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hile still in high school, Eve 6's founding members, bassist/ vocalist Max Collins end gui- tarist Jon Siebels, managed to score a deal with RCA Records—a deal that stipulated the duo finish their schooling prior to centering the studio to record their debut. Needless to say; Collins and Siebels gradu ated, hough somewhere along the line (he bands original drummer was replaced by Tony Fagenson (son of legendary produ: ex, Don Was). Interestingly, this personnel Shift viould provide the band with their curious moniker. (Fagenson apparently discovered their name during his post rehearsal ritual of watching X-Files In April of 1996—a full five years after Collins and Siebels first began writing togetiner—the Los Angeles-based trio released their self-titled debut and hit the road. The one-two punch of incessant touring and the radio success of Eve 6 Infectious rocker, “Inside Out,” helped drive the dise to platinum status. After contributing a tack called “Tongue Tied” to the Teaching Mrs. Tingle soundtrack and “Allison” to the Pixies tb. lute Where Js My Mind, between August 1999 and May 2000 Eve 6 focused on rehearsing and recording material for their heavily anticipated sophomore effort Produced by Don Gilmore (whose produc tion/engineering credits include debuts by Bye 6, Lit, and Pearl Jam), on July 25, 2000 Eve 6’ new disc, Horrarscope, hit the streets amidst heavy radio buz2 from the albums advance single, “Promise” (released June 6, 2000). ‘THE INTRO AND VERSES Guitarist fon Siebels kicks “Promise” into motion with an infectious palm muted passage (performed with @ clean tone) that features the repetition of @ two: note melodic fragment—zhe notes B (ath fret, 3rd string) to A [2nd fret, 3d string) over shifling A, D, and F shapes (Fig. 1 (Note the similarity between Sicbels’ D chord riffing and some of your favorite blues boogie patterns!) This two-bar pes sage (Rhy. Fig. 1), with several subtle vari ations, drives each verse up until an Eand 25 chord change (Fig, 2), when Jon stomps ‘on the distortion, hinting that a crunchy chorus is around the corner. ‘THE CHORUS Throughout this song’s chorus Slebels rips through an arrangement of AS, D5, and E5 power chords (Fig. 3) cramming in a Astiul of muted string smacks (indicated with an "X" in nota tion and tab) on beats “pwo'" and "four Using the first two beats of this sec tlonas a template for practice, try strum ing the 5th position A5 shape in eighth notes using two quick downstrokes, ‘Then, while your hand is sill “in posi tion,” relax your fret-hand’s grip—so You're stil touching the strings, but not pressing them down to the fretboard and quickly strum the strings in 16th notes, using a down-up-down-up motion from your wrist. This two-beat shythmic pattern is used in conjunetio with virtually every chord in this sec tion—all the way until Siebels grinds out 2 lone F85 chord (Fig. 4), and shorty thereafter concludes his chorus riff with a monstrous six-note ES voicing [Fig. Sl ‘THE BRIDGE In the song’s bridge, Siebels creates a point of departure from his power chord-based riffing with an arpeggiated passage (Riff Al Featuring a perfect ath double stop on the high strings fretted \with a barred pinkio) and shift- ing nates along the dif string, this section also depicts a key shift to F# minog (the relative minor of A major, After three repetitions of this riff Gu. 2 ‘edds to the'song’s sonic make- up with some carefully placed single-note phrases reminis- ‘cent ofthis song’s signature rift When Gtr 3 (i dist enters the ‘picture to augment the speedy Toth-note picking of Gur, 1 (w/ ist), the scene is set for the song's final crushing ehorus—a ‘wo: guitar, tag-team riff extrav- aganza comprised of well: placed double stops (Riffs CL and C2) and slamming single notes (RiffD). 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