MARCH 1986

T.M. AWARDS ISSUE ();48429

[1 $2.95 $3.95
IN USA IN CANADA

YNGWI
MALMS

DEEP PURPLE
QUEENSRYCHE
STEVE VAl
, IRON MAIDEN STEVIE R AY
GIANT POSTER VAUGHAN
AND MORE .••

0
CONTENTS VOLUME 3 NO. 5
MARCH, 1986

Performance Notes 86
P.O. Box 1490
The Vinyl Score 102 Port Chester, NY 10573-1490

Plugging In 106
EDITORIAL
On the Case 107 Edllln-ki-Chlef:
BRUCE POLLOCK
POSTER: Iron Maiden JOHN STIX
Senior Edltllr:
by Mark Weiss
MARIE A. CRUZ
Mulllc Edltllr:
FEATURES ANDY ALEDORT
Aalcllll Mualc Edllr.
The Ignoble Prize Awards 30 MARK PHILLIPS
Mualc AITIII!IIf'C
Commentary by Bruce Pollock
KENN CHIPKIN
WOLF MARSHALL
Ritchie Blackmore 50 PETER SECKEL
Musical Profile by Wolf Marshall Millie Engrmr.
WOJCIECH RYNCZAK
Chris DeGarmo/Queensryche 54 Canlrlllullng Edl1arl:
BUCK DHARMA
Interview by Marie A Cruz
BARRY LIPMAN
WOLF MARSHALL
DEPARTMENTS Yngwie Malmsteen & 56 BUZZ MORISON
Billy Sheehan STEVE MORSE
Photo Gallery 4 JOE PICHKUR
Interviews by John Stix
ELLIOTI RANDALL
Current Events 6 BOB ROSE
Steve Vai 60 BILLY SHEEHAN
Int erview by John Stix TWISTED SISTER
Letters to the Editors 10 STEVE VAl
The Critics' Choices 108 TOM "T-BONE" WOLK
Open Ears 12
GUITAR Staff Lp Picks ART
Auditioning New Members
Art lllrecllen IIIII llellp:
In the Listening Room 15 GUITAR/BASS SHEET MUSIC FRANK MORANO
Alllllant Art OlriCIIr.
Stevie Ray Vaughan GINA IANNIELLO
Explanation of Tablature 100
PradUCIIan Ceonllftlllr:
Guitar Secrets 16 JOAN McCANN
Michelle 18 Artlals:
By Steve Vai
The Beatles AMID CAPECI
PAM WHITIEMORE
Bass Secrets 17 Bass solo by Billy Sheehan
By Billy Sheehan
MARKETING AND SALES
Black Mountain Side 26 VIce Prllldlnl:
Bass in the 80s 20 Jimmy Page LORAIN LEVY
Sussudio
Advrillng IIIII Sllla DII'ICIIIr
Transcription by Andy Aledort BARBARA SEERMAN
Acc8lft Exlcullve:
Guitar in the 80s 22 Knocking At Your Back Door 32 MARTHA DOUGLAS
Bijou Pleasurette Deep Purple Clrculalllll Manlgr.
CHARLENE MILLS
Transcription by Wolf Marshall
Rock Climbing 24 ADMINISTRATION
By Jay Jay French Black Star 65 Publllber:
LAUREN KEISER
The Call Board 25 Yngwie Malmsteen Prllldlnl:
Transcription by Wolf Marshall PAT RAVEN
The Charts 25 Praducllan Mlnllglr:
Guitar Questions 82 Forever Man 89 FRANC GUERffiE
Edltllrill and Marklll ng lllraclar:
Eric Clapton ED CIMINO
New Products 84 Transcription by Kenn Chipkin
DISTRIBUTION
Cover Photo Yngwie Malmsteen & Billy Sheehan by Gene Kirkland Regular TI'IJde lllllrillullln:
KABLE NEWS COMPANY. INC.
Mille TI'IJde Dillrlllullen:
GUITAR For The Practicing Musician (ISSN 0738-937X) is published monthly for $22.90 per year ($38.90 for two years) by Cherry COLUMBIA PICTURES PUBLICATIONS
Lane Music Co., Inc., 110 Midland Avenue, .Port Chester, N.Y. 10573-1490. Second class postage paid at Port Chester. N.Y. and
additional mailing office. POSTMASTER: Send address changes to GUITAR For The Practicing Musician, Subscription Dept., P.O.
Box 889, Farmingdale, N.Y. 11737-0001.

Submissions of manuscripts, illustrations and/or photographs must be accompanied by a self-addressed, stamped envelope. The
publisher assumes no responsibility for unsolicited material. Copyright ©1988 by Cherry Lane Music Co., Inc. All rights reserved
under international and Pan American Copyright Conventions. Reproduction in whole or in part without written permission of the
publisher is prohibited. Printed in U.S.A.
 Yamaha's new Mark III guitar amps even new models to make the line even more complete.
beat our Mark II Series. Which is saying something. Two deluxe G 100 "S" models that have
How, you say? By putting in the capability cast�frame high�efficiency speakers, foot�switchable
to get out a greater variety of sounds. And adding effects�loop bypasses, and 3�pin balanced XLR
greater control over those sounds. rear panel jacks with level controls and ground lifts.
Now each channel in the 100�watt models And a G 20�110 model with 20 watts and
contains its own bass, middle, and treble controls a 10 "speaker.
and midrange boost. So you can preset two entirely So whether you're playing the studios or
different sounds. Then switch between them from the stage, with a Yamaha Mark III guitar amp, you
either the front panel or the footswitch. can take the lead.
Further tonal variety is on tap with the For more information, visit your Yamaha
foot�switchable parametric equalizer that comes on Professional Products Dealer. Or write: Yamaha
all models. T his unique feature allows you to pre, International Corporation, Professional Products
cisely pinpoint, then boost or cut a very specific Division, P. 0. Box 6600, Buena Park, CA 90622.
portion of the audio spectrum. In Canada, Yamaha Canada Music Ltd.,
And to add a bright note to your sound, all 135 Milner Ave., Scarborough, Ont. MlS 3Rl.
models have a presence control boost in the 2 kHz
to 5 kHz frequency range.
Behind the scenes, there are rear panel
speaker outputs, a direct line�level output, an effects
loop with send and return controls, and send and
return from the built�in Accutronics spring reverb.
And since we know we're not the only one
with a tough act to follow, we designed new speakers
and cabinets for the Mark III line. And added three

.YAMAHA®
 . . .
. .
.

r:
• • •
•
STATE OF THE EAR
Over the past 17 years, New York 's
Institute of Aud i o Research has d one
m uch to deserve its reputation as the pre­

::::e··��····e· :
m i er training fac i l ity for record ing eng i­
neers everywhere. The newest addition to

:
the I n stitute is a bra n d new control room

:
• •
•
6 that has been des i g ned for acoustical
• • •

:
excellence and at the same time provi d es
. . .

:
. . . . � an opti m u m teach ing environ ment. Ac­
• • . •
• . •
.
I . . .. - • •. • . •
. • .

:
. . . . . . com pany i ng equ i p ment incl udes an MCI
.. . .
. .
. . . 24-tk tape m ac h i ne, MCI, Am pex and
· ·• ·
·
• • . . . . . - - Studer 2-tk m ac h i nes, Dol by noise red uc­

Compiled by Marie A. Cruz

•
tion system and a host of other outboard
gear. For a tour of the fac i l ity cal l (212)
677-7580.

IN THE PINES
The 9th Annual Pineland Lions Na­
tional G u i tar Festival wi l l be taking place in
Prince Al bert, Canada on March 14, 15 and
16th . Esta b l i s h ed by Jean-Laurent Fou rn­
ier, the festival expl ores a variety of g uitar
styles and techniques with worksh ops and
classes in c lassical, plectru m, fol k, jazz,
ragt i m e and ensemble m usic for g u itar
and g u itar gro u ps. The festival also fea­
tures g u est performances, awards and
d i s p l ays. For registrat i o n i nfor m a t i on,
contact
Pineland Lions National Guitar Festival
c/o 524 -9th Street East
Prince Albert, Sask. S6V OY3

FRIPP TEACHES
E. G. record i n g "artiste," Robert Fri pp,
is co n d u ct i n g a seri es of sem i n ars on g u i­
tar craft and m us i cal organizat i o n , ai med
specifical l y at the non-m usician . Upcom­
i n g sessions, w h i c h beg i n February 16th
and w i l l continue u nt i l May 4th . Su bjects
i nc l u de: Music for Non Musicians II and
G u i tar Craft XII and XIII. Classes are h e l d
a t the Clay m o u n t Estate i n Charles Town,
West Virg i n ia, which is also headquarters
of Fri p p 's Ameri can Society of Conti n u­
o u s Ed u cation. For m ore i nformat i on,
contact:
Robert Fripp
Route 1, Box 279
Charles Town, WV 25414

MOTHERLESS ISSUE
Our apo l o g i es to a l l the Frank Zappa
fans who were a nticipating our transcrip­
tion of Peaches En Regalia i n t h i s issue.
Unfort u n ately, due to the l i m i ts of s pace
and ti me, we 've had to postpon e t h e
appearance o f this classic p i ece until o u r
May i ssue. In t h e meanti me, Zappa h i m­
self is poring over every note, to make sure
it 's all correct.

6 GUITAR, MARCH 1986

LET THE BUYE R TAKE HE E D
We 've j ust been apprised b y t h e fol ks
at Mesa, t h at the amp reviewed by Bob
Rose i n this issue, the Mesa Boogie Mark
11-C, has been replaced by the Mark I l l ,
which i s the sa me amp, with an added
feat u re, Rhyt h m 2, which allows the user
easy footsw i t c h-a b i l i ty betwee n t h ree
sounds-clean rhyth m, cru n c h rhyt h m
a n d lead. Although Rhyt h m 2 is mainly for
cru nch chords, c h u n k i n g metal patterns
and some bl ues can also be obta i ned.

EXPO-NOTES
Uta Ford, Ace ·Frehley, Pau l Dea n ,
Eddie Oj e d a a n d Jay Jay F re n c h of
Twisted S i ster, Steve Steve ns, Sta n l ey
Jordan a n d Heaven 's Mitch Perry were
among t h e n a bo bs of metal n o b b i n g HEAVY METAL c rafted by Joe Kovacic of Ontario, Can­
among t h e h o bs a t t h e New York Interna­ What's 14'4" tal l , 5'3" in w i d t h , 6" ada. Feat u r i n g Shadow Co. brass pick u ps
tional Music and Sound Expo held t h i s t h i c k and weig hs 400 pou n d s? It's the t h at we i g h a total of ten po unds, the g u itar
past Than ksg i v i n g a t t h e New York Coli­ worl d 's largest playable electric g u itar! took two months to complete a n d is
seu m, home of the auto sh ow. We tapped Constructed of Bird 's Eye Maple, Mahog­ val ued at $30,000.00. And of cou rse, with a
Mitch Perry to select the w i n ner of the Ari a any, and Maple, with 1.5 gallons of g l ue, six g u itar t h i s b i g , you need a case to go along
K n i g h t Warrior g u i tar g iven away a t the coats of sealer; ten coats of Kandy B l u e with it. Clysdale Custom Case Co. Ltd
GUITAR booth. The l ucky winner was Randy Airbrushed artwork and t e n coats o f clear tac k l ed the job and came up wth a 15', 600
R>J·'U�I<. o1 Elm h u rst, Queens. lacquer, this monstrous i nstrument was pound case ! Continued on page 14

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MARCH 1986, GUITAR 7

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Send to: I just want to say thanks. I might even Sometimes it's just me and my brother,
change my name . . . to Satisfied Musi- Haze, practicing, and our drummer and
cian. lead guitarist are nowhere to be found.
Scott Howard Every time that happens, and it's been
Elkton, MD happening a lot, l feel like giving up. But
Dear GUITAR, when I pick up my issue of GUITAR and
It has been a rough year for the read about the dues the big bands have
members of Natural High. This is our to pay to get where they are I get a new
Dear GUITAR, first year as a band and we already went lease on rock 'n' roll. Thanks to GUITAR
Ladies and gentlemen, for two years through three drummers and two lead Natural High will keep on rockin'. Your
the world's greatest (and most under­ guitar players. I play rhythm guitar and magazine is a big asset to our musical
rated) guitarist, has been writing a col­ sing lead and my younger brother plays endeavor, so please keep them coming.
umn in this magazine and you didn't the bass and sings backup. Most of the Leland Walks
even know it. It's time for the people to music we play is from the Scorpions, Crow Agency, MT
be told. S teve Morse is an awesome UFO, April Wine, Loverboy, Boston and
guitarist and songwriter. I've never seen REO Speedwagon, just to name a few.
or heard fingers move so fast than those
on the hands of this long-haired man

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from Georgia. Steve, you have a true fan
in your neighbor state of North Carolina.
Craig Smith

FOR TODAY'S ROCK-N-ROLLERS

New Salem, NC

PANTS TOPS GLOVES ETC.

Dear GUITAR,
I'm glad to hear that you are finally

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realizing that a bassist is a bass guitarist.
When I read that there will be a bass

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tinuum.
Christopher Wargo
Colonia, NJ
Dear GUITAR,

_..
I would like to thank you for printing -the leader in training creative music professionals. For over
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having the best front row seat around. Ohio State Board of School and College Registration #80-07-06961
Keep up with all your headbanging is­
sues. You guys make my blood boil.
Jack Opalinski
Bridgeport, CT
Dear GUITAR,
Hi, my name is Frustrated Musician.
I'm a guitarist; I love the instrument; I
know almost everything about it, but I
don't seem to have what it takes to be a
musician. "Down to the newsstand,"
Frustrated says. On the shelf he sees
GUITAR-For the Practicing Musician. I
guess I considered myself a practicing
musician, so I bought the magazine.
When I saw Don't Stop Believing in last
November's issue, I realized things wer­
en't that bad. That song is now my theme.

10 GUITAR, MARCH 1986

 it off and see what happens when the
pressure comes up. Would he throw his
hands in the air and freak out? Would
he try and fake it? Can he remember it?
I like to find out all of those things, not
that any of them is a disqualifYing factor.
I was just looking for more of the total
picture. ..

The tape didn't tell me anything

about his guitar playing. What was more
important was to check his aptitude on
the guitar. He made it clear that while
his chops were very dormant, his attitude
was so great that it made up for the rusty
chops. He remembered lines from 16 or
32 bars ago in the song we were just
learning. I was impressed with his sense
of time and ability to remember. That's
just about all you need. If there's a part
that's too hard and too fast we can always
cut out a few notes here and there to
simplify it. The main thing was whether
the guy could feel the time and remem­
ber the parts without any problem. I was
looking for an overall sense of musician­
ship, which was there. Everything was
there except the chops, which you get
from playing every day for hours. But I
could tell by his attitude that he was
going to get that back. And he did in a
week! His attitude about working in­
sing or play when I have time to fix every spired a lot of confidence from the rest
note. of the band. His name is Terry Brock
After hearing a tape, I asked some and when you meet on the Rush tour
other people who had worked with this make him feel at home.
singer for a reference. I was lucky enough Adding our bassist, Jerry Peek, came
to be able to talk to a band he was on about in a more common way. I heard
the road with for some months. I asked him play several times, talked to him
simple questions, like can he manage it casually and just generally got to know
on the road? Some people lose it. The him. This way is preferable to meet
road is one of those things that brings someone. If you talk to somebody as one
out the Mr. Hyde in some people. It can guy to another he is more apt to be
by Steve Morse make you go out of control. I also asked natural, rather than when you're talking
if he was scared of the stage? Does he and he needs a job. Then he thinks if I

T
he subject of this month's column freak out? Can he do a show without say the right things I'll get the job. Ob­
is particularly relevant because I overdoing it? In this case the answers viously, that's not a realistic situation.
just went through it. When you were positive on all fronts. That still Anyway, one time as we were parting I
pick somebody new to join your wouldn't do it completely, just like hear­ asked if I could have his phone number,
band you're taking a gamble. You've ing a good tape wouldn't clinch it 100% never figuring that I would be the one
got to know that and they've got to know either. who would call him up. Every once in a
that. You never know how it's going to The next thing I did was set up a while I meet people who are so amazing
work until you're actually out there. But live audition. I gave this guy a tape with that I feel I would like to have a way to
you try and hedge your bets and find a song I wanted him to try and learn in get in touch with them in the future. It
the best gamble you can. one day. I chose Book of Dreams because was just in case somebody asked me if
Listening to tapes is probably the it had the highest vocal notes in it. I also I knew an incredible bass player. It's a
first step. In my particular case there thought it would be the easiest for his good feeling to put people together with
wasn't enough time to go through a range and style. I wanted to try and make gigs. He was just with a local band. They
bunch of tapes. What I did with the tapes it easy for him. Then in the studio I were good but he needed to be heard.
I heard was to look for the singer's range made a mix of the song with everything That's why I thought if I had his number
and pitch. Did I have to make excuses except the lead vocals. He listened through I could do him some good someday.
for what I heard on the tape? Sure, I headphones and sang along. That was a When I was putting the Steve Morse ..

could make excuses for the way the good approximation of playing under Band together with Rod, I put Jerry
drums sounded and the mix, but when pressure. I wanted to see how well he through the same kind of audition I j ust
it came to what I was looking for-the sang in tune. If he could get past that described. I asked him to learn a tune.
voice--there were no problems. On a with any semblance of style then I knew He learned it so well straight from the
recording you should be able to perform he wasn't going to be intimidated. I put record that I was amazed. Here was
pretty flawlessly, that is, if what you're the pressure on by giving him some easy another guy with a good attitude that
trying to sell is the performance. What things to do in time, maybe a four or just won't quit. See you on the road. Stay
you're saying is, here's how great I can eight bar segment. Then I'd just count tuned. •

12 GUITAR, MARCH 1986

Continued from page 7

PR ACTICING MUSICIA NS will balance like a Strat," said Rick. Guitar

Congratulations are in order to our roadies, take note.
resident Open Ear, Steve Morse, for land­
GUITAR would like to contratulate
ing a slot on the Rush tour. We know all the
Marco Gonzalez, of Falls Church, VA, who
GUITAR readers out there in that huge
was the winner of the Cherry Lane Pitch­
Rush audience will make Steve feel wel­
rider.
come...T-Bone Wolk, who just informed us
that next month's Bass in the 80s column
will be his last for a while, is off to Europe AX MUSEUM
to work with Dave Stewart of the Euryth­ Guitar fanatics who want to see one
mics, on Daryl Hall's new solo project of the most extensive guitar collections in
...Twisted Sister takes to the road in the the world, should check out New York's
wake of their new Lp, in search of more Hard Rock Cafe. T heir already impressive
specimens for their Rock Climbing column, collection of invaluable rock 'n' roll memo­
scads of which were autographed, by the rabilia features a multitude of guitars
way, at the N.Y. Expo...finally, an old alum­ donated by renowned artists. Among the
nus, Rick Derringer; has been pretty busy axes decorating the walls of this popular
since he gave up the Guitar Secrets spot are Chris Squire's "Wal Custom" Tri­
column he inaugurated in our premier ple Neck Bass, Joe Walsh's Fender Tele­
issue. Among other things, he produced caster, Eric Clapton's Fender Stratocaster
the highly regarded guitarist, Mason Ruff­ (the famous Lay/a guitar), Jeff Beck's
ner, and has designed another guitar for .white Fender Stratocaster, Eddie Van Hal­
B.C. Rich, followup to the successful en's custom handmade Kramer Guitar,
Stealth. "As opposed to some of those Elliot Easton's Gibson acoustic Guitar,
outrageous things we all see at trade Keith Richards' blonde, 5-string custom­
shows, this is a guitar that can actually be made guitar, Gene Simmons' axe-shaped
played by a human being," Rick told us. electric bass, and the most recent addition
Differing from the Stealth in toggle switch to their lineup, Lonnie Mack's Gibson Fly­
placement, th e new model, to be dubbed ing V. So the next time you're in the mood
The Derringer, has 22 frets and a pick­ for a memorable experience, take a stroll
guard, neck through body design. "It into the Hard Rock Cafe, located at 221
doesn't look like a Strat, but hopefully it West 57th Street.

14 GUITAR, MARCH 1986

IN THE liSTENING ROOM
players do. They get on a riff that repeats
itself. Jazz organ players often find one
note to hold onto while they play the
rest of it. The point is, if that note stays

3 Marching Out from Marching Out by

Mus1ca: select1ons by John St1x good to you, stay with it.

W
hen you 're hot, you're hot. Nobody like their approaches. Everybody is play­ Yngwie Malmsteen!Polygram 825 733-1
is burnin' up the blues like Stevie ing their own style and not trying to STEVIE: He's obviously an incredible
Ray Vaughan , the tornado from outdo each other. I like going to the technical player. It's a different cup of
Austin , Texas. With his trademark cow­ swing time in the organ solo. That's tea than I would normally listen to and
boy hat and Stratocaster in tow, Vaughan tough. I still like this. The Allman Broth­ it's obviously done well. It does have a
has rekindled the blues in the 80s much ers were good at knowing those times lot of emotion but it doesn't have the
like Clapton, Beck, Page and his own when strict choruses don't apply. If same kind of impact or soul as the o.ther
hero, Hendrix, did in the late 60s. We put something starts feeling gqod, it's time songs I've heard. Listen to Buddy Guy.
him In the Listening Room with some to stay on that something. It's something That would tell you more than anything
other pot boilers in the hopes we'd come that a lot of zydeco bands and jazz organ I could say. •
up with our own strange brew.
-------.

1 Blues for TJ. from Friends, by Larry

Carlton and B.B. King;Warner Bros 23834
STEVIE: Tough enough. I like the way
the arrangment's done. I like the way
somebody has been listening to B.B. King
strong. They've been listening a lot. Per­
sonally, I would bring the horns up a
little bit and fatten the bass. Other than
that, it's cool. These are people who care
about what they play. They have com­
pletely different styles. One is more tra­
ditional and the other is a newer style.
I'm wondering whether the guy who
plays the second choruses listens to a
lot of steel players?
GUITAR: The first solo was by B.B. King.
STEVIE: I thought it was B.B. when I
asked who it was; it sounded too much
like B.B. not to be. But he was doing a
couple of things I hadn't heard him do
before. I was wondering if it was someone
else who had listened to a lot of B.B. I
love B.B. These guys were really listening
to each other.
2 Stormy Monday Blues from The All­
man Brothers Live at the Fillmore
East, by the Allman Brothers/Capricorn
2CX4-0131
STEVIE: I've heard this before. Of course
this is a great band. It's hard to do what
has been done in this jam session, which
is to go ahead and get somewhere with
three solos going on. Everybody has to
pay attention to getting there quickly. I

MARCH 1986, GUiTAR 15

 A G OF GUITARS
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Taurus pedal. I turned on a Hit G (8th fret) with your 3rd finger.
drum machine and told myself Bend the note to A, return it to G, slide
that for the next three hours, I up to A with your 3rd finger, then stretch
would solo over this pedal tone and the A to a C. Return the note to A, slide
concentrate exclusively on bending notes. to the C, then bend to a D. Return the
LET THE WORLD Some of the interesting things I came up note to C, slide to the D and bend to E.
KNOW YOU PLAY with are revealed here. Keep this process going 'til you're
The most widely used form of bend­ stretching from an A to a B on the 22nd
NECKS™ are made ing notes is to place three fingers down fret. This whole action takes place with
inItaly of I 00%
on consecutive frets and bend the note only one pick attack. It's all slides and
cotton jers ey-knit.
one whole step up from the pitch you bends.
Smooth surface for
great action. Money
started on. You should have a good grip 6). Start with a note that is already
back guarantee. on this technique before you read on. bent, attack it and return to the flat
One thing you should always be position. For example, on the B string,
$12.00 each plus conscious of when bending a note is bend to a B from an A (lOth position).
$1.00 postage and your intonation. Make sure that the note Strike the note and return it to A. Do
handling. Pennsyl· you're going for is the one you hit. Here this seven times in a row on different
vania residents add
are some things to try: notes as fast and as cleanly as possible
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1). Hit a note and bend one fret from and you'll have a nice effect.
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the note you're starting on, e.g., hit a G 7). Bend a note, hold it, and with

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FRETS [, DOTS and bend to a G#. your other available fingers play other

I 0 Black/Brass
2). Hit a note and bend three frets notes on other strings. For example, on

I 0
higher than the note you're starting from, the G string, stretch from an F# to a G#

I 0
Black/Red e.g., play a G and bend to an A#. (9th position). While holding that note

1 0
White/Black 3). Hit a note and bend four frets and letting it ring out, play with your

0
Yellow/Black

0
higher than the note you're starting on, 4th finger, E on the E string (12th fret).
I
Red/Black

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e.g., hit G and bend to a B. Then play with your first finger, C# on
j
Mulberry/Black

0
4). Try bending five- and even six­ the E string (9th fret). Then with your
____ Lt. Brown/Black
Grey/Black frets if possible. 4th finger play B on the B string, ( 12th
5). This is an "ascending bending" fret). All this time you're still holding the
Name _______ Age _ technique. You hit a note, bend it two G# that is bent from the F# with your
Address ________ frets, bring it down to its original position 3rd finger. It may sound complicated,
and slide your finger up the neck to the but take it slowly.
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slide and repeat this 'til you can't get
L- -------------_1

16 GUITAR, MARCH 1986

 Ray Brown has played on hundreds
of great jazz records. Look for anything
by this guy. He, for me, defines jazz bass.
He has incredible technique with leg­
endary melodic playing and soloing. Ron
Carter is also amazing.

H
ere are a few albums and artists John Entwistle of the Who shines
that have had a huge positive on Live at Leeds and Who 's Nei(t. Pete
influence on my playing and Townshend is a great guitarist who plays
musical attitude, and may do chords while John moves underneath
the same for you. The first Va­ him with brilliant bass lines, forming an
nilla Fudge album, the one with the exciting melodic interplay.
naked golden girl on the cover, should Dusty Hill makes it happen for Z.Z.
go down in history as one of"the most Top on Tres Hombres or any Z.Z. Top
revolutionary albums for rock (or any) album. He sets up an amazing bass and
bass playing ever ! Tim Bogert's ability to drum groov�t which is essential to all
weave in and out of melodic structures bands. These guys are experts at it. Plus,
and incredible right-hand fingering tech­ Billy Gibbons is untouchable. Didn't he
niques paved the way for my beginnings do the first rock right hand hammer-on?
more than anyone else. I recently had I give him credit because I stole it from
the honor of jamming with him on stage him in '74.
after a seminar I did at the Musician's There are so many others to listen
Institute in Hollywood, and I can attest to: Hendrix, Zappa, Bach, Sinatra, Roy
that he's playing as great as ever. Clark, Greek Bazouki music, Muddy
Jack Bruce on Cream's Disraeli Gears Waters and more. It's good to listen to a
or Wheels of Fire plays all over the place wide variety of styles. If you're smart you
and it all works. All bass players who can adapt them to hea'v)' rock or any
play four notes per song take note. other type of music and people will

Suggested Listening
Check out Chris Williams on AC/ wonder how you "thought it up."
DC's Back in Black. This guy plays very New things are just as important to

by Billy Sheehan
little but holds the band together like listen to. Have you heirrd Jeff Berlin's
Crazy Glue. All bass players who play a Champion album? Inspiring. Leave no
billion notes per song take note. stone untumed. •

More than
just notes.
EMG Pickups.
You want more than just
the notes you play. With
an EMG, get the response
you need from a pickup.
Get the performance you
put into it .

We know many thousands of you guitar Designed primarily for use on �strats'" and
players out there don't like clamps. The other guitars with this type of headstock
reasons are numt!rous- expensive to buy, high configuration, the .. Wilkinson.. .. Improved

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guitar's original sound and sustainmg retail) everyone can afford to stay in tune and
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the only way to stay in tune. · already have.

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CANADA: Louis Musical. Quebec

MARCH 1986, GUITAR 17

Tablature Explanation page 100

MICHELLE
As recorded by the Beatles
(From the album Rubber Soul/Capitol SW 2442)

Words and music by

John Lennon and Paul McCartney

Moderate J = 126

J J
C #m G#+5/C C#m/B Bbm7b5 Amaj7 G#

i
Intra

J
1st Verse B/F# Bb/F A/E A 7
�J
s/.

J
Amaj7 Bb/F A/E A7
���J
3 3

H sl.

2nd timeL-3---'
only

A
�

'--3--'

sl.

Copyright® t965, 1986 by Northern Songs Ud.

All Rights for the US, Mexico and the Philippines Controlled by Maclen Music Inc,
c/o ATV Music Corp 6255 Sunset Blvd, LA CA 90028
18 GUITAR, MARCH 1986 All Rights Reserved Used by Permission
 ?1
11,3. • 2nd Verse IP� ct
3
;t
Interlude

_.u.
Am.a,i7

�� � 1
time
to co
� !i 1 1 1 #�� �=..J. J
I

··� ·�
i: •II
•• 'II
II

D.S al Coda

qff�� #� �
*

��mt
B 3 A7
J
H 3 H

*
H T H T
,., ...

*Tapped note

C.da
qJ_::_ $
3rd Verse C # B/F# B � /F A/E A7 G#
li � I J lh� J 1J � J l�J
Amaj7
I
{#i !i i l ___ �q�
sl. "' ... D

I II · I I I
-�·· i ;;,

�/1 .--3-. )� � Jst.

#J 1
Bridge ,..-3_,

�J �-d.� d J ==
G#
r;-�-,
C#m A G#
f I f f ! �rz
r--3---, ---
I I " I

'i 'i �r l�j '-3___J '--3_.J

•A
sl.
II I II I
ll ;; ... ... --

MARCH 1986, GUITAR 19

 •

SUSSUDIO
As recorded by Phil Collins

by T-Bone Wolk
( F ro m the alb u m No Jacket Req u i red/Atlantic 81240)
Words and music by
Tom "T-Bone" Wal k is the bass player for Staff I
Phil Collins
Hall & Oates. His book, Rock Riffs for Bass, Verse C
is available from the Amsco Music Publishing sim.
Company.

C
ertainly by now it's no great news
32322 3 232 3 2 32 3
that there's been quite a sound
revolution going on in the 80s.
The "sampling" of instruments
using the Synclavier, Fairlight or
Emulator is just the start, and more and sl.
•Righi hand fingers: index"" 2.middle"" 3
more technology makes the scene every
year. You know these toys are not going
to disappear and it's just a matter of
time before bass guitar synths and MIDI
basses are studio staples. It's very im­
portant for each musician to assess his
or her strategy for thriving and surviving
in all this technological clutter. Life in
the music industry will never be as
sl.
simple as a Sun Records session was in
Copyright© 1984, 1986 by Phil Collins Ud/H1t & Run MuSIC PubliShing. Ud
1956, or a Beatie session in 1966 or an All Rights for the US and Canada Adm1mstered by Pun Mus•c Inc
Eagles session in 1976. Sometimes I feel All Rights Reserved Used by PermiSSIOn of Warner Bros Pubhsh•ng Co

20 GUITAR, MARCH 1986

 Staff 2
Bridge I was born too late, but reality kicks in
Am 4 I 0 and I realize it's a real challenge to try
4 0 I
to make great records in today's music
world, while remaining close in spirit to
not only the music of my youth, but to
the great rock music recorded genera­
tions before me. If you subscribe to this
kind of eclectic philosophy, there's a
whole lot of room to breathe and plenty
of room to create.
Which brings us to Phil Collins and
Sussudio. This is certainly one of the
most outrageous bass sounds of the
year. Behind this Prince-inspired poly­
rhythmic groove is a truly memorable
bass line. I'll be damned if I can hear the
notes (someone correct me if the tran­
scription is flawed) but I know the feel
is right. It's always a little frightening to
imagine playing this many 16th notes in
one measure, at this tempo, but we've
attempted crazier things in this column
before, so let's rock.
As I just confessed, this transcrip­
" 2 tion could be questioned. So what? This

sometimes sounds have a great rhythm

is a record of outrageous sounds and

but little tonality. They're still valid. Re­

member only a machinelike player (or
sequencer) could play this flawlessly, so
sl.
forget that idea. Try to hear into the bass
idea Phil lays down. It plays so well off
Ex�rcises
the drums and vocal and helps to set

6��::: : :: : : :
up the funky Earth, Wind and Fire horn
section.
So all of you bassists holding a five
or six string bass can use your low C,
the rest of us ignore that low C in Staff
1, bar one and play the C on your A
string. The two turnarounds in bars four
and eight have a displaced sixteenth note
rest which moves the D note around in
beat four. I guarantee that once you've
mastered this section at tempo, you'll
forget it was ever a keyboard part. It feels
3 2 3 2
so good to play it on a real bass. Those
of you lucky enough to see Phil on his
No Jacket Required tour, got to see the
extraordinary bassist, Lee Sklar, jam out
on this one.

( j) "! ) with noodly fills in bars two

Staff 2 is a real cool quarter note
3. 4. pump
and four and a great slide at the end of
bar eight. But don't lock yourself into
2 2 3 2 2 3 2 2 3 3 2 3 2 3 2 2 2 2 3 2 2 3 2 3 2 3 2 3 2 3 2
these fills, experiment.
I've also written out some exercises
to help strengthen the right hand fin­
gerings I've suggested and to accustom
the left hand to strict positions. Examples
one-five are just slower movements of
primary notes and rhythms from Staff 1.
5.
Example six is back to sixteenths and
sounds a bit like Stevie Wonder's Sir

2 "
Duke . Refer back to these if you start to
sim. 3 2 2 3 2 2 3 2 2-2-2 3
(rakl') lose a grip on Sussudio. And remember,
this is Bass in the 80s. Keep those ears
and minds wide open. See ya on MIV.
•

MARCH 1986, GUITAR 21

 BIJOU PLEASURETTE
As recorded by the Michael Schenker Group
(From the album Michael Schenker Group/Chrysalis CHE 1302)
Music by
Michael Schenker

J
Staff I
Moderare = 1 20
Am G E7o9
•

, .,
(:!11d ttme "if
only)

Gtr. II
fl
B IJOU PLEASU R ETTE
By Andy Aledort -
(2nd time "if
only)

B
ack in May '85 when this column
premiered, I kicked things off
with excerpts from Bach 's Son­
atas and Partitas for solo violin,
sighting the rise in classical mu­
sic 's influence on rock guitarists . The
response to the classical column was so G E7o 9

great that I think it's high time I did

another.
!�
This time we 're going to focus on
classical type lines played in harmony,
using excerpts from Michael Schenker's,
Bijou Pleasurette, from his Michael
Schenker Group album . In Staff 1, Mi­
chael sets up a fairly simple melody
fl -- 3 -
(Gtr.l), based on a harmonic minor ( more
on this scale shortly) . Guitar II plays a
lower harmony line which follows basic
triadic relationships: minor(b) 3rds are
harmonized by the root note below, 5ths
by the minor 3rd below, and roots by
the 5th below. All other notes follow the
Staff 2
logic of the line; that is, they stay within

:
Hannonic minor

.... ... .... ...#�

A
the harmonic minor scale and move ,----- 1 st octave ----.�- 2nd octave ----, ,.--- 1 st octave ---.-- 2nd octave -----,

identically ( ascending and descending) . ... �

.. _ _ _ _

with the melody. Michael overdubbed a

third guitar part which begins with the
Inte.r- -r � t� _.
8 e T 0
(octave)
flat 3rd(C) on beat two of the first bar. nla:
(root)
Now the entire A minor triad is repre­
sented, as Gtr.l plays the root(A), Gtr.II
plays the Sth ( E ) , and Gtr.III plays the flat
3rd(C ) . See if you can dope out the third
guitar part following the movement of
Gtr.l and II, staying in A harmonic minor.

GJ,r- I
Staff 3
Staff 2 illustrates the A harmonic
. �.
Pill mosso

minor scale in two commonly used fin­ Am

gerings. Notice that this scale is the same

I '"' - -
as A natural minor ( also known as the
Aeolian mode : A, B, C, D, E, F, G) with a
major 7th ( G# ) in place of the flat 7th ( G ) .
The inclusion of the major 7th gives this
scale a lot of character, as it seems to
describe the V chord momentarily; this
is because all the notes of an E triad can
be found-E, Gl and B. Also present are
the 7th/D) and the flat 9(F) of E, thus
enabling the use of E7b9 on the verse.
When practicing the fingerings of A har­
monic minor, memorize the intervals,
Copyngh! O 1900 17; Rare Blue Music
then think of what they are when playing AI RigiU Resolved Used 17; Pomlssion

22 GUITAR, MARCH 1986

 it up to tempo . Notice also the chords
c Am
and how they relate to the lin e .
O n e o f t h e best ways to g e t a handle
on this stuff is to record one of the parts
and play the harmony to it when listen­
ing back. If you have a four-track re­
corder, record the harmony also. Bounce
these together and record a third har­
mony. Bounce again and double one of
the lines an octave higher (or lower), add
a fourth harmony, or add contrapuntal
melodies . Pretty soon two days will have
gone by and people will wonder if they'll
ever see you again, but hey, it 's all in
good fun, right?
For a further u nderstanding of har­
mony, let's take the A natural minor scale
and play double stops based on the
harmony of a flat 3rd. See Staff 4. Here
we are simply playing the scale ascend­
ing starting from the root and flat 3rd
I "' simultaneously, sounding both notes .
Practice this descending, also .
Now let's d o the same thing with A
harmonic minor. See Staff 5. Notice how
the sound changes quite a bit as the
result of changing one note . Let 's use
this concept to. play the first part of the
I "'
verse on one guitar. See Staff 6 . Experi­
ment with moving these double stops
around, creating your own melodies .
Adding a touch o f vibrato makes each
note sound a little more individual, too .
Now that you 're familiar with har­
Staff 4 Staff 5
A Natural minor (harmonized) A Harmonic minor (harmonized) monic minor, let 's start with the 5th
.------ 1 st octave -�-- 2 nd octave --, ,.....--- 1 st octave .-----, r--- 2nd octave ---, scale degree, E, and follow A harmonic
minor to the E an octave above. This is
known as the 5th mode of harmonic
minor, and it spells intervallically: 1, bZ,
3, 4, 5, b6, b7, 8. This is illustrated in
Staff 7. This scale is also known as Phry­
gian natural 3rd. If you 're an Yngwie
Malmsteen fan, this scale should sound
very familiar-it 's one of his favorites and
Staff 6
was no doubt discovered while he was
studying Paganini's 24 Caprices, as many
of the exercises feature this scale. Ex­
amples of it abound in Yngwie's Black
Star, which is transcribed in this issu e .
Staff 7 also illustrates the 5 t h m o d e of
harmonic minor in the key of A, forming
A Phrygian natural 3rd . Your next step?
Natural harmonize this scale starting
Staff 7
' with the root and natural 3rd played as
A Harmonic minor A Phrygian � 3
... a double stop . Then move it all over the
neck, and try different keys .
7 8
... -... •
"--- E Phrygian - 3 --' I Intervals: (octave) By this · point you're probably har­
(root) monized to death, so take a break. This
stuff cannot be absorbed in a day, so
give it time and work on it regularly .
Some other famous tunes which use
harmony lines are Blue Sky, by the All­
man Brothers (GUITAR, JAN . '85 ) , High­
the two guitar parts in Staff 1 . A natural minor as its foundation . Also, way Star, by Deep Purple (GUITAR, FEB .
I n Staff 3 Michael picks u p the tempo the harmony begins with a flat 3rd and '85 ) , Aces High, by Iron Maiden (GUITAR,
slightly ( "piu mosso" means to play with follows natural minor for the length of NOV. '85 ) , Reelin ' in the Years, by Steely
"more movement," or slightly faster) , as the passage . 16th notes at this tempo are Dan, Night Bird Flying, by Jimi Hendrix,
the meter shifts to 3/4. This entire section pretty quick, so as usual, play each part and many more . See you next month . •
is made up of 16th note groups and uses slowly and memorize it before bringing

MARCH 1986, GUITAR 23

 �QdoliQbro��
F I N E FRETTED I NSTR UM ENTS
MANAGEMENT
By Jay Jay French
time record store owner, small-time band.
cause a couple of guys believe in That's like winning the lottery. A lot of
..

T
here are bands that break up be­

the management and some guys times a band will consider itself great
1985

and say, we want a big management

company, and that opens up a whole
do n ' t. If you have a deal with a

of time he'll ge t you a record deal and other set of problems. If you manage to
manager that states in X amou n t

he doesn ' t get you the deal, then you get the interest of a big management
can go. If you find a manager has done company, immediately you're on the
you wrong, then you leave your manager. bottom of the pile. Though you may

nw�tolin hH)K'"
When you're on the road and you're believe you're good, the fact of the matter
busting your ass and you have second is that the odds are the president of the
� ---� -----

'i"r -� going, it undermines your entire orga­

thoughts abo ut where your money is management company will not deal with
you. One of his agents will. And that
person is probably new to the company,
man and becaus e the business is so learning the ins and outs, and you have
nization. Your manager is your spokes­

to take direction from this guy. You'll go

Large selection of new and vintage Gibson mandolins, Gib­

being a bamtcuda, it can hurt the band.

son and Martin guitars, Gibson Mastertone, B&O, Vega, Fair­
banks, Epiphone. Paramount banjos. Free 64-page catalog
small, if someone has a repu ta tio n as

If he has a reputation as being slimy, it on the wall, posters of their main artist,
depicts instruments and accessories in every price range by to the office and see platinum albums

won't help your career. People may be the one who is bringing in the money,
Barcus-Berry, Boss, Crate, Deering, DeArmond, Dobra, DOD.
Duncan, EMG , Fran klin, Flatiro n , Fostex, Gibson. Gold Star,
Guild, Homespun instruction tapes, Hondo, Kentucky, Korg,
Maccaferri , C F Martin, M C I , Monteleone, Orne, Ovation, Shcr

want to help you. They can't wait for

Bud . Sierra pedal steels. Sigma, Stel ling, Taylor, Washburn, forced to deal with you, but they won 't and you have to work your way through

on the day you're there, you can forget

Wildwood. Insurance appraisals, cases, consignments ac­
cepted. We ship everywhere in the worl d . somehow. If that main artist shows up

of Twisted Sister, I said, the books are your appoinhnent that day, because all
MANDOLIN BROS. LTD. you to fail . When I took over management

the secretaries will go to hang out with

629 Forest Ave n u e , Staten Island, NY 10310
(71 8) 981-3226

involved in any phone call. I knew they that guy. !My advice is to always treat
In Stock - Custom Guitars:
open . Any member who wants to can be

secretaries with great respect, because

Martin 1 934 Reissue 0-28 Herringbone, $1595.

they may make the difference as to

Martin 1939 Reissue 0-45, $3100.
Ovation 1985 Collectors Serles ' S i x-String 5799. wouldn't look at the books; I knew they

and listen to phone calls, but the offer whether the boss will spend any time
Ovation 1985 Collectors Twelve-String $865.
wouldn't want to hang out for six hours

was made so they felt comfortable. For with you.) A management fum is bad
the years when I handled the books, if because you never wind up dealing with

my own money in there. It cost about to blame, and, believe me, passing the
there was an imbalance of $30-40, I put the main man, so you don't know who

$1000 over the three, four years, but I buck in this business is next to Godliness.
always wanted down the line to be able Plenty of times it's not the manager's

it has nothing to do with the manager;

to say there was neve r an inequity that fault. Just like in baseball, a lot of times

And it was an incredible responsibility. it's just easier to get rid of him than to
I would not accept responsibility for.

wants to play the solo on this so ng . A that even though the quick fix might
The band has skirmishes. This guitarist fire the whole team. A lot of people see

cially if you have a five man band and didn't work out . It all depends on how
couple of people have problems, espe­ have done them good , in the long run it

much you respect the guy.

Most people don't realize
there's three or four people in your road

ently. Whoever is logistically in the center

crew that you 're working with consist­ what's

of it . . . I fou n d myself on the ph on e six, band, if they have the sense to look
going on. People starting out in their first

seven hou rs a day. The phone was lit­ them, have to say to themselves,
erally glued to my ear. I couldn't get out probably not how I'm going to
around

of my room. And this built up and built wind up in life. I'm probably going to
This is

have to go through a lot of stuff. I tell

them, experience it. If you feel you 're
up as the band became bigger and gen­

l going to be hurt, back away. But

realy
erated more money, bought equ ip me nt

The average guy says, I can manage

and inve sted in tapes.

know has gone through these stories.

you can't be afraid, because everyone I

has the expe rtise to get them to a certain Everyone has stories to tell because you've
this band; my cousin owns a club . He

got to have them. There's always the

tend to meet people who are on the story about the kid who's a genius all
point, bu t then it's out of his league . You

he wants to commit suicide because he

same level that you 're on. Is a Leber/ his life, and when he has his first failure,

never had a failure before. If you never

Krebs going to go down to see t his club

go out and have your lumps, if you're

band and care? He's going to wait until

one in a million shot that will unite a protected, you never know. •
this teeny club band has evolved. It's a

Brian Epstein with the Beatles-small

24 GUITAR, MARCH 1986

 I I
• •

-
•
- I
G U ITAR CALL BOA R D P O . BOX 1 490 P O R T C H E STE R , N . Y 1 05 7 3 ( B e s u re to i nc l u d e you r ret u r n add ress . )

REGIONAL RE PORTS After buyi ng a Kramer "Gene Sim­ 23-yea r-ol d bass i st seeks position
mons Axe," I fou nd it m issi ng the u pper with establ ished Metal band. I have all
Th is letter is in response to the Dec. part(s) of the blade. Bei ng an autog rap h ed eq u i p ment and experience necessary for
'85 Regional Report written by Vivian model 1 7 1 / 1 000 I wou l d very m u c h l i ke it work i n g g roup. Wi l l i ng to relocate for the
Rei l l y in regard to the band, Val halla. As com plete. Does anyone know where I can ri g h t offer. Also consider formi n g a Metal
vocal ist and spokesman for the ban d , I pu rchase these part (s) ? Also I would l i ke g ro u p . If you are completely serious to do
would l i ke to express our deepest g rati­ any Kramer literatu re on this g u itar. whatever it takes to put together true art,
tude to Vivian and to all our fans in Pitts­ Bill Armitage an origi nal Metal monster, all correspon­
burg h , PA for their undying suppo rt and 695 Surrey Lane, Apt. 1605 dence welcome. I have tapes available if
loyalty. The band has si nce then relocated Burlington, Ontario L 7 T 3Z3 req u ested. I nfl uenced from Anth rax to
to Phoenix, Arizona and I hope to fi n d the (4 16) 632 - 090 1 Talas to Yngwie. Lead bass style devel­
people i n Phoenix as receptive and friendly bped . Only serious, professional m i nded
as those i n Pitts b u rg h . Fans can write us at I ' m desperately seeki n g parts for my i n d ividuals or g roups reply, please.
the fol lowi ng ad dress. 1965 Fender Musicmaster lead g u itar. Fac­ Billy Goodwin
David Fefolt tory can 't hel p . If you have any of these R T # 1 Box 459
Valhalla Fan Club please write or cal l . Buchanan, VA 24066
3429 W Tyson St. Keith Wilson (703) 254- 1286
Chandler, AZ 85224 Route 10, Box 643

N E EDS
Cleveland, TN 373 1 1 Lyricist/t i n keri ng g u itarist l ooking for
(615) 476 7191
songwri t i n g partner with wide m usical
knowledge i n my area of northeastern

O N CALL
Wanted : Other musicians who hap­ O h i o and western Pen nsylvan ia. Tastes
pen to be servi ng their country in Ger­ i n c l u d e sixties pop, fol k , garage bands,
many (southern area preferred ) . I ' m an bl ues, classical rock. I love the sound of
aggressive g u itarist with a lot of road Male heavy metal bassist and female the harpsichord , cello, acoustic g u itar and
experience and eq u i p ment. I j ust arrived vocal i st relocating to Havre, Mt. looking tight vocal harmonies. Also l i ke rau nchy
here and I don 't h ave any connections but for hot m usicians o r already formed metal g u itars, big d ru ms, heavy bass, basic rock
want to play rock 'n ' rol l in the army. G ive ban d . Send name, address, eq u i pment 'n ' rol l and outdated punk. After efficient
me a call or write. descri ptions, along with m usic portfolio. catalog of songs, I 'd l i ke to start a ban d .
C. R. 'Gil ' Gillespie See you i n July 1 986. Sen d details about you rself.
556th m.p. Co. Box 213 Stephen & Theresa Bender Denise McCreary
A. P. O. , N. Y 09176 P. O. Box 7 1 7 P. O. Box 106
07264- 6892 Babbitt, N V 894 16 Negley, OH 4444 1
Are t h ere a n y experienced g u i tar

CHARTS
players who th rive on bands l i ke Metal l i ca,

The following l ist of best-selli ng instruments and effects was put together by
Onsl aught, Mercyf u l Fate and Slayer? THE

polling some of the top m usic dealers throughout the country.

Please write. I ' m also looking for a good
Fender Strat with two sets of double h u m ­

POSITION
bucker, n ot traditional th ree s i n g l e coi l .
Must b e located near Central Uta h . POSITION
Ken Lexer THIS LAST THIS LAST

GUITARS
MONTH MONTH MONTH MONTH
P. O. Box 2 19
AMPS
Koosharem, U T 84744

2 2 IBANEZ ROLAND
1 3 KRAMER 1 1 PEAVEY

3
2 2

B.C. RICH GORILLA

1 FENDER 3 4 MARSHALL

YAMAHA 5 6 FENDER
I am looking for a Floyd Rose Locking 4 4

JACKSON 6 5 CRATE
Nut. It m ust be 1 9/1 6" wide and fit a 5 4

BASSES EFFECTS
Fender style neck. If anyone out there can 6

1 2 I BANEZ BOSS
supply me with it, I 'l l pay top dollar for it.

IBANEZ
LaMont Marshall
1 1
P-7687 Drawer R 1 2
2 FENDER 2

WASHBURN
Huntingdon, PA 1 6652
3 4 PEAVEY 3 3 ARION

5 G&L 5 ROSS
I would like i nformation on the Hofner 4 4 4 DOD

HON DO SCHOLZ ROCKMAN

Company in West Germany and the man­
ufacturer of the Hefner "Beatie Bass." 6 5 6

WHAT'S HOT: Guild Blues Bird guitars, Peavey Predator guitars, Roland TR707
Also, I wou ld l i k e to find bridge m ute parts

digital drum machines, 5-stri n g Ibanez basses , Rocktron Hush, Korg synthesizers,
for a Gibson EB-0 Bass.

Seiko electronic tuners, Gui ld acoustic guitars, Ovation acoustic guitars, washburn
Ed Burrucker

Wonderbars, Prophet 2000 keyboards and Samson Concert Series wireless gui­
P. O. Box 1 10
Galesville, MD 20765
tars.

MARCH 1986, GUITAR 2.5

Tablature Explanation page 100

BLACK MOUNTAIN SIDE

As recorded by Led Zeppelin
(From t h e album L ed Zeppelin/Atlantic 19126)

Music by

J = 1 20
Tuning (low to high): DADGAD Jimmy Page
H arm .- - - - - - - - - - - - - - - - - ,

i� f!
Moderate 1':'1
Free time I n ttme
.
�3�
fi ll ! ,... __....,

��
p
'I �----�- qr �
@) I
f
H -
-

Tiff H arm .- - - - - - - - - - - - - - - - - ,

.
� � ;: -..... _./ �
n �
� �
H p

....-- 3 --,
Tab las enter

-
11 11 � � I � � I � _..... I

f "I
��� qr f "I
��� qr f "I
��� q r v
� �
@) H - H p - H p
p -

"' ,.. �

.,
--- � ·, ...- · � - ..... /
�
�
� v
H H

,--3 ---,
p p H p

fi ll I I � I

-
_...., I � ,...._,

p "I
�--�- v---�
qr v qr v
f f
@) -..,... -
H - H p -
"I

,..
,.,.
,..
� "
......____... � -........__.. � ......_____.. v

v
H p H p

I � I r: 1 st1_.......J J � J ) ]J \
.--3 ---,

-
1\ 11 � I st st. ___

��� - r ::: V
.

"I
f qr v ��[ tdT v........-
@) - - - I

r------r
H p -
-

st. st. sl.

v v
,.. �
/ -
" ......
..___. ---
.,
...-- � --- �
H p st. sl.

2--Z
I = I\ � � I

-r· r·
11 11 � L

.r....u
....-
.

--
.

rr r o�u
- - . .

u
@)

........- r__..-
- H p
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H p
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Copyright @ 1969. 1986 by Superhype Publtsh,ng

26 GUITAR, MARCH 1986 All Rights Reserved Used by Permission of Warner Bros. Publications lnc.
L.Z HV.Lifl!J '986r H:Jl!VW

d H d H d H

-- �
..__ -.. !': .-----... .-----... � --- /"""""-.. ,..-..
� w .. v w
:

� � �= fi
-h . h1 d H t �q j�j �
d H t - Jq i--j �
d H
f T') �

- �
��
-:"]S
� � I I
-� I I
::;r I I , !I' V

'--- f.'--' '-- f.' -'

d H

.. --

JS
ft

.J--J
d I A= -
j �

I � r \j ']S !I V

']S JS d H d H d H
A A A
/
.. ---
A
.-----...,..-.. /"""""-.. /"""""-.. ,..-..
w . v, w v v
---

� �
v v ·v v

-
-
- J:1 1-E:n1 � �q j�j d H t �q j�j �
d H
f - Jq j:.._n d H j �

� I I ...... � I I
r ']S r---t ']S l ...J I T --...- I I - � !I V
'- f.'-' '-- E' -' L-f'--'

d H d d
V"
_... '· / "
. ..- ..... . .-----... .....
--

']S
... -..
JS
� J �J � .J�
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- - - - - - - -
d H - - - - - - -

r�s
. .� �

....... � T '-- f.'� T 'JS T -I T !I V

'-- t �

d H d H
 f\ JJ. I st. I �--""-...., I I I -

p
�u r
.... ..

Let ring- - - - J

.. '
s/,

t�·

/
- -
.,

p p sf.
ft

Rhy. Fig. 1 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
I I � I I � � I
r-3 --,
II JJ. - .....-� I I

,r
� �r ��� � r u�� �r
p
:
p
f f "'
v v
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--7 .. .. - H - H
sl. "'

..__.. . �
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"'
ft ft
..___.. ...__..

p H p
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sl. H

Solo (Rhy. Fig. I continues behind solo)

p p st. • I. _.J--;----.z p p 6

p p �·
6 6 p p
p p p p
p p p p
'
� sf. �

,,
/ .......
II II II I• ft

·....... :...·.

p p p p

-. ::t
(End of solo)

�·
..
I @.I �sl.('·
• -.
.. .. .. ..,.
. /.. .. .. /.. .. --.
. / . ./ .. /.. / ..

sl. sl. sl. sl. sf. sl.

v
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r
/ "
/ ...... .....-­ .....-­ -
s/. s/. sl. sl. sl. sf. sl.

f\ JJ. r sl. .....--... sl. sl. � J � I

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. �

V :::
;z.r
.
p
r v v v------r
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r-gr
_..... - - -

r
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sl. sl.

ft
s/. s/. sl. ft
� "
/
_.....
;.
ft A �
-
/� / / ,_,
s/. sl. sl. H p

28 GUITAR, MARCH 1986

 ·
I

r ·

.r--'lJ
::

sl.

I I I
- -
I
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/\ II

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sl.
.

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-

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.....

Let

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v
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- ­
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/\ II
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..__. ---
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ring- - - 1

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v
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/
A '--'
-

sl. p
A

p p H

I I I � I I 1\
r--- J --, r-J--.,
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1\ ll � .-:o"'l I .-:o"'l I � -

�--� �--� q r
� H p
r-�� "1
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!) H

qf v
p
qf v f>
A A

.,

....... . ....__.... v v, v, v
•.;, :.v

H H
.... ;.
p H p p

MARCH 1986, GUITAR 29

IGNOBLE
PRIZE
AWARDS Ill
TH E SAGA CONTI N U ES
Commentary by Bruce Pollock
 D O U BLEPLAY C O M B I NATI O N : DOWN & D I RTIEST:
S m ith & M u rray.
S t. Loo's Ozzie Smith has nothing
on I ron Maiden's Adrian. Along
Stevie Ray Vaug han .

H ands down the most exciting con­

test. Lucky for us, Stevie was the
with Dave M u rray, the tandem winner, or else our January '86 is­
nai led their competition to the wall quite sue might h ave been in serious trouble.
handily, with no blown calls at first bass
either. Here's a tip of the cap to those
R O O K I E OF THE YEAR:
I ron Maiden cover boys, who did so
much to make our January '85 issue Queensryche .

the GUITAR readership l ined up

A
one of the year's best. rare instance where the tastes of

G U ITAR S I N G LE OF THE YEAR: with the tastes of the college radio

l i stenership, leading to an almost ines­
Knocking at You r Back Door. capable, if dubious, conclusion, a con­

A
blistering vote of confidence for clusion too dubious to mention here. Of
Ritchie Blackmore and troups, Queensryche's appearance in this is­
which we have picked u p on and sue, where they have graded their
offered , in its entirety, in these pages. rookie year performance with an E for

C + . That is, C for Caution plus an­

Hot on its heels is the ru nner-up, For­ Effort, we must sadly grade them a
ever Man . Considering that we've al­
ready run People Get Ready and Turn nother C for Cleverly Calcu lated Cir­
Up the Radio, and are not about to run cumlocution . These guys are not about
l ast place finisher, Easy Lover, you can to let any sacred cats out of the bag.

GUITAR has a lock on the best g uitar

ith the removal of perennials see why we' re reasonably satisifed that
l i ke Edward Van Halen and Ran­ G U ITAR ALB U M OF TH E YEAR:
dolph of Rhoads, this year's music around . Who knows , m aybe next
year Gary Moore's Shapes of Things. R is ing Force , by Yngwie
Ignoble races proved every bit Mal msteen's Rising Force .
as exciti ng and unpred i ctable

N
G U ITAR IN TH E 90S: ot that Yngwie doesn't deserve
as egg s and coffee, Rice Cris­
Yngwie Mal msteen . everything he's gotten this year,

H
pies and m i l k or toast and mar­ the cover stories, the endorse­
as anybody out there actually ments, the headline shots, the Corvette
malade for tea. In other words,
heard Stan ley Jordan play? Never from Sport Magazine, but, let me ask
(Down & Dirty and Bottom of
aside from one or two contests mind ? How could we quibble with you this, what kind of a world is it when

the Top 40 in particular), cate­

a result that puts the winner and the our own Steve Morse cannot swamp
runner-up, Billy Sheehan, on our cover? the competition in his own magazine?
gories were decided a l m ost Of course, Steve Vai might quibble, but
those votes have been impounded .
overnig ht, i n stants after the C O M EBACK OF TH E YEAR:

W
J i m my Page.
polls closed, nearly el i m i nati ng
from relevance all West Coast M O ST VALUABLE PLAYER:
hy does o n e suspect that Page
tabu lations (as the fans of J i m my Page. could have won this award last

L
Mark St. John all too bitterly ike t h e Boston Celtics a n d the year, or any year in which his
found out) . M i nor d iscrepan­ G reen Bay Packers , the Yankees name was placed in nomination , on
d u ring the reign of Mel Allen , Led nostalgia and wishful thinking alone?
cies abounded i n certai n noto­
Zeppelin was a dynasty of which rock Although Page did make a return in the
rious preci ncts, yet these were 'n' rol l would not see any the l i kes of, at flesh this year, in spirit he may be
to be expected , as, once aga i n , least until Van H alen sau ntered onto somewhere halfway up that Stairway to
the big bosses o f rock ' n ' rol l the playing fields , or Ozzy Osbourne Heaven (which, by the way, wi l l be
wielded their expected clout i n began combing the turf for world class coming here N EXT MONTH) . M u ch
fretmen . As its sole g uitar voice, Jimmy more astute were the cou ntless thou­
vest pocket constabularies sti l l
Page would be valuable even if he sands (because we stopped counting
under heavy metal domi natio n . never uttered another note. the votes about halfway through) who
T h e Year o f t h e Female, i n other chose John Fogerty.
words, and the Year of Live Aid, M ETAL G O D I N WAITI N G :
held no sway i n these races. Wolf Hoffman/Accept. BOTTO M OF TH E TO P 40:
Neither did the l u m i naries of M ark Brown/Wendy of Prince

A
nd we won't say a word about him
New M u s i c coalesce i nto a

A
being the only nominee who had a very questionable category, right
grassroots force to be reck­ featu red article in the same issue down to its widespread misinter­
oned with, though the Edge and of the ballots. Congratu lations to Steve pretation by the readership. Did
Los Lobos both scored better Vai for a second place finish , and con­ Prince's band 's close victory here mean
dolences to all those Californ ia fans of they were the least liked or the most as
than wou ld be supposed . Better Mark St. Joh n , whose determined and the twosome capable of supplying the
luck next year, g uys. m assive write-in efforts (on xeroxed Top 40's tastiest bottom? Only the
bal lots) were not enough to avert a Shadows (Hank Marvin & Co.) know for
basement finish for their man. sure. •

MARCH 1 986, GUITAR 31

Tablature Explanation page 100

KNOCKI NG AT YOUR BACK DOOR

As recorded b y Deep Purple
( From the album Perfect Strangers/Mercury 422-824003-1 M - 1 )

Words and music by

Ritchie Blackmore, Roger Glover
and Jan Gillan

Fm/G B(m)5 G DS AS GS ES
f!� Jfr. • • � 5fr. mm 5fr. p3fr. p
A
X

I
XX XX XX XXX XA 0 XOO
X

2J
4

.x 7fr. _ m 4fr. xb
A /C # G/B D/F # ES F#S C#S
111

'
c s <' Y P Asus4D X XX

1 34

e:})
132

Moderate Rock � = 124

In tra (Gm ) Rubato (no tim e )
* '
1\ r:'l - - ' - -

I Organ mp( u l
. . .
. .
(sustain ) rrrp Muted � (poco gcce/)
T
__

,.
IS
o\
(•G mmor Phrygian : G Ab Bb C D Eb F)
In tempo
1\ - - -

Fm/G
" " " " " " " "
(Drums enter)
" " 2
1\ - -

w w w w u
.
@)

� � � � ... � � �
v
v �

Fig. �
" " " " " B( m )5 G
Rhy. I
" �
(l L ...-"I I -

w w � w
�
.......-

rnf
@) I 1--1 I I �

(G) A B(m)S G A B(m)5

�� � --�- - I ...... � ,......, I - � ,....,

w
� �
�

;/.
�

�I.
....... � �
@) �· �
� � I � I I ..'---" ..

...
/ ,/
;;
./
/

sl. sl.

Copyright © 1 985, 1 986 by Blackmore Music Ltd, Rugged Music Ltd and Pussy Music
32 GUITAR, MARCH 1 986 All Rights Reserved Used by Permission
 Verse
� J J I l �
OS AS
...r;:] J
B(m)S
r�
[ B(m)S ]
11 11 "� lv-
: -
I!!) -
I' ....__
I. SweeL Lu - cy was a dane - er, but none of us_ would pants
chance_ her, be-cause she was a sam - u - rai.-
(5)
2. Nan - cy was so fan - cy, to get in - to_ her we had to be the ar - is - toe - ra - cy._
11 11 I r""'l l I = - I I=!

r� "" "" -:;J

... .. .. .. ..
� �--
:
......_..
�
I!!)
sl. ___ .___
sl. sl.

, :;
.
A
�
:;
sl. sl. sl.

�qJ. J _; _j) 1
B(m)S
�"It"- J I J j Jd I 1-..J I
GS AS OS AS
11 11

�
-

�
@.) I

- She made e - lee - tric shad - ows be - yond our fin - ger - tips,
_ and none of us could reach that_
- (The) mem-bers that she toyed with at her cit - y club- were some-thing in di - plo - rna - cy._
11 11 I "' 1=1 - I

1 @.! � ·:> ���:> r� ......_..

___... __
sl.
"" ""
r� ..
r�
------
sl.
LrnuteJ

sl. sl.

ijB(m)S

£'"]
3rd time only

J .,>,;.! �, j }I' J J r l r-1

ES ---- OS
11 11 �I '

I!!)
� I I I I --....

high. She came on like a teas - er, I had to touch and please her, en -
-- So, - we put her on the hit list of a com -mon cun - ning lin - guist, a
w/Fill [IJ (2nd time Fill[Th
3. Lu - cy was a dane - er, but none of us would chance her, be -
11
11 I -

I!!) n:
u r� -,� ___

sl.
r� I I' sl.

,.....
1�1
::
�
s/. sl.

Fill [!] Full Fill [lj

Full
J /\
E(m)S

,,d
11 11

F�
@.)
Full
- sl.

' p p
/ lA /
,;,, ,/
-
---

sl.

MARCH 1986, GUITAR 33

 ,.. _/\ JI}-j �I l ,..)) �I
B(m)S
J
AS GS AS
l'l �t

!!) I

joy a lit - tie par - a - dise.- The log was in my pock - et when
mas - ter of man - y tongues.- And now she eas - es gen - tly from her
cause she was a sam - u - rai. __ She made e - lee - tric shad - ows be -
11 11 I

!!)

r�
.......___.._..
s/--. �� .. � �� r� sl.
., �
1.:.. ;;. liil
�
sl. sl.

J
BS AS Pre-chorus
J
< ype 2)
Gs t

-
DS AS
J
()
11 11 .---. -..... • • •

Lu - cy met the rock - et, she nev - er knew the rea - son_ why. (3rd tim e on/�
!!) r I

11 11
Aus - tin to her Bent-ley, and sud - den - ly she feels so young.
yond her fin - ger - tips, and none of us could reach that_ high.
-
__

P1 I
Fill [I] 2nd time
I----d
1 can't de -

- - -
i I sl. r� S[-r:f "*r
only) sl. r':::::::,-r
!!)
I' "'* --

(3rd tim e

/�\
:, '�'

s/. -
s/.

Fill (I]
�
11 11 GS ES
� �

� �.
�� sr
.
.
!!)
s/. ---

� �

-
-
s/. s/.

34 GUITAR, MARCH 1986

 ). ).---) )
05 A/C# G /B A() G5 (t ype 2 )
E5

'3 .
()
..
()
� -�
fi JI. � � � ,._...,.,
..._ � � • �

1 4!! ny it,_ with that smile on_ her face. Oh! _ It's not the
8> �
3rd time (my)
c::::c-,
(trill) == Play Fill (I] 2nd time
-
�

•
1\ JJ.

..
I 4!!
�. r v r r ... ..
......__.. ____
____
____

H P H P HP
------

� --c-

To0/F#Codta
*(sustain AS chord 2nd, 3rd times)

). )r--) ) �------ J J
05 A/C# Asus4 A
...--.... .
E5
()
/I ll _......_ -e -e

@)
kill,_ it's the thrill of_ the chase.
fi ll
Play Fill [TI 2nd time
- ... '--'
-&-------&
@)
u

fl . B(m) B(� )
Chorus Rhythm Fig. I (with variations)
.. tF � ..J J I l
_
G A 1\

I @.I
Feel_ it com ing, it's knock-ing at your door.
fi Ji, ,......., I - - I

I .......
..__.. sl.

sl.

Asus4',' trem.
'
bar
A
0 A/q A 2 1(. 3 1(.
fi JI.

���----� �
1 1!!.1
p
- �1:2
----

�
return slowly
-
-

MARCH 1986, GUITAR 35

 �
...... -If �
B(m) G A B(m)----..
fi JI. .. .. ..,.... .� �

@.) - I
You know it's no good run - ning,_ it's not _ a-gainst the law.
flit ....� ... � � ,..... ,....., I

,..
-

@.) I 1..-J I � I - ·�·

sl. �

-.j

.
s/.
Repeat Rhythm Fig. I (with variations) B(m)
)\
B(m) A

The point_
tof :J�r
no_ re turn,_ (and)

<:! ______ _, ld "I ,J ' B(m}

r--1 � Rhythm Fig. I

&#j r r
_ I

r r r r
G/D*
r---?J a s � � Fil t JI
now you know the score, ------ and now_ you're learn ing,
I.

� Ji,.. Jr.,.
l'UI
A/E* B(m) E5
-- �
:
@.) "'--oj I -- � I
ah ha,_ what's_ knock - in' at your back door. 2. Sweet --

1\ JJ. ,..._ !'-'-- �

@.)
- :

@)
,...__.r.
�·
sl. ...___..
= - .......___

trem. bar return slowly

�
.......
....--

sl. •played by bass guitar.

Guitar solo
Rhy. Fig. 2
) )
r----------------------- F #5
)
....----}
2"
E5
1\ JJ.

@.)

Full
�
knock - in' at your back door.

1\ JJ.
A A A A Hp p p

� -3
@.)
-r� r
I �

Full
....H P ...
J �

..... . p p
------
r-------.

36 GUITAR, MARCH 1986

 @J<F # S )
j
3 �
j j 6
j sim
_ .. . ..
t
A H. �3�
� ,.....,...., p p p p .--- 3 �
11 11

I I!.! :::;
'P ,(=<i ;;p
� -
- >p p ...__. .
p p p
)
�3�

� p p p p p p p p A.H. P P p p

�
...... ,.-...., ,.--..._ ..---...

C#S F#S @)
) ) ) )
/\/\
1 / 2 -�

::o!:l
<>
Full
p p H
� >

sf.
.

>p
-3 �

Full � HP P p H
...... ,.--..._

sl. sl. sl.

E§)
P P

j ) � �
) j j .)
) ) j
> p p p
11 11 � -= � � > >p > > -

� 1-J,....J
.

I!) > p p � - - > >

�3 � p (4 )
3

p p p p p �
p p
..----... ,.-....,

u � �
,., . .______
_"'___ ___
_""'f___ft

Repeat Rhy. Fig. 2

) )r--J F# 5�- �
r-3 ;:� � -
A D

_} -j� ��- - rake

Full
.

�'-fE"
Full
Full

1\
Full

II II - _....,.. -fE- -F- -fE- '*" t- t- t- ¥- F � .fL �·� '---" :pr=.._____....� . _,.. ��i=

I� "'

;- - - - - - - - - - - - - - - - - ,
6

1\ P
3

sf. �
Full F ull
) - - - - - - - - - - - -,

,.
Full Full hold bend
,.
.;.. '·�\

·'· -;.,. :.:

,..-...
.,,

rake
- --

6_) 8va- - - - --S - - - - -- - - - - - - -- -- - - - - -- -- - - - - - - - - - - - - -- - - - - - - - - - - - - - -

- - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - C#
rake
�/ r---....--..._ ...
1 y,

rake H > p
Full
2( +'4 )

�-· ..-...
·�.fL +' ' --fE- �
Full

t /
H> p
,---
,.----' a _._
.D �
'

I I!.!
bb � � - 3 -

sf. =:::::::-----. '""

-
- 6 Full
6 ! Y,
�3�
I
/ 2(+'4) tull
H p H p
p � �

/
� �

_..., ---

rake rake

MARCH 1986, GUITAR 37

 Bva- - -
F# S
---- ------ ------------ -- -- ---- -------- ----------------- --------1
1 1> - - - - - - - - - - - - - - - - - - -- - - ,
)� £\ yvvyvv
I I>

H P
FV
loco
.18.':�
Full
p
;;....;;....., -� - sl.
I I!) l J:::::j
--::.3--'
trem. bar.
s/.
l
......_

h
H
1%· - - - - - - - - - - - - - - - - - - - - - ,
- - - 1- /2
- -,
A----;-----._..._
p p
sI. �

VV\1\/VV
sl.
\
I'\
A
- - - - - - - - -
D Full Rhy . Fig . 2
F#S
..LL!I. �
- > sf. =:::r--, �

-
"3 �
@) ......

trem. bar.
- - ---- - - -"
�
Full
s/. �

\
s/.
CI S
H p

'----'
p
3

H
'
p

....___..

p p p

.f--
Full

.lui_ £��
F# S p

� #� g}
Full

H Jt..., M.
Full

�·
p

'\
,.. ,.. >..----...
�

t::=-J
j-1! -
@)
3

H p
�
Full

-
Full

A p p
.------...

rake

)r---- .J
M_�,._ �
A E5
.J -- o
D.S. a/ Coda
).
fi ll

3. Sweet ____

p >P P ----

-
�. =t�---- �---
depress trem. bar.
p
p p p p
r--

---- -
p p p p p p

I
38 GUITAR, MARCH 1986
 �--- ---- � 3 - �3- -3 �
Coda A
� -e -e
fi ll -� ...� �-�*" ...� ...-1*- �-�*" .J"fll"_ .J"f*" ...� 1*- • -- .�

@)
3
chase.
�3 - �3 �
fi ll " " " " " " " " " "

-& ------- -& "3"" 7

O!.J
-e

� � . � � .

Rhythm Fig. I B(m)

f I
B(m) G A
¥
. ........--

,.# - Feel _ it com ing, knock -

f ['''
Rhy. Fig. I
'''1 F r I 'I f f F
B(m)
\

ing at the door. You know it's

�;;j , r F F f
G A
II
B(m)
f
------..

,.# fno good[j1ttl

run ning,_
lf ! I'

now it's knock - ing at your door.

8 Slide guitar
B(m) G A B(m)
fi ll
,
s.
I � I � .. �· �

O!.J
s/. l...--J I
� s/. sl . ......__ ..
s/. ..__..
I . ..__...

� " .�
-- -
_ ..
--- _;:;_
---

s/. sl. s/. sl. sl.

MARCH 1986, GUITAR 39

 G
-----...

Ah,_
sl. __.., I -

sl. t' I L...-J I

� I sl. sl. · ·�

., ,.._
l'o -......
w
....__

sl. sl. sl. sl.

Outro solo
� B( m)
B(m) Repeat Rhy. Fig. I till fade G
_______,

j @.J I
ha, knock-ing at your back door. __

J w
F ll
fi ll I I

- �......= I

H p
long slide
r
F

:: · "'
�

-
\W -

A �J�(m) G

Hp
�
11 11 ,..._ � - ,....._ � -

i @.J ' -rf ':" >- � >- >-

.

"p-p-
sl. ----
H H sl. I.

L - - -muted- - - .J
sl. HP � �

_......
.
-

P P H Hsl.
1 /2 - - - - - - - - ,

fi ll ��-p
v

�p
1 /1:- - - - - - - - ,

40 GUITAR, MARCH 1986

 B(m)
_.hcr1
rake
(G) A
..---.sf. ..
.� J #:
>-

/U! .-!- .1'1 _[""--"t r--1 ,--., � �

,._____,

-
-� I s/. �

� sl. s/. P'. � ....... I

........---..
s/. rake
..._,

....-...
�

-�
�----
..___...
....__....

sl. p sl.
o! .f.. B(m) __/
G Full

��,--.
---l.,..
I l-l
sl.
�� ;.
A

� � � ��-�t- .. � ..!... � .. :! ���· .fL .fL�

p p A A
11 11 - -- ·--=--- p p

� �
�3 � �3--'

sl. ....-
sl. -.. .) /
Full I l-l

...--..
p p p
---- p p p
�

..___..

5;
8 -- - - - - - - - - - - - - - - - - - - �- - - - - - - - - - - - - - - - _B_(�)-
F
� �
.. �
rake
Fu

lui � _-t*- .fL JL - ...--- =; .. ....--.,.----

. �
A A >-
p
II :> �

-
L7
mu tedJ �
� � � I
F

1\
Full
sf. p

...--..
� �

·�

rake

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - 1

_)
loco ---. rake ---. � rake � �
Full
fi ll ..--- ..----. .----.-. ..� .
�
C:::i-J = -- =-
(semi-harm.)
Ftll
� """' rake � rake � rake � rake L-

8va- - - - --------------------------------------------------

�
A Full

- - -�� f l:� � �
Full
_)_ � t
/
A Full Full
A

�....-;;,_
-.,.. j��� l!� � �
J - Full
.., .. 1P------;. ..
p p p
3
II II 1- ..

�
1--

A y ;;/� t
Full Full

- - -� �
Full Full

.;:;
Full p
p p ·�� ��.
�

MARCH 1986, GUITAR 41

 A.H �
8va- - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[B(m)] B ( m)
- -- - - -- -- - - - - - - - - - - - - - - --- 1

loco
�
Full G A

; L �� l�i-·t r� � �-
Full
s/.
/"""
3
..lUI � p

I @)
- ---.o I -
3
� I I

wide vib. wide vib.

� rake
Full
s/.
p
·�

B(m)

_/-·---
G A
rake
��·
rake
Full

� � � �
st. sl.
HPP :>j_
H p
�
Full s/.
_/l jj �
p H p ,...-----.
:>
1._ ,-----. _._-:::::,.. .

-
c..J L �
t:p
@)

- - - -.
3 '-3--'

L .
5

H..--.
P P.. rake rake
'-3 -'

_l ...---. ..---.
H .. -
Full
sl. p Full
s/. H p
p
,......---.
sl.
.L

Full- - . , G

_/l jj ---- � p H H -

- -- - --
) __ _ _ _ _ . s/.
@./ = ' "'---C:: p p p p p p
3
2
"- A
(pinch

'--x p 1/2 )
·
Full - - ,
H
-
H A.H. ...._
.,__
p p p p p p

-
�

soundmg p1tch : F $ sl.

B(m)
Begin fade
_) �
A.H. A Full Full

.. p p 6

� � p p :> p p :>�
�3�
pp H
(pinch)
A.H. P P pp p p

PPH p p p p p p H p

B(m)
Fade out
/\
1 /2

�-�
Full

�H
G A
:> HPP � � � -fL .�
�3�
fl jj
5 6 H H p p
�
p

;..• -..:...• '-' -

p p· U-8 �
�
=- !!3 -'
@)
p pp pp

�
7 6

H HPP HPP P P HHPP H

..--...
F

� . �-

p p p pp p p

42 GUITAR, MARCH 1986

 Bass Line For

Knocki ng At You r Back Door

Moderate Rock �-1 24

5
Rubato (no time) In tempo
lntro (approx.) G

A
R

Fm/G

z z

B(m) G A B(m)

"--"
p

G A B(m) H i
J --... )l
..
.

1...-t= -

I. Sweet_
2. Sweet _

MARCH 1986, GUITAR 43

 Verse D A G A
B(m)S

sl.Lu - cy
was a dane - er, . . .
Nan - cy was so fan - cy, . . .

sl. sl.
B(m)S D A sl. E(m)S

sl.
� B(m)S D A G A

sl.

sl.
B(m)S D A BS AS

sl. sl. (2nd, 3rd times)

sl. sl.
Pre-chorus
G Em D A/C# G/B A

A�su�4
To Coda
G Em D I
A/C# DJF# • A

Ll I . r. . �I. ..d
I � I

*Pick this note 2nd time

thrill of_ the chase. . .

I
...___.....
sl s/. ...___....

sl.
44 GUITAR, MARCH 1986
Chorus Play Fill I (below) 2nd time
B-m G A Bm
p

Feel _ it com - ing, it's knock-ing at your door, . . .

sl. p

G A Bm

Play Fill 2 (below) 2nd time

G A Bm

sl.
...__..

I.

G/D A (A/E) Bm E

sl.

sl.
Fili i Fill 2
Bm s/. G A Bm
-

T
-

/ -
sl. e � �

MARCH 1986, GUITAR 45

 2. Guitar solo
·E F$5

... .. - ..

II
II
II

C# S F#S

.. .. ..
-

.,
A ., .,
A

A D F#S

C#S F #S -

... .. !I .. J......J .. o......J .. J......J

..
A ..
.,

A D F#S

I .. o......J .. J......J .. J......J

,.

C #S -
- -

... .. !I - .. .. .. ... ..
-

46 GUITAR, MARCH 1986

 al Coda
)ll� �
D. S.
A ES

sl. st. st. st. 3. Sweet ____

/ /
sl. s l . sl. st.

•
Coda
A

II

Chorus

Bm G A Bm

G A Bm

st.

sl.

G A Bm G

st.

z z

MARCH 1986, GUITAR 47

 Outro
(G ) A Bm Bm G

A Bm G

A Bm G
sl.

sl.

A Bm G
H

A Bm G

48 GUITAR, MARCH 1986

 (G) A Bm G

A Bm G

A Bm G

A Bm G

Begin fade G
A Bm p

A Bm Fade out

MARCH 1986, GUITAR 49

 eep Purple (DP) is a phenomenon that won't com­ heavy metal output. I n stead , they concentrate on redefining
promise. A decade and a half ago , they set standards the key elements which made them so unique: a powerful
for rock music in the middle of the Hendrix-Beck­ blend of heavy rock, bl ues, jazz , classical and esoteric ethnic
Page era. Today, they can release a reun ion Lp influences in the capable hands of vi rtuoso-class m usicians
which is a potent and viable prod uct amidst the dedicated to the ideal of creating a driving rock sou nd which
synth/dance/pop/rocklheavy metal syndrome of the cu rrent defies any other categorization . The tracks are further distin­
consumer-oriented scene. gu ished by memorable Blackmore guitar signatu res, the
Perfect Strangers is the classic lineup of DP. Ritch ie distinctive Hammond organ/guitar com bination , G i l lan's often
Blackmore (gtr. ) , ian G i l lan (vocals) , Jon Lord (keybd) , Roger imitated whiskey-soaked vocals, the trendsetting composi­
Glover (bass) and ian Paice (drums) virtually founded hard tional style of Blackmore/G iover/G i l lan collaboration and
rock as it has come to be known today. I n this impressive mainly the chemistry of these players to produce the magic
endeavor, DP eschews the ultra-stylized , "show-biz" formula environment of Deep P u rple.
which characterizes much of the contem porary hard rock!

From the first sustaining organ note of Knocking at Your A masterful organ solo by Lord fol lows on the wai ling
Back Door, one finds himself i m mediately transported to the Hammond . This is a highlight of the Lp and combines some
DP zone. The mood is set for the entire album. After the of the best aspects of b lues and j azz organ styles . Listeners
eerie i ntro (in the dark key of G minor) , the band modulates should grab Don Patterson, Jack McDuff and Jimmy Smith
to the lighter B minor tonality for the main riff. This series of records for more. In the tune's closing moments, B lackmore
perfect 4ths is one of the musical materials from which DP plays i n , around and with the main riff with ki netic flou rishes
got so much mi leage. Blackmore's guitar hooks in Burn and of speed and alternating choppiness (an Eric Clapton influ­
Smoke on the Water used this appraoch . Notice the restate­ ence).
ment of this riff on slide guitar later in the song . The gu itar The shuffle blues treatment of Mean Streak recalls an
solo features typical Blackmore touches : a wild , energetic earlier music style ( 1 960's blues/rock) rarely attempted any­
rhythm feel-which sounds scattered but is actually very more and of which D P were and stil l are masters . Listen to
controlled-and , notably, a scale-chord relationship which Lazy from Mach inehead-the song is a veritable primer of
has become fundamental i n modern rock guitar. The Fl m i nor the idiom and a m ust for aspiring rockers. The feel is propelled
tonality ( rhythm chords) with an emphasis on G m ajor melody by "swinging the 8th notes . "

a n n n n = w JTi m m m
3 3 3 3
(the phrygian mode) has been used by cou ntless g uitar
heroes.
count: I
normal 8th notes triplet 8th notes
Ff minor chord Ff minor scale

lf D D n n
Phry&ian mode

2I3 4
"swinging" the 8th notes
p p

Blackmore's g uitarwork is uniform ly excel lent. Playing

tightly with the g roup i n ensemble sections and blazing during
melody il ulll: d OYer F $ minor�hord
his solos, he fuses fast legato style, su ltry blues bends and
This sound has its origins in Spanish-Moorish classical staccato phrasing . In the outro he adds a jazz twist, triplets
music (flamenco guitar, for example) . The D P classic High­ in octave melody, which inverts the rhythm . A sophisticated

mode (See the GUITAR transcription in the Feb. '85 issue.)

way Star is another Blackmore appl ication of this exotic touch.
The title track also explores an usual rhythmic twist, this
Under the Gun has somewhat of a Rainbow tinge to it, one not previously associated with DP. The ensemble figure
due largely to the presence of prod ucer/bassist Roger G lover, (interlude) m akes use of a meter change device : alternating
bars of 4/4 and 5/4

rn n JT.h m 1 1 � rn .rn .rr. rr. .rr. 11

who also performed those roles for Rainbow. It is more

a
eclectic in the arrangement, blending dissonant harmony in
the verse with AC/DC type open chording and Blackmore's
soloing colors. The solo is, again, energetic and a bit more The arrangement has a modernistic, orchestral textu re
chaotic than the last. Notice the long , winding legato scales (someti mes Kashmirish) with restrained performances and
in the out-solo particularly. One m ust remember that Black­ no overt soloing. In the finale, Jon Lord plays a haunting
more was a pioneer of flash gu itar playi ng, bringing many of improvisation on organ (over the ensemble figure) which
the now common pyrotechnics to the audience for the fi rst conveys the impressions of a Baghdad bazaar, a M iddle
time in history. The bridge after the solo uses a fami l iar Eastern flavor.
Blackmore/DP/Rainbow formula of wild soloing lead ing to a Lord and Blackmore make further embellishments on
very orchestrated section , generally classical i n nature, as a this theme with the use of the so-cal led "Snake Charmer"
contrast. (Check out DP's Burn and Rainbow's Difficult to scale in the next cut, A Gypsy's Kiss . This synthetic scale
Cure. of eight- not seven-notes is a Blackmore trademark and
A strong ensemble riff creates a smoky setting for opened the door to experimentation with ethnic and exotic
Nobody's Hom e . There is an unmistakable DP stamp on melody structures within hard rock formats. The scale (here
this one, a fine balance of blues, rock and j azz. Here the in G minor) is essentially derived from combinations of

augmented second i ntervals ( + 2 ) .

Blackmore solo is a model of clarity and matu rity. Notice the harmonic minor and b lues minor scales . Notice the two
use of mixed modes to impart a unique blues flavor.

�� ; : ·: : : ·: ·: : ;;; ·: : ·: : } ;;?��-r�;
G harmonic minor G bluei minor G ··snake channer .. scale

�11:8--�
s/. H P .r/. H P P H P

' MARCH 1986. GUITAR 51

 The line is played in duet form with a gypsy violin
conception as to melody/rhythm/harmony. Is it an allusion ''·
(word painting) to the title?

, )
[' i-:::H;·:: ;;:::::::;:::;; The unity of rhythm/melody playing throughout the song
ranks high in g uitar moments, u p there with some of M ichael
Schenker's and Larry Carlton's tasty blues-ballad interpre­
tations. Ritchie's mixture of laid-back (rubato) rhythm, the­
matic development, · eccentric and u nexpected melody con­
tou rs and overall expressions tells the story.
P sl. P sl. The Lp closes powerfully with Hungry Daze. Here the
main riff reworks a central E u ropean military march mood
(in hard rock trappings). This influence is strong among other
The climb u p the fretboard on 07 is vaguely reminiscent rock artists as wel l . Schenker, M S G , Yngwie and Rainbow
of some of Yngwie Malmsteen's diminished arpeggio moves. (Gates of Babylon comes to m i nd with similar orchestration)
However, this is due more to the shared influence of the all have borrowed liberally from the heritage of this ethnic
violin style applied to guitar rather than any conscious vocabulary. The sound essentially combines Middle Eastern
imitation. (Moorish/Tu rkish/Arabian) sonorities with classical music of
Those anxious to dismiss Blackmore as a force in today's Europe (vintage 1 700s and 1 800s) . The song is an amalgam
rock should make Wasted Sunsets requi red listening. Much of various styles, yielding an original result. The vocal/gu itar
of what is considered "melodic rock soloing" has its roots in interplay recalls Rod Stewart's Young Turks while Gillan's
this sort of approac h , which he developed in D P over a shouting vocals suggest a soul music inclination . Spacey
decade ago. The slow ballad tempo is a perfect vehicle for orchestral sound-effect concepts are juxtaposed over the
his emotional playing and the pairing with Gillan's plaintive march theme in a kind of hard rock Charles lves atonal effect
vocal is exceptional. Notice the variety of phrasing in the fi rst (more 20th centu ry modernism). Blackmore closes the enti re
measure of Blackmore's solo. Lp, and he has the l ast word with more "Snake Charming"
against the elaborated march theme (now an exit vamp).
Perfect Strangers cordially i nvites you to re-enter a
very familiar place, the world of Deep Purple. Herein , you
wil l find a few surprises, certainly no d isappointments , the
Full anticipated q u i rkiness and superb performances across the
-- "·
board . This is Space Trucking, 1 985. •
Copyright © 1 985. 1 986 by BlackmOfe Music Ltd, Rugged Music Ltd and Pussy Music
All Rights Reserved Used by Permission

52 GUITAR, MARCH 1986

CH RIS DeGAR M O/QUEEN S RYCH E
S
elected as Rookie of the Year i n our notorious Ignoble Prize Awards, the best we're going to be!' We haven't begun
Queensryche spent the last year earning this d ubious citation by consistently to peak and I hope we never do. We're stil l
excelling in the various subject areas required of them. Learning the ropes pushing t o make o urselves monstrous in pop­
ularity and I think it's going to be a long time
by performing with pros like Dio, Twisted Sister and I ron Maiden , Queens­
before we can start relaxing. We know patience
ryche came off their freshman semester in mid-March. Rather than enjoying
has paid off for us in the past and if we work
a summer break, they returned to metal shop and began working on their new Lp in as hard as we can , good things wil l continue

the material for their 1 984 debut Lp, The Warni n g . Emerging for a breather, guitarist
the dungeons of drummer Scott Rockenfield's basement, where they also concocted coming our way."

Chris DeGarmo, appearing thinner than ever, came to the head of the class to TOURING
Michael Wilton and I went to high school
graciously accept the award and give his own personal progress report.
By Marie A. Cruz
together and we've been good friends for a
long time. I knew Geoff Tate a year and a half
before Queensryche formed, but we all kind
" I n t h e last year we've had tremendous we're really happy, but I don't think any one of met and started working together about the
support from everyone, and in that respect of us can look at our band and say, 'We're same time. We were good friends who jammed

54 GUITAR, MARCH 1986

together and we j ust happened to play enough satisfied with our m usicianship. We're stiff very Warning, we recorded the Lp i n England so
instruments to have us in the same band. It's m uch a metal band, but on future Lps, we' l l our record company didn't really have a chance
a real family type thing . Our whole organization b e expanding into a more futuristic, almost to get i nvolved until the final stages, after all
has a real tight bond and ·there's a real to­ space-age sounding metal. I n fact, the whole the music was done, so there wasn't much
getherness and a solid cement between all of feel of the next album is going to be very communication . But this new one will probably
us. I think that's really helped us. Especially modern . We've developed some i nteresting be the best organized Lp, as far as between
going through the fast year of touring i n Eng­ sounds, some that won't even sound like what the band and the record company is con­
land and Japan . You never forget that expe­ they are. We taped sounds from inside the cerned, in terms of communication and setting
rience and the people you did it with and that house, the car and outside. We're trying totally out what we're going to do and doing exactly
really brought us together. It's like you' re with bizarre things and stif f maintaining the essence that and having everyone involved in the whole
your best friend and then you go and do of our sound and our blistering power. process right along the way. It just has a lot

RECORD COMPANY
something exciting, like travel or enter a busi­ of coordination between the record company
ness. When you start succeeding, it's a good and the band . So far we been whipping off
feeling ; it really brings you together as a team. We've had a lot of support right from the demos, and sending stuff to them. It's just

PERFORMING
start. Our relationship with our record company basic stuff and nothing elaborate but we've
has always been good . I n fact, they dropped been getting thumbs up on all of the m .
On tour we learned that we'd be a much all their metal bands except for us. On The Overall, I'd give us an E for Effort. •
better headliner than we are an opening act.
When you're an opening act you' re limited i n
time and you're limited in practically every­
thing, so you don't get to present yourself i n
the full fight. At the same time, I think it's
wonderful that we've had the opportunity to
open up for as many bands as we have,
because it's given us good exposu re and the
chance to see how the headliners operate.
As you know, things happened rather
rapidly for us, but it was a great foundation.
Although we haven't played the bars and
struggled for years, it didn't spoil our band.
We certainly haven't sat back and said , "Wow,
this is so easy." I don't think a band HAS to
do anything, like pay dues. You can go out
there and make records and tour if you happen
to release something that does well .

BEST TEACHERS
The bands we learned from the most were
Dio, Kiss and Twisted Sister. They've all worked
very hard and are getting what they deserve.
Gene and Paul are very good businessmen
and they advised us to invest and secure our
money as we went along making records. Dio
is a veteran and an i ncredible singer. For the
most part, i n watching them and becoming
their friends, we've gotten a nice dose of
information on all levels, like selecting equip­
ment and putting the show together. It's n eat
to be at an early stage in your career and be
able to look at bands that have been estab­
lished for years.
By the same token, I think that in our
case, especially with bands that have been
around a long time, there's a lot of spark i n a
new band that's very hungry for success. We
were very excited about the whole thing, so
we were like a f ive wire going around. I think
these bands pick up on that electricity and go,
"Yeah, we stiff love this massively, too !"

SONGWRITING
When we first came off the tour with Kiss
and returned to Redmond, we were really
excited about being home. We put all our gear
up i n storage and started working on new
material with our skeletal headphone arrange­
ments. But then after a period of time, we were
saying, "Well, here we are back i n the base­
ment writing songs AGAIN!" It was kind of like
culture shock because writing and touring are
very different. One is isolated and the other
is very exciting. On tour we were constantly
meeting new people, at home we j ust keep to
ourselves, rehearse and write songs.
We certainly have expanded musically
since The Warning, although I don't think
we've reached a point where we're totally

MARCH 1 986, GUITAR 55

 In the last year and a half hard rock �

rejuvenated the possibilities for new �

S U M M IT M E ETI
received a blood transfusion that has i

compositions and raised the stand- g

ards of musicianship to an all-time �
high. Perhaps reacting to the freedom i
and abandon that characterized the spi rit =.
of Van Halen, the band and the guitarist,
hard rock has turned to its European
cousins in clas&ical music to reign in song
AT C H O PS C l
structures and discipline soloists. Whi le
this is nothing new to the fans of Ritchie
Blackmore and Deep Purple, for those
who grew up with Eddie's unbrid led
spontaneity and energy, the arrival of
Yngwie Malmsteen's Rising Force pro­
vides a seemingly new approach to one
of rock's most classic styles.
Two major changes have been added
to the vocabulary. First, there is the com­
positional and melodic approach guided
by the ru les of music theory. Secondly,
we have the influence of 1 7th century
composers, which has brought out the
virtuoso element in the solo section. Just
as an infusion of rock i nto the jazz com­
munity gave us the powerful perform­
ances of John Mclaughlin, Chick Corea,
AI DiMeola and Stanley Clarke, this
blending of heavy metal wattage with
classical overtones has given us a strength
and beauty that took life· in the likes of
the late Randy R hoads and the current
popularity of Yngwie Malmsteen and Billy
Sheehan. Not since Eddie Van and Randy
Rhoads h as a new guitarist gained such
notoriety as swiftly as the young Swede
who has recorded five albums in u nder
three years to help re-establish the guitar
as the kingpin of rock. On the bass side
of things, Billy Sheehan has been given
enormous amounts of press and the title,
"the Eddie Van Halen of the bass " without
a record on a major labe l . Sheehan's
seemingly limitless technique and love of
styles that go way beyond the usual rock
influences make him the Jaco Pastorius
of the metal world and certainly the bass-
ist with the greatest potential to redefine

GUITAR got these two together d u ring a

the instrument in the eyes of all comers .

recent American tou r which featured both

performers on a double bill. The conver­
sation that fol lows is candid and reveal­
ing, as both Malmsteen and Sheehan
define what may become THE course of
heavy metal music in the next few years.

56 GUITAR, MARCH 1986

 YN GWI E MALM STEEN
G & B I LLY S H EEHAN :
By John Stix

GUITAR : Did either of you set out to be up a point about self-criticism . I 've always said
virtuosos? that no one will ever be as big a critic of my
BILLY: I did. I always wanted to be way ahead work than myself. I assume the same holds
of my peers. That's why I never listened to the true for Yngwie.
g uys who were doing what I was doing. I never YNGWIE: It's really insulting when people call
listened to rock bass players, except for the me bigheaded . It's also wrong. They just don't
guys who were outstanding , like Chris Squire know, and say it out of jealousy or stupidity. I
and Jack Bruce. I listened to Bach, Paganini, don't feel comfortable hearing or reading that.
Hendrix, Robert Fripp, or G reek and Spanish I 've been the same person all the time. When
m usic, which would throw me off a bit more. I lived in Sweden I had my band, Rising Force,
By time I came back down to earth to play and when I was 1 6 I sounded almost the same
with the guys, I was always ahead of them. I as I do today. People there didn't care and
wanted to be separate from the crowd . said I wouldn't make it. I didn't care what they
YNGWIE: I'm like that as wel l , but it was nothing said , I was going to do my thing. I was totally
I thought about. I simply felt that if I'm going dedicated to my thing and harshly self-critical.
to do this I don't want to feel any limitations. I Whatever people call me it wouldn't change
want to be able to express myself without i n any way my view of myself and what I'm
feeling limited . Of course everybody is l imited, trying to create and how I act. It's i mportant
but I wanted to feel I could play as fast as for people to know that I ' m very dedicated to
possible and as slow as I wanted . If I felt like what I'm doing.
smashing a guitar or playing a Bach piece I G UITA R : I've often run i nto two extremes from
wanted to be able to do it to perfection . I was intense players. They eithe r love everything
extremely self-critical . I was possessed. For they record or they hate it. Where do you fall
many years I wouldn't do anything else but onto this g raph ?
play the guitar. YNGWIE: I can go from extreme to extreme
BILLY: I missed a lot of my youth . I missed within an album. There are certain parts which
the whole girl trip. I didn't start d riving until I are pretty good and other parts that make me
was 25. want to break the stereo. When I record
YNGWIE: I also sacrificed a lot of the social something I always hate what I'm playing.
thing. I didn't care about my peers. To me, When I listen back I usually think it's great.
nothing else was even close in importance. When I solo on record I just play and don't
G U ITAR : Working alone, how did you know listen back. When I play I feel the strings under
you weren't going in circles? my fingers and sometimes I feel that my finger
YNGWIE: Because I didn't care what anybody didn't g rab the string perfectly for a particular
else thought and I stil l don't. I know when I'm 32nd note in a broken chord . When I listen
happy. I don't need anybody else to tell back I can't remember what note that was. So
- me
�� when I do a solo, totally improvised, first take,
G U ITAR : Did you instinctively know what the I leave it. I listen back the next day and, of
next step should be? course, I don't remember which was the bum
BILLY: You compare yourself to what's there note. I save a lot of time and g rief and say it
and what you' re getting it from. Yngwie brought was pretty good . If I was sitting there forever,

MARCH 1986, GUITAR 57

 i
f
::r.
il

speed to be able to articulate the part better,

not to play it faster.
GUITA R : How much does live performance
play i n your development?
YNGWIE : There's no better way to get better
than to play live.
BILLY: When I first heard Yngwie live I was
devastated. Two weeks into the tour his li nes
were articulated better and put together smarter.
YNGWIE: I think Billy started incorporating more
melody in his solo. When he started the tour
his improvisation sounded like fast chromatics.
I think it's important to point out that what most
people play fast in rock 'n' rol l situations is a
pull off between two or three strings or triplets .
When they do it fast it's impressive. Then
when they play slowly they might incorporate
some slightly higher level of intelligence. What
I think is important, and this has to do with
what I have to say about Billy, too, is that
whatever you play, slow or fast, has to make
sense. If you did any of those licks that many
I would go on forever. Most of the time I do heavy metal players do at high speed and
more than one solo. When it comes to mixing played them slowly, it would sound awful,
I think which one is the best. empty and stupid. Take anything played fast
GUITA R : What would you play for your fans and do it slow to see if it holds up. I play
and cal l you r best on record ? exactly the same things fast as I do slow.
YNGWIE: I don't think I've ever played better There is always melody. BILLY: I can listen to a player who is sincere
in my life than on the Marching Out album. G O ITAR : Don't all commercial musicians walk but not that techn ically adept and like it right
There's a couple of solos on there where I a tight rope between the entertainer and the away, even if it's a type of music I normally
listen back and say how did I do that? Caught purist? don't enjoy. I always say the two things missing
in the Middle has a solo I think is great. I've YNGWIE: I feel strongly that if you love what from the Billboard Top 200 are musical ability
matured a lot since I first came to America. you' re doing it projects through the vinyl . If and sincerity. Those are the two things I ' m
People ask me if I think I'm going to get faster. you put you r heart and soul into what you're most conscious o f in my own playing.
That's so shallow. I'm trying to create some­ doing you will project, and that will be more YNGWIE: It's upsetting that the quality of music
thing musically. I don 't look at myself as a entertaining than doing something you think today or the quality of m usicianship has lost
guitar hero or even a guitarist. I see myself as they will get entertainment from. Every night I importance. I hear and see bands that make
a musician and composer. do advanced things that the audience likes. me want to puke. What we call music today
BILLY: To learn how to do things fast means There is a song called Uttle Savage with a would be laughed at in the 1 7th century. The
to get it done how you want it done. I work on syncopation that always gets the crowd off. l evel of m usicianship was so m uch higher

58 GUITAR, MARCH 1986

then . It has changed but it hasn't progressed i n a shirt and pants play his ass off and fal l GUITAR: Do you give the musical portion of
or developed . asleep. Things excite rock audiences other a song the same weight as the vocal? For
G UITAR : So it seems the most prevalent than m usicianship. instance, Eddie Van Halen doesn't care much
development in rock guitar in the 80s has been YNGWIE: What I was trying to point out is that about the lyrics.
to turn to classical music for inspi ration and when Bach and the boys were happening their YNGWIE: The reason for that is because he
form . job was the same thing as a carpenter. They didn't write all the melodies. If he had gone
BILLY: Emotionally, they are the two most had to learn their craft. They had to do it right into writing the vocal melody as wel l , he would
closely related forms of music because of their and in a certain way. The king would call them care. He is a good example of what I am not.
i mpact. When you buy stereo speakers they and say, ' I ' m having a party, can you write me He writes his guitar parts and lets the drumm_er
say they're recommended for hard rock and some fugues and come down with the g uys and singer do what they want. I write everything
classical. From an audio point of view they and play? · The musician didn't get any more like a classical composer. I arrange all the
have the same impact. They're meant for each respect than a carpenter. Everybody had a drum fills and breaks. I know how the back­
other. Listening to Yngwie play is the perfect gig . ground vocals should come out.
format. BILLY: Look at the woodwork and stone carv­ BILLY : I write the lyrics, melody and everything
YNGWIE: What I try to de,> is incorporate clas­ ing back then and compare it to today. down to the drum beats only because if the
sical music in a way where you take the YNGWIE: Today it's stamped out in plastic and whole world painted a picture it would be grey.
tonality, the way of arranging and weaving of breaks in a week. Continued on page 64
notes, but do it in a hard rock format. The
melody has nothing to do with regular heavy
metal. It seems that most metal today is built
upon chords rather than melody. The music I
write has the chords coming after the melody.
It's not like I have a riff and chords and then
write a melody. The melody is written first.
That's the way Bach would do it. When he
wrote a fugue, he would have the leading
melody and the other parts would be written
around it. That's the big difference between
what I do and most of the metal today. Today's
heavy metal is washed out. It's totally lost its
charm . The old Deep Purple records are stil l
the best heavy metal for m y taste.
BILLY: It's the same thing that happened with
classical music. Nowadays nobody is doing
anything new. They are just rehashing what's
happened . With heavy metal bands today,
nobody is creating like they did in the heyday,
nobody is breaking new ground.
G UITAR: Do you have greater harmonic
freedom by writing the melody first?
YNGWIE: You can break it down to the princi­
ples of composing. I compose the way Bach
did. It's craft and you write within the rules. I
improvise every night and consider it compos­
ing the instant I do it. Even the way I produce
has hints of Bach . For instance, if he had four
violins playing the lead melody, he wou ldn't
have four violins doing the third and fifth
harmony parts. He would have four violins
playing the lead , two doing the third harmony
and two cellos doing a counterpart and so
forth . I'm utilizing this when I compose and
when I produce. It was a simple way of doing
something back then that we do today with
faders in the mix. That's why I insist on
producing myself. If I have something inside
my head and I compose it, I don't think a bozo
who calls himself a producer can produce it
the right way. He can only interpret what he
thinks is the right way. It's as if one person
painted half a picture and another painted the
other half. Nowadays people are simply not
as good musicians as I personally think they
should be. I n almost all of today's pop music
there is an extreme l ack of musicianship. It's
simply that poor quality m usicians get famous.
The real good musicians probably don't feel
they want to put themselves in the field of
what would be commercial . Of course there
are exceptions like Phil Collins.
BILLY: Plus, most excellent musicians are often
over everyone's head . More musicians came
to see Yngwie and myself on tour than the
band with the guy in a dress with hair spray,
who holds one note while the audience goes
wild. That same audience can see some guy

MARCH 1986, GUITAR 59

 HE R O F
N ION .
 STEVE VAl

·iii • wnric..:.
is strong
and his soloing.
Mlnn.l\�:��tinrtA
goal as stated in the interview below
is no less demanding than his predeces­
sor, to reshape the sound of rock, in this
case using his knowledge of theory to
make the m usic jump, twist, tu rn and
ROCK. This self- motivated , articulate
young man is about to become one of
the best loved guitarists in rock. Let's
meet him.
 g reat players are out there who will never get
a break. One reason I like Joe so much is
because he was my teacher. He taught m e
h o w t o g e t my fingers moving a n d about modes
and sou nds and technique. He is my favorite
rock and fusion type player. He has class and
real musicality. He can take a pop bottle and
make it sound g reat.
G U ITAR : You sound like a natural player with
good ears who took to the instrument eas ily.
STEVE : You' re wrong. It's a very hard instru­
ment for me to play. I have to p ractice a lot in
order to get anything. From the ages of 1 5 to
1 9 I played the guitar constantly.
G U ITAR : Did you have a particular player you
imitated ?
STEVE : No, I was just motivated .
G UITA R : So you would memorize the modes
and use them in a musical context?
STEVE: Absolutely. It was the process that you
memorize theory and how to apply it. That
was the important thing I got from Satriani. I
learned how to apply theory in my everyday
playing and I stil l do that. A lot of musicians
go to school , learn theory, write it i n a book
and it's gone. They don't apply it, they don't
make it part of their style . That's a sad thing
because everybody says you don't have to
know your theory. Sure, I g uess you don't, but
it doesn't hurt to know it. When you expand
your understanding of the instrument through
theory, it will enhance you r creativity because
you 'll have more to pull from. You'll know the
instrument better. With theory your ears can
develop. That's the important bridge between
you r heart and fingers. There's a fine line
where you can get caught up in theory and
that happens to many people. You don't realize
that you' re losing you r identity in the laws of
m usic and tradition. It only seemed beneficial
to me to learn how to break the rules, but you
have to learn those rules first.
G U ITAR : G ive me an example of being prac­
tical with theory?
STEVE: If you know the major scales you know
all the modes, as they are all derived from the
scales. Memorize the sound of the modes; it's
not just a finger p rocess it's a whole thing with
moods. If you can m emorize that mood, you
can call upon it when you want to. My favorite
mode is Lydian . I always think of it in an
Egyptian settin g ; it sounds mystical . It's a
subtle mode when used in a subtle context.
In the Baroque period Lydian used to be
rem iniscent of devil music because it had the
sharp four that was supposed to invoke the
devil . That's ridiculous.
G U ITAR : What moods do the other modes
i nvoke for you ?
STEVE : The major scale reminds me of The
Sound of Music, that happy attitude. Dorian
is smoother. It is minor but it doesn't have a
heavy attitude to it. Phrygian has that Egyptian
minor 2nd quality to it. Lydian I 've already
explained . Mixolydian is sort of a summer
mode. Aeolian is classical sounding and mood­
GUITAR : Let's start at the beginning. Was took lessons from Joe Satriani who is in my ier. Locrian is an ear twister and has some
the guitar your passion the way some kids opinion one of the best players in the world . aspects of almost all the other modes. Satriani
dive into sports? He works out of San Francisco now and is taught me theory as did William Wescot in a
STEVE: Absolutely. I started playing at 1 4 and coming out with a solo project soon . cou rse he taught me in my Long Island high
was soon in various groups that played Led G U ITAR : You j ust laid a big compliment on schoo l . By the time I got to Berklee in Boston,
Zeppelin and Kiss. Before that, I started with somebody I've never heard of. Can you tell me the only thing I couldn't do wel l was read
the organ when I was six. I used to play any more? music, although I could write it very wel l . At
melodies that I heard . Then I switched to the STEVE: He was in a group in San Francisco Berklee I learned a lot about arranging tech-
accordion when I was 1 2 and played that for called the Square that was pretty popu lar in
a few years before I started with the guitar. I the bay area. You'd be surprised how many Continued on page 78

62 G UITAR, MARCH 1986

YN GWI E
GUITAR : Did you make a conscious effort to GUITAR: But the bass lines are anything but
reject, say, the Black Sabbath style of metal ? just fol lowing the chords.
YNGWIE: When I said metal had lost its charm, BILLY: Improvisationally, when a guitarist is
I wasn't referring to Black Sabbath at all. They playing i n Am you can move all over the place.

& B I LLY
did it before the people who are doing it today. Most bass players hold the A note and make
What they did in 1 970 was charming and it easy. Actually if the guitar plays something
original for the time. I can listen to it now and simple and the bass moves underneath it, it
smile. Deep Purple, though, were so before makes what the guitar is doing sound more
Continued from page 59 their time. I think what people are doing today complex. Bass players today thumb a root
It's cool to collaborate with an end in sight so is far worse than the early metal . If you consider note with the bass drum . I move the root note
everybody is working toward the same thing. today's music involves two or three chords with the bass drum and move around in the
YNGWIE: Of course, you have to be open to and players in some bands do even less. They scale as well . I fol low the tom fills and know
ideas. could ju!;t as well be plumbers. where the guitarist is going and move under­
GUITAR : Billy, how does your bass style fit BILLY: They're just imitating what went before. neath him to fill the gap. In most bands the
into the standard rock format? They're not coming up with anything new. As bass player is doing nothing and there's such
BILLY: I try to be the filler of gaps. When I play a bass player who played 21 nights in a row a huge gap and it comes down on the guitarist's
with people who use a lot of space, I play in the bars, I want more changes than today's shoulders to do everything. Van Halen are
withi n the confines of that space. If the lyrics metal puts in a song. It's hard to sit there and way off balance. When you see them live all
are complicated then the music is simple. I wait for the song to go by. you hear is Eddie's guitar, the snare and some
want to make the whole package work. YNGWIE: When I write a bass line, it's incor­ of the vocal. You never hear the bass. Nothing
GUITAR : When you two jam together what is porated i nto the melody. On the R ising Force against Michael Anthony, but Eddie and Alex
the common ground? album I played all the bass. It was doubled are forgetting there is anybody else there and
YNGWIE: Purple Haze. with a guitar. Everything the bass played the they fill up the whole gap by themselves. I'm
BILLY: Jimi Hendrix was the turning point for guitar also played . That is the heaviest sound sure I'm overbearing at times but when I'm
so many guitarists. Everything was fine and you can get. I want the bass line to make the playing with someone I work well with, when
dandy until he came along . I was i nto the guitar sound heavier. Billy has a bass sound I jam with Yngwie, I want to step back and
Byrd's Eight Miles High and when Hendrix where it sounds like a guitar and bass at the hear him play.
came along everything blew up. same time. It's got the edge like a distorted GUITAR : What rock song and guitar solo
YNGWIE: I n fact, I started playing guitar the sound and that bottom end. That's the effect would have you been proud to call your own ?
same day he died. I get by playing the bass and guitar at the BILLY: One of my favorite solos of all time is
G UITA R : Is Hendrix just as amazing today? same time. on the Band of Gypsies album, on the song
BILLY: His stuff is no longer difficult to do. BILLY: I've always played in a three piece Power to Love.
People can duplicate it today. Stevie Ray band and had to make up the difference. I YNGWIE: That is g reat. The first time I heard
Vaughan copped Voodoq Chile perfectly. I n was the bass and guitar while the guitar did that I dropped my pants. That was one of
Herrdrix's day nobody could do that. Hendrix things over me. I was the two guys you were Hendrix's best.
means too m uch to m e personally to be ob­ talking about. I tried to make my setup sound BILLY: For a song I ' l l go way off i nto another •
jective. like more than one person. Continued on page 76

PLAY IT LlKE IT IS!...

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64 GUITAR, MARCH 1986

Tablature Explanation page 100

BLACK STAR
As recorded by Yngwie Mal msteen's Rising Force
(From the album Yngwie Malmsteen's Risi ng Force/Polydor 825 324- 1 )

Music by
Yngwie Malmsteen

. Sfr. • •
Ern B/F# A Ern/G C/E' B Am

Rubato ( � = 1 26 )
il - � ffU
(J. l .JI J +!d.
Ern B/F # A Ern/G E/G#

.
Acoustic guitar

� � Jl l ii i
n t ro
I B/F #
f\ jJ,

r.
� !r r�
I
l!) tp r·
'

.
mp 11----
a

I
B I

H P
�

r--
3� Harm. - - - - - - - - - - - - - -
:..!. �J �J
s/
�
Ern/B B (A) B

�
Arn(sus4) F# /A#

l
�
II ll r--r-'1 �

-¥
r- � #r u �r r @ 7fr. (Y 7fr.
I!) '

�
H p s/. Harm.- - · - - :,· - - - -- -
� ----
v

J = 76)
"

- - - - - - - - - - - - - - - - - - - - - - - :.:...· - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -;.::.., �
,. � " �

-- . P
·- t· ,_-- 6 -----:;.
sostenuto
-
Moderately slow (

F� � ("'
(Drum
f �
Electric guitar

t� �� .fL =
.. .. ... .. ..

�� fill) (Bass & drums enter)

Em Ern
.4.JJ. •

I I!) rit. - - - - - - - -

�
..
-
@'j;'fr. (!) 1 2fr. @ !2fr. @ str. @ 7fr. @ 7fr. @ 12fr.
- - - - - - - - - - - - - - - - - - - - - - -
(Y I 2fr.
- - - - - - - - - - - - - - -

�
,
9 11ff
- p
....-...

.
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f\ jJ,�·�
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H P ...
• .. ..
r--
�
..-3 �
> . sl AMAMI\

�3---' (trem. bar) '-3H�

P P (trem. bar)
I!) -

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- 1 12
s/. sl.
.,.
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• �

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...

- - r-3�
- - - - - ---- - - - - - - - . -
- - -- -- -- - - - - - - - -
-;�f;�
8va- -
Harm. sl.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
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C/E Ern C/E

r �
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f\ Ji, ::> ::> !'!!!!� = ...

I!)
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(g) l 2fr. (!) 1 2fr. @ 7fr. '"!�Y.._
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rake
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N\M r H�:,m. Harm. HP

...--..
sl. i\N\M
�\ � �- ,.,_� ...
..._

rake
.-'

Copyright ® 1985, 1986 by Unichappell Music Inc and De Novo Music

MARCH 1986, GUITAR 65

All Rights Controlled by Unichappetl Music Inc.
International Copyright Secured All Rights Reserved Used by Permission
 8va- • • • - • • · " • · · · · · · · · • · · ·
·
· • · • · • · ·
·· · ·
· ·
· • ·
-
· •
· • •
-
•
-
• •
-
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•
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• • •
.
•
.
•
. - - --
- - -.--- --- -

3
3 3

H H H
H H H H

H H

This passage is played with quick swells and quick delay on each principal note (in downstem groups). Use volume control to swell and instantly roll back volume. This series
of attacks is fed into a delay unit set for echo repeats. These echoes are shown in the upstem groups as imitations of pitches three notes apart rhythmically. Left hand only
plays.

· · ·· · · ·
'
8va- - - - - - - - -
·
- -
· · ·
-
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·
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1/2 '

�<!J 1 k�:J J.#/.�

(echo o

:!,.J,:_>J;>.J<���>l;J<�d<:>��>j r 1 I.,�>
C/E
H
H H
fi ll u H H

' @)
v v

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3 3 3 =

�
3 '11 •
1 /2

H
·�
H H H H H H
!!
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..
H
H
H H
.. /_ .... tre m . bar

�
Gtr. II
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- -
-
-- - -=
-----=::::
1/2
r · --- - - - - - -\ Em

' @) 1.-...1 ""'�

1r1-2- - - - - - - - - - - -....__
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D
rake
� ··� trem . bar

_.... ,.,

r- - -- - - - - - -�
rake
Full
Gtr. II
fi ll n. ------- n .

I @)
·f- · · · · · · · · · · · · · --...,_
Full v trem. bar

{.

66 GUITAR, MARCH 1986

 8�a- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -----
Em C/E

D � > • � �� ;_ ..� >� - > . >

*(\/"') :� I
eJ rake

�
6
wide �ib.
� rake
.p .. � .. .p

.... ...

. /]
\V

�� � - _Full
8�a- - - - - - -
Full
- - - - - - - - - - - - - - - - _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

�{------��-�
2

>
�
•
ll ol • � �
•

F�ll
6

r
rake

-- - :..,.
2 _ _ _

•n rake
. •.

* Return w/trem. bar 2nd time

Em C/E
Full � �
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ _ .1 /2 _ _ _ _ _ _ _ _ _ _ . _ _ • _ _ • _ _ _ _ _ _ _ _ _ • _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

,..,_� > �;---� > > ;;;:---

�
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b.�� > �-�-:��-f_('o'·-..-.-...._._..., ;_ � � --- � !'-- ..- - >
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l
4!1 rake 6 rake

Full
2 --

- """'- - - - :- •••"•..."
·
rake r------..._ ·- ..
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Em C/E
1 - - - - ......._ Full To Coda
8�a- --------- -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - • - - - -- --- - - - - - - - - - - - - -- - - -- - - - r- -------------------.-.-.----.--

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MARCH 1986, GUITAR 67

 Em C/E

.--?.fl-� ------
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,

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� - - - - - - - - - - - - - - - -r--
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68 GUITAR, MARCH 1986

 2.
loco::l'B p
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Full,

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10. 8 Full
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� sl �:fr-:-r:/IL·� �sl.
- - - -- - - - - -- - - -- -- 1 loco Full 1 /2

=;�.
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@.1

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10:8 I

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sl. � ��-
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8va- - - - - - - - - - - - - - - -Full- - - - - - - - - - - - - - - - -�- ---.- - -1 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Em

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8va- - - - -- Full
- Gwtar - - - - - - - - - -- -- - - - - - - -- - - - - - - - -
- - -. - - -solo
sf;.�� -�. -J"ffi � sl. 7_�
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MARCH 1986, GUITAR 69

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70 GUITAR, MARCH 1986

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MARCH 1986, GUITAR 71

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72 GUITAR, MARCH 1986

 Bass Li ne For
Black Star

J J
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MARCH 1986, GUITAR 73

 6 C/E B
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74 GUITAR, MARCH 1986

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MARCH 1986, GUITAR 75

YNGWI E MALM STEEN & B I LLY S H EEHAN :
Continued from page 64
YNGWIE: That's what I do, too. People tell me
my g u itar is so clean that there is no distortion.
field. Compositionally, one of my favorite bands to create what you feel is necessary. After that My guitar is totally distorted . This is where
has been Steely Dan. Deacon Blues has it doesn't matter. Once you've found the perfect technique comes i n .
brilliant lyrics and is so well put together. match of guitar and amp and whatever you BILLY: You have t o learn t o play distortion.
GUITAR : It doesn't sound remotely like any­ want, you don't need to leave it. I 've used the Most bassists pick up my bass, play through
thing you've done. same setup of a Fender Stratocaster and a my rig and feed back out of control.
BILLY: Nothing at all. There is no gap for me Marshall amp for a long time. Almost every YNGWIE: People hold my guitar and it screams
to fill in Steely Dan . If I were in there I would day at gigs I have guitar companies approach and squeals. It sounds all distorted . Of cou rse
probably play exactly what the bass player did me to play their instruments. They say, ' Isn't that is probably what I would sound l i ke if I
on those sessions. Again , I always try to d raw this g reat, the neck is j ust like a Strat . ' What played somebody else's rig .
from and go to d ifferent sources . There's going about the body shape? That matters a lot to GUITAR : How do you learn to control it?
to be a little influence that hooks in there that me. I started playing a Strat shape when I was BILLY: Play live.
maybe I didn't even know about. a little boy. My body grew up holding this YNGWIE: It's the hardest thing to do, but that's
YNGWIE : One of the most inspiring guitar solos guitar. I g rew together with the thing . I can't what you have to do.
is Allan Holdsworth's in the U . K. tune In the play anything else. GUITAR : Do you have to develop your studio
Dead of the Night. It's very synthesized , like BILLY: My ribs go in on one side from playing sound live as well ?
a sax. For a song, I must say a band that I my bass. BILLY: I think so.
like a lot is Kansas. The song is Journey from YNGWIE: Mine, too . This isn't a joke, we're YNGWIE: The studio is easy because you can
Mariabronn and I'm thinking of doing a cover mutants. crank up you r amp as loud as you want and
version . It has a great vocal melody line. When GUITA R : You are both participants in the put it in another room. You get exactly the
I started with this concept, I thought I was the DiMarzio ad campaign. How real is the en­ right sound and sit down while you hear it
only one. I never thought I would hear anything dorsement? through the monitors i n the control room. You
in rock that I wou ld like again , then I heard YNGWIE: Very. Not only is the quality of the don't have to worry about feedback or any­
bands like Kansas, which I started listening to product very high, but they are so willing to thing.
late in my development. I heard them for the col laborate and listen to you . GUITA R : Do you take the l ive sound into the
first time in '81 and they blew me away. Django BILLY: They are conscientious and the prod­ studio or vice versa?
Reinhardt is somebody I started listening to ucts are five star. But their attitude is why their YNGWIE: As far as I'm concerned, nothing
long after I started . He, too, seemed to have products are like that. changes. It doesn't matter where I am , I do
a lot of ideas similar to what I like to do. GUITA R : Bill, you r rig has a ton of effects. the same thing. I use the same equipment in
GUITAR: How important is equipment toward BILLY: And some of them are plugged in, too ! my house, on stage or in the studio.
developing your sound? Actually, the only effect I have as an effect is BILLY: Sometimes I have to compromise in
YNGWIE: It goes hand in hand with your playing the harmonizer, which I use during my solo. the studio, to get on tape what I hear live. It
technique. Otherwise the rig is just for stereo chorus with doesn't always work to throw mikes i n front of
BILLY: You learn how to play an amplifier just distortion . The only thing the rack does is a cab and hit the record butto n . I want it to
as much as you learn how to play you r instru­ duplicate and mimic what you would normally sound in the studio the way it feels behind me
ment. get with a guitar reaming through an amp. live. To get that sometimes I have to EQ where
YNGWIE: If you think you're going to sound like YNGWIE: Tell the truth , it looks good . I normal ly wouldn't.
Randy R hoads just because you have similar GUITAR : It's hard to get distortion on the bass YNGWIE: I just throw one Shure 58 i n front of
equi pment, you 're wrong. Of course you've and maintain any clarity. my amp, straight. I use no EQ, it's flat. Some­
got to have good quality equipment that en­ BILLY: That's always been my battle. I have times I play louder in the studio than I ever do
hances the sound and makes it so you ' re able one clean signal and one distorted one, live, with up to five heads . It doesn't m atter to

76 GUITAR, MARCH 1986

 NOTE-fOR-NOTE GUITAR SOLOS
me; I'm in the control room. The sound coming
out of the monitors is what I hear. This is a
little trick I usually don't tell people, but here
is how I get a fat Strat sound. People always
tell me I can't be using a single coil pickup.
The magnetic window is exactly like a single
coil even though it's got two coils on top of
each other. But I get a fat sound by using two
heads. One has almost full presence and no
bass, full treble and full middle, and I plug i nto
the treble input. The other head has almost
no presence, just a little treble and fu ll bass,
and I plug into the bass input. That way I have
two different heads taking care of two different
frequencies.
GUITAR : Regardless of how you get your Complete, accurate solos described in explicit detail phrase-by-phrase

D
sound, both of you have sought out uncon­ on cassette tape. You don't have to read sheet music!
ventional influences to shape the vision of how

D
N O T E F O R N O T E T A P E I - Eruption - Spanish Fly - Somebody G e t Me A Doctor - J " m T h e One - Over The Mountain
your instruments will be played . - Flying High Again - Diary Of A Madman - You Got Another Thing Comin'
YNGWIE: There is nothing that bores me more NOTE FOR NOTE TAPE 2 - Purple Haze - Hit Me With Your Best Shot - Whole Lotta Love - Rock And Roll - Mother

D
than listening to guitar players. I prefer key­ Mary - Coast To Coast - Sultans Of Swing - Hotel California

boards or the violin. I listened to R itchie Black­ N O T E FOR NOTE TAPE 3 - Beat It - Meanstreet - Atomic Punk - I Don"! Know - Crazy Train - Believer - Electric Eye

D
more and wondered why he sounded so good . - Too Hot To Handle

NOTE FOR N OTE TAPE 5 - Runnin" With The Devil - You Really Got Me - Ain"t Talkin" "Bout Love - Feel Your Love

D
I realized the things I liked about him were
Tonight - Revelation (Mother Earth ) - Blackout - Back In Black - Maniac - Don"! Tell Me You Love Me
purely classical . I decided to go straight to the
N O T E F O R N O T E TAPE 6 - Jump - Top J immy - Hot For Teacher - Photograph - Armed And Ready - Iron Man -

D
roots instead of listening to Genesis, ELP or No One Like You - Number Of The Beast - The Trooper
Deep Purple. When I listened to classical violin N O T E FOR N O T E TAPE 7 - Crossroads - Freebird - Stairway To Heaven - Heartbreaker - The Rover - All Along The

D
and harpsichord players I realized how stupid Watchtower - Foxy Lady - Johnny B. Goode - Black Magic Woman

guitar players are. All they listen to are other N O T E FOR N O T E TAPE 9 - Panama - 1"11 Wait - Girl Gone Bad - Island In The Sun - Too Young To Die. Too Drunk

D
guitarists and some go a little further. They do To Live - General Hospital - (You Can Sti l l ) Rock In America - End Of The World (lntro.)

D
the same licks over and over again and never NOTE FOR NOTE TAPE 1 0 - Jet To Jet - Kree Nakoorie - Hiroshima Man Amour - Rock You Like A Hurricane - Victims
Of The Future - Shapes Of Things - Jawbreaker - Burning Heart
seek out another point of view. When I hear
NOTE FOR NOTE TAPE 1 2 - On Fire - Ice Cream Man - Bottoms Up - Beautiful Girls - Push Comes To Shove -

D
heavy metal players today the feeling I get is Hear About It Later - Rainbow In The Dark - Cum On Feel The Noize - Bark At The Moon - Round And Round
that one is worse than the next. I'm not saying NOTE FOR NOTE TAPE 1 3 - Texas Flood - Love Struck Baby - Pride And Joy - Couldn"t Stand The Weather - Scuttle

0
everybody is bad but at the same time they Buttin - Tin Pan Alley - Stray Cat Strut - Rock This Town

don't inspire me at all. It's so limited and so NOTE FOR NOTE TAPE 1 4 - Honky Tonk Women - G i m m ie Shelter - Midnight Rambler - Bitch - Can't Ya Hear Me

D
limiting whereas there is a whole world to Knockin' - While My Guitar Gently Weeps - Taxman - Get Back - And Your Bird Can Sing - Let It Be

NOTE FOR NOTE TAPE 1 5 - Last In Line - Holy Diver - Battle Axe - Back For More - Wanted Man - Freewheel Burning

D
explore if you go beyond your instrument and
- Into The Fire - Rock 'N' Roll Rebel
listen, say, to the violin. '
NOTE FOR NOTE TAPE 1 6 - Dee - Let's Go Crazy - Cathedral - Women In Love - Sinner's Swing - So This Is Love

D
BILLY: When I was younger, I never listened - You're No Good - Evil Eye
to my peers. NOTE FOR NOTE TAPE 1 7 - Red House I - Star Spangled Banner - Hey Joe - I'm Goin' Home - Comfortably Numb

D
YNGWIE: I can definitely understand that be­ - Dazed And Confused I - Black Dog - Moby Dick - Sunshine Of Your Love - Reeling In The Years

!
cause listening to bass players isn't interesting. NOTE FOR NOTE TAPE 1 8 - Lay It Down - Turn Up The Radio - Tooth And Nail - D.OA. - Sister Christian - Black

0
BILLY: But there's a bass player i n every band . Star - Far Beyond The Sun
NEW!

0
So much more can be done. My three top NOTE FOR NOTE TAPE 1 9 - Highway Star - Lazy - Knocking At Your Back Door - Smoke On The Water - Rock
Bottom - Lights Out - Communication Breakdown - Train Kept A Rollin'
influences were Bach, Paganini and Hendrix.

0
NOTE FOR NOTE TAPE A - ERUPTION - SPANISH FLY - AINT TALKIN" 'BOUT LOVE - BEAT IT - JUMP - PANAMA
YNGWIE: Those are exactly my influences, too. - MEANSTREET - RUNNIN" WITH THE DEVIL - CATHEDRAL

GUITAR: By choosing the violin or keyboards

0
N O T E F O R N O T E TAPE B - FLYING HIGH AGAI N - OVER THE MOUNTAIN - DIARY OF A MADMAN - I DON'T KNOW

as primary influences, were you also forced in - CRAZY TRAIN - BELIEVER - MR. CROWLEY - REVELATION (MOTHER EARTH ) - DEE

N O T E FOR N O T E TAPE C - PURPLE HAZE - ALL ALONG THE WATCHTOWER - FOXY LADY - VOODOO CHILD

0
some way to develop new techn iques?
(SLIGHT RETUR N ) - THE WIND CRIES MARY - LfTTLE WING - STAR SPANGLED BANNER - RED HOUSE I
YNGWIE: If you get inspired by what a guy
N O T E F O R N O TE TAPE D - DAZED AND CONFUSED I - SINCE I BEEN LOVIN' YOU - ACHILLES LAST STAND ­
does on another instrument, you have to apply

0
MOBY DICK - STAIRWAY TO HEAVEN - HEARTBREAKER - GOOD TIMES, BAD TIMES - BLACK DOG - TH E ROVER
a different technique. You don't care that you - WHOLE LOTIA LOVE - ROCK AND ROLL

play guitar. I don't care that they use ten

0
NOTE FOR NOTE TAPE E - ROCK BOTTOM - TOO HOT TO HANDLE - LIGHTS OUT - ARMED AND READY ­
MOTHER MARY - COAST TO COAST - ONLY YOU CAN ROCK ME - INTO THE ARENA
fingers on the piano. I'm going to do it on the
N O T E FOR N O T E TAPE F - ISLAND I N THE SUN - TOO YOUNG TO DIE, TOO DRUNK TO LIVE - GENERAL
guitar. I don't care if the spaces are less than
HOSPITAL - JET TO JET - KREE NAKOORIE - HIROSHIMA MON AMOUR - EVIL EYE
half as big on the violin or that they use a bow

Study the above styles

CHECK BOX FOR NOTE FOR NOTE TAPES YOU WISH TO ORDER
and don't have to pick every note. All of these
obstacles are going to make it that much more in JAMES GLEASON'S "ROCK PERFORMER'S GmTAR METHOD"
BOOK 1 - This 120-page book includes hundreds of licks, virtually every technique in use (right hand hammer/
difficu lt on the guitar. Most guitarists don't put pull off, tremolo bar, harmonics, etc.), scales, phrasing, rhythm, ear training, chord progression and professional
themselves toward that goal . They listen to rhythm tracks (with solo examples and scales for improvising). All are shown on diagrams and on two 90-minute
LESSON cassettes (INCLUDED WITH BOOK 1 ). No music reading is necessary.
other guitarists and get inspired by them and
BOOK 2 - This book of 238 pages includes speed exercises, solo examples, major scales, phrasing, ear train ing,
that's as far as it goes. You hear a guitarist chord construction £, prog re ss io n, arpeggios, rhythmic concepts, professional rhythm tracks and 8-finger fretting.
on the radio and go, so what? That's why I Melodic examples are written in tablature AND standard music notation to "ease'' you into music reading. Examples
are recorded on three 90-minute LESSON cassettes (INCLUDED WITH BOOK 2).
don't think guitar players are very exciting. It's CHORD PROGRESSION BOOK - This page book contains the essential chord progressions used in
52
not a way of trying to put myself in a better Rock-related music from to the present Each of the 377 chord progressions in the book may be heard
1955
on the accompanying 90-minute LESSON cassette (INCLUDED WITH CHORD PROGRESSION BOOK).
light. I'm just saying how I feel about music.
BILLY: It's the same thing with my playing. I Send $t5.00 for EACH NOTE FOR NOTE TAPE ____
copiesX$15.00 = ----

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MARCH 1986, GUITAR 77

Continued from page 62
niques for horns and big bands. rock playing, you ' re neglecting a good influ­ listened to tapes in the library. While we're at
GUITAR : Did you want to be a jazz player? ence. With jazz there's a certain type of fire it, the same holds true for classical music,
STEVE: No, I never thought I wanted to do and understanding, and when you play it well which seems to be one of the points rearing
that. I like jazz and played it a bit at Berklee. it's a free form thing. A lot of notes go by with its head these days i n rock. What Yngwie
I loved to sit with a fake book and blow through the chords and the relationship of those notes Malmsteen is doing with classical music in
standards. I also love to sit with a classical and chords moving in a pattern will g ive you rock makes h i m like a giant among minnows.
book and read some of those pieces. a certai n attitude and feel. In rock you don't G U ITAR : I understand that like many before
GUITAR : My impression of Berklee was that have it quite that way. There's stil l fire but if you , good luck played a big part in your steps
it was a jazz school. you want to be an intense rock player it's toward becoming a professional?
STEvE: If you had a Stratocaster at Berklee always important to get your jazz attitude STEVE : I'm a very fortunate guy. I got involved
you did get the eye, and nobody played rock. happening. When you play be bop and you with Frank Zappa when I was 1 8. But then, I
If you did, you had to put canvas on the doors know what you're doing, there's nothing l ike saw what I wanted to do and worked hard for

so nobody could see who was playing or you'd it. It's a real free expression. When you play it. Somebody had given me Frank's home
get bawled out. The time I was there punk slow bluesy jazz standards it's a real expres­ number when I was 1 5. I tried calling him for
wasn't quite big yet and new wave was just sion . Some people can express themselves quite a while and never got throug h . Finally,
coming in. Fusion was the big thing there. really well that way. I know I could. Now it's one day, he answered the phone and l ucky
Zappa was the guy I listened to most at college. hard for me to play through changes like that. for me he was in a good mood . I told him I
I had a band called Morning Thunder and used But when you take that and put it i nto you r was a big fan and how inspirational his m usic
to write ridiculous fusion instrumentals. The rock playing, you can come up with some n ice was to me. I said I was a guitarist and had
only time I played jazz was when it was part resu lts. It works the other way, too. It's always some Edgar Varese scores I wou ld like to
of my class, but I loved going to Berklee. nice to hear a jazz player add rock influences. send him. He gave me his address and started
GUITA R : What element of jazz can you bring The stuff Joni Mitchell did with Jaco is a good telling me about Vinny Colaiuta and asked if I
to rock that rock players are missing? example. I never went out and bought a jazz wanted to talk to the guitarist that was in h1s
STEVE: If you neglect the fruits of jazz in your record, because I didn't have the money. I g roup now (Warren Cucurullo). I spoke with

78 GUITAR, MARCH 1986

 Warren for a bit and then said, ' Frank I know because of its density. It opened my eyes to Frank Zappa no matter who you are. You
you probably get a lot of this,' and proceeded a whole new form of music and introduced me could have said it also sounded l i ke Brand X.
with the usual rap which asked if he would to polyrhythms. It was so technical and yet so The thing that also turned me on to Frank was
like to hear my guitar playing and criticize it musical . his use of comedy in music. He could make
for me. He said sure, send a tape. I did. I also G U ITAR : Why did you part ways with Zappa? you smile over a couple of notes, not even
sent him a transcription of Black Page . When STEVE : He stopped touring so I started doing what he said . This is something I've always
he got the tape and listened , he was pretty my own project. felt within me. That's going to show up re­
blown away. He said you play incredibly and G U ITAR : At points you r two Flexible solo gardless of who my i nfluences are.
your transcribing is ace. I'd like to try you out albums sound almost too much like Frank G UITAR : What happened after Zappa set you
fru, fua cy;oup . I had no idea he would want to Zappa. loose?
try me out for the group ! I told him I was 1 8 STEVE: I played with him for three years and STEvE: I wanted to play in a rock group. I put
and he flipped. had been writing down his music for a long my own band together and we were losing too
GUITAR: How different was you r sound on time. He is one of my biggest influences. How much money. I decided I wanted to play in a
the tape you sent him from what we now could it sound like anything else? I'm not half way established rock group. I heard Al­
expect from you? ashamed of that. I ' m very comfortable writing catrazz was looking for a guitar player.
STEVE: Now I'm a lot · more mature. On that in 5/8 and once you're playing in 5/8 or 7/8 GUITAR : Were you a fan of Alcatrazz or
tape it was all guitar stuff with a fusion band . and start with some fast notes you sound like G raham Bonnet?
My timing was out to lunch, but I had a lot
more chops in college than I have now. I could
play so fast then . That was one of the things
I think impressed him because it was fast and
musical . It sounded like I was a trained mu­
sician , wh ich also turned him on. He cou ldn't
audition me at 1 8, since I had no experience,

au 10
but I moved out to L.A. and started transcribing Professional
for him. When I was 19 and 20 I went down
to rehearsal and had al ready recorded with
him (You Are What You Is) . He was preparing
to go out on the road and I played a bunch of
songs with the band and he hired me for the
gig. We Went out and recorded the live Tinsel Learn the techniques a nd technology of the
professional record i ng studio.
Town Rebellion which was released before
You Are What You Is.
GUITAR : How did you feel bout Frank's style
of being very firm with the band? You are hired
to fulfi l l his vision of the music.
STEVE: I had no problem with it because I
knew why I was there. I wasn't there to solo
or write songs or show off my abilities. I was
there to perform his music the way he wanted
it, as best I could, with discipline and character.
That's what I did.
GUITAR: Does that become tedious after a
while? Didn't you want to throw in a bit of you r
own?
STEVE: I did throw in my slight interpretation.
If I didn't love Frank's music so much and
didn't respect him like I do, it would have made
me miserable. A lot of people can't do that.
They start plotting and planning, making their
own groups and what not. To be honest, I was
more interested in playing for Frank than
anything else, even playing my own music.
My whole heart was into playing his music. I
N i ne month prog ram features :
Reco rd i n g & M ix i n g Conso l e & Outboa rd Gea r
worked on it every day. I loved practicing and
used to th rive on getting new music to learn . • •
That dedication to Frank's music is what you
• Ed iti n g Tec h n i q ues • D i g ita l Lo g i c
need to have to work with his band. Everybody
says, you worked with Frank Zappa? You must • Si g n a l P rocess i n g • Profess i o n a l Stu d i o
be a great musician? True, in order to play • Aud i o Systems Desi g n I nte r ns h i ps
Frank's music you have to have a certain type
of schooling, but then again, the reason why
Frank hires people is because of their disci­
pline, patience and their whole overall attitude.
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to do it.
GUITA R : Which are your favorite Zappa com­
positions and why do they stand out for you ? 6 4 U n i versity Place, Greenwich Village, New York, N Y 1 0003
STEVE: Gregory Peckory, The Black Page, 20 Licensed by NY State Dept. Education -Approved far Veterans Tra ining
Small Cigars, and Who Needs the Peace
Corps? When I heard Gregory Peckory tears Financial a i d for those who qualify
of joy filled my eyes. I couldn't believe that a
rock 'n' rol l musician who gets on stage in
front of 1 0,000 people and plays the guitar
very loud actually wrote this stuff down . It's all
in notes and it's all performed . It's comical,
serious and funny. Black Page floored me
MA R C H 1 986, GUITAR 79
 STEVE : I heard the record and found out the I stil l had no time to myself. When I joined became time for the band to start working on
type of music they were playing at the time Alcatrazz I realized I had to start concentrating another record . We played three gigs before
wasn't really what they wanted to play. Yngwie on my guitar playing agai n . When we started they asked us to make another record. I didn't
wanted to play more of the classical rock thing the record I stil l cou ldn't practice because I feel comfortable with that. When you sit around
and they weren't into that. I knew when I got had to write the music and teach it to every­ for a year you get stagnant. I had to play live.
involved that it wasn't going to sound like the body. Only recently have I been concentrating On top of that, Capitol wanted me to begi n
ofd Afcatrazz because I don 't write or play like on my solos. I feel I'm playing better now than work on m y solo album, which would have
that. I ever have in my life. For the next year or so meant I had to stay in the. st.udiJ:l. � �
GUITAR : It's hard to step into somebody else's all I'm going to do is concentrate on g uitar six months! That was one reason I left the
shoes l i ke you did. playing . g roup. A surprise project also came up, but
STEVE: It was hard but a challenge. It was fun G U ITAR : Do you have a daily regiment? that's for another interview.
because it kicked me i n the ass. That's another STEVE: I record tapes to play on and do certain GUITAR : So what did you do while Alcatrazz
reason I joined the group. I was looking for a technique exercises. For the two-handed stuff was dormant?
challenge. I learned a lot from having to learn I use a drum machine. I record myself playing STEVE : I did all the guitar parts on the next
some of Yngwie's parts. He has a lot to offer. and listen back to hear what sounds good or Public Image record . Bill Laswell produced it.
GUITAR : What are his greatest strengths? bad . To me that's as important as anything I did the parts while Alcatrazz was on tour. I
STEvE: His speed and clarity. I can tell as he's else. I'd like to stress that to musicians who just flew in on my days off. It's g reat. G i nger
getting older that his writing is maturing into are learning and practicing. Recording you rself Baker is on drums! I hope to do some more
something nice. I see what he's trying to do. and listening back is very educational. work with Bill in the future. Maxine, the g uitarist
I think he is going to be the father of that type G U ITAR : Disturbing the Peace is your first from Madam X, is doing an Ep which I will be
of sound, whether it gets popular or not. He'll time out as a soloist. What elements make up working on. Then there's that secret project
be in the forefront of serious classical rock. a good solo? and hopefu lly my solo album.
There is a place for that and he does it really STEVE: It's relative. I can appreciate a solo GUITA R : Let's talk equipment. The album
well . Anybody has a lot to gain from it as long that I don't even like. To the average person credits on Disturbing the Peace mention
as they don't let their influences dictate their in the rock 'n' rol l industry it's probably just Charvel, Jackson and a company called Per­
identity. someth ing that blows them away. Van Halen formance .
GUITAR : I noticed that your playing on Dis­ has a fire in his playing, an innocence. You STEvE: That was a guitar built for me by a
turbing the Peace was not that different from can play two notes for the whole solo but if store in Hollywood . My main guitar is a hideous
on the Flexlbles. the attitude is there it's going to be an effective looking g reen Charvef. It's had a Floyd Rose
STEVE : I know what I wanted to do and what solo. People say Yngwie plays so fast, but on it but I endorse Kahler. They both have
the band needed to sel l records. It sure wasn't there's an attitude there and that's why it's advantages and d isadvantages, but the Kahler
the Attitude Song or There's Something Dead acceptable to certain people. Take E ric John­ has more potential to be my favorite. Their
in Here. son , I love his playing. He has his own ap­ new stuff has a thicker bar and heavier string
GUITAR : Yet the guitar parts were not the proach . When you know people, their person­ tension . You can rest you r wrist on it and it
root/5th of heavy metal . ality, you know what makes up a good solo will not go out of tune. When they l ick the
STEvE: That was another thing I was trying to for them. It's hard for me to turn on the radio sustain problem with their rol lers they will have
do. I 've got my own goal , which is introducing and hear what I consider a good solo. What I one hell of a tremolo. For pickups I use
a new concept to rock. I'm doing it rather consider a good solo in a commercial sense DiMarzio X2N's. I think I'm going to have them
slowly but surely. My influences are Frank, the would be different from what I wou ld consider make me a pickup which is a little different.
whole polyrhythmic school, and the sound in a good solo in a musical sense. In the com­ G rover Jackson wants me to try out his pick­
my head of trained musical thought. I want to mercial world if it gets too flashy or too musical ups. I will use a variety, including Seymour
apply those i nto a rock sound. It's in the same it might not be acceptable. That's one of the Duncans. But for the most part I use the
respect that Yngwie is applying classical to things I had to be careful of with Alcatrazz . It's DiMarzios. Most of my guitars have a volume
rock. In order to do it successfully I have to not a flashy guitar record in my opinion, but and tone control. The Performance guitar has
start out slowly. Disturbing the Peace was there's some interesting things on there. It three humbuckers with split coils that go in
not you r average heavy metal. It didn't have doesn't have indu lgent guitar playing. It's not and out of phase. I can't use that live because
mundane chord changes. A lot of people say The Attitude Song. when I jump around I hit five buttons uninten­
how can you go from Zappa to Flexible to G U ITAR : What are your favorite solos on tionally. For amps I use a Carvin head because
Alcatrazz? It's very simple; it's j ust a different Disturbing the Peace? they have a good frequency response and are
aspect of rock that I'm trying to do. STEVE: My favorite solo is on Sons and Lovers. very powerful . I use them with Celestion speak­
GUITAR : Has playing the guitar become sec­ I like the backwards guitar and the sitar stuff ers in a Carvin cabinet. My pedal board uses
ondary to songwriting? on Desert Diamonds. God Blessed Video was a Super Overdrive i nto a Cry Baby Wah . I
STEVE: It varies. I can concentrate my energy very intricate. I used a Roland 3000, getting a have a rack with two Roland 3000 DOL's. One
on one thing at a time and become successful stereo echo at 1 20 milliseconds. The whole is used to echo the whole setup and the other
at it. When I was young it was getting my song is based around this and the two-handed is used to make the whole setup stereo. But
technique and chops together. When I was at technique, causing double stops on each note. before it goes through stereo chorusing it runs
Berklee it was getting my theory together. With I also li ked what I played on Mercy, but not through a Lexicon PCM 60 Digital Reverb.
Frank it was transcribing and getting my parts how it sounds. In fact I'm appalled at the whole GUITAR : As one of the players revolutionizing
together. After that I dedicated all of my energy production of the albu m . It's all personal taste, the use of the tremolo bar, do you feel it can
to building a studio and then to writing. The but I have the master tapes and a 24-track also easily become a crutch ?
whole Flexible thing started because a guy in studio in my home. I'm going to remix the STEVE : I use it way too m uch for a lot of
Hollywood , who h ad a magazine, wanted me whole record on my own and I doubt that people, but it's part of ·my style. If a guitar
to write for a small orchestra. We were going anybody will hear the remix but me. But I ' l l be started out with five strings on it and somebody
to advertise in the magazine for people to 'J)Iay happier hearing it the way I think it should came out with a six string model, people would
the music. I wrote for two and half solid months. sound. Did you have a favorite on the album? say it was a crutch. No it isn't, it's an innovation .
Now I have 1 0 orches tra scores for a 25 piece G U ITAR : I liked Video, Painted Lover and The thing with the bar is if you misuse it, it
orchestra. When I found out it wasn't coming Ughter Shade of Green. sounds awful. If you overuse it, it won't be
down I was going to record it myself and put STEVE : I used a tiny guitar on Painted Lover. readily acceptable. That'-s when people started
it on an Evatone flexi-disc. That's when I put Originally Green was going to be an intro for having doubts about it. Lately my playing has
all my energies into recording what tu rned i nto God Blessed Video but the song order got consisted of bar usage and the two-handed
the Flexible records. All this time I hadn't been changed around. technique. People say I use it way too much.
playing the guitar. When it came time to record G U ITAR : What happened to Alcatrazz ? Did That's okay if they say that because that's
Flexible my guitar playing suffered . The stuff you ever go out on the road with them? what I want to do. It sounds good to me.
on Flexible is okay but I was strugg ling to try STEVE: We went out on a scorching two week People who criticize don't know what I'm trying
and even play clean. When I started my band, tour. There was no money to survive on the to do. I'm trying to develop a new form of
all my energies were expended on getting the road and because we weren't on the road playing . Because it's not the norm, it won't be
g roup together and teaching them the music. sooner, which I blame on the management, it readily accepted, but j ust wait and see. •

80 GUITAR, MARCH 1986

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MARCH 1 986, GUITAR 81

Send Your G uitar Questions To: Use an infra-red heat lamp to soften
tars whose truss rods were installed from
the fretboard side of the neck. Obviously, the fretboard-to-neck glue-joint. A cou­
guitars whose rods were installed through ple of layers of aluminum foil loosely
the back of the neck will require a dif­ folded over several thicknesses of paper
ferent procedure. You can usually tell towel will protect the surfaces adjacent
these by the truss rod cover inlay strip to the part being heated. Be sure the
P.O. Box 1490, Port Chester, N.Y. 10573 running down the back of the neck. foil's shiny side faces the lamp.
QUESTION : How can I replace the truss If bindings line the fretboard, you When the heat-lamp causes the sap
rod in my Les Paul?-Carlos Gomez! will have to carefully peel them back, in the board to bubble and steam a little,
Sacramento, CA. starting from the comers farthest from you should be able to start working a
ANSWER: With great difficulty! You must the peghead. Scoring along the edges painter's putty knife in between the board
be prepared to do finishing and fret work with a sharp stencil knife before you peel and the neck. I usually begin with the
as well as the fine woodworking involved the bindings off will minimize chipping. tips of the comers, working the putty­
in the actual replacement . Taking a lot Remove a fret about six inches from knife from both sides of the board.
of basic skills and technique for granted, the body end of the board. Use an Exacto After removing the end section of
I'll outline the basic steps. razor saw to cut the fretslot down to the the board, the truss rod cover inlay strip
These steps will work for most gui- neck wood. should be visible. Chisel out the strip to
reveal about four inches of rod.
Pry the rod's anchor up with a

"I've got the new

screwdriver and grab it with a pair of
vise-grips. Be sure the rod's adjustment
nut is off and pull firmly with a twisting
motion. The rod should slide out, if a bit

Steinberger."
slowly at first.
A new rod can either be purchased
from the manufacturer or fabricated from
a length of 3/ts drillrod, available at most

The Steinberger P Series-Designed to Perform

industrial supply stores. You will need
. . a 1%z die to form the threads on one
end.
I nnovative bo lt-on tec h nology i n c o r p o rati n g the Ste i n berger B l e n d'"
If making your own rod, the simplest
c o m posite n e c k fo r l o n g , even susta i n .
way of anchoring it is to make a 90
Revo l uti o n a ry head l ess d o u b l e b o l l Ste i n berger Syste m'" fo r fast,
degree bend Yz to % of an inch from the
a c c u rate, sta b l e tu n i n g with on i n g e n i o u s tre m o l o you hove to ploy to bel i eve !
end. A 3!.s inch hole should be drilled at
Powe rfur a n d b ri g ht high i m p ed a n c e EMG p i c k u ps d es i g n ed exc l u s ively
the location of the original anchor to
for the P Seri es.

renowned Stei nberger q u a l i ty.

receive the bent portion.
All at o n affordable price you wo u l d n't t h i n k poss i b l e for wo rld
Insert the rod in its slot. Using wax
for lubrication, twist and push it in until
The exc iti ng P series: The newest reason why Stei n b erg e r is tru ly-
it can be anchored. A new section of
The State Of The Instrument.
inlay strip should be glued in using
yellow (aliphatic resin) glue. When it has
dried and been trimmed flush, glue back
the fretboard.
To prevent sliding during glue-up,
first clamp dry in perfect alignment .
Remove a couple o f frets and install some
temporary positioning screws. If you use
small screws, the {rets will cover up the
holes and leave no traces.
Glue up with white (polyvinyl resin)
glue to ease future removal. You can now
replace the bindings and do any required
touch up work.
I recommend a complete fret-job
and board leveling to eliminate any un­
evenness. Be sure to pre-load the truss
rod slightly to allow future adjustment
in both directions.
If this seems a bit involved, that's
because it is. With some previous expe­
rience at woodwork and fretwork, you
should be able to see your way through
without too much difficulty. If you are
inexperienced but feel up for a major
challenge, please try this on a disposable
guitar first. While this job could cost
several hundred dollars to have done
professionally, it may cost your guitar's
neck if done carelessly, so good luck to
Free Brochure you if you try it yourself ! •

82 GUITAR, MARCH 1986

For Readers of GU ITAR for the.
Practici ng
. .
A1 USICian . . I.

�odern Record i ng & �usic

The Technology A1agaz ine
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Lear n a l l abo u t t he elect ron ics of
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 D'ADDARIO
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leads and smooth sustai n . E lab­ cabi nets have just been u pg raded from
orate gain and tone controls cre­ Celestion G 1 2K-50 speakers to Celestion
ate a wide range of lead sound , G 1 2K-85 speakers. Also, all speakers wi l l
and offer a gain-boost that is ac­ b e front loaded instead of the former rear
tivated at the front panel, or by loaded. These changes make the sou nd
remote footswitch . The heavy-duty more alive and add better proj ection and
output section featu res the exclu­ dispersion. The increased manufacturing
sive Sundown "Governor" (TM) costs have been absorbed by Seymou r
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WD Pickguards introduces its all new "Animal" series of
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84 GUITAR, MARCH 1986

MEISEL M U S I C I N C . ZION G U ITAR
TEC H N O LOGY
Vision, a new electric guitar l i n e , is now available a t you r dealers. Ranging
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NADY SYSTEMS
Nady Systems, Inc. has
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clude a Guitar Exciter and Compressor,

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ZION G U ITAR TECHNOLOGY
1 80 1 HOLBROOK ST
G R E ENSBORO, N . C . 27403

MARCH 1986, GUITAR 85

B LACK STAR

�
Black Star shows off t h e m a n y facets of t i o n . Keep the rhyt h m of the broken chords m o n i c m i nor (E F# G A B C D D#) scale (one of
Yngwie's s i n g ular style. Whether he is play i n g even and exact, as they are melodi es not mere Yngwie's favo rite devices ) . The pyrotechnics
subd ued acoustic g u itar or blaz i n g pyrotech­ decorat i o n . ( G race Note ra k i n g : i<_ o r is beg i n to emerge fro m t h i s poi n t on in the com­
n ics, he is u n m istakably Yngwie - the newest done q u icker and as ornamentatio n ) . Notice the position. Use alternate p i c k i n g to define the
and perhaps m ost stri k i n g proponent of the additional tone i m plying an Em Aeolian mode: staccato notes and be caref u l when using
Teutonic-Slavic Weltsch merz (as i n Bach/Be­ E F# G A B C D. legato ( h a m m e rs, pulls and s l i des) to i n corpo­
ethoven/Brahms Germanic brood i n g minor mo­ 4 The passage at the close of the g u itar's expo­ rate them wit h i n the rhyt h m ical whole of the

<J
dal ity) School of Heavy Roc k . The h i g h l i g hts sition is s i m i l ar to the effect used by Van Halen l i ne. Yngwie's l i nes are very prec ise, metrical
are n u merous and n oteworthy: i n Ca thedral. Quick vol ume swel l i n g ( > ) on and clearly artic u l ated .
1 The openi n g g u itar piece is a classical prel ude the vol u m e k n o b or ped a l is combi ned with o n e 8 Th i s is a d i m i n ished chord seq uence, based
(as one w o u l d expect) to the larger work. It i s echo repeat a t approx. 700 ms. It c a n a l s o b e nn the classical relatio n s h i p of C d i m i n ished : C
'
vag u e l y rem i n i scent o f Bac h 's Bouree i n E m d o n e by h o p p i n g v e r y b r i s k l y with the L. H . , D# F# A (chord) to B major in a Harmonic m i nor

d). Thethe oryTs not as i mportant as

w i t h its 3/4 rhythm and u s e o f secondary domi­ ham mering-on ( n o p i c k i n g ) t o the f retboard , to mode: E F# G A B C 0#: (d i m i n ished notes
nant chords (i.e. E/G# a n d F#/A#) . To mai nta i n create the repeated n ote. In either case, only the underline
the proper performance, finge rstyl e is a m ust. L . H . plays. The res u l t is a k i n to s p i ccato the p roper tec h n i q u e to execute this precarious
Some of the chords are rol led ( i n d i cated by ("bo u n c i n g bow") c lassical v i o l i n tec h n i q ue. It p h rase. Pay close attention to the position shifts
1 ) ; here each of the i n d ividual f i ngers arpeg­ is the fi rst of many references to classical viol i n (Yngwie is a m aster of the neck) a n d the use of
g iate (in R . H . ) the chord form i s a broken chord , man nerisms. Note t h e arpegg i o a s melodic sym metrical f i n g e r i n g forms. The d i m i n ished
l ute-style m a n ner. The ru bato tempo (free time) contou r agai n . chord is tota l l y sym metrical up and down the
allows the section to breathe. 5 . T h e harmony g u itars enter a n d create a n board : C A F# D# C A etc. The understa n d i n g of
2 The open harmon i cs are p layed close to the electric "cham ber m usic" atmosp here. G t r I I this aspect is essential to smooth performance
bridge for maxi m u m clarity and tone. Use the uses pickslides and GTR I uses v i b rato bar d ive of d i m i n ished arpegg ios. The fingering repeats
th u m b exclusively, if you prefer a warmer sound. and retu r n . These are combi ned in the m i x for a every th ree frets. The fee l i n g of this is l i k e some
Each note must ring out to its f u l l d u rati o n , ki netic effect. of Pagan i n i 's viol i n passages.
form i n g an E m 9 chord . Th is concept is s i m i lar 6 Notice the strict atte ntion to deta i l . Even the 9 Bend i nto the secon d theme statement (on
to the stri ngs of harmonics i n Vi l l a Lobos Pre­ raked e m be l l i s h me nts are harmon ized ! Here repeat) with vibrato bar to create a s l i d i n g por­
lude #4 in Em (a classical g u itar standard ) . the raki n g is more l i k e Blackmore's approach of tamento s l u r i nto the melody. Keep bar s l i g htly
Yngwie pl ays an Aria nylon stri ng acoustic with s l i c i n g t h ro u g h the chord shape to a princi pal depressed a n d g rad ually return to pitch with
a cutaway. melody note, The theme melody is derived from hard slide. Time you r s l u r to m atch rhyt h m ically
3 The Strat enters with a clean tone (vol u m e Em h a rm o n i c m i nor mode: E F# G A B C D# E. with the theme repeat.
backed down ) . Here the raked and rolled ar­ 7 The move to B, the d o m i nant ste p , (another 10 The pedal tone seq uence p l ayed in the solo
pegg ios are the m aterials for motif develop­ Baroq ue-Classical harmonic gestu re) featu res is again very classical i n character. Play a l l the
ment, which are elaborated on through this sec- the use of combi ned Aeolian mode and Har- notes on one stri n g for ease of picking and to

86 GUITAR, MARCH 1986

develop a wide stretch . viol i n demon Pagan i n i ) to do it double handed. shalls for the electric g u itar.
1 1 E m ( Harmonic m i nor) scale put i nto fou r Quickly tap-on a n d p u l l -off the fi rst note of each The bass line was also played by Yngwie.
n ote seq uence groups are s o ty pically v i rt u oso/ g r o u p , the rest are all legato. This pattern moves Notice the use of Harmonic m i nor ( M i xolydian
viol i n istic and are a staple of Yngwie's longer i n to a rather com plex series of arge g g i o j u m ps mode) i n the B maj o r sect ion and the Baroq ue
l i nes. Note the prono u n ced rhyt h m i c accenting and then i nto rapid scalar seq u e n ces and yet Concerto G rosso ( Hand le/Bach/Viva l d i ) style
of the fi rst note i n series. Pick a l i ttle h a rder on more arpeg g i o c l i m b i n g . Practice each ph rase r u n n i n g bass l i ne cou nterpo i n t as wel l . He used
these to establish a strong p u n ctuating effect. very slowly, repeat i n g it conti n ua l l y and b u i ld­ a n Aria bass.
12 Note also the i ntrinsic playing with t i m e ing momentum i n your st u d y. Next, slowly j o i n Wolf Marshall
t h rouo hout the solos. T h e laying b a c k (de­ the part i c u l a r ph rases together one at a t i m e .

B LACK MOUNTAIN SI D E
celeration) of the time again al lows the m usic to Use this proced u re t h roug hout the transcrip­
breathe and adds a relaxed q ual ity to the tion a n d a better com prehension of the style w i l l
extreme metronomic pace of a l ot of melod ies. resu lt. O n e t h i n g that set J i m m y Page apart from
13 The com b i n ed use of be n d i n g , v i b rato (fi n­ 16 Agai n , watch the bend-to-tap relati o n s h i p . h i s contem poraries in the 60s was his penchant
ger) a n d R . H . tap-on tec h n i q ues c reate a very Hold the b e n d w h i l e work i n g with the R . H . t o for record i n g acoustic n u m bers. They served to
exp ressive and s l i p pery melody. Both hands change the p i t c h e s and then p u l l -off (tap-off) t o s howcase h i s eclectic natu re and creativity. This
m ust be syn c h ro n i zed and atte n t i o n should be the al ready b e n t t o n e . T h e ben d is s l i g htly tune req u i res the open t u n i n g DADGAD which
focused on keep i n g the pitches exact as the released (to half step) while tapp i n g . s o u n d s a D sus4 chord. This tuning enabled
h a n d 's i n teract ion changes the i n tervals. Hold 17 Pal m-m ute ( P M ) the fi rst section of passage h i m to s i m u late sitar-like sou nds, especially
the bends as n otated to ass u re p roper i ntona­ to i m pa rt a dam pened (but not m u ffled ) sou nd when so u n d i ng th ree or more consecutive
tion. to the ascen d i n g seq uence. G rad u a l l y l ift pal m scale tones at a t i m e . J i m my fi ngerpicks this
14 Wh i l e these speedy arpeg g i o f l u rries are off d u ri n g the fast l i ne to c h a n g e t i m b re (when tu ne. Since there i s n o syncopated pattern to set
somewhat rem i n i scent of Blackmore's frenzied the notes are all on the fi rst and secon d stri n g s ) . u p for the whole t u ne, I suggest doi ng what is
wide ra k i n g , they are actually q u ite measu red 18 T h i s n o t e i s b e n t v e r y wide. N o t e the bend o f m ost comfortable for you, using the t h u m b for
and exact and req u i re a tremendous amount of a pe rfect fourt h , and su bseq uent wide vibrato t h e bass notes and s i n g l e note l i nes. The only
hand shifting and stretching as well as precision (ag a i n of a perfect 4th ) . This h i nts of a rad ical tec h n i q ue to be wary of is a "ro l l i n g " type of
to acco m p l i s h . The concept is more related to h a n d v i b rato style s i m i lar to U l i Rot h , another of f i n gerpicking pattern used i n bars 7 and 1 7 ; the
vi rtuoso viol i n etudes than standard g u itar the Central Eu ropean hard rockers. 32nd n otes on the u p beat of one are sounding
voca b u l ary. N ote the backgro u n d g u i tars I a n d 19 The su btle v i b rato bar p h rasi ng (sl i g htly l i ke by p i c k i n g the open G str i n g with the t h u m b

suggesting a recap to t h e theme. ·5.1'·

I I (stem med a p p ro p r i ately) re-ente ri n g a n d A l l a n Hol dswort h ) adds a flowi ng s m oothness and h a m mering o n t o the second fret w i t h the
"
when com b i ned with legato L . H . a p p roac h . The fret h a n d , and then pick in g the top two strings
The coda solo features even more out­ floating tremolo system is man datory to ach i eve with the i ndex and middle f i n gers i n rapid suc­
standing pyrotec h n ics, arpeg g i o work, d o u ble t h i s effect; it m ust move back and forth to bend cess i o n . Once you 've memorized this tune try
hand tricks and scalar/modal co m b i natio ns. and release the pitches i n an arc h i n g v i b rato to g i ve it a l i vely bou ncy fee l . Play i n g in this
15 This passage can be pl ayed with o n e or two so u n d . Be caref u l to maintain an evenness i n t u n i n g is a welcome break fro m standard t u n i n g
hands. Its tap-on range is with i n reach for t h e L. H . legato n otes a n d d i ve t h e b a r o n l y a half a n d c a n spark s o m e creative i nventions o f your
anyone with a wide stretch . However, it i s step to "scoop i nto" notes. Yngwie used a own.
s i m pler, stronger and m o r e i n kee p i n g w i t h Fender Strat with Di Marzio p i c k u ps and scal­
Y n g w i e ' s v i rt u oso show-off stage a n t i c s (a Ia loped f i n g e rboard i nto vintage 50 watt Mar- Andy Aledort

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MARCH 1986, GUITAR 87

 However, what may i m p rove and b roaden the have become trademarks in h i s writing and rhy­
arrangement would be for the seco ndary g u itar tym style (i.e. Burn, All Night Long ) .
to p l ay longer note values i n genera l . A flexible 3 S o a r e t h e broken c h o rd arpeggios that he
exa m p l e is as fol l ows: e m p l oys in the verses, a n o bvious sol ution to
the age-ol d problem of expa n d i n g basic power

U J 1J J J I
chords i nto more i nterest i n g rhyt h m textu res.
4 Blackmore also colo rs the accompani ment
with contrapu ntal melody l i nes in the pre­
F r o m the stan d po i n t o f arran g i n g , i t 's a good chorus (cou nterpoint to bass and vocal s ) .
idea to free rhyt h m parts from each other i n t h i s 5 Black m o re uses the v i b rato bar d ive to spice
way, to cut d o w n on excess traffic. up the entrance i nto the secon d verse. The
The g u itar solo is brief and easy to commit bas ic idea is t h i s : Push the bar down to slacken
to m e m o ry. The feel i n g is undeniably the b l u es, the stri n g (5th st ring fretted at 7th fret) q u i ckly
so dig 1 n and try s i n g i n g with your g u itar as wel l . a n d then allow the n ote to g rad ual ly return to
Kenn Chipkin pitch (wit h i n ti me) by easi n g p ress u re on the

K N OCKING AT YOU R BACK DOOR

bar.
6 The fi rst g u itar solo reveals that Blac k m o re is
·
Ritc h i e Blackmore is a l l over t h i s track . H i s sti l l a n explosive a n d i n n ovative g u itarist. Notice
rhyt h m g u itar work is colorful a n d m u lti-textu red the use, agai n , of the Phrygian mode (this time
and his lead g u itar playing is typically agg res­ i n F#: F# G A B C# D E) but with a q u i rk i ness
sive and d ist i n ctive. Let 's exa m i n e some of the w h i c h is typical of Ritch ie's approac h . The G

FOREVER MAN
h i g h l i g hts : m aj o r aspect of the mode (G A B ) is p layed
1 The sparse ensem ble l i n e here is p l ayed very agai nst the F#m i n o r background tonality-re­
The rhyth m part for this tune has been staccato-with a perfect balance of m ute and s u l t i n g in a sound which is a bit "outside" for
sl ightly si m p l i fi ed . I 've "standardized " the verse pitched t i m b re. Take care to m ute j ust enough conventional roc k .
and solo section rhyt h m part for both g u itars, to a l l ow the actual note to sound as wel l as the 7 T h e p u l l offs ( i n cascaded patterns) em phasize
based on what E. C. and Steve Lukather played m uffled effect. This is accom p l ished by a com­ the frantic sou n d even more.
in the first verse. This w i l l g ive you some room to bi nation of l ig h t frett i n g (finger raised after each 8 B l ac k m o re f l i rts with the Aeolian mode (in F#:
add rhyth m i c i deas of yo u r own to the part. note) and palm (pickhand) m uting on the stri n g . F# G# A B C# D E) as melodic contrast here.
Even though you may not s i n g , consider Notice the su btle u s e o f t h e Phryg i a n m o d e ( i n This ph rase, as well as 6 s h o u l d be learned
this tune a good opport u n ity to learn cam p i n g G : G A B C D E F) and ru bato (free) t i m e to slowly, with special attention g iven to the rather
for yourself a s y o u s i n g . This part is basic and c reate a mysterious and haunting m ood to the u n o rthodox f i n g e r i n g - B l a c k m o re tends to
easy to fee l . I t never h u rts to rou n d out your i ntro. The polychordal harmony Fm/G is f u rther move from open to fretted string positions in a
m usicians h i p . derived from p h rygian and provides a 20th cen­ very u n p red i ctable way. 7 Moves from the natu­
The g u itar p l a y i n g the " S u s 2" chords tury modern i s m to the sectio n . ral m i n o r mode to harmonic minor and bac k .
s h o u l d f o l l o w the s a m e rhyth m i c patte rns 2 R h y. F i g 1 is u n m istakably D e e p P u r p l e . 9 T h e f u n ky feel conveyed here rel ies on heavily
played by the primary rhyt h m g u itar, a s noted . B l ac k m o re 's d i ad (two-note chord partials) riffs g h osted notes (expressed as Xs) to occu py
rhyt h m i cal space alternating with rests which
create an extre me syncopation. Because of the
rhyt h m ical co m p le xity, isolate this passge and

I F YOU A R E LOO KI N G TO B U Y
l isten repeatedly to i m bed the feel i nto your
stu d y. Be carefu l to observe the rests specifi­
cal l y.

. M U S I CA L O R S O U N D EQ U I P M E N T
10 This is an exa m p l e of yet another Blackmore
trademark-h is rak i n g and rol l i n g across the
stri ngs to p ro d u ce a wide g l issando arpeg g i o
effect. To acco m p l ish this t r i c k y tec h n i q ue,
p ractice rak i n g the pick across the stri ngs
smoothly i n one motion (downstroke) while

CA LL FO R SAM AS H
l i g htly frett i n g the desig nated chord form or
pitches (fi ngers l i fted i m m ed iately after each
note ) . The frett i n g f i n g e rs s h o u l d also act as a
m ute to the notes, kee p i n g the pitches from
r i n g i n g out as a c h o rd would normally. Pick and

TOLL FRE E : Ask Tol l F ree O pe rator

fingertips m u st synchro n i ze and follow each
other to avoid rhym ical a m b i g u ity.

fo r Sam Ash
11 Here the m a i n riff ( R h y. Fig 1 ) is g i ven a s l i de
g u itar treatment in the coda, a form of reorches­

O R 1 -71 8-347-7757
trat i o n . The i ntervals a re all perfect fourths d ue
to p h ysical natu re of straight bar. Make sure to
keep a l l on the stri ngs li g h tly m uted to avoid
extraneous s l i de noises. This is done by resting

Sam Ash h as eve ryt h i n g a l l m u s i c i an s n eed ,

the f i n g e rs before the s l i d e (frethand) gently on
the stri ngs su rfaces, a l lowi ng only the slide

from p l ayi n g to reco rd i n g at consisten tly low

notes to be heard .
12 The outro is a l l Blackmore in a second solo

prices. For ove r 6 1 years , i f yo u want it yo u ' l l

which b u i lds i n melody and i ntensity till the fade
out. Notice the use of fingerpicking p l u s pick in

f i n d i t at Sam Ash .
the d o u blestop section, to vary the attack . Many
of the tec h n i q ues ( rak i n g , p u l loffs, g host i n g and
m i xed m odes) are recapped and elaborated in
this long but exciting rideout.

SAM ASH M U S I C COR P .

The bass l i nes t h rough out are often con­

1 24 Fu lton Avenue H e m pstead , N . Y . 1 1 550

trapu ntal and m e l o d i c i n nature and Roger
G lover uses taste a n d ingenuity i n the "duet"
type fills beh i n d Blackmore's solos.
Wolf Marshall

88 GUITAR, MARCH 1986

 FOREVER MAN
Tablature Explanation page 100

As recorded by Eric Clapton .

(From the album Behind the Sun/Duck-Warner Brothers 1 - 25 1 66)

• m3fr. -m- m3fr. �

Sfr. �3fr.
Bi> c Bl!sus2 Csus2 Dm Gm Words and music by

� m:ttJ
X X X X X .- X XX - Jerry Lynn Williams

1 333 1 333 1 34 1 1341 134 2 1 3111

Tune low E down whole step: @= D

Moderate Rock J 112

I j
=

Cym . & snare

Riff III
N.C. (Dm)
Gtr.
fl >

... "I 41.

�· ':J -:i.
!.) ... t•J

mf �
�

B
v

...

Gtr. II *Partial P . M .
fl

!.) -
-...-:::1 � -
iiiiii::l ---

mp

_,
4 � � v

*This secondary fig. is played partially muted throughout the song.

Repeat Riff � till I st verse

w/Synth horns no. I (below)
--
fl

!.) -- - - - - - -liiiiiiil � liiOl

\V/ ...

fl
w/Synth horns no. 2
!.) - - ·-=:::= - ...::! - - - -- -

... v v .,- "

S:1h horns no. I Synth horns no. 2 ( I st bar tacet I st time)

fl J!> f\ '"\t t �• .. ... ...
!.) - @.) - -
mp mp

:;; � �

�;. ;;; :::

"

Copyright © 1985. 1986 by Blackwood Music Inc and Urge Music.

Administered by Blackwood Music Inc.
All Rights Reserved Used by Permission
1st Verse
Gtr. II plays chords in parenth.
(B�sus2) (Csus2) Gtr. II plays fig. below (B�sus2) (Csus2)
B b C Om Bb c

-
fl

�
. ... ..
-" ......__.. .......
How man - y times_ must I tell_ you ba - by, how man - y bridg - es I- got to_

r-i H
n
�r. I n vn v n
��JH�:.
Rhy. Fig. I
m
sim.
H � . . �

���
:

r r
.

"I "I
. .
� "II • .. ""ll .. . ... .. � "II • .. ., .. . .. .. �

H H H

-
..--.. � �

� � � -�· v
.. :: .. ..--.; � � ::� �
:: � � �
:: :; :: � � � � ;, ;;......., ::.-..:. :; :; � .. .. �
v
� .. . ..

Gtr. II plays fig. below (Bbsus2) (Csus2) Gtr. II plays fig. below
Om Bb C Om Gm

-
II

·�-J:_
-
� - � .. ..JJ._O
-
;;:§_jJ j ./'l--si.
cross?_ How man - y times_ musL I ex - plain __ my - self
"''
H H

n • n
� H
fl
I"""""': I"""""': �
.. . .�Q_
: ..
*
r - ....J I
.
!) "II • "II .. . .. .. �
C:.J...-iil F'

sl.
-
H H H

-
..--..

-
� �
:: -:: � ::
�
:; ;, ,:;, ;;� :; ;, .. -� � ::1 ..
;-----: ;:...
v
.,;, :: v
;
"
;; � ': � � .. l;: -'

v� v v v
Om (Bb sus2)
Gtr. II ). -""!!!,J"'J-)J.
! ) ). 3) ;-; )
(Bbsus2) (Csus2) V Bbi--� Csus2
Bb c
1\

. .. ..
.

•.:...• ·-· ·�·

(be) fore_ I can_nr-1
� ......__.. ... ... .. ·-·
.......___..

n,...-: v n
(be)fore_ I can_ talk to
� �-
talk_ to the boss, ___

II. I C""" I
.. - .
!) .. . "II .... ... . .. ... - '1: ... .

"' "'
_;;,
;;, .. � �
v v v v v

Gtr. I repeat Riff � till 2nd Verse

w/Synth horns no. I till 2nd Verse
fl
N.C. (Om)

the �
�
boss?_
fl
Gtr. II
!) - loiiil - -
�iii�:� �iii�:� - -
�
- - - -
m:p

v v v v
_.,

90 GUITAR, MARCH 1986

2nd Verse
Repeat Rhy. F ig. ! (Both guitars follow rhy. figures as in 1st verse)
(Bb sus2) (Csus2) (Bbsus2) (Csus2)
J J JAJ J J J J J
Bb C Dm Bb c

'� J �J. }3 1
How man - y times_ must say
__ I love you_ (be)fore you fi-(nal)-ly un - der - stand'!_
(Bbsus2) (Csus2)
I J ]i J a 1 tJ
Dm Bb c Dm Gm
'� J !
-
J
@�
.......
Won't you be- my For - ev - er Worn- an'�! ---- I'll
(Bbsus2) (Csus2) Dm (B bsus2) (Csus2)

I J n n.
Bb C Bb c

1 n J j JI
'� try = ?
.R.
J =>

JJ �=f��: .......

to be_ your For ev - er _ Man, _ try to be- your For ev - er Man ..

Repeat � till gtr. solo
Riff •overdub vocal line doubled
(For ev - er Man!). - 8va bassa

II
N . C . (Dm) w/Synth horns no I (till solo)
� .:!5:?
Riff llij
--
Gtr. II
"

� -
iiiii;l liiii:l -
liiii:l liiii:l - - - .... - .... - -

mp

.. " ''" " .. "" " "

�

GUitar (Lead gtr. m standard tunmg)

solo(Bbsus2) (Csus2) (B bsus2) (Csus2)
Rhy. 8vaFull- Fu� Full 1 /4
Bb C Dm Bb C Dm
Full
�
Full Full Full
=;) �}__,. A!._
loco
/
- --- - -- --- -- - - - - -- - - -- - - -- -- - - - - -- -- - - -- - - - 1

J /
,.J -�� � � � i � � � �� .J �
_
_
Fig I
II � -- ·
sl. �

I�
f)ll
'-- 3-...J slow slow
bendF slow bend
.J�- - - � --t
bendFull
r
Full 1 /4
J
Full Full
_) .�/ t t
H p

...
�
sl. :/
•A----::::--- sl.
.....-;::::
...
' ..

(Bbsus2) (Csus2) (Bbsus2) (Csus2)

Bb c Dm Gm Bb c

'--- 3�
Full
non vib.
;- - - - -

MARCH 1986, GUITAR 91

 (BI>sus2) (Csus2) Repeat Riff � & [iJ till 3rd Verse
Bl> 8va- - - - - - - - - - - - - - - - -C- - - - - - - - - - - - - - - - -N.C. (Om)
-----------------------

L-\ P . �sf.
Full

....--.;..,
"' -:-il ....---_ •..•--. C"a

�-
@.)

/
rake rake
Full
Full

.�
p
" ------:�
� �st.
'"
•...._

3rd Verse
Rhy. Fig. I
(BI>sus2) (Csus2) (Bi>sus2) (Csus2)

1 J J ;_ ; i JI' o_) J. -a JJ n n. 1
Bl> c Om Bl> c

&� �
zt
How man - y times_ must say love_ you, (be)fore you fi-(nal) -ly un - der -
(BI> sus2) (Csus2)

... ... .._.. .

Om Bl> c Om Gm
�1
"'

·�
.

.. ..

... . .i;�
�

L�ad gtr. stand'/

Won't you be_ my For - ev - er Worn -an, 1 /2

_1:,.
__

�
st.
i @.i c:::--' � p
-

1Tff �2
-- ......_...
p
p �

�
·- ..:..
-

st. P
·- "" ,
� ....
p

M r--= n (BI>sus2)
Repeat Rhy. Fig. I till next fig.
,_..,...,. .) · ) · .)
c Om
(BI>sus2) (Csus2) � (Csus2)
Bi> c B i> C
... .._.. ... .._.. ..
try ...to be_ your. For
fl

- ... .......__..
� ... .....__..
•.::_... •
�
...
try to be_ your For - ev - er_ Man,_ - ev - er Man._
"'

j @.i · �,
sl.

...._...._
sl.

(B i> sus2) (Csus2)

Om Bl> C Om

-,p-"TP?;. J /Jal-P 1 J J:tU 1 nJJip-.-rn-; J f J�l For - ev - er Man,_ For " ev - er Man,_ For - ev - er Man,- For - ev - er Man,_
(For - ev - er Man!_) (For - ev - er Man!...)
* Un til end, background vocals denoted by B . V .
a n d a r e always performed verbatim .

92 GUITAR, MARCH 1986

 (Bbsus2) (Csus2) (Bbsus2) (Csus2)
Bb c Dm Gm Bb 3 c

.
f\

f) ...._•__ � � �-*"]..__-• · � � '-' .....__... •...._•

__ .. -.: •-..._...-• .

· For - ev - er Man,_ For - ev - er __ Man._ Try to be_ your For ev -

Lead gtr.
f\
sl. r--= ..----..

V I sl.
sl.

sl.

)--J"J .
c Dm Rhy. Fig. I (till next fig.)
(Bbsus2) (Csus2)
"! ::> ::> ::>
Bb C Dm
m.v.\
fl

� F: - : -:��::::· !or - : - :42�::�� F!r �:-� � _q :_:::,_

"-"
� � .....__...

..! _2f
er Man, Man, "/F:
. r:- � ·�· =� .
__ ___

�
Full
H
fl ::> ::> ::> �
�
::> s/.
l
- -
f)
slight vib. F ll
F �
�

� �
H
---..
.�
·�

sl.
(B bsus2) (Csus2) Dm (B bsus2) (Csus2)
fl
Bb c (B.V.) Bb c

� � � -----
�· ·· � � � �·---...-o � :J_
�· - �ev -��·.... � - �-*"
� - ev
� '---'
f) ----·- · For - ev - er Man,_ For - ev - er Man._ For �·.__... � For
er Man,- .._ F ll
·...._•__ · For
er �Man,- - ev - er
p p p
__

._/ f:--:_. f:-� . f:-� f:-�

w/Fill l (below l sl.
- ::> ..__ H
f\ ....--...._ •

I f) I p -
H �

s/. p p

.;
:::

p
H H

Fill I (this guitar takes over so�g)

::> """"""" >....-... >�

Full

MARCH 1 986, GUITAR 93

 (Both rhy. guitars)
�n. j
c Dm
Dm Gm (B�sus2) (Csus2)
"'
(B.V.) B� c

��-
� .. ...... . ...
@.) •:.._•
__., ... ... •...._•
_...
Try to be_ your For - ev - er Man.

h ����-��-1� �
Man.
_ Full Full- - - - ,

1\ � � �

�-
@.)

1:-- N
Full
- - -
p
�
sl.
·� ·� '-<.r-\'• ·�

....__

Repeat Riff 0 & � till fade Lead gt�

w/Synth horns no. 2 Full

� � .----
p
P :--.. p
N . c . (Dm) > p > Si.
�
�
II .� -·-

)',
@.)
Full

p p p �

/
:� """
'· ·'
y

P s/.
L- -
�� r� ��� ��
Full

• •...-.. ••
w/Synth horns no. 2 till fade
�� � � � �---� �· � ��--
s,l.
"' :;::::::-- �----
p

+- +- +-+---..:..

@.) sl. slight vib.

......_
;�-- """" s/.
- '�
p
·- ·-
.:: \'
:. " ,.; ;.,.
·�
:....
....__
sl.

II
��s . 1t- .----
p
...-----... � sl -

� 'i-;!
sl. *' �· �
-

@.) sl. s/. .. •..__.•

. ...
p
...
..._.

sl p ......_ """"'
'
'· ·'

'
\' .,..... .c-
.•

-·� � •n
on
sl. sl. s/. s/.
�
p

"' �
p H s. Fade

@.) ...
....__.
.. - -

p � H ......_
s/.
'
---
.:-

'
,_.,

94 GUITAR, MARCH 1986

 Bass Line For
Forever Man

whole step @ D
Tune low E down
J
=

Moderate Rock = 112

j
Cy m . & snare

N.C. (Dm)

H H H

H H

!1
1st Verse
1 1-1
t{ __u }---D:
Dm
.n_ �
B� c

- - - t{ _ 7 B� c Dm sl.

How man - y times_ must I r� you

H
sl.
B� c Dm Gm B� c Dm

sl./
B� N .C . (Dm)

sl. ?!:- ?t-

l 1 1 1-l 1 �--fl: h�
2nd Verse
n_
Dm
t
B�
(1-- B� c

say_ I love you,_tr

.__,
H

� How man - y times_ must I ...

MARCH 1986, GUITAR 95

 Dm B� c Dm Gm c

1 /4
_ftl---1
c N.C. (Dm)
Dm
sl. B�
1

Man.r
st. H

sl. . . . For - ev - er

(Repea t for guitar solo)· 3�� Verse1F=jF=1F=J:--J

H

1 n 7 � 1 D� 1
1/4
Dm
t � -
Jl I J. I! ¥ Ji J J =II r r
tr-"'

'·>
r r I r-�t.!c ct l
1/4 How man - y times must say love_you, . . .

B� c Dm H
�
B� c Dm Gm
/
sl.
H

......
sl.
Bb c sl. Dm B� c Dm

:> sl.

_./

sl. sf.
B� c Dm Gm

p9 JJ. J sl.
H

s/. �/.

96 GUITAR, MARCH 1986

 c Dm B� c Dm
B� sl.

B� sl. c Dm Gm

/ --....-
sl.

c Dm N.C. (Dm)
> sz. sl.
>

sl. sl.

•puJJ string w/finger for it to "slap" back against the fingerboard.

1 /4

1 /4
H

H
....... Fade
s/. sl.

H
sl. sl.

MARCH 1986, GUITAR 97

98 GUITAR, MARCH 1986
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And t h at's j ust the beg i n n i n g . Because in add ition to our reg u l ar featu res,
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 TABLATURE EXPLANATION
Defi n itions
Tablature A six line staff that graphically represents the guitar fingerboard. B y placing a number on t h e appropriate line, the

�
string and fret of any note can be indicated. For example:

Slfl etrfnt, 3rd ht 1efetmg, f5tlt i'Nt,

I I
an open f ehord

'"mi�M ��r ·�r -·1 '1 ��I�

2ttdltlfng, ,,, ,.,
- --
Position Position markings are given in Roman numerals above each excerpt. Remember that the position simply means the fret

H=� �::�=
that your 1 st finger plays on. For example, 1! pos. means that your 1 st finger plays all the notes on the 2nd fret, the 2nd finger plays
the notes on the 3rd fret, the 3rd finger on the 4th fret, etc. One fret for each finger.
ooloo, mm .. • •M - m ··-· ·· =• -

Definitions for Special Gu itar Notation (For both traditional and tablature gui ta r Jines)

;;
1/2

B E N D: Strike the note and bend up Yz VIBRATO: The string Is vibrated by rapidly
1 /2
step (1 fret). bending and releasing a note with the fret hand
or tremolo bar.

Full

whole step (2 frets) .

B E N D: Strike the note and bend up a SHAKE OR EXAGGERATED VIBRATO:
Full The pitch Is varied to a greater degree by
vibrating with the fret hand or tremolo bar.

=
�
1/l(or Full)

S L I D E : The fi rst note is struck and then

the fret hand moves u p the same string to
LEGATO B E N D A N D R E LEASE: Strike the location of the second pitch using the
l /2(oc Full)
the note . Bend up Yz (or full) step, then same finger. The second note is
back to the original note. All t h ree notes not struck.
are tied; Only the first note is struck.

1 /2 (or Full)

=
SLIDE: Same as a bove slide, but the 2nd
G H OST BEND: Bend the note up Yz (or note is struck.
l / 2 (or Full)
full) step; then strike it.

1 /2 (or FuU)

Pick slid�
G H OST BEN D AND R E L E A S E : Bend

;;
the note up Yz (or full) step . Strike it and P I C K S L I D E : The edge of the pick is
release the bend back to the orig inal note. rubbed down the length of the stri n g . A
scratchy sou n d is produced .

������
FuU

��F�·����
U N I SON BE N D: The lower note is struck
H A M M E R O N : The 1 st note is struck.
slightly before the higher. It is then bent to Then the 2nd is fretted on the same stri n g
the pitch of the second note. They are on
i n a continuous motion . Two fingers

t
adjacent strings.
are used .

100 GUITAR, MARCH 1986

j£.., F-==- f
p

Jl P U LL-O FF: The 1 st note is struck; The

2nd one sounds without pickin g . Both
A.
�����
H .
Bva,

�
... ARTIFICIAL "PINCH" HARMONIC: The

�§A§·"-���
fin g ers are initially placed o n the notes to note is fretted normally and a harmonic Is pro-
be sounded. The fret hand fi n g er pulls the <•;"'"> duced by adding the edge of the thumb or tip of
stri n g to sound the 2nd note . the Index finger of the pick hand to the normal

����� FRETBOARD TAPPING: Hammer ("tap")

pick attack. High volume or distortion will allow
for a greater variety of harmonics.

�
soundina pitch: E

3 3 onto the fretboard with the Index or middle

T , , T "
, finger of the pick hand and pull-off to note

I
Tren1. bar

,;7
fretted by the fret hand ("T" Indicates "tapped"

�
'
• ,; 7 'o :: notes).
TREMOLO BAR: Pitch of a note or chord Is

�
rrem.
dropped a specified number of steps then

� T R E M O LO P I C K I N G : The note is struck

as rapidly and conti nuously as possible.
returned to original pitch.

Harm.
�����
:!:
PALM M UTE (P.M.): The note Is muted by

��""'�m-���
N ATURAL H A R M O N I C : The fret hand the picking hand lightly touching the strtng(s)
CD "" l i g htly touches the stri n g over a desi g · just above the bridge.

;;;
n ated fret . Then it is struck . A chime-l i ke

t
sound is produced .

A.H. � ARTI FICIAL H A R M O N I C : The fret hand

M U F F L E D S T R I N G S : A percussive
sound produced by layin g the fleshy part
fin g ers the ind icated note normal ly. The of the left hand across the strings and
pick hand prod uces the harmonic by us­ stri king ac ross them with the pick hand.
i n g a fin g er to li g htly touch the strin g
at the fret indicated i n parentheses and
plucking with another fin g er.

YNGWIE UNMASKED ! ! !
( Doctor Licks Reveals
Yngwie Malmsteen ' s Hottest Guitar Solos )
It's a l l h ere! A col l ection of Yngwi e ' s solos transcribed
note for note from his hit albums.
Doctor Licks has done all th e work for you , capturing
Yngwi e ' s l i ghtning l icks in easy to read ta b l ature a n d
standard notation. P l u s a h andy cassette ( featuring th e
Doctor himself) taking you th rough each solo phrase by
phrase and at several speeds . Each bend, every s l i d e ,
a n d all th e special effects Yngwie u s e s t o get h i s exciting

scription available and it's all yours forj ust $15.95. Avail­
sound are explained in detail . It's th e most accurate tran­

able right now at your favorite music stores .

More Prescriptions
From The Good Doctor!
Be sure to ch eck out Dr. Licks ' oth er famous

"Dr. Licks is the best prescription

transcriptions. Vol umes I thru VII feature your

for what ails your guitar playing. "

�·� favorite guitar solos by Van Hal en, Led Zeppe-
-....--""
l i n , T ri u m p h , P i n k F l o y d , R a n d y R h o a d s ,

I I'\ See your music dealer, or write directly to,

-Rik Emmett o f TRIUM PH·
Hendrix, Z Z Top, Yes, and many more .

LICKS ®
ICHAL UOMARD PUBUSHIMG CORPORATION
DOCTOR DEPT DRL2, 81 1 2 W B LU EMOUND ROAD MILWAUKEE, WI 5321 3

MARCH 1986, GUITAR 101

 timent s . Not that the dual guitar hijinks brand of musical violence and lyrical
Graham Oliver and Paul Quinn can 't mayhem into your bedroom and pound­
get a crowd frothy. On Innocence both ing head. Live After Death is a full-bore
seem in form, despite our not knowing assault captured in' July of '85 that checks
's soloing when. Their stringbending in with nearly 100 minutes of double
blues-tinged and melody con­ guitar fury that never lets up and is
scious, perk up several of Biff's more guaranteed to lop a few heads off on its
dinosaurian tunes . The disc's opener, way. The only thing missing is your own
Rockin ' Again, is a memorable slow blow-up Eddie and accompanying light
cruncher with a nice spiraling solo that show. The album is a fairly complete
offers hope, but the album soon settles history of a band that h as become the
into a steady but routine groove. Broken model for true metallic mania, offering
Heroes is a mid tempo tune with a sincere everything from Running Free to Pow­
anti-war theme, and the band 's finale, ers/ave . As always, the fuel that powers
Give It Everything You 've Got does just Maiden comes from bassist Steve Harris,
that in a high-gear, rumbling styl e . Biff whose throbbing, winding lines explode
shouts "We 're back !" on Back on the aggressively. And guitarists Adrian Smith
PHANTOM, ROCKER & C>I.JJ•'-'•'­ Streets, but this Excuse won't get them and Dave Murray never relax, always
Phantom, Rocker & Slick very far. backing each other's sprawling solos with
EMI America ST-17172 crushing rhythm riffs, and teaming for
Performan Snarling SIX SILVER STRINGs-B. B. King intricate melody leads that are amazingly
Hot Spots: Well Kept Secret and MCA-5616 exact and assured . These guys preach
Slick Performance : Classy what they practice, and that is pure,
Bottom Line : Weak material, strong Hot Spots: Into the Night and My driven metal forged into one powerful
guitar Lucille noise .
We have here the rhythm section from Bottom Line : Short but sweet 50th al-
the Stray Cats-drummer Slim Jim Phan­ bum from blues great ASYLUM-Kiss
tom and bassist Lee Rocker-and all-star B. B. King has reached the point in his Mercury 826 099- 1 M- 1
journeyman guitarist Earl Slick ( Bowie, career, at sixty years of age, where noth­ Performance: Manic and scratchy
John Waite) teaming on an album of ing comes easy but everything is sweet. Hot Spots : Tears Are Falling and
menacing neorockabilly rock. The lyrics This "king" of the blues has received so Secretly Cruel
of the ten cuts deal with the seamier many awards and glorious reviews that Bottom Lin e : Unmemorable
side of life ( there are at least two murders ) his publicity reads more like a Nobel Just when you thought Kiss was going
but the sharpest weapon is wielded by Prize nomination than a biography of a to reclaim their hold on the masses, they
guitarist Slick. Finally given a chance to Mississippi blues guitarist . King still lives entered this Asylum, an album of raspy,
have some control, Slick wastes no time his life on the road, playing close to 300 uninteresting, routine hard rock that
in whipping it out and carving some concerts a year, and, of course, he s till proves they still love themselves more
tough, grinding solos . Unfortunately, what makes smooth, glossy blues albums. Six than we love them . Original Kissers Paul
could have been a great merging of Silver Strings is his 50th album in 35 Stanley and Gene Simmons took on pro­
sensibilities is weakened by marginal years, and while no classic or revelation, ducing chores this time and have piled
material and the thoroughly average voice it is testament to a bluesman who loves on vocal choruses so thick it's annoying.
of Rocker. The murder mystery, Well Kept to play. On Strings his sound has been A song like Who Wants to Be Lonely
Secnit, is the best song and Slick winds updated for the umpteenth time with becomes just plain ugly when masked
up his hottest licks for the occasion. One handclaps, keyboards and "contempo­ with the scratch of a hundred voices .
of the classic flick-of-the-wrist torquers, rary arrangements," but cutting through New guitarist Bruce Kulick tries hard to
Slick has the ability to completely take it all is his velvet growl and the piercing be one of the boys, his power chords
over with his playing, as on Men Without notes from his guitar Lucille. Three songs leading the charge, and along with Eric
Shame and the blues Time on My Hands, come from his soundtrack for the film Carr's drums, putting some meat on
despite the dingy settings . It's nice to Into the Night and on them King sings these thin songs, but in the end he just
hear a respected axeman like Slick get and plays his best . There are a couple doesn 't have much to work with and is
his chance in the limelight, but he's going of mildly corny ballads and some charged­ left to shove in short, contrived, trick­
to have to find brighter surroundings up horn swingers, and while the album bag solos. He does manage a nice me­
before anyone will really notice. comes up a bit short in length and lodic turn on Tears Are Falling, a Stanley
substance, one can hardly complain any song that 's the best tune by far. Overall,
INNOCENCE IS NO EXCUSE-saxon time one gets a chance to hear some though, the manic screech and blatantly
Capitol ST-12420 new B. B. King. cliched songs are too much. Where's the
Performanc e : Emphatic beef? Well, there's the usual cheesecake
Hot Spots: Rockin ' Again and Bro­ in the lyrics but the blasting roar of the
ken Heroes "LIVE AFI'ER DEATH"-Iron Maiden Kiss of yore seems sadly missing here .
Bottom Lin e : Workman-like outing Capitol 12441
from average metal band Performance : Relentless
Biff Byford and the Saxon crew are back Hot Spots: 2 Minutes to Midnight,
( from where?) and they're letting us know The Number of the Beast THE LAST COMMAND-W.A.S.P.
with Innocence Is No Excuse, an album and 22, Acacia Avenue Capitol ST-12435
built to fit an imminent tour. The record Bottom Line : Harrowing headbanging Performance : Ball-crushing
is full of riff-based anthems with shout­ for in-home hysteria Hot Spots : Wild Child and Fistful of
along choruses like "Everybody up," In the tradition of the evening news, Diamonds
"Shout it out" and Rockin' again," and which brings terror and war into your Bottom Line : A giant step musically
no doubt this aging crew will work crowds living room, Iron Maiden has unleashed Tippy Gore and the PMRC notwithstand­
into a froth with those hie-flicking sen- a double-live set that brings their searing ing, Blackie Lawless and WA.S .P. are at

1 02 GUITAR, MARCH 1986

ft'l!lU:Wl'-ll!lua � O dt
D
Columbia PC 31083
L
their 1972 debut, is an album of thlcll.
layered guitar playing. Blue o,.ter CUlt,

chugging rock with minor key themes

and buried lyrics that compounded the
songs' mystery. lt, along with several later
albums, including Secret Treatte., the
album that gained them real success, are
now available at midline prices.
Many set the Cult on a hea\.y metal
shelf with Black sabbath. But Blue Oyster
Cult had something on all the sabbaths
and Pwplea-they didn't take them­
selves seriously. 1be band'a �ed
aura, with the inverted question mark

8atanJam With obvious cyniciiHn , joined

and crda8 symbol and songs that tickled

with wtW IIV8 shdwa that didiaxed with

all five CUitista walling on SUitar to create

MARCH 1986, GUITAR 103

it again, with saw blades spinning and on Blind in Te(cas kick in and cook. POWER WINDOWS-Rush
spittle flying . Without a hint of surrender W AS.P. sounds like a band on Com­ Mercury 826 098- 1 M-1
in their thunder, the four ghouls of mand, not just a marketing conglom, Performance : B i g and sophisticated
W AS.P. start their second album with a and they show that they have the poten­ Hot Spots : Middletown Dreams
sweaty ode about a "naked heat ma­ tial to achieve as much notoriety for their Bottom Lin e : Impressive but no fun
chine" and don 't let up with their acid­ pulsing sound as their blood-letting pos­ Do these guys ever have any fun? From
tongued rantings until the final chord of ture . Holmes and Piper's guitar solos are the sounds of Power Windows, the
Sex Drive . What makes their second me­ crisper, though still predictable, and three Canadians of Rush are serious
tallic manners guide superior to their Lawless's voice seems to have gone up adults, concerned with worldly themes
debut is the polish producer Spencer a notch in coarseness . There's plenty for and the utmost in technical sophistica­
Proffer has given the band ' s sound and moms and senators to complain about tion . The three play like the rock virtuo­
the fact that W AS .P. has had a year to on Command, but most notable is that sos they have become, filling Windows
practic e . The sound is stronger and some songs are worth listening to this with classy, intricate stuff, as meticulous
sharper, and churning rhythms like those tim e . and precise as it is boring. After listening
to half of the highly structured compo­
sitions here, you 'll find yourself scream­
ing at the speakers, " RElAX ! HAVE SOME
FUN !" The album is so full of guitar fills,
bass flops and percussive ricochets that
you 'll think you ' re listening to the power
Polic e . That is until Geddy Lee 's familiar
quaver comes in . Not that one note of
Power Windows is anything less than
stunning-the album is, at the least, a
technical marvel and a shimmering, in­
sistent statement . But it's so stiff. Once,
I 'd like to h ear Geddy scream " Let ' s
party!" Alex Lifeson is his usual adept
self, contributing myriad harmonic plucks,

are chame­
rattling frags and chiming chords . His
short but substantive solos
leonic, fitting the topics well and peaking
on Middletown Dreams and Emotion De­
tector. But h e ' s well absorbed by Power
Windows power precision, too .

From our "Guitar Superstar Series" . . . NIGHT OF THE CRIME-Icon

DOG
LED ZEPPEUN • • • Capitol ST- 12385
featuring blockbuster hils like STAIRWAYTO HEAVEN, WHOLE LOTTA LOVE, BLACK , Performanc e : Up and down
DAZED AND CONFUSED, and many morel GF0292/$9.95 QTY ___
Hot Spots : Raise the Hammer and
RUSH • • •
they're hot and you can learn to play hits like RED BARCH ETTA, TOM SAWYER. THE
Frozen Tears
SPIRIT OF RADIO, DISTANT EARLY WARNING, NEW WORLD MAN, and many more. Bottom Lin e : Hard rock wi t h a new

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• • •
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GUITAR SOLOS OF THE SUPERSTARS • • • hierarchy and on their second album,

features super tab notation You get super smash hits like BARRACUDA [Heart� I Night of the Crime, they've used varia­
CAN'T DRIVE 55 (Sammy Hagar1 LOOKS THAT KILL (Motley Crue� ROCK YOU LIKE A tions on standard themes to try to shine
HURRICANE (Scorpions� SEPARATE WAYS ('NorldsApart) (Journey� WHOLE LOTTA LOVE
GF02821$8.95 QTY ___ through . The band, led by singer Stephen
(Led Zeppelin� much more.
Clifford and guitarists Dan Wexler and
MUSIC OF PHIL COWNS MADE EASY FOR GUITAR • • •
from this superstar extraordlnaire come greaf hits like AGAINST ALL ODDS. DON'T John Aquilino, has realized that melody
LOSE MY NUMBER. I DON'T CARE ANYMORE, IN THE AIR TONIGHT, YOU CAN'T HURRY is as important as posture, so they've
LOVE, more. GF0293/$5. 95 QTY ___
hired themselves a songwriter. Bob Hal­
Send the books I have lndlcafed above. For shipping and handling, I have enclosed $1.50 for ligan Jr. ( wh o ' s penned a couple of hits
the first book. 50¢ additional for each book after that. New 'tbrk, New Jersey and California
for Judas Priest) wrote six of the ten
residents please add appropriafe sales tax
songs, cuts heavy on melody, melodrama

----
btal enclosed $.____
0 Address -------­ and intelligent lyrics . Combined with
Check or money order enclosed

------ ----
!Paiable In U� funds to -ner Bros. Publications) Icon 's twin guitar power, his songs achieve
c�
Bill my 0 Mastercard 0 Visa an admirable 50% hit ratio. The album
($15.00 minimum on credit card orders) State Zip
doesn't kick in till side two and the
Moll to: <!:> 1986 WBPI crashing Raise the Hammer, with its
Card No.
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blistering twin lead, followed by the slower

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Exp. date Secaucus, New Jersey 07094 Frozen Tears, which boasts the finest

�� r.i
Prices subject to change. pained guitar outing. Wexler is a Roland

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Signature

��
Please allow 4-6 weeks for deliver,< • guitar synth proponent and he uses it
vcR? 'ftls D N

'W'
a

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well onOut for Blood and the stomping

A Warner Communications Company �

Hungry for Love. The blend of charged
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104 GUITAR, MARCH 1986

 If You' re Serious About Your
Music, Listen to This.
Plug into a Randall months of extensive use
and listen. What you without ever putting it
hear is exceptional on the bench. And it has
sound. What you more power than I could
don' t hear is that it ever use. It's just been
has been constructed very good equipmen t."
Bill Church.
of only the finest
Sammy Hagar
materials available.
and that it has Backed by Ears of
passed rigorous Experience.
inspections at every It's true. Not just
stage of production . because we've been
Bt:t you' ll know. . building top quality
Bill Church. Sammy Hagar
Because you'll hear amps for many years.
that great sound every time you plug but because we listen. We listen to what
in-for a long. long time. you want and need in an amplifier.
With Randall. you can devote your Through listening. weve developed
time and energy to creating music in- insights that most amp makers don' t
stead of wasting time and money deal- have. For example. our bass amps
ing with equipment that breaks down . have enough input headroom to give
"I 'm speechless. My Randall has improved
you more d istortion-free power than
the sound of the band immeasurably" you' l l ever need. And you'll love the
Ventura. CA clarity. the tone equalization. the relia­
M_o_s_t_C_o
- _m___ -,---__-=---,-___ bility of solid state circuitry. the heavy
p an i e s Pay T h e i r duty cabinet. and the way the amp
Endorser . Ours Pay Us .
s
maintains the tone of your instrument.
Our endorsers recognize the value of
high quality equipment they can trust. "I was a hardcore (another top brand) man
until I heard a Randall. I cannot express
With Randall. they get the sound they
how totally impressed I am with Randall
want and they don' t have to worry equipment." Mountain Home. ARK
whether their gear will perform when
they go on stage . So they buy Randall. See your Randall dealer today for a wide
range of amplifiers and PA systems.

-- J I IL
R·aflaaL
providing solid recommendation. not
weak. paid-for testimonial.
� �

The S oun d Pe r£ormance Com p an y.

"One day when our guitarist wasn 't
around. I tried out one of his Randall amps.
I liked it and had Randall send me some
bass stuff I ' ve used it very successfully ever For more information . please write:
since. In fact. during our last three tours. I Randall I nstruments. Inc.
never h a d any problems with it. That's I8 Dept. D. P O. Box 2603 7. Santa Ana. CA 9 2 7 99
7 14·261·6 304

MARCH 1986, GUITAR 105

�n t�e �ase
the instrument. The Japanese manufac­ Unlike conventional guitars the MDS-1
tured wood body is designed slightly uses pickups that are factory installed
longer and more v-shaped than the orig­ in high impact plastic modules that load
inal American bass, in order to accom­ into the guitar from the back. This system
modate the bolt-on neck joint . The new allows the musician to change pickups
shape is aesthetically pleasing, comfort­ in less time than it would take to change

By Joe P i c h k u r
able, and, with a nineteenth fret neck guitars .
joint, provides plenty of access to the Structurally, the MDS-1 is a double
higher frets . The rock maple body is cutaway guitar with bolt-on neck con­
Steinberger XP-2 Bass exquisitely finished in gloss black and is struction and is available in one, two or
List Price $995 very similar in appearance to the com­ three pickup models. Standard equip­
posite neck. ment includes Gotoh tuning pegs, Kahler
The instrument features the famous Tremolo and choice of ebony, rosewood
Steinberger Double Ball Tuning System, or maple fingerboards. The instrument
manufactured in Japan for the Pro Series. comes equipped with one set of empty
In test, I found the tuning system to look pickup modules and additional loaded
and feel exactly like the American made and empty modules are available from
unit on the more expensive XL-2 bass. AMI dealers .
At the heart of the instrument is a newly Our sample was a MDS-18 two pickup
designed pickup system from EMG Inc., model with rosewood fingerboard. Po­
created especially for Steinberger. In sition markers were present only on the
contrast to the original Steinberger bass, edge of the fingerboard, giving the neck
the pickups used in the Pro Series are a very striking appearance. The 22 large
high impedance and fully passive, re­ frets were all seated and dressed excep­
quiring no batteries whatsoever. The tionally well. The instrument played just
control configuration on the Pro Series fine and the slight fingerboard radius
is the same as the original with two made bending strings easy and buzz
volumes and a master tone control. free . The neck shape, however, felt a little
In general the XP-2 is an impeccably "boxy" and I would have preferred it
made instrument that is a sheer pleasure more rounded. Structurally, my main
to play, both in a standing and seated criticism was with the neck endblock, or
position. Of particular note is a new section of the body to which the neck is
hinged leg rest which folds out from the attached. Unlike the squared off end­
side of the instrument for seated playing. block on Fender instruments, the AMI
The composite neck with its high reso­ guitar has a larger, rounded endblock,
nant frequency eliminates any "dead claiming it to be "comfort contoured ." I
spots" commonly found on wood necked found it to be just the opposite, with the
basses, while the wood body imparts to increased body mass under the neck
the instrument a warmer and more mel­ hindering playing in the upper positions .
low sound (particularly in the mid-range) In addition, I found the finish on the
than found on a completely synthetic body to have too many flaws for a guitar
bass. All these factors together with a in this price range .
moderate price earn the Steinberger XP- Electrically, the modular system is
2 bass a top rating of 5 . a real treat . I was pleasantly surprised
with the ease at which the modules were
changed. Gentle thumb pressure on the
American Modu lar Instruments
top of the module is all that it takes to

List price $ 1 1 DO w/case

MDS-1 B Guitar remove the unit from the guitar. In test,
I was able to change a full set of hum­
buckers with two single coil pickups and
-----

create an entirely different sounding in­

S
ince revolutionizing the electric bass strument in just a matter of seconds . In
market in 1981 with the creation of addition, the single coil modules are
the world's first headless bass, Ned available with the pickup mounted di­
Steinberger has outdone himself once agonally, centered or offset to one side
again with the introduction of the "Pro of the modules. The offset module has
Series" XP-2 bass. The product of a joint the extra flexibility of being rotated 180
manufacturing venture with Zen-On Mu­ degrees to re-position the pickup . Only
sic Corp., ofTokyo, the instrument sports modules containing DiMarzio pickups
a list price of only half an original Stein­ were available at the time of this review.
berger, making it very affordable to the However, I have been informed that mod­
general public . ules with other pickups will soon be avail ­
The XP-2 features a bolt-on neck able. Empty modules are available to play­
made of Steinberger Blend@ composite ers desiring to install their own pickups .

A
material and is manufactured at the fter three years of research and Even with the above criticisms the
Steinberger plant in Newburgh, NY. The development, American Modular AMI MDS-1 guitar is an extremely in­
completed neck, with synthetic phenolic Instruments has created the MDS- novative concept in guitar design . It rates
fingerboard and 24 jumbo frets, is then 1 (Modular Design System) , the world's a 4.
shipped to Japan for the completion of first patented modular pickup guitar. Thanks to Focus II Guitar Centers.

106 GUITAR, MARCH 1986

 when I did some fingerpicking with only notebook. The cassette runs at a speed
the back pickup on. This was very en­ of 1 %" per second which means that
lightening, since I had thought of Boogies when you are not using it for four track
only as loud, rock 'n' roll amps. recording you can use it for playing back
c::::J il by Bob Rose In the lead department you won't regular cassettes ( this is an extremely

8
be disappointed either. You can probably handy feature that you don't have on
have any kind of overdrive your bleeding the larger four track cassette recorders) .
ears could want . Since I love the warm The Ministudio has four input jacks ;
sustained type lead that Larry Carlton it has a fader (volume control) for each
Mesa boogie Mark I I C uses I always look for this . Needless to channel, a master fader, trim controls,
with Reverb a n d Equalizer say, I found it . By adding more lead and High and Low EQ, Pan controls (for
more treble boost with midrange you playing tracks left or right or in between),
List Price $ 1 000
can get some great sounding stuff. Add­ cue level controls ( control the playback
ing a graphic equalizer to all of these level when you are overdubbing), re­
parameters lets you get some sounds cording busses ( choice of which track
that you really own. you will record on) and many other
My original fear of all the volume controls.
controls and pull switches disappeared The Ministudio has a pitch control
as soon as I got into using this amp . In which allows you to adjust your record­
fact, I really started to enjoy the possi­ ing to an out of tune instrument. This
bilities they opened up. I feel the Mark control has a detented middle position
IIC is an amp that will make any con­ and a lot of leeway on either side for
temporary guitarist very happy, and I adjusting the pitch. There is a DBX switch
rate it five out of five. that can be in or out . Quite frankly, I
Thanks to Manny's for providing off don't understand why you would not
the shelf equipment. want to use noise reduction with this
format. There is also a zero return switch
so you don 't have to be .searching for the
Tascam Porta One Mini Studio
beginning of your song all the time. You
List Price $595 can also purchase a footswitch for hands­
free punch in and punch out. I feel this
is a must for a one person operation.

I
have always been afraid of Boogie With the Porta One you can record,
amps . This is because of the many bounce and mix tracks together. This
combinations of volume and master means you can record three separate
volume and lead controls . Every time I tracks and then bounce a mix of them
look at the front of a Boogie I get a to the fourth open track, thereby freeing
headache. But I thought it was time to the other three tracks for new informa­
try one out, especially since they sound tion . If you get good at recording more
so hot . than one thing live on the same track,
The Boogie that I tried is the Mark you can really build your song using
IIC, which is a 60 Watt amp . It had many different ideas . A word of caution
Graphic EQ as well as a Reverb . These . . . if you do a lot of bouncing, the sound
are both options that don't automatically will ultimately suffer. On the other hand,
come with the amp . The amp had the since this is a recording notebook, you
following controls : master volume, lead may be concerned with trying ideas, not

T
master volume, regular volume, treble, ascam seems to b e the company that sound quality.
bass, middle and lead drive. In addition, leads the league in producing re­ The Tascam Porta One Ministudio
all of the dials except one pulled out for cording machines for every conceiv­ is just what the doctor ordered for a
added colorings or more intense sound. able situation . They have everything from songwriter arranger who wants a quick
For instance, the lead master volume the Ministudio up through a sophisti­ easy way to lay down ideas . It is easy to
only works when the lead drive control cated sixteen track format that is quite operate ( comes with a manual and demo
is pulled out into the pull lead position. impressive. They even have a new "Porta tape that takes you through all the op­
On the back of this amplifier there is a Studio " that is eight track reel to reel erations necessary) . It is very portable
presence control, a reverb dial and an with the tape machine and mixer housed (including soft controls that don't break
effects send and return jack (I like this in one unit . off) . It is also an inexpensive way for a
feature a lot; it allows effects to sound The new Ministudio is Tascam's person interested in engineering to get
much better than when plugged in series entry into the recording notebook or his or her feet wet in the field of multi­
with your instrument) . idea machine category. This is not the track recording. I rate the Ministudio a
If you've ever read one of my amp tape machine that you will be making resounding five out of five.
reviews before, you know that I insist on your album on, but it is the machine
an amp having a good clean sound as that you will be writing your tunes on R AT ED WITHIN T H EIR OWN
well as a good overdrive sound . This and trying out your arranging ideas . PRICE R ANGE.
amp is great in both departments . The Since the unit is so small you can do
clean sounds were great . It has many of this wherever you may be.
them . I got a bunch of nice warm jazz The Ministudio has a cassette tape
type sounds as well as some punchy recorder (four track) and a mixer built
rhythm stuff. I also got a rather spectac­ into one unit . It weighs less than eight
ular country sound as big as a house pounds, and is smaller than a looseleaf

MARCH 1986, GUITAR 107

 CRITICS'
CHOICE
1 985
BILLY B U R N ETTE • TRY M E
ROSAN N E CASH • R H YTH M A N D ROMANCE
AMADEUS S O U N DTRACK • J O H N H IATT • WA R M I N G UP TO TH E I C E AG E
LEONARD BERNSTEIN • WEST S I D E STO RY HUSKER DU • FLI P YO U R W I G
D I R E STRAITS • B ROTH ERS IN A R M S THE RE PLAC E M ENTS • TI M
N EV I LLE FARRINGER • R H A PSODY I N B L U E N I LE RODGERS • B M OV I E M ATI N EE
HEART • H EART PETE TOW N S H E N D • W H I TE C I TY
G RACE JONES • S LAVE TO THE R H YTH M STEVIE RAY VAUGHAN • SOU L TO S O U L

SCRITTI POLITTI • C U P I D A N D PSYC H E 85

PARIS ORCHESTRA • R EQ U I U M BY M OZART TO M WAITS • R A I N DOGS
NEIL YOU N G • OLD WAYS
BARBRA STREISAND • THE B ROA DWAY A L B U M - Buzz Morison
STRYPER • S O L D I E R S U N D E R C O M M A N D ARTISTS AGA I N ST A PART H E I D • S U N CITY
- Steve Vai
AllAN HOLDSWORTH • M ETA L FAT I G U E
BIG COU NTRY • STEELTOWN STAN LEY J O RDA N • M AG I C TO U C H
BIG DADDY • M EA N W H I L E BAC K IN THE STATES WYNTON M ARSALIS • B LAC K C O D ES F R O M T H E
KATE B U S H • H O U N DS OF LOVE U N DERGROU N D

DAN N Y & D U STY • LOST WEEKEND

CRUZADOS • C R UZADOS TODD R U N DG R E N • ACA PELLA

VAR I O U S ARTISTS • ATLANTIC R&B BOXED SET, 1947 -1974

STI N G • D R EAM O F T H E B L U E TU RTLES
TALKING H EADS • LITTLE C R EATU R ES
J O H N H I ATT • WA R M I N G U P TO T H E I C E AG E STEVIE RAY VAUGHAN • SO U L TO S O U L
HOOTERS • N ERVOUS N I GHT J O H N N Y W I N T E R • G U I TA R S L I N G E R
SISTERS O F M E RCY • FI RST, LAST A N D A LWAYS STEVIE W O N D E R • I N S Q U A R E C I RCLE
SUZA N N E VEGA • SUZA N N E VEGA - A n dy A ledort
- B ruce Pollock
ALCATRAZZ • D I STU R B I N G T H E PEACE
BRYAN ADAMS • RECK LESS CR UZADOS • C R UZADOS
DIRE STRAITS • BROTHERS IN A R M S KEVIN EUBANKS • O P E N I N G N I G H T
THE F I R M • THE F I R M FI RST L I G H T • HOW T H E L A N D L I ES
H EART • H EART J O H N H IATT • WA R M I N G U P TO THE I C E AG E
WHnNEY H O U STON • W H ITN EY H O U STON HOOTERS • N ERVO U S N I G H T
H OWARD J O N E S • D R EA M I NTO ACTI O N WYNTON M ARSALIS • B LAC K C O D E S F R O M T H E
MARILLION • M I S PL ACED C H I LDHOOD U N D E R G RO U N D
MR. M ISTER • WELCO M E TO T H E REAL WORLD LI N DA THOMPSON • O N E C LEAR M O M ENT
SU RVIVOR • VITAL S I G N S PETE TOW N S H E N D • WH ITE C I TY
THE SYSTEM • P L EAS U R E S E EKERS VAR I O U S ARTISTS • TELEVI S I O N ' S G R EATEST HITS
- Marie A . Cruz - John Stix

BIG AUDIO DYNAMITE • TH I S IS B I G A U D I O DYNAM ITE YNGWIE MALMSTEEN • R I S I N G FO RCE

J O H N FOGE RTY • CENTER FIELD ALCATRAZZ • D I STU R B I N G T H E PEAC E
N I N A HAG E N • NINA H AG E N IN ECSTACY AllAN H OLDSWORTH • M ETA L FATI G U E
N I LS LOFG R E N • FLIP BRYAN ADA M S • RECKLESS
NICK LOWE • ROSE O F ENGLAND DOKKEN • TOOTH AND N A I L
ALI SON M OYET • ALF PHIL COLLI N S • N O JACKET REQ U I RED

GARY M O O R E & P H I L LYN OTT • OUT I N THE FI ELDS

LOU REED • N EW S E NSATIONS MICHAEL SCHENKER • ROC�� WI LL N EVER DIE
SLADE • R O U G ES GALLERY
STYLE COUNCIL • I NTERNATIONALISTS NATHAN M I LSTE I N • BACH VIOLIN SONATAS
TALKING H EADS • LITTLE C R EATU R ES ROBBEN FORD • C H A R LES FO R D B L U ES BAND LIVE
- Frank Morano - Wolf Marshall

108 GUITAR, MARCH 1 986

 How to get your hands on
more than 200 g reat rock books
without lifting a finger.

It shou ldn 't take a lot of legwork to And l ig hte n i ng u p your readi ng shou ldn 't
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low as $3.95
All it takes is a tri p to your local Rock
Read Book Center. So if you want to g rab hold of some
g reat rock readi ng, don 't look all
Every Rock Read Book Center
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biographies, discographies, lyrics,
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posters, and m uch more-from
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pages of fu l l color photos.

The music you can read.

B O O K C E N T E R S
 Rock Secrets Revealed!
You won't believe what's
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It's "Rockschool."
A new series where
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WHAT I S F U N K? Fo r bass p l ayer
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BOOTSY C O L L I NS, the secret is: "Yo u
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 $1 2•50WO RTH
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S H E ET M USI C

Good m usic never goes out of style. Send for you r

back issues today! O n ly $4.00 each!

no asterisk - guitar parts APR I L, 1984 O C T O BER, 1 984 J U NE, 1985

'single asterisk - guitar and bass parts ' Pa ra n o i d ' C razy Tra i n ' Flyi n g High Aga i n
"double asterisk - bass parts S l i c k B l ac k Cad i l lac
Wa l k Th i s Way R u n R u naway
Lick It U p M e d i terranean S u n d a nce China Cat S u n f l ower
NOVEMBER, 1983 Ste p pi n ' O u t F i g ht The G ood F i g h t

JULY 1985
Pi n k H ouses
' Roundabout Yo u r Love I s Drivi n g Me C razy Cat Scratch Feve r
In The Dark MAY, 1984 NOVEMBER , 1984
H eaven s On Fire
Hell Bent For Leather
Little G u itars Pa nama Rock Ti l You Drop
' I Can 't Quit You Babe Hotel California Sultans Of S w i n g 'Heartbrea ker
The Price You Pay C u m O n Fee l The Noize · owner Of A Lonely Heart No One Like You
D E C E M B ER, 1983 ' S u bstitute Bri n g i n ' On The Heartbreak
Shak i n ' AUGUST 1985
Photog raph DECEMBER, 1984
'The Last in Line
' Fool i n ' J UNE, 1984 Ro und A n d R o u n d
Cocaine
' Gi m me A l l You r Lovi n ' Goodbye To Romance Ra i n bow I n The Da rk
You've Got Another
The Salt I n My Tea rs Don 't Tel l Me You Love Me H u n g ry Heart
Thing Comin'
Rock And R o l l Hooc h i e Koo ' Talking In You r Sleep ' Do n 't Stop Bel ievi n '
When You Close
' Cinnamon Girl Hold O n Loosely K i l l i n g Floor
Your Eyes
JANUARY, 1984 I Want A New Drug
JAN UARY, 1985
· Meta l Hea lth JULY, 1984 SEPTEMBER, 1985
The Trooper ' Purple Haze
R un For Cover 'The Spi rit Of Radio M oney
Just Got Lucky
' Wh ite Wedd i ng Burn i n ' For You Blue Sky
Embryonic Journey
L i g hts O u t Dust I n The Wind The Warrior Balls To The Wall
E u ropa Memph is, Tennessee

FEBRUARY, 1985
' Rock And Roll All Night Pride (In The Name Of Love)

OCTOBER
FEBR UARY, 1984 " Continuum
Freeway Jam AUGUST, 1984
A l l Night Long
She's A Wo man Looks That K i l l 'Holy Diver
' General Lee
H i t Me With Yo u r Best S h ot ' Fl i g ht Of Icarus Johnny B. Goode
Highway Star
Green Fl ower Street Pride And Joy Dee
M i d n i g ht Maniac

MARCH, 1985
.. Phantom of The Opera Rebel Yel l Black Magic Woman
MARCH, 1984 Crazy O n You And the Cradle Will Rock
Aqualung
' To m Sawye r SEPTEMBER, 1984 N OVEM BER 1985
Livi n g Afte r M i d n i g h t
Day Tri pper
' Rock You Like A H u rricane Aces H i g h
R o c k Of Ages
' G ood T i m es, Bad T i m es
Back On The Chain Gang ' Cause We've Ended A s Lovers
Brea k i n g The La w Little Wing
I Can See For M i les Turn Up The Rad i o

APRIL ,1985
After M i d n ig h t Blackbi rd Sweet Little Angel
M o o d F o r A Day
A Whiter Shade Of Pale

ngnnnll(i\loT P.o. Box 4 1 5

Jump DECEMBER 1985
C l i p and mail to: 'You Shook Me All Night Long
Captai n Nemo

l!JWU U UJW
' Honky Tonk Women

Mt. Morris, I L 6 1 054

Friday N i g h t
Bark At T h e M oon 'Statesboro Blues

Issues wanted:
'Wanted Man
" Mama We e r All C razee Now

'Couldn 't Stand the Weather

MAY, 1985 JANUAR Y, 1986
month year month yea r Back I n B lack
4 Hi rosh i m a Mon A m o u r Green sl eeves
'Limelight 'Message in a Bottle
2 5 Rosanna ' M ississi ppi Queen
3 6 'I Wanna Be Somebody
Attach additiOnal pages 1f necessary
FEBRUARY 1986
Name _______ Age ____ ' Rock and Roll Rebel
Add ress _________________________________--:,- 'Can 't Get There From Here
'Casey Jones

=
City/State/Zi p ------
' Rock and Roll
e;, Make check or money order ( U .S_ funds only-do not send cash) payable to G U I TA R . Allow 4
to 6 weeks for delivery
� POSTAGE AND H A N D L I N G: Postage and handlingIS FREE lor aU u.-s res1dents Ganad1an
CD and Foreign orders please add $1.00 per tssue for poslage and handhng
 Only S13l 4B per Track
The ROSS 4X4 is truly the ''take it anywhere" personal MTR capable of By the way - with the ROSS 4X4, there are "NO HIDDEN ZINGERS"!

U.L. approved A. C. power supply for studio/home use . (Beware . . . our

many feats previously only available on products costing twice as much! We include it all . . . batteries, heavy-duty nylon carrying bag and a

competitors charge extra for these necessary items!)

Just COMPARE THE ROSS 4X4 to the competition . . . and you'll see
that we emerge the king. Where others have only two tracks costing Yes, the rugged ROSS 4X4 multi-track mixer/recorder is ready to go

TRACKS SIMULTANEOUSLY at a mere cost of $137.49 per recorded

$250.00 + per recorded track, THE ROSS 4X4 RECORDS FOUR anywhere for only $549.95 complete!

track! This means MORE PING-PONG ABILITY, and you can even add
For a free ROSS 4 x 4 brochure, write : ROSS Systems/P.O. Box 2344 Ft. Worth, TX
an SMPTE control track if you desire . . . while doing multi-track
761 1 3·2344
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Now - the ROSS 4X4 comes standard with a mGH QUALITY NOISE
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an electric guitar solo.
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 The KAHLER® fulcrum tremolo Just drop it in and
Does it all! string it up. That' s it!
• 6- WAY ADJUSTING BRIDGE SADDLES. • NO ADDITIONAL ROUTING. The KAHLER®
KAHLER® " Traditional Series" fulcrum tremolos " Trad itional Series" easily retrofits any stan dard or
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around) . Our new bridge saddles additional routing. Our n ew fine tuning system requires
no special tools or string ends for hassle free restringing
string spacing all indepen­ and smooth, accurate fine
dently. Now you don' t tuning. • NEW STRING
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American Precision Metal Works P. O. Box 9302, Anaheim, CA 92802 * B. C . RICH S/T guitar pictured above