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GUITAR & BASS

RETRO WEIRDNESS: THE GAME BOY GUITAR!

TRANSCRIPTIONS

THE BEATLES

Here Comes the Sun

TRIVIUM

Silence in the Snow

REO SPEEDWAGON

Roll with the Changes

SCORPIONS

Catch Your Train

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CON T EN TS
VOL. 37 |

NO. 13 |

HOLIDAY 2015

FEATURES

44
DEAFHEAVEN

With New Bermuda, the darlings of the


American black metal scene continue their
rise to prominence.

50 KEITH RICHARDS
The legendary Rolling Stones guitarist
revisits his musical roots with a new
solo album, Crosseyed Heart, and
documentary film Under the Influence.

60 IRON MAIDEN
In this interview with the triple-ax attack
of Dave Murray, Adrian Smith and Janick
Gers, the men of Maiden discuss the
making of the new Book of Souls double
album and the resilience of singer Bruce
Dickinson after a recent cancer scare.

70 THE BEATLES

LOVE AFFAIR WITH


THE EPIPHONE CASINO

How John Lennon, Paul McCartney


and George Harrison all fell in love with
the Epiphone Casino and made it their
guitar of choice during the height of
Beatlemania.

80 HOLIDAY GIFT GUIDE

Deafheavens Kerry McCoy

12

GU I TA R WOR L D HOL I DAY 2015

COVER PHOTOGRAPH
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CON T EN TS
VOL. 37 |

NO. 13 |

HOLIDAY 2015
Matt Heafy

DEPARTM ENT S
16 WOODSHED
18 SOUNDING BOARD

Letters, reader art and Defenders of the Faith

21 TUNE-UPS

Kirk Hammett, Doyle, For Today, Dear Guitar


Hero with Richie Kotzen, Devil You Know,
Trivium, SayWeCanFly and more!

89 SOUNDCHECK

89. Boss Waza Craft BD-2W, DM-2W and


SD-1W pedals
91. Jericho Guitars Avenger 7 Pro 26 SevenString
92. Digitech Trio Band Creator pedal
94. Epiphone Masterbilt AJ-45ME Acoustic/
Electric
96. Kiesel V8 Vader Eight-String
98. Seymour Duncan Jason Becker
Humbucker

100 COLUMNS

100. Emmanuel Dexterity


by Tommy Emmanuel
102. Holcomb Mania
by Peripherys Mark Holcomb
104. String Theory
by Jimmy Brown
106. Shredding with the Alien
by Joe Satriani
108. Acoustic Nation
by Dale Turner
110. In Deep
by Andy Aledort

38
Trivium

146 IT MIGHT GET WEIRD


Nolan Symmonds Guitar Boy

Here Comes the Sun

Catch Your Train

Silence in the Snow

Roll with the Changes

by the Beatles

by Scorpions

by Trivium

by REO Speedwagon

PAGE

PAGE

PAGE

112
14

GU I TA R WOR L D HOL I DAY 2015

118

126

PAGE

134

S C OT T U C H I D A

TRANSCRIBED

HEA R MISHA MANSOOR ON


PERIPHERYS LAT EST RELE ASE ,

JUGGERNAUT ALPHA/OMEGA

jacksonguitars.com
Photo: Alex Wohleber
2015 JCMI. Jackson and the distinctive headstock designs commonly found on Jackson guitars are
registered trademarks of Jackson/Charvel Manufacturing, Inc. (JCMI). All rights reserved.

JUGGERNAUT HT6, LAGUNA BURST

JUGGERNAUT HT6, AMBER TIGER EYE

BULB HT7, MATTE BLACK

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SIGNAT URE
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WOODSHED
VOL. 37 |

NO. 13 |

HOLIDAY 2015
EDITORIAL

POETRY IN MOTION
IF YOURE READING this, youre holding something in your hands that is very near and dear to our
hearts: print. Despite the modern day push to turn every
reading experience into a loud, screaming digital one,
there are plenty of us who will always love the printed
page: letting our imaginations fill in the blank spaces as ink smudges our fingers.
However, if theres a downside to print, its that it doesnt move; its static. Stationary.
Maybe thats why I get so excited about our recent efforts with regard to video,
and I wanted to make sure our beloved print readers are up to speed on what were
doing on GuitarWorld.com, our YouTube channel and our Facebook page. Yes, we
love print, but we love moving pictures too.
Currently, the Guitar World YouTube channel has more than 350,000 subscribersthats substantial, and its no accident. So whats all the fuss about? If you head
over there, youll see for yourself. Artists are coming through our office doors almost daily, and many are being invited into our studio to film exclusive content for
our YouTube channel. Recent visits include Alexi Laiho, who showed us his five favorite riffs from the new Children of Bodom record, I Worship Chaos; Joe Satriani
and Tommy Emmanuel, who performed all the techniques covered in their current
Guitar World magazine columns; and Queensrches Michael Wilton, who talked
about and demonstrated some of his most classic riffs and licks. Weve also enjoyed
having so many guitarists come through and do playthrough videos in which they
play guitar to a backing track of one of their songs: recent participants include
Atreyu, Crowbar, Shinedown, For Today and Braden Barrie from SayWeCanFly.
Add to that all the in-depth gear reviews and demos from our editors, and you have
a YouTube channel worth subscribing to.
If youre looking for something more down-n-dirty, head over to our Facebook
page and see what the other 1.5 million followers have been enjoying lately. Every
few days we treat our fans to an impromptu desk jam featuring one of our talented editors. On any given day you may see gear editor Paul Riario in his cluttered
office laying down the solo to an Eighties metal classic, or online editor Damian
Fanelli showing off his immense skills as a blues guitarist and hopeless Beatles addict, all filmed with nothing more than my own iPhone 6.
At the end of the day it makes me appreciate all of the incredible talent lurking
behind these walls. Well always be magazine aficionados, and I hope you enjoy
the issue you hold in your print-loving handsbut theres plenty more to this operation, and we hope you get as much out of it as we put into it.

EXECUTIVE CONTENT DIRECTOR Jeff Kitts


EXECUTIVE EDITOR Brad Angle
TECH EDITOR Paul Riario
ASSOCIATE EDITORS Andy Aledort, Richard Bienstock,
Alan di Perna, Chris Gill
CONTRIBUTING WRITERS Joe Bosso, Ted Drozdowski, Dan
Epstein, Greg Evans, Randy Har ward, Peter Hodgson, Mark
Holcomb, Joe Satriani, Dale Turner, Jon Wiederhorn
SENIOR VIDEO PRODUCER Mark Nuez

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

ART
DESIGN DIRECTOR Stephen Goggi
ASSOCIATE ART DIRECTOR Ben Avny
ASSISTANT ART DIRECTOR Natalie Skopelja

ONLINE
MANAGING EDITOR Damian Fanelli
EDITORS Brad Angle, Jeff Kitts

PRODUCTION
PRODUCTION MANAGER Nicole Schilling

BUSINESS
VICE PRESIDENT, GENERAL MANAGER Bill Amstutz
bamstutz@nbmedia.com
GROUP PUBLISHER Bob Ziltz
bziltz@nbmedia.com
ADVERTISING DIRECTOR - WEST Jason Perl
646-723-5419, jason@guitar world.com
ADVERTISING DIRECTOR - EAST Scott Sciacca
646-723-5478, scott@guitar world.com
ADVERTISING MANAGER Anna Blumenthal
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GROUP MARKETING DIRECTOR Christopher Campana
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SR. MARKETING MANAGER Stacy Thomas
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CONSUMER MARKETING
CONSUMER MARKETING MANAGER Kara Tzinivis
FULFILLMENT COORDINATOR Ulises Cabrera

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PRESIDENT & CEO Steve Palm
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Jeff Kitts
Executive Content Director
GUITAR WORLD (ISSN 1045-6295) is published 13 times a year, monthly plus Holiday issue following December issue, by NewBay Media,
LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0400. Fax: 917.281.4704. Web Site: www.nbmedia.com. Periodicals
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16

GU I TA R WOR L D HOL I DAY 2015

EDITORIAL AND ADVERTISING OFFICES


28 East 28th Street, 12th Floor, New York, NY 10016
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NEWBAY MEDIA, LLC
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2015 NewBay Media, LLC. All rights reser ved. No par t of


this magazine may be used or reproduced without the written
permission of NewBay Media, LLC.

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

REPRINTS AND PERMISSIONS: For article reprints and or e-prints,


please contact our Reprint Coordinator at Wrights Reprints, 877652-5295, or NewBay@wrightsmedia.com

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SOUNDI NG BOARD
Got something you want to say? EMAIL US AT: Soundingboard@GuitarWorld.com
tentious mope who doesnt even
bother to experience something
before passing judgment on it. Its
painfully obvious that you have yet
to actually spin a Ghost album, yet
you apparently know whats best
for our guitar loving youth. It must
be terribly boring to live in your
world where everything is exactly
as it appears rendering experience
completely unnecessary.
Kevin Miller

To Be Frank
Reign Man
Thank you for putting Slayer on
the cover of the November issue.
Ive been a Slayer fan from the
first time I heard Reign in Blood,
and to me they are the best thrash
metal band of all time. Frankly
I dont think they get the credit
they deserve. Repentless is an
amazing recorda great comeback after the tragic death and
loss of Jeff Hanneman. To me, its
the album of the year.
Travis Zboril

For Christs
Sake

Im a longtime subscriber and


think you guys do a great job with
the transcriptionswould you
mind if I make a few requests? I
would love to see any of these in
Guitar World: Yes Ive Seen All
Good People (Your Move), Frank
Zappas Black Napkins or any of
these from Led Zeppelins live The
Song Remains the Same album:
Whole Lotta Love, Since Ive
Been Loving You, The Song
Remains the Same or No Quarter. Thanks for all you do!
Matt Scoggins

I Love Lamp

sible to overcome it. Thank you for


putting out such a great magazine.
Jason Gottstein

White Magic

I have been reading Guitar World


for 26 years and have never written in until now. I have watched
the band Decapitated mature
from album to album and was
hoping you guys could transcribe
anything from their latest record,
Blood Mantra. I think Vogg (guitar) has a Dimebag type of energy,
sort of like a death metal groove.
I am tired of rewinding licks on
cassette and would pay anything
for real tabs, especially for the
rhythmic masterpiece Blindness or the solo work in Veins.
Larry Franco

The November 2015 cover proclaims Slayer as having the


Metal Record of the Year.
Tough to argue that, because
Repentless is a great albumbut
personally I will go with Meliora
by Ghost. The depth of the songwriting, musicianship and production are astounding on
Meliora; it is a masterpiece. Many
theatrical bands, like Slipknot,
Kiss, Alice Cooper and Marilyn
Manson, were initially written off
by critics as being all style over
substance, but then the music
proved that narrative wrong. The
Nameless Ghouls in Ghost give
insightful and entertaining interviews and the tab for Cirice in the
November issue showcased their
nuanced arrangement skills and
powerful, tasteful playing. Please
continue to feature them.
Brian Balash

Head Case

Ink Spot

First Mate

Im writing in regard to the


comment about Ghost made by
James Harris in the September
issue. I am a follower of Christ
and enjoy living in a free nation,
and as far as GW covering Ghost,
that is a freedom I treasure
dearly. I am in contact with people overseas who are persecuted
for their beliefsthrown in jail
just for giving someone a bible.
Lets keep things free in the USA.
Jim Chumley
Thanks for the amusing diatribe
James Harris. The only thing
more pathetic than the sour mope
who fails to get the joke is the pre-

yard lamp. It was inspired by my


friend who painted his trash can in
the VH style. I told him he puts his
trash can in the garage whereas
my Van Halen lamp is on proud
display year round.
Eddie Sackss

After seeing the recent Van


Haleninspired garage door, cornhole boards and mailbox submitted by other readers in the Sounding Board, I decided to share my

Ive been playing guitar for about


10 years, and am currently serving a sentence in the PA D.O.C.
Life in here is tough, and you have
a lot of time to fill with whatever
rec you can get. Ive also been an
avid reader of Guitar World my
entire time here. I love the articles and especially the columns.
Every month I learn something
new and I figure out how to add it
to my playing style. The last few
issuesespecially the cover stories
on Slayer and Lamb of Godhit a
nerve in me because it was great to
read how some of my heroes have
overcome bad situations. The stories gave me a sense that, no matter how tough shit can get, its pos-

This is my holy trinity of rock and


roll guitarists: Chuck Berry, Keith
Richards, and Johnny Thunders.
Thats Keefs 1953 Fender Telecaster
and Johnny Thunders Gibson Les
Paul TV, which was a 1958, 1959 or
1960 depending on who you believe.
Jon Dameron
GOT A TATTOO of your
favorite band or guitarist you
want to share with us? Send a
photo of your ink to soundingboard@guitarworld.com and
maybe well print it or post it on
our Facebook page!

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

18

GU I TA R WOR L D HOL I DAY 2015

STAY CONNECTED WITH GUITAR WORLD ON

&

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

READER
ART

OF THE MONTH

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

JOHNNY MARR BY H EC TO R LOZ A N O

DEFENDERS

DAVE MATTHE WS B Y D I A N A PA S I KO V

of the Faith

Brent Fettkether

Katina St. Onge

Trailer Park Vampire

AGE 18
HOMETOWN Dunkerton, IA
GUITARS Jackson JS32T King V, ESP/

AGE 15
HOMETOWN Montreal, Quebec, Canada
GUITARS Black Fender American Stan-

AGE 150
HOMETOWN Tupelo, MS
GUITARS Homemade Super Strats,

LTD EX-50

SONGS IVE BEEN PLAYING Metallica

Am I Evil? and Of Wolf and Man,


Megadeth In My Darkest Hour, Ozzy
Osbourne Crazy Train
GEAR I MOST WANT USA-made Jackson
Kelly KE2, Dean Angel of Deth Dave
Mustaine VMNT

dard Strat, Tobacco Sunburst Fender


Squire, Cream Wood Fender Tele, 1972
Fender acoustic
SONGS IVE BEEN PLAYING Bryan
Adams Summer of 69, Kiss Shock Me
GEAR I MOST WANT Cherry Sunburst
Gibson Les Paul

1979 Gibson Les Paul Custom


SONGS IVE BEEN PLAYING Weezer
Hash Pipe, Ghost Mummy Dust,
Trailer Park Vampire Rocking Vampire
GEAR I MOST WANT Friedman Brown
Eye 100-watt amp

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

19

PORTRAITS

IN TONE
Not just another version of the Fly Rig 5 simply
bearing his name, the Richie Kotzen RK5 Signature
Fly Rig was a close, year-long collaborative effort.
Meticulous about every facet of his playing, singing,
songwriting and tone, Richies attention to the details
of this pedal was nothing less.
What distinguishes the RK5 from the Fly Rig 5 is Richies
Signature OMG overdrive. Tuned specically to Richies
ear, the OMG section brings in the organic Class A-style
distortion, but with a tighter, snappier response. It is designed
to articulate every nuance of Richies dizzying playing style
for all modes and moods, from clean to aggressive and from
rhythmic chords to innite sustain when its solo time.
The RK5 offers the same other essential features as the Fly Rig 5:
the all-analog SansAmp, reverb, delay with tap tempo, and a
powerful boost. For y gigs across the globe, jamming at the local
hang, and running off to last minute sessions, just pop your RK5 into
your guitar case and head for the door.

photo by greg vorobiov

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

The Richie Kotzen OMG Signature


Overdrive is also available as a
stand-alone pedal.

DESIGNED AND MANUFACTURED IN THE U.S.A.


WWW.TECH21NYC.COM

TUNE-UPS
24
GRAVEYARD

22

FOR TODAY

DOYLE

26

RICHIE
KOTZEN

DEVIL
YOU KNOW

28 32

TRIVIUM

34

SAYWECANFLY

40

WHITESNAKE

42

tktktktkt

Pedal
Pusher
KIRK HAMMETT PUTS HIS
BEST FOOT FORWARD WITH
AN EXCITING NEW LINE OF
EFFECT PEDALS.
By Richard Bienstock

T I M T R O N C KO E

KIRK HAMMETT HAS


always been, as he puts it, a
pedal junkie. At the San Rafael,
California, building that Metallica
calls its headquarters, the guitarist
affirms that he has shelves and
shelves full of effectshundreds of
them, for sure, he says.
Now, rather than merely collecting pedals, Hammett is making
his own. The guitarist has paired
up with industry vet David Karon,
with whom he collaborated on his
signature Randall amplifiers some
years back, to form a new boutique
pedal company, KHDK Electronics.
The concept, Karon says, is to build
high-quality, USA-made products
that are a little bit special and
slightly different from what everyone else is doing.
To that end, among the first pedals that KHDK has released is the
Kirk Hammett Ghoul Screamer,
which, the guitarist says, is like
a Tube Screamer on steroids. Its
something Ive been wanting to do
for years. The Ghoul Screamer
boasts three control knobs (drive,
tone and volume), as well as five
P H O T O S B Y J AY B L A K E S B U R G

guitarworld.com

21

NEWS + NOTES

PLAYLIST

JOAKIM NILSSON
OF GRAVEYARD

1
Tensions
Charles Mingus
Really cool psychotic wind instrument
in this tune, which makes me doubt my
own musical skillsand thats a good
thing if you want to keep your feet on
the ground!

22

GU I TA R WOR L D HOL I DAY 2015

KIRK HAMMETT
products, including an octave fuzz and a
wah. And you know how I am about wah
pedals, Hammett says. Im addicted to
them. So were going to take the wah pedal,
throw it on the ground, break it open and
see where we can go with all the individual
components to make something new.
Kirks strength is his tone knowledge,
Karon says. He comes to us with an idea,
we create the rough draft, and he comes
in and perfects it. He has a great ear for
these things.
As for whether or not Hammett will be
using his new pedals with Metallica, the
guitarist says, Ive been messing around
with the Ghoul Screamer a lot at home and
in rehearsal, and Ill definitely have it in my
back pocket when I go in to start recording
leads in a few weeks.
When asked if that means a new Metallica album is imminent, Hammett laughs.
All I can say is that if Im recording leads,
then that means all the backing tracks to
whatever batch of songs were working on
are done. So its a pretty good indication
that were pretty deep into things.

3
On Battleship Hill
PJ Harvey
I almost never get blown away by music
anymore, but PJ never lets me down. She
and her music are as beautiful as ever
and also truly amazing live, and that is
extremely rare in my book.

4
Raging River of Fear
Captain Beyond
Extremely talented musicians, and one
of the most underrated bands in history.
Great vocals from Rod Evans, who was
an original member of Deep Purple. He
influenced me a lot when I was younger.

5
With You There to Help Me
Jethro Tull
Ian Anderson is a genius at making
melodies. And it doesnt hurt that he
plays the flute standing on one legits
how it should be played!
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extra switchesbass, high, body, and two


for compressionthat greatly expand the
tonal options. So you have more ability to
shape and mold the sound, Hammett says.
The most important part for me in that
regard is the two compression switches. I
like to mess around with compression, and
that was always a major thing I felt was
missing on a Tube Screamerto be able
to have control over how much compression you want. So thats one of my favorite
components on this pedal.
Adds Karon, We wanted to take a circuit that everybody knows and loves, and
that Kirk has been using since the beginning of Metallica, and create a pedal that
offers a little something different than all
the other products that are out there.
Along with the Ghoul Screamer, KHDK
has issued two additional pedals, the No. 1
Overdrive and the No. 2 Clean Boost, both
of which, Karon says, are original circuits
that we created with our lead engineer, Antonin Salva [owner of Salvation Mods]. So
the line is going to be a mix of pedals that
boast completely new circuits, and ones
that pay homage to already existing ones.
Adds Hammett, Were going to take
ideas and morph them, mutate them,
expand on them and see where we wind
up. To that end, the company is currently
in the midst of developing roughly 15 new

It's like a
Tube Screamer
on steroids!

Roscoe
Midlake
Nice song to just lie down, close your
eyes and listen to. Bonus that it sounds
like the theme to M*A*S*H in the beginning.

NEWS + NOTES

I slammed my guitar so hard


that it broke into three pieces.
brother got it for me for
eighth-grade graduation.
What was the first song
you learned?
Smoke on the Water.
[laughs]
What do you recall about
playing your first gig?
It was at Irving Plaza in New
York City. Technically, our first
gig was, like, a TV show out
on the coast. But Irving Plaza,
you had to have a pass to get
in. I thought I was at the top.
It was totally cool.
Ever had an embarrassing moment onstage, or a
nightmare gig?
Not really, no.
No fights, equipment failures, falling off the stage
That shit happens every
dayall of that has happened
to me. The most recent thing
that happened, I was playing
at Golden Gods 2013 and, on
the last song, I slammed my
guitar so hard that it broke
into three pieces.
Your last album was
Abominator in 2013. Are
you working on a new one?
Yeah, we just gotta mix it,
master it and title it. Were
kickin some shit around;
we dont know what were
calling it yet.

INQUIRER
DOYLE

What influenced you to


you pick up a guitar?
Well, I always loved music.
My mom was a Fifties kid
and when we were little, we
used listen to all her 45s.

24

And that transpired into, you


know, heavier stuffAlice
Cooper, David Bowie and
Led Zeppelin and all that
shit back in the Seventies.
And when I realized I wasnt

GU I TA R WOR L D HOL I DAY 2015

gonna play in the NFL, I


picked up a guitar.
What was your first
guitar?
It was a 1955 Les Paul. My

Do you have any advice


for young players?
Dont spend your life in your
room learning all those arpeggios and G clefs and all that
bullshit. Learn how to write
good songs and get a good
singer. RANDY HARWARD

MANDI MARTINI

What is your favorite


guitar or piece of gear?
Gorilla Snot. Its this glue that
holds the pick in your hand.

NEWS + NOTES

Hate Eternal

Ryan Leitru

For Today

IOWA-BASED CHRISTIAN METALCORE OUTFIT SHAKES THINGS


UP ON THEIR SIXTH ALBUM, WAKE.

CHRISTIAN METALCORE BAND


For Today are no strangers to lineup
changes. When guitarist Mike Reynolds
abruptly left in 2013, Sam Penner stepped
in. But he was asked to leave earlier this
year after the band felt he was too divided
between family and music. Then it looked
like Jim Hughes would be the new rhythm
guitarist, until lead guitarist Ryan Leitru
realized the ideal rhythm guy was right
under his nose: his brother and For Todays
bass player Brandon. Hes stepping in and
playing guitar because hes always been
able to, Ryan says. Hes been writing
guitar parts with me for the entire time in
the band, so he will become the guitar
player for all intents and purposes.

26

GU I TA R WOR L D HOL I DAY 2015

The lineup change hasnt affected


the sound of new album Wake, given
that Ryan has always handled the guitar
tracking. It just tends to go faster that
way, so weve never really gone through
a lineup change with that, he says. But
when the band hits the road he expects
a new level of precision, power and synchronicity. Every guitar player has their
same language, but Brandon and I have
the same one because we learned to play
together. We have our own little mindmeld thing. We can say things like play
the geek chord and well know exactly
what were talking about.
Leitrus latest guitar is a sleek black
custom Ibanez FR with dual-mode Fish-

man Fluence pickups selected to dial


in more refined high-gain and clean
tones. Ive played RGs for about five
years but I like Tele bodies and Ibanez
has a really cool line of them, he says.
Its a giant chunk of mahogany and it
resonates very well: it feels like an adults
guitar. When it feels like its heavy and
you have to earn it, you sound so much
better for it. The rhythms were tracked
through a Mesa overdrive into an old
Peavey 5150 and a PRS Archon. We shot
out 10 different overdrives and about 40
different delay and reverb pedals. Its
those little things that no one will ever
notice, but thats what makes it fun for
the guitar dorks of the world!

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DEAR GUITAR HERO

28

GU I TA R WOR L D HOL I DAY 2015

PHOTO BY JAMEL TOPPIN

RICHIE KOTZEN

Hes released 20 solo albums, played guitar for Poison and Mr. Big, and is now on a hot
streak with Billy Sheehan and Mike Portnoy in the Winery Dogs, but what Guitar World
readers really want to know is
Interview by Joe Bosso

A WHILE BACK, YOU OPENED


FOR THE ROLLING STONES IN
JAPAN. DID YOU ACTUALLY GET
TO JAM WITH KEITH?CAROLYN JENKINS

I didnt jam with Keith, but Ron Wood gave me a fantastic


compliment. We were all standing together for a group shot,
and he put his hand on my throat and said, Oh, my God. Mick, did you hear him
sing? He sounds like a cross between Rod Stewart and Bernard Fowler. Bernards an amazing singer whos been with the Stones for 20 years. After Ronnie
said that, I had a real attitude problem for a couple of weeks.

The bands new song


Captain Love reminds
me of classic Deep Purple. Do
you guys toss around older
bands when youre recording?
Sherman Old Yeller
We dont. Ive never consciously
said, Hey, lets do something
like so-and-so It probably happens subconsciously, because
you have influences, but its
not planned. That song started
happening when I was in the
bathroomI had this idea for
three huge power chords that
just ring. We tried it out, and before you knew it, the whole thing
was there. Actually, I take back
what I said somewhat: I thought
of the Darkness when writing
the lyrics. If you read the words,
theyre silly and comical, just like
what they do.
The Winery Dogs new
song Oblivion features
massive shredding and cool

unison licks. Will you guys ever


do an all-instrumental album
just for us shredders?
Perry Blotz
I personally wouldnt. I feel so far
removed from that world, and I
have for probably 20 years. That
first record I did defined me as
a shredder, and it was a blatant,
deliberate shred record. Aside
from that one and an instrumental record I had to do to get out
of a contract, I havent been in
that genre for a long, long time.
Oblivion is a clever song that is
a shred vehicle, but you can sing
the chorus. To me, thats more
valid than an entire instrumental
recorda personal opinion. As
for an all-instrumental record, no,
I wouldnt want to do it.
You worked with Billy
Sheehan before, but
whats been the biggest
surprise in working with Mike
Portnoy?
B.T. Mosely

comes down to how I play within


the context of the band. Billy and
Mike are very impressive players
and can be over-the-top, which
fits the music, so I have to find a
way to fit into that. I really cant
overplayitll sound like chaos.
I know how to listen well, and I
know what to do and what not to
do. I really think thats the key to
sounding good.

How quickly we got along and really understood each others personality. With musicians whove
achieved a certain level of success,
sometimes their style or persona
is set in stone. I have my thing
that I do, as does Billy and as does
Mike. Sometimes that can make it
complicated to create something
new. Youre trying to break out of
each others established thing.
I knew Billy, but Mike was a wild
cardI didnt know him. Somehow we hit it off instantly; it was
like we knew each other for years.
I love Mike. We mess around and
have a great time.

I checked out the Winery


Dogs song Fireit
sounds like a great, not-cheesy
ballad. Have you ever written a
ballad and scrapped it because
you thought it was cheesy?
Marco Pinner
Probably. Ive probably written a
lot of non-ballads and scrapped
them because I thought they
were cheesy. On the other hand,
Ive probably written and released some things that were totally cheesy. [laughs] You never
know. When I listen to something
that Ive done and I like it, I want
to put it out. Theres been some
things Ive held on to because I
didnt like them. Whether they
were cheesy or not, I dont know.
Cheesy is subjective.

Your live guitar sound


is always great. Whats
the secret?
Timmy Kehoe
I think its because of what I play
and when I play it. On my last
few tours, Ive used different
rigsMarshall Plexis, Fender
Vibro-Kings, two Fender Twins
so Ive changed gear a lot. It really

You have your own a


signature Fender
Telecaster. What do you like
about Telecasters so much?
Do you have a no pointy
guitar rule?
Barbara Farmington
I dont mind pointy guitars. When
I was a kid, my fantasy guitar was

guitarworld.com

29

DEAR GUITAR HERO


a B.C. RichI loved the Warlock
and the Bich. I thought they were
the coolest things ever. Maybe I
should treat myself and buy them
now. As for Teles, to me they feel
like a blank canvas, particularly
my signature Telecaster, which
Ive tweaked a bit. I can make it
sound traditional, I can make it
sound huge like a Les Paul, and
I can do everything in-between.
The transparency of the instrument is what I love. You can really
hear the player.
Do you ever practice
the guitar anymoreyou
know, sit down and play scales
and work on technique?
Angel Santori
I dont do that, no. I look at the
guitar so differently than when
I was a teenager. Back then, I
wanted to practice and play stuff
to impress people. Pretty soon,
I realized that it wasnt going to
worktheres so many people
with that objective who do it better than me. I didnt want to be in
a competition I couldnt win. So I
went back to when I was a child,
wanting to be creative and make
music. The guitar is just one
of many tools for me to make
songs. If I practice at all now, its
because Im trying to take what
I hear in my head and make it
something I can play and record.
But I dont do scales and all that
stuff anymore.
How can we get you and
Chris Cornell to record a
duet? Your voices are very
similar.
Carson McMullen
Yeah! How can we do that? That
would be fucking cool. We could
do a great R&B thinghed
probably be into that. I could play
guitar, he could drum, and wed
both sing. But I think that once
people heard us on the same
song, they would stop comparing
us. First off, Im nowhere near as
good a singer as he is. Second
of all, we sing pretty differently.
When we scream in a high register, we have a similar tonality, but
beyond that, were not the same
at all. It would be interesting to
try to do something together. Id
be into it.

30

MY GIRLFRIEND
THINKS
YOURE
HOT, SO
I HAVE A
REQUEST:
CAN YOU
STOP
BEING
SO HANDSOME?
THANK
YOU.

MANNY ALBRIGHT

Im working on getting
less handsome, and Im
doing a hell of a job of
it. I weigh more now
than I ever haveIm
not overweight, but Im
getting there. I drink a
lot and I smoke a lot,
although I just quit
smoking and havent
had a cigarette in eight
days. So Im doing
everything I can to fuck
myself up. I do have an
18-year-old daughter I
have to look after, so I
dont want to kill myself.
But as far as fucking up
my appearance, its on.

GU I TA R WOR L D HOL I DAY 2015

Do you own any guitars


that are just for show, or
is everything in your collection
functional?
Gary Levett
I have one thats functional, but
its also for show. It was given
to me in JapanI was doing an
autograph signing, and a kid gave
me a Telecaster that looks like
it was made out of bark. I dont
know how they did it. Its really,
really cool. Now that I think of it,
I should hang it on the wall in my
house. It should be seen.
I understand that you
left Poison on less than
friendly terms. Did you guys
ever bury the hatchet?
Karl Botwin
I think we did. My leaving the
band was a long time ago, and
so many stories got out about
it. What happened was, I fell in
love with Rikki Rockets ex. We
got married, and my daughter,
August, was born two years into
the marriage. Rikki and his ex
werent together at the time

when we started going out. I was


the one who told Rikki that I was
going to start to see her, and
thats when the chaos started
and I left the band. But we did
bury the hatchet, eventually. Ive
shaken everybodys hands. Brett
Michaels hugged me at one of his
shows. Ive seen Bobby [Dall] a
bunch of timesweve laughed
and joked. Ive seen Rikki and
shook his hand, too. So theres no
issues there.
I saw you guys live and
you did Shy Boy by
Billys old band, Talas. Would
you ever attempt a Dream
Theater song? Terry Johnston
Probably not, because Im not as
familiar with Dream Theater as I
am with Steve Vai and Billy Sheehan. I can only do a cover song
if I can connect with it on some
level. Shy Boy reminds me of
the Richie Kotzen who was 15, 16
years old, listening to albums like
[Vais] Flex-Able and trying to
figure out how to play like that.

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NEWS + NOTES

Devil You Know

ALL SHALL PERISH GUITARIST FRANCESCO ARTUSATO AND HIS


BAND OF METALCORE NOTABLES RETURN WITH A SCORCHING
SOPHOMORE EFFORT, THEY BLEED RED. By Richard Bienstock
THE BEAUTY OF DESTRUCTION, the 2014
debut from Devil You Know, was a fierce slab of
technically accomplished metalcore, and lived up to
the high expectations set by its pedigreed lineup,
which boasts former Killswitch Engage vocalist
Howard Jones, All Shall Perish guitarist Francesco
Artusato, former Bleeding Through bassist Ryan
Wombacher and drummer John Sankey, who has
played with Fear Factory, among others.
Now, the metalcore supergroup is back with
a follow-up, They Bleed Red, which proves to be
both a deeper and also more ferocious effort. Says
Artusato, We wanted to make a record that showed
a little more of what we do. This one is a little more
intricate in terms of guitar work, for sure, but theres
also some very aggressive, simple and straightforward stuff. Theres a little bit of everything.
The album kicks off with Consume the Dead, a
song that Artusato calls pure energy. But its hardly
the heaviest track on the disc. That would be the first
single, the blast beatpropelled Stay of Execution.
Explains Artusato, John [Sankey] kept saying, I want
to have a song that has a little bit more of an extreme
kind of sound, with a lot of blast beats. He laughs.
And we already had some of that, but him being a
drummer, he wanted more of it.
While Artusato says that Devil You Know is
now everyones main priority, he also says that,
musically, were still free to do other things. To
that end, Artusato last year released his second
instrumental solo album, Our Dying Sun, and is
currently working with All Shall Perish on a
new record, their first since frontman Eddie
Hermida left to join Suicide Silence (says Artusato, We have a new singerwe just havent
announced who it is yet).
Right now, however, hes solidly focused on
Devil You Know. Were having a lot of fun and
people are really liking the music, Artusato says.
And next year is looking to be very, very busy for
us. So its an exciting time, and there will definitely
be more records to come.

GUITARS Ibanez RGA LA custom shop and


RGA427Z seven-strings; Ibanez RGA LA custom
shop eight-string; Ibanez RG2750QV and
RG520QS (All with Seymour Duncan Sentient
pickups in neck and Distortion pickups in bridge)
AMPS Laney IRT120H head and GS412PS cabinet
EFFECTS Seymour Duncan 805, Mesa/
Boogie Grid Slammer, MXR Analog Chorus, EBS
MultiComp, MXR Talk Box

32

GU I TA R WOR L D HOL I DAY 2015

H R I S TO S H I N D O V

AXOLOGY

NEWS + NOTES

34

GU I TA R WOR L D HOL I DAY 2015

I L L U S T R AT I O N B Y J E R E M Y E N E C I O

Stone Cold Classic

ON THEIR NEW ALBUM, SILENCE IN THE SNOW, TRIVIUM CHANNEL MAIDEN, PRIEST, DIO AND
OZZY TO ADD SOME RETRO GOODNESS TO THEIR FIERY BRAND OF AMERICAN METAL.
By Dan Epstein

TS EARLY IN the afternoon of June 8, 2006, and a


throng of Dutch metal fans is swarming across the parking lot of the GelreDome, a cavernous, 34,000-capacity
soccer stadium in Arnhem, Netherlands. Metallica, in the
midst of their Escape from the Studio 06 tour, are headlining
tonight, with Avenged Sevenfold, Bullet for My Valentine and
Trivium making up the rest of the bill.

While standing in line to enter the


venue, Guitar World makes small talk with
a black-hoodied Dutch teen who seems
incredibly pumped to be there.
You stoked to see Metallica? we ask.
No, man, he defiantly responds. Im
just here to see Trivium. Im going to leave
right after they play!
Nine years later, when Guitar World
shares this story with Triviums Matt Heafy
and Cory Beaulieu, the two guitarists burst
out laughing. The biggest question I have,
says Beaulieu, Is that kid still a Trivium fan?
Does even he follow the band anymore?
Yeah, seconds Heafy with a rueful
chuckle. Anything is possible!

NDEED, IT IS. At the time of that Arnhem show, Trivium were known chiefly
for 2005s Ascendancy, their acclaimed
second album, which contained a ferocious
mixture of thrash, metalcore and melodic
death metal. But the brash young Florida
quartet was also just a few months away
from throwing their nascent fanbase a
major curveball with The Crusade, an ambitious follow-up that completely ditched the
metalcore aspects of Ascendancy in favor of
a progressive-thrash approach that owed
a heavy debt to early Metallica. Critical
(and fan) opinion was decidedly split on
The Crusade, but that record essentially

You have to always make


what you want to hear,
and not worry about
whether people are going
to love it or hate it.
M AT T H E A F Y

set the course for their next three studio


albums2008s Shogun, 2011s In Waves
and 2013s Vengeance Fallsin which each
release took a strikingly different artistic
and sonic tack from the previous one.
We dont want to be the band that
writes the same album six times, where every record has the same production, same
type of songs and same formula, Beaulieu
explains. We dont want to be a stagnant
sounding band. We wanted to make a
record that sounds fresh and exciting in
2015, and doesnt sound like it should have
come out in 2005.
Though Triviums never-ending quest to
push their own creative envelope has lost
them some fans along the way (while also
gaining others), its kept the band remark-

ably vital, as evidenced by their seventh


and latest studio opus, Silence in the Snow.
Produced by Matt Elvis Baskette, Silence
eschews the modern metal precision of the
David Draimanproduced Vengeance Falls in
favor of punchy, melodic, concisely arranged
songs like Blind Leading the Blind, Pull
Me from the Void, Breathe in the Flames
and the title track, and an organic vibe that
is clearly rooted in the hard rock sounds of
the late Seventies and early Eighties.
Weve always looked to do the opposite
of what weve done previously, and what
everyone else is doing at the time, says
Heafy. Thats the big reason why there
was no screaming, no breakdowns or dropD tuning on The Crusade, because all the
other bands in the world were doing the
same style. It was the same thing with Silence; we said, Whats the opposite of what
weve been doing, and whats the opposite
of what everyone else is doing? And the
answer was, Lets go back to the Seventies
and Eighties!
We wanted to dig further into the
heroes of our heroes, Heafy continues.
What was Metallica listening to when
they were getting into metal? What was In
Flames listening to when they were getting
into metal? And it all seems to stem back to
Iron Maiden, Judas Priest, Ronnie James
Dio and Ozzy Osbourne. Those were things
that we were already into, but we wanted
to delve further into them and truly allow
them to influence us, and see what happened to our music when we did that.
Adding to the throwback feel of
Silence is the fact that Heafy, who has
screamed and growled on a sizeable chunk
of the Trivium discography, sings only
clean vocals on the album. In May 2014,
Heafy blew out his voice while performing at Rock on the Range, which forced the
cancellation of the bands subsequent tour

guitarworld.com

35

NEWS + NOTES

Matt Heafy

36

GU I TA R WOR L D HOL I DAY 2015

members homes in Orlando, Silence saw


Heafy and Beaulieu sticking with the
stripped-down gear arsenal theyve typically employed in the past, both onstage and
in the studio. Ive always felt that the least
amount of gear between the listeners ears
and the guitar players hands, the better,
says Heafy. Our sound has always been
some form of 5150 with a Tube Screamer in
front of it, and whatever cab sounds right.
The rhythm guitars for this record were
all done through a 5150 III, adds Beaulieu.
The melodies were done through a Kemper profile of a 5150 III that I have; and
then all the guitar solos were done on one
of those Rhodes Colossus amps, and thats
pretty much it.
Beaulieu used his signature Jackson
King V on all of the tracks, while Heafy
recorded his rhythms with a late-Nineties
Les Paul Custom (The same one Ive

had since I was twelve, he laughs) and


his seven-string parts with his Epiphone
signature MKH7; he also used an MXR
EVH Phase 90 and a Dunlop Dimebag Cry
Baby wah for color. Its a very minimalistic setup, says Beaulieu, but thats pretty
much been our M.O. for our whole career.
We know what we want to hear, and we
know what equipment we need to get that
kind of tone.

OOKING BACK AT a career which


has now spanned well over a decade, it
becomes apparent that We know what we
want to hear should probably be Triviums
official motto. Though their fans might not
always agree with their choices, the band
has consistently displayed a well-defined
sense of musical purposeeven in their
early days, when they ruffled a lot of feathers in the metal world by telling the press

S C OT T U C H I D A

dates. But after working for over a year


with famed vocal coach Ron Anderson, the
singer says that hes regained the ability to
screamits just that he chose not to do so
on the new album.
When we were writing and making
the album, we said, If this thing requires
screaming, were not doing it, Heafy
explains. The screaming style I used to
do almost killed me as a vocalist. Luckily,
Ron has been able to teach me a new way
of screaming, which sounds the exact same
but is one hundred percent a different
technique. We still do the screaming live
on the old stuff, and if wed needed it, we
would have put it on the record. But when
we finished all the clean vocalsbecause
we always do the clean vocals firstwe
said, This record doesnt need it!
Recorded at Baskettes Paint It Black
Studio, just a quick drive from the band

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NEWS + NOTES

We wanted to make
a record that sounds
fresh and exciting in
2015, and doesnt sound
like it should have
come out in 2005.
COREY BEAULIEU

38

GU I TA R WOR L D HOL I DAY 2015

Corey Beaulieu

S C OT T U C H I D A

that they wanted to be the next Metallica.


Yeah, that rubbed a lot of other bands
the wrong way, Heafy recalls. We tried to
dial it back and be a little more humble after that, at least for a while. But what weve
come to realize is, why should anyone ever
be afraid to admit what their goals are?
When I was a kid and I first heard the
Black Album and I first watched Binge
and Purge, I said to myself, I want to be
in a metal band that sells out arenas every
single night, and I want to change the history of music and metal! That was my goal
when I was 12; and when someone sets a
lofty goal like that, you should never stray
from that path.
One thing that Heafy and Trivium have
never embraced is being pigeonholed into a
particular sub-genre of heavy metal. Early
on, people were trying to pin the term
metalcore on us, Heafy says. New Wave
of American Heavy Metal was another one.
But we stayed away from that, because we
knew that we were always going to try to
diversify, and try to progress and see where
were going as a band.
I think why weve stuck around this
long is that weve always focused on writing songs, and not heaviness or Hey, check
me out, Im shredding my ass off! says
Beaulieu. With us, its always been about
the overall, and not the individual.
Weve seen whole scenes and genres disappear since we started making music, says
Heafy. Weve also gone through a number
of lineup changes, weve had massive crew
and personnel and label and management
changesthere have been some people
along the way that havent represented us
well, including ourselves at times.
But nowadays, people know who we
are. They know that were good dudes, and
they know that we have constant motivation, determination and hard work behind
us. We just want to play our instruments
well, play shows for people around the
world, and continue to grow this band.
Thats all that we want out of life.

NEWS + NOTES

SayWeCanFly

BRADEN BARRIE, THE YOUNG ACOUSTIC


SINGER-SONGWRITER BEHIND EMO
SENSATIONS SAYWECANFLY, VENTURES
OUT ON THE ROAD AND CONNECTS WITH
HIS RABID FOLLOWERS. By Greg Evans

I DONT BELIEVE in love, so dont get your


hopes up, darling, Braden Barrie sings on the
title track of his new EP Darling, a lyric
thats not so much mission statement or
midnight confession as a reconciliation
with the sacrifices of the road.
Three years after the now-20-year-old
singer/songwriter/guitarist from small-town
Ontario built a considerable following on social
media, Barriewho performs under the one-manband name SayWeCanFlyhas jumped full-throttle
into the life of a touring musician, and all the goodbyes required. Barrie is following up his recent gig
on the Vans Warped Tour with a September series
of club dates from Ontario to Florida. Dubbed the
Conversation Tour, the shows will include solo
acoustic performances as well as speaking workshops organized by Hope for the Day, a nonprofit
suicide prevention organization.
But despite his angsty lyrics (one of his new
songs, High School, draws parallels between
teen bullying and global violence), Barrie seems
altogether happy and gratefulfor the pre-tour
cottage he rents not far from the friends and family of nearby Lindsay, Ontario, to the new EP that
showcases a steady development of the acoustic
songwriting displayed on his first album (Between
the Roses debuted earlier this year at Number 14
on Billboards Heatseekers chart and Number Five
on iTunes singer/songwriter chart). He says hes
especially thankful that the mostly female fans of
his whisper-to-a-shout vocals, percussive guitar
(he plays a PRS Private Stock Angelus for its clean
tones and the durability to withstand his hardplucking style) have taken the leap from social
media to social gathering. Before he began touring,
he says, his mental image of his fans was based on
little more than Twitter handles and selfies. I dont
think Id really formed an idea of who they were,
Barrie says. A lot of them are just very lost, and
very young, so its important for me to lay everything out lyrically and say, Hey, this is what Im
going through, how Im feeling, so its okay.

40

GU I TA R WOR L D HOL I DAY 2015

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Photo of Noah And The Whale

SETLIST

REB BEACH

OF WHITESNAKE

VENUE: NYCB Theatre at Westbury DATE: July 27, 2015 LOCATION: Westbury, NY
Interview by JOE LALAINA

BAD BOYS

BURN

When David Coverdale originally wrote


this song in Deep Purple, he didnt have
much control since he was a new band
member. On Whitesnakes new album, The
Purple Album, he did everything how he
wanted it. He wanted another guitar solo
section on 'Burn' so both guitarists could
play their own part. I wrote a new middle
guitar section, but I decided Id rather play
the Ritchie Blackmore solo and let [coguitarist] Joel [Hoekstra] play the guitar
part which I wrote. Im glad I didJoel
kicked ass on it and I got a real kick out of
playing the Blackmore solo.

Its a challenge to play this song live because


the guitars need to be very tight. Soundmen
generally arent crazy about songs that are
really fast, especially songs with double-kick
drums, because they sound huge through the
P.A. system and tend to muck up the mix. I
wanted the guitars to sound as close as possible to the original album [Whitesnake, 1987],
so Joel and I worked closely to get them down
pat. We do this song right after Is This Love,
and it smacks you in the face.

LOVE AINT NO STRANGER

This is a funky, uplifting song. People know


the hookthe crowd absolutely loves this
tune! There is a lot of air in the chorus, so it
always works live. Its just a perfect midtempo rock song.

David wrote this song with


[former Whitesnake guitarist] Bernie Marsden. Bernie
one day showed me a picture
of his mansion in England,
which he told me he bought
with the large sum of money
he made from this tune. This
is a rock song that will never
die. The audience waits to
hear it every night.

STILL OF THE NIGHT


MISTREATED

When David said hed be devoting an entire Whitesnake album to redoing Deep Purple songs,
I got super-excited. I put the most into the 'Mistreated' guitar soloI knew it had to be as melodic as possible, and I had to emote. When I first started recording it, I was wailing. Then David
pulled me over and said, in his characteristic British accent, Rebel, dont play too much too
soonthis is a long solo. My guitar solo shows a bluesy side of my playing that I hadnt shown
in any of my previous bands.

42

GU I TA R WOR L D HOL I DAY 2015

Every musician in every incarnation of this band wants


to play this song. Its classic
Coverdale, with the band
stopping on a chord, and
then he belts outs the title
of the song a cappella and
the crowd goes wild. Its riveting! Its the ultimate arena
song, and every hard-rock
guitarists favorite riff.

L I V E : S T E FA N M . P R A G E R / R E D F E R N S/ G E T T Y I M A G E S

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GU I TA R WOR L D HOL I DAY 2015

45

PG

GUITAR WORLD

BY J ON WIEDERHORN

P H O T O S

B Y

J E R E M E Y

D A N G E R

With NEW BERMUDA, the darlings of the

American black metal scene continue their rise to prominence.

D E A F H E A V E N

WHEN HIGH SCHOOL


pals Kerry McCoy (guitar) and George
Clarke (vocals) formed Deafheaven in 2010,
they wanted to be an atmospheric black
metal band in the vein of their European
heroes Alcest, Lantlos and Coldworld. They
started with a limited, loyal following, then
when they wrote their second full-length
album, Sunbather, Deafheaven combined the
blast beats of Marduk and Mayhem with the
psychedelic soundwashes of My Bloody Valentine and Slowdiveand no one flocks to
anything resembling shoegazing like hipsters. By the time Sunbather hit the street,
outlets from NPR to Pitchfork were calling
Deafheaven the best thing to happen to metal
since Black Sabbath.
We view the whole thing as a fortunate
accident, says McCoy from his home in Los
Angeles a week before Deafheaven released
their third album New Bermuda. When we
started, we understood we werent doing
anything new. And since all of our friends
knew about the bands we were influenced
by, we assumed everyone else did as well.
But we were pretty much mistaken.
McCoy is humble when addressing the
flurry of superlatives and hyperbole that
erupted in the wake of Sunbather. Even
so, much of the praise was justified. Deafheaven surely had their influences, but
they wielded them well, combining rapidfire tremolo riffs and undulating, echoing
rhythms with clean arpeggiated passages
and experimental interludes in a way that
took the music of their predecessors to new
levels of transcendence.

46

GU I TA R WOR L D HOL I DAY 2015

The resulting success allowed Deafheaven to focus on music full time, but following up such a well-received album was no
easy task. The band members had to distance
themselves from the showers of hype and
focus on evolving as musicians. At the same
time, McCoy and Clarke wanted to write
their most relentlessly metal songs to date.

I was listening to a lot of [Metallicas]


Kill Em All and a bunch of Slayer, Dissection and Behemoth, and I really felt like
we should integrate that kind of playing
in our music, McCoy says. On the other
end of the spectrum, I love the whole postrock and shoegazer sound, but it has been
beaten within an inch of its life. So I wanted

SURFING TO
SHOCKWAVE
TOUR/2016
MARCO
MINNEMANN,
BRYAN BELLER AND
MIKE KENEALLY
WITH

CHECK OUT JOE SATRIANI'S


SIGNATURE GUITARS AT IBANEZ.COM

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CHECK SATRIANI.COM

D E A F H E A V E N

The frustration and tension we


were feeling comes across
on the album.
K E R R Y
M c C O Y

to focus more on hooks and not so much on


airy, pretty atmospheres.
New Bermuda succeeds on both fronts.
Open-minded black metal adherents should
thrill to the extra bursts of chaos and aggression that spatter through the songs like blood
spray at a violent crime scene. And indie rock
fans will likely embrace the broader scope
of influences for the textural parts, including Low, Red House Painters and Oasis. Also,
whether Deafheaven are roaring like a feral
beast or playing clean, melancholy phrases,
the passages fluidly link together.
I dont like jarring starts and stops or ring
outs, McCoy says. Anyone can put a random
rock part in the middle of a metal song, the
question is, can you make the different styles
work together in a way thats cohesive?

48

GU I TA R WOR L D HOL I DAY 2015

GUITARS Dunable Moon


flower, Les Paul Studio
AMP Peavey 6505
EFFECTS Ernie Ball
volume pedal, ElectroHarmonix Stereo Memory
Man with Hazarai, ElectoHarmonix Holy Grail Reverb,
Earthquaker Devices
Grand Orbiter Phaser,
BossSpace Echo Emulator,
Cry Baby Wah
STRINGS DAddario

AXOLOGY

When Deafheaven started writing New


Bermuda last November they felt the pressure to match or exceed the artistic and
commercial success of Sunbather without
emulating that album. Yet, they had a mere
six months to do so if they wanted a new
record out in 2015.
We had a full 18 months to write Sunbather, so we definitely had our backs
against the wall this time, McCoy says. It
was extremely stressful, and toward the
end of the process George and I werent
sleeping at night. We entered the studio in
April, but the songs werent all done which
freaked us out. But fortunately, the frustration and tension we were feeling comes
across on the album and makes for a better
listening experience.

50

GU I TA R WOR L D HOL I DAY 2015

53

PG

GW

KEITH
RICHARDS
evokes his
musical roots
with a new
solo album,
Crosseyed
Heart, and
documentary
film Under
the Influence.
by ALAN
Di PERNA

STUDIO IS ONE of Keith Richards few

52

GU I TA R WOR L D HOL I DAY 2015

(from left) Waddy


Wachtel, Steve Jordan
and Keith Richards

which finds him duetting with Norah


Jones. He was in such top form, in fact, that
the Stones pinched one of the songs slated
for Crosseyed Heart, One More Shot, as
a bonus track for their 2012 compilation
GRRR! This was one of several developments that kept pushing back the release
date for Richards solo outing.
But it was well worth the wait. Crosseyed
Heart is a glorious and heartfelt summation
of the musical stylescountry, folk, blues,
reggae and early rock and rollthat have
deeply influenced Keith Richards musical
life and, through him, several generations of
guitarists. Armed with a Thirties koa-bodied Martin acoustic guitar, Richards channels Robert Johnson on the albums opening and title track. As always, his interpretation of the blues is anything but slavish
or rote. The guy sure isnt reading tab or

watching instructional videos. Hes shooting straight from the heart, allowing who
and what he isthe quintessential English
baby boom rock and rollerto filter the traditions he so reverently evokes.
And so it goes throughout the disc,
whether hes performing one of his own
compositions or offering his rendition of
Leadbellys folk waltz classic Goodnight
Irene, or reggae crooner Gregory Isaacs
Love Overdue. The palette of classic guitar textures is rich. And time has mellowed
Richards voice down to a wizened, whiskey-barrel croakhalf spoken, half incantatorywhich gives Crosseyed Heart an intimate, almost confessional feel. You lean in
close to hear what the master has to impart.
The albums release coincides with the
release of the Netflix making of documentary film, Keith Richards: Under the Influence.

JANE ROSE

remaining addictions, albeit one of the more


benevolent among the many hes known in
his 50-plus years as guitarist and co-leader
of the Rolling Stones.
Yeah, Id agree with that, Richards
admits with a laugh grown raspy from an
unfathomable number of cigarettes and
potent beverages. The studio is certainly
one of my more productive addictions. I just
love recordingespecially with the guys
I work with. The recording studio is basically my second home. I can feel quite good
there. Wander around and put tracks down
until you think youve got something.
Shortly after the completion of his 2010
autobiography Life, Richards found himself jonesing for a studio fix pretty badly. I
didnt believe how long that process ended
up taking, he says of the book project. So
by the time that was finished, I realized I
hadnt been in the studio for four years!
With the Stones on hiatus, Richards got
together with a coterie of musicians hes
always used for solo projects, including
drummer Steve Jordan, guitarist Waddy
Wachtel and keyboardist/singer Ivan Neville. The result is Richards third solo album
to date, Crosseyed Heart. It is the most fully
realized of Keefs solo efforts. His songwriting on the disc is particularly strong this
time out, from the tough-as-nails lead track
Trouble, to the country weeper Robbed
Blind to the late-night ballad Illusion,

Its such a weird process,


songwriting. I wouldnt
recommend it to the

And the album was recorded kind of


piecemeal around Stones obligations?

Oh man, this thing was recorded over a couple of years. Steve Jordan and I would do a
session for two or three days and then we
wouldnt see each other for a month. The
record was put together in bits and pieces.
Whenever we were in town and we felt like
it, wed go into the studio. And the pleasure
of it wasno deadline. Well just do it until
were sure weve got something to deliver.
And then it was, Okay, youve finished it;
now you cant put it out! [laughs] So that
took a couple of years.
A lot of the tracks started with just you
and Steve Jordan in the studiojust guitar and drums?

The cameras follow the guitarist not only


into Manhattans Germano Studios to make
Crosseyed Heart, but also out on the road
with the Rolling Stones on the bands recent
Zip Code tour. As the journey winds through
New York, Chicago and Nashville, Richards
reflects on all the regional American roots
musical styles that have made him what he
is today. Taken together, Crosseyed Heart
and Under the Influence offer another kind
of autobiographical portrait of Keith Richardsan ideal complement to the Life book.
Where Life tells Richards story in words and
momentous events, his new album and film
pretty much let the music do the talking.
The weird thing about Keith Richards is
that people tend to think theyve got him figured out. The crudely drawn caricature usually references Chuck Berry, Muddy Waters,
booze, dope and a series of stunning blondes.

But theres so much more behind that wrinkle-creased, elegantly wasted facade. And
the surest way to find that out is to sit down
and have a chat with him, which Guitar
World recently had the honor of doing.
It has been 23 years since your last solo
album, Main Offender, in 1992. Why
has it been so long since youve done
another one?

Well, the Stones have always been so busy.


I mean the Stones have always been, obviously, Numero Uno. If I do anything by
myself, I certainly dont want it to clash
with anything the Stones are doing. This
particular record has actually been finished
for over a year. But just as I finished it, the
Stones decided to go back on the road. So
Ive been looking for a space where I could
put it out. And in September we found it.

Yeah, which is a great way to do it. Steve


said to me, Im really interested in how you
wrote Street Fighting Man and Jumpin
Jack Flash. How did you do that? And I
said, It was just me in the studio with Charlie Watts. and Steve goes, Well, I aint
Charlie Watts, but I am a drummer! But you
know, it was Charlie Watts who first told me
to work with Steve Jordan many, many years
ago. This was in the middle Eighties. Charlie
said, If youre ever going to do anything by
yourself, Steve Jordans your man.
How did you end up playing bass on most
of the record this time?

Since it started off with just Steve and me,


wed lay down a good track with just guitar and drums and then say, Lets see what
it sounds like if we throw a bass on it. And
I am basically a closet bass player. I always
have been. Sometimes I wish Id taken that
up, but it wouldnt have worked. Still, I do
love playing bass. And this was the perfect
opportunity to do it. And it was cheap as
well, cause I dont pay myself.

guitarworld.com

53

And any real Stones fan knows that you


played bass on a lot of their tracks, like
Sympathy for the Devil and Happy.

Yeah, and this gave me an opportunity to


expand on that.
Was the albums lead single Trouble
written about any troublesome lady in
particular?

It was more a combination of ladies that you


wouldnt wish to know.
Musically, youve said that Trouble
began more as a Hank Williams kind of
acoustic guitar song, rather than the fullon rock and roll track it became.

Absolutely. Right where Im sitting now


in my sunroom where I wrote it, it seemed
like a real Hank Williams kind of song. But
I think Waddy Wachtel pointed out to me
that Hank Williams songsthat style of
musiccan easily be rocked up and moved
up. Of course, it could be a rock and roll
song! Turning Hank into rock and roll is
not particularly accepted or thought about,
but in actual fact Hank Williams impact on
rock and roll was enormous. I think from
that you get the Everly Brothers stuff, and
[songwriters] Felice and Boudleaux Bryant.
So here Im doing Trouble, and Im seeing
it shifting from like 1949 to like 1958. And
yeah, How would the Everlys have handled
this? Or Chet Atkins? Or Hank Garland,
who is also another guitar player with that
kind of style? So we just moved it up with
the drums. Also, in the back of my mind,
I always thought of Trouble in terms of
Poor Jenny by the Everly Brothers.

I am basically a closet

I always have been.

54

GU I TA R WOR L D HOL I DAY 2015

GUITAR TECH PIERRE DE BEAUPORT


DETAILS HIGHLIGHTS OF
KEITH RICHARDS STUDIO RIG.
BRING ME THE USUAL, PLUS SURPRISE ME.
Thats what Keith Richards would generally tell his longtime guitar tech,
Pierre de Beauport, before the start of a session for Crosseyed Heart. It was
de Beauports enviable job to visit Richards equipment storage locker and
fill his car with a selection of guitars and amps to provide a basic, go to
setup, while also throwing in a few more out there options for experimentation. With nearly a thousand guitars in Richards collection, theres quite a
lot from which to choose.
The usual will invariably include several of Richards iconic Fender
Telecasters such as the 1953 model he calls Micawber and the 54 named
Malcolm. Both of these are set up in the guitarists trademark five-string open
G tuning (low to high: G, D, G, B, D, with the low E string removed.) There are
also always a few Teles set up in six-string standard tuning, such as Richards
59 with rosewood neck. The electric guitar selection for the Crosseyed Heart
sessions always also included one of Richards vintage black Gibson ES-355s
and at least one of his vintage Les Paul Juniors.
Richards guitar and amp choices all tend to be vintage. A Danelectro
electric sitar is heard on Suspicious. And as Richards played bass on all but
one of the albums tracks, another key electric instrument was a 1962 Hofner
hollowbody bass guitar used throughout the album sessions.
Richards stock guitar amp setup in the studio is a tweed Fender Champ with
an eight-inch speaker, combined with a tweed Fender Harvard modified with
a 6L6 output stage tube and a 12-inch speaker, nicknamed One Love. The
modification makes the Harvard a single-ended or Class A amp, like the Champ.
The Harvard adds a little bottom end and clarity, de Beauport explains.
And Keith is always plugged into Input 2 on the Champ, not Input 1. We turn
the Champ up to about 4, no higherto where its just starting to break up.
Amps for overdubs included a tweed Fender Bandmaster with three 10inch speakers and an early-Sixties Watkins Joker. Its a four-channel amp
with a Watkins Copicat tape delay build in, says de Beauport. It has this
other effect that isnt really reverb, called Halo. And it has a mic stand that
pulls out of the top. Its one of the most whacked-out amps of the Sixties.
There arent a lot of them. Finding one that works has been fun.
Richards main acoustic guitar for the sessions was his 1958 Martin 00-21.
But as the album delves deeply into his folk and country roots, many other
acoustics came into play. Goodnight Irene features a truly historic Keef guitar:
his 1963 Harmony 1270 12-string acoustic, heard on classic Stones tracks from
the Sixties such as Good Times Bad Times, Play with Fire, Not Fade Away
and Tell Me. Also heard on Goodnight Irene is a cavaquinho, a small, guitarlike instrument used in Portuguese and Brazilian music.
Richards guitar solo on Robbed Blind was played on a 2008 Vicente
Carillo classical guitar. And the acoustic mix on Just a Gift includes one of
Richards Martin tiples. A tiple is a four-course, 10-string ukulele with two
triple courses and two doubles, de Beauport explains. But I changed the
spacing on the nut to make it five double courses and tuned it to open G.
So, in essence, its an acoustic, short-scale counterpart to Richards openG Telecasters. As de Beauport notes: You walk into the studio and its not
just a room full of Teles. Its everythingall over the place. by Alan di Perna

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As long as the songs


keep comingthats all
Im good for and thats

Theres a vital link there somewhere.


And one that hasnt been articulated so
much. People think of rock and rolls origins more in terms of artists like Chuck
Berry or Bo Diddley.

Yeah, but there was a lot of rock and roll


that was made by white guys too. Id put it
at 50-50.
Did you deliberately design the album
as a summary of the musical styles that
have been influential on you?

As any of the guys I work with will tell you,


Im very bad at planning anything. But Im
pretty good at seeing the way the drift is
going. For example, after we had four or
five tracks down, somebody sent me a huge
book on Leadbelly. At the same time, my
guitar man, Pierre de Beauport, arrived at
the studio with this 12-string guitar. I was
sort of getting a messageLeadbelly, the
King of the 12-StringI gotta do Goodnight Irene, one of the classic American
folk songs of all time. Its been bastardized
and screwed up by many people since. But
I went back to Leadbellys original lyrics. I
felt, Yeah, I gotta do this. So much of what
I do is based on American music; and that,
after all, is where it comes from for me.
Youve also got some pretty deep roots in
reggae as well. And of all the great Gregory Isaacs songs in the world, how did
Love Overdue get selected for inclusion on your album?

Its one of the many great songs he wrote


that Ive always wanted to do. So I indulged
myself. And Steve Jordan can really play
reggae, with insight from listening to great
reggae drummers like Sly Dunbar and
Horsemouth [Leroy Wallace]. Its just a nat-

56

GU I TA R WOR L D HOL I DAY 2015

ural thing with him. Love Overdue is a


song Ive had a soft spot for forever. I miss
Gregory dearly.
Its always pretty spot-on whenever you
do a reggae track. I remember your guest
shot on Careless Ethiopians on Toots
and the Maytals True Love album a while
back. It seems like you really step up to
the plate with the vocals.

Well I lived in Jamaica for many years.


[laughs] Its in the bones.

Whats interesting about the vocals on


the new album is this kind of narrative
style of delivery youve developedhalf
talking, half singing. What led you in that
kind of direction?

Its just what you do with your voice as you


get older. I was feeling more comfortable
about singing. And no, Im not going to go
to the top register all the time. The way my
voice is now, its better down low. I know
what I can do with it. Im a great singer with
a lousy voice. But I know theres a certain
timbre that my voice can touch. As long as I
can do that, Im happy.
How did your vocal duet with Norah
Jones on Illusions come about?

We had the track down, and I had my vocal


part on it, but Steve Jordan said, You
know this is really written for a duet. Without female input, this song will cry in the
wilderness. We were thinking about who
was around in town, and suddenly Steve
got hold of Norah. So she wrote the female
part, came into the studio and did it. It was
a real joy. I wasnt expecting ladies to feature on this record. But its Norah Jones
whos gonna say no, right? Bless her.
There are a lot of really beautiful ballads
on this albumstuff like Robbed Blind
and Suspicious. Are you at a particularly
introspective place in your life right now?

Not especially. Ive always liked ballads. I


mean I wrote Angie and Ruby Tuesday!
And I didnt want to deny that side of me on
this record. Also I sort of work by popular
vote when it comes to including songs on an
album. If the guys who are working around
me say, Hey, thats a good song, Ill go for it.
Speaking of the guys on your record,
whats special about your guitar interrelationship with Waddy Wachtel? How
does it differ from playing with Ron
Wood, Mick Taylor or even Brian Jones
for that matter?

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Mmmits hard to pick the bones out of all


that, really. But with certain guys, theres
an immediate, unspoken understanding:
you can complement one another. To me,
the greatest joy in the world is playing guitar with another guy and just getting off
on each others feedbacktill it gets to the
point where you can play with it and you
dont know where one guitars picking up
and the other ones interchanging and taking up another rhythm. This is what I love.
Its the reason I do it. And its sadly missing
in a lot of current music.
In a way its a shame things got so
focused on the single note lead thing
Clapton, Bloomfield, etc.

I know. You could blame Hendrix as well.


[laughs] All brilliant guitar players, but very
little simpatico, you know?
Speaking of playing with Ron Wood,
what were some of the highlights of the
most recent Rolling Stones tour for you?

Overall, the high point was hitting the


heartlandsthe Midwest, the South and
the West. We didnt hit one major city.
No New York, no Chicago, no San Francisco, no L.A. It was just fun to get out there
where, in historical terms, all the music
came from. And I must say it was an amazing tour. We had an incredible welcome
everywhere. Enormous crowds and great
appreciation. Im really still reeling from it
a little bit, because Ive never known a tour
to go so sweet and beyond expectations.
And the band is playing probably the best
that it ever has, surprisingly enough, after
all these years. As I said to Charlie, I think
were getting the hang of it.
Did you capture any of it live? Might
there be some recordings?

I know they said theyd be recording a few


shows, but its too early yet for me to say and
know which ones. Indianapolis was a nutty
show. Fantastic. But so was everywhere
else. Nashville was an incredible show. I
have pretty high standards that I expect
from the band, but they exceeded them.
How did the material from Sticky Fingers
go down? After the deluxe reissue of the
album came out, and at the outset of the
tour, I remember there was a lot of talk
about Should the band play the whole
album live?

Yeah, I know. That was never up for the


whole tour. But we did do it in L.A. at
the Fonda Theater. We played the whole
album through and it was actually great.
There are two or three songs on there
which we hadnt touched live in I dont

58

GU I TA R WOR L D

58

GU I TA R WOR L D HOL I DAY 2015

know how longif we ever did. And it


sounded very interesting, especially I Got
the Blues, which is not something that we
usually play. We realized that this song is
so slow that its a real test of, Can you keep
the tempo that slow? Its a tough song to
perform, but it came out great. And I loved
playing the whole album through, it took
me back a while.
I Got the Blues is in there with those
great, slow r&b ballads in the Stones catalog, like Love in Vain and even going
back to some of the real early ones like
Cry to Me.

Yeah, and Thats How Strong My Love Is.


Absolutely. Theres an art to doing those.

There isa real control you have to put


on yourself to stop the thing from moving
up in tempo.

You said recently that there might be


another Stones album as well? Have you
got any material or ideas for that?

The material is always there. Mick is always


writing, and so am I. My own task, as I see it,
is to get them in the studio. [laughs] Its time
for the Stones to record again!
Are the songs flowing as easily and readily for you as they always have?

Ive not thought about that really. Ive got a


backlog of songs. So I can kick back and just
sit on those and hold them in readiness. And
then there are other moments when you
wake up in the morning and theres a song
at your fingertips. It just happens like that.
Its such a weird process, songwriting. I
wouldnt recommend it to the weak of heart.
Youve got one of the most amazing
resumes in all of rock. Is there anything
youd still like to accomplish that
you havent?

Really, for me, I meanno. Is there anything more you could wish for if you were
Keith Richards? Ive done it all. Once youve
reached that point you just think, Yes, I
would like to do it better. And as long as
the songs keep comingI mean thats all Im
good for and thats why Im here.
Does the guitar still possess some
mystery for you? Are you still
discovering stuff?

Are you kidding me? The more you explore


that little thing, the more you realize you
dont know. All the possibilitiesits quite
incredible. A few strings and whatever
works. And also it doesnt leave you alone.
Its always sitting in the corner, looking at
you, saying, Come on, play me, play me.

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A Sound Decision

GU I TA R WOR L D HOL I DAY 2015

Richard
Bienstock
ILLUSTRATION BY
PHILLIP BANKEN

S U R V I
V O R S

Its been 35 years since the release of their debut album and
IRON MAIDEN show no signs of slowing down. In this interview
with the triple-ax-attack of DAVE MURRAY, ADRIAN SMITH
and JANICK GERS, the men of Maiden discuss the making of
the new Book of Souls double album and the resilience of singer
Bruce Dickinson after a recent cancer scare.

60

guitarworld.com

61

(from left) Adrian


Smith, Dave Murray
and Janick Gers

I hate it when bands


come out and say, This
is the best album weve
ever done, says Iron
Maiden guitarist Janick
Gers. Because then you
think, Well, what about
the last one? At the end of
the day, you just try your
best with each and every
one of em. So, really,
theyre all great albums.
62

GU I TA R WOR L D HOL I DAY 2015

Gers, who, alongside Dave Murray and Adrian Smith, constitutes


one-third of Iron Maidens triple-guitar-attack team, is speaking to
Guitar World about The Book of Souls, the new and 16th studio effort
from the British metal legends. True to Gers statement, it is indeed
a great album. And while Gers wont say that Souls is the absolute
best theyve ever done, for a band responsible for some of heavy
metalsif not all of rock and rollsmost classic platters (among
them 1982s The Number of the Beast and 1984s Powerslave) this is
hardly a mark against it.
Whats more, The Book of Souls is perhaps the most adventurous
and expansive record in Iron Maidenswhich also includes singer
Bruce Dickinson, bassist and founder Steve Harris, and drummer
Nicko McBrainstoried catalog, spreading 11 tracks over two discs
and more than an hour-and-a-half of music. And while the band
has never been one to shy away from an epic-length piece of music
(beginning with The Phantom of the Opera, from their 1980
self-titled debut), on The Book of Souls they take things further
than ever in this direction, with three songs eclipsing the 10-minute mark, and one of them, the Dickinson-penned Empire of the
Clouds, clocking in at more than 18.
According to Murray, there wasnt any plan from the get-go to
indulge the proggier side of the band to such an intense degree.
Rather, he says, The only real hard and fast rule is we do what feels
right to us at the time.
Which does help to explain how The Book of Souls ended up being the
first double-disc studio album of Iron Maidens 35-year recording career.
We just had so much material, Smith says. Everyone was inspired.
Everyone was firing. He laughs. Plus, Steve had a song called The Red
and the Black that was 14 minutes long. Bruce had Empire of the Clouds,
which is 18 minutes long. Right there, youve got an album, you know?
In addition to the marathon tracks, there are also a handful of
more succinct, upbeat hard rockers like the Dickinson/Smith collaborations Speed of Light and Death or Glory, the pounding
Smith/Harris cut When the River Runs Deep, and the Gers/Harris collaboration Shadows of the Valley, which references the
bands classic Wasted Years in its opening guitar pull-off figure.
But the albums masterpiece is undoubtedly Empire of the
Clouds, which is not only the longest song in Iron Maidens catalog,
but perhaps also their most uncharacteristic. Composed by Dickinson on piano, the track, which tells the story of the 1930 crash of the
R101 British airship in France, opens with Dickinson singing over a
bed of piano and strings, with nary a guitar in earshot until several
minutes in. The song continually twists and turns, picking up steam
until it eventually explodes in a galloping-guitar climax. Says Smith,
It was really fun doing that one. And there are a few real great
things on there. Like when the drums come roaring inits a bit like
a Stairway to Heaven moment! We all really enjoyed it.
In fact, he continues, we all enjoyed doing the whole record.
Sometimes you think about recording a new album, and reconvening with everyone, and going back into all the baggage a band gathers over a 35-year career, and you almost say, Oh, god. Can we do
it? But we got in the studio and we were all happy to be there with
one another and we were really productive. We were all remarking on what a good experience it was.

But as has been well documented, once the recording was completed things within the Iron Maiden camp took a frightful turn,
when doctors discovered a cancerous tumor on Dickinsons tongue.
The news, Murray says, was devastating. Dickinson underwent
chemotherapy and radiation to treat the growth, and the release of
The Book of Souls, as well as plans for an upcoming world tour, were
put on indefinite hold.
Today, the band members are happy to report that their singer is on
the mend. Bruce, hes up and about again, Smith says. Hes buzzing
around, traveling all over and back to doing what he does. Hes very
positive and very physically strong, and so he was in a good position to
kick [the cancers] ass. He wasnt going to let it knock him down. And I
When did the band first get together to
begin work on The Book of Souls?

KEVIN ESTRADA

DAVE MURRAY Well, we toured last sum-

mer doing festivals all over Europe, and


finished around August. We took a couple months off, and then got together in the
middle of October, I think it was. And we
went straight into a studio. Usually wed go
into a rehearsal room for a couple weeks
and start rehearsing songs up, so that when

personally never doubted he would. Hes just not that sort of guy.
With The Book of Souls in the can and Dickinson back out front,
Iron Maiden is getting set to hit the road once again, on yet another
extensive globetrotting live jaunt. To that end, it was recently
announced that the band would be traveling to shows in style
aboard a massive Boeing 747-400 Jumbo Jet piloted by Dickinson himself, as they hit a proposed six continents and more than 30
countries on next years Book of Souls tour.
Were saving up all that battery power and getting it ready for
next year, says Gers. And I look forward to getting out there in
front of the fans and playing these new songs.
Oh, yeah, its gonna be great, Smith adds. I mean, what a job!

we get to the studio we already have maybe


a half dozen songs ready to go. This time
we went in and everybody had ideas from
CDs and tapes and whatever and we just
started straight from scratch. Kevin Shirley was producing it and mixing it and he
was on standby. And as soon as we had part
of a song worked out, or had a general idea
of how the song was going to be, we just
started recording. So a lot of it was very

spontaneous, and done a lot quicker as far


as the backing tracks.
JANICK GERS We went back to Guillaume
Tell Studios in Paris, which is where we
recorded [2000s] Brave New World. And
we had the band all facing each other,
which is a great vibe. When youre in the
studio playing the songs together you can
bounce things off each other. And we just
had that connection. So we would put

guitarworld.com

63

something together, learn it and then have


a go at it. It was great because it gave the
songs a kind of live feel, I think.
ADRIAN SMITH Having said that, we had
rough demos, musically, of all the songs.
Maybe not all the way through, but quite a
bit of them. So we had something to work
off of. But what wed do is wed go into
the studio in the morning, and the writers
would sit down together, whether it was
me and Steve, or Steve and Jan, or whoever.
Wed go through the arrangement, and then
get Bruce in to sing vocals and make sure
everythings in the right key. Then wed

you might go in and try to pull it back a little bit and get it slightly better. Because we
never play to a click song. But there were no
restrictions, really. Sometimes youre going
at it a bit blind, but that kind of gives you
an edge. If youre overlearning the songs,
sometimes you play the notes but you dont
quite get the vibe.
MURRAY And then some of the shorter
songsyou know, the five-minute ones
[laughs]wed learn the chords and things,
and wed have pieces of paper and wed
write down sequences, changes, melodies.
So wed have that in front of us. But basi-

in sections. And Bruce and Kevin would


be in the control room saying stuff like,
This sections a bit too bluesy. We want
it more classical sounding. Theyd sort of
direct us through it, and wed try different approaches until we had the right one.
Then we put the orchestration on after that.
Adrian, your songs on the record are
actually some of the shorter ones, like
Speed of Light and Death or Glory.

SMITH Yeah, because I think it can be a bit

heavy going if everyone brings in 10-minute songs, you know? Its just too much.
And I knew we would probably
be doing some long songs, so I
thought Id just try to keep things
moving with some shorter ones.
Otherwise youd have had a
triple album.
SMITH Yeah! [laughs] But I

think what we ended up with is


well balanced. You have the longer songs, and then you have the
punchier ones, which is ideal.
Longer, epic-type songs
have always been a big part
of Iron Maiden, but it seems
that since Brave New World
that proggier side of the
band has become much more
pronounced. Do you prefer
doing the longer tracks or the
shorter ones?

TK TKTKTKTKT Caption
Here and Here and Here

Steve Harris

start going through it as a band. And at that


point Kevin would press record. And you
know, some of the stuff you hear might be
us actually learning the song and rehearsing
it. Thered be a bit of magic that happens on
that very first take.

cally you were flying by the seat of your


pants. You never quite knew what was coming next. We were all in the same room with
headphones on, playing together. Youd
be like, Okay, theres a change coming up
here and youd just kind of go for it.

Some of these songs are so long and


involved. How did you tackle them without having had much rehearsal?

Speaking of the 18-minute song, Empire


of the Clouds, its pretty different from
anything in Maidens catalog.

18-minute song, youre learning pieces


at a time, really. But what you might find
is youll play a 10-minute song straight
through, and two verses will have come out
perfect, and one was maybe a bit fast. So

the guitar solos, obviously, but everything


else. And he recorded it from start to finish just on piano. It took him a couple days
to do that because its quite complicated.
From there, we played along to it as a band

GERS Obviously, with something like an

64

GU I TA R WOR L D HOL I DAY 2015

SMITH Bruce wrote everything on that. Not

played Rime of the Ancient


Mariner [from Powerslave]
for several tours, and thats,
like, 15 minutes long. And its a
piece where theres a lot of time
changes. The kind of focus and
energy and commitment you
need to play a 15-minute song
from the beginning to the end,
its intense. Its like being in a
classical music band. [laughs]
But it encourages you as a player and I think
it improves you. But then doing something
like Can I Play with Madness [from 1988s
Seventh Son of a Seventh Son], which is a
really short one, we play that live and it goes
down really well, too. So its all great.
How did the three of you work together
on your guitar parts on the new album?

GERS Its a pretty easy process. We might


get together and say, You play this bit
and Ill play that bit, but more often
than not we tend to just naturally all play
things slightly different. We have different styles and we have different sounds and
it seems to gel together. For instance, in

G O N Z A L E S P H OTO/ C H R I S T I A N H J O R T H V I A G E T T Y I M A G E S

MURRAY I like it all, really. We

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tion where we all get a chance to play a bit.


But it just seems to work out, you know?
Its almost like a second nature thing with
us now. Its instinctive. One thing I can say
about my stuff is, I think probably a few
years ago if Id had written a song I would
have put three solos in it. Now I think its
more important to just have the song flow.
One song that I think has a really great
flow is The Red and the Black. Theres
an incredibly long instrumental section, but you guys spend much of the
time building melodies, rather than just
switching off on leads.

SMITH Thats really Steves thing. Hell get

Bruce Dickinson

When you guys were in the studio recording The Book of Souls, nobody had any
idea of Bruces condition.
SMITH We didnt. Bruce didnt know either,

The Red and the Black, I might be playing the melody while Adrian is hitting the
chords and Dave is just kind of chuggin.
So you have three different things happening. And its greatyears ago, when I was
with [the band] Gillan or playing with Bruce
on [his 1990 solo album] Tattooed Millionaire, I mean, some of that stuff had about
eight guitars on it. And it was just me in the
band. Youre playing high, you have the bottom notes, youre trying to create this sonic
thing. So when you play it live you have to
decide what youre gonna do. With three
guitarists, you can cover all of it.
MURRAY Sometimes if were in the studio and maybe everyone else has gone off

66

GU I TA R WOR L D HOL I DAY 2015

to have a cup of coffee or something, well


say, Okay, lets the three of us sit down
That way once the whole band is playing
were ready to go. Then again, at other times
youre overdubbing in the control room with
Kevin and its like, Try to solo over that section, or Play a harmony there. And youre
just kind of making it up on the spot. [laughs]
So sometimes we work it out, and other
times were just flying by our coattails.
How do you deal with solos?

SMITH Usually whoever brings the song in


plays the main solo in it. And if Steve brings
a song in, because his songs are usually
quite long, he usually has a whole solo sec-

but he suspected something was wrong.


And I was in the studio when he was doing
these vocals and, you know, he just gave it
everything, 100 percent of the time. And he
sounded great. But he said later on that he
knew something wasnt right. And hed had
a few people look at his throat and they said,
Just rest. The usual singers problems,
you know? It wasnt until he went to Paris
and the doctor there looked at him and said,
When you get back home you better get this
checked out. It doesnt look good, that he
knew it was something more. Then he discovered he had a big tumor on the back of his
tongue. God knows how he managed to sing
at all. It was pretty incredible that he did that.

G O N Z A L E S P H OTO/ C H R I S T I A N H J O R T H V I A G E T T Y I M A G E S

a melody and expand on it and make variationsits quite an unusual way of working.
But that particular song turned out really
well. I thought it might be repetitive, but
if you really listen to it, yeah, it has a flow.
It makes sense, you know? But Steve definitely thinks outside the box a little bit.
GERS Whats going on in that one, its
almost classical. And you know, I think people have become very snobby about classical
and heavy metal, like it has to be just this
or that. But if you listen to it, its very deep
music. Theres melodies and countermelodies flying off everywhere. And we do a
lot of that. People say were a heavy metal
bandand we are a heavy metal bandbut
we also have lots of other facets in there.
Theres rock, blues, jazz feels, metal. With
Empire of the Clouds, theres almost a
Broadway feel to it. Theres so many weird
things happening there. But it stills sounds
as heavy as Maidens ever sounded. So were
never scared to take things in new directions. You have to do that if youre a band
that wants to grow and get better. You have
to push the boundaries a little bit, rather
than just sit on your backside.

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What was your reaction when you heard


the diagnosis?

MURRAY We were devastated. We recorded

the album through last October, November


and December, and then I heard the news,
I think, in late January. I got the phone call.
But then in the same sentence that they told
me what was going on, they also said that the
prognosis was excellent and they were confident he was going to recover. So Bruce had
a couple months of treatment, and hes now
back and bouncing around, doing all the stuff
he loves doing. It wasnt going to keep him
down. He got it, he got rid of it, and now hes
stronger than ever. Were just pleased that
hes back and hes fine and in good shape.
GERS The news was a total shock. And to
be honest, I didnt even want to hear the
album until I knew he was better. And we
put everything off this yearwe canceled
everything, because we knew hed be doing
chemo and radiation. And now hes clear.
I was out with him a few weeks ago and
everythings great. Hes not running a marathon yet, but hes looking fitter, hes looking healthy. And his voice sounds good
what he had was on the back of his tongue.
It wasnt near his vocal cords. And he feels
hes going to be fully recovered soon. So
were looking forward to getting out on tour
possibly early next year.
So in grand Maiden tradition, there will be
an extensive live campaign.

SMITH Oh, yeah. We want to get out and

play the album to our fans. We desperately


want to do that.
After all these years, does it amaze you
how large and devoted the Iron Maiden
fan base continues to be?

SMITH Its quite amazing, yeah. Weve been

touring hard since 1980. And weve built up


a very loyal fan base, but weve done it the
hard way. Weve always taken our music
out to the people. Its not like weve relied
on the internet or a couple of hit records. So
I guess that kind of breeds loyalty. Because
weve shown a commitment to what we do.
And I think the fans see that.
Recently there was a story online about
a fan from Spain who has seen the band
play more than 200 times.
SMITH Wow. I hadnt seen that. But god

bless im!
MURRAY Thats incredible, really. Maybe he

needs a free ticket this time! But that kind of


thing, it never ceases to astound me. Weve
done 16 albums, and its something you
never take for granted. Its been a fantastic
journey. And you know, Id do it all againif
I could. [laughs] But the thing is, people love
hearing us play as much as we love playing.
And I think they can see that its genuine.
Its coming from the heart. So everyones
plugged into itwe plug into our amps, they
plug into the band and its off we all go.

Iron Maiden AXOLOGY


Janick Gers

GUITARS Black Fender Stratocaster


AMPS Marshall JMP preamp and 9200 power amp
EFFECTS Marshall JFX

Dave Murray
GUITARS Gibson 1960 Les Paul Classic Reissue, Les Paul Axcess Standard
with Floyd Rose and Memphis ES-Les Paul; Fender Sixties-era Telecaster and
Seventies-era Stratocaster
AMPS Victory
EFFECTS TC Electronic Flashback Delay and Corona Chorus; Dunlop Cry Baby
Wah and Rotovibe; Wampler Clarksdale Overdrive; ThunderTomate Phil Hilborne
Fat Treble Booster

Adrian Smith
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GUITARS Jackson Adrian Smith signature (ebony and maple models) and Flying
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GU I TA R WOR L D HOL I DAY 2015

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guitarworld.com

71

P R E V I O U S S P R E A D : M C C A R T N E Y: C H R I S
WA LT E R V I A G E T T Y I M A G E S ; L E N N O N &
HARRISON: K & K ULF KRUGER
OHG/REDFERNS VIA GETTY IMAGES

T THE HEIGHT OF
BEATLEMANIA, PAUL
MCCARTNEY, JOHN LENNON,
AND GEORGE HARRISON
COULD HAVE PLAYED ANY
GUITARS THEY WANTED.
Cost certainly would have
been no issue. But the guitar
each of them chose was a
modest budget thinline: the
Epiphone Casino. From 1965 to
1969, the Beatles would put the
Casinos woofy midrange tone
to memorable use on countless
songs, including Another Girl, The Night Before,
Drive My Car, Taxman, Revolution, Get Back,
and The End. McCartney, in particular, was an
Epiphone fan, and also purchased an Epiphone
Texan acoustic guitar, which he used for writing
and recording acoustic gems like Yesterday and
Michelle. While Gretsches, Rickenbackers, and
Gibsons were also well represented among the
Beatles guitars, only Epiphone can claim to have
had one model that was favored by each of the
groups guitarists. To quote an obscure Beatles
tune, that means a lot.
72

GU I TA R WOR L D HOL I DAY 2015

Lennon and Harrison, with Casinos


in hand, backstage with McCartney
before performing at Ernst Merck
Halle, Hamburg, in 1966

T H I S S P R E A D : L E F T: N I G E L O S B O U R N E /
R E D F E R N S V I A G E T T Y I M A G E S ; R I G H T:
R O B E R T W H I TA K E R / G E T T Y I M A G E S

Lennon, McCartney, and Harrison were still finding their way


as musicians when Gibson bought out the Epiphone brand in 1957.
Epiphone had been in decline since the death of its leader, Epaminondas Epi Stathopoulo, in 1943. After the purchase, Gibson started making the two brands alongside each other in its
Kalamazoo, Michigan, factory, using up leftover Epiphone parts.
Introduced in 1958 as a continuation of Epiphones FT79 flattop
acoustic, the Texan serves as an example of the companys thrift.
The earliest versions paired a mahogany 25 1/2inch-scale Epiphone neck with Gibsons slope-shouldered J-45 body, which featured mahogany back and sides and a spruce soundboard.
McCartney, the Beatles bassist, was the first to take the Epiphone plunge. Toward the end of 1964, he purchased his natu-

ral-finish 1964 Texan and sunburst 1962 Casino. Both were righthanded models that the southpaw guitarist had modified for lefthanded use. The two guitars made their first appearances on the
1965 album Help!, on which McCartney began to assume more
guitar duties on the groups recordings. The Casino was heard on
his solos for Another Girl, The Night Before, and Ticket to
Ride, while the Texan was employed for Ive Just Seen a Face
and Yesterday, his standout solo moment on the album. He also
played the Texan onstage for performances of Yesterday, strapping it on over his Hofner violin bass when playing the song with
the Beatles, or performing with it solo, as he did for the groups
1965 appearance on the Ed Sullivan Show.
Unlike the Texan, the Casino was an entirely new model for

guitarworld.com

73

LONE
STARS
V

74

GU I TA R WOR L D HOL I DAY 2015

Lennon and Harrisons Casinos along with


McCartneys 1964 Rickenbacker 4001S-LH bass

Epiphone when it was introduced in 1961. With its laminated


maple body, twin cutaways, and 16th-fret neck junction, this fully
hollow guitar was essentially a slightly less-expensive version of
the ES-330, Gibsons student-level thinline electric that debuted
in 1959. The guitar was available in single- (E230T) and doublepickup (E230TD) models, and while it was advertised as having
humbuckers, the pickups were in fact single-coil P-90s.
Keith Richards played a Casino on the Rolling Stones 1964
American tour, before McCartney bought his. However, it wasnt
Richards who inspired McCartneys purchase but rather British bluesman John Mayall. During a late-night listening session
at his house, Mayall poured McCartney a drink and played him a
selection of tracks by Eric Clapton and his antecedents, like B.B.
King and Freddie King. Mayall also handed the Beatle an old hollowbody that hed bought as an army reservist while stationed in
Japan. McCartney immediately fell for its tone.

G U I TA R : N I G E L O S B O U R N E / R E D F E R N S V I A G E T T Y I M A G E S ;
G U I TA R S O N TA B L E : R O B E R T W H I TA K E R / G E T T Y I M A G E S

INTAGE EPIPHONE TEXANS ARE


easy to come by and not forbiddingly
expensive. The cheapest excellentcondition example we found was a
1966 model for $1,850, while one
from 1964 with repaired top cracks and a
replacement bridge sold on eBay for $1,212
and another 1964 model in better condition
went for $2,500.
Epiphones limited-edition USA-made
Texans, on the other hand, are scarce and
very costly. In 2005, at Gibsons Bozeman,
Montana, Custom Shop, Epiphone made a run
of 40 aged Texans, each one duplicating every mark and scratch on McCartneys original
guitar and hand-signed by the Beatle himself
on the soundboard. We saw two listed on
eBay, ambitiously priced at $49,999 and
$59,999.99. The following year the Custom
Shop made 250 Texan replicas, each with a
soundhole label signed by McCartney. One
sold recently on eBay for $4,700.
Less expensive is the Japanese-made Elitist Paul McCartney 1964 Texan, also made in
2006, limited to 1,964 copies worldwide. This
guitar recreated some of the details found on
the original guitar, like the eighth-inch gap between the center strip and the head block. We
couldnt find any examples for sale, nor did we
see any of the 2014 Elitist 1964 Texans, which
were made to historic specs and apparently
limited to the Japanese market only.
Epiphones Inspired by 1964 Texan, available in Antique Natural like McCartneys, or in
Vintage Cherry Sunburst, is an updated version of the flattop. Unlike the original guitar,
the new model has Shadows Sonic Nanoflex
system, which is tucked discreetly inside the
soundhole, so as not to interfere with the
instruments vintage vibe. At $399 street, this
Texan is a steal. Adam Perlmutter

He used to play me a lot of records late at night, McCartney


told Andy Babiuk for his book Beatles Gear. Youd go back to his
place, and hed sit you down, give you a drink, and say, Just check
this out. Hed go over to his desk and for hours hed blast you with
B.B. King, Eric Clapton I was turned on after that, and I went and
bought an Epiphone.
McCartney purchased his Casino on the strength of its Bigsby
tailpiece, an option he couldnt find on any other thinline. Unlike
later Casinos, which featured Epiphones trademark narrow hourglass-shaped headstock, the head on this particular example had
a wider open book shape, an early remnant of the Gibson influence. McCartney modified the right-handed instrument for lefthanded playing by inverting the bridge and adding a strap button
to what was originally the treble bout.
McCartney never played the Casino
in concert with the Beatles, but the guitar became his constant studio companion.
OMPARED TO OTHER GOLDEN-ERA ELECTRIC GUITARS, ORIGINAL VINTAGE
In addition to his work with it on Help!, he
Sixties-era Epiphone Casinos are a relative bargain. At press time, we saw single-pickused his Casino for his solo on Drive My
up models listed for as little as $2,150 and twin-pickup versions starting at $2,500.
Car and to record his absolutely blisterEpiphones new imported Casino reissues are also smart buys. The basic model,
ing lead work on Taxman, from 1966s
available in natural, vintage sunburst, and cherry, is equipped with USA-made P-90s
Revolver, and Good Morning Good Morn($599 street). Pricier, at $1,999, the Elitist 1965 Casino is a Japanese-made version boasting
ing, from 1967s Sgt. Peppers Lonely
top-quality craftsmanship and updated features, like larger fretwire, Grover tuning maHearts Club Band.
chines, and a second strap button.
Impressed by the guitars sound and
In the late Nineties, Epiphone offered its USA Collection John Lennon Casino. Made with
versatility, Lennon and Harrison simultaYoko Onos blessing, this guitar was based on measurements, tracings, and photographs of
neously purchased their own Casinos in
Lennons Casino and was offered in both incarnations: with a vintage sunburst finish and with
spring 1966. Each scored a new sunburst
a strippednaturalfinish as well as replacement Grovers and plugged tuner holes. Though
1965 example. The guitars were practithe two guitars were limited to 1,965 models, we were able to find one on eBay in pristine concally identical, except Lennons was outdition for $2,400 or Best Offer, while another example had sold recently on Gbase for $1,849.
fitted with a trapeze tailpiece and had an
Epiphones Inspired by John Lennon Casino ($899$999) is a bit more affordable. It nods to
uncommon but stock black plastic gromthe guitarists 1965 model with its natural satin finish, gold Grover tuners, black plastic ring around
met ring surrounding the toggle switch,
the toggle switch, and pickguard (included in the case). The guitar is also available with a glossy
while Harrisons had a Bigsby vibrato tailsunburst finish, an installed pickguard, and reproduction Kluson tuners. Adam Perlmutter

THE SURE BET

76

GU I TA R WOR L D HOL I DAY 2015

L E N N O N & G U I TA R S : B O B W H I TA K E R / H U LTO N A R C H I V E / G E T T Y I M A G E S

Lennon and Harrisons Casinos among other guitars and


basses that were part of the Beatles 1966 stage gear

weston_guitarworld dec print ad 3.375x4.875_free.qxt_Layout 1 9/10/15 5:06 PM Page 1

A refined player from Toronto, Galen Weston straddles a myriad of styles on


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urgently funky Bensonite to his mellow lyricism on the melodic anthem The
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chops showcase of Tasteless, Weston wails with conviction and rare facility.
Definitely a talent deserving of wider recognition.
Bill Milkowski
Contributor to Down Beat, Jazziz and author of JACO:
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Plugged In, the ambitious debut album by


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piece. McCartney, Lennon, and Harrison all had their Casinos at


hand when they began working on the Revolver sessions.
Lennon took a particular shine to his Casino, and was rarely seen
without it in the years after. He first played it live in 1966 on the British television program Top of the Pops (with Harrison also on the
Casino) and used it on the Beatles celebrated farewell performance,
on the rooftop of the Apple building, in London, on January 30, 1969.
Along the way, before the market for vintage guitars really took
off, Lennon made a few modifications to his Casino that would raise
eyebrows today, although at the time were common practices in
attempt to improve a guitars tone or appearance. Sometime in 1967,
during sessions for Sgt. Peppers Lonely Hearts Club Bandpractically
an all-Casino albumhe spray-painted a white outline on its back. The
next year, while the Beatles were on a pilgrimage to India, Scottish
singer-songwriter Donovan Leitch encouraged both Lennon and
Harrison to sand the finishes off their Casinos, saying this would allow
the wood to breathe and enhance the tone. Lennon took his advice,
and while he was at it swapped the original nickel Kluson tuners for
gold Grovers. He ditched the guitars plastic pickguard as well.
Its impossible to say if these modifications actually improved the
tone of Lennons Casino. But on the 1968 recording Revolution,
the guitarplugged directly into the board and overdriven by two
microphone preampshas a killer, wild voice, and it sounds full and
warm on the A-to-D chord figure that opens Ive Got a Feeling.
Harrison also removed his Casinos finish in 1968, but by then

he rarely used the guitar, thanks to a pair of solidbody guitars he


received and put into service: a cherry-refinished 1957 Gibson Les
Paul Standard gifted to him that year by Eric Clapton, and a prototype all-rosewood Fender Telecaster, which he received the following year. On the groups swan song, The End, while Harrison
wails on the Les Paul, Lennon and Harrison trade two-bar howling
solos on their Casinos, a fitting tribute to the guitar theyd used to
make so much great music.
How much did the Beatles use of Epiphone guitars help the companys sales? Its impossible to say, but its worth noting that, in the Sixties, the company sold more than 6,700 Casinosmore than twice the
amount of any other model in its roster. Considering that both Lennon and Harrison used their Casinos extensively on the groups final
tourwhere they were frequently photographed with themits certainly conceivable that they turned other guitarists onto the model.
Unfortunately, high demand for a single guitar didnt allow Epiphone to return to its robust prewar form, and in late 1969, not long before
the Beatles demise, the company ceased production of all its U.S. models and offered only models produced in Asia. In the years since then,
players like Noel Gallagher and Paul Weller have favored their vintage Casinos, while Kurt Cobain, Peter Frampton, and others made
good use of the Texan. More impressively, Paul McCartney continues to play both his Texan and his Casino, which he still regards as his
favorite electric. As he told Babiuk, If I had to choose one electric
guitar, it would be this.

THE ULTIMATE
BEATLES GEAR
GIVEAWAY IS ON!

78

GU I TA R WOR L D HOL I DAY 2015

PA U L C O O P E R

UITAR-LOVING FANS OF THE FAB FOUR


wont want to pass up this opportunity to win
not one, not two, but three incredible Epiphone guitars as part of the companys Beatles
Gear Giveaway, which is happening right now
at GuitarWorld.com/contests. Each guitar is just like
the one played by John Lennon (Casino in Natural
finish), George Harrison (Casino in Vintage Sunburst)
and Paul McCartney (Inspired by 1964 Texan in
Antique Natural).
The grand prize winner will receive all three guitars as well as a copy of Beatles Gear: The Ultimate
Edition, a one-of-a-kind book written by guitar
historian Andy Babiuk that examines all the instruments and equipment the Beatles used to compose,
perform and record their most beloved works.
Five second-prize winners will each receive a copy of
Beatles Gear: The Ultimate Edition; all entries receive a
free digital subscription to Guitar Player magazine.
To enter this once-in-a-lifetime Beatles guitar contest, head over to GuitarWorld.com/contests.

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GU I TA R WOR L D HOL I DAY 2015

ERNIE BALL MUSIC MAN


ST. VINCENT SIGNATURE
The Ernie Ball Music Man St. Vincent
Signature features an African mahogany
body, full rosewood neck with St. Vincent inlays. Other features include three
custom mini-humbucking pickups with
chrome covers and five-way switch with
custom wiring, Schaller locking tuners,
22 frets, and 10-inch radius with 25
1/2-inch scale length. Available in black
or St. Vincent Blue finishes.
$1,899; music-man.com

WICKED-COOL GIFTS THIS HOLIDAY SEASON.


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GUITAR GODS
ZAKK WYLDE BOBBLEHEAD
What better way to have Zakk Wylde standing on your desk and not crushing it under his
hulking physique than with a limited edition
bobblehead? This seven-inch figure is made of
a lightweight polyresin and features the Black
Label Society frontman in all his bearded,
denim-vested and bulls-eye-guitar-playing glory.

$24.95; guitargodscollectibles.com

DOPPLER LABS
DUBS ACOUSTIC FILTERS
These stylish, high-design earplugs utilize advanced acoustical physics to reinvent hearing protection. The DUBS Acoustic Filters lower sound
by approximately 12 dB, while still preserving
audio fidelity. Not only are the Acoustic Filters excellent for attending live concerts, theyre pretty
killer for band practice and jam sessions too.

$25; getdubs.com

guitarworld.com

81

PARKMAN SUNGLASSES
Sunglasses made from guitars? Yes, they
exist, thanks to brothers Christopher and
Andrew Parkman and their unique brand
of shades. Their recent partnership with
Patterson Guitars gives the brothers access to leftover mahogany and rosewood
from the guitar-building process, which
they use to create these distinct frames in
their Mountainside, New Jersey, workshop.
$195; parkmansunglasses.com

WAY HUGE
SAUCY BOX OVERDRIVE

The Way Huge Saucy Box Overdrive combines discrete clean and overdrive signal
paths to deliver organic, amp-like overdrive
in a pedal. The Saucy Box Overdrive automatically balances the optimum ratio of the
two signals with a single gain control. This
unique design provides for everything from
a unity-gain buffer to a clean boost and buttery overdrive.
$129.99; jimdunlop.com

82

GU I TA R WOR L D HOL I DAY 2015

MARSHALL
STOCKWELL SPEAKER

IBANEZ
IRON LABEL RGIX27FESM
SPALTED MAPLE

Marshall speakers are known for having


very big soundand this latest addition
to the speaker line is no different even
though it comes in Marshalls smallest
package to date. The new Stockwell
weighs less than three pounds and is
designed to go anywhere thanks to its
rechargeable lithium-ion battery. With
Bluetooth technology, the Stockwell can
handle calls through your phone or play
music, or use the 3.5mm jack to connect
another playback device.

The Iron Label RGIX27FESM Spalted MapleIbanezs new hardtail solidbody sevenstringadds an element of dramatic flair to
the companys Made for Metal series. The
spalted maple is distinctively handsome,
and the guitar also features a basswood
body, Ibanez three-piece maple/bubinga
Nitro Wizard neck with a bound rosewood fretboard and jumbo frets, Gibraltar
Standard II bridge, EMG 707 pickups, and a
performance-enhancing killswitch.

$229; marshallheadphones.com

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As part of Relapse Records ongoing 25th
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getting the deluxe vinyl reissue treatment.
Calculating Infinity, the bands landmark
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on three exclusive colors. The reissues are
set for worldwide release on November
27, and will also include full album digital
download codes.
$17.99 (each); relapse.com/dillinger

FRETLIGHT 5 GUITAR
Beginners and first-time guitar players
would be hard pressed to find a better
learning system than a Fretlight guitar
particularly the new Fretlight 5, which
features lights in the nut and first five frets
that show basic songs, riffs, chords and
scales when used in conjunction with the
included PC/Mac software.
$199 (electric)/$229.99 (acoustic)
fretlight.com

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84

GU I TA R WOR L D HOL I DAY 2015

LAMOUR: ROCK
CAPITAL OF BROOKLYN
Due for release in December, this longawaited hardcover book looks back at
the concerts and history of LAmour, one
of the most famous heavy metal venues
of all time. Compiled by former LAmour
DJ Alex Kayne and noted photographer
Frank White, the book features more than
1,000 photos, ticket stubs and memorabilia from the clubs heyday, as well as
interviews with musicians who performed
on the famous stage and recollections
from venue staff and club regulars.
$TBD; rarebirdbooks.com

PANTERA: THE COMPLETE


STUDIO ABUMS 1990-2000
Pantera records have been reissued on
vinyl multiple times in the past few years,
but this new set from Rhinocoming
December 11is a must-have for fans of
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of the set (theres also a cheaper CD
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colored vinyl: Cowboys from Hell, Vulgar
Display of Power, Far Beyond Driven, The
Great Southern Trendkill and Reinventing
the Steel, as well as a seven-inch single of
Piss and Avoid the Light.
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FENDER
ACOUSTIC SFX
The Fender Acoustic SFX Professional
acoustic amplifier offers state-of-the-art
technology for a lush sonic experience. The
amp features a lightweight design, portability and room-filling Stereo Field Expansion
technology, as well as onboard hall reverb,
echo, delay, chorus and Vibratone effects.
If youre also looking to add an accompaniment to your performance, the integrated
handle doubles as a convenient cradle for
mobile playback devices, via the Aux In jack.
The SFX is the ultimate solution for the
acoustic player looking for a grab-and-go
rig for small venues.
$899; fender.com

ULTIMATE EARS
UE 900s

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The Ultimate Ears 900s Noise-Isolating


Earphones deliver incredible sound thanks
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Two detachable, braided cables let you
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108 ROCK STAR GUITARS


The Hal Leonard Books softcover edition of 108 Rock Star Guitars, by photographer/author Lisa S. Johnson, is
an exquisite 396-page book featuring
hundreds of up-close, color portraits
of the cherished guitars belonging
to some of the worlds most iconic
players including Jimmy Page, Keith
Richards, Jeff Beck and many more. A
portion of the proceeds from sales of
the softcover edition will benefit the
Les Paul Foundation, which supports
music education, engineering and innovation as well as medical research.
$54; 108RSG.halleonardbooks.com

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GU I TA R WOR L D HOL I DAY 2015

H O LI DAY 2015

the gear
in review

91

JERIC H O G U I T A R S
Ave n g er 7 Pro 2 6
Sev en -St ri n g

92

DI G I T E C H
T r io B a n d C rea t o r
Peda l

94

E P I P H ON E
M a st erbil t
AJ- 4 5ME A c o u st i c /
El ec t ric

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K I E SE L
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Mighty Boss Tones

BOSS WAZA CRAFT BD-2W, DM-2W, AND SD-1W PEDALS By Chris Gill

THERE ARE MANY very good reasons why Boss


pedals have remained mainstays of countless pro
guitarists pedalboards. Boss compact pedals are built
like tanks, exceptionally durable and reliable, and readily available from most retailers should one ever need to
be replaced, plus they sound pretty damn good. These
are the qualities that have made Boss compact pedals
some of the most popular products for pro and aspiring
guitarists alike for nearly four decades.
However, the boutique pedal phenomenon has bred
a new variety of discriminating tone connoisseur (a.k.a.
the cork sniffer) that demands a certain level of refine-

ment that few mass-produced products can match.


Then there is the cottage industry of techs who make
good money modifying and customizing Boss pedals to
improve and even hot-rod those effects performance.
In their own pursuit of tonal perfection, Boss has introduced its new Waza Craft series compact pedals that
offer refined circuits, all-analog components, and new
customized features to offer performance that goes
beyond their usual standards of excellence.
FEATURES So whats a Waza? Its not what a sushi
chef yells when he wants you to buy him a Bud, nor is

guitarworld.com

89

SOUNDCHECK

For video of this review, go to


GuitarWorld.com/Hol2015

CHEAT
SHEET
STREET PRICES $149
(BD-2W and SD-1W, each),
$179 (DM-2W)
MANUFACTURER Roland
Corporation, rolandus.com
The mini S/C toggle switch
selects a standard mode
that sounds like the regular version of the pedals or
a custom mode that greatly
expands sonic versatility
and performance.

it a rogue syndicate of the Yakuza. Its a word


that has no direct English translation, but rather
has many meanings, including skill and technique. All you need to know is that the Waza
Craft series currently consists of three impressive pedalsthe BD-2W Blues Driver, DM-2W
Delay, and SD-1W Super Overdrive.
While the standard BD-2 and SD-1 pedals have
been mainstays of the Boss line for a few decades
now (since 1995 and 1981, respectively), the biggest news is the return of the coveted DM-2 analog delay, which was produced only between
1981 and 1984. The BD-2W and SD-1W also look
almost identical to their standard counterparts,
having the same triangular configuration of level,
tone, and drive/gain controls and mono input and
output jacks. The DM-2W also has the same controls as its predecessor (repeat rate, echo, and
intensity), but it provides a 1/4-inch rate jack for
controlling delay time with an optional expression pedal and a direct output in addition to the
input and output jacks of the original version.
A mini toggle switch located below the Check
LED is the secret weapon that unleashes the
Waza Craft pedals inscrutable magic. In the S
(standard) position the pedal performs like the
regular, classic version of the pedal (albeit with
a few sonic improvements), while the C position engages a customized circuit. The C mode
increases sustain and body on the BD-2W, boosts
gain and expands tonal range on the SD-1W, and
increase the maximum delay time of the DM-2W
from 300ms to 800ms.

90

GU I TA R WOR L D HOL I DAY 2015

PERFORMANCE Both the BD-2W and SD-1W

feature circuitry that consists entirely of discrete components (in other words, no op amps).
As a result the tone of both is much more organic,
dynamic, and responsive. This is particularly
noticeable in standard mode, where the pedals
have the same basic tonal personality of their classic counterparts but have an entirely different feel
that responds to every nuance of your playing. Both
pedals provide outstanding clean boost functions
with the level control cranked up and the gain/
drive control turned all the way down, with the
SD-1W providing a greater range of midrange textures via its tone control. The BD-2Ws tone control has a less dramatic effect on the overall tone,
maintaining more of your guitars inherent character. With the gain/drive control turned up, both
deliver luscious, harmonically rich distortion with
silky smooth sustain, particularly in the stellar custom mode, which pushes the front end even harder
without ever sounding fuzzy or gritty.
As for the DM-2W, if youre an analog delay
fan, buy it now. This pedal delivers the warm, fat
delay effects and hypnotic true echo sounds that
dreams are made of in delay times ranging from
20-300ms in standard mode and up to 800ms in
custom mode. The custom mode adds a touch
more clarity thats perfect for the Cathedral
and the Edge-style echo trick with warmth that
sounds like a second guitar instead of an effect.
Crank up the intensity and play with the repeat
rate control to summon trippy dub echoes or generate a variety of spaceship and buzzsaw noises.

The DM-2W adds a rate jack


for controlling delay time
with an optional expression
pedal and a direct output
to the classic DM-2 analog
delays design.
The DM-2Ws custom
mode increases the delay
time to 800ms, a full
500ms more than the standard modes 300ms maximum delay time.
All three pedals feature all-analog circuitry
thats designed to provide
improved dynamic responsiveness and more natural
overall tone.

THE BOTTOM LINE


If you love the rock-solid reliability of a Boss compact
pedal but are also a discriminating tone connoisseur who
cant live without the refined
performance of a hot-rodded boutique stomp box, the
Boss Waza Craft line offers
the best of both worlds.

For video of this review, go to


GuitarWorld.com/Hol2015

Seventh Heaven

JERICHO GUITARS AVENGER 7 PRO 26 By Ch ris G ill

HE MARKETPLACE FOR solid-

body electric guitars is very crowded, and most companies seem content to take a me too approach to extended
range instruments. Jericho Guitars wisely
took a different approach by specializing in
long-scale and extended range guitars that
are more in tune with the wants and desires
of modern guitarists, both figuratively and
literally. Jerichos new Avenger 7 Pro 26,
which features a 26-inch scale, offers an in
between option that bridges the gap between a 25.5-inch standard scale guitar
and a 27-inch scale baritone to provide
playing comfort similar to the former
and the ideal string tension and more
accurate intonation of the latter.
FEATURES The overall size of the Jericho

Avenger 7 Pro is slightly longer than that


of a standard six-string, but thats due
to a combination of a bigger body
and longer headstock in addition
to the extra 1/2 to 1 1/4 inches of
scale length. Jericho offers four
different versions of the model:
ash body/maple fretboard, natural or blue spalted maple top,
and satin blacked out finishthe
latter three featuring mahogany
bodies and rosewood fingerboards
with block inlays. We tested the
satin black version. Other features com-

CHEAT
SHEET

DIRECT PRICE
$849.99
MANUFACTURER
Jericho Guitars,
jerichoguitars.com

The 26-inch scale


provides more accurate
intonation for a sevenstring guitar with 24
frets while also providing playing comfort for
guitarists used to standard scale lengths.

mon to all Avenger 7 Pro models include a


three-piece maple neck with set-thru construction, 24 frets, recessed TonePros locking tune-o-matic bridge, string-thru-body
design, and Grover Rotomatic locking tuners. Electronics consist of direct-mounted
Seymour Duncan JB7 (bridge) and 59 Reissue (neck) humbuckers, a three-way blade
pickup selector, master tone control, and
master volume knob that does double duty
as a push-pull coil tap switch.
PERFORMANCE Jericho determined that

the 26-inch scale was the ideal length for a


seven-string guitar with a 24-fret design.
Playing the guitar, its immediately apparent that they made the right decision, as the
intonation is dead-on when playing the lowest notes on the lowest strings and the highest notes on the highest stringsthe most
common problem areas for standard- and
extended-scale guitars, respectively. Even
better, the guitar feels familiar and comfortable for players who are used to instruments
with 25.5-inch scales, which can be attributed to both the 26-inch scale length and Jerichos outstanding construction, the guitars
overall streamlined feel, and its slim neck
profile. The instrument sounds amazing too,
with crisp attack and detailed articulation
thanks to the responsive Seymour Duncan
pickups. Jerichos Avenger 7 Pro may offer
players the ideal seven-string design.

Direct-mounted Seymour Duncan JB7 (bridge)


and 59 Reissue (neck)
humbuckers produce huge
tones with crisp attack and
detailed articulation.

THE BOTTOM LINE


The Jericho Avenger 7 Pros
26-inch scale hits the just right
sweet spot for a seven-string guitar with a 24-fret neck, providing
the ideal balance of comfort, string
tension, and intonation for players
exploring extended note ranges.

guitarworld.com

91

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Instant Rhythm Section


DIGITECH TRIO BAND CREATOR PEDAL By Ch ris G ill

FEW THINGS ARE more creatively fulfilling for a


guitarist than improvising and jamming. The problem is
trying to get other musicians together to do that, especially when most drummers prefer to spend their time
camped out at Taco Bell waiting for new dollar menu
items to appear and many bass players cant afford to
buy gas because their unemployment checks are six
months late. For years Band-in-a-Box software was the
guitarists best friend for spontaneous jam sessions, but
now DigiTech has harnessed the power of Band-in-aBox software in a compact pedal format that players can
use with their regular rigs and without a computer.
FEATURES The DigiTech Trio is a true
band in a box that automatically generates bass and drum parts that match rhythm
parts that you play. It offers seven selectable genres (blues, pop, alt rock, rock, country, R&B, and jazz) and 12 style variations per
genre as well as adjustable tempo and separate level controls for the bass and drum

92

GU I TA R WOR L D HOL I DAY 2015

parts. Jacks include a standard 1/4-inch guitar input, a control in jack for an optional
DigiTech FS3X foot controller (very useful
for live performance applications), and three
outputs (amp, mixer, and headphone) that
perform differently depending upon which
jacks are used. Using only the amp output
engages an EQ circuit that optimizes the bass

and drum tones for playback through a guitar amplifier; using mixer out only applies
speaker emulation to the guitar signal; and
using both the mixer and amp outputs feeds
the guitar signal only to a guitar amp via the
amp out while the bass and drum signals are
routed to the mixer out. The headphone output mutes the amp and mixer outputs and
features its own independent level control.
When using just a guitar amp, the bass
and drums sound best when using a clean
setting. If you dont want a clean guitar
tone as well, the pedal provides a Guitar FX
switch that provides distortion and other
effects that change to correspond with
the musical genre selected. Trio can learn
three different song parts (such as verse,
chorus, bridge) that can be selected via buttons at the top of control panel or with the
optional footswitch. Theres also an Alt
button for selecting an alternate tempo
usually half or double speed.
PERFORMANCE Although the Trio is not

an intuitive, plug and play-without-reading-the-manual product, it is very easy to


use. The manual is only 28 pages long, and
most functions are easy to remember once

For video of this review, go to


GuitarWorld.com/Hol2015

TC Electronic
SENTRY NOISE GATE

CHEAT
SHEET
youve performed them a few times. Mastering the learn function is the key to success,
and this basically requires that you play a
chord progression with clearly fingered
chords, keep the rhythm steady, and properly time the downbeat when disengaging
the learn mode. Chances are this alone will
make your playing ten times better before
youve even jammed to your first groove.
Hearing the bass and drum parts
that Trio comes up with is totally cool.
Granted, were not talking a Geddy Lee
and Neil Peart level of sophistication here,
but more often than not the parts fit and
have some substance and style. While the
bass and drum sounds arent reasonable
substitutes for real bass and drums in the
studio or when performing showcase gigs,
they certainly sound good enough to jam
along with or for casual solo performances.
The accompaniment even includes perfectly timed fills and transitions. Equally
cool is how the bass lines and drum patterns adapt to the selected genre and how
each style setting varies. In addition to
being helpful for practice, the Trio could
even help you get out of a creative rut
when writing songs.

The TC Electronic Sentry Noise Gate is


the latest addition to the companys line of
TonePrint-enabled pedals and is a state-ofthe-art multiband noise gate. The Sentry
Noise Gates multiband setting provides
seamless and organic noise reduction, and
also offers a classic hard-gate mode, perfect
for heavy players who demand instant noise
removal, along with a loop send/return for
silencing noisy pedals and amps, all without
cutting out dynamics or feel. This loop can
even be used for creative side-chaining, so
the gate can be in precise sync with other
signals.
STREET PRICE $129.99
tcelectronic.com

LIST PRICE $279.95


MANUFACTURER DigiTech,
digitech.com
Seven genres and 12 style variations provide an impressive variety of parts to jam along with,
all based on the chord progressions that you teach the unit.
The bass and drum parts have
their own level controls, and
the Guitar FX switch automatically selects distortion and
effects that complement the
selected genre.

THE BOTTOM LINE


Easy to use, surprisingly versatile and intelligent, and even
inspirational, the DigiTech Trio
is the perfect practice buddy
thats always ready to jam when
you want to and always pays
attention to what you play.

Korg

GA CUSTOM TUNER
The Korg GA Custom is a new type of
compact, hand-held tuner that packs highend functionality into a convenient and
highly portable package. The GA Custom
features a large 3D visual meter, the first
of its kind for a compact tuner, with three
versatile display modes that delivers
unprecedented visibility and ultra-high
0.1 cent tuning precision. The GA Custom
has input/output jacks to be used when
tuning an electric guitar or bass, and a
built-in high-sensitivity mic that allows
tuning for acoustic guitars, wind and string
instruments, and keyboards.
STREET PRICE $29.99
korg.com

guitarworld.com

93

SOUNDCHECK

For video of this review, go to


GuitarWorld.com/Hol2015

Horse Sense

EPIPHONE MASTERBILT AJ-45ME ACOUSTIC/ELECTRIC By Ch ris G ill


THE J-45 IS one of the most successful and
popular flattop guitar models of all-time.
From its introduction in 1942 through the
Seventies, the J-45 was known as a workhorse guitar due to its affordable price
and reliable performance, but as time progressed both vintage and new models,
which are still produced today, became too
expensive for the everyday working guitarist. Epiphones new Masterbilt AJ-45ME
brings the price of this beloved slope-shouldered dreadnought model back down to
earth without compromising the quality, playability, and tone that have made
the J-45 a favorite of both pros (like
Bob Dylan, Bruce Springsteen, and Jeff
Tweedy) and average Joes alike.

GUITAR
WORLD

GOLD
AWARD
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FORMANC

FEATURES The basic features and con-

struction of the Masterbilt AJ-45ME


are identical to those of the classic
J-45, including the solid Sitka spruce
top, solid mahogany back and sides,
mahogany neck with 24.75-inch
scale length, rosewood fretboard
with 20 medium frets and pearloid dot inlays, and 16-inch wide
slope-shouldered dreadnought
body. Vintage-style appointments include five-ply body
binding, Grover Sta-Tite 18:1
tuners with nickel-plated butterbean buttons, and the reverse
belly rosewood pin bridge. The
Masterbilt also offers a few modern improvements, such as its SlimTa-

CHEAT
SHEET

94

LIST PRICE $999


MANUFACTURER
Epiphone,
epiphone.com

GU I TA R WOR L D HOL I DAY 2015

The solid Sitka spruce


top, solid mahogany back
and sides, and mahogany
neck with 24.75-inch scale
are all faithful to the original classic J-45 design.

per D-shaped neck profile, compensated


saddle, satin finish, and built-in electronics, which consist of a Shadow NanoFlex
under-saddle pickup and Shadow Sonic
Soundhole controls.
PERFORMANCE The Masterbilt AJ-

45MEs natural acoustic tone is rich,


warm, and vibrant with similar personality to coveted vintage J-45 examples.
While the J-45 is technically a dreadnought, its sound is much more balanced
and bigger than what is generally accepted
as the norm for dreadnought tone. The
midrange is more predominant, the bass
more focused, and the treble more belllike and less zingy. The tone is also quite
impressively complex for a guitar in this
price range, with reverb-like resonance,
smooth sustain, and assertive attack. As a
result the AJ-45ME is a very versatile guitar that equally suited both for aggressively strummed rhythm playing and more
nuanced fingerstyle performances.
The built-in Shadow pickup and electronics also perform well beyond the systems typically offered in the AJ-45MEs
price range. Acoustic purists will appreciate how the controls are hidden from view
inside the soundhole, but theyll especially
love how warm and natural it sounds during
occasions when an amplified boost is necessary. The bass and treble EQ controls, antifeedback phase switch, and master volume
controls provide players with the essentials literally at their fingertips.

Built-in Shadow
electronics consisting of
an under-saddle NanoFlex
pickup and sound hole
mounted controls
provides warm, natural
amplified tone.

THE BOTTOM LINE


Although the original workhorse J-45 has become a pricey
object of desire, Epiphones Masterbilt AJ-45ME puts that popular,
beloved model back in the hands of
the working musicians that it was
designed for.

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MODULAR PICKUPS & PREAMPS

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The Force Awakens

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KIESEL V8 VADER EIGHT-STRING By Chris Gill

WHEN CARVIN RECENTLY split into two

separate companies for instruments, and


amps and audio equipment, the guitar
division was named Kiesel in tribute to
Lowell Kiesel, who founded Carvin in
1946 and passed away in 2009. At Kiesel
Guitars, Lowells son Mark and grandson
Jeff are carrying on the family tradition,
offering custom guitars under the Kiesel
name as well as Carvin brand models. Kiesel Custom Guitars is their flagship line, offering a staggering variety of options that
allow customers to select features that
perfectly fit their needs and preferences in
exacting detail. We took a look at a Kiesel
V8 Vader eight-string fully loaded with a
variety of impressive options.
FEATURES The Kiesel V8 Vader features
a compact, headless design that is ergonomically designed for maximum playing
comfort and balance. All V8 Vader models have a 27-inch scale neck-thru-body
designour example had an ash body with

CHEAT
SHEET

96

DIRECT PRICE $1,199


(starting); $1,599 (as
tested)
MANUFACTURER
Kiesel Guitars,
kieselguitars.com

GU I TA R WOR L D HOL I DAY 2015

antique ash treatment, five-piece black


limba and koa neck, zebrawood fretboard
with no inlays, 24 jumbo gold alloy frets,
and a 20-inch radius. Kiesel even offers a
choice of seven different logo stylesours
had a gold drop-shadow logo.
The hardware and pickups were both
black to perfectly complement the dark,
rich colors of the zebrawood and antiquetreated ash. The Hipshot headless system
bridge also houses the eight tuner mechanisms, and controls consist of master
volume, master tone, and a five-position
pickup selector switch. Pickups are a pair
of Kiesels Lithium Series passive humbuckers with Alnico V magnets and Patented Torx head adjustable pole pieces.
PERFORMANCE Kiesels emergence as

a separate company has enabled them to


focus exclusively on developing new models and improving on existing designs. It
has also enabled them to cut costs significantly, and the savings are passed on to

Kiesel Lithium Series


passive humbuckers
provide powerful, crisp,
defined tone across the
entire frequency range.

customers thanks to the companys direct


sales model. As a result, our V8 Vader
offered craftsmanship, attention to detail,
and materials comparable to a guitar costing three to four times more than our
examples street price.
The V8s light weight and ergonomic
design makes it ideal for six-string players making the transition to eight strings
as well as anyone who wants an eightstring that is simply very comfortable to
play. (Kiesel also offers the Vader in six
and seven-string versions in both 25.5-inch
scale or 27-inch scale.) The five-position
pickup selector delivers instant access to an
impressive variety of full humbucking and
split-coil tones, and the pickups are well
balanced across the entire extended frequency range, providing crisp, defined tone
whether using a clean setting or saturated
high-gain distortion on a wide variety of
standard guitar amps. The V8 is a particularly wise choice for guitarists who want to
make an eight-string their main instrument.

The headless neckthru-body design offers


players a compact,
comfortable design
that feels and plays like
a standard six-string
instrument.

THE BOTTOM LINE


An incredible value, the Kiesel V8
Vader is an affordable alternative for guitarists looking for their
first eight-string as well as an outstanding upgrade for eight-string
players looking for a more comfortable axe.

SOUNDCHECK

For video of this review, go to


GuitarWorld.com/Hol2015

GUITAR
WORLD

PLATINUM
AWARD
EX

CELLENCE

Feel the Fire

SEYMOUR DUNCAN JASON BECKER PERPETUAL BURN


HUMBUCKER By Paul Riario

IF ANYONE EXEMPLIFIES a guitar


hero, its Jason Becker. The virtuoso guitarist is not only idolized for his red-hot playing in Cacophony, with David Lee Roth,
and as a solo artist, but also for his tireless
work ethic composing new music despite
having ALS. Right before he was diagnosed with the debilitating disease in 1991,
Becker had been working with Seymour
Duncan on a signature pickup based on the
companys popular JB model, and now after many years, his vision for a dynamically
responsive pickup with a singing lead tone
is fully realized in the Seymour Duncan Jason Becker Perpetual Burn humbucker.
FEATURES The Perpetual Burn pickup features
an Alnico 5 bar magnet and a 12.11k DC resistance,
which translates to incredible warmth for rolledoff clean tones using the volume knob, and searing output when turned up and used with distortion. The pickup is a drop-in replacement for
humbucker-equipped guitars and requires no

98

GU I TA R WOR L D HOL I DAY 2015

modification to your instrument. Each Perpetual Burn is


hand built, vacuum wax-potted to eliminate squeal, and
available in standard or trembucker spacing. The pickup
comes in black, white or zebra
or can be custom ordered in an
assortment of colors.
PERFORMANCE The Per-

petual Burn sounds powerful but not overwhelming.


The pickup has a hotter output than a vintage-voiced
pickup, and its Alnico 5 magnet and overwound wiring
offers a perfect blend of bass
and upper mids that add body,
but without the wooliness of
a high output pickup. Compared to a Duncan JB, the Perpetual Burn has more defined
character, more dynamics in pick attack, and
with boosted highs that deliver a desirable singing lead tone, especially with a high-gain sound.
I found that just by using my volume knob, I was
able to get a warm clean tone, a clear overdriven
sound with enough bite for rhythm, and stinging
lead tone all the way up. Remarkable.

CHEAT
SHEET
STREET PRICE: $94.95
MANUFACTURER:
Seymour Duncan,
seymourduncan.com
THE BOTTOM LINE
The Seymour Duncan Perpetual Burn is a totally
shred-worthy humbucker,
but its also sonically versatile for all kinds of music
with its robust output that
produces crystal-clear note
definition and warm chunk.

D O W H AT Y O U
WHAT YOU DO
OWN A

FRANCHISE NOW

YOURE PASSIONATE ABOUT MUSIC,

SO WHY NOT MAKE IT A FULL TIME GIG?


At School of Rock, youre surrounded by rock & roll all day and your work makes a difference
in kids lives. We have a unique approach to teaching music that helps kids blossom in
unimaginable ways. As an owner, you dont have to be an expert to make it happen.

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877.556.6184
FRANCHISING.SCHOOLOFROCK.COM

For video of this lesson, go to


GuitarWorld.com/Hol2015

by Tommy Emmanuel

ON THE RANGE

The Chet Atkins/Merle


Travis fingerpicking
style, and how to play, El
Vaquero

FIG. 1 1 (all examples performed with thumbpick and fingers)


FIGURE
Am

100

GU I TA R WOR L D HOL I DAY 2015

FIG. 2 2
FIGURE
Am

HELLO EVERYONE, AND welcome to

my new Guitar World instructional column.


Over the course of the next few months, I
will demonstrate a wide variety of the specific right- and left-hand techniques I use
most often, as applied to the songs from my
latest release, Its Never Too Late, plus some
of the other tunes in my repertoire that I am
asked about most often.
Id like to kick things off with a look at
my approach to the song, El Vaquero,
written by the great Chet Atkins and Wayne
Moss, which I recorded for Its Never Too
Late. A vaquero is a cowboy, and, as the
name implies, this song has a western feel,
with a Spanish/Mexican flavor. I first heard
this song as recorded by Chet for his Hometown Guitar album, on which Wayne played
the rhythm guitar part and Chet added the
melody, or lead, part on top, along the lines
of FIGURES 1 and 2. To execute the rhythm
part properly, use the standard Merle Travis
fingerpicking technique, wherein the notes
on the bottom three strings are picked with
the thumb, with light palm muting, in an
alternating bass fashion, and the notes
on the top three strings are picked with the
index and middle fingers.
My goal with this tune was to find a way
to play the song as a solo piece, so I had to
devise a way to cover both the rhythm and
melody in one guitar part. FIGURE 3 represents my take on the first six bars, and
throughout this section (as with most of the
song), my pick-hand thumb alternates between the bass notes in steady eighth notes.
While doing this, my index and middle fingers pick the melodies and harmonies, often
with the index picking the G string while the
middle finger strikes the B string; if the index finger needs to move up to the B string,
the middle finger will then be used to sound
the notes on the high E, as the fingers work
together (in most places) on adjacent strings.
In bar 1, notice that I use a hammer-on to
move the melody note from C to D on the B
string right on the downbeat of beat three.
Using a hammer-on here works well because
of the consistent alternating bass. In bar 2, I

1
2

2
0

FIG.
3 3
FIGURE

Am

2
0

1 3

(3)

Dm/ F
3

1
3

0
1

Am
5

1 0

2 0
0

2
0

(9)
0

5
7

E( 9)

0
0
1
3
2

2
3
2

G
7

10

3
0

3
0

7
8

take a similar approach, using a pull-off from


C to the open B string on the downbeat of beat
two. The second time through (second ending), this B-string melody is a little different,
as it ascends up to a high E over the A chord
in the last bar of the example. Be sure to play
through this figure slowly and carefully, with
focused attention paid to the subtle syncopations between the bass parts and melody.
FIGURE 4 recalls the subsequent five-bar

8
8

2 2

3
0

3
0

7
8
10

1
2

G
0

D/ F#

1
3
3

0
2

FIG. 5 5
FIGURE

3
0

1 1

Am

FIG.
4 4
FIGURE

A
3

Am

1.

2.
G
3

3
0

1
2

D/ F#

3 5

D/ F#

1
2

10

8
8

8
8
8

1
0

(2)

0
0

E7/ G#
4
3
4

E( 9)
8

12
9
10
9

Am
3

section, wherein the bass notes ascend in


half steps every two beats, from F (Dm/F),
to Fs (D/Fs), to G (G), to Gs (E7/Gs), setting
up the return to Am. Notice that the highest
note of the melody replicates this movement
on the first string. The first section of the
tune ends with FIGURE 5, as somewhat unusual chord voicings for E(f9) resolve to Am.
Ill be back next month with part two of
El Vaquero. See you then!

Australian-born virtuoso fingerstyle guitarist Tommy Emmanuel is world


renowned for his brilliant acoustic performances, arrangements and
compositions. His latest studio album, Its Never Too Late, is available
through his website, tommyemmanuel.com, and iTunes.

A D A M G A S S O N / G U I TA R I S T
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EMMANUEL
DEXTERITY

Seymour Duncan stands for those who want to create unforgettable music
that lends itself to a place and time. Helping you find that sonic voice, that
perfect pickup that makes a smile widen across your face when you hit the
first chord - thats our mission. Built in America, tried and tested on thousands
of albums; Seymour Duncan is here for you.

Acoustic Bass Humbucker Strat Tele P90 Custom Pickups Pedals

REAL SOUL. GENUINE TONE.

seymourduncan.com | 805-964-9610

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HOLCOMB-MANIA

by Mark Holcomb
of Periphery

RIFF
PROGRESSION

How to use chord changes


to devise inventive song riffs
ONE OF MY favorite ways to write prima-

ry song riffs with Periphery and Haunted


Shores is to first come up with a chord
progression built from interesting and unusual voicings, then break up each chord
into single-note patterns built primarily
from the chord tones. The challenge is to
devise different ways to connect all of the
chords in the progression via these singlenote phrases. This way, I will end up with
a riff that melodically describes specific
and shifting harmonies without actually
sounding any chords, per se.
A great example of this technique in
practice is the bridge of the song, Have
a Blast, featured on Periphery II. The
first thing I came up with was the chord
progression detailed in FIGURE 1: with the
guitar tuned to drop-D down one whole
step (low to high, C G C F A D), the progression is Gm9sus4 Csus4 F/A Bf(maj7)
C/F C/E. Youll notice that chords like
Gm9sus4 and Csus4 convey a really cool,
unresolved feeling, creating a harmonic
ambiguity that I really love the sound of.
As soon as I had this progression together, I knew I wanted to create a riff
out of it. Personally speaking, when Im
looking to write a complex, note-y riff,
I find it very helpful to come up with the
chord progression first. It serves to provide markers, so, in the space between
chord 1 and chord 2, as long as I land on
chord 2 at the right spot, everything else
in between is okay and acceptable.
FIGURE 2 illustrates the Have a Blast
riff as heard on the track: its played at a
pretty brisk tempo, 200 beats per minute,
and bar 1 is built from the notes of the
chord played individually, with a finger
slide added from A to Bf on the D string.
Bar 2 functions as an arpeggiation of G6/7,
with the open high E string used as a common tone carried over from bar 1. Bars 3
and 4 feature the full voicings of Csus4
and F/A, as does the beginning of bar 5
with the sounding of the full Bf(maj7)
chord. At the end of this bar, into bar 6,
I break into a single-note line built from
wide intervals and fretboard slides, which

102

For video of this lesson, go to


GuitarWorld.com/Hol2015

GU I TA R WOR L D HOL I DAY 2015

FIG. 1 1
FIGURE

Drop-D tuning, down one whole step (low to high, C G C F A D)

Gm9sus4
5
6
5
8
5
5

Csus4
10
10
10
10

F/A

B (maj7)

C/F

C/E

10
10
8
7

(10)
10
12
8
8

5
5
3
3

5
5
3
2

FIG.
2 2
FIGURE

FIGURE
2 tuning)
(same
Gm9(sus4)
FIGURE
2 tuning)
G5
(same
1
G5
(same
tuning)
FIGURE
2 Gm9(sus4) 6
1
5
Gm9(sus4)
G5
FIGURE
2 tuning)
6
7 8
(same
1

0
0
0

5
5
Gm9(sus4)
7 8
G5
5(same5 tuning)
6
1 5
5
Gm9(sus4)
0
G5
5
5 7 8
6
1 5
0
5
5 7 8 5 6
5 (maj7)
5
B
7
8
5
5
4
5
B (maj7)
5
5
4
(10)10
10 10 10 B (maj7)
10
10 10 10
4 (10)
(10)
10
(8) 10
8
8 10
8 10
8
(10)
10
(7) 10
7
7 10
7 10
7 B (maj7)
8
8
(8) 10
8
8 10
8 10
8
4 (10)
10
(7) 10
7
7 10
7 10
7 B (maj7)
8
8
(10)
10
4 (8) 8
8
8 8
(10)
10
(7) 10
7
7 10
7 10
7
8
8
(10)
10
10
10
10
(10)
10
(8) 10
8
8 10
8 10
8
F5
(10)
10
(7) 10
7
7 10
7 10
7
8 C/E8
7 (8) 8
8
8 8
F5
(7) 7
7
7 7
8 C/E8
7

F5
3
7 15
15
3
F5
15
3
3
7 15
F5
15
3
7 15
3
15
15
33
15
3
15
3
1015 0 3
15
3 8
10 810 0
10
810
8
10
0 10
810
8
10
0 10
8
10 810 0
10
810
8
10
14
14

10

3
3
3
3
3
3
33
3
3
033
0 10
0 10
0 10
0 10
10

14 17 14

0
8 10
8
0 10
8 10
8
10
0
8 10
8
0 10
8 10
8
0 10
8 10
8
10

8 8
8 8
8 8
8 8
8 8

(3) 3 C/E
(3) 3
(3) 3 C/E
2 2
(3) 3
2 2
(3) 3 C/E
(3) 3
(3)
2 2
(3) 33
(3) 3
3
(3)Csus4
2 2
(3) 3
3
2 2
8 (3)Csus4
10 (10)
8 Csus4
10
10 (10)
10 (10)
10
10
10 (10)
8 Csus4
10
10 (10)
Csus4
10
10 (10)
8
10
10
10 (10)
(10)
10
10
8
10
10 (10)
(10)
10
10F5(10)
10
10 (10)
10
10F5(10)
17 10
18 10 (10)

1410 12 14 17 14 15 17 18
12
15 17 18
1410
14 17 14
15 17 18
14 12

10
14 17 14
12
15 17 18
10
14 17 14
12
15

F5
15
15
F5
15
15
F5
15
15
15
15
15
15
15
15

(10)
10
(10)
12
10
8
12
8
(10)
8
10
8
12
(10)
8
10
8
(10)
12
10
8
12
8
8
8

2
2
2
2
2

3
3
3
3
3
3
33
3
3
3
3

0
0
0
0
0

3
2
3
2
3
2
F/A 32
F/A 32
10
F/A
10
10
8
10
F/A
7
8
10
F/A
7
10
8
10
7
10
10
8
10
7
8
7
3
3
3
3
3
3
33
3
3
3
3

(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)

serve to accentuate the harmonically


unresolved vibe of the musical passage.
Bar 7 begins with an octave slide from F5,
fretted across the bottom three strings at
the 15th fret, down to the third fret; the

(10)
(10)
(10)
(12)
(10)
(8)
(12)
(8)
(10)
(8)
(10)
(8)
(12)
(10)
(8)
(10)
(8)
(10)
(12)
(10)
(8)
(12)
(8)
(8)
(8)

Csus4
Csus4
Csus4
10
10
10
Csus4
10
Csus4
10

0
8
0 10
8
10
0
8
0 10
8
0 10
8
10
10
12
10
12
10
12
10
12
10
12

3 3 3
2 2 2
3 3 3
2 2 2
3 3 3
2 2 2
3 3 3
2 2 2
3 3 3
2 2 2
(10)10 10
(10)10 10
(10)
(8)10
8 10
8
(10)
(7)10
7 10
7
(8)10
8 10
8
(10)
(7)10
7 10
7
(10)
(8)10
8 10
8
(10)
(7)
7
7
(10)10 10
(10)
(8)10
8 10
8
C/E
(10)
10
(7)
7 10
7
(8) 8 8
C/E
(7) 7 7

3 C/E
3
3 C/E
2 2 2
3
3 C/E
2 2 2
3
33 2 2 2
3
3 2 2 2
3
3 2 2 2

10
10
10
10
10
10
10

12 1212
12 1212
12 1212
12 1212
12 1212
5
5
3 53
2 52
3 53
2 52
3 35
2 52
3 53B
2 52
3 3B
2 2
10 10 B
10 10
10
8 10
8
10
7 10
7B
8 10
8
10
7 10
7B
10
8 10
8
10
7
7
10 10
10
8 10
8
10
7 10
7
8 8
7 7
3
2
3
2
3
2
3
2
3
2

10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
12
10
12
10
12
10
12
10
G5 12

(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
14 17
14 17
14 17

0
0
0

F/A
F/A
10
F/A
10
10
8
10
F/A
7
8
10
F/A
7
10

8
10
7
10
10
8
10
0
7
8
0
717
14
15 17
14
15 17
14
15 17
14 17 14
15 17
14Gm9(sus4)
17 14
15

18
18
18
18
18

Gm9(sus4) 0
G5
6
0
5
5
Gm9(sus4)
G5
6
5
7 8
53
5
5
0
Gm9(sus4)
52
G5
5
5 7 8
6
5
53
5
0
G5
5
5 Gm9(sus4)
52
7 8
6
35
5
0
5
5 7 8 5 6
52
53
5
5
(maj7)
52
5
5 7 8
3
5
(maj7)
2
5 (10)
5 (10)
(maj7)
10 (10) 10
(10)
12 (10)
(12) 12 121212
10
8 (10)
(8) 10
(maj7)
12
8 8 8 8 (10)
8 (12)
(8) 12 121212
(10)
8 (10)
(8) 10
10
(maj7)
8 8 8 8 (10)
8 (10)
(8) 12 121212
12
(12)
8 (10)
(8) 10
10
8
(8) 12 121212
8 8 8 8 (10)
(10)
12 (12)
10
8 (10)
(8)
N.C.10
(D5)121212
12
8 8 8 8 12
8 (12)
(8)
8 (8)
N.C. (D5)
8 8 8 8 8 (8)
5 5 N.C. (D5)
5 5
3 3 3 3 53 53 N.C. (D5)
2 2 2 2 52 52
0
3 3 3 3 53 53 N.C. (D5)
2 2 2 2 25 25
0
3 3 3 3 53 53
2 2 2 2 52 52
0
3 3 3 3 53 53
2 2 2 2 52 52
0
3 3 3 3 3 3
2 2 2 2 2 2
0

F5 here substitutes for the C/F in the progression, though either could be used. I
anticipate the change to C/E by switching
to this chord on beat four of bar 7, instead
of hitting it squarely on beat one of bar 8.

Mark Holcomb plays guitar in Periphery, whose latest pair of albums


Juggernaut: Alpha and Omega is out now.

From

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COLUMNS

STRING THEORY

For video of this lesson, go to


GuitarWorld.com/Hol2015

By Jimmy Brown

CLASSIC PIANO

FIG.
1 1 "Moonlight Sonata," 1st movement, accompaniment (l.h. piano part), bars 1-35
FIGURE
C m

How to play the dreamy


arpeggios in Beethovens
Moonlight Sonata

FOR OVER 20 years, Ive had this idea in

my head for a cool classic rock-style arrangement of Ludwig van Beethovens famous
piano piece, Moonlight Sonata, specifically
the slow first movement (Adagio), which
features a hauntingly beautiful chord
progression unfolding as hypnotic triplet
arpeggios supporting a sparse, poignant
melody. My idea, which Ive finally written down, recorded and am excited to now
share with you, was to arrange the pianos
left- and right-hand parts for two electric
guitarsrhythm and leadwith bass and
drums accompaniment, in a dramatic, British hard/prog-rock style inspired by Pink
Floyds Shine On You Crazy Diamond, Led
Zeppelins Since Ive Been Loving You and
Brian Mays playing on the Queen songs We
Are the Champions and In the Lap of the
GodsRevisited (Sheer Heart Attack).
Here I present approximately the first
half of the left-hand piano partthe accompanimentwhich I perform with a slightly
dirty bridge-pickup tone and a generous
amount of concert-hall reverb, which helps
emulate the ringing piano sound Beethoven
achieved by using that instruments sustain
pedal (see FIGURE 1). This part of the arrangement has you playing an unbroken
stream of slow, steady eighth-note-triplet
arpeggios, la Chicagos Color My World,
and requires some practice to master, as you
will need to anticipate some of the challenging fingerings. Its mostly flatpicked single
notes, but you will need to use hybrid picking (pick-and-fingers technique) in order to
simultaneously pluck two notes on non-adjacent strings on most of the chord changes.
First, familiarize yourself with the chord
shapes, making sure your fretting fingers
are properly positioned, then work on the
picking, striving for an even triplet rhythm
throughout. The goal is to try and allow the
arpeggios and bass notes to ring together
as much as possible, although that becomes
impossible in the last half of bars 34 and 35,
where you need to let go of the bass note
as your fret hand shifts up the neck to play
the extended diminished arpeggios. This
is where the thick reverb helps to emulate

104

GU I TA R WOR L D HOL I DAY 2015

1
4

C m/ B

C m

1
4

6
0

Bm

17

B
4
2

0
2

6
4

5
0

/G
2

2
3

G / B#
1
3

0
7

4
2

Em/ B Em
4

F m/ C#

Cdim7

03

0 3

4
3

4
4

4
2

/G
4

Em

C sus4 C
4

5
6

6
4

7 9

C m/ G#
11

11

11

12 9

1
4

79

12

4
2

4
2

7 9

11
11

12

14

11

F m

B
4

G dim7
4

6
4

E/ B

1
2

0
3

0
2

4
3

14 11 17 14

25

7
7

6
8

4
4

25

15

17

18

0
1

/G
4

2
4

4 7

6
4

7 4

7 4

G 7 9
4
4

Em

G 7 9

0
6

6
5

F m

C 7/ E#

2 5

C 7/ E#

B7

Em/ B Em

C dim/ B / A#

F dim7 Gdim7 G 7 9

C m/ G#

12

C dim7/ G#
9

9
4

B
4
2

G7/ D
0
0

G 7 C m G sus4 G 7

D/ F#

F m
1

C m

C m
7 9

2
0

Bm
3

D dim7F m/ C# G 7/ B#
6

33

11

C m/ G#

29

11

Bm/ F#
4

F m

25

Em6
3

G/ B

21

1
2

Em
4

13

4
2

7 4 10 7

10

11

FIGURE 1 "Moonlight Sonata," 1st movement, accompaniment, bar 36 to the end

G 7 9 sustain pedal function. As youll


the 36
pianos
8
5
7
4 7 performance
4
7 I 4addhear in the
video
online,
5
5
5
5
7
4 7
7
4
ed a bass
guitar
part,
which
octave
doubles
6
4
4
the built-in bass line and sustains the low
notes during these parts. I also doubled the
G 7 9
D/ G# F m/ G# G 7 9
A
bass39notes with a lightly overdriven single2
2
1 21
1 2 panned
1
note guitar
(double-tracked
and
4
4 4 7 47
4
4
2
2
3
4

3
4

4
5

F m/
G# right),
G 7 which
9
D the
dim/Brian
G# F m/ G#
hard left
and
is
May/Queen influence
I
mentioned
earlier.
1 2 1
7
4
4 7
4
4
4 7
4 7
of
6Next
4 month Ill
3 show you the
6 remainder
4
4
the arpeggio part, then well move on to the
melody, which features lots of wailing string
F m6
G
C m
bends and vibratos, played with 0a high-gain
0
0
2
2
1
1
2
2
2
2
2 tone,
2 la
1 Pink
1 Floyds
1 David
1
1Gilmour.
1
lead
1
1
1
1
2
2

To download Jimmy Browns Mastering Arpeggios 3 DVD and

G 7/
B#
C m
F mor the complete
E/ B
B7
othersas
individual
chapters
discvisit

43

4
4
4
4
2
2
2
2 the official
0
0
4 World
4
1 guitarworldlessons.com
1
1
1
1
1or download
2
2
1
1 Guitar
4
4
7
7
3 Lessons app in iTunes.
4
2
2
7

E
6
0

ROCK SOMEONES HOLIDAY WITH

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COLUMNS

SHREDDING
WITH THE ALIEN

For video of this lesson, go to


GuitarWorld.com/Hol2015

by Joe Satriani

GOT THE JIMIS

FIG. 1 1
FIGURE

Hendrixs rhythm guitar


inspiration

(E)
9
9 11

ONE OF THE most important aspects of

becoming a competent, well-rounded and


in-demand guitar player is a dedication to
the art of rhythm guitar playing. This is
something that doesnt get addressed nearly
enough within instructional parameters,
and I believe that is because it can be more
difficult to practice rhythm guitar than it
is to practice soloing techniques. All guitar
players love to play and practice licks, solos
and scales all day long, but having the discipline to practice rhythm guitar is another
matter entirely.
For me, the study and appreciation of the
art of rhythm guitar was greatly inspired
by the music of Jimi Hendrix. Jimi himself
had been a keen student of the R&B/soul
rhythm playing of guitarists such as Curtis
Mayfield, Ike Turner and Steve Cropper, all
of whom had devised creative ways to fill
out musical arrangements with small chord
voicings, voice leading techniques and an
overall sense of melody. Just a cursory listen
to Jimis Castles Made of Sand, Little
Wing or Bold As Love tells you all you
need to know about his brilliance as a trailblazing rhythm guitarist.
Lets say, for example, you had a chord
progression of E to C to A and you wanted
to spruce it up with some little connecting
passages. The overall approach is to put together a major pentatonic-based toolbox
and apply elements of major pentatonic to
each of the chords. In FIGURE 1, my index
finger is barred across the A, D and G strings
at the ninth fret, and I use my ring finger to
hammer-on to the 11th fret on the A and D
strings, creating the sound of E/Gs along
with a quick reference to A/Cs. The notes
that are accentuated here are the second,
third, fifth and sixth of E, and all of those
intervals are found within the E major pentatonic scale, as illustrated in FIGURE 2. I
will use those pitches for chordal improvisation when playing over the E chord.
When I switch to the C chord, Ill use the
notes of C major pentatonicC D E G Ato
create two-note harmonies to embellish the
sound of C major. The same approach can
be applied to the A chord, using A major
pentatonicA B Cs E Fsplayed similarly in
harmonized two-note pairs, as shown in bars

106

GU I TA R WOR L D HOL I DAY 2015

FIG. 2

FIGURE 2
9
9 11

9
11

12

9
9

9
9 11

12

9
9 11

11

11

11

12

FIG. 3 3
FIGURE
C5

8
8

10
10
8

10
10

8
8

8
9

8
7

8
9

10

8
9

8
7

10

3
FIG.
4 4
FIGURE
1

A
5
6
7
5

5 7 5 7 7
4 6 4 6

7
6

5
4

24

42 4

34

24
24

2
2

420

3
9 9 9 9
911 911 911 9

8
8

810

9
911

320

3
C

8
7

8
7

0
0
1
2
2
0

0
0

0
0
1
2

79

3
10

711

9
9

12

10 12

10 12

10

12 10

14

12
5

w/bar
6

A
9

E
7 9

7
9
7 11

10

9 7

9 7 5

0 12
12 1412
14

12

1113

11

11 9 9 9
14 11 9 11 9

FIG. 5 5
FIGURE
E
2
2
0

9 7

0
9

7 9

10
0 8 12

A
1010
101210

12

3
E

5
7

1 and 2 of FIGURE 4. In bar 3, I switch back


to E and shift down to the lower area of the
fretboard, followed by a return to ninth position, as demonstrated in FIGURE 1.
Bar 5 features a return to C and more
chordal embellishment based on C major
pentatonic. In bar 6, on the switch to A, I instead opt to play a single-note melodic line
based on A major pentatonic, and in bars
7 and 8 I return to E and navigate through

7
7

7
79

9 (9)
9 (9)
11 (11)

12

7 7
79 7

14 14
141416
16

12

1214

9 9
9

911

11

harmonized note pairs in E major pentatonic in a similar manner.


Lets say the chords in the progression
change more frequently: in FIGURE 5, I
play two beats of E then two beats of C, followed by a full bar (four beats) of A. Once
you have these shapes down, experiment
with the myriad of ways in which one can
weave interesting rhythm parts based on the
techniques illustrated here.

Legendary guitarist and longtime Guitar World contributing columnist Joe


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COLUMNS

ACOUSTIC
NATION
by Dale Turner

MODERN
MINSTREL

The sublime accompaniment


stylings of eclectic
songsmith Chris Cornell
WIDELY REGARDED AS one of the great-

est rock singers of all time, Chris Cornell


has fronted two of the most unique and
successful bands of the modern era, namely
Soundgarden and Audioslave. Between (and
in some cases, during) those projects, Cornell also penned pieces for film soundtracks
(Singles, Great Expectations and Casino
Royale, among others) and issued a trio of
solo albums, resulting in an impressively
diverse body of work. Since 2011, Cornell
has been taking much of this massive song
catalog, including a few songs he wrote
and recorded with Temple of the Dog and
some creative covers, and delivering it in
two-and-a-half-hour solo acoustic shows,
as documented on his live Songbook album.
As much joy as this has brought Cornellto
the point where solo acoustic artist is
now a cherished part of his musical identityfeelings of being trapped in the format
began feeling more nostalgic than newly
creative. Enter Higher Truth, Cornells
first ever all-acoustic studio recorda platter influenced by Nick Drakes Pink Moon,
Bruce Springsteens Nebraska and Daniel
Johnstons Songs of Pain, but ripe with
modern production. Lets celebrate this new
Cornell accomplishment with a look at some
of Higher Truths future classics!
Cornell penned Josephine for his wifeto-be; as the proverbial ink dried, he sang
it over the phone (while on tour) as a marriage proposal. Played fingerstyle, capo-2,
the songs emotional intro features tasty
hammer-ons and pull-offs in open position,
similar to FIGURE 1. Note the use of thumb
fretting on the low F notes in bar 2, which
facilitates a pull-off to the open G string
within the chord, a feat not possible if using
a conventional F barre chord fingering.
Murderer of Blue Skies opens with
Cornells acoustic guitar and voice, but soon
blossoms into an epic production, all interlaced with a fingerstyle arpeggio riff, similar
to that shown in FIGURE 2. This passage
features upper-register common tones
notes shared among chords on the top two
stringsand an interesting rhythmic device

108

For video of this lesson, go to


GuitarWorld.com/Hol2015

GU I TA R WOR L D HOL I DAY 2015

FIG. 1 1
FIGURE
Am

Em

Capo. fret 2
0

4
0

FIG. 2 2
FIGURE

0
3

Am

3
0

Em

2
0

Dsus4

Csus2
3

2
0

0
0

0
2
3

G5

Em7
3

G/ B
3

3
2

FIG. 3 3
FIGURE

drop-D tuning (low to high, D A D G B E)

0 2
0

G/ D

0
0

2
0

3
0

3
0

Gm/ D
3

0
0

3
0

D
3

0
0

3 2
0

2
0

FIG. 4 4
FIGURE

Tune down one half step (low to high, Eb Ab Db Gb Bb Eb)

a)
G

Gaug

3
0
0
0
2
3

b)
F

3
0
0
1
2
3

0
1
0
2
3

1
1
2
3
3
1

c)
C

4
4
5
6
6
4

0
1
0
2
3

0
1
0
2
3

Am

0
0
1
2
2
0

0
1
2
2
0

FIG. 5 5
FIGURE

Mandolin arr. for gtr.

Am
Capo. fret 5
4 5

A 5F m7 5

5 4

E5

0
4

0
2

known as hemiola, which in this case creates a three-against-two phrasing scheme,


as three-note groupings are played an even
eighth-note rhythm.
The drop-D-tuned gem Worried Moon
tells the tale of a man down on his luck and
forced to sleep outdoors, with only the moon
for company. For the songs verses, Cornell
thumps his low D string throughout, often in
alternation with the open fourth string, in support of a melodic passage (bars 1-2) and arpeggiated texture (bars 36), not unlike FIGURE 3.
When it comes to writing rock songs,
Cornell is king of the unexpected chord
changeexotic progressions tracing back

Am

4 5

A5

E
0

5 4

E5
0

to Soundgardens Black Hole Sun, developed to new heights on 1999s Euphoria


Morning and employed in new album cuts
like Higher Truth. Following its opening
D-to-Fsm change, FIGURES 4ac present
three clever ways of navigating around a
basic C chord, moves all employed within
the songs first verse!
Well close this lesson with a nod to
Cornells Nearly Forgot My Broken Heart
mandolin riff, akin to FIGURE 5 (arranged
here for guitar, capo 5). Initially conceived as
a country tune, the song quickly ventured into
new territorysonic terrain highlighted by an
electric guitar solo, played by Cornell himself!

To download Dale Turners Secrets of the Great Acoustic


Songwriters DVDas individual chapters or the complete
discvisit guitarworldlessons.com or download the official
Guitar World Lessons app in iTunes.

LESSONS

HAVING
ACOUSTIC ISSUES?
DONT FRET.
Theres a capo for that.
The Kyser Quick-Change.

Guaranteed for life.


www.kysermusical.com

KYSER MUSICAL PRODUCTS

MADE IN USA

COLUMNS

by Andy Aledort

PERFECT PAIRS

How to harmonize improvised


melodies within the structure
of E major pentatonic
HARMONIZED GUITAR LINES are a

staple of classic rock from the Seventies,


as exemplified by many well-known songs
from the Allman Brothers Band, Lynyrd Skynyrd, Thin Lizzy and Steely Dan, as well as
NWOBHM bands, such as Iron Maiden and
Judas Priest. Though most often associated
with country music, harmonized lines built
from the major pentatonic scale have found
their way into a great many rock songs,
such as those by the abovementioned artists
and Jimi Hendrix.
To review, major pentatonic is a five-tone
scale with an intervallic makeup of the 1 (root),
2 (major second), 3 (major third), 5 (fifth)
and 6 (sixth). Over the past few columns,
weve explored harmonized patterns built
from thirds that are based on both the major
pentatonic and the major hexatonic scales. As
the name declares, major hexatonic is a sixtone scale that is identical to major pentatonic
but also includes the fourth (spelled 1, 2, 3, 4,
5, 6). In the previous examples, we chose a
pair of adjacent strings and moved from one
harmonized pair to the next, traversing the
fretboard while staying diatonic to the specific
scale. In this months column, I demonstrate
how to apply the technique to improvised,
harmonized two-note melodies played
within specific fretboard positions.
When harmonizing in major pentatonic,
the majority of these two-note harmonies
are fourths (the two notes are four major
scale degrees apart); the only time a harmony of a third is produced is when the
root note is the lower of the two notes in the
pair. FIGURE 1 illustrates descending twonote harmonized pairs on adjacent strings
played in ninth position. Most of these note
pairs are fretted as barres, with either the
index finger, ring finger or pinkie, with only
one pair, B with Fs below it, fretted with
two different fingers.
Now lets try moving through these note
pairs in a free, improvised way, as shown
in FIGURE 2: in this example, the line is
played primarily in steady 16th notes, and as
I move from pair to pair, I am listening for a
melodic contour to take shape, from which
I can develop the line further as I proceed.
Another element is the articulation, as I favor

110

For video of this lesson, go to


GuitarWorld.com/Hol2015

IN DEEP

GU I TA R WOR L D HOL I DAY 2015

FIG. 1 1
FIGURE
(E)
12
12

9
9

12
11

9
9

11
11

9
9

11
11

9
9

11
12

9
9

11
12

FIG. 2 2
FIGURE
(E)

912 9 9
912 912 912 9
11 11 9

11 911 9
111111 911 9 1111
11 11

9
9

9 11 9
11 9 11 9

9
9

12

9 1212 9 9
9 12 9 12 9 1212 9 912 9
9 11 9 11 9 11
11 9
9 11

9 11
911 9 11
911
11

9 11
12 9 12

FIG. 3 3
FIGURE
(E)

912
91212 9
11 9 11 9
9
11 9 11 9
11 9 11

9
9

11 9
11 9

9 11 9
9
9
11 9 11 9

11

11 9
11 9 7

97

9 7 9

11

9 11

9 7 7 (7) 9

FIG. 4 4
FIGURE
(E)

12 9
11 9 11 9 11
11 9 11

9
9 9 11
9
11
9 11
9 9 (9)
12
9 (9)

9
9

9 11
9 12

11
11

99
99

11
11

9
9

12
9 11
9

9
9

9
9

9
9

9 12 14 12 (12)
9 12 14 12 (12)

FIG. 5 5 E major pentatonic


FIGURE
9

(7)

FIG. 6 6
FIGURE
(E)
9
9

7
7

9
9

7
6

9
9

6
6

9
9

6
7

9
9

7
7

7
7

9
9

6
7

9
9

6
6

9
9

7
6

9
9

7
7

9
9

FIG. 7 7
FIGURE
(E)
7
7

9
9

7
7

7
7

9
9

7
6

9
9

7
6

9
9

7
6

9
9

6
6

hammer-ons and pull-offs as much as possible in order to yield a smooth, even sound.
Another effective approach is to move
between two-note pairs and single notes, as
this tactic will afford more melodic freedom.
FIGURE 3 illustrates this type of approach,
as bars 1 and 2 consist mostly of harmonized pairs, while bar 3 is played as single
notes only. It can be a little tricky to move
smoothly in and out of the pair thats fretted
with two different fingers, so work through

9
9

6
6

9
9

6 9 6
6
6 9 6 9 6 9 6 9 6
6
9
9 7 9 7 9 7 9 7
9
9 7

FIGURE 4 carefully and try to make those


transitions as smoothly as possible.
Now lets move down to the next lower
fretboard position of E major pentatonic, as
shown in FIGURE 5. FIGURE 6 illustrates
harmonized note pairs played in this position, and FIGURE 7 offers an improvised
line that is articulated in a similar manner
as FIGURES 2 and 3. Once youre comfortable with these examples, try devising some
harmonized two-note melodies of your own.

To download instructional guitar DVDs by Andy Aledort


as individual chapters or complete discsvisit
guitarworldlessons.com or download the official Guitar
World Lessons app in iTunes.

LESSONS

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There are many


proven,effective
ways to reduce
stuttering.
Doing nothing
is not
one of them.
We can help, but you have
to take the first step.
Were here for you.
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STUTTERING
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A Nonprofit Organization

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www.stutteringhelp.org

TRANSCRIPTIONS

HERE COMES THE SUN


Beatles

As heard on ABBEY ROAD


Words and music by GEORGE HARRISON Transcribed by ANDY ALEDORT

Acous. Gtr. w/capo at 7th fret


All music sounds a perfect fifth higher than written (key of A). All chord shapes and tablaure positions are relative to the capo.
D

132

21

2
3
2
0

A7sus4

E7

2314

Intro (0:00)
Moderately q = 126
D

Acous. gtr. (capo 7)


let ring

A7

0
3

321

2
3

3
2

3
2

0
0
0
2
3

0
0

0
0
0
2
3

0
3

2
3

2
0

3
2

0
2

0
3

0
3

3
2

Bass Fig. 2

**
7

0
2

0
2

2
0
2
0

3
2

0
3

3
2

0
0
0
3

0
2

2
3

0
3

2
3

sun

2
0

112

Its

all

2
3

0
3

2
0
0

0
0

and

1
2
2
0

0
0

(D/F#)
2

(Em7)

(D)
0

(A7)

0
I

say

3
1
2
2
0

GU I TA R WOR L D HOL I DAY 2015

3
1
2
2
0

4 G4

end Bass Fig. 2


0

1st Verse (0:27)

2
2

2
0
2
0
0

3
1
2
2
0

1
2
2

N.C.(G6)

2
0

***Dbld. 2nd time by another gtr. w/fast Leslie rotating spkr. effect.

0
2
0

let ring

2
0

right
0
3

34

E7

0
0

3
0

2
0
2
0
0

0
0

1.

13

2
0
2
0

Herecomes the

**Dont play bars 9-13 on 1st Chorus.

0
0

A7

0
0
0
X
3

0
0

A7sus4 A7

3
0

G
***

2
3

2
3

do do do do

let ring

2
3
2

*Play 2nd time only.

Bass

3
2

1st and 2nd Choruses (0:14, 0:42)


Here comes the sun
D

Gtr.
9
*

A7

G
2
3

2
0

A7

32

G/B

2
0

Little

darling

2
3

0
3

2
3

3
2

Bass Fig. 1
7

HERE COMES THE SUN


WORDS AND MUSIC BY GEORGE HARRISON
COPYRIGHT (C) 1969 HARRISONGS LTD.
COPYRIGHT RENEWED 1998
ALL RIGHTS RESERVED
REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION

HERE COMES THE SUN

its
17
3
2

been
2
3

it
21
3
2

0
3

0
3

long
G

cold

3
2

0
0
0

3
0

0
3

feels
2
3

0
3

3
2

0
0
0

25

(D)
0
2

The
I
3
2

smiles
feel
2
3

It
It
3
2

2
3

0
3

0
3

2
3

2
3

2
0
2
0

3
2

0
0
0

3
0

2
3

0
0
2

2
0
2
0

0
0

clear
clear
A7

2
0
2
0
0

0
0

2
0

Little

darling

2
3

0
3

2
3

3
2

N.C.(G6)

3
0

0
0
0

3
0

end Bass Fig. 1

2
0
2
0

A7

2
0
0

0
0

0
0

2
0
2

3
0

2
0

2
0
2
0

3
0

3
0

sun

2
0

3
*Doubled by another acous. gtr. w/fast Leslie rotating spkr. effect.

0
0

0
2
0

0
3

2
3

Little
Little

darling
darling

2
3

0
3

2
3

1
2
2
0

2
2
0

1
2
2
0

1
2
2
0

Here comes
2
3
2

2
0

3
2

0
3

the

0
3

2
3

D
1
2
2
0

3rd and 4th Choruses (1:14, 2:26)


D

and I say

E7

3
2

3
0

0
2
0
0

0
2
0

G4

A7sus4 A7
0

Bass plays Bass Fig. 1 simile


(see bar 16)

A7sus4

the

(Em7)
0

2
3

2
0

(D/F#)

Bass plays Bass Fig. 2 simile


(see bar 9)

Here comes

2nd and 3rd Verses (0:59, 2:11)


darling
2. Little
darling
3. Little

2
0
2
0
0

0
2
0

2
0
2
0

been
been

A7sus4 A7

0
0

0
2

0
2
0

3
0

0
0
0

2
0
2
0

3
0

0
2

2
3

0
0

to
the
faces
slowly melting

0
0

0
0
0

3
0

A7sus4

2
3

0
3

3
2

2
0
2

2.

2
0
2
0

its
its

0
3

here
A7

0
0

0
3

since
since

A7
2
3
2

2
0

do do do do
3
2

returning
that ice is
G

37

3
0

seems like years


seems like years
G
0
3

A7sus4 A7

2
0
2
0

0
2

been

0
0

0
0

33

(A7)
0

Gtr.
29

since its
2
0
0

3
0

0
2

years
G

0
2

like

winter
A7

2
3

lonely

2
0

its

all

2
3

0
3
0

sun
3
2

right
0
3

guitarworld.com

113

TRANSCRIPTIONS

2nd time, skip ahead to

N.C.(G6)

Gtr.
41

Bass
5

(D/F#)
0

(Em7)

(D)
0

4
G

(bar 68)

(A7)

2
3
2

2
0

A7

0
3

2
3

0
0

2
0

N.C.(A)

0
2
0
2
0

Bridge (1:31)
(F)

(C)

46

let ring
1

Bass Fig. 3
10

Gtr.

52

10

Sun
(F)

sun
(G/B)

Here it
(G)

let ring

let ring

A7

0
2
3
2

let ring

let ring
1

(G)

let ring

sun
(C)

let ring
3

(G/B)

let ring

comes
D

2
0
2
0

2
0
2
0

2
3
2
0

2
3
2
0
0

0
0

A7
2
3
2

N.C.(A)

N.C.(A)

2
0
2
0

2
0
2
0

Bass repeats Bass Fig. 3 (see bar 46)

Sun
(F)

sun
(C)

Gtr.
58

sun
(G/B)

1
2

10

Bass

10

2
0
2

2
0
2

2
0
2
0

2
0
2
0

0
0

2
0

3
0
2
0

GU I TA R WOR L D HOL I DAY 2015

0
3

2
3

2
0
2

N.C.(A)

3
0
2

2
0
2

3
0
2

0
2
0

0
2
0

0
2
0

2
0

0
0

3
0
0

2
0
2

A7

3
0
2
0

A7
2
3
2

A7sus4

114

1., 2., 3.

comes
D

4.

64

Here it
(G)

3
2
0
2
0

2
0
2

Go back to

3
2
0
2
0

3
2
0
2
0

3
2
0
2
0

3
2
0
2
0

3rd Verse (bar 28)

3
2
0
2
0

3
2
0
2
0

HERE COMES THE SUN

H
68

(2:39)

D
2
0

74

the

2
3
2

2
3

0
3

3
2

3
2

2
2
0

3
1
2
2
0

3
1
2
2
0

(D)
0

2
0

(A7)
2

2
3

0
3

2
3

Its

all

2
3

0
3

Here comes

the

sun

2
0
0

2
0

0
0
0

0
0

(D/F#)
0

(Em7)
0

4
G

N.C.(G6)

2
3

(D/F#)
0

(Em7)
0

(C)

4
G

(G)

let ring

(G/B)

let ring

0
3

right

let ring

N.C.(G6)

Slightly slower
(F)

0
3

right

Its all
2
3

0
0

do

0
3

0
2
3
2
0
0

3
1
2
2
0

do

(A7)

(D)
0

do

1
2
2
0

do

E7

77

0
3

sun

71

Here comes

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115

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lundgrenpickups.com

TRANSCRIPTIONS

CATCH YOUR TRAIN


Scorpions

As heard on VIRGIN KILLER


Words and music by KLAUS MEINE and RUDOLPH SCHENKER Transcribed by JEFF PERRIN

All guitars are tuned down one half step (low to high, Eb Ab Db Gb Bb Eb).
Bass tuning (low to high): Eb Ab Db Gb.
All music sounds in the key of Ab minor, one half step lower than written.
A5

A5add7
7fr

134

G5

144

8
!

*Gtr. 1 (w/dist.)
Rhy. Fig. 1

10
9
7

10
9
7

8
!

10
9
7

10
9
7

10
9
7

10
9
7

Gtr. 2

Bass Fig. 1
5

10
9
7

8
9
7

8
9
7

8
9
7

8
9
7

A5add7

5
!

5
!

15
15

15

15

20

GU I TA R WOR L D HOL I DAY 2015

A5add7
( 20 )

8
9
7

8
9
7

8
9
7

8
9
7

8
9
7

w/fdbk.

let ring into


next meas.

*Gtr. 2 punches-in solo.

5
!

* punch-in

A5
5
X
X
X

8
9
7

A5

pitch: G

1342

A5add7

P.H.
*1/2

8
8
8
8
7
!
!
!
!

5
!

1342

Bass plays Bass Fig. 1 three times (see bar 1)

118

8
9
7

P.H.

14

8
9
7

A5
Gtr. 1 plays Rhy. Fig. 1 three times (see bar 1)

10

134

8
8
8
!
!

*doubled throughout

Bass

A5add7

1444

F
7fr

134

Gtr. 2 (w/dist. and sporadic wah pedal usage)

8fr

1444

B5
8fr

134

F
7fr

144

C5

5fr

144

E
7fr

144

C5

Intro (0:00)
Moderately Fast q = 148
A5

E5
8fr

134111

G5
5fr

13421

F5
5fr

134

D5
7fr

144

Am
3fr

132

Em
10fr

F5

7fr

12 14 16

14 15

16

14 15 17 14 15 17

14

17

14

20 ( 20)

1/2

20

19

20

19

20

19

17

20

17

19

17

19

18

CATCH YOUR TRAIN

B
17

1st Verse (0:25)


man
A5

1. Wake up

its late but

not too

late

Its

six oclock
F5

19
!

10
9
7

10
9
7

10
9
7

everyday

19
!

Rhy. Fig. 2

like

6
5
5

6
5
5

1
!

1
!

6
5
5

*doubled throughout

Bass Fig. 2
5
!

A5
Gtr. 1 plays Rhy. Fig. 1 (see bar 1)

Gtr. 2

21

5
!

8
!

A5add7

Bass plays Bass Fig. 1 (see bar 1)

10
!

10

Get your things run and forget


A5
Gtr. 1 plays Rhy. Fig. 2 (see bar 17)

the rain

power
F5

Take

7
7
7
!
!

25

1/2

pills

dont miss your

train

Bass plays Bass Fig. 2 (see bar 17)

A5
Gtr. 2
29

w/bar

w/fdbk.

(10 )
10
!

10
!

10
!

Gtr. 1
Rhy. Fig. 3
10
9
7

Bass

10
9
7

10
9
7

10
9
7

Bass Fig. 3
5

And youd

A5add7

10
9
7

10
9
7

10
9
7

8
9
7

8
9
7

8
9
7

8
9
7

8
9
7

8
9
7

like
G

10 10 10

8
9
7

8
9
7

8
9
7

8
9
7

8
9
7

8
7
5

guitarworld.com

119

TRANSCRIPTIONS

1st and 2nd Choruses (0:49, 1:48)


to be another
A5
G5
2nd time, Gtr. 2 plays Fill 1 (see below)

Gtr. 1
33

8
7
5

Bass

8
7
5

X
X
X

8
7
5

10
9
7

10
9
7

A different

10
9
7

X 10
X 9
X 7

guy
G5

and a better

8
7
5

8
7
5

8
7
5

X
X
X

8
7
5

For your

lover
A5

10
9
7

10 10 10
9 9 9
7 7 7

love
F5

X 10
X 9
X 7

10
10
8

Bass Fig. 4
3

for your

37

10 10 10
10 10 10
8 8 8

life
E5

X 10
X 10
X 8

9
9
7

Check your way


E
A5

9
9
7

9
9
7

X
X
X

9
9
7

And you

10
9
7

10 10 10
9 9 9
7 7 7

10
9
7

10
9
7

like
G5

10 10 10 10 10 10
9 9 9 9 9 9
7 7 7 7 7 7

8
7
5

end Bass Fig. 4


8

2nd time, skip ahead to

Gtr. 1
41
8
7
5

8
7
5

the rock n
X
X
X

8
7
5

roller
A5

10
9
7

A different

10
9
7

10
9
7

X
X
X

10
9
7

life
G5

8
7
5

10
10
8

10
10
8

Keep your own

10
10
8

X
X
X

10
10
8

8
7
5

Bass plays Bass Fig. 4 (first four bars only) (see bar 33)
Gtr. 1
45

than whiskey

8
7
5

X
X
X

8
7
5

cola
A5

10
9
7

style
E5

9
9
7

9
9
7

9
9
7

9
9
7

9
9
7

9
9
7

9
9
7

9
9
7

9
9
7

Bass
8

train
A5
A5add7
Gtr. 1 plays Rhy. Fig. 1 twice (see bar 1)
Gtr. 2
48

8
!

10
9
7

9
9
7

(bar 72)

But dont be

10
9
7

X
X
X

10
9
7

low
F5

10
10
8

And catch your

A5

P.H.
1

8
8
8
0
!
!
!
0

12 14 16

Bass plays Bass Fig. 1 twice (see bar 1)

Fill 1 (1:47)
Gtr. 2

(G5)

!
15
120

10
9
7

GU I TA R WOR L D HOL I DAY 2015

(A5)

15

15

14 15 17

14 15 17 15 14

17 15 14

16 14

CATCH YOUR TRAIN

53
16

18

18

18

17

2nd Verse (1:24)


2. Dont be lazy

Gtr. 1
56

A5add7

17

16

17

14

10
9
7

16

10
9
7

14

14

16

6
5
3

16

11
!

11

Hes the boss you gotta do what he says

F5

0
10
9
7

16

man and work off your ass

A5

(let ring next


two bars)

6
5
3

6
5
3

6
5
3

10
9
7

Bass plays Bass Fig. 2 (see bar 17)

60

A5
10
9
7

10
9
7

10
9
7

10
9
7

Ooh

10
9
7

10
9
7

yeah
10
9
7

Bass plays Bass Fig. 1 (see bar 1)


64

Catch your train


A5

run and forget those ways

0
10
9
7

10
9
7

8
9
7

8
9
7

8
9
7

8
9
7

8
9
7

8
9
7

Keep it cool Its

F5

10
9
7

A5add7

not

6
5
3

8
9
7

8
9
7

8
9
7

8
9
7

6
5
3

8
9
7

too late

6
5
3

8
9
7

6
5
3

10
9
7

Bass plays Bass Fig. 2 (see bar 17)

A5
Gtr. 1 plays Rhy. Fig. 3 (see bar 29)

Gtr. 2
68
19 20 19 17 19 17

20

17 19 20 19 17 19 17

20

17

Bass plays Bass Fig. 3 (see bar 29)

19

20

17

19

20

19

17

19

19

Gtr. 2
72

17

17 19

18

17

G5 F5

E5
your own style

10 10 10
10 10 10
8 8 8

X 10
X 10
X 8

9
9
7

9
9
7

9
9
7

9
9
7

Bass
8

19

18 17

18

17

17

20 17

20

12
12
10

10

2nd Chorus (bar 33)

15

17

Em

like

15

G5 F5
15

10
10
8

Ensemble Break (2:09)


1

Gtr. 1

17

17 20

And youd

F
Keep

19 20

Go back to

(2:07)

F5

17

20

A5add7

70

19 20 19 17 19 17

8
9
9
7
0

8
9
9
7

8
9
9
7

8
9
9
7

8
9
9
7
0

15 14 !
12

1/2

15

15 12 12

14

12 10
12 10
10 8

10

guitarworld.com

121

TRANSCRIPTIONS

Em
76

22

8
9
9
7
0

8
9
9
7

80

8
9
9
7

10
10
10
8

8
9
9
7
0

14 15 14

10
10
10
8

Guitar Solo (2:22)


train
A5

22

22

22

22

22
!

17 17 15

12
12
10

10
10
8

8
9
9
7
0

10

16 16 15 16 17

10
10
10
8

17
19

10
9
7

15 16 15

17 17

10
10
10
8

8
9
9
7

8
9
9
7

8
9
9
7

0
0

17
18

17
19

X
X
X

10
9
7

10
9
7

10
9
7

GU I TA R WOR L D HOL I DAY 2015

12
12
10

catch

9
9
7

7
7
5

your

17 18 17

17

19

12
12
10

17
!

18 18 17 18 19

12
12
10

14

17
19

16 17 16

17 14

and

12
12
10

16 15 14

15

16 15

8
9
9
7
0

16 17 18

12
12
10

w/bar

10
9
7

E5 D5

pitch: G

w/bar
let ring

17
19

122

8
9
9
7

Em

G5

10
10
10
8

82

F5

F
14 15 16

G5

P.H.

G5

17
19

A5

w/bar

18
17

17
19

10
9
7

18
17

16

8
7
5

8
7
5

8
7
5

10
9
7

CATCH YOUR TRAIN

84

20

G5
17

19 18

17

19 18 16

10
9
7

10
9
7

15 14

16 14

X
X
X

10
9
7

14

16 14

16 14

17

10
9
7

10
9
7

17 16

14

17 16 16 17 16 14

10
9
7

14

17

16

14

17

15

14

15

17

14

16

14

17

16

17

19

16 14

17 16

8
7
5

8
7
5

10
9
7

14

A5

1/2

16

17

17

8
7
5

G5

86

A5

16

14

14

17

10
9
7

10
9
7

X
X
X

10
9
7

10
9
7

10
9
7

10
9
7

8
7
5

8
7
5

8
7
5

10
9
7

C5

88
19

16

19

18

19

10
9
7

17

19

10
9
7

16

19

15

15

17

17

X
X
X

10
9
7

14

17

15

10
9
7

10
9
7

14

16

17

15

14

16

10
9
7

D5

14

12

5
5
3

5
5
3

5
5
3

7
7
5

guitarworld.com

123

TRANSCRIPTIONS

90

11

C5

10 12 15

12 10

12 11

14 12 14

10 12 13 10

11 12

D5

10

22

5
5
3

5
5
3

5
5
3

7
7
5

12

7
7
5

7
7
5

X
X
X

7
7
5

7
7
5

7
7
5

7
7
5

92
22

22

7
7
5

1/2

*
17

20

*punch-in

7
7
5

19

20

19

20 19

20 17 19 19

X
X
X

7
7
5

19

17
16

19

17

124

19

7
7
5

7
7
5

7
7
5

15

0
20

14 17

15

2
3
3
1

2
3
3
1

4
5
5
3

4
5
5
3

16
15 18

4
5
5
3

16

15 18

4
5
5
3

4
5
5
3

And youd like


G5

22

22
!

22
!

18

14 17

4
5
5
3

19

2
3
3
1

E5

17

19

18

4
5
5
3

16

F5
95

GU I TA R WOR L D HOL I DAY 2015

10
10
8

10
10
8

10
10
8

9
9
7

9
9
7

0
!

0
!

9
9
7

9
9
7

8
7
5

CATCH YOUR TRAIN

3rd Chorus
(2:45)

G5

Gtr. 1
98
8
7
5

to be another
the rock and
roller
A5

8
7
5

X
X
X

8
7
5

A different
A different

10
9
7

10
9
7

10
8
7

X
X
X

10
9
7

8
7
5

Check your way


and catch your train
Am
E

For your life


Keep your own style
E5

102

10 10 10
10 10 10
8 8 8

X 10
X 10
X 8

4.

9
9
7

9
9
7

9
9
7

keep your own

Gtr. 1
106
10
10
8

10
10
8

10
10
8

style
E5

10
10
8

9
9
9
7

X
X
X

9
9
7

5
5
5
7
7
5

X
X
X

5
5
5
7
7
5

and catch your


C5
B5

9
9
7

5
5
5
7
7
5

10
10
8

8
7
5

5
5
5
7
7
5

5
5
5
7
7
5

(Am)

19

20 17

Fill 3 (3:06)
Gtr. 2 (Am)
1

0 0
15
18

17

20

20

17

20

17

20

10
9
7

love
low
F5

10
10
8

And you
like
And youd like
G

5
5
5
7
7
5

5
5
5
7
7
5

X
X
X

5
5
5
7
7
5

5
5
5
7
7
5

5
5
5
7
7
5

5
5
5
7
7
5

5
5
5
7
7
5

5
5
5
7
7
5

17

5
5
5
7
7
5

5
5
5
7
7
5

5
5
5
7
7
5

5
5
5
7
7
5

8
7
5

20

15
18

15
18

15
18

15
18

15
18

15
18

15
18

Fill 4 (3:18)
Gtr. 2

19

10 10 10
9 9 9
7 7 7

train
Am

Fill 2 (2:54)
Gtr. 2

10
9
7

9
9
7

Bass
8

8
7
5

For your
But dont be

lover
cola
A5

1st time, Gtr. 2 plays Fill 2 (see below)


2nd time, Gtr. 2 plays Fill 3 (see below)
3rd time, Gtr. 2 plays Fill 4 (see below)

5
5
5
7
7
5

9
9
7

8
7
5

Bass plays Bass Fig. 4 (see bar 33)

1.- 3.

and a better
than whiskey

guy
life
G5

(Am)

20
19

1
1
20
19

20
19

20
19

19

20 20 20 20 20 20 20 20

guitarworld.com

125

TRANSCRIPTIONS

SILENCE IN THE SNOW


Trivium

As heard on SILENCE IN THE SNOW


Words and Music by MICHAEL BASKETTE, COREY BEAULIEU, PAOLO GREGOLETTO and MATTHEW HEAFY Transcribed by JEFF PERRIN

Seven-string guitars, tuned down one half step (low to high, Bb Eb Ab Db Gb Bb Eb).
Five-string bass, tuned (low to high): Bb Eb Ab Db Eb.
All music sounds one half step lower than written.
B5

G5

F#5

E5

A5

B5
5fr

14

C#5

G5

E5
8fr

14

15

11

12

10

14

G#5
7fr

G5

14

14

F#5

D5

14

Intro (0:00)
Moderately q = 112
(w/half-time feel)
B5

14

5fr

14

Gtr. 5 (elec. w/dist.)


1
12
9
7
15

14

7fr

14

14

E5

15
12
10

14

15

11

12

10

4fr

F#5

0 0 0 0
14

14

11

12

*Gtrs. 3 and 4 (elec.) (w/dist.) (bottom and middle notes respectively)

10

15

14

12

11

10

(Guitarist Corey Beaulieu performs the bottom two voices as strummed octaves live.)

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

15

0
2
0

14
Bass

0
!

B5
5

12

14

15

11

12

10

0
2
0

0
!

126

5
3

0
2
0

0
4
2

3
!

0
!

2
!

2
!

0
15
12
10

0
5
3

3
!

GU I TA R WOR L D HOL I DAY 2015

4
2

(end half-time feel)

G5

(B5)
14 18 19
14
14

11 15
11
16
12
9
13
14

9
E5

14

15

11

12

10

F#5

(A#5)

00 00
10

0
2
0

0
!

0
4
2

2
!

8
6

0
1
!

9
7

SILENCE IN THE SNOW


WORDS AND MUSIC BY MICHAEL BASKETTE, COREY BEAULIEU, PAOLO GREGOLETTO AND MATTHEW HEAFY
COPYRIGHT (C) 2015 MICHAEL BASKETTE PUBLISHING AND CO-PUBLISHERS
ALL RIGHTS FOR MICHAEL BASKETTE PUBLISHING ADMINISTERED WORLDWIDE BY SONGS OF KOBALT
MUSIC PUBLISHING
ALL RIGHTS RESERVED USED BY PERMISSION
REPRINTED WITH PERMISSION OF HAL LEONARD CORPORATION

SILENCE IN THE SNOW


1.

B5

Gtrs. 1 and 2
Rhy. Fig. 1
P.M.
10


Bass

2
0

2 2
0 0

N.C.

B5

P.M.

2
0

2 2 2
0 0 0

5
2 2
0 0 3

4
2

2
0

2 2
0 0

2
0

2 2 2
0 0

3 2

3 2

0 0

0 0 0

0 0 3

0 0

0 0

G5

A5

P.M.

5 3 2

2
0

2 2 2
0 0 0

5
2 2 3
0 0

7
5

5 3 2

0 0 0

0 0

Bass Fig. 1

Verses (0:27, 1:19)


1. Here we all
2. Hell hath no

13

2.

N.C.(D5) (C#5) B5

stand on this canvas


of
hold on a warriors

white
mind

Our

holds but only


one shade tonight
palette
us blind
See how the snow has made each of

B5
Gtr. 3 plays Fill 1 on 2nd Verse (see below)

9
7

P.M.

0 0 0 0 0 0 0 0 0 3 2

G5

0 0

0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 3 2

0 0 0 0 0 0 0 0

A5
P.M.

5
3

0 0

0 0

7
5

2nd Verse, skip ahead to F


2nd Pre-chorus (bar 37)

Silence
Vibrant
C#5
17

snows in
chill
in her wintery
Lets paint the ground red with the blood of
colors
spray from new dead
staining the
earth such a
beautiful
N.C.(E5) (D#5) C#5
N.C.(E5) (D#5)C#5
Gtr. 3 plays Fill 2 (see below)

P.M.

P.M.

P.M.

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

4 4 4 4 4 4 4 5 4
4
2 2 2 2 2 2
7
7 5 4

2 2 2 2 2 2 2 2 2 5 4

2 2 2 2 2 2

Fill 1 (1:19)
Gtr. 3
(B5)

11
!

4 5 4

7 5 4

our kill
red
A5

P.M.

B5
P.M.

4 4 4 4 4 4
2 2 2 2 2 2

7 6
4 4 4
2 2 2 5 4

7
9
4 4 4 4 4 4
5
7
2 2 2 2 2 2 2 2
5 5

2 2 2 2 2 2

2 2 2 5 4

2 2 2 2 2 2 2 2

5 5 5 7

Fill 2 (0:38, 1:29)


Gtr. 3 (C#5)

10

10

guitarworld.com

127

TRANSCRIPTIONS

1st Pre-chorus (0:44, 1:36)


Kill
N.C.(B5)
(D5)(C#5) (B5)
Rhy. Fig. 2

the battle
G5 E5

21

7 5 5

0 0 0 0 0

10 9

Bass Fig. 2
7 5 7

0 0 0 0 0

goes
N.C.(B5)

P.M.

7 5 7

7 5 7

10
8

7
5

Chorus (0:53, 1:53, 2:58)


snow
N.C.(C#5)
(A5)
Gtrs. 1 and 2 substitute Rhy. Fill 1 on 3rd Chorus (see below)

7 5 5

7 5 7

we

Silence in the
C5
A5

(D5)(C#5) (B5)

10 9

0 0 0 0 0

0 0 0 0 0

7 5 7

5
3

7
5

7 5 7

fight
(F#5)

must

P.M.

til

Gtrs. 1 and 2
Rhy. Fig. 3
25 P.M.

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

Gtr. 5
Rhy. Fig. 3a

14

16

17

11

13

14

11

12

0
17
14
12

16

17

13

14

11

12

0 0
16
13
11

Gtrs. 3 and 4
Substitute Bass Fill 1 on 3rd Chorus (see below)
Bass
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

they
(G#5)
28

P.M.

4 4 4 4 4 4 4 4 4 4

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

die
(C#5)

all

7 7 5 5 4 4

5 7 5 7

17

16

14

16

17

14

13

11

13

14

12

11

11

12

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

128

C#5

0
4
2

GU I TA R WOR L D HOL I DAY 2015

12

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

their

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

0
17
14
12

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

Bass Fill 1 (2:58)


C#5

2
!

16

17

13

14

11

12

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

Rhy. Fill 1 (2:58)

Gtrs. 1 and 2

14

in

0 0

16

(A5)

2 2 2 2 2 2 2 2 2 2 2 2

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

SILENCE IN THE SNOW

cold
(F#5)

On 2nd Chorus, skip ahead to


On 3rd Chorus, skip ahead to

blood

(bar 45)
(bar 68)

silence
(G#5)

end Rhy. Fig. 3

P.M.

31

13
11

33

16

13

14

11

12

1st Guitar Solo (1:10)


snow
B5
N.C.(D5) (C#5)
Gtrs. 1 and 2 play Rhy. Fig. 1 one and one half times (see bar 10)

Gtr. 3

Gtr. 4

12

10

14

14

w/dist.)

9
9
7

10

12

Gtr. 3

B5
Gtrs. 1 and 2 play Rhy. Fill 2 (see below)

14

11

Gtr. 4 (elec.

10

Go back to

N.C.(D5) (C#5)

2nd Verse (bar 13)

A5

20

19

17

15

17

15

14

10

24

22

20

19

20

19

17

14

dip w/bar
-1/2

10

P.M.

dip w/bar
-1/2

12

1/2

Gtr. 3
35
10

B5

Bass plays Bass Fig. 1 one and one half times (see bar 10)

B5

P.M.

7
!

the

P.M.

end Rhy. Fig. 3a



16

16

in

10

14

10

Bass plays Bass Fill 2 (see below)

Rhy. Fill 2 (1:16)

Gtrs. 1 and 2

(B5)

2
0

(A5)

2
0

2
0

2
0

2
0

2
0

15

7
5

7
5

Bass Fill 2 (1:16)


(B5)

0 0 0

(A5)

14

guitarworld.com

129

TRANSCRIPTIONS

2nd Pre-chorus (1:36)


Red
N.C.(B5)

Gtrs. 1 and 2
37

7 5 5

0 0 0 0 0

10 9

Bass
7 5 7

The battle
G5
E5

(D5)(C#5) (B5)

0 0 0 0 0

goes
N.C.(B5)

P.M.

7 5 7

7 5 7

10
8

7
5

on
D5

and
F#5

5
3

9
7

(D5)(C#5) (B5)

7 5 5

7 5 7

0 0 0 0 0

0 0 0 0 0

10 9

P.M.

7 5 7

7 5 7

Go back to

on
N.C.(B5)
Gtr. 2 plays Rhy. Fig. 2 (see bar 21)

Gtr. 1
41

Make your
G5
E5

10 9 10

9 7
0 0 0 0 0

Gtrs. 1 and 2

10
0 8

7
5

10 9 10

Chorus (bar 25)

Silence in the
E5
A5

P.M.

10 9 10

stand
N.C.(B5)

9 7
0 0 0 0 0

P.M.

10 9 10

5
3

7
5

Bass plays Bass Fig. 2 (see bar 21)

(2:07)

Silence
G#5

Gtrs. 1 and 2
P.M.
45
6 6
4 4 4 4 4

Gtr. 4
13
11

Bass

the

in
N.C.

6
4

13

11

8
5

6 6 6
4 4 4

5 4 2 5 4 2

10 9 7 10 9 7
7 6 4 7 6 4

5 4 2 5 4 2

(C5)
Gtrs. 1 and 2
48
3 3 3 3

1 1 1 1

130

9
7

4 4 4 4

2 2 2 2

(D5)(C#5)(D5)

4 4 4 4

2 2 2 2

4 4

4 4 4 4

2 2

2 2 2 2

4 4 4
2 2 2

3 3 3 3

1 1 1 1

1 1 1 1

3 3

1 1

1 1

3 3 3 3

1 1 1 1

1 1 1 1

GU I TA R WOR L D HOL I DAY 2015

5

3

4
2

(first time only)

6
4

2 2 2 2

2 2 2 2


1 1 1 0 1 0
3 3 3

1 1 1 0

1 0

4 4 4 4

2 2

2 2 2 2

2 2 2

(D5)(C#5) (D5)

2 2 2 2

2 2 2 2

(B5)(C5)(B5) (C#5)

1 1 1 1

Bass

Interlude (2:10)
snow
N.C.(C#5)

4 4 4 4

2 2 2 2

2 2 2 2

4 4

2 2

2 2

4 4 4 4

2 2 2 2

2 2 2 2

4 4 4 5

2 2 2

2 2 2 3

3
5

SILENCE IN THE SNOW

Bridge (2:26)
Im left in the cold

as winter unfolds

(C#m)

(Cm)

(B)

(A#m)

11

9
!

8
!

7
!

Gtr. 1
Rhy. Fig. 4
52
11

10

Gtr. 2
Rhy. Fig. 4a
14

13

12

Bass

The blood on my hands

is

my
own
(Cm)
(C#m)
end Rhy. Fig. 4

56
6

10

11

11

(G#)

13

(A)

8
!

11

11 11 11 11 11

11

11 11

9 9

9 9

end Rhy. Fig. 4a

0 0

0
11
9

5 555555555555555

10

13

11

4 4444444

14

14

12

3 3333333

12

4 444444444444444

4 4 4 4 4 4 4 16 16 16 16 16

2nd Guitar Solo (2:42)


(C#m)
Gtr. 1 plays Rhy. Fig. 4 (see bar 52)
Gtr. 2 plays Rhy. Fig. 4a (see bar 52)

Gtr. 3
(w/wah) 1/2
60
12

Gtr. 4 1/2
(w/wah)

16

12

16

12

12

11

14

12

16

(Cm)

(B)

11

( 11 )

11

( 14 )
14

13

16

11

14

12

16

14

17

( 12)
12
12

12

( 16)
16
16

Bass
2

2 2

2 2 2 2 2 2 2 2

1 1

12

16

14

17

16

19

14

17

1 1 1 1 1 1 1 1

0 0

0 0 0 0 0

0 0 0

guitarworld.com

131

TRANSCRIPTIONS

(A#m)

63
( 14)

16 14 11

( 17)

(A)

19 17 14

6 6

(C#m)

Gtr. 4
66

14

19
!

12

14

14

16

6 6 6 6 6 6 6 6

12

14

12

12 9

12

Gtr. 1
11

11

11

11

11

11

11

14

14

14

14

14

14

14

14

12

12

12

12

12

12

12

12

12 9 12 9

14

11

11

4 4 4 4 4 4 4 4

11 9 11 9

9 11


12
9 11 9

Go back to

11

14

14

14

14

14

12

12

12

12

12

18

18

18

18

18

18

16

16

16

16

16

the

11 9 11 9

Chorus (bar 25)

in

12

11

Silence

Gtr. 3

11

(Cm)

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

(Gtr. 3)
X

11

12

(G#)

11

11

17

Gtr. 2

Bass

16

17
6

4
2

(3:13)

Silence

in

the

*Gtrs. 3 and 4
P.M.
P.M.
68
8
8
10 9 7 9 10
10 9 7
5
5
9 8
7 6 4 6 7
7 6 4
3
3
7 6
5 4 2 4 5
5 4 2
5 4
3

Gtrs. 1 and 2

16

16

16

16

16

16

16 16

L Outro (3:15)
(w/half-time feel)
snow
N.C.(C#5)
(A5)
Gtrs. 1 and 2 play Rhy. Fig. 3 simile (see bar 25)
Gtrs. 3-5 play Rhy. Fig. 3a (see bar 25)

Gtr. 6 (elec. w/dist.)


16 12

14

16 12

14

16 12

14

16 12

14

16 12

14 16

12 9

10

12 9

10

12 9

10

12 9

10

12 9

10

*Gtr. 3 plays middle voice, no palm mutes;


Gtr. 4 plays top voice.

Bass
3

Bass Fig. 5
5 4 2 4 5
3

132

5 4 2
3

GU I TA R WOR L D HOL I DAY 2015

5 4
3

SILENCE IN THE SNOW

71

Silence
(G#5)

(F#5)
9

11

in
9

11

11

the
11

11

end Bass Fig. 5


2

snow
(C#5)

Gtr. 6
73
16 12

(A5)

14

16 12

14

16 12 17 16 14 17

17

14

12 9

17 16

Gtr. 7 (elec. w/dist.)


17 16 17 16 17 16 21 19 17 19 16 17 16
17
17
19

16 12

(F#5)
10

14

12 9

16 12

10

14

12 9 12 11 9

12 12 14 12 10

9 5

16 12 16 14 12

16 16 17 16 14

12 9

9 5

10

12 9

10

9 5 9 7 5 7 4 5 4

12 9 12 11 9 11

12

12 10

Bass plays Bass Fig. 5 (see bar 69)

Silence
(G#5)

Gtr. 6
76
11

Gtr. 7
14

11

in

12

11

14

11

12

11

14

11

Gtrs. 3 and 4

12

16

the

11

14

12

12

16

10

14

snow
C#5
9

12

11

14

14
!

16

P.M.

14

18

15

Gtrs. 1 and 2

13

11

17

11

13

13

11
!

0
4
2

Bass
4

2
!

guitarworld.com

133

TRANSCRIPTIONS

ROLL WITH THE CHANGES


REO Speedwagon

As heard on YOU CAN TUNE A PIANO, BUT YOU CANT TUNA FISH
Words and music by KEVIN CRONIN Transcribed by JEFF PERRIN

Chords for Gtr. 1


B5

D5

C5

B5

F5

5fr

14

8fr

14

14

8fr

14

8fr

11

1333

Chords for Gtr. 2 (piano arr. for gtr., capo 3)


[A]

[D/A]

111

[G/A]

3121

[G]

3211

[Bm]

[E7no3]

13421

[A/E]

[E]

111

21

132

All music for Gtr. 2 sounds in the key of C, a minor third higher than written. [Bracketed chord changes are for Gtr. 2.]

Intro (0:00)
Moderately q = 94
[A]

[D/A]

Gtr. 2 (capo 3) (piano arr. for gtr.)


1 let ring throughout
0
0 0
2
2 2
2
2
2 2
2
2
2
2
2
2
0
0
0 2

*C

Bass

2
3

2 2
2 2

2 2
3 3
4

3
!

3
3

3
2
5 4
0

3 3

3
2
2
4 4
0

2
3

G3

0
2
2
4 2
0

3 3

*Concert-key (non-transposing) chord names

*Gtr. 1 (elec. w/dist.)


(pick scrape)
3

0 0
0

*doubled throughout

0
G X

(0:11)

F/C

0
15
15

1/2
15
15

15 15
15 1515 15
0

[A]
Rhy. Fig. 1

Gtr. 2

2
2
0

2 2
0

2 2 2

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

let ring
1

1/2

15
!
15
15 15 0
0 0

15
15 ( 15)

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

(repeat previous bar)


10
3 3 5 5 6 6 7 7

GU I TA R WOR L D HOL I DAY 2015

8 8

0
0

[D/A]

Bass

134

3
!

3
!

0
2
2
2
0

F/C

3 5

[D/A]

[G/A]

10
8 8 8 8 8 8

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

ROLL WITH THE CHANGES


WORDS AND MUSIC BY KEVIN CRONIN
COPYRIGHT (C) 1978 FATE MUSIC (ASCAP)
INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED
REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION

ROLL WITH THE CHANGES

B/C

20

F/C

20 17 20 17

[G/A]
3
3
4
5
0

3
3
4
5
0

3
3
4
5
0

3
3
4
5

20 17

19 17

17

2
3
2
4
0

Bass

15

15
15

2
3
2
4
0

1/2

15
15

15
15

15
15

13

13

[A]
2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

Woman I am
felt the tables

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

end Rhy. Fig. 1

0
2
2
2
0

0
2
2
2
0

end Bass Fig. 1

10

10

are on
to make the break that we
The brink
me through my darkest
Got
[G/A]
[D/A]

willing
turnin
[D/A]

[A]
Rhy. Fig. 2
0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

2
3
2
4
0

C
Bass Fig. 2

G8

10
8

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

F/C
10

8 8

3
3
4
5
0

8 8

10
8 8

my cup is on the table


I heard the thunder clappin

8 8 8

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

3
3
4
5
0

3
3
4
5
0

3
3
4
5
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

2
3
2
4
0

10

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

10

8 8 8

8 8 8

Waiting
until

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

F/C
10
8 8 8 8

2
3
2
4
0

[D/A]

10
8

2
3
2
4
0

Our love is spilling


Felt the desert burnin

C
8

3
3
4
5
0

F/C

[A]
Gtr. 1 plays Fill 1 second time (see below)
2
3
2
4
0

3
3
4
5
0

B/C

10
8 8 8 8 8

of
hour

12

15
15

10

Verses (0:21, 1:12)

Gtr. 2

1/2

15
0 15
0

[D/A]

10
8

0
19 0

1. As soon as you are able


1

5 5 6 6 7 7

8 8

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

2
3
2
4
0

10
8 8 8 8 8 8

2
3
2
4
0

8 8

Fill 1 (1:21)

Gtr. 1

(C)

(F/C)

8
!

(B/C)
1

3
!

3
!

(F/C)

(C)

w/fdbk.

3
!

8
!
pitch: Bb

guitarworld.com

135

TRANSCRIPTIONS

Gtr. 1
15

here
for
poured on

you
B/C

you
me

to
take and
drink
like a sweet sunshower
F/C
C

of
1

Gtr. 2

[D/A]

[G/A]
2
3
2
4
0

3
3
4
5
0

3
3
4
5
0

3
3
4
5
0

3
3
4
5
0

3
3
4
5
0

3
3
4
5
0

2
3
4
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

2
3
4
2
0

2
3
4
2
0

10

2
3
4
2
0

2
3
4
2
0

2
3
4
2
0

2
3
4
2
0

2
3
4
2
0

17

0
2
2
2
0

0
2
2
2
0

10

1st and 2nd Pre-choruses (0:42, 1:32)


So if youretired
of
the same
Ill
be
here when you are ready
D5
C5
B5

3
1

3
1

[G]
Rhy. Fig. 3
3
0
0
0

0
0

0
0 7
5

7
5

5
3

0 0
0 0

[Bm]

3
0
0
0

3
0
0
0

3
0
0
0

3
0
0
0

3 3 3

0
0
0
0

2
3
4
4
2

old

5
3

0 0

[A]

2
3
4
4
2

2
3
4
4
2

2
3
4
4
2

2 0
3 0
4 0
4
2

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

10 10

8 8

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

10
6

10 10 10 10

8 8 12

0
2
2
2
0

0
2
2
2
0

3
2
4
0

20
11

11

0 X

[A]
0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

0
0

3
2
4
0

2
2
2
0

0
2
2
2
0

3
2
4
0

2
2
2
0

136

8 8

8 7

GU I TA R WOR L D HOL I DAY 2015

0
2
2
2
0

0
2
2
2
0

10

D5

3
1

0
0 9

0 0
0 0 7
5

[Bm]

3
0
0
0

3
0
0
0

3
0
0
0

3
0
0
0

3 3 3

6 6

3
0
0
0

0
0
0
0

3 0

2nd time, skip ahead to

Yeah
Ah

3
4
2

[A]
3 3
4 4
2 2

3 3
4 4
2 2

2
3
4
4
2

2
3
4
4
2

2
3
4
4
2

2
3
4
4
2

2 0
3 0
4 0
4
2

10 10 10 10

10 10

2nd Guitar Solo (bar 27)

(woo)

0 0 0 0
0 0 0 0
0 0 0 0

3 3 3 3

[E7no3]
[A]
[E]
Substitute Rhy. Fill 1a second time (see next page)

3 3 3 3 2
4 4 4 4 2
2 2 2 2 2

3
4
2

3 3
4 4
2 2

3 3
4 4
2 2

3 2 2 2 0
4 2 2 2 1
2 2 2 2 2

end Bass Fig. 3


10

[G]
2
2
2
0

0
2
2
2
0

turn some pages

3
1

0 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3
2
4
0

3
2
4
0

0
2
2
2
0

end Bass Fig. 2

0 0
0 0 3

[D/A] [A]
[E7no3]
end Rhy. Fig. 3

2
2
2
0

0
2
2
2
0

Substitute Rhy. Fill 1 second time (see next page)

[D/A] [A]
3
2
4
0

0
0

N.C.(G7)

11 11 11 11 11

0
2
2
2
0

oh
with the changes
B5

10 10 10 8

2.

N.C.(C)

[D/A] [A]

8
6 6

to roll

7 0 0 5

Bass Fig. 3
6

0
2
2
2
0

1.

story

end Rhy. Fig. 2

0
2
2
2
0

10

8 8

[A]

Bass
8

Substitute Bass Fill 1 second time (see next page)


3 3

3 3 3 3 3

3 3 3

3 3

3 3 3

3 3 5 5 6 6 7 7

ROLL WITH THE CHANGES

1st Guitar Solo (1:02)


C
[A]
Gtr. 2 plays Rhy. Fig. 1 (see bar 5)

Gtr. 1
23

8
11

11

11

F/C
[D/A]
1

8
11

8
11

8
11

8
11

11
11
!

Bass plays Bass Fig. 1 (see bar 5)

B/C
[G/A]

25

15

F/C
[D/A]
8
11

0
0

10 10
13

12
15

C
[A]

15 15
18

0
0

12 12
15

2nd Guitar Solo (1:53)


F/C
[D/A]
Gtr. 2 plays Rhy. Fig. 2 simile (see bar 9)

27

8
11

11

13 13
18

13
20

(grad. bend

0
0

0
0

only)

11 11

11

F/C
[D/A]
1

0
0

15 15 15 15 15 15 15 15
16 17 17 17 17 17 17 17

0
0

Go back to C 2nd Verse (bar 9)


2. I knew it had to happen

B/C
[G/A]
1

0
0

8
11

8
11

8 8 8
11 10 10 8
0

5
5

5
5

0
0

Bass plays Bass Fig. 2 simile (see bar 9)

Woo

C
[A]

30

8
7

5
7 5 7 5

5 5

B/C
[G/A]

33

0
7

0
0 0
0 0 0 0
0 0

8 8 5 5
8 8 5 5 8
5
7 7 7 5 7 5 5
5
7
5 7
7
7

F/C
[D/A]
8 10

10 8

10

8 12 8

10

8 10 8

35

3rd Pre-chorus (2:13)


of the same
If youre tired
old
Ill be
here when you are ready
C5
B5
D5
[A]
[Bm]
[G]
Gtr. 2 plays Rhy. Fig. 3 (see bar 17)
3
1

3
1

F/C
[D/A]

0
0

7
5

7
5

5
3

0 0
0 0

5
3

story

10

8
0 11
0

11

C
[A]
8

1.

oh
to roll with the changes
B5
[G]

8 8
11

0 0

7 0 0 5 0 0 3

3
1

0
0
7 5 0

8 8 8 8
11
11

8 8
11

0
0

0
0

0
0

baby turn some pages


D5
[Bm]

N.C.(C)
[A]
1

3
1

0 0
0 0 5
0 0 5

7 5 5

0 0
0 0 7
5

11
!

11

11 8 8

11 11

0 0
0 0

Bass plays Bass Fig. 3 (see bar 17)

Rhy. Fill 1 (1:50)

Gtr. 1

Rhy. Fill 1a (1:50)


1

(G7)

3 3
3 3 3 3 3 3

8
0 0 0 11
0 0 0

Gtr. 2

[E7no3]

[A]

[E][A]

3 3 3 3 3 3 2 2 2 0 2
4 4 4 4 4 4 2 2 2 1 2
2 2 2 2 2 2 2 2 2 2 2
0

Bass Fill 1 (1:50)

(G7)
3 3 3 3 3 3 3 5 5 6 6 7 8

guitarworld.com

137

TRANSCRIPTIONS

2.

baby
with the changes

roll

Oh

you roll

you roll you roll

you got

to

N.C.(G7)

Gtr. 1
39

3 3 3 3 3 3 3 3 3 3 3 3

[E7no3]

3
4
2

[A/E]

Gtr. 2

3 3
4 4
2 2

3 3
4 4
2 2

3 3
4 4
2 2

3
4
2

3
4
2

3 3 3

3 3

3 3 3 3 3 3 3

[A/E]

3 3 3 3 3 3

[E7no3]

3 3 3 3 2
4 4 4 4 2
2 2 2 2 2

5 5 5

5 7

2 2

6
3

[A/E] [E]

3 3 3 3
4 4 4 4
2 2 2 2

3 3 3 2
4 4 4 2
2 2 2 2

0
1
2

5 5 5 5 2 5
3

Chorus (2:39)
oh
Oh
yeah
(Keep on rollin)
(Keep on rollin)
(Ooh
oh
you got
Oh
baby
to learn to
(Keep on rollin)
(Keep on rollin)
(Ooh
(F/C)
(B/C)
N.C.(C)
[D/A]
[G/A]
[A]
Gtr. 2 plays Rhy. Fig. 2 (see bar 9)

Roll
ooh
roll
ooh
(F/C)
[D/A]

3 5 5

5 6 6

with the changes


ooh)
with the changes
ooh)
(C)
[A]

6 7 7 7 7

Keep

3
!

3
!

3
!

Substitute Bass Fig. 2 simile on repeat (see bar 9)

Oh
yeah
oh
Now roll
with the changes
(Ooh
(Keep on rollin)
(Keep on rollin)
ooh)
ooh
to keep on rollin Got to keep on Oh
you got to learn to
Got to learn to
Got
to learn to roll
(Ooh
(Keep on rollin)
(Keep on rollin)
ooh)
ooh
(B/C)
(C)
(F/C)
(C)
(F/C)
[G/A]
[A]
[D/A]
[A]
[D/A]

Bass
46

3
!

3 5

3
!

3 5

3 5

3 3

3 5

3 3

Oh

baby
yeah

3 3 3 3 3 4

Substitute Bass Fill 2 second time (see below)

Keyboard Solo (3:20)


(F/C)
N.C.(C)
[A]
[D/A]
Gtr. 2 plays Rhy. Fig. 2 (see bar 9)

Gtr. 1
50

Got to got to got to got

3
!

0
2
2
2

on rollin

Gtr. 1
42 (first time only)

!3
Bass
3
!

[A/E]

2 5

[E7no3]

4 4

Gtr. 1

[A/E]

3 3 3 3 2
4 4 4 4 2
2 2 2 2 2

Bass
3

2
2
2

3
5

[E7no3]

Gtr. 3 (elec. w/dist.)

(F/C)
[D/A]

(B/C)
[G/A]

(C)
[A]
(4th time)

15

15

15 15

Bass plays Bass Fig. 2 twice simile (see bar 9)

138

GU I TA R WOR L D HOL I DAY 2015

(play 4 times)

15

11

X
!

Gtr. 3

(pick scrape)

Gtr. 1

Bass Fill 2 (3:17)


(C)

15

10 10

10
8

ROLL WITH THE CHANGES

3rd Guitar Solo (4:00)


(F/C)
(C)
[D/A]
[A]
Gtr. 2 plays Rhy. Fig. 2 twice (see bar 9)

! 11 8 11 8

Gtr. 3
54
11

11

(B/C)
[G/A}

(F/C)
[D/A]
1

8 10

8 11

8 10

8 8
8 8
8 10

10 8

12 8

10 8

12 8

8 10 10 10 8 10 10
8 8

Bass plays Bass Fig. 2 twice simile (see bar 9)

(C)
[A]
57

(F/C)
[D/A]

Gtr. 1

P.H.
1

10 8 10 8

P.H.

10 8

8
8 10 8

8 10 8

P.M.

P.M.

P.M.

8
8

8
8

11
!

(C)
[A]

P.M.

15

8
8

8
8

1/2

1/2

15 15
15
15 15
0
0

88

8
8

P.M.

P.M.

P.M.

7
7

88

15
15

20

15 15 0 0
0 0

10

10

12

10

10

8
8

8
8

8
8

8
8

8
8

P.M.

8
8

scrape)
(pick

P.M.

(C)
[A]

8 10

8
8

8
8

8
8

8 10 8
0
9 6

7
7

88

8
8

7
7

(let ring into


next four bars)

let ring

(F/C)
[D/A]

(F/C)
[D/A]
68

P.M.

(F/C)
[D/A]
1

1/2

15
15 15 15

8
8

11
!

(B/C)
[G/A}

(let ring into next bar)

(F/C)
[D/A]

slight P.H.
1
1

pitch: E

(F/C)
[D/A]

88

pitch: F#

(B/C)

Gtr. 1 [G/A]
P.M.
60

Gtr. 1
66

Gtr. 3

Gtr. 3
62
15
15

5
7
7 5 7 5 7 0 7

88

8
8

8
8

8
8

8
8

88

(B/C)
[G/A}
0
0

0
0

(C)
[A]
8

guitarworld.com

139

TRANSCRIPTIONS

ROLL WITH THE CHANGES

Outro (4:41)
Keep on rollin
Keep on rollin
(F/C)
N.C.(C)
[D/A]
[A]
Gtr. 2 plays Rhy. Fig. 2 (see bar 9)
70
3
!

Ooh
(B/C)
[G/A]

3
!

ooh

ooh
(F/C)
[D/A]

(C)
[A]

3
!

3
!

Bass plays Bass Fig. 2 (see bar 9)

Keep on rollin
(C)
[A]

Keep on rollin
(F/C)
[D/A]

ooh
(F/C)
[D/A]

Ooh
(B/C)
[G/A]

ooh
(C)
[A]
1

74

8
8

0
5
3

12
8

Keep on rollin
F5
[D/A]
Gtr. 2 plays first six bars of Rhy. Fig. 2 (see bar 9)

C5
78

Keep on rollin

5
3

12
8

10
8

/108 0

0
0

0
0

15 15 15 15 15
15 15 15 15 15

ooh
F5
[D/A]

ooh

N.C.(C)
[A]
1

15 15 15
15 15 15

15
15

0
0

ooh
B5
[G/A]

8
8

10
8

/108 0

0
0

0
0

12
12

12

12

11
0
11

X
X

Bass plays first six bars of Bass Fig. 2 (see bar 9)

82

C5
[A]

Keep on rollin

0
5
3

5
3

(5:17)

Ooh
B5

Gtr. 1
84

0
3
1

[G]

Gtr. 2

ooh
F

Keep on
F5
[D/A]
5
3

7
5

5
3

0
0

10
8

12 2

13
12

[D/A]

[A]

Bass

140

2
3
2
4
0

8
!

8
!

N.C.(C)

12 11 11 10 10
12

11 11 10 10

0 0 0
3
0
0
0

Freely

10
10
10
8

5
3

rollin

(trem. strum)

0
2
2
2
0

0
2
2
2
0

0
2
2
2
0

(trem. pick)

GU I TA R WOR L D HOL I DAY 2015

9 7 5

8
!

7 5

7 5

5 7 5
7 5 7

(pick scrape)

X
!

0
0
2
2
2
0

0
2
2
2
0

8
!

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(2) Free In-County Copies: 0; 0. (3) Free Mailed at
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Nominal Rate Distribution: 1,144; 698. f. Total Distribution: 83,009; 82,213. g. Copies Not Distributed:
90,974; 83,571. h. Total: 173,983; 165,784. i. Percent
Paid: 99%; 99%. %. 16. Total Circulation does
not include Electronic copies. 17. Publication of
Statement of Ownership is required and is printed
in this issue of this publication: Holiday 2015. 18. I
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true and complete: Bill Amstutz, Vice President &
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guitarworld.com

145

IT MIGHT GET WEIRD


INSIDE THE MINDS OF SOME OF THE WORLDS
MOST CREATIVE CUSTOM-GUITAR BUILDERS.

SUPER
GUITARIO LAND
Nolan Symmonds Guitar Boy

HE CORRESPONDING EXPONENTIAL growth in

the popularity of video games and decline in electric guitar sales over recent years sent alarm signals to the musical instrument industry. But an enterprising inventor named Nolan
Symmonds (a.k.a. fibbef) has come up with a possible solution with
his Guitar Boy, which combines a Game Boystyle video game unit
and an actual electric guitar (and not some glorified pushbutton
controller like Guitar Hero or Rock Band) in one.
I initially planned to build an arcade guitar with an actual joystick, momentary pushbuttons, and games found in an Eighties-style
arcade, says Symmonds. My first guitar was a Gibson Maestro,
and I realized I could fit a small video screen between the neck and
pickup. The project shifted to a Game Boy when I decided to host a
build-off competition on the BitFix Gaming web site with a Game Boy
theme. It was the perfect opportunity to make my guitar a reality.
A Peavey Rockmaster guitar that Symmonds bought from a
pawnshop for $40 became the source of most of the guitars parts,
including the neck, pickups and hardware. Using the same proportions as a Game Boy unit, he increased the size to 15 x 9.5 and
made the body from pine lumber. Pushbutton pots salvaged from
a Power Gig guitar controller serve double duty as traditional guitar volume and tone controls and Game Boy A/B operation buttons. The heart of the system is a Raspberry Pi (a credit cardsize
computer) loaded with various games and installed in the body
between the end of the neck and the bridge humbucker. An output
switch allows users to send either the guitar output or video game
sounds to an external amplifier.
The shape was really easy to make because the Game Boy is a
brick! says Symmonds. The hardest part was the planning phase.
I had to figure out where all the buttons, switches and wires would
go before diving in and have faith that my electronics abilities were
up to the task. I spent maybe $150 on everything and worked about
80 hours over a three-month period to build it. My brother-in-law
got pretty excited about the Guitar Boy and started pitching similar ideas to me. Hes not a musician, but if my work encourages
him to start playing, thats a win in my book. By Chris Gill
For more information, visit bitfixgaming.boards.net and
youtube.com/fibbefcreations

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

146

GU I TA R WOR L D HOL I DAY 2015