OASIS AC/DC THE WHO

LIVE FOREVER WHOLE LOTTA ROSIE* PIN

NBA ZARD
*Rockschool version

L E A R N T O P L AY
REM
THE ONE
I LOVE
(RIFF)

CHORDS
MADE EASY
Boost your fretboard knowledge
with 20 great lessons!
LEARN NEW
SHAPES
HOW AND WHEN HOW TO
TO USE THEM SWAP YOUR
STRENGTHEN SINGLE-CUT’S
YOUR HANDS PICKUPS

LESSONS
FUNK RHYTHM
DORIAN MODE
LEAD PATTERNS

INTERVIEWS
MYLES
KENNEDY
RICHIE KOTZEN REVIEWED INSIDE
THE HOLD THE HOTTEST NEW GEAR
STEADY Marshall Origin 20 Head
 EDITOR’S LETTER

Welcome…
FuturePublishing
QUAYHOUSE,THEAMBURY,BATH,BA11UA
Tel 01225 442244 Fax: 01225 822763
Email totalguitar@futurenet.com
Website:www.totalguitar.co.uk

EDITORIAL
Editor: Stuart Williams
Content Editor: Rob Laing
Production Editor: Katie Nicholls
Group Art Director: Graham Dalzell Ever since we switched to the (then) new-look
Senior Music Editor: Jason Sidwell
Guitars Feature & Tuition Editor: Chris Bird TG, we’ve made it our mission to try and help
Content Editor, Musicradar.com: Michael Astley-Brown
MusicCo-ordinators:PollyBeauchamp,NatalieBeilby guitar players everywhere to overcome their
CONTRIBUTORS playing hurdles. Chords is one of the biggest,
SteveAllsworth,RichardBarrett,JonBishop,SimonBradley, ChrisCorfield,Jack
Ellis,TheadeGallier,CharlieGriffiths,NickGuppy,JonathanHorsley,AlexLynham, mainly because it’s so easy to get stuck on a
CliffNewman,MatthewParker,AdamRees,AmitSharma, Simon Young, Phil
Capone, James Uings
few utilitarian chord shapes to get by.
Music Engraver: Simon Troup
However, as with everything else, we want to
Photography:WillIreland,OllyCurtis, AdamGasson give you readers the information you need to
ADVERTISING
Phone: 01225 442244 Fax: 01225 732285
go further and sound better without having to
Director of Agency Sales: Matt Downs, matt.downs@futurenet.com
Commercial Sales Director: Clare Dove clare.dove@futurenet.com
get bogged down with the boring stuff. So
Advertising Sales Director: Lara Jaggon lara.jaggon@futurenet.com
Account Sales Directors: Alison Watson alison.watson@futurenet.com; Steven
this month, we’re taking a look at how you
Pyattsteve.pyatt@futurenet.com;GuyMeredithguy.meredith@futurenet.com can learn more chords and, more importantly, how to start using
MARKETING them in your playing and when.
Head Of Marketing: Sharon Todd
SubscriptionsMarketingManager:MarkWiglesworth We’ve got a killer tab section this month, with classics from Oasis,
PRODUCTION&DISTRIBUTION AC/DC and The Who, plus we show you how to play the iconic riff
Production Controller: Frances Twentyman
HeadofProductionUK&US:MarkConstance from REM’s The One I Love. Elsewhere in the mag, we catch up with
PrintedintheUKby:WilliamGibbons&SonsLtdonbehalfofFuture
Distributedby:Marketforce,2ndFloor,5ChurchillPlace, Canary Wharf Myles Kennedy to hear about his new solo album Year Of The Tiger,
London,E145HU
Overseasdistributionby: Seymour International Richie Kotzen sits down to impart wisdom on practising and his
HeadofNewstrade:TimMathers
general guitar philosophy, and we take a look around the triple-
CIRCULATION
TradeMarketingManager:MichelleBrock02074293683 headed beast that is The Hold Steady’s rig. 03
SUBSCRIPTIONS Some of the most interesting products at this year’s NAMM Show
UK reader order line & enquiries: 0844 848 2852
Overseas reader order line & enquiries: +44 (0)1604 251045 were amps and we have two of the hottest in this month’s mag. First
Online enquiries: www.myfavouritemagazines.co.uk
Email:totalguitar@myfavouritemagazines.co.uk
there’s Marshall’s return to form in the shape of the vintage-inspired
LICENSING Origin 20, but if high-gain and crystal cleans is more your thing,
InternationalLicensingDirector:MattEllis,matt.ellis@futurenet.com Tel: + 44
(0)1225442244
make sure to check out the PRS Mark Tremonti MT 15 on p96.
MANAGEMENT See ou next time!
Management Director: Julian March
Group Content Director: Paul Newman
Head Of Art: Rodney Dive
Group Editor-In-Chief: Daniel Griffiths
Group Art Director: Graham Dalzell

Future is an award-winning international media group and StuartWilliams Editor

leading digital business. We reach more than 49 million
international consumers a month and create world-class

MAKING THIS MONTH’S MAG

content and advertising solutions for passionate
consumers online, on tablet & smartphone and in print.

Future plc is a public Chief executive Zillah Byng-Thorne

company quoted on the Chairman Peter Allen
London Stock Exchange &KLHIÀQDQFLDORIÀFHUPenny Ladkin-Brand
(symbol: FUTR). Tel +44 (0)207 042 4000 (London)
www.futureplc.com Tel +44 (0)1225 442 244 (Bath)

All contents copyright © 2017 Future Publishing Limited or published under licence. All rights reserved. No
part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written
permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered
office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this
publication is for information only and is, as far as we are aware, correct at the time of going to press.
Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised
to contact manufacturers and retailers directly with regard to the price and other details of products or
services referred to in this publication. Apps and websites mentioned in this publication are not under our
control. We are not responsible for their contents or any changes or updates to them. CHRISBIRD MICHAELASTLEY-BROWN ROBLAING
If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission
in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical It’s been non-stop chords and Mike’s been busy wheeling and Rob’s been hitting writer’s block
or digital format throughout the world. Any material you submit is sent at your risk and, although every rhythm for TG’s tuition editor. dealing to secure the first recently and falling back into the
care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
Bleary-eyed after laying out the reviews of two of the most same chordal comfort zones, so
We are committed to only using magazine paper
which is derived from well managed, certified
chord boxes in our cover feature, exciting amps to land this year: he’s looking forward to branching
forestry and chlorine-free manufacture. Future Chris took a few minutes to jam along Marshall makes its triumphant out and learning from different
Publishing and its paper suppliers have been
independently certified in accordance with the
to Pete Townshend’s epic strummed return with the sparkly clean/ genres with this issue’s cover
rules of the FSC (Forest Stewardship Council). chords in our Open-Mic Songbook crunch of the Origin 20, while feature. Talking to Alter Bridge’s
track, Pinball Wizard (p86), before Mark Tremonti’s collaboration Myles Kennedy about his own solo
writing a lesson on funk basics (p24). with PRS has yielded the departure into acoustic territory
“Time for a KitKat”, says the big man. ferocious MT 15. on p34 has inspired him.

JUNE 2018 TOTAL GUITAR

 #306
Contents 046
CHORDS
MADE EASY
Whether you’re a rookie or
an old-hand, there are always
new chords to be learnt. Step
this way for inspiration...

04
Cover photography: Olly Curtis Photography: Adam Gasson, Olly Curtis, Will Ireland

SUBSCRIBE!
SubscribetoTotalGuitarand
save a whopping 30% on the
regular cover price – turn to
p112 for full details.

TOTAL GUITAR JUNE 2018

 CONTENTS

MONITOR
006 First Look
008 Scene
010 Five Minutes Alone: Clint Lowery
012 On The Up
014 Me & My Guitar: Dan Stevenson
016 Album reviews
018BackTrack:REM

HOW TO
020Riff Of The Month:
REM:TheOneILove
02220 Minutes To… Better Position
Shift Licks
024 Getting Started With… Funk rhythms
026 The TG Guide to... Amp modelling
028 What The F? Dorian Mode

098 FEATURES
THE TG TEST 030 Rig Tour: The Hold Steady
034 Myles Kennedy
040 Richie Kotzen
046ChordsMadeEasy
05
RI LEARN TO PLAY
062JamTrack:70sRiffRock
064Classic Track:
Oasis–LiveForever
072Open-mic Songbook:
AC/DC – Whole Lotta Rosie
076TheTurnaround:Lightnin’Hopkins

TG UNPLUGGED
082News
084 Interview: John Carter Cash
086TheWho:PinballWizard

THE GAS STATION

088 Start Me Up
090 Marshall Origin 20 Head
094FenderCaliforniaNewporter
096 PRS Mark Tremonti MT 15
098 TG Test: Affordable Speed Machines
104PedalRound-Up:Amp-LikeOverdrive
106 Ernie Ball Expression Tremolo
108 Fix Your Guitar
114 The Playlist: Joe Savins

094
FENDER
JUNE 2018 TOTAL GUITAR
 MONITOR
PEOPLE - NEWS - NOISE

The Artist Project: a

collaboration between the
super Swedes and Paramore

06

TOTAL GUITAR JUNE 2018

 FIRST LOOK
PEOPLE - NEWS - NOISE

UP CLOSE

1 Impala pickups
Taylor loves the sound of Hagstrom’s
early-60s Alnico 5 single coils, which
are replicated on the Impala

2 Viking tone
Both Vikings feature a bass-cut tone
control, a more usable alternative to
the traditional treble sweep

07

3 P-90
Viking: a P-90 in the neck, paired with
a ’58 Custom bridge ’bucker and
push/pull coil-split on the tone control

Photography: Adam Gasson

agstrom has some wacky designs in its back catalogue, and they

H
were exactly what Taylor York was after for Paramore’s most
recent album, After Laughter. Now Taylor and his brother Justin
– who happens to be Paramore’s touring guitarist and a longtime
Hagstrom player – have put their own stamp on three of the
super Swede’s models, now part of the Paramore Artist Project:
the Impala Copperburst (£759), Viking Gold Top (£849) and Super Viking Trans
Brown (£929). A year of collaboration yielded this trio of versatile electrics, which
doo#ihdwxuh#Kdjvwurpġv#idprxv#Xowud0Wklq#4:pp#qhfn#surĽoh#dqg#Uhvlqdwru#zrrg#
frpsrvlwh#Ľqjhuerdug/#dqg#d#zkroh#orw#pruh#ehvlghvĩ

PARA-MORE!
Hagstrom teams up with Paramore’s York
bros for three new Artist Project models
JUNE 2018 TOTAL GUITAR
 MONITOR
PEOPLE - NEWS - NOISE

GEAR
SCENE
YOUR MONTH IN GUITARS
Pyramids Scheme
Zhġuh#dozd|v#h{flwhg#wr#vhh#
zkdw#Rklrġv#HduwkTxdnhu#
Ghylfhv#ghvljq#qh{w#Ğ#dqg#
wklv#wlph#wkh|ġuh#wdnlqj#xv#
rq#d#ulgh#wr#ľdqjh#flw|#zlwk#
wkh#S|udplgv#Vwhuhr#
Iodqjlqj#Ghylfh1#Dqg#
wkh|ġuh#jrlqj#elj1#Lwġv#d#
vwhuhr#ľdqjhu#zlwk#Ľyh#
xvhu#suhvhwv/#hljkw#ľdqjhu#
prghv#iurp#Fodvvlf#wr#
Udqgrp/#wds#whpsr#dqg#
vxeglylvlrq/#prgli|#
frqwuro/#srvlwlyh#dqg#
qhjdwlyh#ihhgedfn#dqg#d#
pl{#frqwuro1#\hv/#lqghhg|/#
lwġv#d#frpsuhkhqvlyh#dqg#
srwhqwldoo|#erog#qhz#
jurxqg#iru#wdlorulqj#wklv#
08
nlqg#ri#hļhfw1#
WHEN Now
EVENT

THE FULL ’MONTI kh Ľuvw ri rxu doo0vwdu ģKhduw/ vrxo dqg ryhudoo#frqwuro#ri#

BOXSET
Sabbath Singles
Li#odvw#|hduġv#jorulrxvo|#
sdfndjhg#The Ten Year War
ylq|o#er{vhw#glgqġw#vdwh#
|rxu#Vdeedwk#dsshwlwh/#
vrphwklqj#hovh#zlfnhg#wklv#
zd|#frphv1
Supersonic Years – The
Seventies Singles er{vhw
eulqjv#wrjhwkhu#43#
vhyhq0lqfkhv#iurp#
Vdeedwkġv#lqlwldo#uxq#zlwk#
R}}|#Ğ#iurp#Evil Woman…
wr#Hard Road. Wkh#er{vhw#
kdv#ehhq#uhpdvwhulqj#e|#
Dqg|#Shdufh#zlwk#Ľyh#uduh#
vlqjoh#hglwv#dqg#xqltxh#
frorxu#slfwxuh#vohhyhv1#
WHEN 8 June
Preorder: bit.ly/SabbSingles
T mxgjhv#iru#wkh#Jxlwdulvw#Ri#
Wkh#\hdu#frpshlwlrq#kdv#
ehhq#dqqrxqfhg#dqg#lwv#
prvw#idprxv#sdvw#zlqqhu#
kdv#dovr#ehhq#whoolqj#xv#krz#lw#fkdqjhg#
wkh#sdwk#ri#klv#fduhhu1#
Dowhu#Eulgjhġv#Pdun#Wuhprqwl#Ğ#zkr#lv#
gxh#wr#uhohdvh#qhz#frqfhsw#doexp/#A
Dying Machine,#zlwk#klv#rwkhu#edqg#
Wuhprqwl#rq#;#Mxqh#Ğ##lv#rqh#ri#irxu#
guhdp#whdp#sod|huv#zkr#zloo#khos#irup#
dq#h{shuw#sdqho#wr#fkrrvh#wkh#hqwudqwv#wr#
jr#wkurxjk#wr#wkh#olyh#Jxlwdulvw#Ri#Wkh#
\hdu#Ľqdov#dw#Orqgrqġv#Ro|psld#rq#5<263#
Vhswhpehu1#Zlwk#wkh#frpshwlwlrq#qrz#
rshq#lq#wkuhh#fdwhjrulhv=#Jxlwdulvw#Ri#Wkh#
\hdu/#Dfrxvwlf#Jxlwdulvw#Ri#Wkh#\hdu#dqg#
\rxqj#Jxlwdulvw#Ri#Wkh#\hdu#+xqghu#49v,/##
zhġyh#douhdg|#vhhq#vrph#yhu|#lpsuhvvlyh#
rqolqh#vxeplvvlrqv1#
Exw#zkdw#h{dfwo|#lv#Pu#Wuhprqwl#
orrnlqj#iru#iurp#doo#|rx#dvslulqj#jxlwdu#
khurhv#rxw#wkhuhB
h{suhvvlrq/Ĥ#kh#whoo#xv1#Dqg#kh#dgylvhv#
hqwudqwv>#ģVwd|#dsduw#iurp#wkh#sdfn#e|#
grlqj#vrphwklqj#qhz#dqg#xqltxh#wkdw#
vwloo#Ľwv#|rxu#vw|oh1Ĥ
Wkh#Jxlwdulvw#Ri#Wkh#\hdu#zlqqhu#edfn#
lq#4<<6#nqrzv#doo#derxw#wkdw1##Jxwkulh#
Jrydq#lv#qrz#uhjdughg#dv#rqh#ri#wkh#
juhdwhvw#frqwhpsrudu|#sod|huv#durxqg/#
dqg#kh#irxqg#ydolgdwlrq#lq#wkh#
frpshwlwlrq1#ģZkhq#L#glvfryhuhg#wkdw#d#
qdwlrqzlgh#jxlwdu#frqwhvw#zdv#ehlqj#
rujdqlvhg#lq#p|#krph#frxqwu|/#lw#mxvw#
vhhphg#olnh#wkh#shuihfw#rssruwxqlw|#wr#
vhqg#rxw#d#nlqg#ri#Ġphvvdjh#lq#d#erwwohġ#
dqg#Ľqg#rxw#li#dq|rqh#lq#wkh#XN#wkrxjkw#
wkhuh#zdv#dq|#nlqg#ri#phulw#ru#ydolglw|#lq#
wkh#zd|#L#sod|hg1#
ģL#wklqn#lwġv#idlu#wr#vd|#wkdw#zlqqlqj#doo#
wkrvh#|hduv#djr#odlg#dq#lpsruwdqw#
irxqgdwlrq#zlwkrxw#zklfk#p|#fduhhu#
pljkw#kdyh#wdnhq#d#glļhuhqw#wxuq1Ĥ
To enter via your video playing clip
submissions visit: bit.ly/GOTYEAR2018

TOTAL GUITAR JUNE 2018

 EVENT
SPECIAL FX
h#oryh#shgdov/#|rx#oryh#shgdovĩ#vr#
W zkdw#ehwwhu#zd|#wr#vshqg#d#Vdwxugd|#
wkdq#d#gd|#ghglfdwhg#wr#wkhp1#
Pdqvrqv#Jxlwdu#Vkrs#lq#H{hwhu#duh#iroorzlqj#xs#
odvw#|hduġv#jxlwdu#vkrz#zlwk#I[#Ihvw#rq#5#Mxqh#dw#
wkh#flw|ġv#Phufxuh#Vrxwkjdwh#Krwho1#Lwġv#eloohg#dv#
wkh#XNġv#Ľuvw#h{klelwlrq0vw|oh#shgdo#hyhqw#dqg#
nh|#qdphv#lqyroyhg#lqfoxgh#Ervv/#Olqh#9/#
Hpsuhvv/#Ix}}urflrxv/#Rudqjh#dqg#Ledqh}1#
Wkhuh#zloo#eh#ghprv/#d#shgdo#ghvljqhu#urxqg0
wdeoh#T)D#dqg#folqlf#urrp#hyhqwv#zlwk#iruphu#
Vwrqh Urvhv dqg Ldq Eurzq jxlwdulvw D}l}
Leudklp frqĽuphg1
WHEN 2 June Tickets: mansons.co.uk
ALBUM
SHINEDOWN
rerg|#fdq#dffxvh#Vklqhgrzq#ri#
N uhshdwlqj#wkhpvhoyhv#rq#doexpv/#dqg#
iru#wkhlu#odwhvw/#Attention! Attention!,
lwġv#phdqw#wkh#XV#urfnhuv#ehfrplqj#vhoi0
vxĿflhqw#zlwk#edvv#sod|hu#Hulf#Edvv#ixoo|#wdnlqj#
rq#wkh#surgxfwlrq#dqg#pl{lqj#uhljqv1##
Khġv#ehhq#lqyroyhg#zlwk#pdqqlqj#wkh#ghvn#
iru#vrqjv#lq#wkh#sdvw#exw#wkh#dgydqwdjhv#ri#
nhhslqj#lw#lq#wkh#edqg#iru#wkhlu#vl{wk#doexp#
kdyh#ehhq#fohdu#wr#jxlwdulvw#]dfk#P|huv1#ģZkhq#
zh#pdnh#uhfrugv/#wkdwġv#wkh#ĠHulf#wlphġ/Ĥ#kh#
whoov#Orxgzluh1frp/#ģWkdwġv#zkhq#Hulf#lv#dw#klv#
ehvw1#L#zdv#nlqg#ri#h{flwhg#iru#Hulf#wr#surgxfh#
wklv#hqwluh#uhfrug/#dqg#wkhq#L#jrw#hyhq#pruh#
h{flwhg#rqfh#zh#vwduwhg#pdnlqj#lw/#ehfdxvh#lw#lv#
p|#idyrulwh#Vklqhgrzq#uhfrug#dv#ri#uljkw#qrz1Ĥ
#Wklv/#wkhlu#Ľuvw#frqfhsw#doexp/#lv#derxw#d#
fkdudfwhuġv#mrxuqh|#wkurxjk#shuvrqdo#vwuxjjohv1
WHEN Now
 MONITOR
PEOPLE - NEWS - NOISE
10
FIVE MINUTES ALONE
CLINT LOWERY
The Sevendust man talks Vai, a PRS called
Bruce Lee and the real key to survival in a band
Got my first real six string
“I was originally a drummer, but I became a
jxlwdulvw ehfdxvh L vwuxjjohg wr Ľqg pxvlfldqv
zkr zurwh vrqjv1 P| Ľuvw lqvwuxphqw zdv wklv
Aria Pro II, I don’t even know if people will have
heard of it, but it was a metal-looking guitar
with a thunderbolt across it in candy apple red.
I don’t have it but I know the guy that does and I
recently contacted him to see if I could get it
back. I’m not sure if he wants to give it up…”
“JUST ATTEMPTING TO LEARN [STEVE VAI’S]
MATERIAL WHEN I WAS YOUNG OPENED MY MIND”
TOTAL GUITAR JUNE 2018
Clint Lowery: solo
maestro and
speed picker
Show me the way
“My number one is probably Steve Vai. He
opened up a lot of barriers for me, just
attempting to learn his material when I was
young opened my mind. It broadened my
perspective on what could be done with the
guitar. He was more of an extremist, very vast
in what he did stylistically. I’ve had the chance
to meet him a couple of times, but I’d love to sit
down and learn more…”
Just a castaway, an island lost at sea
“I have this PRS Custom 22 that I got about 15
|hduv djrĩ L dļhfwlrqdwho| qdphg lw Euxfh Ohh/
dqg lw hyhq kdv dq rog Euxfh Ohh vwlfnhu rq wkh
back. It’s been my go-to for every record…
since getting it, it’s been on every recording I’ve
done. There’s nothing special about it other
than the wood and the way it feels and plays. I
just have an incredible connection to it!”
Wait for the blackout
“There’s been a few ha ha! I once had a total
shut down in Europe… I think it was Download.
We were only a few minutes into the set and my
tech at the time didn’t understand the power
conversion. Everything blew up and I never got
the amp going again… we went past our time
slot. We’d been dying to get out to this festival
for such a long time. It was our most gut-
wrenching experience: we had the momentum,
the crowd were there, and all we got was just a
little taste of what it could have been.”
The last hero
“I only ever had one real guitar teacher, this guy
called Robbie Green who himself had been
taught by Jimmy Herring, a pretty well-known
player. Just watching Robbie’s phrasing and
note choices as he made these four-track
recordings by himself helped me understand a
lot more about music. Eventually, we would
write solos together – he saw I had a knack for it
and wanted me to develop that. He also got me
into speed playing, more alternate picking-
edvhg vwxļ1 Kh xvhg wr whoo ph hyhu| qrwh
needed to have its own area code and
ghĽqlwlrq1 Wkdwġv zkhq lw doo rshqhg xs wr ph
and I started to get faster and faster. He was the
gatekeeper that showed me the way!”
It’s always better when we’re together
“Touring is an artform in itself and you need to
learn how to survive. When you’re putting a
edqg wrjhwkhu/ lwġv yhu| lpsruwdqw wr Ľqg
people you gel with personality-wise. There are
a lot of great musicians out there, but I would
rather have someone that’s on the same page
and we can grow together than have someone
incredibly talented that goes left when you’re
trying to go right. Discover what it is that you do
best together.”
A change would do you good
“There are so many ha ha! There’s a guitar intro
for the song PZƱ^ that I had more expectations
for… what we ended up using was the scratch
wudfn1 Lwġv wklv olwwoh vsrrn| ulļ wkdw zdv rqfh
part of an long elaborate intro – in the end, it
became just a little placeholder and now it
really frustrates me every time I hear it!”
Words: Amit Sharma
Sevendust’s new album All I See Is War is
released on 11 May via Rise Records
 MONITOR
PEOPLE - NEWS - NOISE
Turnstiles: helping to
keep hardcore alive
12
TURNSTILE
Hits from the ’pit with the Maryland moshers
altimore’s
B Turnstile are one
of those bands
that ooze energy
and vitality.
Lqľxhqfhg#e|#rog0vfkrro#
kdugfruh/#exw#wdnlqj#lq#vodev#
ri#qx0phwdo/#phorglf#sxqn#
dqg#vrph#nloohu#vkuhg#ohdgv#
dorqj#wkh#zd|/#wkhlu#vhfrqg#
album Wlph#Dqg#Vsdfh is as
glyhuvh#dv#lw#lv#srzhuixo1
“All of my guitar heroes are
glyhuvh#zlwklq#wkhlu#vw|oh/Ĥ#
vd|v#ohdg#sod|hu#Eudg|#Hehuw/#
zkr#flwhv#Edg#Eudlqvġ#Gu#Nqrz#
and Leeway’s AJ Novello as
lqľxhqfhv1#ģWr#ph#wkh|#kdyh#
an originality in the sound
ri#wkh#ulļv#dqg#wkh|ġuh#
frpelqlqj#vwxļ#wkdw#zrxogqġw#
xvxdoo|#frpelqh1#Zkdw#wkh|#
TOTAL GUITAR JUNE 2018
grqġw#gr#lv#sljhrqkroh#
wkhpvhoyhv1Ĥ
\rx#fdq#khdu#lw#lq#d#vrqj#olnh#
Generator/#zklfk#zdusv#ulļv#
iurp#wkh#Pdgedoo#sod|errn#
lqwr#d#skdvhg/#gduh#zh#vd|#
Nruq0olnh/#guhdp|#plggoh#
hljkw/#edfn#wr#sdop0pxwhg#
sxqn#dqg#wkhq#surpswo|#
qdsdopv#wkh#hqwluh#vfhqdulr#
zlwk#d#vkruw/#exw#vzhhw#vkuhg#
solo. “If it’s too shreddy it
grhv#vhhp#olnh#jxlwdu#
pdvwxuedwlrq/Ĥ#frpphqwv#
Eudg|1#ģVr#zlwk#Wxuqvwloh/#lw#
qhhgv#wr#vrxqg#olnh#d#phorg|#
dv#pxfk#dv#d#vror1Ĥ
IF IT’S TOO SHREDDY, IT’S GUITAR MASTURBATION.
IT NEEDS TO SOUND LIKE A MELODY...
Wkh#uhfrug#kdv#ehhq#
surgxfhg#e|#Zloo#\ls/#zkr#kdv#
suhylrxvo|#kdg#d#kdqg#lq#
uhfrugv#e|#Qrwklqj/#Frgh#
Rudqjh/#Wlwoh#Iljkw#dqg#
edvlfdoo|#hyhu|wklqj#
lqwhuhvwlqj#rq#sxqnġv#eurdg#
vshfwuxp#lq#wkh#odvw#Ľyh#|hduv1#
ģL#wklqn#lwġv#uhdoo|#hdv|#iru#klp#
wr#pdnh#vrphrqh#hovh#ihho#
zkdw#khġv#ihholqj/Ĥ#frpphqwv#
Eudg|1#ģLġyh#qhyhu#uhdoo|#kdg#
anyone analyse what I was
sod|lqj vr kdug dqg jlyh ph#
FOR FANS OF Madball, PUP
GEAR Ibanez RG Series, Peavey 5150, Boss Chorus, Boss Delay
gluhfwlrq#lq#wkh#zd|#wkdw#kh#
glg1#Lw#uhdoo|#pdgh#ph#irfxv1Ĥ
Zkdwhyhu#wkh#vhfuhw/#Time
Dqg#Vsdfh is garnering a lot of
dwwhqwlrq#dqg#WJ#fdq#vhh#zk|=#
lwġv#wkh#prvw#lqqrydwlyh/#
h{flwlqj#kdugfruh#uhfrug#wklv#
|hdu/#srvvleo|#wklv#ghfdgh1
ģLġp#uhdo#surxg#ri#lw/Ĥ#
frqfoxghv#Eudg|1#ģZh#zhuh#
wu|lqj#wr#pdnh#vrphwklqj#wkdw#
felt true to us individually and
uhsuhvhqwhg#xv#d#zkroh#Ğ#L#
wklqn#zh#dffrpsolvkhg#wkdw1Ĥ
 ON THE UP
PEOPLE - NEWS - NOISE

BOSS KELOID SPIELBERGS

Wigan wanderers taking metal to new territory Life and death (mostly the former) in punk rock
q#wklug#doexp/#Melted vrqjzulwlqj#surfhvv#hqfrpsdvvhv# e are all going to die. Or Vslhoehujvġ#vrxqg#lv#d#vruw#ri#

O Rq#Wkh#Lqfk/#Zljdqġv#
Ervv#Nhorlg#kdyh#
fuhdwhg#vrphwklqj#ri#d#
zhlug#phwdo#pdvwhuslhfh1#D#
plqg0zduslqj#pdhovwurp#ri#
sv|fkhgholf#Hdvwhuq#vfdohv/#wrqdo#
g|qdplvp#dqg#ulļv#wkdw#frxog#
vxssruw#wkh#zdoov#ri#Ydokdood1#ģL#
whqg#wr#xvh#d#orw#ri#vwudqjh#dffhqwv/#
rļ0ehdw#uk|wkpv#dqg#wlplqjv/Ĥ#
vd|v#jxlwdulvw#Sdxo#Vzdueulfn#ri#klv#
sod|lqj1#ģLġp#dozd|v#zdqwlqj#wr#
eulqj#wkh#jurryh#dqg#zhlugqhvv/#
Ľuvw#dqg#iruhprvw1Ĥ#Wkh#edqgġv#
|hduv#ri#uhĽqhphqw/#exw#Sdxo#vd|v#
sduwv#fdq#eh#vwloo#eh#gursshg#ģdw#
wkh#odvw#plqxwhĤ#li#d#pruh#h{flwlqj#
lghd#suhvhqwv#lwvhoi1#Doo#ri#zklfk#
khosv#wr#h{sodlq#zk|#wudfnv#olnh#
uhfhqw#vlqjoh#Fkurqrvldp have
pruh#wxuqv#wkdq#d#E|ugv#
frqyhqwlrq1#ģWkhuh#lv#qr#olqh/Ĥ#
vd|v#Sdxo1#ģLi#zkdw#zh#fuhdwh#
lqwhuhvwv#rxu#hduv/#wkhq#zh#vkdoo#
sod| lw1Ĥ
FOR FANS OF Conjurer, Kyuss
GEAR 1983 Gibson Les Paul Custom
W so say Norwegian
srzhu#sxqn#wulr#
Vslhoehujv1#Wkhlu#qhz#
HS#Glvwdqw#Vxq#gdqfhv#d#hxskrulf#
olqh#ehwzhhq#kdss|#dqg#vdg#wkdw#
pdnhv#|rx#ihho#dolyh/#lqyljrudwhg#
dqg#euhdndeoh1#ģL#olnh#wr#frqwudvw#
melody and harmony against
qrlvh/#hqhuj|#dqg#o|ulfvĤ#vd|v#
iurqwpdq2jxlwdulvw#Pdgv#Ednolhq1#
“Zh#Duh#Doo#Jrlqj#Wr#Glh is a song
zkhuh#L#uhdoo|#wklqn#zh#pdqdjh#wr#
gr#wkdw1#Lwġv#kdss|#dqg#ghvshudwho|#
xqkdss|#dw#wkh#vdph#wlph1Ĥ
zlghvfuhhq#Vxshufkxqn/#zuhvwolqj#
jodvv|/#uhyhuehudwlqj#wrqhv#lqwr#
vxusulvlqj#irupv#+hj#wkh#
hqwkudoolqj/#hljkw0plqxwh#Ghost
Er|,#yld#d#slfn#ġqġ#pl{#ri#vzhhw#
fkruxvhv1#Olih#dqg#ghdwk#ihhov#olnh#
dssursuldwh#irgghu#iru#zulwlqj#ri# 13
wklv#vfdoh1#ģVr#zkdw#zloo#
Vslhoehujvġ#hslwdsk#uhdgBĤ#dvnv#
WJ1#Pdgv#srqghuv#wkh#txhvwlrq=#
ģZh doo glg/ hyhqwxdoo|/ glh1Ĥ
FOR FANS OF Superchunk, Japandroids
GEAR Fender Jazzmaster

FRIGS FUTURELIVES KAMIKAZEGIRLS

Photography: AmberDoran, Katie McMillan, SimenSkar JimmyFontaine

WHO: Wrurqwr jxlwdulvwv Euld Vdophqd dqg
Gxqfdq Kd| Mhqqlqjv
SOUNDS LIKE:#Vwdun/#srvw0sxqn#ehdwv#dqg#
judwlqj/ kroorzhg0rxw jxlwdu olqhv wkdw frpshwh
zlwk Euldġv dowhuqdwho| dlu| dqg hqudjhg yrfdo1
GEAR= Ihqghu Whoh/ Pxvlfpdq 543098
WHO: Urvv Vplwkzlfn ri Orqho| Wkh Eudyh
SOUNDS LIKE:#Erog#lqglh#urfn#Ğ#d#gdunhu/#pruh#
lpphgldwh klw wkdq wkh vorz exlog hslfv ri
Vplwkzlfnġv pdlq jlj
GEAR=#Pdqvrq#PD#Fodvvlf/#Juhwvfk#Gxr#Mhw/#
Pduvkdoo MWP 78
WHO= Ohhgv jxlwdulvw Oxflqgd Olylqjvwrqh
SOUNDS LIKE:#Fkruxv0odghq/#ix}}0zdvkhg#
sxqn fdwkduvlv zlwk d uljkwhrxv/ exuqlqj dqjhu
dw lwv fruh
GEAR:#Juhwvfk#Hohfwurpdwlf#Mhw#zlwk#Eljve|/#
4<93ġv Fduoveur khdg/ Idwer| fde

FOR FANS OF Sonic Youth, PJ Harvey FOR FANS OF Fatherson, Bellevue Days FOR FANS OF Cassels, Muncie Girls
HEAR Solid State HEAR This Is Living HEAR Berlin

JUNE 2018 TOTAL GUITAR

 MONITOR
PEOPLE - NEWS - NOISE

1 “I play seven-string guitars and this is my

go-to. It’s a Chapman ML-7T. Absolutely
amazing guitars. I’ve been working with the
company since January / February of 2017.
Initially, I went to these guitars after I had
some bad experiences with some other 2
seven-string guitars, mainly in that I play quite
aggressively and I had a lot of broken parts
that would be road-worn quickly. So I changed
4 “The body is swamp
ash with a maple neck
and ebony fretboard.
to this brand out of interest and everything Everything intonates well.”
about it lends itself well to what I play.”
6

Photography: Olly Curtis

5 “The only reason I have
to tape over this is that
ME AND MY GUITAR I play far too aggressively
and no guitar holds up with

DAN STEVENSON
just the button itself, so I
have a bit of extra tape.”
5

FRONTIERER / SECTIONED 4 6 “I change my

strings quite

The mathcore man reveals the only regularly and I’m

playing an
eight-string set at
seven-string that can withstand the moment, using
the low 74 gauge on

14 his level of punishment 1 3

that for the F
tuning.”

2 “The extended 673mm

(26.5") scale I find very
useful for low tunings. I play in F
typically in both bands, and there
are variations on that. With the
other guitars I’ve had in the
past, they didn’t hold tune that
well and I found a lot of the time,
the way that I played just
damaged the bodies. With this it
works out really well. It has
7 “I find Chapman to be a
really great company to
work with primarily because
Hipshot locking tuners too.” they care about their artists a
lot. I’ve got a lot of friends who
work with maybe bigger brands
but don’t get as much
attention. The first day I went
on tour after the endorsement

3 “The only thing I’ve changed

is the pickup in the bridge
and that’s a Bare Knuckle
I got a call from the MD Matt
wishing me a really good tour
and he sent me a t-shirt. I don’t
Painkiller in burnt chrome and it think you’d get that at a lot of
accents everything in the companies, so it’s a nice team
low -end really well whilst to be a part of.”
maintaining a lot of heat. It gives
you a lot of distortion but clarity
too. It has a stock Chapman
pickup at the front.”
Sectioned’s new album
Annihilated is released on 27 April.
They will tour later in the year
Frontierer’s album Unloved is
released on 27 July with a UK and
European tour in August

TOTAL GUITAR JUNE 2018

 MONITOR
PEOPLE - NEWS - NOISE
16
ARCTIC
MONKEYS
TRANQUILITY BASE HOTEL & CASINO
Y
ou never quite know where this
band will head next – 2009’s
Humbug , for example, caused a
little consternation at the time.
Prepare for more head scratching
as Alex Turner and co head into the night
zlwk#d#foxwfk#ri#klv#vkdus#VkhĿhog#
witticisms intact (‘What do you mean
you’ve never seen Blade Runner?’) but he’s
entered the full croon spotlight, facilitated
by music that’s a mix of lounge, kitsch
soundtrack and hip-hop backbeat. Nick
O’Malley’s melodic basslines are crucial in
driving One Point Perspective and the
album's title track, but the slow pace and
heavy use of keys is going to be a hard pill
to swallow for fans longing for the energy.
THE LAST ALBUM I BOUGHT…
Rabea Massaad, Toska, Dorje
KARNIVOOL SOUND AWAKE
“If I was to talk about a
record that’s influenced
me more than any other it
would be Karnivool and
TOTAL GUITAR JUNE 2018
This is not a guitar-driven album, indeed
its piano-based genesis was nearly an Alex
Wxuqhu#vror#hļruw1#Vohd}|#ix}}#wrqhv#
punctuate but frontman Turner and Jamie
Cook's guitars move back into being part of
the orchestration. It isn’t until Four Out Of
Five when any spark resembling intensity
and a memorable chorus emerges. They’ve
committed to a sound here but it begins to
blur in dull indulgent glacial tempos by the
time Science Fiction plods in. Closer The
Ultracheese is perhaps too knowingly-
titled for its own good. It’s hard to laugh
along when we know how special this band
has been in the past.
Rob Laing
DOWNLOAD FOUR OUT OF FIVE
Sound Awake. It’s the fact clearly. They allowed me to
that they were incredibly do that with my own music
diverse but you could also in a lot of ways. I can’t
hear their influences quite thank them enough.”
THE LONGSHOT
LOVE IS FOR LOSERS
G
reen Day frontman Billie Joe Armstrong is
no stranger to a side project. During his
career he’s taken time to moonlight in
Pinhead Gunpowder, The Frustrators and join
his bandmates under the guises of Foxboro Hot
Tubs and (allegedly) The Network. His latest is
The Longshot, featuring Green Day touring
jxlwdulvw#Mhļ#Pdwlnd/#soxv#Nhylq#Suhvwrq#dqg#
Gdylg#V#Vklhogv#ri#Sulpd#Grqqd1#Wklv#440vwurqj#
collection takes in what you’d expect from the
Juhhq#Gd|#iurqwpdq/#iurp#uhwur#Ehdwohv0hvtxh#
chord progressions and production, to rock ’n’
uroo#wzdqj/#wr#Srolfh#dqg#Fkhds#Wulfn0vw|oh#
srzhu#srs#ulĿqj1#Lwġv#qrw#idu#dzd|#iurp#zkdw#
we’d hope for from a Green Day album; to
many it might be preferable.
Stuart Williams
Download Happiness
SEVENDUST
ALL I SEE IS WAR
F
or a band who reliably churn out
frqvlvwhqwo|#vwurqj#doexpv#sdfnlqj#khdy|#
krrnv/#vrxoixo#yrfdo#kduprqlhv#dqg#
lqyhqwlyh#uk|wkpv/#wkhvh#Iorulgldqv#duh#
strangely unsung on this side of the Atlantic.
Now is a good time for the uninitiated to pick up
the story, especially as Alter Bridge producer
Hoylv#Edvnhwwh#lv#rqerdug#wrr1#God Bites His
Tongue and Risen#kdyh#wkh#nlqg#ri#vwdffdwr#ulļv#
dqg#h{sdqvlyh#fkruxvhv#idqv#zrxog#h{shfw#iurp#
d#edqg#zkr#kdyh#hvwdeolvkhg#wkhlu#fdoolqj#fdugv/#
and the guitar team of Clint Lowery and John
Frqqroo|#wkulyh#lq#wkh#orzhu#nh|#g|qdplfv#ri#
Sickness/#frqĽuplqj#Vhyhqgxvw#dv#ghshqgdeoh#
on record as well as onstage.
David Hands
Download Risen
EXCEPTIONAL | EXCELLENT
GHOST
PREQUELLE
T W
hough most recognisable for their macabre
imagery and sinister shenanigans there
isn’t a band in the modern hard rock
sphere who can hold a candle to Ghost when it
comes to writing the most irresistible pop
krrnv1 Iroorzlqj rq iurp wkh pdvvlyh Square
Hammer rļ 5349ġv Popestar EP, Rats and See The
Light duh luuhyrfdeoh Kdpprqg0 dqg v|qwk0
khdy| prqvwhuv qrwklqj vkruw ri frqwdjlrxv1
Yet as Prequelle progresses through the
pugnacious instrumental Miasma wkh Vzhghv
pryh lqfuhdvlqjo| lqwr wkh oxglfurxv uhdopv ri
Hxurylvlrq zlwk Dance Macabre, the righteous
jurryh ri Witch Image dqg Vdwdqlf oryh vrqj Pro
Memoria1 Wkh Ghyloġv vwloo jrw wkh ehvw wxqhv/
dqg khġv kdss| wr jlyh prvw ri wkhp wr Jkrvw1
Adam Rees
Download Dance Macabre
FIVE FINGER
DEATH PUNCH
AND JUSTICE FOR NONE
S
hyhq doexpv lq |rx vkrxog nqrz zkdw
|rxġuh jhwwlqj iurp Ilyh Ilqjhu Ghdwk
Sxqfk kdylqj ehfrph nlqjv ri wkh
plg0sdfhg 727 fkxj wkdwġv fdwdsxowhg wkhp wr
metal’s upper echelons. Not that there’s any
sureohp zlwk jlylqj wkh zkhho d jrrg vslq
when the likes of Top Of The World implant
wkhpvhoyhv lq |rxu fudqlxp/ exw qh{w wr wkhlu
fduhhu kljkoljkwv wkh ryhuwo| djjur yhuvhv dqg
familiar hooks of Fake dqg juhqdgh0wrvvlqj ri
Sham Pain idoo vkruw/ zkloh wkh Erq Mryl0dslqj
cowboy rock of Blue And Black is the sound of a
edqg hqmr|lqj wkhpvhoyhv1
Adam Rees
Download Blue And Black
| GOOD | FOR FANS OF | POOR
BRENT COBB
PROVIDENCE CANYON
ith country music making some
vxusulvlqj#lqurdgv#lq#wkh#XN/#wkh#ulvh#ri#
Brent Cobb after a few false starts
frxogqġw#eh#ehwwhu#wlphg1#Khġv#vwloo#gholyhulqj#
good honest songcraft with his acoustic as
vkrzfdvhg#rq#5349ġv#Shine On Rainy Day. The
pedal steel, electric slide and nostalgia here
combine with Cobb’s growing songwriting to
rļhu#pruh#vrqlf#glyhuvlw|#wkdq#wkdw#doexp/#
with Skynyrd grit for good measure on the tales
of ‘ice cold cheap beer’ in Mornin’s Gonna Come.
Olnh#Fkulv#Vwdsohwrq/#Free#lvqġw#frqfhuqhg#zlwk#
complicated music, but it shouldn’t be
plvwdnhq#iru#vlpsoh#hlwkhu1#Ihz#fdq#gholyhu#d#
ehdxwlixo#uhľhfwlyh#vrqj#olnh#Come Home Soon
with such sublime soulful ease.
Rob Laing
Download Come Home Soon
PARKWAY DRIVE
REVERENCE
T
kh#vkdghv#ri#5348ġv#Ire made it a landmark
iru#Sdunzd|#Gulyh/#dqg#wkdw#doexpġv#p|uldg#
twists and tones are now consolidated on
Reverence1#Vhhplqjo|#guhqfkhg#lq#dqjxlvk/#
opener Wishing Well#sltxhv#wkh#Dxvvlhvġ#phwdoolf#
hardcore staple, while Chronos#lv#hohydwhg#zlwk#
frorvvdo#vwulqjv1#Lpsdvvlrqhg#forvhu#The Colour
Of Leaving#vwulsv#hyhu|wklqj#edfn#wr#wkh#yrfdo#
bones and the tribal ceremony of Cemetery
Bloom#rļhuv#dqrwkhu#judqg#vwdwhphqw/#|hw#zlwk#
vxfk#dq#lpsuhvvlyh#h{suhvvlrq#lw#ohdyhv#rqo|#d#
few ragers in the likes of Absolute Power and the
boisterous swagger of The Void to remind
hyhu|rqh#ri#wkh#whqdflrxv#phwdofruh#edqg#
wkh|ġyh qrz rxwjurzq1
Adam Rees
Download Chronos
ALBUMS
PEOPLE - NEWS - NOISE
BOOK
These Are Such
Perfect Days:
The Del Amitri Story
CHARLES RAWLINGS-WAY
R emembered fondly for mainman Justin
Fxuulhġv#vrqjzulwlqj#dqg#wkhlu#plg0<3v#
kh|gd|#wkdw#vdz#wkhp#fudfn#wkh#XV#fkduwv#
with their infectious single Uroo#Wr#Ph, the
vwru|#ri#wkhvh#phorglf#urfn#Vfrwv#wrrn#d#idq#
in Australia’s insistence to be told for the
Ľuvw#wlph1#Udzolqjv0Zd|#lv#dq#h{shulhqfhg#
wudyho#zulwhu#exw#khġv#dovr#d#pxvlfldq/#vr#lwġv#
jrrg#wr#vhh#wkh#ydoxdeoh#ghwdlov#iru#wkh#
edqgġv#vrqjfudiw#dqg#jhdu#qrw#jorvvhg#ryhu1#
Zkdw#hphujhv#lv#d#Jodvzhjldq#edqg#zkr#
managed to hit the big time at a time when
rock could sell millions of records (six in Del
Amitri’s case), but from their body of work
dqg#Fxuulh#dqg#jxlwdulvw#Ldlq#Kduylhġv#
h{whqvlyh#lqvljkwv#khuh/#lw#ehfrphv#fohdu#lw#
was more than just timing and just as
much the trio of songcraft, work ethic
and musicianship.
Rob Laing
ALBUM
Joe
Bonamassa
BRITISH BLUES
EXPLOSION LIVE
I t’s been a few months since Bonamassa’s
last release (January’s ;eZ\d<hƭ^^ with
Beth Hart) but true to his relentless work
rate, here’s another dose of the bluesman
h{wudruglqdluh1#Wklv#olyh#doexp#dqg#GYG#
sees Bonamassa interpreting the Rosetta
Vwrqh#ri#Eulwlvk#eoxhv#urfn#iroorzlqj#klv#
tribute tours and resulting recordings
krqrxulqj#wkh#Wkuhh#Nlqjv/#Pxgg|#Zdwhuv#
dqg##Krzolqġ#Zroi1#Wkdw#phdqv#Ehfn/#
Fodswrq/#Sdjh#Ğ#wkh#4<93v#Eulwlvk#khurhv#
(oddly no Peter Green). Joe really
understands what makes his heroes tick,
balancing their feel against his own
ľrxulvkhv#zlwk#d#krqhg#edqg1#Ohvv#reylrxv#
pdwhuldo#lv#wdfnohg/#vxfk#dv#d#Ľhu|#rujdq0
drenched take on Beck’s So|qwk#+Zdwhu#
Down The Drain) and Zeppelin’s Boogie
Zlwk#Vwx/#dorqjvlgh#wkh#rq0srlqw#Vorzkdqg#
yleudwr#ri#Prwkhuohvv#Fkloguhq and the
Bluesbreaker’s Little Girl. note.
David Hands
JUNE 2018 TOTAL GUITAR
 MONITOR
PEOPLE - NEWS - NOISE

REM: Not the end

of the world and
still feeling fine

18

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

REM
Purveyors of stadium-bothering alt
rock through much of the 90s, REM’s
heritage is more varied than you might
think, from their spindly post-punk
roots in 1980s Georgia to the folk- START WITH
inflected ballads of their heyday.
Guitarist Peter Buck, a self-
AUTOMATIC FOR THE PEOPLE (1992)
Words: Stephen Kelly Photography: Paul Natkin /Getty

confessed rhythm player, shaped the
group’s sound with his Rickenbacker
360, a fistful of arpeggios and a
subtle, considered playing style that
shunned the six-string grandstanding
of his peers: “If you have good enough
taste,” he noted, “you don’t have to be a
great musician to make great music.”
1
Less a response to grunge than a reaction to their own looming middle
age, Automatic For The People was a slow waltz amid an American
mainstream full of mosh pits, a collection of stripped-back, melancholy
vrqjv#wkdw#uhľhfwhg#rq#|rxwk/#phpru|#dqg#pruwdolw|1#K|sqrwlf#rshqhu#
Drive#guliwv#wkurxjk#jhqwoh#slfnlqj#dqg#dq#dfrxvwlf#vkxŀh#ehiruh#vsolqwhulqj#
the gloom with a Marshall-cranked solo, while elsewhere the chiming, picked
strings of mandolin and bouzouki are backlit by layers of acoustic guitar on Try
Not To Breathe and Monty Got A Raw Deal#uhvshfwlyho|1#Wkh#Ġpxwdwhg#Vwd{ġ#ri#
Everybody Hurts#pd|#kdyh#orvw#d#olwwoh#hgjh#wr#ryhu0h{srvxuh/#exw#Man On The
Moon#uhpdlqv#dq#rxwvwdqglqj#volfh#ri#srs#vrqjzulwlqj/#lwv#frxqwulĽhg#wzdqj#
frxuwhv|#ri#Shwhu#Exfnġv#Whohfdvwhu#volgh1
Recommended track: Man On The Moon

TOTAL GUITAR JUNE 2018


THEN TRY
LIFES RICH
PAGEANT
(1986)
2
With Lifes Rich Pageant, the REM wall of
sound was built a little higher and the
angular, Gang Of Four-ish sound of their
salad days replaced with some sonic muscle.
Arguably the strongest ‘Side One’ of their 80s
output, the band are tripping over hooks, like
the spring-coiled Rickenbacker intro of Begin
The Begin and its stomping bridge that seems to
anticipate follow-up track These Days, a
thundering anthem backed with Stipe’s
declaration that ‘we are young despite the times!’.
Cuyahoga and Fall On Me settle things down with
a suite of purling folk-rock arpeggios, while
Mike Mills’ vocal countermelodies transform
the latter’s chorus into pure gold.
Recommended track: These Days
WORTH A SPIN
DOCUMENT (1987)
5 6
Wkhlu Ľuvw irud| lqwr wuxo| pdlqvwuhdp
success, everything about Document is
bigger, the energetic production urging
each song forward with a bombastic, reverbed
drum sound and frontman Michael Stipe’s
vocals pushed clearly to the fore. This new heft
is audible in the powerchords and almost bluesy
urfn#ulļ#+d#uduh#wklqj#lq#UHP#odqg,#ri#The One I
Love, and better still on It’s The End Of The World
As We Know It..., a glorious racket of plucky
Uhsodfhphqwv#ulļv#dqg#Subterranean Homesick
Blues-style lyrical vomit. Other highlights
include Finest Worksong, a mission statement
ringing with industrial harmonics, and the
contrasting bounce of Exhuming McCarthy, a
vslulwxdo#suhfxuvru#wr#4<;<ġv#Wrs#43#klw/#Stand.
Recommended track: It’s The End Of The World
As We Know It (And I Feel Fine)
DON’T MISS OUT
OUT OF TIME (1991)
3 4
Make no mistake, Out Of Time is a weird
record: spoken-word jams, obnoxious
bubblegum pop and even a little hip-hop
ľrz xqghu wkh vxuidfh ri wklv oxvk/ Edurtxh
oddity, united by the motif of a sweet-toothed
Flatiron mandolin. The success of lead single
Losing My Religion, itself still a lovelorn
masterpiece, tends to overshadow the other
accomplishments here, particularly the
sprightly, waltzing folk-rock of Half A World
Away and live favourite Country Feedback, awash
with pedal steel and a gritty, Neil Young-ish
solo, by turns shimmering and wailing. And if
the much-maligned Shiny Happy People doesn’t
txlwh vfudwfk |rxu lwfk iru vxjdu|0srs
melodies, Near Wild Heaven is a lovely splash of
E|ugv0hvtxh 4<93v urfn ġqġ uroo1
Recommended track: Country Feedback
WILD CARD
UP (1998)
ģD 60ohjjhg grj lv vwloo d grj1 Lw mxvw kdv wr
ohduq#wr#uxq#glļhuhqwo|/Ĥ#zdv#krz#
Michael Stipe summarised REM’s
retooled status as a trio after the departure of
guxpphu#Eloo#Ehuu|#lq#4<<:/#dqg#wkh#uhvxowlqj#
experimental sound might be their very own
Kid A moment. Woozy electro-rock with nods
wr#odwh0:3v#Vxlflgh#dqg#hyhq#Nudxwurfn#jlyh#
wkhvh#vrqjv#d#vrpeuh#hee#dqg#ľrz/#iurp#
Hope’s analogue pulse to the belligerent,
grungy solo work on The Apologist and Walk
Unafraid1#Wklv#lv#prvwo|#d#uhfrug#ri#txlhwhu#
moments, though, chief among them being At
My Most Beautiful, a charming love letter to Pet
Sounds#0hud#Ehdfk#Er|v#frpsohwh#zlwk#
honey-sweet vocal harmonies. Atypical
and underrated.
Recommended track: At My Most Beautiful
BACK TRACK
PEOPLE - NEWS - NOISE
ALSO RECOMMENDED
RECKONING (1984)
Diwhu wkh fulwlfdo vxffhvv ri 4<;6ġv ghexw#
Murmur, the band sought to embellish the
murky post-punk of their debut album
with the brasher edge of a live performance,
and these songs are all the more headstrong for
lw1 Exfnġv fodvvlf dushjjlr ulĿqj jolwwhuv#
beneath the vocal harmonies of Pretty
Persuasion, a musical Rosetta Stone in the
evolution of their spunky alt-rock, while (Don’t
Go Back To) Rockville revels in the unironic
country rock of a Highwaymen-style anthem,
fduulhg rļ e| dq luuhvlvwleo| vlqj0dorqj#fkruxv1#
Central Rain is the beating heart here, though,
with Stipe’s keening refrain (‘I’m sorry’)
descending into a howl as the jangling
electric guitar motif shifts to the urgent peal of
piano keys. 19
Recommended track: So. Central Rain
AVOID!
AROUND THE SUN (2004)
7
After eight months of studio
micromanagement, Around The Sun
arrived as something of an over-
surgxfhg#phvv/#zlwk#wkh#jxlwdulvw#txlfno|#
conceding that the band were “so bored of
wkh#pdwhuldoĤ/#dqg#er|#grhv#lw#hyhu#vkrz1#
Final Straw tries to channel the smouldering
indignation of an anti-war protest song with
only lukewarm results; Boy In The Well fares a
little better, with some of the anthemic,
plqru#fkrug#pr{lh#wkdw#ghĽqhg#fxwv#vxfk#dv#
I’ll Take The Rain#iurp#5334ġv#Reveal sessions,
but mostly the guitar tracks here are
vwhulolvhg#lq#wkh#Ľqdo#pl{#xqghu#d#vkhhq#ri#
dxglr#Eu|ofuhhp1#
Recommended track: Boy In The Well
JUNE 2018 TOTAL GUITAR
 HOW TO

WHAT YOU WILL LEARN

Use a riff to outline a chord change
String muting and ringing notes
riff of the month Offbeat arpeggio notes

REM

Photography: George Chin/WIREIMAGE

Get the tone CHANNEL OVERDRIVE
6 5

20 The One I Love 3

8
2

GAIN BASS MID TREBLE REVERB

or those who don’t know something melodic and memorable

F the story, REM formed

back in 1980 with singer
Michael Stipe, guitarist
Peter Buck, bassist Mike
Mills and drummer Bill Berry, but it
wasn’t until 1987’s Document that their
rise to mainstream stardom really
began. The One I Love was taken from
this platinum-selling album and
became a Top 10 hit in the US Billboard
charts. It only contains a handful of
lyrics, so it’s an easy song to learn and a
quick repertoire booster.
If you’re asked to lay down a solo on a
songwriter’s latest work of art, take note
from this REM hit and put your melodic
hat on. It’s much better to play
wkdq#d#eduudjh#ri#ľdvk|#whfkqltxhv1#Li#
you fancy a spot of solo busking, the
rshqlqj#ulļ#rq#wklv#wudfn#dovr#vrxqgv#
cool on an acoustic.
Guitarist Peter Buck has a minimalist
style that is a large part of the band’s
sound. The One I Love’s solo illustrates
how he also applies this concept and the
uhshwlwlrq#ri#wkh#Ľuvw#skudvh#fuhdwhv#d#
cool ‘singalong’ solo.
CHEAT SHEET…
Appears at: 0:01-0:16
Tempo: 126bpm
Key: E minor
Main techniques: String muting /
ringing notes
Buck uses his Rickenbacker 360
model for live performances. A
Fender Telecaster is a good option
for getting a similar sound, though
not 100 per cent authentic. Use a
single coil-equipped guitar and dial
in extra bass for more body. Buck
uses heavy gauge strings
(reputedly 0.013 gauge) for
weight. If your guitar has
humbuckers, add treble for bite.
Opt for Fender Twin or Vox AC30
style amps. Your tone should be
Bridge single coil pickup
clean with just a little bit of sizzle!
THE ONE I LOVE REM: AUTOMATIC FOR THE PEOPLE
Words and Music by William Berry, Peter Buck, (Guitar Tab with chord symbols and lyrics, 80pp, £16.99 ref.
Michael Mills and Michael Stipe © 1987 Night IMP19015)
Garden Music, Songs Of Universal, Inc This fantastic sheet music book features every song from the
UK/EU reproduced by kind permission of critically-acclaimed album by REM, transcribed in standard and
Music Sale Limited US/CAN reproduced by kind guitar tab notation complete with lyrics and chord symbols.
permission of Hal Leonard Corporation All Rights Includes classic hits Everybody Hurts, Man On The Moon and
Reserved. International Copyright Secured Drive. Available from: musicroom.com.

INTRO TRACK 7
q =126
Em D Em
# .. ..
j
0:01 . œ .
let ring
0 0 0 0 0 0
T . 3 5 0 3
0
0
0
0
0
.
B
. 0
0 .
0 0 2 3 0

The open fifth string in the first bar should be muted before you play the fourth string (otherwise the riff will sound messy). By keeping your fretting hand hovering above
the strings you should easily be able to use any finger to lightly touch the string and stop it ringing.

TOTAL GUITAR JUNE 2018

 HOW TO

WHAT YOU WILL LEARN

How to join up scale shapes
Take a lengthways view of
the fretboard
How to move around the
neck more fluidly

22
20 MINUTES TO…

BETTER POSITION SHIFT LICKS

If you ever find yourself boxed in with standard scale patterns, TG’s guide to
better position shifts will have you shooting around the fretboard in no time
common trap to fall into when vfduhg#wr#h{soruh#wkh#iduwkhu#uhdfkhv1#Krzhyhu/# Wklv#prqwkġv#wde#h{dpsohv#duh#ghvljqhg#wr#

A improvising is sticking to a
selection of favourite shapes in
Ľ{hg#srvlwlrqv1#
Vxuh/#ohduqlqj#vfdoh#er{hv#grhv#
zlwk#d#ghhshu#xqghuvwdqglqj#ri#vfdohv#dqg#
dushjjlrv/#|rx#fdq#vwduw#wr#frqqhfw#vhhplqjo|#
xquhodwhg#vkdshv/#udwkhu#olnh#d#mljvdz#sx}}oh1#
Wklv#lv#dq#xowlpdwho|#hpsrzhulqj#surfhvv#wkdw#
exvw#|rx#rxw#ri#wkrvh#olplwlqj#Ġvwdwlfġ#vkdshv#
dqg#jhw#|rx#frqqhfwlqj#wkh#srvlwlrqv1#Dv#|rx#
sod|#wkurxjk#wkh#wde/#wdnh#qrwh#ri#wkh#Ľqjhu#
qxpehuv#+vkrzq#qh{w#wr#wkh#qrwhv#lq#wkh#
help with the learning process, but it can also zloo#wdnh#|rxu#vrorv#wr#qhz#khljkwv#dqg#|rxġoo# wudglwlrqdo#qrwdwlrq,#Ğ#fkrrvlqj#wkh#uljkw#
ohdg#wr#d#ihholqj#wkdw#|rxġuh#vwxfn#lq#rqh#duhd#ri# vrrq#eh#sod|lqj#olfnv#fryhulqj#hyhu|#qrwh#rq# Ľqjhuv#khosv#|rx#pdnh#volfnhu#vkliwv#zlwk#wkh#
wkh#iuhwerdug#Ğ#dqg#vxevhtxhqwo|#|rx#pd|#eh# wkh#jxlwdu1# vpdoohvw#dprxqw#ri#pryhphqw#srvvleoh1#

MINOR SCALE RUNS TRACK 9

q = 60-80
N.C. 4 1 2 4 œ ~~~~~~~ œ
4
2 1 1
4 2
# .. 4 4 1 2 1 4 2
..
1 2 1 1
4 4 2
œ
1 2 4 4 1 2 1 4 2 1
1
œ
4 4 2
2 1
1
7 8
~~~~~~~~ 10
10 12 8 7
T . 4 5 7 9
7 8 10 10 8 7
9 7 5 4
.
. 4 5 7 7 5 4 .
Guitars and backing: Steve Allsworth

B 2 3 5
2 3 5 7 7 5 3 2
5 3 2 0
≥≤≥≤≥≤ ≤≥≤≥≤≥ ≥≤ ≥≤≥≤ ≥≤ ≥≤≥≤≥ ≤ ≤≥≤≥≤≥ ≥≤≥≤
Here we’re playing a long E minor scale all the way from open position to the 12th fret. Slides connect each ascending seven-note pattern but note that you’ll use a
different sliding finger when you descend the lick. This will help you to view the fretting pattern, rather than the finger pattern – a useful memory aid.

TOTAL GUITAR JUNE 2018

 20 MINUTES TO BETTER POSITION SHIFT LICKS

PENTATONIC SHIFT TRACK 10

q = 60-80 3 1 j3 .
N.C.
~~~~~~ 3 1 3
3 1 œ
2 3
3 1
.. 1
..
3
1
4 4
3
1
~~~~~~~~ 17
. 14 17 19
17 20 20 22 .
B
. 10
10
12 [12 ] 15
12 13 14 17 .
5 8 10 12
≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥ ≤ ≥
Here the humble A minor pentatonic/blues scale is stretched out over three octaves in a Paul Gilbert-style shred lick. This fresh take on a much used scale should fire you
up with creative new ideas as you cross the fretboard instead of using a box shape. When you’re comfortable with the lick, try changing which string or finger you slide on.

STRETCH AND SLIDE WORKOUT TRACK 11

q = 50-80

Fmaj 7 4
2 1 2
4 œ 4
3 Play 4 times
4 1 1 2
1 2 2
2
.. 1 ..

5 8 12 8 12 13 17 13 12 8
. 5 6 10 13 10 6 .
B
. .
≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≥
23
This challenging Fmaj7 arpeggio is played along the length of the strings covering 12 frets. The target fret and finger is constantly changing so you’ll need to keep moving
your eyes to keep up with the shifts. It’s best to start this one slower than the marked tempo initially in order to memorise the finger changes.

NEOCLASSICAL STYLE LICK TRACK 12

q =60-90
Am 4

2
1
4 1 4 œ 2 1 3 2
4
1 3
.. 2
1 4 3
1
..
4 4 1 2 4
1
3 2 4 2 1
œ 2 4 1

8 12 17 12
. 9
10 15 13 12
14 13
.
B
. 12 7 12
10 15 14 12
15 14 12 11 7 8 11
.
13 12 10 8 7 8 10
≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
This Yngwie-style lick moves an A minor arpeggio and A harmonic minor scale through a challenging set of fretting-finger combinations. Your ultimate goal here isn’t
speed, but execution and accuracy. Your fretting fingers will need to stretch out more than the previous licks, so approach the two bars as separate ideas initially.

PRACTICE PLAN
1. Two minutes: Play through one exercise slowly
2. Three minutes: Increase the tempo in 30-60 second bursts
3. Try the other examples
Try out this month’s tab examples, treating them as pure technique exercises to begin with. As you get into the swing of things, try
to identify how the shapes link together and which finger combinations and slides give the best changes. When you’re more
confident, try simplifying one or two of the licks and jamming over a backing track (or with a band if you’re in one!).

NEXT MONTH 20 minutes to… Better picking

JUNE 2018 TOTAL GUITAR
 HOW TO
GETTING
STARTED WITH…
FUNK
RHYTHMS
Improve your rhythm
skills whatever style of music WHAT YOU WILL LEARN
you’re into as TG takes a look Some basics of rhythm guitar
How to play 16th notes
at some funk essentials Two funk guitar riffs

“Why do I need to learn funk guitar?”
Funk rhythms are used in many genres and
your playing will improve if you try out the
techniques. From folk or indie to rock and
blues, funk guitar can be applied in lots of
creative ways.
“Okay, I’m in! What do I need to know?”
24 Look at the boxout on the right where we talk
about the most common element of funk: the
‘four notes per beat’ rhythm.
“Four notes per beat sounds complicated!”
If you’ve ever counted to four in time with a
song you’re halfway there. This four-count is
known as the ‘pulse’ or ‘beat’. Funk rhythms
break these beats down into four shorter, faster
bits – ie, four notes per beat. Typically, you’ll be
strumming down-up-down-up and leaving out
occasional pick strokes to mix things up.
Good Times uses this method. Also take a listen TRACK 13
to the chorus in Monarchy Of Roses by the Red
Hot Chili Peppers for some funky 16th notes.
GET THE FUNK IN!
Funk’s essential ‘four notes per beat’
rhythm explained…
“What do you mean by 16th notes?”
It’s a technical name for the ‘four notes per 1. Funk rhythms use a ‘four notes per beat’
patter down-up-down-up picking motion
beat’ rhythm. There are four notes in each beat
gets yo the groove. The notation looks like this:
and four beats in each bar – hence the name
‘16th notes’. They are also called semiquavers. œ œ œ
“Got it. Can we start playing something?”
The boxout outlines the sound of a 16th-note
rhythm and how it appears in notation. Jam to
2. Sometimes, for a better layout, the notes are
shown the other way up:
the backing track – it’s about groove: the more
you repeat it, the more you’ll get a feel for it.
“Okay. How can I make it more musical?”
œ œ œ œ
Take a look at the tab examples. Here, the vibe
3. To get you started, we’ve recorded a simple
comes from leaving out some of those 16ths, exercise to jam to. It follows a down-up-down-
adding space and rhythm instead of playing in a up strumming pattern, plus a final downstroke.

“Can you recommend some tracks?”

Sure! The open line in Prince’s Kiss is a pure
example of a four notes per beat strumming
pattern. Nile Rodgers’ opening line in Chic’s
continuous stream. In the second example
we’re mixing up chords with a single-note line
œ œ œ œ œ
– a much used trick in funk. Remember to
synchronise your down-up-down-up picking
to the 16th-note rhythm for accurate timing.

1 BASIC STRUMMED RHYTHM TRACKS 14-15 2 CHORDS AND FUNKY SINGLE NOTES TRACKS 16-17

q = 95
Dm7 Em7
Dm7
n Play 4 times . .. Play 4 times
.. .. .. ... .. ..
œ œ œ . .
1 e & a 2 e & a 3 e &
5 5 ¿¿ 5 5 ¿¿a 74 e & a
T . 565 565 5
6
5
6 .
T . 6 6
¿¿ 65 6 ¿¿ 87 . . 75 75 ¿ ¿ 5 5 3 3 5 5 5
. 5
7
5
7
¿ 75
5
7 ¿ 97 . B
7
5 ¿¿ 7
5 ¿ .
7 7 5 3

B 5 5 5

≥ ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≤≥ ≥≤ ≤≥ ≥ ≤ ≥ ≤ ≥ ≥≤ ≤≥ ≥ ≥
The four notes per beat rhythm can be vocalised as ‘1 e & a’. Use this to help you get Treat this as two exercises: the opening chords and the single-note line – and work
a feel for where the chords fall in the 16th-note pattern. on each separately. Use an open position Dm7 shape if our barre chord is too tough.

TOTAL GUITAR JUNE 2018

 HOW TO

THE TG GUIDE TO AMP MODELLING

LOUD, FAST AND DYNAMIC, THE 1959 ‘PLEXI’
KICKSTARTED THE CLASSIC MARSHALL SOUND
1 THE FOUR INPUT JACK SOCKETS
AND VOLUME CONTROLS
The 1959’s dual non-switching preamp channels can be
‘jumped’ with a short lead to make both preamps
active, allowing players to blend the two very
different-sounding channels for a wide range of tones
as well as giving a small gain increase. If you look at
archive footage of classic rock legends like Jimmy
Page, Jimi Hendrix and Paul Kossoff, you’ll often see a
Marshall 1959 with the jumper lead.
2 THE REAR PANEL VALVES
Early Marshalls were based on classic tweed
Fenders and used the KT66 valve, which was a British
version of the American 6L6. The 1959 Super Lead was
the first Marshall to use the European EL34 pentode,
which was a key part of the bolder response that
typified the ‘Marshall Sound’. In the early 1970s, amps
shipped to America were fitted with the 6550, which
was less prone to transit damage, but sounded
different again, with more headroom and a stiffer feel.
3 THE BASS, MID AND TREBLE TONE CONTROLS
The Marshall’s tone network was inspired by (or
copied from, depending on which book you read) the
1950s Fender tweed Bassman, which was one of the
first amps to feature a middle control. With no gain
control and master volume, the amp has to be
turned up very loud to produce any kind of distortion.
Today, most 1959 users use a drive pedal in front
of the amplifier combined with an attenuator, for
more control.

26

3 1

MARSHALL 1959 ‘PLEXI’ SUPER LEAD

Loved by Page and Hendrix this legendary amp set the tone for 80s rock and metal
arshall’s valves and had two output and presence controls. One Marshall to feature EL34s and the

M
legendary
100-watt head
was introduced in
early 1965
following
requests from several bands
including The Who and the Small
Faces for an amp with more power.
The ‘Plexi’ nickname refers to
the control faceplates Marshall
xvhg rq wkhlu hduolhvw dpsolĽhuv/
which were made from clear
plastic with black lettering
screen-printed onto the back face
and over-sprayed with gold paint.
The earliest Super Leads used KT66
transformers; in 1966 the valve
layout changed to the familiar
EL34. The circuit remained more or
ohvv frqvwdqw xqwlo 4<:6/ zkhq
printed circuit boards replaced the
earlier hand-wired models. The
Super Lead’s preamp features two
qrq0vzlwfkhg fkdqqhov/ hdfk zlwk
a pair of high and low gain input
mdfnv dqg d yroxph frqwuro/ ihhglqj
d vkduhg HT zlwk edvv/ plg/ wuheoh
FEROCIOUSLY LOUD WITH DYNAMIC
RANGE AND A POWERFUL BASS
channel is substantially brighter
than the other and players quickly
discovered they could blend the
preamps and slightly boost the
gain by using a short jumper lead
to link the channels together.
While earlier Marshalls owed more
than a little to the 1950s Fender
Edvvpdq/ wkh 4<8< lv jhqhudoo|
regarded as the genesis of the true
Pduvkdoo vrxqg1 Lw zdv wkh Ľuvw
Ľuvw dpsolĽhu khdg wr vlw rq wrs ri
a 4x12 cabinet.
Associated with legendary
sod|huv/ lqfoxglqj Mlpl Khqgul{/
Mlpp| Sdjh dqg Sdxo Nrvvrļ wr
qdph mxvw wkuhh/ Wkh Vxshu Ohdg
wuxo| lv d surgxfw ri lwv wlph/ exlow
before proper PA systems when
backline had to reach the whole
dxglhqfh1 Lwġv ihurflrxvo| orxg/
characterised by a very fast
uhvsrqvh/ zlgh g|qdplf udqjh dqg
vsdunolqj wuheoh/ frpelqhg zlwk d
powerful bass and a low mid-
response that’s mostly a product of
the cabinet design.

TOTAL GUITAR JUNE 2018

 AMP MODELLING

# CLASSIC TONES
GET THE TONE #1
FAT AND CLEAN
Many players associate Marshall with bone-
fuxqfklqj/#djjuhvvlyh#glvwruwlrq#vrxqgv/#exw#
with no master volume the Super Lead is clean
for most of the volume control’s travel. The
punchy dynamics and enhanced midrange are a
perfect match for single coils; add a Strat and a
decent wah and you’re knocking on the doors of
Khqgul{#dqg#VUY1
GET THE TONE #2
SUPER CRUNCH
Unless you regularly play to stadium-sized
dxglhqfhv/#|rxġuh#xqolnho|#wr#jhw#d#uhdo#Vxshu#
Ohdg#xs#wr#wkh#srlqw#zkhuh#lw#euhdnv#xs/#
thankfully digital modelling makes it possible to
dfklhyh#wkrvh#wljkw/#hgj|#srzhufkrugv#w|slĽhg#
by AC/DC at sensible volume levels. A nice bright
PAF-style humbucking pickup works best for
this sound.
GET THE TONE #3:
BROWN SAUCE
Gxulqj#wkh#odwh#:3v#dqg#lqwr#wkh#;3v/#pdq|#Vxshu#
Ohdgv#zhuh#prglĽhg#zlwk#h{wud#jdlq#vwdjhv/#
pdvwhu#yroxph#frqwurov#dqg#fkdqqho#vzlwfklqj/#
before Marshall introduced these features on
their own models. Amp hot rodders like Paul
Ulyhud#Vu#dqg#Ukhlqkrog#Erjqhu#sod|hg#d#
vljqlĽfdqw#uroh#lq#fuhdwlqj#wkh#vrxqgv#ri#wrs#
sod|huv/#lqfoxglqj#Hgglh#Ydq#Kdohq1#

Get the tone Get the tone Get the tone

4 5 5 6 6 5 4 5
3 7 7 7 7 7
8

GAIN BASS MID TREBLE MASTER GAIN BASS MID TREBLE MASTER GAIN BASS MID TREBLE MASTER

Reverb warm, tight room Reverb bright plate Plate reverb approx 300ms, Delay approx
Delay approx 300ms Plate approx 250ms 400ms, feedback zero, Phaser depth 3, speed 3.

27
MOD SQUAD
How to find the Marshall 1959
Plexi in your amp or software
Line 6: Plexi Lead 100 Nrm/Brt
Fender Mustang GT: 70s British
IK Multimedia AmpliTube: British
Lead S100
Native Instruments Guitar Rig:
Plex, Hotplex
Yamaha THR10: Lead
Blackstar ID: OD1/EL34
Vox VX: Brit 1959
Marshall Code: 1959 Plexi

JUNE 2018 TOTAL GUITAR

 HOW TO WHAT YOU WILL LEARN
The relationship between modes and the major scale
The character and feel of the Dorian mode
Latin style Dorian rhythm and lead lines

WHAT THE F? ou’ve probably heard of modes, even if you don’t

DORIAN MODE Y know what they are. The basics are very simple:
play the major scale but don’t start on the root
note and you’ll be playing a mode. Simply start
on the second note to play the Dorian mode.
Learn some basics of modal scales Each mode has its own name but, more importantly, they
have their own character. The Dorian mode has a minor 3rd,
with TG’s lesson on the dark but so, like any minor chord, it has a dark, moody sound. However,
there is another vital note that yields a sweeter sound than the
sweet-sounding Dorian mode more common natural minor scale. Read on and we’ll explain.

1 C MAJOR AND D DORIAN SCALES TRACK 18

The D Dorian mode is found within the C major scale. Confused? It’s q =75
actually very simple. The two scales share the same notes, but C C Dm
major (C D E F G A B) starts on C, and D Dorian (D E F G A B C) starts
on D. That might not seem special, but treating D as the root note
jlyhv d zkroh qhz ľdyrxu1 œ œ

1 2345678 C major
T
B
7 9 10 7 9 10
7

CDEFGABCD
7 8 10 7 8 10
8 10 10

1 2 b3 4 5 6 b7 8
D Dorian
Here we’re playing C major and D Dorian scales. C major sounds bright because the root
chord is C major (C E G); D Dorian suggests a moodier Dm root chord (D F A).

28
2 IMPORTANT INTERVALS: MINOR 3RD AND MAJOR 6TH TRACK 19

The moody minor root chord is crucial to the Dorian sound, as is the q =130
scale’s major 6th – a B note in D Dorian. We haven’t chosen this Em7 Dm7 G Dm7
note at random. Compare D Dorian to the more common D natural n n Play 4 times
minor scale (D E F G A Bb F,#zkhuh#|rxġoo#Ľqg#d#plqru#9wk#Eb note
instead. The major 6th gives the Dorian mode a sweeter sound.
.. ..

1 1 1
9 9
1 1 1 1 1 2 1 1
T . 12 10 10 12 10 10 .
1 2 2 1 12 10 10 12 10 10

B
. 12 10 10
10
12 10 10 .
2 12 10 10

3 3 4 4 3 3 3 3 3 4 3
Here we’re using chords to outline the Dorian mode in a Latin-style groove. Dm7 (D F A C)
4 4 4 4 4 is the root chord; Em7 (E G B D) and G (G B D) both use the crucial major 6th B note.

D Dorian mode D natural minor scale

3 DORIAN LEAD LICK TRACKS 20-21

Em7 Dm7 G Dm7 Em Dm 7G 7 Dm7

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
nœ œ œ n w w
.. ..
3
let ring
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
T . 12 13 12 10 12 10
12
10
12 10 9 10 9
12 .
B
. 10 12 .

It's easiest to get to grips with a scale or mode in a melodic lead line. Our Santana-style lick includes all the notes of the scale, starting and ending on the all-important major 6th
B note to really bring out the Dorian vibe. Select a neck pickup and dial in some valve drive for an authentic tone.

TOTAL GUITAR JUNE 2018

30

TOTAL GUITAR JUNE 2018


Words Matt Parker Photography Will Ireland
1 2
THE HOLD STEADY
We catch America’s finest indie rock storytellers The Hold
Steady on a flying visit to London, eschewing their usual
kitchen sink ’boards for a minimalist run ’n’ gun rig
olding court on
H
Camden’s Electric
Ballroom’s stage is The
Hold Steady guitarist
Tad Kubler, who has
been Googling
milliamp stats for his stomp boxes and
stressing over the alarming LED array on
klv#ġerdug1#ģWklv#Ġshdnġ#oljkw#lv#jrlqj rļ/
even when it’s not on,” he says. Fellow
six stringer Steve Selvidge’s sage advice?
ģJdļ#lw1Ĥ#Lwġv#dq#lqglfdwru#ri#zkdwġv#lq
store for the tour. There’s not an Axe-FX
in sight: just three veterans, a tangle of
stomp boxes and an array of bruised
guitars that ooze both utility and vibe.
ArentedES-335
thatTad is using
asabackup on
tour
TAD KUBLER
GIBSON ES-345
1 “When we were working
on Teeth Dreams, Gibson
brought over a bunch of
guitars and this stayed. It’s
been my main guitar ever
since. This one’s got the gold
hardware, which feels a little
ostentatious, but as it’s a darker
finish, you don’t notice it.”
GIBSON 2006 ’56 VOS
LES PAUL GOLDTOP
2 “I got my Goldtop new
from Gibson but my
friend, Brett, who is the
reason I started playing guitar,
his mum’s husband collects
guitars and he did all the
relic’ing on this. When it was
brand new looking, I just
didn’t really play it and it’s a
fucking amazing guitar. I got it
because I wanted a Les Paul
with a big neck and P-90s.”
FENDER ’68 CUSTOM
PRINCETON REVERB AND
SUPRO 1964 REISSUE
SATURN REVERB
3 “At home, my Bradshaw
board is rigged so I can
rig tour
have four switchable outputs
vr#wkdw#L#fdq#xvh#irxu#glļhuhqw#
amps. I’ve got a ’57 Deluxe, a
‘Bob’ amp – which our old
sound guy built for me –
and an AC15 and on each
output it’s got a lift and a
polarity. These are rentals. I
like smaller wattage combos,
so I got the Princeton and I
thought I’d try this Supro. I
want to turn on the amp and
hit the fucker as hard as I can
and leave that to make the
sound. I don’t like something
with a master volume. So I
usually aim for something
that’s 15-watts.”
BOSS TU-3 AND TC
ELECTRONIC
POLYTUNE MINI
4 “I use two tuners and
they’re on all the time. It’s
just an OCD thing!”
MXR MC-401 BOOST
5 “Then I run into this
Bradshaw pedal. I keep it
at about -10dB. It’s just a clean 31
boost that I use to hit some of
the pedals and the amps a
little bit harder. It just breaks
xs#d#olwwoh#elw#glļhuhqwo|1#L#
don’t keep it on. It’s on for
anything that I want a little
more top on, or a little more
sparkle, if it’s cleaner.”
BOSS FDR-1 ’65 FENDER
DELUXE REVERB
6 “This I use as like a cut, so
rather than needing to
edfn#rļ#p|#yroxph/#L#fdq#vwhs#
rq#wklv#dqg#gr#fohdqhu#vwxļ1#L#
was using that a lot when we
did Spinners and I love the
fucking reverb on this thing.
It’s got that great drippy,
spring reverb.”
EARTHQUAKER DEVICES
ORGANIZER
7 “This is like an organ
hļhfw1#Lwġv#jrw#dq#xs#dqg#
down octave, lag, tone – to roll
rļ#vrph#ri#wkh#wrs0hqg#Ğ#dqg#
then a ‘choir’ control that
combines the up and the
down and regenerates it, so
you get like a third and fourth
octave. I hardly use it. I keep
putting it on my pedalboard
JUNE 2018 TOTAL GUITAR
 rig tour
16
32
and hoping I will learn to use
it tastefully.”
STRYMON MOBIUS
8 “I use this as a kind of rotary.
It’s got a nice accelerating
feature where if you hold the tap
grzq lw vshhgv xs1#Lwġv#jrw#Ľowhu/#
vintage trim, destroyer, chorus,
ľdqjh/ skdvhu dqg#urwdu|#rswlrqv1Ĥ
UNION TUBE & TRANSISTOR
MORE
9 “This is a Vancouver brand and
a cool boost pedal. They say to
put this at the end of the chain,
otherwise you tend to hit your
other pedals too hard.”
STEVE
SELVIDGE
GIBSON 2004 ’54 REISSUE
LES PAUL GOLDTOP
10 “Yet another relic’d
goldtop! With a Welsh
dragon. To be honest, I’m a total
TOTAL GUITAR JUNE
NOVEMBER
2018 2015
15
14
19
qhug#dqg#L#eurxjkw#wklv#vshflĽfdoo|#
because this is my UK guitar. I was
touring with this girl named Amy
OdYhuh#zkhq#L#Ľuvw#jrw#wklv#jxlwdu#
and I played it on Later... With Jools
Hollands with her. I love the
wrap-around tail. It’s a whole
glļhuhqw#vrxqg1#Lwġv#d#olwwoh#pruh#
aggressive and you get a little more
of what they call ‘sitar-ing’. If it
goes too far that’s bad, but just a
little bit gives it that edge… It has
Fralin pickups in it, but my buddy
Mark Stow is coming tonight and
he does OX4 pickups. I’ve got some
humbuckers of his in a Les Paul
that I love, so I’m hoping he might
bring me some P-90s for this!”
1999 MEXICAN FENDER
TELECASTER THINLINE
11 “This is kind of a weird thing.
It’s a ’99 Mexican Tele
Thinline that I had MojoTone pots
and switch put in. It’s just better
quality components and they have
a better sweep. Then these are the
Lollar humbuckers. Fender just put
13
6
4 5
9 8
lq#d#kxpexfnhu#zlwk#rļvhw#vfuhzv/#
so they weren’t a real Wide Range. 10
Jason Lollar made a copy of a real
Wide Range humbucker, so I use
wkhp#lq#d#exqfk#ri#vwxļ1#Lġoo#xvh#
this for tunes that have more of a
chime-y aspect.”
VOX AC15 AND ORANGE
ROCKER 32
12 “I honestly feel like the
AC15 is the best blending
dpsolĽhu1#L#olnh#d#pxowl0dps#wklqj#
ehfdxvh#lwġv#d#pl{#ri#vwxļ/#exw#qr#
matter what you do, I feel like this
adds a good colour into the mix of
things. The Orange is a little more
woolly so the two of them together
just gives you a good spread. I use
that [blend] for the gain and maybe
just a little boost with the pedal.
For the longest time, I was just
using a 50-watt Plexi reissue and
an AC30 together, which is just like
the loudest shit ever. Everyone’s
come to the conclusion that the
dream is over and you can’t play
through giant stacks anymore,

11
“I WANT TO TURN ON THE AMP AND HIT
THE FUCKER AS HARD AS I CAN” TAD KUBLER
though, so it’s all 15-30-watt
amps, you know?”
BOSS CS-3 COMPRESSION
SUSTAINER
13 “We go into the
compressor, which I use as
a volume boost. It’s almost no
compression, just a little bit, but
the volume is turned all the way
up. It gives you a little more
sustain and it’s good for clean
things, where you don’t want
distortion, but you want to give it a
little push. It’s also good for
volume swells, because you’ve
got that added sustain coming in.”
STRYMON EL CAPISTAN
DTAPE ECHO
14 “El Capistan! I had this and
then my ’board was in
storage and I was home without it,
so I had to buy another one,
because it’s that good. They’re so
expensive. I love all the wiggly bad
wdsh#vwxļ1#Lw#kdv#wkh#vrxqg0rq0
sound thing, like an old Echoplex,
18
– a great way to drive people
completely bananas because it
creates this crazy loop that just
gets more degenerated. It’s
end-of-the-show mayhem.”
BOSS RT-20 ROTARY
ENSEMBLE
15 “What I’m looking for in
modulation is movement,
but that’s not obvious. There’s a
orw#ri#vwxļ#rq#Teeth Dreams, that
Ohvolh#vshdnhu#w|sh#vwxļ1#
Sometimes I just trip out looking
at it. I’ve actually missed cues
staring at that.”
12
3 17
RADIAL BONES TWIN-CITY
ABY AMP SWITCHER
16 “This is how I get to two
amps. I just leave them
running in parallel all the time. It’s
got the ground lift and the phasing
vr#zkhq#|rx#uxq#wkh#glļhuhqw#
amps you can adjust.”
/CRAIG FINN//
GIBSON MELODY MAKER
17 “I happen to be in a band
with two really good guitar
players and so when I play it’s
pretty minimal. I just really like
THE HOLD STEADY
33
the simplicity of this guitar – there
are two knobs, and that’s all. It
always stays in tune, it travels
really well. I’ve nicknamed it Rod
Carew [after the Minnesota Twins
baseball player] and it’s got a
Minnesota Twins sticker on it. It’s
a great rhythm guitar.
FENDER PRINCETON REVERB
18 “The amp I’ve got here is a
rental, but I’ve got one at
krph#wkdw#Ľwv#lq#d#Shol#wdqn#dqg#
weighs about 50 pounds, so I can
ľ|#zlwk#lw/#zklfk#lv#dpd}lqj1#
PEDALBOARD
19 “I’ve just got a tuner, a Z.
Vex Super Duper, a Boss
DD-5 Digital Delay and the
EarthQuaker Devices Dispatch
Master, which is like a delay/
reverb and I just use it to make
things sound thicker. That was the
Ľuvw#shgdo#L#jrw#lq#d#orqj#wlph#wkdw#
wasn’t a tuner!”
JUNE 2018 TOTAL GUITAR
34

TOTAL GUITAR JUNE 2017


Words Rob Laing / Photography Olly Curtis
THE GREAT
BEYOND
AS MYLES KENNEDY’S SOLO CAREER
FINALLY TAKES FLIGHT, WE MEET HIM ON
THE ROAD TO FIND OUT HOW THE
ALTER BRIDGE MAINMAN’S CHILDHOOD
TRAGEDY INFLUENCED THE TRIUMPH OF
HIS NEW ACOUSTIC CHAPTER
t’s hard not to believe in the
I
idea of fate when Myles
Kennedy explains to us how his
new album was named. In a
rare break from the stage and
studio that occupies so much
of his time with Alter Bridge
and his band with Slash, he
was mowing the lawn when
the seed of a song came from nowhere…
“The melody came into my head for Year
Of The Tiger,” recalls Myles, “and I
remembered I recorded it onto my phone and
then I put it away for a while. But it kept
popping back in my head, and I didn’t even
know what Year Of The Tiger meant then – I
had no idea. So I looked up and discovered,
low and behold, it was the year my father
passed away. And it almost felt like it was the
universe instructing me that now was the
time to write this record.”
MYLES KENNEDY
That year was 1974 and Myles was just four
when his father Richard died after refusing 35
medical treatment because of his Christian
Science beliefs. His loss and the aftermath for
Myles, his mother and brother are tackled
head on with the song Year Of The Tiger and
the album of the same name.
“I tried to touch on this before but for a
number of reasons, I could never go there,”
admits Myles. “It’s a painful subject but the
idea of loss and death is a theme that runs
through many of the lyrics I’ve been involved
writing. It happened at such a young age it set
the stage for the well I would continuously
draw from. But as far as devoting an entire
uhfrug#wr#wklv#vshflĽf#hyhqw/#L#mxvw#frxog#qhyhu#
sxoo#lw#rļ#ehiruh1#Lw#ihow#olnh#lw#zdv#wkh#uljkw#
time, and here we are.”
But while there is understandable personal
darkness in the songs on Year Of The Tiger,
there’s also plenty of hope too. And as a
player and songwriter Myles Kennedy is
showing new layers that may surprise anyone
who knows him from his other bands with
folk, Delta blues and even rockabilly joining
the mix with acoustic guitar joined by
mandolin, banjo and even lap steel. There’s
plenty to talk about…
The songs on the album are almost like vivid
chapters to your family’s story. Did you take
time to visualise those scenes when you
were coming up with lyrics?
“Yes, and that was probably the most
challenging thing. I don’t think I understood
JUNE 2017 TOTAL GUITAR
 feature
mxvw#zkdw#dq#hļhfw#wkdw#zrxog#kdyh#rq#
p|#khdg1#Iru#h{dpsoh/#Wkh#Juhdw#
Eh|rqg/#zkhq#L#vwduwhg#shqqlqj#wkh#
o|ulfv#iru#wkdw#L#uhdoo|#zdqwhg#wr#ghwdlo#
zkdw#lw#pxvw#kdyh#ehhq#olnh#wkdw#qljkw#
exw#dovr#whoo#wkh#vwru|1#Sdlqwlqj#nlqg#ri#
vxuuhdo#lpdjhu|ĩ#lwġv#suhww|#ylylg1#L#
zdqwhg#lw#wr#eh#ylylg#vr#wkh#olvwhqhu#frxog#
vhh#zkdw#zdv#kdsshqlqj1#Dqg#dv#L#
vwduwhg#wr#gr#wkdw#lw#zdv#lqwhuhvwlqj#krz#
pxfk#wkdw#nlqg#ri#kxuw/#iru#odfn#ri#d#
ehwwhu#zrug1#L#glgqġw#xqghuvwdqg#zkdw#L#
zdv#vwhsslqj#lqwr1#
ģL#wklqn#L#ohduqhg#d#orw#derxw#wkh#
kxpdq#eudlq1#Rqfh#L#zdv#lpphuvhg#lq#
zulwlqj#wkh#o|ulfv#iru#wkh#uhfrug/#hyhq#
p|#zlih#vwduwhg#wr#qrwlfh#zkdw#zdv#
kdsshqlqj#wr#ph1#Vkhġv#d#
phqwdo#khdowk#wkhudslvw#dqg#
vkh#Ľoohg#ph#lq#rq#wkh#
ghwdlov#ri#krz#wkh#kxpdq#
“ZEPPELIN III
eudlq#zrunv1#Li#|rx#fkrrvh#
wr#mxps#grzq#wkdw#kroh#dqg#
AND IV WERE
frqwlqxh#wr#wu|#dqg#ylvxdolvh# SUCH A BIG
wklqjv#dqg#jr#edfn#lq#wlph#
dqg#sxw#|rxuvhoi#wkhuh# PART OF MY
djdlq/#wkhuhġv#d#fhuwdlq#
judylw|#wr#grlqj#lw#wkdw#|rx#
LISTENING”
kdyh#wr#eh#suhsduhg#iru1#
36 Dqg#L#grqġw#nqrz#li#L#zdv#lqlwldoo|1#L#grqġw#
wklqn#L#uhdoo|#xqghuvwrrg#zkdw#L#zdv#
mxpslqj#lqwr1Ĥ
This is the most acoustic album
you’ve done to date. What kind of
new challenges did that throw up as
a player and how you considered
layering and arranging parts?
ģRqh#ri#wkh#wklqjv#wkdw#zdv#lpsruwdqw#
wr#ph#zdv#wkdw#wkh#dfrxvwlf#jxlwdu#dqg#
yrfdo#zhuh#hvvhqwldoo|#dw#wkh#iruhiurqw#vr#
zkhq#wkh#wlph#fdph#wr#duudqjh/#wr#nhhs#
lw#wkhuh#rqh#ri#wkh#wklqjv#zh#glg#zdv#wr#
eh#yhu|#fduhixo#zkdw#|rx#zudsshg#
durxqg#lw1#Vr#wkh#lghd#ri#soxjjlqj#lq#p|#
SUVv#dqg#jrlqj#lqwr#d#kljk0jdlq#dps#
zdv#ghĽqlwho|#qrw#dq#rswlrq/#dv#|rx#
nqrz/#rqfh#|rx#gr#wkdw#lw#zloo#wrwdoo|#
pdvn#wkh#vrxqg#ri#wkh#dfrxvwlf#
lqvwuxphqwv1#Vr#zkhq#lw#fdph#wr#zkdw#
wkh#wh{wxuhv#zhuh#jrlqj#wr#eh#dqg#zkdw#
zdv#jrlqj#wr#dffrpsdq|#wkh#dfrxvwlf#
jxlwdu/#lw#zdv#lpsruwdqw#wr#nhhs#wkrvh#
suhww|#rujdqlf#dv#zhoo1#Vr#pdqgrolq#ru#
edqmr/#dqg#zkdw#uhdoo|#ehfdph#wkh#vwdu#
ri#wkh#vkrz#lq#d#orw#ri#zd|v#zdv#wkh#ods#
vwhho1#Dqg#wkdw#zdv#Hoylvġv#^Edvnhwwh/#
surgxfhu`#lghd/#Lġg#qhyhu#sod|hg#ods#vwhho#
ehiruh/#dqg#kh#wkrxjkw#ri#lw#zkhq#zh#
zhuh#wdonlqj#derxw#zkdw#lqvwuxphqwv#wr
xvh#rq#wkh#uhfrug1#Khġg#mxvw#rughuhg#wklv
Photo: Alamy
phdqw#zhġg#kdyh#wr#kluh#vrphrqh#wr# L#h{shulphqw#vr#pxfk#zlwk#dowhuhg#
sod|#wkh#ods#vwhho#sduwv1#Ehfdxvh#lwġv#qrw# wxqlqjv/#lw#nlqg#ri#khosv#|rx1#L#jxhvv#wkdw#
wkh#hdvlhvw#lqvwuxphqw/#lwġv#qrw#dv#kdug# sduw#ri#p|#eudlq#zdv#wdsshg#lq#zlwk#wkh#
dv#wkh#shgdo#vwhho#exw#lwġv#d#glļhuhqw# edqmr#dqg#wkh#pdqgrolq1#Wkh#edqmr#zdv#
wklqj#iru#d#jx|#zkr#sod|v#jxlwdu1#Wkdw# dfwxdoo|#qrw#txlwh#dv#kdug#dv#L#wkrxjkw#lw#
zdv#vwudqjh#iru#ph/#rqfh#L#sxw#lw#rq#p|# zdv#jrlqj#wr#eh#wr#sod|#dqg#L#dfwxdoo|#
ods#dqg#vwduwhg#h{shulphqwlqj#lw#ihow# hqmr|hg#lw1#Wkdwġv#dq#lqvwuxphqw#L#zrxog#
yhu|#qdwxudo1#L#wklqn#zh#erwk#olnhg#lw##dqg# oryh#wr#vshqg#pruh#wlph#zlwk#lq#wkh#
L#zdv#vrpherg|#zkr#glgqġw#kdyh#d#juhdw# ixwxuh1#Dv#idu#dv#wkh#pdqgrolq#jrhv/#Lġp#
xqghuvwdqglqj#ri#wkh#lqvwuxphqw#vr# qr#Fkulv#Wkloh/#zkr#lv#suredeo|#rqh#ri#
wkhuhġv#d#fhuwdlq#lqqrfhqfh#lq#wkdw# p|#idyrxulwh#pxvlfldqv#lq#wkh#zruog#
vhqvh1#D#orw#ri#wlphv#li#|rx#sxw#dq# uljkw#qrz/#khġv#d#jhqlxv1#L#wulhg#wr#
lqvwuxphqw#lq#vrphrqhġv#kdqgv#zkr# frqyh|#zkdwhyhu#L#zdv#khdulqj#lq#p|#
kdvqġw#ohduqhg#wkh#qrupdo#zd|#ri# khdg#dqg#pdnh#vxuh#lw#zdv#fdswxuhg#iru#
sod|lqj#lw#|rx#frph#xs#zlwk#vrph# wkh#vrqj1Ĥ
xqltxh#dssurdfkhv1#Zh#zhuh#kdss|#zlwk#
krz#wkdw#sod|hg#rxw1Ĥ The frequencies of those
instruments must be good for
Your lap-steel solo in Love layering in a mix too…
Can Only Heal is a real
standout moment, what
ģ\hv/#L#wklqn#wkdw#wkdwġv#wkh#ehdxw|#ri#
wkh#pdqgrolq#lq#sduwlfxodu1#Zkhq#|rx#
was your approach on it?
ģL#kdg#qr#lghd#rq#wkdw#rqh1#
wxfn#wkdw#lq#lw#uhdoo|#eulqjv#rxw#d#qlfh#
wh{wxuh/#dqg#wkh#edqmr#dv#zhoo1#Wkh#
Khdulqj#Gdylg#Olqgoh|/#zkr# sduwlfxoduo|#lqwhuhvwlqj#wklqj#derxw#wkh#
zdv#Mdfnvrq#Eurzqhġv#
ods0vwhho#sod|hu#zlwk#klv#
edqmr#lv#krz#pxfk#lw#srnhv#rxw1#
Qr#pdwwhu#krz#orz#|rx#sxw#lw#lq#wkh#
skudvlqj#dqg#wkh#zd|#kh#
dssurdfkhg#wklqjv#kdg#d#
pl{#lwġv#jrlqj#wr#srnh#wkurxjk1#Wkdw#
lqvwuxphqw#ghĽqlwho|#fxwv/#wkhuhġv#qr#
fhuwdlq#hļhfw#rq#krz#L#fkrvh# grxew#derxw#lw$Ĥ
wr#sod|#wkh#sduwv1#L#ihow#lw#qhhghg#wr#eh#
kdxqwlqj#exw#zkhq#L#vdw#grzq#L#kdg#qr# There seems to be a few Zeppelin
lghd#zkdw#L#zdv#jrlqj#wr#gr1#L#ihow#lw#dqg# nods on the album, especially to The
vwd|hg#lq#wkh#prphqw1#Lw#zdv#Hoylv#dqg#L/# Battle Of Evermore in Love Can Only
soxv#Mhi#^Pro`#rxu#hqjlqhhu#dqg#zh# Heal’s mandolin…
fdswxuhg#d#prphqw1Ĥ ģGhĽqlwho|#dqg#wkh#Ohg#]hssholq#LLL
dqg#LY#uhfrugv#zhuh#vxfk#d#elj#sduw#ri#
It’s bold to pick up a new instrument p|#olvwhqlqj#lq#p|#irupdwlyh#|hduv1#Vr#
in the studio. Had you even played wkh#plqxwh#L#slfnhg#xs#d#pdqgrolq#lw#
mandolin and banjo before too? zdv#doprvw#lqhylwdeoh#wkhuh#zdv#jrlqj#wr#
ģQr#L#qhyhu#kdg1#Lw#zdv#doo#suhww|#qhz#iru# eh#d#wls#ri#wkh#kdw#ehfdxvh#lwġv#lq#p|#
ph1#L#jxhvv#zkdw#Lġyh#ohduqhg#lv/#ehfdxvh# pxvlfdo#Urorgh{#dw#wklv#srlqw1Ĥ
DEAR there another guy in the
room with him? How is he
JOHN doing this? It was
incredible to me. So I tried
How Myles’s Delta to sit there and learn the
patterns. It was a little
blues hero shaped frustrating at first but
his playing after a while I got a few
songs under my belt and as
“I didn’t discover you know with fingerstyle,
Mississippi John Hurt until once you develop a certain
much later in life but when I technique you can take it
did I kind of fell head-over- and use it in other contexts
heels for what he did. The and, hopefully, you’ll be on
right-hand technique in his autopilot and it’ll work. A
playing was what really song like Haunted By
drew me in. It sounded like Design definitely highlights
there were two guitarists his influence on me as a
playing and I remember guitar player. That’s a
discovering some of those full-on Mississippi John

Gloolrq#ods#vwhho#wr#wkh#vwxglr#dqg#Lġg# recordings and thinking, ‘Is Hurt guitar approach.”

qhyhu#wulhg#wr#sod|#rqh#vr#L#zrqghuhg#li lw

TOTAL GUITAR JUNE 2018

 MYLES KENNEDY

37

“IT HURT... I DIDN’T

UNDERSTAND WHAT I
WAS STEPPING INTO”
JUNE 2018 TOTAL GUITAR

Is there also an English folk influence
for you beyond Zeppelin, someone
like Nick Drake?
ģDevroxwho|1#Slqn#Prrq#lv#rqh#ri#p|#
idyrxulwh#wudfnv#hyhu1#L#eholhyh#wkh#
wxqlqj#rq#Vrqjelug#^FJFIFH`#lv#d#Qlfn#
Gudnh#wxqlqj1#Hyhq#wu|lqj#wr#wudfn#grzq#
38 dq#roghu#M078/#li#Lġp#qrw#plvwdnhq#L#wklqn#
kh#xvhg#rqh#dw#d#fhuwdlq#srlqw1#Wkhuhġv#
vxfk#d#ehdxwlixo#phodqfkro|#wr#zkdw#
Qlfn#Gudnh#glg#dv#dq#duwlvw#dqg#L#ihow#wkdw#
wu|lqj#wr#wds#lqwr#vrph#ri#
wkdw#zrxog#eh#qhfhvvdu|#rq#
wklv#uhfrug1Ĥ
And a J-45 played an “THE FEAR IS
important role in this
album, is that right? THAT THE
ģYhu|#lpsruwdqw1#Lq#d#orw#ri#
zd|v#L#zrxog#doprvw#vd|#li#lw#
WELL WILL
zdvqġw#iru#Ľqglqj#wklv#
vshflĽf#jxlwdu/#L#grqġw#nqrz#
RUN DRY”
li#wklv#uhfrug#zrxog#kdyh#
ehhq#zulwwhq#dw#ohdvw#dv#
txlfno|#dv#lw#zdv1#Zkdw#kdsshqhg#lv#L#
kdyh#d#iulhqg#zkrġv#rq#wkh#erdug#zlwk#
p|#zlih#dqg#L#rq#rxu#Ixwxuh#Vrqj#
Irxqgdwlrq#khuh#lq#Vsrndqh#^khoslqj#
|rxqj#pxvlfldqv`#dqg#kh#dovr#kdsshqhg#
wr#zrun#dw#wklv#sdzq#vkrs1#Vr#wkh|#jhw#
wkhvh#juhdw#jxlwduv#wkdw#zrxog#frph#
wkurxjk1#Wklv#jxlwdu#kdg#rqh#rzqhu/#
wkh|ġg#kdg#lw#vlqfh#wkh#73v#dqg#lw#mxvw#
fdph#wkurxjk#iurp#Prqwdqd1#Lwġv#d#4<77#
Jlevrq#M078/#dqg#lwġv#jrw#wkh#edqqhu#orjr#
rq#wkh#khdgvwrfn/#zklfk#phdqv#lw#zdv#
pdgh#gxulqj#wkh#zdu1#Lw#zdv#pdgh#
e|#zrphq#ehfdxvh#wkh#phq#zhuh#doo#
rļ#Ľjkwlqj1#
ģVr#L#zhqw#grzq#wr#wkh#sdzq#vkrs#
dqg#L#uhphpehu#sod|lqj#mxvw#d#kdqgixo#
TOTAL GUITAR JUNE 2018
ri#fkrugv#dqg#lw#zdv#suredeo|#wkh#
orxghvw#dfrxvwlf#jxlwdu#Lġyh#hyhu#khdug/#
exw#yhu|#zhoo#edodqfhg#lq#d#xqltxh#zd|1#L#
wrrn#lw#krph#dqg#L#uhphpehu#wh{wlqj#
p|#iulhqg#vd|lqj#lwġv#wkh#vwudqjhvw#
wklqj/#lwġv#olnh#L#fdqġw#vwrs#zulwlqj#
vrqjv#zlwk#wklv#jxlwdu1#Wkdw#zdv#uhdoo|#
wkh#jxlwdu#wkdw#zdv#d#fdwdo|vw#iru#wkh#
doexp#pxvlfdoo|1Ĥ
Was it mostly vintage instruments
on the record?
ģIru#wkh#prvw#sduw1#L#xvhg#wkdw#jxlwdu#
dqg#wkhq#L#eruurzhg#d#iulhqgġv#4<78#
^Pduwlq`#333054/#zklfk#lv#zkdw#|rx#khdu#
rq#Kdxqwhg#E|#Ghvljq#dqg#lw#pljkw#eh#
rq#Ghylo#Rq#Wkh#Zdoo#dv#zhoo1#Lw#kdg#d#
juhdw#txdolw|#iru#wkh#Ľqjhuslfnlqj1#Dqg#
wkdw#zdv#nhsw#wr#d#kdoi#vwhs#grzq#
vwdqgdug#wxqlqj1#L#xvhg#d#4<63#Qdwlrqdo#
Wulroldq1#Vr#wkrvh#zhuh#wkh#ylqwdjh#
lqvwuxphqwv#exw#L#xvhg#vrph#qhzhu#
southern wklqjv#dv#zhoo1#Rq#Eolqg#Idlwk#L#xvhg#dq#
comfort
QUS#47#Qdwlrqdo#uhvrqdwru#dqg#doo#wkrvh#
Myles has
become a fan of wzdqj|#ohdgv#|rx#khdu#zhuh#grqh#zlwk#d#
Gibson’s ’59 reissue qhzhu#Juhwvfk#Gxdqh#Hgg|1#Lq#idfw/#dq|#
Southern Jumbo hohfwulf#jxlwdu#|rx#khdu#lv#d#Juhwvfk1Ĥ
What is special about the resonator
sound for you?
ģWkhuhġv#mxvw#d#fhuwdlq#dwwdfn#dqg#hyhu|#
wlph#L#slfn#rqh#xs#L#Ľqg#p|vhoi#sod|lqj#d#
fhuwdlq#zd|#dqg#lw#lqvsluhv#ph#lq#d#
glļhuhqw#zd|#wkdq#dq#
hohfwulf#jxlwdu#grhv/#ru#hyhq#
dq#dfrxvwlf#grhv1#L#
glvfryhuhg#wkh#lqvwuxphqw#
wkurxjk#Fkulv#Zklwoh|/#zkr#
pdq|#shrsoh#nqrz#Lġp#d#
pdvvlyh#idq#ri/#L#wklqn#wkh#
zd|#kh#xvhg#wkdw#
lqvwuxphqw#zdv#d#yhu|#elj#
lqvsludwlrq#wr#ph1#L#olvwhqhg#
wr#Gluw#Iorru#vr#pxfk#ryhu#
wkh#|hduv#wkdw#dssurdfk#
fhuwdlqo|#pdqlihvwhg#lwvhoi#
rq#d#kdqgixo#ri#wudfnv#rq#wklv#uhfrug1#Lwġv#
jrw#d#glļhuhqw#wlpeuh#wr#mxvw#derxw#dq|#
rwkhu#lqvwuxphqw#L#fdq#wklqn#ri#dqg#wr#
ph#lwġv#dq#djjuhvvlyh0vrxqglqj#
lqvwuxphqw/#zklfk#lv#zkdw#L#uhdoo|#olnh#
derxw#lw1Ĥ
Devil On The Wall is quite an
unexpected turn for you, there’s a
Stray Cats rockabilly influence in
there – is that how you originally
heard the idea for the song?
ģLw#glg#wdnh#rļ#lqwr#d#gluhfwlrq#L#glgqġw#
h{shfw1#Zkhq#L#zurwh#lw#lqlwldoo|#L#
uhphpehu#zkhq#L#zdv#wdonlqj#wr#]ld#
^Xgglq/#guxpphu#dqg#iruphu#phpehu#
ri#Wkh#Pd|Ľhog#Irxu#zlwk#P|ohv`#derxw#
zkdw#L#khdug#iru#wkh#guxp#sduw#zlwk#wkh#
vqduh#lq#sduwlfxodu1#L#gr#uhphpehu#nlqg#
ri#khdulqj#wkdw#exw#L#glgqġw#nqrz#krz#
pxfk#wkdw#ihho#zdv#jrlqj#wr#glfwdwh/#
hvshfldoo|#rqfh#L#vwduwhg#wkh#Juhwvfk#
jxlwdu#ryhu#wkh#wrs/#wkdw#lw#zrxog#wdnh#lw#
xv#lqwr#wklv#urfndeloo|#whuulwru|1#Lw#zdv#
vrphwklqj#Lġg#qhyhu#uhdoo|#wulhg#ehiruh#
dv#dq#duwlvw#dqg#wr#eh#krqhvw#zlwk#|rx/#L#
zdvqġw#vxuh#li#lw#zdvqġw#jrlqj#wrr#idu#lqwr#
ohiwĽhog#dqg#nhhslqj#lw#frqjuxhqw#zlwk#
wkh#uhvw#ri#wkh#uhfrug1#Vr#wkdw#zdv#nlqg#
ri#lqwhuhvwlqj1#Dqg#wkh#ehjlqqlqj#ri#wkh#
vrqj#kdv#d#Vsdqlvk#ihho/#zklfk#lv#
vrphwklqj#L#xvhg#hyhq#edfn#lq#wkh#
Pd|Ľhog#Irxu#gd|v1#Li#|rx#olvwhq#wr#wkh#
wlwoh#wudfn#ri#Idoorxw#zh#uhohdvhg#53#|hduv#
djr/#wkdwġv#d#wulfn#Lġyh#ehhq#xvlqj#iru#d#
orqj#wlph1#Dqg#eholhyh#lw#ru#qrw/#L#wklqn#L#
suredeo|#jrw#wkdw#dssurdfk#iurp#sod|lqj#
lq#wkh#kljk0vfkrro#pdufklqj#edqg1#Zh#
xvhg#wr#sod|#wkhvh#vrqjv#wkdw#zrxog#
kdyh#wkdw#ľdyrxu#wr#wkhp/#vr#L#wklqn#
wkdw#nlqg#ri#pdgh#lw#lqwr#p|#pxvlfdo#
duvhqdo#lq#odwhu#|hduv1#Exw#rqfh#wkdw#
lqwur#lv#hvwdeolvkhg#lw#nlfnv#lqwr#wkdw#
doprvw#Euldq#Vhw}hu0lvk#yleh1#Hvshfldoo|#
zlwk#wkh#jxlwdu#vror1#GhĽqlwho|#d#wls#ri#
wkh#kdw#wkhuh1#Lq#p|#rslqlrq#khġv#rqh#ri#
wkh#prvw#xqghuudwhg#jxlwdu#sod|huv#rq#
wkh#sodqhw1#L#xvhg#wr#zrun#lq#d#pxvlf#
vwruh#dqg#zh#zrxog#sod|#wkh#
lqvwuxfwlrqdo#ylghr#kh#glg#|hduv#djr#doo#
wkh#wlph1#Zhġg#vwdqg#lq#iurqw#ri#wkh#WY#
vkdnlqj#rxu#khdgv#vd|lqj/#ĠJrg#wkdw#
jx|ġv#jrrg$ġĤ
This album will surprise some fans,
do you feel that you’re a player who’s
constantly pushing themselves?
ģZkhq#L#zdv#d#nlg#L#frxog#vlw#lq#p|#urrp#
iru#hljkw#krxuv#d#gd|#dqg#L#kdg#wkdw#
ox{xu|1#Wkdw#zdv#zrqghuixo#exw#qrz#
wlph#lv#pxfk#pruh#Ľqlwh1#Exw#L#wu|#wr#
nhhs#p|#hduv#wr#wkh#jurxqg#wr#Ľqg#qhz#
wklqjv#ehfdxvh#L#grqġw#zdqw#wr#eh#rqh#ri#
wkrvh#sod|huv#zkhuh#L#mxvw#idoo#lqwr#p|#
urxwlqh#dqg#grqġw#hyroyh#dv#wkh#|hduv#jr#
rq1#Dqg#L#wklqn#wkh#vdph#wklqj#frxog#eh#
vdlg#ri#Wuhprqwl#dv#zhoo1#Khġv#wkh#nlqg#
ri#sod|hu#wkdw#grhvqġw#zdqw#wr#eh#
vwdjqdqw1#L#wklqn#wkrvh#ri#xv#wkdw#
frqwlqxh#wr#eh#vwxghqwv#dqg#frqwlqxh#wr#
jurz/#wkdwġv#mxvw#d#uhdoo|#lpsruwdqw#sduw#
ri#zkdw#zh#gr1#Iru#ph/#wkh#ihdu#lv#wkdw#
wkh#zhoo#zloo#uxq#gu|#dqg#Lġoo#uxq#rxw#ri#
wklqjv#wr#nhhs#ph#lqwhuhvwhg/#vr#Lġp#
vwloo#vhdufklqj1Ĥ
Year Of The Tiger is out now on
Photo: Getty Images
Napalm Records. Myles Kennedy
plays Steelhouse Festival in Wales
with a full band on 28 July
 1 2 3

4 GEAR OF 6
THE TIGER
Myles and Alter Bridge’s
multi-tasking manager, but also
tech, touring guitarist and Year
Of The Tiger’s bass player, Tim
Tournier guides us through
Myles’s solo tour rig

5 “This a Gibson Southern Jumbo 1959 reissue [1] 7

– a limited edition that has mojo by itself but
when you add the LR Baggs [Anthem] it’s great.
We A/B’d a lot of guitars to get this one. We’ve
been longtime Taylor users and still are,
because the Expression System is so good but
it’s a very pristine sound. And for Myles’s solo
record it sounds too pristine. You need that
full-depth, deep country acoustic sound. We
have another National NRP 14 [2] being made
for us with duel pickups. Because sometimes
Myles wishes he had a little more gain so he’s
doing that with the volume pedal [4]. Myles
uses the Taylor 618e [3] for open G tuning and
Myles has a personal
it’s such a big sound. It’s full body depth so it’s connection with The
pretty close to the Gibson. This Taylor Rock Slide – its late
Prototype [5] is essentially a parlour but cedar founder Mark Morse
so it has a lot more snap with the classical neck was the inspiration
style too. It’s a flatpicker’s dream guitar.” behind the Alter
“The pedalboard [6] is ever-changing but the Bridge song Blackbird
Earthquaker Devices Dispatch Master has
become one of his favourites as it’s a really
great delay but it’s also a reverb. That’s also in
his electric rig. The Electro Harmonix Freeze is
essentially used in place of a looper where it
holds a note. Then he uses the Logjam Prolog
[foot-stomp] [7] a lot in place of a drummer.”

JUNE 2018 TOTAL GUITAR

 feature
GIANT STEPS
Being universally adaptable is the mark
of any good musician, believes Kotzen…
“You should be able to solo in any key, major or minor, if
you plan on playing music. One thing I’ve noticed,
especially in hard rock, there are so many musicians who
sound like they’ve only been playing six months when
forced outside that one style. It can be like a bull in a
china shop... a complete miss! Guitarists can get caught
out playing just in a minor or in one blinkered genre and
it’s a bit like screaming all the time. I don’t know how
musicians can be so great in one way and then suddenly
not so much. I’m not saying go from playing rock to
playing Giant Steps overnight – there are varying
degrees of rock and some people can’t even make that
switch. I’m not a jazz musician, I can fake a jazz lick real
good but I’m not George Benson. Nobody plays guitar
like him – nobody. To me, he’s the greatest guitarist
wkdwġv hyhu olyhg/ shulrg1 Wkdw zdv wkh#Ľuvw#frqfhuw#L#hyhu#
went to as a kid – I saw George
Words Amit Sharma / Charlie Griffiths
ley Forge Music Fair,

HEART
ed by Stevie Wonder the
after! I grew up outside
elphia, so there was a lot
B and soul on the radio,
is why I have a lot of
nlqgv#ri#lqľxhqfhv1Ĥ

&
ND FAITH
40 the power of
being present holds
AMERICAN SINGER/SONGWRITER AND MULTI- the key to letting
those fingers fly…
INSTRUMENTALIST RICHIE KOTZEN WALKS “The key to improvisation is
trust. You have to turn all the
TG THROUGH HIS INIMITABLE GUITAR STYLE… rxwvlgh glvwudfwlrqv#rļ#dqg#
stop judging what you can and

OUL
can’t do. It sounds scary but
that’s the only way. What
makes me listenable as a
guitarist, if I am listenable, is
my emotional connection to
the instrument. There are
plenty of guitarists that can
pick more accurately, or do a
lot more technically, and I
don’t think my legato is even
here is a level of musicianship that radiates from Richie that sensational – but it’s how everything combines over

T
Kotzen unlike anyone else on this planet. Before you even
get to his Prince-rivalling talents as a singer, pianist,
drummer or producer – as a guitarist he embodies the very
notion of being in tune with his instrument. Like his
eljjhvw#lqľxhqfhv/#Mhļ#Ehfn/#Vwhylh#Ud|#Ydxjkdq#dqg#
George Benson, there are no boundaries in between what
he hears in his head and the sounds coming out of his
amp… it simply pours out of him. From his early rise as a teenage virtuoso for hire,
Photos: JuliaLage Will Ireland
the right chord changes… that’s when I become
interesting. I’m a lot more of an ensemble, in-the-
moment player. I’m not the guy to pick up a guitar and
dazzle everyone with this intense thing that I worked
out, composed over four days and practised until I can
play it perfectly. That doesn’t interest me. I’d rather
watch someone else do the work and enjoy them doing
it. Sitting down to practise is the most torturous thing –

eventually playing in Mr Big and recording with Stanley Clarke, to his more recent
work in The Winery Dogs and, arguably most of all, on his bluesy solo records – it’s
always been a case of choice notes for each and every musical moment. Here he
tells TG how forging his own unorthodox, left-hand path and going against the
grain led to sounding brilliantly unique…
what excites most of us is the creative process. [The
Winery Dogs bassist] Billy Sheehan is the perfect
example of a disciplined musician – he can still sit for
hours on end and get things perfect. It makes me think I
need to fuckin’ practise in order to keep up with him, but

TOTAL GUITAR JUNE 2018

 RICHIE KOTZEN

I always end up wanting to watch

basketball or do something else. I put a
lot of time in as a child to learn all the
techniques – so as a teenager and
adult, it was just about what I can
create. I just bought a new house, I’m
creating here too – having a blast
prylqj#zdoov#dqg#fkdqjlqj#ľrruv1#
Wkdwġv#wkh#ixq#elw/#L#jxhvv$Ĥ

SONGS IN THE
KEY OF LIFE
It doesn’t matter how you
layer things, there needs to
be something beneath it
“My songs can usually be boiled down
to just one acoustic guitar. I think that
needs to be true for any song, not just
my music. People are very accustomed
to hearing pieces that are really
produced, especially in modern
popular music. You get all these weird
sounds and trends with some guy
yelling in the background randomly
but kind of in time. They do all kinds
of shit on these pop records. To me, it
sounds distracting but I guess
someone must like it. The reality is, if 41
|rx#vwuls#dzd|#doo#ri#wkdw#vwxļ/#zkdw#gr#
you have? When you hear bigger
productions and boil them down to
just guitar or piano with voice, you’ll
either be like, ‘Wow, there really is a
vrqj#lq#wkhuhġ#ru#Ľqg#qrw#pxfk#dw#doo1#
In my live show, we have a section
where we break it down to acoustics or
I might go out and play a few songs by
myself. Some places I’ve played, they
put a sub-woofer under the stage,
which creates all kinds of
nightmares... it’s just a horrible sound.
So sometimes, it’s nice to turn all the
vklw#rļ#dqg#mxvw#gholyhu#wkh#vrqj1#L#
tend to sing better when it’s just me
dqg#wkh#jxlwdu#Ğ#L#fdq#khdu#ehwwhu1Ĥ

WONDERFUL
SLIPPERY THING
The legato master on why
he ended up being a
left-hand dominant player…
“It just so happened that it was easier
iru#ph#wr#gr#wkh#ohiw#kdqg#vwxļ1#Wkh#
lines I play have an element of picking
zlwk#p|#wkxpe#dqg#Ľuvw#wzr#Ľqjhuv/#
but inside and around it there are
legato elements where I’m
hammering notes on, sliding or
sxoolqj#rļ#Ğ#vr#lw#whqgv#wr#eh#d#

JUNE 2018 TOTAL GUITAR

 fe ure
LEGATO LINES TRACKS 22-23
3

q =110 q q =q q
Am7 Dm7 Em7
~~~~~~~~
.. ..
œ
~~~~~~~~~
. .
B
. 7
5
5 8
7
5 9 12 10 9 7 10 9 7
10 8 7
.
5 8

This lick is based in the A natural minor scale (A B C D E F G) and uses arpeggios from the key to spell out the chord changes. You can use a combination of your thumb and
first two fingers of your picking hand to articulate the notes – just use what feels comfortable to you.

combination of things. I can alternate
pick, but I always liked the sound of
the more slippery, snakey style of
phrasing. I guess I got it from Allan
Holdsworth – let’s be honest, that was
the guy that made me think, ‘Woah!
That’s crazy.’ I’d watch Al Di Meola
and alternate pickers like that, and
think it was great though I felt there
were so many players that sounded
like that. Obviously, Al was the
original! Then you had the other guys
from Shrapnel Records – who all had
42 wicked right hands, but it didn’t
appeal to me to want to sound that
way. I was one of those guys that did
things naturally and if it was easier for
me to widdle around with my left and
wave at the girls in the audience, so be
it! I did whatever felt right to my hands
or right in my head. That’s the best
way to play. There’s no one exercise
that will give you your sound – only
you fdq Ľqg wkdw1Ĥ
AROUND THE BEND
How Kotzen combines
technology and technique
to push his songwriting…
“In The Winery Dogs, I wrote a song
called I’m No Angel that uses bends
against open strings to create an me a much better player in the sense
lqwhuhvwlqj hļhfw1 L grqġw nqrz zk| L wkdw#lw#irufhg#ph#wr#wklqn#glļhuhqwo|1#
came up with that, I must have liked Xvlqj#d#slfn/#L#zrxog#Ľqg#p|vhoi#
the clash – I guess it has a country feel getting into traps. I know the
even though it’s not a country lick. The glļhuhqfh#ehwzhhq#ihholqj#pxvlf/#
ideas just come: once you get those letting it come through me
muscles going and you understand the instinctively, and not. There are
feeling/approach to doing it, then all examples online of live shows where
you need to do is seize the moment. I’ve literally let music run away with
Work on it right there or develop it me. I know what that feels like and as
later, but at least document it. On my a performer you want that feeling
phone, I have a recorder app – that every time! So for whatever reason on
everyone probably has – and right now one particular tour, I felt really stuck
there are 175 memos recorded. They – like I was just going through the
are all horrible sounding and probably motions. I knew I had to do something
don’t make much sense, but I know to snap out of it. The only thing I could
what they mean. The ideas that turn conceive was not using a pick, which
into songs are the ones I don’t need to wasn’t a massive stretch because I
go back for... they will already be in my often played things with just my
head. I’m all about the ones that keep hands. Immediately, it eliminated all
coming back, though sometimes I my scale-based sweep picking or
might think there’s a chorus that tremolo alternate picking... a lot of
might match another verse and go vwxļ#zdv#vxgghqo|#rxw#ri#wkh#
edfn wr Ľqg lw1Ĥ repertoire but I still had to play! It
slowed me down and yet I felt more
ALL IN THE HANDS connected with the instrument, which
Why the guitarist excited me. Then I had to relearn all
eventually chose to ditch wkh vwxļ L frxogqġw gr/ olnh wkh
the pick after years of machine-gun picking or sweep
hybrid picking… arpeggio shapes, I had to work it
ģSod|lqj zlwk mxvw p| Ľqjhuv pdgh doo rxw1Ĥ

STRING BENDS TRACKS 24-25

q =140
C # m9 G # m11 E E5 F#5 B E5
~~~~~
.. ..
let ring let ring
RP ~~~~~
. .
BU RP BD
0 BU BD
4 (5) (5) (4 ) 2

B
. 4
4 (6) (6) (4)
2
2
4
4
1
2
2
2
.
4 0
Photo: JuliaLage

Taking our inspiration from The Winery Dogs’ I’m No Angel, the idea here is to hold each bend then add the string above it before re-picking the bend. Use your second
finger to play the 4th fret notes on the fifth and sixth strings, then use your third finger to bend the notes on the second and third strings.

TOTAL GUITAR JUNE 2018


“SITTING DOWN
TO PRACTISE IS
TORTUOUS...”
V IS FOR VICTORY
Richie fills us in on his new signature RK50 amp…
“There were things about the previous amp
[Cornford RK100] that I obviously loved.
And then there were the things that I guess
I outgrew... because it was a big, heavy 100
watt amp with this huge transformer. It
wasn’t fun to get around for my crew or
techs or even me, if I had to move it! I
wanted a straightforward combo, so I went
back to Martin Kidd, who designed my old
signature and was now at Victory, saying I
wanted something simple. I don’t like a lot
of trinkets and knobs, I just wanted
something really easy to deal with, so we
created an amp with one tone knob. Which
is nothing new, a lot of old Fenders and
Marshall were like that…
RICHIE KOTZEN
43
“So I have that and one gain control,
which is boost-able. I tend to set my lead
tone so it really screams and sustains, then
I turn the boost off – which takes it back to
more of a rhythm or subtle lead tone. I can
get all the sounds I need by manipulating
the volume knob. There are some extra
features like reverb and tremolo, which is a
Fender thing... this amp sits somewhere in
between the Fender/Marshall worlds, with
its own kind of high gain. I wanted the
percussive snap that old Plexis had, where
the sound hits you in the chest with a thud
to every note. I think we accomplished that,
but with more gain like the old Soldano
amps that were popular when I was a kid.”
JUNE 2018 TOTAL GUITAR
 feature
RICH PICKINGS
q =120
Em
..
. 12
. 12 12
B 14 14
This lick is based in the E minor pentatonic scale (E G A B D). In bar 1, use your thumb to pick the notes on the fifth string and your first and second fingers to pick the higher
notes. In bar 2, move your fingers up to the next set of strings and follow the same pattern.
BLOW BY BLOW
Listen to the scale inside of
you, first and foremost…
“To be honest, I never really think in
terms of scales. I tend to relate it more
to pentatonic boxes – say if I suddenly
got stuck, I would think about those
shapes to save me. I would take
everything back to blues if I got in
trouble and felt like I was out on a
limb. I never look at the neck and
think of Aeolian or whatever. Playing
44 guitar is more about knowing the right
note is only half a step up or down. I
know what keys sound like, and I
know if I hang out in certain places too
long over certain chords, it can go
from interesting to wrong. I don’t
know the technical meaning to it all,
olnh wkh f|foh ri Ľiwkv ru wuldgv/ <3( ri
what I do is because I hear it in my
head. I’m able to put my hands on the
neck to play it at the same time. I hear
things and I want to bring them to life,
that’s the real meaning of it all to me.
Whether I use a double stop or
chromatic note, that’s almost an after
hļhfw1 Lġp qrw vdw wkhuh wklqnlqj Lġoo
purposefully play a B minor Phrygian
scale here – because by the time I’ve
processed it, the song will have moved
to the next chord. People get way too
fdxjkw xs lq wkdw1Ĥ
WIRED
Having self-produced so
many of his albums,
Kotzen shares his tips for
recording…
ģWkhuh duh pdq| glļhuhqw wklqjv wkdw
work really well for recording guitar
Ğ |rx mxvw kdyh wr Ľjxuh rxw zkdw |rx
zdqw lw wr vrxqg olnh Ľuvw1 Wkh lqlwldo
and easiest thing is getting a close
direct sound, getting an SM57 in the
right spot in front of the speaker cone.
TOTAL GUITAR NOVEMBER 2017
TRACKS 26-27
~~~~~~~~~~~~
œ œ
..
RP
BU ~~~~~~~~~~~~~
15 15 (17) (17) .
12 14 14 12 14
14 14 12 14 14 12 14 .
12 14 14 12 14 14 12 14
wklqjv#xs#dw#glļhuhqw#srlqwv#ri#wkh#
RICHIE KOTZEN
“What makes me
song. Sometimes I’ll use it with a C414
listenable as a
rq#d#glļhuhqw#vshdnhu#dqg#eohqg/#exw#
guitarist, if I am the 57 alone is most often the tone
listenable, is my wkdw#L#oryh1Ĥ
emotional
connection to the
instrument”
CROSSTOWN
TRAFFIC
The Richie Kotzen guide to
singing and playing at the
same time…
“If you listen to my recent single The
Damned/#lw#vhhpv#suhww|#hdv|#dw#Ľuvw#
because I’m singing the same thing as
the guitar line – but that quickly
changes – and right now I can’t sing it
and play both at the same time. I get
jammed up. What I need to do
between now and my next tour is
Ľjxuh#rxw#krz#wkh#ixfn#wr#vlqj#dqg#
play my own song ha ha! What I’ll do is
slow it down, line by line. And
sometimes I’ll be literally marching to
keep time. You have to dissect it and
eventually speed it up, that’s the only
way... the only other option is don’t
write guitar parts that are impossible
to sing over – which is no good! I’ve
had arguments with musicians about
Pryh wkhp durxqg dqg |rxġoo Ľqg wkh zulwlqj#vwxļ#L#pljkw#qrw#eh#deoh#wr#sod|#
right spot – a lot of the times if you get live and I always think, ‘I may never do
the sound right at source, you won’t it live – I might be dead when the
even need to EQ it. uhfrug#frphv#rxw$ġ#Dqg#L#Ľupo|#eholhyh#
Back when I was making The Winery I’m right.
Dogs’ records, I was engineering my When you’re in the studio, making a
own guitars and I chose to have a lot of song, take advantage of being able to
microphones. One was close, there do whatever the fuck you want that
was a ribbon mic that was pointing will be good for the song. Always make
downward and created some extra the best choices for the song... if that
depth when you messed around with means the guitar part or vocals are
the phasing. I had some room mics for kdughu/#Ľqg#d#zd|#wr#ohduq#lw#dqg#wkhq#
a natural reverb, so maybe three more. mxvw#Ľjxuh#lw#rxw1Ĥ
Those all got recorded separately so we
could have options and manipulate Richie Kotzen tours the UK in June,
Photo: Getty Images
wkhp zlwk glļhuhqw sdqqlqj/ zklfk including an appearance at Stone
I’d done before. But sometimes all you Free Festival on 17 June. For dates
need is one room mic, just a 58 to open visit: richiekotzen.com
46

GUITARS AND BACKING JAMES UINGS, JON MUSGRAVE

WORDS CHRIS BIRD, JAMES UINGS
PHOTOGRAPHY OLLY CURTIS

CHORDS
MADE EASY
TOTAL GUITAR JUNE 2018

JARGON BUSTER
We’ll use all of these words at least
once – some, many times – in this
lesson. Come back here if you aren’t
sure what something means…
ARPEGGIO
Playing the notes of a
chord one after the other.
BARRE
The use of one finger to
fret two or more strings at
the same time.
CHORD
A group of two or more
notes (some musicologists
say three or more) played
at the same time.
DIAD
A chord formed of two
notes. Also written ‘dyad’.
DIATONIC
A term denoting that a
musical passage or piece
uses only notes from the
major scale and its modes.
More simply, it means using
notes as outlined by the
key signature.
DOMINANT 7TH
CHORD
A chord containing a root
note, major 3rd, perfect
5th and a minor 7th.
Written as E7, A7 and so on.
EXTENDED CHORD
A chord that includes 9th,
11th or 13th intervals.
INTERVAL
N
The distance in pitch
o matter how long
between two notes, as
you’ve been playing described with a quality
guitar there are always (major, minor, perfect,
new chords to be augmented, diminished)
learnt. And whether and a scale degree (eg, 4th,
you’re just getting into 5th etc). Minor 3rd or
basic open shapes and perfect 5th for example.
exloglqj |rxu Ľqjhu
calluses, or if you’re a seasoned player in need
of some chordal inspiration, this lesson is sure
to set you on the right path. Turn the page and
let’s get stuck in.
COVER FEATURE
KEY
A scale or series of notes
outlining the root and
overall tonality of a piece of
music.
MAJOR CHORD
A chord that includes a root
note, a major 3rd and a
perfect 5th. Written as E, A
andsoon,andcharacterised
by a bright, happy sound.
MAJOR 7TH CHORD
A chord containing a root
note, major 3rd, perfect
5th and a major 7th.
Written as Emaj7, Amaj7
and so on.
MINOR CHORD
A chord that includes a root
note, a minor 3rd and a
perfect 5th. Written as Em,
Am and so on, and
characterised by a dark,
moody sound.
MINOR 7TH CHORD
A chord containing a root
note, minor 3rd, perfect
5th and a minor 7th.
Written as Em7, Am7 etc.
MOVABLE CHORD
A chord with no un-fretted
strings. When transposed
(moved) around the
fretboard the intervals
between each string
remain the same.
OPEN POSITION
Generally, the lowest three
frets on the guitar are said
to be the open position.
OPEN CHORD
A chord played (usually) in
the open position and
including at least one open
(un-fretted) string.
PARTIAL BARRE
A full barre means all six
strings are fretted by one
finger; a partial barre uses
the same technique across
fewer strings.
PROGRESSION
(AKA CHORD
PROGRESSION)
A sequence of changing
chords.
SHAPE (AKA
CHORD SHAPE)
A term used to describe
the position of a guitarist’s
fingers on the fretboard.
Easy-to-remember 47
positions and patterns can
be visualised as shapes.
STRUMMING
A method of picking several
strings at once using a
sweeping motion with a
plectrum (aka pick) or
with fingers.
TRIAD
The formalised theoretical
arrangement of a
three-note major or minor
chord. An open C major
guitar chord includes the
notes: C-E-G-C-E from low
to high; the triad form
references the notes in the
order they appear in the C
major scale: C-E-G.
VOICING (AKA
CHORD VOICING)
Most commonly, on the
guitar a voicing refers to
different shapes used to
play any given chord.
JUNE 2018 TOTAL GUITAR
 Tip top
48 Build your fingertips by
playing simple shapes

01 before moving on to
trickier chords

STRENGTHENING TIPS
Sore fingers? Get started with these simple shapes and melt the pain away…

I
wġv#shuihfwo|#qrupdo#wr#kdyh#vruh#Ľqjhuv#zkhq#|rx# THE CHORDS
vwduw#rxw1#Fkrugv#fdq#eh#kdug#zrun/#hvshfldoo|#li#|rx# TRACK 28

kdyhqġw#ehhq#sod|lqj#jxlwdu#yhu|#orqj1#Vwduw#zlwk#
vlpsoh#vkdshv#wkdw#xvh#rqh#ru#wzr#Ľqjhuv#dqg#orwv#ri#
rshq#vwulqjv#ehiruh#prylqj#rqwr#wulfnlhu#fkrugv1#Lwġv#
lpsruwdqw#wkdw#|rx#sod|#uhjxoduo|/#hyhq#li#lwġv#rqo|#iru#d#ihz#
plqxwhv#hyhu|gd|1#Wklv#zloo#khos#exlog#fdooxvhv#Ğ#kdug#fdsv#
ri#vnlq#Ğ#rq#|rxu#Ľqjhuwlsv/#wkdw#zloo#vrrq#hdvh#dq|#
glvfrpiruw#|rxġuh#ihholqj1#
T
khvh#vlpsolĽhg#yhuvlrqv#ri#wkh#rshq#J/#F/#Hp#dqg#Dp#
fkrugv#xvh#rqh#ru#wzr#Ľqjhuv1#Wkh#G#fkrug#xvhv#wkuhh#
Ľqjhuv#dqg#lv#d#jrrg#vwhs#wrzdugv#pruh#wulfn|#fkrugv#
wkdw#xvh#doo#irxu#Ľqjhuv1#Wu|#sod|lqj#Dp#zlwk#|rxu#vhfrqg#
dqg#wklug#ru#wklug#dqg#irxuwk#Ľqjhuv#wrr#Ğ#wkhuh#duh#riwhq#
vhyhudo#glļhuhqw#zd|v#wr#iuhw#d#fkrug1

X X X O O X X O O X X O O O X X X O X X O

1 1

2 2 2 1 2

3 3
Getty Images

G C Em Am D

TOTAL GUITAR JUNE 2018

 CHORDS MADE EASY

02 CHORD CHANGES
Change chords at lightning speed with our handy shortcuts
and you’ll soon be playing all your favourite tunes

A
elj#sduw#ri#fkdqjlqj#fkrugv#hļhfwlyho|#lv#ehlqj# Wkh#fkrug#fkdqjh#h{huflvhv#khuh#zloo#vkrz#|rx#zkdw#wr#orrn#
hĿflhqw#zlwk#|rxu#pryhphqw1#Dlp#iru#txlfn#vkliwv# iru1#Vkruwfxw#ru#qrw/#|rx#vkrxog#dozd|v#wu|#wr#dqwlflsdwh#hyhu|#
dqg#pdnh#vxuh#|rxġuh#qrw#Ġuhvhwwlqjġ#|rxu#kdqg#e|# fkrug#fkdqjh1#Vwduw#sodqqlqj#d#ihz#ehdwv#ehiruh#lwġv#wlph#wr#
wdnlqj#hyhu|#Ľqjhu#rļ#wkh#qhfn1#Wklv#edg#kdelw#ohdyhv# fkdqjh#e|#slfwxulqj#zkhuh#|rxu#Ľqjhuv#zloo#jr1#Li#|rx#uhdoo|#zdqw#
|rx#kdylqj#wr#uhsrvlwlrq#hyhu|#Ľqjhu#rq#hdfk# wr#vshhg#xs#|rxu#fkdqjhv/#guloo#wkhp#e|#txlfno|#prylqj#ehwzhhq#
vxevhtxhqw#vkdsh/#zkhq#d#pruh#hĿflhqw#pryh#zrxog#vshhg# fkrugv1#Vwuxp#hdfk#fkrug#rqfh/#pdnlqj#vxuh#hdfk#vwulqj#ulqjv#
wklqjv#dorqj1# fohduo|/#wkhq#pdnh#|rxu#pryh#dqg#uhshdw#xqwlo#lw#ihhov#hdvlhu1#

SHORTCUT 1 TRACKS 29-31 O O O O X O O O

BLOCK MOVES q =135
Some chord changes like this Em Asus 2 Play 4 times
Oasis-style Em-Asus2 change 1 2 1 2
involve moving two or more .. ..
fingers in one block. Lock your 2
2 1
first and second fingers as 1
you move them and they
should naturally fall in place 0 0 0 0 0 0 0 0 0 0 0 0 0
for the Asus2. Remember to T . 0
0
0
0
0
0
0
0
0
0
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
. Em Asus2
try using other fingers too. B
. 2
2
2
2
2
2
2
2
2
2
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
.
0 0 0 0 0
≥ ≥ ≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤
X O O X O O 49
SHORTCUT 2 TRACKS 32-34
ANCHORING q =160
1 1
This change involves
‘anchoring’ your first finger on C Am Play 4 times 2 3 2
the 1st fret of the second
.. .. 3
string whilst moving your 1 1
3
other fingers between the Am 2
3
2
and C chords in our Jake
Bugg-style track. Your second 0 0 0 0 0 0 0 0 0 0 0 0
finger could be an anchor too T . 1
0
1
0
1
0
1
0
1
0
1
0
1
2
1
2
1
2
1
2
1
2
1
2
. Am C
– in our experience, however, it
B
. 2
3
2
3
2
3
2
3
2
3
2
3
2
0
2
0
2
0
2
0
2
0
2
0
.
needs a slight adjustment as
you move. ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≤

SHORTCUT 3 TRACKS 35-37 X X X X X X

USING A 5
1
COMMON q = 125
F#m F#m 2 1 2
FINGER AS # 1
. .
2 .. . . 2

A GUIDE .. ‰ ‰‰ ‰
3
2
3
1
. ‰ ‰ 3
1
3 3
This is similar to anchoring.
You can use a common finger
to reduce unnecessary 5 5 5 2 5 5 5 4
movement even when moving T . 7
6
7
6
7
6
3
2
7
6
7
6
7
6
5
4
. F#m D
up the neck. The third finger
B
. .
X X X
plays a note on the second
string in this Mark Knopfler-
inspired track’s F#m, D and E
chords. Simply slide this vital
digit along the string to keep
you in place as you move.
1 2
3

JUNE 2018 TOTAL GUITAR

 COVER FEATURE

03

FINGER
STRENGTH
Strong fingers make light work of the toughest
changes. Improve your dexterity and
coordination too with these simple exercises

S
rph fkrugv#fdq#eh#ghpdqglqj/#vr#lw#pdnhv#vhqvh#wr#nhhs#wkrvh#
you’re barred ydoxdeoh#gljlwv#lq#jrrg#vkdsh1#Wkhvh#h{huflvhv#zloo#jlyh#doo#irxu#Ľqjhuv#d#
Bob Marley was
zrunrxw#dqg#jhw#|rx#uhdg|#iru#hyhq#wkh#prvw#fkdoohqjlqj#vkdshv1#Vwduw#
a master at playing
partial barres vorzo| dqg#jlyh#|rxu#kdqgv#d#uhvw#li#wkh|#jhw#wluhg1#D#olwwoh#Ľqjhu#idwljxh#
lv qrupdo#exw#vwrs#lpphgldwho|#li#|rx#ihho#dq|#sdlq1

EXERCISE 1 EXERCISE 2
PARTIAL BARRE EXERCISE STRETCHING
So far you’ve used your fingertips to play notes, but partial barres use EXERCISE 1
the front of the finger to play two or three notes at the same time. This Stones-inspired track is great for stretching
This Bob Marley-style reggae track is a good workout. Make sure you all four fingers. Pay attention to the fingerings,
use the fingers indicated in the tab. Keep your thumb roughly they might not be what you’re expecting.
50 opposite your first or second finger for maximum strength.
TRACKS 38-39 TRACKS 40-41

q =75 q =110
Dm/F C/E Am/C B b/F C/G
. . . . A 5 E/G # G 5 D/F # D 5 A/C # D5
3
3
1
3
. . . Play 4 times
. #
.. 3 1
2 3
3
1
1
.. .. ..
4
1
4 ..
.. .. ..
1 1

10 10 8 8 5 5
T . 10
10
10
10
8
9
8
9
5
5
5
5
3
3
5
5
. T . .
B
. 3 5 . B
. 19 19 17 17 12 12 12
.
17 16 15 14 10 9 10

EXERCISE 3 EXERCISE 4
STRETCHING STRING BEND PRESS-UPS
EXERCISE 2 If you’re wondering why we’re looking at string bends in a
As you get more comfortable with the stretches, try chords lesson, well, this simple exercise will help you build
playing this second version where we’ve moved all the finger strength whatever you’re playing – so give it a go!
chords seven frets lower for a tougher stretch. Try the exercise with all four fingers and use any spare
digits to support the one that’s executing the bend.
TRACKS 42-43 TRACKS 44-45

D 5 A/C # C 5 G/B G 5 D/F # G5 q = 60

# .. . ..
4 4
.
1
. 1 n . ..
BU BD BU BD BU BD BU BU BD BU BD BU BD BU
T . . T 7 (9) (7) (9) (7) (9) (7) (9) 7 (9) (7) (9) (7) (9) (7) (9)

B
. 12 12 10 10 5 5 5
. B
Getty Images

10 9 8 7 3 2 3
≥ ≥

TOTAL GUITAR JUNE 2018

 COVER FEATURE

04

BARRE CHORD
WORKOUT
Unlock hundreds of new shapes with the power of
STEP 1:
PLAY E, BUT DON’T USE
a few simple barre chords. TG shows you how… YOUR FIRST FINGER
Play an open E chord using this fingering that
leaves your first finger free. Notice that three

O
shq#fkrugv#duh#d#juhdw#zd|#wr#jhw#
vwduwhg#rq#wkh#jxlwdu#dqg#fryhu#vrph#
edvlfv#ri#sod|lqj1#Krzhyhu/#wkhvh#
vlpsoh#vkdshv#fdq#eh#olplwlqj#li#|rx#
zdqw#kljkhu#slwfkhg#vrxqgv#ru#li#|rx#
qhhg#wr#sod|#lq#orwv#ri#glļhuhqw#nh|v1# strings are open.
Eduuh#fkrugv#duh#prydeoh#vkdshv#wkdw#ohw#|rx#
sod|#dq|zkhuh#rq#wkh#qhfn#dqg#lq#dq|#nh|1#
Wkhvh#fkrugv#duh#xvhg#lq#yluwxdoo|#hyhu|#vw|oh#ri#
pxvlf/#vr#lwġv#zruwk#jhwwlqj#wkhp#qdlohg1#

Feel the fret.... and

do it anyway
Open up the fretboard
by learning barre
chords

52

STEP 2:
SLIDE THE SHAPE UP
ONE FRET
We want to turn this E into an F chord. F is one
note higher than E, so move this shape one
fret higher.

STEP 3:
TURNING E INTO AN
F BARRE CHORD
Strumming the chord will tell you something’s
not right – the three open strings stayed at
the same pitch when you moved the rest of
the chord. Simply place your first finger
across all six strings at the 1st fret to move
the open strings up a fret.

TOTAL GUITAR JUNE 2018

 CHORDS MADE EASY

STEP 4: STEP 6:
F, F7 AND FM CHORDS LESS COMMON VOICINGS
Repeat this process with E7 and Em chords too. In fact, barres work with any open Some chords that look and sound like they rely on open
shape (try major 7ths and minor 7ths) and can be moved around the fretboard. strings for their character can be converted into
movable barre chords as this moody madd9 shape
shows. Now would be a good time to experiment with
1 1 1 1 1 1 1 1 1 1 1 other open chords you know.
2 2 O O O O

1 1 1 1
3 4 3 3 4 5
1

2
3
F F7 Fm
4
STEP 5:
BARRE CHORDS USING THE OPEN A SHAPE Emadd9 Amadd9
Here we’re using the same barre process as we did with E and F, just starting
with A and Am chords and all their variations. These shapes have their root note
on the fifth string so keep the sixth string silent.
X X X X X

1 1 1 1 1 1 1 1 1 1 1 1

2 2 2

2 3 4 3 4 3 4 3 4 3

53

Bb Bb7 Bbm Bbmaj7 Bbm7

BARRE LIKE THE RAMONES TRACKS 49-50

q =167
G5 C D
Play 4 times
# .. 3
3 ..
3 3
3 1
1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
PM

T . 5
5
7
7
.
B
. 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
3
7
5
.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥
The Ramones used simple powerchords and barre chords almost exclusively, influencing loads of punk bands who followed them. These punk-inspired chords sound
great delivered with weighty downstrokes. Notice that the first chord is played using only three strings – so you don’t need to use a full barre shape.

BARRE LIKE ED SHEERAN TRACK 51

q = 94
Em G A C D

.. ..
. .

T . 0
0
3
4
5
6
5
5
7
7
.
B
. 2 5 7
3
5
5
7 .
0 3 5
p i a p a
m m
i

Ed doesn’t shy away from barre chords and will often combine them with open chords. If you’re feeling creative, why not try developing the chord progression higher up
the fretboard? Obviously, you’ll find some chords won’t sound right, but it’s easy to keep moving the shapes around until you find one that fits.

JUNE 2018 TOTAL GUITAR

 COVER FEATURE

05

CHOOSING
THE RIGHT
CHORDS
Add colour to tired progressions
with a selection of extended chords

S
r#idu#zhġyh#orrnhg#dw#d#udqjh#ri#idluo|#vwdqgdug#fkrugv1#Wkhuh#duh/#
wkrxjk/#hqgohvv#srvvlelolwlhv#zkhq#lw#frphv#wr#fuhdwlqj#oxvflrxv/#
frorxuixo#fkrugv1#Zlwk#vr#pdq|#fkrlfhv/#lw#fdq#eh#kdug#wr#nqrz#
zkhuh#wr#vwduw1#Grqġw#zruu|/#zhġuh#khuh#wr#khos$#Zhġyh#jurxshg#
colouring in vrph#ri#rxu#idyrxulwh#fkrugv#wrjhwkhu#e|#prrg1#Zhġoo#dovr#vkrz#
Add depth and |rx#krz#wr#xvh#h{whqghg#fkrugv#wr#pdnh#srwhqwldoo|#erulqj#surjuhvvlrqv#
creativity to your
playing by learning a
pruh#lqwhuhvwlqj1#Dowkrxjk#zhġyh#vxjjhvwhg#vrph#sodfhv#wkhvh#fkrugv#
wide variety of chords duh#prvw#frpprqo|#xvhg/#wkh|#fdq#eh#xvhg#lq#doo#vw|ohv#Ğ#wkhuh#duh#qr#
kdug#dqg#idvw#uxohv1

54 TRACK 52 TRACK 53
TENSE, BLUESY SOUND MELLOW SOUND
These chords are super-popular in all kinds of blues. The 9th and 13th can These chilled-out extended chords work really well as replacements for
be heard in many modern blues players’ repertoires. The dominant 9th is ‘regular’ major chords and are great for adding a jazzy tinge to your
a well-used chord in funk too. progressions.
X X X X X X O X O

1
4
2 3 3 1 1

1 1 1 2 3 2 3 4

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

D7 D9 D13 Cmaj7 Cmaj9 Cadd9

TRACK 54 TRACK 55
MELANCHOLY SOUND MYSTERIOUS SOUND
These dark, broody chords are great for adding extra drama to minor These enigmatic chords are great for adding an air of mystery to a
chords. The madd9 is a metal ballad classic. progression. Instrumental legend Joe Satriani is a big fan of the maj7#11.

X X X O O O X X O O O O O O O O

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

3 1 3 4

2 3 4

Am9 Amadd9 Am11 Fmaj7#11 Em6 Emb6

TOTAL GUITAR JUNE 2018

 COVER FEATURE
TRACK 56 O O O O O O
UPLIFTING SOUND 1 1
These chords use the open first and 10 7
second strings to provide a lift to 1 2 2
some simple major chords. Hear
them on early Coldplay recordings and 2 3 4 3 4
tracks by Foo Fighters and Alice In
Chains. 3 4

F#7add11 D6/9 Fmaj7#11

06 WHEN TO USE
EXTENDED
CHORDS
You’ve learnt a load of new shapes
but where should you use them?

S
rph#fkrugv#kdyh#frpsolfdwhg#qdphv1#Wklv#fdq#eh#
txlwh#rļ0sxwwlqj#dqg#lw#fdq#eh#glĿfxow#wr#nqrz#zkhuh#
wr#xvh#wkhp#lq#|rxu#pxvlf1#Wkhuhġv#qrw#hqrxjk#vsdfh#
56 khuh#wr#jr#lqwr#doo#wkh#vxewohwlhv#ri#frpsoh{#fkrug#
frqvwuxfwlrq/#exw/#dv#d#jhqhudo#uxoh/#|rx#fdq#uhsodfh#
pdmru#dqg#plqru#fkrugv#+vd|/#D#ru#Dp,#zlwk#h{whqghg#fkrugv#
wkdw#vwduw#zlwk#Ġpdmġ#ru#Ġpġ#+hj/#Dpdm<#ru#Dp9,1#Grplqdqw#:wk#
fkrugv#+vxfk#dv#D:,#fdq#riwhq#eh#uhsodfhg#e|#rwkhu#grplqdqw#
fkrugv#+D</#D44/#D46,1#Dv#dozd|v/#h{shulphqw#dqg#uhphpehu=#li#lw#
vrxqgv#jrrg/#lw#lv#jrrg1#Wdnh#d#orrn#dw#wkh#surjuhvvlrqv#ehorz1#
Wkh|ġuh#hvvhqwldoo|#wkh#vdph#exw#wkh#vhfrqg#h{dpsoh#pdnhv#xvh#
ri#pruh#frorxuixo0vrxqglqj#fkrugv1#

SIMPLE PROGRESSION TRACK 57

q =115
E B A F# E

# .. ..
let ring
7 7 7 2 2 2 2 2 2 2 2 0
T . 9
9
9
9
9
9
7
8
7
8
7
8 6
5
6 6
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
. 0
1

B
. 9
7
9
7
9
7
9
9
9
9
9
9
7 7 7 4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
. 2
2
7 7 7 5 2 2 2 2 2 2 2 2 0
≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
There’s nothing too challenging here, but play through the progression and pay attention to how the chords sound so that you can compare them to the next example.

WITH ADDED COLOUR TRACKS 58-59

q =115
Emaj 7 B7 Amaj 9 F # 7add 11 Eadd 9

# .. ..
let ring
7 7 7 0 0 0 0 0 0 0 0 0
T . 9
8
9
8
9
8
7
8
7
8
7
8 4
5
4 4
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
. 0
1

B
. 9
7
9
7
9
7
7
9
7
9
7
9
6 6 6 4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
. 4
2
7 7 7 5 2 2 2 2 2 2 2 2 0

≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
This is the same progression using extended chords for colour. Play each chord and listen to its character, then play the two examples so that you can compare.

TOTAL GUITAR JUNE 2018

 CHORDS MADE EASY

shape shifter
Avoid getting into a
finger twisting
situation

07 HOW TO DEAL WITH

DIFFICULT SHAPES
Chord shape too much of a stretch? Make it easier as we show
you how to simplify certain chord shapes…

C
rpsoh{#fkrugv#fdq#frqwdlq orwv ri qrwhv/
vrphwlphv#dv#pdq|#dv vl{ ru hyhq pruh1 Wklv
fdq#pdnh#sod|lqj#wkhp txlwh d kdqgixo$
Khuhġv#wkh#wklqj=#wrs#sod|huv rqo| sod| wkh
prvw#lpsruwdqw#qrwhv1 Li |rxġuh sod|lqj/ vd|/
d#Gp44#fkrug#+G#I#D#F#H#J,/#lwġv#vxusulvlqjo| qrw doo wkdw
lpsruwdqw#wr#sod|#wkh#urrw#qrwh#+G, Ğ wkdwġv ehfdxvh
wkh edvvlvw lv suredeo| douhdg| sod|lqj lw1 Wkhuhġv dovr
olwwoh srlqw lq sod|lqj wkh 8wk +D, dv wkh hdu whqgv wr Ľoo
lq wklv frpprq vrxqg qdwxudoo|1 Lqvwhdg wkh I/ F/ H
dqg J qrwhv +6ug/ :wk/ <wk dqg 44wk lqwhuydov, vkrxog eh
|rxu irfxv dv wkh| surylgh wkh wuxh fkdudfwhu ri d 57
plqru 44wk fkrug1 Wklv dssurdfk doorzv |rx wr fuhdwh
lqwhuhvwlqj sduwv zlwkrxw w|lqj |rxu Ľqjhuv lq nqrwv1

STEELY SOUND TRACKS 60-61

q =125
Dm11 C 11

.. ..

3 3 3 3 3 3 3 3 3 3 3 1 1 1
T . 6
5
6
5
6
5
5
5
5
5
5
5
5
5
6
5
6
5
6
5
6
5
3
3
3
3
3
3
.
B
. .
≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≤ ≤ ≤
This example features some complex chords but you’re only going to play three notes at a time – the band will take care of the rest. On Dm11 you’ll play the b 3rd, b 7th,and
11th initially, before adding in the 9th. For our C11 shape you’ll play the b 7th, 9th and 11th.

RED HOT CHORD PARTIALS TRACK 62-63

q = 80
Gm7 Gm13
n Play 4 times
.. ..

12 12
T . 11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
11
10
.
B
. .
≥ ≤ ≥ ≤ ≤ ≥ ≥ ≥ cont. sim.
Getty Images

John Frusciante is a master of playing just the notes that matter. Like this example, he was inspired by the funk guitarists of the 70s. It uses just the chord’s b 3rd, b 7th and
13th intervals, while the bass and keys flesh out the rest of the harmony.

JUNE 2018 TOTAL GUITAR

 08

GET CREATIVE
WITH ARPEGGIOS
Bring your chords and progressions to life with arpeggios,
some other techniques and a handful of basic effects

I
wġv#doo#wrr#hdv|#wr#eh#vdwlvĽhg#vlpso|#
vwuxpplqj#dzd|/#exw#vrph#vrqjv#qhhg#d#elw#
pruh#frqwudvw#dqg#wh{wxuh1#Dushjjlrv#duh#rqh#
ri#wkh#ehvw#zd|v#wr#pdnh#fkrugv#pruh#
lqwhuhvwlqj1#Lwġv#d#vlpsoh#lghd=#lqvwhdg#ri#
sod|lqj#doo#wkh#qrwhv#ri#d#fkrug#dw#rqfh/#|rx#sod|#wkhp#
rqh#dw#d#wlph1#\rx#fdq#dgg#lq#qhz#qrwhv#wr#klqw#dw#
h{whqghg#fkrugv#dqg#|rx#fdq#ydu|#wkh#uk|wkp#dqg#
wrqh#wr#fuhdwh#hqgohvv#yduldwlrqv#ri#hyhq#wkh#prvw#
edvlf#fkrug#surjuhvvlrqv1#

ARPEGGIOS AS RIFFS TRACKS 64-65

q =110
Esus 2 Bsus 2 Aadd 9
# .. ..

T . 11 6
.
B
. 7
9 9
9
11
9 7
9 .
7 5
58
Arpeggios can be used to create catchy riffs as this Andy Summers-inspired example shows. Listen to Message In A Bottle and Every Breath You Take by The Police for
more complex examples. There’s a staccato feel here – cutting the notes short makes it easier to change chords quickly.

HIGH-REGISTER TREMOLO CHORDS TRACKS 66-67

q =75
Gm9 Fmaj 9 E b maj 9 Gm7

.. ..
let ring throughout

17 15 13 10
T . 15
15
14
13
12
11
10
11 .
B
. .

These simple Radiohead-inspired arpeggios are effective because the high notes have lots of space to ring out. Don’t worry if you don’t have a tremolo pedal, it will sound
equally good with other modulation pedals (chorus or flanger, for example), delay or lots of reverb.

ARPEGGIOS AND DIADS TRACK 68-69

q = 60
Em7 D C
Play 4 times
# .. ..

let ring throughout

T . 8
7
7
7 5
5
5 5
.
B
. 7
9 9 7
7 9
7 5
5 7
5 5 .
Getty Images

Combing picked arpeggios with diads and hammer-ons is similar to the way Jimi Hendrix would approach his clean sounding chord progressions in songs such as Little
Wing and The Wind Cries Mary. Use a first finger barre at the 7th fret in bar 1 and at the 5th fret in bar 2.

TOTAL GUITAR JUNE 2018

 CHORDS MADE EASY

Get playing
Try out some easy open
chords and rich sounding
extended shapes

09 JAM
TRACKS
Enough learning –
let’s get playing!…

W
hġyh#suhsduhg irxu vkruw fkrug
surjuhvvlrqv iru |rx wr mdp dorqj wr
edvhg#rq#vrph ri wkh fkrugv |rxġyh
ohduqw#lq#wklv ihdwxuh1 Wkhuhġv qrwklqj
wrr#wulfn|#khuh/ vr ohwġv jhw vwxfn lq
Fruity jam
dqg#h{shulphqw#zlwk#glļhuhqw vwuxpplqj dqg Get jamming along 59
slfnlqj#sdwwhuqv1 with TG’s authentic
backing tracks
TRACK 70
1 60S POP
This Beatles-style track is great way to practise your open chords. Try different picking and strumming patterns – you can even play your acoustic if you
feel like it.

||: G / / / | C / / / | G / / / | D / / / :||
TRACK 71
2 00S ROCK
This Foo Fighters-inspired track uses barre chord shapes without the full barre, leaving the first and second strings ringing. You can strum the chords
loudly or quietly; both will work.

||: E / / / | Badd11 / / / | G6 / / / | Aadd9 / / / :||

TRACK 72
3 CLASSIC SOUL
This soul-style track draws heavily on session ace Steve Cropper’s style. Experiment with playing just the guitar’s top three strings on beats 2 and 4.

||: D / G / | D / G / | D / G / | A7 / / / :||
TRACK 73
4 90S ALTERNATIVE ROCK
Jeff Buckley was a master of awesome chords. This backing track is a chance to try out some extended chords with our alt-rock style backing track.

||: Emadd9 / / / | Fmaj7 / / / | Cmaj7 / / / | Amadd9 / / / :||

JUNE 2018 TOTAL GUITAR
 JA M
T R AC K
JAM TRACK PLAY GUITAR WITH A BAND

70S RIFF
ROCK
Take inspiration from some of rock’s
greatest icons and jam along with
this month’s 70s-style rock track
uring the 1960s and 70s guitar D8 fkrug zlwk F dqg J qrwhv wr fuhdwh

D dpsolĽfdwlrq ehfdph
judgxdoo| pruh srzhuixo dqg
sod|huv uhvsrqghg lq nlqg/
hyroylqj wkh eoxhv lqwr zkdw zrxog
ehfrph urfn1 Mlpp| Sdjh/ Hulf
dq lqihfwlrxv ulļ1 Wkh yhuvh xvhv d
ydulhw| ri srzhufkrugv lq wkh nh| ri D
plqru1 Wkh fkruxv uhsulvhv rxu pdlq
ulļ dqg vrph ri wkh yhuvh fkrugv1
Zkhq vrorlqj |rx fdq xvh wkh D
Fodswrq/ Dqjxv \rxqj dqg pdq| pruh plqru shqwdwrqlf vfdoh wr fuhdwh vrph
zhuh w|slfdoo| soxjjlqj kxpexfnhu urfnlqj olqhv1 Eoxhv dqg urfn0rulhqwhg
htxlsshg jxlwduv lqwr Pduvkdoo dpsv lghdv jhqhudoo| zrun ehvw iru wklv vw|oh
dqg fudqnlqj xs wkh yroxph wr jhw dqg rxu wdeehg h{dpsoh xwlolvhv vrph
wkhlu wrqh1 w|slfdo vwulqj ehqgv1 Li |rxġuh ihholqj
62 Rxu :3v ulļ urfn0vw|oh edfnlqj pruh dgyhqwxurxv/ wu| vrph pruh
wudfn lv sdfnhg ixoo ri yleh dqg dgydqfhg whfkqltxhv/ vxfk dv wdsslqj
vzdjjhu1 Wkh lqwur frpelqhv dq rshq ru zkdpp| edu glyherpev1

SCALES CHORDS
kh D plqru#shqwdwrqlf#vfdoh#vrxqgv#juhdw#wkurxjkrxw## 8/#G8#dqg#J8#duh edvhg#rq#wkrvh#hdv|#D/#G#dqg#J#rshq#fkrugv#Ğ#mxvw#

T Ğ dqg zhġyh#jlyhq#|rx#wkuhh#vkdshv#wr#zrun#zlwk1#
Qrwlfh krz#wkh#vkdshv#olqn#wrjhwkhu1#Vkdsh#8#ohdgv#lqwr#
vkdsh 4/ zklfk#lq#wxuq#ohdgv#lqwr#vkdsh#51#Wu|#sorwwlqj#rxw#wkh#
A vlpsolĽhg#wr#eh#sod|hg#dv#srzhufkrugv1#Fvxv5#lv#d#yduldwlrq#rq#dq#rshq#F#
fkrug/#exw#lwv#vkdsh#lv#txlwh#vlplodu#wr#wkh#J81#Wkh#H8#vkdsh#vkrzq#khuh#lv#
dovr#d#yduldwlrq#rq#wkh#rshq#vkdsh/#exw#h{whqghg#wr#fryhu#wzr#rfwdyhv1
qrwhv ri wkh uhpdlqlqj#vkdshv#+6#dqg#7,#ehiruh#|rx#uhdfk#
vkdsh 8 djdlq#dq#rfwdyh#kljkhu#xs#wkh#iuhwerdug1
X O X X X X O X X X O X

1 1 1 1 1 1
5
1 1 2 3 2

2 2 2 2 3 3 3 3 2 3

4 4 4
4 4 4 4 4 4
Guitars and backing: Jon Bishop Photography: Michael Ochs Archives/Stringer/Getty

A minor pentatonic scale A minor pentatonic scale A5 D5 Csus2

(shape 5) (shape 1)
O X X O O
1 1 1
7
2 2 2
1 1
3
2 3 4
4 4 4 4 4
3
4
A minor pentatonic scale
(shape 2) E5 G5

TOTAL GUITAR JUNE 2018

 BACKING TRACK (TRACK 74)
This song comes with a backing track on your CD. Simply
insert the disc in your player, press play and jam along,
guitaraoke style!
JAM TRACK / 70S RIFF ROCK

JAM TRACK 70S RIFF ROCK LICK TRACK 74

q =132
A5 ~~~~~~~~~~~~~~~~~~~~~
œ
j . j ~~~~~~~~~~~
.. œ
œ
j ..
0:12
~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~
BU BU
T . 9 (12) 7 (8) 7 5 7 5
.
B
. 7 5
7
5 7 .
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥
This lick is played using shape 1 of the A minor pentatonic scale except, that is, for the very first note. This 9th fret E note takes you up into shape 2, so you’ll need
to make a quick position shift back to shape 1 to reach the next note in good time.

JAM TRACK
CHEAT SHEET
Tempo 132bpm
Time signature 4/4
Key/scale A minor
63
INTRO / BREAKDOWN (RIFF)

||: A5 / / / | / / / / | / / / / | / / / / :||

VERSE

||: D5 / / / | / / / / | A5 / / / | / / / / :||
| D5 / / / | Csus2 / / / | A5 / / / | / / / / |
| D5 / / / | Csus2 / / / | E5 / / / | G5 / / / ||

CHORUS

||: A5 / / / | / / / / | Csus2 / / / | D5 / / / :|| x3

| Csus2 / / / | D5 / / / | E5 / / / | G5 / / / ||
Having looked at the chords and scale choices, think about how you can approach the track in full. The track doesn’t change dynamically (how loud
and soft the music is), so try some lead ideas that gradually unfold, giving your performance a sense of direction. Or just let rip! It’s up to you!

JUNE 2018 TOTAL GUITAR

 CL ASSIC
T R AC K
OASIS
LIVE FOREVER
64 Learn the guitar parts from one
of Noel Gallagher’s greatest
songwriting moments
I
n 1994, fresh-faced
retro rock ’n’ rollers
Oasis unleashed
GhĽqlwho|#Pd|eh, the
(then) fastest-selling
Eulwlvk#ghexw#doexp#ri#doo#
wlph1#Qr#XN#edqg#vlqfh#wkh#Vh{#
Slvwrov#kdg#lqvsluhg#vr#pdq|#
nlgv#wr#slfn#xs#wkh#jxlwdu#dqg#irup#
d#edqg1#
Live Forever#zdv#wkh#Ľuvw#Rdvlv#
vlqjoh#wr#euhdn#wkh#XN#Wrs#43/#dqg#
Qrho#djuhhv#wkdw#wkh#vrqj#zdv#d#
wxuqlqj#srlqw1#ģLw#zdv#wkh#wxqh/#dv#
L#uhphpehu/#wkdw#fkdqjhg#
hyhu|wklqj/Ĥ#kh#vdlg#zlwk#sulgh#rq#
Lock The Box1#ģLw#vhw#rļ#d#fkdlq#
uhdfwlrq#^dqg`#hyhu|wklqj#iroorzhg#
rq#iurp#wkdw1Ĥ#Wr#sod|#wkh#wxqh#
|rxġoo#qhhg#wr#eh#frqĽghqw#zlwk#
vwuxpplqj/#fkxqn|#grxeoh#vwrsv/#
dushjjlrv#dqg#Qrhoġv#jr0wr#vkdshv#
iru#vrorlqj#dqg#wkh#pdmru#dqg#
plqru#shqwdwrqlf#vfdohv1#Uhdg#rq#
wr#Ľqg#rxw#doo#|rx#qhhg#wr#nqrz1
TOTAL GUITAR JUNE 2018
SOUND ADVICE
Everything you need to know before playing ‘Live Forever’
S
et up a mildly overdriven, warm
tone from your amp and use a
Get the tone CHANNEL OVERDRIVE distortion pedal to add a bit of
5 6
grit. If you haven’t got a distortion pedal,
7 7 7 raise the gain and treble settings on your
amp instead. Back in 1994, Noel’s main
guitar was an Epiphone Les Paul
Photography: Martyn Goodacre / Getty Images Guitars and backing: Simon Young
GAIN BASS MID TREBLE REVERB Standard, so use a guitar equipped with
humbuckers and select the bridge
pickup. Use a delay pedal to recreate the
dense wall of sound of the rhythm parts
and also for the solo. Finally, add a touch
of chorus for the verse riffs and the
Select a bridge arpeggios in the chorus.
position humbucker,
max out your guitar’s
volume and tone
controls and dial in a
medium gain setting
on your amp.
 CL ASSIC
T R AC K

CHORDS SCALES
lvfrxqwlqj#wkh#ľhhwlqj#Gvxv7# |rxu#iuhwwlqj#Ľqjhu#pryhphqw wr dq rho#vrorv#xvlqj#qrwhv#gudzq#doprvw#

D fkrugv#dqg#wkh#Ivxv5#dqg#Ipdm<#
dushjjlrv/#wkh#vrqj#fdq/#lq#idfw/#eh#
erlohg#grzq#wr#mxvw#vl{#vlpsoh#rshq#
srvlwlrq#fkrugv=#Dp:/#F/#G/#Hp:/#J8#dqg#
I1 Dv zlwk doo#fkrug fkdqjhv/ wu| wr nhhs
X 0 O X
2 3 4
devroxwh#plqlpxp1#Dv#d#uhvxow ri wklv
|rx#fdq#wkhq#nhhs#|rxu#wklug#Ľqjhu
fretting the D at the 3rd fret on the
vhfrqg#vwulqj#zkhq#|rx#fkdqjh wr wkh J8
ru Hp: fkrugv1
O O O X O O X X 0 X
1 1
2 2 1 2
3 3
N h{foxvlyho|#iurp#edvlf#shqwdwrqlf#vfdohv1#
Lq#wkh#Ľuvw#vror#kh#vwduwv#zlwk#wkh#J#pdmru#
shqwdwrqlf#vfdoh#+J#D#E#G#H,/#dv#vkrzq#khuh1#
When the chord progression switches to follow
wkdw#ri#wkh#fkruxv/#Qrho#vzlwfkhv#wr#wkh#H#plqru#
shqwdwrqlf#vfdoh#+H#J#D#E#G,1#H#plqru#lv#wkh#
X 0
uhodwlyh#plqru#nh|#wr#J#pdmru#dqg#wkh#wzr#vfdohv#
vkduh#wkh#vdph#qrwhv/#vlpso|#vwduwlqj#rq#
1 glļhuhqw#urrw#qrwhv1#Qrho#xvhv#wkh#vdph#sdwwhuq#
3 4 iru#wkh#vhfrqg#vror/#exw#wklv#wlph#xvlqj#wkh#D#
plqru#shqwdwrqlf#vfdoh#+D#F#G#H#J,1

G5 Am7 C D Dsus4 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
12 12 5

0 0 X X 0 X X 0 0
3 3 2 3 3 3 3 3 3
1 1 1 1 1
4 1 1 4 4 4 4 4 4
1 2 2
3
3 4 3 4 3 4 3
3 3
E minor A minor
G major pentatonic scale pentatonic scale
pentatonic scale

Em7 F Fsus2 Fmaj9

65

LIVE FOREVER

OASIS FULL
TAB
Music & Lyrics by Noel Gallagher
© 1994 Copyright Sony Music Publishing UK Ltd, Oasis Music and
Creation Songs Ltd. All Rights Administered by Sony/ATV Music

LIVE FOREVER Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured. All Rights Reserved
Reprinted by Permission of Hal Leonard LLC

OASIS LIVE FOREVER Verse 1

q = 90
G5 D

.. ..
. .
. .
0:12 g .
3 3 3 3 3 3 3 3 2 2 2 2 2 2
T . 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
2 2
3
2
3
2
3
2
3
2
3
2 0

B
. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3
1
≥ ≥ ≤ ≥ ≤ ≥ ≥ ≥ cont. sim.

Am7 C D

.. .. ..
.. ..
. .
0 0 0 0 0 0 2 2 2 2 2
T 1
0
1
0
1 1
0
1
0 0
1
0
1
0
1
0
1
0
3
2
3
2
3
2
3
2
3
2
0
0
.
B
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
0 0 0 0 0 0 .
3 ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≤ ≥ ≥
This part is played on both electric and acoustic guitars. Play the initial G5 powerchord with a firm downward pick stroke and then use relaxed alternate picking
throughout. Try to move only the fretting fingers that need to change position when you change chords.

JUNE 2018 TOTAL GUITAR

 CL ASSIC
T R AC K
OASIS LIVE FOREVER Chorus 1 (rhythm)

Em7 D Dsus 4 D

.. ..
..
..
0:34

3 3 3 3 3 3 3 3 2 2 2 3 2 2 2 0
T . 3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
0
3
2
3
2
3
2
3
2
3
2
3
2
3
2
0
0

B
. 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
1
≥ cont. sim.

1.
Am7 C Dsus 4 Em7

# ..

0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3
T 1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
3
2
3
2
3
2
3
2
3
2
3
0
3
0
.
B
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
3
2
3
0 0 0 0 0 2
2
2
2
.
0 0
3
≥ ≥ ≤ ≥ ≥ ≤

2.
Fsus 2
#
let ring

3 3
66 T 1 1
0
1 1
0
3 3
B
5 ≥ ≤ ≤ ≤ ≥ ≥ ≤ ≤ ≤ ≥

We’ve notated the full chords here but, as is common with strumming, Noel wouldn’t necessarily hit every string on every strum. It’s quite normal to hit one or two fewer
strings when you’re playing upstrokes. Be careful not to hit open strings that don’t belong to the chord, however.

OASIS LIVE FOREVER Verse 2 and 3 (lick)

G D
2
# 1
1 1
..
.. 1 3
.
0:58
2:27

T . 12
12 12 12
13
12
12
12
7
7 7 7
8
7
7
7

B
. 12 12 14 12 14 12 7 7 9 7 9 7

1
≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥

Am7 C D
# ..

T 5
5
5
5 5
7
7
7
7
7
7
8 7
7
12
12
12
12
.
B
5 5 7 5 7 7 7 9 7 12 12 .
3
≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≤
Fret the initial G chord by barring across the 12th fret with your first finger. Press down with your second and third fingers to play the chord tied between beats 3 and 4.
Repeat the same pattern in 7th position in bar 2. Use a relaxed picking movement so that the last two chords of bar 1 are played with upstrokes.

TOTAL GUITAR JUNE 2018

 FULL TRACK + BACKING (TRACKS 75-76)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in
your player, press play and jam along guitaraoke style!
OASIS / LIVE FOREVER

OASIS LIVE FOREVER Chorus 2 (arpeggios)

Em7 D Am7

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

1:19
let ring throughout
2:49

T 8
9
8
9
7
7
7
7
5
5
5
5
9 9 7 5 5 5

C D Em7

# j
œ

5 7 8 8
5 7 9 9
5 5 7 7 9 9
5 7
4

D Am7

7 7 5
7 7 5 5
7 7 9 5 5
B
6

2
# Fsus
67

3 3
1 1 1 1
0 0
3 3

Fret the arpeggio in bar 1 as you would fret a standard 7th position E minor barre chord, using your second, third and fourth fingers. This way you can lift them off to reveal
your first finger barring across the 7th fret in bar 2. Place your fingers squarely on the fretboard so that the notes ring out without muting any adjacent strings.

OASIS LIVE FOREVER Solo

G5 D
j . j
# œ œ

1:43
~~~~~~~~~~~~~~~~~~~
BU BD BU BD
T 12 14 (16) [16 ] (14) 12 12 14 14 (16 ) [16 ] (14) 12
12 14 14 14
B
1

Am7 C D
~~~~~~~~~
.

~~~~~~~~~~
T ¿¿ ¿¿ 0 0
12 14 12 12 7 7 7 0 0
14 12 14 12 7 9 7 9 7
B
3

JUNE 2018 TOTAL GUITAR

 CL ASSIC
T R AC K
OASIS LIVE FOREVER Solo (cont’d)

G5 D Am7
. œ
j ~~~~~
. .

~~~~~~~
BU BD
T 0
0 12 14 14 (16 ) [16 ] (14) 12 12 14
12 12 14 14 14
B
5

C D Em7
~~~~ ~~~ ~~~~ ~~~ ~~~ ~~~ ~~~ ~~~

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

T 12 12 12 12 12
17 17 17 17 17 17 17 17 17
12 14 12 12 14 14 12
B
8

D Am7
j
œ

BU
T 17 15
16
15
16 14 16 14 12 14 12 12 14 12 14 (16) 14 12 14 12 12
14 14 12 14
B 12 14
68 10

C D Em7
~~~ ~~~ ~~~ ~~~ ~~ ~~~ ~~ ~~~ ~~~
j j
œ œ
#

12
~~~~ ~~~~ ~~~~ ~~~~ ~~~ ~~~~ ~~~ ~~~~ ~~~~
BU BU
T 14 (16) 14 12 12 14 (16)
15 17 17 17 17 17 17 17 17 17
14
B
12

D Am7
j
# œ

BU
T 17 15
16
15
16 14 16 14 12 14 12 12 14 12 14 (16) 14 12 14 12 12
14 14 12 14
B 12 14
14

Fsus 2 j ~~~
œ

~~~~~
BU
T 12 12 14 (16) 14 14 12 12
12 14 12 14 14
B 12 14 12 14
16

This is a G major / E minor pentatonic scale solo (the two scales share the same notes) with not one single note from outside the scale. Most of the licks are based at the
12th fret, so place your first finger there and use your remaining fingers at the higher frets. Watch out for brief position changes in bar 4 and bars 9 and 10.

TOTAL GUITAR JUNE 2018

 FULL TRACK + BACKING (TRACKS 75-76)
this song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in
your player, press play and jam along guitaraoke style!
OASIS / LIVE FOREVER

OASIS LIVE FOREVER Outro Solo

1. 2. 3. 4. 5. 6. 7.
Fmaj 9 Am7 Am7
.. .. 1
3

.
3:07

T . . 5
. . 7
B 3 3 2 0
1

Fmaj 7 Am7

1
3
.

T 5 5 5
7 5 7 5 7 5 7
B 3 2 0
4

Fmaj 7 Am7

j j
œ œ

BU BU
T 5 7 (9) 7 5 5 7 (9) 7 5 7 5 7 5
7 7
B 3 2 0 69
6

Fmaj 7 Am7
j j
œ œ

BU BU
T 5 7 (9) 7 5 7 5 7 (9) 7 5 7 5 7 5
7
B 3 2 0
8

Fmaj 7 Am7

T 5 5 5 5 5
7 5 5 5 7 5 7 7 7
B 3 2 0 0 0
10

Fmaj 9 Am7

T 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
7 5 5 5 5 5 5 7 5 7 5 7 7 5 5 5 5 5 5 7 5 7
B 0 0
12

JUNE 2018 TOTAL GUITAR

 CL ASSIC
T R AC K
OASIS LIVE FOREVER Outro Solo (cont’d)

Fmaj 9 Am7

T 5
5
5
5
5
5
5
5
5
5
5
5 5
5
5
5
5
5
5
5
7 5 5 5 5 5 5 7 5 7 5 7 5 7 7 5 7
B 5 7
14

Fmaj 9 Am7

T 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 5 5 5 5 7 5 7 5 7 5 5 5 5 5 7 5 7 5 7
B
16

Fmaj 9 Am7
U

T 5
5
5
5
5
5
5
5
5
5
5 5 5 5 5 7 5 7 5 7
B 0
18

Start by learning the descending riff in bars 1 and 2. It’s a simple phrase but things get trickier from bar 4 onwards when the riff is repeated and mixed in with Noel’s
pentatonic lead lines. Barre across the strings to play the 5th fret chords from bar 11 and on. This keeps you in 5th position until the end of the solo.
70

OASIS LIVE FOREVER Outro arpeggios

Fmaj 9 Am7
Play 6 times
.. ..
3:07 let ring throughout

0 0
T . 1 1
0
1 1
0
.
B
. 3 2 .
1

Fmaj 9 Fsus 2
7
..

0 3
T 1 1
0
. 1 1
0

B
3 . 3

1. 2. 3. 4. 5.
Am7 Am7
U
U
..

3 3 0
T 1 1
0
. 1
0
0 1
2

B
2 . 2
0
6

These arpeggios are based on simple open-chord shapes. Start by making sure you can play each chord with every string ringing out cleanly. You can pick in whichever
way you like, but be sure to use a downstroke for the first note in each bar. Try using upstrokes on the offbeat notes to nail the timing.

TOTAL GUITAR JUNE 2018

 Find Your Perfect Tone
Every issue, Guitarist brings you the best gear, features,
tuition and interviews to fuel your passion for guitar

u tar is also available on

Newsstand for iPhone, iPad & iPod touch

Also available to order online at www.myfavouritemagazines.co.uk

 ROCK
SCHOOL

ROCKSCHOOL
AC/DC
WHOLE LOTTA ROSIE
Rockschool looks at the rhythm and riffing
style of the Young brothers in this Grade 4
arrangement of the DC classic
lthough it’s tough to recreate jurxs Ğ Ľuvw wkh grxeohvwrs/ wkhq wzr

A Angus and Malcolm’s twin-

guitar ‘crunchy but clean’
Gibson, Gretsch and Marshall
tone, much of this classic AC/DC track
is quite easy to play. Rockschool’s
Grade 4 arrangement gets you started
with the rhythm, while leaving you to
make up your own solo.
The rhythm part in bar 10 is
reminiscent of early ZZ Top and can be
memorised as a repeating three-note
open A notes. AC/DC’s chord voicings
are always well thought out. The big G5
chord in bar 22 may not seem special
but play it as a straight G chord and see
how mushy it sounds with the extra B
note. In bars 28 and 29 you’ll see a
D/F# chord. This kind of chord (known
either as a ‘slash chord’ or an
‘inversion’) means that a note other
than the root is used in the bass. Here,
it’s a D chord with F# in the bass.

72
Transcriptions from
Rockschool’s Hot Rock series
can be used as Free Choice
Pieces in Guitar Grade exams and
in public exams such as GCSEs.
For more info, visit:
rslawards.com
FULL
TAB
WHOLE LOTTA ROSIE
Words & Music by Angus Young, Malcolm Young & Bon Scott
© 1977 J Albert & Son Pty. Limited
All Rights Reserved. International Copyright Secured

AC/DC WHOLE LOTTA ROSIE TRACKS 77-78

q =161
A5 C5 D5 C5 A5 A5 C5 D5 C5 A5

T 5 7 5 2 5 7 5 2
5 7 5 2 5 7 5 2
B 0 3 0 5 0 3 0 0 3 0 5 0 3 0
1

A5 C5 D5 C5 A5
Photography: Paul Natkin / Getty Images

T 5 7 5 2
5 7 5 2
B 0 3 0 5 0 3 0
4

TOTAL GUITAR JUNE 2018

 FULL TRACK + BACKING (TRACKS 77-78)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in
your player, press play and jam along, guitaraoke style!
AC/DC / WHOLE LOTTA ROSIE

AC/DC WHOLE LOTTA ROSIE TRACKS 77-78

A5 C5 D5 C5 A5

T 5 7 5 2
5 7 5 2
B 0 3 0 5 0 3 0
7

T 2 2 2 2 2 2 2 0
2 2 2 2 2 2 2 0
B 0 0 0 0 0 3 0 5 0 3 0 0 0 0 0 0 3 0 5 0 3
10

T 2 2 ¿¿ 0 2 ¿¿ 0 2 0 2 2 2 2
2 2 0 2 0 2 0 2 2 2 2
B ¿ 0 ¿ 0 0 3 0 5 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0
14 73

F D5
. .
... .
. . œ w
.
1 1 1
T 1
2
1
2
1
2
3
2
3
2
3
2
3 3 3 0 0 0
B 3
1
3
1
3
1
18

A5 G5 A5 G5

.. ..
. .
3 3
T 2 0
3
0 2 0
3
0
2 0 0 2 0 0
B 0 0
3
0 0
3
22

A5 G5 G5 D/F # G5 D/F # G5 N.C.

.. ..
. .. #
# #
3
T 2 0
3
0
3
0
3
2
3
0
3
2
3
0
2 0 0 0 0 0 0 0
B 0 0
3 3 2 3 2 3 4
0
26

JUNE 2018 TOTAL GUITAR

 ROCK
SCHOOL

Solo (16 bars)

A5 Play 3 times
..

T . .
B
. .
30

F D5

T
B
34

A5 ~~~~ A5 C5 D5 C5 A5 ~~~~ A5 C5 D5 C5 A5

.. ..
~~~~~ ~~~~~
T . 5 7 5 5 7 5
.
B
. 7 7 7 7 7 7 7 7 .
74
38

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

PM
~~~~~~ ~~~~~~ ~~~~~~ ~~~
T 5 7 5 5 7 5 5 7 5 5 7 5
7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
B
42

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

. . . .
~~~~~~~~~~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~ ~~~
T
5 4 3 2
B
46

A5 C5 D5 C5 A5
~ ~ ~~~ ~~ ~~~~~ ~
. . . # n .
~ ~~~ ~~~~~ ~~ ~~~~~ ~~
T 5 7 5 2
1 5 7 5 2
B 5 4 3 2 0 0 3 0 5 0 3 0
50

TOTAL GUITAR JUNE 2018

 AC/DC / WHOLE LOTTA ROSIE

T 2 2 2 2 2 2 2
2 2 2 2 2 2 2
B 0 0 0 0 0 3 0 5 0 3 0 0 0 0 0 0 0 0 0 0 0 0 0
54

F D5
.. .
.. œ .. œ w
..
1 1 1
T 1
2
1
2
1
2
3
2
3
2
3
2
3 3 3 0 0 0
B 3
1
3
1
3
1
58

A5 G5 A5 G5

.. ..
. . 75

3 3
T 2 0
3
0 2 0
3
0
2 0 0 2 0 0
B 0 0
3
0 0
3
62

A5 G5 G5 D/F # G5

.. ..
. ..
#
3
T 2 0
3
0
3
0
3
2
3
0
2 0 0 0 0 0
B 0 0
3 3 2 3
66

D/F # G5 N.C. A5 A5 C5 D5 C5 A5
U

# #
T 3
2
3
0 2 ¿¿ 2 ¿¿ 0 2 5 7 5 2
0 0 2 2 0 2 5 7 5 2
B 0 0 0 ¿ 0 0 ¿ 0 0 3 0 5 0 3 0
2 3 4
69

Malcolm would generally deliver his rhythm parts in this track with an ‘all downstrokes’ picking style; Angus is a little more fluid, including some upstrokes. The down-up
method works particularly well on single-note lines, such as in bars 11 or 13. Angus uses the A minor pentatonic scale for the solo.

JUNE 2018 TOTAL GUITAR

 TURN
A ROU N D

THE TURNAROUND LICKS OF THE BLUES LEGENDS

LIGHTNIN’
HOPKINS
Go for the vintage acoustic vibe with TG’s
transcribed examples in the style of this blues
legend, with some useful tips on technique
orn in Houston in 1912, Lightnin’ lqľxhqfh#rq#hohfwulf#eoxhv#dqg#urfn#sod|huv#Ğ#

B Hopkins’ career didn’t begin in earnest

until he was in his 20s. Going on to
record upwards of 800 songs, Hopkins
toured extensively over 40 years. Like many of
his era, Hopkins received a big boost in the 60s
due to artists like Elvis Presley and the British
blues ‘invasion’ that made the likes of Eric
Clapton household names. Though his earliest
recordings were made with Wilson ‘Thunder’
76 Smith, Hopkins was predominantly a solo
acoustic player, though surprisingly inventive
at soloing in this context, incorporating
pentatonic lines that were to become a big
particularly Jimi Hendrix and Jimmie Vaughan.
Kh#sod|hg#zlwk#Ľqjhuv#dqg#wkxpe#xvlqj#d#
Ľup/#exw#qrw#wrr#khdy|#dwwdfn1#Vrphwlphv/#kh#
would palm mute bass notes for an extra
percussive feel while letting higher strings ring
to give the impression of separate rhythm and
bass parts. He would also often punctuate his
playing with rhythmic taps on muted strings,
ru#hyhq#wkh#jxlwdu#erg|#lwvhoi#Ğ#pdq|#ghfdghv#
before a generation of percussive players
turned it into an art form in its own right.
Try out the tab examples to get a little of the
magic of this blues master into your playing.

1 LIGHTNIN’ STRIKES TRACK 79

3
j
q = 67 q q =q q
N.C. 1/4
1/4

# œ
j œ œ
j
j
bœ

RP
1/4
BU BD
1/4
T 10 (12) (12) ( 12 )(10 ) 8
9 7
8 7 5
B 0 0 0 0
1
Guitars and backing: Richard Barrett Photograph: Michael Ochs Archives / Stringer / Getty

# 3 B7

b n .
let ring

T
¿¿
0
2
1
B 7
0
5 0 1 2
2

This example features a pentatonic lead line with regular bass note strike on the open sixth string for backing. It takes extra finger strength to execute string bends on
the acoustic as most people use a slightly heavier gauge, so work this up slowly if necessary. Watch for details like the little slurs/slides and quarter-tone bends.

TOTAL GUITAR JUNE 2018

 FULL TRACKS (TRACKS 79-83)
These tab examples come with audio tracks on your CD.
Simply insert the disc in your player, press play and jam
along, guitaraoke style!
THE TURNAROUND / LIGHTNIN’ HOPKINS

2 GIVE ME A RING TRACK 80

N.C. 3
3
# j . j . j œ
j
j
œ œ œ œ

3
let ring throughout
0 0 0 0 0
T 2 4
3
2 4
3
2 4
3 0 5 3 0
4 2 0
2
B 0 0 0 0 0 0

Taking a more riff-based approach, the ringing open top strings combine to give quite a full sound, underpinned by the pulse of the sixth string. This sounds great muted
(whether you mute the bass note or the treble strings) or left to ring, so feel free to mix and match.

3 MOVING FROM E TO A TRACK 81

N.C. 3
3 3
œ
j n . œ
j 3
# j œ
j
œ

let ring throughout

PM PM PM PM PM PM PM PM PM
10 10 3 0 0
T 10 12 10 12 12 2 0
2 4
0
4 2 0
2
B 0 0 0 0 0 0 0 0 0

Shifting to an A chord, as you would in a 12-bar blues in E, this idea combines accompanying bass notes and a higher register lead line. The slides and quarter-tone bends
were adopted enthusiastically by the generation of electric blues and rock players that would follow. 77

4 ALTERNATIVE TURNAROUND TRACK 82

N.C. B7
1/4 3
3
# nœ
j
j
œ

3 3
n
let ring throughout 1/4
.
0 0 0 0
T 3 5 0 3 0
4 2 0
0
2 2 2
B 0 0
0
3 0 0

Useful as an alternative intro/ending turnaround, this example could be used to lead into a B chord – the third chord needed to make up a 12-bar blues progression in E.
Hopkins would often simply chug on this, as the open-string licks he often favoured to fill in-between chords don’t fit so well here.

5 RUNNING OR HOPPING? TRACK 83

N.C.
n n
# œ 3

bœ nœ .
let ring throughout
15 12
T 15 12
14 12 ¿¿
14 12 14 1
B 0 0
0 1 2

Pretty much running straight down the E minor pentatonic scale, this device becomes more than a scale because of the swing feel and bass note added at the beginning
of each bar. This is merely one of many possible options using this scale/pattern, so be sure to experiment. A blues scale run would sound great, for example.

JUNE 2018 TOTAL GUITAR

 TAB GUIDE
Get more from TG by understanding our easy-to-follow musical terms and signs
Whatistab?
Tab is short for tablature, a guitar, from the sixth (thick) down on the tab. Unfretted
notational system used to give vwulqj dw wkh erwwrp wr wkh Ľuvw strings are shown with a ‘0’. The
detailed information as to where (thin) string at the top. On these key and time signatures are
notes should be played on the lines, numbers represent which shown in the notation. TG also
fretboard. Tab appears iuhwv |rx sodfh |rxu Ľqjhuv1 Iru includes a timestamp to tell you
underneath conventional music example, an A note on the 2nd where in the original track you’ll
notation as six horizontal lines fret, third string, will be shown Ľqg hdfk h{dpsoh dqg whpsr
that represent the strings of the as a number ‘2’ on the third line expressed in beats per minute.

FRET BOXES: CHORDS, SCALES AND CAPO NOTATION

HAND LABELLING NUT AND FRETBOARD CHORD EXAMPLE

2 m o o o o o o o o o
3 1 i a
4 c
1
T p
2 3
78

Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) This fretbox diagram represents the guitar’s fretboard exactly, as seen in the This diagram represents a G chord. The ‘o’s are open strings, and a circled number
Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger) photo. This design is used for ease of visualising a fretboard scale or chord quickly. is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).

CAPO EXAMPLE CAPO NOTATION SCALE EXAMPLE

CAPO 2ND
o o o x o o
FRET >
CAPO 2ND
FRET > 4 1 1 1 1
1
2 2 2 2
1 2
3 3
2 3 3
4 4 4 4 4

A (G)
The blue line in the diagram represents a capo for this A chord, place it at the
2nd fret. Capos change the fret number ordering. Here, the original 5th fret
now becomes the 3rd fret, 7th fret now 5th fret, etc.
D (C)
Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the
pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab
as if they were open strings.
A major scale
The fret box diagram illustrates the fret hand fingering for the A major scale using
black dots for root notes and red dots for other scale tones. The photo shows part
of the scale being played on the fourth string with the first, third and fourth fingers.

GUITAR TECHNIQUES: PICKING

DOWN AND UP-PICKING TREMOLO PICKING PALM MUTING PICK RAKE APPREGGIATED CHORD

The symbols under the tab tell you the Each of the four notes are to be Palm-mute by resting the edge of your Drag the pick across the strings shown Play the notes of the chord by
first note is to be down-picked and the alternate-picked (down and up-picked) picking hand palm on the strings near with a single sweep. This is often used strumming across the relevant strings
second note is to be up-picked. very rapidly and continuously. the bridge saddles. to augment a rake’s last note. in the direction of the arrow head.

TOTAL GUITAR JUNE 2018

 TAB GUIDE

FRETTING HAND
HAMMER-ON & NOTE TRILLS SLIDES (GLISSANDO) FRET-HAND TAPPING FRET-HAND MUTING
PULL-OFF

Pick the first note then hammer down on After picking the first note, rapidly Pick the first note and then slide to the Sound the notes marked with a square by X markings represent notes and strings
the string for the second note. Pick the alternate between the two notes shown in next. For the last two notes pick the first, hammering-on/tapping with your fret hand that are muted by your fret hand when
third note and pull-off for the fourth note. brackets using hammer-ons and pull-offs. slide to the next and then re-pick it (RP). fingers, instead of picking. struck by your picking hand.

BENDING AND VIBRATO

BEND AND RELEASE RE-PICKED BEND PRE-BEND QUARTER-TONE BEND VIBRATO

Fret the first note (here, the 5th fret) and Bend up to the pitch shown in the Silently bend the string up from the 5th Pick the note then bend up a quarter- Your fretting hand vibrates the string by
bend up to the pitch of the bracketed brackets, then re-pick the note while fret (PB5) to the pitch of the 7th fret note, tone (a very small amount). This is small bend-ups and releases. Exaggerate
note, before releasing again. holding the bent note at the pitch shown. pick it and release to the 5th fret note. sometimes referred to as a ‘blues curl’. this effect to create a ‘wide’ vibrato.

HARMONICS

NATURAL HARMONICS ARTIFICIAL PINCHED HARMONICS TAPPED HARMONICS TOUCHED HARMONICS

HARMONICS

79

Pick the note while lightly touching the Fret the note as shown, then lightly place After fretting the note in the triangle, Place your finger on the note as shown, A previously sounded note is touched
string directly over the fret indicated. your index finger directly over ‘x’ fret dig into the string with the side of your but sound it with a quick pick hand tap at above the fret marked TCH (eg, TCH 9)
A chiming harmonic results. (AH‘x’) and pick (with a pick, p or a). thumb as you sound it with the pick. the fret shown (TH17) for a harmonic. for it to sound a harmonic.

VIBRATO BAR / WHAMMY BAR

WHAMMY BAR BENDS SCOOP AND DOOP SUSTAINED NOTE GARGLE WHAMMY BAR VIBRATO
AND DIVEBOMB

The note is picked as shown, then the Scoop: depress the bar just before A Note is sustained then the vibrato Sound the note and ‘flick’ the vibrato bar Gently rock the whammy bar to
vibrato bar is raised and lowered to the striking the note and release. Doop: bar is depressed to slack. The square with your picking hand so it ‘quivers’. This repeatedly bend the pitch up and down.
pitches shown in brackets. lower the bar slightly after picking note. bracket indicates a further articulation. results in a ‘gargling’ sound! This sounds similar to fret hand vibrato.
OTHERS

PICK SCRAPE VIOLINING FINGER NUMBERING PIMA DIRECTIONS PICK HAND TAPPING

The edge of the pick is dragged either Turn the volume control down, sound The numbers in the traditional notation Any kind of fingerpicking requirements Tap (hammer-on) with a finger of your
down or up along the lower strings to the note(s) and then turn the volume up refer to the fingers required to play are shown at the bottom of the picking hand onto the fret marked with
produce a scraped sound. for a smooth fade in. each note. tab notation. a circle. Usually with ‘i’ or ‘m’.

JUNE 2018 TOTAL GUITAR

 ACOUSTIC

82
Unplugged
YOUR MONTH IN THE ACOUSTIC WORLD

082
ACOUSTIC NEWS
084
JOHN CARTER CASH
086
ACOUSTIC TAB:
PINBALL WIZARD

TOTAL GUITAR JUNE 2018

 ACOUSTIC
TRACKS 84-88

FIVE BARRE
CHORDS
Essential chords to
fuel your creativity

1 1 1 1
2
3

G7
X

1 1 1
5

COUNTRY ROADS 3
4

New Americana festival set for September

D7sus4

A
new UK Americana and roots
event launches in September
featuring Billy Bragg, TG fave
Brent Cobb and homegrown
country duo The Shires (pic above).
The Long Road weekender takes
place at Stanford Hall between 7
and 9 September and will also
feature a BBC Music Introducing
stage hosted by Radio 2’s Bob
Harris, which aims to showcase
the talents of unsigned roots
artists. Following on from the rise
of the yearly Country To Country
festival at the 02 Arena, and Kent’s
Black Deer Americana and Country
Fest in June, The Long Road is
another sign that the genres are
making serious inroads in the UK.
“The dedication and passion of
the UK country community is so
amazing,” says Tennessee-born
Creative Director Baylen Leonard.
“We wanted to put together a 83
festival that celebrated the music 1 1 1 1
and lifestyle they love as a thank 5
you to the fans for supporting
country music.” 3
Nashville artists Angaleena
Presley, duo Striking Matches, 4
Ashley Campbell and The Wood
Brothers will also appear.
thelongroad.com Am7

1 1

OLD TIMER 3
2

Washburn’s new acoustic 3 4

uses very old wood

W
ashburn’s latest addition to
its Timeless Collection is a
Cmaj7
parlour acoustic that features
a top made from 140+-year-old X X
uhfodlphg#Hxurshdq#Ľu#ehdpv#iurp#
bridges, pubs and barns throughout
the UK. 1
Only a small fraction of the wood
that’s sourced meets Washburn’s 2 3
Timeless tonewood standards, but 4
what does is said to give the
snappily-titled TCP130SWK-LTD
model a “rich, deep and loud” Em7
tonality that recalls spruce and
redwood cedar.
washburn.com

JUNE 2018 TOTAL GUITAR

 ACOUSTIC
John Carter Cash JOHNNY CASH: FOREVER WORDS TURNS A LOST HAUL OF THE MAN IN
BLACK’S LYRICS INTO NEW MUSIC VIA SOME STAR COLLABORATORS,
AMONG THEM KINDRED SPIRIT, CHRIS CORNELL
I
n August 2003 Johnny Cash was in a
uhľhfwlyh#sodfh1#Klv#ohjhqg#zdv#
vhfxuhg#iroorzlqj#d#ghfdghġv#zrun#rq#
wkh#Ulfn#Uxelq0surgxfhg#Dphulfdq#
Uhfruglqjv#vhulhv/#exw#kh#kdg#orvw#klv#
ehoryhg#zlih#Mxqh#Fduwhu#Fdvk#lq#Pd|#dqg#
wkrxjkwv#kdg#wxuqhg#wr#klv#rzq#ohjdf|1#D#vk|#
pdq#e|#qdwxuh/#Fdvk#vshqw#pxfk#ri#klv#wlph#
uhdglqj1#Klv#rĿfh#zdv#kdoi#vwxg|/#kdoi#oleudu|#
slohg#kljk#zlwk#errnv/#ohwwhuv#wxfnhg#lq#
gudzhuv/#Ľoohg#qrwherrnv#dqg#iroghuv#ri#klv#
vwxglhv#rq#wkh#Errn#Ri#Mre1#Dw#vrph#srlqw#
84 gxulqj#wkh#zhhnv#ehiruh#klv#sdvvlqj#rq#45#
Vhswhpehu/#wkh#iroorzlqj#olqhv#fdph#wr#uhvw#
rq#d#qrwh#lq#wkdw#urrp=#Ġ\rx#whoo#ph#wkdw#L#
pxvw#shulvk/#olnh#wkh#ľrzhuv#wkdw#L#
fkhulvk2Qrwklqj#uhpdlqlqj#ri#p|#
qdph/#qrwklqj#uhphpehuhg#ri#p|#
idph2Exw#wkh#wuhhv#wkdw#L#sodqwhg#vwloo#
duh#|rxqj/#wkh#vrqjv#wkdw#L#vdqj#pxvw#
vwloo#eh#vxqjġ1
Uhdg#e|#Nulv#Nulvwrļhuvrq#ryhu#d#
phorg|#e|#Zloolh#Qhovrq/#wkhvh#Ľqdo#olqhv#
qrz#irup#wkh#rshqlqj#wr#Johnny Cash:
Forever Words#Ğ#d#qhz#frpslodwlrq#ri#Fdvk#
o|ulfv/#vhw#wr#pxvlf#zulwwhq#dqg#shuiruphg#
e|#d#vwdu0vwxgghg#vwulqj#ri#frooderudwruv/#
lqfoxglqj#Hoylv#Frvwhoor#dqg#Eudg#Sdlvoh|1#
Wkh#uhfrugġv#surgxfhu/#Mrkq#Fduwhu#Fdvk/#
wkh#vroh#rļvsulqj#ri#Mrkqq|#Fdvk#dqg#
Mxqh#Fduwhu/#zdv#66#zkhq#klv#prwkhu#dqg#
idwkhu#glhg1#Wkh#julhylqj#surfhvv#zdv#
lqwhuwzlqhg#zlwk#wkh#rujdqlvdwlrq#ri#klv#
THE MAN IN BLACK
sduhqwġv#shuvrqdo#dļhfwv/#qrw#ohdvw#wkh#
zulwwhq#pdwhuldov#lq#Fdvkġv#rĿfh1#
ģWkhuh#zhuh#lq#doo#derxw#5/333#slhfhv#ri#
sdshu/Ĥ#Fduwhu#Fdvk#whoov#WJ1#ģL#zhqw#
wkurxjk#lw#doo#dqg#lw#zdv#dv#pxfk#d#
khdolqj#wklqj#iru#ph#dv#dq|wklqj#hovh1#L#
khdug#klv#yrlfh#lq#wkhuh1#L#vdz#wkh#
vshfwuxp#dqg#wkh#frorxuv#ri#klv#glļhuhqw#
vkdghv#ri#fkdudfwhu#lq#doo#wkrvh#zulwlqjv1Ĥ#
Vrph#ri#wkhvh#slhfhv#zrxog#eh#hglwhg#
dqg#hyhqwxdoo|#uhohdvhg#lq#534:ġv#Forever
Words#srhwu|#froohfwlrq/#exw#Mrkq#frxogqġw#
khos#wklqnlqj#wkdw#wkhuh#zdv#pruh#wr#eh#
TOTAL GUITAR JUNE 2018
Words Matt Parker Photos Don Hunstein / David McClister
grqh#zlwk#wkh#xqsxeolvkhg#zrunv1#
ģL#khdug#pxvlf/Ĥ#vd|v#Fduwhu#Fdvk1#ģL#vdz#
zlwklq#wkhvh#zulwlqjv#wkdw#wkh#srwhqwldo#iru#d#
fodvvlf#frxqwu|#vrqj#zdv#wkhuh/#ru#lw#frxog#wrxfk# ri#Fdvk#kdqjv#ryhu#wkh#pdlq#wudfnlqj#urrp1#
d#kdug#urfn#duwlvw#dv#pxfk#dv#lw#frxog#wrxfk/#
shukdsv/#d#kls0krs#duwlvwĩ#wkh#vwhdg|#olqh#lq#
wklv#doexp#lv#p|#idwkhuġv#yrlfh/#wkh#phvvdjh/#
wkh#zrugv1Ĥ
Wkh#pdmrulw|#ri#wkh#wudfnv#zhuh#uhfrughg#dw#
wkh#Fdvk#Fdelq#Vwxglr1#Exlow#e|#Mrkqq|#Fdvk#lq#
wkh#zrrgv#ri#klv#Whqqhvvhh#hvwdwh#lq#4<:;1#Wkh#
vsdfh#zdv#lqlwldoo|#lqwhqghg#dv#d#rqh#urrp/#
srvw0wrxu#uhdglqj#uhwuhdw#exw#kdv#vlqfh#
h{sdqghg#wr#d#ixoo#uhfruglqj#frpsoh{1#Fdvkġv#
suhvhqfh#vwloo#shuphdwhv=#Mrkq#uhphpehuv#klv#
The story behind Cash’s black Martin
While it’s a Martin OM-28 (Johnny’s daughter Roseanne
Cash’s signature model) that John Carter Cash says is
the go-to acoustic in the Cash Cabin Studios, there’s a
battered black D-35 used throughout the American
Recordings session in residence, too. Cash was the
first artist to play a black Martin, though it wasn’t an
easy sell at the time. “He called them and Martin said,
‘We don’t do black Martins,’” explains John. “So he found
the number for a luthier on the floor and called them:
‘Hello. This is Johnny Cash…’ [Laughs] What are you
going to do? Tell him ‘No’? So the luthier [made him one
and] used shoe polish to make it black!”
idwkhu#exuqlqj#ĠMdqxdu|/#4<:<ġ#rq#wkh#pdqwho#
zlwk#d#fdwwoh#eudqg/#dq#dexvhg#eodfn#Pduwlq#
jxlwdu#uhpdlqv#dqg#Pduw|#Vwxduwġv#Ľqdo#sruwudlw#
Dprqj#wkh#duwlvwv#zkr#pdgh#wkh#wuls#wr#wklv#
vsdfh#zdv#Fkulv#Fruqhoo/#zkr#shuirupv#wkh#
gdun/#dfrxvwlf0ohg#You Never Knew My Mind1#Wkh#
uhvxow#ri#Fruqhooġv#Ġklv#ġqġ#khuvġ#sdlulqj#ri#wzr#
sduwqhu#slhfhv#zulwwhq#e|#Fdvk#lq#4<9:#gxulqj#
wkh#Ľqdo#vwdjhv#ri#klv#glyrufh/#wkh#vrqj#pdunv#
rqh#ri#Fruqhooġv#odvw#vror#uhfruglqjv#dqg#lv#d#
kljkoljkw#ri#doexp1
ģFkulv#kdg#ehhq#wkurxjk#d#glyrufh#^lq#5337`#
dqg#uhodwhg#ghhso|/Ĥ#h{sodlqv#Fduwhu#Fdvk1#ģLw#
mxvw#jrw#grzq#wr#p|#khduw1#P|#idwkhu#zrxog#qrw#
vlqj#vrphwklqj#xqohvv#wkh#zrugv#zhuh#
wuxh#wr#klv#olih#dqg#lwġv#suhflvho|#zkdw#zh#
kdyh#zlwk#Fkulv#vd|lqj/#Ġ\rx#qhyhu#nqhz#
p|#plqgġ1#Lwġv#lq#olqh#zlwk#p|#idwkhuġv#
duwlvwu|=#kh#frxog#vlqj#derxw#krshohvvqhvv#
dqg#orvv#dqg#wkhuh#zrxog#vwloo#eh#ehdxw|1Ĥ
Olnh#Fdvkġv#uhqglwlrq#ri#Hurt/#wkh#vrqj#
wdnhv#rq#d#qhz#phdqlqj#zkhq#dssudlvhg#
djdlqvw#wkh#vlqjhuġv#shuvrqdo#edwwohv1#
Zkhq#sodfhg#qh{w#wr#sldqlvw#Urehuw#
Jodvshuġv#rgh#wr#sloo#dgglfwlrq/#Goin’ Goin’
Gone,#ru#wkh#Ľqjhuslfnhg#sruwudlw#ri#
grphvwlf#shuihfwlrq#To June This Morning
Ğ#zulwwhq#d#prqwk#ehiruh#Mrkqġv#eluwk#lq#
4<:3#dqg#khuh#shuiruphg#e|#uhdo#olih#
frxsoh#Uxvwrq#Nhoo|#dqg#Ndfh|#Pxvjudyhv#
– it seems Forever Words#lv#dq#
dssursuldwho|#pxowlidfhwhg#sruwudlw#ri#d#
frpsoh{#fkdudfwhu1#Wkh#lqwlpdf|#fuhdwhg#
e|#wkhvh#o|ulfġv#sulydwh#ruljlqv#elqgv#wklv#
glyhuvh#ohjdf|#exw#wkhuhġv#pruh#wr#lw1
ģWr#ph#lwġv#derxw#krsh/Ĥ#vd|v#Fduwhu#
Fdvk1#ģWkdwġv#zkdw#wklv#surmhfw#lv#derxw=#
iurp#wkh#srhp#uhflwhg#e|#Nulv#
Nulvwrļhuvrq/#wr#^Mdph|#Mrkqvrqġv#
forvhu`#Spirit Rider#Ğ#ĠZdyh#|rxu#khduw#dqg#
Lġoo#eh#ulglqj#edfn#djdlqġ1#Wkh#gdunqhvv#lv#
wkhuh/#exw#lwġv#doo#derxw#krsh/#uhdoo|1#Wkh#
pxvlf#fkdqjhv/#exw#wkh#zrugv#fduu|#rq1Ĥ
Mrkqq|#Fdvk=#Iruhyhu#Zrugv#is out now
 INTERVIEW

85

“[MY FATHER]
COULD SING ABOUT
HOPELESSNESS AND
LOSS AND THERE WOULD
STILL BE BEAUTY”
1

JUNE 2018 TOTAL GUITAR

 LEARN
TO PL AY
OPEN-MIC SONGBOOK
THE WHO
PINBALL WIZARD
Play rhythm guitar like Pete Townshend
and nail his strumming patterns. Just
be sure to keep a supple wrist!
ete Townshend’s rock opera shapes and you’ve got most of the

P Tommy produced this classic

track, which was a huge hit for
the band in 1969. From just
one strum, the song is instantly
recognisable and it showcases
Townshend’s formidable rhythm
guitar talent.
Townshend uses over 20 chords in
Pinball Wizard but don’t panic because
they boil down to just a handful of
shapes. The iconic Bsus4 to B chord
shapes repeat across the fretboard in a
86 descending sequence. Learn these two
track covered.
Once you hit the strumming pattern
in bar 10, you’ll need a good deal of
stamina to maintain it, making Pinball
Wizard a great track for developing your
rhythm technique. Practise slowly and
make sure to only step the tempo up
rqfh#|rx#fdq#sod|#frqĽghqwo|#dqg#
without any mistakes.
Pay close attention to the accented
strums (marked with a ‘>’ symbol).
These give the rhythm its all important
sense of groove.

X X X X X X X X X X
CHORDS 7
T 1
7
T 1
he information here will

T get you through the whole

track. However, note that
we’ve only shown Bsus4 and B,
3 4 3
2 1

3 3
1

rather than all the sus4 and

major shapes. Don’t worry 3 3
though – they’re all the same
Bsus4 B B5 C5
shape. Simply move the sus4 X O O X X X O X X X O O O O
and major shapes around the
fretboard to new root positions 1
to play the other chords: 1 2 2 3
2

10th fret: Dsus4 – D 2 3 3 3

8th fret: Csus4 – C
7th fret: Bsus4 – B
Guitars and backing: Phil Capone Photography: Michael Ochs Archives/Stringer/Getty

6th fret: Bbsus4 – Bb

5th fret: Asus4 – A Csus2 D5 D E
3rd fret: Gsus4 – G X X X O O X O X X
2nd fret: F#sus4 – F#
1

1 2 3

3 3 2 3 4

PINBALL WIZARD
(c) 1969 Fabulous Music Ltd
Suite 2.07, Plaza 535, King’s Road, London
SW10 0SZ
International Copyright Secured
All Rights Reserved. Used by Permission F5 G A5

TOTAL GUITAR JUNE 2018

 BACKING TRACK (TRACK 89)
This song comes with a backing track (minus guitar) on
your CD. Simply insert the disc in your player, press play
and jam along, guitaraoke style!
THE WHO / PINBALL WIZARD
SONG SHEET

ll z
Verse 1 Break Break
Bsus4 B B5 B5
A5 D5 E x2 A5 D5 E x2
Ever since I was a young boy, I’ve played

the silver ball

Asus4 A
Bridge 1 Bridge 2
From Soho down to Brighton, I must have E F# B E F# B
E F# B
He’s a pinball wizard, there has to be a twist I thought I was
played them all E F# B E F# B
G D
Gsus4 G A pinball wizard’s got such a supple wrist The Bally table king
But I ain’t seen nothing like him, in any E F# B
D5 Csus2 G D5 G D
How do you think he does it? But I just handed my pinball crown to him
amusement hall
Csus2 G
F#sus4
I don’t know
That deaf, dumb and blind kid
F# D5 Csus2 G D5
Interlude
What makes him so good? Dsus4 D Dsus4 D x2
Sure plays a mean pinball

Break Verse 3 Verse 4

B5 A5 D5 E Dsus4 D
x2 Bsus4 B
Ain’t got no distractions, can’t hear no Even on my favourite table, he can beat my best
Verse 2 Csus4 C
His disciples lead him in, and he just does the rest
Bsus4 B buzzers and bells
He stands like a statue, becomes part of the machine Asus4 A B b sus4 Bb
He’s got crazy flipper fingers, never seen him fall 877
Asus4 A Don’t see no lights a flashin’, plays by
Feeling all the bumpers, always playing clean Asus4
sense of smell That deaf, dumb and blind kid
Gsus4 G Gsus4 G A
Plays by intuition, the digit counters fall Always gets a replay, never seen him fall Sure plays a mean pinball
F#sus4
F#sus4
That deaf, dumb and blind kid
That deaf, dumb and blind kid
F#
F# Outro
Sure plays a mean pinball Sure plays a mean pinball D5 C5 F5 Bb (Fade out on B b )

THE WHO PINBALL WIZARD Intro

q = 125
Bm Bm11 F # 7sus4 F#7 F # m7 Em/F # G6

2 0 0 0 0 0 0
T 3
4
3
4
2
4
2
3
2
2
0
0
0
0
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 5 5 5 5 5 5 5
B
1 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ etc.
F#7 G6 Bsus 4 B Play 4 times

.. ..
> > > > >> > > > > > >
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
T 2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
0
0
0
0
. 7 7
9 9
7 7
9 9
7 7
9 9
7 7
9 9
7 7
9 9
7 7
9 9
7 7
9 9
7 7 7 7 7 7 7 7 7 7 7 7 7
8 8 8 8 8 8 8 8 8 8 8 8 8
7
8
.
B
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 0 0 . 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 .
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
8
≥ ≥ ≥ ≥≤≥≤≥≤≥≤≥≥ ≥≤≥≤≥≤≥≤≥≤≥≤≥≥
You can fret the sixth string notes with your thumb throughout, much as Townshend tends to do. He also touches the fifth string with his thumb to keep it silent. Mute the
first string in bars 10 and 11 by angling your first finger against it. The accents in these two bars are the key to giving the rhythm part its groove.

JUNE 2018 TOTAL GUITAR

 THE GAS
STATION REAL WORLD REVIEWS OF THE
96

106
BEST NEW GEAR

Welcome to the GAS (Gear Acquisition Syndrome*)

Station! Every issue, TG scours the market for the
hottest new gear and brings you transparent reviews
that you can trust. From the smallest of accessories
that make your life easier, to big investments such as
brand new guitars, amps and effects pedals – if it’s
88 worth your attention, you’ll find it here!
088 START ME UP
Five new products you need to check out
HOW WE TEST BEST BUY AWARD
TGBestBuyAwardsare

CURATION NO SNAKE OIL

Our product selection is
driven by our love of gear.
We select the most exciting
products on the market every
month to bring you opinions
you can trust.
FACE-VALUE REVIEWS
We’re not gear snobs here at
Total Guitar. We judge it on
whether it looks good, sounds
good and plays well – not by
the name on the headstock.
*WHAT IS GAS?
Gear Acquisition Syndrome
is the guitar-player’s
never-ending urge to acquire
new gear, irrespective of
whether they actually need it.
Don’t pretend you don’t
have it – we all do!
reservedforstand-out
productsthatearnafive-star
090 MARSHALL
\rx#zrqġw#Ľqg#xv#jhwwlqj#
hung up on hokey mythology
rating.Thisisthebest,most
excitingnewgearthatyou ORIGIN 20 HEAD
or nonsense marketing
need tocheckout The amp makers revisit their roots
speak: we aim to bring you
bullshit-free opinions on the
gear you’re interested in.
094 FENDER CALIFORNIA
BEST BUY SERIES NEWPORTER PLAYER
WE CAN’T BE BOUGHT A West Coast acoustic wonder
TG review scores are a true
AWARD
uhľhfwlrq#ri#rxu#h{shuwvġ#
opinion on the product 096 PRS MT 15
they’ve been testing. You’ll BEST FOR… A monster machine without the cost
qhyhu#Ľqg#d#udwlqj#lq#rxu## Differentguitaristshave
mag that has been bought
and paid for.
differentneeds.Thisbadge
highlightsaparticularstrength 098 THE TG TEST:
thataproducthasinaTGTest
orGroupTest,soyoucan AFFORDABLE SPEED
REAL WORLD REVIEWS choosewhat’sbestforyou
We test every product under MACHINES
the conditions that they were Rocking hard and fast with four of the best
designed for. For example,
if an amp is designed to be
played loud, rest assured BEST 104 PEDAL ROUND-UP:
that we’ll have tested it at
rehearsal/gig volumes!
FOR… AMP-LIKE OVERDRIVE
Make your amps sing and your leads sear

SUPERB, A BEST BUY EXCELLENT ABOVE AVERAGE KIT SOME ISSUES POOR
106 ERNIE BALL TREMOLO
A treadable, adjustable tremolo with added reverb

TOTAL GUITAR MAY 2018


START ME UP!
Five awesome new products to get your gear engine revving this month…
FENDER MINI ’65
TWIN-AMP
1 4
A new addition to Fender’s
mini-amp range is this
diminutive take on the ’65
Twin-Amp. A bijou offering, the
amp’s black control plate, knobs
and iconic silver grille cloth mirror
the vibe of the high-headroom
2x12 original. In contrast, this
one-watt version offers a pair of
3" speakers, with dedicated gain,
volume and tone controls, plus a
tilt-back kickstand and belt clip
on the rear. A 1/8" headphone jack
and 9V adaptor jack are also
onboard, but the amp can be
battery-powered.
(£54, fender.com)
01
03
WRIST GRIPS
2 3
JamesHetfieldwon’tbe
caughtplayingwithouta
pairofwristbands–sowhy
notconsidersomeforyourself.
Portland,Oregon-based
WristGripshasdevisedaless
sweaty,user-adjustableoption
totraditionalwristbands,aimed
atmusicians.WristGripspromise
tolimitpainfromplaying,
providingrelieffromrepetitive
strain,whilepromoting
increasedcomfortand
endurance,aswellasbetter
wriststabilisationandsupport.
They’realsomoisturewickingfor
sweat-freehands.(£19.99,
wristgrips.myshopify.com)
04
SWITCH PICK
There’s a commonly-held
belief that thin picks are for
strumming, and thick picks
are for single notes – but what if
you want to play both without
changing? Enter Switch Pick,
which allows players to switch
between 0.6mm and 1.2mm
gauges with a simple finger
movement, addressing
guitarists’ complaints about
picks, adding a raised surface
detail and centre hole to prevent
slippage. A similar concept to
Dava’s hybrid picks, but offering
multiple points on a single pick.
(£2.89 per pack of two,
switchpick.co.uk)
05
ERNIE BALL BRAIDED
INSTRUMENT CABLES
Ernie Ball are known for
iconic guitar strings, but
the California co does a
solid line in accessories, too,
including this braided cable.
Boasting dual conductors, the
cables promise clear tone, while
multiple shielding materials
maintain your signal across its
25ft run, keeping noise and
handling sounds at bay. What’s
more, that ace braided exterior
prevents tangling. The cable
comes in a host of colours, from
black/blue to black/red, black
green and neon yellow/pink.
(£32.45, ernieball.co.uk)
GAS STTATION
02
89
ROCKBOARD FLAT POWER
AND MIDI CABLES
5
If you’re like us, you’ll be
looking to make as much
room on your pedalboard
as possible. The key to maximising
real estate is space-efficient
cables. As well as its already-
available flat patch cables,
RockBoard has launched flat
power and MIDI cables. Both
types pack super-compact
plugs, meaning you can cram
more pedals closer together.
Power cables come in lengths
from 15cm to 60cm, while MIDI
cables kick off at 30cm up to one
metre in length..(from £2.08,
rockboard.de)
JUNE 2018 TOTAL GUITAR
 T H E GA S
STATION

90

TOTAL GUITAR JUNE 2018

 REVIEW
3

AT A GLANCE
TYPE:Valvepreampandpoweramp
OUTPUT: 20wattsRMS,switchableto3
wattsand0.5watts
VALVES:3x12AX7,2xEL34
CONTROLS: Gain (with pull boost),
tilt,bass,mid,treble,presence,
mastervolume
SOCKETS:Guitarin,speakeroutx3,
effectssend/return,footswitch,DIout
WEIGHT:10kg
DIMENSIONS:[HxWxD]
220x520x225mm
CONTACT:MarshallAmplification
01908375411www.marshall.com
1 TILT
ThecleverTiltcontrollets
you mix to taste between two
distinct voices that emulate
the High Treble and Normal
channelsofearlyfour-input
Marshalls
2 PULLBOOST
TheOrigin’sgaincontrol
has a useful pull boost function
that can also be foot-switched,
adding extra punch for leads
andcrunchrhythmwork

£459 3 EFFECTSLOOP
The Origin 20 features a
simple series effects loop,
91
which can be footswitched

MARSHALL ORIGIN 20 HEAD

in and out of circuit. It’s ideal
for delays, reverbs and
modulation effects

Marshall revisits its roots with a new twist on classic tone

S
o, what’s your ideal
Marshall? Thanks to
renewed interest from
many pro players, the
sound of those early
amps that made Marshall’s
reputation in the mid-1960s has
made a big comeback, but they
duhqġw vr ľh{leoh dqg w|slfdoo|
need help from a handful of
hļhfwv wr wdph wkhp1 Khdgv olnh
the JTM45 and Super Lead are
unfashionably loud, dating back to
an era when PA systems were
qrq0h{lvwhqw1 Wrgd|/ zkdwġv
needed is some way of turning the
amp up so you can hear those
power valves working, without
being sued by your audience for
hearing loss, or annoying your
IRK hqjlqhhu/ uljkwB Dq hļhfwv
Photography: Adam Gasson
amp had that cool jumpered
channel feature from the old JTMs
dqg Soh{lv/ exw zlwkrxw d sdwfk
lead to lose, or break? Marshall has
been listening and the new Origin
dps vhulhv frxog eh h{dfwo| zkdw
pdq| ri xv kdyh ehhq dvnlqj iru1
We’re taking a look at the Origin
20, which sits in the middle of the
AN IDEAL CHOICE FOR BLUES,
CLASSIC AND INDIE ROCK
range and comes as a head, or a
4{43 frper1 Wkh Ruljlq 53 khdg
features some cool vintage
Marshall-styling cues, with
slimmer cabinet panels covered in
black vinyl, teamed with gold
what’s inside that’s really
lqwhuhvwlqj1 Wkh Ruljlq 53 kdv d
proper, dual-EL34 power stage
featuring Marshall’s clever new
Powerstem power reduction, so
you can balance the master
volume with a choice of three
srzhu ohyhov wr vxlw wkh yhqxh1
Wkhuhġv dq hļhfwv orrs |rx fdq
footswitch, a speaker-emulated DI
output, a gain control with a boost
that you can footswitch, and a
super-cool Tilt control that
hpxodwhv pl{lqj wkh Kljk Wuheoh
and Normal preamp volume
Ľqh0wxqhv wkh rxwsxw vwdjhġv kljk
frequency response for all the
frqwuro |rx qhhg1 Lwġv doo sxw
together with typically robust
construction to withstand
non-stop touring, and has plenty
ri ĠL zdqwġ ylvxdo dsshdo1
The Origin 20 is all about
pre-JCM800 vintage Marshall
tones, particularly the JTM45 and
hduo| Soh{l khdgv wkdw guryh wkh
ground-breaking British blues
h{sorvlrq lq wkh plg04<93v1 Xvlqj
a regular Strat and Les Paul
plugged directly into the input
jack, the Origin 20 does an
h{fhoohqw mre ri uhsurgxflqj wkh
MWP78ġv glvwlqfwlyh frpsoh{ wuheoh
response, full of glassy harmonics
and overtones that get
progressively edgier as the volume

loop would be nice, better still if piping and a gold aluminium controls of a classic four-input JTM nqrev duh wxuqhg xs1 Rq rog
you could footswitch it, and a control panel topped with a small ru Soh{l1 D idploldu edvv/ plg dqg Marshalls players quickly
footswitchable gain boost would orjr1 Wklv sxvkhv wkh uljkw vw|oh treble tone network combine with discovered that linking the two
eh juhdw/ wrr1 Dqg krz derxw li wkh buttons for many players, but it’s a proper presence control that preamp channels with a short

JUNE 2018 TOTAL GUITAR

 T H E GA S
STATION

The origin of amp

A look back at the amps
that took Marshall from
Hanwell to world
domination

T
l kh Ľuvw Pduvkdoo zdv wkh
JTM45, which was modelled
forvho| rq Ihqghuġv#7{43#8I9#
tweed Bassman, an amp that
was practically unobtainable in
60s Britain thanks to import
uhvwulfwlrqv1 Mlp Pduvkdoo#
always listened to what his
customers wanted, and bands
The Origin: bringing
like The Who and the Small
classic Marsall
Faces wanted that classic sounds up to date
Edvvpdq wrqh/ exw pruh ri lw1 D
92 voljkwo| prglĽhg MWP78 ordghg
lqwr d 5{45 rshq0edfnhg frper
was used by Eric Clapton on
John Mayall’s Bluesbreakers
ALSO TRY...
‘Beano’ album in 1966,
introducing many to the sound
of an overdriven Marshall for
wkh Ľuvw wlph1 Phdqzkloh/ Wkh
Who guitarist, Pete Townshend, ORANGE OR15H
wanted more, prompting Orange’s OR15 is a scaled-down
version of the classic OR120, one of
Marshall to re-engineer the
Marshall’s biggest competitors in the
JTM45 circuit for a 100-watt late-1960s. Vintage looks matched
output stage, which became the with classic tones.
1959 Super Lead head used by
Khqgul{/ Nrvvrļ dqg Sdjh1

patch lead so they were both iulhqgo|#318#zdwwv1#Krzhyhu/#wkh# dļrugdeoh1#Hduo|#Pduvkdoov#kdg#

dxgleoh dgghg vljqlĽfdqw#h{wud#
gain, as well as better tone control
from balancing the two volume
nqrev1 Wkh Ruljlqġv#fohyhu#Wlow#
frqwuro hļhfwlyho| plplfv#wklv/#
meaning you can precisely control
kljk0hqg }lqj1
The Origin isn’t a mega-high
jdlq ghvljq1 Exw e| dfwlydwlqj#wkh#
gain boost and turning up the
master volume you’ll get a
respectably vicious crunch even at
Origin 20’s speciality is vintage-
approved low and medium gain
sounds, which make it a great
platform for pedals, especially as
wkh#vhulhv#hļhfwv#orrs#lv#
irrwvzlwfkdeoh1#Wkh#vshdnhu0
emulated DI output sounds great
into a desk and is ideal for
uhfruglqj#ru#olyh#soxjjhg#lqwr#d#SD1
Teamed with a suitable cabinet,
the Origin 20 does a great job of
bringing those classic Marshall
VOX AC15 HEAD
juhdw#ľh{lelolw|#iurp#d#yhu|#vlpsoh#
Vox’s AC15 was one of the first
control layout and the new Origin British guitar amps, with a unique
20 is just as versatile, making it an sound that was integral to the
ideal choice for blues, classic and swinging 60s and Merseybeat.
indie rock, with just enough in the Pure vintage.
way of modern features to satisfy
most needs, especially when paired
zlwk#d#jrrg#gulyh#vwrpser{#ru#wzr1
Nick Guppy
FEATURES
PEAVEY CLASSIC
SOUND QUALITY
20 MINI HEAD
Also inspired by early tweedamps,
SUMMARY

low volume levels, thanks to the
clever Powerstem circuit, which
drops the output from 20 watts
down to 3 watts or a bedroom-
sounds up to date in a highly usable VALUE FOR MONEY
Peavey’s Classic Mini Head delivers
design that’s also compact and BUILD QUALITY 20 watts from a pair of EL84s and
sruwdeoh/#zkloh#rļvkruh# PLAYABILITY combines modern features with
OVERALL RATING authentic USA sounds.
manufacturing keeps the price

TOTAL GUITAR JUNE 2018

 T H E GA S
STATION

94

TOTAL GUITAR JUNE 2018

 REVIEW

FENDER CALIFORNIA SERIES 1 NECK

The slim C-shape AT A GLANCE
neck is paired with the
organic feel of a TYPE:Solidtop

NEWPORTER PLAYER £320 natural satin finish on

theback
electro-acoustic
cutaway
TOP: Solid spruce top

A well-priced West Coast acoustic wonder 2 FRETBOARD

The Player’s
fretboard is walnut
BACK&SIDES:
Laminatedmahogany
SCALELENGTH:
here rather than the 650mm(25.6")

W
ith fundamental
design traits that
have proved to be
incredibly successful
since the 1930s, is it
any wonder that the word
traditional is so closely associated
with acoustic guitars? And if it
ain’t broke… but as brands seek to
attract new players to their wares,
vrphwlphv wkh| qhhg wr rļhu
something fresh.
Fender are certainly doing that
with the look of its new California
series. Three new shapes are on
rļhu zlwk wkuhh glļhuhqw vshf
option levels in an array of atypical
acoustic colours (and not a natural
Ľqlvk lq vljkw, jlylqj d glvwlqfwo|
glļhuhqw vodqw rq hyhu|wklqj
that’s gone on before.
drawn straight to the neck, and it’s pau ferro found on the FINGERBOARD:Walnut
an interesting talking point. Classic and Special FRETS:20medium
A six-a-side headstock on an iterations ELECTRICS Fishman
acoustic?! What a time to be alive! preampsystem
Fender have done this before, of
frxuvh/ dqg lw pljkw eh d wxuq0rļ
3 PREAMP
The Fishman
preamp offers level,
HARDWARE: Nickel
Fender-designed
enclosed
for some, but for this series it treble and bass machineheads
makes sense visually as well as controls with a LEFT-HANDED:TBC
chromatic tuner too CONTACT: Fender
when you get to grips with the
modern mahogany C-shape neck. 1 EMEA 0845 3051122
Fender.com
Lwġv d volp wdshu dqg lw zrqġw
feel unfamiliar to Fender
electric players.
This is a mid-voiced guitar for
an all-rounder shape. The lows 2
aren’t deep but it’s a bright and
lively tonality. And, unlike the
lower-key Fishman Sonitone
system we see on a lot of acoustics, 95
the company’s preamp here has
controls mounted outside the body

A SIX-A-SIDE HEADSTOCK?
WHAT A TIME TO BE ALIVE!
This Newporter is the mid-size
body in the series, an auditorium
with a shallower body than a
dreadnought. That could well
prove more tactile for those
switching from electric. The Player
edition represents what is by far
wkh prvw dļrugdeoh rswlrq ri wkh
wkuhh rq rļhu/ zlwk wkh Fodvvlf dqg
Special retailing at more than
twice its price on the street – one
ixqgdphqwdo glļhuhqfh ehlqj wkh
back and sides here are laminate.
Rxu Fkdpsdjqh Ľqlvk lv
fhuwdlqo| d glļhuhqw nlqg ri
statement for an acoustic, and a
little more classic than some of the
more vibrant blue and red hues
rļhuhg hovhzkhuh lq wkh udqjh1 Lwġv
disappointing to see some small
ľdzv dqg uxqv zkhuh wkh Ľqlvk
Photography: Adam Gasson
with a handy bass knob to boost
wkh erwwrp0hqg wkdwġv hļhfwlyh lq
practice, though you’ll need a 3
preamp pedal or acoustic amp
to coax more earthy tones from
this piezo.
The pricepoint is key here,
because it makes the Newporter
a viable option for live electric
players looking for something to
play a few acoustic numbers or
even acoustic sets with, or indeed
anyone else searching for
vrphwklqj d elw glļhuhqw wr vwduw
learning. And for that it’s a
welcome addition to the acoustic
guitar’s story.
Rob Laing
FEATURES
SOUND QUALITY

SUMMARY

has been applied on the top on our VALUE FOR MONEY

test model, though, and not BUILD QUALITY
something we’re used to from PLAYABILITY
Fender. But most eyes will be OVERALL RATING

JUNE 2018 TOTAL GUITAR

 T H E GA S
STATION

96

TOTAL GUITAR JUNE 2018

 REVIEW

2 3

1 BOOST
The clean channel’s
pull-boost adds a
vintage overdrive
that’s great for
classic rock crunch
effects – however,
like the FX loop it
can’t be foot-
switched in or out

2 BIAS TESTING
There’s a pair of
bias test points and
an adjustment pot on
the rear panel, so the
6L6 power valves can
1 be kept in peak trim

3 HALF-POWER
The MT 15
features a useful
half-power option
that drops the output

PRS MT 15 BEST BUY to around 7 watts and

£555 AWARD adds a slightly thicker,
more compressed vibe

A monster tone machine at an irresistible price

P
aul Reed Smith is
well-known for some of
the most beautiful and
expensive guitars on the
planet, and the same
goes for the company’s amps.
Thankfully, for us mortals at
least, PRS is also doing a good job
ri#fryhulqj#wkh#pruh#dļrugdeoh#
end of the market, with its SE
guitars and Sonzera series of
amps. Following on from the
mega-expensive John Mayer
J-MOD 100 head, PRS’s latest
red LEDs for the lead channel and
blue LEDs for the rhythm channel,
which is simultaneously very
practical and extremely cool to
look at. Inside the steel chassis,
most of the components are held
on one large PCB, including the
front panel controls and the
preamp valve bases. Like the
Sonzera amps, the 6L6 output
valves are hand-wired, keeping
the hottest part of the amp clear of
wkh#SFE#dqg#vljqlĽfdqwo|#
improving reliability.
most massive distortion tones 97
we’ve ever heard from any rock AT A GLANCE
amp. Amps with this much gain
TYPE: Ampheadwith
quite frequently turn to mush, but all-valvepreampand
the MT 15 retains exceptional poweramp
duwlfxodwlrq#dqg#ghĽqlwlrq/#uljkw# OUTPUT: 15watts
up to the highest reaches of the RMS,switchableto
7 watts
gain control. It sounds great with VALVES: 6x12AX7,
single coils, but really comes alive 2x 6L6
with a pair of beefy humbuckers. CONTROLS: Clean
Wkdqnv#wr#lwv#hļhfwv#orrs#dqg# channel:volume,bass,
mid, treble(withpull
half-power switch, the PRS MT 15
boost).Leadchannel:
has enough versatility to cover Gain,bass,mid,treble,
most player’s needs. The towering mastervolume.
lead channel isn’t for shy, retiring Masterpresence.

HUGE SUSTAIN MATCHED types, but if you play modern rock Half-powerswitchon
rear panel
and metal, it’s like having all your SOCKETS: Guitarin,

BY A FAST, DYNAMIC RESPONSE Christmases at once, with huge

signature amp is the MT 15 Mark
Tremonti signature head, which
promises to seriously deliver on
the high-gain front.
Tremonti is a long-time PRS
hqgruvhu#dqg#vhoi0dĿuphg#jhdu#
nut, so it’s no surprise the former
Creed and Alter Bridge axeman’s
amp is a purposeful, no-frills
design, although there are some
Photography: Adam Gasson
sustain matched by a fast dynamic
response that’s just as good for
effectsloopsend/
return,footswitch
(changeschannels),
speakeroutx3
The MT 15 features two rhythm and lead work and sounds
WEIGHT: 8kg
channels: a clean channel with a great with a touch of delay. Best of DIMENSIONS:
boost and a lead channel with so all, this all-steel lunchbox hero is [HxWxD]
much gain it will probably make all dydlodeoh#dw#d#yhu|#dļrugdeoh#sulfh# 185x355x205mm
of your stompboxes redundant. that’s practically guaranteed to see CONTACT: PRSGuitars
Europe01223874301
The clean channel’s Fender- lw#ľ|#rļ#wkh#vkhoyhv1 www.prsguitars.com
inspired high headroom is Nick Guppy
shuihfwo|#vxlwhg#wr#hļhfwv#Ğ#
FEATURES
ľlsslqj#wklv#fkdqqho#lqwr#errvw#
SOUND QUALITY
mode adds a dose of extra gain

SUMMARY

frro#ghwdlov1#Wkh#uhg#vlgh#ľdvkhv#lq# that’s perfect for blues and classic

VALUE FOR MONEY
the perforated steel cover combine urfn#fuxqfk#Ğ#zkloh#wkh#ohdg# BUILD QUALITY
with relief pressing to add a touch fkdqqho#xwlolvhv#qr#ohvv#wkdq#Ľyh# USABILITY
of style, and the valves are lit by gain stages for one of the thickest, OVERALL RATING

JUNE 2018 TOTAL GUITAR

T H E GA S
STATION

Words Jonathan Horsley / Photography Olly Curtis

AFFORDABLE
SPEED MACHINES
With slim necks to match slim pocketbooks and double-locking
vibratos as standard, these electrics are built to rock fast and hard
TOTAL GUITAR JUNE 2018

Y
ou want it fast. You want it
cheap. In this day and age, who
doesn’t? But how realistic is it
to rock up at your local guitar
hpsrulxp#dqg#zdon#rļ#zlwk#d#
shred-ready electric for around
500 bucks? Well, as this
month’s round-up proves, it’s
more than feasible. We could have extended
this test to models from Schecter, Jackson and
LTD, too, and hardly covered all the bases. This
prqwkġv#dļrugdeoh#vshhg#pdfklqhv#duh#fxoohg#
from arguably the most competitive
marketplace for guitar design, and that’s great
news for everyone – especially when you have
THE TG TEST
99
wkh#kdug|#shuhqqldo#Vtxlhu#Vwudwrfdvwhu#Ľwwhg#
with active pickups and a double-locking Floyd
Rose vibrato for guitarists looking to take their
lead game to the next level. It’s joined by two
Ľvfdoo|#uhvsrqvleoh#vljqdwxuh#prghov#lq#wkh#
form of the EVH Wolfgang Standard and
Ibanez JEMJR, and Kramer’s wacko-spandex
retro-shredder: the 84. All have double-
locking vibrato units, zippy necks, little nips
and tucks to ease you into an orgiastic display
of hemi-demi-semi-quavers. Powerful
humbuckers are the order of the day. Hell,
these high-powered electrics might even set
|rxu#kdlu#rq#Ľuh1#Exw/#uhvw#dvvxuhg/#wkh|#zrqġw#
cost you an arm and a leg.
JUNE 2018 TOTAL GUITAR
 T H E GA S
STATION

EVH WOLFGANG £455 IBANEZ JEMJR STEVE £449

STANDARD
Steady like Eddie
Wait, is this an EVH signature model for less than £500?
Yes, it is. There are, of course, a few concessions on the spec when
compared with the US models; there is no D-Tuna, for instance. But
with the reverse pickup switching, the double-locking Floyd Rose
vibrato, the basswood body, the shape and the feel… EVH (or
Fender, rather, who manufactures EVH), has done a great job of
downscaling this for the average-salaried musician.
Speaking of scale, that headstock’s pretty weird.
There’s not much to it, and it contributes to the Wolfgang’s unique
VAI SIGNATURE
The jewel in the crown
Is this to Vai’s fans what the Wolfgang is to Eddie’s?
Surely. Since 1987, and as far as Steve Vai fans are concerned, the
Ibanez JEM has represented the alpha and omega of shred guitar
design. With the iconic Monkey Grip on the bass side of the body,
the smart Lion’s Claw tremolo cavity, and the Tree of Life inlay, this
looks like the real deal.
What’s this Lion’s Claw tremolo cavity?
Well, it’s the sculpting under the bridge and it allows a lot more play
on your Floyd Rose vibrato; fret a harmonic, pull back on the bar,

100

feel. Designed for comfort and playability, it feels like a short-scale
guitar even though it’s a Fender-sized 25.5". There’s something
toy-like about the Wolfgang, and that’s not a criticism. It’s easy
dqg#hļruwohvv1
So it’s fun, then?
When you think of Van Halen’s back catalogue, it’s all about fun,
dqg#wkh#Zroijdqj#lv#qr#glļhuhqw1#Lwv#Ġfrpiruw#fxwġ#d#frqwrxu#rq#wkh#
forearm side, not to mention the neat sculpting on the belly and
heel, make the Wolfgang feel like an extension of your body.
and rest assured that you’ll have the neighbour’s dog howling in
no time.
That finish is intense. Is this a metal guitar?
It’s more than capable of metal. But while the INF2 Alnico 5
humbucker in the bridge is one hot potato, there’s a classic rock
quality to it that’s capable of a lot more. The neck’s INF1 ’bucker is
real doozy, too, with a little more of that equine nasal quality that’s
trademark Vai. Basically, in Vai parlance, this Bad Horsey is no
one-trick pony.

AT A GLANCE AT A GLANCE
KEY FEATURES: Basswoodbody, KEY FEATURES:Mahoganybody,
maple neck (bolt-on), 647mm (25.5”) Wizard III maple neck (bolt-on),
scale, maple fretboard, 22 jumbo frets, 647mm (25.5”), rosewood fretboard
2x EVH Wolfgang humbuckers with Tree of Life inlay, 24 jumbo frets,
(neck and bridge), three-way pickup 1x INF1 Humbucker (neck) INFS1
selector, 1x master tone, Alnico 5 single coil (middle), INF2 Alnico
1x master volume, EVH Floyd Rose 5 humbucker (bridge), five-way pickup
Special vibrato selector, 1x master tone, 1x master
volume, Ibanez Standard Double-
FINISH: Gloss Black, Matte Blue Frost,
Locking vibrato, Monkey Grip
Ferrari Red (as reviewed)
FINISH: Pink, Yellow, White
CONTACT: Fender EMEA 01342
331700 evhgear.com CONTACT: Headstock Distribution
0121 508 6666 ibanez.com

TOTAL GUITAR JUNE 2018

 THE TG TEST

SQUIER CONTEMPORARY £420 KRAMER £569

ACTIVE STRATOCASTER THE 84
A bargain-buy Superstrat
What’s the deal with the active pickups?
Well, they’re there to serve a purpose, and that purpose is high-
output with zero hum, and these Squier humbuckers are a hugely
impressive budget alternative to the more celebrated EMGs you
pljkw#Ľqg#rq#d#sur0vshf#lqvwuxphqw1#Wkh|ġuh#srzhuhg#e|#d#
nine-volt battery, which is stored in the rear of the instrument and
accessed via a plastic clip.
So this makes for a very different type of Strat.
It sure does. That single-coil bite, the bright twang Strats are
For the discerning Atomic Punk
Did Eddie Van Halen play this one, too?
Yes, in fact, he did. During the 80s, Kramer was the archetypical
Eddie guitar – a hot-rodded S-style that ushered in the arms race in
shred guitars. Van Halen hooked up with Kramer in 1981, only to
switch to Ernie Ball/Music Man a decade later.
Why is the paint job different?
Nudphuġv#ĠGlyhu#Grzqġ#sdlqw#mre#lv#d#qrw0vr0vxewoh#krpdjh/#wkh#
white strip on red a cultural reference to EVH’s now-trademarked
black and white stripes on red.

101

renowned for has given way to a more pugnacious tone, with great
bass and treble response. It’s super-articulate (a Strat quality, come
to think of it) in clean and overdriven tones. But, goodness gracious:
Ľuh#xs#wkh#jdlq#dqg#wklv#wklqj#zdlov1
Aren’t there faster electrics on the market than a Squier Strat?
You’re probably right, but the Stratocaster’s easy C maple neck is
pruh#wkdq#vkuhggdeoh1#Zlwk#lwv#vdwlq0vprrwk#Ľqlvk/#|rx#zrqġw#Ľqg#
your fretting hand gumming it up when you’re sweating bullets, and
the heavier fretwire helps to make it super-playable.
We like it, but doesn’t this need a second pickup to justify the
price tag?
There is no denying that the 84 is a specialist instrument.
Think sparkly, harmonically-rich rock tones. Some might want
more, but with the coil-split, it has some single-coil snark that only
the JEMJR can compete with, and, even then, it doesn’t have the
vqds#dqg#elwh#ri#wkh#;71#Lqghhg/#zlwk#wkdw#khdgvwrfn#dqg#Ľqlvk/#wkh#
;7#pljkw#qrw#eh#wkh#Ľuvw#jxlwdu#|rxġg#urfn#xs#wr#wkh#Judqg#Roh#Rsu|#
with, but there sure is a rich seam of country twang to be mined
from it.

AT A GLANCE AT A GLANCE
KEY FEATURES:Poplarbody,maple KEY FEATURES:Maplebody,maple
neck (bolt-on), 647mm (25.5”) scale, neck (bolt-on), 647mm(25.5")scale,
rosewood fretboard, 22 jumbo frets, maple fretboard,22jumbofrets,1x
2x Squier Active humbuckers (neck Seymour DuncanJBhumbucker
and bridge), three-way pickup (neck), 1x mastervolumew/coil-tap,
selector, 1x master tone, 1x master FloydRosevibrato
volume, Floyd Rose Licensed vibrato FINISH: Diver Down(asreviewed),
FINISH: Olympic White (as reviewed), Banana Yellow, WhiteBullseye,Red
Flat Black Bullseye,White
CONTACT: Fender EMEA 01342 CONTACT: Gibson kramerguitars.com
331700 fender.com

JUNE 2018 TOTAL GUITAR

 THE TG TEST

The iconic monkey

HEAD TO HEAD
grip on the Steve
Vai signature

Enjoy an adrenaline rush

with the speed freaks

G
iven that Eddie Van Halen did as much
as anybody to advance the popularity
of shred guitar, not to mention the
pioneering of the souped-up S-style
electrics on which it was perfected, we
should start with the Wolfgang and the Kramer.
It’s fascinating seeing them side-by-side. The
84’s headstock is an oversized hockey stick
that’s in sharp contrast to the dainty, jig-sawed
counterpart on the Wolfgang. Physically, the
Zroijdqj Ľwv vqxj djdlqvw wkh erg|/#lwv#
basswood body modestly weighted, and perfect
for smaller guitarists, or those wishing mercy
upon their lower back.
With its maple body and maple neck, the 84
is a real behemoth, with a Les Paul-esque
weight. Yet you can hear a lot of Eddie in both
their tones. The 84 has a super-crispy crunch
and that LA lead tone, evocative of the Sunset
Strip glam scene. Mounted proud of the body,
102 its Seymour Duncan JB humbucker has great
mids and sparkling trebles, gutsy and

THE 84 HAS THAT LA

LEAD TONE EVOCATIVE
OF THE SUNSET STRIP
GLAM SCENE...
harmonically rich. We love the Wolfgang’s
humbuckers, too; the bridge pickup is as hot as
you’d like, the neck brings out some of the cow
tone, while both pickups selected in series gives The super-articulate
a truly awesome rhythm tone. Squier with
The vibrato units on the Wolfgang and the 84 humbuckers
are super-stable, but unlike the Squier and the
JEM Junior, they’re routed to only allow
divebombing. That’s in keeping with the Van
Halen vibe but that might be a deal-breaker for
those looking for maximum versatility from
wkhlu#yleudwr1#\rxġoo#Ľqg#wkdw#lq#vsdghv#zlwk#wkh#
JEM Junior and the Squier Strat. The Squier
sounds the most aggressive; those active
pickups are mother’s milk to disciples of
KhwĽhog#dqg#Kdpphww1#Exw#wkhuhġv#vrphwklqj#
very musical about the JEM Junior’s voice, as
happy dispensing jazz-funk fusion as it is
Eruption, and its mahogany body gives it a
warmth and thickness that marks it aside from
lwv#ulydov1#Dv#iru#qhfn#surĽohv/#wkh#MHPġv#Zl}dug#
III is seriously quick.

TOTAL GUITAR JUNE 2018

 T H E GA S
STATION

FINAL VERDICT
Which shred machine is the right one for you?

O
verall, the JEM Junior is hard to beat.
Your ocular nerves won’t thank us
for such a recommendation –
ehfdxvh/ vhulrxvo|/ wkdw slqn Ľqlvk
could be seen from space – but its
combination of authentic Vai touches, like
the Tree of Life inlay and sonic versatility,
could, and maybe should, give it the edge. But
the Squier is a clear winner for anyone who
values a high-gain voice over all else. Its
reverse headstock is a nice touch, too,
marking it as the problem child in the Squier
stable. The company has done a bang-up job
in reimagining a near-ubiquitous guitar so
wkdw lw vxusulvhv xv dqhz1 Lwv Ľqlvk lv
impeccable, too.
Vrph Ľqlvk lvvxhv rq wkh Nudphu ;7 Ğ iuhwv
that are a little sharp on the treble side of the
Ľqjhuerdug Ğ doolhg wr lwv zhljkw pljkw pdnh
lw glĿfxow iru d zlghu dxglhqfh wr oryh/ exw
those weened on Van Halen, or superfans of
wkh Vh|prxu Gxqfdq ME4/ pljkw Ľqg lwv wrqh
too much to resist. Besides, a half-hour with
d iuhw0Ľoh zrxog pdnh lw wls0wrs1 Dv iru wkh
Wolfgang, its playability and full-throated
humbuckers are ridiculous for that price, and
if it came down to that and the JEM Junior, it
might be a case of whose sound and style do
you love more: Steve Vai, the Zen master of
cosmic shredding, or Eddie Van Halen, the
RJB Zh fdqġw khos |rx zlwk wkdw1 Exw zh fdq
conclude the market for super-spec’d and
dļrugdeoh hohfwulfv kdv qhyhu ehhq vwurqjhu1

EVH WOLFGANG IBANEZ JEMJR STEVE SQUIER CONTEMPORARY KRAMER

STANDARD VAI SIGNATURE ACTIVE STRATOCASTER THE 84

103
BEST FOR MOST BEST ALL- BEST FOR 80’S
SHRED VERSATILE ROUNDER METAL

BEST BUY
AWARD

FEATURES FEATURES FEATURES FEATURES

SOUND QUALITY SOUND QUALITY SOUND QUALITY SOUND QUALITY
SUMMARY

SUMMARY

SUMMARY

SUMMARY

VALUE FOR MONEY VALUE FOR MONEY VALUE FOR MONEY VALUE FOR MONEY
BUILD QUALITY BUILD QUALITY BUILD QUALITY BUILD QUALITY
PLAYABILITY PLAYABILITY PLAYABILITY PLAYABILITY
OVERALL RATING OVERALL RATING OVERALL RATING OVERALL RATING

JUNE 2018 TOTAL GUITAR

 T H E GA S
STATION

104

AMP-LIKE OVERDRIVE ROUND-UP

W Walrus Audio Fender Santa

hen we speak about
amp-like overdrives, £199 £160
we’re generally not
talking about a
Peavey 5150, but something a bit
Warhorn Ana Overdrive
lower gain and more vintage in MAKE SOME NOISE DRIVE OUT WEST
tone. Perhaps the most famous

S W
omewhere sonically in the family tree of hile amp builders sometimes strike
drive used to break up a tube
the legendary Paul Cochrane Timmy, the gold – consider the popularity of the
amp is the humble Tube
Walrus Warhorn is a stunningly Marshall Bluesbreaker, Shredmaster,
Screamer, with the gain rolled
articulate transparent-to-mid-range drive. and Fender Blender fuzz – foolishly, we didn’t
rļ#dqg#wkh#ohyho#uroohg#xs/#xvhg#
Zlwk wkh gulyh frqwuro ixoo| edfnhg rļ/ dqg expect much of the Santa Ana. More fool us:
to smash the front end while
the level at just above unity, it easily pushes a Santa Ana is a blinding overdrive pedal, with a
cutting treble for leads. There’s
tube amp into gentle saturation. Even at full range of amp-like tone controls, including
also the higher gain ‘amp in a
higher gain settings, the drive never gets too an expressive presence control. From blues
box’ family of pedals used for
extreme and sounds great for more-or-less its licks to modern metal, when stuck in front of
heavier rock and, of course, the
whole rotation. There’s a toggle for a decent tube amp the Santa Ana had no trouble
infamous ‘transparent
symmetrical and asymmetrical clipping, and delivering. We’d appreciate it if the second
overdrives’, of which the Paul
we found that the sweet spot was a symmetric footswitch, which boosts the signal or drive
Cochrane Tim and Klon Centaur
clip with the treble cut at about two o’clock, level by a pre-set amount, had an adjustable
are probably the most famous.
dqg wkh edvv edfnhg rļ wr derxw qlqh rġforfn1 level, but otherwise it’s hard to fault.
So without further ado, here’s a
round-up of four fresh amp- FEATURES FEATURES
smashing, transparent-feeling SOUND QUALITY SOUND QUALITY
SUMMARY

SUMMARY

overdrives to really get your VALUE FOR MONEY VALUE FOR MONEY
leads cooking. BUILD QUALITY BUILD QUALITY
USABILITY USABILITY
OVERALL RATING OVERALL RATING

TOTAL GUITAR JUNE 2018

 PEDAL ROUND-UP

BEST BUY
AWARD

105
Make your amp sing and your leads
sear with these ace overdrives...

Seymour £220 EarthQuaker £147 AT A GLANCE

Duncan Forza Devices Westwood BYPASS
Walrus Audio, Seymour
Duncan, EarthQuaker:
HIGH-OCTANE DRIVE NOT OUT OF THE WOODS YET True Bypass
Fender: True or buffered

S T
tarting life as a special edition before
getting a wider release, the Forza is a
gorgeous-looking pedal, and the sound
lvqġw idu rļ$ Erdvwlqj ghglfdwhg edvv/ plggoh
and treble mini-pots as well as a level and
drive control, the clipping is in the ballpark of
a Hermida Zendrive, and the tone is dark to
match. If you’re expecting lots of clarity in the
highs, you might leave disappointed; this is a
udxqfk| gluw shgdo/ dqg wkh errvw rļhuhg iurp
the powerful EQ only adds extra crunch. It’s
possible to cut away some of the dirt and clean
up for more articulation, but the pedal sounds
its best closer to wide open.
FEATURES
SOUND QUALITY
SUMMARY
he core overdrive sound of the EQD bypass
Westwood is throaty and solid, adding a
POWER
harmonically-rich saturation to a clean
Walrus Audio, EarthQuaker: 9V
amp and with the level boosted, pushing a DC centre-negative power
tube amp nicely into saturation of its own. supply
With the now nearly standard level, gain, Fender, Seymour Duncan: 9V
treble and bass, there’s a familiar simplicity to DC centre-negative power
supply or battery
the front panel. The bass and treble controls
fdq#wdnh#vrph#Ľggolqj#wr#qrw#uhvxow#lq# CONTACT
octave-artifact ‘squish’ or thinner, bass- FACE Distribution +32 3 844 67
depleted tones. Tone stack aside, the build is 97 face.be
Fender EMEA 01342 331700
the usual EQD boutique quality, and the fender.com
clipping and volume on tap mean that Rosetti 01376 550033
through a decent amp, it’s hard to go wrong. seymourduncan.com
Audio Distribution Group +45
FEATURES 6574 8228
SOUND QUALITY audiodistributiongroup.com

SUMMARY

VALUE FOR MONEY VALUE FOR MONEY

BUILD QUALITY BUILD QUALITY
USABILITY USABILITY
OVERALL RATING OVERALL RATING

JUNE 2018 TOTAL GUITAR

 T H E GA S
STATION

106

ERNIE BALL EXPRESSION TREMOLO £199

A versatile treadle-adjustable tremolo with added reverb

T
he Ernie Ball Volume
Pedal is probably the
only truly iconic volume
pedal in the gear world,
represented on the
pedalboards of touring superstars
and garage bands alike. With its
new series of expression-based
hļhfwv shgdov/ Huqlh Edoo kdv ehhq
seeking to capitalise on their brand
recognition and reputation to
move closer to the booming
frpsdfw hļhfwv pdunhw1
This Tremolo is a welcome
addition to the range, with
controls for depth, rate, wave
shape and a decent reverb. The
rate functions as a maximum for
the treadle – with toe down it is
fastest, toe up, bypassed. Although
the additional reverb doesn’t add a
kxjh dprxqw/ wkh glļhuhqw zdyh
shapes are a joy, and the reverse-
triangle setting is very Baba
RġUloh| ryhu Ľqjhuslfnhg
arpeggios high up the fretboard.
Traditional trem sounds are
dydlodeoh/ dqg wkh hļhfw ri wkh
more subtle trem sounds is in the
ballpark of a vintage Fender. The
hidden gem is the harmonic
mode. Once discovered, the pedal
didn’t see much action elsewhere,
with subtle phasing sounds being
mixed into picked patterns, and
Jimi Hendrix histrionics into a
distorted Marshall chewing up
most of an afternoon. AT A GLANCE
The only snagging issue is that
TYPE: Tremolopedal
the pedal still operates via the CONTROLS:Depth,rate,
same loop and string system as waveform,reverb
the original volume pedal. SOCKETS:Input,
Rffdvlrqdoo| ľdn| dqg surqh wr output,power
BYPASS:Buffered
needing replacing halfway through
POWER:9VDC
a tour, it might more appropriately centre-negative
be replaced with a modern optical powersupply
system. It’s the only weak point of CONTACT:Stringsand
Things+44(0)1273
the build, though, as the pedal
440442
itself is rock-solid and the treadle ernieball.co.uk
travel is butter-smooth – and
those sounds are certainly well
worth experiencing.
Alex Lynham
FEATURES
SUMMARY

VALUE FOR MONEY

THE PEDAL IS ROCK-SOLID AND THE BUILD QUALITY
USABILITY
TREADLE TRAVEL IS BUTTER-SMOOTH OVERALL RATING

TOTAL GUITAR JUNE 2018

 T H E GA S
STATION

Top Tip!
Photograp
h your circ
before goin uit
g wild with
108 soldering ir the
on so that
retrace yo you can
ur steps w
ith the
new picku
ps

FIX YOUR GUITAR

SWAP YOUR SINGLE-CUT

Give your Les Paul-style guitar a fresh lease of life by installing new pickups
Words:JackEllis

T
his month we’re
pimping a Gibson
Les Paul with some
new pickups; a
delightful Tom
Anderson H1 and H2 set.
While the Les Paul has class,
it’s not as easy to modify when
compared to a Stratocaster as
everything on a Strat is
mounted to the scratchplate
with easy access. We’ll have to
do some soldering inside the
Les Paul’s electronics cavity
whilst trying not to melt
anything else!
Choosing pickups is hard
and you might not know if
your choice was right until
you’ve got them in your guitar
and plugged into your rig. But
you can chop and change
them out yourself, rather than
taking it to your guitar tech.
When buying second-hand
pickups we’d recommend
testing them for DC resistance
zlwk d pxowlphwhu Ľuvw1 Fkhfn
MEET YOUR EXPERT
by setting the meter to Jack Ellis runs Jack’s
533nđ/ |rx vkrxog jhw d Instrument Services
from his workshop in
uhdglqj ehwzhhq/ vd|/ 8nđ dqg WHAT YOU NEED Wirecutters Screwdrivers Manchester. In his career
55nđ1 Li vr/ |rxu slfnxs frlov Newpickups Wirestrippers A camera phone he has worked on
40wattsoldering Shrinktubing thousands of instruments,
are intact and good to go.
Vr/#ohwġv#fkrs#rļ#wkh#
iron Lighter SKILL LEVEL from simple fixes and
upgrades, to complete
60/40 solder Maskingtape Intermediate rebuilds. For more info, see:
strings, stash the bridge and Pickup colour code www.jacksinstrument
let’s dive in. services.co.uk

TOTAL GUITAR JUNE 2018

 FIX YOUR GUITAR

1 We’ve got to do some detective work before we can get busy with the soldering.
Let’s start by taking the rear panel off (a little obvious perhaps!). You’ll need the PH1
screwdriver for Gibsons, don’t lose the tiny screws – keep them in a tray.
2 There’s a host of wires going everywhere and we need to ID the pickup wires. In
this case it’s the two bare braided wires disappearing into the body. The braided
wire is a screened cable: that means there’s a central wire (black) and a ground wire
surrounding it – we’ll have to de-solder each so take a photo of where it went first.

109

3 The screened cables are soldered onto a lug of the pot and the back can of the pot,
which will need a fully-warmed soldering iron. Heat up the black wires attached to
the lug of the pot first and use a small screwdriver to pick it away, you don’t want to
4 Unscrew the pickup ring’s four tiny screws and store them, taking note of which
height screws went where! We’ll lift out the pickups with the rings too, making it a
bit easier. Be careful of the sharp backs of the pickups. If you drop a pickup onto the
burn your fingertips. Follow with the braided wires. top of the guitar you’ll be sorry!

5 As they’re second hand, we’re not sure which pickup is for neck and bridge. One
clue is the pole piece spacing – the wider spacing should be for the bridge. If the
poles are the same spacing we’d suggest putting the pickup with a higher DC
6 Time to mount the pickups in their relevant pickup rings. It’s a fiddly job for sure!
Do your best not to fire the springs off into the ether and be careful that you don’t
accidentally cross-thread the bolts into the holes too – it’s easily done. Double check
resistance at the bridge. You can check this with your multimeter. you have it the right way round!

JUNE 2018 TOTAL GUITAR

 T H E GA S
STATION

7 Post the cables through the rout in the body and send them to the main electronics
cavity. If the hole for the wires isn’t very generous it might help to tape the splayed
out pickup wires together so they can’t catch on anything on the way through. When
8 Your pickup’s five wires are colour coded according to the manufacturer, so it’s
best to look up online which wire goes where. They are the start and end of each
pickup coil plus a bare wire – and the bare wire always gets soldered to ground. Having
they’re nestled in, replace the four mini pickup ring screws. these wires allows you to do some cool wiring mods.

110

9 Having checked with the pickup colour code we need to solder the green and
yellow wires together. Strip back the wire if needed, tin the bare wire and solder.
Now apply shrink tubing to that joint to insulate it and stop it making contact with
10 Solder in the hot wires to the central lugs of the volume pots. Make sure you
don’t have the bridge pickup going to the neck pickup’s pot. Double check it!
Bend or tape away other wires that will get in your way otherwise you’ll melt them.
anything inside that it shouldn’t! The bare and blue are both ground in this scheme.

11 Now solder the ground wires onto the backs of the pots. This will require a bit
more heat so expect it to take longer. In our case the blue wire was ground and
that’s now been soldered with the bare one to the back of the pot. Use a small flathead
12 You can test whichever pickup you did first by tapping the pole pieces with a
screwdriver when you’re plugged in. If you have metal covers on your pickups,
stick on some tape so that you don’t scratch them. You can hear the volume and tone
screwdriver to pin the joint down while it cools. working through the amp before stringing up.

TOTAL GUITAR JUNE 2018

 SUBSCRIPTIONS
HURRY!
SAVE OFFERS END

27% 31/07/2018

112

PRINT EDITION
Every issue delivered to your door with a Guitar Skills
CD packed with audio content and backing tracks
6 ISSUES JUST £26

SUBSCRIBE TODAY
www.myfavouritemagazines.co.uk/ampsubgift/
or call 0344 848 2852
TOTAL GUITAR JUNE 2018
 SUBSCRIBE TO TG!

113

PLUS GET A FREE

BLACKSTAR
FLY 3
The FLY 3 is an innovative, cutting-edge 3-watt mini
amp with the Blackstar Infinite Shape Feature (ISF),
creating the perfect compact and portable guitar
amplifier. It’s advantageously small and packs a punch
with big tone, even at the lowest volumes.
The ISF allows you to infinitely change the sound of
your FLY 3, which gives you endless tonal possibilities.
The FLY 3 also features impressive tape-delay-style
effects, allowing you to enhance the size of your sound.
Capable of being battery-powered, you can also take
your FLY 3 with you wherever you go as a set of
portable speakers or plug in your mp3 player and jam
along to your favourite tracks.

*TERMS AND CONDITIONS: This offer entitles new UK Direct Debit subscribers to pay just £26 every six months, plus receive a gift worth £49.99. Gift is only available for new UK subscribers. Gift is subject to availability. Please allow up to
60 days for the delivery of your gift. In the event of stocks being exhausted we reserve the right to replace with items of similar value. Prices and savings quoted are compared to buying full-priced print issues. You will receive 13 issues in
a year. Your subscription is for the minimum term specified and will expire at the end of the current term. You can write to us or call us to cancel your subscription within 14 days of purchase. Payment is non-refundable after the 14 day
cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at point of print and subject to change. UK calls will cost the same as other standard fixed line numbers (starting 01 or 02)
or are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). For full terms and conditions please visit: bit.ly/magterms. Offer ends 31 July 2018.

JUNE 2018 TOTAL GUITAR

 THE PLAYLIST
The Playlist
Mallory Knox’s Joe Savins talks growing up on
Oasis and his band’s new chapter as a four-piece
T
he first song I
remember…
Sit Down – James
“I was born in 1990
so around that time
zkhq L Ľuvw vwduwhg jhwwlqj lqwr
pxvlf L zdv irxu ru Ľyh dqg wkh
zkroh Eulwsrs hud zdv h{sorglqj1
L vwduwhg sod|lqj jxlwdu dw irxu dqg
wkh Ľuvw vrqj L uhphpehu vhhlqj
rq wkh WY dqg wkh vrqj wkdw pdgh
p| dxqw jlyh ph khu rog edwwhuhg
dfrxvwlf jxlwdu zdv wklv1 P| sduhqwv
dozd|v whoo ph wkh| kdg wr ylghr wdsh lw
from Top Of The Pops and I would just
zdwfk lw rq d orrs1 Vr L zdv jlyhq wklv jxlwdu
and made a racket on it until I started
114 jhwwlqj surshu ohvvrqv d ihz prqwkv odwhu1Ĥ
The first song I learned to play…
Cast No Shadow – Oasis
ģWklv#zdv#wkh#Ľuvw#vrqj#L#hyhu#ohduqhg#wr#sod|#
wrs#wr#erwwrp1#L#jrw#wklv#edwwhuhg#rog#Rdvlv#
fkrug#vrqjerrn#iurp#d#fdu0errw#vdoh#dqg#wkdw#
mxvw#kdsshqhg#wr#eh#rq#wkh#Ľuvw#sdjh1#Vr#zkhq#L#
jrw#wr#wkh#srlqw#lq#ohvvrqv#zkhq#L#frxog#vwulqj#d#
ihz#fkrugv#wrjhwkhu#lw#zdv#d#pdwwhu#ri#mxvw#
vwduwlqj#wkh#errn1#L#juhz#xs#zlwk#Rdvlv#vr#lw#zdv#
dozd|v#jrlqj#wr#eh#rqh#ri#wkhlu#vrqjv1Ĥ
A song I covered in my first band… I Believe
In A Thing Called Love – The Darkness
ģ\rxġg#qhyhu#kdyh#errnhg#xv1#Zh#zhuh#vr#
zlgh0udqjlqj1#Wkhuh#zdv#d#orw#ri#srs#sxqn/#vr#
Blink and Green Day but it was around 2003
and 2004 and The Darkness had broken
wkurxjk1#Zh#sod|hg#derxw#Ľyh#Gdunqhvv#vrqjv#
gxulqj#rxu#vfkrro#dvvhpeo|#dqg#shrsoh#zhuh#xs#
rq#wkh#wdeohv#dqg#doo#vruwv1#Wkh#vfkrro#vruw#ri#
orvw#lwv#plqg#iru#d#ihz#plqxwhv1Ĥ#
TOTAL GUITAR JUNE 2018
The song I just can’t nail…
This Charming Man – The Smiths
ģSuhww|#pxfk#dq|wklqj#e|#Mrkqq|#Pduu#wkurzv#
d#vsdqqhu#lq#wkh#zrunv#iru#ph1#L#uhfhqwo|#
ghflghg#wr#wu|#dqg#qdlo#wklv#dqg#Lġp#sod|lqj#doo#
wkh#qrwhv#exw#khġv#jrw#wkdw#wklqj#|rx#fdqġw#
sudfwlfh/#wkdw#vrxo1#Dq|wklqj#e|#Wkh#Vplwkv#
dozd|v#fdwfkhv#ph#rļ#jxdug1#L#jhw#wkhuh#
hyhqwxdoo|#exw#lw#wdnhv#ph#orqjhu#wkdq#
dq|wklqj#hovh1Ĥ
A guitar solo I love…
Live Forever – Oasis
“I’m not a shredder but I remember
khdulqj#vrphrqh#vd|#wkh|#rqo|#olnh#
jxlwdu#vrorv#li#|rx#fdq#vlqj#dorqj#wr#
wkhp/#dqg#wkdw#uhdoo|#uhvrqdwhg#zlwk#
ph1#Doo#wkh#wdsslqj#dqg#vzhhslqj#jrhv#
ryhu#p|#khdg#d#elw1#Wkhuh#duhqġw#pdq|#
vrqjv#iru#ph#zkhq#wkh#vror#lv#wkh#
sd|rļ#iru#wkh#vrqj#dqg#zkhq#lw#klwv#lw#
ehfrphv#d#juhdw#vrqj1#Lġp#dozd|v#
fkhfnlqj#rxw#olyh#yhuvlrqv#rq#\rxWxeh1Ĥ
A song I’m enjoying playing live…
Keeping Secrets – Mallory Knox
ģZhġyh#ghoyhg#lqwr#wkh#edfn#fdwdorjxh#
for some deep cuts for our tour and this
lv#d#vrqj#L#kdgqġw#wkrxjkw#derxw#lq#djhv1#
Lwġv#qrw#uhdoo|#olnh#d#fodvvlf#ru#dq|wklqj#exw#
shrsoh#uhphpehu#wkdw#HS#txlwh#irqgo|1#
Wkhuhġv#wkdw#qrvwdojlf#hohphqw#iru#shrsoh#exw#
zh#kdgqġw#sod|hg#lw#olyh#vlqfh#derxw#53461#Zh#
sod|hg#lw#wkh#rwkhu#gd|#dqg#lw#vrxqghg#vr#jrrg1Ĥ
A song that reminds me of home…
The Universal – Blur
ģDq|wklqj#Eulwlvk/#hvshfldoo|#zkhq#zhġuh#
wrxulqj#lq#Dphulfd1#Eoxu/#Wkh#Vwrqh#Urvhv#dqg#
Wkh#Vplwkv#uhplqg#ph#ri#krph1#Wklv#lv#d#juhdw#
vrqj/#lwġv#vr#judqglrvh1##L#dozd|v#suhihu#vrqjv#
wkdw#kdyh#ihholqj#ehklqg#wkhp#udwkhu#wkdq#
ehlqj#whfkqlfdoo|#lpsuhvvlyh1Ĥ
To introduce someone to my band’s music
I’d play them…
Black Holes – Mallory Knox
“It’s sort of by default because of the situation
wkh#edqg#lv#lq#^edvvlvw#2#yrfdolvw#Vdp#Grxjodv#lv#
qrz#wkh#edqgġv#ohdg#vlqjhu#iroorzlqj#wkh#
ghsduwxuh#ri#Plnh|#Fkdspdq`#exw#lw#zrxog#
kdyh#wr#eh#rxu#odwhvw#vlqjoh1#Rxw#ri#dq|#vrqj#
zhġyh#grqh#lwġv#wkh#rqh#wkdw#uhdoo|#pdunv#d#
fkdswhu#lq#wkh#edqg1#L#dozd|v#wklqn#zhġuh#
jhwwlqj#ehwwhu/#exw#idqv#zloo#dozd|v#kdyh#wkdw#
emotional attachment to your early records
wkdw#L#frpsohwho|#jhw#exw#iru#ph#Black Holes is a
eudqg#qhz#fkdswhu#iru#Pdooru|#dqg#zhġuh#wkh#
kdsslhvw#zhġyh#hyhu#ehhq1#Zh#ihho#wkh#wljkwhvw#
zhġyh#hyhu#ehhq#dv#d#edqg1Ĥ
Mallory Knox play UK festivals in June and
July. More info: malloryknox.com
9000
9001