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Return of a Classic THE CE 24

Š 2016 PRS Guitars / Photo by Marc Quigley

Returning after nearly a decade, the CE 24 is back and better than ever. With a satin nitro maple neck and our 85/15 treble and bass pickups, the CE 24 offers our traditional bolt-on feel with a sound all its own: resonance and punch with great clarity.

The CE 24 bolt-on returns to the PRS lineup. Get full speciďŹ cations and hear the CE 24 in action at:

www.prsguitars.com/CE24


倀栀漀琀漀㨀 一攀椀氀 娀氀漀稀漀眀攀爀

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䨀漀椀渀 琀栀攀 氀攀最愀挀礀  簀  攀爀渀椀攀戀愀氀氀⸀挀漀洀  簀  ⌀椀瀀氀愀礀猀氀椀渀欀礀


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The GrandMeister 36 is the perfect amp for the bedroom, the basement, the jam room, the club, the theater, the hall, the arena and even the stadium.

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PEREDUR AP GWYNEDD

Pendulum | Faithless | Anastacia

There is only one reason I play Hughes & Kettner. They are the best. I don’t think I’ve ever played a better amp than the GrandMeister 36.

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STEPHEN CARPENTER

UN-WIND

Fishman Fluence pickups have two distinct and useful sounds on-board. “My signature pickup set has the full range of tones that you’re looking for. Voice 1 is like the original Modern Fluence sound that I love, but tweaked a bit in the midrange. And for the second voice, this is my custom passive sound with some tone and gain tweaks to give it that extra heat and edge.”

Stephen Carpenter Fluence Signature Series 7-String and 8-String Pickups

The electric guitar pickup has been wound since 1934. 80 years later, we’ve unwound it. fishman.com ®


PORTRAITS

IN TONE “The great thing about the RK5 Fly Rig is that I now have my ideal pedalboard with the effects I use most, which is reverb, delay and overdrive, in a tiny little box that I can literally put in my backpack. So I’m carrying my guitar rig, for the most part, in my backpack. “What makes the RK5 so different from the standard Fly Rig is the overdrive circuit. This is something that Andrew [Barta, president of Tech 21] and I spent a good 6 months designing --going back and forth, trying to verbalize what audio qualities I wanted. And finally we came to what we call the OMG section.

Actual size: 11.5”l x 2.5”w x 1.25”h • Weight: 18.6 oz.

“The thing that’s really cool about it is Andrew put in the SansAmp. And what that enables you to do is literally revoice any amp. I can plug into a really clean amp and get my sound the same way I can plug into a dirty amp and get my sound. So you can get a great sound live through an amp, and, if the amp goes down, by using the Sans-Amp, you can literally plug right into the PA and get a fantastic guitar tone. “Beyond putting the RK5 in front of an amp, you can also use it direct. I took this pedal into the studio for The Winery Dogs ‘Hot Streak’ record. There’s a song, in particular, called ‘The Lamb,’ with a middle solo section where you can really hear the Tech 21 RK5 direct.

Photo by Michael Mechnig

“So this pedal is very versatile, it’s very convenient, extremely reliable, built to perfection.” -- Richie Kotzen

The Richie Kotzen OMG Signature Overdrive is also available as a stand-alone pedal.

DESIGNED AND MANUFACTURED BY TECH 21 USA, INC.


CON T EN TS VOL. 37 |

(from left) Olavi Mikkonen, Johan Hegg and Johan Söderberg

NO.7 |

JULY 2016

FEATURES 36 LENNON & CLAYPOOL Last summer Sean Lennon appeared at the home of his friend Les Claypool in hopes of making some cool new music. Could they do it without driving each other crazy?

46 ERIC CLAPTON Clapton’s no stranger to looking to the past for fresh musical inspiration, a philosophy that’s in full effect on I Still Do, his new collection of original songs and rousing tributes. Slowhand sits with Guitar World to discuss this most recent trip down memory lane.

54 AMON AMARTH

Guitar World locks horns with Amon Amarth, the ax-wielding warriors from Sweden, as they bring their pulverizing brand of death metal to American shores.

62

SUMMER TOUR SURVIVAL GUIDE The guitarists on this summer’s hottest festivals and tours share their secrets for beating the heat and stirring up the mosh pits…and avoiding Taco Bell at all costs.

80 BLUES GEAR ROUNDUP Got the blues but not the gear? Cheer up with this excellent assortment of bluesready guitars, amps, effects and more.

A M ON A MA R T H P HOT OG R A P HE D BY T R AV I S S H I N N

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GU I TA R WOR L D • J U LY 2016


RESHAPING MUSIC

TAKES LONG HOURS OF RECORDING, A DEMANDING PERFORMANCE SCHEDULE AND STRINGS THAT CAN KEEP UP WITH ALL OF IT.

martinstrings.com/LifespanSP

#staytuned

JASON ISBELL

Something More Than Free jasonisbell.com


CON T EN TS VOL. 37 |

NO. 7 |

JULY 2016

DEPARTM ENT S

A.J. Rebollo at Guitar World HQ, NYC

16 WOODSHED 18 SOUNDING BOARD

Letters, reader art and Defenders of the Faith

21 TUNE-UPS

The return of Diamond Head, Kvelertak, Dear Guitar Hero with Chris Hillman, the Contortionist and Hellyeah

85 SOUNDCHECK

85. Fender The Edge Strat and The Edge Deluxe amp 87. Gretsch G2655T Streamliner electric 88. Ernie Ball Music Man James Valentine electric 90. Prestige Troubadour electric 92. Electro-Harmonix Lester G Deluxe Rotary Speaker pedal 94. MXR M225 Sub Machine Fuzz pedal 94. Casa Distortion Pedalpunk! pedal

96 COLUMNS

96. Wood Vibrations by Mike Dawes 98. String Theory by Jimmy Brown 100. School of Rock by Joel Hoekstra 102. Acoustic Nation by Dale Turner 104. Bass Camp by Matt Scharfglass 106. In Deep by Andy Aledort

28 Issues

146 IT MIGHT GET WEIRD Art Truss’ gear-shaped guitar

TRANSCRIBED “Forever Man”

by Metallica

by Eric Clapton

“Europa (Earth’s Cry Heaven’s Smile)”

“War of the Gods” by Amon Amarth

by Santana

PAGE

108 14

GU I TA R WOR L D • J U LY 2016

PAGE

116

PAGE

122

PAGE

130

JUSTIN BORUCKI

“Helpless”


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WOODSHED NO. 7 |

JULY 2016 EDITORIAL

SIGN O’ THE TIMES IT’S BEEN HAPPENING far too often lately—more so than it ever has. Our rock stars are dying at an alarming rate. Some, like B.B. King and Motörhead’s Lemmy Kilmister, didn’t exactly come as a surprise, while others you just didn’t see coming. As we were going to press with this issue, we were temporarily stopped in our tracks by the news that Prince had passed away on April 21 at age 57. Prince? Dead? No, no one saw that coming. Prince wasn’t just one of the biggest pop stars for the past 30-plus years, he was also one of the fiercest guitar players in history. He wasn’t constantly in the public eye and he was quiet in voice, but put a guitar in this man’s hands and he would explode. Don’t believe me? There are so many clips on YouTube that will melt your face if you are unfamiliar with just how wickedly skillful Prince was as a guitarist. Do yourself a favor and watch his Saturday Night Live performance from 2014, or the clip of him tearing down the house alongside Michael Jackson and James Brown in 1983, or the one of him providing a dazzlingly funked-up accompaniment to Cee-Lo Green in New York City in 2011. Any of these and countless others showcase Prince’s mastery of the guitar—watch them and you’ll see a highly talented player who has total command of his instrument. Prince was legendarily wary of the press, and interviewing him was as difficult a task as a journalist would ever face. Our own Alan di Perna experienced this first-hand in 1994 when he was assigned a GW cover story on Prince around the time that he had changed his name to an unpronounceable glyph. In his November 1994 article, di Perna wrote how he was forbidden to use the word “interview” in Prince’s presence, how he was not allowed to call him “Prince,” how he was told beforehand that no recording device could be used and that he wasn’t permitted to refer to a sheet of questions or take notes. All he was allowed to do was talk to the man at some ungodly time of night following a live performance, and remember what he said—which wasn’t that much of a problem for di Perna, seeing as Prince said very little. Case in point:

SENIOR MUSIC EDITOR Jimmy Brown MUSIC TRANSCRIPTIONIST Jeff Perrin MUSIC ENGRAVER Patricia Corcoran

ART

ART DIRECTOR Mixie von Bormann ASSOCIATE ART DIRECTOR Tamara Lee ASSISTANT ART DIRECTOR Natalie Skopelja

ONLINE

MANAGING EDITOR Damian Fanelli EDITORS Brad Angle, Jeff Kitts

PRODUCTION

PRODUCTION MANAGER Nicole Schilling

BUSINESS

VICE PRESIDENT, GENERAL MANAGER Bill Amstutz bamstutz@nbmedia.com GROUP PUBLISHER Bob Ziltz bziltz@nbmedia.com ADVERTISING DIRECTOR - WEST Jason Perl 646-723-5419, jason@guitar world.com ADVERTISING DIRECTOR - EAST Scott Sciacca 646-723-5478, scott@guitar world.com ADVERTISING MANAGER Anna Blumenthal 646-723-5404, anna@guitar world.com GROUP MARKETING DIRECTOR Stacy Thomas 646-723-5416, sthomas@nbmedia.com

CONSUMER MARKETING

CONSUMER MARKETING MANAGER Kara Tzinivis FULFILLMENT COORDINATOR Ulises Cabrera

PRESIDENT & CEO Steve Palm CHIEF FINANCIAL OFFICER Paul Mastronardi CONTROLLER Jack Liedke VICE PRESIDENT OF PRODUCTION & MANUFACTURING Bill Amstutz VICE PRESIDENT OF DIGITAL STRATEGY & OPERATIONS Robert Ames VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise Robbins VICE PRESIDENT OF CONTENT & MARKETING Anthony Savona VICE PRESIDENT OF HUMAN RESOURCES Ray Vollmer

: People make the world go ’round.

Was your guitar solo on “Orgasm” directly inspired by the track’s title/subject matter?

: Yes.

So many people think of the guitar as a phallic symbol. Do you?

SUBSCRIBER CUSTOMER SERVICE: Guitar World Magazine Customer Care, P.O. Box 469039, Escondido, CA 92046-9039 ONLINE: w w w.guitar world.com/customerser vice PHONE: 1-800-456-6441 EMAIL: guitar world@pcspublink.com

: People make the world go ’round.

What do you look for when hiring a musician?

: Sickness .

To be sure, Prince was a journalist’s worst nightmare who caused many of us to scratch our heads when confronted with his mystifying rules and requirements for a conversation. But at the same time, who else would be so bold and so successful at creating his own legend? Most artists make their mark in the press by talking endlessly about any subject put before them—Prince did it with his guitar. And for that, we salute him.

—Jeff Kitts

Executive Content Director GUITAR WORLD (ISSN 1045-6295) is published 13 times a year, monthly plus Holiday issue following December issue, by NewBay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0400. Fax: 917.281.4704. Web Site: www.nbmedia.com. Periodicals postage paid at New York, NY, and additional mailing offices. Newsstand distribution is handled by Time Warner Retail. Subscriptions: One-year basic rate (12 issues) US: $14.95. Canada: US$29.95. Foreign: US$49.95. Canadian and foreign orders must be prepaid. Canadian price includes postage and GST #R128220688. PMA #40612608. Subscriptions do not include newstand specials. POSTMASTER: Send change of address to Guitar World, P.O. Box 469039, Escondido, CA 92046-9039. Ride-along enclosure in the following edition(s): B6. Standard enclosure: None. Returns: Pitney Bowes, P.O. Box 25542, London, ON N6C 6B2, Canada. Entire contents copyright 2012, NewBay Media L.L.C. All rights reserved. Reproduction in whole or in part is prohibited. NewBay Media L.L.C. is not affiliated with the companies or products covered in Guitar World. Reproduction on the Internet of the articles and pictures in this magazine is illegal without the prior written consent of Guitar World. Products named in the pages of Guitar World are trademarks of their respective companies. PRODUCED IN THE UNITED STATES OF AMERICA. SUBSCRIBER CUSTOMER SERVICE: Guitar World Magazine Customer Care, P.O. Box 469039, Escondido, CA 92046-9039. Online: www.guitarworld.com/customerservice. Phone: 1-800-456-6441. Email guitarworld@pcspublink.com. BACK ISSUES: www.guitarworld.com/store REPRINTS: NewBay Media, LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0414

GU I TA R WOR L D • J U LY 2016

MUSIC

NEWBAY MEDIA CORPORATE

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16

EXECUTIVE CONTENT DIRECTOR Jeff Kitts EXECUTIVE EDITOR Brad Angle TECH EDITOR Paul Riario ASSOCIATE EDITORS Andy Aledort, Richard Bienstock, Alan di Perna, Chris Gill CONTRIBUTING WRITERS Joe Bosso, Mike Dawes, Dan Epstein, Randy Har ward, Peter Hodgson, Joel Hoekstra, Joshua Rothkopf, Matt Scharfglass, Dale Turner, Jon Wiederhorn SENIOR VIDEO PRODUCER Mark Nuñez

BACK ISSUES: Please visit our store, www.guitarworld.com/store, or email onlinestore@nbmedia.com LIST RENTAL: 914-925-2449, danny.grubert@lakegroupmedia.com REPRINTS AND PERMISSIONS: For article reprints and or e-prints, please contact our Reprint Coordinator at Wright’s Reprints, 877652-5295, or NewBay@wrightsmedia.com EDITORIAL AND ADVERTISING OFFICES 28 East 28th Street, 12th Floor, New York, NY 10016 (212) 768-2966; FA X: (212) 944-9279 NEWBAY MEDIA, LLC 28 East 28th Street, 12th Floor, New York, NY 10016 www.nbmedia.com

©2016 NewBay Media, LLC. All rights reser ved. No par t of this magazine may be used or reproduced without the written permission of NewBay Media, LLC.

I L L U S T R AT I O N BY J O E L K I M M E L

VOL. 37 |


Pro SC, Ebony Fingerboard, Trans Red Burst

SCX7, Rosewood Fingerboard, Gloss Black

RULE THE STAGE

M O N A R K H jacksonguitars.com Š 2016 FMIC. Jackson Ž, and the distinctive headstock designs commonly found on these guitars are registered trademarks of Fender Musical Instruments Corporation and its subsidiaries. All rights reserved.


SOUNDI NG BOARD Got something you want to say? EMAIL US AT: Soundingboard@GuitarWorld.com

Lincoln Brewster are a little too much of a keyboard-orchestrated band for most of your readers. Bands like Decyfer Down, the Letter Black or Thousand Foot Crutch are a better fit for Guitar World. They are all guitar-centered with down tuning and all the other things one would expect from a hard rock alternative band.   —Edward Drake

Kill Zone Thanks for the excellent Dear Guitar Hero interview with Killing Joke’s Geordie Walker! He is a true innovator who always had an original sound, and I learned a lot from his responses to reader questions. More Killing Joke in future issues please! —David Nicholas

Common Love I really enjoyed your May issue featuring Buddy Guy and Zakk Wylde. I have always been a fan of both, and think it’s great that they did the Experience Hendrix tour this year—two completely different artists lending their skills and personalities to Jimi’s music. As Zakk said, “No matter who’s onstage, we all have Jimi in common.”  —Benjamin Greene

Flying the Flag I am a 64-year-old woman who recently purchased your magazine for the first time in order to read your great tribute to Glenn Frey and also the top 20 Eagles tracks that accompanied the article. As a lifelong Eagles fan, I truly appreciate your recognition of Frey’s countless contributions when it came to composing, arranging and singing for

Guiding Light Regarding the letters about Christian rock by Jim Munster and Eddie Brumlow that recently appeared in Guitar World, I think DEAR GUITAR HERO

GEORDIE WALKER OF KILLING JOKE

For nearly 40 years this taste-making post-punk, proto-industrial U.K. guitarist has fearlessly toured with a Fifties Gibson ES-295, and his work has influenced mega-acts like Metallica and Soundgarden. But what Guitar World readers really want to know is… Interview by Brad Angle

DIGGING THE NEW KILLING JOKE RECORD PYLON. YOUR SONGS AND RIFFS ALWAYS HAVE SUCH AN AMAZING PERCUSSIVE ELEMENT TO THEM. WHICH DO YOU COME UP WITH FIRST: RIFFS OR DRUMS? DO YOU WRITE WITH A DRUM MACHINE? —MARTY

DORALBA PICERNO

Yes, we write with drum machines. Even if I’m doing it at home, I’ll take it to the stage of getting a basic pattern that locks in the meter of the guitar. But yeah, a lot of it is guitar first…but keep it percussive!

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GU I TA R WOR L D • M AY 2016

I love that you tour with an original Fifties Gibson ES-295. I’d be so afraid to take it on the road! Why not tour with a reissue? —Malcolm When you find something that you express yourself through the best—something that is completely your sound—why would you use anything else? I remember years back [Pixies guitarist] Frank Black had a Nineties reissue of the same guitar. But it was not the same guitar at all; it was quite horrid really. Originally I got that guitar because I wanted a distorted sound while still being able to hear the notes if I played a complex chord. So the idea was that I should get a semiacoustic distorted sound, put a contact mic in it, and blend the two sounds. But I saw that [ES295] in an old magazine and then found one in a little store in West London for 640 pounds, which at the time was like $1,000. And as soon as I plugged it in, there was the sound. But with the hollow body and the P-90s, you have to batten down the hatches. All screws have to be tight. All the

pickups have to be hard fucking bolted. No rattles, nothing. Otherwise it’s practically uncontrollable. With those big amps, as soon as you stop playing you have to turn the volume off. But once it’s going it’s got infinite sustain on the bottom notes if you hold them. And you can actually push that bridge into the breast top soundboard. It’s not a carved one. So you can press it in while you’re playing and get a detuned oscillator sort of effect. [Gibson] got it dead right. I’ve got two of them, ’52 and ’54, and I would not use anything else. You used to live in Prague. Are you still there? What’s the music scene like? —Billy I’ve been there 11 years, and I really like it. It’s really beautiful. I’m a smoker and you can still smoke wherever you want, like in between courses in a restaurant. Beautiful architecture, and unbelievably beautiful women. I’ve been with the same adorable Czech girl for 11 years. But you’ll be wandering around and, at least

twice a day, be like, Jesus Christ did God make you sweetheart? [laughs] But the music scene is picking up, and now it’s one of the main routes through the touring circuit in Europe. So it’s good if you want to get out there. They do have quite a big hip-hop scene too. Czech rapping is bizarre. Some of them are really good, but it’s a very harsh language. You used Burman heads and cabs in the past. What’s your current rig like these days? —Steven I’ve got four Framus Dragon heads. I’m using two in stereo… but it’s always nice having spares. I put KT77 output valves in them, which are hi-fi output valves that Burman used. Bless them, the Burmans are beautifully designed with a huge military specification transformer in the Fender-style, which is hanging upside down from the top [of the chassis]. The one flaw in the plan is the chassis was 18-gauge steel. So after a few gigs that great big fucking transformer starts to warp the chassis. They

are impossible to find in working condition! Unless it’s a little combo that’s been kept in the studio. But yeah those big heads just tore themselves apart. But any Marshall, any EL34, if you just alter the bias a bit you can run KT77s and get that super tight bottom end. Your guitar tone always has such killer warmth and depth. Are you still using the Electro-Harmonix Memory Man? —Cal No. But what I actually had running with the Electro-Harmonix Memory Man were these two automatic analog double-trackers. They were made for bass players in the late Seventies, early Eighties and got that [Berlin] “Take My Breath Away” sound. It’s a single slap back, which you can adjust from a wet single slap to super tight. Pitch modulations, speed and depth. I’ve got two of them. What’s happening is you’ve got one guitar in, three guitars out. It’s like the Phil Spector effect, because the output on the effect rolls off at about 3000 hertz. You don’t have any top end on it so all the sibilance and diction is in the center with the original guitar. And on either side, left or right, there’s a different, slightly delayed replica of that guitar. And that’s what gives it the spread. But what am I using at the moment? I’m using a Line 6, because it’s got tap-tempo. But I do not like digital modeling. I’m running it on a Lehle [Parallel] M loop, which is all analog. So I get the direct guitar and echo, which is on fully wet, and mix it back in on this little M loop. Oh and I haven’t gotten my hands on it yet, but I’ve been given this little Pigtronix [Echolution 2]. I’ve heard it and it sounds glorious. It’s an analog guitarworld.com

31

the group. I was unable to see them live when I was young, and finally caught them on their 2014 tour, and it was so great to be able to see Glenn and my favorite band perform at last. His passing feels like the passing of an old friend, but the memories of longago good times inspired by hearing an Eagles song will always remain. I hope he is now resting in peace with a tequila sunrise and a peaceful easy feeling.  —Debbie Frederiksen

To the Matt Can you guys interview Matt Pike or transcribe a High on Fire song? They are one of the few modern bands that consistently puts out great albums and continues to get better. —CJay

Bikini Kill I just wanted to write and say that I read online that there will be no more bikini models in your Buyer’s Guide issues and that this was great news! I’m teaching my daughter ukulele right now and she has expressed interest in guitar. She has been raised with a “girls can do anything boys can do” mentality and the idea of her being exposed to girls as just sexual objects—the groupies, the hangers-on, the booth babe or the sizzle to sell whatever piece of gear—would have been detrimental. While we’ve heard for years that guitar is primarily a boy’s club, there has been very little done about it, probably because of the tradition of rock and roll looking down on females as a distraction (or even worse, a reward for attaining rock star status) and always objectified. But if we want the guitar (and guitar publications) to be more respected and have a greater audience, it should

be opened up to females. I’ve raised my daughter with the idea that it’s not about how you look, but what you can do and how smart you are. This world is doing everything it can to tell her otherwise, but I’m glad to see at least one company doing something about it and showing respect to the female gender.  —Russell Southard

Hale on Wheels As a lifelong Van Halen fan—and after a few dares from friends— my son Matt and I pulled off this complete Eddie tribute paint job on my Porsche 911 track car.  —Dan Lewis

Ink Spot This tattoo is a tribute to both of my brothers who have passed away—we were all huge fans of Ozzy and Van Halen.  —Karen Nareau

GOT A TATTOO of your favorite band or guitarist you want to share with us? Send a photo of your ink to soundingboard@guitarworld.com and maybe we’ll print it or post it on our Facebook page!

SEND LETTERS TO: The Sounding Board, Guitar World, 28 East 28th Street, 12th Floor, New York, NY 10016, or email us at Soundingboard@guitarworld.com. All subscription queries must be emailed to guitarworld@pcspublink.com. Please do not email the Sounding Board with subscription matters.

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GU I TA R WOR L D • J U LY 2016


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AND GET THE LATEST GUITAR NEWS, INSIDER UPDATES, STAFF REPORTS AND MORE!

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If you created a drawing, painting or sketch of your favorite guitarist and would like to see it in an upcoming issue of Guitar World, email soundingboard@ guitarworld.com with a scan of the image!

JI M I HEND RI X B Y A U D R E Y L A F O N D

DEFENDERS

JOHN5 B Y B R I A N B R A H A M

of the Faith

JKills

Seth Reinhart

Chris Voss

AGE 28 HOMETOWN Los Angeles, CA GUITARS Fender J5 Triple Tele Deluxe, Custom Charvel Strat SONGS I’VE BEEN PLAYING Originals from my band Dioxide GEAR I MOST WANT Eighties Kramer Baretta, Peavey 5150 half stack  

AGE 36 HOMETOWN Iqaluit, Nunavut, Canada GUITARS Martin Backpacker, Fender Deluxe Stratocaster, 1976 Les Paul Custom, Godin LGXT SONGS I’VE BEEN PLAYING U2 “Pride,” zerrissen era “The Ball Breaks the Old Chain,” the Doobie Brothers “Listen to the Music” GEAR I MOST WANT Gretsch Country Club

AGE 40 HOMETOWN Lynn, MA GUITARS Jackson Kelly, Ibanez eightstring, Fender Mini Strat SONGS I’VE BEEN PLAYING Slayer “Dead Skin Mask,” Metallica “Seek & Destroy” and “The Small Hours” GEAR I MOST WANT Martin acoustic

Are you a Defender of the Faith? Send a photo, along with your answers to the questions above, to defendersofthefaith@guitarworld.com. And pray! guitarworld.com

19


TUNE-UPS KVELERTAK

24

HELLYEAH

ISSUES

26

28

CHRIS HILLMAN

THE CONTORTIONIST

30

34

Tatler Tales

CLASSIC NEW WAVE OF BRITISH HEAVY METALLERS DIAMOND HEAD MAKE A TRIUMPHANT RETURN TO THE HEADBANGING SCENE. ORIGINAL GUITARIST BRIAN TATLER GIVES US THE SCOOP ON HIS BAND’S RESURGENCE.

B R I A N TAT L E R : A D E L E K I R BY; K V E L E R TA K : J I M M Y H U B B A R D

By Jon Wiederhorn

IN THE LATE SEVENTIES, Stourbridge, England, quartet Diamond Head were celebrated by the British press as a part of the New Wave of British Heavy Metal scene, which included Iron Maiden, Saxon and a very young Def Leppard. But magazine articles didn’t translate to instant acclaim. “It was an exciting time, but it was also frustrating,” says Diamond Head guitarist Brian Tatler. “We watched these other bands get signed and kept thinking we were next, but it didn’t happen.” Unable to land a significant record deal, the band self-financed its 1980 debut, Lightning to the Nations, and released it on Happy Face Records, a tiny label launched by the owner of the studio where they recorded. Then, Diamond Head placed an advertisement in the back of the British weekly Sounds and sold copies of the record for £3.50 via mail order. guitarworld.com

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enthusiasm. He was so full of beans that he was fun to be around. And the whole time he was there he watched us and soaked in the Diamond Head experience.” Thus began a symbiotic relationship between Ulrich and Diamond Head. Not long after Metallica started playing live, they fleshed out their set with five Diamond

“I don’t know what I’d have done without the money I made from the Metallica covers.” — B R I A N TAT L E R

Head songs, “Am I Evil,” “The Prince,” “Helpless,” “It’s Electric” and “Sucking My Love.” And the band’s influence clearly rubbed off on some of the guitar parts on Metallica’s 1983 debut Kill ’Em All. Fast forward 33 years, and Diamond Head are about to release their self-titled seventh album, which could trigger a long-

awaited comeback. After a few shaky decades spent experimenting with prog and alt-metal, Diamond Head have returned to the sound that put them on the map and inspired Metallica to seek and destroy. “The whole process of making this record was really fun and exciting,” Tatler says. “When we were writing we just plugged in and started playing stuff and waited for magic to happen, and occasionally it did. Somebody would come up with a riff or a change that would spin what we were doing in another dimension somehow. It would just take off.” Diamond Head’s excitement strongly reflects in their songwriting, which pulls from classic NWOBHM without sounding like a retread. “Bones” begins with an ascending riff that segues into a crystalline arpeggio before bursting into a propulsive, bluesy passage, “Blood on My Hands” features a riff that sounds like a hybrid of early Deep Purple and Judas Priest and the closing song “Silence” incorporates mystical acoustic guitars, winding electric licks and orchestration that resembles Led Zeppelin’s “Kashmir.” Tatler credits Diamond Head’s brand new singer, Rasmus Bom Anderson, with enabling the group to move forward by stepping backward. “I enjoyed hearing him

B R I A N TAT L E R : A D E L E K I R BY

When he saw the ad, a Danish-born teenager in Los Angeles, eager to soak up all the European metal he could find, ordered the album, which lived up to his every expectation. Lightning to the Nations was rife with palm-muted riffs, multiple rhythms and tempo changes and angry yet clear melodies that caused the kid’s pulse to race. He wrote gushing letters to Diamond Head’s fan club, then bought a plane ticket to London to see the group play the Odeon Woolwich in July 1981. That uber-fan was Lars Ulrich, who had yet to form Metallica. After the gig, Ulrich snuck backstage and introduced himself to the members of Diamond Head. “We were just talking, and Lars said he’d love to hang out with us for a while but he had had no place to live,” recalls guitarist Brian Tatler. “He basically invited himself, so he stayed on the floor in a sleeping bag at my parents’ house, where I was living. Then he went over to [ex–Diamond Head singer] Sean Harris’ house and slept on his couch for three or four weeks.” Ulrich watched Diamond Head rehearse, hung out when they wrote songs and traveled with them to gigs. “He never said he was a drummer who wanted to form a band,” Tatler says. “He was just this crazy fan, but we were impressed with his


C H R I S WA LT E R

sing the old songs so much that I thought maybe we should try to see if we could write some new songs that had that same energy,” Tatler says. “We all agreed it should capture what we liked about Diamond Head before we got sidetracked a little bit.” Actually, it was more like a derailment. After the band released its first album it signed a deal with major label MCA and recorded 1982’s storming, musically complex Borrowed Time. But for its third record, 1983’s Canterbury, Diamond Head became far more progressive. NWOBHM fans lost interest, MCA dropped the band and Diamond Head broke up. Over the next five years, Metallica paid back any debt they had to their mentors with interest. In 1984, they recorded “Am I Evil” as the b-side to “Creeping Death”; in 1987 “Helpless” appeared on The $5.98 E.P.: Garage Days Re-Revisited; and in 1988 “The Prince” was the b-side of the “Harvester of Sorrow” and “One” single. “After we lost our record deal there was no money left,” Tatler says. “Then in 1990 we were offered a publishing deal and the chance to record together and tour. And a lot of that was based on the fact that Metallica was so big and Lars was constantly namedropping us. So it seemed daft not to get back together.” The Diamond Head reunion shows were well-received, especially a 1993 gig opening for Metallica at the Milton Keynes Bowl in Buckinghamshire, England. But Diamond Head’s ho-hum 1994 album Death and Progress sold poorly, and fights between Tatler and vocalist Sean Harris caused another split. Again, Metallica came to the rescue. “Am I Evil,” “Helpless” and “The Prince” were included on the band’s 1998 quintuple Platinum covers album Garage Inc. “I don’t know what I’d have done without the money I made from the Metallica covers,” Tatler says. “It kept me going and allowed me to not have a day job. But it repays their debt in a way as well. The bands that they liked and have been influenced by benefited from the covers they did. And they’re wearing their influences on their sleeves, and not trying to hide it, so it was good for everyone.” Two years after Garage Inc. came out, Diamond Head tried to return to the music scene, but by then they were viewed as a nostalgia act. When the lackluster Death and Progress failed to captivate, Harris left the band. He was replaced in 2004 by Nick Tart, who sang on two more largely ignored records. Then in 2008, Tart moved to Brisbane, making it too difficult for him to record. “We paid to fly Nick backward and forward for gigs, but it became increasingly

stressful and expensive,” Tatler says. “So in March 2014 we decided to start looking for a singer that lived here in the U.K.” That’s when Anderson came in and breathed new life into Diamond Head. As a devout NWOBHM fan, he was ecstatic to work with the band on new material and his enthusiasm was contagious. The band wrote new material from January to June 2015 and in an effort to recapture the energy of their first two albums, they returned to the age-old practice of getting together in a room every Sunday and jamming for eight hours, taping everything they came up with. During the week between jams, Tatler constructed songs by assembling complementary passages. It was a refreshing change from showing up to rehearsal with complete tunes for the band to play or exchanging files over the internet, both of which Diamond Head had tried over their past three records. “I wasn’t keen on the way that went,” Tatler says. “I’ve always felt that if a song sounds good in the rehearsal room with

just three or four instruments it’s going to sound good live and it’s going to sound good on the record.” “Everything suddenly shifted,” Tatler says. “We came up with one good idea after another. We were so excited we were jumping up and down like kids.” When Diamond Head finished writing, they practiced the material over nine full-day rehearsals. Then in July 2015 they entered Vigo Studio near Birmingham, England, and self-produced the album in about 25 days over a four-month period. “It’s not an expensive studio so we didn’t feel pressure to get it done quickly,” Tatler says. With Diamond Head behind him, Tatler feels like his band is finally set up for a serious comeback, with new songs that are as strong as the material fans keep returning to see. “I really feel like this is the album fans have wanted to hear from us for a long time,” he concludes. “In another world, this would have been the record after Borrowed Time.”

Diamond Head performing in 1983, (from left) Sean Harris and Tatler

guitarworld.com

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NEWS + NOTES

Vidar Landa, Bjarte Lund Rolland and Maciek Ofstad at Irving Plaza in New York City on April 13

THIRD TIME’S THE CHARM AS THE NORWEGIAN EXTREMISTS HONE THEIR CRAFT INTO AN IMPRESSIVELY COHESIVE EFFORT. By Jon Wiederhorn

WITH THEIR 2013 second album, Meir, Norwegian sextet Kvelertak mixed black metal, hardcore, prog and stadium rock into 11 eclectic—but sometimes disjointed—songs. The problem, explains guitarist and pianist Vidar Landa, was that they wrote the entire disc in three months, then quickly recorded it. So when Kvelertak headed back into their rehearsal room in January 2015, they were determined not to let deadlines mar the creative process. “We worked on the album for a full year on and off,” the guitarist says from a rest area in Columbus, Ohio, 10 days into a North American tour. “We experimented with all sorts of arrangements and ideas and if we weren’t all stoked on something right away, we threw it out.”

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The extra nine months made an enormous difference, Like Meir, Nattesferd covers a diverse swath of influences, including Thin Lizzy, AC/DC, Baroness and Immortal. But this time the riffs are stronger, the hooks catchier and the rhythm and tempo shifts far more cohesive. To make sure the songs flowed, Landa and co-guitarists Maciek Ofstad and Bjarte Lund Rolland recorded everything they wrote, then took a magnifying glass to each part. “We really wanted to make sure it was all good and fit together well,” Landa says. “We didn’t care if what we were playing was fast or slow or fit any formula. We just had to like it.” Sometimes the guitarists brought complete passages into the writing sessions, other times they picked up their instru-

AXOLOGY • GUITARS (Landa) Nik Huber Krautster; (Rolland) Nebelung Riffmeister; (Ofstad) Gibson SG, Fender Telecaster • AMPS (all) Orange Rockerverb 100, Marshall Super Lead • EFFECTS (all) Boss Chorus, Octaver, Space Echo • STRINGS (all) Ernie Ball

JIMMY HUBBARD

Kvelertak

ments and played whatever came to mind. “Some of the best songs started with one riff and then we’d build everything else around it,” Landa says. The only thing more important to Kvelertak than throwing out the rulebook was capturing the energy and immediacy of their live sound. So they learned all nine songs front to back before entering Amper Tone Studio in Oslo, Norway, with engineer Nick Terry. “We did a lot of the songs in one take with all of us playing at the same time,” Landa says. “There were some acoustic overdubs and some of the leads were doubled, but it is pretty much like a live album.”


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NEWS + NOTES

INQUIRER

TOM MAXWELL OF HELLYEAH

What influenced you to pick up a guitar? It all started with my father, who was a musician. My earliest memories were of watching him at the house, just playing music and recording, and his friends coming over, just sitting around and jamming. That, and I would listen to some of the records my father had, like Black Sabbath and stuff like that. The first Van Halen record really opened my eyes to “guitar god” type of stuff—that was really the germination right there. What was your first guitar?  I still have it, actually. Technically it’s my second guitar. My first one, I borrowed from a friend next door. And then my uncle came over one day and said, “If you’re gonna learn, learn on a real guitar.” And he handed me a ’68 Gold Top Les Paul Deluxe. I think he got it in a trade or something. I’ve had it ever since and I still write all my music on it.   What was the first song you learned?  The chords to “Stairway to Heaven.” I had a friend down the street that was way more accomplished than I was. He started showing me things and I just moved on from there to a lot of Beatles songs. And more Led Zeppelin songs. What do you recall about playing your first gig? I was about 15 years old and I was in a bar. My entire family came and saw me play. Back in those days, we were still wearing black leather—that early Slayer look. We went up there and were playing a mix of covers and originals. We were terrible as shit, but that’s what you need to do. Like Dave Grohl said, everybody needs to just get in a garage and suck and suck, and then get better and better. Next thing you know, you could be the next Nirvana.

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Ever had an embarrassing moment onstage, or a nightmare gig? I remember one time, when we first got together with Hellyeah, our guitar tech/ early producer at the time, Sterling, had to leave the tour and go home and deal with some personal stuff. He got me this replacement, and the guy knew jack shit. I got onstage and went to put on my guitar and he had the guitar strung pretty much backward! I swear I was in some kind of Twilight Zone episode. I couldn’t believe what was happening. It was just a sense of absolute panic. Luckily, I had a couple of guitars in my vault that were ready to play. It saved the day. But that guy—the day he came was the day he left. Is there a particular moment on the new Hellyeah album, UNDEN!ABLE, that makes you proud as a guitar player? I think the new album, all around, made me proud as a player—but more as a writer. I’ve finally found my niche with this band, and with the division [of

duties] that me and Chad [Gray, vocals] have. There’s a song called “Grave” on the record that really encompasses everything the band is: It’s moody and dark, violent and helpless—very dynamic. What is your favorite guitar or piece of gear? To this day, my Les Paul is still my favorite guitar I’ve ever owned. But I’m hoping my new guitar that’s being built for me by ESP is gonna blow my mind and take over that position. My favorite amp is still my early Eighties JCM800 2203. I love those old Marshalls.   Do you have any advice for young players? Learn everything you can. Be patient and try to be original and be different. Don’t copy other bands. Play, play, play and play everywhere. Play for free. Make CDs and give your music away until you make a name for yourself. Stay the course, be patient and just be badass.  —RANDY HARWARD


䈀攀挀漀洀攀 愀渀

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琀爀愀渀猀 愀洀戀攀爀

搀攀愀渀 椀洀瀀漀爀琀 椀挀漀渀 猀攀爀椀攀猀

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NEWS + NOTES

Issues

A.J. Rebollo

ATLANTA ROCKERS CONTINUE THEIR GENRE-DEFYING WAYS WITH LATEST EFFORT HEADSPACE. By Greg Prato

AXOLOGY • GUITARS Kiesel Aries A6 (custom guitar with alder body, maple neck and ebony fretboard, with Kiesel lithium pickups) • AMPS Fractal Audio Axe-Fx II • STRINGS Ernie Ball

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JUSTIN BORUCKI

WHEN LISTENING TO Headspace, the new full-length from Issues, it quickly becomes apparent that it’s impossible to align the Atlanta-based quintet to a specific style. “There are five different heads from completely different backgrounds, working on one sound,” explains the band’s guitarist, A.J. Rebollo. “It can get tough sometimes, but we somehow make it work.” Rap metal, nu-metal, metalcore, melodic metal—even R&B—are just a few of the genres that the band (whose 2014 selftitled debut peaked at Number 9 on the Billboard 200 and spawned such hits as “Stingray Affliction” and “Never Lose Your Flames”) touch upon. So it shouldn’t come as a surprise that Rebollo’s influences are so varied. “Meshuggah, for sure. All the guys in the band pretty much agree on Linkin Park as a huge influence. I grew up listening to nu-metal, and that came after what I was raised on by my parents—Earth, Wind & Fire, Jackson 5, the Temptations and a bunch of random doo-wop acts.” Rebollo may be comfortable with playing a variety of musical styles, but one in particular is posing a challenge. “As far as the funk aspect of what we’ve been doing, that is taking me a hell of a long time to get good at. Because even though I grew up listening to all that stuff, I’ve never really tried to play any of it on guitar—up until recently.” And as the group demonstrates on such tracks as “Flojo” and “Blue Wall,” there’s a discernible percussive element to Issues’ sound—and with good reason. “Before I started playing guitar, I started off on drums. That’s why a lot of our stuff is very rhythmic, because pretty much everyone in our band is a drummer.”


BUCK LEWIS

DEAR GUITAR HERO

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CHRIS HILLMAN

He was a founding member of the Byrds, the Flying Burrito Brothers and the Desert Rose Band. His late-Sixties work with Gram Parsons has influenced generations of country, rock and Americana musicians. But what Guitar World readers really want to know is… Interview by Damian Fanelli

YOUR SONGWRITING DEBUT— THOSE FIVE SONGS ON THE BYRDS’ 1967 YOUNGER THAN YESTERDAY ALBUM—WAS PRETTY IMPRESSIVE. HOW DID YOU COME UP WITH THEM, ESPECIALLY “TIME BETWEEN” AND “THE GIRL WITH NO NAME”? —SHELL LEVINE

I had come home after playing a session for Hugh Masekela. David Crosby was also on the date. The session was for a South African singer named Letta Mbulu. I had such a great time working with all these wonderful South African jazz players that I think it was the key that unlocked the door. I came home and wrote “Time Between” and had a good rest of the week with song ideas.

How and when did you meet guitarist Clarence White? Also, what was he like to work with in the studio? Was he a “first-take” guy?  —Richard Roma I met Clarence when we were both 16. He was playing in the [popular bluegrass band] Kentucky Colonels and I drove up to Los Angeles to hear them. We became close friends. Years later when Clarence switched to electric guitar, I had him come in and play on my songs [with the Byrds]. One of his finest solos was on “Time Between,” which is a favorite of Dwight Yoakam. Clarence usually captured it within one or two takes; he was a total professional in the studio and one of the finest musicians I had the honor of working with. How did Guild’s new Chris Hillman Signature Byrds bass come to be?  —George Aaranow

Chris Middaugh, who was at Guild Guitars at the time, approached me about doing a reissue of my old Guild Starfire bass. I used my Starfire on so many Byrds hits, so I was immediately up for the idea. Tracy Longo, who works on my instruments, and [guitarist] John Jorgenson were very helpful in putting it together. Guild did a great job. It’s a fantastic instrument. How do you feel about newer country music? I feel there are rock/Americana bands playing “country” better than so-called country artists. Examples include the Avett Brothers and Ryan Adams. They seem to better capture the honesty of country.  —David Moss New country music is, as Tom Petty put it so well, “bad Seventies rock with a fiddle.” There are some interesting bands like the Avett Brothers and Mumford

& Sons and so many under-theradar bands and singer/songwriters that are very good. There’s just no music business model anymore. This is why concerts have become such grand affairs; you need to break through and establish a huge following. Artists can’t rely solely on record sales anymore. It’s a real catch-22. What’s your favorite cover of someone else’s song that you’ve recorded, and what’s your favorite cover of a Hillman-penned tune?  —Jimmy Lingk I’d say the acoustic version of Buck Owens’ “Together Again” by Herb Pedersen and me [available on 2010’s At Edwards Barn]. I think we nailed it, and I know Buck loved it when he heard us sing it. Emmylou Harris did a great job on “Wheels” and “Sin City” [Flying Burrito Brothers songs composed by Hillman and Gram Parsons].

What bass players inspired you when it came time to play bass in the Byrds? I know you started out as a mandolin player.  —John Williamson I loved Paul McCartney’s playing, his sense of counter melody—and what he got out of that Hofner using a flat pick was nothing short of amazing. The Who’s John Entwistle was quite possibly the best bass player in rock for that time period. Later I liked Jack Bruce in Cream. These innovative musicians approached the bass from such an interesting angle. I loved all the Sixties Motown bass playing too. What was it about “Time Between” [from the Byrds’ Younger Than Yesterday] that inspired you to revisit it with the Desert Rose Band in the Eighties?  —Larry Spannel I have no idea, other than I probably sang it better. In hindsight, the Desert Rose Band version was way too fast and was just a nice way for John [Jorgenson] to show off his cross-picking chops on his mandolin solo. But the song was never meant to be that fast. What gear do you bring to a Chris Hillman-Herb Pederson show?  —Alec Blake I usually play my “Red Diamond Crusher” mandolin that was built by my friend Don Macrostie. I happen to think he builds the best mandolins in the world. I play my Martin OM Chris Hillman Custom Artist Edition guitar and occasionally use my Santa Cruz guitar. Who was the most inspiring and/or jawdropping guitarist you’ve ever worked with?  —Jude Ciccolella guitarworld.com

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Other than Clarence White, I’d say Stephen Stills. When we worked together in Manassas, I felt he was at the top of his game. I never worked with Mike Bloomfield, but I knew him and we did work with the Butterfield Blues band for a week in 1966. I still hold him up as one of the very best guitarists to ever hold a Les Paul. His solos with Paul Butterfield just moved the universe. Do you have anything in the works—a new album, perhaps?  —Jon Pryce I do have material; I’m just lazy. But I think a new album will start to happen in June or July. Did you ever meet Jimi Hendrix?  —Bruce Altman The first time I met Jimi Hendrix was at Ciro’s, the club on the Sunset Strip where the Byrds got their start. Little Richard was playing there for a week in 1965 and [Byrds drummer] Michael Clarke and I went down to see him. Hendrix was Little Richard’s guitar player. He stood on the end of the stage with his short hair, wearing a “band suit.” There were

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no theatrics, just playing, but you couldn’t help but notice how good he was, even in that reduced role. It was a little over a year and a half later that he became so famous. He was a nice man and a fantastic musician who could play any kind of music, even country. The Byrds’ Sweetheart of the Rodeo, which started out as a fairly unsuccessful album, has gone on to be an important piece of musical history, a work that has influenced several generations of musicians, possibly even launching the Americana movement. What does the album mean to you?   —Barry Rossen It wasn’t my favorite Byrds album. It did open up people to country music, and consequently the floodgates swung back, creating the West Coast “country rock” sound. We had some wonderful people playing with us on the album. What do you consider Gram Parsons’ finest recorded moments as a

Which Chris Hillman composition are you most proud of?   —Sinclair Stevens “Heaven’s Lullaby,” which was written with Steve Hill [from At Edwards Barn]. Do you still own that blue Nudie suit from your Flying Burritos Brothers days?   —Sully Mulvaney I donated it to the Gene Autry Western Heritage Museum in Los Angeles. You once said you felt the Desert Rose Band was the “highly evolved Flying Burrito Brothers.” What did you mean by that?  —Gus Pepper

It was a great band whose members were all very professional, and our live shows had a 95-percent consistency level. I felt my “apprenticeship” ended when we formed the Desert Rose Band. I had learned how to sing and write with much more depth and, having learned from the best over the preceding years, I was able to take over the leadership position and lead the group to a successful eight-year run. It’s the longest time I had spent in one band. How’s your relationship with former Byrds Roger McGuinn and David Crosby these days?  —Gil Christof I love them both. I see David more often than Roger, only because David lives a lot closer and Roger lives across the country. I was very blessed to be able to work with them, let alone be a part of an unbelievable band like the Byrds. Roger and David, along with the late Gene Clark, were such good singers, songwriters and musicians. I learned so much from all of them. How did you choose “Blue Canadian Rockies,” one of the tracks you sing on Sweetheart of the Rodeo?   —Annie Hallman That’s an old Gene Autry song. I can’t remember where I first heard it. Great song. What do you remember about the Flying Burrito Brothers’ high-energy performance of “Six Days on the Road” from The David Frost Show in 1971?  —Cindy Cassiola We just jumped into it “live” and it rocked out pretty good. Rick Roberts locked in the harmony with me. He was a good, solid singer.

WHICH INSTRUMENT BRINGS YOU THE MOST JOY TO PLAY—GUITAR, MANDOLIN OR BASS? 

—KEVIN SPACINGER

Mandolin and guitar. I don’t have the opportunity to play bass that much anymore.

P H OTO C O U R T E S Y O F Z A R E K

songwriter, vocalist or both? Also, what did you take away from your time together in the Byrds and Flying Burrito Brothers?  —Sergei Zubov Gram was very talented but also very unfocused at times. I think his best vocals on record were “Hot Burrito #1” and “Hot Burrito #2” from the Flying Burrito Brothers’ first album [1969’s], The Gilded Palace of Sin. Those are two very soulful vocals. He was a great songwriter and we wrote some wonderful tunes together. He brought two classic songs to the Sweetheart of the Rodeo project—“Hickory Wind,” which he wrote with Bob Buchanan, and “One Hundred Years from Now.” He also wrote the two “Hot Burrito” songs with Chris Ethridge, along with a later song written with Chris, “She.” That’s a great song. Gram was a very bright and extremely funny man. I loved him dearly, and it was not pleasant when he started to drift into a dark place with the drugs and alcohol. He had so much to offer.


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NEWS + NOTES Cameron Maynard (left) and Robby Baca

PLAYLIST

OF THE CONTORTIONIST 

1

2

3

4

5

6

“Time Flies”

Ambient 1: Music for Airports

“Hexagram”

In Keeping Secrets of Silent Earth: 3

“All Bodies”

Minus the Herd

Porcupine Tree ROBBY BACA “This song was a big one for me. I get nostalgic when I hear it. The arrangement, lyrics and chord progressions are so good.”

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Brian Eno

CAMERON MAYNARD “This record changed how I look at analog synths and spacedout rhythmic phrasing. This record’s soundscapes and melodies put me in a really nice place no matter what mood I’m in.”

GU I TA R WOR L D • J U LY 2016

Deftones

BACA “The first Deftones song I learned. I tuned my crappy Ibanez six-string down to some crazy Stephen Carpenter tuning and rocked out in my bedroom, blasting the track out of a little stereo. So much fun.”

Coheed and Cambria

MAYNARD “They take the sounds of Rush and post-rock and get very creative with storytelling and instrumentation. This saga of records feels like reading a book and a musical record all at once.”

Between the Buried and Me

BACA “When I was 15 I found BTBAM through an ad that Ibanez ran in Guitar World for the S series guitar. I checked out Alaska, and I had never heard anything sound so huge and riff so hard.”

Ion Dissonance MAYNARD “This record inspired me to play superrhythmic, dissonant guitar riffs. The compositions are very artistic, but also very groovy and accessible to the heavy metal crowd.”

MICHAEL LESSARD

What's on My iPod?


IN THE SUMMER OF 2015, Sean Lennon APPEARED AT THE HOME OF HIS FRIEND Les Claypool. DEEP DOWN, ALL THESE TWO ODDBALL ROCKERS WANTED TO DO WAS MAKE SOME COOL NEW MUSIC TOGETHER. COULD THEY DO IT WITHOUT DRIVING EACH OTHER CRAZY? READ ON AND FIND OUT.

words by Joe Bosso images by Charlotte Kemp

theThe

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july 2016 guitar world

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EITHER LES CLAYPOOL NOR SEAN LENNON WERE PLANNING ON FORMING A NEW BAND, BUT WHEN THEIR RESPECTIVE MAIN GROUPS (PRIMUS AND THE GHOST OF A SABER TOOTH TIGER) TOURED TOGETHER LAST SUMMER, THE TWO MUSICIANS NOTICED A TIGHT BOND TAKING PLACE QUICKLY AND EASILY BETWEEN THEM DURING IMPROMPTU BACKSTAGE JAMS.

It’s the kind of thing that happens often among players during long road stretches, and most of the time it never leads to anything. But for Claypool, the deal was effectively sealed when Lennon joined Primus onstage one night and turned in a spirited and adventurous solo on the song “Southbound Pachyderm.” “I had been hearing Sean play guitar, so I knew he was good—better than good,” Claypool says. “But he started playing all of this wild, unpredictable shit onstage, and he flat-out blew everybody’s minds. I was like, ‘This guy’s a real badass. Maybe there’s something more we can do here.’ ” Lennon lets out a modest, almost embarrassed laugh at Claypool’s effusive compliments, admitting that his “Southbound Pachyderm” performance was a nearblank moment for him. “I’m sort of panicking at times like that,” he says. “To be honest, I never really imagined that I’d be playing with somebody like Les, because he always seemed to be the caliber of musician that was outside of my grasp. I’ve been a huge fan of his—and of Primus—for a long time.” He pauses, then adds, “But I will admit that before the tour, my band practiced a little more than usual. We’re not used to touring with real virtuosos.” The end of the tour brought with it a big block of downtime for Claypool: Primus were set to take a year off, and there were scheduling conflicts with the bassist’s other band, Oysterhead (which also includes drummer Stewart Copeland and Phish guitarist Trey Anastasio). So he seized the opportunity and asked Lennon to stay in the guest house of his Rancho Relaxo spread in Sonoma County, California, where they drank prodigious amounts of pinot noir while writing and recording an album’s worth of material in six weeks.

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“It was a really relaxed, spontaneous process, not unlike when we were just jamming on tour,” Lennon remembers. The two dubbed themselves the Claypool Lennon Delirium, and the result of their collaboration, Monolith of Phobos, is a dizzying, enthralling and maverick-y musical hoedown. Sharing instrumentation and alternating lead vocals, Claypool and Lennon power their way through heavy-riffing prog-pop (“Cricket and the Genie–Movement 1, the Delirium”), good-natured Beatles-esque psychedelia (“Mr. Wright”), theatrical artrock (“Breath of a Salesman”) and quirky sonic collages (“There’s No Underwear in Space” and the title track). “The whole thing was just a total blast,” raves Claypool, who confirms that the two will hit the road together this summer (with touring members Mark “Money Mark” Ramos Nishita on keyboards and Paul Baldi on drums). “You go into something with the best of intentions and expectations, and suddenly you’re in the heat of it and you go, ‘Damn! This is sure a hell of a lot of fun. This is why we do this sort of thing in the first place.’ ” Les, you said that you liked the unpredictability of Sean’s playing onstage, but was there anything more about his guitar work that appealed to you?

LES CLAYPOOL Absolutely—his fearless-

ness. I liked that he just sort of dove in and started swimming. Not a lot of guys do that, and it’s not as easy as it seems. But there’s also the ability to do that and complement whatever is going on around you, as opposed to just dominating the space or just going for a ride.


Sean Lennon (left) and Les Claypool

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“WHAT’S INTERESTING TO ME ABOUT Sean IS THAT HE HAS CERTAIN SENSIBILITIES OF HIS FATHER, BUT HE ALSO HAS THE PERSPECTIVE OF HIS MOM, WHICH JUST MAKES IT VERY ORIGINAL.”

Les Claypool SEAN LENNON I just remember feeling very comfortable around Les and his whole team. He runs a tight ship, but it’s very unpretentious. Oftentimes there’s a lot of drama on the road, and things can get tense. Be we all felt really relaxed, and so when Les invited me to kind of jam with him, it was really kind of casual. I didn’t feel intimidated. CLAYPOOL Sean is so much better than people might know, and there’s probably some reasons for that. I mean, as we all know, he comes from interesting stock. [laughs] In society—and I’m guilty of this as well— we sit back and go, “So-and-so is the son or daughter of so-and-so—they must have it made. All the doors open for them.” But in reality, it’s a much bigger magnifying glass than any of us get, you know? It’s like my son: When coming up through school, he was playing upright bass in the school band. He stopped playing bass and started playing banjo, and part of the reason was he got tired of people saying, “Oh, you’re Les Claypool’s son. Let’s see what you can do.” He

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said, “Screw this. I’m going to play banjo.” And, of course, I’m just Les Claypool. We’re talking about John Lennon here! The world looks with this huge magnifying glass at the offspring of these superheroes. But I like Sean’s approach to the guitar. It’s more like a David Gilmour meets Andy Summers meets Marc Ribot type of approach. Not necessarily guys that are out there just showing everybody how big their cocks are all the time. What’s wrong with that?

CLAYPOOL Nothing! [laughs] But that’s not necessarily what I’m looking to collaborate with. I mean, obviously, I’ve played with some monster motherfuckers. Whether it’s Buckethead or Adrian Belew or the magic of Larry LaLonde, these guys can play their asses off, but they do it in ways that are very unique.

Being compared to David Gilmour, Andy Summers and Marc Ribot—that’s pretty

cool, Sean.

LENNON It is, but believe me, I’m quite

aware of my abilities—or my lack thereof. I mean, I know that I lack the chops to really be Marc Ribot—he’s one of the greatest musicians in the world. Actually, he’s a friend of mine, and we have worked together. What I get from a guy like Marc is how to use effects and how to trust making odd musical choices. It’s more of a mindset thing, not just focusing on the notes you’re playing. CLAYPOOL What’s also interesting to me about Sean—and this comes out in so many ways—is that he has certain sensibilities of his father, but he also has the perspective of his mom, which just makes it very original. He definitely has his own little thumbprint going, and that intrigues me. For me, it’s not the notion of how fast you can waggle your fingers around; it’s how you can add to the musical conversation. Sean, can you kind of step outside your-


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“IF YOU LISTEN TO ANY OF THE MUSIC I’VE PUT OUT, THERE’S AN OBVIOUS John Lennon STREAK IN THERE. IT’S THE THING THAT’S MOST NATURAL FOR ME.”

Sean Lennon self and see that, particularly how it pertains to your parents? LENNON I can, sure. I’m definitely aware

of where my proclivities are, my talent and my lack of talent. But it’s hard to say what’s nature versus nurture. That question is hard for any of us to answer about anybody, because obviously I grew up with a certain dictation on my dad’s music because he wasn’t around. It was kind of a way to search for him or communicate with him. There was a lot of motivation for me to spend time with that music beyond just because it was cool. The fact that he wasn’t around made me really feel curious about it. And then my mom, she raised me. My whole perspective on art and the world, the foundation of it, is a Yoko foundation in terms of conceptual art and thinking about creativity as something that’s not bound to any specific medium. She can direct a film or make a sculpture, do an album—it’s all sort of unbound. She doesn’t see things in separate boxes. In a lot of ways, she influenced me the most. How exactly did you two share instrumentation on the record? CLAYPOOL I mainly played bass and sang. I

ran my old API console. The strange thing is most of the time when I’m doing one of my projects, unless it’s Primus or Oysterhead, I get on the drums, but for this, Sean got on the drums right away for the first song we were playing, “Captain Lariat.” I thought, This is perfect, because his style of drumming is way different from mine. I tend to lean forward. I go for that Stewart Copeland/Dave Garibaldi thing, whereas he lays it back. He’s like Ringo meets Nick Mason or something. LENNON At first we thought we’d get a drummer, but Les actually was really sup-

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portive and cool about letting me drum, which I wasn’t expecting. That was really exciting because I have so much respect for his drumming IQ. It was a dream come true for me. Every musician I know is a repressed drummer. CLAYPOOL It really set the tone for this record, because had he not gotten on the drums, it would probably sound more like one of my Claypool records, which is a little more on the beat, leaning forward. He kind of lopes it back, which is what we were originally talking about—sort of an old-school, psychedelic record. LENNON I remember playing drums and he was playing bass, and it was all right there. Plus, Les gives you so much music all by himself. He never does just one thing on the bass. He holds down root notes, but then he does percussive syncopation, double-stop chords, and he throws in little melodies here and there. It’s so easy to jam to that because he’s like his own band… He creates this big musical bed for you to work with. LENNON Yeah. He’s really easy to interact

with. And he’s really chilled out, which is great because I could have been intimidated. He’s very generous, and that makes you feel like what you’re doing is good. You both sing lead. How was it decided who would take the lead on which track?

LENNON Whoever wrote more of the lyrics

would sing. CLAYPOOL And whoever wrote most of the

lyrics would generally write the chord progressions. Sean is more of a chord builder than I am. If you listen to my stuff, it’s almost like Police riffs, you know? Sean likes to move all of these chords around, so that was a very different thing for me as far

as structuring my songs. It was really a true collaboration. Les, I imagine you came in with the song “Cricket and the Genie–Movement 1, the Delirium.” It starts out with a very recognizable Claypool bass run. CLAYPOOL No, that was actually Sean’s

tune. He came in with that “gung-ga gungga gung-ga” thing, sort of a ‘Spirit in the Sky’ bit. I had my Dobro bass, and I started playing what I thought an old Syd Barrett/Roger Waters bass part would have been, and away I went. LENNON I think there’s a lot of references in that song. We were listening to Sabbath a lot at the time—I know that. Its companion track, “Cricket and the Genie–Movement II, Oratorio Di,” has some parts to it that sound, for lack of a better term, “Beatles-esque.” CLAYPOOL Yeah, sure—with a big John

Bonham beat over the top of it. But the thing is, Sean is just as big a fan of the Beatles as the rest of the planet. He loves the Beatles! LENNON I think I’m more influenced by the Beatles than anything else, and I think if you listen to any of the music I’ve put out, there’s an obvious John Lennon streak in there. It’s not weird to me; it’s kind of the opposite of weird. It’s the thing that’s most natural for me. Still, you do know that people are sensitive about bringing that up.

LENNON I get that. I get why people are sen-

sitive and touchy about my dad and me. Often I get these criticisms, like if I wear glasses, they’re like, “You’re trying to look like your dad.” And I’m just like, “You know, there are only so many glasses in the world…”


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Not to belabor the Beatles, but the bass part in “Mr. Right” has an unmistakable McCartney bass sound and feel, almost like what he played on “Rain.”

CLAYPOOL I’ve had people comment that it’s got a “Taxman” vibe to it. Then I’ve had people comment that it has a “Tomorrow Never Knows” vibe to it. LENNON When Les started playing, I was like, “Yeah, man, we got to have our own one-chord jam.” So we were both on the same page for that. We jammed for three or four minutes, him on bass and me on drums,

and we came up with that. It was like Les meets Sean meets something a little trippier and psychedelic. CLAYPOOL It also has a vibe like Beck’s “Devil’s Haircut.” It’s not like it’s a groundbreaking pattern, so I’m sure that that has been played often in many different pieces of music. I think what breaks it up is the little riffage that I throw at the end of the occasional eight bars. Were there any songs you disagreed on? Something one guy wanted, but the other

guy said, “I don’t think so”?

CLAYPOOL Everything we wrote made it to

the record. I’m trying to think of anything… We tussled a little bit over “Oxycontin Girl.” We had to massage the lyrics because it was not the most cheerful subject matter. It was a little bleak the way I originally wrote it. Not that we ever painted a rosy picture, but we made it more of an actual arc; it has a better storyline now. That’s a true example of the collaboration, because I came in with something and Sean was like, “You know, maybe we should move it a little more like this.”

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What were your main basses and guitars?

CLAYPOOL I used my upright. I have this

bring a

to the

clunky old Dobro bass and an old Eko bass that I like to use. Oh, and I make these Claypool Pachyderm basses—they’re sort of my main four-string. There’s no six-string basses on this thing. It’s all four-string. LENNON I mostly used this BilT Zaftig guitar. It’s fucking great. The Zaftig is pretty much my main guitar these days. It has the Mastery Bridge that [luthier and designer John] Woody [Woodland] makes for those Fender Jazzmaster guitars. I alternated between the BilT Zaftig and another model they make called a Relevator. That one is like a Zaftig except it has a built-in delay, a mute button and an oscillator fuzz. It’s got all these little knobs and switches, so you can just walk around onstage and decide to add certain sounds without having to use pedals. I did the whole record with those two BilT guitars. How did the two of you decide on the members of the touring band?

CLAYPOOL Sean suggested Money Mark

because he’s a good buddy of his. I hear he’s an amazing guy, so that’s a big part of it. When you’re going to be on a bus with some dudes for that long, you want to make sure that there’s no jackasses in the bunch. Then Paul Baldi is a guy I’ve been working with for years, and so I just felt like he would work out. Obviously, I’ve played with some pretty amazing drummers, but what I like about Paul is the way he can kind of cop that lopey feel we want. Sean has that kind of thing, that Bill Ward/Ringo meets Nick Mason kind of feel. He slows down the fills and pulls it back. I like that. So it was pretty even-steven: You each got to pick somebody.

LENNON Honestly, it wasn’t like that. There

was no agreement about it. We were just trying to get people we like, you know? It just kind of worked out.

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Eric Clapton


E R I C C L A P T O N is no stranger when it comes to looking to the past for fresh musical inspiration. That philosophy is in full effect on I S T I L L D O , his new collection of original songs and rousing tributes to Robert Johnson, JJ Cale, Bob Dylan and other guitar icons. In this exclusive interview, Slowhand sits with Guitar World to discuss this most recent trip down memory lane.

By Damian Fanelli


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Eric Clapton

HEN LAST WE HEARD FROM ERIC CLAPTON ,

he was dropping hints about retiring, alluding to a time in the not-too-distant future when he might claim his gold watch and lay down his guitar for good. Now, nearly two years later, the 71-yearold guitar legend has released a studio album with a promising, first-person title: I STILL DO.

Is it a reassuring note to fans, something along the lines of “Calm down, gang—I’m still here”? Given the exuberance with which Clapton speaks about the record, not to mention its strong performances, punchy mix and intriguing material, including his first-ever studio recording of Robert Johnson’s eerie “Stones in My Passway” and two “new” JJ Cale compositions, we’re gonna take that as a yes. Like his last two studio releases, 2013’s Old Sock and 2014’s The Breeze: An Appreciation of JJ Cale, I Still Do finds Clapton in a reflective mood, looking back at the artists and songs that inspired him as a young man, connecting with old friends— including producer Glyn Johns—and honoring sepia-toned family memories. And it all starts with the title. “I Still Do is a tribute, a quote from my aunt, who passed away the year before last,” Clapton tells us. “When I went to see her, I said, ‘I want to thank you for being who you were and looking after me when I was a little boy—and a difficult little boy.’ She said, ‘Well, I liked you and I still do.’ I thought, That’s it.” I Still Do also finds Clapton getting a bit cheeky with his liner notes. When the album was initially announced in February, fans were quick to notice that one “Angelo Mysterioso” was credited with vocals and guitar on “I Will Be There.” Noting the name’s similarity to “L’Angelo Misterioso,” the pseudonym George Harrison famously used when he co-wrote and played guitar on Cream’s “Badge” in 1969, the media rode with it, announcing that Harrison—who died in 2001—somehow appeared on I Still Do. Clapton’s camp added to the mystery when they posted a Facebook item denying that Harrison was involved—and then quickly pulled the post. Let’s just say one of the things Clapton can still do is keep a secret. You haven’t worked with Glyn Johns since your two late-Seventies studio albums, Slowhand and Backless. What brings him back into the fold?

I had just read his autobiography [2014’s Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, The Faces…], where he had mentioned me and said he hoped we were still friends. And I thought, I should give him a call. So we met up in 2014. We were just having dinner, reminiscing, since I hadn’t seen him in a very

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long time. And then he suggested we find some time to play together again—and that was that. It was just a conversation, and I think we both checked a little bit later to see if it was genuine. Bit by bit, it became more and more of a serious endeavor. And then in October of last year we went into the studio and started working without really having too much of a road map. Here’s a three-part Glyn Johns question: What is he like to work with? What does he bring to a project? Has he changed much since the late Seventies?

Not essentially, no. He’s calmed down a bit. He’s very forthright. He doesn’t waste time or words getting to the point. If he thinks you’re on to something, he’s very enthusiastic and encouraging. If he thinks you’re going in the wrong direction, he’ll try and shut it down. He’s good to work with in that respect. And I like people who are direct, people who know what they’re listening to. He has a musical background, he’s a musician and had a small career a long time ago, so he knows what he’s talking about. Ultimately for me, he’s one of the best guys I’ve ever seen on the board. He can get very quickly to the right sound, the right balance, if you have quite a few instruments. He can mix that really quickly and get it sounding good.

Speaking of names from the past, I Still Do features drummer Henry Spinetti and keyboardist Chris Stainton, guys whose names started appearing in your liner notes more than 30 years ago. Your last album, [2014’s] The Breeze: An Appreciation of JJ Cale, featured drummer Jamie Oldaker and guitarist Albert Lee, two more former Eric Clapton band members from decades past. What is it about working with old friends that you enjoy most? Is it just fun to look backward sometimes?

I think it’s the familiarity of walking in a path that they know. A well-worn relationship is stable, reassuring. There’s a lot left unsaid that way. I think starting up with someone fresh, I’d have to be sure we were on the same page, and sometimes it’s difficult to get a really direct reading on that. These guys are experienced, and we’ve been there before. The guys that played on this last album, I can just walk in the room. We don’t rehearse; it’s almost unnecessary to do anything. We can just play an evening of songs without really having any direction. That’s just having a history together.

Which brings me to a mysterious credit on the new album. “Angelo Mysterioso” sings and plays acoustic guitar on “I Will Be There.” The pseudonym is very similar to the name George Harrison used on Cream’s “Badge.” There was some speculation that you’d found an unfinished song featuring Harrison; however, I’ve heard

the new album three times now, and I know that’s not George. Who is it?

No, it’s not George. Well, the thing is, the person wishes to remain anonymous. So we came to that arrangement, and we both thought it was the best idea, for one reason or another. And I can’t even tell you that much. I’m sworn to secrecy, and I


hope he is too. But I quite liked it. I heard there were rumors about it being George, and I thought that was great because it’s nice that people know about that story. That’s what we used to do a lot, and I still like to do that now. I’ve been that “angel” sometimes. George was, and now there’s someone else. So I can’t say who it is, but I like the speculation. If you can’t name guitarists, let’s discuss guitars. What gear did you use on the album? Anything new?

Well, there’s always something new. New stuff comes in from [amp builder] Alexander Dumble. We have a dialogue now, which is stronger than it’s ever been. He tells me what he’s up to and he’s helped me out with a few things. I’ve given him amps to restore, so I used a restored Fender Vibrolux that he looked at and did a little modification on. Also a Fender Bandmaster, which is kind of my constant amp right now. It’s an interesting amp because it’s quite big sounding, but you could use it moderately at the same time, so it’s very adaptable. And if I want to go down in size, the Vibrolux is the one I’ll use. The guitars on the album were a Strat with modifications—my signature guitar that’s got a compressor in it. Plus a 1960 ES-335. It’s a beautiful, very richsounding guitar. I used that when I was

playing slide because it can sustain really well. I used a Les Paul as well, but mainly those were the two electrics. And I used a couple of different Martins. The new album is pretty diverse, but my favorite of the bunch is your version of JJ Cale’s “Somebody’s Knocking.” I know you’ve played it live in the past, but Cale never officially recorded it. How did you come across it?

It’s an interesting story. When I went to his funeral [Cale died July 26, 2013], I met with Christine, his wife, and we talked about what was left, in terms of songs. I asked her, you know, maybe prematurely. But I was very curious to know if there was a legacy. And she said, “Oh, there’s some stuff. I’ll make you some CDs.” She gave me two CDs a couple of days later with about 20 songs on each, so I had those locked up in a safe. [laughs] They’re so precious to me. They’re unreleased JJ demos, and some of them are really, really out there; others are the kind of thing you’d expect from JJ, but that’s one of the songs, “Somebody’s Knocking.” His version is totally different; it’s very quiet and subtle. We tried to do it that way, but I can’t get the energy, so we started doing it more like Albert King, or like a blues/ R&B thing—really old school. That gives it the character, I think. We play that as

an opening song a lot when I’m on stage, because it’s just easy, which is the whole thing about JJ’s legacy. Your Strat tone really stands out on that track. It’s unique from the rest of the album; it reminds me of your trebly yet “scooped”-sounding 1970 tone that’s all over your first solo album [1970’s Eric Clapton], which includes your cover of Cale’s “After Midnight.”

Yeah, and it has a lot to do with that Bandmaster I’m playing through, and having everything wound up—the guitar pretty loud and the amp almost full. Sometimes I think it might be the way it was roommic’d more than I normally would have it. So there’d be drums going in there too, you know. It makes the guitar sound different. So, if you’d put the mic right onto the amp for that track, it wouldn’t have sounded like that, but I think the fact that the sound was swirling around the room gives it some of that character. Is “Can’t Let You Do It” another of the “legacy” Cale songs?

Yes, that was another one of these unreleased songs from the CDs his wife gave me. His version of that song is undoable. The other one, “Somebody’s Knockin’,” I think we actually improved on it. I hope Christine forgives me, but I think we kind

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of did it, in a way, better. But as for “Can’t Let You Do It,” his version is undoable. It’s like trying to do “Papa’s Got a Brand New Bag” or any James Brown song—and thinking you can improve it. There are certain people that have it down where it cannot be; you cannot impersonate it, you cannot improve on it.

Eric Clapton (left) and JJ Cale performing at the Crossroads Guitar Festival in Dallas in 2004.

You also cover Leroy Carr’s “Alabama Woman Blues,” which you’ve played in concert in the past. Around 12 years ago, you listed it as one of your 10 favorite songs of all time. What do you find so alluring about it—or at least about Carr’s original recording of it?

I think it was where it hit me in my own life. It was one of the first songs I heard as a teenager, not really knowing anything about Leroy Carr. But there’s something about the sadness of that song. There’s a certain atmosphere to his recording. Something about it is so poignant, moving, simple and sad. My version is much more out there and upbeat, but you really should listen to Leroy Carr’s version.

R . D I A M O N D/ W I R E I M A G E ( G E T T Y )

At the other end of the spectrum, the album features a cover of Bob Dylan’s “I Dreamed I Saw St. Augustine” from 1967’s John Wesley Harding. The accordion is so prominent that it reminds me of a long-lost track by the Band, another of your major influences. Was that intentional?

It’s funny—that wasn’t deliberate. We did that very quickly. I invited Dirk Powell, the accordion player, to come over and play with the pianist, Walt Richman. Walt comes from Tulsa and Dirk comes from Louisiana, and they’d never met. I just wanted them to play together in the room with me. That song is very significant for me. It’s another one of those things, sort of where I was in my life when I heard that Dylan album. All the songs on that album had a profound effect on me. It’s something about what he was doing with his life at that time and the way his musical taste was changing. I really was in total admiration because of the way he recorded it; it sounded like he walked into the room, started singing and everyone climbed on board. I wanted to have that atmosphere. So it wasn’t deliberate. We weren’t trying to mimic the Band, because I wouldn’t know how to do that. I really wanted to pay tribute to Bob. He’s a big hero of mine. And then there’s Robert Johnson’s “Stones in My Passway.” Although you’ve

never officially recorded it until now, you played a solo-guitar version of the song on the Sessions for Robert J DVD in 2004. Around that time, you said it was a very difficult song to play because there’s a melody that’s happening beneath the vocal melody.

Yes, there’s a passage. If we talk about it in terms of a 12-bar blues, it’s in the second section. The first section is the A section; when you get to the B section, and you move up to the IV chord, there’s a phrase he plays underneath his vocal that I can’t do. I can’t sing it and play that phrase, and I will never do it, I don’t think. I think I’ve tried all my life to figure out how to do that—because the time signature of the singing is one way and the playing is another. They’re syncopated in very different ways. So it’s always needed to be an ensemble piece. We did it well, but I’m still... Glyn would tell you I’m still not satisfied. I still think we could do it better. [laughs] You’ll be hearing that again. Which explains the approach you took on this new version of the song, where the entire band imitates, in a way, Johnson’s guitar—or acts as an extension of your guitar—just as they did on several tracks on 2004’s Me and Mr. Johnson. Also, “Stones in My Passway” is one of at least three songs on the album that originated in the Thirties. Is that something you planned?

I’m not sure. I think it’s because they were important to the people I was learning music from, which was my family. My grandmother, my mother and my uncle were very, very influential to me. They would sing all day long. They’d be buying records and listening to stuff, and a lot of it was early jazz and swing. Paul Whiteman, Stan Kenton,

the Dorsey brothers and a lot of those bands had singers, you know, like Frank Sinatra or Doris Day or Peggy Lee. So I heard all that stuff when I was knee-high. By the time I got to be 9, 10, 11, when I was starting to hear blues, I was already well-versed in popular music of the Thirties and Forties. I kind of knew it, especially Fats Waller. I was hearing black and white music—without knowing what was black or white—in my home, from my family. So these songs, there’s a deep kind of a reservoir of that stuff that I’m still tapping into. I know Rod Stewart’s been doing that for a while. I just chuck a couple in every now and then. But there’s some great stuff back there. One of the Thirties songs on the new album is Al Hoffman’s “Little Man You’ve Had a Busy Day.” Does the song have any special significance?

Yep. My grandmother used to sing it to me as a lullaby. I know a lot of people I’ve talked to here in England about that, and they say they’ve never heard that song before. It’s difficult to find a decent version. I think Paul Robeson did a version and Bert Ambrose—the dance band leader—did a version. There are some really scaly ol’ versions knocking around. I have it being sung by my grandmother a capella, which was fine for me. But I’ve always wanted to put that out there and give it back. I’ve always kind of felt as though the yin and yang of your influences are Robert Johnson and JJ Cale. This album really seems to meld those two things pretty cleverly, as if you’ve found a natural way to combine them. It’s a breezy form of music that’s rooted in blues.

That’s nice to hear, because that’s how


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Eric Clapton

“For me, it’s about those two: R O B E R T J O H N S O N and J J C A L E .” – Eric Clapton

There’s a lot of slide guitar on this album. Besides Robert Johnson, who were—or are—your slide influences?

Well, there are two other guys. There’s Elmore James; there’s something about his vibrato that I’m absolutely riveted by. He plays it so beautifully. The other guy is a Texan musician called Hop Wilson who played on records and in the clubs around Forth Worth in the Sixties and Seventies, I think. He played on a lap steel, so he played liked Robert Randolph, except he wasn’t “church,” he was blues, and I think he was unique in that respect. He plays some awkward tuning, I’m told; I think Jimmie Vaughan knows the tuning.

It sounds to me like an open G or an open A, which leads me to play some of his phrases. I recommend you check him out. [Check out Wilson’s Houston Ghetto Blues on iTunes—Ed.] There’s some talk that we’re primed for another blues comeback in the very near future. What are your thoughts on that?

Well, there’s a guy called Blake Mills out there who’s dabbling in all kinds of stuff. He is, for me, the premier musician in that field right now. He doesn’t play blues for a living; he does a bit of film work and has made a couple of albums. But he’s one of the finest slide players I’ve ever heard. It’s nice to know that someone is still moving in that direction. What inspires you in 2016?

That guy! He’s the guy. Just before we started talking, I went searching on iTunes to find stuff by him. He had an album out in 2014 called Heigh Ho, and now I’m getting a craving for some more, so I just found some film music by him. He’s very inspiring for me. Gary Clark Jr. is also incredibly inspiring because he does what I’d like to do live without any effort at all. This year marks the 50th anniversary of Blues Breakers with Eric Clapton by John Mayall and the Bluesbreakers, your first and only album as a member of that band. What do you think has made it such a classic?

I think what makes it so special is that it’s a recording of a band at work. We went into the studio and just played our set. There were no frills, no production value or anything. We just asked the recording guy to put the mics in the middle of the room and leave it to us. It was very refreshing, not because of what I did, but because there really wasn’t a producer. Mike Vernon was in the room, ostensibly producing, but he just let us do what we were gonna do.

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it kind of feels. I found a group of guys where we don’t need to talk; we can just play. I mean, there’s two groups. There’s a group of guys in America that I play with and a group of guys in England, so it’s as comfortable as it can be. They know what I want to do, and they know that, for me, it’s about those two: Robert Johnson and JJ Cale. What more do you need, really? There’s a lot of other stuff in between, like Muddy Waters, Little Walter and Howlin’ Wolf. And there’s the dance band legacy, with those beautifully crafted songs that still haunt me—and there will always be room for them. But I think you got it right.


NORSE GUITAR WORLD LOCKS HORNS WITH AMON AMARTH, THE AXWIELDING WARRIORS FROM SWEDEN, AS THEY BRING THEIR PULVERIZING BRAND OF DEATH METAL TO AMERICAN SHORES 54

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BY RICHARD BIENSTOCK PHOTOS BY TRAVIS SHINN

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“IF YOU HAVE HEAVY, FAST MUSIC, YOU CAN’T SING ABOUT FLOWERS AND FLUTES, YOU KNOW?” Olavi Mikkonen, guitarist for Amon Amarth, is at a tour stop in Dallas and explaining to Guitar World exactly why it is his group of Swedish musical marauders have, for more than 20 years now, served as metal’s premiere Viking enthusiasts. In fact, across 10 full-length albums, including the new Jomsviking, the band has rarely—if ever—strayed from belting out epic tales of gods and men, all of it steeped in detailed Norse mythology. “It’s just cool stuff,” Mikkonen continues. “Like when

(from left) Olavi Mikkonen, Johan Hegg and Johan Söderberg at tour dress rehearsal at Mates Rehearsal Studio in North Hollywood, CA, on April56 6 GU I TA R WOR L D • J U N E 2016

you watch a movie like Gladiator or Braveheart. I mean, fucking brutal battlefields, people swinging swords, I don’t know…” Mikkonen trails off, and co-guitarist Johan Söderberg finishes his thought. “It’s very hard to go wrong when you mix that with metal,” he explains. Indeed, this type of warrior-folklore approach to lyrics would seem to be a perfect fit for heavy music, in particular music as grandiose and anthemic as Amon Amarth’s.

Though the band began life as something of a more straightforward death metal act, with pummeling double-bass drumming, blurry, tremolo-picked riffs and bearded behemoth Johan Hegg’s deep, gurgled vocals, over time they’ve slowed the tempos, increased the melodic content and beefed up the bottom end, not to mention added plenty of hooks, to boot. In the process they’ve forged a singular style in today’s heavy music world—a hybrid of extreme and classic metal that’s fist pumping, aggressive and catchy as all hell. The new Jomsviking is perhaps the best and most refined example yet of their sound. From the twin-guitar harmony lines that run through the groove-heavy “Wanderer,” to the anthemic, almost sing-song-y “Raise Your Horns” (a Viking drinking song of sorts) to the power-


metal–esque “A Dream That Cannot Be,” which finds Hegg duetting with legendary Warlock vocalist Doro Pesch, the effort is a brutally heavy and unusually engaging romp that is almost cinematic in scope. Which makes perfect sense, given that Jomsviking is also a concept album. And while it would be easy (and not entirely off the mark) to think of Amon Amarth’s entire recorded output as conceptual, Jomsviking marks the first time the band has actually presented a story across a full effort. Which, according to the guitarists, also wound up influencing the music. “Since it’s a concept album we wanted to make it more atmospheric and more epic-sounding,” Söderberg says. “So we talked about how to make the melodies stand out more,” Mikkonen explains. “We probably did less of the fast alternate picking, and we put even greater emphasis on things like twin harmonies. Like on the chorus of ‘At Dawn’s First Light,’ where you have the twin thing going on in the background, but also in the front you have this lead part that’s the same melody as the vocal. We were trying to really focus in on those types of things.” “At Dawn’s First Light” also serves as a good example of Amon Amarth’s increased embrace of traditional metal elements. It’s a characteristic of the band that began to rear its head in earnest around the time of their fourth full length, 2002’s Versus the World, and that has become only more pronounced in subsequent years. The tune is propelled forward on a positively Maiden-esque gallop (with the round, bluesy tone on the harmony solo recalling the work of that band’s Dave Murray and Adrian Smith), while the verse guitar riff conjures Black Sabbath’s “Children of the Grave”—a song that, it should be noted, Amon Amarth have also covered in the past. At the same time, the pounding drums and harsh, growled vocals keep the music firmly rooted in modern melodic death metal. For Amon Amarth, this sort of hybrid style was just a natural progression. “Both Johan and I grew up listening to classic metal, and maybe it makes sense that we’re going back toward those roots,” Mikkonen states. “For me, I grew with traditional heavy metal like Maiden and Priest. Then I discovered heavier and faster music like Slayer, and from there I

went to death metal. Now I’m going back to more heavy metal again. But it definitely hasn’t been intentional. I don’t say, ‘Okay, now I’m going to make an Iron Maiden or Judas Priest riff.’ It’s more like, you just write the riffs you like.” That embrace of a more classic metal sound can be heard in Mikkonen and Söderberg’s lead playing, as well. Whereas many death-metal– style guitarists tend to place a premium on speed and scales, the two Amon Amarth men often choose to slow things down, employing their leads as a means to bolster or build upon vocal melodies or other hooks, and then adding a bit of flash or harmony playing when appropriate. “Both myself and Olavi, we’re not really shredders,” Söderberg says. “We think the solo should just add a little melody to the song. It

“VIKINGS WERE EXCEPTIONAL PEOPLE IN EXCEPTIONALLY HARSH TIMES. THAT MENTALITY AND PERSONALITY REALLY APPEALS TO ME.” —JOHAN HEGG

shouldn’t just be for shredding scales up and down the fretboard.” Adds Mikkonen, “For me it was never about the lead players anyway. I’ve always been into songwriters. Like, I think Jeff Hanneman is probably the most amazing songwriter ever. That’s where I get my passion for playing guitar.” Of course, as much as Amon Amarth is about guitars, the band is equally known for Hegg’s vocals and epic lyrics. On Jomsviking, the singer was responsible for coming up with the concept and storyline. “We had been talking about what to do for our next album, and I had been writing a script for a story,” Hegg explains. “So I said, ‘Listen, I’m working on this thing and this is where I’m going with it. We could base the whole record on this and make it into a concept album and do something a little different than we normally do. And everyone thought it could be a fun thing to try. It sounded like a good challenge.” As for the actual plot? “It’s a fairly simple story, really,” Hegg continues. “It’s about a young man who’s in love with a girl that’s being married off, so he tries to kidnap her so they can run away together. But in doing so they get caught, and he winds up killing another man. He becomes an outlaw, an outcast, and has to run for his life. And on his journey he comes across a legendary group of Viking mercenaries called the jomsvikings. He joins up with them, and through becoming a jomsviking he gets the chance to come back to his native land in the hopes of winning back his true love.” Hegg laughs. “Unfortunately, it doesn’t really end well for our little hero there. So it’s not a particularly happy story!” For Hegg, the appeal of these types of stories dates back to his childhood. “I think it started when I was a kid,” he says. “I liked the historical aspects of the Viking stuff. So I started reading up on legends and sagas and all these things. And you know, there’s so much that’s not really known about Vikings. They’re always portrayed as being kind of barbarians, but when you look at their culture it’s extremely rich in art and all this other stuff as well. Vikings were exceptionally skilled warriors, but they were also craftsmen and sailors and traders. And they were adventurous types, sailing across oceans in no more than open dinghies, basically. Which is just insane! guitarworld.com

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Who would do that today? But they did it. Vikings were exceptional people in exceptionally harsh times. That mentality and personality really appeals to me. And lyrically I think there’s a lot of good stuff in there.” It should be noted, however, that while every Amon Amarth album, beginning with their 1998 full-length debut, Once Sent from the Golden Hall, has been centered around Viking themes, this has not been the band’s focus since day one. Amon Amarth has its roots in another Swedish group, Scum, which featured Mikkonen on guitar; that band, which formed in the late Eighties, is today often classified as having played grindcore, though, according to Mikkonen, “I don’t know if it was that.” He laughs. “I guess we tried to play grindcore. But we were just, you know, fucking kids writing about the normal nonsense—gore, death, probably Satan. There was no bigger plan than to drink some beers and have fun in the rehearsal room.” Scum disbanded in the early Nineties, and in 1992 Mikkonen, Hegg and current bassist Ted Lundström reformed with other musicians as Amon Amarth. They took their new moniker from the name of a volcano, Mount Doom, in J.R.R. Tolkien’s Lord of the Rings

saga (in Tolkien’s invented language of Sindarin, “Amon Amarth” translates to “mountain of fate,” another name for the volcano). In those very early days, the band was heavily influenced by death metal—Mikkonen points to Chuck Schuldiner’s trailblazing band Death as a huge inspiration—and their subject matter followed accordingly. “It was just generic crap, really,” Hegg says with a laugh. “The stuff you write when you’re a kid and you think you’re doing something cool, but you look back on it and realize it was lame. I think I had one song about the environment, and something else was kind of political—how we’re destroying the world and all that shit. Which is something I do feel strongly about. But I guess it came to the point where we figured out, ‘This is not what we want to do.’ And I wasn’t really good at writing those lyrics anyway. I’m much more of a storyteller.” Continues Mikkonen, “Johan, after a while he didn’t really feel comfortable with it. He wanted to write about stuff he truly believed in and that he was interested in. And he was really into the Viking stuff already, and had been since he was a kid, so he started writing lyrics about that. And Ted and I thought it was really cool because it was different. So from

then on it was, ‘This is what we’re doing.’ ” It’s what Amon Amarth have been doing ever since. So much so, in fact, that the band is commonly classified as “Viking Metal,” a genre tag that Hegg has in past interviews seemed less than thrilled about being saddled with. But, he says, that’s not exactly the case. “That’s a complete misconception, really,” he says. “It’s not that I’m not happy about [being called Viking Metal], it’s just that I think it’s weird! Because I always found it strange that with us they’re basing it on the lyrics and not the music. If you’re going to label music based on the words alone, then it’s like, ‘Okay, Black Sabbath is Viking Metal. Led Zeppelin is Viking Metal. Iron Maiden is Viking Metal.’ Because all these diverse bands have written stuff about Vikings. But they sound nothing alike.” Mikkonen, for his part, is more accepting of the designation. “Look,” he says, “our songs are about Vikings. Our T-shirts have Vikings. Our album covers show Vikings. The whole band is about Vikings! And we play metal. So to me, Viking Metal makes total sense.” These days, the Viking theme is something the band continues to push to even greater heights. As their popularity has grown—

A X O L O G Y GUITARS (Mikkonen) Gibson Explorer Blackout; (Söderberg) ESP James Hetfield Snakebyte, ESP Eclipse with Fishman Fluence pickups and EverTune bridge (owned by Jomsviking producer Andy Sneap) AMPS (both) EVH 5150III, Krank oversized cabinet loaded with 16-ohm Celestion Vintage 30 speakers (cabinet miked using Sennheiser MD 421 and Shure SM57 microphones and then profiled via Kemper Profiler amp) EFFECTS (both) Maxon OD808 Overdrive

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Jomsviking debuted in the Top 20 on the Billboard album charts, a rarity for such an extreme band—Amon Amarth have been playing to bigger crowds and on bigger stages, and have adapted accordingly. Along with plenty of pyro, their set has, at various times, featured massive smoke-breathing dragon heads and a longboat that extends out from the center of the stage. For their current Jomsviking tour, Hegg says, “We have the biggest production we’ve ever had in America. It’s a huge fucking Viking helmet and the drums are on top of it. Then we have some Vikings onstage. It’s just more theatrical all around.” And Hegg even joins in on the theatrics, whether swinging a massive hammer that resembles Thor’s Mjölnir at the beginning of the song ‘Twilight of the Thunder God,’ or taking hearty swigs from a “drinking horn” fastened to his belt. (He also sells these horns, along with helmets, mail shirts, hand-forged utensils, beard rings, Beserker’s axes and other Viking essentials, through the online store he’s a partner in, Grimfrost). As for what’s in his drinking horn? “Usually it’s Guinness,” Hegg reveals. “That or any sort of stout is good beer for me to drink onstage—anything that doesn’t have a lot of carbonation.” He laughs. “Otherwise I’d be burping into the microphone all night!”

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“IT’S VERY HARD TO GO WRONG WHEN YOU MIX SWORDS WITH METAL.” —JOHAN SÖDERBERG

Regarding their over-the-top stage show, Mikkonen says, “It’s cooler to have a performance that’s not just us standing there playing our instruments.” It’s another piece of inspiration he takes from the classic bands. “When I was a kid and I saw Kiss or Iron Maiden, it was not only about the songs, it was about the whole live experience,” he continues. “When Eddie came onstage? When Gene Simmons spit fire? That was fucking amazing! And that’s the way we think. Because sometimes bands

today are too serious. It’s about having fun!” The idea of fun is at the heart of what Amon Amarth does. While the band’s image, sound and subject matter can lead to them coming off as overly serious, they stress that there’s always some humor to be found within all the tales of pillaging and plundering. Take the video for “At Dawn’s First Light,” a high-concept, big-budget clip depicting a fierce Viking battle, with plenty of blood, guts and beheadings. Smack in the middle of all the carnage stand the band members, performing the song as if nothing is going on around them. Eventually they themselves get brutalized, with arrows shot into their torsos and axes lodged in their guitars. And yet, they play on. “We just wanted the band to have more of an acting part in the video,” explains Söderberg. “Because in the past we usually just play in the background.” “But we didn’t really act!” Mikkonen chimes in, laughing. “We’re just standing there…trying to do everything we can to finish the song.” “The video, it’s supposed to be joking a little bit about who we are and how we portray ourselves,” Hegg explains, acknowledging the fact that Amon Amarth are big, bearded men singing songs about other big, bearded men, all the while playing bludgeoning heavy metal. “But really, we’re just normal guys, you know?”


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CHELSEA LAUREN /GETTYIMAGES

THE GUITARISTS ON THIS SUMMER’S HOTTEST FESTIVALS AND TOURS SHARE THEIR SECRETS FOR BEATING THE HEAT AND STIRRING UP THE MOSH PITS…AND AVOIDING TACO BELL AT ALL COSTS. SUMMER OF ’16


GUITAR WORLD JULY 2016 PAGE 63


WILLIE ADLER LAMB OF GOD Appearing At: Fort Rock, Welcome to Rockville, Carolina Rebellion, 89.7 The River’s Rockfest, Northern Invasion, Rock’n Derby, Rock on the Range, Bonnaroo ADVICE FOR PERFORMING IN EXTREME HEAT

MARK MORTON LAMB OF GOD

Buy a Contigo or similar water thermos. Keep it on you and fill it whenever it’s empty. It can be a pain in the ass, but you won’t forget to stay hydrated. If you can find it, pure organic coconut water is great as well.

Appearing At: Fort Rock, Welcome to Rockville, Carolina Rebellion, 89.7 The River’s Rockfest, Northern Invasion, Rock’n Derby, Rock on the Range, Bonnaroo ADVICE FOR PERFORMING IN EXTREME HEAT

HOW TO SURVIVE YOUR FIRST VAN TOUR

Lots and lots of water. All you can do is guzzle water and try to stay hydrated. It gets brutally hot onstage. After a few songs, I look like I’ve just crawled out of a pool. It’s pretty gross.  

Be safe. If you’re drinking, please don’t drive. Enjoy the experience. Not everybody gets to do this. It’s a pretty special opportunity to be on tour playing music for people.

GEAR I’M USING THIS SUMMER

I’ll be playing several of my signature Jackson Dominions through my Mesa/Boogie Mark V Series amps with MXR effect pedals— phaser, delay and overdrive for leads—Sennheiser Wireless system, Dunlop wah, dbx 266XL compressor/gate and Boss Noise Gate pedal.  

I try to call home every day and talk to my wife and daughter. It’s hard for me to be away from them for weeks at a time. On days off, I hang out with my tech Jake a lot. He’s one of my best friends so it’s super cool to be able to work and tour with him. Lately, I’ve also been trying to get a little more active and get some kind of exercise.

HOW TO WIN OVER A TOUGH CROWD

TOUR FOOD: DOS AND DON’TS

Our singer Randy [Blythe] is particularly good at engaging the audience, so that helps. Just make them feel like they’re a part of it. It’s not a show without the crowd. So it’s important to let the audience know they are vital in terms of making a show great.

A tour bus is the last place you want to be when your stomach is revolting. Sushi or raw shellfish are always a gamble. I don’t eat anything in the four-hour window before we take the stage. If I eat too close to our set time, I’ll have a stomachache during the set.

FAVORITE WAY TO UNWIND

ROB CAVESTANY DEATH ANGEL On tour throughout the summer ADVICE FOR PERFORMING IN EXTREME HEAT

Pound lots of water and sports drinks like Powerade or Gatorade to replenish electrolytes. Breathe and pace yourself. Focus on the music, not the heat. GEAR I’M USING THIS SUMMER

My arsenal of Custom Signature Series Jacksons, Engl

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I’ll be playing a few Mesa/Boogie amps including the Mark IV, V and an undisclosed amp—think a hotrodded Royal Atlantic—that I’m really excited about. And I’ll have my beautiful ESP guitars, outfitted with my signature SIT strings and Fishman pickups. HOW TO WIN OVER A TOUGH CROWD

I remember opening for Metallica and looking out to a crowd that could seemingly care less. Dudes were eating nachos and mouthing the words, “Who the fuck is this?” The only solution is to play your heart out. Play faster, jump higher, rock harder. There’s a reason you’re up there. I dare say it makes for a stronger band. It’s you against the world. Hopefully you walk away with some new fans. HIGHLIGHT OF OUR SET LIST

Right now it’s “Overlord.” It’s a great breather for the set, and fun to play. Watching the fans’ reactions is fun too, because, to be honest, it’s a bit

of a departure for our live set. That, and immediately following it up with a rager like “The Faded Line.” Good times!   HOW TO SURVIVE YOUR FIRST VAN TOUR

Establish clear rules for the van: driving shifts, navigator, no guests. Then, become comfortable with the fact that all the rules will be broken! Honestly, just look out for each other and know shit is going to happen. Don’t take things personally. FAVORITE WAY TO UNWIND

It’s most definitely playing golf. Wouldn’t know what to do without it. I WILL NEVER TOUR WITHOUT…

My golf clubs! TOUR FOOD: DOS AND DON’TS

My worst food decision was eating chicken wings that had been cooked in the parking lot earlier in the day. Somehow the tray of wings made it to our bus. They just didn’t make it to the fridge. You get the gist.

amps and cabs, custom Jetsetter pedalboard and rack loaded with stomp boxes by Dunlop, MXR, Cry Baby, Decimator, Voodoo Lab Ground Control and GCX Audio Switcher and Line 6 Wireless System.

CHRIS BRODERICK ACT OF DEFIANCE On tour through June ADVICE FOR PERFORMING IN EXTREME HEAT

Hydrate, get a fan and pace yourself. Know how much you can move around without getting exhausted. Sometimes it helps to shift your focus from putting on an exciting visual show to a more musical-based performance. GEAR I’M USING THIS SUMMER

Get into the jam and play hard. The audience will appreciate the effort and vibe…unless you suck so bad that there’s no saving you!

I have my Jackson Chris Broderick signature series guitars, Fractal Axe-Fx II XL+, which you’ll never have to worry about tubes overheating, Matrix GT1000FX power amps, which also run cool and quiet, and my Line 6 G90 wireless system.

HIGHLIGHT OF OUR SET LIST

HOW TO WIN OVER A TOUGH CROWD

“Claws in So Deep” is always epic. Anything off our debut album The UltraViolence is a crowd pleaser, especially when we kick into the intro of the title track. “The Dream Calls for Blood” is another highlight. I could go on and on.

This one is hard for me because if the crowd isn’t into it then it feels like you aren’t putting on a great show. I find the people into it and rock out with them. Then I work on the people that are somewhat into it. And if all goes well, it will be contagious and everyone will get into the show.

HOW TO WIN OVER A TOUGH CROWD

HOW TO SURVIVE YOUR FIRST VAN TOUR

Have fun! Those early days touring in the van were magical. We were so excited and young, and we didn’t care where we slept: in the van, on the floor of someone’s house we just met, all crammed into one roach motel room. We had no money—well, we still don’t—and we’ve always done it for the love of music. Plan ahead as much as you can. Use Hotwire to book hotels in advance. Make friends at the shows, because you might get a couch or floor to sleep on for free. Most importantly: drive safe!

HIGHLIGHT OF OUR SET LIST

“Disastrophe (A New Reality),” “Thy Lord Belial,” “Birth and the Burial” and the encore “Throwback.” We’ve been covering “Ace of Spades” as a tribute to [Motörhead’s] Lemmy [Kilmister]. We have special guests come up and jam with us, which is always a crowd pleaser.

I WILL NEVER TOUR WITHOUT…

I WILL NEVER TOUR WITHOUT…

My stage clothes: black pants and leather Converse All Stars. And my pillow and sheets from home! I get insomnia and familiar bedding helps me relax.

Exercise bands, in case I can’t find a gym, or I want to work out in a park or other places outside.

TOUR FOOD: DOS AND DON’TS

TOUR FOOD: DOS AND DON’TS

I don’t eat within three to four hours from stage time. If there is some serious grub going on then I make a plate for after the show. You can’t be hitting the stage with a full belly. We aren’t on tour to eat; we are there to perform!

It’s hard touring and eating like shit is usually a part of it. [laughs] But I would recommend grabbing things from the grocery store as much as you can.

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MARK MORTON & WILLIE ADLER: BOBBY BATES PHOTOGRAPHY; ROB CAVESTANY & CHRIS BRODERICK: STEPHANIE CABRAL

GEAR I’M USING THIS SUMMER


PEPPER KEENAN CORROSION OF CONFORMITY

WOODY WEATHERMAN CORROSION OF CONFORMITY

On tour through June

 

On tour through June

ADVICE FOR PERFORMING IN EXTREME HEAT

HIGHLIGHT OF OUR SET LIST

ADVICE FOR PERFORMING IN EXTREME HEAT

Coors Light.

Beer up, cut the sleeves off your shirt and go for it.

GEAR I’M USING THIS SUMMER

Most of the stuff from the Deliverance record—people seem to be digging the whole thing!

GEAR I’M USING THIS SUMMER

Custom ESP guitars and Orange amps and cabs.

HOW TO WIN OVER A TOUGH CROWD

Turn up the amps, play your ass off and give ’em a smile. And maybe offer a beer to the toughest of the bunch. HOW TO SURVIVE YOUR FIRST VAN TOUR

Lay off the Taco Bell. And you can

Air freshener. get a shower at most truck stops.

FAVORITE WAY TO UNWIND

I WILL NEVER TOUR WITHOUT…

Coors Light.

My hat, to keep the sun out of my eyes when I get up. TOUR FOOD: DOS AND DON’TS

Try to eat something besides pizza, and try to drink something besides beer or whiskey, at least once a day. Stay away from the Indian curry buffets.

JUSTIN DeBLIECK ICE NINE KILLS Appearing At: Warped Tour ADVICE FOR PERFORMING IN EXTREME HEAT

TAYLOR RAMBO

Have a towel so you don’t get sweat in your eyes. And try to keep your instrument dry. If you have acidic sweat your stringed instruments will start to corrode in the tight areas like bridges, saddles and pickups.

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our entire band. It contains two Behringer X32 racks. One for front of house and one for our in-ear monitors. I have a laptop running stereo backing tracks, stereo rhythm guitars, patch changes, MIDI triggers and a metronome. I’ll personally be performing through a Fractal Audio AxeFx II Mark II. I’ll be using Sennheiser G3 wireless systems for instruments and in-ear monitors, E935 for my vocals, and Alclair Tour quad driver in-ear monitors. For guitars I’ll be carrying two customized Ernie Ball Music Man JP6s stocked with Fishman Modern Fluence pickups tuned to drop D and drop Cs. I’ll also be carrying two customized Ibanez Prestige RGD2127Z seven-strings stocked with DiMarzio Crunchlab and Liquifire pickups tuned to drop A and standard B. Who knows? I might bring a couple extra special ones with me for backups!

GEAR I’M USING THIS SUMMER

HOW TO SURVIVE YOUR FIRST VAN TOUR

I’m running a fully self-contained rig for

Bring tools. Always have a spare tire.

GU I TA R WOR L D • J U LY 2016

HOW TO SURVIVE YOUR FIRST VAN TOUR

I WILL NEVER TOUR WITHOUT…

A photo of my daughter. TOUR FOOD: DOS AND DON’TS

Juicing, clean food…and Coors Light!

Get AAA. Don’t pack a huge suitcase. Bring two pairs of shoes and lots of socks. Also underwear! Don’t be late. Bring basic meds because you will get sick. Be respectful. Assume you’re always in the way. Don’t neglect your vehicle because without it you go nowhere. Don’t park somewhere sketchy. Don’t leave your valuables in your van. Plan on having fun but don’t plan on coming home with a fat paycheck because you won’t. Save money before the tour because everything will break!  I WILL NEVER TOUR WITHOUT…

My PS3. Video games are one of my favorite activities. TOUR FOOD: DOS AND DON’TS

If the people making your food are coughing everywhere, run, because if you get sick, everyone gets sick. Wash your hands before eating and after going to the bathroom because people are gross, and so are your hands from carrying gear in and out of dirty venues!

LINDA DAHLBERG

Mesa/Boogie Dual Rectifier heads and Orange cabs with Vintage 30s, and a couple of ESPs stocked with Duncan Invaders.


DJ ASHBA SIXX:A.M. Appearing At: Rock’n Derby

ADVICE FOR PERFORMING IN EXTREME HEAT

Drink water before you perform, with a bit of lemon juice or sea salt in it to up your electrolytes. Also keep bandanas in a bucket of cool water and tie them around your neck to keep your temp down.

Our chaos moments where we improv, usually with no real destination other than to make a great moment with the audience.

Appearing At: Fort Rock, Welcome to Rockville, Carolina Rebellion, 98.9 The Rock’s Rockfest, Northern Invasion, Rock on the Range, MMRBQ Music Festival, Rock’n Derby, Rocklahoma, River City Rockfest ADVICE FOR PERFORMING IN EXTREME HEAT

HOW TO SURVIVE YOUR FIRST VAN TOUR

Lots of Monster Energy Drink topped off with a splash of alcohol has always done the trick for me.

GEAR I’M USING THIS SUMMER

Have a blast, there’s glory in your first van tour: these are the moments that you and your mates will remember forever. Stop and smell the roses!

My signature Gibson Explorer, custom Marshall JCM800 and low-cut T-shirts!

I WILL NEVER TOUR WITHOUT…

HOW TO WIN OVER A TOUGH CROWD

My leather jacket. It holds my life in its pockets and shows my journey in its wear.

Four of my Signature Schecter guitars, equipped with my Signature Dean Markley strings. Dunlop picks. I’ll be playing my new Kemper rig, with a Morley wah pedal, DOD Envelope Filter and DigiTech Whammy Pedal.

TOUR FOOD: DOS AND DON’TS

HOW TO WIN OVER A TOUGH CROWD

Eat simply, and as close to nature as possible. We have a “No Taco Bell” rule because of the obvious consequences of whatever mystery meat they serve.

What crowd doesn’t kill you makes you stronger! [laughs] Hold your head high and don’t back down. I promise eventually you will win over the majority of them.

You can never get mad at a crowd. The trick is to have a blast onstage making music. If you aren’t having fun, how can you expect anyone else to? HIGHLIGHT OF OUR SET LIST

On tour through May ADVICE FOR PERFORMING IN EXTREME HEAT

Wear wristbands so you don’t sweat all over your hardware. I sweat a lot and have managed to rust up my tremolo bridges by neglecting this rule. And powder your feet and genitals! You don’t want chafing. GEAR I’M USING THIS SUMMER

Can’t tour without my Jackson Rhoads V! For amplification I use my Marshall DSL100H full stack with an Ibanez TS9 to make it scream through the night!

GEAR I’M USING THIS SUMMER

final song, David [Rivera] and I face each other, slide our guitars to our sides and connect in a most intimate fashion and shred our asses off. Crowd goes wild every time. HOW TO SURVIVE YOUR FIRST VAN TOUR

If you want glory you gotta earn it. You can’t expect showers and good meals every day. Hell, you can’t even expect a good night’s rest. You’re gonna have to grind to make it out alive and with no debt. And make friends with fans. We’ve survived the coldest nights and hottest days because of our friends. TOUR FOOD: DOS AND DON’TS

JADRAN “CONAN” GONZALEZ EXMORTUS

HIGHLIGHT OF OUR SET LIST

We have a double-shred attack going on for us, so we like to exaggerate the shred effect by playing each other’s guitars while performing some rather technical guitar parts. At the climax of our

We’re always hungry after the show, but the only places open late are mainstream fast-food joints. So we try to get as much fruit and salads as we can from gas stations during the day to hold us off until the nighttime fatty feasting!

guitarworld.com

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JADRAN GONZALEZ: ELIZABETH GORE (LONE WOLF PRODUCTIONS); LZZY HALE: ROB FENN; DJ ASHBA: ETHAN MILLER/GETTY IMAGES

LZZY HALE HALESTORM


ZACH HOUSEHOLDER WHITECHAPEL Appearing At: Warped Tour

  GEAR I’M USING THIS SUMMER

Custom and signature ESP and LTD guitars with DiMarzio D Activator pickups and D’Addario strings, Kemper Profiler, EVH 5150 III, Mesa/Boogie 4x12 oversize straight cab loaded with Celestion Vintage 30s.    HIGHLIGHT OF OUR SET LIST

ALEX WADE WHITECHAPEL Appearing At: Warped Tour ADVICE FOR PERFORMING IN EXTREME HEAT

Hydration! Without water you’ll be in trouble. It’s hard to lay off booze in a touring environment, but it certainly helps. Being hung over in the sun is brutal. GEAR I’M USING THIS SUMMER

For guitars I’ll be using my new-for-2016 ESP/LTD AW-7B signature. It’s a baritone-scale take on my previous signature, the AW-7, and I’m stoked to rip it all summer. We use Mesa/Boogie 4x12 cabinets and Kemper profiling amps for our main tones. We’ll be blowing through tons of D’Addario strings and Dunlop picks as well.

As with any band, it’s usually when we play older songs, because according to most fans we haven’t put out a good album since our second one.   HOW TO SURVIVE YOUR FIRST VAN TOUR

Be responsible. Know how to work on your vehicle and do small repairs. Do things the smart,

BEN SAVAGE WHITECHAPEL

researched and proven way…not how you feel they should be done. FAVORITE WAY TO UNWIND

Lifting weights, tinkering on anything mechanical, broadening my horizons with audio engineering.  I WILL NEVER TOUR WITHOUT…

Baby wipes! TOUR FOOD: DOS AND DON’TS

Don’t drink sodas all the time or eat Taco Bell every day. My worst mistake was eating something from a gas station topped with a condiment that had been sitting out all day. That’s probably all I need to say. 

Appearing At: Warped Tour

GEAR I’M USING THIS SUMMER

HIGHLIGHT OF OUR SET LIST

I will be playing my ESP BS-7 signature series guitar into my Kemper, powered by a Mesa/Boogie Rectifier pumping into Mesa/Boogie cab.

The wall of death [mosh pit], as that is usually the climax of the set. But we probably won’t be able to pull that out on Warped due to legal reasons.

HOW TO SURVIVE YOUR FIRST VAN TOUR

HOW TO SURVIVE YOUR FIRST VAN TOUR

Stay clean as much as you can. Smelling awful only makes being jammed together like sardines in a van worse.

A comfy pillow. You will learn to be very fond of your fluffy friend on those long overnight drives where hugging your backpack or sleeping on a smelly guy’s arm won’t do.

FAVORITE WAY TO UNWIND

Fishing. I grew up fishing in East Tennessee, and it’s the perfect way to unwind and clear my head. Definitely will be bringing my rods and tackle with me on Warped as there are many ponds at the amphitheaters.  

I WILL NEVER TOUR WITHOUT…

My toothbrush. I can be feeling like a worn sock but after I have brushed my teeth I will be feeling good as new. Same goes for mouthwash.

WHITECHAPEL: VINCE EDWARDS

I WILL NEVER TOUR WITHOUT…

My barbering gear: clippers, shears, capes. Gotta keep the homies looking sharp!   TOUR FOOD: DOS AND DON’TS

My worst mistake was dipping my pizza in a “secret sauce” in Mexico. It tasted fine, but I got violently sick for the next 24–48 hours and had to miss our Mexico City show with Behemoth.

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GU I TA R WOR L D • J U LY 2016

TOUR FOOD: DOS AND DON’TS 

Last time I got food poisoning was ordering from the McDonald’s breakfast menu at midnight. Throwing up in a motel toilet at 5 a.m. will make you regret decisions. So just be conscious that what goes in will come out, eventually.


FENDER ® Custom Shop Imperial Arc HSS Relic Stratocaster® (110458221)

1960 Twin Reverb® (100128187)

S E E T H E S E I N S T R U M E N T S A N D M O R E AT G C P L AT I N U M .C O M


DAN JACOBS ATREYU Appearing At: Warped Tour ADVICE FOR PERFORMING IN EXTREME HEAT

CORD POOL TEXAS HIPPIE COALITION Appearing At: Welcome to Rockville, Carolina Rebellion, Rock on the Range, Rocklahoma, River City Rockfest

Water is your best friend. Drink a ton before, during and after your set. Also, retreating to some side-stage shade in between songs can be a nice recharge. 

  Stay hydrated to avoid embarrassing finger cramps in the middle of a song. Also, Pedialyte can be your best friend if you’ve had too much to drink the night before.

ing that song.

GEAR I’M USING THIS SUMMER

FAVORITE WAY TO UNWIND

I like to continue practicing and learning techniques, basically just trying to be a better player than I was yesterday.

GEAR I’M USING THIS SUMMER

I’ll be playing on my ESP Eclipse, with my Mesa/Boogie Triple Rectifier and Stiletto heads running through some Marshall 1960 lead cabs.

I WILL NEVER TOUR WITHOUT…

My PlayStation Vita. Because on those long van rides there’s never enough to do. TOUR FOOD: DOS AND DON’TS

HIGHLIGHT OF OUR SET LIST

When we kick into “Turn It Up.” The crowd participation always seems to be the best dur-

A banana every other day is a good way to keep from cramping. And take my word for it: never get chicken strips from the deli at Walmart.

MARK TREMONTI

Live I’m using ESP guitars with the EVH 5150 III and LBX lunchbox heads. I play my 2004 ESP custom shop signature model EX-DJ600 and a 2002 LTD EX-351. Both guitars have EMG 81X/85X pickups and my Floyd Rose is equipped with brass and titanium parts from FU-Tone to tighten up the sound and playability.  HOW TO SURVIVE YOUR FIRST VAN TOUR

It’s a test to see if your band can even handle the touring life. I’ve seen many bands drop off tours because of lack of comfort and money. Those drives are long. Set up a budget so that you can afford to make it to every destination as comfortably as possible.

On tour in Europe through June

  GEAR I’M USING THIS SUMMER

PRS guitars, Mesa Triple Rectifier and a Bogner Uberschall. HIGHLIGHT OF OUR SET LIST

“Wish You Well” has always been my highlight. It has an energy that always translates great live. HOW TO SURVIVE YOUR

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GU I TA R WOR L D • J U LY 2016

I WILL NEVER TOUR WITHOUT… FIRST VAN TOUR

Find a nice comfy couch for the back of the van, and learn to take turns sleeping on the floor.

Our barbeque grill. For summer tours, we always have a grill with us. We’ll spend the majority of our rider on meat and other grillable items, which is always a great way to relax and meet new friends and bands.

TOUR FOOD: DOS AND DON’TS

TOUR FOOD: DOS AND DON’TS

Try not to eat too close to show time. Pizza after every show is convenient, but probably not a great long-term choice.

Clean toilets are rare on tour, so play it safe. You don’t want to get stuck sitting in a Porta-Potty in 100-degree weather, sweating from places you didn’t know you could sweat from!

CORD POOL: MICHAEL ERVIN; MARK TREMONTI: ASHLEY MAILE; DAN JACOBS: PORTER MCKNIGHT

ADVICE FOR PERFORMING IN EXTREME HEAT


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FLATTER RADIUS FRETBOARD

The rounder fretboards designed 70 years ago made sense then…because of the way guitarists played 70 years ago. Talman’s 12” radius enables more nimble ngering, and doesn’t “choke out” from extreme string bending.


ADVICE FOR PERFORMING IN EXTREME HEAT

Pace yourself. Don’t blow yourself out in the first week with heat stroke. And rent a vehicle with air conditioning, or welcome to hell.

Appearing At: Warped Tour 

and put in bunks so everyone has space to sleep. And make sure to get alone time. Because once you’re in the van, privacy goes out the window. FAVORITE WAY TO UNWIND

GEAR I’M USING THIS SUMMER

Our Ernie Ball guitars, which I consider to be the backbone of our sound. We all use Axe-Fx II XL+s and Mesa cabs. We have one 20-space rack with all of our amps, power amps, wireless units, and DIs that serves as the brains of the operation. HOW TO WIN OVER A TOUGH CROWD

If a crowd’s detached, work on your interaction. Our band just flips kids off, which seems to work.

I’m either playing FIFA or Mortal Kombat, or reading a book. Also, it’s important that the set isn’t the only time I play guitar. I’m not getting any better playing the same 10 songs every day. I WILL NEVER TOUR WITHOUT…

Keepsakes from home. I’ve got a handful of notes and letters that I keep with me that perk me up if I’m ever stressed or anxious. TOUR FOOD: DOS AND DON’TS

HOW TO SURVIVE YOUR FIRST VAN TOUR

Van tours are a true test of personal fortitude and band chemistry. We take out the last two benches

Avoid the hot foods at truck stops. I’ve regurgitated more cheeseburger–hot dogs than I care to admit. 

don’t actually mic our cabs.

People often overlook sleep deprivation. If you’re outside all day at a festival, make sure you are rested. Otherwise, you’ll be passing out during your set! 

HIGHLIGHT OF OUR SET LIST

Our new song “Skin Deep” is by far the best live song we have. Tons of heavy parts, catchy parts, scream-a-long parts… everything you need!

GEAR I’M USING THIS SUMMER

We’re running Ernie Ball Music Man JP 7 seven-string guitars, into our Axe-Fx II XL. We use QSC PLD power amps for stage volume out of our Mesa/Boogie cabs, but we run direct to front of house with our Axe-Fx, so we

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I WILL NEVER TOUR WITHOUT…

My Gaems Vanguard gaming system. It’s a small little suitcase that has a TV screen and holds a PS4 or Xbox. I have taken it everywhere: Russia, U.K., Europe, United States…

GU I TA R WOR L D • J U LY 2016

Appearing At: Welcome to Rockville, Carolina Rebellion, 89.7 The River’s Rockfest, Rock’n Derby, Bonnaroo ADVICE FOR PERFORMING IN EXTREME HEAT

I’ve always found indoor shows to be hotter than the average festival show, where at least you have wind and shade. That said, if you’re ever too hot onstage…buy a fan! Or better yet have five fans onstage running at all times. GEAR I’M USING THIS SUMMER

For amps I’ll be using an Orange OR100 and Rockerverb MKIII. For guitars, I’m still undecided as to what I’ll play this tour. I usually play Gibson Les Pauls or SGs, but I recently found a PRS that I like. I’ll probably end up deciding right before the next show then changing my mind by the second song.

JAKE HARMOND CHELSEA GRIN ADVICE FOR PERFORMING IN EXTREME HEAT

TIM SULT CLUTCH

HIGHLIGHT OF OUR SET LIST TOUR FOOD: DOS AND DON’TS

The first few years we toured, we lived off the dollar menu at Taco Bell. Seriously. Every night we went to the drivethrough. After so long that takes a toll on your body. And ditch the ramen noodles; those do nothing for you. 

Depends on who you ask! [laughs] At festivals, the song “Electric Worry” always seems to go over particularly well. TOUR FOOD: DOS AND DON’TS

Eat as much salad as humanly possible. Worst mistake: eating fast food three times a day for 12 weeks straight.

TIM SULT: PAYNE PRODUCTIONS

STEPHEN RUTISHAUSER CHELSEA GRIN


JOSHUA MOORE WE CAME AS ROMANS Appearing At: Rock’n Derby, Rock on the Range, Welcome to Rockville, Download Festival Paris, Slam Dunk Festival GEAR I’M USING THIS SUMMER


FAVORITE WAY TO UNWIND

Ibanez hooks me up with my own custom guitars and I’m running the newer Dual Dark 100 from Orange.

I like to play videos games, like League of Legends and Call of Duty, and surf the internet, mostly Reddit and YouTube.

HOW TO WIN OVER A TOUGH CROWD


TOUR FOOD: DOS AND DON’TS 

Be energetic and look like you actually want to be there. It might be the tenth show in a row for you, and you might be burnt out. But for the audience it’s show number one, and it might be their only chance to see you for the entire year. 



The worst food mistake? Eating a bunch of shitty fast food like I was still a teenager. When I came home from tour I was chubby, because I was 25 and not 18. It was sad, so I started going to the gym and watching what I eat.

ZACH MYERS SHINEDOWN

I’ll be playing my ESP E-II Eclipses. For amps, it’s a Peavey 6505+ and an Orange Rockerverb 100 MKIII.

GEAR I’M USING

My signature PRS model and a few other private stock PRS guitars, through a Supro, Marshall and a Two Rock Amps as well as the Fractal, with Dunlop and DigiTech effects.  HOW TO SURVIVE YOUR FIRST VAN TOUR

Be respectful at all times. That’s a tight space with a lot of different person-

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FAVORITE WAY TO UNWIND

We work out a lot as a band. And I’m a father now so I’ll have my own bus out for a chunk of the tour. So most of my time will be me being a dad. I WILL NEVER TOUR WITHOUT…

At least five to eight pairs

GU I TA R WOR L D • J U LY 2016

HIGHLIGHT OF OUR SET LIST

Playing “Regenerate” from our last album. The song is filled with energy and it really gets the crowd moving.

 of Air Jordans. I’m a big sneaker collector! I also have a mini dirt bike that’s a lot of fun in the summer.  TOUR FOOD: DOS AND DON’TS

Just try to get a lot of protein to keep the energy up. My worst mistake was Taco Bell, because I got food poisoning and didn’t eat it again for eight years.

HOW TO SURVIVE YOUR FIRST VAN TOUR

Van tours are some of the most fun tours we’ve ever done. You’re going to get to know your bandmates really well, like it or not! It will get pretty exhausting at times, but try to work together as a team. Give each other space when needed, and just have fun. After all, there’s worse things you could be doing than driving around the country playing music with your friends.

 TOUR FOOD: DOS AND DON’TS


There is this infamous burrito place across the street from a venue in Pennsylvania. A few years back we all decided we should get food before the set. Of course, a good portion of us ended up with food poisoning. We won’t be eating there again.

JOSHUA MOORE & LOU COTTON: NATALIE BISIGNANO; ZAKK MYERS: HARRY REESE

Gold Bond! And Stanley Squirrel fans work as well.  

alities. Also, don’t be the picky eater. Go with the group. An easy way to divide a van is being the guy who “doesn’t want to eat that.” [laughs] 

Appearing At: Rock’n Derby, Rock on the Range, Welcome to Rockville, Download Festival Paris, Slam Dunk Festival GEAR I’M USING THIS SUMMER

Appearing At: Fort Rock, Caroline Rebellion, Northern Invasion, Rock on the Range, MMRBQ Music Festival, Rock’n Derby ADVICE FOR PERFORMING IN EXTREME HEAT

LOU COTTON WE CAME AS ROMANS


Cut the Cord.

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fretlight.com © 2016 Optek Music Systems, Inc. All Rights Reserved.


NIKKI MISERY NEW YEARS DAY ADVICE FOR PERFORMING IN EXTREME HEAT

Cut up clothing. Drink lots of water, and a little bit of whiskey. Let the insanity take over and you won’t even feel the heat. GEAR I’M USING THIS SUMMER

Because of its tone and versatility, my Schecter ATX C-7 has turned into my main beast! That Schecter screams out of my Orange TH100 and Orange PPC412.

Go nuts, fight back and give them something to remember. I approach playing a show like a fight. I’ll beat myself with mic stands or choke myself with cables. If they have something to say, spit back at them. This is rock and roll and it’s all about attitude. They don’t have to like you for them to talk about you. HIGHLIGHT OF OUR SET LIST

When we hit this break in “Malevolence.” All of us pause in a kind of prayer stance and don’t move until the song kicks back in. During that part we tend to get lost in our own world of shitty things we’ve done in our lives. At that moment it’s like we look up to some higher power for forgiveness. However, for me personally, I feel there is no forgiveness and no one is listening. As Ash [Costello’s] vocals intensify and the song kicks back in a burst of rage takes over and I go into this mad fit where I try to break the guitar over any part of my body. I WILL NEVER TOUR WITHOUT…

Pajama pants and cigarettes. If I ever put out a tell-all book that’s what it would be called. [laughs] Every day on tour is a wild maniacal adventure. The best part of the day can be putting on those pajama pants, lighting up that smoke and looking back on what you’ve just lived through.

to cheer about. The crowd is never wrong, you either have it or you don’t. 

ADVICE FOR PERFORMING IN EXTREME HEAT

Hydrate, hydrate, hydrate. And always have a backup guitar in case your pickups get wet from sweat.

HOW TO SURVIVE YOUR FIRST VAN TOUR

My Dean Signature ZCZ, a few Dean MLs and EVH 5153 heads.

Don’t complain. It’s called paying dues. Get rest when you can. And absolutely no drinking or drugging while driving. 

FAVORITE WAY TO UNWIND

FAVORITE WAY TO UNWIND

GEAR I’M USING THIS SUMMER

Hitting the weights at the gym.

JOHN CONNOLLY SEVENDUST

CREDIT

Appearing At: Fort Rock, Welcome to Rockville, Carolina Rebellion, Northern Invasion, Rock on the Range, Rock’n Derby, Rocklahoma

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GU I TA R WOR L D • J U LY 2016

I WILL NEVER TOUR WITHOUT…

My weight belt and supplements for the gym. As I get older I have to pay attention more to how I work out, and safety is always first.

CLINT LOWERY SEVENDUST ADVICE FOR PERFORMING IN EXTREME HEAT

PRS guitars, Kemper profiling amplifier and EVH amps.

Hydrate hours before you hit the deck, and don’t go out with all guns blazing.

HOW TO WIN OVER A TOUGH CROWD

GEAR I’M USING

Look them in the eye, show respect and give them something

I’m an avid CrossFitter, so I find places to train everywhere. Then I go watch a movie by myself. TOUR FOOD: DOS AND DON’TS

Food is fuel. Don’t expect a bag of chips and a hot dog to carry you too far.

SEVENDUST: ERNEST GARVER

HOW TO WIN OVER A TOUGH CROWD

On tour through June


MIKE SPREITZER DEVILDRIVER

NEAL TIEMANN DEVILDRIVER On tour through August

ADVICE FOR PERFORMING IN EXTREME HEAT

Furman voltage regulators.

ADVICE FOR PERFORMING IN EXTREME HEAT

Water! And try to imagine being in Gwar in the heat. If they can do it, you can do it.

I’LL NEVER TOUR WITHOUT…

Water is key, obviously. And keeping bandanas soaked in ice water just off stage is a lifesaver at times.

Beer TOUR FOOD: DOS AND DON’TS

GEAR I’M USING THIS SUMMER

ESP guitars, Fractal Axe-Fx and MFC-101 pedalboard with Mission Expression Pedals, SIT strings, InTune picks and

If the food looks sketchy then don’t eat it. I always have Cliff Bars on hand in case we’re in a place where food is in short supply.

HENRY FLURY BUTCHER BABIES Appearing At: Northern Invasion, Rock on the Range, Chicago Open Air Festival ADVICE FOR PERFORMING IN EXTREME HEAT

Wipe your guitar down after the show and keep some WD-40 handy. Also, avoid wearing all black, which is the last thing any metal band wants to hear. GEAR I’M USING THIS SUMMER

Three different custom Ibanez RG852 eight-strings, one with Seymour Duncan Retributions, one with an EMG 57/66 set and one with DiMarzio Activators. An Ibanez RGD Prestige sevenstring with DiMarzio Activators and an Ibanez RG3550MZ with EMG 57/66s. My rig is a Kemper Power Rack directly

into a Randall cab with a Randall Thrasher as a backup. My wireless is a Line 6 G90. HOW TO WIN OVER A TOUGH CROWD

Confidence is your best weapon. Get in their face and demand their respect. Think Russell Crowe in Gladiator, without the murder. TOUR FOOD: DOS AND DON’TS

Make the most of Walmart shopping. And try to avoid truck-stop food, even though sometimes it’s unavoidable. Worst food mistake? Oysters in New Orleans. Thank god the next day was our day off.

GEAR I’M USING

Dunable guitars, EMG pickups, Kemper amps, Catalinbread pedals, JHS pedals, Alexander pedals, ISP power amps, SIT strings, InTune picks. HOW TO WIN OVER A TOUGH CROWD

Tough crowds can bring down the mood onstage, but don’t let them! Make one person’s show great, then move on to the next. HOW TO SURVIVE YOUR FIRST VAN TOUR

Stock up on cheap food and booze—like a $20 case of two-buck chuck [Trader Joe’s Charles Shaw wine]— before you leave for tour. Also, find time to be alone. Take a walk before the set, read a book while other bands are setting up. And get proper sleep! I WILL NEVER TOUR WITHOUT…

Whiskey, beer and books.

(New T-Shirt available)

TOUR FOOD: DOS AND DON’TS

Risky food can go either way. I’ve found great holein-the-wall burgers in Saint Paul, but I know a guy who had diarrhea for five days from taking the same chance.

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MIKE SPREITZER: MARIANNA STEFANI; NEAL TIEMANN: BEN HOFFMANN

On tour through August


PITTBULL ULTRA LEAD

on stage with Helmet Steven Fryette pioneered the high gain, high definition, channel switching amp category with the release of the Pittbull series amplifiers 25 years ago.

PHOTO: JAMMIE YORK PHOTOGRAPHY

Used on countless tours and studio recordings, the Pittbull heads and FatBottom cabinets provide the ultimate in expression, flexibility and reliability.

160701_Pitbull_VintageGuitar_V10.indd 1

MASTER BUILT IN NORTH HOLLYWOOD CALIFORNIA

www.fryette.com 4/14/16 11:29 PM


GOT THE BLUES BUT NOT THE GEAR? CHEER UP WITH THIS EXCELLENT ASSORTMENT OF BLUES-READY GUITARS, AMPS, EFFECTS AND MORE.

EPIPHONE

GARY CLARK JR. “BLAK & BLU” CASINO WITH BIGSBY The Epiphone Gary Clark Jr. “Blak & Blu” Casino with Bigsby is the signature model for modern blues phenomenon, Gary Clark Jr. The Casino comes in a distinctive “blak and blu” sunburst finish, and features a glued-in set mahogany neck, 22 medium-jumbo frets, a 24 3/4–inch scale, Sixties SlimTaper D-shaped profile, rosewood fingerboard with parallelogram inlays, factory-installed Bigsby B70 vibrato tailpiece, Gibson USA P-90 single-coil pickups, laminated five-ply maple and birch top, and completely hollow body construction. STREET PRICE $799 epiphone.com

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FENDER

REVEREND GUITARS

PRS GUITARS

The American Elite Series Stratocaster includes many innovations for players seeking modern performance, including groundbreaking fourth generation Noiseless pickups, a comfortable compound neck shape and heel, a two-point modern tremolo that adds emotive touches without sacrificing tuning, and locking, short-post tuning machines that provide increased break angle at the nut.

The Reverend Rick Vito RT is an Art Deco showpiece designed in partnership with blues legend Rick Vito. The guitar is a visual and sonic treat, with unique features that include ebony fretboard, stair-step tuner buttons, pickup pan knob, Reverend Revtron pickups and a Bigsby. The guitar also comes with Reverend’s Standard Two-Tone Teardrop case.

The PRS SE Custom 22 Semi-Hollow guitar produces musical midrange and outstanding resonance with its semi-hollow body construction. The guitar features a maple top with a single f-hole and flame maple veneer, chambered mahogany back, mahogany neck, rosewood fretboard, and dual humbuckers with a volume, tone, and three-way toggle electronics configuration.

AMERICAN ELITE STRATOCASTER

LIST PRICE $1,899.99 fender.com

RICK VITO RT

STREET PRICE $1,499 reverendguitars.com

SE CUSTOM 22 SEMI-HOLLOW

STREET PRICE $729 prsguitars.com

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IBANEZ

EARTHQUAKER DEVICES

BOSS

The Ibanez Mini Analog Delay mini-pedal is patterned after the original Ibanez AD9. The Mini Analog Delay is made in Japan and features 20 to 600 milliseconds of delay time with delay time, repeat and blend controls, 100-percent analog circuitry, true-bypass switching, all-metal housing and heavy-duty switch.

This back-to-basics, transistor-based dirt device straddles the line between amp-like grit and fuzzy saturation to create vintage, tweedtype tone. Keep the Drive low for mellow, amp-like break up, and slowly bring it up to arrive at blown-out fuzz land. While designed for guitar, Bellows also handles bass well at growling low and scorching high levels.

LIST PRICE $142.84 ibanez.co.jp

LIST PRICE $145 earthquakerdevices.com

Based on the classic Boss VB-2 Vibrato pedal, the VB-2W uses 100-percent analog circuitry to recreate the original’s distinctive vibrato with true pitch modulation sound. The pedal features a custom sound mode and real-time control functions. The VB-2W produces consistent vibrato sounds, and adds natural vibrato to chords without using a whammy bar.

MINI ANALOG DELAY PEDAL

BELLOWS

WAZA CRAFT VB-2W VIBRATO

STREET PRICE $199 bossus.com

DR STRINGS PURE BLUES

DR Strings Pure Blues strings use old-style construction to improve modern performance. The strings are designed with pure nickel wrap wire, round wound on round cores­, a time-intensive method that results in a string that produces increased sustain, warm vintage tone and great bottom end for rhythm and lead. STREET PRICE $5.99; drstrings.com

SUPRO

1695T BLACK MAGICK This 25-watt all-tube, high-gain blues amp hearkens back to the dimensions, cosmetics and circuitry of the Supro amps from 1959. The Black Magick features two channels wired in parallel, with independent volume controls and a single, shared tone control. The amp’s cathode-biased Class-A power section uses 6973 tubes to achieve the instantly recognizable midrange grind and touch dynamics that define the Supro sound. The signature Supro power tube tremolo adds footswitchable depth and dimension to this blues machine. STREET PRICE $1,499 suprousa.com


DIGITECH

DOD LOOKING GLASS OVERDRIVE A collaboration between DigiTech’s DOD and the boutique company Shoe Pedals, the Looking Glass is a sweet, musical drive that works well for any task: lead, rhythm, low-gain, high-gain or even as a toneshaping boost. This new hybrid of Class-A discrete FETs and asymmetrical clipping can go from one end of the gain spectrum to the other with not only a flick of a switch, but with pick attack alone. STREET PRICE $149.95 digitech.com

TECH 21

BOOST OVERDRIVE The Tech 21 Boost Overdrive pumps up the midrange and adds sustain, like all the blues-rock sounds of classic pedals from the Seventies. The pedal’s all-analog circuitry provides greater dynamic range and cleans up like a tube amp. The Sparkle control adds upper harmonics for an open, snappy sound, and the Boost function delivers up to 21 decibels of clean boost, which can be used independently. STREET PRICE $149 tech21nyc.com

WAY HUGE

OVERRATED SPECIAL OVERDRIVE The Way Huge Overrated Special Overdrive is a bold and punchy overdrive designed for blues phenomenon Joe Bonamassa. The pedal is hot-rodded for a more pronounced midrange, with an added 500-hertz control for cutting or boosting low end.

FISHMAN

FLUENCE SIGNATURE SERIES GREG KOCH GRISTLE-TONE PICKUP SET This pickup set offers two unique voices at the push of a button: open chicken pickin’ and muscular and punchy. The set is a direct pickups replacement for Telecasters, and includes a full assembly of two pickups, volume and tone pots, a 1/4-inch output jack with USB input (for the integrated lithium-ion rechargeable battery pack), and a completely assembled, prewired, drop-in control plate with three-way switch and push-push voice selector button. STREET PRICE $349.95 fishman.com

ROLAND

BLUES CUBE HOT GUITAR AMPLIFIER The Roland Blues Cube Hot is equipped with 30 watts of power and a custom 12-inch speaker. This compact combo is ideal for home or studio use, yet still delivers plenty of stage volume. The Blues Cube Hot features Roland’s acclaimed Tube Logic design, which reproduces the inner workings of the revered Tweed-era tube amps: including preamp and output tube distortion characteristics, power supply compression, speaker interaction, and much more. STREET PRICE $499 rolandus.com

STREET PRICE $199.99 jimdunlop.com

ELECTRO-HARMONIX THE CRAYON

The EHX Crayon is a versatile overdrive with independent bass and treble controls and an open frequency range that provides players with a musical alternative to midfocused overdrive pedals. Housed in a compact, pedalboard-ready enclosure, the Crayon delivers a range of sounds from a hint of dirt to full-on distortion. LIST PRICE $83.63 ehx.com guitarworld.com

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the gear in review

The Cutting Edge FENDER THE EDGE STRAT AND THE EDGE DELUXE By Chris Gill

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G R E T SC H G2 6 5 5 T St rea ml i n er Cen t er-B l o c k J r. Do u bl e C u t a w a y w i t h B ig sby

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H A R MON I X Le st er G D el u x e Ro t a ry Spea k er peda l

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M2 25 Su b Ma c h i n e F u z z peda l

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CAS A DI ST OR T I ON Peda l pu n k !

WHEN U2 GUITARIST The Edge joined FMIC’s

board of directors in May of 2014, industry observers speculated that his new relationship with Fender would lead to a signature model guitar even though The Edge’s role with the company was more ambitious and involved than the typical artist endorsement. It turns out that the observers were only half right—the relationship actually led to this year’s announcement of the Fender The Edge Strat guitar and the Fender The Edge Deluxe guitar amp. In both instances, these products are not reissues of The Edge’s personal vintage Fender guitars and amps but rather newly developed models that borrow heavily from the past while also including several upgrades to provide performance that’s up to speed with today’s studios and arena stages.

GUITAR WORLD

PLATINUM AWARD EX

CELLENCE

FEATURES The Fender The Edge Strat is based on the

bevy of black Seventies Strats that The Edge has taken out on tour with U2 for decades (a ’73 model being his favorite). The Edge Strat’s basic foundation is similar to a Seventies-era Strat, featuring an alder body and a one-piece quartersawn maple neck with the distinctive “oversized” CBS-era headstock, a 9 1/2-inch radius, and 21 medium jumbo frets. However, numerous refinements upgrade the guitar to modern player preferences, including a rounded neck heel with asymmetrical four-bolt neck plate that provides more comfortable access to the uppermost frets, a modern C-shaped neck profile, “all short-post” locking tuners, polished stainless steel block saddles, and a modern two-point synchronized tremolo with pop-in arm. Like the Strats in The Edge’s stage arsenal, this model is available in any color you like as long as it’s black.

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SOUNDCHECK

For video of this review, go to GuitarWorld.com/July2016

CHEAT SHEET STREET PRICES $1,799.99 (The Edge Strat); $2,399.99 (The Edge Deluxe) MANUFACTURER Fender, fender.com Pickups on The Edge Strat consist of Fender Custom Shop Fat ’50s (neck and middle) and a DiMarzio FS-1 (bridge), all with flat, unstaggered polepieces.

Perhaps the most significant feature of The Edge Strat is its pickups. The neck and middle pickups are Fender Custom Shop Fat ’50s singlecoils, while the bridge pickup is a DiMarzio FS-1. Unlike the standard versions of both models, which have staggered polepieces, the pickups made for The Edge Strat have flat polepieces. The Edge Deluxe is based on The Edge’s favorite 1957 Deluxe (with the 5E3 circuit), which is one of several late-Fifties tweed Deluxes that he owns. The Edge admits that he discovered the allure of the tweed Fender Deluxe rather late, specifically in 2003, but he immediately put it to good use to record what is arguably U2’s greatest single of the last 12 years, “Vertigo.” The Edge Deluxe offers many features found on the original late-Fifties 5E3 tweed Deluxe, including a 12-watt hand-wired circuit powered by two 6V6s, two 12AX7s, and a 5Y3 rectifier, four inputs, single tone control, individual Mic and Instrument volume controls, finger-jointed solid-pine cabinet, and lacquered tweed covering. However, it also features several modifications and refinements, including a standby switch, a 12-inch 15-watt Celestion Blue speaker (instead of the original’s blue cap Jensen), an updated tone stack with tighter bass response, custom-tapered volume control, protective rubber switch covers that keep out dust, and The

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Edge’s hand-designed grille logo badge.

The Edge Strat is based on a Seventies Stratocaster but offers several upgrades, including a contoured neck heel, short-post locking tuners, and modern two-point synchronized tremolo.

PERFORMANCE The Edge Strat absolutely

nails The Edge’s tones on U2 songs like “Bad,” “Pride,” “Still Haven’t Found What I’m Looking For,” and “Where the Streets Have No Name,” but more importantly it provides the best Strat tone, particularly for rock, that I’ve heard from a new Fender guitar in years. The pickups produce a beefy, fat midrange and treble that sparkles without being thin or shrill, and when played through an overdriven amp the tone is ample and voluptuous. The Edge Deluxe is by far the best tweed-style amp to come off the Fender workbench in the last 10 to 15 years. I own an original 1957 tweed Deluxe, and while Fender’s recent versions have come close they lacked a certain magic of the original. The Edge Deluxe has that elusive magic—namely the lush, harmonically rich distortion—while also offering what many would consider sonic enhancements. The tighter low-end response prevents the speaker from “farting out” when the low E string is popped too forcefully as well as the rectifier sag that can make power chords sound flabby. Like a good Deluxe, it starts to distort at “3,” but this version is also considerably louder than vintage examples, which is great for guitarists who want to gig with a Deluxe.

The Edge Deluxe is faithful to the beloved late-Fifties 5E3 tweed Deluxe, featuring a 12-watt circuit driven by 6V6, 12AX7, and 5Y3 tubes. A Celestion Blue 12-inch speaker provides enhanced tonal range and sweeter midrange response than the Jensen blue cap speaker in the original Fifties model.

THE BOTTOM LINE Regardless of whether you’re a fan of The Edge or not, if you love the timeless tone of a great Stratocaster and a tweed Deluxe (one of the greatest recording amps of all time) these two new Fender offerings deliver exactly what you’ve been looking for.


Way Cool Junior

GUITAR WORLD

GOLD AWARD P

ER

FORMANC

E

GRETSCH G2655T STREAMLINER CENTER-BLOCK JR. DOUBLE CUTAWAY WITH BIGSBY By Paul Ria rio

PLAYING A GRETSCH guitar is a transformative experience. Its renowned combination of archtop construction and wide-open sound immediately inspires you to play a little outside your comfort zone and aim to be as technically proficient as Gretsch devotee Brian Setzer and as rhythmically textural as the Heartbreaker’s Mike Campbell. For some players, Gretsch guitars haven’t been the most affordable option. However at this year’s NAMM show, Gretsch released the Streamliner series of guitars, which are not only affordable, but boast the brand’s classic Fifties and Sixties aesthetic with modern upgrades that make these guitars extremely versatile. The Streamliner series is available in seven different models with Center Block, Center Block Junior and total hollow bodies. For this review, I took a look at the Gretsch G2655T Streamliner Center-Block Jr. Double Cutaway with Bigsby. It may be a mouthful to pronounce, but the G2655T is a superb guitar that’s able to handle a spectrum of styles from super-charged hard rock to jangly pop thanks to its powerful Broad’Tron pickups.

FEATURES The G2655T is a compact

“junior” model with a 24.75-inch scale length, which makes the guitar feel comfortably small, well balanced and easy to play, similar to a Gretsch Duo Jet. The guitar features semi-hollow construction with a lightweight spruce center block that runs the length of its arched laminated maple body, which reinforces the top and also helps to eliminate feedback when the guitar is played at higher volumes. The G2655T has a traditional Gretsch control layout with neck and bridge volume controls, a master tone,

CHEAT SHEET

STREET PRICE $549.99 MANUFACTURER Gretsch, gretschguitars.com

three-way pickup selector and a master volume control located at the lower cutaway bout. But its most notable feature is the pair of Broad’Tron humbucking pickups that provide all the necessary high-output roar for players who want a powerhouse sound. Other slick features that make the guitar feel fast include a 12-inch fretboard radius, a super-slim U-profile neck shape, 22 medium jumbo frets, and a Bigsby-licensed B50 vibrato tailpiece. The guitar also comes complete with classic Grestch styling with pearloid block inlays, f-holes, and two-ply white and black body binding. PERFORMANCE I can’t even begin to express how much fun the G2655T is to play. The guitar looks stunning with a walnut stain that curiously looks more like see-thru cherry but I’m not complaining. Out of the box the guitar is setup perfectly, with low action and strings that possess a springy feel, much in part to the Bigsby-licensed B50 vibrato. I found the Bigsby most effective when I used it for slight half-to-whole step vibrato wiggle. As long as you’re not whammy aggressive, the guitar will stay in tune. Also, the snugly thin profile of the nato neck allowed me to sail across the fretboard. The Broad’Tron pickups are noticeably darker sounding with plenty of output, pushing forth deep lows, growly midrange and cutting highs, and sound deliciously smooth when confronted with distortion. Even at high volume, the guitar didn’t squeal but rather sang with musical feedback. Even more impressive is how responsive the pickups are when tamed with the master volume: roll back for sparkling cleans or set halfway for tight rhythm crunch.

The high-output Broad’Tron pickups dish out beefy humbucking tones at full throttle, and cutting cleans when rolling down the master volume knob.

For video of this review, go to GuitarWorld/July2016

For subtle tremolo work, the Bigsby-licensed B50 vibrato stays remarkably in tune, and is a fitting complement to the guitar’s stylish looks.

THE BOTTOM LINE The affordable G2655T Streamliner Center-Block Jr. Double Cutaway is a clear champion with impeccable craftsmanship and robust tones that make it incredibly versatile for hard rock, blues, and rockabilly.

guitarworld.com

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SOUNDCHECK

For video of this review, go to GuitarWorld.com/July2016

GUITAR WORLD

PLATINUM AWARD EX

CELLENCE

Heart and Soul ERNIE BALL MUSIC MAN JAMES VALENTINE By Ch ris G ill

JAMES VALENTINE, GUITARIST for the band Maroon 5, once said in an interview that he avoided designing his own guitar because he realized that he was better off playing a bunch of different guitars, like the Teles and 335s that he often switched between when performing onstage. However, Valentine had a change of heart when he connected with the folks at Ernie Ball Music Man, who helped him create the guitar of his dreams: a singular instrument that combines the greatest hits of his favorite guitars with new creative twists. Chief among these innovations are the James Valentine signature’s ergonomic wedge body design, which lends itself to Valentine’s funky rhythmic playing style, and versatile electronics that allow the guitar to be well suited for a wide variety of musical flavors, from “Moves Like Jagger” pop to Zeppelin-esque stomp.

FEATURES While James Valentine is a

big fan of ES-style semi-hollow guitars, the only nod to those guitars are the pickguard shape and the curves of the lower

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bout and cutaway horns. Valentine is also a Tele enthusiast, which explains the slab ash body. But to cut down on body weight, the Valentine guitar features Ernie Ball Music Man’s innovative wedge shape that subtly tapers from a thicker bottom to a slightly thinner top, all without sacrificing the guitar’s warm tone and powerful resonance. An added benefit of this shape is the guitar provides a comfortable playing position, allowing your forearm to be more relaxed. Another distinctive feature of the Music Man Valentine is its pickups and electronics. Pickups include a custom Music Man humbucker at the neck with coil splitting via the push-push master tone knob and a large custom Music Man singlecoil with staggered polepieces like a Tele. A built-in hum cancelling circuit allows users to adjust trim pots for the neck and bridge pickups to minimize noise, and an active preamp that provides a +20dB gain boost is engaged with the master volume control’s push-push function. While the pickup selector has only three positions, its five different pickup options—bridge sin-

gle-coil, neck humbucker and bridge single-coil parallel, neck single-coil (split engaged) and bridge single-coil parallel, neck humbucker series, and neck singlecoil (split engaged)—cover a wide range of Tele meets ES-335 tones. The Valentine signature includes many premium features like its hardtail, stringthrough-body bridge with vintage-style bent-steel saddles, and removable metal cover that provides a comfortable base for anchoring the picking hand when palmmuting strings. The neck has a 25 1/2–inch scale, 22 high-profile, medium-width stainless steel frets, a 10-inch radius, and rounded C-shaped profile, with a roasted maple single-piece neck, which is bolted to the body via five screws. The roasting process removes moisture to provide the stability and resonance of an aged neck. PERFORMANCE Ernie Ball Music Man guitars are known for their supreme playability, and the Valentine more than lives up to this legacy. The gunstock oil and hand-rubbed wax finish of the neck pro-


The wedge body design is both elegant and lightweight, making the guitar a joy to play for hours.

Mono

DUAL ACOUSTIC + ELECTRIC HYBRID GUITAR CASE The Mono Dual Acoustic+Electric Case (M80-2A) is a hybrid case designed to carry both an acoustic and electric guitar together, and fully protected with Mono’s patented Headlock neck suspension system. The Dual Acoustic/ Electric Case “zig zag” design creates a completely separate case for each guitar and its Headlock system keeps both headstocks suspended inside the case, saving your guitars from both side and rear impacts that could otherwise snap the necks. LIST PRICE $415 monocreators.com

CHEAT SHEET vides similar feel and resistance to raw wood. The compensated nut delivers spoton intonation when playing up and down the neck, and the sculpted neck joint allows guitarists to access the uppermost frets with ease. The wedge body design is both elegant and lightweight, making the guitar a joy to play for hours. What impressed me the most about the Valentine is how its relatively simple and uncomplicated controls provided access to a huge variety of sounds ideal for a wide range of music. The bridge pickup can spank and twang like a vintage Tele, but set to neck humbucker and bridge single-coil in parallel, the guitar growls like a Les Paul Junior. The neck humbucker on its own can sing like an ES-335 with a gorgeously rich and woody tone. A whole world of textures can be explored by experimenting with various split and volume settings when both pickups are engaged, and the +20dB active gain boost unleashes incredible sustain to fatten up solos. This versatility makes the Valentine a great choice for guitarists who prefer to gig all night with just one ax.

LIST PRICE $2,099 MANUFACTURER Music Man, music-man.com An adjustable hum-cancelling circuit provides dead silent noise when the bridge single-coil and split neck humbucker settings are engaged. A +20dB active gain boost circuit allows guitarists to engage fat, aggressive overdrive directly from the guitar by pushing down on the master volume control.

THE BOTTOM LINE By combining an innovative wedge body shape with versatile electronics, the Ernie Ball Music Man James Valentine provides a diverse rainbow of tones along with playability and comfort.

DigiTech

WHAMMY RICOCHET The DigiTech Whammy Ricochet takes the popular Whammy pitch shifting effect and places it in a smaller footprint pedal. Instead of using a foot treadle to manipulate pitch bending rate, the Whammy Ricochet bends the pitch of the incoming note at a rate determined by shift and return controls. The Whammy Ricochet allows guitarists to bounce their sound up or down in pitch in controlled or crazy shifts. The Whammy Ricochet offers seven pitch selections: 2nd, 4th, 5th, 7th, Octave, Double Octave, and Octave+Dry, as well as a toggle to select up or down for the selected pitch. LIST PRICE $187.44 digitech.com

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For video of this review, go to GuitarWorld.com/July2016

Black Velvet

GUITAR WORLD

GOLD AWARD P

ER

FORMANC

PRESTIGE TROUBADOUR

E

By Chris Gill

THERE IS NO shortage of dual humbucker,

carved maple top, mahogany body, singlecutaway solidbody guitars out there these days. With their Troubadour model, Canada’s Prestige Guitars makes a solid case for consideration, not by doing anything outrageously different, but rather by doing everything particularly well and for a sensible price, to boot. The Troubadour does offer a few distinguishing features such as its classy satin matte black finish, nickelplated hardware, and understated offset pearl dot inlays, but what really seals the deal is how comfortably it plays and how good it sounds. In short, it’s everything you could want from a single-cutaway solid body guitar and more. FEATURES In addition to its hand-selected,

solid 3/4-inch carved maple top and mahogany body, which is sourced locally just outside of Vancouver, the Prestige Troubadour also features the classic solid mahogany neck with a C-shaped profile, 24 3/4– inch scale length, and 22 medium jumbo frets. The 14-inch radius gives the fingerboard a relatively flat feel, and the ebony fingerboard provides smooth playability as well as brighter tone with enhanced individual note definition. The Troubadour’s hardware is all first class. The tune-o-matic-style locking bridge and stop tailpiece are made by TonePros; the tuners are Grover 18:1; and

CHEAT SHEET

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LIST PRICE $1,440 MANUFACTURER Prestige Guitars, prestigeguitars.com

GU I TA R WOR L D • J U LY 2016

Seymour Duncan SH4-JB (bridge) and SH 1-59 (neck) humbuckers provide sweet, expressive tone with impressive treble bite, powerful low-end bark, and musical midrange.

the pickups consist of a Seymour Duncan SH4-JB at the bridge and a Seymour Duncan SH 1-59 at the neck. The control knobs feature a fat, knurled design, and the knobs and pickup toggle switch tip are plated with gleaming nickel. Even the 1 11/16–inch nut is made of TUSQ XL, showing Prestige’s dedication to quality parts throughout the Troubadour’s construction. PERFORMANCE For me, the Troubadour’s most compelling distinction is its tonal character. Many guitars with similar designs can sound overly dark and warm, but the Troubadour with its awesome Duncan pickups delivers a very appealing treble sparkle that adds a layer of crisp definition to its big, focused bass and musical midrange. In some ways the Troubadour sounds more hi-fi than its competitors, covering a wider frequency range, but it stills maintains the rhythmic wallop and soulful solo tones that have made this design a perennial favorite. The neck strides a very appealing zone in between classic heftiness (to maintain tonal body and sustain) and shred-style speed (without being too thin). While the frets provide plenty of meat to dig into, the fretwork still provides a smooth, almost fretless feel when gliding up and down the neck. Add in the Troubadour’s extremely cool basic black styling, and it equals a model that checks all the right boxes.

The nickel-plated hardware includes a TonePros locking tune-o-matic-style bridge and stop tailpiece, Grover tuners, knurled control knobs, and pickup selector switch tip.

THE BOTTOM LINE While the Prestige Troubadour sticks to the classic dual-humbucker, single-cutaway solidbody design, it gets everything very right, including tone, playability, and price.


SOUNDCHECK

For video of this review, go to GuitarWorld.com/July2016

Black Velvet

GUITAR WORLD

GOLD AWARD P

ER

FORMANC

PRESTIGE TROUBADOUR

E

By Chris Gill

THERE IS NO shortage of dual humbucker,

carved maple top, mahogany body, singlecutaway solidbody guitars out there these days. With their Troubadour model, Canada’s Prestige Guitars makes a solid case for consideration, not by doing anything outrageously different, but rather by doing everything particularly well and for a sensible price, to boot. The Troubadour does offer a few distinguishing features such as its classy satin matte black finish, nickelplated hardware, and understated offset pearl dot inlays, but what really seals the deal is how comfortably it plays and how good it sounds. In short, it’s everything you could want from a single-cutaway solid body guitar and more. FEATURES In addition to its hand-selected,

solid 3/4-inch carved maple top and mahogany body, which is sourced locally just outside of Vancouver, the Prestige Troubadour also features the classic solid mahogany neck with a C-shaped profile, 24 3/4– inch scale length, and 22 medium jumbo frets. The 14-inch radius gives the fingerboard a relatively flat feel, and the ebony fingerboard provides smooth playability as well as brighter tone with enhanced individual note definition. The Troubadour’s hardware is all first class. The tune-o-matic-style locking bridge and stop tailpiece are made by TonePros; the tuners are Grover 18:1; and

CHEAT SHEET

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LIST PRICE $1,440 MANUFACTURER Prestige Guitars, prestigeguitars.com

GU I TA R WOR L D • J U LY 2016

Seymour Duncan SH4-JB (bridge) and SH 1-59 (neck) humbuckers provide sweet, expressive tone with impressive treble bite, powerful low-end bark, and musical midrange.

the pickups consist of a Seymour Duncan SH4-JB at the bridge and a Seymour Duncan SH 1-59 at the neck. The control knobs feature a fat, knurled design, and the knobs and pickup toggle switch tip are plated with gleaming nickel. Even the 1 11/16–inch nut is made of TUSQ XL, showing Prestige’s dedication to quality parts throughout the Troubadour’s construction. PERFORMANCE For me, the Troubadour’s most compelling distinction is its tonal character. Many guitars with similar designs can sound overly dark and warm, but the Troubadour with its awesome Duncan pickups delivers a very appealing treble sparkle that adds a layer of crisp definition to its big, focused bass and musical midrange. In some ways the Troubadour sounds more hi-fi than its competitors, covering a wider frequency range, but it stills maintains the rhythmic wallop and soulful solo tones that have made this design a perennial favorite. The neck strides a very appealing zone in between classic heftiness (to maintain tonal body and sustain) and shred-style speed (without being too thin). While the frets provide plenty of meat to dig into, the fretwork still provides a smooth, almost fretless feel when gliding up and down the neck. Add in the Troubadour’s extremely cool basic black styling, and it equals a model that checks all the right boxes.

The nickel-plated hardware includes a TonePros locking tune-o-matic-style bridge and stop tailpiece, Grover tuners, knurled control knobs, and pickup selector switch tip.

THE BOTTOM LINE While the Prestige Troubadour sticks to the classic dual-humbucker, single-cutaway solidbody design, it gets everything very right, including tone, playability, and price.


SOUNDCHECK

For video of this review, go to GuitarWorld.com/July2016

Psycho Octave

GUITAR WORLD

GOLD AWARD P

ER

FORMA

NC

MXR M225 SUB MACHINE FUZZ E

By Chris Gill

INTRODUCED LATE LAST year as an

MXR Custom Shop product, the Sub Machine proved so popular that it became part of the regular MXR lineup without any changes whatsoever to its design or price. The MXR Sub Machine Fuzz pedal combines the full capabilities of the Custom Shop’s beloved La Machine fuzz, including its cool octave-up function, with an awesome sub octave (octave-down) effect, essentially providing three distinct effects in a pedal that costs only $10 more than the La Machine. FEATURES The Sub Machine Fuzz is a

mid-sized pedal with four full-size control knobs arranged along its top edge similar to the MXR Flanger. It provides the same volume, tone, and fuzz controls found on the La Machine, plus an additional sub control for dialing in the level of the sub octave effect. One big upgrade over the La Machine is that there’s now a separate footswitch for

CHEAT SHEET

94

STREET PRICE $149.99 MANUFACTURER Dunlop Manufacturing, jimdunlop.com

GU I TA R WOR L D • J U LY 2016

the octave-up effect (in addition to the standard bypass footswitch) instead of the small pushbutton switch found on the La Machine, allowing guitarists to freely engage the octave-up effect while playing. Perhaps the coolest feature of all is the pushbutton that toggles between series or parallel modes. PERFORMANCE The Sub Machine offers an incredible variety of aggressive tones and inspiring textures. In series, the sub octave effect is placed before the fuzz circuit, so the octave effect is distorted by fuzz to produce cool synth-like effects. In parallel, the guitar signal splits before it reaches the sub octave and fuzz to produce clean sub octave and distorted fuzz effects that are summed before the output. Parallel mode also enables users to dial in fuzz only (sub control all the way down) or sub only (fuzz down) effects. Octave tracking is instantaneous, although the octave up effect works best when playing above the 10th fret.

THE BOTTOM LINE Providing octave up, octave down, and fuzz all around, the MXR Sub Machine Fuzz offers three distinctive effects that deliver everything from retro fuzz to modern synth-like buzz.

Buzz Bin

Casa Distortion Pedalpunk! While most guitar rig emulation software offers an impressive variety of stomp box models, it only offers a small selection of the most popular effects. Chances are pretty good that no software package offers your favorite new boutique pedal, obscure vintage device, or even that the particular effect modeled sounds as good as the same exact box in your pedalboard. However, integrating primitive analog stomp box technology into a modern computer-based digital recording system can be very challenging. The Pedalpunk!, designed by recording engineer/producer Scott Eric Olivier, offers an elegant solution for incorporating pedals into a digital recording rig without any sound quality compromises. The pedal that you want to process plugs into the Pedalpunk’s send/return loop, while the audio source (which can be anything from an electric guitar to a digital recording) is connected to the Pedalpunk’s input (Neutrik XLR/1/4inch combo jack) and the output (either the 1/4-inch TRS or XLR jack) goes to your digital audio interface. Return, Send, and Focus controls allow users to dial in optimum signal and impedance levels or even generate distortion. Whether using Pedalpunk! to lay down effect-processed takes or add stomp box effects to previously recorded tracks, the results sound bold, dynamic, and big.  —Chris Gill

LIST PRICE $349 MANUFACTURER SSB Technologies, pedalpunk.com


"IT’S AMAZING!..the voice of my Cremona magically matured!" -- Bob Benedetto “My guitars aren’t complete until I see them under a ToneRite!” -- Tim McKnight “It has made a dramatic difference in the tone” -- Eric Schoenberg

e secrets of great sounding vintage instruments is playing-in for thousands of hours. e ToneRite accelerates the process by using a set of sub-sonic frequencies to simulate the same physics as long-term playing. Simply attach the ToneRite whenever you are not playing and hear a dramatic increase in resonance, balance and response.

A Sound Decision

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For video of this lesson, go to GuitarWorld.com/July2016

by Mike Dawes



COLUMNS

WOOD VIBRATIONS

HELLO EVERYONE, AND welcome to my

new Guitar World column. Over the next few months, I’d like to demonstrate some of the many techniques I use for devising my solo acoustic compositions. I conduct a lot of instructional workshops before my shows when I am on the road. A question that comes up very often is, How do I go about writing a piece of music for fingerstyle guitar? This is a such a big question that I’d like to break down, over the next few issues, the different approaches and devices I use for writing instrumental fingerstyle pieces. The principal concept in my compositional approach is what I call “melody first.” For a moment, let’s forget our preconceived ideas about music and think of it simply as something comprised of just two fundamental elements: melody and harmony. Melody and harmony equal music, and all of the extra stuff I like to include—the percussive elements of hitting the guitar, crazy strumming, etc., is all “extra.” These things are not what I consider “integral” to the core emotion of the piece of music at hand. First off, I often play in DADGAD tuning, which is what I am using for the examples in this first column. As the name implies, the guitar is tuned, low to high, to D A D G A D. The melody is the “top line,” as demonstrated in FIGURE 1. This is a very simple melody based on the D major scale (D E Fs G A B Cs). The harmony is provided by either a bass line or chordal references that, when combined with the melody, create a musical feeling. Oftentimes, when I first pick up the guitar to write a piece of music, I will start with the basic melody. Let’s now add some bass notes in order to create the harmony that will lay the groundwork for our song: in FIGURE 2, I add a B note on beat 1 to make reference to Bm, and then descend to A and then G, and then back to A. We now have harmonic reference points that serve to make our melody sound much more interesting. Keep in mind that we could easily use different bass notes,

96

GU I TA R WOR L D • J U LY 2016

FIGURE FIG. 11

 0



2 4 2 0 7

 0

G 7

 0

7

FIG. 22 FIGURE

0

4

 

4

4

FIG. 44 FIGURE

   2

A

0

0 !

0

0

5

   1 B¨

2

4

0

0

G

2 4 2 0 7 0

0

4 0

4

4

5 0

5

5

G

**

5

5

Bm

0

4

4

* 4

0

Bm7

**

*

0

4

0

2

** * N.H. 0 2 4 12

0 5

0 !

5

0 0

4

** 4 2 0 0

**

7 4  6

4 5

0

*** 2 4 4 2 2

4

0

* 7 6 0

* 0 0 4



7

0

N.H.

0 0

5 5 5 3

0

Bm7



D/A

7 7

D/F#

N.H.



0 0 4

4 0 7 5 7 4 6 6 4 0 7 2 0 7 4 0

D/A

4

4

*w/palm hit

***tap face of gtr.

such as those shown in FIGURE 3, to create a very different musical feeling. The next step, for me, is to exaggerate and embellish the bass line. When playing solo acoustic guitar, it’s very important for me to try and approach the bass line in the same way that a bassist would. This is

2

Csus2 5 5 5 3

7

Bm7

4

5

0 !

0

0

G

*

4

4

0

D 0 0

0

FIG. 66 FIGURE 0

5

2

0

D 0 0

0

7 0

0

FIG. 55 FIGURE

let ring throughout

D/F# 2

A

let ring throughout 0 2 4 2 0 7

0 !

0

4

FIG. 33 FIGURE

A 0

   2

Bm



How to develop a simple melodic idea

All examples are performed in DADGAD tuning (low to high: D A D G A D)



MOVING PARTS

G

* 0 0



**w/thumb slap

**

0

* 7

**

6

0

0

Gsus2

5 9 9  10  9 0 0 5 X 0 5 X 5 3 3 X 5 5 3

N.H.

7 7 0

4

**

T

* 0

7 6 0

0

5

5

D/F#

** 4 7 5 6

0 0 0 5 5 5

demonstrated in FIGURE 4. In FIGURE 5, I’ve added notes between the bass line and the “top line” melody to create a more intricate piece of music. Work through this part slowly so that you will hit these bass notes and “inside” parts on the correct downbeats and upbeats.

Mike Dawes is an English guitarist and touring musician, hailed as one of the world’s most creative fingerstyle performers and renowned for his ability to seamlessly replicate a full band on a single instrument. For more information, visit mikedawes.co.uk.


By Jimmy Brown



COLUMNS

For video of this lesson, go to GuitarWorld.com/July2016

STRING THEORY

BLUE SPICE

Colorful jazz-blues chord substitutions LAST MONTH, I introduced the 12-bar

jazz-blues progression, which is a more musically sophisticated cousin of the simpler “one-four-five” blues chord changes that most people are familiar with and serves as a more harmonically ambitious framework that jazz musicians almost universally prefer to solo over and use as a vehicle for improvising rich, colorful melodies that allude to interesting chord substitutions. I’ll now continue where we left off and present a few commonly used variations on the jazz-blues progression that adventurous musicians will often interject. FIGURE 1 is a traditional “flat-four” comp (accompaniment) figure that’s a variation on FIGURE 2 from last month’s column and offers additional examples of chord substitutions that learned guitarists will add to a jazz-blues progression, with numerous subtle variations, in a two-guitar jam (no bassist or drummer). Again, we’re using what arrangers call shell voicings, which include only a chord’s root, third and seventh (often voiced, low to high, root-seven-three) and what guitarists call “muted-string chords” because unused strings are muted with the fretting fingers, just like when you play a strummed octave. Noteworthy chord substitutions used here include the following: • A “two-five to the four chord” in bars 3 and 4, with Dm7 and G7 setting up the change to the four chord, C7, in a more harmonically active and interesting way than just preceding it with two bars of G7. A similar move occurs in bar 8, in this case with a “two-five to two.” Here, we approach the two chord, Am7, with Bm7 and E7. • The “sharp-four diminished seven” chord in bar 6 (Csdim7), which is an outgrowth of the four chord (C7) that builds dramatic tension, which then resolves satisfyingly back to the one chord (G7) in bar 7. • Another “quick change to the four” (C7) in the second half of bar 7, which creates a stronger “push” toward Bm7 in bar 8 than does approaching it with a full bar of G7. • Numerous tritone substitutions, in bars 4 and 9–12. In each case, the expected root note is replaced by one located three whole

98

GU I TA R WOR L D • J U LY 2016

FIG. 1 11 jazz-blues jazz-blues progression progressionininG, G,with with“flat “flat four” four” comping comping andand lotslots of chord of chord substitutions substitutions FIGURE FIGURE Medium Medium Swing Swing (F#7) (F#7) G7 G7 11

C7 C7 Dm7 Dm7 G7 G7 D¨7 D¨7                             

 33  44 22  33  22 44 55

44 33

44 XX 33 XX

X 4

44

44 XX

    33 22 33

33 22 33

 

55

3 X X 2 X X 3 X X

33 22 44

33 22 44

33 22 44

3 3 X X 4 4 4 4X X9 9 9 9 X X7 2 2 X X 3 3 3 3X X8 8 8 8 X X7 44 XX 3 3 3 3X X8 8 8 8 X X7

E¨7

55 X X 6 55 X X 5 6 55 X X

44 X4 4X 44 X 4 X 33 X3 3X 33 X 3 X X 4X 44 X 4 X 33 3

C#°7 C#°7

   D7 D7   A¨7 A¨7 

Am7 Am7 55 55

33 3 3 3 3 3 3X X 5 5 5 5 5 55 X 5 X4 22 2 2 2 2 2 2X X 3 3 3 3 3 33 X 3 X3 33 3 3 3 3 3 3X X 5 5 5 5 5 55 X 5 X 3

     G7  G7    C7  C7     Bm7  Bm7  E7  E7    

C7 C7 33 22 33

99

X 4 X 3

6 X X 5 X X 6 X X

55 44 55

55 44 55

77 X7 7X 7 X 7 77 X7 6X 6 X 6 7 7 X7 77 X7 X

X X X

    B¨7  B¨7    E¨7  E¨7  A¨7  A¨7       4 4 4 4X X7 7 7 X 7 X6 66 X6 5X 5 X 5 X 3 3 3 3X X6 6 6 X 6 X5 55 X5 4X 4 X 4  X  6 66 X6 X X X

G7G7

55 5 5 X X 44 4 4 X X

44 4 4 X X 3 3 3 3X X6 6 6 X 6 X

4

4

4

jazz-blues progression progressionininG, G,with with“walking” “walking” bass bass lineline andand sparse sparse comping comping FIGURE FIGURE FIG. 222 jazz-blues Medium Medium Swing Swing G7 G7

   

11

55

99

33 3232 33

33 44 33 33

0 0 1 0 0 22 00



C9 C9

55 5555 55



C9 C9

w/pick w/pick and fingers fingers

11

00

3 0

33

Am7 Am7

22 00 33 0 4 00

33 33 22

33

33 33 22

Dm9Dm9 G7#5G7#5 D¨9 D¨9

3 3 5 5 4 4 4 4 5 5 4 4 3 3 3 3 3 3 2 2 0 7 0 07 60 06 05 5 4 00 1 10 02 20 0 3 3 4 0 43 00 3



 

G7G7

E7#9 E7#9

4 4 3 4 4 0



66 55 44



G9G9

1010 1010 9 9 77 00 8 8 0 09 90 0 1010 8 8 0

steps above or below it, which are the same notes an octave apart. This adds interest and color to the bass line’s root motion, with smoothly descending chromatic movement used instead of angular down-a-fifth or up-a-fourth resolutions. Interestingly, in a tritone sub, the original chord’s dominant seventh now becomes the third of the new chord, and the third becomes the seventh. Speaking of bass, FIGURE 2 presents a different kind of stand-alone accompaniment for a jazz-blues in G that features a cool “walking” bass line punctuated with staccato (short and crisp) chord “stabs,” most of which fall on an eighth-note upbeat, and numerous open-string “ghost-

6 5 5 66 55 55  6 66 6 5 5

 

6 6 6 6

E7#9 E7#9 B¨m7 B¨m7 Am7Am7 D7#9D7#9 8 7 6 7 0

8 7 6 7 6

6 6 6

4 4 3 4

 

 B¨m7  B¨m7

3 3 8 8 8 86  4 4 7 7 7 76  3 3 6 6 6 66 2 20 05 5 0 6 0 06 07 7 7 7  00 11 00 2 2 0 0 3 3 7 07 0 6 6 6

D7#9 D7#9

55



G7G7

6 5 4

06 5 0 5 4

6 5 4

 

4

  

 

note” pull-offs (indicated in parentheses in FIGURE 2), which add drive to the otherwise quarter-note walking bass rhythm and help convey the desired swing feel. The open-string pull-offs should be subtle and felt more than heard. Use hybrid picking to play this figure, picking the bass notes with downstrokes and plucking the chords with your bare fingers. I’ve expanded the shell voicings here to include an additional high note and “color tone” on the B string, which is either the chord’s fifth or ninth. When playing the chords marked by a staccato dot, quickly mute the strings immediately after plucking them by simply relaxing your fret hand’s grip.

To download Jimmy Brown’s latest DVD, JIMMY PAGE PLAYING SECRETS, VOL 1: ELECTRIC STYLE, and others—as individual chapters or the complete disc—visit guitarworldlessons.com or download the official Guitar World Lessons app in iTunes.


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For video of this lesson, go to GuitarWorld.com/July2016

by Joel Hoekstra



COLUMNS

SCHOOL OF ROCK

JIMI SOME MORE

Hendrix-style rhythm guitar JIMI HENDRIX WAS nothing less than a

complete guitarist. He was a brilliant and seemingly effortless performer, improviser, songwriter and innovator, and an equally brilliant rhythm player, which is an aspect of his musicianship that is sometimes overlooked. In this month’s column, I’d like to demonstrate a few of the rhythm guitar techniques Jimi would most often employ to spice up his rhythm parts and make them melodic. Let’s begin with a standard seventhposition Em chord, with the E root note sounded on the fifth string’s seventh fret, as shown in bar 1 of FIGURE 1. I refer to this as a “fifth-string-root” barre chord. Jimi utilized this voicing quite often; his masterpiece, “Little Wing,” is a great example of a song in which he employed this voicing. Jimi liked to embellish his chords by using his pinkie to sound higher notes on each string, enabling him to create little melodic fills that served to make the rhythm parts much more interesting. In bars 2–7, I use my pinkie to add and remove certain notes while moving from the first string across to the third. As you can see, I use both hammer/pulls and straight hammer-ons to sound these extra notes off the chord shape. I can further expand these fills to the D and A strings, as demonstrated in FIGURE 2. Another technique Hendrix employed to great effect, and one that I love to borrow, is to slide a pair of notes up and down two adjacent strings. FIGURE 3 demonstrates this technique, with note pairs sliding up and down various string pairs. Now let’s take a six-string-root major barre chord and try a similar embellishing approach. In FIGURE 4, I begin with a G major voicing wherein the low G root note on the sixth string is fretted with the thumb—another signature Hendrix rhythm playing technique. This will free up the rest of the fretting fingers to add chord embellishments. As I had demonstrated earlier over Em, I can add higher notes with the pinkie on the top three strings to create more complex rhythm figures. FIGURE 5 offers another of Jimi’s favorite techniques, which is to begin by fretting

100

GU I TA R WOR L D • J U LY 2016

FIG. 1 1 FIGURE

 

 

Em7

0

w/bar



8

7

9

7 8 9 9 7

   7

7 10 7 8 8

7 10 7 8 8

7 8 10 8

7

9 7

7

 









FIG. 55 FIGURE

  32 4 2  5 ! 5 G





8 10 10 8 7 9 9 7 7 9 9 12 9 7 9 9 12 9

G

 









58 5 5 58 5 5 5 5

75

5 5

D

7 9 7 7

FIG. 1010 FIGURE D

  7 5

5

FIG. 99 FIGURE



12   12

10 10

7 7

9 7

 7 7  12  11

7

7

10 9



3 5 5 3 3 5 5 7 7 5 5 3 3 5 7 3 5 5 3 3 5 5 7 7 5 5 3 3 5

FIG. 77 FIGURE

5 5 7 5 75 5 5 7 5 8

9 10 9 7

7 9 7 9

  7  10 7  9

7

the second and fifth of the chord and then hammering on from the second to the third with the ring finger. As I had done over Em in FIGURE 3, FIGURE 6 offers finger slides performed on adjacent pairs of strings, based on the G chord shape. If we move up two frets to Am, we can bring these same techniques into play,

7

7 9 7



w/bar

3

454

5 !

3

 w/bar

5 3 3

0



5 7 5 5 2 5 7 5 5

     10 8 5  10 8 5  10 8 5     9 7 5  99 77 55 75  97 

7 9 10 9 3

7

533 3 3 3 3 53 3 3

  7

w/bar Am

  7 7





FIG. 88 FIGURE

3

8 9

79 7 9 7 7 10 7

G





Em

FIG. 44 FIGURE

 0 !

FIG. 66 FIGURE

3

Am





0

10 12 12 10 10 12 12 10 10 12 12 10 8 10 10 8

FIGURE FIG. 22

   9 !

3

let ring

 

7 10 8

3

710 7 7 8 8 8 10 8 8

8

0 3

Em

7 10 7 8 8

0 3

FIGURE FIG. 33

   ! 8

10

7

7

7 9 10 9

  7 7

9

7

7 7

9

3

as configured for a six-string-root minor chord (see FIGURES 7 and 8). And lastly, you could apply this approach to a fifthstring-root D major chord, as shown in FIGURES 9 and 10. Now that you know how to embellish both minor and major chords, try incorporating these ideas in your favorite songs.

New York City guitarist Joel Hoekstra plays for Whitesnake, the Trans Siberian Orchestra and his new side project, Joel Hoekstra’s 13, who recently released their debut album, Dying to Live.


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With 12 minutes of stereo loop recording on 10 banks that remain in memory until you erase them, plus unlimited Standard, Reverse and ½ Speed overdubbing and an adjustable Fade Out mode, the 720 Stereo Looper packs plenty of power in a compact pedalboard friendly design.

Boasting 6 minutes of looping time, the super-affordable 360 lets you record, store and recall 11 loops. Single footswitch control of record, erase, undo-redo and unlimited overdubbing, plus a compact size and easy-to-use functionality, complete the picture.


For audio of this lesson, go to GuitarWorld.com/July2016

by Dale Turner



COLUMNS

ACOUSTIC NATION

WILD BILL

Big Bill Broonzy’s spirited blues BIG BILL BROONZY, born Lee Bradley in 1893, switched from violin to acoustic guitar and moved from his native Jefferson County, Arkansas, to Chicago by the early Twenties, where he began carving a unique musical niche that melded folk, country blues, ragtime, spirituals and “hokum” (a style of “comedic” blues spawned in the late Twenties). While his early records explored the influences of Blind Blake, Blind Lemon Jefferson and Son House, in the early Forties Big Bill switched to electric guitar, kickstarting what became postwar Chicago blues. He returned to fingerpicked “country blues” and folk in his twilight years, when he enjoyed his biggest fame. Today Broonzy has over 300 songs published, is in the Blues Hall of Fame and has influenced countless pickers, including Muddy Waters, Eric Clapton, Pete Townshend, John Lennon and John Frusciante. Let’s have a look at some of his groovy moves. Broonzy’s first recording, cut under the name “Big Bill and Thomps” (“Thomps” was Bill’s friend John Thomas, on vocals and second guitar), included an intense “finger scrambling” blues called “House Rent Stomp,” its odd yet highly sophisticated turnaround lick approximated in FIGURE 1. Use your pick-hand’s thumb and index fingers as indicated; the note pairs on the high strings in bars 3 and 4 are sounded with an upward index-finger brush stroke. FIGURE 2 shows the tune’s breakdown, an etude of fingerpicked eighth notes. Broonzy recorded this piece numerous times throughout his career; for a superbly played and recorded rendition, check out The Complete Vogue Recordings. Beginning in 1930 and operating under the moniker Famous Hokum Boys, Broonzy and company issued dozens of “party blues” albums, their tracks now preserved in Famous Hokum Boys, Vol. 1 (Wolf Records). One of this era’s many highlights is the ragtime-infused “Saturday Night Rub,” which features fingerpicking like FIGURE 3 (atop second guitarist Frank Blaswell’s walking bass lines). Practice bars 1 and 2 (D7/A) to perfection; the same picking pattern is used in the remaining bars over G.

102

GU I TA R WOR L D • J U LY 2016

All examples: Let notes ring, w/light palm muting on the bass strings. Pick-hand fingering: p = thumb, i = index finger   3

    =   

FIGURE FIG. 11

N.C.

G

  2 3 4  

0 0

 

 

E



3

0 2

3

2

0

4

X

0

2

1

0

X

p i p i

1 1 0

2 3 4

5

3

5

4

i i p i p

0 i

0

i p

 3    =   

i

i p

0

0 2

3

0

3

0 1

i

3

2 p

8 0

i

i p

0

0 i p

9 8 0 p

9 8

i

p

0 i

p

0 i

p

3

3

i p i p i p

(F)

4

0

i p

0 0 4

i

i p

0 3 i

In 1938, as a replacement for the recently deceased Robert Johnson, Broonzy participated in John Hammond’s historic “From Spirituals to Swing” concert at Carnegie Hall, significantly upping his public profile. By 1940, Broonzy had penned the blues standard “Key to the Highway,” since covered by Little Walter, the Rolling Stones, Derek and the Dominos and Led Zeppelin, among many others. FIGURE 4 shows some of the moves Broonzy used in his classic eight-bar blues. We’ll close this lesson with FIGURE 5, a tribute to “Hey Hey,” as recorded in

p

2 0

3

1

etc.

0

0

2 0

3 3

3

0 3

 

0

0

0

3

3

E

0 i

3 0

etc.

4 4 0 0

i p

8

3 0

0

i

3 2 0

3

3

p

2

i

0

3

0 2 0

0 1 2

0

3

4

1/4

0 p

p

3

0

let ring 2 0 2

p p p

 3

E7

6

3 4

B7

0

i i i etc. p

4 i

G 0 1

(C7)

G

5 5

3

1 1

i i i p i p i p p p

(C)

3

0

p

1

p i p i p i p i

0 4

1 1 1 0 0 0 2 2 3 3

3 2

p p i i etc.

D7/A

Fm C 1 1

1 1

0

0

F

let ring

 3    =   

0

C

let ring

4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5 5 4 4 4 4 4 4 4 4 4

  

0

(G7)

FIGURE FIG. 55    =   

3

let ring

p

FIG. 44 FIGURE

0

(C)

p p p

FIGURE FIG. 33

1 2

p i p p i p i p

N.C.

G

1/4

4

 3    =   

p i p

FIG. 22 FIGURE

Am

3

B+

4 4

0

0 i

   

0 0

p

i

i

2 2 2

1

0 0

0

0

0

p i

p

i p

 i

A7 3 2 2 2 2 5 2 5 2 0 p

0 i

i p

0 3

i

i p

5 0

i

p

i

 

0

1

0

4

2 0 2 3

p p p

 

E7

0 p

0 0 1

i

 

0

4 3 0 i p

1951—one of the few Broonzy pieces for which video exists. Playing “dead thumb” style—picking slightly muted, low open strings in steady quarter notes—this groovy blues became a huge inspiration to a young Eric Clapton, who later featured it on his Unplugged album. Broonzy’s last recording session was in 1957, 30 years after his first. Originally released on five LPs, it now exists as a three-CD set, The Bill Broonzy Story. Unbeknownst to all, Broonzy was fighting throat cancer at the time of recording; he succumbed in 1958. Muddy Waters was one of his pallbearers.

To download Dale Turner’s Secrets of the Great Acoustic Songwriters DVD—as individual chapters or the complete disc—visit guitarworldlessons.com or download the official Guitar World Lessons app in iTunes.

LESSONS


NEW HYBRID CASES FOR ACOUSTIC GUITARS, FEATURING HEADLOCK™ PROTECTION.

SLEEVE™

M80 SINGLE

VERTIGO™

MONOCREATORS.COM

WIPE IT OFF STRINGS. BODY. FRET BOARD. KEEP IT CLEAN. Kyser® guitar care products are now available as convenient wipes. At just 5” tall and 2” thick, you can throw the canister in your guitar case and go. www.kysermusical.com

KYSER® MUSICAL PRODUCTS


For video of this lesson, go to GuitarWorld.com/July2016

by Matt Scharfglass



COLUMNS

BASS CAMP

IN THE CLUBS

Copping a techno-flavored synth bass sound THOUGH I’M ASSUREDLY a rocker at

heart, I’ve learned throughout my travels as a bassist that in order to stay employed, one must be adaptable, stylistically. This often means playing genres of music that are just on the fringes of rock, such as dance and techno. Though these styles are primarily synth- and computer-based, it’s not that difficult to achieve a similar sound on a more organic instrument, such as an electric bass. From a rhythmic standpoint, rock and techno really aren’t that far apart: in each, the kick drum hits on beats one and three, or sometimes all four beats, and the snare lands on two and four. Further, if we figure out what tonal and rhythmic characteristics are present in most electronic dance bass tracks, we can emulate them fairly convincingly with a simple bass/stomp box/amp setup. All you need after that is steady time and the ability to lay down an unrelenting groove. To start, you’ll need a fat, bottom-heavy tone on your amp. The location on the bass where you pick the strings will also dictate your sound: closer to the bridge works great for clean, precise, staccato 16th notes, while picking near the neck will provide a dull but deep sound for grooves with long tonesTo emulate a synth bass, you may opt for a few effects; I like to keep a sub-octave doubler and distortion pedal (set to relatively light gain) at the ready. These effects can be achieved through common individual stomp boxes, such as the Boss OC-3 Octave and ODB-3 Bass Overdrive pedals, or via higher-end multi-effect units. Next, you’ll find that electronic music, like other genres, has common rhythmic themes. Once you’re familiar with them, it’s easy to create your own two- or fourbar loops, upon which harmonies and melodies can be built. The challenge is to think like a synth bass and play as precisely as possible, then just sit back and groove. FIGURES 1 and 2 are basic electronic dance-style rhythmic motifs; pick close to the bridge for extra punch, play the notes short and detached, and try to keep your attack consistent, volume-wise. (Suggested effects, if any, are indicated in the music.)

104

GU I TA R WOR L D • J U LY 2016

FIGURE FIG. 1 1

Gmaj7 Em9     A6                      7 7          77   3 3 3 3 5 5 5  0 0 0 0 0 0 0  

FIGURE FIG. 22

Dm

(w/sub-octave effect)        5 5 5    6 6

(G5) 4 4 2

4 2

G#m7

 

E/F# 9

11

7

X7 9

C#m

Emaj7

FIG. 77 FIGURE

 

  6  9 9 9    4 7G 7

   

 

2

5

FIG. 44 FIGURE

(F#5)

FIG. 33 FIGURE

Dm

     8 8 8  8 8 

   

G#m7 11



   



Esus2

(w/chorus and light overdrive) 44 4 44 4 2

2

B



G#m7

D#m7

  11   6   6  

FIG. 66 FIGURE

2

8

Emaj7

8

7

9 7 9 

(w/sub-octave effect)     7   7    5 55 5 55 5 5 5  

 7 G 7 7 7  8 6 5 

D#m7 Dmaj7

FIG. 99 FIGURE

C#m 4

D5



B¨/D C/D

FIGURE FIG. 88

   

Dm

10 12

   11 12 10 10  8 8 10 12     9 9 9 9 99997 9 8 10

(w/chorus and light overdrive) 11 12

FIGURES 3 and 4 feature the “gallop” rhythm, where an eighth note is played on each downbeat, followed by two 16ths an octave higher. Again, pick near the bridge for punch and precision, try to keep your attack even, and, in the case of FIGURE 4, your position shifts seamless. FIGURE 5 depicts another common, simple rhythmic theme featuring the use of a sub-octave effect, while the challenge of FIGURE 6 lies in holding down a clean, staccato 16th-note groove without letting up on the tempo. Electronic bass lines can also take the form of long, deep tones. In FIGURES 7 and

99

9

99

 

 

10 10 12 12

10 12 8

F#m

8

2

 

*repeat previous beat

(w/sub-octave effect) 13 13 11

(F#5)

(w/sub-octave effect and light overdrive) 9 9* 9 9 7 7

FIG. 55 FIGURE

    9 11 11 

9

7

 

5 3

C

C#m7

13 13 11

4 4 2

F

12 11 9 12 10

   9 

8, we’ll roll off the highs, boost the lows and

pick closer to the neck to emulate a vintage sub-bass synth sound. We can even use grace notes and finger slides, as depicted in FIGURE 8, to simulate a synth’s pitch wheel. Finally, FIGURE 9 makes use of the Phrygian mode to create an aggressive, trance-like techno groove. We can also make our faux-synth bass parts more convincing by employing some finger vibrato and quick grace-note slides. In our final example, the wide vibrato at the end of the phrase emulates the pitch wheel on a synth bass.

To download Matt Scharfglass’ How to Play Metal Bass! and How to Play Funk Bass! DVDs, visit guitarworldlessons.com or download the official Guitar World Lessons app in iTunes.

LESSONS


INTRODUCING THE BRAND NEW GUITARWORLD.COM EXCLUSIVE REVIEWS

EXPERT LESSONS

GEAR NEWS

VIRAL VIDEOS


by Andy Aledort



COLUMNS

For video of this lesson, go to GuitarWorld.com/July2016

IN DEEP

SWEET SPOT

Soloing in the movable “B.B. box” B.B. KING IS considered by many to be

the most influential guitarist ever. From Eric Clapton to Jimi Hendrix to Stevie Ray Vaughan to Gary Clark Jr., every blues-rock player of the last 50 years owes a debt of gratitude to King every time they lean into a single-note solo. In fact, the legendary Buddy Guy believes B.B.’s influence is so vast that his name should be engraved on every electric guitar! Of the many signature elements that comprise B.B.’s sound, the one most often cited is his penchant for zeroing in on a specific pattern of notes and strings when playing in a given key. The pattern, which is played primarily on the top three strings and forms a visual “box” shape on the fretboard, has become affectionately known as the “B.B. box.” In this column, I’d like to outline the pattern in four different often-used positions and demonstrate a few ways to navigate through it to create some cool B.B.-style solo licks and phrases. Most often, King’s use of this particular shape places the root note on the B string, fretted with the index finger. If you’ve ever seen the man perform, the visual and aural image of him laying into a note this way and adorning it with his massive “butterfly” vibrato is unforgettable. FIGURE 1 illustrates the six notes that make up the “B.B. box,” as played in the key of E in fourth/fifth position. In the last two bars, I’ve included other notes that one can use to fill out the rest of the scale pattern, which is, in essence, E minor pentatonic (E G A B D), except the flatted seventh, D, is replaced by the major, sixth, Cs, resulting in the note set E G A B Cs and yielding a sound that blurs the distinction between minor and major pentatonic. Played with a shuffle feel (swing eighth notes), FIGURE 2 is a five-bar solo in E that’s based on this box shape and demonstrates some typical B.B.-style licks. I begin with the notes B, Cs and E, which set up the minor third, G, sounded on the downbeat of “one” in the first full bar. I then bend that note up a half step to Gs, the major third. The remainder of the phrase places the E root note, B string,

106

GU I TA R WOR L D • J U LY 2016

FIG. 1 1 “B.B. box” in E, 4th/5th position FIGURE

 E7

 8

5 7 5

5 8

4 6

1/2

5 75

6

6

 5

8

5

5

6

FIG. 22 FIGURE

6 4

7 5

 5 8

1

7 4

8 8 5

  7 5 5 5 5

6

FIG. 3 3 “B.B. box” in E, 9th position FIGURE



E7 12



911 9 11 11

12 14

12

12

11 9

12 10

12 9

17 19 17

 18 17 19 17 18 

6

 14

14 

12 14 12

14

 12

FIGURE FIG. 44

12 !

20

 17

17

19 17

1

17

18

14

18 16

1

12

19 16

  20 20 17

  

 



18

9 11



9

9

12 9 9

 

15 12 12 12

12

6

 

1/2

15 15 12



5 !

 12 12 11 10

5

6

 

1/2

12

FIGURE FIG. 77

14 12

17    16 18 18  19 17 15 ! 12    19 19 17 19   20 17 ! 17 20 17 17 18 1½

1/2

fifth fret, as the centerpiece. Let’s apply this note pattern and approach to other areas of the fretboard. FIGURE 3 illustrates the “B.B. box” played in ninth position, with the E root note played on the G string’s ninth fret and additional notes added at the end of the figure. FIGURE 4 offers another solo that is played over an E shuffle groove, with an intentional nod toward the phrases played in FIGURE 2 but reconfigured slightly for the new fretboard shape. Both solos are

 8 5

4 6

1/4

    12 12 9 9 911 9 9 9 11 11 11 11    

“B.B. box” in E, 16th/17th position

1/2

 19

9

1

5 5

1

 16 18 17 20

E7

  9

12

lick in 12th position E7 1/2

   

FIGURE FIG. 66

10 12 10

1/2

FIG. 55 FIGURE

9 12

9 11

7 5 3 0! 0

1/2

   

 

1/2

played in the same note register, but a distinctly different feel and timbre is produced in each case because of the different position and strings used. FIGURE 5 offers a way to move the melodic idea up one octave while utilizing a different fretboard shape. Here, the E root note falls on the first string’s 12th fret. Lastly, FIGURE 6 illustrates the “B.B. box” played 12 frets and one octave higher than initially shown in FIGURE 1, and FIGURE 7 offers a solo phrase based on this shape.

To download instructional guitar DVDs by Andy Aledort— as individual chapters or complete discs—visit guitarworldlessons.com or download the official Guitar World Lessons app in iTunes.

LESSONS


JOSHUA RAY GOOCH / SHANIA TWAIN

yamaha.com/revstar


TRANSCRIPTIONS

HELPLESS Metallica

As heard on GARAGE, INC. Words and Music by SEAN HARRIS and BRIAN TATLER • Transcribed by JEFF PERRIN

A5

B5

F#5

D5

E5 5fr

1

A

14

14

14

(drums)



14

Gtrs. 1 and 2 (elec. w/dist.)

2 0

Bass



4 4 2 2

 5

Verses (0:24, 1:20) you movin’ see Gotta see the lights

(1.) gotta

1

A5

B5

C#5

14

14

7fr

F5 4fr

14

8fr

14

P.M.

 

2 0

7 7

F#5 Rhy. Fig. 1

4 2

 

7 5

 

2

14

4 2

P.M.

4 2

4 2

0

4 2

P.M.

4 2

4 2

P.M.

4 4 2 2

4 2

0

2 2

0

0

P.M.

4 4 2 2

2 2

4 2

0

0

2

 

P.M.

4 4 2 2

0

2 2

0

2 0



 5

1. I B5 (play 4 times)

4 4 2 2

7 7

2 0

7 5

   

See you come my way Make it loud tonight

fast above

know what I’m gonna do I can see the flashing lights F#5 Gtr. 1 substitutes Rhy. Fill 1 on repeat, 1st verse (see below)

Gtrs. 1 and 2 P.M. 7

A5

Bass Fig. 1

(2.) don’t

 

G5

5fr

14

A5 B5

   B

E5 9fr

Intro (0:00)

Fast q = 154 (w/double-time feel) 1

F#5 7fr

4 2

0

Maybe not tonight love lit before your F#5 A5 B5 P.M.

4 2

4 2

2 0

0



A5 B5

(repeat previous two bars)

4 2

4 2

2

0

Bass plays Bass Fig. 1 four times (see bar 5)

See the dreams I hope they last Gotta set it all a - fire

never Set

Gotta Gotta

treat you right Gotta Coming from above

set hear

you all a - fire the thunder roar

F#5 11

A5

fade away it all a - light

B5

F#5

A5 B5

 

Rhy. Fill 1 (0:38) Gtr. 1

108

GU I TA R WOR L D • J U LY 2016



F#5 P.M.

4 2

B5

P.M.

4 2

4 2

0

N.H.

2.6

4 2

4 2

2

0

pitch: C#

“HELPLESS” WORDS AND MUSIC BY SEAN HARRIS AND BRIAN TATLER
 COPYRIGHT (C) 1980 BY IMAGEM LONDON LTD.
 ALL RIGHTS IN THE UNITED STATES AND CANADA ADMINISTERED BY UNIVERSAL MUSIC - Z TUNES LLC INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED
 REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION


“ HELPLESS”

C

Pre-chorus (0:49, 1:45) See the flashing

lights

hear the thunder

F#5

Gtrs. 1 and 2 15



0 4 2

4 2



0 7 5

4 2

Bass

2

roar

D5

2

2

2

2

2

2

2

2

2

0

2

5

5

5

7

7

7 5

7 5

7

9



(play repeats simile)

I am gonna set you E5 Gtr. 1 plays Rhy. Fill 2 (see below)

Gtr. 2 17



0 9 7

9 7

all F#5

a - light

2

2

2

2

2

5

7

9 7

0

5

7

11 9



11 9

9

I ain’t got a choice 20



2

 

9

5

5

5

7

7

7 5

7 5

7

9

2

2

2

0

2 0

0

2

2

2

0

0

2

4 2

4 2

2

2

2

fill this hall tonight F#5



2 0

2



0

2

2

2

5

7

0

4 2

5

7

2

2

2

2

2

4 2

2



0

P.M.



4 2

9

9

9

 9

7

9

9

9

9

9

9

9

X

9

9

9

9

9

9

9

5

7

Chorus (1:01, 1:57) Helpless Helpless N.C.(A5) P.M.

23

 

9

E5

0 D

9

Gotta

D5 7 5

make it man

(Gtrs. 1 and 2)

Bass 0

Gotta

5 0

7

P.M.

7 0

7 0

7 0

7 0

7 0

7 0

7

5

7

P.M.

6

5

5 5 0

7

7 0

P.M.

7 0

7 0

7 0

7 0

7 0

7 0

7 0

(repeat previous bar)

5

5

5

5

5

5

5

5

5

7

6

5 5 0

5

7

7

Rhy. Fill 2 (0:52, 1:48) Gtr. 1



E5

F#5



0 9 7

9 7

0

0



0 4 2

4 2

0

0

guitarworld.com

109


TRANSCRIPTIONS Helpless Helpless

G5 P.M.

25 7 0

7 0

7 0

5

E

7 0

7 0

5

7 0

5

7 0

5

7 0

7

5

5

7

5

6

5

7

5

5

5 5 0

7 0

7 0

7 0

5

5

F#5

7 0

0

5 3

5

5

5

P.M.

5 3

7 5

3

3

A5

Gtrs. 1 and 2 27 P.M. 4 2

7 0

3

7 5

 

3

5

3

 

5 3

2nd time on 1st Chorus, go back to B 2nd Verse (bar 7) On 2nd Chorus, play 4 times, then continue to F Interlude (bar 29) 2. I

(1:14, 2:10)

(e = 254)

 

7 0

5

7

A5

P.M.

4 2

4 2

4 2

0

P.M.

4 2

4 2

4 2

0

P.M.

4 2

4 2

0

2 0

B5



4 2

4 2

2

 

0

Bass plays Bass Fig. 1 (see bar 5)

F

Interlude (2:22) (e = 264) F#5

Gtrs. 1 and 2 29



4 2

  2

Bass

N.C.(F#5)

 

0

0

2

0

2

(G#5)

   4

2

0

P.M.

2

2

2

2

4

4

2

2

4

4

2

4

2

4

2

2

     5

7

5

Bass plays Bass Riff A (see bar 33)

110

2

    2

0

(play 4 times)

3

3

5

  Bass Riff A   5 3 3

5

3

3

3

5

3

5

5

5

3

0

0

2

0

0

0

2

0

2

0

2

0

0

2

0

   

(play 4 times) P.M.

5

5

  Bass Riff B   7 5 5

3

2

(B5) Riff B

     7

P.M.

P.M.

5

2

0

(play 4 times)

P.M.

7

5

7

5

7

7

5

7

5

5

7

5

   

(B5) Gtr. 1 plays Riff B (see bar 34)

Gtr. 2 35

5

0

(A5) Riff A

(A5) Gtr. 1 plays Riff A (see bar 33)

  7

2



     2

 w/flanger effect  2 0 0

(play 4 times)

32

  4

 

0

(play 3 times)

GU I TA R WOR L D • J U LY 2016

7

5

7

5

    9

P.M.

7

7

9

7

Bass plays Bass Riff B (see bar 34)

9

7

9

7

 


“ HELPLESS”

Gtr. 1 37



(A5)

5

(B5)

3

3

5

3

5

5

7

5

3

3

5

3

7

(F#5)

7

7

9

7

9

9

11

9

7

7

9

7

5

5

7

5

9

7

7

9

7

11

5

5

7

5

9

Gtr. 2



7



5

Bass

(E5)

40

5

7

5

7

Gtrs. 1 and 2 (drums) 43

5

7

5

7

9

7

5

7

5

 5

3

5

3

7

5

3

5

3

5

7

5

G5





Bass

7

(D5)

 7

9

9

5 3

3



3



5



3

(C5)

3

7 5

5

A5

7 5

3

5

3

A5

G5

5 3

3

7 5

5

B5

9 7

9 7

7







B5

9 7

7

 

9 7



7 !



0

guitarworld.com

111


TRANSCRIPTIONS

G

(3:10)

(q = 154) N.C.(F#5)

Gtr. 1 46



P.M.

P.M.

4

Gtr. 2

D5

2

2 2

4

2 2



4 2



2

Bass

P.M.

4

4

2

2 2

4

2 2

4

4

2

2 2

4

2 2

   

H

P.M.

P.M.

2

2 2

4

2 2

4

11 9

11 9

11 9

11 9

11 9

11 9

9

9

9

9

9

9

2

2 2

4

2 2

4

4

2

2 2

4

2 2

5

 

5

 9 7

 

7

E5

7 5

5

7 5

7 5

(play 3 times)

9 7

 9 7

 

7

N.C.(F#5)

D5

4

2

4

2 2

2 2

4

4

2

4

2 2

2 2

4

4

2

4

2 2

2 2

4

7 5 5

A5

112

   

7 5

E5 (play 4 times)

9 7

Bass Bass Fig. 2

 

 

(3:24)

Gtrs. 1 and 2 P.M. 50

 

7 7 5

4

9 9 7

A5

P.M.

4

7 5

5

E5

7 5

7 5

D5

48 4

7 7 5

4

N.C.(F#5)

 

A5

2

2

2

2

2

2

GU I TA R WOR L D • J U LY 2016

5

5

5

5

5

5

7

7

7

7

7

7

5

0

0

0

0

0

   


“ HELPLESS”

I

1st and 2nd Bridges (3:36, 4:10) I can see the stars F#5 A5 Rhy. Fig. 2 52

but I can’t see what’s going on D5 E5 B5

0

0 4 2

0

7 5

7 5

9 7

 97

D5

F#5

7 5

0

Every night alone I sing my song just for fun A5 B5 E5

0

4 2

7 5

9 7

F#5

2 2 2 2 2

5

5 5 5 5 5

Only time will tell A5

0

0

5

7 7 7 7 7

5 7 7

if I’ll make myself someday B5 D5 E5

Gtrs. 1 and 2 56 4 2

7

0

7 5

7 5

9 7

9 7

7 5

Bass plays bass Fig. 3 twice (see bar 52)

C#5

D5

Gtrs. 1 and 2 P.M. 60

6 7 4 4 4 4 4 4 4 5

E5

D5 C#5

  9 7

Bass Bass Fig. 4

D5E5 D5 C#5

7 5

1

7 7 5 5

2

0

E5

7 7

1

0 0

D5

7 5

10 10 8 8

1

end Rhy. Fig. 2

P.M.

7 8 8 8 8 0

9 7

  9

9 7

  9

8 8

7

7 5

8 8

7

7 5

 

D5 A5 B5 4th time on 1st Bridge, Gtr. 2 substitutes Rhy. Fill 3 (see below) 4th time on 2nd Bridge, Gtr. 2 substitutes Rhy. Fill 4 (see below) P.M.

2 2

4

2 2

P.M.

4

4

2

4

P.M.

2 2

2 2

4

P.M.

4

2

2 2

4

2 2

4

7 5

7 5

Bass plays Bass Fig. 2 simile (see bar 50)

Rhy. Fill 3 (4:08)

Gtr. 2

9 7

2 0

Cannot squeeze the life from N.C.

F5

9 9 7 7

E5

7 5

9 7

2 0

4th time on 1st Bridge, go back to I 2nd Bridge (bar 52) 4th time on 2nd Bridge, continue to J (bar 67)

Gtrs. 1 and 2 P.M. 65 4

0 7 5

4 4 4 4 4 5 5 5 5 5

me N.C.(F#5)

 

0 11 9 7

1

2 0

This stage is mine Music is my destiny B5 D5 A5

F#5

D5

6 6 4 4

4 4 4 4 4 4 4 5 5 7 7 5

5

D5

9 7

 

Bass Fig. 3 2





D5

P.M.

2

4

9 7

 

Rhy. Fill 4 (4:41)

N.C.(F#5)

4

(play 4 times)

2 2

2 2

X

7 7 5

Gtr. 2

N.C.

 9

9



N.C.(F#5) P.M.

4

2

4

P.M.

2 2

2 2

4

 14 ! guitarworld.com

113


TRANSCRIPTIONS

J

(4:43) 1., 2., 3.

Go! F#5

A5 B5

Gtrs. 1 and 2 P.M. 67

   

4 2

Bass

K

2

 

4.

P.M.

4 4 2 2

2 2

4 2

0

0

P.M.

4 4 2 2

2

4 2

0

2 2

0

2

P.M.

4 4 2 2

2 0

0

2 2

0

1

1

 17 17 

1

17

1

17 17 14

1

1

F#5

P.M.

2

17

14

17

 17

14

17 16 14

17



2 2

E5

4 2

2 0

0 2

 

0

2 0

0

 

2 0

0

 17 14

14

17 16 14

F#5

14 17 14

17

14 14

12 12 16

17 14

X 14 X 14

A5

17

17

14

1

!

17 17

 17

14

17

1

14

17

17

16

14 17 14

14 14 14 14

B5

4



4 2

4

14

F#5



1

2

GU I TA R WOR L D • J U LY 2016

w/bar 1/2

2

17

14

17

A5

1

14

14

17

14

A5

1

17

17

B5

17

16 14

16

16

4

16 16

14

16 16

14 14 14 16 14

1/2

A5

1

16 16

1/2

16 14

16

14

14

16 16 16 16 16 16 14 14 14

14

2

2

6

7 0 9 0 10 0 11 0

4

14

4

4

4

4



14

4





B5 1

3

14

(trem. pick)

A5

12 0 14 0 16 0 16 16 0

3

14

16 15 14 12 14 12

1

 5

F#5

16

1

B5

14 16 14

B5

 17

B5

1

14

14

17

A5

1/2 1

slight P.H.

 

17 14

  17 14 17 14 14 14

1

1

80

4

 17

1

14  17

14

F#5

4



A5 B5

1

*

14

F#5

1

*repeat previous beat

114

7 5

P.M.

7 7 7 7 7 9 9 9 9 9

 

B5

17 17 14 17 17 14 17 17

F#5

83

7 7

A5

Bass plays Bass Fig. 5 eight times simile (see bar 95)

78

2 0

 

F#5

Guitar Solo (4:56)

Gtr. 3 1 70 17

76

4 4 2 2

 5

F#5 Gtrs. 1 and 2 play Rhy. Fig. 1 eight times simile (see bar 5)

74



(F#m)

1

 16 16 16 16 16 16 3

0


“ HELPLESS”

L

(5:21)

F#5 A5 Gtrs. 1 and 2 play Rhy. Fig. 2 (see bar 52)

 

86

19 14

19 14

17

B5

19 14 17 14

17

15

17 14

17 12

15

D5

17 12

14

17 12

E5

(play 3 times)

17 12 15 14 12

14

D5

15 14 12

 

14 16

Bass plays Bass Fig. 3 simile (see bar 52)

F#5

88

A5

19 14

17

19 14

B5

19 14 17 14

17

17 14

15

17 12

15

D5

17 12

15

17 12

E5

17 12 15 12

15

16

D5

12 15 12

16 12

Bass plays Bass Fig. 3 simile (see bar 52)

C#5



1

90 17

17

D5

E5

17 0

14

14

19

0

D5 17

14

17

C#5

D5

  17 1

14

14

14

E5

19

14

17

14

D5 16

14

17

14

Bass plays Bass Fig. 4 (see bar 60)

C#5 1

92 17

M

1

14 14

D5

1

17 17

14

1

17

 20

1

15 15

18

E5

15

18

F5

1

17 17

17 17

 21

N.C. 1

1

18 18 18 18 18



(5:42)

F#5

A5

Gtrs. 1 and 2 95 P.M.

 

! 22

(let ring into next bar)

4 2

P.M.

4 2

4 2

4 2

0

P.M.

4 2

4 2

4 2

0

P.M.

4 2

4 2

2 0

0

B5 (play 4 times)



4 2

4 2

2

0

Bass Bass Fig. 5

 

2

N

2

2

2

2

0

2

2

2

2

2

0

2

2

2

2

2

0

5

5

7

7

7

7

5

   

Outro (5:55) (e = 202)

Gtr. 2 97

  

Gtr. 1

     

F#5

A5 B5

P.M.

4 2

4 2

P.M.

4 2

4 2

Bass

2

2

  

4 2

4 2

2

4 2

4 2

2

  

4 2

4 2

2 0

4 2

(play 4 times)

2

Substitute Rhy. Fill 5 third and fourth times (see bar 99)

4 2

4 2

4 2

2 0

2 0

Substitute Bass Fill 6 third and fourth times (see bar 99) 2

2

2

0

0

0

   

(Fade out)

F#5

P.M.

4 2

4 2

   

Rhy. Fill 5

   

Bass Fill 6

4 2

2

4 2

2

 

4 2

4 2

2

4 4 2

4 2

2

4 2

4 4 2

4 2

4 4 2

  

 

 

guitarworld.com

115


TRANSCRIPTIONS

FOREVER MAN Eric Clapton

As heard on BEHIND THE SUN Words and Music by JERRY LYNN WILLIAMS • Transcribed by JEFF PERRIN

All guitars are tuned down one whole step (low to high, D G C F A D). Bass tuning (low to high): D G C F. All music sounds in the key of D minor, one whole step lower than written. Csus2

Dsus2

Em

Am

5fr

13411

A

D

7fr

13411

5fr

13421

7fr

134111

111

Intro (0:00) Moderately q = 110 N.C.(Em)

1

 

Gtr. 1 (elec. w/clean tone)(Eric Clapton) Riff A

 

0

0

2



0

0

2

2 0

0

2

7

7



0

02

2

 

*Gtr. 2 (elec. w/clean tone)(Steve Lukather)

 

 

P.M.

7

7

7

7

X

7

7

X

7

7

X

7

7

X

X

7

7

X

7

 

7

*Composite arrangement: two guitars arranged for one part.

 

   Gtr. 2

3

Bass

0

 

Gtr. 1 repeats Riff A twice (see bar 1) Riff B P.M.

X

7 7

*

*repeat previous beat

Bass 0

5 7 7

Bass Fill 1 (0:46) (C)

    3

116

(repeat previous bar)

3

5

5 7

(D)

 3 5 3

 

0

5 7 7

(Em) 5 5

GU I TA R WOR L D • J U LY 2016

5

7

7

3

X 9

 5

7

9

7 7 X

0

7 7

5 7 7

Bass Fill 2 (0:59) (C) 3 2

0

    3

3 3

 5



5 7

(D) 3 5

 

0

5 7 7

9 7

 

(Em) 5

5

7

7

10 9

5

7

0

7

X

7

7

7

“FOREVER MAN” WORDS AND MUSIC BY JERRY LYNN WILLIAMS
 COPYRIGHT (C) 1976, 1985 UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC. AND STAGE THREE MUSIC (CATALOGUES) LIMITED
 COPYRIGHT RENEWED
 ALL RIGHTS FOR STAGE THREE MUSIC (CATALOGUES) LIMITED ADMINISTERED BY BMG RIGHTS MANAGEMENT (US) LLC
 ALL RIGHTS RESERVED USED BY PERMISSION
 REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION


“ FOREVER MAN ”

B

7

     

1st and 2nd Verses (0:18, 0:46, 1:42) How many times How many times Csus2 Dsus2

Gtr. 1 Rhy. Fig. 1a

0

must I must I

5 5 7 7 5

Gtr. 2 Rhy. Fig. 1 let ring 3 5 5

5 5 7 7

5

7 7 7 7

5 5 7 7

5 5 7 7

you I

5 5 7 7

5 5 7 7

7 7 7

8 9 9

8 9 9 9

8 9 9

8 9 9

8 9 9 9

 7 8 7

Substitute Bass Fill 1 on 2nd Verse (see previous page) Bass Bass Fig. 1

 3

3

 5

3

5

5

cross

7 8 8 8 7 9 9 9 7 9 9 9 7 7 7

7 8 9

7 8 7 9 7 9

7 7 8 7 9 7 9 7

7 7 8 8 8 7 9 9 9 7 9 9

7 8 9 9

7 8 8 7 9 9 7 9 9 7

 

7

7 8 9 9 7

9

10 9

X

before I can talk try to be your forever

13

Csus2

Dsus2

3 3 5 5 3

5 5 7 7 5

 3

 5

7

5

5

3

3

 5

5

let ring 7 7 8 8 7 9 9 7 9 9

5

5

X

7 8 9 9 7

8 7

7 7 7

8 9 9 7

9

7 8 9 9

 7

7 7 7

7

5

5

7

 

5 5 7 7 5

 3

let ring 5

5

5

 3

let ring 5

5

5 5 7 7

5

 3

3

5 5 7 7

5 5 7 7

3

3

5

X X

8 9 9

8 9 9

man)

8 9 9

8 9 9

 

7 7 7

7 7 7

7

8 9 9

8 9 9

X

8 9 9

8 9 9

8 9 9

7 8 9 9

7

 

7 8 9 9

7 7 7

 

  

7 8 9 9

5

 X

5 5 7 7

5

 3

5 5 7 7 5

man (Forever Em

7

0 0 3 3 5 5 3

0 0

Substitute Bass Fill 2 on 2nd Verse (see previous page)

 3

3 3 5 5 3

7

7 7 7

7

7 7 7 7

to the boss

0 0 5

How many bridges I’ve got to finally understand before you Dsus2 Csus2

you

3

 

3

5 5 7 7

 5

How many times must I explain Won’t you be my forever woman Dsus2 Csus2 Em

 

7

7 7 7 7

0

  

Em 10

babe love

Em

0

3 3 5 5 3

tell say

5

5

5 5 7 7

7

myself

I’ll

Am

7 8 8 8 7 9 9 9 7 9 9 9

7 8 7 9 7 9

0

7 7 7

3

7

5 5 5 7 5

5 5 5 7 5

5 5 5 7

5 5 5 7

  

5

5 5 5 7 5

X X

 5 5 5 7

0

5

5

5

’fore I can Try to be your

talk forever

Csus2

Dsus2 end Rhy. Fig. 1a

0

0

3 3 5 5 3

 3  3

to

the man

5 5 7 7 5

5

5

 5

5

end Rhy. Fig. 1 7

7

7



end Bass Fig. 1 3

3

*

3

5

19 14

*Substitute note in parenthesis second time. guitarworld.com

117


TRANSCRIPTIONS 1.

boss N.C.(Em) Gtr. 1 plays Riff A twice (see bar 1) Gtr. 2 plays Riff B simile (see bar 3)

Bass 16



0

2.

20

2

3

2

N.C.(Em) Gtr. 1 plays Riff A twice (see bar 1) Gtr. 2 plays Riff B simile (see bar 3) Bass Fig. 2

0

C

X X 0

2

3

0



X

5

 7

X 0

0

 17

 17

1

   12 15 12 12 ( 12)

Csus2

D

2

17

15

1

  17 17 17

1

17

15

12

14

Dsus2

Em 1

1

15

14

1

12

12

15

15

15

15

0

2

3

14

12

1/2

Csus2

1

0

5 7

5

7

Csus2

 17

1

Em

30

0

Bass plays Bass Fig. 1 w/ad lib variations (see bar 7)

27

2

 3

Guitar Solo (1:14) Csus2 Dsus2 Em Gtr. 1 plays Rhy. Fig. 1 (see bar 7) Gtr. 2 plays Rhy. Fig. 1a simile (see bar 7)

Gtr. 3 (elec. w/slightly overdriven tone)

24

0

1

14 14



15 15 12

1

12

14

Dsus2

1

12

14

1

12 15

15

5

15

Bass plays Bass Fig. 2 (see bar 20)

118

GU I TA R WOR L D • J U LY 2016

7

7

1/2

15

1

12

15 12

17

17

Am

14 14 12 14 12

15

  14

Dsus2

1

17 15 17

17

(1:33)

  17  ( 17 ) 17 ! 

1

N.C.(Em) Gtr. 1 plays Riff A twice (see bar 1) Gtr. 2 plays Riff B (see bar 3)

33

 

7

1

12

 12

15

Csus2



12 15 12

15

Em



X 7

Dsus2

1

5

15

14

12

  17


“ FOREVER MAN ”

E

 

37

3rd Verse (1:42) How many times forever Try to be your

must I say man (Forever Dsus2 Em Csus2 Gtr. 1 plays first seven bars of Rhy. Fig. 1 (see bar 7) Gtr. 2 plays first seven bars of Rhy. Fig. 1a (see bar 7)

love you

Csus2

Dsus2

Bass plays first seven bars of Bass Fig. 1 w/ad lib variation (see bar 7)

Forever

Csus2



*

Won’t you be my forever woman Forever man Forever

man

9

9

12

9

9

12

9

Em

Dsus2

X

try to be Try to be Csus2

your forever your forever Dsus2

3/4

14 14

Forever

man Em

D

man

12

7

7

7



*

9

7

 

9

1

46 10

Forever

10 10 10

Forever



15

7

7

man

1

15 15

Csus2

7

10

7

Forever

15

1

15 15

15

 10

7

1

15 15

15

1

15 15

1

15

15 15

 

man

1

10 10

man (Forever man) Em Am

Dsus2

1

Forever

1

10

Csus2

man



1

  9  9 

10

14 15 17 15 15 17 17

1 (17)

17



10

10

Rhy. Fill 1 (1:57, 2:14, 2:32)

 

D 7 7 7

*Composite arrangement

7 7 7

 7 7 7

Em

 8 9 9

 

** 7 7 7

**Chord played second time only.

8

10

9

15

12

15

Forever

man)

 ( 15)

man

1

15

1

12 12 12

12

15

 your

Csus2 17

forever

man

D Em Gtrs. 1 and 2 play Rhy. Fill 1 (see below)

Dsus2

   17 15 17 17   3  

*Gtrs. 1 and 2

12 10

man

1

Try to be 1

14 14 12 10

Forever

Forever man (Forever Em

Dsus2

10

14 14

Bass plays first seven bars of Bass Fig. 1 w/ad lib variation(see bar 7)

*Notes played on repeat only.

man)



(2:16)

8

Bass plays Bass Fill 1 (see below)

man (Forever Em

Am

Csus2 Dsus2 Gtr. 1 plays first seven bars of Rhy. Fig. 1 (see bar 7) Gtr. 2 plays first seven bars of Rhy. Fig. 1a simile 1 1 (see bar 7)

Gtrs. 1 and 2 play Rhy. Fill 1 (see below) 43



14

F

man

I’ll

man

*Notes played first time only.

49

before you finally understand Forever man Forever man

Forever man

man)

 (Forever man) Em

40

I

Bass plays Bass Fill 1 (see below)

Bass Fill 1 (1:57, 2:14, 2:32)

  

(D)

5

(Em) 5

X

7

*

5

*Note played second time only.

guitarworld.com

119


TRANSCRIPTIONS

G

“ FOREVER MAN ”

Outro (2:34) N.C.(Em) Gtr. 1 plays Riff A eight times (see bar 1) Gtr. 2 plays Riff B four times (see bar 3)

53

Gtr. 3

1

 Bass Bass Fig. 3

0

 

14 14

14

14 12

 

0

*s

5

7

12 12

14

p

 14

s

5

7

7

7

*s = slap string w/thumb p = pop string w/index finger

Gtr. 3 57 14 14

 

15 12



14 12

14

12

12

14

   

Bass plays Bass Fig. 3 (see bar 53)



Gtr. 3

61

12

12

Bass

0

12

14

5

0

120

5

12

12

14

14



12

14

 2

12

12

3

7

  9

7

9

7

5

5

 7

7

12

GU I TA R WOR L D • J U LY 2016

7

15 15

1

0

 1

66

15 12

15

12 ( 12)

14

0

(Begin fade)

9

0





64

12

  12 12 12 12 12 12 12 12 12 12 12 12 12

1

14 0

9

7

5

5

7

7

7

 

0



 

12

2

X

2

3

0

14

5

7

5

2

7

5

3

(Fade out)

14 12

14

12 12

14


TRANSCRIPTIONS

EUROPA (EARTH’S CRY HEAVEN’S SMILE) Santana

As heard on AMIGOS Words and music by CARLOS SANTANA and TOM COSTER • Transcribed by KENN CHIPKIN and MATT SCHARFGLASS

Organ chords arr. for gtr. B¨7sus4 B¨7 E¨maj7 6fr

6fr

131411

A

131211

 

8 8 8

8

10

 

4

8 9 11

4

9

8

8

10

3

10 11



 13 11

11

6

10

Cmaj7

8

11

8

3 !

3



9 !

6

8  10

4 !

GU I TA R WOR L D • J U LY 2016

6 !

9

9 11

3

13241

  8 10 8

11

8

3 !

3

9

9

3

9 11

6

11 9

8

6

Fm9/B¨

1 2444

3

9

  10  ! 12 

 8 10 8 G8 

6

6

3

G6   

6

Cm7 10 8

10 8

10

8

6

8

 !3    8 10 8

11

6

3

 !3

8

3

 12 ! E¨maj7

 10  

 10 6

G3

6

6

  11 9 8 9 8   10 12 ! 3

11114

E¨maj7

Cmaj7

8 9

Fm9/B¨

6fr

13121

3

B¨7

G7

3

6

6

   10 ( 10 ) 8 ! 10 10 10 G7sus4

9 8

6

  8! 10 10 10

3

6

Fm7 8fr

131111

G7

8

6 !

B¨7sus4

A¨maj7

Cm7

13121

9 !

8

G7sus4

4 !

N.C.(Cm) 8

131211

B¨7

6

11

131211

* B¨7sus4

4

Cm7

8fr

1 342

8

G7

*Chords played by organ.



11 10

9 11 11 13 11

8

3

122

10

A¨maj7

4

13

8 10

8

  

9

2 341

G7sus4

4fr

Intro (0:00) Slow Ballad q = 76

Bass

5

4fr

13241

Elec. Gtr. (w/dist.)

A¨maj7

6fr

N.C.(Cm)

1

A7¨5

3

3

3

G6  

6

1   13

N.C.(C5) 12

 10

13

8

10

“EUROPA (EARTH’S CRY HEAVEN’S SMILE)” WORDS AND MUSIC BY CARLOS SANTANA AND TOM COSTER © 1976 (RENEWED) LIGHT MUSIC ALL RIGHTS RESERVED. USED BY PERMISSION


“ EUROPA (EARTH ’S CRY HEAVEN ’S SMILE)”

B 18

(0:54)

Fm7

B¨7

1

13 !

8

13

10

10

10 6

 

A¨maj7

21

8

11 13

1

1

 

6

1

13

8

13 11 13

13

8

16

!

10 13 13 11 13

11

12

8

6

 13 11 10  10 11 10 10

13

3

6

5

8

12 10 8

3

5

7 7

8

9

7

8

8

10

 

10

B¨7

27 8

10

8

10

8

8

8

6

8

10

 3

8



10

10

8

8

6

8

8

8

8 10 8

7

8



11

7

8

G

6

10

3

8

6

 G3 

6

6 !

G7 1 10

10

5

5

11

6

8

8

11 8

3

10 10 10 8

3

11 8

11 8

9

10



8

10 10 8

8

10

6

8 11 11 8 11

11 11 11

8

G6

6

1

8



8

11

10 10 8

 

8

1

8

8

4

10

10

8

A¨maj7

5

8

(1:19)

6

10

4 !

4

Cm7

1/2

8

8



5

1

11

B¨7sus4

7

10

8

11

w/chorus

 

8

3

3

8

8

8

10

E¨maj7

G7sus4 30

8

dist. off 8 8  8

7

1

  10 

N.C.(Cm)

24

8

 

C Cm7

13 11 13 11

G7

  

 3

6

4



1

G7sus4

1

13 13 13 13 13 11

6

E¨maj7

10

10

8

G  3

  10 8 G8 

3

3

8

10 8

3

10

8

6 10 6

G3  guitarworld.com

3

123


TRANSCRIPTIONS N.C.(Cm)

33

8

7

10

8

10

6

A¨maj7



8

8 11 11 8 11

8

4



8

10

6

B¨7

6

1

8

11 8

10

10

4 !

3



8

10

6

11 8

8

10

8 10 8

3

8

10

G3

3

G6

6



8

8 10

10

3

3

10

40

  12 

3

10 12

10

12

 14

12

3

G3

3

13

13

3

6

12

1

 

8

6

8

6

47

1

11 8

    9 10   

9

124

11 8

GU I TA R WOR L D • J U LY 2016

3

8

10

3

A¨maj7 1

 8 7

8

6

4

4

 6 6  

8

5

10 10 8

10 12

10

3

1

13 !

8 !

8

8

8

1/2

13 13 13 11 13 11  10 10 11 10 10

6

3

 

  7 8 5 

5

(2:31)

8

8

10

8



G7sus4 1

13 13 13 13 11

6

11

(2:11)

Fm7

10

8

11 8

1

8

A7¨5

1

8

3

13

12

Double-time Latin Feel Cm7

10 10 8

10

 

1 11

3

8

E

 11

12

13 13 11 13 11 13

3

3

(chorus off)  w/dist.   13

12 14



1

13 11 13 11 13 13

E¨maj7 1

13

12 14

3

B¨7 43

N.C.(C5)

7

8

1

D Cmaj7



8 11

6 !

6

10

7

3

G7

10 10 8

E¨maj7

1

8

8

G6

6

8

8

G7sus4

11 11 11

8

8

1

37

4

10

8

  

3

B¨7sus4

   10 10 10 10

10 ( 10 )

10 10

Fm7

8

10

 8

8

8

    8 G8 10 10

10 ( 10)

10 10

8

8


“ EUROPA (EARTH ’S CRY HEAVEN ’S SMILE)”

50

Cm7 8 8 10

3  53

Fm7 

8

5

5 5

8 8 11 9

G5 

Fm7

8

11

13

10 10

10 ( 10)

11

8

11 11 10 8 11 10 8

 10 10

3

10

8

8 11 10 11 10 8

10 10

8

3

  8

   3 3

8 8

3

1 3

grad. 1 bend 8 11 11 11 8

9

8

10 8

10

8 1113

1 3

4

4

1

3

3

10 10

10 ( 10 )

5

8

9

8

10

8

2

2 3

3 3 3

3

G5 

5

5 5

3

5

1

10

8

8

 8

8

Bass repeats Bass Fig. 1 (see bar 60)

8 10

3

8

13

3

  3

5

3

5

Fm7 1

1

1

8

3

1

13 13

3

5

13 13

10

10 10

13 !

1 3

1

4 4

2



8 8

7

13 11

10 8

10

8

6

8

 10

1

3

8

10

8

11 11 11

Bass Fig. 1 8 8

2

8 10

10

3



8



8

7 8 10

3 3 3

10

3

11 11 11

1

3

1

3

11 11 11 11

3

3

3 3

Fm7

3 3 3

10

 13 13

1

13 13

Fm7

G

5

Cm7

Cm7

10 10

10

8 11  13 13

8

5 5

5

 13 13

 10 ( 10 ) 10 10 10 10  8

   3 3 3

10 10 8

Cm7

 3

3

13 !

3

1

Gtr. 1 64

8

10 10

10

1

 13 !

 



10 8

Fm7

Fm7 61

Cm7

1

13 !

1 3

( 10)

10

8 8

10 8

11 10 11 10 8 11 10 11 10 8 11 10 8 11 10 11 10 8 11 10 8 11

3

Cm7 58

10  12  10 8

Cm7

Fm7 55

8

10

10 10

Cm7

1/4

8 11 9

 8

3



5 5

9



8

 8

3

10

10

11

8

8

10

12

10 10

   11

9

9



8 8 9 8

end Bass Fig. 1 1 3

8

4

8

1

9

6

2



8

guitarworld.com

125


TRANSCRIPTIONS

66

Cm7   G8

9

8

10

8

 8 8 

10

7

10

10

8

8

10

8

10

8

10

F Cm7

  G

Gtr. 1 68 8

Bass 1 3

8

3 3 

Fm9/B¨ 71 13

73

Fm9/B¨

1

3

13

1

4

15

18

10

   11

10

11

12

15

77

18

Fm9/B¨

1

79

18 18

3

126

18

 12

18

15

18

9

6

8

Cm7

13

13

12 12

1 hold bend

13

 13

1

1

3

3

3

18

3

1

3

3

Fm9/B¨

13 11 13 11

15 18 18 15 18

15

18

15

3

1

1

15

 13

1

1

18

18

11 13 13

3 3 

1 3

3

Repeat Bass Fig. 2 until fade (see bar 70)

2

12

pitch: G

3 3 

1 3

 13

fdbk.

 ( 12 )

Bass Fig. 2

2

hold bend

11 11 13

15

8

(3:35)

12

10

1

4 4

1

15

8

3

1

1

13

3

 18

3

1

18 15

1

15

18

15

18

15

18

15

18

15

18

15

18

Cm7 1

18

8 8 9

1 3

11 13

Fm9/B¨ 1

9

1

11 11 11

9

end Bass Fig. 2

1

15

8

10 10

4

13 11

1

18

8

Cm7

Cm7 76

8

10

1

13 !

7 8 10

11

Cm7

1

1

10

8

3 3 3

1 3

3

11

1

  



11 11

4

Gtr. 1

10 8 10

Fm7

8 8



Fm7

18

18

1

1

1

18

1

18

1

18 18

3

3

18

15

18

1

18 18

w/wah

let ring

18

3

GU I TA R WOR L D • J U LY 2016

18

18

1

18

1

18 18

3

18

18

18

1

18 18

3

3

18

1

18

18

1

18 18

3

18

18

1

18

18

1

18 18

3

18

1

18

18

1

18 18

3 3

18

18

18

18

1

18 18

3

18

18

18

1

18 18

3

18

18

18

1

18 18

3 3

18

18 18

3

18


“ EUROPA (EARTH ’S CRY HEAVEN ’S SMILE)” Cm7

 1

80

18 18

 18

18

 11

1

82

1

8 11 8

10

1

8 11 8

10

11

 11

 20

20

11 8

8 8 10 10 8

hold bend

20

20

20

Fm9/B¨ 8



10 10 10

10

Cm7 92

Begin fade Fm9/B¨ 1

95 18

Fm9/B¨

18 18

18

3

Cm7

18

18 18

3

3

10

3

18

10

1

11

3

 18 

18

 11

11

1

8

10

8

11

17 15 17 15 15

8

11 8

10 10 8

18

8

8

1

18 18

3

18

20

18 18

3

11 8

10 10 8

Fm9/B¨ 18

8

7 8 10

10

Cm7

1

10 8

10

1

20

8

6 8  10

8

  20 20 20 20 1

10 10 10

18

18 15

1

18

18

18

18

17

10

17

1½ 1½

18

18 18

18

10

3

8 10 10

1

18 18

18

3 3

Cm7

8

15 16 18

18 18

1

3

7

10

1

1

8

18 18 18 18 18 18 18

18 18 18 18 18

18

18 18

3 3



1

18 18

1

18 18

10

7

10 10



1 hold bend

1

3

17 17

6

Cm7

1

18 18

3 1

15 16 18

18

8

10

 20 20

 

Fm9/B¨

1

18 18

10 8

1

11 8

18 18

18

8 10

0

10 8

1

18 18

8

10

1

18

6

Cm7

  17 15 16 18

10 10 10

1

1



Cm7

1

17

10 8

Fm9/B¨

  16 16 18 18  20 20

(4:34)

1

18 18

10 8

18

18

3

Cm7

1

1

10 10

 15

8 10

18 18

18

18 18

1

18

7

1

18 18

10 10 8

11 11

17

Fm9/B¨

1

1

3

98

17

18 18

18

13

15 16 18

1

18 18

1

97

G

   17 17 ( 17 ) 15 17 15

15

11 8

0

10 8 8

 11

20 20 20

11 8

1

Fm9/B¨

3

89

11

1

8 8 8 8 8 8 8 8 8 10

87

1

1

8 11 11

10

 Fm9/B¨

1

1

Cm7 84

Fm9/B¨

1

3 3

Cm7

1

18

18 18

3

Fade

 guitarworld.com

 

127


253-845-0403

MON-FRI 9AM-5PM PACIFIC TIME, USA

CUSTOM GUITAR & BASS PARTS

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TRANSCRIPTIONS

WAR OF THE GODS Amon Amarth

As heard on SURTUR RISING Words and music by FREDRIK ANDERSSON, JOHAN HEGG, OLAVI MIKKONEN, JOHAN SÖDERBERG AND TED OSCAR LUNDSTRÖEM • Transcribed by JEFF PERRIN

All guitars are tuned down a perfect fourth (low to high, B E A D F# B). Bass tuning (low to high): B E A D. All music sounds in the key of B minor, a perfect fourth lower than written. E5

C5

B5

A5

A5

7fr 13

A

13

13

Intro (0:00) Fast q = 171

1

B5

E5

8fr

13

G5

F#5

D5/A

7fr

13

13

16

0

0

P.M.

10

0

P.M.

P.M.

P.M.

0

10

0

10

0

0

0

9

0

1

13

13

7

0

0

0 !

0 !

9 7 0

  

*Bass

9

9 7 0

C5

B5

P.M.

8

P.M.

7

8

8

P.M.

8

7

P.M.

8

0

8 !

 8 !

5 3

8

P.M.

9 8

8



0 5 3

B

8

C5

P.M.

10

8

13

 

A5

P.M.

10

13

 

*Bass part may alternatively be performed on the bottom four strings of a 5-string bass in standard tuning.

5

5fr

 

Gtr. 2 (elec. w/dist.)

 

D5 10fr

113

(repeat previous two bars)

0

G5 5fr

E5

Gtr. 1 (elec. w/dist.) 1 P.M.



C5 5fr

5

5

7 5

5

5

P.M.

7 5

5

2 0



5 !



0

4 2

7

7 5



P.M.

5

B5

P.M.

5

0 2 0

5 !

7 5

0

10 8

9 7

10 8

9 7

8

7







(0:11, 1:31)

N.C.(E5)

Gtrs. 1 and 2 Rhy. Fig. 1 P.M. 9



Bass



130

0

0

10

P.M.

P.M.

0

0

0

0

10

P.M.

0

0

0

0

Bass Fig. 1 0

0

0

0

GU I TA R WOR L D • J U LY 2016

10

0

P.M.

0

9

0

0

7

9

“WAR OF THE GODS” WORDS AND MUSIC BY FREDRIK ANDERSSON, JOHAN HEGG, OLAVI MIKKONEN, JOHAN SÖDERBERG AND TED OSCAR LUNDSTRÖEM COPYRIGHT (C) 2011 SONY/ATV MUSIC PUBLISHING (GERMANY) GMBH, CONTINENTAL CONCERTS AND MANAGEMENT GMBH AND DIRECTION PUBLISHING
 ALL RIGHTS ADMINISTERED BY SONY/ATV MUSIC PUBLISHING LLC, 424 CHURCH STREET, SUITE 1200, NASHVILLE, TN 37219 INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED
 REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION


“WAR OF THE GODS” (C5)

A5

P.M.

13

P.M.

8

7

8

8

P.M.

P.M.

10

7

8

P.M.

8

8

P.M.

10 8

P.M.

9

8

8

8

5

7 5

5

5

P.M.

P.M.

7 5

5

7 5

5

C5 B5 end Rhy. Fig. 1

5

P.M.

7 5

5

10 8

5

9 7

end Bass Fig. 1 3

3

3

3

3

3

3

3

3

3

3

3

3

3

2

2

0

0

0

0

0

0

0

0

(E5) Gtr. 2 repeats Rhy. Fig. 1 (see bar 9)

Gtr. 1 P.M. 17

0

P.M.

0

14

P.M.

0

14

0

0

P.M.

14

0

0

12

0

0

0

0

0

3

2

C5

B5

10 8

9 7

 

P.M.

0

0

10 12

Bass repeats Bass Fig. 1 (see bar 9)

(C5)

A5

P.M.

21

8

C

P.M.

7

8

8

P.M.

8

P.M.

P.M.

10

7

8

8

P.M.

10 8

8

P.M.

9 8

8

5

7 5

5

5

P.M.

P.M.

7 5

5

5

7 5

5

P.M.

7 5

5

5

Verses (0:31, 1:51) 1. War

first war The very Odin hurled his spear off

2. Truce

So a brittle See the furious

Death Death E5

Gtrs. 1 and 2 P.M. 25

 

0

Bass  0

P.M.

0

2 0

0

0

0

0

P.M.

0

2 0

0

0

0

0

1.

0

0

0

0

0

(1.) Three times burned and to (2.) Njordr and Freyr

N.C.(C5)

Gtrs. 1 and 2 Rhy. Fig. 2 29 (16th-note tremolo picking)



3



3

Gtr. 3 (elec. w/dist.)



3



3



Bass



7

Bass Fig. 2



7



3



3



3

0

2 0

0

0

0

0



3



2

0

2 0

4 2

0

0

2

by and



2



7

(16th-note tremolo picking)

that the And to ensure knew that a Odin

forged blood F#5 E5

 

searing Hön’ and (A5)



0



3



3



3



2



7



2



0

peace remained war raging F#5



0

flames Mim

was to

Gullveig Vanaheim



7



0

torn (G5)



0



0



0



0

(repeat previous bar)

(16th-note tremolo picking)

7



witch was killed when the treacherous the great vana-fyrd deep into

world force

P.M.

three times born Asgard came (B5)

3

our great

and frail peace was gods wanting

P.M.

2 0

of with



7



0



7



0



7



0



7



0

(F#5)





3

2



 



10

3

 

9

3

2

2

guitarworld.com

  131


TRANSCRIPTIONS 2nd Verse, skip ahead to E Interlude (bar 45)

2.

gave horns not bring them any

up their sound gain (B5) N.C.(C5) Gtrs. 1 and 2 play Rhy. Fig. 2 (see bar 29)

(1.) Battle (2.) would

and Just

Asgard walls leave a black (A5)

ground stain (G5)

razed to the and bitter

(F#5)

Gtr. 3 33





10



10



10

10



Bass plays Bass Fig. 2 (see bar 29)

D

Chorus (0:51, 3:37) felt deceived fit of violent rage (E5)

* Vanir

 



7



7



7



7

was a blood

Höne Mímir’s (G5)

(D5)

Gtr. 1 37



7



7



10

9

fool was shed

9

9

9 11 11 11 12 12

12 9

9

9 11 11 12 12

12 12 12 14 14 14 16 16

16 12 12 12 14 14 16 16

7

7

7

10 7

7

7

9

9 10 10

10 10 10 12 12 12 14 14

14 10 10 10 12 12 14 14

9

9

9 10 10

*Omit lyrics durng first two passes on 1st Chorus.

Gtr. 2

   

9

9

9

9

9

9

9

9

9

9

9

9

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

5

5

5

5

0

0

0

0

0

0

0

0

Bass

41

Without And to (D5)

at court

Mímir Odin’s

his they

side sent

5

5

5

5

5

5

5

5

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

4th time on 1st Chorus, go back to B (bar 9) 4th time on 2nd Chorus, skip ahead to F (bar 69)

could not rule severed head

Höne Mímir’s (E5)

a

(play 4 times)

14 14 14 11 11 11 9

9

9 14 14 14 11 11 7

7

9

9

9

9

9

9

9

9

9

9

9

9

9

9

9

9

12 12 12 9

9

9

5

5

5 12 12 12 9

5

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

7

9

9

9

9

9

9

9

9

11

11

11

12

12

12

11

11

5

5

5

5

5

5

5

5

7

7

7

7

7

7

7

7

9

9

9

10

10

10

9

9

5

5

5

5

5

5

5

5

7 0

7 0

7 0

7 0

7 0

7 0

7 0

9 2

9 2

9 2

10 3

10 3

10 3

9 2

9 2

E

9

5

 

Gtr. 3

2

3

0

3

5

0

5

Rhy. Fig. 3a

7

0

7

8

0

5

7

9

7

0

0

0

0

0

0

GU I TA R WOR L D • J U N E 2016

0

0

0

2

3

0

3

5

0

5

0

0

0

0

0

3

0

7

8

0

5

7

3

3

3

3

3

3

12

10

0

7

0

12

7

Bass Fig. 3

0 0

0

0

9

0

 

(G5) Rhy. Fig. 3

0

Bass

 

*Substitute notes in parentheses on second and fourth repeats.

Interlude (2:12) N.C.(E5)

0

 

*

7 0

Gtrs. 1 and 2 P.M. 45

132

In

10

3

3

3

3

3

3

3

3

0


“WAR OF “SONG THE TITLE” GODS” (D5)

(E5)

P.M.

49

0

2

3

0

3

5

0

5

7

0

0

7

8

0

5

7

0 0

0

0

7

3

0

3

5

0

5

0

7

5

2

0

7

8

0

5

7

0

end Rhy. Fig. 3a

0

9

5

7

9

7

7

*

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

*Notes sound one octave lower on recording.

Swedish (spoken): Odin English translation: (Odin

tog took

E5 Gtr. 3 repeats Rhy. Fig. 3a (see bar 45)

huvudet the head

och and G5

smorde annointed

Gtr. 2 Riff A 0

2

3

0

3

5

0

5

7

0

7

8

0

5

7

med with

örter herbs)

 

P.M.

53

det it

0

Gtr. 1 Rhy. Fig. 4

0

0

2 0

0

2 0

Bass plays Bass Fig. 3 (see bar 45)

som (which

hindrar prevented

det it

D5/A Gtr. 2 plays Riff A twice (see bar 53)

57

0

5 3

5 3

från att ruttna from rotting)

E5

B5 C5

Gtr. 1

0

0

7 5 5

0

7 5 5

Bass

2 0

2 0

9 7

10 8

7

8

*

5

5

5

5

5

5

5

5

5

5

5

5

5

5

5

0

0

0

0

0

0

0

0

0

0

A5 B5

 

*Notes sound one octave lower on recording.

Han (He

E5 Gtr. 1 plays Rhy. Fig. 4 (see bar 53) Gtr. 2 plays Riff A twice (see bar 53) Gtr. 4 (elec. w/dist.)

kvad sang

sedan his

trollsånger magic songs G5

12

8

8

10

12

8

12

8

8

Gtr. 3

0 12 10

Bass plays Bass Fig. 3 (see bar 45)

8

10

0 12 10

8

10

8

10

så so

5

9 7

7

0

att that)

 

P.M.

61

över det over it

7 5

8

0 16 14

0 16 14

guitarworld.com

133


TRANSCRIPTIONS Mimer Mimer A5

Gtr. 2

65

åter

kunde tala till honom be able to speak to him) B5

would

A5 B5

Riff B

P.M.

0

C5

2

3

0

3

5

0

5

7

8

10

0

7

8

0

5

7

8

10

0

0

2

3

0

3

5

0

5

7

8

10

0

7

8

0

5

7

8

10

Gtr. 4 (elec. w/dist.) P.M.

8

10 12

8

12

8

8

8

10 12

8

8

8

10 12

8

8

12

8

8

10 12

8

P.H.

pitch: D

Gtr. 1

0

0 7 5

0

0

0

0

7 5

Gtr. 3

14

14

12

12

Bass

5

F

9 7

5

5

5

5

5

5

5

5

5

5

5

5

5

9 7

9 7

16

16

16 17

14

14

14 15

5

7

7

7

7

7

7

7

7

7

7

7

10 8

7 5

14 16

12 14

8

9 7

5

 7

(2:42, 4:18)

Bass 69

N.C.(E5) Gtrs. 1 and 2 play Rhy. Fig. 3 twice (see bar 47) Gtrs. 3 and 4 play Riff A three times (see bar 53)

0

2

3

0

3

5

0

5

7

0

7

8

0

5

7

 

0

2nd time, end song

Gtrs. 1 and 2 P.M. 73

0

2

Gtrs. 3 and 4 play Riff B simile (see bar 67)

3

0

3

5

0

5

7

0

7

8

0

5

7

0

0

2

3

0

3

5

0

5

7

0

B5 C5

9 7

10 8

Bass 0

2

3

Bass

134

0

3

5

0

5

7

0

7

8

0

5

7

0

0

2

3

0

3

5

0

5

7

0

7

8

 

Gtr. 1 plays Rhy. Fill 1 Gtr. 3

Gtrs. 1 and 2 P.M. 77

0

0

A5 B5

P.M.

7

0

0

Rhy. Fill 1

P.M.

0

7

 0

0

0

GU I TA R WOR L D • J U LY 2016

10 9

7

P.M.

9

9

7

9 10

0

P.M.

0

7

 0

0

0

0

7

 0

0

   X ! (pick scrape)

P.M.

0

5

9 7

 7

 2

14 12 10 12 12 10 12 14

Gtr. 2

7 5


“WAR OF “SONG THE TITLE” GODS”

G

1st Guitar Solo (2:57) E5

G5



Gtr. 3 (Olavi) 81 9 !

 7

9 !

9

9

pitch: E

Gtrs. 1 and 2 Rhy. Fig. 5 9 7

Bass

9 7

85

0

9 7

9 7

9 7

9 7

9 7

12 10

12 10

12 10

12 10

12 10

12 10

12 10

12 10

0

0

0

0

0

0

3

3

3

3

3

3

3

3

  5 7 

D5

7

7

7

7

7

7 5

7 5

7 5

7 5

7 5

7 5

7 5

7 5

5

5

5

5

5

5

5

5

Gtr. 3 89

D5 G5 

E5 5

 9

7

10 10

9 7

9 7

9 7

9 7

9 7

9 7

0

0

0

0

0

0

    17 17 17 17  17 21 21 21 21 21



17 21

D5

  16 14

Gtr. 3 93

 14

14

14

14

9 7

9 7

9

7

9 7

9 7

7 5

7 5

7 5

12 10

0

0

0

0

0

0

D5

10 7

19

20

7 5

0

0

19

19

   19 19 19 !

16

E5 1/2

16

P.M.

G5

Bass plays Bass Fig. 4 (see bar 81)

7 !

9

E5 Gtrs. 1 and 2 play Rhy. Fig. 5 (see bar 81) 17 21

7

9 7

Bass Fig. 4 0

   9 9 9

w/fdbk.

17

16

1/2

16

1/2

16

16

16

16

   16 16 16 !

Gtrs. 1 and 2 7 5

7 5

7 5

7 5

7 5

7 5

7 5

7 5

5

5

5

5

5

5

5

5

Bass

 

9 7

9 7

9 7

9 7

9 7

9 7

9 7

9 7

7

7

7

7

7

7

7

7

 

guitarworld.com

135


TRANSCRIPTIONS

H

2nd Guitar Solo (3:17)

Gtr. 4 (Johan)

 12  15

w/wah

97

“WAR OF THE GODS”

1

1

12 15

Gtrs. 1 and 2 Rhy. Fig. 6

2 0

2 0

2 0

1

12 15

12 15

12 15

2 0

2 0

2 0

2 0

 12  15

1

1

12 15

G5

 14  17

1

12 15

2 0

5 3

1

1

1

14 17

14 17

1

14 17

14 17

 5 3

5 3

14 17

1

14

5 3

5 3

5 3

5 3

14 17

1

14 17

 

5 3

Bass plays Bass Fig. 4 (see bar 81)

A5

B5

Gtr. 4 101 T 17 15 12 10 *

*repeat previous bar

T

T

19 17 15 12 19 17 15 12

  

7 5

7 5

7 5

7 5

7 5

7 5

7 5

7 5

9 7

9 7

9 7

9 7

9 7

9 7

9 7

9 7

5

5

5

5

5

5

5

5

7

7

7

7

7

7

7

7

Bass

E5 Gtrs. 1 and 2 play Rhy. Fig. 6 (see bar 97) 0

3

3

Bass 0

0

0

3

108

0

0

0

0

3

3

3

0

0

0

G5

3

0

0

0

3

0

0

5

3

B5



5

5

3

3

3

3

3

7

0

0

3

3

3

3

2

3

2

2

3

3

3

3

3

0

0

5

3

0

0

3

3

3

5

5

0

3

3

3

3

0

0

5

3

3

3

3

3

5

5

3

3

3

3

3

3

3

3

A5

0

7 10

0

3

P.M.

3

136

3

3

3

111

3

3

0

19 12

end Rhy. Fig. 6

Gtrs. 1 and 2

Gtr. 4 P.M. 105 0 0

(end wah) T

3

3

3

2

2

3

3

3

3

3

2

0

3

3

3

3

3

0

7

3

3

3

1

0

5

7

0

3

5

5

3

5

5

0

5

5

5 3

1

7 10

7

7

GU I TA R WOR L D • J U LY 2016

7

7

7

7

7

7

3

5

5

5

7

0

0

8

8

8

3

7

5

3

7 10

0

3

0

7 10

 7

0

3

3

1

7 10

7

Go back to

7 10

7

7

3

8

8

8

3

D

Chorus (bar 37)

The

10


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IT MIGHT GET WEIRD INSIDE THE MINDS OF SOME OF THE WORLD’S MOST CREATIVE CUSTOM-GUITAR BUILDERS

GEAR HEAD Art Truss’ gear-shaped guitar

W

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Have you created a custom work of guitar art suitable for It Might Get Weird? Email us at soundingboard@guitarworld.com!

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