guitar tricks insider february-march digital edition

8/18/2019 Guitar Tricks Insider February-March Digital Edition

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ESSENTIAL ALBUMS

EDDIE VAN HALEN

1. Live at Leeds, by The Who2. Wheels of Fire, by Cream3. Cream Goodbye, by Cream4. So, by Peter Gabriel 5. Van Halen, by Van Halen6. Blow by Blow, by Jeff Beck

1

4

3

6

2

5

Some of us are just players. We stretch the boundaries within the comforts

of the known. But a few guys decide that’s not enough and invent a whole

new language. In the ‘50s, Chuck Berry invented electric rock guitar playing

out of whole cloth. In the ‘60s it was Jimi Hendrix who played like an alien

from a distant planet. In the ‘70s it was Eddie Van Halen who stepped ontothe stage, turned everyone’s heads, and changed the way the rest of us

play. Like Berry and Hendrix before him, Van Halen spoke a language none

of us had heard before. Yet all of us understood. And then the rest of us,

who are just plain rock players, well, we all tried to speak like him. Finally,

for those of us still trying, here are some of Eddie’s vocabulary builders.

FEB/MADIGITAL EDITION6

P h o t o b y P a u l N a t k i n P h o t o b y R i c k G o u l d

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ESSENTIAL ALBUMS

JOHN MAYALL

Often referred to as the “dean of British Blues,” Mayall’sband, the Bluesbreakers, gave us some of the nestmoments ever from guitarists Eric Clapton, Peter Green,Mick Taylor, Harvey Mandel, Walter Trout, and CocoMontoya. Just as so many musicians who played withMiles Davis went on to lead their own Hall of Famecareers, the Bluesbreakers guitarists were destined todo the same. The roots of Cream, Fleetwood Mac, thesound of Canned Heat, and a Rolling Stone all found astarting point with John Mayall’s Bluesbreakers. “Fatherof British Blues,” the “dean,” or “teacher” are otherlabels that have been placed on Mayall. Though headmits there is a certain truth to it saying, “I’ve alwaysthought of myself as a band leader – not a schoolteacher. I didn’t say this is the way it goes. All I coulddo is turn people on to certain records and say checkthis out; and whatever inuences they got would bene.” Here are some recordings John Mayall gave us asessential listening.

1. Let’s Hide Away and Dance Away with FreddyKing, by Freddie King

2. Freddy King Sings, by Freddie King3. Live at the Regal, by B.B. King4. Texas Flood, by Stevie Ray Vaughan5. Robert Johnson Box, by Robert Johnson6. The Chess Box, by Muddy Waters ■

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2

5

3

6

4

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P h o t o b y R i c k G

http://www.youtube.com/watch?v=dBVkvT02jZY


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P h o t o b y R i c k G o u l d

http://www.youtube.com/watch?v=h6KYAVn8ons


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NameThatTune

ByDaveRubin

N U

G

G E

T

S

On no other instrument

but the guitar does the

union between technique

and electronics utterly

dictate content. Pull-offs

and hammer-ons, for

example, while accessible

on acoustic guitars, as

well as other members of

the stringed instrument

family where piston-like

fingers are required, are

most expressive when

boosted by the wondersof amplification. See if you

can guess the famous rock

and blues classics inspired

by the following riffs.



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NUGGETS: NAME THAT TUNE

The trill in Fig. 4 has been featured in countlessclassic rock tunes including one by a “noted”British blues rocker who crossed the “bridge” inthe mid-70s. Most guitarists will want to utilizethe strong middle nger to access the root onstring 4.

No need to be nervous while paying props toTony Iommi in Fig. 1 as he demonstrates theboundless E minor pentatonic scale. Leatherngertips optional!

Rockabilly cats, including “stray” felines, wereoften fond of the rippling pull-offs in Fig. 2. Usingthe middle and index ngers is recommendedwhile “slaloming” down the root position of the Ecomposite blues scale.

Fig. 3 should lift your “depression” if repeated ina “manic” manner. As a variation, try playing atfret 2, leaving string 5 open while pulling off fromthe A note on string 3 to string 3 open (G).

Fig. 1

7 97 9

7 97 9

Fig. 3

07 5 7 5

Fig. 2

33

3

3 2 03 2 0

3 2 02

Fig. 4

2 4 2

Along with teaching private lessons in NYC, Dave Rubin has written over 100 blues,classic rock, jazz, and country guitar books for the Hal Leonard Corporation. His latest

is Inside Rock Guitar: Four Decades of the Greatest Electric Rock Guitarists. www.musicdispatch.com


http://www.musicdispatch.com/http://www.musicdispatch.com/http://www.musicdispatch.com/http://www.musicdispatch.com/http://www.musicdispatch.com/


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NUGGETS: NAME THAT TUNE

Fig. 5

Am

5 3 5 3 5 3 5 3 5 3 5 3

Fig. 7

3 53 5

35

Fig. 6

3 3

0 3 00 2

00 2 0

3 0 0 022

022

Fig. 8

3 3

02

2

0 2

0 4 2 0

2

Aw shucks. Fig. 6 “amply” demonstrates whythe root position of the E minor pentatonic scaleis fertile ground for ever “Green,” blues-rockingriffs. Again, the muscular middle nger works

best for the hammer-ons.

Coincidentally, E.C. was also “here” in Fig. 8 inthe early ‘60s, though he opted to replicate theoriginal “King-ly” riff in a higher register of the Emajor pentatonic scale.

“Whip” the A minor pentatonic hammer and pullswith a combination of the index and ring ngersin Fig. 5. Those reliant on the 4/4 time signaturesshould not fear the 6/8. Just count “ONE-two-

three, ONE-two-three” per bar.

Even those who do not believe in astrology willwant to know Fig. 7. Though his thoughts onthe occult may be unknown, Ol’ Slowhand cut aclassic cover back in the day featuring this.

Fig. 1 “Paranoid” Fig. 2 “Rumble in Brixton”

Fig. 3 “Manic Depression” Fig. 4 “Bridge of Sighs”

Fig. 5 “Whipping Post” Fig. 6 “Oh Well Part 1”

Fig 7 “Born Under a Bad Sign” Fig 8 “Hideaway”

FEB/MAR 1DIGITAL EDITION


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http://www.youtube.com/watch?v=UdsW6SrmvwA


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G l e n n F r e y a n d D o n F e l d e rP h o t o b y P a u l N a t k i n


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CLASSIC CORNER: BACKTRACKCLASSIC CORNER: BACKTRACK

embellishing it, and developing it. But he doesn’tknow what chord it is or where to put his nger.But he knows when it’s kind of correct. When you wrote “Hotel California,” youdidn’t feel any extra spark from it thatmade it any different than the other 16songs on the tape?

No. As a matter of fact, when we nished therecord in the studio Henley was sitting therelistening in playback and said, “I think thatshould be our rst single.” I went, “You’re kidding

me. Its six minutes and thirty seconds long. Noradio station in America is going to play that.”And it starts off kind of soft, and it stops inthe middle, and the groove is kind of reggae. Idisagreed with that being our rst single. ButI bowed to the wisdom of Mr. Henley, who hasprevailed (laughs).

“Hotel California” is a parts song – like theharmony ending is a denite “part.”

The whole thing was supposed to be similarto Mexican trumpets. I grew up learning myphrasing and thinking melodically as a hornplayer. I probably should have been a hornplayer; and I’d still be banging around the streetof New York here. I kind of grew up hearing

things that way and for that song, since it haskind of a Mexican avor, Spanish avor, what doyou do? The horns are sort of like a Mexican hornpart or a Mariachi band would play somethingsimilar to that. As a matter of fact, when we didthe acoustic version for MTV I almost had someMariachi horn players come in and play some ofthose things. But I thought it was better to keepit down to the band. I didn’t want to be labeledwith the Linda Ronstadt approach, but that’s kindof what it was. So yeah, I guess they are hornparts.

Many people don’t know that you play therst half of the classic “Hotel California”solo. When guitarists speak of perfect solosthey use “Hotel California” as an example.Other guitarists will say, “I wish I hadtaken that solo.”

Wow. I’m attered. I’ve never been told that. Ihad done that track on a little Teac 4 track andI played the whole solo all the way out, and theharmonies, and pretty much all of it. But it waskind of a challenge because we had gotten intothis groove on “One of these Nights,” with Glennand I, of trading fours on a couple of songs like

“Too Many Hands.” It’s like where McCartney,Lennon, and Harrison trade those bits on “TheEnd” on Abbey Road . So when we got into thestudio to do that I said, “Hey why don’t I takeone and we’ll get Joe to take one and we’ll tradeand then we’ll do some harmony.” Joe said, “Yougo rst.” So I did, which was pretty much whatI coached through on the tape. As a matter of

fact, when we started doing the solos, Henleyhad gotten so locked into my demo that when Iplayed another solo he said, “No, no, no that’snot what you played on the tape.” I said, “Idon’t know what I played on the tape?” We werein the studio in Miami and we had to call myhousekeeper who was babysitting my daughterand she took a machine very similar to the onewe are recording on now and played it over thephone. I recorded it on another machine – one




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P h o t o b y N e i l Z l o w z o wA t l a s I c o n s

http://www.youtube.com/watch?v=puHoadtIivc


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CLASSIC CORNER: ROCK MEMORABILIA

You might be surprised by how many musicians are also adept with the paintbrush, or inthis case, the pencil. Bob Dylan, John Lennon, Joni Mitchell, Cat Stevens, Paul McCartney,David Bowie, and Ron Wood are among the many musicians who fancy their time with abrush in hand. Pink Floyd has always been cinematic with their music. So it should come

as no surprise that all the members of Pink Floyd attended art school – even if it was brief.Presented here is a line drawing of one of Waters’ cats relaxing on the couch. The other

focus of the drawing is the hand-written lyrics to “Outside The Wall.” ■



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B e c o m e a n o f f i c i a l I n s i d e r !

S u b s c r i b e t o g e t t h e l a t e s t G u i t a r T r i c k s

I n s i d e r i s s u e s


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SOUND ADVICE

With this in mind, he gave us some sound adviceon songwriting and the acoustic guitar.

Since the rst song I’ve ever written, it hasalways been on an acoustic guitar. That wasbasically because I could never turn my amps upin my house. I’d always get people yelling andbitchin’. Writing on an acoustic seemed to giveme instant gratication. Beating on a 12-stringor a great sounding six with new strings on ithelped me create.

What’s the difference in voice between anelectric and an acoustic guitar?

On electric guitar I would tend to play a lot ofopen E’s and A’s, where on an acoustic I’m moreinclined to be picking and looking for a melodywithin the chord structure. On the electric I’mknocking up an overdrive pedal and making allmy best Scorpions faces in the mirror. From asongwriter’s point of view – for me to sit downwith an acoustic – I’m thinking melody. I’mthinking of hooks. For me, an acoustic is the wayto do that.

So he’s got a look, a voice, enthusiasm,and show. But most of all, Jon Bon

Jovi has songs. He’s got songs for theband, songs for Cher, songs for TedNugent, songs for Alice Cooper. Hiscollaborations with Richie Samboraand sometimes Desmond Child helpeddefine the genre of power/metal topop/country for 30 years. In doing so,he and his group have brought guitar-based rock back to the top of the

charts, and to an audience much likethose of yesteryear, who, like whenthey first heard The Beatles, couldturn to the guitar and make the musicof the future. So while he is not in aleague with Eddie Van Halen or RichieSambora, Jon Bon Jovi has had a bigimpact on the guitar world.


J o n B o n J o v i a n d RS a m b o r a P h o t o b y M a r k W


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P h o t o b y R o b e r t C

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COVER STORYCOVER STORY

DAVIDGILMOURTALKSGUITAR STLEANDTONEBY PETE PROWN


P h o t o b y M a r k W e


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P h o t o b y R i c k

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P h o t o b y D a v i d P l a s t i k


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COVER STORY

David also tries to shake things up in the studiowhen trying to nd a creative spark on theguitar. “First, I try to get silly. I’d much rather

just be wild and forget any sense of ‘getting itright.’ Out of those wild moments come goodideas I develop further. Most of the solos start

with doing ten different tracks and I punch inquite a bit. I wind up taking parts from threeof them and sticking them together. I look forcertain moments, and if these moments matchup with other moments that are right, those arethe bits I keep. I’m looking for feel and a senseof movement. Performing live, you try to getit rough and also try to be brave – it doesn’tmatter if you drop a clunker. The record lasts,the performance is transitory. I’m an enormousfan of Jeff Beck because he is not afraid to screwup. People who are afraid tend to get boring.”

TONE

Like his heroes Hank Marvin, Clapton, JimiHendrix, and Chicago bluesman Buddy Guy,Gilmour has largely used a Fender Stratocaster,taking advantage of the Strat’s dynamics todeliver everything from subtle chord arpeggiosto blazing solos. He also tools around from timeto time on Telecasters, Gibson Les Pauls, andvarious Martin acoustics, as well as a varietyof pedal steel and lap steel instruments. Davidespecially tears it up on lap steel on tracks like

“One of These Days” and “High Hopes.” Theformer Pink Floyd frontman also owns one of thevery rst Fender Strats – a 1954 plank with theserial number #0001.

Like the innovative Syd Barrett, his predecessorin Pink Floyd, David isn’t above using heavyeffects to deliver an idea. Whereas Barrett usedthe early Binson Echo-Rec echo box, Gilmourhas used a swath of Fuzz Face and Big Muff fuzz

boxes, echo, Univox Uni-Vibe, Vox wah-wah, MXRDynacomp, Electro–Mistress chorus, MXR Phase90 phase shifter, and Leslie rotating. This barelyscratches the surface of his monster rig, whichalso involves many amps, preamps, and speakercombinations. If you had to sum up Gilmour’ssound in one word, it would be “wet.” David isn’tafraid to ladle gobs of echo and phase shifterover his Strat tone to create an otherworldlytexture. One of his coolest tricks is a sort of

“When I was starting

out, I was trying

to learn 12-string

acoustic guitar likeLead Belly. At the

same time I was trying

to learn lead guitar

like Hank Marvin, and

later, Clapton.”




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P h o t o b y M a r k W e i s s

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P h o t o b y R i c k

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GEAR REVIEW

FEATURES

The 214ce is constructed from a variety of woodsincluding a satin nished solid Sitka spruce top,layered rosewood sides and back, sapele for

the neck, and an ebony fretboard. Taylor’s highquality, die-cast chrome tuners have an 18-to-1 gear ratio guaranteeing accurate and stabletuning for every performance. The proprietaryExpression System-T pickup/preamp systemfeatures a transducer that’s positioned nextto the saddle with individual elements foreach string; and it’s paired with a professionalaudio-grade pre-amp, which together, does aremarkable job of reproducing the acoustic tone

While playing the 214ce, I was amazed at howbig and rich the tone sounded for a guitar that’sslightly smaller than a big dreadnought. It’s alsovery comfortable! Electric players will dig thelow action and easy playability right out of thebox. The cutaway body makes higher regions of

the body easy a breeze to access on the ebonyfretboard. For instance, it was easy to play theintro to Bon Jovi’s “Wanted Dead or Alive.”

What the 214ce lacks in bells and whistles of themore expensive Taylors, it certainly makes upfor in sound, playability, quality, and comfort.The tonal characteristics on this guitar are allyou’d expect from a high quality acoustic. Theguitar projects loudly – whether strummed with a

pick or played nger style; and I was impressedwith its tonal characteristics. Both low and highnotes are clear and dened in all registers of thefretboard, and chords sound lush and rich. Whenplugged into an amp, the Expression System, aproprietary piezo pickup, replicates the acoustictone of the guitar magnicently. It’s certainlyeasy to become captivated by the sound. In fact,my wife had to pry me away from the guitar onseveral occasions!



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GEAR REVIEW

EVENTIDE “H9 MAX”GUITAR EFFECT PEDALReview By Dave Celentano

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E n j o y i n g t h e i s s u e ? S h a r e i t w i t h f r i e n d s a n d

f a m i l y

T h a n k y o u f o r s p r e a d i n g t h e w o r d !


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ANOTHERTAKE:

WHY ACATFISH?

By Dave Rubin


P h o t o b y D i c k W a t e r m a n / A t l a s I c o n s


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Illustration: Heath Miller

WE ASKED JAMES HETFIELD TO COME UP WITH THE PLAYERS FOR HIS DREAM BAND.

They are (left to right, from top): TOM WAITS, piano, IAN PAICE, drums,JON LORD, keyboards, GEEZER BUTLER, bass, GLENN DANZIG, lead vocalist,

TONY IOMMI, guitar, ELVIS PRESLEY , background vocals,STEVEN TYLER, harmonica, JIMMY PAGE, guitar.



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guitar tricks insider february-march digital edition

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