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RADIOHEAD

SOUNDGARDEN

KARMA POLICE

OUTSHINED

SABBATH

BL W WA

I

(RIFF)

LEARN TO PL AY

TOM PETTY FREE FALLIN’ (VIDEO RIFF)

BECOME THE

ULTIMATE RHYTHM GUITA R IS T

Master the secrets behind guitar playing’s most crucial skill Featuring FRUSCIANTE, HETFIELD, EVH, MCCARTNEY, HENDRIX + more

BILLY GIBBONS Talks blues in our exclusive round table

REVIEWED INSIDE!

IBANEZ AZ SERIES The ultimate modern electric?

SMASHING PUMPKINS Corgan and Iha together again


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CONTRIBUTORS SteveAllsworth,RichardBarrett,JonBishop, JoeBosso,PhilCapone,JackEllis, CharlieGriffiths,NickGuppy,JonathanHorsley,GeorgineHodson,CliffNewman, MatthewParker,AmitSharma, Simon Young Music Engraver: Simon Troup Photography: Olly Curtis, Neil Godwin, Adam Gasson, James Sharrock, JenRosenstein

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Welcome! One of the greatest, but also most perplexing, things about guitar playing is that it can be as simple or as complicated as you want it to be. And, as a result, your relationship with the guitar will inevitably ebb and flow over time. There are many paths and avenues you can take with your playing approach and sound. Want to learn your favourite solo note for note? Go for it. Trying to develop your own versatile style by studying parts of different genres? Knock yourself out. But there’s one universal guitar truth that should always be your guide in everything you play: rhythm. The mainstream idea of a great guitar player can often be dominated by the expectation to hear head-turning lead pyrotechnics, but we all know there’s much more going on than that. Eddie Van Halen, Jimi, SRV – all great rhythm players first and foremost. And it was their use of rhythmic dynamics, original ideas and their relationship with other instruments in their bands that enhanced the unique character of their playing. And you can inject so much personality and nuance into your own rhythm work because there are so many facets to it. That’s why we’ve taken a toolkit approach in our feature; studying the signature rhythm techniques of great players so you can create your own palette of rhythm tricks that will make you a better guitar player. And talking about players with big personalities, this issue is also proud to host Billy F Gibbons talking blues with his esteemed bandmates in our round table feature, and Billy Corgan returning with a reunited and reenergised Pumpkins. I hope you enjoy it all.

Rob Laing Editor

MAKING THIS MONTH’S MAG

Chief executive Zillah Byng-Thorne Chairman Peter Allen &KLHIÀQDQFLDORIÀFHUPenny Ladkin-Brand Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath)

All contents copyright © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage. We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).

CHRISBIRD

MICHAELASTLEY-BROWN

AMITSHARMA

TG’s tuition editor enlisted the assistance of contributor Jon Bishop to write this month’s huge cover feature. “This month’s lessons are a great primer in all things rhythm” says Mr B, “including helping you tackle the tricky odd-time riffing in this month’s Classic Track, Outshined by Soundgarden”. Find the troublesome tab on p68!

The Ibanez AZ series was one of Mike’s highlights from NAMM, and this month, our intrepid gear whiz finally got his mitts on one of the Japanese guitar giant’s thoroughly contemporary double-cuts. As a die-hard Smashing Pumpkins fan, he’s also keen to try, try, try his hand at this month’s tutorial.

Whilst widdling around at the end of our round table interview with ZZ Top superstar Billy Gibbons for this issue of TG – Amit, our man out on the streets, was informed that he was “a mean guitar player” by one of his biggest blues heroes. Naturally, life hasn’t quite been the same ever since for the TG feature writer. OCTOBER 2018 TOTAL GUITAR

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#311 MONITOR

048

BECOME THE ULTIMATE RHYTHM PLAYER

006 First Look 008 Scene 010 Five Minutes Alone: Rich Robinson 012 On The Up 014 Me & My Guitar: Hannah Trigwell 016 Albums 018 Back Track: Ritchie Blackmore

HOW TO 020 20 Minutes To… Blues lead 022 Riff Of The Month: Black Sabbath: War Pigs 024 Getting Started With… Fret hand muting 026 The FX Files: Dunlop Cry Baby 028 What The F? Locrian mode

04

FEATURES 030 Round Table 036 Idles 040 Smashing Pumpkins 048 Become The Ultimate Rhythm Player

LEARN TO PLAY

090

IBANEZ AZ224F

066JamTrack:Reggae 068 Classic Track: Soundgarden Outshined 076 Video Riffs: Arctic Monkeys, Metallica, Tom Petty 078 The Turnaround: Joe Bonamassa

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

SUBSCRIBE!

Subscribe to Total Guitar and save a whopping 30% on the regular cover price – turn to p112 for full details.

TOTAL GUITAR OCTOBER 2018

030

ROUND TABLE THE GAS STATION 088 Start Me Up 090 Ibanez AZ224F 094 Vox Mini Superbeetle 096 Martin DX1AE 098 Group Test: Retro rockers 104 Pedal round-Up: Compact reverb pedals 106 Fuzzrocious Grey Stache 108 Fix Your Guitar 114 The Playlist: Zach Blair

036

IDLES


MONITOR PEOPLE - NEWS - NOISE

MONSTER TRUCK Photography: Adam Gasson

Mooer has thought of everything with its new Black Truck multi-effects

06

TOTAL GUITAR OCTOBER 2018


FIRST LOOK PEOPLE - NEWS - NOISE

roorzlqj#xs#rq#lwv#qliw|#Uhg#Wuxfn#pxowl0hļhfwv# pedal, Mooer has debuted the Black Truck all-inone pedalboard unit, which features six built-in hļhfwv#ghulyhg#iurp#Prrhuġv#Plfur#vhulhv1# The Black Truck delivers compressor, overdrive, distortion, EQ modulation and delay/reverb, as well as a tuner, FX loop and looper switcher. Handily, there’s also a dedicated direct output with speaker simulation and independent volume, not to mention tap tempo, stereo outputs and an included carry case. It’s safe to say this will cover most playing scenarios and could prove a handy back-up should your rig go down, especially at its £294 price tag. Here’s wkh#orzgrzq#rq#wkrvh#rqerdug#hļhfwvĩ

F

UP CLOSE

Hi-gain The analogue high-gain circuit boasts a mid switch, low-end tweak knob and a built-in noise gate

Mod This section combines phaser, tremolo and flanger/chorus, with a handy rate subdivision tap-tempo rotary

Space Based on Mooer’s Echoverb, this pairs digital delay with stereo reverb – you can use both at once or one at a time

OCTOBER 2018 TOTAL GUITAR

07


MONITOR PEOPLE - NEWS - NOISE

LEARN

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SCENE PEOPLE - NEWS - NOISE

DON’T MISS… The best guitar events coming up

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MONITOR PEOPLE - NEWS - NOISE

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

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

Break on through to the other side “I was never the type to sit in a room and practise scales. I kind of forged my own way with writing, to open up these tunings that I’ve played with and translate that into a song. Through that, every time I would write a song, my ability would grow. To me, the end of everything is a great song and that’s the reason I play guitar. It’s cool to add accoutrement to a song and play solos, but the ultimate goal is for a song. All of my leaps that I would go through were from pushing myself as a songwriter.”

10 Blue Moon Of Kentucky Rich Robinson: takes a philosophical view on life, love and loss

FIVE MINUTES ALONE

RICH ROBINSON The former Black Crowe turned Magpie Salute wingman ponders narc nightmares, divorcing his gear and the wisdom of Neil Young This old guitar

“My dad was a musician and he had two really beautiful guitars around the house. One was a 1953 Martin D-28 and the other was a custommade guitar by these brothers in Tennessee. As we started to get more interested, my dad was like, ‘Enough of this! Leave my shit alone!’ He bought me a Lotus Strat copy in black and white.”

“I think it was Neil Young who said, ‘Every guitar has a song in it’ and I feel that. I’ve had times where I would get a guitar and I would be deoh wr zulwh vrph juhdw vwxļ rq lw dqg vrph guitars would just sit there and I couldn’t connect with it. [In recent years] I got these really cool Martins that were designed by this guy George Gruhn. He had gotten these two

“I THINK IT WAS NEIL YOUNG WHO SAID, ‘EVERY GUITAR HAS A SONG IN IT’ AND I FEEL THAT’” TOTAL GUITAR OCTOBER 2018

Hard to handle… “The toughest time I had was pretty much the whole time I was in the Black Crowes! It was just so negative. [To be able to] make these records and play these songs was amazing. We had virtuosic people in the band: Marc Ford, Eddie Harsch and my brother was a great singer. But it was so bogged down with misery dqg lq0Ľjkwlqj dqg shwwlqhvv wkdw L grqġw orrn back on it with fond memories. Luckily, with The Magpie Salute, everybody’s been through that. We’re pretty vigilant about not falling into those traps!”

The Magpie Salute’s new album High Water I is out now via Provogue/Mascot

Words: Matthew Parker Photo: Will Ireland

Got my first real six-string…

“One of the worst shows we ever played was in Kentucky on Southern Harmony. We were in this arena and it was sold-out. It was one of the biggest headline shows that we’d done to date. We were touring with this big banner that said, ‘Free us! No narcs!’ And it had a big pot leaf on it. When we played, these [guys] busted backstage and beat the shit out of everyone. [We think] they were undercover cops. They wouldn’t show their badges. Our security guards went up to them and said, ‘Hey man, you can’t be back here…’ and they were beaten by these guys. We had to cancel the show and a riot broke out and people ran outside and turned over cars. That was pretty fucked up.”


MONITOR PEOPLE - NEWS - NOISE

John J has learned the beauty of subtlety in time for a new album, due next year

12

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FOR FANS OF Duke Garwood, Black Keys GEAR Hofner President, WEM Dominator, Selmer Zodiac

“IT’S MORE ABOUTTOUCHING THE STRING THAN HITTING IT.... LETTING THE STRING DO THE WORK”


ON THE UP

PEOPLE - NEWS - NOISE

DILLY DALLY

Canadians making heavenly punk hits l}#Edoo#dqg#Ndwlh# Prqnv/#wkh#jxlwdu#gxr# dw#wkh#khduw#ri# Wrurqwrġv#Gloo|#Gdoo|/# kdyh#ehhq#rq#d#plvvlrq#wr#pdnh#d# srvlwlyh sxqn uhfrug1 Wkhlu vrxqg kdv ehhq olnhqhg wr wkh Sl{lhv/ exw vhfrqg doexp Khdyhq lv sxqn zlwk elj fudfnv lq lw wkdw/ dv ihoorz Fdqdgldq Ohrqdug Frkhq zrxog sxw lw/ ohw wkh oljkw lq1 ģHyhu|rqh lv wluhg ri ehlqj dqju| doo wkh wlph/Ĥ vd|v Ndwlh1 ģWkh zruog kdv ehfrph vr gdun/ wkdw wkh doexp lv uhdoo| suhvhqwlqj d

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RISEOFTHENORTHSTAR Around the world in hate-y ways i#|rxu#pdlq#lvvxh#zlwk# Iuhqfk#kls#krs2 kdugfruh#furvvryhu# edqgv#lv#wkdw#qrw# hqrxjk#ri#wkhp#duh#fkdqqholqj# Mdsdqhvh#vwuhhw#jdqjv#dqg#pdqjd# lqľxhqfhv/#wkhq#zhġyh#jrw#jrrg# qhzv#iru#|rx1#Ulvh#Ri#Wkh# Qruwkvwdu#rļhu#d#sxusrvhixo/# srzhuixo#eohqg#ri#doo#wkh#deryh/# phujlqj#Elrkd}dug#ulļv/#UDWP# jurryh#dqg#vrph#juhdw#wkudvk0 wlqwhg#vrorlqj#frxuwhv|#ri#ohdg# jxlwdulvw#Hyd0E1#Wkhlu#vhfrqg# ixoo0ohqjwk#+gxh#4<#Rfwrehu,#Wkh#

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ESTRONS

LALALALA

WHO: D qhz jxlvh iru Gdunhvw Krxu pdq Mrkq

WHO: Zhovk dow0urfnhu Ukrgul Gdqlho SOUNDS LIKE: Vrphrqh gursshg d wud| ri

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SOUNDS LIKE: Ix}}hg0xs dqg wkudvk| Qluydqd0lvpv/ ixoo ri GF kdugfruh erxqfh dqg vfdwklqj srzhu0srs krrnv GEAR: 4<<9 Jlevrq VJ/ Rudqjh DG63/#Yr{#7{45 FOR FANS OF: Nirvana, The Explosion HEAR: Hello Cruel World

FOR FANS OF: Marmozets, Demob Happy HEAR: Jade

FOR FANS OF: Best Coast, Velvet Underground HEAR: Destroyer

OCTOBER 2018 TOTAL GUITAR

Jonathan-Harris / Michelle Homony o / Ben Berzerker / Chad Fjerstad / Imogen Forte

THEPRIMALS Khqu|

13


MONITOR PEOPLE - NEWS - NOISE

2

“I really like my American Standard Fender Telecaster but it hasn’t been set up in such a long time because this guitar just feels perfect for me. It’s been in a room getting dusty while this is the one that comes out and gets the limelight.”

1

“This is my custom Flaxwood Rautia. I was approached by Zed distribution and they asked me if I wanted to try out any of the Flaxwood models before a show when I was supporting Walk Off The Earth at the 02 Academy in Brixton, which is the biggest show in the UK I’ve ever done. I wanted to try them out because [Lee Bolt] from Walk Off The Earth had one and I thought they looked amazing. So I tried them out backstage and this is the one that fitted me best.”

1

2

ME AND MY GUITAR

HANNAH TRIGWELL 14

After building a fanbase on YouTube, the songwriter releases her debut album featuring this unusual Finnish electric

4

“The way that it’s a custom for me is that they added a switch on because I was a little concerned with [the Seymour Duncan] humbuckers because I was so used to using my Telecaster. That has a twangy, trebly sound and I was concerned it would be too heavy for the stuff I was playing on tour. So they’ve given me an extra control [a coil-split for the humbuckers with a five-way switch] that lets me play with a really trebly tone which is similar to my Telecaster.”

3

“These guitars are really unique [the body, neck and backplate of a Flaxwood guitar are made in moulds from a fibrereinforced thermoplastic composite containing spruce called flax] and that’s what gives it the crazy pattern on the body. The neck is a bolt-on. The body is hollow and that affects the weight of it a lot, making it really light and easy to use onstage. Flaxwood guitars [are] more environmentally friendly and although that’s not my highest priority – I want the guitar to be good first and foremost – it is really cool to know that it’s not damaging to the environment because I’d like to not have that guilt with me when I go on tour.”

5

“The balance between acoustic and electric songs in my live set is about 50/50. When I want to play more upbeat songs I’ll go for this guitar and I use it with a lot of pedals. When I’m playing guitar I usually use my looper pedal, which is the TC Electronic Helicon Voicelive 3 that has voice effects on there as well, which means I can build a really big sound with just one guitar. I also use an [Electro-Harmonix] Analogizer; my Voicelive 3 pedal has an amp simulation, which is great but the sound is a little too digital for me so I just use that Analogizer pedal to warm things up and it makes a range of weird noises.”

TOTAL GUITAR OCTOBER 2018

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6

6 5

4

“I used this guitar a lot when I was recording my upcoming debut album Red, which fits really well with the colour! I used it on pretty much every song and the album is a mixture of dark pop and really stripped-back acoustic stuff. There’s one particular song called Without You that was just going to be an acoustic track but I realised it worked a hell of a lot better with the tones this was making. So that track is stripped but the tones of this really shine through and that’s one of my favourite tracks from the whole album.”

Red is out now via Hannah’s label Teapot Records


MONITOR PEOPLE - NEWS - NOISE

JOHN BUTLER TRIO HOME

W

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

THE MARCUS KING BAND

16

CAROLINA CONFESSIONS

W

hatever is giving Marcus King the blues it at least has the common decency to animate his creative endeavours, and with a tangible authenticity here that’s writ large in the violence with which he executes a string bend. It’s also writ large in a searing white-heat lead tone that suggests that, somewhere in the backline, there’s a Class A combo being driven so hard you could grill steak on the tubes. King’s solo on Homesick should be preserved in the Smithsonian for its tone alone. And the phrasing? Unimpeachable. For all its pointed catharsis, Carolina Confessions has a celebratory feel to tracks such as How Long and the psychedelic

swamp-funk stomp of Welcome ’Round Here. That his band have the ability to hļruwohvvo| nloo wkh yroxph dqg gurs#edfn# into after-hours blues to let King’s guitar claim the spotlight is one of their most potent power moves. And at 22, King is still a colt, but he has wisdom beyond his years to keep such talented company in a rhythm section comprising Stephen Campbell on bass and Jack Ryan on drums. And with DeShawn Alexander on keys, Dean Mitchell on saxophone and Justin Johnson on trumpet and trombone, the Marcus King Band have the chops to write the next chapter on blues and soul. Jonathan Horsley DOWNLOAD Welcome 'Round Here

THE LAST ALBUM I BOUGHT…

Plini TIM MILLER TRIO VOL 3 “The mostridiculous Holdsworth-styleplaying – you havenoideawhat he’s doing.Amazing tones;

TOTAL GUITAR OCTOBER 2018

and he does all this crazy stuff where he records the guitar as well as a midi pickup and a mic in the

room.Yougetallthefinger noiseandthenthemidi doesxylophone.A really dense, layered lead tone.”

GREGORY ALAN ISAKOV EVENING MACHINES

C

all us crazy, but >o^gbg`FZ\abg^l – the fourth album from Colorado indie folk-type Gregory Alan Isakov - sounds like sunsets. Positioned somewhere between Ben Howard’s explorations and Edward Sharpe’s woozy melody, there’s much to explore in the soundscapes of the 12 tracks here. Big, balmy pianos and twanging acoustics form the base for an album that is moving, fdop#dqg#vxshueo|#frqvwuxfwhg1#Lwv#hļhfw#lv#d# slow permeation: one that evolves and envelops you in warm, lilting melodies and little phrases that soon stick in the head and the gut. Like the slow-boiled frog, you’re cooked before you notice the heat. Matt Parker Download Southern Star


EXCEPTIONAL

| EXCELLENT

| GOOD

| FOR FANS OF

ALBUMS

| POOR

PEOPLE - NEWS - NOISE

BOOK

SOULFLY

JOHN SMITH

RITUAL

HUMMINGBIRD

C

rplqj#rļ#wkh#khhov#ri#5348ġv#prqvwurxv# :k\aZg`^e as well as last year’s Cavalera Conspiracy blitzkrieg Ilr\ahlbl, it’s xqvxusulvlqj#wkdw#Vrxoľ|ġv#44wk#hļruw#vhhv#d# slight drop in standards. Yet the full-blooded ulĿqj#dqg#hhulh#wuledolvp#wkh#edqg#duh#nqrzq# for crush on the title track and Demonized, with Max’s drumming son, Zyon, and the underrated Mark Rizzo playing blinders, not ohdvw#rq#wkh#udslg0Ľuh#;bm^Ma^;nee^m. While the ubiquitous curveballs don’t always work as well as previous albums – the NWOBHM motif of ?^^][Z\d a case in point – the deathly onslaught of Under Rapture proves wkdw#wkhuhġv#sohqw|#ri#olih#dqg#Ľuh#ohiw#lq#Eud}loġv# Ľqhvw#vrq1 Adam Rees Download Under Rapture

A

iwhu#wkh#lqurdgv#Vplwk#pdgh#rq#534:ġv# excellent A^Z]ehg`, it’s interesting to see him now delve back into the traditional songs that have shaped him as a player. This is a record that throws his superlative acoustic folk talents into sharper focus with a respect and love for the material tangible in every note captured intimately here by producer Sam Lakeman. With three of his own compositions dovr#ihdwxulqj/#lwġv#wkh#zdup#vxpphu|#ľrz#ri# the opening title track that builds the clearest bridge from the last album, but Smith’s rich yrlfh#dqg#hprwlyh#Ľqjhuvw|oh#pdnh#wkh#gdunhu# likes of AZk^lHgMa^FhngmZbg and the haunting closing duet with Cara Dillon on Unquiet Grave his own. Another acoustic treasure. Rob Laing Download Hummingbird

BEHEMOTH

THE JOY FORMIDABLE

I LOVED YOU AT YOUR DARKEST

AAARTH

A

fter the emotional turmoil that went into The Satanist, Poland’s blackened masters have proudly shed their skin once again for its successor. The hellish bark of Pheo^lHo Siberia and nefarious blasphemy of @h]6=h` have the familiarity of a band still conquering and summoning demons, but once the choral chants beckon ;ZkmsZ[^e the descent into Dante’s spiral becomes inescapable. From the grandiose >\\e^lbZ=bZ[ehb\Z<Zmaheb\Z, to the progressive realms of LZ[[ZmaFZm^k’s harmonies and the rumbling, acoustic-backed epic AZoha^cIZgmh\kZmhk that evokes mid-period Opeth, this is another daring and cathartic testament from a band worthy of idolatry. Adam Rees Download Havohej Pantocrator

R

itzy Bryan and co have clearly spent some time considering the risks of laurelresting. As such, their fourth record eschews their dream-pop-gone-alt-rock formula, taking the dial marked ‘mad, sv|fkhgholfġ#dqg#fudqnlqj#lw#Ľyh#qrwfkhv#wr#wkh# right. Ma^Pkhg`Lb]^ wrestles skittish Whammy-wranglings into a marching rocker, while <b\Z]Z!EZg]HgRhnk;Z\d" melds sitar-sounds with grinding Muse-y grandeur and =Zg\^H_Ma^Ehmnl’s thundering pedal abuse recalls Omar Rodriguez-Lopez. It sometimes feels a bit ‘kitchen sink’ in approach – Ritzy’s ’board must be heaving – but joyfully experimental and refreshing all the same. Matt Parker Download The Wrong Side

Jimmy Page: The Definitive Biography Chris Salewicz

A

t this point, most guitarists probably feel like they have a rough handle on Page’s illustrious, notorious career; Scotty Prruh0zruvklsslqj#vnlŀh#jxlwdulvw# ehfrphv#doo0urxqg#ulļ#orug/#jhwv#lqwr# trouble with drugs, women and organised religion – but trust us, you ain’t seen nothing yet. In this exhaustive biography, veteran music journalist Chris Salewicz delves into the murky depths of the Led Zeppelin guitarist’s past and turns up every possible controversy to ever plague who many would consider the ultimate guitar hero. Although the narrative of backstage arguments, occult obsessions and dubious relationships forms the backbone of the book, dig deeper and there’s some fascinating insight into Page’s meticulous approach to guitar overdubs, with a host of archival and contemporary quotes from the man himself peppering the group’s frequently perilous journey to legendary status. Michael Astley-Brown

BOOK Heavy Duty: Days And Nights In Judas Priest KK Downing with Mark Eglington

D

rzqlqjġv#vkrfn#5344#ghsduwxuh#iurp#wkh# iconic metal band he co-founded over 73#|hduv#ehiruh#lv#d#nh|#vxemhfw#khuh1#Dqg# while some autobiographies can be a little too polite as their subject keeps one eye on upsetting business partners, the former clergyman is honest in his appraisals without being salacious. Following his early awe at seeing Hendrix live, and getting Sulhvw#rļ#wkh#jurxqg/#lw#ehfrphv#dssduhqw# from Downing’s perspective that tensions with his guitar partner Glenn Tipton had been simmering for some time. David Hands

OCTOBER 2018 TOTAL GUITAR

17


MONITOR

Ritchie Blackmore: Mere mortal or a celestial being sent from above?

PEOPLE - NEWS - NOISE

18

Back track

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

Words: Jonathan Horsley Photography: Future PLC

RITCHIE BLACKMORE Richard Hugh Blackmore was born on 14 April 1945, in Somerset, but such is the way with bona-fide rock gods, juicier theories of the man in black’s origin seem more convincing. Perhaps it was a cosmic anomaly that saw him emerge from a meteorite, a latter-day Kal-el with neoclassical chops and an untutored fury, who, with Strat in hand, carved himself into immortality through his virtuoso rock exertions with Deep Purple and Rainbow. TOTAL GUITAR OCTOBER 2018

START WITH

RISING

1

(1976)

Rising is a Tolkien-esque tour de force that cloaks muscular arrangements in epic prog-mysticism. Recorded in short order with producer Martin Birch at Musicland Studios, in Munich, Rising saw Ronnie James Dio’s leather lungs endow songs about wizards, cartomancy and death with a regal authority. The union of metaphysical storytelling and the earthly physics of classic rock has never been bettered. Check out the irresistible groove of Tarot Woman, which sees Blackmore’s guitar pull you into the eye of the storm for a libinal hoe-down, or the slack groove of Run With The Wolf, Blackmore’s arcane mastery of the bluesrock solo answering the call of the wild. And then there’s Stargazer, featuring the Munich Philharmonic Orchestra, it remains the acme of early heavy metal expanding the boundaries of a newly-minted sound. Recommended track : Stargazer


BACK TRACK PEOPLE - NEWS - NOISE

THEN TRY

MACHINE HEAD

DON’T MISS OUT (1972)

2

Like Rising, Machine Head came together improbably quickly, written and recorded in just over two weeks at the Grand Hotel, Switzerland. Smoke On The Water famously documented the experience of seeing their preferred studio, the Casino, burn down, with the Rolling Stones later stepping in with their mobile studio to get the album tracked. Highway Star opens Machine Head with a paean to street racing hot-rods, Blackmore a fast and furious franchise of his own. Then there’s Space Truckin’ with its Jupiter-sized groove, the psychedelic Lazy, on which Blackmore’s lead phrasing should be a taught subject in any school of rock, on an album that imbued us all zlwk rxu Ľuvw ulļ1 Recommended track: Space Truckin’

WORTH A SPIN

BURN

5

(1974)

Now fronted by David Coverdale, Deep Purple were mining some serious blues-based rock on Burn, and Blackmore some serious volume. Around this time he was chasing his beloved Vox tone via Marshall, the latter building him a 280-watt amp. You could surely grill steaks on the back of it. And if it all sounds a bit ridiculous, maybe it was, but it complemented the material, of which the title track is a classic Purple opener. Sail Away is pure Purple grooves, Mistreated made the most of Coverdale’s tobacco throat, while You Fool No One lv#d#sv|fkhgholf#ulļ0r0udpd/# which was manna from heaven for the long-hairs assembled at Ontario Speedway for the California Jam in the summer of ’74. Recommended track: You Fool No One

ALSO RECOMMENDED

DEEP PURPLE IN ROCK LONG LIVE ROCK ’N’ ROLL (1970)

3

With immodesty a virtue among the big beasts of classic rock, Deep Purple duly uhĽjxuhg Prxqw Uxvkpruh iru wkh fryhu1 Ian Gillan had made his debut on Jon Lord’s Concerto For Group And Orchestra the previous year, but that was no measure of his talent. Here, he took to the kinetic urgency of Speed King and Flight Of The Rat as though it were mother’s milk. Meanwhile, Mr Blackmore verged on the spectacular, wayfaring licks resolving themselves in staccato chord stabs on Into The Fire; syncopated jiggery-pokery run wild on Hard Lovin’ Man. Black Night, a single released to accompany the record, never made the original pressings. That’s how good it was. Recommended track: Child In Time

WILD CARD

STRANGER IN US ALL

(1995)

6

Blackmore always knew what he wanted from his career. Introducing baroque elements into heavy metal? Why not. He could play the blues but he was never a blues obsessive like many of his contemporaries. More often than not his instincts were right. Dqg#|hw#khuh/#rq#Udlqerzġv#Ľqdo#doexp/#d# precursor to his Blackmore’s Night neo-folk project and billed explicitly as ‘Ritchie Blackmore’s Rainbow’, he released a vintage hard-rock album during the febrile mid-90s iconoclasm, grunge et al. With the likes of Wolf To The Moon, Cold Hearted Woman and the ridiculous but brilliant take on Edvard Grieg’s Hall Of The Mountain King, that was a crime. Recommended track: Wolf To The Moon

(1978)

4

Essential listening for the anthemic ghĽdqfh ri wkh wlwoh wudfn dorqh/ Long Live Rock ’N’ Roll was the album, arguably, that showcased the possibilities of shred guitar. E| vpxjjolqj qhrfodvvlfdo Ľuhzrunv lqwr#klv# lead playing in referencing the exotic scales in the fantasy prog masterpiece Gates Of Babylon, he changed the game. It was Blackmore who was an early advocate of the scalloped fretboard, adding zip to his trusty Stratocaster. Dio’s voice, again, is peerless here. So, too, Cozy Powell, whose formidable tattoo propels Blackmore into a technical ecstasy on Kill The King/ d erqd0Ľgh khdy| phwdo fodvvlf1 Recommended track: Kill The King

AVOID!

WINTER CAROLS

(2006)

7

Acid casualties stumbling in from the California Jam would be forgiven for seeking medial attention after fkhfnlqj#lq#rq#5339#dqg#Ľqglqj#wkh# Ľuheudqg#jhqlxv#zkr#exuqhg#wkh#vwdjh#grzq# in ’74 revising Christmas carols for a festive vwrfnlqj#Ľoohu1#Good King Wenceslas, I Saw Three Ships, and – of course – Ding Dong Merrily On High, Winter Carols is the Yule log in the Blackmore canon. Here ends the search for the most unlikely source of Christmas cheer – Ritchie Blackmore.

/Recommended track: Ding Dong Merrily On High

OCTOBER 2018 TOTAL GUITAR

19


HOW TO

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

20

20 MINUTES TO…

BETTER BLUES LEAD

Improve your phrasing and melodic playing as well as tightening up some of the most important lead techniques with TG’s blues lesson ot only is blues a springboard for many other styles, such as country, rock and jazz, but it can also teach us many things about the art of phrasing in solos. Often it’s the small technical details like string bends, slides and vibrato that go into pdnlqj d juhdw vror1 Wkh Ľqdo slhfh ri wkh

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ri#krz#hdfk#olfn#ĠĽwvġ#ryhu#d#fhuwdlq#fkrug#ru# part of the progression is the key to improving. Of course, learn the licks – if you’re into John Mayer, BB King, David Gilmour, even Guthrie Govan, these will be right up your street. Ultimately though your goal should be to choose some favourite phrases and incorporate them into your own playing.

puzzle for many guitarists, however, is targeting the best notes at the right moment. With this in mind, this month we’re focusing on how to further your lead skills through clever use of space, harmony and note choice. We’ve even added an extra jam track (track 11) to your Guitar Skills CD for you to play over. There’s no right or wrong but an understanding

TRACK 7

MIXING MAJORS AND MINORS q.= 80-100

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1/4

A7

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~~~

1/4

T

6

5

7

7

8

5

8

5

7 7

5

5 6

7

7

7

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

TOTAL GUITAR OCTOBER 2018

Guitars and backing: Steve Allsworth

B

5

5

.


20 MINUTES TO BETTER BLUES LEAD SLIDING IN

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TRACK 8 A7

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j nœ

8

#

. 9

j nœ

Eb7

D7

.

~~~~~ ~~~~~~~~ . .

A7

1/4

j bœ

j bœ

n

#

~~~~~~~~~~~~~~~~~

1/4

12

7

6

12

10

5

8

7

[5 ]

5

7

B

5

2 6 5

0

3

4

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

TRACK 9

MIXING IT UP

n . .

D7

j nœ

B

4

5

4

7

5

5

7

10

11

10

8

[11]

9

.~~~~~ 7

7

~~~~~~~ . .

A7

j œ

~~~~~~~~

~~~~~~

10

.

BU 9 (10)

9

7

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

THE BENDS

TRACKS 10-11 A7

#

B

11 10

12 11

~~~ ~~~~~~~~ .

j œ

10

~~~~~~~~~~~~~~~ 12 14

14

n

BU 13

j œ

j œ

14

15 (17 )

BD

n

.

BU (17 ) (20)

~~ ~~~~~~~ .

n

13

~~~~~~~~~~~~ 14

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

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

NEXT MONTH 20 minutes to… Altered tunings OCTOBER 2018 TOTAL GUITAR


HOW TO riff of the month

BLACK SABBATH

WHAT YOU WILL LEARN Use powerchords as a melody Fast hammer-on/pull-off trilling Wide, aggressive vibrato technique

War Pigs

verses, after all, and it’s the earzrup#sduw#ri#wkh#wudfn1# \rxġoo#Ľqg#zklovw#sod|lqj#wkh# interlude section that you’ll be using wzr0qrwh#srzhufkrugv#lq#wkh#pdlq/# but keep an eye out for the vigorous vibrato and trill in bars 2 and 3. The wuloo#lv#wulfnlhvw>#lwġv#mxvw#d#udslg#ľxuu|# ri#kdpphu0rqv#dqg#sxoo0rļv/#exw# you’ll need a good turn of speed. Zhġyh#dovr#wdeehg#rxw#wzr#pruh#ri# Iommi’s rhythm grooves to take you zhoo#lqwr#yhuvhv#5#dqg#61#

s the opener on Black Sabbath’s best-selling 1970 album, Paranoid, and featuring guitarist Tony Iommi’s masterful ulĿqj/#War Pigs rates as one of the most important tracks in heavy metal history. The song has an unusual structure, nlfnlqj#rļ#zlwk#d#vorz/#vsdfh|#lqwur#lq# 92;#wlph/#euhdnlqj#grzq#iru#d#vsduvh0 sounding verse and eventually reaching wklv#prqwkġv#ulļ1#Wkrxjk#wkhuh#duh#qr# yrfdov#khuh/#wkh#ulļ#hvvhqwldoo|#irupv# the song’s chorus – it comes after the

A

Westminster Music, Ltd of Suite 2.07, Plaza 535 Kings Road, London, SW10 0SZ International Copyright Secured All Rights Reserved Used by Permission

CHANNEL OVERDRIVE

5 7 8

2

GAIN

CHEAT SHEET… Appears at: 1:46-2:39 Tempo: 91bpm Key: E minor Main techniques: Srzhufkrugv 2 vibrato / trills / alternate picking

WAR PIGS

22

Get the sound BASS

MID

TREBLE

REVERB

Tony Iommi played a Gibson SG through a Laney LA100BL amp on War Pigs, so you’ll need a Britishstyle valve amp (or a digital emulation) and a guitar equipped with a bridge-position humbucker to get an authentic tone. Keep the midrange low and the treble reasonably high to get close to Tony’s sound. If you’re playing a Stratocaster or similar single coil-equipped guitar, dial in more bass and less treble on your amp and experiment with more gain.

Bridge humbucker

INTERLUDE

TRACKS 12-13

q = 91

#

D5 E5

G5

..

.

1:46

. . 12

T B

3

F#5

2.

1. 3. F5

~~~~~

E5

.

~~~~~~ 12

14 10 12

17 15

16 14

15 13

14 12

F5

~~~~~

E5

..

(œ œ)

Ÿ~~~~~

. .

15 13

12 (14 12)

14 12

4.

F5

E5

15 13

14 12

.. . .

14 12

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

PRE-VERSE BREAK

#

TRACKS 12-13 Play 4 times ~~~~~~~~ ..

Em

..

~~~~~~~

2:06

T B

. .

PM

12 12 12 0

0

0

PM

0

≤ ≥

0

3

..

E5

. .

T B

. .

œ

œ

j œ

PM

PM

2

≥ ≤ ≥ ≤ ≥ 0

..

Play 8 times

2:17

If you follow the picking directions it’s easier to nail the timing. In particular, the two open-string E notes before the 3rd fret G must be played with upstrokes.

TOTAL GUITAR OCTOBER 2018

#

TRACKS 12-13

0

0

0

0

2

0

0 BU BD 2 (3) (2)

≤ ≤ ≥ ≥

0

0

Like the pre-verse, this riff is based on a four-notes-per-beat idea, so use down-up style alternate picking to help with the timing.

. . Photograph: Will Ireland

≥ ≤ ≥ ≤ ≥ 0

VERSES 2 AND 3


HOW TO GETTING STARTED WITH…

FRET-HAND MUTING Try one of the guitar’s most versatile techniques and apply it to a mix of genres “I see we’re doing muting again! Didn’t we look at this last month?” Sort of! Last month we looked at palm muting; this time it’s fret-hand muting. Don’t turn the page though. We’re not retreading old ground. Wklv lv d glļhuhqw whfkqltxh wkdw doorzv |rx wr sod| lq frro/ fuhdwlyh zd|v1

“Okay. What’s it all about then?”

24

Zhoo/ |rx suredeo| nqrz wkdw uhvwlqj |rxu Ľqjhuv rq wkh vwulqjv ghdghqv wkh vrxqg Ğ surylghg |rx grqġw iuhw dq| qrwhv/ ri frxuvh1 \rxġyh suredeo| dovr qrwlfhg wkdw wkh vwulqjv grqġw jr frpsohwho| vlohqw1 Vwulnh wkh Ġpxwhgġ vwulqjv dqg |rxġoo khdu d fkxqn|/ shufxvvlyh vrxqg1 Jlyh lw d jr$ Li |rxġuh soxjjhg lq lwġoo vrxqg ehvw zlwk vrph glvwruwlrq1

“It’s really easy! It’s not very musical though. Does anyone really do this?” \hdk/ |rxġoo khdu lw d orw/ hvshfldoo| lq urfn dqg phwdo1 Wkh ulļ lq Qluydqdġv Smells Like Teen Spirit vzdsv ehwzhhq fohdq dqg pxwhg fkrugv/ Radiohead’s Creep ihdwxuhv d pxwhg Ġfk0 fkxqnġ ehiruh wkh fkruxvhv/ dqg Jxqv ġQ Urvhvġ Mr Brownstone opens on muted strums. Shufxvvlyh dfrxvwlf sod|huv olnh Qhzwrq Idxonqhu dqg Plnh Gdzhv xvh pxwlqj dv Ġguxpġ vwulnhv rq wkhlu jxlwduv wrr1 Jhqhudoo|/ wkrxjk/

1 ALT-ROCK POWERCHORDS q = 90

Bb5

Eb5

WHAT YOU WILL LEARN Master the fret-hand muting technique Funky 16th-note rhythms Distorted alt-rock style muted rhythm

wklv#whfkqltxh#lv#xvhg#lq#d#pruh#sdvvlyh#zd|/# riwhq#wr#sxqfwxdwh#fkrug#fkdqjhv1#

B

. .

Wu|#wr#uhvw#|rxu#iuhwwlqj#Ľqjhuv#djdlqvw#wkh# dgmdfhqw#lgoh#vwulqjv#Ğ#wklvġoo#pxwh#wkhp#rxw#iru# |rx1#Dovr/#lwġv#hdv|#wr#vwuxp#wrr#kdug/#vr#wu|#wr# wdujhw#rqo|#wkh#vwulqjv#lq#wkh#fkrugv1# Lqflghqwdoo|/#li#|rxġuh#vwuxjjolqj#zlwk#wkh# uk|wkp#wdnh#d#orrn#dw#wkh#er{rxw#rq#wkh#uljkw1# Wklvġoo#khos#|rx#v|qf#|rxu#vwuxpplqj#zlwk#wkh# wlplqj#ri#wkh#ulļ1

“Can we try another style of music?” Vxuh$#Rxu#vhfrqg#h{dpsoh#fdq#eh#dssolhg#wr# vrxo0/#glvfr0#ru#ixqn0edvhg#ulļv1#Wklqn#Fklf/# Mdphv#Eurzq#ru#Uhg#Krw#Fklol#Shsshuv#Ğ#|rx# frxog#dsso|#wklv#lghd#wr#doo#ri#wkhp1#Rqfh#djdlq/# |rxġoo#qhhg#wr#uhohdvh#Ľqjhu#suhvvxuh#rq#wkh# qrwhv#pdunhg#zlwk#dq#Ġ[ġ1#Lwġv#d#wulfn|#rqh# wkrxjk/#vr#sudfwlvh#vorzo|#wr#ehjlq#zlwk1

¿¿ ¿¿ ¿¿ ≥ ≥≥≤ 8 8 6

8 8 6

¿¿ ¿¿ ¿¿ ≥≤≥

Release finger pressure but keep touching the strings wherever you see ‘X’s. A distorted tone will help but don’t overdo the gain.

TOTAL GUITAR OCTOBER 2018

2 ON THE DOWNSIDE…

œ œ œ œ

Sometimes they’ll be the other way up but they’re still 16th notes.

3 SYNCING FEELING 16th notes are pretty quick, so play down up down up to stay in time.

œ œ œ œ ≥ ≤ ≥ ≤ œ œ œ ≥ (≤) ≥ ≤

4 KEEP IT UP! Keep your down-up movement going, even when some of the notes aren’t played.

TRACKS 16-17

q = 90

. ¿¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 66 66 ¿¿ ¿¿ ¿¿ ¿¿ 99 99 ¿¿ ¿¿ . 4 4 7 7 ≥ ≥≤ ≥≥≥ ≤ ≥ ≤ ≥≥≥ ≤

œ œ œ œ

2 FUNK RIFF

B5

8 8 6

In sheet music, four 16th notes in a row look like this.

1 FOUR 16THS

“The muting is tricky. Some of the strings are still ringing out.”

.

..

.. 8 8 6

This month’s riffs use ‘16th notes’. They get their name because you can have up to 16 of them in a row in a bar of music in 4/4 time. If you can synchronise your pick strokes with the 16th notes, you’ll nail the timing.

Rxu#Ľuvw#h{dpsoh#lv#edvhg#rq#srzhufkrugv1# Hdv|#hqrxjk/#exw#qrwlfh#wkh#Ġ[ġv#lq#wkh#wde# Ğ#wkhvh#ghqrwh#iuhw0kdqg#pxwlqj1#Grqġw#oliw# |rxu#Ľqjhuv>#mxvw#uhohdvh#suhvvxuh#iurp#wkh# vwulqjv#wr#surgxfh#d#gu|/#fkxqn|#vrxqg1#

.. T

PLAY IN TIME NOW!

“Got it! Let’s play some guitar then.”

TRACKS 14-15 Ab5

SWEET 16THS…

T B

.5 . ≥

¿ ¿

5

≥ ≤ ≥

¿

5

≥ ≤

.

.

3

5

≤ ≥

5

..

Play 4 times

¿ ¿ . . ≥ ≤

Switch to a clean tone here – the clearer sound will help you focus on playing accurately. Maintain a steady down-up picking movement.


HOW TO

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

26

DUNLOP CRY BABY

Named after the Vox Cry Baby pedal it imitated, the Dunlop Cry Baby became synonymous with ‘wah pedal’. Although there have been many versions and countless classic tones created with it, the core circuit has remained largely stable since the 60s he wah was originally developed to emulate the sound of a muted trumpet, and when combined with a rocking treadle, allowed for a hugely h{suhvvlyh udqjh ri Ľowhu vrxqgv wr be created. An early and progressive adopter was a young guitar virtuoso named Jimi Hendrix, who had already seen the brass parallels with the electric guitar when he dubbed it the

T

TOTAL GUITAR OCTOBER 2018

“public saxophone”. Whether Ľowhulqj ihhgedfn dqg vxvwdlqhg notes through a wall of sound or adding percussive clicks to the opening of Voodoo Child, Hendrix remains the wah master. At the core of the circuit is an dfwlyh edqgsdvv Ľowhu/ fuhdwhg xvlqj dq lqgxfwru1 Wkh Ľowhu lv centred at around 750Hz, where it

delivers 18dB of boost, and attenuates out-of-band frequencies. On the original GCB-95 model, the sweep available from the treadle was from about 450Hz to 1600Hz. Later developments, such as the bass version, change the frequency range - although it’s also relatively simple to add additional boost or

THE CLASSIC ‘WAKA’ SOUND IS PERVASIVE ACROSS FUNK...

alter the Q - that is, the severity of wkh fxuyh 0 ri wkh Ľowhu1 Xvhg dv d yduldeoh Ľowhu/ udwkhu than as a tool to accent individual notes, the Dunlop Cry Baby has a glvwlqfwo| glļhuhqw fkdudfwhu1 E| rapidly sweeping the treadle, a ‘waka’ sound can be generated as wkh Ľowhu eulqjv rxw wuheoh lq wkh guitar, particularly if the guitarist is using pick scratches. This classic sound is pervasive across the funk genre, and it also features in a number of iconic police show soundtracks too.


THE FX FILES

# UNDER THE INFLUENCE

JIM DUNLOP CRY BABY 535Q MULTI WAH

JIM DUNLOP DIMEBAG DARRELL CRY BABY

JIM DUNLOP JD-DCR2SRUK

Wkh#868T#Pxowl#Zdk#lv#wkh#Ľuvw#pdmru#hyroxwlrq# of the Cry Baby circuit and it adds in controls on the outside of the chassis for controlling the boost level, up to the maximum of 18dB, as well dv#d#urwdu|#vhohfwru#iru#wkh#Ľowhu#udqjh1#Zkdw#lv# important to note here is that with hardwire bypass it also attempts to solve the Achilles heel of the original: its somewhat tone-sucking bypassed state.

The Dimebag signature takes the most obvious mods that can be done to the original circuit dqg#sdfnv#wkhp#lq1#H{whqghg#Ľowhu#vzhhsB# Check. Six-way frequency selector for the ĽowhuB#Fkhfn1#Errvw#rswlrqB#Fkhfn1#OHG# lqglfdwruv#iru#erwkB#Fkhfn1#Fdprxľdjh#sdlqw# mreB#Qdwxudoo|1#Wkh#uhvxow#lv#dq#lqfuhgleo|# ľh{leoh#wdnh#rq#wkh#ruljlqdo#wkdw#fdq#gholyhu# more dramatic and aggressive tones.

Iru#wkrvh#prphqwv#zkhq#|rx#devroxwho|/# positively need to melt every face in the room, we suggest you go for the rack version. With all the boost and frequency options you’d expect, as well as the ability to hook up six remote foot pedals, the rack unit has ghglfdwhg#frqwurov#iru#Ľowhu#srlqwv#dqg#d# variable Q, allowing you to change the shape ri#wkh#Ľowhu#iurp#wljkw#wr#eurdg1

MUSE

DIRE STRAITS

JOE SATRIANI

This isn’t a signature sound for Matt Bellamy, but it crops up fairly often in breakdowns and drops. Here, the pedal is on, and completely wrh0grzq#iru#d#udglfdo#Ľowhu#hļhfw#lq#wkh#lqwur# - to up the ante, there’s a fuzz in front. Just ehiruh#wkh#edqg#nlfnv#lq/#wxuq#wkh#shgdo#rļ#dqg# ohw#|rxu#ix}}#frph#wkurxjk#xqĽowhuhg1

Although the original pedal used on this track was reportedly a Morley, the parked, partlyopen wah sound in the intro of this song is probably the most iconic non-standard use of a wah pedal in rock music, and instantly recognisable. Turn the pedal on and pull it back until you hear that sign.

Before his Vox signature, Joe used a number of Cry Baby pedals over the years to get his signature expressive lead tone. By using the wah, he could drag vowel-like sounds out of his instrument while slower sweeps paired with idvw#wdsslqj#gholyhu#d#Ľowhu#ru#skdvh0vkliwhu#olnh# sound. These techniques are all over this track.

£150

£180

£712

# CLASSIC TONES DEAD STAR

MONEY FOR NOTHING

SURFING WITH THE ALIEN

OCTOBER 2018 TOTAL GUITAR

27


HOW TO

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

e’re not joking when we say whacky! The Locrian mode is rarely heard in rock or pop and only occasionally found in metal and jazz-fusion. That said, have a listen to Juicebox by The Strokes, and Black Sabbath by, you guessed it, Black Vdeedwk#Ğ#erwk#ihdwxuh#Orfuldq#ulļv1#Krzhyhu/#vr#zhlug#lv# wklv#prgh/#hyhq#wkhvh#wudfnv#duhqġw#ixoo|#Orfuldq1#Wkhlu#ulļv#duh#Orfuldq/# sure, but jam along on a m7 b5 chord (the root chord of the Locrian prgh,#dqg#|rxġoo#Ľqg#lw#mxvw#grhvqġw#txlwh#Ľw1#Vwloo/#ghvslwh#lwv#xqxvxdo# sound, the Locrian mode provides ample opportunity for fresh, creative ideas. Read on as we take a look...

WHAT THE F?

W

LOCRIAN MODE

We wrap up our series on modal scales with a look at the whacky-sounding Locrian mode 1 LEARN THE SCALE NOTES

TRACK 18 q =75

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

1 2345678

28

T

C major

B

1 b2 b3 4 b5 b6 b7 8

X

1

2 4

1

1

#

2

..

2 3 4

C

10

9

10

7

9

10

TRACK 19

q = 100 B 5dim

3

Bm7b5

8

10

Here are C major and B Locrian – they have the same notes but the Locrian mode starts on B. Play the scales one after another to see if they sound different to you.

1

3

7

10

9

7

10

X X

X

X

8

7

8

3 LOCRIAN RIFFING

2 TYPICAL LOCRIAN CHORDS X

œ

œ

œ

CDEFGABCDEFGAB B Locrian

b Bm7 5

C

B5dim

. .

T

The Locrian mode has a m7 b8 urrw fkrug1 Krz vrB Zhoo/ vwduw rq E dqg krs over every other interval in the mode and you get the notes of Bm7b5 (B D F A) – it’s the same process with any mode’s root chord, in fact. Few songs have m7b8#urrw#fkrugv#+lw#mxvw#vrxqgv#vr#ľlsslqġ#zhlug$,/#exw#rffdvlrqdoo|# you’ll see a m7b5 followed by a major chord a semitone higher – indicating that you may be in Locrian territory. Try jamming with these two chords to get your ear in and try the simpler B5dim chord too.

B

C5

Play 4 times

..

n

œ 9 7

8

7

9

8

10

8

. .

8

This riff includes the vital b2 (C) and b5 (F) intervals. The bass guitar outlines the staple Locrian semitone move from the root note (B) to the b2 (C).

4 BLUES SCALE UNLOC’ED

TRACK 20-21

q =100

B 5dim

#

j œ

..

C5

~~~~~

n

B 5dim

œ

C5

~~

~~~~~

~~~

~~~~~~~

1/4

..

3 BU BD

T B

. .

12

~~~~~~~

[ 12 ] (13)(12 ) 10 12

BU BD 9 (10) ( 9 )

7 BU BD 9 (10) ( 9 )

1/4

10 7

10 9 7

9

9

7

9 7 9

9 10

10

10

9

[9 ]

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

TOTAL GUITAR OCTOBER 2018

. .


ZZ TOP HONCHO BILLY F GIBBONS & FRIENDS LOOK AT THE ROOTS OF GUITAR MUSIC AND HOW THE BLUES ENDED UP SHAPING EVERYTHINGâ&#x20AC;¦

TOTAL GUITAR OCTOBER 2018

ROUND TABLE

SUPERSONIC BLUES MACHINE

Words Amit Sharma Photography James Sharrock

30


SUPERSONIC BLUES MACHINE

31

OCTOBER 2018 TOTAL GUITAR


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

u

What do you feel when you hear the words ‘blues power’?

32

Billy F Gibbons: “Well, I think those two words go together for sure. There’s something about this thing called blues that continues to resonate. There’s that old saying that every 10 years or so, things come back and get rediscovered, but I feel as if the blues has more to it. I think that the genre has an international and global dsshdo1 Lw dsshduv yhu| vlpsoh rq Ľuvw glance, but when you start digging in deeper you discover there are some real frpsoh{lwlhv wr wklv duwirup1 Lwġv suhww| cool when you think about it… this mysterious thing that is honestly powerful. When you go back and listen to what Freddie King was doing purely instrumentally, it’s incredible. It was the same transition when Muddy Zdwhuv ohiw klv dfrxvwlf dqg Ľjxuhg out how to plug things in and get the whole electric thing going. It was a big, big change!” Kris Barras: “I feel like blues music is very much a feeling. It comes from inside. I wouldn’t call myself a traditional blues player but

L nqrz wkdw Lġp ghĽqlwho| lqľxhqfhg e| some of the old greats. I think blues power relates to the idea of playing from the heart and choosing certain notes with a special meaning.” Fabrizio Grossi: “When I think of the words ‘blues power’, I feel like no other kind of music has ever been able to generate so many genres and phenomena. Blues doesn’t have to be 100 per cent in its original form, you don’t have to sound like the jrgidwkhuv wr kdyh wdnhq lqľxhqfh from it. When I think how important those guys were for everything we hear today. I feel like 70 per cent of the music rxw wkhuh zrxogqġw hyhq h{lvw zlwkrxw the blues.” Serge Simic: “Everything from doo#ri#rxu#lqľxhqfhv#frpelqhg# will have come out of the blues. It’s still there today, all these years later – which is incredible. This genre is still so powerful.”

It’s as if the blues is something that any human can understand – regardless of their musical or geographic background…

talkin’ turkey Supersonic Blues Machine discuss the power of the genre with TG

Fabrizio: “I think everything about the blues stands to the wider music world just as much as the mob stands to organised crime – meaning everybody knows about it but they don’t really understand what goes on unless they’re in it. And once you’re in… you don’t get out! To the blues musician, it’s not about playing on the coolest night of the week. We will always have the club circuit – there’s a music mob that never gives up. In every guitar shop I’ve visited, zkhqhyhu#shrsoh#zdon#lq#wkh#Ľuvw#wklqj# wkh|#sod|#zloo#eh#eoxhv0edvhg1#Wkh#lghdv# are so married to the guitar, there’s a symbiosis there.” Billy: “I love the idea of the blue note. This thing with all this feeling behind it. I don’t know if words will ever be dghtxdwh#wr#h{suhvv#lw1#\rx#nqrz#lw# when you hear it and you know it when you feel it.” Kris: “There’s a tension and release to wkh#eoxh#qrwh1#Ehfdxvh#wkh#ľdw#Ľyh#lv#qrw# xvxdoo|#lq#wkh#fkrugv/#lw#h{whqgv#lqwr#wkh# world of jazz and other things.” Billy: “If you play in major thirds, it’s all kdss|1#Exw#klw#wkdw#ľdw#Ľyh#ru#plqru# seventh and you will feel it… you will get the shivers.”

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


SUPERSONIC BLUES MACHINE

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“AS SOON AS I HEAR BILLY IT’S LIKE I’M DRIVING ON A FREEWAY IN TEXAS...” FABRIZIO GROSSI this genius made a beautiful love melody out of it. I think he was trying to say, ‘Hey, this note isn’t as bad as you’d think!’ Maybe he didn’t believe in the devil... maybe he did!”

Photo: Will Ireland

How hard is it to reinvent yourself as a blues artist? Billy: “One of the greatest turning points for me was when Lollapalooza came to Orange County. There was a band there called Cypress Hill who were famous for smoking weed in front of the cops. Sure enough, there they were smoking weed in front of the authorities while 20,000 young white kids applauded. They had three singers fronting the band and one guy holding a DAT recorder, which was all the music. He stepped on the wire yanking it out and everything stopped – you could see the wave of tension spread, everyone zrqghulqj zkdw zloo kdsshq qh{w1 Rqh

of them said, ‘Hey, we fucked up!’ and vxgghqo| hyhu|erg| uhod{hg1 L wklqn li you are able to accept whatever will kdsshq/ lw zloo doorz qhz h{suhvvlrqv wr frph iruzdug1 \rx uhpryh wklv od|hu ri fear by saying you don’t care and just ploughing through. And sometimes that mistake could be the thing you were looking for all along...” Kenny: “Because, at the end of the day, we will always make them!” Fabrizio: “Personally, I don’t think you have to reinvent the blues, it’s cool just krz lw lv1 \rx jhw glļhuhqw wdnhv iurp glļhuhqw shrsoh ehfdxvh wkh| duh individuals1 Lwġv dq h{suhvvlrq ri ihholqj/ so how one person thinks can be miles away from anyone else. As long as you are playing with your own heart and soul… that’s all you need. It’s not really about reinventing yourself as it is putting your own stamp on everything. The early ZZ Top recordings have a dirt

texas special Billy and fellow Texan / Supersonic Blues Machine collaborator Lance Lopez. Both have contributed to the band’s two studio albums, West Of Flushing, South Of Frisco and Californisoul

and meanness to them while their approach in the 80s was completely glļhuhqw Ğ exw qr pdwwhu zkdw |hdu lw lv or production style it gets, you just know it’s Billy playing. As soon as I hear him, it’s like I’m driving on a big freeway vrphzkhuh lq wkh plggoh ri Wh{dv1 Kh can carry his history and heritage through the music, which is something not many people can do. A lot of people


can master pentatonics but to tell their story without being too obvious about it is quite rare.”

The blues also lends itself to blending both minor and major tonalities…

GOT MY MOJO WORKING Billy, Fabrizio, Kenny, Serge and Kris on their ultimate blues heroes...

Photo Chris Morphet/Getty

Billy: “Hound Dog Taylor was off the chart! His band were like a punk group, they just didn’t care and there were no rules. I read a really good piece about them recently, where the writer said, ‘Just thinking about the word blues gives me a headache… if I see one more band with baggy suits, big microphones and funny hats, I’ll lose my mind – give me Hound Dog Taylor on his worst night and that will be better than anyone!’ And I completely agreed.” Kris: “Obviously, there are all the older guys like Robert Johnson who started it all off, but Gary Moore was my first proper introduction to the blues. I started playing at five or six years old because my dad was a guitar player and I had access to his records. We had this VHS tape of Gary doing Stormy Monday in London and it hit me instantly. I was six years old and I needed to find out more about what I was hearing.” Kenny: “Growing up, all the southern rock stuff like ZZ Top and Allman Brothers was huge for me… I actually had a band growing up where all we did was Allman Brothers covers! Duane was incredible, though to be honest, in my eyes it’s all the real deal. I’ve played with BB King, Buddy Guy and so many other greats... it’s amazing how many different variations of the blues you can find out there.” Serge: “Like Kris, Gary Moore had a massive influence on me. But most of all, I think Jimmy Page in Led Zeppelin had a huge effect. Sure, it was more of a rock thing, but there’s so much blues in that early stuff.” Fabrizio: “I don’t think anyone else out there represents the traditional folk element of the blues as well as Hubert Sumlin. He was the conjunction between whatever was before Robert Johnson to the three Kings to Hendrix – and then look at everything that happened afterwards. Without Hubert, there would be no Hendrix and without Hendrix, things would have been very different.”

“WITHOUT HUBERT THERE WOULD BE NO HENDRIX... AND THINGS WOULD BE VERY DIFFERENT” TOTAL GUITAR OCTOBER 2018

Billy: “The minor seems to be the bluer. I don’t really know much about tritones and whatnot, but I’ve always felt the minor side is where the blues lives. I don’t know many blues tunes that are pdmru0|ĩ#lw#vhhpv#wr#ehorqj#zlwk#wkh# sadder chords and scales.” Kris:#ģZkhq#|rx#pl{#plqru#dqg#pdmru/# lwġv#olnh#|rx#jhw#dqrwkhu#eoxh#qrwh1#\rx# can play the minor third and bend up to the major third, which adds to the blues. A lot of guitarists get confused over this. I’ve walked into loads of bars and heard a dominant blues where the players stick to minor pentatonic and don’t resolve the minor third to major – which can sound horrible. It’s the same dv#odqglqj#rq#d#ľdw#Ľyh#dqg#kroglqj#lw# with no release… without the resolve it can sound bad. I actually think that’s one of the most important lessons for blues guitarists. Someone like Billy won’t need to think about it, he can just hear it in his head; most people can’t.” Billy:#ģWkhuhġv#d#vxewoh#glļhuhqfh#zkhq# |rx#duh#lq#d#shuihfw#wulsohw#vkxŀh/#exw#lw# can lean towards 4/4 too – there’s a rhythmic tension from being in ehwzhhq#vwudljkw#dqg#vkxŀh1Ĥ Kenny: “It’s unbelievable how you can go in between both… that just sounds so cool to me. I like the idea of a rhythmic blues, sometimes a few members of the band are playing more straight and the rwkhuv#duh#grlqj#d#vkxŀh#rq#wrs1Ĥ Billy: “Listen to Jimmie Vaughan who

did this buzz picking rhythm on Frame For The Blues… it’s like a drill noise that probably isn’t technically in time, but catches your attention. Equally, if you are in major and your keyboard player is in minor, you can have a jazz moment. Miles Davis to the rescue! There are no bad notes, it’s all about how you get out of it.” Kris:#ģL#phdq#wkh#Khqgul{#fkrug#lv# essentially that, isn’t it? With that 7sharp9 chord, the sharp9 is like the octave higher from the minor third!” Fabrizio: “I think everyone can agree if it sounds good, it really doesn’t matter whether it’s technically right or wrong. We were in India last year, playing with an incredible guitar player who was brilliant at traditional blues but also pl{hg#lq#Hdvwhuq#vfdohv/#rgg#phwhuv#dqg# quarter tones. I just couldn’t believe krz#zhoo#lw#Ľwwhg#wrjhwkhu/#wkrxjk# obviously it only works if you know what you’re doing. Again, it’s another way of inventing rather than reinventing yourself.” Billy:#ģ\rx#kdyh#wr#uhphpehu#wkh#jx|v# that were recording blues in 1949 or


SUPERSONIC BLUES MACHINE

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

What advice can you offer players who struggle to get their heads around turnarounds? Billy: “Don’t learn the turnarounds. Don’t even go there. It goes from the Ľyh#wr#wkh#irxu#dqg#edfn#wr#wkh#rqh/#dqg# then starts over again. Just feel it and play through it. I’ve always found turnarounds pretty awkward.” Kenny: “It’s almost more predictable to have a turnaround than it is not to. Then you have guys like Eric Gales who like to substitute before they’ve even left the one chord!” Fabrizio: “But it’s all about how you sneak it in. Just like with anything, if you overuse it, then you will lose the hļhfw1#Hyhq#li#|rx#dyrlg#rqh#ri#wkh# turnarounds, it can really change the song! Things like that make music great, you add and subtract to your own taste.” Kris:#ģL#olnh#jrlqj#edfn#wr#wkh#Ľyh#fkrug# zkhq#Lġp#vrorlqj1#\rx#fdq#vslfh#lw#xs#d# bit there, throw in some altered scale licks or something chromatic – it gives |rx#vrphwklqj#h{wud#wr#gr1#Lġp#d#elj#idq# of the Super Locrian scale and for the chromatics, you can take something like a major triad and move it up a fret again and again. It’s the same with any shape.

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lessons with Greg Howe, who is more fusiony, but he taught me about vlghvwhsslqj#0#wdonlqj#shqwdwrqlfv#rxw# one fret and then back in key to create altered sounds.”

There’s a delicate art to dialling in the right amount of overdrive in blues. How do you decide what’s right? Billy: “There is a sweet spot between clean and distortion. I don’t know how to describe it, it’s not quite either and it changes depending on what you are playing over…” Serge: “My playing is all about the song. It’s not about me or the scales, it’s about being a soldier for that song and the emotion you give to the crowd. If it needs crunch, sure I will crunch it up. I think Robben Ford is one of the masters of that – he can get a clean sound that will ring out so beautifully. We had a big jam with him, Walter Trout and all these other players… everyone had their overdrive pedals and Robben came out with a clean Telecaster that sounded fantastic. He just cut right through.” Fabrizio: “Few players can possess their jxlwdu#olnh#wkdw1#Mhļ#Ehfn#lv#olnh#wkdw#

kenny aronoff “I like the idea of a rhythmic blues... the tension in between straight and shuffle”

too… one time I saw him and he used a pick for one song just to get a certain sound. For him, it was not a tool of the trade, but rather another way of breaking the rules. I like the idea of setting up the threshold for as far as you can go, then dialling it down and controlling everything from your guitar. One channel can have everything from clean to crunch to distortion.” Billy: “Dynamics are integral to the eoxhv1#Mhļ#Ehfn#vdz#Kxehuw#Vxpolq# sod|lqj#zlwk#klv#Ľqjhuv#dqg#uhdolvhg# that was how he wanted to sound. He’s gotten so good at it; when I was 17 years rog#dqg#rq#wrxu#zlwk#Mlpl#Khqgul{/# every night we would get into a motel and he would stay at the end of the hall with his door always open. He’d be lq#wkhuh#olvwhqlqj#wr#wkh#Ľuvw#Mhļ#Ehfn# album with Rod Stewart and he asked ph/#ĠKrz#grhv#Mhļ#gr#doo#ri#wklvBġ#L# wrog#klp/#ĠEholhyh#ph/#Mhļ#lv#vdw#lq#d# room right now, listening intently to your music asking himself how you do zkdw#|rx#gr$ġ#Lw#zdv#dq#h|h0rshqhu/# seeing Jimi so blown away by other guitar players, as much as they were with him!” OCTOBER 2018 TOTAL GUITAR


Words Jonathan Horsley Photography Olly Curtis

BEING ANGRY IS TOO EASY, SAY IDLES’ MARK BOWEN AND LEE KIERNAN, WHOSE NEW ALBUM, JOY AS AN ACT OF RESISTANCE, REVEALS A NEW WAY TO PROTEST ow that everybody in the world is angry, it would be an ironic twist indeed if joy proved itself the more subversive and hļhfwlyh#hprwlrq#wr#uhfuxlw#lq# service to furious music. At least, that’s how Bristol-based post-punk quintet Idles see it. After their strident 2017 debut, Brutalism, Idles have earned a reputation iru#wudĿfnlqj#lq#frpexvwleoh#dqjvw/#exw#wkh|# share a belief that reshaping anger via the weaponising of joy might just help us exorcise the demons that are pulling society apart. The

N

TOTAL GUITAR OCTOBER 2018

title of their sophomore album, Joy As An Act Of Resistance, articulates this mood succinctly. Idles are looking past the anger and invite you to do likewise. A colourful spectrum of candy apple reds and surf greens at Fender’s London HQ rļhuv#d#sod|ixoo|#lqfrqjuxrxv#edfngurs#iru# guitarists Lee Kiernan and Mark Bowen to discuss a propulsive sound rooted in grey and brutal real-world struggles. These struggles, brought to life through vocalist Joe Talbot’s unsparing lyrics, tell of a country on its knees, reeling amid a supernova of resentment. So zkhuh#grhv#wkh#mr|#Ľw#lqB


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

nihilism be damned Those familiar with Idles will immediately recognise the violence Bowen speaks of. They will recognise it in the percussive tick-tock of Colossus, which opens Joy . . . with an anxious fuse. They will recognise it in the language of Never Fight A Man With A Perm, in the succinct kitchensink nihilism of I’m Scum, and the violent grief of June, a song about the death of Talbot’s daughter. They pljkw qrw vhh wkh mr|/ qrw dw Ľuvw1 Exw it’s there, all right. It’s there on Danny Nedelko, an anarchic celebration of immigrants as our friends, colleagues, and neighbours. It’s there on the sweeping punk riot of Gram Rock, and in Talbot’s arch lyrics, like when he’s surely quoting Toy Story’s Woody on Rottweiler – ‘There’s a snake in my boots’ – or on the dystopian, greetings-card romance of Love Song. When the joy does show up, it serves a grander purpose, softening the dogmatic hard edges of Idles’ political invective. Idles have the courage of their convictions but recognise that you can’t dissuade someone of their beliefs by declaring they’re wrong. ģLwġv dovr yhu| glĿfxow wr vwrs wkdw initial anger burst,” says Kiernan. “Every day I’m fed the news, I’m fed this new bit of bullshit. And this is the point: that’s your natural reaction, and a lot of us do feel that way every time there is a new bit of shit news that comes out. You get angry instantly, and that’s the whole point of this album, to not do that. It’s not to just go vwudljkw wr wkdw Ľuvw uhdfwlrq/ ġfrv OCTOBER 2018 TOTAL GUITAR

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feature “OFFENDING PEOPLE IN REAL TIME IS ALL IN A DAY’S WORK...” LEE KIERNAN that’s the easiest option every time, to just get angry and shout at people.”

AUTOMATIC FOR THE PEOPLE

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Embracing the paradox is all part of Idles’ ethos. On Joy . . . they put a smiling face on rage. They confront machoism and espouse the right for males to show vulnerability, and yet set it to confrontational arrangements with Talbot straining at the mic. They might urge caution before forming an opinion, but not when it comes to writing and recording, when caution becomes the enemy. They write better to a concept and yet strive to keep it as improvisational as possible. “It has to be urgent and automatic,” says Bowen. “We try to be as automatic as possible, which, again, is contrived – talk about dichotomies and paradoxes!” As for guitar heroes? Bowen thinks it’s too rock ’n’ roll. And yet they’ll readily cite Dick Dale, Brian May, and James KhwĽhog1#ģWrovwr|#lv#p|#jxlwdu#khur$Ĥ# says Bowen. “I fucking worship certain guitar players because you have to recognise there are people who do it so much fucking better than me. I cannot listen to enough Dick Dale.” You can hear the Dick Dale in some of Kiernan and Bowen’s more skronky, antic arrangements, but Joy . . . sees them use their guitars more economically. “I now deliberately play less because I know I like to dance onstage,” laughs Bowen. There’s nothing explicitly hip-hop about Idles, save for the preeminence of Talbot’s vocals, but it informs Kiernan’s playing in much the same way as Gang Of Four did on Brutalism. “There is a big lqľxhqfh#ri#Zx0Wdqj#rq#wklv#doexp/#lq# many respects – the single-chord stabs and placements,” he says. Anything goes, so long as it’s honest. It’s preserved in how they communicate and how they record.

THREE TAKES AND OUT After tracking Brutalism in London, being spread out and commuting to and from the studio, Idles chose Monnow Valley Studio this time around. A residential facility with a huge drum room, they could record all night if they wanted to, but this isn’t Rush or Yes; this is Idles, and you only get three TOTAL GUITAR OCTOBER 2018

takes. “It captures a sense of urgency,” says Bowen. “It doesn’t allow for any kind of navel gazing. A really important thing in our music is the naivety. Most of what you hear on that album is the Ľuvw#ru#wkh#vhfrqg#wdnh1#Zh#dozd|v#nhhs# mistakes in. We preach in interviews and our whole ethos is about being as honest as possible and that’s the most important tool for us, and probably the best thing that we are at. Doing those three takes is the most honest way of going about things, allowing the mistakes to be included in there is the most honest way because...” “...Because we’re not that good,” says Nlhuqdq/#Ľqlvklqj#wkh#vhqwhqfh1#Lwġv#dv# simple as that”.

Idles hands Mark Bowen (above left) and Lee Kiernan

career Idles have supported the Foo Fighters, the Maccabees, the Dead Kennedys, Future Islands . . . to varying degrees of success. “They push you harder when they are being so qhjdwlyh/Ĥ#vd|v#Nlhuqdq1#ģDw#Ľuvw#|rx# feel like you’ve been kicked. But then your brain just goes, ‘Fuck it!’” That’s all sduw#ri#wkh#ixq1#Rļhqglqj#shrsoh#lq#uhdo# time is all in a day’s work. Therein, again, lies the joy. “That’s one of the nice things about our band,” says Kiernan. “Some gigs, we play so fucking badly and it’s not that often anymore, but sometimes it’s pretty bad. we get forgiven for actually having fun. You don’t always have to play perfectly. You can go out there, do something you love, with all your energy, and have a laugh.”

Joy As An Act Of Resistance is out now on Partisan Records

YOU AIN’T NO PUNK, YOU PUNK But, more importantly, if Idles’ sound is to work, it can’t be over-worked. Were it to lose its danger, or be cleaned up, it would die. The beauty of Idles lies in wkhlu#glvĽjxuhg#dqg#iudfwxuhg# arrangements, the chaos, the instinctive bursts of melody that complement Talbot’s noir humour. They’ve been called the UK’s best punk band and they’re not even really punk; it’s as wkrxjk#sxqnġv#Ľgjhw|#lg#kdv#eurnhq# loose, free of history, to create itself anew. For Bowen’s money, disco was more punk than punk, and who could argue that Nile Rogers isn’t cooler than Sid Vicious? “Even before that, you look at Chuck Berry and rock ’n’roll, people like Dick Dale and Link Wray, that’s punk, too,” adds Bowen, “even though it doesn’t feel that way because it was a much, much more conservative time.” Even now, not everyone is going to get it. They might not care for the politics. Fine. They might hate the pxvlf1#Wkdwġv#Ľqh/#wrr1#Lq#wkhlu#vkruw#

PEDAL POWERED Bowen and Kiernan on their signal path essentials They are always on and always used: there is no room for luxuries on the Idles pedalboard. Bowen looks for effects that will react to his playing. He is currently using an Electro-Harmonix POG2, an MXR Micro Amp and Smart Gate, but it’s Death By Audio’s overdrive Acapulco Loco, the Echo Dream 2, Reverberation Machine, and Waveformer Destroyer that are the most essential items in juicing up his tone. “The best thing I find about these pedals is that they respond to what you are doing on the guitar, so if you dig in a bit more the feedback is a little bit longer,” he says. “The modulation gets a bit wilder, the fuzz gets a bit wilder, and I just love that they do that.” Likewise, Kiernan uses Death By Audio’s Evil Filter, with Earthquaker Devices’ Organizer offering overdrive, delay and boost, and the Data Corruptor for some “bat-shit crazy” delay. A JHS Colour Box preamp/EQ, which emulates a vintage Neve console, is his secret weapon. “The EQ is fucking enormous,” he says. “You turn it slightly and it’s making a difference. With most pedals you have to turn the bass all the way up for it to kick in.”


THE POWER OF THREE Words Joe Bosso Photography Jen Rosenstein

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ORIGINAL SMASHING PUMPKINS BILLY CORGAN AND JAMES IHA ARE BACK TOGETHER ON THE ROAD PLAYING THEIR CLASSIC SONGS PLUS NEW MATERIAL. AHEAD OF THEIR UK COMEBACK GIG, CORGAN AND IHA — PLUS MORE RECENT ADDITION JEFF SCHROEDER — TALK REUNITING, RECORDING AND DEPLOYING THEIR NEW THREE-GUITAR ATTACK… lthough the concept of a Smashing Pumpkins ‘reunion’ still feels new for the rest of us right now, for Billy Corgan, the idea of putting the altrock titans back together originates in 2005, when, following the breakup of his postPumpkins band Zwan, he took out full-page ads in Chicago newspapers and made his case: “I have made plans to renew and revive the Smashing Pumpkins,” he wrote. “I want my band back and my songs and my dreams.” It didn’t exactly pan out as he’d hoped, as only longtime drummer Jimmy Chamberlin signed on – and then he left and returned again. Over the years, several other members came and went, although Corgan did find a trusty collaborator and axe cohort in Jeff Schroeder, who has been a constant in the group since 2007. In the back of his mind, however, there always seemed to be unfinished business with Iha, whom he hadn’t spoken with in years. As it turned out, Iha felt the same way. Since leaving the Pumpkins, he’d kept busy with various projects (producing, a solo album, film scores), and he’d found a second home as a semiregular member of A Perfect Circle. But one day in 2015 he decided to call Corgan to see if they could hash things out over dinner and make sense of their past.

A TOTAL GUITAR OCTOBER 2018


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“We hadn’t talked in so long, so it zdv#qlfh#wr#mxvw#Ľqdoo|#gr#lw/Ĥ#Lkd#vd|v1# ģLw#zdvqġw#derxw#ph#sod|lqj#lq#wkh# edqg#djdlq#ru#dq|wklqj#olnh#wkdw1#Lw# zdv#mxvw#wr#fdwfk#xs/#|rx#nqrzB#Wr#vhh# krz#zh#zhuh#wrjhwkhu1Ĥ Zlwk#d#idlu#dprxqw#ri#ihqfh# phqglqj#ehklqg#wkhp/#wkh#wzr#rog# froohdjxhv#glg#zlqg#xs#sod|lqj# wrjhwkhu#djdlq1#Lkd#wxuqhg#xs#rqvwdjh# dw#vhyhudo#Sxpsnlqv#vkrzv#lq#5349/# dqg#uxprxuv#ehjdq#wr#flufxodwh#wkdw#d# ixoo0rq#uhxqlrq#ri#wkh#Ġfodvvlf#<3vġ# olqhxs#zdv#lq#wkh#fdugv1#Frujdq#dqg# Lkd#zhuh#jdph/#dv#zdv#Fkdpehuolq1# Wkh#rqo|#sureohp#zdv#irxqglqj# edvvlvw#Gġduf|#Zuhw}n|1#Khu#vsolw# iurp#wkh#edqg#lq#4<<<#zdv#dq# dfulprqlrxv#rqh#dqg#lq#wkh#hqvxlqj# |hduv#khu#uhodwlrqvkls#zlwk#Frujdq# uhpdlqhg#lf|1#Wkh#wzr#vhhphg#wr#fdoo# vrphwklqj#ri#d#wuxfh#odvw#|hdu/#exw# wkhq#lq#w|slfdo#Sxpsnlqv#irup/# ydu|lqj#vwrulhv#derxw#zkdw#kdsshqhg# qh{w#hphujhg1#Zuhw}n|#fodlphg#lq#wkh# suhvv#wkdw/#diwhu#h{fkdqjlqj#wh{wv# zlwk#Frujdq#derxw#d#srvvleoh#uhxqlrq/# dq#rļhu#zdv#pdgh#wr#khu#dqg#wkhq# uhvflqghg1#Frujdq#zhqw#rq#uhfrug#wr# glvsxwh#wkdw1 ģL#zdv#suhww|#sxeolf#derxw#zdqwlqj# khu#wr#eh#lqyroyhg/Ĥ#kh#vwuhvvhv1#ģL# wklqn#lw#zrxog#kdyh#ehhq#wkh#ehvw#iru# hyhu|erg|/#lqfoxglqj#khu/#exw#lw#mxvw# glgqġw#zrun#rxw1Ĥ#Wkh#wrslf#ri# Zuhw}n|#lv#fohduo|#rqh#kh#grhvqġw#zlvk# wr#ehoderxu/#dqg#diwhu#d#orqj#vljk#kh# frqfoxghv/#ģLġp#qrw#lq#dq|#kxuu|#wr# wkurz#dq|#pruh#jdvrolqh#rq#wkh#Ľuh1# Lw#lv#zkdw#lw#lv1#Vkhġv#grqh/#dqg#wkdwġv# wkdw1Ĥ#Lkd#vwd|hg#rxw#ri#wkh#edfn0dqg0 iruwk#ehwzhhq#Frujdq#dqg#Zuhw}n|/# exw#kh#rļhuv#wkh#ylhz#wkdw/#ģEloo|# wulhg#klv#ehvw1#Lq#wkh#elj#slfwxuh/#L# wklqn#wkdw#hyhu|erg|#lv#dw#glļhuhqw# srlqwv#lq#wkhlu#olyhv/#dqg#zkrhyhu#fdq# zrun#lw#rxw#dqg#jhw#lw#wrjhwkhu#zlwk# wkh#edqg#fdq#gr#lw1#Lwġv#mxvw#rqh#ri# wkrvh#wklqjv1Ĥ Wkh#534;#olqhxs#ri#wkh#Vpdvklqj# Sxpsnlqv#qrz#lqfoxghv#edvvlvw#Mdfn# Edwhv/#wkh#vrq#ri#Mr|#Glylvlrq#dqg#Qhz# Rughuġv#edvv#sod|hu#Shwhu#Krrn/#dqg# wkh#edqgġv#iruplgdeoh#jxlwdu#urdu#kdv# ehhq#h{sdqghg#wr#d#wulsoh0d{h#dwwdfn=# Vfkurhghu#lv#vwloo#sduw#ri#wkh#jdqj/#dqg# kh#frxogqġw#eh#kdsslhu#derxw#sod|lqj# zlwk#Lkd1#ģWkh#zkroh#wklqj#lv#udwkhu# ixqq|#wr#ph/Ĥ#kh#vd|v1#ģShrsoh#vhhp# wr#wklqn#wkdw#Mdphv#dqg#L#vkrxog#eh# hqhplhv#Ğ#|rx#nqrz/#olnh/#ĠKhġv# wdnlqj#|rxu#mre1ġ#Exw#zhġuh#wrwdoo|# frro/#dqg#wkhuhġv#ehhq#qr#zhlugqhvv#dw# TOTAL GUITAR OCTOBER 2018

Corgan in 2018 “I really wanted us to kind of heal the rift, and I think we have. Music seems to be the balm for that”

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Obviously, a reunion tour is a big financial incentive for everybody, but beyond that, what were the other

motivations to get back together? Billy Corgan: ģTxlwh krqhvwo|/ lw zdv doo urrwhg lq wkh shuvrqdo uhodwlrqvklsv/ dqg zkhwkhu ru qrw wkhuh zdv hqrxjk vwuhqjwk wr zlwkvwdqg hyhu|wklqj hovh wkdw frphv# zlwk wu|lqj wr gr vrphwklqj olnh wklv1 Lwġv pruh ri d shuvrqdo wklqj1 L uhdoo| zdqwhg xv wr nlqg ri khdo wkh uliw/ dqg L wklqn zh kdyh1 Pxvlf vhhpv wr eh wkh edop iru wkdw1Ĥ James Iha: ģDv rqh ri wkh ruljlqdo phpehuv/ lwġv d ghhs erqg wr jurz xs zlwk wklv edqg dqg sod| wkhvh vrqjv dqg hyhu|wklqj wkdw jrhv dorqj zlwk lw1 \rxġuh d idplo|1 \rxġuh wudyholqj wrjhwkhu/ sod|lqj dqg olylqj wrjhwkhu doo wkh wlph1 Lwġv olnh froohjh dqg idplo| dqg zrun doo uroohg xs lqwr rqh1# Dqg olnh froohjh/ lwġv dovr d elj ohduqlqj h{shulhqfh1Ĥ Mhļ Vfkurhghu= ģLġp uhdoo| h{flwhg wr eh d sduw ri wklv dqg wr vhh krz idu lwġv# frph1 Lġyh ehhq lq wkh edqg iru 45 |hduv qrz/ exw L jrwwd whoo |rx/ zkhq

“PEOPLE THINK JAMES AND I SHOULD BE ENEMIES... WE’RE TOTALLY COOL...” JEFF SCHROEDER


SMASHING PUMPKINS zh#zhuh#lq#wkh#vwxglr#lq#Pdolex/#dqg# Lġp#lq#wkh#urrp#zlwk#Eloo|/#Mlpp|#dqg# Mdphv/#dqg#L#orrn#wkurxjk#wkh#jodvv# dqg#wkhuhġv#Ulfn#Uxelq#vwdqglqj# wkhuh/#L#kdg#d#olwwoh#elw#ri#d/#ĠZkrd/# krz#glg#L#jhw#khuhBġ#prphqw1#Lw#zdv# suhww|#lqwhuhvwlqj/#wr#vd|#wkh#ohdvw1Ĥ

We have to ask, Jeff, were you ever concerned for a brief moment that the return of James might endanger your position in the band? Mhļ:#ģQr/#qrw#dw#doo1#Eloo|#zdv# h{wuhpho|#wudqvsduhqw#derxw#wklqjv# iurp#wkh#ehjlqqlqj/#dqg#kh#dozd|v# vdlg#L#zrxog#eh#sduw#ri#lw1#Wkhuh#zdv# qhyhu#d#wlph#lq#zklfk#L#zdvqġw1#L#nqhz# wkdw#wkh#zkroh#wlph1Ĥ Billy: ģOrrn/#Mhļ#kdv#sxw#45#|hduv#lqwr# wkh#edqg/#dqg#wkdwġv#d#yhu|#vhulrxv# frpplwphqw1#Khġv#ghglfdwhg#klv#olih# wr#wkh#edqg/#dqg#L#ihho#khġv#hduqhg# wklv1#Qrw#rqo|#lv#kh#d#juhdw#pxvlfldq/# exw#khġv#dovr#yhu|#uhvsrqvleoh#iru#d#orw# wkdw#jrhv#rq#ehklqg#wkh#vfhqhv1#L# uhdoo|#glgqġw#vhh#dq|#zd|#wklv#frxog# zrun#zlwkrxw#klp1Ĥ James:#ģMhļġv#d#qlfh#jx|/#dqg#khġv#d# juhdw#pxvlfldq1#L#grqġw#kdyh#dq|#nlqg# ri#gudpd#zlwk#klp#dw#doo1#Diwhu# sudfwlfh/#L#zdv#olnh/#ĠGr#|rx#zdqw#wr# sod|#wkdw/#ru#gr#|rx#zdqw#ph#wr#sod|# wkdwB#L#grqġw#uhdoo|#fduh#zklfk#ri#xv# sod|v#zkdw1ġ#Lwġv#yhu|#hjr0ohvv# ehwzhhq#xv1#Khġv#d#qlfh#jx|1Ĥ

Even so, Billy, what were your thoughts about putting James and Jeff together? Did you wonder at first whether it was a little like putting your current wife in a room with your former wife? Billy: ģKrqhvwo|/#L#glgqġw#vshqg#d#orw# ri#wlph#rq#wkdw#nlqg#ri#wklqj1#Mhļ#lv# vxfk#d#txdolw|#shuvrq/#vr#L#glgqġw#kdyh# wkrvh#nlqgv#ri#frqfhuqv1#Wkdw#kh#dqg# Mdphv#zrxog#jhw#dorqj#vhhphg# suhww|#vhoi0hylghqw#wr#ph1# ģLwġv#d#ixqq|#wklqj/#wkrxjk=# shrsoh#kdyh#wkhvh#lghdv#derxw# wkh#edqg/#wkdw#lw#zdv#dozd|v# wkhvh#irxu#shrsoh/#exw#wkdw# zdvqġw#dozd|v#wkh#fdvh1#E|#wkh# plg#<3v/#Mlpp|#zdv#rxw#ri#wkh# edqg/#dqg#Wkh#Iurjv#^Mlpp|# dqg#Ghqqlv#Iohplrq`#zhuh#lq1# Zhġyh#kdg#d#orw#ri#shrsoh#frph# dqg#jr1#Wkh#edqg#kdv#wdnhq#rq# ydulrxv#jxlvhv1#Rxwvlgh#ri#d# eulhi#nlqg#ri#uhxqlrq#ri#wkh#irxu# ri#xv#lq#4<<</#zklfk#odvwhg#iru#doo# ri#irxu#prqwkv/#lw#kdvqġw#ehhq#wkdw# lqwdfw#iru#d#yhu|#orqj#wlph1#Vr#vlqfh#

4<<9#lwġv#ehhq#shrsoh#frplqj#dqg# jrlqj1#Dqg#Lġyh#kdg#wr#dffhsw#wkdw#dv# rxu#vwru|/#hyhq#wkrxjk#L#zrxog#kdyh# olnhg#wkh#idlu|wdoh#yhuvlrq#zkhuh#lw# zdv#mxvw#wkh#irxu#ri#xv/#olnh#d#X5#ru# vrphwklqj1Ĥ year zero Corgan’s new custom signature Yamaha LJ16BC acoustic is used in the current Pumpkins live set

Walk us through the process of how you went into the studio to make new music with Rick Rubin. Billy: ģL#kdg#d#frxsoh#ri#lghdv#wkdw#L# vruw#ri#vhw#dvlgh/#mxvw#lq#fdvh#wkh#edqg# hyhu#jrw#edfn#lqwr#wkh#vwxglr1#Ehiruh#L# uhxqlwhg#zlwk#Mdphv/#L#grqġw#zdqw#wr# vd|#Lġg#jlyhq#xs#rq#wkh#edqg/#exw#L# suhww|#pxfk#vhw#lw#dvlgh#dv#d#grqh# wklqj#lq#p|#plqg1#L#mxvw#glgqġw#zdqw#wr# vkrxoghu#wkh#exughq#rq#p|#rzq# dq|pruh1#L#zdv#yhu|#irfxvhg#rq#zkdw#L# was doing on the acoustic side, and wkhuh#zhuh#rwkhu#wklqjv/#wrr=#L#kdg#d# qhz#ede|/#dqg#olih#zdv#nlqg#ri#prylqj# lq#d#glļhuhqw#gluhfwlrq1#Vr#L#vhw#wkrvh# vrqjv#dvlgh/#olnh/#ĠRnd|/#li#zh#hyhu#jhw# edfn#wrjhwkhu/#wklv#lv#d#uhdoo|#jrrg# sodfh#wr#vwduw1ġ “Once we did, we went to Village Uhfrughu#iru#wkuhh#zhhnv#dqg#glg# ghprv1#L#wklqn#zh#glg#derxw#49#vrqjv# lq#wkh#wkuhh#zhhnv#dqg#wkhq#L#sod|hg# Ulfn#Uxelq#zkdw#L#wkrxjkw#zhuh#wkh# ehvw#hljkw1#L#wkrxjkw#khġg#slfn# just one to do as a single, which zdv#nlqg#ri#wkh#sodq#Ğ#ĠOhwġv#sxw# rxw#d#vlqjoh#wr#odxqfk#wkh#wrxu1ġ# Exw#kh#zdqwhg#wr#gr#doo#ri#wkhp/# vr#wkh#zkroh#wklqj#juhz#iurp# wkhuh/#dqg#qrz#lwġv#jrlqj#wr#eh#wzr# HSv1#Lw#zdv#txlwh#vxusulvlqj1Ĥ James:#ģLw#zdv#jrrg1#Ulfn#lv/# reylrxvo|/#d#juhdw#surgxfhu/#exw#khġv# dovr#d#juhdw#jx|#dqg#kdv#d#ylvlrq1#Kh# knows what he likes, knows what he grhvqġw#olnh1#Khġv#dozd|v#khosixo/# prwlydwlrqdo1#Dv#idu#dv#wkh# edqg#zrunlqj#wrjhwkhu/#lw# zdv#hdv|1#Wkh#vrqjv#zhuh# jrrg/#dqg#L#wklqn#L#zdv# deoh#wr#wu|#d#orw#ri# glļhuhqw#wklqjv1Ĥ#

How did you go about the actual tracking? There’s always been so much guitar orchestration on Pumpkins songs. Billy: ģZh#zhqw#edfn# wr#zrun#^wkh#zd|`#zhġg# dozd|v#grqh#wklqjv=#Zh# zrxog#vruw#ri#wudfn#wrjhwkhu# dqg#wkhq#Ľjxuh#rxw#zkr# vkrxog#gr#zkdw1#Wkhuhġv#d#orw#ri# OCTOBER 2018 TOTAL GUITAR

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feature

44

jxlwdu#zrun/#vr#|rx#uhdoo|#kdyh#wr#pds# lw#rxw1#\rx#nlqg#ri#vhw#wkh#wklqj#lq#lwv# sduwlfxodu#gluhfwlrq#dqg#pdnh#vxuh# hyhu|erg|#lv#rq#wkh#vdph#sdjh#derxw# zkhuh#lwġv#jrlqj1# ģRqfh#|rxġuh#sdvw#wkh#wudfnlqj# vwdjh/#wkhq#lwġv#grzq#wr/#ĠRnd|/# hyhu|erg|#kdv#d#fkdqfh#wr# frqwulexwh1ġ#Wkdwġv#zkhuh#wklqjv#jhw# wr#d#ghhshu#ohyho/#ľhvklqj#rxw#lghdv# dqg#wu|lqj#wklqjv1#\rx#nlqg#ri#rshq# wkh#ľrru#xs#iru#glvfxvvlrq1#Qrz/#wkh# wklqj#lv/#|rx#grqġw#zdqw#wr#fkdqjh#wkh# gluhfwlrq#ri#wkh#wudfn#dqg#wkurz#rxw#d# exqfk#ri#zrun#|rxġyh#douhdg|#grqh# Ğwkdwġv#vrphwklqj#zh#ohduqhg#ryhu# wlph1#\rx#kdyh#wr#eh#hĿflhqw#derxw# krz#|rx#dssurdfk#wkh#jxlwdu#zrun1Ĥ Mhļ= “Lw#zdv#uhdoo|#derxw#frplqj#xs# zlwk#lghdv#dqg#vhhlqj#zkdwġv#ehvw#iru# wkh#vrqj1#Hyhu|erg|#zrxog#wdnh#krph# edvlfv#dqg#Ľjxuh#rxw#zkdw#zdv# qhhghg1#L#qhyhu#kdg#d#sureohp# frplqj#xs#zlwk#lghdv1#Lw#zdv#mxvw# Ġw|slfdo#Sxpsnlqvġ1#Wkh#rqo|#uhdo# TOTAL GUITAR OCTOBER 2018

smashed then repaired After 18 years of separation, Corgan and Iha reunite with new material

sureohp#zdv#nqrzlqj#zkhq#wr#vwrs1# Vrphwlphv#zh#glg#jhw#mxvw#d#olwwoh# ryhugxe#fud}|1Ĥ#

You didn’t work with a designated bassist in the studio, though. Mhļ: ģQr/#zh#glgqġw1#Lw#ydulhg#vrqj#e|# vrqj1#Zkhq#zhġuh#grlqj edvlfv/ lw pljkw#phdq#Eloo|# rq#sldqr/#Lġp# sod|lqj#edvv#dqg# Mdphv#lv#sod|lqj# jxlwdu1#Ru#Eloo|# sod|hg#edvv1# Zkdwhyhu#zrunhg# zlwk#wkh#guxp# wudfnv1Ĥ

odehov#dqg#wkh#vlwxdwlrqv#zh#irxqg# rxuvhoyhv#lq#dv#d#jurxs1#Qrz#L#kdyh# wkh#ox{xu|#lq#wkdw#L#zdqw#hyhu|erg|#wr# zdon#rxw#ri#wkh#vwxglr#ihholqj#sohdvhg# derxw#zkdw#zhġyh#sxw#wrjhwkhu1# Hyhu|erg|#kdg#wkhlu#rssruwxqlw|#wr# vd| zkdw wkh| zdqwhg wr#vd|#dqg#L#ihho# uhdoo|#jrrg#derxw# wkdw1Ĥ

“I’VE LEARNED TO LISTEN AND BE MORE OPEN” BILLY CORGAN

Billy, you mentioned ‘opening up the floor for discussion’. In the past, you wielded a bit more of an iron hand in the studio… Billy: ģL#gr#ihho#dv#li#Lġyh#ohduqhg#krz# wr#olvwhq#dqg#wr#eh#pruh#rshq1#Wklv# lvqġw#dq#h{fxvh/#exw#lq#wkh#sdvw#L#zdv# xqghu#d#orw#ri#suhvvxuh/#erwk#iurp#

What kind of discussions did you have about moving from two to three guitarists?

Billy: “We dfwxdoo| vdw grzq dqg vdlg/#ĠRnd|/# krz#lv#wklv#jrqqd#zrunBġ#L#wklqn#wkh# ehvw#dssurdfk#lv#wr#Ľjxuh#rxw#krz#wr# yrlfh#sduwv#vr#wkdw#wkh|ġuh#vlplodu#wr# wkh#uhfrugv/#udwkhu#wkdq#grlqj#dq# lpsuhvvlrqlvwlf#yhuvlrq#ri#wkh#uhfrugv# zlwk#wzr#jxlwduv1Ĥ Mhļ:#ģRq#wklv#wrxu/#zh#zdqw#wr#vrxqg#


SMASHING PUMPKINS pruh#olnh#wkh#uhfrugv#wkdq#hyhu# ehiruh1#Lwġv#jrlqj#wr#eh#d#glļhuhqw#w|sh# ri#vkrz#wkdq#dq|wklqj#zhġyh#hyhu# grqh/#dqg#iurp#d#pxvlfdo#srlqw#ri# ylhz/#zhġuh#qrw#jrlqj#wr#gr# ghfrqvwuxfwhg#yhuvlrqv#ri#wkh#vrqjv1# Kdylqj#wkuhh#jxlwduv#reylrxvo|#khosv# lq#ehlqj#deoh#wr#ghdo#zlwk#doo#wkh# ryhugxev#dqg#zkdwqrw1Ĥ Billy: ģLq#vrph#fdvhv/#L#pljkw#eh#deoh# wr#sod|#d#olwwoh#ohvv/#exw#wkhuh#duh#wlphv# zkhq#lw#grhvqġw#vrxqg#uljkw#li#Lġp#qrw# sod|lqj1#Lġp#nlqg#ri#suhvvhg#lqwr#gxw|# vrphwlphv#zkhq#Lġg#udwkhu#qrw#eh1# \hvwhugd|#zh#sod|hg#Uklqrfhurv/#dqg#L# kdg#wr#sod|#wkh#ohdg#euhdn1#L#kdyhqġw# sod|hg#wkdw#vrqj#lq#pd|eh#43#|hduv/# dqg#L#kdyhqġw#sod|hg#urfn#lq#d#zkloh1# P|#vrorlqj#lv#suhww|#uxvw|1Ĥ James:#ģLwġv#vwloo#d#urfn#edqg1#Lwġv#mxvw# rqh#pruh#jxlwdu1#^odxjkv`Ĥ#

Of all the Zeppelin songs to cover in your set, what made you go with Stairway…? Billy:#ģRk/#|rxġg#kdyh#wr#jhw#lqwr#wkh# lqqhu0Sxpsnlqv#sv|fkrorj|#rq#wkdw# rqh1Ĥ#

That’s why we’re talking. Fill me in... Billy: ģQdk1#L#grqġw#wdon#derxw#wkdw# vwxļ#dq|pruh1#Lġyh#jurzq#fuxvw|#lq# p|#rog#djh1Ĥ#^odxjkv`

So with three guitars, what are the chances of you doing some Skynyrd? Billy: ģL#zrxog#oryh#wr1#Wkdwġv#wkh#

hslwrph ri wkh wkuhh0jxlwdu edqg1Ĥ James: ģLwġv srvvleoh1Ĥ ^odxjkv` Mhļ: ģRu pd|eh zh frxog gr vrph Proo|#Kdwfkhw ru 16; Vshfldo1Ĥ Billy: ģL wklqn 16; Vshfldo lv lq wkh wkuhh0jxlwdu idplo|1 Wkh|ġuh vruw ri wkh#vwhsvrqv wr Vn|q|ug/ qrBĤ James: “Krog Rq Orrvho|, Fdxjkw Xs Lq#\rx#Ğ L kdyh wkrvh rq sod|olvwv1 \rx grqġw#uhdoo| khdu edqgv gr wkdw nlqg ri wklqj#wrgd|1 \rx kdyh wklv urfn edqg sod|lqj d srs vrqj/ exw wkhq wkh jx| vwduwv#sod|lqj wklv lqfuhgleo| phorglf ohdg#wkdw jrhv rq dqg rq1 L wkrxjkw wkdw#vwxļ zdv juhdw1Ĥ

Unlike a lot of bands on reunion tours, you guys have recorded new music. Is this the sign of an ongoing alliance? James: ģ\hdk/ L wklqn zlwk wkh wrxu/ lw zdv#lpsruwdqw wr gr qhz pxvlf dqg pdnh#lw ihho olnh zhġuh d olylqj/ euhdwklqj hqwlw|111 Lġp wu|lqj qrw wr jhw#wrr#idu dkhdg ri p|vhoi1Ĥ Mhļ:#ģZhġyh ehhq sohdvdqwo| vxusulvhg wkdw wkh uhfruglqj surfhvv zhqw#vr zhoo1 Lw zdv txlwh dssduhqw wkdw#wkhuh zdv d orw ri hqhuj|/ dqg lw zdv#yhu| qdwxudo dqg xqirufhg1 Xqghu wkh#uljkw flufxpvwdqfhv/ zh frxog pdnh#d orw ri qhz pxvlf wrjhwkhu1Ĥ Billy:#ģL zrxog krsh wklqjv fdq frqwlqxh/ exw Lġyh ohduqhg qrw wr ohw p|#prxwk zulwh wkh ixwxuh1Ĥ

45

Smashing Pumpkins play the SSE Arena, Wembley on 16 October

REARM How the trio are approaching the tonal quandaries presented by a three-guitar Pumpkins

Photo: Tim Mosenfelder/Getty Images

Billy: “It’s a song-by-song issue. We did an old song yesterday, and I used my Reverend [BC-1 signature] guitar, which has a little bit of a humbucker sound, and James was playing a Les Paul. But it didn’t sound right to me because the sound of that song is very much the Strat with the Les Paul rhythm. I told my guy, ‘You gotta dig out one of those Strats.’” James: “I think I’ll stick to the Les Pauls. For the most part, with the Pumpkins, and even in A Perfect Circle, I just have to play a Les Paul. They just have that heaviness I like.” Jeff: “I’ve been thinking about my amps a lot. I found an amp by a maker here in Chicago named Brian Carstens; he’s the repair guy at the Chicago Music Exchange. He has this model called the Warm Machine, and it’s a 50-watt 60s-type of amp. It’s very clear, with lots of sustain and energy. I used it for the recordings, and it sat on top of the other guitars really well.”

OCTOBER 2018 TOTAL GUITAR


SMASHING PUMPKINS

SMASHING STRUMMINGS… Corgan and Iha’s playing tricks

A

And, though their scale choice is often simple (sticking to major and natural minor scales), Billy’s biting vocal delivery and songwriting chops infuse the band’s material with attitude. Billy tends to use bends, legato and slower melodic lines in his lead work. We’re looking at some typical techniques used by Corgan and Iha. Play through our riffs to get some trademark Pumpkins sounds in your own playing.

s guitar duo for one of the most influential 90s alt-rock bands, Billy Corgan and James Iha create intricate layered parts with grungy powerchords, ambient dream pop arpeggios and heavy, fuzz-distortion infused riffs. Corgan’s catchy vocal melodies and major scale based riffs in songs like Tonight, Tonight gave the band broad appeal, which earned them huge success. SMASHING ANGELS

TRACKS 22-23

q = 90

A5

E

#

.. . .

B

46

D5

. .

.. 9

11

11

14

13

13

7

9

9

12

11

11

0

0

0

0

0

0

0

. .

0

B5

NH

7

7

4

5

5

2

0

5

5

5

5

5

5

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

NOW, NOW

TRACKS 24-25

q =120

Cmaj 7

#

C5

G/B

G/D

Gmaj 7/F #

Em

.. . .

B

Gsus 2

G

G

..

let ring throughout 0

0

0

3

0

2

0

0 3

0

0

0

0

7

5

5

0

0

0

9

0

0

0

10

14

12

0

0

0 14

14

. .

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

PENTATONIC LEAD LINES

TRACKS 26-27

q =100

A5

.. .

A5

F5

j œ

.

5

5

F5

j œ

..

BU

BU 8 (10)

D5

8

5

5

5

6

5

7

5

5 10 (12)

10 7

5 7 5 7

5 7 5 7

3 5 3 5

. .

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

TOTAL GUITAR OCTOBER 2018

Guitars and backing: Charlie Griffiths

B

. .

D5


COVER FEATURE

48


WORDS CHRIS BIRD, JON BISHOP

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

GUITARS AND BACKING JON BISHOP

BECOME THE ULTIMATE RHYTHM PLAYER Elevate your playing with TG’s huge, allencompassing lesson on rhythm guitar

here’s an old adage that guitarists spend 90 per cent of their playing time on rhythm duties, but 90 per cent of their practice time on lead. There’s probablysometruthtothis so this month we’re going to help you with the accompaniment sideofguitarplaying. However, it’s not all routines, drills and click tracks. No, without so much as a metronome in sight, we’re looking at rhythm guitar in the broadest sense. We want you to be a better, more rounded player by the end of this lesson! With that in mind we’re providing you with creative new chord shapes to try out, some textural, ambient approaches to rhythm playing,aswellasalltheinfo you need to improve your timing and your understanding of rhythm. Want to play like your favourite rhythm guitarist? Check! All of our examples will help you understandhowrealplayers approach rhythm guitar. So, plug in, put your cover disc in your CD player and let’s get started!

49

T

Photo: David Munn/Getty

OCTOBER 2018 TOTAL GUITAR


01

soul man Groove meister Nile Rodgers is partial to an Em7

LEARN MORE CHORDS! Start your rhythm guitar workout here as we take you beyond basic open and barre chords with some cool, creative shapes

TRACK 28

PARTIAL CHORDS

P X

50

laying a few notes of a chord is a great way to fuhdwh#d#uk|wkp#sduw#wkdw#Ľwv#lq zlwk rwkhu chordal instruments, such as keyboards. Our F shape is a great way to simplify an F barre chord.

X

X

X

1

1

Em7 is a typical Nile Rodgers shape and the C6 chord gives you the kind of sound that soul session supremo Steve Cropper uses in songs such as Soul Man. Try out the Amadd9 for a dark, moody sound.

2

7

X

X

X

X

O

X

3

O

1

5

2

4 1

3

3

3

F

4

C6

Em7

Amadd9

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

X

O

X

X

O

X

X

X

1

1 1

2

2

4

3

3

1

1

4

Photo: Graham Lowe /Redferns/Getty

D/F#

1 ANCHOR FINGERS Anchor your fourth finger to guide your other fingers. Try it with other chords you know.

TOTAL GUITAR OCTOBER 2018

1

1

2 3

Cadd9

1

4

F#

Bm

2 MOVING YOUR FINGERS IN ONE ‘BLOCK’ An exercise with both major and minor shapes.

2

2 3

3

2 3 4

1

4

Dmaj7

4

Amaj7add11

3 USE ALL FOUR FINGERS Moving all four fingers is a guaranteed way to improve your dexterity and speed.

O


ULT I M AT E R H Y T HM TRACK 29

WIDE INTERVAL CHORDS

T

simple: most chords cover more than an octave; simply ditch one or two of the middle notes to give the top and bottom frequencies more breathing space and a clearer, less muddy sound. Try including an open string too.

his trick will give you a clearer, less muddy sound than standard barre chords – an approach often used by John Frusciante, Eric Johnson, James Bay and most notably in Blackbird by the Beatles. It’s

X

X

X

X

X

1

5

X

X

X

X

1

5

X

1

7

2

2 1

X

X

3

3

4

4 3

4

Dm/F

Dm

C/E

C TRACK 30

EXTENDED CHORDS

T

echnically, extended chords include 9th, 11th and 13th intervals, but it’s easier to think of 6ths and 7ths in the same way too. All these chords add notes to basic major or minor chords (C, Dm and so on), ‘extending’ them with more colourful sounds

X

+vxfk#dv#Fpdm:/#Gp<,1#Mhļ#Exfnoh|ġv#4<<7#doexp#Grace featured dozens of extended chords. Also listen to Amy Winehouse’s October Song. The maj7#11 chord is loved by shred gurus Joe Satriani and Steve Vai. G13 sounds great in soul, jazz and blues.

X

X

51

X

X

1

1

7

2 1

1

1

1

3 4

2

2 3

1

1

2

4

Cmaj7

3 4

3

Dm9

G13

Cmaj7#11

CHORD EMBELLISHMENTS q =105

TRACK 31

.. ..

C

..

Csus 4

C

Bb

.. ..

B

≥ 8

8 8 9 10

8 8 9 10

9 10

10

9

..

Play 4 times

b

3

. .

F

b

10

8 8 9 10

8 8 9 10

6 6 7 8

≥ 6

¿¿ ¿¿ ≥

10 10 10 8

¿¿ ¿¿ ≤

10 10 10 8

. .

Usingthethumbtoplaybassnotesonthesixthstringfreesupotherfingerstoplayextensionsandmelodynotes.JimiHendrixwasamasterofthisapproachandguitarists likeStevieRayVaughanandJohnMayerfollowedsuit.Thetripletembellishmentinbar1ispureJimi.

OCTOBER 2018 TOTAL GUITAR


ULT I M AT E R H Y T HM

02

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

I

f you ever needed a reminder that rhythm guitar isn’t always about the guitarist’s right arm, just take a listen to players like The Edge, Johnny Marr, Tom Morello and Jimi Hendrix.

dushjjlrv1#Lwġv#d#glļhuhqw#nlqg#ri#uk|wkp# playing, but, just like any other aspect of playing the guitar, you can still hone your chops! Try out our examples and try to apply what you learn to your own music.

Sure, Morello and Hendrix in particular are Ľhufho|#ixqn|/#exw#zhġuh#pruh#lqwhuhvwhg#khuh# in how these players have explored experimental fx-laden tones, along with dynamics and textural techniques like

ARPEGGIOS INSTEAD OF CHORDS

TRACK 32

q =110

Csus 2

Asus 2

..

.. . .

T B

Play 4 times

let ring throughout 3 5

3

3

3

5

≥ ≤ ≥ ≤

5

5

5

3

3

5

0 5 0

≤ ≥ ≤ cont. sim.

2

0

2

0 2

2

0

2

0

2

. .

2

Playing the notes of a chord one at a time (known as an arpeggio) is a great way to create a relaxed more textural sound in your rhythm parts. REM’s Everybody Hurts is a great example, as is Message In A Bottle by The Police. The key to our riff is to hold down the chord shape and let all the notes ring out together.

USING DYNAMICS

53

TRACK 33

q =110

#

C5

E5

D5

P PM

. .

T B

...

..

5 5 3

ƒ 5 5 3

5 5 3

5 5 3

5 5 3

≥ ≥ ≥ ≥ cont. sim.

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

5 5 3

7 7 5

7 7 5

7 7 5

..

Play 4 times

. .

0 0 9 9

0

0

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

AMBIENT DELAY

TRACK 34

q =110

# T B

Em

.. . .

Cmaj 7

D

..

Play 4 times

.

œ let ring throughout

2 0

0

1

0

0

0

3 2

5

4

3

2

0

. .

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

OCTOBER 2018 TOTAL GUITAR


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

54

IT DOESN’T HAVE TO BE REINHARDT…

TRACK 35

THREE TIPS FOR EASY GYPSY JAZZ RHYTHM! X

X

X 5

1

X

2

X

X

1 3 4

1

1

D6/9

E7

1 3 4

2

3 4

2

A13

4

3

1

Photo: Phil Bourne/Getty Images

X

2 4 4

Am6

X X

1

5

3

2

X

X

O

O

Am6 (bass)

Am6 (treble)

1 CHOOSE A JAZZY CHORD

3 BREAK IT DOWN

Am6 gives you an instant gypsy jazz sound akin to greats like Django Reinhardt, Birélli Lagrène and new kid on the block Remi Harris. Try A13, D6/9 and E7 too.

Give the illusion of guitar and bass playing at the same time by alternating between the bass and treble strings instead of playing the whole chord.

2 STRUM ON EVERY BEAT

COUNT:

1

Count to four to keep time and strum a downstroke on every beat. Emphasise beats 2 and 4 for that typical gypsy ‘la pompe’ groove.

STRUM:

down down down down

TOTAL GUITAR OCTOBER 2018

ACCENT:

2

>

3

4

>


ULT I M AT E R H Y T HM

03

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

S

easoned players and guitar newbies alike need to stay in shape when it comes to core skills like strumming and timing – so that’s

what we’re looking at here. And if you thought the minor pentatonic scale was only for lead guitar, think again! This vital vfdoh#lv#dw#wkh#khduw#ri#frxqwohvv#ulļv/#iurp#

Led Zeppelin’s Whole Lotta Love to Royal Blood’s bass-fuelled Little Monster. Try rxw#rxu#ulļv#dqg#krqh#wkhvh#hvvhqwldo# playing skills.

FOLKY ACOUSTIC STRUMMING q.= 60

TRACK 36

3

q q =q q

Am7

Am(maj 7)

Am

D

Play 4 times

.. . .

T B

.. 0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 1 2 2 0

0 0 0 0 0

0 1 1 2 0

≥ ≥ ≥ ≥ ≥ ≤ ≥ ≤ cont. sim.

0 1 1 2 0

0 1 1 2 0

0 1 1 2 0

0 1 1 2 0

0 1 1 2 0

0 1 1 2 0

0 1 0 2 0

0 0 0 0 0

0 1 0 2 0

0 1 0 2 0

0 1 0 2 0

0 1 0 2 0

0 1 0 2 0

0 1 0 2 0

2 3 2 0

0 0 0 0 0

2 3 2 0

2 3 2 0

2 3 2 0

2 3 2 0

2 3 2 0

2 3 2 0

0 0 0 0

. . 55

From Coldplay style pop to the folky roots-rock of Ryan Adams, basic strumming forms the backbone of countless players’ rhythm styles. This 6/8 rhythm keeps things interesting by adding a light swing feel to the 16th notes so listen out for a slight ‘bounce’ to the 16ths at the end of each bar of music.

PENTATONIC RIFFING

TRACK 37

q =150

N.C.

.. . .

T B

E5

D5

>

œ >

PM

PM

9 9 7

0

0

≥ 0

N.C.

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

œœ

j œ

~~~~~~~~~~

PM

7 7 5

≥ 0

0

7

5

0 5

0 5

0 5

7

7

. .

cont. sim.

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

ROCK ’N’ ROLL GROOVE

TRACK 38

q =160

# T B

A5

A6

.. . .

A5

A6

A5

A6

A5

A6

A5

..

Play 4 times

> 7 5

7 5

9 5

> 7 5

7 5

7 5

9 5

> 7 5

7 5

7 5

9 5

> 7 5

7 5

7 5

9 5

7 5

. .

cont. sim.

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

OCTOBER 2018 TOTAL GUITAR


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

04

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

Y

ou’re probably used to counting or tapping your foot in time with music. Well, in a similar way, sheet music represents the timing of the notes based on the main musical pulse, in turn making it easier for us guitarists to work out the exact rhythm. Still,

56

you don’t have to be heavily into reading music – we’ve played six one-bar rhythm examples four times each before leaving a gap on the backing track for you to join in and practise what you’ve just heard. Simply listen and repeat, and trust your ear to pick up the timing.

RHYTHM WORKOUT

TRACK 39

q = 115 Fig. 2: Eighth notes Cm7

Fig. 1: Quarter notes Cm11

T B 1

6 6 8 8

6 6 8 8

6 6 8 8

6 6 8 8

8 8 8 8

≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥

8 8 8 8

Fig. 4: Quarter, eighth & 16th notes Cm9

T B Photo: SGranitz/Getty Images

4

Fig. 3: 16th notes

Cm7

8 8 8 8

8 8 8 8

8 8 8 8

8 8 8 8

8 8 8 8

8 8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

Fig. 5: Introducing rests Cm11

10 8 8 8

10 8 8 8

6 6 8 8

6 6 8 8

6 6 8 8

6 6 8 8

6 6 8 8

6 6 8 8

≥ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤

≤ ≥

≤ ≥

10 8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

8 8 8

cont. sim.

Fig. 6: Quarter-note triplets C 7sus 4

... .

10 8 8 8

8 8 8

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤

10 8 8 8

10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

8 8 8

6 6 8 8

6 6 8 8

8 8 10 8

8 8 10 8

8 8 10 8

8 8 10 8

8 8 10 8

8 8 10 8

≥ ≤

6 6 8 8

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

TOTAL GUITAR OCTOBER 2018


COVER FEATURE

05

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

R

ock and metal techniques can eh Ľhufho| fkdoohqjlqj/ particularly when it comes to the accuracy and timing in your picking hand. However, if you feel like your progress is slow, fear

power picked Metallica’s James Hetfield is a master of down-picking

58

not, we’ve got your back! Here we’re focusing on some key picking techniques, taking in a handful of vwdqgdug urfn ulļv dv zh jr1 Vlpso| read on, try out our tab exercises and h{sdqg |rxu duvhqdo ri ulļv dv |rx jr1

DOWN-PICKING

TRACK 40

q =145

Bb5

A5

A5

G5

A5 Play 4 times

.. T B

. .

..

PM

7 7 5

PM

7 7 5

5

5

PM

7 7 5

≥ 5

5

PM

7 7 5

5

8 8

5

7 7

5 5

7 7

. .

cont. sim.

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

GALLOP TO THE HILLS

TRACK 41

q =110

.. T Photo: FilmMagic/Getty

B

. .

E5

C 5/G

D 5/A

5 5 3 3

7 7 5 5

PM

2 0

2 0

2 0

2 0

≥ ≤ ≥

2 0

2 0

≥ ≤

2 0

2 0

2 0

2 0

2 0

2 0

2 0

2 0

2 0

2 0

2 0

2 0

cont. sim.

Awell-knownrockandmetalgroove,thegalloprhythmfeaturesinclassicslikeDio’s HolyDiver,IronMaiden’s RunToTheHills andHeart’s Barracuda.It’sbasedona ‘down-down-up’pickingpattern,withthefirstdownstrokealwayslandingonthebeat.Asever,listencarefullytoouraudioexampleandpractiseslowlyfirst.

TOTAL GUITAR OCTOBER 2018

..

Play 4 times

. .


ULT I M AT E R H Y T HM PLAYING ROUND THE LEAD GUITAR q = 110

..

C5

B

Bb5

A5

B5

5 3

5 3

5 3

5 3

≥ ≤ ≥

5 3

¿¿ 2 2 3 3 4 4 0 0 1 1 2 2 ≤ ≥ ≤ ≥ ≤ ≥ ≤

5 3

≥ ≤

Eb5

C5

..

Play 4 times

n

n

. .

T

TRACK 42

5 3

5 3

5 3

5 3

5 3

≥ ≤ ≥

. .

¿¿ 8 6 ≤ ≥

5 3

≥ ≤

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

PUSH AND PULL

TRACK 43

q = 140

D 5/F #

G5

#

. .

B

Csus 2

.. ..

..

T

G5

A5

A5

A6

..

Play 4 times

n

3 3 0 0

3 2 0

3 3 0 0

3

2

3

n # 3 0

2 2 0

2 2 0

3

3

n # 2 2 0

4

0

4 0

0

2 0

2 0

3

4

2 2 0

¿

. .

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

AIN’T WORTH A DIME

TRACK 44

j q q =q q 3

q =125

.. . .

T B

Bb5

N.C.

j œ

j œ

j œ

5 12 0

0

≥ 5

7

7

b

j œ

5 0

≤ ≥ 5

..

Play 4 times

6

5

3

0

0

≥ 5

7

7

0

. .

8 8 6

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

WHO’S AGGRESSIVE?

TRACK 45

q =145

E5

# T B

G5

..

.. . .

D

2 2 0

0 0

3 3 0 0

2 3 2 0

3

.. ..

..

Play 4 times

. .

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

OCTOBER 2018 TOTAL GUITAR

59


COVER FEATURE

06

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

W

h#urxqg#rļ#rxu#uk|wkp#ohvvrq#zlwk# three broad concepts. First is the idea of combining rhythm and lead guitar. Most players do this and bands with only one guitarist are the main exponents: Rush,

style funk rhythms. And if you’re bitten by the odd time bug, take a look at Classic Track on p68 where Soundgarden’s Outshined weaves wkurxjk#:27/#727/#927#dqg#82;#wlph#vljqdwxuhv1# Iru#qrz/#wu|#rxu#elwh0vl}hg#h{dpsoh#lq#8271

Van Halen and Jimi Hendrix for example. It’s a vast topic, so it’s perhaps better to focus your practice on rhythm and lead separately and rely on inspiration to bring your ideas together. We’re also looking at odd time and 16th-note

IN THE BACK OF THE VAN

TRACK 46

q =150

A

#

G

E/A

D

A

E/A

G

D

Play 4 times

.. . .

T B

PM

0

PM

0

10 9 11

PM

9 9 9

0

9 9 9

PM

0

8 7 9

0

8 7 9

7 7 7

7 9 7

0

PM

10 9 11

0

0

NH

PM

9 9 9

9 9 9

0

..

8 7 9

0

8 7 9

7 7 7

7

7

7

. .

60 Few guitarists are as adept at combining rhythm and lead as Eddie Van Halen. Our EVH-inspired line features melodic flourishes at the end of bars 2 and 4. It’s a great way to give your riffs a lift, so, if you’re struggling, try omitting the preceding D chord to begin with rather than ditching the colourful melodic bits.

ODD TIME

TRACK 47

q =110

E5

T B

.. .. œ. . . 22 0

Csus 2

G5

œ œ 2 2 0

2 3

3 0

3 0

3

3

Bb5

E5

3 0 0

3 0 0

3

3

.. œ.

œ

2 2 0

2 2 0

F5 Play 4 times

..

2

0 3

0 3

0 3

0 3

3

. .

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

GET FUNKY

TRACK 48

q = 105

Fmaj 7

B6

C6

Em7

Asus 4

Am

Am

..

.. T B

. .

Play 4 times

10 9 10

¿¿ 10 ¿ 109 ≥ ≤

¿¿ 9 ¿ 89 ≤ ≥

10 9 10

¿¿ ¿ ≥ ≤ ≥

10 9 10

10 9 10

10 9 10

¿¿ ¿ ≥

¿¿ ¿ ≤

7 8 7

¿¿

≥ ≤

7 8 7

¿¿

5 5 5 7

≤ ≥

¿¿

5 5 7 7

5 5 7 7

5 5 7 7

5 5 5 7

≤ ≥ ≤ ≥ ≤

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

TOTAL GUITAR OCTOBER 2018

. .


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

Count

1

2

3

4

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

Count

1

2

3

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

Count

1 1

2 2

1 3

2 1

61

3 2

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

Count

1

&

A

2

&

A

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

Count

1

&

A

2

&

A

3

&

A

4

&

A


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TAB GUIDE Get more from TG by understanding our easy-to-follow musical terms and signs Whatistab? This is where the key signature and time signatures are shown

q =72

This is the beats per minute (BPM)

..

2nd string 2nd string 3rd string 4th string 3rd fret 1st fret 2nd fret Open

0 1 1E 2B 3G 4D 5A 6E

. .

T

3

1

2

0

CD time (where the part occurs on the original CD)

Tab is short for tablature, a notational system used to give detailed information as to where notes should be played on the fretboard. Tab appears underneath conventional music notation as six horizontal lines that represent the strings of the

guitar, from the sixth (thick) vwulqj dw wkh erwwrp wr wkh Ľuvw (thin) string at the top. On these lines, numbers represent which iuhwv |rx sodfh |rxu Ľqjhuv1 Iru example, an A note on the 2nd fret, third string, will be shown as a number ‘2’ on the third line

down on the tab. Unfretted strings are shown with a ‘0’. The key and time signatures are shown in the notation. TG also includes a timestamp to tell you where in the original track you’ll Ľqg hdfk h{dpsoh dqg whpsr expressed in beats per minute.

FRET BOXES: CHORDS, SCALES AND CAPO NOTATION HAND LABELLING 2

3

NUT AND FRETBOARD i

1

m

CHORD EXAMPLE

o o o o o o

a

o o o

c

4 T

1

p

2

3

64 G Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger)

This fretbox diagram represents the guitar’s fretboard exactly, as seen in the photo. This design is used for ease of visualising a fretboard scale or chord quickly.

This diagram represents a G chord. The ‘o’s are open strings, and a circled number is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).

CAPO EXAMPLE

CAPO NOTATION

SCALE EXAMPLE

o o o

CAPO 2ND FRET >

CAPO 2ND FRET >

o

x

D ( C) Capo 2nd fret

o

4

1 1

2 2

2

2

3

1 2 2

3 3

3

T B A (G)

1 1 1

4 4 4 4 4 1 0 2 3

A major scale

D (C)

The blue line in the diagram represents a capo for this A chord, place it at the 2nd fret. Capos change the fret number ordering. Here, the original 5th fret now becomes the 3rd fret, 7th fret now 5th fret, etc.

Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab as if they were open strings.

The fret box diagram illustrates the fret hand fingering for the A major scale using black dots for root notes and red dots for other scale tones. The photo shows part of the scale being played on the fourth string with the first, third and fourth fingers.

GUITAR TECHNIQUES: PICKING DOWN AND UP-PICKING

TREMOLO PICKING

PALM MUTING

PICK RAKE ¿¿

T B

T 7

5

The symbols under the tab tell you the first note is to be down-picked and the second note is to be up-picked.

TOTAL GUITAR OCTOBER 2018

@ 4

B Each of the four notes are to be alternate-picked (down and up-picked) very rapidly and continuously.

APPREGGIATED CHORD C

¿

g

rake

PM

T B

T 0 0 0 0 0

0 0

Palm-mute by resting the edge of your picking hand palm on the strings near the bridge saddles.

B

¿ ¿ ¿

E

5

Drag the pick across the strings shown with a single sweep. This is often used to augment a rake’s last note.

T B

0 1 0 2 3

0 0 1 2 2 0

Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.


TAB GUIDE FRETTING HAND HAMMER-ON & PULL-OFF

NOTE TRILLS

SLIDES (GLISSANDO)

FRET-HAND TAPPING

~~~~

œ œ œ œ

(

FRET-HAND MUTING

6

C

œ œ)

RP

T

5

7

7

5

T

T

5 (7 5)

8

B Pick the first note then hammer down on the string for the second note. Pick the third note and pull-off for the fourth note.

5

7

7

5

T

7

B

B

T 5

7

0

5

7

0

B

¿¿ ¿¿

5 5 5 3

¿¿ ¿¿ ¿¿ ¿¿

¿¿ ¿¿ 5 ¿¿ ¿¿ 56 3

After picking the first note, rapidly alternate between the two notes shown in brackets using hammer-ons and pull-offs.

Pick the first note and then slide to the next. For the last two notes pick the first, slide to the next and then re-pick it (RP).

Sound the notes marked with a square by hammering-on/tapping with your fret hand fingers, instead of picking.

X markings represent notes and strings that are muted by your fret hand when struck by your picking hand.

RE-PICKED BEND

PRE-BEND

QUARTER-TONE BEND

VIBRATO

BENDING AND VIBRATO BEND AND RELEASE

j œ

œ J

RP

PB 5

BU

BD

5 (7)

BU

T

(5)

5 ( 7)

T

( 7)

B

B Fret the first note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing again.

BD (7)

T

(5)

7

T

5

7

B

B

~~~~

~~~~~ ~~~~~ wide

1/4

T

wide

~~~

1/4

7

5

B

Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the pitch shown.

Silently bend the string up from the 5th fret (PB5) to the pitch of the 7th fret note, pick it and release to the 5th fret note.

Pick the note then bend up a quartertone (a very small amount). This is sometimes referred to as a ‘blues curl’.

Your fretting hand vibrates the string by small bend-ups and releases. Exaggerate this effect to create a ‘wide’ vibrato.

ARTIFICIAL HARMONICS

PINCHED HARMONICS

TAPPED HARMONICS

TOUCHED HARMONICS

HARMONICS NATURAL HARMONICS

# 65 NH

T B

12

PH

AH 16 AH 17 AH 19

12

12

T

7 7 7

4

B

Pick the note while lightly touching the string directly over the fret indicated. A chiming harmonic results.

T

7

5

T 7

B

Fret the note as shown, then lightly place your index finger directly over ‘x’ fret (AH‘x’) and pick (with a pick, p or a).

TH 17 TH 19 TH 17

5

7

After fretting the note in the triangle, dig into the string with the side of your thumb as you sound it with the pick.

5

TCH

T

5

7

B

2

9

B

Place your finger on the note as shown, but sound it with a quick pick hand tap at the fret shown (TH17) for a harmonic.

A previously sounded note is touched above the fret marked TCH (eg, TCH 9) for it to sound a harmonic.

GARGLE

WHAMMY BAR VIBRATO

VIBRATO BAR / WHAMMY BAR WHAMMY BAR BENDS

SCOOP AND DOOP Scoop

w/bar

Doop

Scoop

w/bar

T

5

( 7)

SUSTAINED NOTE AND DIVEBOMB

( 5)

(4)

T

Doop

10

8

B

B The note is picked as shown, then the vibrato bar is raised and lowered to the pitches shown in brackets.

w/bar

T

[ 5]

5

B

~~~~~~~~~

gargle

w/bar

gargle

w/bar

~~~~~

w/bar

T

~~~~~~

[ 5]

5

B

T B

~~~~~~~~~~~

7

Scoop: depress the bar just before striking the note and release. Doop: lower the bar slightly after picking note.

A Note is sustained then the vibrato bar is depressed to slack. The square bracket indicates a further articulation.

Sound the note and ‘flick’ the vibrato bar with your picking hand so it ‘quivers’. This results in a ‘gargling’ sound!

Gently rock the whammy bar to repeatedly bend the pitch up and down. This sounds similar to fret hand vibrato.

VIOLINING

FINGER NUMBERING

PIMA DIRECTIONS

PICK HAND TAPPING

OTHERS PICK SCRAPE

D

Em7

C 4

~~~~~~~~~~~~~~~~~~~ ~~~~

3

2

3

ck scrape

T B

¿¿

~~~~~~~~~~~

The edge of the pick is dragged either down or up along the lower strings to produce a scraped sound.

1 Vol.

T B

2 3 2 0

6

Vol.

0 1 0 2 3

Turn the volume control down, sound the note(s) and then turn the volume up for a smooth fade in.

T B

0

T 8 7 5

7

5

The numbers in the traditional notation refer to the fretting fingers required to play each note.

B

2

0

3

0

T 2

0

p

B

12 5

9

12 5

9

p i a m i p

Any kind of fingerpicking requirements are shown at the bottom of the tab notation.

Tap (hammer-on) with a finger of your picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.

OCTOBER 2018 TOTAL GUITAR


JA M T R AC K JAM TRACK PLAY GUITAR WITH A BAND

REGGAE Kick back and take in the sound of Jamaica as you jam along with TG’s reggae-style backing track the great Bob Marley and his band The Wailers were so famous for. The short, accented keyboard chords on beats 2 and 4 of each bar are a key component that is doubled by the rhythm guitar part throughout the jam track. If you’re going to play chords, this is the rhythm you’ll need to play. Reggae guitarists often concentrate on using the top three or four strings and a treble-rich bridge pickup sound tends to cut through best.

eggae originated in Jamaica and combines elements of other Jamaican music styles, such as ska, rocksteady and lovers rock. Many chart-topping rock and pop artists have incorporated the reggae sound into their songs including Stevie Wonder, Culture Club, The Police and The Clash – it’s less of a niche than you might think! We have based our reggae jam track on the classic roots reggae style that

R

66

CHORDS

SCALES ur lick uses the A major pentatonic scale (A B C# E F#) and is brought to life with a quirky sounding auto-wah pedal. The bridge switches to the relative minor key of F# minor. That means you’re using the same notes, but F# is your root note (F# A B C# E). As long as you phrase your licks around the right root notes, that means the two scales are interchangeable throughout the track.

O

S

tick to three- or four-string chord shapes for an authentic reggae rhythm sound and play with downstrokes. In faster tracks (and in ska, in particular) it’s more frpprq#wr#khdu#wkdw#rļehdw#vndqn#jurryh#gholyhuhg#zlwk#xsvwurnhv1

X

X

X

1

5

1

X

X

1

5

2 3 4

3

1

4

1

1

2

2

1

1

4

1

1

1

A X

3 3 3

4

X

X

X

1

7

3 3

X

1

2

1

1

2

1

1 2

4

3

3

F#m

Bm

F# minor pentatonic scale

E

TOTAL GUITAR OCTOBER 2018

X

4 4

3

A major pentatonic scale

D

4

Guitars and backing: Jon Bishop Photography: Jorgen Angel /Getty

4

1

1

3 4

1


BACKING TRACK (TRACK 49)

JAM TRACK / REGGAE

This song comes with a backing track on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

JAM TRACK REGGAE LICK

TRACK 49

j q q =q q 3

q =150

#

..

j œ

~~~~~~~~~

0:17

T B

~~~~~~~

A

. .

4 6

5

D

. 7

5

5

7

5

j œ

7

E

j œ

9

5

7

5

7

5

6 4

. 7

4

.. . .

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

JAM TRACK CHEAT SHEET

Tempo 150bpm Time signature 4/4 Key/scale A major

67

VER SE

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

BRIDGE

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

With some chords and scales down, think about how to play over the full track. Reggae is quite hypnotic so, typically, the chord progression is simple without any surprises. Keep your rhythm playing tight and avoid the temptation to play too busily. For solos, short and simple phrases work best. OCTOBER 2018 TOTAL GUITAR


CL ASSIC T R AC K

68

SOUNDGARDEN OUTSHINED

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

TOTAL GUITAR OCTOBER 2018


CL ASSIC T R AC K

I

n 1991 the alternative music scene of the Seattle and Washington State area crossed over into the mainstream thanks to three landmark albums: Nirvana’s Nevermind, Pearl Jam’s Ten and Soundgarden’s EdgprwruĽqjhu. The tide of rock music changed almost overnight and Outshined was Soundgarden’s breakthrough tune. At the core of the song is a drop D wxqhg ulļ lq :27 wlph1 Iruphg ri rqh0Ľqjhu srzhufkrugv/ lwġv qrw glĿfxow to play, as such, but getting the feel down can be tough. Logically, you’d count to vhyhq lq :27 wlph/ exw |rx pd| Ľqg lw hdvlhu wr frxqw wkh rļehdwv/ vr vd| Ġ4 ) 5 ) 6 ) 7 ) 8 ) 9 ) : )ġ dv |rx sod| wkh ulļ1 Wkh fkruxv uhyhuwv wr 727 exw eduv 7 dqg 8 duh v|qfrsdwhg +zklfk phdqv wkh rļehdw notes are emphasised) and a further bar of odd time follows, throwing yet another curve ball! All the info can be found in our transcription. Just make sure to pay close attention to those time signatures.

SOUND ADVICE Everything you need to know before playing ‘Outshined’

Get the tone

CHANNEL DISTORTION 4

6

7 1

9

GAIN

BASS

MID

TREBLE

SCALES

kh#khdy|#ulļv#duh#edvhg#durxqg#gurs#G#srzhufkrug#vkdshv/ sod|hg zlwk mxvw rqh#Ľqjhu#rq#wkh#Ľiwk#dqg#vl{wk#vwulqjv1#Wkh#rshqlqj#F8#srzhufkrug fryhuv wzr#rfwdyhv/#krzhyhu/#uhtxlulqj#d#wklug#Ľqjhu#rq#wkh#wklug#vwulqj1 Lq wkh suh0fkruxv#xvh#d#irxuwk#Ľqjhu#eduuh#dw#wkh#:wk#iuhw#rq#wkh#vhfrqg dqg wklug vwulqjv iru#wkh#G/#Jpdm:#dqg#G2I&#fkrugv1#Wkh#orzhu#qrwhv#fdq#doo#eh#duwlfxodwhg zlwk |rxu Ľuvw#dqg#vhfrqg#Ľqjhuv1#

kh Ľuvw kdoi ri wkh vror xvhv qrwhv iurp wkh G Pl{ro|gldq prgh1 Lq edu 6 Nlp kljkoljkwv wkh b:wk/ urrw/ 6ug dqg 7wk lqwhuydov/ fuhdwlqj d G44 arpeggio. The latter half and the following verse are based in D minor pentatonic. The drop D tuning means there is a G omitted from the scale pattern.

T O

X

X

X X

X

1

5

X

X

X

X

1

4

REVERB

The heavy high-gain tone in Outshined is best played with a weighty sounding bridge humbucker. Single coils will require more gain.

CHORDS

O

O

utshined is played in drop D tuning (DADGBE from low to high). The amp tone is lightly scooped, so the bass and treble controls are fairly high, but the midrange is pulled down, creating a heavy but hollow sound. Keep the gain under control and be careful not to use too much otherwise the chords may lack bite. Check the gain level by playing the chords from the pre-chorus and adjust the gain so each note is clear.

X

X

2

1

3

X

O

2

1

5

T

X

O

X

1

4

1

1

3

2

4

2 3 4

69

2 2 1

1

1

4 4

3 D

A

D

G

B

E

D

A

D

D5 X

G

B

D

E

A

X X

X

G

B

D

E

D/F#

D X

D

X

5

X

2

1

D

G

B

E

X 6

X

D

A

D

G

B

E

1

4 4 4 3 3

Em/G

Dmadd11/F

X

X X

A

2

X X

4 4

3 1

3 3 D

A

D

G

B

E

2

D Mixolydian mode 1

1

4 4 D

A

D

G

B

E

D11 arpeggio 3 3 A

D

G

B

E

D

A

F5 X 7

D

G

B

D

E

A

X

X X

3 3

1

1

G

B

E

D

A

1

G

B

E

10

1

1

1

1

1

1

X

1

1

3

D

Ab5

X

X X 10

D

Gmaj7

G5

Guitars and backing: Charlie Griffiths Photo: Taylor Hill/Getty Images

D

2 3 4

3

1

1

3

3 3 3 3 4 4

2 3 4

D

A

D

A5

G

B

E

D

A

D

C5

G

B

E

D

A

D

G

C

B

E

D

A

D

G

Csus4

B

E

D

A

D

G

B

E

D minor pentatonic scale

OCTOBER 2018 TOTAL GUITAR


CL ASSIC T R AC K

SOUNDGARDEN

OUTSHINED Words and Music by Chris Cornell Copyright © 1991 You Make Me Sick I Make Music All Rights Administered by BMG Rights Management (US) LLC All Rights Reserved Used by Permission Reprinted by Permission of Hal Leonard LLC

FULL TAB

OUTSHINED SOUNDGARDEN OUTSHINED Intro q = 94

D5

C5

F5

G5

F5

D5

F5

~~~

.. T B

E B G D A D

. .

12 10 10 10

0 0

0 0

3 3

5 5

3 3

0 0

3 3

D5

F5

F5

G5

F5

D5

Ab5 G5 F5

F5

..

Play 3 times

b

~~~

PM

1

Ab5 G5

3

6 6

5 5

. .

[3 ] [3 ]

3 3

PM

0 0

0 0

3 3

5 5

3 3

0 0

BU BD (6) (5) 5

3 3

5

BU BD (6) (5)

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

SOUNDGARDEN OUTSHINED Verse 1 D5

F5

G5

F5

D5

F5

~~~

.. 70

~~~

0:18

T B

. .

E B G D A D

1

.. . .

T B

3

PM

0 0

0 0

3 3

5 5

3 3

0 0

3 3

F5

G5

F5

D5

F5

b 6 6

~~~ 0 0

3 3

5 5

3 3

0 0

3 3

3

5 5

3 3

≥ ≥ ≥ Ab5 G5

~~~~

D5

F5

G5

F5

D5

F5

~~~~~

..

3

PM

F5 Play 4 times

≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥

D5

0 0

Ab5 G5

F5

..

5 5

0 0

0 0

D5

3 3

5 5

3 3

0 0

3 3

F5 G5 F5 D5 F5

Play 3 times

b 6 6

. .

[3 ] [3 ]

~~~

PM

3 3

[3 ] [3 ]

. .

~~

0 0

0 0

3 3

5 5

3 3

0 0

3 3

F5 6

.

b

3

~~~~

PM

Ab5 G5

3

3 5

6

~~~~

. 5

3

6 3 5 3 5

D

~~~~~

3

5

7 7 7 5

5

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

SOUNDGARDEN OUTSHINED Pre-chorus D

.. 0:58 2:46

T B

4:01

E B G D A D

. .

Gmaj 7

.. .

D/F #

Dm add11/F

Em/G

.. .

N.C. Play 3 times

..

let ring 7 7

7 7

5

5

7 7 5 5

7 7 4

7 7 4

5 0 5

[5 ] [0 ] [5 ]

3 3

5

5

. .

D5

n

5

7

7

7

7

10

2

4

4

4

4

7 0 0

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

TOTAL GUITAR OCTOBER 2018


FULL TRACK + BACKING (TRACKS 50-51)

SOUNDGARDEN / OUTSHINED

This song comes with a full demo track and a backing track (minus guitar) on your CD. Simply insert the disc in your player, press play and jam along guitaraoke style!

SOUNDGARDEN OUTSHINED Chorus

A5

.. T B

4:18

E B G D A D

. . 1

D5

F5

G5

D5

G5

F5

D5

F5

Ab5

D5 F5

. .

j œ œ

1:18 3:03

G5

G5

F5

D5

b

n

PM

7 7

5 5

5 5

0 0

3 3

5 5

0 0

5 5

3 3

0 0

3 3

0 0

6 6

3 3

6 6

6 6

5 5

3 3

0 0

Chorus 1. 2. endings

N.C.

C5

.. 1:43

. .

T B

10

0

0

10

10 10

≥ ≤ ≥ ≤

4

0

10

10

3:26

0

≤ ≥ ≤ ≥ ≥ ≥

10

0

0

10

10 10

≥ ≤ ≥ ≤

0

10

10

10 10 10 10 10 10

0

≤ ≥ ≤ ≥ ≥ ≥

Chorus 3. ending C5

D5

10 10 10 10 10 10

10 10 10 10 10 10

10 10 10 10 10 10

F5

D5

7

19

F5

. .

4:41

71

T 10 10 10

10 10 10

10 10 10

B

10 10 10

10 10 10

10 10 10

10 10 10

10 10 10

0 0

0 0

0 0

3 3

0 0

3 3

7

Ab5

G5

F5

D5

b

N.C.

A5

G5

D5

F5

G5

D5

7 7

5 5

0 0

3 3

5 5

0 0

n

T B

6 6

6 6

6 6

F5

D5

F5

5 5

3 3

0 0

≥ ≤ ≥ ≤

10

9

G5

0

≤ ≥ ≤ ≥

10

Ab5

D5 F5

. .

0

10

G5

10

0

10

F5

b

10

D5

≥ 0

N.C.

n

PM

T B 12

5 5

3 3

0 0

3 3

0 0

3 3

6 6

6 6

6 6

5 5

3 3

0 0

≥ ≤ ≥ ≤

10 0

0 10

≤ ≥ ≤ ≥

10 10 0 10

10

≥ 0

OCTOBER 2018 TOTAL GUITAR


CL ASSIC T R AC K SOUNDGARDEN OUTSHINED Chorus (cont’d) C5

T B

≥ ≤ ≥ ≤

10

15

0

0

≤ ≥ ≤ ≥

10

10

10

0

10

10 10 10

10

0

10 10 10

10 10 10

10 10 10

10 10 10

10 10 10

10 10 10

[10 ] [10 ] [10 ]

10 10 10

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

SOUNDGARDEN OUTSHINED Solo

D5

Ab5 G5 F5

F5 G5 F5 D5 F5

..

~~~~~

1:46

T B 1

1/4

E B G D A D

[5 ] [5 ]

5 5

D5

F5 G5 F5 D5

5 5

Ab5

B

3

G5

F5

D5

Ab5

F5

G5

F5 3

.

G5

7 7

D5

F5

BD (8) (7) (8) (7)

F5

5 5

G5

7 7

F5

7 7

D5

5 5

5 5

7

5

Ab5

F5

4

G5

7

5

4

F5

j œ

3

~~~~~~~

T

.

F5

PB 7

7

F5

~~~~~~~

72

D5

~~~ .

1/4

5

3

4

5

5 7

5

7 9

8

9 10

BU BD 13 (15) (13 )

10

10 13 10

12 10 12 10

12

BU 10 12 12(14 )

12

10 12 10

12

3

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

SOUNDGARDEN OUTSHINED Verse 2 D5

F5

G5

.~~~~~~~

B 1

E B G D A D

12

12

D5

10

F5

F5

G5

12

G5

10

.

[12 ]

Ab5 G5

.~~~~~~~

9

3

TOTAL GUITAR OCTOBER 2018

12 12

10

12

10

F5

1/4

12

F5 D5 F5

Ab5 G5

F5 D5 F5 1/4

12

D5

F5

12

F5

10

G5

12

Ab5

F5 D5 F5

.

j œ

[10 ]

10

12

1/4

~~~~~~~~

T B

D5

F5

~~~~~~~~

2:03

T

Ab5 G5

F5 D5 F5

G5

n

F5

let ring 1/4

12

[12 ]

10 12

12

10

12

12

10

10 12

12

12 10

10


SOUNDGARDEN / OUTSHINED SOUNDGARDEN OUTSHINED Verse 2 (cont’d)

D5

F5 G5 F5 D5 F5

~~ ~~~~ ~~~~~~~~

Ab5 G5 F5

w/feedback

D5

.~~~~~

.

~~~~~~~~~~~~~~~~~~~ 12

12

B

D5

F5 G5 F5 D5 F5

10

12

12

10

~~

.

1/4

~~~~~~

w/feedback

T

Ab5 G5 F5

F5 G5 F5 D5 F5

~~~~~~~~~~~~~

1/4

12

12

10

12

12

Ab5 G5 F5

[10 ]

10

12

5

D5

F5

G5

Ab5 G5

F5 D5 F5

F5

.~~~~~~~ ~~ ~~~~~

D5

F5

G5

~~~~~~~~ ~~~~~~~~~~~

T

10

9 12 12

B

12

10

.

1/4

D5

1/4

[12 ]

12

Ab5 G5 F5

F5 D5 F5

12

12

10

12

[10 ]

10

12

6

0 0 0

8

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

SOUNDGARDEN OUTSHINED Interlude

D

3:31

C

. . .

..

j œ

let ring throughout

T B

E B G D A D

7 5 0

7 5

5 5

4 5

0

4 5

4 5

5

4 5

7 5

5 5

5 5

4 5

7 5

5 7

5 5

5

5

0

1

Csus 4

# T B

. ..

.. 5 5

4 5

5 5

6 5 5

C

D

. . . 5 5 5

5 5

7

7 5 0

.. 7 5

5 5

0

4 5

4 5

4 5

5

4 5

7 5

5 5

4 5

4

OCTOBER 2018 TOTAL GUITAR

73


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

.. T B

7 5

C

6 5 5

5 5 5

..

j œ

5 5

Csus 4

. ..

C

5 7

5

5 5

5

5 5

0

4 5

5 5

D

.. . 5 5 5

5 5 0

7

7 5

5 5

0

4 5

4 5

4 5

0

7

#

..

T B

4 5

5

4 5

7 5

5 5

4 5

5 5

C

6 5 5

5 5 5

..

j œ

7 5

Csus 4

. ..

C

5 7

5

5 5

5 5

0

5 5

4 5

5 5

10

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


V I D EO R I F FS ON YOUR GUITAR SKILLS CD!

VIDEO RIFFS Try out three classic riffs by Arctic Monkeys, Metallica and Tom Petty with TG’s slowed-down video play-throughs s the Arctic Monkeys recently urxqghg rļ#wkhlu#534;#XN#wrxu# with their new album Tranquility Base Hotel & Casino in tow, we thought it would be timely of us to take a look at one of their biggest ulļv/ R U Mine. Although it’s fairly easy, take particular care on those big fretboard leaps – they can throw out your timing. Phwdoolfd duh vrrq#wr#uhlvvxh#d#63wk# anniversary deluxe edition of …And Justice For All, so we were inspired to orrn dw Mdphv KhwĽhogġv#rgg#wlph# album opener Blackened as the second ri rxu ylghr ulļv1

A 76

Wkh#ulļ#lv#+prvwo|$,#edvhg#lq#:27#wlph# zlwk#dffhqwhg#rļehdw#hljkwk#qrwhv1# Frxqw#Ġ4#)#5#)#6#)#7#)#8#)#9#)#:#)ġ#dqg# emphasise the ‘&’s to get the feel. D#khosixo#klqw=#Oduv#Xoulfkġv#vqduh# hits land on the ‘&’s. Note that we’ve stayed in standard tuning for convenience. Finally, this month marks the anniversary of the tragic passing of Tom Petty, and we’re looking at the xsoliwlqj#ulļ#iurp#rqh#ri#klv#ehvw0oryhg# tracks, Free Fallin’. The magic comes from Petty and Mike Campbell’s layered guitar parts. Read on and all will become clear.. .

1 ARCTIC MONKEYS

CHEAT SHEET

Appears at: 0:03-0:23 Tempo: 97bpm

R U Mine

Key: F# minor Main techniques: Alternate picking / position shifting

Xvlqj grzq0xs vw|oh#Ġdowhuqdwhġ#slfnlqj#zloo#khos#|rx#sod|#lq#wlph1#Olvwhq#rxw#iru#wkh#folfn#wudfn#lq#wkh#ylghr#dqg#pdnh#vxuh#wr#sod|#d#grzqvwurnh# whenever a note lands on a click – once you’re doing this the rest of your pick strokes should fall into place.

C#

B

D B

C#

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

TOTAL GUITAR OCTOBER 2018

Photograph: Rob Ball/Getty

B F#


HOW TO FIND YOUR VIDEO RIFFS

VIDEO RIFFS

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

2 METALLICA

CHEAT SHEET

Appears at 0:36-0:54 Tempo: 194bpm Key: E Locrian /

Blackened

chromatic Main techniques: Down-picking / offbeat accents / palm muting

Vhw#wkh#ylghr#wr#uhshdw#ehwzhhq#3=33#dqg#3=4<#dqg#ohduq#wklv#sduw#Ľuvw1#Wkhuh#duh#vpdoo#yduldwlrqv#ehwzhhq#3=4<#dqg#3=86#exw#jhw wkh Ľuvw ulļ grzq ehiruh#|rx#orrn#dw#wkhvh1#Sdop#pxwh#wkh#vl{wk#vwulqj#dqg#xvh#grzqvwurnhv/#h{fhsw#rq#wkh#grzq0xs0grzq#olqhv#wkdw#hqg#hdfk#wzr0edu skudvh1

E

E 7

E

F Bb

F Bb

F# B G

G G

Notes in bar 2

Notes in bar 1

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

3 TOM PETTY

CHEAT SHEET

Appears at: 0:12-0:23 Tempo: 84bpm Key: F major

Free Fallin’

Main techniques: Strumming / twin guitars / capo’d chords

Wkhuhġv vrph vshfldo pdjlf jrlqj rq lq Shww|ġv fodvvlf ulļ1 Wkh wzr jxlwdu olqhv duh vlpsoh dqg hdfk rqh sod|hg rq lwv rzq dfwxdoo| vrxqgv suhww| edvlf1 Sod| erwk sduwv wrjhwkhu wkrxjk dqg wkh ulļ frphv wr olih1 Mdp dorqj zlwk wkh vorz sod|0wkurxjk rq |rxu ylghr wr vhh zkdw zh phdq1

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X

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X

2

1

5

5

X

X

X

1

5

X

X

1

X

O O

O

CAPO – 1st fret

3

3 4

4

Fsus4

C5

CAPO – 1st fret

1

3 4

4

F

O O

X

2

1

3 4

3

CAPO – 1st fret

F

Bbsus2

Csus4

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

OCTOBER 2018 TOTAL GUITAR

77


TURN A ROU N D THE TURNAROUND LICKS OF THE BLUES GIANTS

JOE BONAMASSA

Surely the biggest name in 21st century electric blues, learn a few lines from the master, with tips on technique and phrasing frpsuhkhqvlyh#froohfwlrqv#ri#ylqwdjh#jxlwduv# and amps out there, Joe’s rig is pretty simple. Doo#|rxġoo#qhhg#lv#d#glvwruwhg#wrqh#+yld#shgdov/#ru# d#fudqnhg#dps#lv#Ľqh,#dqg#d#kxpexfnhu0 htxlsshg#jxlwdu#wr#uhľhfw#Mrhġv#dĿqlw|#iru# ylqwdjh#Jlevrq#Ohv#Sdxov1#Wkdw#vdlg/#Mrh#grhvqġw# sod|#Jlevrqv#h{foxvlyho|#Ğ#|rxġoo#vhh#klp#zlwk# Vwudwv#dqg#Whohv#wrr#rq#rffdvlrq1#Li#|rxġuh#xvlqj# d#Ihqghu0vw|oh#jxlwdu#zlwk#vlqjoh0frlo#slfnxsv/# you can fatten their tone with a little extra bass and midrange. Some added gain can help with orzhu#srzhuhg#slfnxsv#wrr1#D#wrxfk#ri#uhyhue# will also sound great.

tarting on guitar at the tender age of four, Joe had a head start on many of his peers, compounded by the fact that he was taught by the great Danny Gatton at mxvw 441 Pxvlfdoo|/ Mrhġv#Ľuvw#oryh#lv#Eulwlvk#eoxhv# lq wkh prxog ri Hulf#Fodswrq#dqg#Mhļ#Ehfn#Ğ#dovr# absorbing the styles of Jimmy Page and Paul Nrvvrļ1 Wkh urfnlhu/#ulļ0edvhg#vrxqg#ri#wkh# odwwhu wzr sod|huv kdv#ehhq#d#pdmru#lqľxhqfh#rq# Joe’s songwriting and is represented in a couple ri wkh h{dpsohv khuh1#Wkrxjk#krqrxuhg#zlwk#d# bewildering range of signature guitars and the owner of what must surely be one of the most

S

78

1 WELL-EXECUTED STRING BENDS q = 95 1/4

œ

.

Gm

j œ

1/4

T

12

13

11

TRACK 52

.

j œ

1/4

1/4

BU

13 (15 )

13 (15 )

[15 ]

~~~~~~~~

1/4

BD

BU

(13) 11

12

13

[11 ]

11

12 10

1/4

[11 ]

11

12

B

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

2 REPEATING IDEA

TRACK 53

q = 95 1/4

1/4

T B

12

11

j œ

.

r œ

BU 13

11 (13)

BU 11

b

~~~~~~~

8 11 (13)

.

Gm

j œ

. ~~~~~~~~~

BU BD 11 10 (11) (10) 8

.

10

12

BU BD 10 (11)(10) 8

10

~~~

.

~~~~ 10

8

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

TOTAL GUITAR OCTOBER 2018

Guitars and backing: Richard Barrett Photograph: Kevin Nixon

.

~~~~~E

Cm


FULL TRACKS (TRACKS 52-58)

THE TURNAROUND / JOE BONAMASSA

These tab examples come with audio tracks on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

3 FAST, NOT SLOW

TRACK 54 Dm7

.

1/4

j œ

~~~~~~~

j œ

j œ

Dm7

Gm7

Cm7

œ. œj œ

.

j œ

~~~~~~~~~~

j œ

j œ

. BU

1/4

T

17

~~~~~~~ 15

18 (20)

15 18

BU

BU

15

15 18 (20)

15

~~~~~~~~~

18 (20)

BU BD 18 17(18)(17) 15

~~~~~~~~ 15

BU 18(20)

BU BD

18 15

BU

17 (19 )(17) 15

B

17 (19 )

17

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

4 PENT UP RAGE

TRACK 55

q = 93

F # m7

~~~~~~~~~~ .

j œ

3

3

3

~~~~~~~~~~~

BU 4 (6)

T

BU 2

4

4

~~~~~~~~~~

j œ

j œ

2

5 4

4

4

5 4 2

4

B

2

4

BU BD 2 4 (5) (4) 2

4

2

4

2

~~~~~~~~~~

2

5 (7)

5 2

~~~~~~~~~~~ 4

2

4

2

4

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

5 REPEATING AGAIN

TRACK 56 Bm7

C # m7

√ #

~~~~~~~~~~~~~~~~~

j œ

~~~~~~~~~~~~~~~~~~

1/4

1/4

1/4

j œ

j œ

3 BU

T

~~~~~~~~~~~~~~~~~~ 14

17 (19)

17

14

16

BU

1/4

1/4

14

17

14

17

14

~~~~~~~~~~~~~~~~~~~~

BU

17 (19 )

17 (19)

BD

1/4

(17)

14

17

14

B 1

F # m7

#

C # m7

( )

1/4

j œ

BU

T

17

(19)

14

BU 17 (19 )

1/4

j œ

14

BU 17 (19)

j œ

1/4

14

14

17

~~~~~~~~~~~~~~~~~~~~~~~~~~~

1/4

14

17

14

17

14

16

14

BU 16 (18 )

B 3

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

OCTOBER 2018 TOTAL GUITAR


ACOUSTIC

Unplugged 82

YOUR MONTH IN THE ACOUSTIC WORLD

083

ACOUSTIC NEWS

084

RUSTON KELLY

086

ACOUSTIC TAB: KARMA POLICE

TOTAL GUITAR OCTOBER 2018


ACOUSTIC TRACKS 59-63

FIVE 9TH CHORDS Essential chords to fuel your creativity X

1

9

2

3 3 3

G9 X

X

O

1 2 3

Dadd9/F# X

HOME EXTENSION

D

1

5

3

plf rq p| dfrxvwlf jxlwduv zkhq# uhfruglqj/Ĥ#kh#h{sodlqv1#ģL#wkhq#GL# p|#pdjqhwlf#slfnxs#wr#doorz#p|# hļhfwv#vljqdov#wr#eh#uhfrughg#dqg# vhqg#wkh#Ġwkurxjkġ#iurp#wkh#GL#wr# p|#yroxph#shgdo#dqg#lqwr#wkh# ryhugulyhq#dpsv1Ĥ#Lwġv#dq# dssurdfk#wr#vljqdov#uhľhfwhg#lq#klv# olyh#vrxqg1#ģLw#doorzv#ph#wr#jhw#d# sulvwlqh#dfrxvwlf#jxlwdu#wrqh#rq# rqh#kdqg#zlwk#p|#plfv#exw#dovr# doorzv#ph#wr#eulqj#lq#wkh#glvwruwhg# dps#wrqh#dqg#vljqdo#lq#d#zd|# wkdwġv#yhu|#vlplodu#wr#dq# h{suhvvlrq#shgdo/Ĥ#Mrkq#frqwlqxhv1# ģWkhq#L#kdyh#wkh#ehvw#ri#doo#zruogv# lq#rqh#lqvwuxphqw1#Wklv#doorzv#ph# wr#wudyhuvh#iron/#urfn/#sv|fkhgholf# dqg#eh|rqg#zlwk#rqh#lqvwuxphqw# zlwklq#rqh#vrqj1Ĥ# Home is released 28 September via Jarrah Records. The John Butler Trio + tour the UK and Ireland 11 - 17 October

Amadd9

1

1

1

2

3 4

F#m9 O O 5

1 2 3

4

Photo: Kane Hibbard

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JOHN BUTLER EXPANDS HIS LINE-UP FOR THE ROAD hvslwh d vljqlĽfdqw amount of his album Home’s material being fudiwhg#lq#d#qhz#zd|#iru# wkh#pxvlfldq#lq#uhodwlyh#lvrodwlrq/# Mrkq#Exwohuġv#edqg#duh#h{sdqglqj# wkhlu#vrxqg#e|#dgglqj#wzr# pxvlfldqv#wr#wkh#irog#zkhq#wkh# Dxvvlh#pxvlfldqv#wrxu#wkh#XN#lq# Rfwrehu#dv#wkh#Mrkq#Exwohu#Wulr#.1# ģWkh#uhdvrq#zk|#L#dgghg#qhz# sod|huv#zdv#wr#ľhvk#rxw#vrph#ri# wkh#lghdv#L#kdg#uhfrughg#iru#wkh# doexp/Ĥ#Mrkq#vd|v#uhjduglqj#wkh# dgglwlrq#ri#shufxvvlrqlvw2#yrfdolvw# Or}}#Ehqvrq#dqg#nh|erdug2# yrfdolvw#Ehq#Fruehww#wr#klv# orqjvwdqglqj#wkuhh0slhfh#g|qdplf# zlwk#guxpphu#Judqw#Jhudwk|#dqg# edvvlvw#E|urq#Oxlwhuv1#ģD#orw#ri#wkh# guxpv#dqg#v|qwkhvlvhuv#wkdw#L# surgxfhg#L#zdqwhg#wr#kdyh# uhsuhvhqwhg#lq#wkh#olyh#vkrz1#Dovr# wkh#wulr#lv#wkh#rqo|#edqg#Lġyh#hyhu# ehhq#lq#uhdoo|#vr#wklv#lv#wkh#frqwh{w#

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Aadd9

OCTOBER 2018 TOTAL GUITAR


ACOUSTIC

Words Matt Parker

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

T

84

here is a law in music journalism Hyhq#qrz#Nhoo|#zloo#pdnh#xs#vrqjv#rqvwdjh/# ixfnlqj#glh/#djdlq1#Dqg#pd|eh#wklv#wlph/#lw# that says whenever a country laying whatever words come to mind over his zrxog#eh#iru#jrrg1#ĠEuljkwo|#exuvw#lqwr#wkh#dluġ# musician channels their rshq#wxqlqjv1#ģEb F C F F C,” he says, enthusing had the feeling of extinguishing but at the same chequered past, you must about his current favourite – dubbed “Maria wlph#jlylqj#olih#wr#vrphwklqj111#Lġg#oryh#wr#vd|# compare them to Johnny Cash. In wxqlqjĤ1#ģJr#h{soruh#wkdw1#Lw#olwhudoo|#ihhov#olnh# wkdw#L#kdg#wklv#ĠRG#prphqwġ#dqg#hyhu|wklqj# the case of Ruston Kelly, though, a few parallels angels singing when you play it.” Brightly Burst zdv#fohdq#iurp#wkhq#rq/#exw#lw#zdvqġw1#Exw#Lġyh# duh#mxvwlĽhg1#Olnh#Fdvk/#wkh#ulvlqj#vrqjzulwhu# Into The Air/#wkh#forvlqj#wudfn#rq#Dying Star is a been clean for the last two years because I did, has a pill addiction in his past and only qrwdeoh#h{dpsoh#ri#klv#vsrqwdqhlw|1#Eruq#rq# dw#rqh#srlqw/#vd|/#ĠLġp#jrlqj#wr#wdnh#wklv#urdg1ġĤ cleaned-up when he fell in love with fellow the spot in the studio, he had only some vague Wkurxjkrxw#wklv#fkdoohqjlqj#shulrg/#Uxvwrqġv# country star, Kacey Musgraves, now his wife. chords and a title that entered his mind a year dad, Tim Kelly, was on tour with him, witnessing John Carter Cash himself said the couple or so previously, following an overdose. wkh#jrrg#dqg#wkh#edg1#ģLw#zdv#uhdoo|#ixfnlqj# reminded him of his parents, so it follows that ģL#wklqn#L#nqhz#kdg#wzr#fkrlfhv#wkhq/Ĥ#vd|v# kdug/Ĥ#vd|v#Nhoo|1#ģZkhq#L#Ľqdoo|#jrw#wklv# he approached Kelly and Musgraves to appear Nhoo|#ri#wkh#wlwohġv#ruljlqv1#ģWkdw#L#frxog#ohw#lw#eh# record on vinyl pressing, I listened to it and I on the recent Forever Words album, which set the end of that chapter in my life, or I could zdv#uhdoo|#khdulqj#p|#gdgġv#sod|lqj#iru#wkh#Ľuvw# unrecorded Cash poems to new music. time on a real record. It blew me away. I “It does sound cliched,” Kelly dvnhg#klp#derxw#lw#d#frxsoh#ri#prqwkv# dfnqrzohgjhv1#ģExw#lwġv#uhdoo|#wuxh#lq#p|# djr/#ĠZkhuh#wkh#ixfn#glg#wkdw#frph# vwru|#^wrr`1#Lw#zdvqġw#xqwlo#L#phw#Ndfh|# iurpBġ#Kh#vdlg/#ĠZhoo/#L#zhqw#edfn#wr#krz# wkdw#L#zdv#deoh#wr#vd|/#ĠL#fdq#eh#Ľqlvkhg# I felt when I watched you go through zlwk#wklv1ġ#Vkh#ehfdph#p|#hqg0srlqw/#wkh# wkdw1#Ehlqj#|rxu#gdg/#exw#dovr#ehlqj#|rxu# strongest redemptive force in my life.” iulhqg/#dqg#vhhlqj#|rx#vxļhu#dqg#ihholqj# The couple utterly inhabit Forever Wordsġ# olnh#L#glgqġw#nqrz#zkdw#wr#gr1ġ#Kh#zdv# highlight, To June This Morning – a poem olnh=#ĠWkdwġv#zkdw#L#sod|hg#iurp1ġĤ of typical clarity, bottling the domestic There are a few of those throateolvv#wkdw#zdv#pdjqlĽhg#e|#Fdvkġv# catching moments in Dying Star. It hard-won sobriety – and yet Kelly is most becomes clear to TG how Kelly was able to ghĽqlwho|#qrw#Fdvk#uhlqfduqdwh1#Olvwhq#wr# so convincingly inhabit those scrawled his debut Dying Star – a record that charts Cash lines in the poems that would a journey from bottoming-out to sobriety become Forever Words, bottling a little moment of happiness that came in a Ğ#dqg#|rxġoo#khdu#dq#duwlvw#wkdw#rzhv#pruh# quiet morning at home before the birth wr#U|dq#Dgdpv/#wkh#Ehdw#srhwvġ#vwuhdp#ri# Bringing a rare ’Bird back from the dead of his son. “[Cash had] written at the frqvflrxvqhvv#dqg#d#ghhs#oryh#ri#eodfn# erwwrp#olnh#ĠDsulo#53/#4<:31#:dp/ġĤ#vd|v# phwdoġv#eoxqw#o|ulflvp1# Kelly’s new custom Gibson Hummingbird might not be Kelly. “To me, as a sober person, when Aged 14, Kelly had one lesson and the first acoustic you’d expect in the arms of a country wkhuhġv#vrphwklqj#|rx#grqġw#zdqw#wr# hated it, instead developing his own outlaw. “Gibson has made me a guitar,” he tells TG. “I irujhw/#|rx#pdun#grzq#wkh#wlph1#Lw#zdv# approach and jamming with his father bought a Takamine for like 900 bucks when I was 18 and that’s the one I had forever. Now, Gibson has made about being clean and being happy. Tim – who now plays pedal steel in his me a baby pink Hummingbird with black trim. It’s like Khdulqj#|rxu#zlih#pdnlqj#frļhh#zkhq# edqg1#Vrqjv#txlfno|#iroorzhg1#ģL#frxog# something Miranda Lambert would play, but I don’t give |rxġuh#vrehu#dqg#|rxġuh#kdss|#lv#rqh#ri# qrw#zdlw#^wr#zulwh`/Ĥ#kh#vd|v1#ģLw#zdv#olnh# a fuck! It’s so pretty. They offered to send me a guitar the most phenomenal feelings, ever, that this feeling that I had a waterfall in a for this tour and for some of these Late Night [TV] an addict will experience… For me, closet and I just needed to open the performances and I was like, ‘Man, I saw you guys have zdnlqj#xs#dqg#kdylqj#Ndfh|#eh#olnh/#ĠKh|/ ixfnlqj#grru#Ğ#dqg#L#kdyh#ehhq#zdlwlqj# this baby pink Hummingbird. Send me that!’ They were I made you some toast! I hope you have a my entire life, through the pitfalls and like, ‘Oh, we don’t make them anymore...’ I said, ‘Well, jrrg#gd|1ġ#Wkdw#vklw/Ĥ#kh#odxjkv1#ģWkdwġv the meanderings from the right path to you wanna send me a guitar? That’s the guitar I want!’ zkdw#L#ixfnlqj#olyh#iruĩ#Txlwh#olwhudoo|1Ĥ actually do that.”

PINK SLIP

Photo: SteveRose

TOTAL GUITAR OCTOBER 2018


INTERVIEW

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OCTOBER 2018 TOTAL GUITAR


LEARN TO PL AY OPEN-MIC SONGBOOK

RADIOHEAD KARMA POLICE

OK Computer’s strangely uplifting strummer is easy to play, but tough to learn. Confused? TG reveals all… Perhaps the most challenging part of this month’s track is committing the chord progression to memory. Whereas many songs typically follow short, repeating chord sequences, the whole verse in Karma Police is one progression. Sure, some of the chords are repeated once or twice, but full-length phrases are not. Expect to spend a little extra time on each section just getting these tricky sequences down. As ever, all the chords are written out for you below.

s the second single to be released from 1997’s epochal OK Computer, Karma Police was part of a rare run of four Radiohead singles to reach the UK Top 10. Irrespective of the giddy heights of chart success, this track is one of those unusual Radiohead songs that you can actually busk! There are a fair number of chords to learn though, so it’s not exactly a three-chord trick, but they’re all open- and barre-chord shapes that shouldn’t pose much trouble.

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CHORDS his seems like a whole heap of chords to learn, but a lot of them are edvhg#rq#vlplodu#Ľqjhulqjv# or they’re simple embellishments to basic shapes. If you’re familiar zlwk#wkh#Ľyh#prvw#frpprq# open chord shapes (C, A, G, E and D), their minor variants and a basic E shape barre chord, then you should be able to work through this track without any problem.

X

O

O

X

O

O O

X

1

T

2 3

1

2 3

1

X

X

O

2

1

2

2

3

3

3 4

Am X

Bm

Asus2 X

O

O

O

1 1

2

2

D

C O

O

O

O

O

O

O

O

O

O

1 2

3

2

3

2

3

3 4

3 4

O

2 3

1

1 2 3

F

Esus4

O

1

4

KARMA POLICE

O

O

1

1

1 3

2

3 4

2

4

F#

G

G5

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

1

1

Em

E

D9/F# O

TOTAL GUITAR OCTOBER 2018

O

1

Dsus4/F#

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

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X


BACKING TRACK (TRACK 64)

RADIOHEAD / KARMA POLICE

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

SONG SHEET

rm Intro Am

D9/F#

Em

G G

Chorus

Asus2

F

Em

Asus2

D

G5 D/F# C Bm Bm D Dsus4

Am

C

D G This is what you get

F#

C

D G This is what you get

F#

Repeat chorus Outro Bm D G D G For a minute there I lost myself D Esus4 E I lost my – se – elf Bm D G D G For a minute there I lost myself D Esus4 E I lost my – se – elf

C

D G This is what you get Bm C When you mess with us

Verse 1 Am D9/F# Em G Am Karma police arrest this man F Em G Am He talks in maths, he buzzes like a fridge D G C Bm Am Bm D He’s like a detuned ra – di – o

Bm D

Verse 3 Am D9/F# Em G Am Karma police I’ve given all I can F Em G Am It’s not enough, I’ve given all I can D G But we’re still on C Bm Am Bm D the payro – o – oll

Verse 2 Am D9/F# Em G Am Karma police arrest this girl F Em G Am Her Hitler hairdo is making me feel ill D G C Bm Am Bm D And we have crashed her par – t – y

Bm D G D G D Esus4 E Bm D G D G For a minute there I lost myself D Esus4 E I lost my – se – elf

877

Ad lib to end

RADIOHEAD KARMA POLICE Intro

TRACK 64

q = 71

D 9/F #

Am

Em

2 2 0

B

0 1 2 2 0

2 2 0

2 2 0

0 1 2

Em

F

G

#

#

# T

Asus 2

G

0

0

2

0 1 2 0

2 0

2

2

0 1 2

0 0 0 0 2 2 2 2 2 2 0 0

0 2 2 0

0

0

3 0 0 0 0 0 0 2 0 0 0 0

2

3

3

3

0 0

2 2 0

3

0 0 2 2 0

2 2 0

0 0 2 2 0

2 2 0

3 3 1

3 3 1

1 1 2 3 3 1

1 1 2 3

1 1 0 3

0 2 2 0

0 0 0 0 2 2 2 2 2 2 0 0

0

0

3 0 0 0 0 0 0 2 0 0 0 0

2

3

3

3

0 0

3

1

Asus 2

G5

D

Dsus 4/F #

œœ œ œ œ T B

2 2 0

2 2 0

0 0 2 2 0

2 0 2 2 0 0 0

2 0

2 3 2 0

3 3 2 0 0

C

Bm

Am

Bm

D

œœ œ œœœœ

œ

# 3 3 0 0

0

3 3 2 0

3

3

2

3 0 0 3 0 1 2 0 0 0 2 3 2

0 1 0 0 2 3

3 4 4 2

0 3 0 4 0 4 2

2 2 0

1 2 2

0 1 2 2 0

0 1 2 2 2 2 2 0 0

0 1 3 1 2 2 2 2 2 0 2 2 2 2 2 0 0 0 0 0

Dsus 4

4 4 2

4 4 2

2 3 4 4 2

2 3 4 4 2

0 0 0 0

2 3 2 0

2 2 3 3 2 2 2 0 0

3 3 2 0

3 3 2 0

0 0 0 0

5

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

OCTOBER 2018 TOTAL GUITAR


THE GAS STATION

96 94

REAL WORLD REVIEWS OF THE BEST NEW GEAR

88

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

HOW WE TEST

BEST BUY AWARD

CURATION

NO SNAKE OIL

Our product selection is driven by our love of gear. We select the most exciting products on the market every month to bring you opinions you can trust.

\rx#zrqġw#Ľqg#xv#jhwwlqj# hung up on hokey mythology or nonsense marketing speak: we aim to bring you bullshit-free opinions on the gear you’re interested in.

FACE-VALUE REVIEWS

WE CAN’T BE BOUGHT

We’re not gear snobs here at Total Guitar. We judge it on whether it looks good, sounds good and plays well – not by the name on the headstock.

TG review scores are a true uhľhfwlrq#ri#rxu#h{shuwvġ# opinion on the product they’ve been testing. You’ll qhyhu#Ľqg#d#udwlqj#lq#rxu## mag that has been bought and paid for.

*WHAT IS GAS? Gear Acquisition Syndrome is the guitar-player’s never-ending urge to acquire new gear, irrespective of whether they actually need it. Don’t pretend you don’t have it – we all do!

SUPERB, A BEST BUY

TOTAL GUITAR OCTOBER 2018

EXCELLENT

TGBestBuyAwardsare reservedforstand-out productsthatearnafive-star rating.Thisisthebest,most excitingnewgearthatyou need tocheckout

090 IBANEZ AZ224F 094 VOX MINI SUPERBEETLE The sound of the 60s in miniature

Differentguitaristshave differentneeds.Thisbadge highlightsaparticularstrength thataproducthasinaTGTest orGroupTest,soyoucan choosewhat’sbestforyou

We test every product under the conditions that they were designed for. For example, if an amp is designed to be played loud, rest assured that we’ll have tested it at rehearsal/gig volumes!

ABOVE AVERAGE KIT

Five new products for you to try

Has Ibanez perfected the double-cut?

BEST FOR…

REAL WORLD REVIEWS

089 START ME UP

SOME ISSUES

096 MARTIN DX1AE MACASSAR BURST The latest X-Series model

098 THE TG TEST: RETRO ROCKERS Four guitars hosting the Bigsby True Vibrato

BEST FOR…

104 ROUND-UP: COMPACT REVERB PEDALS From the weird to the wonderful...

POOR

106 FUZZROCIOUS GREY STACHE Fuzz? Distortion? Noisemaker? Yes!


GAS STATION

05

011

04 02 89

03

START ME UP!

Five awesome new products to get your gear engine revving this month…

DUNLOP FLOW

1

These mighty picks promise to add thickness and volume to your notes and chords, while their bevelled edges ensure they don’t get stuck between strings, making for swifter movement. Powerful overtones, courtesy of the meaty Ultex material, make these stand out from the rest of the Dunlop range, and a low-profile grip aims to prevent slippage onstage. Available in sizes ranging from 73mm up to 3mm, plus Andy James and John Petrucci versions. (from £6.49 for a pack of six, jimdunlop.com)

JOYO JP-05 POWER SUPPLY

2

JOYOhasgotinonthe rechargeablepedalboard powersupplyactwithone ofthemostaffordable lithium-ionPSUsonthemarket. TheJP-05offerseightDC outputsandone5VUSBoutput, withoneswitchableoutput capableofhandling9V,12Vor 18Vat100mA.Four9Voutputs cover100mAapiece,whilethree offer500mAforpower-hungry digitalpedals.There’snowordon batterylife,butwedoknowthat the7.4V/4,400mAhbattery takesaround2.5hoursto charge.(£89.95,joyoaudio.co.uk)

PORK KNUCKLE SLIDES

3

Designed by US accessories giant Clayton, the somewhat unfortunately named Pork Knuckle ceramic slides promise to provide unmatched sustain and volume, with no uneven surfaces to dampen the tone. Inside the slides, you will find a unique inner ribbing (quiet at the back, please, no sniggering), which allows air to circulate around your sweaty digits, while ensuring a comfortable fit. The slides are available in small (ring size J), medium (V½) and large (Z½). (from £21.99, jhs.co.uk)

GATOR G-TOUR

4

Two new tour-grade flightcases have just landed from Gator, which look to be seriously resilient. The G-Tour pedalboard cases are built from heavy-duty wood with aluminium corner reinforcement, and come with 3M hook and loop fasteners, plus a heavily-padded interior that ensures your pedals go nowhere while you’re on the move. Best of all, it features two side handles, meaning you can just lift the ’board out of the case – and beneath it, there are storage compartments for cables and other accessories. (from £229, gatorcases.com)

BBE STOMP BOARD

5

BBE has crammed eight pedal models into its Stomp Board plugin, a self-contained guitar effects solution that comes with its own preamp section. The pedals include the Free Fuzz, Green Screamer vintage overdrive, Mind Bender vibrato/chorus, Opto Stomp optical compressor, Sonic Stomp sonic maximizer, Soul Vibe rotary speaker, Tremor tremolo/auto-pan and Two Timer Delay. Plus four amp models, a tilt-style tone control, a gate and a spring reverb. It’s available for PC and Mac in VST/AU/AAX formats. ($129, plugivery.com)

OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

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TOTAL GUITAR OCTOBER 2018


REVIEW

1

IBANEZAZ224F Has Ibanez perfected the contemporary double-cut?

L

ook, we could open this review by banging on about how Ibanez is synonymous with shred gods Joe Satriani, Steve Vai and Paul Gilbert, but we all know there’s more to the Japanese guitar giant than pointy headstocks. Over its six-decade history, the company has found favour with guitarists of all stripes – the jazz-friendly Artcore, the indie delight that is the Talman – but the AZ series marks its most laser-focused attempt to create the ultimate ‘players’ player’ guitar, courtesy of four years’ R&D and input from six-string savants such as Tom Quayle, Martin Miller and Andy Timmons. But can one guitar be all things to all players?

ALTER SWITCH

The AZ224F boasts a whopping nine tonal variations courtesy of this mini-toggle and the five-way selector

£1,069

Just sitting down with the AZ is a revelation; the looks may be classic, but the comfort and fretboard access is unprecedented. Ibanez’s super all-access neck joint means you’ll have no problem up at the dusty end, while an ergonomic back contour makes for a guitar that melds into your body. That neck will be a surprise to anyone used to Ibanez’s legendary, super-skinny Wizard surĽohv/ krzhyhu> wkh rydo F/ erughulqj rq G/ surĽoh lv fhuwdlqo| pruh ri d sdop0Ľoohu/ exw zh reckon it has a more universal appeal while still being svelte enough for fretboard heroics, especially with its incredibly light vhdohu Ľqlvk1 Wkh yleudwr lv d mr| wr use, too; even if you tend to shun

2

AT A GLANCE BODY: Basswoodbody

w/ flamed maple top

2

NECK: Roasted maple SCALE: 648mm (25.5") FINGERBOARD:

TUNERS

Roasted maple

Gotoh’s Magnum Lock tuners are onboard here, complete with Height Adjustable Posts to precisely set the tension for each string

3

FRETS: 22 PICKUPS: 2x Seymour Duncan Hyperion single coils, 1x Seymour Duncan Hyperion humbucker CONTROLS: 1x volume,

SIDE DOTS

1x tone, 5-way pickup selector switch, Alter Switch

Ibanez has thought of everything – the AZ’s side dots even glow in the dark, so there’s no excuses for missed frets on dark stages

HARDWARE: Ibanez/

Gotoh T1502 vibrato, Gotoh Magnum Lock machineheads w/ H.A.P. Graph Tech TUSQ XL nut LEFT-HANDED: No FINISH: Brown Topaz

3

Burst (shown), Blue IcebergGradation CASE: Hybrid hardcase/gigbag CONTACT: Headstock

Distribution 01215086666 www.ibanez.com

Photography: Adam Gasson

THE AZ’S PLAYABILITY IS IMMEDIATELY GRATIFYING... The AZ224F clocks in at the pruh dļrugdeoh hqg ri wkh line-up, with an Indonesian build and basswood (rather than the upper-end Prestige’s alder) body, but still delivers the core of what makes the AZ range such a winning prospect: in short, everything. We’re talking a roasted maple neck and fretboard, complete with hard-wearing stainless-steel frets, glow-in-thedark side dots and a non-stick Graph Tech TUSQ XL nut; Gotoh Magnum Lock machineheads, with height-adjustable posts for optimum string angle behind the nut; a Gotoh-designed vibrato, with a lockable tremolo arm that grhvqġw ľrs durxqg> dq lqfoxghg hybrid hardcase/gigbag… oh, and a set of newly designed Seymour Duncan Hyperion pickups with nine (!) selectable positions.

zkdpp|/ |rx pd| Ľqg |rxuvhoi adding in subtle shimmers, such is the smoothness of the system and stability of the tuning. While the AZ’s playability is immediately gratifying, the pickup switching takes a bit more thought, and the key lies in the Alter Switch. Flick it down, and the selections are as you’d expect from an Alnico V-equipped HSS guitar: d foxwfk ri idw/ kl0Ľ vlqjoh0frlo tones that excel at contemporary clean sounds. But switching in the other direction opens up four dgglwlrqdo wrqhv= srvlwlrq Ľyh uxqv the two singles in series to approximate a humbucker; next is the neck and single humbucker coil nearest the bridge; then the singles in series with the humbucker; followed by the single humbucker coil nearest the neck; then the humbucker as normal.

1

OCTOBER 2018 TOTAL GUITAR

91


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

Feel the steel What’s the big deal with stainless steel frets?

T

That grants you access to darker, jazzier neck tones, punchy all-pickups-on sounds, and thinner single-coil snap. Frpelqhg zlwk wkh#vwdqgdug# positions, there’s an unparalleled fkrlfh ri wrqhv Ğ li#|rx#fdqġw#Ľqg#d# mid-position quack you like here, it doesn’t exist. That versatility makes the AZ a dab hand at just about any kind of playing – although it is worth noting that while the humbucker does the classic rock thing extremely well, it’s not the most high-output pickup in the world, so metal players might want a TOTAL GUITAR OCTOBER 2018

ALSO TRY... FENDER DELUXE STRAT HSS While traditional Strats can’t boast the same versatility, this HSS model features noiseless single coils and an S-1 switch to split the bridge ’bucker.

CHARVEL PROMOD DK24 HSS boost in their signal chain for seriously high-gain sounds. What’s most striking is how well-balanced the pickup sounds are across the range – nothing’s overly dark or spiky. It all adds up to an inspiring set of tones that retain their character through gain. It’s hard to think of an area where Ibanez could improve here – sure, ebony fretboard and hardtail options would be nice, and some players may just prefer a simpler coil-split to a whole extra set of pickup positions – but that’s testament to the company’s meticulous attention to spec. We

love the subtle output jack, hidden in a recess near the strap button, and the thumbwheel to lock the whammy bar in position. With the AZ line, Ibanez has created a guitar that has the potential to appeal to just about any player – and in an age of division, that’s a very welcome achievement. Michael Astley-Brown

SUMMARY

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he majority of guitars you’ve played have likely featured nickel frets – the industry standard for decades. Ibanez, however, has equipped its AZ series with stainless steel frets, which used to be found rqo| rq erxwltxh#rļhulqjv#iurp# Suhr, Anderson and Vigier, but are becoming more commonplace on guitars from the likes of Ernie Ball Music Man and Schecter, too. The reasons are simple: stainless vwhho iuhwv rļhu d vprrwk ihho and increased corrosion resistance over nickel frets, meaning decreased wear from fretting and sweat. You won’t need to refret stainless steel frets as frequently… if ever! The wudgh0rļ lv wkdw ehfdxvh wkh material’s so durable, it can damage luthiers’ tools – so if you do need any fretwork done, it’ll cost you extra.

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

New for 2018, this speed machine is similarly well-spec’d, with a roasted maple neck, Seymour Duncan pickups, a Gotoh Custom 510 vibrato and locking tuners.

SCHECTER SUN VALLEY SUPER SHREDDER III The Super Shredder lives up to its name, with a Floyd Rose locking vibrato, plus an HSS set of cutting-edge EMG Retro Active pickups.


T H E GA S STATION

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TOTAL GUITAR OCTOBER 2018


REVIEW

1

3

LOOKS

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

1

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EFFECTS

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

2

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POWER

The Mini Superbeetle delivers 25 watts into its own 8ohm cabinet, but can produce up to 50 watts into a 4ohm load

VOX MINI SUPERBEETLE £349 The sound of the 60s – in miniature Vxshuehhwoh dovr ehqhĽwv iurp d digital spring reverb and tremolo, powered by Nutube for a vintagevw|oh hļhfw1 Qxwxeh lv d qhz ydoyh type developed by Vox’s parent company Korg, in association with Noritake Itron, which uses vacuum ľxruhvfhqw glvsod| whfkqrorj|1 Normally seen in microwaves and washing machines, VFD’s operate very much like a traditional valve – they have a cathode, anode and a control grid to switch display

Photography: Adam Gasson

A STUNNING RECREATION OF CLASSIC VOX TONES Clad in black basketweave vinyl and diamond grille cloth, the Superbeetle looks like a classic Vox from every angle, including a scaled-down vertical logo and tubular stand for the 1x10 extension cab, and a grey/black control panel with chickenhead knobs. The electronics are based on the MV50 range of mini heads, combining a Nutube 6P1 valve in the preamp with a class D power stage that can produce up to 50 watts into a 4ohm load. The mini

vhjphqwv rq dqg rļ1 Qxwxeh lv wkh Ľuvw YIG ghvljqhg iru dxglr dqg hļhfwlyho| uhsodfhv d 45D[:/ taking up much less space and using a tiny fraction of the power, with an estimated lifespan of 10,000 hours. The Superbeetle provides a stunning recreation of classic Vox tones based on the legendary AC30 Top Boost channel, with a warm, slightly boxy midrange at lower gain giving way to a harmonicladen chime that’s itching for a

95 decent Rickenbacker or Gretsch – lw#vrxqgv#eljjhu#wkdq#lwv#580zdww# rating. The digital reverb is superb, going from natural ambience at lower volumes to a deep cavern hļhfw#wkdw#grhvqġw#wrwdoo|# overpower the guitar. Add a decent delay and a Strat, select the bridge pickup and you’ll get an uncanny recreation of the classic Hank Marvin sound that powered The Shadows hits of the early 60s. It also covers classic blues and rock with ease and nearly gets into Brian May territory with the gain maxed out. As well as being a perfect addition to any living room based on its looks alone, the Superbeetle is a great tool for home practice and recording, with low enough noise levels to deliver pro-level results into a computer or DAW from the speaker-emulated headphones socket. Nick Guppy

SUMMARY

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t’s Vox’s 60th anniversary year, and by way of celebrating it, we’ve been blessed with a stream of new and highly-tempting products, one of the more recent being this Superbeetle mini stack, which takes its inspiration from the AC100 and Super Beatle stacks Vox made in the UK and USA during the 1960s and notably used by the Fab Four at some of their biggest gigs.

AT A GLANCE TYPE: Hybridvalve/

digital/solid state OUTPUT: 25W into

8ohms, 50W into 4ohms SPEAKER: 1x Celestion

custom 10" VALVES: 1x NuTube 6P1 CONTROLS: Gain,

volume, bass, treble, tremolo, reverb, eco switch, EQ deep/flat switch SOCKETS: Guitar in,

headphones/ recording out, speaker out x2 WEIGHT: 9kg DIMENSIONS [HXWXD]:

596x323x180mm CONTACT: Vox Amplification 01908 304600 voxamps.com

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

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TOTAL GUITAR OCTOBER 2018


REVIEW

MARTIN DX1AE MACASSAR BURST

1 £679

The X Factor?

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here are certain acoustic brands players aspire to own because of their lofty reputations, and if they can own them for less, all the better. Clearly Martin and Taylor are sensitive to this and have made moves to woo potential customers perusing the midpriced £500 market and convince them to scrape together some more cash for their entry-level rļhulqjv1#Qr/#wkh|ġuh#qrw#jrlqj#wr# give you the same thrill as a ixoo0idw#Ġjhqxlqhġ#G05;#ru#;47FH# exw#wkdw#grhvqġw#dozd|v#phdq# wkh|ġuh#sdohu#lplwdwlrqv#hlwkhu1#Lq# wkh#fdvh#ri#Pduwlqġv#[0Vhulhv/#d# glvwlqfw#h{shulhqfh#lv#rļhuhg#dorqj# with the expectation of the Qd}duhwk eudqgġv dwwhqwlrq wr TF

kind of organic woody experien newcomers might expect from Martin. The HPL has a matte Ľqlvk#dqg#ihhov#sodvwlfn|#wr wkh touch, while the laminate neck adds noticeable weight. Wrqdoo|#lw#sohdvhv1#Wkhuhġv#d zdup#orz0hqg#dqg#frqĽghqw projection in the highs that we zdqw#iurp#d#guhdgġ/#zlwk#wkh ľdwwhu#Pduwlq#Shuiruplqj#Duwlv qhfn#vkdsh#rļhulqj#d#frpiruwd |# spacious platform for most Ľqjhuslfnlqj#qhhgv1# Pduwlqġv#vwxfn#zlwk#Ilvkpdq orz0nh|#Vrqlwrqh#suhdps#v|vwh hp on its entry models for a while qrz/#exw#zhġg#dujxh#lw#pljkw eh h# time for a change after playing Wd|oruġv#Dfdghp|#prghov#zlwk their version of the superlative

and playability. This time with a khdg0wxuqlqj#Ľqlvk1 This dreadnought Maccasar Exuvw#Ľuvw#fdxjkw#rxu#zdqghulqj# eye on the Martin stand at the QDPP#vkrz#hduolhu#wklv#|hdu1#Wkh# sunburst says vintage but the satin Ľqlvk#dqg#vlpsoh#dssrlqwphqwv# jlyhv#lw#d#frqwhpsrudu|#vodqw1#Dqg# now we have it up close and shuvrqdo#lw#grhvqġw#glvdssrlqw1# Wkh#[0Vhulhvġv#vwulshg# stratabond birch laminate necks can divide opinion for their dhvwkhwlf>#zhġuh#qrw#kxjh#idqv#ri# the look combined with paler spruce tops, but here with the darker sunburst hues of the spruce and the stripes of the, rather synthetic look of the wood grain printed overlay on the HPL (high pressure laminate) back and sides, the brown version works better. The feel of this guitar in the kdqgv grhvqġw h{dfwo| h{xgh wkh

H{suhvvlrq V|vwhp zlwk wxqhu1 warm character of this guitar he elps round out any harsher higher-e end plugged in, which is welcome, and a the treble can be further dialled grzq#zlwk#wkh#wrqh#frqwuroġv uroo0rļ1# Zh#vwloo#wklqn#wkh#frpsdq|ġv shorter scale, solid wood Guhdgqrxjkw#Mxqlru#lv#the entry y level model to buy; for the mon wklv#grhvqġw#txlwh#gholyhu# compared – especially with no gigbag included. Qhyhuwkhohvv/#wkh#ehjxlolqj wr rs Ľqlvk#khuh#zloo#eh#d#vhoolqj srlq qw# for some. Rob Laing

SUMMARY

Photography: Adam Gasson

WARM LOW-END AND CONFIDE PROJECTION IN THE HIGH...

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

BACK AND SIDES

E

HPL isn’t just a cost-saving material, it has the advantage of being sustainable and more stable if your guitar is in an environment of changing temperatures

2

TYPE: Dreadnought electro acoustic TOP: Sitka spruce BACK & SIDES: HPL NECK: Brown birch laminate SCALE LENGTH: 645mm (25.4") FINGERBOARD: Richlite ELECTRICS: Fishman Sonitone w / tone and volume controls HARDWARE: Chrome enclosed tuners, white corian nut, white Tusq saddle CASE: No LEFT-HANDED: Yes FRETS: 20 FINISH: Sunburst 1 CONTACT: Westside Distribution westsidedistribution. com

PREAMP

Like Martin’s other X-Series models this uses the Fishman Sonitone system, with tone and volume dials covertly-placed inside the soundhole

3

BATTERY ACCESS

We’ve played Sonitone-loaded acoustics with the nine-volt battery placed in a pouch inside the body that can be susceptible to coming loose. Martin have a separate compartment accessed via the lower bout edge

1

2

3 OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

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Words Ed Mitchell / Photography Neil Godwin

BIGSBY-LOADED RETRO ROCKERS

The Bigsby True Vibrato is the ultimate in vintage cool. Meet four guitars playing host to the iconic whammy bar...

TOTAL GUITAR OCTOBER 2018


THE TG TEST

99

I

t might be a pensioner but, like Rolling Stone Mick Jagger, the Bigsby True Vibrato is still doing the business, and using its wiggle stick to devastating hļhfw1#Wkh#Ľuvw#wuxo|#ixqfwlrqdo# vibrato unit, the Bigsby was the brain fklog#ri#Sdxo#D#Eljve|/#lqyhqwru/# motorcycle racer and guitar tweaking jhqlxv1#Eljve|#ehjdq#shuihfwlqj#klv#yleudwr#lq# wkh#plg#wr#odwh#73v#dqg#e|#wkh#iroorzlqj#ghfdgh# klv#ghvljq#zdv#d#ihdwxuh#rq#Ihqghu#Whohfdvwhuv# dqg#qxphurxv#Jlevrq#dqg#Hslskrqh#jxlwduv1# That said, the True Vibrato’s most iconic partnership was with the Gretsch catalogue

zkhuh#lw#zdv#rļhuhg#dv#dq#xsjudgh#rq#Gxr#Mhwv# dqg#J9453#Fkhw#Dwnlqv#prghov1# Wkhvh#gd|v/#d#Eljve|#lv#dq#hdv|#zd|#iru# pdqxidfwxuhuv#wr#jlyh#wkhlu#zduhv#vrph# dxwkhqwlf#ylqwdjh#frro1#Zklfk#eulqjv#xv#wr#wkh# jxlwduv#lq#wklv#jurxs#whvw1#Wkh#\dpdkd#Uhyvwdu# RS720B, Gretsch Electromatic G5420T, Italia Prghqd#Fkdoohqjh#dqg#KØiqhu#Yhu|wklq#Eljve|# Prg#Ğ#doo#ri#zklfk#duh#sdfnlqj#Olfhqvhg#Eljve|# xqlwv1#Hdfk#rqh#ri#wkhvh#jxlwduv#ehqhĽw#iurp# wkh#wrqh#dqg#vxvwdlq#errvw#|rx#h{shfw#iurp#d# Eljve|/#qrw#wr#phqwlrq#wkdw#idprxv#dhvwkhwlf# ehdxw|1#Wkh#txhvwlrq#lv/#zklfk#ri#wkhvh#prghuq# classics wears its historic hardware best? OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

YAMAHA REVSTAR RS720B

GRETSCH ELECTROMATIC G5420T

First impressions?

Pretty guitar. Shame I don’t play rockabilly stuff, really...

The RS720B is the undisputed heavyweight champion in this line-up. Your plucky Gretsch, Italia and Höfner contenders average a little under 3.6kg (8lbs) apiece. That’s in the same ballpark as an alder-bodied Fender Telecaster. The Yamaha tips the scales at a heftier 4.1kg (9.1lbs). You’d expect those sort of numbers from a Gibson Les Paul Standard.

Countless guitar nerds miss out on the joy of a Gretsch because they w|shfdvw#vwxļ#olnh#wkh#J8753W#dv#urfndeloo|#pdfklqhv1#Ohvw#|h#irujhw/# Malcolm Young of AC/DC plied his trade on Gretsch Jet and White Falcon guitars. Pete Townshend of The Who also played a big-bodied Gretsch G6120 on the band’s Who’s Next and Quadropenia albums. Those guys didn’t play rockabilly.

Why would I want a heavier guitar?

Is this based on a particular vintage model?

Well, the extra beef doesn’t hurt when you’re talking about tone.

\hv/#lqghhg#lw#lv1#Wkh#J8753W#lv#d#wulexwh#wr#wkh#lfrqlf#J9453/#wkh#

Dgg#lq#wkh#UV:53Eġv#vrolg#pdkrjdq|#dqg#ľdph#pdsoh#wrqhzrrgv/# vhw0qhfn#frqvwuxfwlrq#dqg#wkh#fkxqn|#Olfhqvhg#Eljve|#E83#yleudwr# anchoring the strings and you wind up with a guitar brandishing some incredible sustain.

guitar that was beloved by Stray Cat maestro Brian Setzer, doomed rocker Eddie Cochran and Nashville shredder Chet Atkins. Like its ancestor this guitar has the maple-ply hollow body, oversized f-holes and, of course, a Bigsby, in this instance a Licensed B60 model.

Carry that weight... £976

Dirty deeds done reasonably cheap £669

100

The pickups have a real Gretsch vibe... Yeah, the humbuckers have slotted covers to echo the eye candy of a classic Gretsch Filter ’Tron. What’s really interesting is how these pickups are voiced. They could have chiselled in any old set of ’buckers. Instead, Yamaha has under-wound these things to get as much vintage-style warmth and clarity as possible.

AT A GLANCE KEYFEATURES: Doublecutaway solid mahogany body w/ maple top and flame maple veneer, three-piece mahogany neck, 349mm radius rosewood fingerboard, 22 jumbo frets, 609mm scale,2xlowoutputAlnicoV humbuckers, volume, tone with push/pull ‘Dry Switch’ coil split, three-way pickup selector blade switch, brushed steel tune-a-matic bridge Bigsby B50 True Vibrato FINISH: Vintage Japanese Denim, Ash Gray, Wall Fade, Shop Black CONTACT: uk.yamaha.com

TOTAL GUITAR OCTOBER 2018

So, is it possible for me to get a decent rock tone out of those pickups? Khoo/#|hv$#Wkh#Eodfnwrs#IlowhuġWurq#kxpexfnhuv#rq#rļhu#khuh# combine that classic Gretsch twang with some modern tonal girth. They’ll go from rockabilly to AC/DC without breaking a sweat.

AT A GLANCE KEYFEATURES:Singlecutaway

laminated maple hollow body, set maple neck, 304mm radius rosewood fingerboard, 624mm scale, 2 x Black Top FilterTron humbuckers, Bigsby B60, 2 x volume, master volume, master tone, three-way pickup selector toggle switch FINISH: Fairlane Blue, Orange Stain, Aspen Green, Candy Apple Red CONTACT: gretschguitars.com


THE TG TEST

HÖFNER VERYTHIN BIGSBY MOD

Mod grooves in delirious ways £649

ITALIA MODENA CHALLENGE Is there an Eko in here? £799 =

I get it. This is the perfect guitar for Brexit voters...

I didn’t know that Austin Powers designed guitars...

Maybe, but this Höfner’s model designation isn’t just a clever name. The RAF roundel concealing much of this Verythin guitar’s top is designed to attract the Mod crowd. It evokes memories of pimped Lambretta scooters.

Actually, British guitar guru Trev Wilkinson is the bloke behind the Italia brand. The groovy Mondena Challenge references the bonkers rļvhw#erg|#fuhdwlrqv#vhw#orrvh#e|#Hnr#lq#Lwdo|#dqg#Whlvfr# in Japan back in the 1960s. We should also say that Italia build txdolw|#lv#vljqlĽfdqwo|#kljkhu#wkdq#wkh#rog#vfkrro#fxulrv#wkdw#kdyh# inspired them.

So, what’s the skinny on the actual guitar beneath the marketing bumpf? Skinny couldn’t be more apt. Born in the swinging 60s, the Verythin zdv#Jhupdq#eudqg#KØiqhuġv#dqvzhu#wr#wkh#Jlevrq#HV06681#Olnh#lwv#

All show and no go then? Nope. The Modena Challenge is high spec with its German-carved

101

illustrious US inspiration, the Verythin has a semi-acoustic body zlwk#d#vrolg#fhqwuh0eorfn1#Wkh#elj#glļhuhqfh#lv#wkdw#wkh#KØiqhu#orrnv# like it’s been on a low-carb diet. It’s sides are just 32mm deep.

Is it built in Germany? Qrw#dw#wklv#sulfh#srlqw1#KØiqhu#gr#surgxfh#vwxļ#lq#Ghxwvfkodqg/# vshflĽfdoo|#wkh#kdqgfudiwhg#83324#Ylrolq#edvv#pdgh#idprxv#e|# former Beatle Paul McCartney. The Bigsby Mod is made in China to a very decent standard. Oh, and you get an additional set of gold ‘hat box’ control knobs, just in case you’re not feeling the stock black ‘speed’ jobs.

AT A GLANCE KEYFEATURES: Twincutaway semi-acoustic body with laminated spruce top and laminated maple back and sides, one-piece set maple neck, 304mm radius rosewood fingerboard, 22 medium jumbo frets, 627mm scale, 2 x Höfner humbuckers with nickel covers, 2 x volume, 2 x tone, Bigsby B6, vintage tuners with pearloid buttons, replacement gold control knob set FINISH: Mod target only CONTACT: hofner.com

Korina body, bolt-on maple neck and rosewood ’board. As for the metal bits, you get three mini humbuckers, an anchored tune-amatic bridge with roller saddles and a set of locking tuners. Of course, the Challenge wouldn’t be on these pages if it wasn’t for its Olfhqvhg#Eljve|#E83#yleudwr1

What’s this ‘German-carved’ business? Look closer and you’ll see that the edges of the body are bevelled. This sculpting echoes the German carving on 60s Mosrite and high-end Rickenbacker 381 model guitars. What’s the point? It looks cool. End of.

AT A GLANCE KEYFEATURES: Offsetsolid korina

body, bolt-on hard rock maple neck, rosewood fingerboard, 22 medium jumbo frets, 647mm scale, 3 x Italia mini humbuckers, volume, tone, five-way pickup selector blade switch, anchored tune-a-matic bridge, Bigsby B50, E-Z Lock tuners, padded gigbag FINISH: Metallic Gold Burst, Metallic Turquoise CONTACT: jhs.co.uk

OCTOBER 2018 TOTAL GUITAR


THE TG TEST The build quality of the Italia Modena is higher than the 1960s curios that inspired it

HEAD TO HEAD Which Bigsby loaded retro rocker is a modern wonder?

I

102

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

THE HÖFNER AND GRETSCH DELIVER OODLES OF JANGLE IN THE BRIDGE POSITION What about the Revstar? It’s in a league of its own here. The low-output pickups reveal a sweet woody tone that’s just as addictive on clean and overdriven settings. It’s worth remembering that Jimi Hendrix produced most of his work via some of the lowest output pickups Fender ever produced. On the RS720B that restraint in the pickup windings means wkdw#qr#pdwwhu#krz#kljk#|rx#fudqn#wkh#Ľowk#|rx# can still hear the body and the strings. Splitting the coils makes that transparency even more, well, apparent. Zkloh#wkh#KØiqhu#rļhuv#idploldu#Jlevrq0olnh# humbucker grunt, the Gretsch Filter’Tron sound is something that every guitarist should experience in their lifetime. It’s like a classic kxpexfnhu#rqo|#lq#kljk#ghĽqlwlrq1#Dv#Pdofrop# Young discovered, you get a big rock sound without the wooliness inherent in some kxpexfnhuv1#Erwwrp#olqh111#wkh#J8753Wġv#Eodfn# Tops are never shrill but they will punch their way out of any mix. TOTAL GUITAR OCTOBER 2018

Hofner’s modstyled retro rocker also comes with a spare set of ‘hat box’ gold knobs


T H E GA S STATION

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

I

t’s bloody marvellous just what you can get for under a grand these days. In fact, lwġv jhwwlqj kdughu wr Ľqg d wuxh gxg lq the sub-£1,000 market. So, yeah, no dogs here then but we do have our pick of the litter. There’s no getting away from it. The Yamaha Revstar RS720B is a truly astonishing guitar. In what promises to be a barrage of superlatives, we have to tell you that the build quality is superb, the playability outstanding and those pickups are exceptional. It was

YAMAHA REVSTAR RS720B

such a smart move for Yamaha to, er, buck the trend for overwound ’buckers and instead concentrate on lower output in exchange for increased warmth and clarity. The result is a guitar that excels at blues and classic rock tones. The Bigsby just sweetens the pot. While we like its powerful humbucker sounds and approachable body dimensions, the Mod-friendly looks of the Höfner Verythin are obviously – pardon the pun – wdujhwlqj d yhu| vshflĽf dxglhqfh1 Wkh 93v pawnshop prize style of the Italia might

GRETSCH ELECTROMATIC G5420T

divide opinion, too, yet we love the tone and playability on tap. It really is a good alternative to the ubiquitous Strat and its countless variants. And then there’s the Gretsch. These Korean-made models are so good it’s getting harder to tell them apart from the much more expensive Japanese Professional Series models. Of course, history tells us that a Bigsby is never happier than when it’s bolted to a Gretsch but as all the contenders here can testify, this old timer can take any great guitar and make it even better.

HÖFNER VERYTHIN BIGSBY MOD

ITALIA MODENA CHALLENGE

103

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

SUMMARY

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

BEST ALLROUNDER

BEST FOR MODS

SUMMARY

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

BEST VALUE FOR MONEY

SUMMARY

SUMMARY

BEST FOR CLASSIC ROCK

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

COMPACT REVERB PEDALS ROUND-UP

TOTAL GUITAR OCTOBER 2018

Neunaber Immerse TAKE THE PLUNGE

W

£299

here some digital reverbs can feel low on headroom, the Immerse is expansive, and can also be run at 12V. Five controls on the front panel govern level, time, depth, reverb type and an additional parameter that changes depending on the patch. You can kill the dry signal and you can run it in stereo. In mono, it’s a formidable beast, particularly in wet, hall and shimmer modes, but in stereo it’s peerless. The shimmer setting is huge but it’s the wet mode that we return to, with varying levels of modulation and depth for underlining clean arpeggios, or accenting sparse melody lines.

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING

Fender Marine Layer Reverb £110 LAYER UP

A

lthough this is the largest pedal out of the group, it is far from the most feature-rich. Luckily, the sounds are exceptional. From in-your-face reverbs with wkh#gdpslqj#uroohg#rļ/#wr#frpsohwho|#dpelhqw# verbs that sit below the guitar signal, it’s hļruwohvv#wr#Ľqg#d#jrrg#wrqh#zlwk#wkh#Pdulqh# Od|hu1#Wkh#wkuhh#prghv#rq#rļhu#duh#kdoo/#urrp# and special, with an alternate algorithm for each that can be accessed via a toggle switch. The shimmer and modulated ’verb are excellent – but the room is the most fun. Balanced between subtle and biting with a lightly dirty practice amp it’s heaven.

SUMMARY

A

s the compact pedal arms race hots up, multi-function pedals are increasingly becoming the norm, even from smaller manufacturers. This means that when you’re choosing a reverb pedal, you’re likely to get at the very least a hall, plate, spring and maybe even a shimmer into the bargain. Though most reverbs are digital, you’ll be surprised to learn that they’re not just for space cadets, and you’re as likely wr#Ľqg#d#ghfhqw#vsulqj#ru#urrp# reverb to liven up a practice amp as you are a patch to casually throw out huge post-rock crescendos. Bearing all of that in mind, we’ve brought together a few of the hottest multi-function reverb options for springs, rooms, halls and cavernous, oceanic verbs. Let’s dive in...

SUMMARY

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FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING


ROUND-UP

105

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

WALRUS AUDIO FATHOM £201

Electro-Harmonix Oceans 11 £120

B

G

SUMMARY

ased around the FV1 chip, the Fathom is a worthy representative of the boutique pedal market. It sports four patches, hdfk zlwk d sdwfk0vshflĽf frqwuro1 Wkhuhġv d decay, damp and mix knob, and a three-way toggle for modulation level. As a nice extra, there’s a second footswitch that maxes out the delay time, so you can dynamically shift it to hang at the end of a passage or lick. Out of wkh sdwfkhv rq rļhu Ğ kdoo/ sodwh/ or0Ľ dqg sonar – the highlights are the hall and plate. Though the dual-octave-blend sonar mode is an interesting idea, the FV1 has never been strong as a pitch shifter and it shows.

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING

CINEMATIC ’VERBS

iven the price, you might not expect much of the Oceans 11, but don’t underestimate it! There’s a plethora of settings, from mod and shimmer, to the wild polyphonic octave, but also a rogue’s gallery of standard options like echo, plate, spring, hall and reverse. While reverse has been out-ofvogue on compact pedals, the demand from shoegazers has remained, and the 11 is likely to be hit based on this mode alone. It’s a eulooldqw#hļhfw/#zkhwkhu#|rxġuh#sod|lqj# psychedelic music or just looking to throw in a wacky solo. The core hall and plate sounds are excellent, too, so it’s not just a one-trick pony.

SUMMARY

HIDDEN DEPTHS

AT A GLANCE BYPASS:

Neunaber, Fender, EHX: Buffered bypass Walrus Audio: Walrus smart bypass POWER:

Fender, Walrus, EHX: 9V power supply Neunaber - 9-12V power supply CONTACT:

Neunaber: Audio Distribution Group +45 6574 8228 audiodistributiongroup.com Fender: Fender EMEA 0845 305 1122 fender.com Walrus: FACE +32 3 844 67 97 face.be EHX: EHX +44 179 247 3258 ehx.com

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

106

FUZZROCIOUS GREY STACHE

£209

Fuzz? Distortion? Noisemaker? All of the above! Qrupdoo|/ d Elj Pxļ lv characterised by a mid-scoop, and wkh wkuhh0zd| dowhuqdwho| vfrrsv wkhp ixuwkhu/ ľdwwhqv wkhp/ ru boosts them, for a more in-yourface, distortion-like tone. Iru vwrqhu dqg grrp ulĿqj/ wkh scoop simply can’t be beat, nevertheless, it has to be said, zlwk wkh vxvwdlq mdpphg doo wkh zd| xs dqg wkh plgv frqwuro mxvw above noon, the mid-boost mode sees the Grey Stache pulling double-duty as a pretty ace distortion pedal. The Grey Stache handles sdop0pxwlqj vxusulvlqjo| zhoo/ dqg grhvqġw pxgg| xs lq orzhu

FANTASTIC SOUNDS AND A TIDY BUILD MAKE IT WELL WORTH INVESTIGATING TOTAL GUITAR OCTOBER 2018

wxqlqjv grzq wr F Ğ d wxqlqj lq zklfk Pxļ ix}}hv whqg wr jhw excessively dark. Dowkrxjk Ix}}urflrxv ohg wkh charge in terms of modern boutique manufacturers, the pdunhw kdv ehhq vrphzkdw saturated in terms of boutique gulyhv/ dqg qrz zh Ľqg wkdw zhġuh spoiled for choice. Make no mistake though, cheaper kdqgpdgh Pxļv duh dydlodeoh/ exw the Grey Stache’s fantastic sounds dqg fohdq/ wlg| exlog pdnh lw zhoo zruwk lqyhvwljdwlqj1 Alex Lynham

SUMMARY

I

ntended for use on both bass and guitar, the Grey Stache has been modelled on both the so-called Civil War-era Elj Pxļ dv zhoo dv wkh General Guitar Gadgets modded yhuvlrq/ zklfk zdv lwvhoi edvhg rq wkh Ylrohw Udpġv Khdg Pxļ dqg the 3rd late 1970s version of the pedal. It’s also got a momentary ihhgedfn irrwvzlwfk ehfdxvh/ zhoo/ zk| qrwB There’s your standard three Big Pxļ frqwurov dv d uhvxow/ yroxph/ tone and sustain, but there’s also a plgv frqwuro dqg d wkuhh0zd| wrjjoh vzlwfk1 Wklv wrjjoh vkliwv the mid response of the pedal.

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING

AT A GLANCE TYPE: Fuzzpedal CONTROLS: Volume,tone,

mids,sustain SOCKETS: Input,output, power BYPASS: Truebypass POWER: 9VDCcentrenegativepowersupply only(notincluded) CONTACT:

HighTechDistribution 2htd-uk.com


T H E GA S STATION

FIX YOUR GUITAR 108

SETTING YOUR NECK ANGLE WITH A SHIM

Top Tip!

Duff neck angle? A proper tapered shim will set it right once and for all. This guide will show you how...

You can use a tapered neck angle shim on any instrumen t with a bolt-on neck: acoustic, electric or bass

Words:JackEllis

A

n absolutely critical part of a guitar’s setup, the angle between the neck and body of an instrument sets the plane for the bridge saddle’s height. Having a bolt-on neck rļhuv d juhdw fkdqfh wr change this angle with relative ease by using a shim. A shim is the name of a simple, miniature, wedge-shaped piece of material to be sandwiched in between the neck heel and the bottom of the neck pocket. In this month’s tutorial, we’ll show TOTAL GUITAR OTCOBER 2018

you how to make a nice solid maple wedge, which is tapered at the right angle. But why taper it and not fold some card over? Well, it’s pretty common to see all sorts of bad shim materials and shapes in a pocket but these will all introduce an air gap, which is terrible for sustain! That’s before we’ve even considered that a non-full surface shim will warp the heel-end of the frets so even if you’ve had a fret dress, your fretboard can become uneven! Read on to learn how to avoid such eventualities…

WHAT YOU NEED 0.5mmthick hardwoodmaple veneer Benchbeltsander (orabeltsander mountedinavice) Flatscrapofwood Paperholepunch Parceltape PH2screwdriver Scissors Sharppencil Markerpenthat matchesthebody paintjob Setofcalipers (optional) Setuptools: Freshstrings

MEET YOUR EXPERT Tuner Stringwinder Stringcutters Trussrodallenkey Shortruler Radiusgauges Feelergauge

Saddle grub screw allen keys

SKILL LEVEL Advanced

Jack Ellis runs Jack’s Instrument Services from his workshop in Manchester. In his career he has worked on thousands of instruments, from simple fixes and upgrades, to complete rebuilds. For more info, see: www.jacksinstrument services.co.uk


FIX YOUR GUITAR

1

Let’s establish if we need a neck shim first! There are a lot of shims we see that are installed erroneously when they needn’t even be there. Follow the setup procedure with a capo on the 1st and fretting at the 15th fret, When tuned up you should have a clearance around .007" with your feeler gauge. Adjust the truss rod accordingly.

2

With the truss rod setting approved, let’s check the nut: stick a capo on the 3rd fret and test the clearance over the 1st fret with a feeler gauge for each string. You should be getting a clearance of .004" and marginally more on the bass side. As this is crucial we’d recommend taking your guitar to a pro to get the nut cut correctly.

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Our Telecaster Custom here is not happy. With the truss rod and nut settings correct we cannot lower the saddle low enough to get a nice action at the 12th fret – it will need a neck pocket shim. The other issue may be that you cannot raise the saddle high enough to stop it buzzing – you’ll need a reverse shim in that case.

Did you find anything strange in there? Sometimes factories will use a card, sandpaper or plastic to set the neck angle. If you have one try removing it and see what difference it makes strung up – you may not need it. If the shim is at the bridge side of the pocket this will tilt the neck towards the player.

Action at the 12th fret should be 2mm on the sixth string and 1.5mm on the first string as an average. Decide whether you need a shim. To begin with, the neck pocket will have to be removed – de-tune your strings to be slack and pop a capo over the nut. Loosen the large neck screws on the rear with a PH2 screwdriver.

We need a shim badly here! Our saddles are way out of whack and couldn’t go low enough. A .05mm thick piece of maple hardwood veneer will be our shim. Don’t be tempted to use a thicker one – a small change here makes a huge difference at the bridge. We’re drawing around the heel of the neck in pencil to get the shape required. OCTOBER 2018 TOTAL GUITAR


T H E GA S STATION

7

Cut around your maple shim-to-be with scissors. You should have the grain lengthways for strength. Be aware that the scissors may try to steer you with the grain. In this example we’re going to have the taller side of the shim at the heel (thinned side of the shim at the other side). Test fit it to check it will fit in the pocket.

8

9

Sand down the shim on a belt sander. Experiment with different pressures and angles and be sure to sand down the taller side too so that you have a nice mini wedge shape. You need to sand evenly but don’t worry about the thinnest edge fraying. The tape needs to get sanded a little to make it taper correctly.

10

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12

Double check which side you’d like to have the angle on, remembering the tall side at the heel will move the neck toward the player. Orientate the side you wish to be thinned at the edge of the board and use parcel tape or similar to stick your shim down. Don’t bother with a board that’s less than flat!

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Use a suitable marker pen to colour in the visible side if it’s on. Also, use a hole punch to make the clearance holes for the neck screws in your shim – it’ll cut it nice and clean. If you don’t do this the shim will split when you re-attach the neck. Speaking of which, reattach the neck and see how you got on.

TOTAL GUITAR OCTOBER 2018

Our shim is nearly ready. The frayed edge looks scrappy but it will do the job perfectly. This shim will taper (ramp) from 0.5mm to nothing but it’s important to check we have sanded it evenly and that half way along it’s 0.25mm thick. This can be done with a set of calipers. Carefully remove your shim by peeling the tape off.

With the neck on and the strings tuned up again the saddles are able to sit in the middle of their travel and get us the right height action at the 12th fret! That’s a full contact neck angle adjustment that gets the best out of the setup. What’s more, the neck pocket should offer more sustain.


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*TERMS AND CONDITIONS: This offer entitles new UK Direct Debit subscribers to pay just £26 every six months plus receive a gift worth £49.99. Gift is only available for new UK subscribers. Gift is subject to availability. Please allow up to 60 days for the delivery of your gift. In the event of stocks being exhausted we reserve the right to replace with items of similar value. Prices and savings quoted are compared to buying full-priced print issues. You will receive 13 issues in a year. Your subscription is for the minimum term specified and will expire at the end of the current term. You can write to us or call us to cancel your subscription within 14 days of purchase. Payment is non-refundable after the 14 day cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at point of print and subject to change. UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) or are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). For full terms and conditions please visit: www.bit.ly/magterms. Offer ends 30 November 2018.

OCTOBER 2018 TOTAL GUITAR


THE PLAYLIST

The Playlist Rise Against’s modern punk hero Zach Blair on singable riffs, unsung heroes and an addiction to arre chord he first song I remember hearing… My Generation n – The Who “When I was young my dad was a classic rock radio DJ. As a kid I just loved The Who. The music was loud and aggressive. I didn’t realise I was getting addictted to barre chords, even at that age. My dad was w watching Woodstock one day and I saw Pete Townshend T doing what he did and I’ve ehhq d idq hyhu vlqfh1 Wkh Ľuvw vrqj wkdw# grabb bed me was My Generation.”

The track that made me want ay guitar… to pla Iron Man M – Black Sabbath “It wa as The Who and Black Sabbath. There was something with both of those bands that I lghqwllĽhg zlwk dw dq hduo| djh dqg L kdyh ehhq d lifelon ng fan. With Sabbath, I think the Ľuvw wklqj w wkdw judeehg ph zdv suredeo| Iron Man1 Hyhu| nlg zdqwv#wr#ohduq#wkdw/#wkdw ulļ#lv so sin ngable.”

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The song I’d love to cover with Rise Against… Night Time e – Killing Joke “I’ve been on a real Killing Joke kick k lately. They had a record come out in 2003 3 and there’s d ulļ lq The Death And Resurrection Sh how that I wklqn lv rqh ri wkh ehvw ulļv hyhu zuulwwhq1#Lġg# also love to cover Night Time in Rise Against, shuvrqdoo|1 L wklqn Jhruglh ^Zdonhuu` lv d jhqlxv1# I’d love to have a go at anything from m Black Flag or Fugazi as well.”

The most challenging song to nail live is… Torches - Rise Against “There’s a track called Midnight Han nds from a ihz uhfrugv djr1 Lwġv lq Gurs G dqg llwġv d olwwoh# wulfn|1 Lwġv ixq wr sod| exw lwġv uhdo hd dv| wr#phvv# xs1 Torches is also tricky. That one sw witches edfn dqg iruwk1 Wkhuhġv uhdo ulļ| ph hwdo wkhuh1Ĥ

The riff I wish I’d written… Rock Bottom m – UFO “I love Rock Bottom by UFO. That is a ’70s rock ġqġ uroo jxlwdu ulļ e| wkh juhdw Plfkd dho Vfkhqnhu# dqg L oryh lw1 L dozd|v sod| wkdw ulļ z zkhq#Lġp# wu|lqj rxw qhz jhdu dv zhoo1 L zloo sod| lw xqwlo# vrpherg| whoov ph wr vwrs111 L fdq qġw vwrs1Ĥ#

The track I would play to so omeone who had never heard our b band… Survive e – Rise Against

Words: Richard Chamberlain Photo: W ill Ireland

A son ng I covered in my first band… Black kened d – Metallica ģZkh hq L zdv Ľuvw vwduwlqj lq edqgv we’d ttry to do Metallica and Anthrax covers. My brother and I joined ‘the good metal band’ in our town. e guys could do (at least to Those 80|hdu0rog hduv, shuihfw p| 48 Metalllica covers. This was nd when …And Justice aroun For All came out and I was g to nail the solo to trying ened or something. I Blacke ail it, I was most say na ghĽqlwho| qrw qdlolqj lw/ lw my version of it. It was was m vxfk d wulxpsk wr jhw forvh ything like that.” to any TOTAL GUITAR OCTOBER 2018

“This is before my tenure wiith Rise Djdlqvw exw L ihho olnh lw hqfdsvxodwhv#wkh# edqg1 Lwġv idvw/ wkhuhġv d jrrg g ulļ/#d# kxppdeoh ulļ/ wkh vrqjġv o| |ulfv duh# hpsrzhulqj dv zhoo1 Wkh o|ulfv vkrz#wkh# ethos and ethic of the band. It moves quickly and is energetic.”

What I love playing right no ow… Welcome To The Breakdow wn – Rise Against “There’s a song from our last album called Welcome To The Breakdo own that I’m hqmr|lqj sod|lqj1 Wkdw rqh lv v fodvvlf#Ulvh# The Djdlqvw dqg lv uhdoo| ixq wr sod|1 s Violence, a single from it thatt we released, is fun as well. It ha as this fkxjjlqj ulļ doo wkh zd| dor rqj wkdw# scratches the metal itch forr me.” Rise Against’s new album m The Ghost Note Sympho onies, n Vol 1 is out now on Virgin


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Total Guitar - October 2018  
Total Guitar - October 2018  
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