar mage Peter Brys, Turnhout, Belgium there some weird European letter-writing pact going on here? As for Totsl Bas, why not check out Bassist magazine, also avalable every month from Future Publishing, the makers of TC (well, from Surrey actually, but itt close enough), Dave Carnell, Woking Gye eeens: peful Guitarist By ay one: Wow! Found an ace ‘of Bert Jansch’s Anji be that difficult. @ Day two: The n taken at least six guit . © Day three: Bastard! P've just realised that this really is for one guitar. © Day four: Just getting the hang of the first couple of bars when two of the fingers on my left hand broke. of suing Total Guitar for physi MARCH 1997 ISSUE 28 ‘mental torture, Say five: Fingers on the ty six: Surgeons in America have invented bionic fingers. Put my name xt issue by about six wonths while I get to grips swith this one. Yours, in agony. Charlie, Wales Eyre oot play: Real easy Meaningless life low are you? Had a day? Well, I havent. What Tseant to know is why Brian Mays Brighton Rock solo hasn't been in ‘otal Guitar yet? Please put it in my life depends on it you don't put Brighton Rock in tab, Pm going to die from within, My life will have no meaning. Mark Higgins, Liphook he good news i that we covered Brian’ ten best solos, including Brighton Fock, way’ back in issue 17 ‘The bad news is that that issue is now sold ont, Meaningless life from here on then. Joke blokes hewn guitarists, we feel that your mags sixstring jokes. Here's some sve eame up with for you: © There are some tourists in Sweden having a guided tour of a river called the Malm, An American tourist asks the guide, “Where can you fin Salmon around here?” Th ‘guide replies in a Swedish accent,“ ne needs more Malmstream!” And here's another: © A boy called Joe has an auntie who is very small and quiet. He walks into a room whore she is sitting but doesn't notice and sits on her. Later his mother is telling friends the story and says; “Joe Saton-auntie!” O Smith & J Copland, Dumfries ete similar jokes you sent i, sony we couldn't print them ll Are there any more guitar IssuE 28 MARCH 1997 related guliws out there? Lets have "em Finger tips have ‘shredding’ fnger- tip problems, like the poor young Jacqui deseribed in her letter in issue 26, My solution isto dip my fingers repeatedly in iced water jer a long, painful fret session. Other acoustic guitars, however, seemed to he easier on the Bngers than sine, So I took it to my Tocal itar shop, where, after a ‘careful inspection, I was advised to take Math of an th off the plastic thing the strings go over. This helped too. "Soak your finger tips in vinegar overnight and microwave” was advice that did not follow Denis Riley, Weston-super-Mare Lyris sition cemorng your fingers with a hacksaw and installing futuristic compuiter-controled bionic replacements. Try it. Blind Date write in with a request IVa like to hear from female guitar players, 16+, standard of playing unimportant, and F'm not bothered about type of susie, T'm a 25 year-old guy swith a Fender acoustic. So any guitar girls, please write! Derek Porter, Edinburgh hess tematng resist. So girls, ifyou want to get in tovch with Derek and his Fender, give sa call nd well give you Lis fall ade. The last letter have three very lifferent suggestions for transcriptions in future issues, First, I support the request from Mike Bec issue 26 for some Nick Drake, Second, how abs something by John Lee Hooker, like Crawlin’ Kingsnake or In The Mood. Finally how about a semi: classical piece ~ like Cavatina from The Deer Hunter, or the music from Schindler's List. Cheers! Paul Allen, Waleall Ese eee Hooker, page 60, Cavatina page 88. Enjoy! U's Strat-toting, bandana-sporting guitar hero. In TG. LED ZEPPELIN Communication Breakdown - the definitive transcription. STING Classic acoustic balladry. STONE ROSES Exclusive post-split interview. TOTAL GUITAR ISSUE TWENTY-NINE ON SALE THURSDAY 6 MARCH 1997 rosteane MAG+SAVE Make sure you get your TC ‘Use this form to reserve n copy with yout newsagent DEA REWSIGENY, PLEASE RESERVE A COPY OF ‘TOTAL GUTAR EVERY MoNTH, STARTING WITH SSUE TWENTY NE nem ‘BYTE 1 Clean vintage vibrato ‘wit rever [BYIE2 Nota eistorton with vintage ange BYTE Vintage stron wit tong cea, ‘BYTES ....and deep tremolo BYTES Glan phaser it sow attack and delay: [BYTES Glan an oy wah ‘BYTE7 “Tube’ overdrive with heavy compression BYTE Meta astorion Demo rack ust Ono Look ina ‘uby/cace sy, using run {oops and no syst A other sounds ar fom the e060 | Guitars: Simon ‘no syn Young CONTROL aa This Jodrell Bank of a pedal is Zoom’s first foray into high- priced floor effects. JO BENNETT scans the skies for alien spacecraft with the new 8080. you read the last issue, you'll know about the 8080 already ~itsoored highly PX awards. But fn our Top Ten ml there’ no way’ that 250 words on half a page ean cover all ofthe facilites these high-spee units offer, so we thought you'd like to find ont about it in more detail before parting with over five hundred quid Im trae Zoom tricition, they've managed to cram an enormous amount of digital power in, leven considering the dearer price tag, This comes courtesy ofthe newy-designed Zfi-2 chips, and {he brigiter LED beacon Gf) and because there’ two of them, not only do you have more effect options, you ean also do ‘seamless patch changes’ ie delays ring on even after you've 1 sound. Ths scale 1nd i rare that yon find it on a oor unit. Enough argon for you? Okiy, lets switch it on then, FEATURES To start withthe front end, the preamp doesn't differ greatly from other Zoomn units in terms of design, There area total of 12 options in the distortions menu, including an acoustic sinulatr spend up editig ne end tin MARCH 1997 ISSUE 28 ‘ © TRACKS 8-9 ‘Actelion ningefsngwsions. You cna un the 0600 to pproviously only seen on the Boss GT-5) and an extemal mode (so you can operate your fave stomp bor from the 8080's pedals). The first effects rdule (which contrls wab, tone, phaser, ctaver, fete) can be moved so that i hefare or after the distortions inthe effets chain, which ean have a sunprisingly extreme effect on tone. ‘The pitch effects are a big improvement on the useable but limited options of the cheaper 3030 snd 4040, Intelligent harmonising adds up to twa ‘oices to your guitar sound, and is as convineing as it needs to be, cortainly when hidden behind « wall of distortion! The oetaver is rock-solid, with no perceptible glitches — George Benson could have saved years of practioe hed had one ofthese, Wotan peaaa ca, ‘enalgned to any ofet Cone PEDAL ISSUF 28 MARCH POWER Mains adaptor ‘CONSTRUCTION Paso casing, rubber tn pedals, metal chassis 0 OUT ety Uy igementes) EFFECTS 47 singlo oct, upto 8 “rods at oe, pls 2NR (Zoom noise reduction anc preset tar amp simulators. Modules are ~ COM (compressor vintage compressor ite EFF (EO, wahiohasing parametric, eter DST (10 type, sus ecastc ‘simulator and extemal pes onton; £0 (3-bnd, seeping; EFF2 (ith sit poal pitch, eeyed pte si, isons, dame ph bend, tow tack, ‘Metalic; EFS (lenges, piss, arses, vba, ep fie, temelopan; UY (dey, twin dey, hldsampled day, Vintage anogue-stye dey; REV (caroustatroom everas ard ing-pona delay) {WET 11 neh mono ack rom ‘tar @ gain stings, xtarnal dst retum soot OUTPUT External dst song, ones, L (nano) and Rout, etrena contol oramp feotswtening DIMENSIONS 510 250 x8 mm ‘The delays have a massive foursecond memory much sore than any floor unit previously available, With the sample-and-repeat option, you cun play a phrase then get i to loop continuously while your play over the top ~ ‘Feippertronies’ has never seemed s0 easy. I would have liked an option to change the delay time by foot while recording a phrase, which would have allowed looped sampling in a gig situation, The rest ofthe delays are well designed, though ~ there's malti-tap, ping-pong (stereo) delay, and a superb vintage-tyle analogue delay simulator fr that's echo box sound, EDITING "Thanks tothe four data knobs on the front (an ides Dorrowed from the 9050 rack unit) editing is rapid and intuitive, Every part of every effect ean he altered, and all the information is organised into pages so you can see what you're doing via several ‘windows. All four nser pedals (two rocker and fo inecemental up/down sitehes) can be assigned to any parameter (eg tremolo speed, delay time, harmony interval, distortion drive level). Each factory preset has the bigger pedal sotto vokume as default the designers know this is one ‘effect every guitarist wants complete control over SOUND [ gigged with 8080 in the effzets loop of the amp (ie not using ts pre-amp) and al the actual efects ‘were noise-free, clean and clear. But it’s the pro- The 8080 is competing in iy-populated arena ~ only the Digitech P12 (€550) and Boss GTS (2659) have similar although the latter also has a guitar synth mode, tmp where [chink the unit yets a ‘eould do better tag. Although the distortions are better than those found in the rest of the company's sil an identifiable “Zoomness” They are all rnthor overcompressd, and ome, eapocilly the py fuze, metal and blues seting, ack harneie TT reines that no amount of EQ can replace: There gpm 8080 Super Player Guitar mult-FX processor» 255935 tre some impressive sounds, sure, bu a this price T want tbe able to conjure up any distortion imaginable, rather than just select from a few rather characteristic tones. Obviously guitar sound is subjective (and remember the Zoom bas the extemal pedal option) but personally I think the RP12 and GTS have the edge inthis department. CONCLUSION IE Las recording or gigging with this it, there would be a sting of old-style stomp bax distortions in that there extemal pedal socket. However, as an ffcts unit, its difficult to beat the 8080 — theres no doubt that you're getting more features for less money: The extras are considerate too = there's an extra foot pedi, right LED sereen, and the best foot-operated tuner system around. For overdsive and distortion sounds, make sure you check out the competition before settling on the 8080, But ae for pure effect processing power, take It rom me this is the best you can get eT 2 OUTPUT 15 Watts MS wipurs 2 FEATURES Teno, Spring reve, cut CONTROLS input volume, webs, bass, reverb, tomolo speed & ent, master volume ‘SPEAKERS Standard config; x12 (12M Gronbock speskers S646: x2 Celestion G12 AICO ‘Wore’ speaker 2799: 2010 (Groontacks); £609 Alternatively... pay io Vox ACSOTR reisene toxte 048, or 81,090 with ‘blue’ aponiors. Another ‘ption ia 45 Watts of cassie Britian valve tone from the Marshall Bluesbreaker rela £075, Alao check the 2 Watt 1900 Deluxe Revert Vox AGIS TBR ‘6 Matt valve guitar amp © 739 a oo Tack 10 ‘The first amplifier to roll off the Vox production line gets the long-awaited reissue treatment. HARRY WYLIE squares ‘up to the small but sumptnons AG15. 1H ACIS was first made in 1957, the same year thatthe company behind Vox ainps was formed by eleetscal engineer Dick Denney and musie store owner Tom Jennings, Demand for more powerful amplifiers meant that two years lator its moro famous big brother, the Vox AC3O, was bom. The success ofthe AC3O ‘was phenomenal, with players from the Beatles to Brian May relying on its legendary clean tone. ‘When Korg took over Vax in 1992, they decided to reissue the AC20, using as many of the original specs and parts as possible. Korg have now decided to go back in time with a yew version of the first production model, the 15 Watt ACIS, MODIFICATIONS But the story'doosn’ end there: unlike the allretro |AGBO reissue, this new ACLS has afew features — notably master volume and reverb ~ which significantly upgrade it for today’s players Purists may'be horifed, but most of us wil welcome the addition ofthese extras. The master volume means that you can get into overdrive territory without playing at full volume (or having your amp modified, as many AC3O users have done). The single pre-amp channel (hich gives le ‘top boost) covers the most paar Vox tone ~ driving bles attack As far as the rest ofthe controls go, things hhave also been considerably simplified, but che ‘authentic touch ofthe inimitable shuddeny Vox tremolo has thankfally been retained. Pd say that Korg have hit exactly the right balance of retro and new features bere. Today's payors don't need the six inputs of the ACO, but they do need to be able to get overdrive at lower volumes. For me, the coolest aspect ofthis ACIS is that it loud enough to cut through ina band context ~ but not so loud that you can’t wind wp the pre-amp and get rich blues gain in the studio, without breaking everyone’ eardrums. SPEAKER OPTIONS ‘Tho basic ACIS costs £645, but f you've got extra cash you might want to Took atthe diferent speaker options. The model you'l hear on the CD {is fitted witha vintage-style AINICo blue" speaker ‘add £150 to the price), and there’ also a 2x10” version, sure to offer tighter dynannics and sult the oxerdrive-seekers even more. you've after an all-wuthentic "60s valve amp, then the original AC30 TTB is for you ~ but if you'se a player looking forall hose clas "60s valve sounds, but without dispensing with modem lusuties ike master volume and reverb, the ACIS really can't he bettered. 1s assimple as that, MARCH 1997 ISSUE 28 GUILD BLUESBIRD oo mack 1 The latest solid-body creation from famons US maker Guild revives earlier styling - and breathes life into an old model name, DAVE HEAP gets the blues and the bird. HE Bluesbirdis one ofthe frst new headstock maintains Guild traditions, sporting the Guild electrics to appear after dlistnotive multi-bump top introduced across the Fender’ takeover of the company late range inthe early 60s, The typical peaked Guild {in 1895, and is the latest ineamation logo isin peal, as is the ‘Chesterfield tore-style ‘ofa model name applied to various inlay - a design at used in the 50s (Guild sistrings since the 30s Headstock proportions are very much as fora The fist impression is of Les Paul on steroids, Les Paul, and strings accordingly pull of tothe left the body outline being sppreciaby larger all and right om their way tothe thece tuners on each eU round, but the design harks back to G side, the latter being large kidney-buttoned Nightitd ofthe mid'80s. Construction has Grovers, Bsck-angle ensures adequate downforce TERE free As cvohed from that model and withthe Bluesbid, over the nut, with sting slots ney eu 0 Bhesbiisan acd jazz dem Crd seems to he going fora share ofthe ‘optimum depth, but spaced somewhat unevenly ‘te Gl, nse by a tp burgeoning Les Paul marke. Ie certainly flows The fingerboard offers avery shallow camber {to nda. uses both plekups Gibson's popular formula in many obvious ways le length sticks to a Gibson-style ‘getter fo the rythm pat, but thete are enough discernible differences in). The medium: ‘with crunch distortion onthe to instil individual character and offer a sauge fees are consistent bridge pickup and asolousing able alternative tothe Big C's a ‘vel installed, left ‘the neck uni, withthe treble perennial favourite ‘one backed at “The unbound uit: Simon Young - (leone seals length ‘wih wellpaiaed rots soon 8 MARCH 1997 155UE 28 @ ov track 11 «quite high and polished to perfection. Their ends ‘overlap stark white plastic binding, and something slightly aged would look better here. The large pal block postion markers are easily seen, but minuscule side repeater dots are harder to spot, ‘even against all that white, and both sets of indicators stop at the 17th fet. ‘The neck employs a wide-buteslim depth C- profile which certamnly encourages fingers to linger. As setup, the aetion is whisperlow and playability ‘veordingly easy, although litle relief in the neck ssould alleviate a few buzzes on the low strings. The single eutawny is fatter than om a Les Pau, while the glued neck joint and heel offer similar restrictions to upper fret access, At just under 4kg, the well-balanced Bluesbird is surprisingly lighter than its appearance and dimensions might suggest. This is thanks to hollow chambers lurking within the body, which add resonance and do uch to dispense with the chiropractor! Smoothly shaded sunbursting enhances the tight fame of the gently carved two-plece maple top, and the cherry-hued mahogany employed elsewhere is finished to an equally high gloss The body’ front edge is bound in single-layer white plastic and, like the fingerboard binding vwould look better toned down toa less sterile tint ‘The large rectangular rear control exvty docs nothing for aesthetics, either ‘The covetless humbuekers are usefully adjustable for tit as well as height, Each aligns under the strings, but the black plastic surrounds have been fitted slightly squilfy the one at the neck too far to the right, exposing the wood adjoining the pickup cavity This is sloppy and ‘unexpected at this price level Controls sick to the conventional three-way selector plus volume and tone per piclup, The rmetal-topped knobs carry Guilds two-tone logo ~a long-standing cocmetie feature — but the plan black pickguard looks low budget aginst all that lamed maple, and the mounting method has warped it into an meomfortable ft Apart from Guilds usual spindly trap buttons, the Bluosbird employs standard” hardware, walike earlier models, and a tune-o-matieype bridge partners an equally Cibson-like bar tailpiece PERFORMANCE Aconstically, the Bhuesbird is loud end lively those tone chambers really da make «difference — and the sound is wide-ranging with bags of ser 28 MARCH 1997 OIGIN USA BODY Mehogsn with maple top MECK Mahogany [FINGERBOARD Rosewood ETS 22 PICKUPS Two Seymour Duncan #1 humbuckers [BRIDGE sical ed ype FINSH Amber back, transparent rad, cory cunburt (chown) WAROWARE Cirome-pated Alternatively... Ihe most obvious upmarket exponent of the twinhanbuchorepioe- ‘sxed:bridge format is the Gibson Les Paul, and for ators, maple on ‘mahogany ia the leng- blished combination favoured by the Standard (om £990). Not to be outdone though, Gretech fompley lighter weight sem. tot construction on thelr equally small-bodied singie- cutaway models, such as the Duo Jot, priced nt £1,500 fund, for a litte more, the Set Firebird, at £1,600, Guild Bluesbird ‘Shestrng electric» £1532 Ine case inherent sustain, This deal combination is retained trough an amp, thanks to the well thought-out design and choice of components While outpat from the Dunean humbuckers is certainly sufficient, tone assumes priority over power. This means that the neck pickup is fll bodied but stays snaky and articulate, while the bridge wnit ads a penetrating treble that stops short of piereing, Both on together brings in a balance of their best ~ a honky clarity backed wp by frm-footed depth ‘These qualities are kept as volume and gain levels go up, and at all imes the guitar remains responsive. Controls are progressively fective and, while a lack of eo ssitehing and other erouitry ‘oweaks may seen limiting the simple approich pays off here ‘as much as it does for the classio Les Paul he Bluesbird does the job in a thoroughly musieal manner, offering no surprises, ust an inharent feeling of class to back up uncompromising quality in terms of sound and playability CONCLUSION Most of my criticisms are minor and mainly concern cosmeties, not function = but at this level ‘of outlay, stention to detail is even more Important. Peeformance-wise this Guild doesn't Fender Diamond Ossi ae Do track 13 Laney HC25R HARDCORE COMBO Laney exhort KARL FOSTER to “rock the floor with Hardcore”. So he took their new 25W Hardcore comho back to his bedroom and gave it a jolly good go. Oo-er. ¥ fis taste of Laney amplification was thanks to Black Sabbath’ Toni Tommi, He at one time endorsed this fine British marque ~ and deafened me at Stafford’s Bin Hall vith large, black boses that Jid't carry the Marshall logo. Its heen aTong tine since the old wave of British HM, but Laney, lke Tommi, i stil bashing out Blick Country belt The HC25R HardCore combo isthe company’s west offering and. jud simed atthe new bree BUILD QUALITY This smal, solid, open-backed enclosure clothes Dy the name, seems of grungifaictal cites, Wit transistor amp and HH Invader speaker in eft ply coated with none-more-black erinke plastic. A tough metal grille protects the driver, slack plastic comer protectors protect the, er comers and a carrying handle and plastic feet top and til the package, Isa light construction well beefy fora normally bedroom hound device. The black front panel tring ~a boon under stage lighting ~ end simple, if lightly tightly squeezed-‘n, controls, Thwo inputs are provided offering different response for different pickup types, and the rest of the pictores the standard ghin/volume, tone arid ible with lovely grippy. rubbery verb array, a black knobs, Man Awe switch enables you to punch from clean tocmnch, while a green LED illuminates to Indicate that you have done. The LED is linost completely obscured by the site, so hearing comes in handy, as does afoot ifyou invest in the optional FS2 footswitch 5) which also toggles reverb, The deaf, meanwhile, ean cut the intemal speaker by whacking 1 jack into the external speaker or headphone sockets. Right, that’s it for controls and connectors — there's nothing to report on the buek panel ~ so lets get om with this rocking the foo business. Well its certainly got poke in clean mode, Devotees of the 10 {inch speaker will grate on about serious clarity and middle-top Zing without the woolly hotom of the traditional 12-inch, The HH Invader lives up to this ISSUE 28 MARCH 1997 atures white In fine syle to the extensive tonal tidaling avilable from « versatile three band EQ. But we don’ buy a Laney to play it clean, now do we? CRUNCH TIME Crunch mode On! (there's even an exclamation mark on the front panel) and check your buildings Insurance asthe Boor rocks, This cornbo is well Joud for 25 Watts und growls away in flr initation ‘of a big rig. The distortion is quite reasonable ‘Considering Hher's not a vacuut tube fa the plot and pati n the way of it and your guitar makes for tremendous metal- meltdown z an overdrive ped: fan, It may not make the backline ~ I don't rte its -reab. Or sick the drumater ‘bigger speal (hocrahl). But you can play subtle to manic to ‘unusable rock sounds at home with eyes closed ‘and almost smell the ero, Or is it the duvet? Add a load of the inevitably clangy mechanical reverh and you might as well be in that catleshed- ccom-concert hall that is Bingley “The HCISR isa fine practice amp and well worth toting ta the recoring studio. Its esblity yet individuality, of tone makes ita worthy end: point for the effects-pedal chain. Its sold its Brith and it well “ar Cor a ae ontem ux OUTPUT 25 Wats EHANNELS One INPUTS High 1 Meg, 1000-8008, Low 05 Mag, 004-7408 ‘CONTROLS Cieznvolune, crunch ‘act, master volume, base, rid, treble ever depth FEATURES hie inputs; foots headphone end ‘xoral speaker sockets ‘SPEAKER Oe HH Invade 10neh Laney Hardcore HC25R: ivr cin Total rating 85% On the CD EEE Ms rack euros ‘he Laney nwo modes: unch and high gin The opening scrum’ he so ‘uses the highest gain setting, Gata Rar ley Alternatively. Jenty of action in the bndget mid-range combo market - biggies to look ont for inolude the Marshall ‘VS30R, £196: Park's G25R, 2145; Peavey's Audition, 165; Squier’s Champ 25, £187, Trace Elliot's Super Brat 20R (price to be ‘announced or their eool- ooking Brat 15H, £128. ‘Trace: 01621 851851 Fender: 0181 200 1190 Marshall: 01908 976411 Peavey: 01536 461234 a 3 ESEEEEEEES oscuewoon manera Tanglewood $2500 BARETTA CUSTOM Originality and affordability are rare bedfellows, but ‘Tanglewood’s latest low-price electric is a fine exception to the Oma Korea ‘BODY St maple MECH tock maple FINGERBOARD Rosencod ners 22 PICKUPS Tw singe-cas, one umbcker [BRIDGE Wikinson VS50K vitrato wnt BSH Amber satin nly WARDWARE Chrome-pates Alternatively... he $2000 Raretta Doluxe (£248) has a similar spec, while the mahozany-bodied $1000 Baretia Twin (€260) features ‘win humbuckers and fixed bridge, Originality is searee {in the opy-dominated £300 sector, but Aria’s Pullerton FL-20 (6235) and Yamaha's ‘Pacifica 912 Deluxe (£208) offor a slightly different Slant. More obvious territory’ includes Charvel's CHS2 (€279) and the Fender Fat ‘Strat (£325), while the PS1 ‘from Jackson (£319) has a ‘more metal-orientated image, 4 ass ase mated hy the Devfrmance sd playailty of ts Total rating 92% 5 rule. DAVE HEAP tests an appealing alternatis ANGLEWOOD'S Barettas| appear in the the Sterling series, ander the brand banner of Korean makers Cort, and the $3500 isthe Intestin a line which started in "5, “The neat-looking headstoce echoes US maker Brian Moore, but with ners arranged In conventional thrce-perside formation, The design affords almost straight travel for all strings; the back-angle is enovgh to exert adequate dovmward tension over the nu. Frets ae slim and neat. The offset dot position markers are abalone —Iuvutious, but not a visible as white or pearl ‘The shnky sitin-Rnished neck has @ distinct V profil, which is vintage aspect, unusualon a modem guitar: Unnstal maybe, but its comfortable “The neck is firmly secured with four screws, neatly recessed vie accompanying stress washers, but all components here are Dlackeplated, at odd with the metalwork elsewhere, The body heel is chamfered to ‘offer less obstruction whe reaching forthe topmost frets, and deep eutaways also help, AT THE FINISH ‘The finsh shows off the timber of the two-piece body to good effect, The D TRACK 14 to the obviou: outline offers something different withont going. ‘overboard. The offset waist and matching lower bout add aggression, while long horns lend style — and balance; those 3.5kg are well-managed when played standing or seated. Allin all, iS a nice compromise between individuality and practical, safe saleability All three pickups are direot-mounted and sit in cleanly-exeeuted front routs. Partner controls keop it simple, eomprsing « five-way selector, phis volame and tone. A push: pill switch on the latter disables the humbuckers ‘outer coll —a result also achieved when this plokup ‘The Baretta is loud when played acoustically, with plenty of zingy top-end and mid-range warmth, pus a sutisying sustain, Plugging in reveals neck and centre single-olls which are poswesfil and blessed with twaingy tendencies, But the bridge-postion humbucker seems somewhat subdued and a bit dull -well- endowed with mids, bt light on cutting top and low-end depth, Raising this pickup would no doubt help rectify the output imbalance, but a lack of sufficient under-tension makes this hard to do, The supplied strings are a litle light- ‘gauged on the bass side and a heavier to here ‘would also improve the bass response, along svith the fel Combined pickup selections have a pleasing punch with typically hollow tones, and the ‘Baretta can deliver a good range of sounds, played clean or dirty. The volume control hes a slightly Inmpy taper, but the tone is more gradual, although shen full off, is too mle. CONCLUSION ‘The Baretta Custom has genuine quality, character, looks and performance - not bad for under £300, Many will still be Iappier with something more fanaa, but theyll be missing ‘out on a nee litle number. 52 MARCH 1997 ISSUE 25 Gn aaee ev TRACK 16 Not loud enough T have a 1SW Watson practi Thought new from my loc The sound quality is good, b loud. Twas wondering IFT could guitar shop. ent very louder without buying a new amp. Could I use the send/return loop to send the output toa PA? If I stuck a mie next to it and sent that to the PA, would it produce a loud yet still good-quality sound (I saw lots of the hands at Knebworth doing this)? Trev, treewill@aol-com Tis very common to mie up an amp on stige ‘and put it ebrough the PA. As Tong a the Watson is lond enough for your own monitoring (e he PA to provide the extra volume - sound quality won't be alfected ifyou use a good mie. Dont ute the sene/return as un output beause this will alter he sound, These sockets should only be used for cffots pedals or ra Electric v acoustic Why is it ss pest to the most spensive, have bridges allowing the intonation to be adjusted ~ yet acoustic ‘guitars never have this feature? Colin Moore, Aberdeen models of electric us; from the ch Phased out Q Kravitz’s song Are You Gonna Go My Way is called? It makes a kind of whooshy, aeropl really want to use it in my own songs. ‘Tony C, Manchester Ay Ey teases Tig were den ip in the 70s, and sound fairly similar to flangers, but with a drier and shallower Fan you please tell me what the i 4 ws used on Le ‘whoosh’, Basically « Ranger echoes & signal with a delay of about L0-20ras, ‘a phaser between Sins, Most big rane pedal makers turn out ‘examples ~in our reeent round. up (issue 20), we found the DOD FX20-K Stereo Phaser £59.95) was the best buy Chick i ot for yoursel!: pop: Arbiter O18: 2 1199 ISSUE 28 MARCH 1997 DON’T PANIC! Jj The intonation of a FA when notes fretted Once again the TG team of experts dll have the correct relative pth — the athaf thestringsallered tocompensate for WAFinge you solutions ieamount by which you bend the sing when «tg all your guitar jon fret Hour intonation is ou, a played in problems... he open position sounds fine, but a G chord at the loth fret sounds ont of tute, The intonation of an acoustic guitar is handled by a one-piece siddle ‘vera fixed bridge ~ this ensures maxima transmission of string vibration, essential for “amplification by the hollow souuebox. The saddle i iteant he moved. Electric guitars rely on electromagnetic pickups for their output, so the one-piece salle is rsually replaced by si individual its, each adjustable both for intonation (string Ie Buzz off Te got two questions that Thope you won't mind answering: Pve recently noticed that the top two strings on my Squier Strat make no sound above the 5th and Tth frets and the a horrible rattle. Will a e ON aaah) \We'e here to fed al your ‘questions on any gutar-reated ‘opi. Payers ofa bites ad TG, so ask whatever you ‘want ifit' puazing you, its ‘probably puzing somebody. ‘oo out there. you hav a ‘et connection then send (ne of he most famous recent examples of guitar phasing, this Is ‘he ml it frm Lenny Kat's ‘Are You Gonna Go My Way Phaser your questions to: eee on, ee 7 Oc write to: Don't Pani, Guitar Dave Kiinstor Tota Gute, 30 Monmouth Street, Bah BA 28M. >> Re: aU nee) DONT GUITAR STORE ert) setup cure these proble he trem working) sa ESP currars eer B | Secondly, on my amp common modification, foe cael inet Uae there are two sockets ‘example, This will give a fuller == labelled ‘send’ and ‘ret tone =a though the stn od : tare these something to do. went ssight into the body Resa? : ‘ a FSA? ce e500 with effects? Teles, Ji Hendrit i one els : Carl Thomas, Todmorden af the Few playos that Prats ea AY persutetigintrinen hes th heck i sae WE fora sctup salght ay. 1k Stat whlche was playa Coomera” Somes Goch umsstres fal tell bewasagenis aaa coo Hla in ee ena ca el need stoning, The two socks avvenesT rae cn your asp arace Pe es connecting an effects loop te ‘The tuner function on 5 jour ampiter~this means sy Zoom 505 is Eres 'P Eee) You can instal effects pedals. The displayed note changes : Poe ane event ea id verge andi Lune Fi aM cc Mal then cheek it on my Rhino Tye been playing is way out, Do I have a eee guitar for abouta year faulty model, or ist a 7 htipZavwwharleydemon Plus there's the much-loved! Harmony Central site, which has links to most of ne others, at http:wwwcharmony- central com/Effectd Glam fan How did the Glitter band get that huge guitar sound on Gary Glitter’ hits of the 70s? Eric Fry, Jersey Its good to see that the people of Jersey are right at the cuting of the music scene. The whole guitar i med to the same note in diferent octaves, (or sometimes 2 poser chord of oots and fifths ony) the themes are played — usnally re upand down the neck. Add compression, overdrive and a short delay, and the word of platforms and spangly jackets is yours for the taking Living in the Scotland Aria ve just bought an Aria Pro IL "TS.500 guitar second-hand, and want to find out something of its history. Any ideas? Geoffrey Lee, Edinburgh ‘The original TS-3 1979 the years ater. The body isa sort of SG/Strat hybrid shape, with a maple centre block and fied maple neck They had one humbucker and one single coil pickup, plns an enormous number of switches, including phase reverse, preset tone selectors, col tap, and active ‘booster’ switch. Original 5, Second-hand vale is price w currently about £200, Treble May pedal setup. Where ean I get one? Jane Sumner. Wakefield Ph ioc ce on only get treble boost pedals second-hand now. A practical altemative isa graphie equaliser, so you can switch in @ preset tone for solos. But bear in mind there's more to the Brian May sound than one pedal youtl also need a thick overdrive output pickups, various delays and reverbs, as well as afar bit of practice! Theory fan () i bes ines context to use the altered Lydian(|,7) mode? Steve Speed, Leicester ‘Oh, for Goel’ sake just got aif wll you? ISSUE 28 Mancit 1997 Z. itu PROBLEM SOLVING MIDI man synth/modale of your choice (2200 Pm thinking of getting into upwards), Roland (GID pickup/ GI-10 MIDI/synth guitar systems, What converter) and Yamaha (K-24 kit do I nced and how much will it pickwp/G50 convertor ‘cost me? By the way, please excuse currently rule the any grammar mistake roost inthis ares Dino Macaferri Haly Please excuse any Its snistkes inthis Vico about £100-£150), MIDI snsswer = Cin from converter unit (€300-£500) and the MIDI the Midlands. ‘es tothe body air R INSTITUTE uUITLTAR SCHOOL The aia Name in Guitar Education * Diploma in Higher Education - Popular Music Performance (Gutter o Boss - 2 years, FullTime or PrtTime) Fully accredited by Thames Valley University Commencing October 1997 Grant Funded © One Year (Full-Time) Diploma Course Commencing April 7th, 1997 © Three Month (Full-Time) Certificate Course Commencing April 7ih, 1997 © 10:Week Part-Time Courses [evenings or weekends) Commencing April 7th, 1997 © OnetoOne Private lessons available, seven days a week For FREE PROSPECTUS, enrolment details and new video call the Guitar INSTITUTE and Basstech on 0181 740 1031 The Power House, 74 Stanley Gardens, London W3 7SD Fax 0181 749 0892 Cn }OARDTE eae TE] BASSTECH [KE mea +: eee NER Cur ROME irae aed POUT eer Ca ground. But songs are EU ee nL emotion — it’s a matter OCC Ue eM ests Serene es SUE 28 Manen 1907 Back with a vibrant new band, former Free and Bad Company frontman Panl Rodgers interrupts tour rehearsals to talk to MARK CUNNINGHAM about his first all-original solo album in years. ARLY December was typically cold, wet and miserable on the fternoon I drove dovn into Sastexat the invitation ofa man who has loomed large in my record collection for more years than T care to remembers Paul Rodgers. Negotiating a narrows, maddy farm track, T nally arrived at the homely rehearsal base hhe and his band have been using to prepare for their current tour, and as I vound down of his velve-textured i hass throb sy window the strain vice rising above the dist Titorlly thawed me atthe wheel. It felt like a homecoming Alter almost 30 years as one of the 1st distinctive vocalists in rock musie through his work asa founder member of Free, Bad Company and, with Jimmy Page, The Firm, Rodgers may well have armed the right to pt his feet up, live ou his laurels and take time out to polish his trophies. But while he is perfectly happy to talk about past tories its his new album — his first all- inal collection in several years - whlch is currently uppermost in his mind Significantly this album i tiled Nowe The product ofan 16-month period which sa him assemble his new band = itarst Geoff Whitehorn (fresh from with The Who), bassist Jaz Loch and drummer Jimmy Copley = Now is arguably Rodgers’ strongest work since his mm Bac Company in 1983, and departure while it dons w contemporary ce ssid that it throws several nods at this 47 yearold Geordie’ accumulated experience, Not surprisingly, rock and blues are high on the agenda, but the inspiration that Atlantic nnsie fred up In Rodgers as a is more than a lite in evidence That's not a bd thing. The Stax He says ways thing is definitely an influence thats Jim Copley loves Stason like to pi Al Jackson and is very tated as a drimmer, and we und with soul mubers dt even do an album ofthat the heck of i not intend to stick toa rigid stulf one day, st Although he did teria, Rodgers simed to record the album i such « way that the songs would translate fitful to the concert stage, and the fist single to be lifted, Soul OF Lote, is evidence that his formula ‘worked, “I started to write with this band in mind aad we worked on this terial in sonndehecks AML oF i vill wor ell ive om stage, and that is quite race because even with Bad! Company and Free we had ‘fair amount on each album that didn't have the dynam required for live numbers. [took a hearse for bum, The Borderline in London anc Iwas really pleased at the way they eame across w benefits ftom the input of co-producer Eddie Kramer, the man famous for eng Jimi Hendrivs greatest work, But this was no first time that Rodgers has hired Kramer’ talents, Eddie and I go back to the Bad Company days and he engineered Run With The Pack (1976) Hes such a gifted technician — areal old-school 2 PAO ener ive any Froe album a fspin and you'll be struck not just by Kossoifs sensual playing, but Paul Rodgers’ fantastic voice: hho's reckoned by many to be the finest roolfblues singer ever, eclipsing leven Robert Plant. Paul: “Thirst started singing whon Iwas 14 anda Yass player ma band at ‘school. We used to hang ‘around a bunch of guys ‘who were pretty good and they let me have a Jam ono day. They had a Shure mic and T got up and sang on that, and it ‘was at that point that T ‘thought that maybe T ‘could give ita erack. 1 think Tsang a Little Richard song, probably Good Golly Miss Molls, ‘and the mio made all the difference. Tt gave me 20 ‘much confidence with all. ‘that volume. They made ‘me the singer and got someone else in as the ‘bass player ‘A friend of mine, ‘Bruoo Thomas (later of Elvis Costello & The Attractions) joined the ‘band and ike all of us he ‘was into Stax. He would point out an Otis Redding vocal Heke and ‘ack if Toould do it. Fa have a go and woulda’ bo able to straight away, ‘but T could after a few attempts. You ea learn hhow to sing, and if there tare things that you can't automatically do, ‘you ean with practice. ‘Tho main thing was to Liston to tho greats and Soak it alt wp 6 co Track 1 tage guitar lover, He says: aul Rodgers ies secies since coner ofthe Soul Of Lov ALL REGHT NO W guitar pian the video Marshall 50 Witt head type who's is very valve and analogue-orientated, I've just dug an old Vox ving engineered for Hendrix he hasan and i amazingly owe Iinpeecable pedigree, and he has a wonderful ear out. the road. after It for musi he came up with some good wourite. Is actually on the single, and it’s the same 0. Inormally use a rad a 4x12" cabinet, but AC30 ont from storage 0 T might take that ts been serviced, MUDDY WATER, suggestions that I did't autornatieally think of Overloaded was an acoustie song as far as I was Rodgers’ last outing on record was his acelaimed ‘concerned, but as soon ashe heard ithe said, ‘You 1003 album Muddy Water Blues, «tribute to the should throw that Into the band and see hove it ‘great Muddy Waters which featured an impressive comes out,” He-was right = it really took of list of guests, ranging from Joff Beck, Gary Moore and David Gilmour, to Brian May, Slash and RELUCTANT GUITARIST Gat Brian Setzer, “An abs ‘The way in which Rodgers can command an alt jy,” how Roxlgers describes the recording. It ame at «tine andience with his voeal performances has when Rodgers felt aneed to cleanse himself with somewhat overshadowed his considerable abilities as a of artist uitarist, When Free recorded their last album, Heartbreaker, in late 1972, Paul Kossof’s notorions drug habits allegedly caused havoc in the studio, Although he played fon a number ofthe tricks, it was Rodgers who handled much of the guitar work, inchuding the cif tothe moody Wishing Well supposedly written about the troubled guitars. “Leant take credit forthe lead sitar on Wishing Wel, ‘cos that Jones Music rock so ‘vas definitely Pal, but it was me playing the main rif, on my ‘Gibson Flying V. I did’ feel at all threatened by Paul’ playing because it was never as fT SEO roi, he able to play on particularly wanted his role. And springs Tet’ face it, he was a fantastic, RCE musician cemotion-drven player. t would eek it while is be great to be able to play om the making same level as some of the PRAM casicr o foyer, bu ort cayman”! 8 wet ra any E fort Singing and songwrtngis ny thing but Edo ike to heat « PEE sont sre gla player and its very Salil much 9 part of the exp He may downplay his guitar playing but itis everybody goes through certainly in evidence both on Now and on stage Truth albam where bs Superstitious a complete the blues ater the crippling lick ic freedom he endhired as amember of The Law with ex Faces and Who drummer Kenney hil Carson at Vietory ke the rocked-up arrangement Pd given to Muddy’s T]ust Wanna Make with The Firm, and he asked if Te Tike to do a blues album along the ve To You nes Je Beek did ing similar years ago on his give Ain't und. The dlificalty was knowing what to focas on ~ I picked Muddy because Ilove him, bnutit could easily have been Wolf or Albert King.” question that always to mind when talking to 2s who've been around a ‘whether the process of a neve album becomes x more difficult as life goes 8 ponders fora few then explins: “You're alway’ going to he looking for ing that’s going to break new ground. Bt songs are an ‘whole range of emotions every day which are not always the same, As many “Tm not featured too prominently because Geoff emotions as there are, that's how many songs there takes care ofthat very well but Iam playing are that you can weite. 168 a matter of being in rythm where itis required because Tote alot tune with it and you ean always find anew ofthe songs on guitar 'm not desperately keen to approach to canwey those thoughts play too rouch guitar actually, but Tend up doing it ’m going out on this tour and playing a set of somehow, largely becanse Il bring a song to highlights from each ofthe bands I've been in, but rehearsal and Tl play t tothe band, As they're th dificult heeause 1 don't know what to leave out learaing it, TILstl be playing and three hours later also wunt to get a huge chunk ofthe new album itl still be part ofthe song, IFT put the guitar in the set, because I certainly don't want people to down and stop, the others inevitably tell me that have the impression that I am reliant on my past what I was playing is important. To me, what [do work What I am doing is earrent. bt with « nod ist adds ait of colour” to the past. The new material is the sharp edge of As well as noting that Rodgers isa useful R&B what T'm doing —that very fat is making me feel pianist, it was clear from the rehe Twas privy strong and extremely positive,” EX MARCH 1997 ISSUE 28 z 4 Bon mrack 1 no ‘Al Bight Now (ive) ~ @ Pal Rodger (635) (Faserodos)| Taken ron he fie ofthe a single Swi OF Lovee teackis ao aalable on the Pal Redes tiveabun. © 1997 amshace Music ‘The track was payed by Pau's current band, which incudes the highy-talented {eotf wnitenor on gular, bassist Jaz Loctrie and drummer Jimmy Copley. The version they play cose to ‘the orignal 1970 unedited version Forth full try, ‘tum to page 70. ‘h, and remember to ook out for Paul Rodgers new album, Now, éus in tho shops, er, now. PAUL RODGERS FEATURE PNET RODGERS & PAGE 13 1985, two yours after the demise of Bad Company, Paul Rodgers teamed up with Jimmy Page in The Fim. After releasing just two albume, The Firm and Mean Business, the partnership folded, possibly hampered by the pressure that the inevitable ‘supergroup’ tag implied. But Rodgers offers a ‘more simple explanation for the premature domiso: "It wae intended to be a long-lasting project. When we startod The Firm, Jimmy and I were writing ‘songs and he wanted to take 1 on the road, but T was reluctant because 1 come off the road and was relaxing. We came ton compromise by doing two albums and two tours, and then seeing hhow we felt, That's exactly what we did, and by the end of the last tour we both felt that this was as far az we wanted to take i. Ei [Wry ssicenemel emcee Poweret foldback wot fecback ‘TWYIOOP €270rrp > a1OPA €269erp TSISPA £319rrp ‘TCTOH £117erp Solel Co Mor =r ee Wea ‘TS20PA £378"rrp Ten2re1s2H £112" rrp/£130 erp Tens/Te2sH £163 rrp/E178 rep FC a il Bune cn JOHN Li ‘With 50 years of recording under his belt, John Lee Hooker returns with yet another comeback album. DOMINIC PEDLER chills out with the man behind that voice, that guitar sound and those jet-black Ray Bans... Portraits: BILL REITZEL Even after 50-year carver which, by i grows John Lee Hooker'in should now be winding down, his global ‘rossover sucess looks set to continu with Don't Look ik, the ltest in the string of phenomena scerssfulrelaaneh’ albums he cut since 1080's million selling The Healer. the deepest, most clistinctive voice in the history of recorded blues But for once, the King of The Boogie, the elder statesman ofblues guitar - HOW HOW HOW and the hippest 77-yearold The walls of his home are lined with gold discs, ak the planet, is taking concert posters and photos ofthe man himself an, Keith Richards and ‘a Grammy for their from the studio in a alongside Stevie Ray Vat 500 Bonnie Rutt they sh 100 alburas tracks appearing on Rather than his trademark, fotstomping, zhythms, the ‘Boogie’ in question is Hooker's honey-coloured Alsatian who is getting restless in his master’s lusury home near San Francisco, as the great man's guitar cases are being ceremoniously ferried back and forth for your humble reporter to inspect. The Boogje theme Is duly continued out in the forecourt where assorted limos and black Cacillaes with gol trim are parked next to a sporty red Toyota bearing the California licence plate "Les Bogy’. These are just a taste ofthe trappings that Hooker now enjays fllowing his transformation blues inspiration to fully fledged recording superstar 1989 remake of Hooker’ I'm In the Mood) poignant shot of Hooker with Bill fe told me he likes my musi, he's a says Hooker casually real nice m But Hooker ie more than a blues guitarist who got lucky, finding fame and fortune while staying re to his Delia roots —and knighin he traditional Faustian blues myth by living to tell he tale. He’ also the most identifiable symbol of he modern world’s ever intensifying love affair with the blues. With his trademark hat and Ray es he's instantly recognisable to Ban son everyone from earthy blues paris iypes who propelled Mr Lucky to number 3in the UK albu charts in 1991 ~ the highest rank 1 blues albu and by the oldes-ever perfor MTV exposure and Lee Jeans, Peps and yuppie 3 EE; John Lee Hooker -» Schweppes commercials duly followed, but then Hooker had earlier enjoyed mass exposure with his bit-part inthe 1980 film, The Blues Brothers, whete he played the cool, street musician with an image that Jake and Ehvood could never dream of matching Since then, Hooker’ unique, ‘modal-like droning blues, which began in Mississippi as the son of a shazeeropper, have heen set alongside dezens of more modern, ‘allstar collaborations with the cream of the international rack elite Keith Richards, Carlos Santana, Robert Cray and Van Morrison (who produced the new album) are just some ofthe names that have joined Hooker inthe studio for landmark recordings. On live dates, i's been the same story and, when Hooker {guested on a US national TV. Droadleat in 1988, his hacking band ‘was only’ The Rolling Stones ~ together with Erle Clapton, BRITISH BLUES Indeed, while The Healer, Mr Lucky, Boom Boor sud Chill Out wade him ‘more money in the "90s than in the previous 40 years put together Hooker looks back most fondly tothe ‘608 when he emerged as cult inspiration to the British R&B and ‘early rock scene, ‘England made the blues big people forget that,” he says ‘Everybody jumped on the ‘bandwagon and then it came back hereto the United States and realy cag fie, The good of days, 1 call ‘em. The days of the Animals, the Rolling Stones and the Small Faces, I lived there for about six months all together —I would have stayed longer if I could. Everybody over there was playing my stuff ‘And they were, most notably early chssies: Boogie Chile, Boom Boom and Dimples — the last of which enjoys stunning new treatment on the latest album, where it features a stunning twin- guitar onslaught from guest musicians Los Lobos, who are described hy their mentor as “kickin” “Lflt that Dimples should be brought back, as the kids today Ra] gotta feel it there and then. You don’t want to Pa CO ia thrill is gone. You gotta just let it come out.” CD TRACKS 17-22 ‘weren't born when that eame out. Its new to them. Some people say that was the first ‘ock’ record ~ although they also said that about Boogie Chillen. OF course, 1 didu't think of i as rock back thea, The original Dimples indeed captured the imagination of the "60s R&B clite and, when Erie Burdon and Steve Winwood both reconled versions on their debut albums, Hooker's 1956 outing duly charted in the UK, eight years later. Today it remains a favourito covor. “Robert lant does a good Job,” Hooker says proudly. “He tells me he sings a Tot of my songs. T met him a lot of times and he once few me over to New York to see one of his shows, Paid for my ticket and everything GROWLIN' KINGSNAKE But Hooker’ sil at reinventing himself goes beyond reworking his carly catalogue ~ just check the ieresistible tile track on Don’t Look Back, where the guitars take a back seat as Van Morrison joins his hero, ‘onve again, fora spontaneous cll- and-response vocal duet over a beautiful, I-V-ILV turnaround chord structure, like to do ballads like that, That was a fist take where Van and me jst sing whatever comes into our heads. With the blues you gota feel it there and then, Yass don't want to ‘write it down and learn itor else all the thr is gone. You gotta let it ‘come out automaticaly. But that’s {ust my way and, lke Prank Sinatra, 1 gotta doit ‘My Way’," be grins. “It was like with The Healer, which 1 did ‘with Carlos [Santana]. We did one take and T sid to bi ‘Leave it alone’. He lef it! Keith Richards was another who found Hooker's minimalist approach abit of an eye-opener when he guested on Crawling Kingsnake for the Mr Lucky sessions. Keef flew dozens of amps and guitars over to Los Angeles ~ and experimented with dozens of studio sounds ~ only for Hooker to give the nod to what the awestruck Stone thought was just an exploratory run-through, He had his Jack Daniels und we id it no problem,” recounts Hooker: “In fact he'd said if [didnt include him on my nest albums he wouldn't speak to me no more! But I wanted Dim on it anyway. That Richards, he can play the blues whether you know it or not. He ean get dav, Richards oan also ‘got down’ with his famous open tunings, an approach which has is roots in the trademark Hooker ste. “He tells sme al the time that he got the ides from me,” teases Hooker. “But I like to play all six strings when I'm in open A or open G. Idan’ take off the bottom one like he does, That string [D in open G and Ein open A] is one of my main strings, Hooker plays mainly in open A for boogie-ype arrangements ike Boogie Chillen, and in standard E tuning for the more straight ahead D> —-uncttag97 1ssuE 28 Tay lam I R&B tracks, ke Dimples, Either way, he puts his own guitar roots down to his heroes Charley Patton, ‘T-Bone Walker (sho gave him his fist Epiphone guitar) and, most of all, to his stepfather Will Moore who tanght the young bluesman everything he knew. “L loved the way he played: the open chords, everything. [play like him but I also play ike me. Everyone tries it but you won't hear nobody with that sound ‘but me. Buddy Guy can get lose. He ‘can play Boogle Chillen real good.” DETROIT DAYS ‘The mesmerie droning hoogie beat, accompanied by the hypnotic foot tapping, was the elling-card which Hooker established when arriving in Detroit inthe 40s asthe archetypal, lonely blues soloist, without the Insury of ‘backing band, “But then you make more money by yoursel8” he quips. "You ‘don't have to share it out, But, back then, the coffechouses was the big scene, It ‘was the place to pay and it was fun You'd be siting and strumming and talking to people while they're having their coffee, laughing and making jokes. ‘Of eourse, Hooker did his share of band gigs —never more memorably than atthe Lite ot The Cafe Au Go-Go, the "New York club where he was backed by the Muddy Waters Band, with Waters on guitar and Otis Spann on piano, “That wes a good one, « good night and a great band. I don’t have nothing bbut good things to say about that," he says of the 1967 show which was recently re-released on CD. Cafe Au Go-Go was revealed asa favourite of no less than Jimi Hendrie when former girlfriend Kathy Etchingham released his private record collection afew years ago, Although Hooker and Hendrix never ret, the admiration was mutual T wished Id met him,” says Hooker “Tloved his music and I decided to do Red House on the new album. V'd heen asked to do it some years ago for that jendsis record they put out = though I a told them that I was going todo it my way, not his. ike the way he say: sll, got my gitar,” Hooker adds. "My ‘woman ean leave me ~ but my guitar ain't going anyplace!” GUITAR MAN But when i comes to the details of his guitars themselves, Hooker appears Bashllyindforent— just ss long as there’ a quality sistring around om ‘whieh to express the blues with “They're jus guitars to me," he ays modestly of his dozen-odd collection ss the cases are opened up infront of us.“ nover buy any now they give me my suits,” Nevertheless, Hooker has long heen associated with Bpiphones, fom the days ofthe white semi-aoouste, singe-eutaway be played on the 1964 TV appearance of Ready Stouly Go! through tothe eustomised, red Sheraton model ed with on the cover of Adr Lucky ‘The latest addition is an Epiphone John Lee Hooker ‘signature’ medl, recently released in the States, complete with King of The Boogie’ emblazoned in rnother-of peur ilay onthe fret nnarker. “They asked me what I wanted and T told hein the best could, the neck and soon. Tike alow ation and light strings for easy bending Epiphone ‘are algo making me slid-bods; Les Paul-tyle, But Ive alo got Gibrons and Fenders and a new Washburn. he says, pointing fo a custom: bul, $35-sle, semacoustic finshed in blonde with a faint tiger stripe ‘Nest up i a genuine Gibson BS-395 — serial number 2201, “Carlos gave me that one for my birthday” he says proudly before explaining the story Ihind another Gibson ~ this ine a BB King signature ‘Lucile’ model. “BBS a frend of mine, but T saw the guitar na store and went in and bought i ysl When the salesman found out who Twas he come dow on the price!” Hooker finally teamed up with his fellow Mississippi legend fora heavyweight duet on You Shook Me, prime cut on BBS Blues Summit album Tooker! “I been on stage with him befor, but this was the first time I'd recorded with him. He's genius and all nny life Fd-wanted to sit dawn with one ofthe great martor.” Hooker alo has & special fondness for the eying, vade- bend style of another King ~ tis tie the ate, grea Alber: 18 a outstanding he: ROCK 'N' ROLL DEALER LIST ORE Mus oucien at cao Bly tcEwen Keytar Ca, ie mr Nol res yma 8 Ae NUS Hse, Be igs aise Natt set a 8 eros Musa ise aot 2 aan ae Str fey Hath BN SUT ae er stout sent rex 1085 hal Exnangs Singin 1212957548 Sis, Bos Sot ram) Tower sk ao920 rss Calg Msi, Sinn age 744 i ht, ton “orzo asi eter wat, ice ‘ra saan le oer as, Bort sae tas ‘we Come hi, sara ‘Omega, 187 787 rts st i, (0, WOK 20183 Ter Mus, eg. z tara erat Promise en) ‘nae zates Shunde Ps, uy Sara. faa ase Musi ge, cree. i Sst Canes isa! sbunents it ia sazis ais, 122 ace Fc ao, sed 1076168 tga, Caines aes 06 ‘Afuundatot Sound, Cron re se389 Dawa use Ces. 12 soso tise Warts Cae 1208 78788 ‘eo usecase 18752 Fan Sound neon ies aes Hastings coy rs 2246 Musa eahanes Coy ora essee mss Compan, wey as Sn | Cas eta, rsa ra 200%, Mine Gouna Osea am 208 Sad She, epi 177 tose ne bn roan in. 73104 Sona Cot re ‘ia ae tine irae 08 onan 133 ents ‘Shun ane Eh it sor 86 ‘Sey ae nh sa ae bat Een jaa 7248 Si Ceonagh Er 792-000 ace, Ste ioe stzs Manco, 92 a7 Guar ap, Fa. ves reset Tom Bay Mise Fer, Uk noe Tony Dot Fors, 0 Won ee gis Fat iat area Modem asi, vay z ssn | Mitr Mae Gass iia 68 Necormace, aug Sine a a (Soma Caneel Gyo “Tat acne rhe, Gogo. at Se Soest surdowse, Sc Sawse as Sica Muse Ce, Gaus ‘vse shes? eset cry ‘Aen Wa eat ama ‘anions, Clcrs Moctinsnag, are Muse Bay Hey ‘nee ate eto ts ia snars ge oh Hysonbe ye sae? Mahinweas thn See ats Pret Heotone Mse oiion in sro aaa ‘Speke Saud sso fone sae 1 Fo i ye seas Mise woop il ia Zsa Cf Owen ut, es sa es era ak | assed ‘Marts Mus och 732550 non sen ra 4c ABCs Kas pe Thane. ines sass = Fender Diamand Desc ae} John Lee Hooker -> style. He's another that people try to copy but they don’ get it right, ‘That voice and that guitar, it just chills me. Having played with vietually everybody from these Kings lownvvards, Hooker regards the late Stevie Ray Vaughan (to whose memory he dedicated the Mr Lucky album) as the greatest ofthe later day bluesmen, “Loved him so much, is such a great loss. He was so good and such a nice person too,” he says in sombre ‘mood. “I remember before he got famous, he got on stage and jammed swith me at Antone’ club in Austin, ‘Texas. tld him then, I sid: ‘One Ay you're gonna be really famous He just looked down real modest and said ‘Yeah?” Hooker even regards Vanghan’s Texas Flood album as without any doubt his favourite record ofall time “There a lot of good blues around but nobody that nique,” he says of today’ scene, “Fm listening but [aint hearing anything I sid to Jimmie [Vanghan}, ‘There'l never be another Stevie.” BLUES BIRDS ‘To change the sombre mood, I asked Hooker about one of the great rumours ~ perpetuated by none other than Keith Richards -sbout dhs supposed guitar school he ‘operates at his house. Tn a 1993 interview with Guitar Player magazine, a yobamacked Keef had claimed: “He's gota guitar school and they all happen to be teenage chicks. By a miracle John Lee has got like 10 chicks around and they're all good players too. So where do we enroll? He said that? Thats funny!” laughs Hooker in defence ofthis vision of ‘Alternative GIT “Its true there was a bunch of my women fiends [invited here when he come arcand, Some of them play guitar and he was playing guitar with them. Pd said to them: ‘Keith's ‘coming over’ and they said: ‘Olay, we're coming over, we want to meet him’, We were drinking beer and playing guitar and watching ‘TV ~ but itsno guitar school!” 56 EES Cee Mee LTE LO MMU that unique. I’m listening Ta im are rd EU ae ll WTS CY (ea CD TRACKS 17-22 Does this guy know how to party, or what®l Even at 77 (although with no birth cerfieate or other documentation ts rumoured that he ‘may already 80) John Lee admits he is still enjoying the good life, T've got nice cars stashed around, I've got places to stay [er... make that four houses in California, a the last count), swimming pools ~ all the good stuff, Bu, asthe years go by your life changes, yer: mellow ut, [lke to watch baseball on TY, enjoy music and women. He's told us about the women, so what about the music? like anything with a goed funky beat; [like Tower of Power and Los Lobos. More important than good singing. music has got to have drive. And ifyou're playing blue, forget about the book, play with your heart and ears, The blues is notin the book, you've got to fel it Ifyou dont have feeling and chythm, you ean forgot.” SONG STRUCTURE When it comes to those shythmic structures, Hooker has always taken great liberties making the time work for him rather than religiously sticking to the standard 12-bar format. “I could if Iwanted to, though — directly. But I ike jump ‘anywhere, [do it on purpose, ‘whatever I fel ike — and i always turn ont right While Hooker’ originals demonstrate his uncanny sense of time, other artists covering his work cor playing songs in his style have ensured that they retain that key ingredient. Take Van Morrisons loose version of Baby Please Don't Go, recorded with Them inthe ‘0s or, better sill, George Thorogood’ epi, ‘eight-minute showstopper For most ‘of the workout Thorogood recounts the amusing story of the House Rent Boogle over a singe chord tonality before elimaxing with the tumaround ‘of another Hooker gem, One Bourbon, One Scotch, One Boer “He got lamous on my songs, ‘huekles Hooker. “But Ilave people din’ my stuff I they do it justice, it keeps me in the spotlight, And makes me money.” Talso made blues revivalists Canned Heat mouey, as they virtually made their entire living ot ofthe then famous Hooker sound back in the 1970s. Stil, Hooker has fond memories ofthe Hocker ‘Heat collaboration, and the artists ao met up again on The Healer. But he has no doubts as to the favourite covers of his lassie material, “Erie Burdon did great job with Dimples and Boor Boor [both appeared on The Animals’ 1964 debut album J and Maudie fon Animaiism). Yeah, and Bruce Springsteen does a good Boom Boom. But what about La Grange, an original 2Z. Top song on which Billy Gibbons gives it his best shot at the Hooker grow (chock the intro “How How How How’ rap) as well asthe iresistily-syncopated DD anett agg7 issue 28 “Music has got to have drive — and if you're playing blues, forget about the book, play withyour heart and earsethe blues isn’t in the book, you’ve sot tp. feel it. If you don’t have feeling and ythm, you can ; forget it.” eet Erocoemere re te CD TRACKS 17-22 John Lee Hooker »» 120 Srds' boogie chord shapes. "They got that from ne,” Hooker says. “You know that. They said i. But I know all them guys. They're good guys They're nice people Nor is Hooker phased by the extent of the blues revival of which he is a massive comerstone and which has now reached gobal proportions, “Ie so big novr because everybody realises its ike a lang everybody can relate to the e ‘woman gene and stuff Tike that-Anel all musie comes from the blues ‘nyovay its the roots of everything Like Wes Montgomery sid to sme when I met him a couple of times: ‘You ta play the blues rst before you can play anything lso. 1 believe that Just listen to his Boppin’on Sunset to hear that That's my favourite, ‘WINDING UP With five album in seven years, Hooker may appear to he prolife but by his standards he's winding. down compared to the carly days wen record company ‘accounting procedures forced poor bles artists frantially to seek out alternative outlets for their musi. Its estimated that between 1949 and 1953, he made some 70 singles on over 20 different label, often using pseudonyms such as “Birmingham Bob’, ‘Delta John’, “Booker Man’ andl even the none-too-subtle ‘John Lee Booker’, But it was apparently case of sink or sin’ at that time, CMe et] he keeps the ideas COT eae LM and the lyrics just UL RUT la Hooker: “I was under contract with the Modern recor company'in LA, and they was crooked = some of the biggest crooks ever. My manager said ‘We can get you deals, we can change your name. Every record company would come to me and I'd say; ‘Call me what you want to as long as you got the money. They'd give me a name and Id go into the studio late a nel EASY STREET Having travelled the proverbial Hard Road of the ‘wandering blues musician, few would begrudge Hookers new lease of life on Easy Street, But, ‘while his live performance schedule has been cut back to.a minimum, just how does he continue to find inspiration for yet another impressive studio * onting with Do Look Back? “That's a good ‘question, I don’ realy know myself sometimes, I believe in God, and he just keeps the ideas coming, The music and the Iyies just come along and L pput them together at the same time, I mean, the money's great but that don't mean anything to me Friendship and people is important. 1 love people und Tove ry fans, I don't forget them. Theyize loyal to me and they're tho ‘ones who put me where Lam, Among these fans Hooker ean include not only the vast chunk of the musie industry that he has recorded with but a global audience of music Tovers, from the President of the United States to big: shot Hollywood film Steven Spielberg, jumped atthe chance toute Hookers musie on the soundtrack of his 1986 fllm, The Color Purple ‘Then again, perhaps Spielberg should have renamed it The Color Blue. For while Clapton may be ‘God! and Albert, BB and Freddie variously the “Kings ofthe Blues, John Lee Hooker, very simply, s the blues. Roll of Honour [ite history otmusie eer ore ee ed by John Lee Hooker: Each oper Beer ersieryans orice cree etary {for a brief share of the Preteens ties Sone rae orto erate say pager rire arenes Carios Santans = "Tha ec oer teen frontend Sammie Vanehon ~ Boom coe poaee Ty eee oy eee ad Van Morrison ~ cone atid eee en Albset Colla = ee eect ees eee ood escent es Posrnre rine) eee er rc rr Peete oes ier ners eee “John Lee Hooker plays the blues like | heard ‘em when | fist started to play. And he still /nlays ‘om, When Lonnie Johnson, Rébert Johnson and Bind Leman played they wore so themselves. In modern times (since | started to play, John Lee Hooker isthe ona like that.” — BB King iid EEE 59 IssuE a8 MARCH 1997 2 H Ask the Pages, Claptons and Knopflers of this world whom they would cite as their major influences, and yon can guarantee that John Lee Hooker would he high up on all their lists. SIMON ¥OUNG gets in the mood to play the blue: raxr groning, whishey-addled voice ERENT in to tos | Tevccaned UA gedanyaare: is GEILE Cov crorie guitar style is unique — he thinks nothing of (EXEED oom Boom throwing in an extra couple of beats (or even ars!) EEA oop Blue Sea whenever the mood tales him Although Ive FEES ripolo Bes transeribed all the tunes in 12/5, the bar Hines are fairly achitrary —he's really just going with the flow EEEXSIEEN Ful-and backing rack ot his foottap. He plays with ehurab and fingers, forthe Boom oom excarpt often creating ersttnthnsggalnst the beat of he gut ued nas a Gibson 85, Fecorded throug Vox ACO and a Raland GP-100 muti-Fx song, as well as some sevore bammer-ons, The frst thee track are taken. from his heyday in the 1950s, and the last vo are from his 1995, album Chill Ou, showing ifanything his style Gul, tanserpdons, backing tack has become even more Inid hack... EA (and fot): Simon Young ie to aaa a ee ee teh who: same co twas Jofin Loe Hookor ews ; Inence on me. that sound. banana fingers lacking way.” Pets Townshend Reese Reon om 60 EY MARCH 1997 ISSUE 28 @ co macs 17-22 JOHN LEE HOOKER [gop ques ss] Aco OME eT Pn ECINERT TT z Pm 1SSUE 28 MARCH 1997 cs o FEATURE Sounpeoroay oD TRACKS 17-22 AS tnt SEES ae ee en JOHN LEE HOOKER: Boom Boom So ue woop om ooktn— 3s Mone rs: on) Me YIN LI. Fa IGT. LONDON ST ABRAM Muro UN DEED END Pe OF NCAA D> Manca 1997 issu 28 FEATURE JOInpeoe Gad ©D TRACKS 17-22 (> Bont ‘JOHN LEE HOOKER: Deop Blue Sea Ee Sy CO TRACK. 654 MARCH 1997 15SUE 28 ey wel one ae) Cd Tips, techniques and transeriptions from the TG team The flim sounctrack version, transcribed and explained Tony dela Skin tll strums wit Fat and funky licks from the Godfather of Sou Widdliddlidalumn! Widalidaliddam! Widdle.. dium! Joy Division and New Order— here’ the Bottom Line Richard Barett shows you Moore andl more solcing The Lord’ Seat fll transeription from Gordons latest albusn 1ssuE 28 wanctt 1997 cry ioe ‘ve always wanted an excuse to transcribe All Right Now, but we felt, after Wishing Well hack in issue 18, it was too soon for another Free track. Then we interviewed Paul Rodgers, and he was really keen on the idea of TG readers learning the song properly, so the team thought - ah, what the hell. So if an overdose of Free has upset you in some way, please speak now... What? Thought not. JOE BENNETT ‘TECHNIQUES EDITOR EESTI Gy sia le UU UT noe ee Lt hee teeta iE. 4 Py a sd COMB TUS Mee pele eww behind this evergreen British rock classic. bel i a HE terminally infectious rif, the fluid and memorable solo, and one of the most potent rock’ roll arias of the last 40 years ~ that was allt took to propel Free’ All Right Now into the history books, Like Clapton's Layla, Deep Purple’ Smoke On The Water and Led Zep’ Stairway To Heaven, this is one ofthe few "70s rock gems which defy trends and sound fresh asthe day they were recorded Conwritten by Panl Rodgers and Froe bassist Andy Fraser, All Right Now was produced by the band and John Kelly during sessions for their third album, Fire And Water, at Island Studios in Basing Street, West Landon. Ie was released on ‘June 1970, quiely rising to number two in the singles chart, with only Mango Jem’ In The Summertiny holding it out ofa deserved top slo. ‘Confirming that the best songs are often the quickest written, Paul Rodgers says this classic was virtually Island Records off the peg. “The whole song was orientated around the idea that i should be asingalong. Free was basically a blues band, but for some reason we started to get larger audiences as we brought in our own songs. One of the numbers in particular that survived and stayed in the set despite the fact that we were waiting our ovm songs was (the Stax standard) The Hunter. It vas 2 very big song up in Sunderland, they loved it and always asked for it, We used to love playingit, but Talo thought we needed another Hunter in our set, bu ‘one that they could singin the audience and be a part of, We were ina dressing room somewhere and T remember discussing this with the others. Right off the top of Look lads, it needs to be a realy simple rmy heal I said horus. something like ‘Allright now, baby its-a all right now They sald, ‘Yeah, grea”, and I grabbed « yuitar worked out the chords onthe spot and we had the chorus immediately. Andy Fraser and I were writing alot together at the time, and he took that away with him and came up with the verse 1iff I worked on the Irie, which eame very easily Cos Ps iad Ttsvas supposed to be something that anyone could relate to and s just lowed out naturally because T knew where [wanted to end up ‘with i, Teas little bit cheeky T suppose ‘Unaware that this song would soon represent the peak of their career, Free decided to debut i at the beginning of their next gig tnd were taken aback by the reaction. “There weren't many people {n that night but they were dancing and enjoying us. The fist time wwe played All Right Nov fend, [asked the audience if they had any requests and they all asked itsounded 2 bit of mess, frankly At the tus to do that first sony’ again, That was amazing that they even remembered it from 90 minutes before. I thought, ‘Wov. t must be pretty good then! This was also the general consensus ofthe hordes atthe Ise OF Wight Festival that August. Sill no more than a contender for the next album, Alt Right Now ‘was record on the standard eight-track format in a brisk o ay session during the spring of 1970 ‘We were very excited ISSUE 28 MARCH 1997 Mma hy EUR CST a ee eee NA ne RL permission for it... | TCU a ee ‘when it came to laying st down, We did the basie track and everyone was wery pleased, ARer recording his prety tasty bas line, Andy put some keyboards on and then it was the for me todo the voeals Chris Blackwell (Island Records boss) walked in right in the mille ‘of my vocal take, Until then we didnt anticipate that this would be a single. When Chris came in that day, though, he was adamant that it should come out as soon as possible However, one problem had to he solved... the problem of length. Inits original album track format, All Right Nore wis far too long for sirplay; both a large section of Paul KossofT’ masterful guitar solo and the final refrain would have to be sacrificed, The result was one ofthe sickest jobs ever undertaken with a razor blade and eiting block. Rodgers comments: “The ets certainly had not been decided n during the recording, but we were very happy with them. We were xy idealistic about our musie and wouldn't normally have considered e ting anything, but even we could appreciate that this was too lor g fora singe. So we agreed to attempt an edit and if it sounded kosher, swe'd go along with it It sounded great totally seamless ‘The main guitar if, written by Fraser and played by Paul Kossofl on his 1966 Les Paul Sunburst (vith « Marshall stack), may at first appear incredibly simplistic, but itis virtually possible for one guitarist to recweate live, One reason Is that KossofT double tracked his Les Paul but played slightly different parts on each side of the stereo picture. But that not ll the ston as Rodgers explains: “That wa cho ‘no ordinary A Jit was a heck ofa job, Paul would a! ppt hie litle Ringer across the bottorn E String on tothe Ath fret and get an extra A, “Pretiy much all the guitarists 've worked swith since Paul have played a fair approsimation ofthe sf, including Brian May and Steve Vai They all have a tendency to not change anything because they view it asa classe, and they pay the solo almost note for note, But the main nif Inas always boen a litle bit elusive. 1970 was not the only year which sow All ight Now riding high inthe singles char. Te reappeared in 1973, 1978 and 1982, each time with marked succes, Its last sppearance came in 1991, this time in a Bob Clearmountain-remived format (ambient drams, cleaner sound) which was never to Rodgers’ taste. Ths version was issued atthe same time as it vas heard on a certain chewing gum TV ad, What did Rodgers think about his music being used in such an irelevant manner? “Tim not that pleased about it actually, When I first saw the ad, Iheard ‘Whos-whooon' totally isolated from the rest ofthe tack and I thought, ‘That’ a very familiar voice, Then the rest ofthe track came in and the penny. Aropped! I certainly dida' give my permission for it get a pack of chewing gum! Despite such an artistic bruising, the advert did the continued popularity of All Right Now no harm at all~ itis now estimated that the record is played on radio or TV somesshere in the world every 45 seconds. How does that make Rodgers feel? “Absolutely ineredible! I received an award for one million airplays, That edit came in handy didn't 2" But ill Av Righr Now remain a feature of Rodgers setlist om his current 1S-month world tour? “T can't really get away with not doing that song live,” he laughs. “IFT dropped it I think Fd be lynched!” Hear his live version on the TG CD for yourself. EEA Tdidnt even Ino, st verse and chonus oma “he guitar solo in ut [exci c} Novice version ofthe main if Novice version ofthe chorus [rnaci os} ‘complete Total Accuracy booking treo Total Accuracy: Sturt Bull = rms; ery Cunningam — bas; Poo Aas — piano: Engineered by Steve Finch Profecsonal Suita Workshops Gulars: cher Barrett ich used a Les Paul aston, through a Ditech 68P2101, with the Distorted Tubo soting soloctoa ‘Aukitons guitars: Joe Benet It's taken twonty-cight issnes to get here, but at last we've done it - the most Classic track ever. JOH BENNETT rambles on, and KIT MORGAN wields the transcribing pen like a... pon. 1970), although it has That distinctive f Kosso is attempting to double-track his rlaythin parts in stereo (Black Sabbath used a sinilar inevitable variations, and it is these subtleties that give the rlfits sound, Our version shows the two main parts ~ the third is basially identical \Gullar Te yextra net plying alg wath anathes guitarist, stick with the Guitar 1 part ~ isthe most throughout to include hatnier-on and bending licks. 1€8 not easy to emulate KossofTs style Deeause he uses a very unusual to technique its very small buc rapid finger movement that makes the note ‘shimmer’ {in the second half of Kossof played his 1965 Hame top Les Paul lmos orded, although there is an unsubstantiated ht Now: was played on a Strat he distortion was added exclusively atthe time Fire A rurmoutr that Al ina mild overdrive sound, just And do look atthe transcription before you play ‘long even f you think you know the trick = you may be surprised! BE oer ene MANCH 1997 ISSUE 28 PE it Ve “ “ Gs Dada2 gp ee pss ee aot tama estaly ws» stramaning poltern te sero evans of ing the spon D ring. tonrn the Girktarslowiy mad pewnstoen ix shown seve th metas EY Llitit a Gin Ee IMPROVISING 2660060 «666000 6 - Avequtnte Agate =a = é 3 ‘This powerehord versio ofthe ehors sal paged re you ebsorv the ploringhsromming directions ~ within the het thee frets, To stay nse, make Inthe at bar partially TTS Intro. IssUE 28 Manet 1997 2° os Gir2 continues st. Verse 1 Tin’ from Ber ho Tail a what is hh = now ba by may be she's in need of 2 ” D> wancirrgg7 1ssuE 28 whats your a pre se bet Pree May Be wean see things the <4 - me Now don't you mn n sere oe ve 2 é pre see ee eee nee o = —= -- ptt: =e eee ee SS SS SS eS Chorus by Ws a 7 MANGH 1997 ISSUE 25 aT Ta = by ite a i Let swe tell yon now (int) ah Look her b= 2te2 continues sim ISSUE 28 MARCH 1097 > 7 = tching eve-ty move on her = oo, what's your game a= ty? Are you enfin’ to put mein sha. = me 1 said a . She said lo = nt you think that Jo-ve cam a ‘She sid Jo £ 3 iti : 4 5 75 MARCH 1997 ISSUE 28 issue 28 nae 1997 2° ” Guitar Solo Gaddo > As So EERIE Gadd D a5. Gadd > Sites (er 2 oti DD wanctt 997 180" 28 lefring- —— i ‘wid ib Bu bu eu Bu pie PAL roraL currar MARCH 1997 ISSUE 28 2 toe ita Ens SIT (3°). E Chorus we al sight nom ba by its a al Hegte wo + w. ISSUE 28 MARCH 1997 Ss 85 Outro Chorus Enter ib voce dette = oe ed ———— et = al ric pest to fade S cr =] al right mow be = by te al Se ee ee Repeat to fade MARCH 1997 ISSUE 28 nce teu 8 show io ti mr het ae mes ‘0 that they appear ia deren re EEE pacing Wack of cenit hho tel ed ates 31-96, tol it the ting altars: Roni Seis mf y version of the rack is played ‘ma classical guitar style, but it ean just 1s easily be played on a steel strung guitar with fingers ‘or & piel, so fool freo ‘to try different ‘techniques. Make sure the arpegiated notes flow evenly. It should also be possible to work out the party piece single gultar version by adapting the arpoggio shapes so ‘that the melody can be incorporated. This is trioky, but here's a tip; play the melody as much as possible fon the first and. second atrings, to fallow the chords to ‘sound in as low a register as possible. 56 In TG's first Acoustic Master for classical guitar, ROD SINCLAIR heads for the movies with a, transcription of one of the most famous guitar piecs Ovi often see Cacatina aranged as a solo picee for classical guitar, and its reat (hut difcul!) to play this way: Tve worked out a transeripton ofthe version in the movie The Deer Hunter, as played by John Williams, For this, two guitars were used (ith an orchestra) allowing both more flexibility in the ‘accompaniment, and greater expression from the melody line, I've transcribed both of the parts here, and supplied a track featuring the accompaniment only, o you can play the tune Even withoot the melody, you may find that some of the arpegzios inthe second guitar part are tavkward. Ifyou do bave problems, ty playing the same notes on a diferent part ofthe fretboard you may Bn other positions that sut you ver. The most importint sll to develop when playing this type of muse is expression, The recording contains ‘rubato’ sections where the rhythm of the music is abandoned to allow a freely flowing melody (bars 31-36 and 64-87). Because of this, Te lft a tiny amount ofthe meledy in the Dueling truck, but low inthe mix, to help with timing (bars 1-26). Ifyou try the piece with ‘another player, practise these sections together and let the melody guide the second guitar. Remember thet whatever type of guitar you play he melody on, you should avoid ‘rock’ vibrato (ie pulling the string up and down). Classical vibrato is achieved by moving the hand quite slowly from side to side while the note sustains, But you can stil pull sil face while you do it... 5 Mane 1997 188ur 28 e7 Dmaj7 Gmsj7 omai7 Fim. B7euss B7 87 1ssUE 28 MANCHT 1997 Fimosus4 Bmal7 »> Fim Ee ern Ae Emai7 e7 A Dmaj7 FYE my abato (rely) Bmp Dmaj7 Bro | Fhe ek hee Fat Bm Bhp em eho Be F/G} ey | | | | 88 MARCH 1997 IssUE 28 Ce ar eer Cavatina (cont..) BRE 87 Ee Coda Fim B7suss 87 1S6UE 28 MARCH 1997 Rut (fre) ubato ree) fz Fim7 B7suss ‘cmal7 EEE 9 New barre chords ‘BYTE All he moveable E chords, played sont, one ator the ote, and moving up the heck oe fet ata tie ‘BITE? The same idea apled ‘to the new A bare shape mo BYTE 1 Stones chord sxereise, using the moveable ‘Astape ‘BYTE Wilson Picket-svle ‘ora exercise, using both ‘moveable cherds BYTE 4 Gale rock and rll hammeron if [race 23) Demo track, using the chords ‘fom Summertine Bes Backing rack fr the ‘Summertime Bles-sie demo (Guitar: Joe Bennett Propping up the barre ina it aitheutt fat fret to hold down 1 barre chord ~ keep practising and you'll toon develop the tectnque. Whon you play a barre chord, ensure every string sounds, and there fare no ‘dead’ notes. ‘These can be caused bby incorrectly frotted strings. i FRETBOXES mmm TONY SKINNER, shows yon that there's more than one way to play major chords, and supplies all the techniques you need to play songs by the Stones, Wilson Pickett and Eddie Cochran. W last months column we looked at heay to play the moveable E major shape barre chord, Hopefully by now you're beginning to get to grips with it, so this month well have a goat an alternative barre - the moveable A major shape. Having the choice of two shapes for each chord means you won't have to mike as many difficult moves around the fingerboard when playing a song T ve propared « series of exercises on these pages which should help you to learn the new shape, The fist two are designed to develop, CHORD COMBINATIONS The final two exercises (base on Midnight Hon and Summertime Blues) involve moving between the B and A barre shapes, This saves time and cffort, beease yor nd doesn't have to travel up tnd dovin the neck If yon want to play lead over this months backing trick, Fve also incladed fretbos forthe F pentatonie major scale (below). These notes can be ted to iuprovise your own solo, How to find barre chords on the neck eRe Ea iq re eal eee ies so rs aa aa MARCH 1997 ISSUE 28 (oy wane 5 il | Barend pe PEAT ‘This Midnight Hoursisl chord exerise uses the moveable shape, thes ‘moves actos, rater than up, othe A shape I've also tabbed tthe lad AcE CEE oe wifa ra NC inostora [Hae some fey upd oromeat Between the Bead A barre spe ISSUE 28 MARCH 1997 (Behop) “stne) Binge). (Aas) F Bb © F fEalaps) (Aas) (tage) (Aspe F F Bb ic F vstye ehoré changing exereoe, [rorar curran Ey tar BACKS James Brown grooves | ELD hosp, ssisadintheinceGrtOnte ‘The sparse arrangements of James Brown's early '70s work Goo Foot BYTE? Sliding 9 pater, ax ‘sed in Get Up Fe! Like defined funk rhythm guitar playing. JOH BENNETT is ready to a get up and do his funky thing. | roe eee rover James Brown is rightly BYTE 1 Staggered semiquaver Soul’, he was equally influential in the = oe Fron esha ae moe Eb bassidrums groove, Practise MAKE IT FUNKY ‘these, and your ow, rythmic This type of music eles, pech 'doas over tis backing ‘ther form, on Teas For al the examples, the guitar used was a Fender Anniversary Strat through Marshall JNP-1 Guitars: Joo Bonnet sald to me “by ‘eck, Joe, you left out some great "Twin-guitar 1s more than any nps inthe pattern at the right moment ~t what funksters ell ‘Hot Space ‘This all gnes to prove that old musical adage that it not what you put i, ifs what you leave out. In fact, only the other night, after a gig, the drummer stuf tonight..." 8 On The Good Foot CIEE Strumming patterns TP sett exis withthe tec always play an even mp-and-down movement of sixteen-to-the-bar with your strumming hand, regardless of ‘ill the chords flow better with the backing, but any mis-hits you make ‘ill gound like they were intentional? CIEE 18s 28 MANCH 1997 >> EEE; CEE ‘In Hey Amerie, Pueips Collins playing groups of our semua points inthe bar le staeing onthe Bret. ‘Aft he diatinetive 09 ling ak, th rst of the patarn simply plays 7 doratlon rather than eat short withthe fratboard band. ‘This ex combined ‘horde on th often Tees sn be lied te ring on fo their whale ee a eee er fhe at Yar ache re set obey ong ah The portinh eins Th plies eet cee Sir Bare agent ha ens ember Pcnae, ‘Sool the sme a the provio lingo shape outplayed on siorent ‘ELLIS thee appr at aiaren mes aglant te va! ease ERE Wert oye lg ee 1 Late earpiece Nt a pea tg ll Se A gre eee toon ikocor cage yy it IPipageratemacares nsec Micra tag? emit eee (Cf ‘I ‘ere are ee more groorar, geting progressively bare’ Den’ worry if 708 ‘curt read rhythms parinlaly wll Chats what the Cee, feral! Manet 1997 188U 28 Arpeggio solos Picking notes from a chord is an easy way to improve your soloing. JIMI SAVAGE talks theory with these essential rock licks. wp BYTE 1 € max arpeggio with the rot onthe Gt sting ig 1) BYTE E minor arpeogi with the root onthe Gt sting fa 2) BYTES 2-octave A majo, oat ‘nthe Sth string (Fa 3) ‘on the Sth string (794) BYTE 5 Atomatve A malo, oat ‘on the Sth string (Pg 8) BYTES Atemative A minor, rot fon the Sth string (fa 6) BYTE 3-octave C major rpeagio sap (fg 7) tablature techniques, usa BITES octave Cmnor ‘p00 saps 8 S0L0 CONSTRUCTION i PREM APMITEEIE aslo sles you know what the chords arc! So paral, and swooped Peet ie ence cla aly Tjader ener tha ofthe song guilt was an banez Cost, ThiuphtMessRogiheade | start work on your solo, vd plyn Backing tack in F# minor (see ‘hor sheet onthe next page) ‘Guitars: Jimi Savage chord ~ this way, the slo will keep a meladie ‘ass: Andy Champion clement. And as abvays, zemember that well Backing: Adam Crate known Savagism — one note played right Is better Ge medics Wich i ask ee eerie LEARNING THE SHAPES With any now ape I lear i dlowly as un alternate-picked pattern 1 shape, I ind ithe before applying any sweepi techniques, The aim is to develop kiowiedge of the notes used, rather than simply Tearuing one flash lick to impress all and sundry atthe local must shop. Relax and take jour time ~ you want good clean n Bess aye 4 2 octave A mins rot “a practice, so never attempt ack at spe sare. Speed will come with time and tan play it perfectly ata slower tempo ted fingering Is written underneath the ofthese ape lyon the 3rd finger This can help to muintan clear note production, and develop than tps, when you pivot between adjacent strings. sles to sy, its impossible fo use arpeggios in arn the arpegeto shapes for those preferably in several positions. When you. mechanical effec, Instead, se partial arp then when the chord changes, try to move adjacent or nearby note which is part of the new an a thousand played wrong, 6 prensa Soloing skills Take careful note of picking Airections (= down | =u), especially if you're swoep-picking ‘Make the notes join together as ‘smoothly ax possible (legato). Otte ree se separating the notes (staceato) trate on the fretboard hand, then the picking hand, gradually building up speed in both ands simultaneously Use a metronome or drum ‘machine and gradually increase ‘the tempo as you learn the shapes 100 ESE Fogg 48 Ce aie ae t 1 "minor arpersio, with th rout ofthe ehord on th 6th string. The bottom of {ha arpogee foatren «hammeron, the tap see pall-o TE POE . Pa i i 5 eer? Sontave A major arpa with the rst of the chord an the 3th ering The 8: fet pt x nt eewly that aint thie poiton Pong 14 2 2 1 ‘ A ‘octave A minor arpoei, withthe rot of the shor onthe 68 ering. You not tk at aster here, dette minor ted om te te re CIE Ss : aes Bie” my eee see 4 i i v esta A major arpoggt with the rot oft cord on the Sth ating ad ching tp ne topo compete Ue ul te 1sSUE 28 MARCH 1997 > sor Fageing 4 : ey’ Gr 1 Tea cee 1 er es 4 stave A minor arpogeo, with the rout ofthe chord an the 5 tring: the fretboard end tap fo completa the ontaven rio CD TRACK 39 BYTE 7 era an oe ee eg an a eee a aaa ee ee ontave C major arpegrie adding a tap to complete third stare. Think of * (is arperio as broken up into sections to make euser Lo play or Ee Sento O minor arpogrta nd again I'm ang sta a the 00h fot to ee let [ee Yee re fe fe ie era Sa [foetal less |e, | eae Oh oa |e Shel rm | ome |x femas |x fot fetamnts ofr | @ 008 |rim | % |aacas| x~ |amz | ~% log | chet :|] [© cet} rim |] “Th eth somplneshord shor tot months hacking rsh: Une Whe sight tad, aued and slasteactation chord aot area bane majo rpegee. ‘baste major and miner arpogio shapes ant appt them to these chords. Fer : s02 MARCH 1997 Is8UE 28 Hook JOY DIVISION & NEW ORDER Atmospnere| MTEL Toba ato With Joy Division and New Order, Peter Hook changed the Geremony (a 3) th role of the bass guitar in contemporary music. TIM TUCKER AEA Mebssnatic feet — eels in four of his finest bass lines. ee BYTE 1 Backing track to Love ETER Hook's melodic lead-bass style tara 03) Gi hesrkar aca neterce kak ‘BYTE 2 Backing track to the electric guitar and keyboards to the sound of Joy Division and New Order, His teclinique is by no means difficult, but his use of he upper segister of the instramen melodie style uniquely recoguisible We first heard Hooky’s play with Joy Division, Tve transcribed t90 of th most famous singles, Love Will Tear Us Apart where his bass carries the main melody, and Atmosphere, which features some wonderfully simple yet effective melodie devices, JOY TO ORDER Afler the suideof singer Ian Curt, Joy Dison Hooky Tone Tecams New Order. 'vetrantelbed two of thoir eee Fee chug see cotangent Peete melodie syncopated grove, fring a with a bright amp counterpoint to Sumner’s lead guitar. The other fs setting and buckets the 1998 hit, Regret, which demonstrates «typical of chorus added. If you ean play these ines with right arm fully extended, as Hooky does, you ha pagers ia essential part ofa song tha the song itself wouldnt stand up without it, And how many players ean say that bout cher basslines? 6X2 theme-based approach. Rhythiically, his basslines tre coniplen, with off bent melodies nad syncopation, but they aren't difficult. They're sinsply examples oThow the bass can be such an JOY DIVISION: Love Cnn 104 ETT MARCH 1997 ISSUE 28 PE [Aaomprs in» cvod example of hw he haus sam develop a song ore a very Stnpto chon rructre Staring with simple thirds the pert slowly balay towume buck oth trance tind SN RPO ‘mates thie part: andthe fact hat Gh high etave on athar CREE 4900, Taloyarh ts loos ote tuastioe standard beer por neva Thr ected vine emg Un ote a issue 28 wancn 1997 195 Pentatonic Twists RICHARD BARRETT supplies some hints and tips for using the pentatonic scale, the most popular and important source of ideas for any blues guitarist. Ae) Fresco novice or more esperienced player, Its ‘one time or another, in the work of appeared, “The Penttic Tier eoa, ‘every blues and bhies-rock guitarist, including ahd Ricken acct Hendrix, Page, Moore, Clapton, and Peter Green, Soseneaacen nite tomname but a few: In this solo, Ihave attempted to picts demonstrate a few ofits many possibilities, and also included some tips which should hopefully help you to avoid falling into cliché ‘ful band backing tack in the oy of # minor oer which BAR BY BAR BREAKDOWN. = you can try these and other The deving 12/8 backing track should seit rapid pentatonic soloing idozs legato mins and slower, more melodie eas equally Frtho guar shund, Richard ‘well, Most of the solo is based arn positions 1 mn) sedis LesPalCasom ih! 20° te CH pentatonic ior sel re ‘the bridge picapseactd, frethowes) utilising a G natural asthe fattened fifth ‘through a Digitech 6SPZI01, ‘or tue note’ ocessionally. 'm also using whole with the pre-amp in Saturated half andl quater-tone bends a times. Sie toni ra GURL During bars 3 and 4, and later in bar 6, there is Saadetatiadied a pentatonic patter played in alow register. Low Paeaion pitched phrases like this can sound “nshy especially with distortion, s0 Tve used palm muting here, Give this try, but don't verdatit ~ hear in ‘mind that over-muting may strangle the sound, ) In bar 7, there isa phrase whieh is often used by Cary Moore, at varying speeds! Ths is played d twee, building up tothe fast pentatonie/blues run in ba 8A Git hs might pen ai ait) sy daunting, but running tough this slowly you'l Aepending om th erent cord: Octaves (le totes of Ct) are shoe nbc find the fluency will come far more quickly than you might expect. Ifyou want to hear farther ‘examples ofthis type of playing, list to any Cary Moore solo, particulary Pr Sill Gor the Blues albon ry woman from the SKIP SLIDIN' AWAY Bar 9 returns toa more melodic style forthe second time through the progression, featuring ‘horizontal skipping and sliding between the two scale positions, Further developing this idea, bars 15 and 16 show more horizantal motion, using ppentatonie sound pattems, finishing with a whole tone bend atthe I9th fret ofthe top E string | There’ a diminished chord near the end ef the sequences you can deal with this u ‘one of two ways, The fit, and by solution is simply to ignore i! The fist time through, my slo mskes no mmsical ‘reference’ to the dimished chord, because the fast blues scale sal change in run fits over it without any nasty clashes, The second time through, though, 'm plying a C natural (bar 16) which fits nicely as the root note ‘of the C diminished chord, This simple technique ‘of "playing ever the changes’ can breathe new life Into pentatonic patterns with the minimum of effort on your part. CIEE ISSUE 28 MARCH 1997 >> PIER ae Pie cém7 Ami? 108 EO TI MARCH 1997 188UE 28 (: or erg The Lord’s Seat ‘This month's acoustic transcription is a solo instrumental with a mediaeval flavour. GORDON GILTRAP talks technique = and supplies his maddest open tuning yet! ntl chs sig ute ee epee OTia seas como by BBCITY fr locuentay hour led Working Tilo, The we borer eesti tol Te Lord Set Te nt paca ee nie sre Mac or Te Sl Soren Re shat edna nob Aron Day eu oa aed tour eile ert a cage tulithass bt eh ally ‘TUNING UP ‘The unusual CECGCD thing features the th and 6th strings tuned to a unison bottom G =the CONSETT cet cffectis rather odd bocanse you rarely hear a unison in this low register (even 12-string guitars have octaves forthe dual sith strings). Ifyou prefer heavier strings, be careful that the increased tension doesnt fect the alignment of the neck, You may prefer to play the piece with a capo, which makes the long spans easier. The CD version features a 5th fret eapo, which enhances the lute-like tone ofthe baby guitar In bar 20, the Grd note) i held while the F (th note) is hammered onto the 6th string. At the beginning of bar21 the Cis pulled off to the open C. haven’ recorded a slow version, asthe piece fant that fist anyway, and its not difficult to hear teach note clearly, However, I do suggest practising aabar at a time, a a slower tempo, and building up the piece section by section. 2 Pen eee ISSUE 28 MARCH 1997 >> amas: MARCH 1997 ISSUE 28 new-releases: atbums WELCOME TO TG REVIEWS! Albums, videos, tutorial books, reader demo: it’s all here in the Total Guitar eviews section. Brought to you by the usual dazzling selection of TG writers. 138 ‘MANSUN res arrangetnents wd aunbient synth pds deck out what could ‘therwise be fatrly standard inde Fare on several other offerings Even their de rigeur Beatles vip off — in this ease called Tasioss, based (jan) on Harrisons Taxman ~ urs fashionably hno-fielled atthe end, All ery trendy, Pm sure Har Wyle 00 LINK WRAY Shacdoweman ce) xx Wray; the man who inspired Pe pick the guitar, is now G7: you'd ‘expecta pipe and slippers; what yon got the same punked-ap suf trash that kicked-started his eareer in 1958, Back after two decades of silence, Wray proves he’ stil Townshend to ‘capable ofthe energy and sheer viclousness that produced Rumble his fist and sil biggest hit, Where Dick Dale plays fst, Link Wray just plays mean and this album sees him chiar up the same filthy ‘over-uzzed guitar and hwo note rockabilly ff that he's always been known for. in inspiration for bad guitarists the world over ‘THE BEST OF BOTH WORLDS. Marillion (em) eos: an entire compilation double D release ~ thats two hours, ‘oenty nine mauutes and fifteen seconds (I counted) —of bland snainstream, soft rock. The fest CD, The Fish Years, contains all those classi repetitive ‘uninspiring, hand, mainstream soft rock tracks from the Fish years. The second CD, the Hogarth years... No, really ~ move along falls, there’ nothing to sce here, save possibly fora desperate attempt by a bunch of has-heens to rake in usta few more penies, Forget you ever sar this COAL CHAMBER Coal Chamber (ROADRUNNER) eeestoe to be original? Coal Chamber, from their heetie, more dlistortion-than-Dali opener Loco through the aggressive, tortured Un oiled and on to the more thoughtful (and fn) second side, have obviously drav heavy influences from all the favourites — Shicidal Tendencies, Panter ta Bending his witha far fora Berry oyicnes eel progresses. Though not mind: blowing in tho guitar department, here isa new thrash band with enough talent (beth musical and techatcal) to be exactly that =a new thrash band. Watch out Inxs Ele ily Wasted —_(siencunx) JUSTRALIA'S favourite export vent theo ‘UB-esque renaissance with Waleame To Wherecer You Are Dot along with thei las offering Blegantly Wasted is further proot that they're now going through the motions, The likes of Show Me, Gice it Up and the tite tack demonstrate that the band still possess the nevessary power but Michael Hutchence’s singing no longer holds down the melody ‘flectively, which in turn exposes the simplicity of the guitar nes ‘The occasional slinky passa serves as a reminder ofthe cool fumk-rock of ol, but equally much ‘of this record wonld sound right at home on any one of the Rolling Stones recent tred effort Merk Remso REEF Glow (s2) eee Minidisc band’, and accused ‘of being retro tothe point that even the name isan anagram of a ‘ls band (see our elasic track) but such criticisms aren't enough todent the optimism of one of the UKs biggest exports. Hence thelr second albu is packed with shiny, ‘confident grooves, big, big choruses, and a maturity which belies the fact thatthe band members aren' long out of thelr teens. In trath it’s the ball-ont vooals of Gary Stringer and the sass ofthe big, blues-infused « Gakoebene Drawn To The Deep End (rouvpon) Uren sat with theie superb 1995 debut LP, Olympian, Gene seemed to drop out of sight — a mediocre collection of B- sides and mixes ase, we've heard litle from them, But they've been busy toiling away inthe studio, and the time they've put into this new album really shows. At lastall their early promise is fulfilled, Cuitaist Steve Mason, a highly influential player among the Britpop hordes, earves some delicious lines from his Strat lending the abu a soul and ‘mature feel, The songyritin is good throughout, but isin the instrumental moments ‘hat this band really shine airy Wile ° MARCH 1997 ISSUE 28 from guitarist Kemwyn House which keeps Reef smoking rather thas any kind of originality: But when they lock Into a groove, as on recent single Place Your Hands the results are hard to resis, however derivative. Great fam, Mark Ramshaw eS CARL VERHEVEN Slang Justice (enovocur) OUTED recently as one of the ‘top-10 undiscovered guitarists inthe world, this LA session wizards diverse ccedits include the Supertramp gig, the scare to The Usual Suspects ad now this impressive ‘modern’ blues cuting From the Delte/fasion blend af the ttle track to some tasty, jazz tinged blues soloing normally reserved for the likes of Robben Ford, Veheyen covers all the Bases, Indluences from Mike Bloomfield to Larey Carton show thr wade all delivered with taste and stunning technique. If hes undiscovered by you = then go discover amine Feder . HALF PAST MIDNIGHT Nightlicks ——(xnazy car) heres club cirenit For many years, guitarist Rob Orlemans takes his fiery bes-rock trio into the studlo fora serions workout. With covers like Voodoo Chile and Can You See Me? ghven heavy-duty treatment, many will fee that COrlemans is lst in a Hendeisian tine-warp. But his atitnde and big-toned guitar licks somehow seem fresh, ‘convincing and manage to find the right balance between reverent restraint and modern pyrotechnios. Unashamedly retro ~ but they can play in my pub anytime oni Per PALADINS Million Mile Club (cap) Parone step closer to the blues,” sings frontman Dave Gonzalez, ashe lends his driving trio through a 10-track live set of halécoversthalf= originals. And, compared ISSUE a8 manctt 1997 vith the hatful of wannabes in the current blues revival, he surely i. While strtting confidently in ZZ Top and post. SRV Tesas territory there’ enough here to show that Gonzalez has done his homework as he coaves stinging ics from his semi- seoustle Gull. Low down, mean and diy, or whatever they sayin Texas, Doni Pele ove VARIOUS ARTISTS The Mercury Blues Rhythm Story, 1945-1955 (saencuny) arrangements dominating the proceedings, this compilation takes «nostalgic Took atthe swing era that went onto form the roots of rock'n'roll. Apart from a pair of Doten Fiome cats from the infuential Big Bill Broonay wd Lightnin’ Hopkins, its x, horns and muted trumpet that are the favoured solo instruments, But, with the, bent bhies notes blending with bebop in the Daekgrosind, you ean see that Bill Haley and Chuck Berry \were just around the corner. ‘ROB TOGNON! BAND Headstrong (eROVOCUE) Geter effacing about his gutta playing —in a recent TC interview he confessed that his knowledge ofthe instrument dida't go much beyond the biues scale, But with aset of gutsy rock-blues stormers with bills ike Ain’ That Enough and Jim Beam Blues, there would be litte point in Phrygian jazz workouts Headstrong, his second albn, represents & more radio- Friendly approach tothe genre than the rawer Stones ond Colours, but this makes it no less energetic. And whatever Rob himself may sy, there are some seriously musical guitar lines on this colletion, Grounel-bresking it ain't but one person's cliché is anothers authenticity Joe Bonnet ! MAKING YOU A BETTER GUITARIST ADVERTISE YOUR SECOND-HAND GEAR FREE IN TOTAL GUITAR. HUNDREDS OF GREAT BARGAINS IN EVERY ISSUE SEE PAGE 121 for the real low down on when it gets real low down pee eo oe Bryer 20 My Bass Is A David King Custom ie ae = it a a sucke pinch Bee LS ees eee Ie Toe Cream Genius (wns!) EP scents sone to great lengths t hide his identity on this solo Despite professional arrangements and a crack backing group which inclades members of Japan, XTC and ten-track, synth: capped up i its own moody atmospherics and selfindulgent rambling Shining out lke a beacon is the Stonesy You Dinosaur Thing ‘where the rhythm guitars ent loose under a tongue-in-cheek spoof on the fickleness of fashion followers. But one track doesn’t make an albu does it Steve Hog. Macilion (oops! SCHIZOPHONIC Nuno (ade) FQ een bese st summer, guitarist and co-songwriter Nuno Bettencourt wasted no thne mourning. These self penned, self-played recordings leave little doubt as to where the talent lay in the band, IFyou are expecting a widdle-fest, however, ay be surprised, Schizephonie is a collection of hhook-filed songs, with tar taking an unusually incidental role, The overall sound is less polished and closer to ‘90s Nirvana than "80s Queen, but you'll stil find the ‘odd vocal hatmony workout (Crave, Fine By Me and Confrontation) which betrays the big hair rock background. There are aceasional highly uitaristic highlights ‘icebox intros, arpeygiated Tead lines and that wonderful tone of his - but most of the time it the songs, not the solos that Barnaby Pato ‘JAN GYRKA Prickly Pear 1 pica immodest, Joe Satrian is quoted as saying “the only other guitar tis Jan Gyrla,” and although the player worth listening ‘comparison isan obvious one ‘anything Cyrkas playing shows moze maturity than his Stateside counterpart, This 10 ‘nick self-prociced effort isa laconie, melodie attempt to br lished guitar rock wp and the whole project fs given a tremendous lit by the presence of ex-T-Pau soealist Carol Deck tracks, But there a n two wien Jan’s background in incidental TV music shows through ~ too many ofthe songs’ are merely bvo-chord loops, where the soloist tempts (albeit quite successfully to lif « boring buck swith moving, beautiful gutar lines. For a guitarist of Cyrkas experience and skill to make suc lassi tmistake is disapposnting, but his album only leaves the listener wistful at what might have been ‘SUZANNE VEGA Nine Objects of Desire cc) EI ess int oterng since the dark techno and synth influenced 99,9°F shows a welcome (For this gitar mse from the woman ‘who practically invented spacey spicking. But this is ‘more than merely a remake of sus fi past suesesses, The Iyies are ‘more contented, less sith- form, and the voice avoids the will-o-the-wisp pretentiousness that it could easily have been trapped into after the success of Tom's Diner, Electric guitarist Steve Donnelly is ‘yplealy restrained throughout, inrowing in delicions reverbed fills over Vegas metron fin style patterns, The album asa whole is hard work a fist simply duc to the breadth of musical style covered (from the subtle Bossa Nova of Cara to the Joni-esque folk of Before Colunbus) but re sted istenings show that it includes some of the best songs Suzanne Vega ever penned. A timely reminder of why we liked her in the ist place MARCH 1997 ISSUE 28 THE ESSENTIAL COUNTRY GUITAR (WARVER BROS) £10.95 Ack in Issue 25 we looked at {The Esentiel Blues/Hock (Guitar from the same series, and this 15-song transcription book attempts to apply the same concept to Country music. But due to the specialised nature of the form, I don’ think this book works quite aswell as its more mainstream counterpart. As with the rock version, it relies on the reader knowing the tricks already here’ no CD), and isa diehard ‘country fan indeed that has albums by Clint Black, Little Texas, and Asleep At The Wheel, even though there are more predictable songs too by the likes of Garth Brooks Nancy Crifiths and Dolly Parton, “The transcriptions look great on the page, and the four or ve T checked with the originals were spot on, so if you're this obsessed PUY e rea) then e my guest. Tm sore that {his book is essential reading for every resident of Nashville, but for the Buropean guitarist who wants to diversify into country, this fs not the best start Maecenas Europe: 0181 660 3914 ‘THE GHINERY COLLECTION Joe Bennett e000 Bacon (BALAFON) devoted to telling us jumprvovs.y how valuable all these JAM WITH... (THE SERIES) a suitors are — it must ram (Hank Marvin, Gary Moore, Balafons catalogue of into millions — instead. The Eagles) Scott Chinerys guitar _we get the history of all (owirorat accumscy) £18.95 collection is available asthe instruments and lor on the heels ofthe recent alimited edition run of makers represented. Play Guitar With... series comes this package of backing tracks, recorded versions and transcriptions from the joint stable ‘of music publishers IMP and backing track people Total actual collection coverage of early founding Gibson ‘Accuracy. Basially each book isa Martin flat-tops, compilation book of eight ‘Clasie ‘example. This is Tracks’ by one artist. The concept probably the is brilsnt, andl existing books dafintve featuring the likes of Ban Jov collection of Clapton, The Beatles, ete are US guitars already selling well. The choice of artists here covers an unsurprising, TENCE Scott Chinery & Tony not too much energy is ‘only 6000 copies. The ‘The publishers Balafon impressive for its similar book on Yes fcoustie gutars =the __colletion ~ this book is snd even better, for Harry ye ‘ver, and its been given stunning treatment in this volume, Thankfully smost hve already produced a itarst Steve Howe's Fer: Umsignned Ltd. a Record or Publis! ‘You probally would like to get signed, but dant know where to start or have looked into the costs involved and have found it too expensive. ‘We at Unsigned Ltd, put like minded bands together on a compilation CD which is then marketed to our database of over 600 UK music industry contacts, Those coniacts range from AAR people, record producers, music publishing companies, radio producers and music journalists, As you can see these are the people you really need to get your music through to, ‘The Unsigned Lid. Service [As well as marketing you to our database of over 800 music industry contacts, Unsigned ltd. compiles music ofthe same genre together which ‘moans that wo can target the right music industry personnel for your music. We do not promise you a record or publishing deal, but we do promise maximum exposure for your money. I'may well be that this is the iret step you take to gotting that clusive deal, Porkaps youll got Tadio play which increases your fanbase and helps in geting gigs. I adcition to this service each band/act will receive 100 CDs of their ‘compilation which they can sel at gigs to recoup the cost of the compilation CD. Hove much does it cost? 1) Three tracks on one of our compilation CDs costs £499) 2) Two tacks on one of cur compilation CDs costs £399 3) One tack on one of our compilation CDs costs £280 We do not pay for the secording of your material and any band/act solected for a compilation will need to provide a DAT tape containing the tacks Mey would like featured on the CD. What do we need from you now? Initially Unsigned Ita, ask you to send a normal audio caasotte with tacks you would like to have featured on one of our compilations. Unfortunately we cannot return these tapes, but will be in contact to let you know whither we would like to feature your tracks on ‘compilation. Ifwe think your music reaches the high standard we are looking for, then Unsigned Ltd will send you out an information pack. ‘Send no money now. Send your tapes new oF for more information write to Unsigned Ltd. PO Box 1125, Ilford, Essex IGi1 44D=x ISSUE 28 MancH 1997 Proras. curcar Bey En ake ene GUITAR Pert reel THE SECRET SEY acaccu Dae ‘The Supernatural ol Pa eNO) ; Classic rater Cy itd Kyi Pe ey Ca i Pen = G Pea) CU eo ALN standards suck as Satin Doll spectrum of clase guitar musi, with the promise of a tnd Makin’ Whoopee, aud Led Zeppelin book very soon, __single-note solos such as Yo And it has to be suid the Are So Beautiful, and all the backing tracks are superb transeriptions are aecurate to Each features a full band, the note, However, the CD isa including (hooray!) lve drummer, and the original gitar parts are supplied at the tend ofthe CD in ease yor have difculy following the been nice), there are nd CD. transcription (which, in the references or rack nunibers in the book. Also, the recording quality leaves alot to be desired, at times almost let-down, Apart fromthe fact that it only 17 mites (another haurs worth of Jacking tracks would have ‘ease of & Gary Meore soo, is highly kel), The transcriptions are inthe American ‘Cherey Lane disguising the authors superb format, with graphic symbols to technique, No-one can doubt represent bends, but you soon his, and the Sokolow’s eredentials as a fine get used rusian who Knows his jo, notation is clear ancl uncluttered. OF the three, i inonie that the Shadows buat this package imply doesn't sive him the room todo the teaching he i capable of At ee ‘material and. : & COUNTRY prefer ta wy GUITAR getting pro £14.95 package with Is issue of months of TC has ta Teaming potential win the prize for for less than £20 = A the biggest Highly numberof recommended, Americans with IMP; 0500, stupid names recom zea 6004 Gc low here contentious beginner who knows six or title f ever I saw one seven open chords, and it Any hook that laims to cover a baseally specialises in “Carter subject as broad as this in less picking” ~ ie picking open: than 100 pages has got its work position melodies while cet out. But to give author strumming chords in hetween Fred Sokolow-his due, this isa Thanks to Happy’, er, friendly oor! attempt that nearly Sil, the teaching is clear and succeeds. He does cover all of _sccessble, and the split-sereen format, combined with the 1 the basic (and much of the advanced) theory behind jazz, page tab booklet, makes the cramming a huge amount of | _pleces easy to lear, The Information into a small space, video’ strength is that it along with twelve fll doesnt try t0 do too much, transcriptions. These range only aiming to teach you the between unaccompanied basies of Carter picking and a rubato arrangements of few bass runs, But this alone Sokolow's own material, should give the less MARCH 1997 ISSUE 28 experienced player at least a of months of practice Muse Mail0300 37 9100 ROCK HARDWARE oe Baaah Edited by Poul Tyne THE ADVENTURES OF sy ind of rea insigh FUSION GUITAR at (SIS - GETTING HIGH Paolo Hewitt biographies clin many of lamentable reck Joe Diorio me iso a have the inside story 1s). Dispensing with recording technology and even the Oasis. Paulo Hewitt he ss shots history of live amplification, Each he ist toolfer that the other books section is produced by an rade their main the field, and there's real insight to subject, Getting High i be gained from the consistently a purely tex nt), which excellent writing, The gitar conint. As seh it may sections, by Balafons oxen Tony not appeal to Oasis Bacon and acclaimed jonmo Dave Burk, LEGEND CONTINUES. ees The Uni-Vibe's unique, aiy rotating speaker Pear REN effect made famous by Hendrix during Pee MAR a the original circuit design and hand matched original components to Pa COE COMM oe ty AR ec SS ue COS een UN cn unbeatable reliability, anda new intemal ight housing provides absolute sonic integrity for critical CeCe MeO ON nS nce PEER CLT Like every Dunlop classic reissue, we have faithfully relained the Uni-Vibe'soriginal sound and functionality, with state-of-the-art versatility and reliability for the Cee See an enum a sc then go out and create your own legend ee JOHN GRINDEY Personnel: guitars, Alan ‘SAULT ST MARIE Personnel: Willis guitars/eocal, Bear bossbacking vocals, Lol: drumsfhacking vocals John Grindey isa graduate of the acclaimed GIT system in HICKEN America who currently earns 3 Swansearbased Sault St Marie crust as a guitar teacher in describe themselves as ‘an Southampton, Miles Chops is original three-piece band an electro-acoustic piece taken ddraym from over 12 years of __from his third self-released CD live performance and recording Back To The Grindstone, a experience’, so they're showease of John's talents evidently not newoomers-s spread over 7 tracks. Tt covers factor thats refleeced in the a broad span of styles, from Avidity of this minimalist track Bameneo through juz to heavy The mature composition of rock, Despite an inclination to Chicken makes no bones about indulge his obvious technical putting solid songwiting above desterity, John’s playing fs faney playingin the order of relatively unspoilt by gratuitous priorities; abasic three chord excess in Miles Chops, lesning structure provides the template more towurd an endearingly around which this trace ively, semi-improvsed form, develops, Falling into an The dominant finger-picked clectricfollSoft rock category, guitar parts and fretless bass (Chicken has a distinctly work are impeccably combined American feel, with elements as the fas-fingered Grindey ‘of Counting Crows, andanod breezes through with towards REM in the spiky consummate ease, making the gitar chords, harmonie bass playing spear effortless in Tines and casual’ lead work, spite o ts complet Willis: 01792 290466 John Grindey: 01489 572710 Orin Original Sigua 20000 signbitty . GET YOUR DEMO IN Te I J] dant or soto pts «bog ena Bano nane wie ‘commer naMe <= EQUIPMENT USED : ADORESS osrooue POE wu ‘Tk MERE IF YOU DONT WaNt YOUR PHONE nuMBen PAINTED ROBERT SOHNSEN oy TANGO Chae -