TG 2016 - 01

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Message In a Bottle YesterdaY Learn the classic

movie theme!
play better now! #275

January 2016
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editor’s letter
Welcome…
FuTurE PuBlISHInG
Quay House, THe ambury, baTH, ba1 1ua
Tel: 01225 442244 Fax: 01225 822763
email: [email protected]
Website: www.totalguitar.co.uk
Editorial
editor Stuart Williams
Content editor rob laing
reviews editor Dave Burrluck
Production editor josh Gardner
art editor leanne O’Hara
senior music editor jason Sidwell Jimi Hendrix is so deeply embedded in
music editor Chris Bird
Content editor, musicradar.com Michael Brown
music Co-ordinator Polly Beauchamp
our minds sometimes, it’s easy to forget
editor at Large neville Marten
that beyond the wailing solos, flamboyant
psychedelia and guitar burning, his playing
ContributorS
Steve allsworth, Phil Capone, rich Chamberlain, Trevor Curwen, Charlie
Griffiths, nick Guppy, jamie Hunt, andy McGregor, Ed Mitchell, Sarah Clark,
Matthew Parker, adam rees, amit Sharma, james uings, Henry yates has had a huge influence on the guitar
music engraver Simon Troup
audio mastering Duncan jordan
Video Production Martin Holmes
music that’s come along since. Perhaps
Photography joe Branston, Olly Curtis, adam Gasson, neil Godwin,
joby Sessions, Will Ireland
more than anyone else, jimi has inspired
advErtiSing players from practically every branch of the
guitar family tree. Don’t believe us? Check
Phone: 01225 442244 Fax: 01225 732285
For advertising queries, please contact
alison Watson [email protected]
MarkEting out john Frusciante’s melodic trills, Mike

Group marketing manager laura Driffield
marketing manager Kristianne Stanton McCready’s soaring lead, the blues of Stevie
ProduCtion & diStribution
Production Controller Frances Twentyman
ray Vaughan and john Mayer, Van Halen’s
Production manager Mark Constance
Printed in the uK by: William Gibbons & Sons ltd on behalf of Future explosive technical and sonic exploration, josh Homme or
Distributed by: Seymour Distribution ltd, 2 East Poultry avenue,
london EC1a 9PT, Tel: 0207 429 4000
Overseas distribution by: Seymour International
Matt Bellamy’s stomping rock grooves… we could go on and on.
CirCulation
What’s equally brilliant is that today – 45 years after his death
Trade marketing manager Michelle Brock 0207 429 3683
SubSCriPtionS
– jimi continues to inspire. So, when we found out that we were
uK reader order line & enquiries: 0844 848 2852
Overseas reader order line & enquiries: +44 (0)1604 251045
getting the new Fender Hendrix Strat for the exclusive first review
Online enquiries: www.myfavouritemagazines.co.uk
Email: [email protected] this month, we knew that we had to also take a look at every part of
liCEnSing jimi’s playing too. There’s so much to learn, we hope it makes you
senior Licensing & syndication manager Matt Ellis, Matt.Ellis@futurenet.
com Tel: + 44 (0)1225 442244 want to pick up your guitar and start playing – it definitely does for us!
ManagEMEnt
Content & marketing Director nial Ferguson
We’re also asking for your help this month – on p24 you’ll see that
Head of Content & marketing, Film, music & Games Declan Gough
Group editor-In-Chief Daniel Griffiths we want your opinion on TG. as a reader of the mag, your opinion is
Group art Director Graham Dalzell
Next issue on sale 15 January 2016 the most valuable we can hear and this is your chance to have your
say about the things you like about the mag, as well as the things you
Printed in the uK by William Gibbons on behalf of Future.
Distributed in the uK by Seymour Distribution ltd, 2 East Poultry avenue,
don’t (hopefully not too many of those!). If you complete the survey,
london, EC1a 9PT. Tel: 0207 429 4000
you’ll automatically be entered into our draw to win £400 worth of
pedals too! For now though, let jimi take over…
Future is an award-winning international media group and

leading digital business. We reach more than 49 million
international consumers a month and create world-class
content and advertising solutions for passionate
consumers online, on tablet & smartphone and in print.
Future plc is a public Chief executive Zillah Byng-Maddick

company quoted on the Non-executive chairman Peter Allen
London Stock Exchange Chief financial officer Richard Haley
(symbol: FUTR).
www.futureplc.com
Tel +44 (0)207 042 4000 (London)
Tel +44 (0)1225 442 244 (Bath) Stuart Williams, Editor
All contents copyright © 2015 Future Publishing Limited or published under licence. All rights reserved. No
part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written
permission of the publisher.
making this month’s mag
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office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this
publication is for information only and is, as far as we are aware, correct at the time of going to press.
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Chris josh roB
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writing and josh spent most has got rob
recording jimi-style guitar parts of his time watching Star Wars thinking; will we ever see a
We are committed to only using magazine paper
which is derived from well managed, certified
for this month’s cover feature, trailers over and over, giggling to guitarist as significant as jimi
forestry and chlorine-free manufacture. Future TG’s resident tab expert has been himself like an excited child. But he again? “In every sense, he was a
Publishing and its paper suppliers have been working with former music editor still managed to squeeze in a chat game changer to guitar in the
independently certified in accordance with the
rules of the FSC (Forest Stewardship Council). james uings on this month’s Start with Daughter guitarist, Igor same way The Beatles were to the
Playing now lesson. If you’re new Haefeli, to discuss the making of craft of songwriting. I live in hope,
to the guitar and raring to get their superb new record, Not To but I can’t imagine we’ll see that
playing, turn to p62 to get started. Disappear - check it out on p12. kind of impact again.”
january 2016 3
contents
monitor
First Look Victory rD1 & The Kraken �� 006
Riff of the Month The 1975 – Love Me �� 008
On The Road TesseracT �� 010
In The Studio Daughter �� 012
Five Minutes Alone… Paul Quinn (Saxon) �� 014
Me And My Guitar josh Smith (northlane)�� 016
Scale Of The Month Mixolydian (3nPS) �� 018
Win! Epiphone Björn Gelotte Les Paul Custom �� 020
Albums Of 2015 This year’s best guitar releases �� 022
Feedback your letters �� 024
Rig Tour Graveyard �� 027
Contents: BARON WOLMAN/ATLASICONS.COM Will Ireland Joby Sessions ITV/REX Shutterstock/Rex Features Robert R. McElroy/Getty Images
On The Up 28 new Guitarists To Hear In 2016 �� 032
features
Miyavi The japanese ‘guitar samurai’ talks sushi,
Telecasters, and being in angelina jolie’s latest film �� 036
COVER FEATURE:
The Guitar Mastery Of Jimi Hendrix
To mark the arrival of Fender’s new signature Hendrix Strat,
we show you how to incorporate varied aspects of
jimi’s undisputed genius into your own playing �� 040
Cover & CD: GERED MANKOWITZ © BOWSTIR Ltd. 2015/Mankowitz.com Joby Sessions
Status Quo rossi and Parfitt share some hair-raising
stories from their wild, eventful career �� 052
Baroness Three years on from the horrifying bus
040 Jimi hendrix crash that nearly claimed their lives, the Georgian

metallers return with a new energy �� 056
Learn the pLaying secrets of an icon
The Final Countdown 10 new year’s resolutions �� 112
Olly Curtis Neil Godwin
036 miyavi 052 status Quo 056 baroness
4 january 2016
issue 275 January 2016
006 victory rd1

& the KraKen
gear
Fender jimi Hendrix Stratocaster �� 070
PrS S2 Standard Singlecut Satin �� 076
Blackstar artist 15 �� 078
Round-up yamaha revstar �� 080
the poLice the beatLes
‘message in a bottLe’ 096 102 ‘yesterday’ Round-up DOD Effects �� 086
Vox Valvetronix VT40X�� 088
Vintage VEC501BGB �� 089
Quick Tests MXr EVH 5150 Overdrive /
rainger FX Echo-X �� 090
Accessories �� 091
techniQues
Your First Guitar Lesson Start playing now! �� 062
Star Wars Learn to play the classic theme �� 094
Classic Track The Police – Message In A Bottle �� 096
star wars Open-Mic Songbook The Beatles – Yesterday �� 102
094 theme
Get Your Grades! rGT �� 107
fender Jimi hendrix 070 SubScribe now & Save!

stratocaster Choose from print, digital or bundled subscriptions on p108!
january 2016 5
first look…
Heads
Up! The pair weigh in at an
impressively reasonable
£599 and £829
High-gain and a new respectively, but that’s
signature model from UK
maker Victory
not to say anyone’s
been skimping on
S the spec…
plitting their time between six-string
duties with British rockers Dorje and
stints as YouTube demo pros, Rob
Chapman and Rabea Massaad’s profiles
are rapidly rising – if you have an internet
connection, chances are you’ve heard them
in action. The pair’s latest venture is a
collaboration with Brit amp firm Victory to
produce two versatile compact heads: the
RD1, an out-and-out Chappers amp, and
The Kraken, which has had input from
Rabea, although it’s no signature model.
You’ll get 28 watts from the RD1’s teeny
tiny enclosure, while the larger Kraken
releases a mighty 50. The pair weigh in at
an impressively reasonable £599 and £829
respectively, but that’s not to say anyone’s
been skimping on the spec…
Photography: Joby Sessions
6 january 2016
firsT look moniTor
1 Channels
The rd1 opts for single-channel thrills that
range from clean to distortion, while The
Kraken boasts two footswitchable channels,
geared towards providing high-gain tones.
Both offer low power modes, too: two watts
for the RD1, 15/9/2 watts for The Kraken
2 Tones
The Monkey Lord’s super-portable head
may only feature a single mid-altering
contour switch rather than a three-band
EQ, but it’s paired with bright and deep
switches, which have a major bearing on
top- and low-end
3 exTra
Around The back of The Kraken, you’ll
find a bass focus switch for tighter or looser
low-end, while its power valves are
switchable from 6L6s to EL34s; the RD1,
meanwhile is set on EL84s. Both amps pack
effects loops and padded carry cases to boot
january 2016 7
LEGENDARY monitor section
MUSIC STRINGS video

SINCE 1958
riff of the month lesson
w w w.b it .l
y/tg 275v
id eo
The 1975
ANDREAS ERIKSSON
INGLORIOUS
ROTOSOUND PLAYER tracks 07-08
Love me 0:00
T
his month we’re looking CHANNEL Clean
at the ‘call and response’
rhythm parts in the
opening bars of The 1975’s
infectiously catchy recent
single, Love Me. The riff ends gain bass mid treble reverb
with a synth line and we’ve even
recreated this on guitar for you. Single-coil pickups
We’re in standard tuning, so work best here. If you’re
tune to EADGBE to play along. using a two-pickup guitar,
The song starts with F7 and select the middle position
with your selector switch to
E7 chords played by two guitars engage both pickups for
in a ‘call and response’ style – a blend of brightness and
that means one guitar plays the warmth. If your guitar has
first phrase and is ‘answered’ by three pickups, opt for
a second guitar (though you can the middle one. Use a
compressor to smooth out
easily play it on your own). Take Flanger choruS your sound and dial in just
time to learn the rhythms as the Rate: 70% Rate: 40% enough chorus to add a
phrases are the building blocks Depth: 75% Depth: 70% glassy shimmer. For the
of the whole track. Tap your foot Feedback: 75% level: 40% synth line, select a bridge
level: 100% pickup, switch to a
and emphasise the first note of
distorted amp channel
Guitars and backing: Jamie Hunt
each phrase to keep time. compreSSion and dial in some extreme

WORLD FAMOUS MUSIC STRINGS We’ve recreated the synth Sensitivity: 45% Gain: 45% settings on a flanger.
WWW.ROTOSOUND.COM line with ascending three-note-
per-string sequences on the all The video lessons in this issue of Total Guitar are
FACEBOOK.COM/ROTOSOUND first and second strings. Watch available to view online at www.bit.ly/tg275video
TWITTER.COM/ROTOSOUND_UK TG’s video to pick up on the
finer details.
PROUDLY MADE IN ENGLAND
monitor section
on the road…
03
feb
12
feb
© Vaughan Pickhaver/REX Shutterstock
Tesseract guitarist James Montieth

on stage at Sonisphere in
Knebworth back in 2014
10 january 2016
on the road monitor
Tesseract
British progressive metallers are comfortably back to the future
F
rom Black Sabbath to Iron Maiden and “Over the years apart he’d been developing very enthusiastic,” smiles Acle. “We’ve also got
Judas Priest, there’s always something a his voice and honing his style, and it really our sound guy, Aiden, with us over here for the
little bit special when a band’s departed showed. Live… it’s very much the same, just first time. He knows our set-up inside out, and
iconic frontman returns to the fold. However, slicker and better!” even contributed to the synth and piano
no one seems to have told British prog Even after a whistle-stop tour Down Under soundscapes between songs on Polaris.”
metallers Tesseract, who are casually going and the length of the current US jaunt, which It’s made a significant difference to how
about the business of hitting the road in will take them up to Christmas, this slicker consistent the Tesseract live experience can be.
support of towering latest effort Polaris, with Tesseract are finding the experience more “We’re still running the RME Fireface sound
original frontman Dan Tompkins back behind relaxing this time around thanks to the the card, laptop and [Fractal] Axe-Fx Ultras,” says
the mic as if nothing happened. success of Polaris bringing with it the perks of James of their backline, “But we also now run
Currently in Minneapolis on their first US bigger crowds, who are being treated to just our own mixing console at front of house,
run since Dan rejoined the fold last year, a selection of the layered new material which also manages our in-ear mixes. So now
following the band’s spells with two alongside the band’s well-established tunes. we literally turn up, plug a left and right into
replacement vocalists, founding guitarist Alec “We’re playing a lot of bigger venues so it’s a the PA, and run the show audio entirely
‘Acle’ Kahney is clearly at ease and enjoying the lot less stressed, and the crowds have been ourselves, with sixth member, Aidan.”
thrill of playing songs from this This all fits in with the band’s
year’s superb third album for the
first time. “It’s going great, Dan’s “We run our own mixing console at perfectionist nature, particularly
Acle, who took a year off from his
settled right in,” he explains of the
old band slotting together again.
front of house… we literally turn up, production and recording duties
to write the sprawling, layered
“The one big change was how
much his voice had improved,”
plug a left and right into the Pa, and soundscapes of Polaris. Recreating
those vast, intricate sounds live is
adds bandmate James Monteith. run the show audio ourselves” something that requires familiarity
as well as changes.
“We’ve still got the Axe-Fx Ultras with the
sounds dialled in,” says Acle.” The presets we
Tesseract have reunited
with original vocalist used on the album are on my website,
Dan Tompkins (centre) www.4dsounds.com. And we’ve still got our
laptop, HAL, which is a reference to 2001:
A Space Odyssey. We use that for the backing
tracks and switching effects.”
“It’s technically HAL 2.0,” laughs James.
“However, it’s now four years old, so getting
on a bit. I guess it’s survived by a) being a very
well-built machine and b) using a solid state
hard drive. Regular hard drives fail inevitably
anyway, however if they’re exposed to lots of
vibrations they can die quickly.”
“I have a new Mayones Setius, 27-inch
scale,” reveals Acle of the changes in his own
rig, “with Bare Knuckle Black Hawk pickups
that give an ultra-cool, acoustic sound for the
Polaris material. Then I have another Setius for
the early material and a Mayones Regius,
seven-string baritone with Bare Knuckle
Aftermath pick ups for the Altered State songs.”
It all bodes well for fans over this side of the
pond, who will no doubt catch the band at the
peak of their powers in the New Year, with Acle
tantalisingly promising a surprise. “We’ve been
working on something special for the British
tour and practicing another new song, so
hopefully that’ll all come off.”
Tesseract’s UK tour starts in Bristol on 3 February 2016.

Polaris is out now on Kscope
january 2016 11
monitor section
In the Studio
Ambient tones are still a

big part of the Daughter
sound, but so are riffs
The thump of a Les Paul

can be heard on the
Artist: album’s louder moments
Daughter
London indie trio bring the anger to album number two
Since the release of their debut album record at rare Book room in new york with ampeg reverbrocket and Gemini II, a Laney
If You Leave in 2013, Daughter’s music has producer nicolas Vernhes (animal stack, and more – and the result is more
been heard in TV shows and adverts on both Collective, Deerhunter, The War On Drugs) punchy, distorted tones on Not To Disappear.
sides of the atlantic. There’s something in instrument-swapping was the norm… “On the first record there was more of
Elena Tonra’s ethereal vocals, and the “It really depends on who plays it the an obsession with the clean sound,” Igor
delicate, atmospheric guitars she and best!” explains Igor. “There are some parts explains of the shift. “I still used my jC-120 a
guitarist Igor Haefeli layer beneath them that I play on bass that Elena wrote, then lot, but a lot of the time we were splitting the
that clearly resonates with fans, suits and there’s stuff that I wrote that I play, and then guitar through a few different amps. They
critics alike – and if it ain’t broke, right? with piano… remy’s (aguilella, drums) a were all plugged and we just decided which
But Daughter aren’t thinking one to go with in the moment.”
that way with second LP Not To
Disappear – they’re going big.
“We wanted to build up the
“We wanted to build up the It’s not all change of course –
atmospheric delay and reverb
guitar lines still cascade from
aggression and be more direct,”
explains Igor of the layered,
heavier guitar moments on
aggression and be direct” his fingers, but there’s a more
melodic, less ambient side to
guitar on Not To Disappear, too.
tracks such as New Ways. “We just wanted much better pianist than me, but I wrote “I think because there was more space in
to push ourselves. also, the experience that most of the piano parts. We’re an entity the songs, and Elena’s vocals didn’t fill all of
Words: Josh Gardn er © Rachael Wright
we’d had of playing live just gave us the where things get swapped around a lot.” them, it left room for more melodies,”

confidence to go a bit grander.” Gear was equally fluid – Igor and Elena explains Igor. “We had a lot more space to
Grand is an apt word to describe Not To made use of a variety of Telecasters, plus the come back in the writing and explore some
Disappear, which sees the Daughter sound midrange thump of a Les Paul Standard and of those melodies that are a bit more riff-y.”
used as a framework for something more Special. Perhaps the biggest change was the riffs? Distortion? aggression? Daughter
majestic and varied. This variety should be amps, however – Igor’s trusty roland jazz may not have abandoned ethereal indie, but
no surprise – when the band convened to Chorus was complimented with an old they’re not resting on their laurels, either…
12 january 2016
monitor section
our Marshall sounds pre-loaded.

We try to hire Marshalls wherever
we go but if we can’t, the Kemper
still sounds like a Marshall. We’ve
been doing that for a couple of
years now. I can’t say they’re easy
to use though, it is very technical.
We rely on the back button a lot!”
When I try to sing you say I’m

off key
“I don’t know whether to admit to
this, but I had quite a bad flu and
altitude sickness in Venezuela one
time and I started a song in
completely the wrong key. I went
over to the other side of the stage
to make sure it wasn’t someone
else playing it wrong before
I realised that it was me. We still
laugh about that today so it must
have been funny at the time. How
did I recover? I kept a straight
face! I only admitted it later on.”
I want to make that connection

“Being in touch with your crowd
is the key to putting on a great
show. You need to tailor the entire
day so you don’t get overexcited
5 minutes alone before the fact. You need to have
a gradual build throughout the
Paul Quinn
day, just go for it when you get
on stage and then collapse
afterwards. If you want longevity
in music you need to have focus.
You also need to be passionate
Saxon’s metal crusader on being schooled by the blues, slaying and you should never count the
hours you’re working because
Donington and what to do when things go south in Venezuela… there is almost no end to it. I find
travelling more a difficulty than
Got my first real six string Dream on in his playing that you didn’t the actual playing nowadays.”
“My first guitar was some cheap “I was always torn between notice the first time you heard
Spanish thing. Before that wanting a Strat and a Les Paul him. Hearing people like Steve Rock on
actually I had a plastic guitar with when I was a kid. I used to draw Howe of Yes was also very big for “We’ve had some great gigs down
a chord book called Play Like both of them on all of my school me. I checked out all of the early the years. If I had to pick a best
Elvis or something. From there books. I ended up buying a Fender blues guys like the three Kings. one it would be a toss up between
I went through the cheap Spanish Jazzmaster. Shortly after that I got You had to check those guys out, Donington in 1980 when we were
thing to a Rosetti, that one had a myself an SG Junior. I still love they influenced everyone. I loved in the charts and riding high, even
typical flat fingerboard. That Strats and Les Pauls today.” the fact that Clapton was like a though we were low on the bill.
thing was almost impossible to guitar singing. That was down to We were the underdogs and we
play unless you had an iron bar Let me show you the way his vibrato and I tried to emulate it went for it. Or the other one
for a first finger.” “From hearing Clapton I checked – I ended up with something even would be the 10-piece Saxon that
out all of the blues guys and then more vocal-sounding.” played at Wacken last year. That
Saxon playing songs in shortly after discovered Hendrix. was a complete surprise the way
the same key. Usually I probably play closer to Hendrix The future is here we did it. We did a half set as we
than I do Clapton. Discovering “I’m a bit on the fence with gear. are and the other half with strings,
© Didier Messens/Redferns/Getty Images
Hendrix was a big moment for We like to use real amps but then keyboards and percussionists.
me. You can still hear things today we carry Kempers around with That was fairly difficult to pull off.
We had to have click tracks in our
“I was always torn between in-ears for that one.”
wanting a Strat and a Les Paul… Saxon tour the UK with Motörhead in

January. See www.livenation.co.uk for
I ended up buying a jazzmaster” dates and tickets.
14 january 2016
monitor section
“I Swapped the tuners

out for Hipshot locking
tuners, they’re my
favourites. I put a bone
nut on it and a little foam
behind it just to kill any
sympathetic vibrations.
Because in the tuning we
play in they can be quite a
problem sometimes.”
“IT’S aN alder body

Me and My guitar with a bolt-on maple
neck. The neck on
Josh Smith
this is quite worn,
which is why I love it
so much. I really like
a rough feeling neck
and I tend to sand
Northlane my necks back a bit

and get a bit of grit
in them. It’s a really
solid guitar and has
The Aussie metaller knows his carbon rods in the
bespoke Jackson B-7 inside out; neck, even though it’s
only a quarter-sawn
here’s his guided tour one-piece it’s one
of the most stable
guitars that I own,
which is strange but
“ThIS IS my favourite guitar. I was on tour with Mark I have a feeling that
[Okubo] from Veil Of Maya. I was playing a different brand one-piece necks
of guitar and the neck broke, so I needed another guitar and sound better so I’m
Jackson were one of the only companies making the spec really happy with it.”
I wanted. Mark got me in touch with them and two days later
I had a brand new B-7. Ever since I’ve been with them.”
For STrINgS I have 0.012

to 0.082 Kaliums and I always
“ThIS oNe’S special to me because use Nut Sauce on my nut and
it’s been refinished in Seafoam Green by saddles, which is a tip if you’re
a good friend of mine in Sydney called struggling with your tuning.”
Charles Cilia. This is the same spec as
any other B-7 except for the pickups,
but I’ll get to that later.”
“I’ve goT a 280k volume

pot and a 550k tone pot for
“The pIckUpS are Bare Knuckle prototypes that I’m working on with the neck and bridge, I bypass
them. They’re based on the Blackhawk, which we did our whole record the tone and use a high value
with. They’re great pickups but I’m working on something that’s bit pot because the brightness
more suitable for a 27-inch scale because sometimes you can struggle works a bit better.”
with the high notes sounding a little too sharp. They’re a little lower in
output, but they’re still being developed so I can’t talk about them!”
© Adam Gasson
Northlane’s third album, Node, is

available now on UNFd records
16 january 2016
monitor section
Mixolydian mode (3nps) OF THE MONTH
T
he Mixolydian mode is the same songs where the major scale itself can
Become a more versatile player and
TGR275.mon_scale.fig01.musx
as the major scale but with one sound too bright; it is surprisingly
File Date: 13:22 12/11/2015 Scale of the Month
explore jazz-fusion licks, hair-metal key difference: the seventh note versatile too, as evidenced by our jazz-
Page 1 of 1 is a semitone lower. This gives the Contributor: Charlie Griffiths
and Indian-influenced lines. Finally,
riffs and psychedelic Indian
Notes:
melodies Mixolydian the bright, airy feel of theEngraved
notebythat
DigitalMusicArt.Com
we’re following a ‘three-note-
major scale but with a cool, bluesy edge. per-string’ scale, which lets you access
The scale sounds great in major key rock more notes than traditional ‘box’ shapes.
Har ry’ s son ~~~~~ Tracks 09-10

œ œ œ œ ~~~~~
##4 œ nœ œ œ nœ œ œ œ œ
œ œ œ n œ œj œ . œ œ œ œ œ œ
nœ œ
q =120 3
& # 4 .. n œ œ œ ..
This lick has a flavour 1 3
2
2 4
2 2 4 1
reminiscent of George 3 1
2 4 1
1
Harrison’s psychedelic
~~~~~ ~~~~~
period. Omitting B, E and F
notes in the first half of the
line makes for bigger
T . 9 10 9
.
. .
8 10 10 8 10 8 7 8 10
jumps between phrases A 5 7
6 7 7 6 7 6
7 5 7 7 9
6 7 9
B Date: 13:27 12/11/2015

File Scale of the Month
Page 1 of 1 ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ Contributor:
≤ ⇥ ≤ ⇥Charlie
≤ ⇥ ≤ Griffiths
⇥≤
and feels less predictable
than running through the
scale notes in order.
Notes: Engraved by DigitalMusicArt.Com
DeV ille -isHly HeaVy 3

A5 N.C. A5 N.C.
Tracks 11-12
##
You can almost smell q = 95 q q =q q
& # 44 .. œ
3
n œœ œœ œ œ œ œ œ œ œ œ n œœ œœ œ œ œ œ œ œ ..
the spandex in this 80s 3 3
metal riff. There’s lots to
œ œ œ œœ
4 2
œ œœœœœ œ œ œ œ œ œ
1 2 1
1 2 4 2
learn, though. The riff 2 4 1 2 1
3
opening bar 1 is prime 1 1 1
. .
mid-tempo rock ’n’ roll
T
. 7 30/11/2015 .
fodder and the triplets that
round off the line are A Date: 12:01
File 5 9 7 5 7 5 5 9Scale
7 5 of the Month
B 9 7 7 5 7 9 7 9 7 5
⇥ ⇥ ≤ ⇥ ≤ ⇥ ≤ ≤⇥ ⇥ ⇥ ⇥ ⇥ ⇥
typical Poison or Steel Page 1 of 1 5 5 5 5 5 5 5 5 5 5 5 5 Contributor: Charlie Griffiths
9 7 5
Panther fare.
Notes: Engraved by DigitalMusicArt.Com
sco WH at? Tracks 13-14

œ œ œ œ
### 4 . œ nœ œ œ œ w~~~~~~~~~~~~~~~~~ ..
q =100 A 7
œ
MixolYdian ideas 4 3
& 4 . œ nœ œ œ œ œ
3 2 1 1 4 2 1 3
such as this John 3
1
Scofield-style jazz line 3 1

Guitars and backing: Charlie Griffiths
~~~~~~~~~~~~~~~~~
work over dominant 7 1 3
chords because they share

notes. The notes in A7 are
T . 7 10 9 7
.
.7 .
8 10 8 7
A C# E G; A Mixolydian is A 5 5 7 9
7 9 9
B
⇥ ⇥ ≤ ⇥ ⇥ ⇥ ⇥ ≤ ⇥ ≤ ⇥ ⇥
A B C# D E F# G. In short: 7
use the Mixolydian over
dominant 7s!
18 january 2016
WIN!
an epiphone
Bjorn Gelotte
les Paul £599! Worth
Custom
Get your hands on this
metal monster!
From Steve Jones to Randy Rhoads The Les Paul Custom
has always been the hardest-rocking incarnation
of Gibson’s iconic single-cut model. Decked out with just the right
amount of bling to make it desirable without becoming tasteless, the
Custom has continued to be the ‘one to have’, just as Les wanted. Most
recently, Bjorn Gelotte of Godfathers of the Gothenburg death metal
scene, In Flames has become the latest artist to create his own take
on the Les Paul Custom, and we’re giving one lucky TG reader the
chance to win one!
Equipped with active EMG 85 and 81 ‘Metalworks’ pickups
in the neck/bridge position respectively, and finished in and
ebony gloss, Bjorn’s Les Paul also features a tweaked take on
the classic ‘split diamond’ headstock logo, replaced with an
In Flames ‘Jester’ inlay.
As we found out last issue, the Bjorn Gelotte Les Paul
Custom is a brilliant modern metal take on the Custom,
and all you have to do to enter is answer the following
question correctly.
What pickups feature in the Bjorn Gelotte

Les Paul Custom?
A EmG 85/81
B Gibson BurstBuckers
C Epiphone P-90s
Enter at www.futurecomps.co.uk/tg275epiphone
T&Cs: The competition is open to UK entrants only. Under 18s must obtain parental consent to enter this competition and be able to demonstrate this to Total Guitar’s reasonable satisfaction. Answers must be received between
14/12/2015 and 14/1/2016. The winners will be selected at random from all correct entries received between the relevant dates and will be sent the prize free of charge. Each winner will be notified within 28 days of the closing
date and will be required to give details of a delivery address in the UK to which the prize should be sent. By entering this competition, you consent to us using your personal details to send you information about products and
services of Future and Bare Knuckle Pickups that may be of interest to you. For full terms and conditions, please go to: www.futurenet.com/futureonline/competitionrules.asp
20 january 2016
monitor section
Top 20 guitar
albums of 2015
The Total Guitar team pick their
musical highlights of the year
Clutch 2 3 4
PSychIc
Warfare
guitarists: Tim Sult,
Neil Fallon
It’s all here; Tim Sult’s
juggernaut blues riffs, Neil
Fallon’s vocal gravitas and Faith No More City And Colour Lamb Of God
Sol InVIctuS If I Should go Before you VII: Sturm und drang
lyrical genius, plus the
guitarist: Jon Hudson guitarists: Dallas Green, guitarists: Mark Morton,
godly grooves of rhythm Their idiosyncrasies are all present Dante Schwebel Willie Adler
section JP Gaster and Dan and correct, from tongue-in-cheek Working with his touring band, The tones here are the finest blend
Maines. The fevered ballads (Sunny Side Up) to heavy there’s a sensitive dynamic of muscle and clarity they’ve
garage rock urgency of chugging (Separation Anxiety), plus here that helps Dallas Green’s dialled in, and closer collaboration
an, ahem, epic or two (Superhero). songs flow; whether around between Adler and Morton has
Firebirds, Sucker For The This high-energy genre hopping Northern Blues’ deep bass resulted in an even greater sense
Witch and A Quick Death In allows Hudson to spread his groove or bringing out his more of detailed musicianship and
Texas set new benchmarks. wings, whether it’s with thrash or soulful side in Killing Time’s engaging hooks as LOG return
syncopated wah-driven funk. stabbing chords. to the fray harder and stronger.
5 6 7 8
Steven Wilson The Wonder Years Wolf Alice Periphery

hand. cannot. eraSe no cloSer to heaVen my loVe IS cool Juggernaut alPha
guitarists: Steven Wilson, guitarists: Casey Cavaliere, guitarists: Joff Oddie, & omega
Guthrie Govan Matt Brasch, Nick Steinborn Ellie Rowsell guitarists: Misha Mansoor,
Wilson’s production and TWy explore more post-rock Oddie’s crystalline Jaguar cleans Mark Holcomb, Jake Bowen
composition frame an outstanding textures in addition to the usual and shoegaze-worthy textures add Songs such as MK Ultra, Four Lights
performance by Govan. His solos layered intricacy, anthemic plenty of dynamic contrast. The and Graveless carry all the
are a key component; breaking choruses and Dan Campbell’s band display a knack for marrying neck-snapping polyrhythms you’ll
through in Regret #9 and drawing impassioned vocals. But it’s the the power of early Pumpkins and ever need. But it’s the moments
out jaw-dropping expression in heavier edge here that highlights Pixies with Ellie rowsell’s when the Washington DC sextet
Ancestral and the more traditional a creativity that’s made them Haim-esque hooks, while Giant step out of their comfort zone that
Happy Returns/Ascendant Here On. pop-punk’s most interesting band. Peach is godzilla-sized riffage. truly inspire.
22 JANuAry 2016
albums of 2015 monitor
9 10 11 12
Noel Gallagher’s High The Aristocrats Jason Isbell And So I Watch You
Flying Birds treS caBalleroS SomethIng more From Afar
chaSIng yeSterday guitarist: Guthrie Govan than free heIrS
guitarists: Noel Gallagher, There’s an all-pervading sense of guitarist: Jason Isbell guitarists: Rory Friers,
Paul Stacey fun on display here, as Guthrie reuniting with his live backing Niall Kennedy
We shouldn’t expect any real Govan’s instrumental jazz-rock band, the 400 unit, on record after For their fourth album, the
curveballs from Oasis’s chief supergroup explore an eclectic set 2013’s excellent Southeastern has (mostly) instrumental rockers
songwriter now that he’s two of influences. Virtuoso doesn’t resulted in classy electric present a kind of ‘best of’, covering
decades into his rock ’n’ roll even come close to describing slide work (check out Children past sonic phases as well as a host
career, but this second solo Guthrie’s out-of-this-world guitar Of Children’s majestic outro), of new sounds. Their attention to
album betters his first by offering playing, as The Aristocrats but the main draw here is Isbell’s detail ensures ASIWyFA remain
something old, something new, effortlessly dissect and reinvent impressive songwriting. Simply, the most exciting band in
and a deeper soul. each style. top draw Americana. instrumental rock.
13 14 15 16
Sylosis Klone Iron Maiden Gary Clark Jr

dormant heart here comeS the Sun the Book of SoulS the Story of Sonny
guitarists: Josh Middleton, guitarists: Guillaume Bernard, guitarists: Adrian Smith, Boy SlIm
Alex Bailey Aldrick Guadagnino Dave Murray, Janick Gers guitarists: Gary Clark Jr
Josh Middleton takes his band’s Bernard and Guadagnino leave The raw dynamic in Kevin Shirley’s unafraid to breathe new life into
thrashy signatures into murkier, space for their cleaner tones, while production methods may be the I-IV-V, songs such as Grinder
sometimes slower, groove- the grit of yann Ligner’s voice lends divisive, but in an age of Pro Tools, and Hold On prove he has plenty of
infested riff waters on their fourth an immediacy to these songs, this sounds like a proper band. chops up his sleeve while Star and
album, and the results are hugely which carry haunting moods that One that also happens to be the Cold Blooded introduce more
impressive. It’s a perfect storm of fans of mellower Opeth and greatest heavy metal band of all gospel- and funk-fuelled jams in
metal; a union of atmosphere, Katatonia will appreciate. Possibly time; and they’re still giving more contrast to the hip-hop bounce of
tunes and technicality. the best kept secret in France. than most. opener The Healing.
17 18 19 20
Ian Thornley Mark Tremonti Symphony X Hawk Eyes

SecretS cauterIze underWorld eVerythIng IS fIne
guitarist: Ian Thornley guitarists: Mark Tremonti, guitarist: Michael Romeo guitarists: Robert Stephens,
Big Wreck main man Thornley has Eric Friedman The musicianship here is Paul Astick
always been melodically surprising With increased dynamics brought unrelenting in its quest to bend Everything Is Fine is an exhausting
and tonally open-minded in his in by downbeat, brooding tracks the rules of space and time. But listen, and that’s to the credit of
various musical guises, and he’s such as Dark Trip and Fall Again, it’s the songs where the prog- guitarists Stephens’ and Astick’s
exploring the mellow sides of his this sophomore release from one metallers excel, with tracks such riffery; for every Black Album
songwriting here on this debut of today’s finest guitarists serves as Nevermore, Without You and stomper (The Trap), there’s angry
solo album. Thornley is a gifted as a compelling reminder as to In My Darkest Hour exhibiting post-hardcore (Everything’s Fine)
artist who needs to be heard by why Tremonti’s success could not sky-scraping melodies and and Whammy-driven lead
more guitar players. be more well deserved. soaring choruses. hysteria (More Than A Million).
JANuAry 2016 23
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rig tour
Graveyard
words: Matt Parker photoGraphy: joe branston
From Bluesbreakers to wild fuzzes, Sweden’s vintage rock-obsessed four-piece,

Graveyard, blend a strange brew of modern gear in their pursuit of retro riffage
january 2016 27
GUItars store. It has a special [sound] and the pickups
T 1 GIbson
he world is not short of retro-rock 1958 are set up in some strange way that I don’t have
groups, but super Swedes Les paUL reIssUe a clue about! even though the tone knobs aren’t
Graveyard tread a tremendous “this is the one I use the most. It’s just a couple connected at all, I used to imagine it was a
line between Black Sabbath’s batshit of years old and it fits well with the amps I use. different sound [when I adjusted them] and
proto-metal and Cream’s complex, dark I almost always have the two pickups on think it sounded good! It’s a little more direct
blues. They’re creatures of the night, [together, on the middle setting] and I just adjust than the Les Paul because it has the P-90
so it’s fair to say heads are a little foggy the sound through the volume and tone controls. pickups. then it has a tapered neck, so it’s very
when TG turns up to talk rigs with It has a nice round neck that I prefer, but it’s just a skinny and I like to play near the body on this as
guitarists Jonatan Ramm and Joakim nice one and it has a warm sound to it. right now, it has a good feeling. I think it’s a 1971 model, but
Nilsson, but fortunately for us, on this day I use the Les Paul for most of the songs and then I’m not quite sure because the pickups and the
they’re feeling very accomodating. While after half of the set, I’ll switch to the sG for a bit.” rest of it were made in the 60s, so it’s a strange
Graveyard’s sound may channel the past, combination of different stuff!”
they’re not slaves to period-correct detail
2 1971 GIbson sG
on the gear front – living proof that you
don’t need real vintage gear to get killer
“this is an older guitar that I came across
in a music shop in Gothenburg [sweden] and 3 Fender teLecaster
“My newest guitar is this Fender
vintage tone… [it turned out] a friend of mine had sold it to the telecaster. I haven’t gotten used to it, compared
to the Gibson guitars. I like the neck pickup a lot,
J o n a t a n r a m m No reissues here – this lovely

SG is a genuine ’71, complete
with single-coil P-90s
Jonatan’s main Les Paul is a Jonatan likes to use the neck

Custom Shop 1958 Reissue
– he uses it for most of the set
2 3 pickup on his Telecaster to
give a warmer tone
28 january 2016
graveyard rig tour
Jonatan channels his inner

Clapton with a pair of
Marshall Bluesbreakers
Rather than tweak his amp,

Jonatan prefers to use his
guitars controls to vary tone
4
because it’s warmer, and it has smaller frets
compared to the Gibsons, so it’s a different 9
feeling. again, it’s got a very nice neck on this
one, too, even though it’s a little smaller. this is
a brand new one… I’ve just been using it on a
couple of songs so far, but it’s mostly the Les 6
Paul. I’m more of a habit person when it comes
to guitars. I feel like if one feels good, then I want
to keep it!”
aMp
4 MarshaLL bLUesbreakers
“I use two Marshall bluesbreakers.
they’re only 30 watts, but they’re very loud.
you have to push them all the way up to get the
distortion and the crack in sound on them, so
I have a little help with my pedals. they sound 7
very good and you could put any guitar through
them and it sounds great, still. I just really enjoy 8
the sound of these two. We’ve always preferred
the sound of tubes compared to solid-state
5
amps. before Marshall we had an orange Jonatan keeps things simple
and classic on his ’board – no
endorsement, so joakim used an orange and complex signal chains here!
I used a Hiwatt. It sounded great, as well, but
I liked the idea of using combo amps.”
pedaLboard have to pull them all the way up all of the time. It’s nights I’ll feel like using it on a song and then the
“My pedalboard is nothing strange or actually truls, the bass player’s, pedal. It just has day after I won’t use it. It just depends on what
complicated. I like to have as few as possible and volume, drive and tone and I don’t use it all the the vibe is, I guess!”
as few knobs as possible, because it makes me way, I just use a little to get a little push.”
confused, having too much stuff [on there].”
MXr MIcro aMp 9 carL MartIn headrooM
sprInG reverb
7
5 korG dt-10 tUner
“I have a friend that says it’s ‘the rolls
“I use it, not really in the slower or the
softer songs, but on some of the solos on the
“this is a nice pedal because it actually has the
proper springs in it. It’s the real deal. It has two
royce of tuners’, but I don’t know, he probably harder songs.” different footswitchable settings, so if I want
talks a lot [of rubbish], but it’s working good!” more reverb I can just switch to the other
8 JIM dUnLop channel. I like it mostly for the slower songs.
6 Jhs MornInG GLory
overdrIve
JIMI hendrIX crybaby
“I like that it’s got a little more of a rounder sound
sometimes I’ll forget about it and it’s on for
several songs, other times I forget to put it on
“the next one is an overdrive that I have, just to than some wah wah pedals, so it’s not as sharp [altogether]! It sounds very good, though.
get a little more punch into the amps, so I don’t or bass-y. It’s different from night to night. some I’m very happy with that one.”
january 2016 29
Joakim has broken the neck
Joakim’s standard ES-330
on his main ES-330L three
has a 16th-fret neck join as
times – and it’s not even old!
opposed to the L’s 19th
xxx xxx xxx xxx xxx xxx xxx

Jo a k i m n i l s s o n The Jazzmaster actually

belongs to Graveyard
bassist, Truls Mörck
1 GIbson es-330L
“this was the first one [es-330] I got, so
the other one, but everything has been moved
into the body, so you don’t really get to play the
we have. It’s a good mix between the softer
sound of the Gibsons and the harder sound
it’s kind of new, but it looks sweaty! I’ve broken upper-frets. It’s still a really nice guitar though on this one.”
the neck three times, so it’s been repaired a lot. It and it sounds really good – it’s great acoustically,
has the P-90s and I really like the sound. I started too. It also has the P-90s and I’ve not broken this aMp
using this because it’s very light, as it has no
centre block, so it doesn’t weigh anything and it’s
one yet, so it still works well!”
4 MarshaLL bLUesbreaker
“I’ve got a single Marshall bluesbreaker,
easy to wear a lot. We have an endorsement
with Gibson guitars, so I knew what I wanted and 3 Fender JazzMaster
“this is the last guitar I have. It’s not
and it’s just like my colleague jonatan’s. We’re
really happy with them. they have a really
I just ordered it from the guy who imports them actually mine – it’s our bassist’s guitar, but punchy sound and it’s really direct, but still warm
in sweden. all of my guitars are new – or [at I started using a jazzmaster when we were and full-bodied. I guess, it’s all because of eric
least] all of the ones that I use live.” recording our last album [Innocence & Clapton’s bluesbreaker [sound], but when you
Decadence], so I figured I should take one on tour, try all these amps, finally, you realise that there’s
2 GIbson es-330
“I needed another guitar to change with,
too. I borrowed our bassist truls [Mörck]’s
guitar, but I have one at home now, so I’m going
a reason why these things are iconic. even
though it’s a reissue on circuit boards [ie, not
so I bought another 330, but they’re not at all the to start using that on tour, too. I use this for the hand-wired – ed], it’s still really warm and has a
same. on this one the neck is actually as long as twangier sound on the harder and faster songs nice sound. [settings-wise] nothing sticks out
30 january 2016
graveyard rig tour
Joakim’s ’board is also pretty

stripped-down, but he does
find room for a Space Echo
5 7
that much to the sound, which I like, it just

brings the volume a little bit higher and
makes it a little bit more distorted.”
7 JIM dUnLop
crybaby 95q
“It’s one of those that you don’t have to
push the button [to engage], you just put
your foot on it and then it starts working.
Joakim also uses a Marshall
Bluesbreaker – “There’s a I really like that, because when you’re
reason why they’re iconic” singing and playing at the same time,
sometimes you just forget to turn it off,
so it’s easier to have this one!”
for me as I’m the rhythm guy, so I’m focussing on

staying in the background. not too much treble 8 korG dt-10 tUner
“My tuner pedal is just a korg Dt-10
and not too much bass.” and I really like it. I’ve had it for a long time
and it really does the job.”
pedaLboard
5 earthqUaker
terMInaL FUzz
devIces
9 boss re-20 space echo
“this is the digital version of the
“It’s a really wild fuzz. It’s really cool and it’s not roland [re-201] space echo [the
controllable at all! I use it mainly on a song from much-loved echo and reverb unit from
the new album called Too Much Is Not Enough the 1970s]. For me, it has a lot of features
and another song from the new album called that I don’t use that much, it’s mainly for
Hard-Headed.” the song An Industry Of Murder, at the
beginning, and also for the solo in The Joakim likes the light weight
6 MXr MIcro aMp
“It’s just a boost for solos and stuff like
Siren. It has more features than I’m ever
going to use but it’s still a nice pedal
of an ES-330 as it’s more
forgiving to play on stage
that. there’s nothing to it, really. It doesn’t do – and it blinks!”
january 2016 31
monitor section
28
From blues bumpers and metal grinders, to indie
heart-throbs and rock gods in-the-making, here are
o the dazzling, daring and down-right jaw-dropping

players worthy of your delectation in the new year
n
New guitarists
t to hear in 2016
h
ChoN
Mario Camarena /
erick hansel
West coast wizards conjuring prog spells
e
San Diegan Sumerian signees Chon craft
psychedelic, sunshine-laden prog-rock.
There’s jazz here, but not the kind that leads
to excessive chin-wear, while guitarists Mario
Camarena and Erick Hansel write lines that
knit together in flashes of colourful expression
and dream-like transformations.
u For Fans oF: Animals As Leaders

More inFo: www.facebook.com/musicofchon
p NothiNg But thieves
Joe Langridge-Brown / Dom Craik

The Essex boys have crashed the charts, next-up: the world!
You may have noticed Nothing But It’s a pretty modest explanation of a
Thieves’ first record ram-raiding the top playing relationship that looks likely to
10 back in October – a pleasant surprise take the band to international success
for the five-piece, to put it mildly. – something both guitarists are still
“I think we celebrated for three days coming to terms with. BeaCh sLaNg
straight!” guitarist Joe Langridge-Brown “Just looking at poster of your tour Ruben gallego / James alex
tells TG. “My first reaction was: ‘Christ!’ dates where every one is sold out is US rockers keep the Gaslight lamp
adds co-guitarist Dom Craik. “And then: quite special,” marvels Dom. “That took shining strong
‘Where’s the nearest offie?’” us back a bit!” Philadelphia four-piece Beach Slang take their
Though the band’s place in the big Joe’s equally reflective. “Not so long monicker from the modern American
leagues might seem like a sudden ago we played York and it was us, the songbook beamed left of the dial across 90s
development, they’ve spent years sound guy and – no joke – one man and college radio. The influence of The
honing their unique sound. his dog. And the bastard left! To go from Replacements’ Paul Westerberg is clear on
“Dom was classically trained from like that to selling-out an 800-cap venue guitarists James and Ruben, but you can’t fake
conception!” explains Joe. “So all of the abroad is a really nice feeling.” their liberating wholegrain rock ’n’ roll.
Words: Matthew Parker
clean and more technical stuff is him.

He plays a Tele and a Vox, whereas I’m For Fans oF: Jeff Buckley, Muse, For Fans oF: The Gaslight Anthem,
the Marshall and Les Paul guy – the Twin Atlantic The Replacements, Jawbreaker
soundscapes and weird delays – and More inFo: www.nbthieves.com More inFo: www.facebook.com/beachslang
that’s how we kind of define it.”
32 january 2016
on the up monitor
BLaCk Peaks
Joe gosney
British rock’s ‘band most likely to’ are
PRess to MeCo NoveLists
poised to pounce
The outlook in 2016 for Brighton’s Black Peaks Luke Caley Florestan Durand /
A harmonious melding of melody
is positive, to say the least. Since we last spoke,
the band have signed to rock behemoth Sony and musicianship Charly kelevra
RED and their radio champion Zane Lowe has Croydon’s Press To Meco recently dropped A leading light in the metalcore night
teamed-up with a little firm called Apple. debut album Good Intent – a collection of Hailing from Paris and signed to Nuclear
“We were worried when Zane Lowe melodic rock riffage, harmony vocals and Blast imprint Arising Empire, Novelists are
moved,” admits guitarist Joe. “But then he got dynamic duality. We hear a little of Jimmy a modern metal act that combine the
on Beats 1 and started playing our track with Eat World’s rough-pop in Luke’s contagious seismically-shifting rhythms of djent and
all these gunshots and explosions behind it!” compositions, but there’s also a complexity brutal beat-downs. Guitarist Florestan is their
Fears allayed, the band’s first album drops in that recalls rock lunatics Dananananaykroyd. secret weapon: a skilled player who conjures
February – and TG is already salivating. spirited lead lines from dark places.
“There’s a track called Set In Stone,” Joe For Fans oF: Dananananaykroyd, Jimmy Eat
reveals. “It’s got this solo at the end that I can’t World, Arcane Roots For Fans oF: BMTH, Trivium
wait for people to hear.” More inFo: www.presstomeco.com More inFo: www.facebook.com/NovelistsMusic
He’s not alone on that. Roll on February…
For Fans oF: Oceansize, Muse

More inFo: www.facebook.com/blackpeaks
LeoguN highLy susPeCt vasa

tommy smith Johnny stevens Blaine thompson /
London power trio riff, rinse, repeat Heavy rock for hipsters?
Josh Homme’s greasy, sleazy tone is an Think of Brooklyn’s Highly Suspect as the US’s scott Coupar
inspiration for many modern rock guitar answer to Royal Blood – a darkly powerful, POG-powered post-rock hopes
players, but in their debut EP, Majick Potion, heavy-riffing rawk band that have nonetheless Post-rockers usually love their stompboxes,
London three-piece Leogun have combined been adopted by their hometown’s scenesters. and Glaswegian’s VASA offer little exception to
Homme’s signature guitar sound with Jane’s Guitarist Johnny Stevens’ simple but savage this rule. Like luminaries Maybeshewill and
Addiction-style just-washed freshness and style lays Soundgarden-esque slabs over ASIWUFA, VASA are all about carefully
some sizeable Royal Blood stains, too. Meyer brothers Rich and Ryan’s twin-powered constructed instrumental atmospherics, but
Guitarist Tommy Smith is a riff-launderer of rhythm section. guitarists Blaine and Scott accomplish this
the highest measure. with a pacey, vicious economy.
For Fans oF: Soundgarden, Kings Of Leon,
For Fans oF: Jane’s Addiction, QOTSA Royal Blood For Fans oF: Maybeshewill, Adebisi Shank
More inFo: www.facebook.com/LeogunBand More inFo: www.facebook.com/HighlySuspect More inFo: vasa.bandcamp.com
january 2016 33
monitor section
FaLse aDveRtisiNg aaron keylock

Jen hingley / Chris Warr Blinding young bluesman breaking
Killer grungers that don’t have to worry down the door
about trading standards “All of my earliest memories are listening to
Many bands have embraced grunge’s more music,” says Aaron Keylock. “I guess I knew
appealing side lately, but False Advertising from a very early age I wanted to play guitar.”
bathe in the backlash: think In Utero with the You’re telling us. Still in his teens, Aaron
ugly bits emphasised. Their crisp, self-titled PoMegRaNate tigeR has already played sets at Download and
debut is awesome surprise – as are Jen and Martin andres shows with Blackberry Smoke and Cadillac
Chris’ onstage guitar-swapping theatrics. One-man weaponised force in progressive Three, modelled for Dior and moved Blues
guitar playing magazine to proclaim that “the search for
For Fans oF: Nirvana, Yuck The Petrucci-tight gymnastic guitar of your next guitar hero stops here”.
More inFo: www.falseadvertising.co Pomegranate Tiger, aka Martin Andres, is TG caught his set at Dot To Dot earlier this
rendered all the more impressive when you year and walked away with our brain
realise that he’s a musical polymath covering thoroughly shaken – though that may well
nearly all of his album’s instrumental and have been due to his insistence on cranking
production bases himself. It’s even self- his Marshall half stack in a basement bar.
released. Advanced technical guitar craft – 2016 will see the release of his Provogue/
and then some. Mascot-backed debut album and, chances are,
all hell breaking loose, too.
For Fans oF: Between The Buried And Me,
Dream Theater For Fans oF: Jared James Nichols
More inFo: pomegranatetiger.bandcamp.com More inFo: www.aaronkeylock.com
the huNNa a thousaND hoRses Charlotte Carpenter

Dan Dorney Bill satcher / Zach Brown British folkie penning epic electric odes
Hubba hubba for The Hunna Southern man crosses over Her music may be rooted in pan-Atlantic folk,
The Hunna sound like Catfish (and have a Something is happening in Nashville. Local but you’re as likely to find Northamptonshire’s
similar ear for a massive choruses – just hear bands are championing their southern roots Charlotte Carpenter channeling a Tele for her
Bonfire), but likely eat more vegetables than and melding them with beefy, scuzzy rock spacious Americana. Marika Hackman’s a
Van McCann. Guitarist Dan also does a killer tones. First it was Cadillac Three, next up is fan and the expansive writing on recent fifth
line in epic Edge-like delay tones. Expect them A Thousand Horses – their lead guitarist, EP, The Fault Line, is evidences of a newfound
to plaster teenage walls imminently. Bill Satcher, could be a southern Slash in self-assurance.
the making.
For Fans oF: Catfish And The Bottlemen, For Fans oF: Laura Marling, Daughter
The 1975 For Fans oF: Cadillac Three, Blackberry Smoke More inFo: www.facebook.com/
More inFo: www.facebook.com/thehunnaband More inFo: /www.athousandhorses.com charlottecarpentermusic
34 january 2016
on the up monitor
D.D DuMBo FLesh

olly Perry Jon Burgess
Down-underer is reinventing the term ’Snot pop’? ‘Flaccid-house’? Whatever,
‘indie world’ we’re intrigued…
usa NaiLs It’s been too long since we’ve heard a player in The Britpop revival might, quite literally, be
gareth thomas the indie-rock sphere as unique as Olly Perry, old hat, but there’s something about the gaudy
UK alt-rock supergroup’s ‘hard as…’ take aka 4AD’s one-man wunderkind D.D Dumbo. Oasis-meets-hair-metal vibe of Manchester’s
on drone “I don’t have too many guitar heroes or Flesh that makes TG shake. Lead guitarist Jon
Featuring (ex-)members of Future Of The Left, heroines,” the Australian songwriter tells Burgess busts filthy chorus-laden leads and
Hawk Eyes, Oceansize and Kong, this London TG. “But I did go through a Jimi Hendrix tracks such as Vauxhall Casanova are harder
band have a ridiculous pedigree, which they phase and I dig desert blues stuff such as to shift than kebab grease.
gleefully mash together as USA Nails. Gareth Ali Farka Touré – and also most of Captain
Thomas’ droning guitar is total ear candy on Beefheart’s guitarists.” For Fans oF: Oasis, Suede
for those after a kraut-rock kicking. It’s a modest, but mouth-watering palette of More inFo: www.luvflesh.co.uk
players. Channeling his Kinsman-equipped
For Fans oF: Future Of The Left, 12-string Danelectro through a variety of EHX
Crystal Balls
Destruction Unit octave and reverb pedals, Olly’s hypnotic style
More inFo: www.facebook.com/usanailsband recalls those Malian maestros, but would be at
home tracking a Lynch flick.
Get a taster of D.D Dumbo’s one-man, loopy
live show in his Tropical Oceans [Oak Forest total guitar’s
Version] video. 2016 guitar Predictions
For Fans oF: Malian desert rock, Mylets
More inFo: www.facebook.com/dddumbo 1 Multi-effects
will once again
become ‘the new
pedalboard’
2 ool will
t
finally release
their long, long, long
awaited new album… but they’ve
gone dubstep two years too late.
3 Harrystyles will attempt an

‘edgy’ guitar-heavy rock ’n’ roll
direction with his solo career.
4 eMi-Hollows will continue their

s
resurgence in alternative rock
siMo
JD simo
BLaCk suRF
Phil Jones / ali epstone 5 Following a Guns N’ Roses reunion,
axlrose will fire everyone and
become sole guitarist in the band.
A blues blasting from Bonamassa’s new Riding the Weezer wave
favourite find Spanning expanse between Sydney and
When Joe Bonamassa tips a player to a label Leeds, six-string songwriters Phil and Ali only
axl don’t need no
and dubs them, “One of the best out there recorded together for the first time when they guitarist – he can
right now,” TG tends to give it a cursory spin. met up to lay down their forthcoming
© Chris Schwegler/Retna Ltd./Corbis
handle it himself
JD Simo did not disappoint: he’s a fiery self-titled album. Their output is imbued with
bluesman, tougher than his benefactor, and a fat, weary Weezer-iness that we just can’t
only just getting started. stop huffing.
For Fans oF: SRV, Joe Bonamassa For Fans oF: Weezer, Manchester Orchestra
More inFo: www.simo.fm More inFo: www.facebook.com/blacksurfmusic
january 2016 35
interview Miyavi
t he
L aSt
Sa m u r a i
Words: Amit Sharma
Photography: Will Ireland
a
household name in his native
Japan and fast becoming one
across the globe, Miyavi is a
lot more than your average
guitarist. The 34 year-old formed his What made you decide guitar was the
own production company J-Glam in instrument for you?
2009 and made his international film “I starting playing guitar when I was 15,
debut starring in last year’s Angelina right after I gave up my dream to become
Jolie-directed and BAFTA-winning a professional soccer player. In Junior High
Unbroken, rising to prominence while I was in the youth team, chasing that football
putting the final touches to eighth every single day. But I got injured and had to
album proper, The Others. Recorded in leave the team. In that time I was starting to
Nashville, it’s an album full of surprises learn about many things – like girls – basically
– fusing together different elements of just growing up into an adult. After leaving
rock, dance, pop, blues, metal, funk… the team, I felt like I had nothing to get into
you name it. But most surprising is how or get me excited. And that was huge to me…
effortlessly cohesive it feels – bending I didn’t realise just how much of a
genres to his will, instead of following percentage of me was in football. I lost
formulas tried and tested. In fact, the confidence and had no dream, no direction.
self-proclaimed ‘samurai guitarist’ has Then I started playing guitar in a band just
long favoured a different approach to for fun. As soon as I touched that guitar,
his instrument, utilising slap techniques I could picture myself playing to huge crowds
more associated with our four-string under the spotlight. That was huge and it still
siblings. TG sits down with a musician motivates me to keep improving and moving
who exists to defy convention… forward today.”
36 january 2016
Miyavi interview
When he’s not being directed as an actor

by Angelina Jolie, Miyavi approaches his
guitar more like a bass. But then as he
tells TG, rules are made to be broken…
And who were your musical heroes when What was it like growing up in Osaka Japanese music that is just a copy. It needs to
you first started out? and how much do you think it affected be different. People don’t listen to music to
“There were many. The reason I got into your music? feel sad, they want excitement and fun. That
guitar was creativity, it was the same as “Osaka is Osaka! I was just chasing that brings hope which takes you further into the
playing football. You can make, you can soccer ball every single day of my life. Or future. To me, creating something new is
create, you can go anywhere you want. girls! Of course I like the city, it’s really lively related to our future.”
To me, that’s magical. I really like Stevie Ray and people are energetic. It’s very friendly
Vaughan and Buddy Guy because of their also. The location, the weather, the food, You play in a duo with a drummer, how
attitudes to the audience, they were trying great personalities… makes for more depth. difficult is it being the only musician on
to entertain and get people excited. It’s really In Japan like the UK we have seasons, which stage producing melodic content?
positive and that’s really important. We are is great for inspiration. But I was always “There’s more freedom, you don’t need to be
not just playing guitar, it’s a delivery, an thinking about where I should go. I was restricted by anything. Now we’ve been using
energy exchange with the audience at the looking for something, even before I quit a lot of Pro Tools, with synth bass or keys or
concert. I love how those two players playing soccer, and the guitar took me here. backing vocals. But the reason I started
dedicated themselves to the audience. It’s brought my art and music all over the playing with just a drummer on stage is
Naturally I was influenced by blues guys world. It’s not just an instrument to me, it’s freedom… it’s easy. And also low budget!
like Robert Johnson or BB King – those a key… something that can take you My style of playing is more like a bass player,
progressions were really simple but also anywhere. In Japan, people think it’s cool to that’s why I hook up into a bass amp too.
really deep. Also Michael Hedges, Ani be influenced by Western culture. But I also It makes sense to me, and of course in the
DiFranco, Tommy Emmanuel… players that realise we need to have something that is future I might add more people on stage, but
are very close to their instrument.” original. People won’t want to listen to as for now I’m enjoying it. You can be lean,
january 2016 37
interview Miyavi
v ideo
w w w.b it .l y/
tg 275v id eo
Screening Internet and wanted a rock artist that

was familiar with performing. The role
was pretty intense, I needed to
for Vengeance intimidate people like they were
prisoners. I felt really responsible as a
Japanese person – it was a controversial
So how does a virtuoso story. Of course I don’t want to portray
guitarist end up starring in any negative side of the country I was
born and raised in. But it was beyond the
an Angelina Jolie movie? conflict, who won, who lost, whatever…
Miyavi spills the beans… it’s about human strength and attitude,
a man that overcame obstacles in his life
“It was a really fun movie to work on, but and forgave everything, even the people
also very difficult. One day, a Japanese that tortured him. I’ve learned many
casting director came to our office out of things from being an actor, and it’s very
the blue and interviewed me about my similar to performing as a musician. For
career. I didn’t know anything about me, it’s not about technique or style, it’s
Unbroken, but a couple of days later she about expression and emotion. I care
‘The Others’ was recorded came back with an offer. I was told that
in Nashville, so Miyavi’s about scales and technique to an extent,
Angelina Jolie had found me on the but ultimately it does not matter.”
move to Teles is very fitting
simplify the stage and don’t need things you producers, Drew Ramsey and Shannon taboo… prohibited! But it worked. And
don’t need.” Sanders, I was blown away. I was so inspired around the world, there are many Japanese
by their attitudes, as an artist or creator, it restaurants opening up all because that dish
So how exactly do you go about splitting was so pure. It wasn’t for business. And a lot got popular. I have soy sauce, I have rice…
your signal? of things are business, budgets, release dates, I’m trying to find my avocado. Even on the
“I use a Marshall JCM800, just a classic amp. numbers, popularity… but we don’t care, last few albums, I’m still experimenting.
I prefer it to the 900, it’s drier and more actually. We don’t have to care, but the system I never give up. I will make it happen.”
direct. It sounds more solid to me and the of the music business tries to make us feel like
frequency of it is very specific. It’s made for we need to. We create music because there’s Your guitar lines on the new album are very
bands, to really cut through. That’s one of the something we want to share with people that vocal, it almost doesn’t feel like a guitar…
amps. Another is the Fender Super Reverb or can’t be explained with words. That’s the “That’s my new direction. I don’t want to play
Super Sonic Twin I use as a clean amp, with a origin, the motivation of creation. As an guitar music. I want to bring back my own
fuzz pedal. And then there’s a drop tune feed Asian, I wanted to find my identity – the passion. The guitar is very spiritual, it’s a
going into the Ampeg bass amp, which is reason why there’s an Asian guy playing special thing for us. People just want to
fairly basic. I don’t need a characteristic bass guitar. So I started slapping the strings…” dance. That’s all. That’s why rock music, even
sound because it just supports my guitars, jazz, funk… it’s all dance music, really. That’s
which is where my tone comes from.” And what inspired that signature finger- what I’m trying to do as my California Roll.
slapping technique? I was just want to make people dance with
You recorded your new album in Nashville. “The idea of mixing traditional Japanese my guitar. That’s what I tried to do with the
That must have been very different… feeling and modern guitar really appealed to Mission: Impossible tune [Miyavi reworked
“It was fun but at the same time I struggled. me. Technique-wise I’m heavily influenced by it for the Japanese release of Mission:
I suffered a lot, especially since moving to LA. bass players, musicians like Marcus Miller, Impossible – Rogue Nation] it’s such an iconic
Everything was different, new languages, Larry Graham, Louis Johnson. Hitting strings theme, everyone knows it. But people have
situations… it all felt unfamiliar to me. Then is a very instinctive thing, that’s all you have a hard time dancing to it, so I changed the
my kids started going to school so I had more to do and even my daughters can do it. They rhythm from 5/8 to 6/8 to give it more of
© Scott Dudelson / Contributor / Getty Images
responsibilities as a parent. Talking about the copy me! Also I’m still learning how to be in a downbeat. Look at what Skrillex did – he
album, doing promotion for the film as an a groove, which is so important. Japanese used to play in a rock band and now he’s
actor, I became responsible for all these culture is not about rhythm or groove, it’s a world-famous DJ. You don’t have to be
different things that were important to my about the moment. It’s hard to express that restricted. So be close to your instrument and
life. So it felt really bizarre in Nashville. Being kind of thing in modern rock music, but it is just keep on slapping. But make sure you’re
sat at a bar, having a beer, listening to country what it is. My mission is to combine those only slapping the strings and not people!”
music… which I’m not familiar with at all. ideas. My role model is the California Roll
It was like, ‘Woah! I’m on a different planet!’ sushi dish. A Japanese sushi chef won’t like it, Miyavi’s new album, The Others, is out now
Then when I went into the studio with the because it’s not genuine, it’s not original. It’s on Virgin/Universal
38 january 2016
The guiTar masTery of jimi hendrix
40 january 2016
xxxxxx inTerview
Chris Bird
Words: Steve Allsworth &
The G u i ta r M a s t e r y o f
im i
J drix
Hen th at Ji m i H en dr ix is one of the most
ng
It goes without sayi st or y – bu t he ’s also one of the most
ers in hi
important guitar play gr ou nd br ea ki ng genius of his music,
to th e
influential. In addition ed sc or es of gu it ar is ts of every genre
spir
his playing style has in hi ev ed le ge nd stat us in their own
have ac
since, many of whom H alen , Jo e Sa tr iani, Kirk Hammett,
d V an
right – think of Edwar or e to na me just a few.
Ritchie B la ck m
g th e ar ri va l of Fe nd er’s first affordable

bratin
This month we’re cele 0 ) by go in g de ep in to Jimi’s playing
itar (see p7
Hendrix signature gu m e of th e ke y el em ents of his playing
u so
style and showing yo ur ow n te ch ni qu e, as generations of
prove yo
that you can use to im rn er of th e el ec tr ic guitar’s broad
from every co n guitar playing, you
guitarists have done infl ue nc e on m od er
drix’s
church. So deep is Hen te ch ni qu es w ith ou t even knowing,
e of these
may already use som er e’s pr ob ab ly a few you don’t, too – hi
s
us , th
but such is Jimi’s geni et hi ng fo r ev er yo ne . We’re kicking off
ain som
style really does cont over the neck’
© BARON WOLMAN/ATLASICONS.COM
in g an d hi s ‘thu m b
ythm play
with a look at Jimi’s rh rm s th e ba si s fo r m ost of his technique.
hich fo
fretting technique, w t th e Ji m i H endrix experience!
Turn the pa ge to ge
january 2016 41
The guiTar masTery of Jimi hendrix
Jimi’s
cl ea n rh yt hm st yl e
It all starts here! Get to grips with the basics of Jimi’s ‘thumb over the
neck’ and one-finger barre techniques and soon you’ll be playing
classic tracks such as ‘Hey Joe’, ‘Bold As Love’ and more
Thumb over The neck barre chords track 15
© BARON WOLMAN/ATLASICONS.COM
x x x x
T 1 T 1 T 1 1
T 1 1 3 3 3
3 2 2
2 3 4 3 4 3 4
3
Gadd9 G6 Gsus4
G
Classical guitarists may balk, but jimi’s ‘thumb your thumb round the neck to fret the sixth
over the neck’ barre chord technique allows string instead of using your first finger to barre
him to position his fret hand in a way that those across all six strings. Try the basic G chord first,
magical chord embellishments fall neatly and hammer on to the extra notes for a Little
under his fingers. It’s just a matter of wrapping Wing or Castles Made Of Sand vibe.
FirsT Finger barre chord shape track 16

x x x x x x x x x x x
1 1 1 1 1 1 1
1 1 1 5 5 5
5
3 3 3
C/E Am Cadd9/G
C/G
This first-finger barre across three strings is with your second and fourth fingers, too. Start
a key part of jimi’s rhythm style. you simply with the one-finger barre and hammer on to
cannot play like Hendrix without this essential the additional notes in C/E, am and Cadd9/G
shape. We’ve only scratched the surface with a for authentic sounds in the style of Wait Until
few third-finger variations here but experiment Tomorrow, Bold As Love and many more.
minor chord shapes track 17

The ‘thumb over the neck’ and
x x x
one-finger barre techniques also apply T 1 1 1 T 1 1 T 1 1
to minor chords. remember, jimi 5 5 5
would often play only two or three
notes from each shape – an idea that
allows you to ditch the occasional note 3 3 3 1
you can’t easily reach and focus on
cleanly fretting the more colourful 4
extensions.
Am Am7 Amadd9
42 january 2016
The guiTar masTery of Jimi hendreix
TripleT hammer-on/pull-oFF Trick track 18

q =75
G Am C G
# œœ œœœ œ œ œ œ œ œ . œœ ‰ œ¿ œ
œœ œ œ œœ œ œ œ œœ .. œœ ‰ œœ œœ œœ œ œœ œœ œœ ⇤ œœ .. œ ¿ ¿ œ œ œ œ œ œœ ¿ ¿ ..
3 3 3
& 44 .. Œ
1 3 1 1
œ œ œ œ œ
1 1 1 1 1 1
1 2
œ.
1 4 3 1 1
2 3 2 3
3 3
3 1 3
3
3 ¿
3
3 ¿
T
T . 3 3 5 3
¿ 4 4 5 4 34 ¿ ¿ .
3
. .
3 3 5 5
A 4 5 4
5 7
5 5
5 7 5
5 7 5
7
5
5
5
5
5 5 5 5 5 5
9 7 5 5 5 7 7
4
5 5
B 5 7 7 7 7
⇥ ≤ ⇥ ⇥ ⇥ ⇥ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ⇥ ⇥ ⇥ ≤ ⇥⇥⇥⇥⇥⇥⇥ ⇥ ⇥ ≤⇥ ⇥≤⇥ ⇥ ⇥ ⇥≤
1
3
With a selection of jimi’s favourite chord shapes under our belts, here we look at one of his signature phrasing tricks that influenced players
including Pearl jam’s Mike McCready and former red Hot Chili Peppers guitarist, john Frusciante. The idea is to play a rapid hammer-on and pull-off
to an extended chord tone (sus4 or add9, for example) using a triplet rhythm. Triplets are marked in notation with a ‘3’.
insTanT hendrix chord progression tracks 19-20
œœ ¿¿ œœ œœ œ œ œœ œ œœ .. œœ ¿¿ ¿¿
q =75
# 4 .G œœ ¿¿ œ œ œ œœ œ œœ ⇤
Am
œœ .. œœ œ ⇤ jœ œ ⇤
C
œœ .. œœ ¿¿ ¿¿ œœ œœ œœ ⇤
G
œœ .. œœ ¿¿ ¿¿ œœ œœ œœ œœ œœ ..
& 4 . œœœ œœœœ œ
4
1
œ
1 4 4 1 1 3
œ œ œ
2
3 1 1 3
1 3
¿¿ ¿¿ ¿¿
T T
T . 3
¿¿
5 3
¿¿ ¿¿
3 3
¿¿ ¿¿ .
. .
3 3 3 5 3 3 3 3 3
A 4
5
4 4 4 4
5
5
5
4
5
5
5
5
5
5
5
5 5
5 7 5
5
5
5
5
5 7 5
5 7 5
4
5
4
5
5 4 5 4 5
5 5 5 5 5
B 5 7 7 3 7
⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥
1
3 5 3
you might think there’s nothing overly Hendrix-like in a G-am-C-G sequence, but jimi’s rhythm work turns this basic progression into quite the
signature line. The first two chords in our example, G (G-B-D) and am (a-C-E), don’t share any notes but in bar 1 we’ve added a, E then C
embellishments. It’s a trick on the ear that hints at both chords – and jimi did this all the time. In bars 2 and 3 we’re implying both am and C chords
throughout – you can even play these bars in the ‘wrong’ order. The bass guitar pins it all down with root notes to keep you on track.
major penTaTonic passing bass
you’ve learnt our G-am-C-G progression, now it’s time to try another of jimi’s methods of navigating a chord sequence, this time with passing bass
notes, Hey Joe or Manic Depression style. Black dots are G root notes, the red dots are from the G major pentatonic scale (G a B D E), and the green
dots are ‘chromatic’ notes from outside the key signature. Simply strum one of the chords from the progression then experiment with the single
notes to ‘walk’ melodically to the next chord.
january 2016 43
The guiTar masTery of Jimi hendrix
Jimi’s fu nk-r oc k
He’s arguably best known for his fiery, psychedelic lead guitar style but Jimi played with so much
groove, too. TG looks at the more aggressively rhythmic side of the founding father of funk-rock
Funk chords track 21

x x x o x x
Get your fingers round these
hard, edgy sounding chords T 1 1 1 1 1 1
and you’ll be part way to
7 6 6 2
nailing jimi’s aggressive 2 T 2 3 2 3
funk-rock stylings. The 7#9
is the great man’s best- 4 3
known signature chord and
can be heard in Purple Haze, 3 3
Foxey Lady, Crosstown Traffic
and more.
B7 B9 E7#9 F#m7
single-noTe riFFs tracks 22-23

q =125 The 7#9 is the great
Am7 N.C.
4 œœ œœ œœ ¿¿ # œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ man’s best-known
&4 œ œ œ ¿ œ ¿ ¿ œ ¿ ¿ œ bœ nœ œ œ œ œ
3
1 3
œ signature chord
1
1 3
T ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
¿ ¿¿ ¿¿
5 5 5 7 5
A 5
5
5 5
5 5
7
7
5
5 5 5 7
B 5 6 7 7
⇥ ⇥ ⇥≤⇥ ⇥ ⇥≤⇥ ⇥≤⇥ ⇥ ≤ ⇥ ≤ ⇥ ≤

5 Just another day busting
out the Hendrix moves here
at TG Towers
Some of jimi’s funkiest material was played with Band Of Gypsys. With
a mixture of partial chords, fret-hand mutes and single-note pentatonic
lines, this tab example will help you master the vibe of tracks such as We
Gotta Live Together.
play loose and TighT tracks 24-25

q =115
C 7 # B 7 N.C. F#7
#### # 4 œ œ œ œ œ j n n œœ .. œœ ¿¿ œœ
& # 4 œœ œœ œœ œœ n œœ ‰ œ n œ œ œ œ œ œ œ œ¿
œ œœœœ œ œ
T T œ
T
5 5 ¿¿ 5
¿
T 5 5 5
A 10 10 10 10
9 9 9 9
8
7 7 9 9 7 7 9 4
B 11 11 11 11
9 9 9 9 9 9
9
7
9 9
2
jimi could play tight or loose and this riff is an example of both methods,
mixing up a Foxey Lady-style groove with the more strummy chords of
songs like Can You See Me. Maintain a steady 16th note picking motion,
relax into the C#7 barre chord and stay tighter on the F#7.
44 january 2016
the guitAr mAstery of Jimi hendrix
© Gilles Petard/Redferns
Work Experience: Jimi
cut his teeth playing soul
with Curtis Knight
Jimi’s so ul st yl e
Before the pyrotechnics and psychedelia of The Jimi Hendrix Experience made him a household name, Jimi
played on Nashville’s Chitlin’ soul circuit. Learn the guitar secrets of this lesser known side of Hendrix…
Ascending chord runs tracks 26-27

q =110
G#9 A9 A # m Bm G#7
œ œœ œœ œœ ¿¿ ¿¿
A7
#œ n œœ œœ œœ œœ ¿¿ ¿¿
Bm A
n œœ œ #œ œ œ œœ œœ n œ
# # # 4 . # œœ œ
œ
œ
œ
œ
œ
œ
¿
¿
¿
¿ # œœœ œœ œœ œœ œœ ¿¿ ¿¿ # œœ n œœœ œœœ œ œ n œœ œ œ œ œ
n œœ # œ œœ œœ œœ
¿¿ ¿¿
¿ ¿ ..
& 4 . #œ œ œ œ
¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿
T . 11 12 12 12 12
¿¿ ¿¿
9 10 10 10 10
¿¿ ¿¿
8 9 9 9 9 7 5 5 5 5
¿ ¿ .
. .
11 12 12 12 12 11 12 12 12 12 7 8 8 8 8 7 5 5 5 5
A 11
10
12
11
12
11
12
11
12
11
10
11
11
12
11
12
11
12
11
12
8
6
9
7
9
7
9
7
9
7
7 5 6 6 6 6
jimi’s soul, r&B and funk influences can be clearly heard in songs such as Dolly Dagger. This vamp, although based essentially on a7 and Bm chords,
shows you how jimi used inversions and other chord embellishments for a more varied and exciting vibe while keeping a tight and tidy soul groove.
46 january 2016
the guitAr
guitar mastery
mAstery of Jimi hendrix
mAJor pentAtonic soul riffs tracks 28-29

q = 120
## j
& # # # 44 j Œ n œj # œ œ ‰ n œ ‰ œj ‰ j œ œ œ œ
B7
œ œ Here in this Curtis Knight-inspired example funky rhythms and
single-note lines that spell out chord progressions are the order of
the day. at the heart of our riff is a B7 chord but the fretting pattern
T resembles an open position G7 shape so keep this in mind as you
A 4
7 4 4 6 4 play through the tab.
B 7
5 6 4 6
6th intervAl shApes tracks 30-31

x x x x x x x x
2 3 1
10 10 These 6th interval diads are staple shapes in soul music and can be heard played by
2 jimi in a slightly rockier way on Night Bird Flying. These are two-note shapes so make
sure you’re able to play them with any pair of fingers (first and second; second and
2 3 third; etc). We’ve used all four of the diads shown here in our audio example. See if
you can work out which order we played them in.
2 3 Minor 6th
Major 6ths
clAssic blues leAd tracks 32-33

q =105
n œœ œ œ~~~ j n œ n œ œ~~~~~œ œ œ n Jœ œ œ œ~~~

#7
# # # # # 4 n nn œœœ ## œœœ œœœ œœœ ¿¿¿ œœ. j œœ
B9
œ ¿¿ ¿¿ œœ j œœ
F 1/4
j
1/4
j œ œ œ œ
& # 4 œ nœ #œ œ nœ #œ ‰ ¿ ¿ œ nœ #œ ‰ Œ œ nœ œ œ J
œ œœ J J
¿¿ ¿¿ ¿¿ ~~~ 1/4 ~~~~~ BU 1/4 ~~~
¿ ¿¿
5 6 6 6 4 2 2 4 2
T 4 5 5 5 4 2 2 4 2 8 7 7 10 12 (14 ) 10 12 10
A 5 6 6 6 4 2 3
4 6
2 3 4 2 3 8
9
6
7
6
7 9 11
9 11 11
B 4 6
Citing influences such as albert King, Elmore james and BB King, it’s obvious that jimi was a disciple of the blues. This example borrows from such
classics as Red House and Purple Haze, and also calls up Don’t Accuse Me from jimi’s soul period. as was typical of his earlier work, we’re switching
between funky chords and bluesy minor pentatonic lead. Play the quarter-tone bends (marked with an arrow and a ‘1/4’ in the tab) gently, but
quickly, so they don’t ring for too long – quarter-tones can sound lame if you hold on too long.
january 2016 47
the guitar mastery of Jimi hendrix
Jimi’s le ad te ch ni qu es
Jimi’s fiery lead guitar style revolutionised rock, influencing players as diverse as Stevie Ray Vaughan, Joe Satriani,
Eddie Van Halen, John Frusciante, Kirk Hammett and more. TG looks at the techniques that broke the mould
String bends Get your fingers round the most expressive of lead techniques
unison bends track 34 stAccAto bend track 35 cAtch bend track 36

j ˙˙~~~~~~ œj # ˙˙
~~~~~~ œ œ
j . j . j . ˙ . ~~~~~~~~~~~~~
j
bœ œ
# # 4 œ œJ œ~~~œ œ œ œ œ~~~ #4
j
& 44
œ
& 4 ‰ & 4
~~~~~~ ~~~~~~ ~~~ ~~~ BU
PB 14
~~~~~~~~~~~~~
T 12 14
T BU BU BU T 15 (17 )
BD
A 14 (16 ) 16 (18 )
A 14 (16 ) 12 14 (16 ) 14(16 ) 12 A 15 (14 ) 12
B BU BU
B B
Check out the solos in All Along The Watchtower and you’ll Jimi loved this technique and used it in so many songs, This tricky technique is a Jimi trademark made up of two
hear Jimi’s unison’ bends (two notes of the same pitch perhaps most notably Foxey Lady. As you reach the peak of string bends: a standard bend followed by a pre-bend on
played at the same time – one with a string bend and one the bend touch the string with your pick to mute the note an adjacent string, which is then released. Simply roll your
with a fretted note). You can play quickly and precisely, so and create the staccato effect. Follow up on the next note second finger across from the second string to ‘catch’ the
you don’t hear much of the bend up, or you can draw out with rapid BB King-style vibrato, rotating your wrist rather third. The course of the first bend should automatically
the bend creating dissonance on the way. It’s up to you! than moving just your fretting finger. push the third string into a bend.
Hendrix’s wah use was

both creative and
hugely expressive
Get your various bending

techniques sharpened up
TGR275.JHendrix_Part4.fig02c.musx
to capture Jimi’s mojo
File Date: 17:54 29/11/2015

Page 1 of 1
Wah technique Get your groove on with this three-stage look Notes:
at Jimi’s wah style
voodoo child tracks 37-38 crying bAby tracks 39-40 following tracks 41-42
wAh q =70 effect notes wAh
# N.C.
E7 9
œ œ œ ~~~
N.C.
~~~ # œ # jœ jœ ¿¿ ¿¿
#4
& 44
œœ œœ œœ
& 44 œ œ œ œ œ œ ¿
œ œ œ ¿¿
& 4 ⇤
œ #œ œ ¿ ¿¿ ¿¿ ¿¿
œ. œ ¿¿ ¿¿ ~~~
~~~ ¿¿ ¿¿
T T ¿¿
BU BD
T
¿¿ ¿¿ ¿¿ ¿¿
8 8 8
A 7 7 7 A 12 (16 ) (12 ) 9 12 9
A 7 9 7 9
¿¿ ¿¿ 7
9 7
B B
B
⇥ ⇥≤⇥
10 7
7
⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥
0 0 9
The faster eighth note wah rhythm can be done on This vocal-like effect is great on cleaner sounds, where
The wah movement here keeps time on the quarter-note anything but tends to work best on single notes. This way you can follow individual targeted notes rather than just
pulse, as if you were tapping your foot in time. The trick is you’ll really hear the classic ‘crying baby’ effect that helped moving in a constant rhythm. This is much more difficult
to develop independence in your foot, so it doesn’t follow so-name the original Dunlop pedal. The faster wah action and harder on the foot and ankle, so you might like to try
the other rhythms you play with your hands. makes this much easier to play when standing up. this at a slower tempo initially.
48 january 2016
Hybrid techniques Some of Jimi’s most extreme sounds came from mixing different techniques together
pentAtonic trill And dive track 43 legAto And slides track 44
# 4 œ œ œ . œ~~~ œ œ œ œ~~~ œ œ œ œ~~~~~~~

. œœœ
..
N.C. w/bar w/bar w/bar
& 4 ‰ .
~~~ ~~~ ~~~~~~~~
3 3 3 3
w/bar w/bar w/bar
T . .
A
B
12 14 12
. 11 11 12 11 9 9 11 9 7 12 14 12
.
Simply depress your whammy bar while performing a trill with hammer- jimi was so ahead of the times with his legato technique. His style
ons and pull-offs at the 12th and 15th frets on the second string to spawned the fluid technique of many players including richie Blackmore
achieve this interesting ambulance siren-style doppler effect. For more and joe Satriani (and many modern shredders too) with this very idea.
extreme sounds, try it on the third string, which has lower tension. It allows for fast movement and coverage of the neck.
slides And drone track 45
N.C.
# œ œ œ
& 44 .. œœ
œ œ. #œ œ œ œ œ ..
œ œ. œ œ œ œ œ
#œ œ œ
3
œ œ œ
1
T . .
A
B
. 7
5
9
7
9
7
11
9
12
10
11
9
6
4
7
5
7
5
4
2
4
2
.
⇥ ⇥ ⇥ ≤ ⇥ ⇥ ⇥ ⇥ ≤
0 0 0
jimi’s psychedelic and Indian influences can be heard in ideas such as this. The low E is used as a constant drone in the background while the octaves
spell out notes from the E Dorian scale (E F# G a B C# D).
rhythm/leAd crossover tracks 46-47

q =120
œ œ #œ j œ
# 4 .F
#7
œœ .. œœ ¿¿ ~~~~ 3
~~~ œœ .. œœ ¿¿ œ # œ œ œ œ œ œ œ œ œ
œ #œ œ œ .
j #œ nœ #œ
& 4 . œ nœ #œ œ œ œ œ œ œœ .
œ œ
¿¿ ~~~~ PB 9
~~~ ¿¿
T . 5 5 5 5 14
.
. .
BU BU
5 5 BU BD 5 5 14 17 14
A 7 9 7 7 9 (11 ) (10 ) (11 )
16 (18 ) 16 (18 ) 16 14
16
16 14
16 14 14 16
B 2
7 8 9 9
2
16
This example combines Foxey Lady-style chord playing with more technical fast pentatonic ideas in 14th position. use all the available pull-offs to aid
the speed of the final lick. you may wish to bend up and down in one motion in the final bar.
january 2016 49
the guitar mastery of Jimi hendrix
Whammy bar techniques Jimi pioneered the aggressive use of the

whammy bar and influenced generations of shredders
divebomb trill track 48

This is one of jimi’s
more extreme
techniques and
follows on from the
pentatonic trill idea.
It works particularly
well on the fourth and
third strings, but you
should experiment all
over the fretboard.
Simply trill with
hammer-ons and
pull-offs between the
12th fret and the open
note on your chosen
string as you dip the
whammy bar.
clAssic Jimi dive track 49 hArmonic scoops track 50

N.C.
#4‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚
w/bar scoops
& 4
NH
w/bar scoops
T
A 7 7 7 7 2 2 2 2 2 2 2 2 2 2 2
jimi often used harmonics to coax feedback from his amp. If you’re not
playing at jimi’s ear-splitting levels use the higher harmonics at the 2nd
fret to achieve a more biting effect. you can almost hear the influence on
Dimebag Darrell’s playing style. Make sure to dial in plenty of gain.
Playing by feel Speed up or slow down – it’s up

to you as you play this free time lick by feel
plAying in And out of time

q =150 Free time tracks 51-52
œ œ œœ œ œ œœ œ œ œœ œ
# 12 œ œ œ
E7 3
1
& 8
2
T BU
12 15
BU
12 15
BU
12 15
BU
12 15
A 14 (16 ) 14 (16 ) 14 (16 ) 14 (16 )
B
⇥ ≤ ⇥ cont. sim.
There’s no real rule here – it’s all about the ‘feel’. Simply speed up and
unlike EVH’s single-note divebombs with Van Halen, jimi tended to slow down this repeating phrase as you see fit. Eventually you’ll hit
favour using several strings for a more wild and out of tune sound some rhythms that align with the rhythm of the backing music. It’s a
that’s not far off a demented car engine. Slide your hand up the trick jimi would often use in his improvised solos.
fretboard then apply a divebomb in one continuous, fluid motion.
50 january 2016
v i d e uor
on yo
tgcd
Video
riff
lessons
Learn three classic
Hendrix guitar riffs with
TG’s video lessons on
your TGCD
TG Tip TG Tip TG Tip

If you find thumb Find the sweet spot of Select the neck pickup
fretting uncomfortable, your wah and use a smaller and roll off the volume
you can fret the sixth rocking motion, rather and tone controls slightly
string with your than the entire range to keep the tone
foxey lAdy first finger. voodoo child of the pedal. the wind cries mAry mellow.
(slight return)
Foxey Lady begins with a long, This riff is based on three chords, E b, E
sustained F# note played at the 11th There are two key playing elements to and F, and these ascend the fretboard
fret on the third string. Fret the note this classic guitar riff from 1968’s one fret at a time. Jimi plays the chords
with your second finger, bunch your Electric Ladyland. First up is the light as ‘inversions’, which simply means the
first finger up next to it to add support shuffle groove, which you may not lowest note in the shape isn’t the root –
then increase your grip on the string. immediately pick up on because the it’s one of the other notes, instead. This
Add a wide vibrato, keeping your swinging feel affects the 16th notes, method can make even the simplest
fingers locked in position and rather than the more usual eighth notes chord sequence sound less predictable
repeatedly turning your wrist back in a shuffle rhythm. And, although you as the ear struggles to pick up on the
and forth, pulling the string in the don’t pick every note, you can match root. On the first pass Jimi places the
direction of the floor. Try to generate the shuffle groove to your downstrokes 5th intervals in the bass to give the
a little feedback as your vibrato gets and upstrokes to keep your pick hand chords a solid, fat sound. On the second
more intense. After sliding down the locked in time. The second vital part to time the chords are played with the
neck, form an unorthodox Fm7 chord master is Jimi’s rhythmic wah phrases. major 3rds as the lowest notes and Jimi
shape with your thumb over the top Play a constant quarter note pulse on adds a hammer-on to each shape – a
of the neck, your third finger on the your wah’s treadle – that means you trademark of his rhythm style. Start by
fourth string and your fourth finger press your toes down in time with the learning the chord shapes and making
barring the top two strings. The next 85bpm tempo. The guitar on the sure you can move cleanly from fret to
chord is a B major, which lends the riff recording is tuned down to E b, but fret. When you have the basics down
an F# Dorian flavour (F# G# A B we’ve recorded our video in E standard you can try Jimi’s hammer-on phrase.
C# D# E). so you can play along without retuning. Watch the video for all the details.
Cheat sheet Cheat sheet Cheat sheet

appears at: 0:00-0:20 appears at: 0:10-0:32 appears at: 0:00 -0:14
tempo: 90bpm tempo: 85bpm tempo: 70bpm
Key/scale: F# Dorian Key/scale: E minor pentatonic Key/scale: Chromatic / E major
© LFI/Photoshot
Main techniques: Wide vibrato and Main techniques: Wah wah / 16th note Main techniques: Chromatic chord

thumb fretting shuffle groove / string bends movement and chord hammer-ons
january 2016 51
interview status quo
52 january 2016
status quo interview
Since breaking out in late-60s

London with their beery brand
of boogie-rock, the Quo have
WiLd
rocked it all over the world.
As they release a three-disc
hits package, guitar/comedy
double-act Francis Rossi
and Rick Parfitt look back on
riffs, grooves, punch-ups,
porn, prison and Kit-Kats…
Side
Words: Henry Yates Photography: Joby Sessions
Your new hits package, Accept No

Substitute!, features 54 tracks. What are
your own favourite guitar moments?
Rick Parfitt: “The one that comes to mind
is Forty-Five Hundred Times. I’ll always
remember sitting there doing it, getting
goosepimples. The amps were all around
the room, and we just sat in a circle and
vibed with each other. Nobody knew where
anybody was gonna go, and in those days,
Of
you didn’t give a fuck about overspill, so
the amps were cranked. It was magical.”
Francis Rossi: “I think with any band that’s
been around a long time, there are some
great moments coupled with lots of shit.
I find the best solos are the ones that are
succinct. Not 45 fucking minutes.
Nobody’s smoking dope any more in
audiences, so the idea of playing a solo
for 45 minutes [snores]. It’s all about the
tunes to me. I think Big Fat Mama is
alright. Whatever You Want is great.
They’re catchy but they’re simple.”
Life
When you first met, what did you think of
each other as guitar players?
Rick: “I first saw Francis in The Spectres
in 1965. They hit you straight on the
nose – wallop. I mean, he wasn’t as
accomplished as he is now. When
Francis is in the mood, he can play like
a bastard.”
Francis: “Some people think I’m a
blinding player. But I know that’s not
true. There are so many seriously
fucking good players around. Plus, the
whole younger generation are so much
better, because they can access all sorts
of tutorials online. Rick is a fantastic
rhythm player.”
january 2016 53
“it wa s g re at to b e s u c ce s sfu l, bu t
e s to y ou r h e ad . w he n i lo o k back
Rick and Francis giving
it go a d ’”
k he
it the beans in their
tradmark onstage pose
at my s elf i th ink , ‘pri ze dic

The trademark Quo boogie isn’t as easy to How did it feel when you broke through in around. Life was one big fucking rollercoaster
play as it sounds, is it? the mid-70s? of fun. Because you were young, you could
Rick: “That’s what everyone thinks! When Rick: “It was great. You’ve been playing these survive hangovers and still do the gig.”
you form a band, it’s ‘Oh, we’ll do a bit of poxy little clubs. Then all of a sudden you find Francis: “It was a bunch of fucking idiots
Quo, because it’s easy…’. Until you come to yourself doing Wembley Arena, and you start being overly indulged. Rick came into my
do it. If you’re going to play something to feel like a rock star. You start to take on this room once and there were 12 women: two or
relatively simple, right, it’s got to be done kind of attitude, y’know, the iconic legs-apart three in bed with me and a few on the side.
properly. It has to be done with 100 per cent stance that Alan Lancaster [bass], Rossi and There was coke all over the place. In the early
commitment, and played with power and myself had. It was just a wonderful time. days, there was a guy in Germany who used
conviction. And if you don’t do that, it’ll Anything was possible. You’re young. You’re to get a projector and show a bit of porn. We’d
sound pathetic. There is something about the earning a lot of money. You’re getting famous. shine it on the curtains and the fucking thing
two Teles, when Francis and I lock in with our Your albums are going to number one. You’ve shines right through, so there was this giant
right hands. There’s a chemistry.” got songs coming out of your ears. I think we knob across the street. So then the police
Francis: “It’s not as easy as it sounds. Because found out what we were in the 70s, which is would come…”
if you don’t believe in it, it sounds like a sack this blues-based, hard-rocking band.”
of shit. There’s millions of people doing it. Francis: “It was great to be successful, but it What’s the worst trouble you ever got in?
You hear that shuffle everywhere. It’s just that goes to your head. When I look [back] at Rick: “In the late-70s, me, Francis and Alan
Quo do it in your face.” myself I think, ‘prize dickhead’. Three or four got in a fight with the security people at
albums went in at number one on the trot. Vienna airport. They didn’t like us, so they
What do you remember about early days? We sold shitloads of records. But I still think started to strip us down, take our shirts off.
Rick: “We’d pack these clubs with four the Frantic Four lineup has been overblown. Francis and I had got through, and we
hundred people, rammed like sardines. You’d I find it hard to live up to sometimes. It was thought, ‘I hope the guy doesn’t do that to
fight your way through the crowd to get onto probably easier when people said, ‘This is Alan’. Because he was always the tough guy,
the stage, crank everything up and hit ’em shit, who wants to see them?’ That always like a little bulldog. All of a sudden it went off,
like a ton of bricks. In those days, it was a made me dig in.” so Francis and me dived back in to help Alan,
complete sweat-bath, everybody fucking who was having a fight with this security
rocking in a small environment like that. How wild did the band get in those days? guard, who was in fact a policeman. We were
Everywhere we went, we were tearing the Rick: “It was fucking mad. We’d heard about marched off and sentenced to three months,
place up. We were very frightened the first Led Zeppelin riding motorbikes up hotel but the judge then pulled out a calculator,
time we went to Scotland, because the corridors. So we used to book the floor of a and converted the sentence into a fine of
audience had a reputation for being tough. hotel, take all the doors off and it became one £3,000 each. We did actually go to prison for
If they didn’t like you, you’re gonna get big party area. The road crew would go down 24 hours. And it was horrible, awful.”
bottles, fruit, the lot. We went on at Green’s and nick everything from reception – pianos,
Playhouse and tore the place apart. We got plants, stuff like that. There were various What’s been the hardest time to be in Quo?
mobbed up there. You felt like The Beatles. clubs. My club was the magic fingertips club Rick: “It’s not all been beer and skittles.
You couldn’t get to the car without being – use your imagination! Young ladies Maintaining the success is more difficult than
ripped apart.” knocking about, foreign substances flying reaching the top. Through the 90s, we did
54 january 2016
status quo interview
Francis’s new squeeze is
tele addict
a unusual Status
Graphite T-type guitar
Rossi on the “heartbreak” of

retiring his iconic green ’57 Tele
“First I had a stereo Gibson and Rick had a 335
on Matchstick Men. Then I had this Grimshaw
that I got from the guy from Badfinger [Pete
Ham]. A week later, the bridge collapsed in the
middle of a show. Our roadie got me two Teles,
and I kept one. I sanded it down and painted it in
green Ronseal. The purists can’t stand the fact
it’s got different pickups, bridge, frets, machine
heads, neck. The only thing that’s original is the
body, and even then I’ve taken the lacquer off.
“I’m heartbroken that my Tele doesn’t work
any more. We had a tuning issue. I’ve always
found it very hard to play that Tele. So I had
these Status Graphite guitars made. They’re
marvellous. Most people want guitars from the
50s or 60s. But materials weren’t so good,
things weren’t so precise. None of it was that Francis recent;y
retired his faithful
good. It’s just this image that’s gone around…” Ronseal’d Tele
these covers albums, on the advice of other saying, ‘Oh, I didn’t know you wrote such from the fans when we play live – that’s
people, which didn’t do us any good. Over nice songs’. And I’m thinking, ‘Well, what the all I need.”
the years, I think we’ve done some great stuff, fuck were you listening to?’ I really enjoyed
and we’ve done some crap stuff. But it’s reworking Rock ’Til You Drop, Rollin’ Home, Have you enjoyed being guitar heroes?
impossible to maintain that level of the Hello Marguerita Time, Claudie. A lot of people Francis: “Yes, but you mustn’t take it too
album (1974) and Blue For You (1976) – think, ‘Oh, if you can play acoustic guitar, you seriously. If you don’t keep your feet on the
where the magic was all fresh – for 50 years.” must be good’. But it’s just a fucking guitar!” ground, you end up like many that have got
carried away. I dare say there are a few bands
How did it feel to put down the Teles for the You’ve always been loved by the public, but that believe all the press that they’re
Aquostic album? slammed by the critics… wonderful. Well, no, you’ve just sold some
Rick: “It was weird. I quite enjoyed it, Francis: “There is something about Status records, that’s all. Let’s just get a balance on
because it was out of my comfort zone, and Quo. It must have that X factor. Because some this. You’ve just sold some records. And in
I like a challenge. But it’s a funny fact, I wish I could sell as many
thing, playing an acoustic, because
you have to use different muscles.
You’re reaching out and across the
“rick came into my room and records as fucking Kit-Kats. We
went to the Kit-Kat factory once
for something. There’s no way
guitar, as opposed to a Telecaster,
which sits on your hip, and you there were 12 women… there anybody on the planet is ever
gonna sell as many records as
was coke all over the place…”

literally play it downwards. When they sell Kit-Kats.”
you’ve never really been onstage
playing an acoustic in anger, it’s Do you think you’ll keep gigging
quite painful, actually, to make that until you drop?
transition. It was vastly different. It was people hate the fucking band, and other Rick: “Well, I have done, twice. Last time
© Ian Dickson / REX Shutterstock Jason Sheldon / REX Shutterstock
tricky, because everything had to be people think, ‘Oh my God, I’ve got to have a [in 1997, when Parfitt had a quadruple heart
incredibly accurate, with something as wank, they’re on’. It’s better than porn to bypass], I had an operation on the Friday,
intimate as that. With the strings behind you some people. I’m very much aware that a few and I played the NEC on the Saturday. So
and other instruments going, it’s all got to be million people around the world think Status that’s quite rock ’n’ roll. And then, about 18
spot-on. There was quite a lot of pressure Quo are great. The rest either don’t know us, months ago, I had another heart attack out in
there. But I enjoyed it.” or can’t stand us, or don’t give a shit.” Croatia, in the middle of fucking nowhere.
Francis: “I didn’t really want to do the album. Rick: “We got some rave reviews in the 70s. We cancelled the gig, obviously, then they
I didn’t think it would work. It transpired it But then, of course, they get on your back flew me home, operated on me, and about
was a very good move. What happens is, the after a while and pan you. You get to the three weeks later, I was back onstage. So
melodies have to get through, whereas a lot stage where you don’t read it anymore. I’ve almost dropped while I’ve been rocking.
of what goes on with Quo is the feel and Really and truly, if the fans like it and I like it, Let’s hope there’s not a third time…!”
noise of the backdrop. But it was a very then I don’t give a fuck what they say. I never
successful album, and that had to be down to read any of the write-ups about the albums. Status Quo’s Accept No Substitute! – The
the melodies. People kept coming to us and I’m just not interested. I get the feedback Definitive Hits is out now on Universal
january 2016 55
It’s been three years since the
Baroness bus crash made national
news. Guitarists John Baizley and Peter
Adams reflect on the nightmare they’re
lucky to have survived, their road to
recovery and a triumphant new album
Words: Amit Sharma Photography: Will Ireland
F
or Baroness singer/guitarist John Baizley
and fellow axeman Peter Adams, 15
August 2012 is a date that will be forever
etched into their psyche. The Georgian
sludge metallers were back in the UK for
a short tour to support their lauded third full-length
Yellow & Green. After seemingly endless days of
building tensions on a cramped vintage tour bus,
the band and crew were in good spirits from playing
a blinder at The Fleece in Bristol the previous night.
As usual, founding member Baizley started the day
by logging a diary on his laptop, while the bus
continued on towards Southampton. The tour was
almost over. This was the home stretch.
“We were at the tail-end of a seven week run,”
remembers Baizley, on a cool Autumn afternoon in
central London. “It was a long tour with no real
days off, nine bodies on a seriously primitive bus
– especially in terms of touring on the road today.
20 years ago it would have been just about
fine! There were only a couple of
january 2016 57
InTervIeW Baroness
“The doctors shows left. It was a bit like when you quit your
job and you’ve got your last two weeks to go.
awake. Those roads weren’t accommodating for
the bus… we shouldn’t have been on them. This
prepped me for
You’ve already kinda checked out.” thing had been on tour since the Berlin Wall came
Sadly, there would be no checking out for the down, it was the clownshoe express.”
band. At least not for a while. Around 10.45am, John shakes his head in disbelief and picks up
amputation…
the bus plunged 30 feet off a viaduct near Bath, the story.
sending its occupants hurtling into the unknown, “The sat nav took our driver Norman
almost claiming their lives. Sat by his bandmate, somewhere he shouldn’t have been. We swung
I was looking at Peter Adams recalls the horror...

“It was one of those days where it was just
this left onto Brassknocker Hill [in Monkton
Combe] and I saw a sign that said ‘Next two miles
an arm shaped
pouring down with rain,” says the guitarist, who 12 per cent downgrade’ and I’m thinking, ‘That’s
joined the band in 2008 and has become the pretty steep, this is getting weird!’ Then the
longest-serving member after Baizley. “The bus pneumatic ‘psssshhh’ went off and I looked at
like a W” was going really slow because, you know, English

roads are small. The driver was just creeping,
doing his daily drive, as I was laying in my bunk
Norman who was terrified from moment one. For
two miles we were listening to every kind of
brake as he stomped them. The emergency ones
went, plus all the main ones, while we had a
Baroness guitarists steep bank on one side and a stone wall on the
Peter Adams (left) and other. There was nowhere to go. We were picking
John Baizley (right)
up speed and my thoughts went from a 99 per
cent chance of being okay and plummeted down
from there… until we were moving really fast,
totally out of control off the bottom of a hill,
straight through the barricade like it was warm
butter. We went over the tops of some trees, four
wheels in the air, watching the trees whipping
the windshield. We all thought, ‘Alright. That was
that. Let’s get it over with.’”
The afTermaTh
The trees absorbed much of the shock at the
back, but the front of the bus was crushed on
impact like an old rusty tin can. While Peter lay
in his bunk bracing for dear life, John – stood
right in the middle of it all – was hurled into the
windshield, which popped out in one piece. By
the time the vehicle grounded to a halt, he was
back in the bus trying to make sense of the alien
vortex around him. Twisted metal, broken glass,
blood and mayonnaise everywhere. The singer/
guitarist looked at his arm to discover it was
shattered into pieces. Seven, to be precise. The
rest of his body was just as bad, one leg had been
turned 15 degrees, while above it dangled a hand
some three inches lower than it did seconds
before. As fate would have it, help was close by.
The accident took place near a construction site
where workers were near enough to come to the
rescue with extension ladders. All on board
were rushed to Bath’s Royal United Hospital for
emergency care as reports spread from the music
press to national news.
“At first the doctors prepped me for
amputation,” continues Baizley, looking as grim
as any guitarist would uttering such words.
“It was severe enough for that to be an option.
I was put in this weird half-cast and for the next
three days, I was looking at an arm that was
shaped like a W and couldn’t do anything. I told
the doctors that I was a guitar player and begged
them to do whatever they could. After the
surgery, there was 57 staples and a 17-inch scar.
And sure, I got scared I couldn’t do it. I stopped
cleaning my hands because I wanted to keep my
guitar callouses. They started to crack and
58 january 2016
InTervIeW Baroness
© Gonzales Photo/Lisa Meinen/The Hell Gate/Corbis
Sludge FActory
TG finds out the gear
secrets behind
Baroness’ gargantuan
guitar sound...
JoHn “At the moment I’m using one of
those G2s by TheGigRig,
which is a company
based near Reading,
I think. It’s a very fancy
looping bypass switcher
thing. It’s not really a
brain, more of a router
as I favour a stereo setup
these days. The gear itself
changes, I switch things
around a lot because I don’t
wanna get stuck into one
sound. But I’ll have one clean amp
Peter and John have made a with tonnes of headroom like a Fender ’65
remarkable recovery, and a
Twin Reissues, amps that sound big with
fantastic new record, too
each note. Then I’ll have something with
a little more natural breakup, more
recently in the form of vintage Fender
everyone called me corpse arm! But slowly, it all psychedelia – heavy enough for extreme music Princeton issues. Then there’s this weird
came back. I started with a G chord, then a C fans yet also experimental enough for more old amp I found that was made in the 60s
chord. I got the motion, but my arm will always mainstream tastes. It’s a rare talent, which makes called a Premier B-160. This tiny little
be fucked. Luckily the things I can’t do are not more sense as their founder explains his roots... thing that shouldn’t sound good but it
does! I’ll run my signal stereo for all the
guitar related. For example, I can’t push things “My three go-to bands are Radiohead, Pink effects. For guitars, I use G&L – it
away, but I don’t need that to play guitar. I have Floyd and Neurosis,” grins Baizley. “None of makes these ASAT Classic ‘S’ Alnico
full dexterity in my fingers. It’s a fuckin’ miracle.” them sound like us... but I don’t want to listen to models. They’re Tele-style
bands like that sound like us, I actually want to guitars with Strat-style
New horizoNs learn something! Half the records I hear, I don’t five-way switch for the
different sounds. I use
Three years on from that life-changing moment like. If I want to avoid something musically, the Strymon Timeline
and Baroness are enjoying a new lease of life. I want to know why. I’m always looking for for my delays. You’ll
Sadly though, the fractured vertebrae injuries something new and exciting. I want to be an never use anything else
and sheer trauma of it all left drummer Allen informed musician. Why do certain songs feel after trying one! It’s
very comprehensive, with
Blickle and bassist Matt Maggioni unable to good to me when others feel like horseshit? What
stereo delays different rhythmic patterns,
continue, so Sebastian Thomson and Nick Jost is the X factor that makes one band great and filters, all of it. They sound great in the
have filled their shoes. Fourth album, Purple, is others total lunacy? When it comes to art, all studio and live, there’s just this character
an incredibly human summary of their recovery your experiences and ideas go into a blender, and to its sound. A lot of the distortion I use
process and one that – like its predecessor – whatever comes out will be your signature. This in the studio is made by the guy at
Tym Guitars in Australia. He basically
amalgamates elements of indie and progressive record came from the soul. So we don’t think makes modern version-specific classic
rock into their molten metal. It is also the first to about influences, we just try to do what suits the pedals like DODs, MXRs, and year-
come out via their own label, Abraxan Hymns. song. And metal isn’t the only thing we listen to.” specific Big Muff recreations! On this
Wounds have been licked, scars have healed… “Most metal bands don’t even listen to metal,” record I just discovered this new Custom
it’s time for Baroness to become a band again. laughs Adams. “Do we play strictly metal? No Shop MXR phaser called the Phase 99.
It’s my new favourite, and runs
“We’ve got two new guys in the band,” says way. But I love Enslaved, they’re one of my stereo so has these two
Adams. “And though we’d played together live, favourite bands. There are things in what they do independent LFOs. It’s fucking
when it came to recording, they didn’t want to that have influenced me. I love the way they’ve weird, but cool as fuck!”
fuck with our sound. They wanted to fit within it. evolved. And if you ask me who my favourite Peter “My setup is pretty
straightforward and easy. I have
We wrote a record to prove that recovery is guitarist is, I’ll say Brian Setzer! I also think John
a Gibson Les Paul going through
possible and you can even make yourself better Frusciante is a great player. Hendrix, too, I know a Buddha amp, that’s what we’re
in the process. If you push and drive, you can be everyone says that, but he was just total magic. using at the moment. I usually
creative and improve. I mean, the momentum of We cover it all between us and naturally there are prefer a Matamp if I can get one,
the band stopped, we had a lot of shit to work certain things each of us like that the others but for the moment I’m sticking
with the Buddha. And nothing really
through first. It took three years to rebuild our don’t. We all listen to so much music, man.” beyond than that, I just stay in the
skill, technique, songcraft to a better place.” And from the mesmerisingly eclectic sounds box. John is more experimental… We did
Whatever it is, it’s evidently been working for heard on Purple, we wouldn’t doubt it for a at one point have a similar setup, which
some time. Jimmy Page was among those that second. Against all odds, Baroness are back and didn’t sound bad, but we thought,
attended their last London show, watching in quite simply, unstoppable. ‘Wouldn’t it be better to have two actual
guitar sounds considering there’s two
awe from the balcony. Like fellow Georgians guitars?’ I’m not into experimenting
Mastodon, Baroness often lace their crackling Baroness’ new album, Purple, is out now on anymore, I’m learning to play the guitar
cauldron of fuzz with dizzying atmospheres and Abraxan Hymns as it is! [laughs]”
60 january 2016
START PLAYING NOW
start
Writer James Uings Photography Olly Curtis
playing
now
You’ve got a
new axe, or
maybe it’s
your new year’s resolution to
dust off that guitar you’ve
owned for years and finally learn
to play. You’re raring to get
going, but where do you start?
Read on as TG’s super easy beginner guitar lesson

takes you from tuning your instrument and
strumming your first chords through to playing
your very first lead-guitar licks
62 january 2016
START PLAYING NOW
lesson 1 tuning up lesson 2 Holding your guitar

Before you get down to business you need to tune your Holding the guitar correctly will help you play better and
guitar so everything you play sounds spot on avoid developing bad habits that will be hard to undo later
Using an
electronic tUner
You should tune up every time
TG TIPS
you play, so TG recommends When you are close to sitting down
using an electronic tuner. being in tune you will Sit in a chair with your
Hardware tuners start at about hear a ‘wobbling’ shoulders level, back straight
£5 and there are several free sound between the and feet shoulder-width
smartphone apps you can use, notes. as you get apart. Angle the neck slightly
too. Simply play an open string closer to being in tune upwards so your fingers
on your guitar – the tuner the wobbling will slow reach all the way round.
detects the note you’ve played down and eventually
and will show you whether the stop all together. if the
pitch of the string needs to be wobbling gets faster,
higher or lower. All you have to you are moving away
remember is the order of the from being in tune.
strings (fat to thin: EADGBE) so tuning is a skill that
you know that you’re definitely takes time to develop,
tuning to the right note. Tighten so don’t be put off if
the string with the string’s you find it hard to do
tuning nut to raise the pitch, or at first.
loosen it to lower the pitch.
An electronic tuner is an
essential bit of gear for
every guitarist
standing Up
The guitar should rest against
your tummy or ribs. Go too
low and you’ll struggle to
reach round the neck, so
tuning manually adjust your guitar strap to
find the right height for you.
You can also tune your guitar without a tuner so it’s in tune
with itself. To tune the fifth (A) string, play the 5th fret of the
sixth string and the open fifth string. These two notes should
sound the same. Repeat this process for every string except
the second (B) string, where you should tune this string to
“ Hold the
the 4th fret of the third (G) string. guitar too
E
B E
low and you’ll
G
D
B
G
struggle to
A
E
D
reach around
the neck”
A
january 2016 63
start playing now
lesson 3 your first cHords tECHniquE CHECK

Nail your fretting technique and make
Believe it or not, learning a few basic chords means you can play hundreds of songs those chords ring out cleanly
from the likes of Ed Sheeran and Jake Bugg to Oasis, aC/DC, and many more
chord Boxes
Guitarists sometimes use chord boxes to write down ESSEnTIal Info
the chords we need to remember. These are visual • two or more notes played
representations of the guitar’s fretboard with circles together are known as a ‘chord’
used to tell you where to place your fingers. There’s
more info in TG’s Tab Guide on p110. • there are two main types of
chords: major and minor
‘X’ means you ‘O’ is an un-fingered Circles show you
shouldn’t play or ‘open’ string which frets on which • major chords are referred to
this string strings to play
by the chord’s letter name. So a
g major chord is ‘g’
Vertical lines Black circles are
represent the notes the • minor chords have a small
1
strings chord takes its ‘m’ after the letter name. So play By the frets
2 3
name from ‘a minor’ is written as ‘am’ Place your fingers as close to the frets as
possible, but without being right on top
Horizontal • your fingertips may hurt at of them
lines Numbers tell first. this will pass as you get
represent you which finger
frets to use used to playing
Major chords – Bright, happy sound

You understand the chord boxes, now have a go at these three easy major chords
TRack 53 TRack 54 TRack 55
1 2 3 2 3 1 2
3 Use yoUr fingertips

Press down using the tips of your
fingers. This stops you touching other
strings and muting them out
A E D
Minor chords – dark, moody sound
These minor chords have a sad, moody sound compared to major chords
TRack 56 TRack 57 TRack 58
1 1
2 3 2 3 2
3 check the strings

Play each note of the chord to make sure
the strings ring out clearly. If they don’t,
you may have to press harder or
reposition your fingers
Em Am Dm
64 january 2016
start playing now
lesson 4 faster cHord cHanges HOW tO rEaD taB TRack 62

Once you know how music is written down
try these three chord changes to make your moves more efficient and you can follow tons more guitar lessons
start switching shapes at warp speed The group of six lines marked ‘TAB’ represents the
chord change #1 TRack 59
guitar’s strings. The bottom line refers to the fattest
E-D A change like E to D requires a big movement for each string; the top line is for the thinnest string. The
finger to get from one chord to another. Practise the numbers tell you which fret to place your fingers at.
change repeatedly, focusing on keeping movements small. Each When numbers are stacked on top of each other you
finger should take the shortest route to the next position. should play these notes together. This example
shows three single notes followed by a D chord.
chord change #2 TRack 60
Traditional notation appears above the tab and tells
D - Dm Keeping your fingers ‘anchored’ down on notes you how long notes should last. Don’t worry about
that are shared between two chords will save you this part for now – get started with just the tab.
moving fingers you don’t need to. The D and Dm chords have one q = 85
# wwD
& # 44 .. œ
note in common so keep your third finger on the second string
..
N.C.
while you move. œ ˙ ww

TRack 61
chord change #3 T . 2
.
. .
3
Am - E Some chords share identical finger patterns on A 2

0 4 2 0
B
different strings. Am to E for example. Play Am then
lift off, holding your fingers in the same shape as you move.
lesson 5 strumming EaSy CHOrD TRacks 67-68

the biggest part of nearly every song consists of playing chords, so a prOgrESSiOn: a D E
great strumming technique is essential Discover the three most important chords
in music
The ‘one-four-five’ is one of the most common chord
progressions in rock and pop. ‘One-four-five’ refers
to the order of the chord names: A, D and E are the
first, fourth and fifth chords in the sequence: A B C D
E, and this is sometimes written as Roman numerals
(I-IV-V). G, C and D are also a I-IV-V progression.
Don’t worry about the theory for now, just
1. position yoUr hand 2. take hold of yoUr pick remember that the progression can be found in
Curl your fingers back into the palm of Place the pick on your index finger and
countless songs, including:
your hand with your thumb ready to grip place your thumb on the pick
the white stripes - Hotel Yorba
ramones - Blitzkrieg Bop
led Zeppelin - Rock And Roll
the troggs - Wild Thing
jake Bugg - Lightning Bolt
We’ve prepared a backing track that uses A-D-E-A

chords so you can practise your first I-IV-V
3. fret a chord 4. strUM the strings progression with the chords you’ve already learned.
You’ve learned some chords already, Strum from the fattest string towards
so choose one then press down firmly the thinnest. This is a downstroke
q = 85
D A D TRacks 63-64
# 4 ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙
& # 4 .. ˙˙ ˙
˙
˙
˙
˙
˙ ˙˙ ˙˙ ˙
˙
˙
˙
..
T . 2 2 2 2 0 0 2 2
.
. .
3 3 3 3 2 2 3 3
A 2
0
2
0
2
0
2
0
2
2
2
2
2
0
2
0
B 0 0
downstrokes
This example features downstrokes (marked ≥ ) using D and A chords. Strum lightly, making sure only the tip of your pick makes contact with the
strings. If too much of your pick is showing it may snag in the strings. Remember to only strum the strings contained in each chord.
january 2016 65
START PLAYING NOW
lesson 5 strumming (continued) TRack 65-66

q = 85
# œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
D A D
œœ œœ œœ œœ
& # 44 .. œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
œ œ œ œ
T . 2 2 2 2 2 2 2 2 0 0 0 0 2 2 2 2
.
. .
3 3 3 3 3 3 3 3 2 2 2 2 3 3 3 3
A 2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
2
2
2
2
2
2
2
2
0
2
0
2
0
2
0
B
⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤
0 0 0 0
downstrokes and Upstrokes

If you’re feeling comfortable with downstrokes you can try upstrokes. This exercise uses the same chords as the previous example, but there are
are upstrokes (marked ≤ ) in between the downstrokes. Aim for even, steady timing with every strum lasting the same amount of time.
lesson 6 lead guitar

lead guitar melodies aren’t just for advanced players. learn
some phrases using the same scale as the top players
Lead guitar isn’t just the impossibly fast stuff you see played by
shredders on YouTube. In fact, the history of rock is littered with players
famous for a sparser soloing style, such as David Gilmour, John
Frusciante, Alex Turner, and many more.
Lead guitar covers any kind of melody and is usually played one note
at a time. The minor pentatonic scale is used as a basis for soloing by
almost every guitarist in the world – so it’s the first scale you should downstrokes
learn. Although it has a technical name, it’s really easy to play. There are Picking single notes takes more precision than strumming chords. Hold
five different notes in it and the first note is repeated at a higher pitch your pick so only the tip is showing and pluck the string firmly with a
– so you play six notes in total. downwards motion.
TRack 69
o o o
e Minor
pentatonic
scale
The idea with scales is to
play the notes one after
2 2 another, instead of all
together, as you would
with a chord. Use your
3 second and third fingers
as shown by numbers.
The notes from low to sMall MoveMents
high are E, G, A, B and D. Your pick shouldn’t travel far past the string. The less it moves the less
distance you have to move to pick the next note. This helps you play
more accurately.
q = 85 TRacks 70-71
# œ
& 44 œ œ
Em G C D Em
œ ˙ œ œ ˙ œ œ œ ˙.
0
T 0 0 3 0
A 2
0 2 2 2 0
2
B
lead gUitar Melody

This simple lead guitar melody uses the E minor pentatonic scale you just played. Make sure you only play one string at a time and keep your pick
motion quite small to avoid unwanted extra movement that will slow you down.
66 january 2016
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january 2016 69
REVIEw
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Top Jimi!
Jimi Hendrix’s relationship with the Fender
Stratocaster produced some of the greatest tones
in history. Now, meet the flipping cool new guitar
that aims to get you closer to his sound than ever
Jimi Hendrix saved the Fender Strat’s
arse in the late 60s. While
contemporaries such as Jimmy Page, Jeff Beck
and Paul Kossoff were all about the Les Paul
Standard, Jimi reestablished the Stratocaster’s
iconic status just as rock pioneer Buddy Holly
and King Of The Surf Guitar Dick Dale had done
years before.
The ironic twist is that southpaw Jimi
couldn’t find a left-handed Strat so had to flip a
right-handed model, and reverse the strings, to
make it work. While he’s best known for the big
headstock Olympic White Strat he abused at
Woodstock in 1969, Jimi owned a various
examples of Leo Fender’s iconic invention
during his short but explosive career, including
a favourite pre-CBS [so pre-1965] Sunburst
model with a small headstock. There’s some
debate that Jimi preferred the later 60s models
because the bigger headstock produced more
sustain, but it’s more likely that he just grabbed
whatever was available and the tonal and
playability quirks that resulted from his guitar
being flipped – reversed headstock, pickups and
vibrato, and tighter string tension in the bottom
end – were a happy accident.
The new Fender Mexican-built Jimi Hendrix
Stratocaster replicates some of these tweaks to
offer players a chance to get closer to the tone
and feel of the greatest guitarist of them all.
Justin Norvell, Vice President of Product
Development at Fender, explains the thinking
behind the unique guitar.
© David Redfern/Redferns/ Getty Images
This is the most affordable Hendrix signature

model yet...
“Absolutely. The idea was to produce a
high-value instrument with a reach far beyond
the collector market. We haven’t had a Hendrix
Strat in the line in almost 15 years. An entire
new generation has come up that has been
influenced by Hendrix, or is open to learning
about him.”
70 january 2016
FeNder Jimi HeNdrix STraTocaSTer gear
Some may dismiss the guitar as a gimmick,

basically a standard Mexican Strat fitted
with a left-handed neck. Is there more to it
than that?
“I think if we had merely flipped a lefty Strat,
people could possibly think that. This was a
thoughtfully approached process to achieve
a unique blend of modern features, Hendrix
elements, and cool styling. It feels and sounds
different enough that you might find yourself
playing a little differently, opening up some
new inspiration.”
Jimi flipped Strats out of necessity. What

effect did that have on the sound and
playability of his guitars?
“Jimi was well-known as an ‘off the rack’ player,
and his guitars were pretty much stock.
In flipping the guitar however, multiple
changes occur. There are several sonic and feel
alterations that occur, each somewhat subtle,
that are an integral part of Jimi’s ‘sonic stew’.
That extra tension in the bottom strings helps

if you copy Jimi’s favoured E b tuning...
“It helps keep the feel tight. Jimi used 0.010 to
0.038-gauge strings, which would also work
in harmony with this setup. The sound is less The flipped neck gives
brittle on the high end with more snap and extra tension for
clarity on the low end.” dropped tunings
How crucial is the reversed bridge single coil

to the unique setup of this guitar?
“First of all, it offers more focused bass on the
low strings and less brightness in the high
“There are several
sonic and feel
Three iconic examples
notes. In addition, the pickups would be
of Jimi's sTraT abuse...
backwards on a righty guitar Jimi played. The
changes that occur”

polepieces were more aggressively staggered in ASTorIA, FInSbury PArk,
the vintage days to account for balance with the LonDon 1967
B string, and there was high polepiece for a There's a bit of a mystery as to when Jimi
wound G. So on Jimi’s guitars, the higher G torched his first Strat. A toasted Sunburst
polepiece moves to the D string etc. If we think vibrato arm in the way. We heard from a lot example was apparently rescued from a gig
at the Astoria in March of '67 but no one at
of the polepieces as a ‘fader mix’ for the strings, of players, and felt ourselves, that a reversed the show recalls Jimi setting his guitar on
the guitar’s sonic balance is ‘remixed’.” arm gets in the way when you are palm fire. A better documented example is the
muting and so on...” one Jimi gave to Frank Zappa at the '68
Is that why you spec’d the American Vintage Miami Pop Festival which he later gifted
’65 single coils here? Lead players and fans of a low action will to his son Dweezil.
“We wanted a great pickup that was ‘of the appreciate the modern 9.5-inch fingerboard
proper time’ with the polepiece stagger we radius you spec’d on the guitar rather than MonTErEy PoP FESTIVAL 1967
would expect on some of the guitars Jimi a vintage correct 7.25 inches… Jimi's ultimate ‘Axes: Tough As Love’
played. While the natural inclination is to think “Since we were looking at a more modern moment was inspired by The Who trashing
their gear. Determined to go one better,
he used ’68- and ’69-era Strats he played earlier interpretation, we wanted to stick with the Jimi dry humped his Strat up against his
models as well. So, we wanted to go with the flatter radius which most players are more Marshall stack, wrestled it to the ground
’65 pickups, which are a little less bell like than comfortable with.” then set it on fire. A star was born.
’69 single coils with more midrange focus.”
Given the predicament Jimi found himself WooDSTock 1969
Did you consider going the whole hog and in as a southpaw guitarist, back in the day, Jimi's headlining slot on day three of the
flipping the body? shouldn’t there be a left-handed version of hippie festival is probably the most iconic
“The goal here was not to make a replica this guitar available? guitar moment of all time. Performing to
the, literally, great unwashed, Jimi pulled
instrument from the past. We were inspired by “We looked into it, but the basic premise of this off his classic version of the /Star Spangled
Jimi’s creativity and sound to deliver a modern guitar is giving a right-hander some elements of Banner//. He didn't wreck his Strat on that
instrument with some of the sonic alchemy the sounds and feel of what Hendrix was occasion but he thumped it, almost tore its
without the ergonomic disadvantages of a working with. That’s something that left- whammy bar off and made it howl like a
flipped Strat such as balance, knob orientation, handers that chose to ‘flip’ a righty guitar since wounded beast.
upper fret access, body contour locations and a they saw Hendrix do it have experienced.”
january 2016 71
REVIEw
72 january 2016
fEndEr jimi hEndrix strAtocAstEr gEAr
Fender Jimi Hendrix

StratocaSter £689
A new way to Experience a timeless classic
South paw Jimi

Hendrix
created a legend when he flipped
jumbo frets. And then there’s the
way it looks…
Some of us shudder at reverse
at a glance
Body: Alder hEAdstock
over a right-handed Fender headstocks and the memories of neck: Maple, bolt-on reverSing the head
elongates the low e, a and d
Stratocaster, switched the strings bad hair metal, all-satin spandex Scale: 648mm (25.5") strings, which adds to the string
round and then went about the and conspicuously placed root FingerBoard: Maple w/ tension. the reward is
improved tonal punch and
business of becoming the greatest vegetables associated with them. 241mm (9.5") radius impressive sustain
guitarist of all time. It was the late Joking aside, flipping the head
60s, and he was only reacting to makes it tougher to reach the FretS: 21, medium jumbo
a dearth of decent left-handed tuners, especially the low E. PickuPS: 3x Fender American
guitars, but Jimi’s iconic ‘Ergonomics’, they call that. Vintage ‘65 Gray-Bottom single coils PickuPs
compromise subtly altered the feel Annoying is another good word for controlS: 1x volume, 2x tone, Like Jimi’s flipped Strats,
this new model has a
and sound of his Strats. The it. The sacrifice better be worth it… 5-way blade pickup selector reverse-angled bridge pickup
tension in his low E, A and D Fortunately, this guitar is a pumping out enhance bass
strings increased, making it easier dream to play. The action is set low Hardware: Classic and softer treble
to tune down to Jimi’s favoured E b, – with a set of 0.010 to 0.046 Synchronized vibrato,
while the high E and B became strings – yet there’s no danger of vintage-style tuners – chrome
easier to bend. The angle of his any buzzing or choking for those leFt-Handed: No ViBrAto
bridge pickup was reversed, too, with a light touch. That said, the FiniSH: Olympic White Fender has chosen not to
influencing the guitar’s tone. heavy-handed might want to crank reverse the vibrato unit,
It’s these details that Fender has the string height up a notch. The
(shown), Black which keeps it out of the way
of your picking hand. a wise
replicated with its new Mexican- increased tension in the bottom contact: Fender GBI 01342 331700 decision, we think
built Jimi Hendrix Stratocaster. strings, most noticeably the low E, www.fender.com
Slipping the guitar from its gives this guitar way more spank
padded gigbag, you’ll spy a classic than a regular Strat, and that tonal
Bottom-string riffs have a

huge amount of presence
alder body wrapped in a gloss punch intensifies thanks to the
polyester Olympic White finish. angled bridge pickup. The single
Black is your other finish option. coil’s bass-side polepieces sit closer
In a twist of irony, there’s no to bridge saddles than on a
left-handed version of this guitar. standard right-handed Strat,
You could always buy a right- which adds some serious twang to
handed Strat and flip it over – let’s the lower strings clean. Dropping
face it, it’s been done before… in some overdrive gives bottom-
Moving on, the non-reversed string riffs a huge amount of
chrome ‘Synchronized’ vibrato presence, and a staggering level of
unit stands guard over a trio of sustain. Conversely, the treble side
American Vintage ’65 single-coil of the pickup is further away from
pickups, with the bridge unit the saddles than it should be,
reverse-angled like Jimi’s. The which adds a little sweetness to the
gloss polyester-coated C-profile thinner strings.
maple neck is bolt-on, of course, The Fender single coil has
Photography: Joby Sessions
and features a maple ’board, rear popped up Forrest Gump-style

skunk stripe and chrome vintage- throughout the past 60 years of
style tuners. That’s where the music history, and these American
old-school stuff ends. This neck has Vintage ’65 pickups are some of
a definite modern set-up thanks to the best examples we’ve had the
its 9.5-inch radius and 21 medium pleasure to amplify. Our
january 2016 73
REVIEw
Jimi’s signature
adorns the back of
the flipped peghead
Grading on
a curve
How we learned to love The neckplate bears
a flatter Strat Jimi’s visage as a
mark of authenticity
Back when Jimi Hendrix was plying
his trade, Fender guitars came
spec’d with a 7.25-inch fingerboard
radius. This curvy profile was
perfectly fine for fretting chords Fender ClassiC
and banging out riffs, but it made series
it difficult to achieve a low action ’70s stratoCaster
compared with the flatter 12-inch £659
’boards of Gibson Les Pauls and If you don’t fancy
SGs. The basic idea is the higher the all the reversed
number the flatter the ’board, and
you’ll find many modern rock guitars malarkey of the
boasting a 12-inch to 14-inch radius. Hendrix Strat, try
These days, Fender supplies most the more traditional layout
of its guitars – including its Custom of the big-headed 70s bruiser. It’s
Shop Time Machine models – with a available in a choice of finishes,
9.5-inch radius fingerboard that, as
demonstrated by our Jimi Hendrix
including Olympic White with a
Stratocaster, allows a low action maple or rosewood ’board.
without the worry of string bends
choking out above the 12th fret. squier Vintage
Installing fatter frets also improves modiFied
the string-bending performance. 70s stratoCaster
You can only imagine that Jimi would
have loved the feel of these 9.5-inch
£290
In addition to the neck, Despite its modest
radius guitars, but he did pretty the bridge pickup is
damn good with what he had. also flipped around
price tag, the
Vintage Modified
model has all
bridge unit is bright and bold yet works best where it is. As for those the lighter tension and softer treble the cool of the
never shrill, even with the amp’s harder-to-reach tuners, it’s a small in the high E and B, delivered big headstock-era Strats.
gain whacked right up. The classic price to pay for the tonal treasure. through those exceptional It comes loaded with a trio of
‘in-between’ sounds are so Besides, this Strat never lost its pickups, might just turn everything Duncan Designed single coils.
iconically glassy, you can almost tuning once, and we played it a lot. you think you want from a
smell the Windolene. The real star, Knowing how George Best laced Stratocaster on its head. Fender diCk dale
however, is the middle pickup. Run up his football boots won’t make Ed Mitchell signature
solo, it produces a thick addictive you a genius on the pitch, and even stratoCaster
bark that works great for clean and this guitar’s smart tweaks won’t Features £2,709
lightly overdriven rhythm parts. magically transform you into Jimi The King of the Surf
SuMMArY
sound quality
While some have grumbled, Hendrix. But don’t dismiss this Value For money Guitar’s Custom Shop
we’re glad the vibrato arm position latest repackage of a 61-year-old
Build quality
model is remarkably
wasn’t reversed. Hendrix-mad design as a cynical marketing close to the spec
playaBility
Stevie Ray Vaughan was a fan of exercise. The enhanced punch of of Jimi’s Strats.
that modification, but we reckon it the bottom strings combined with oVerall rating
74 january 2016
REVIEw
PRS S2 Singlecut
76 january 2016
geAR PRS S2 STAndARd SInglecUT SATIn
PRS S2 Standard TUneRS
Singlecut Satin £999 BASed on PrS’s Phase ii

locking tuners, these are
Korean-made parts, but still
have the un-plated brass
The most affordable USA-made PRS guitar leaves

posts and top-locks of the
uSa models. Okay, you
don’t really need locking
the posh behind… along with those pesky birds at a glaNce

tuners on a non-vibrato
guitar, but it certainly speeds
up string change time
Body: Mahogany
It’S been a bumper year for
PRS, which is fitting as
it’s the firm’s 30th Anniversary.
finish that doesn’t bother with
grain filler – you can easily see the
body wood’s grain and feel it on
Neck: Mahogany
Scale: 635mm (25”)
Funny, just like The Rolling Stones’ the neck – for a thinner finish FiNgerBoard: Rosewood
dear ol’ Ronnie, PRS will always (about a 10th thinner than the w/ dot inlays
been seen as the new boy on the S2 gloss), which will wear and age PIckUPS
block. Still, the Maryland-based the harder you play it. Plus, thin FretS: 22
company has achieved plenty in finishes don’t choke any vibrations PickuPS: 2x S2 #7 WIth quite a vintage-y
output, these #7 ’buckers
the past three decades with its or resonance. covered humbuckers are Korean-made versions
of the uSa pickups that were
classic Custom 24 – perhaps the Along with the dot-only coNtrolS: 2x volume, 2x tone first used on the core line
definitive hybrid of the Strat and fingerboard inlays, this Satin (w/ coil splits) 3-way toggle pickup Singlecut back in 2000
Les Paul – still atop the pile of Singlecut looks very workmanlike,
models they make. But the thing but the build and parts still deliver
selector switch
PRS is best known for is the lofty the goods. The body is one-piece Hardware: PRS Stoptail bridge,
prices it asks for its USA Core mahogany, the neck three-piece. enclosed locking tuners
guitars. Yes, we have the The bridge is the USA Stoptail, the leFt-HaNded: No
wonderfully affordable Korean- locking tuners, like the pickups, FiNiSH: Charcoal, McCarty
made SEs but many of us want made in Korea to PRS specs. The
Tobacco (shown), Vintage Cherry, BRIdge
the ‘real thing’, don’t we? pattern regular neck is a nice thIS un-plated aluminium
and Vintage Mahogany satin nitro Stoptail bridge, with brass
It looks very workmanlike, but coNtact: PRS Europe 01223 posts, is the same
uSa-made part you’ll find
874301 www.prsguitars.com on the high-ticket core
guitars. despite the pre-set
the build and parts still deliver

intonation ridge, it’s a very
in-tune guitar
Back in 2013 our prayers were mainstream handful, and setup

answered with the S2 range. Made and intonation are, as ever,
in the same factory as the pukka top-drawer.
pieces but on a quicker production All mahogany guitars – so
line with a mix of US and Korean- conventional wisdom attests – can
made parts and a speedier gloss be dark-sounding and here, yes,
finishing process. But while, the there’s a throaty midrange focus,
S2s were half the price, and but a clean-edged ring and
though we had S2-exclusives such resonance that provides clarity and
as the Mira and Starla, we couldn’t punch, much like the pickups that
shake the ‘it’s almost a PRS’ feeling. nail an almost P-90-ish sizzle and
Just over a year ago, however, classic-rock poke. The four-control
came the Vela, the first S2-specific layout means there’s plenty of
design, swiftly followed by the adjustment, and the coil-splits on
all-mahogany, scratchplate-toting the tone controls add authentic
Standards. Gradually, the S2s single-coil cut. Clean, low, medium
starting heaping on the cool. or high-gain, this one’s a banker:
Enter the new Satin Standards the most rock-out, resonant
– a Custom 24, Custom 22 and blue-collar PRS we’ve ever played
Singlecut, as here. Priced at £999 Dave Burrluck
they’re expected to sell for £899
making them the least expensive Features
USA-made PRS guitars. Now, the
Photography: Olly Curtis
SUMMARY
sound quality
specs are identical to the gloss Value For money
Standards; the difference is in the
Build quality
paint – or, rather, the lack of it.
Instead of that faster S2 gloss, here playaBility
we have a nitrocellulose satin oVerall rating
january 2016 77
REVIEw
Blackstar artist 15
channels
YoU can swap between isF
the Artist’s two channels
using the front panel Blackstar’s patented
switch or the supplied isF control shifts
single-button footswitch. the EQ from British
Channel changing is to UsA response
practically noiseless and covers all points
in between
aT a glanCe
speaker
Type: Valve/solid-state preamp,
the Artist 15’s 12” Celestion
G12 V-type sits in an digital reverb, valve power amp
oversized enclosure,
which helps to project low OuTpuT: 15W
frequencies more efficiently Speaker: 1x Celestion G12 V-type
ValVeS: 2x ECC83, 2x 6L6GC
COnTrOlS: Channel 1: volume,
tone; channel 2: gain, volume,
bass, mid and treble, ISF; master
volume, reverb level
SOCkeTS: Input, effects loop
send/return, speaker-emulated
line out, 3x speaker out
WeighT: 18kg
DimenSiOnS: [HxWxD]
Blackstar Artist 15 £649 486 x 612x 258mm

COnTaCT: Blackstar
Amplification 01604 817817
Blackstar revisits its roots and comes clean with a new series www.blackstaramps.com
It’s eight years since this

writer was privileged
to preview the first Blackstar amp,
large printed circuit board holds
nearly everything, including the
front panel controls and valve
There’s a series effects loop and a
speaker-emulated output on the
back panel, too – all familiar stuff.
and they all worked extremely
well, adding different core
characteristics without masking
the Artisan. Hand-wired and bases, with a smaller one for the The big difference is the the amp’s essential core tone.
beautifully made, the Artisan was rear panel connections. Build overdrive on channel two, or It may not offer the versatility of
among the best-sounding boutique quality is up there with Blackstar’s rather the lack of it: the Artist is the likes of the HT series, but the
designs we’d tried. Since then, typically high standards; you know intended to behave like a vintage Artist’s dual clean channels are
Blackstar’s early promise has this amp can be relied on to do the non-master volume design, and as perfect for many of today’s pedal
bloomed into a global brand with business night after night without a result, both channels are clean drives and sound great on their
a huge catalogue and a string of quitting on you. Valve power – channel one is super-clean while own, too, implementing vintage-
high-profile users. However, the inspired tones along with modern
Artisan wasn’t cheap, and it felt
like Blackstar’s range was missing
an affordable, vintage-voiced
the artist’s clean channels are features such as the emulated line
out and superb digital reverb.
Blackstar doesn’t have this niche
combo designed for modern
players who prefer to use pedals
for overdriven tones. Enter the
perfect for pedal drives all to itself, of course – it faces
plenty of competition in this sector,
but with most of those amps
Artist Series. Designed to capture comes via a pair of cathode-biased channel two has a moderate costing twice at much, the Artist 15
the spirit of the Artisan at a more 6L6s, with a pair of 12AX7s in the USA-flavoured overdrive that looks set to be a new classic.
reasonable price point, today we’re preamp and a digital reverb. You sounds fabulous for blues, country Nick Guppy
looking at the smallest amp in the get two footswitchable channels and jazz; it’s a big syrupy tone with
family, the Artist 15 1x12. for the preamp: channel one has a a sweet treble, tight bass and FEatuREs
The Artist 15 has a solid, simple volume and tone control, balanced midrange that works
sUMMarY
sound qualIty
understated look, with a ply while channel two has the familiar with any guitar, but really takes off ValuE FoR monEy
cabinet and a custom vintage gain, volume, three-band EQ and with bright PAF-style humbuckers.
BuIld qualIty
woven-paper grille cloth, while the Blackstar’s clever ISF knob, which Both channels react brilliantly to
electronics live inside a robust, takes the EQ from British to US pedals, too: we tried a selection of usaBIlIty
open-ended steel tray chassis; one response and all points in between. old, new and boutique overdrives oVERall RatIng
78 january 2016
round-up
Yamaha RevstaR
80 JANUARY 2016
GeaR ROund-up
Words: Dave Burrluck Photography: Adam Gasson
Yamaha RevstaR
Round-up
Over three years in development, Revstar is Yamaha’s first new
design for years. But are they any good? Let’s rev ’em up…
JANUARY 2016 81
round-up
Yamaha RevstaR
Think Yamaha, and most of us

think of the Pacifica, Yamaha
the company’s highly successful start-up
electric guitar, which has been a staple of
music stores for longer than many of us
RS320 £323
would care to remember. But wasn’t the
Pacifica just a rehash of Fender’s the start-up Revstar recalls a Les paul special…
Stratocaster? Er, yes. New designs from the
Japanese giant have been strangely absent
but with some added firepower!
for over a decade. Until now.
Launched at the tail end of 2015, the new
seven-strong Revstar range aims to put
Yamaha back in the electric guitar market.
manY lower-end electrics
seem to pile on
features to make their spec sheets
a slightly flatter-than-Gibson 350mm
(13.75-inch) radius and medium-gauge,
finely honed frets. Like the 420, the 320
The guitars are made in Indonesia, hence sound that bit more impressive, but features a slightly thinner-depthed neck,
the affordable start with the RS320, but the entry-level Revstar keeps things which fills out as you get up the dusty
even the top-line model, the RS820, isn’t beautifully simple, concentrating on end, and retains quite a classic feel as
exactly out of reach. quality. Along with the following model, opposed to an ultra-thin ‘speed’ design.
Key design elements include a celebration the 420, but unlike the upper 500, Hardware is fairly generic but
of ‘Yamaha-ness’ – and don’t forget, 600, 700 and 800 guitars, it’s made certainly functional, while the pickups,
Yamaha has been making electric guitars for entirely from nato, a pretty close cousin designed by Yamaha and made by
50 years come 2016 – and ‘Japanese-ness’. of mahogany, found in Indonesia. The Korean giant G&B, aim for a high, but
In short, the extensive design team simply slab body doesn’t have any ‘comfort’ not daft, output with powerful ceramic
didn’t think the world needed just another contours and there’s no fingerboard or magnets. Consequently, the 320 excels
electric guitar. If you know your guitar headstock binding, either. at balls-to-the-wall rock ’n’ roll. It feels
history, you might see a bit – quite a bit, Like all the Revstars, it’s a Gibson- meaty and sounds it, too, from the mid-
actually – of Yamaha’s SG2000, which esque set-neck design; those offset SG- focused crunch of the bridge to a high-
originally appeared in the late 70s, designed inspired horns and a rounded heel make octane saturated neck lead voice. It’s not
in conjunction with Carlos Santana: a guitar access to the top 22nd fret a doddle, the most versatile guitar out there, but
that certainly put Yamaha on the map and while the dark rosewood ’board features it’s a lot of fun.
proved that Japan could fashion an electric
that was every bit as good as those made in
the USA. Can Revstar follow in those
footsteps? Let’s find out…
the Revstars aim to

put Yamaha back in
the guitar market
82 JANUARY 2016
GeaR ROund-up
Yamaha 502T £565

the most retro-looking Revstar features dual
single coils and a dry switch. a what?
The 502T was pretty much

the original design that
kick-started the Revstar range. With
after the address of the original-concept
design team in south London – might be
a bit Marmite, but on stage (and in our
the same shape as the 320, it swaps to photos) it looks virtually black.
all-mahogany construction (with a thin The 502T and its sibling, the 502
5mm maple cap), adds belly and ribcage (without the tailpiece and with a hand-
contours, a crisply bound top edge, a rubbed satin top and headface), both
subtly deeper profile neck with bound use Yamaha-designed soapbar single
dot-inlaid fingerboard, bigger frets and coils with a medium-hot output, and
matching binding. like all the models, have a simple three-
Most visually different, however, is way selector switch, master volume
the aluminium tailpiece, part of design and tone. Pull up the tone control,
theme that draws on a different part however, and you voice that Dry Switch
of Yamaha’s massive corporate output – basically a passive high-pass filter
– the old-school cool of its Café Racer that thins out the sound a little. It adds
motorbikes. Placed behind a satin nickel surprising versatility to the biting-hot
tune-o-matic bridge, the tailpiece is single-coil sound of the soapbars and
height adjustable, and even works as easily kicks out a classic, punkier rock
a pretty stiff pitch-rising vibrato. Oh, tonality or just-as-cool, old-school jazzy,
and it looks pretty cool, right? Well, that bluesy soulful pop tones. All in all, it’s a
dark Bowden Green colour – named very classy act.
Yamaha
RS820CR £807
the top-of-the-line satin-topped Revstar
complete with go-faster stripes
RighT , so the construction
stays the same
as the 502, but the difference is the
it all comes together to create what is
one seriously good-looking guitar. Even
the aforementioned control knobs, with
colour choice and the satin-look top their easy-grip knurled industrial-look
and headface, which Yamaha tells us tops, have been specially created. They
is achieved by using fine steel wool to look like locking nuts off a motorbike,
cut back the gloss. It certainly lends but function perfectly.
a custom-shop slant, but on closer So far, each Revstar has had its own
inspection, you can see two gloss sonic signature, and the 820CR is no
stripes running down its centre. It’s different. It’s very Les Paul-like, with
another Café Racer motorbike emblem thickness and balance; it’s powerful
– evidenced by the CR suffix in the but not over-hot, and an easy drive to
name – like the copper-coloured cut-off capture some fruity classic rock, or more
scratchplate, which is actually anodised contemporary gained voices. The Dry
aluminium, and the satin-nickel Tone Switch here produces some single coil-
Pros adjustable wrapover bridge. like percussion without any additional
This textured metal vibe continues hum as they are still hum-cancelling –
to the old-looking nickel covers on the almost like a Les Paul meets a Telecaster.
YGD V5 humbuckers, which feature There’s a meaty feel here from the
heavy Formvar-coated wire and Alnico V chunky body – and associated weight
magnets under the hood. Like the 502T, – from that quite big neck to its sounds.
we have the same control functions, but Girthsome, indeed!
JANUARY 2016 83
round-up
Yamaha RevstaR
Verdict
Leaning heaviLY on that Yamaha SG2000, the Revstars we’d have to agree. The 320 is a great start-up rock guitar, the
certainly have more Gibson than Fender in their DNA. But 502T’s more retro take has a much broader sonic palette and
features like that Dry Switch, not to mention the 502T’s the 820CR certainly stands up to the competition for classic-
tailpiece and soapbar single coils, expand that voice. ‘Just rock grunt and more. Both the 502T and 820CR come with
different enough’ is one of Yamaha’s marketing slogans, and tough gigbags, too. Pick your fave and try it, urgently!
Yamaha RS320 £323 Yamaha 502T £565 Yamaha RS820CR £807

At A glAnce At A glAnce At A glAnce
Body: nato Body: Mahogany Body: Mahogany
neck: nato w/ maple cap neck: Mahogany
ScAle: 629mm (24.75”) neck: Mahogany ScAle: 629mm (24.75”)
FingerBoArd: Rosewood ScAle: 629mm (24.75”) FingerBoArd: Rosewood
FretS: 22, medium FingerBoArd: Rosewood FretS: 22, jumbo
PickuPS: 1x YGd H3 (neck), 1x FretS: 22, jumbo PickuPS: 1x YGd v5
YGd H3 (bridge) PickuPS: 1x YGB v5 soapbar humbucker (neck), 1x YGd v5
controlS: 1x volume, 1x tone, single coil (neck), 1x YGB v5 humbucker (bridge)
3-way lever pickup selector soapbar single coil (bridge) controlS: 1x volume, 1x
HArdwAre: nickel plated controlS: 1x volume, 1x tone w/ dry switch, 3-way
tune-o-matic and stud tailpiece, tone w/ dry switch, 3-way lever pickup selector
enclosed tuners lever pickup selector HArdwAre: satin nickel
leFt-HAnded: no HArdwAre: satin nickel tone pros avt-II wrapover
FiniSH: stock Yellow (shown), tune-o-matic bridge, bridge, enclosed tuners
Black steel, Red Copper aluminium tailpiece, leFt-HAnded: no
contAct: Yamaha enclosed tuners FiniSH: steel Rust (shown),
01908 366700 uk.yamaha.com leFt-HAnded: no Rusty Rat
FiniSH: Bowden Green only
NB: Prices confirmed at time of press, but may be subject to change. Please check in-store
Features Features Features

SUmmaRY
SUmmaRY
SUmmaRY
sound qualitY sound qualitY sound qualitY

Value For moneY Value For moneY Value For moneY
Build qualitY Build qualitY Build qualitY
plaYaBilitY plaYaBilitY plaYaBilitY
oVerall rating oVerall rating oVerall rating
84 JANUARY 2016
round-up
rOunD-up
DOD peDAls
DOD round-up £94-£154

Crafted under the guiding hand of DigiTech, DOD’s latest stompers innovate and renovate
in equal measure, with a pair of new distortions and two much-requested reissues
Back in 1973, David Oreste Di – ie,

DOD – Francesco founded
a pedal business with pal John Johnson. The
company quickly found success with the likes
of the Overdrive Preamp/250 and Phasor 201,
and continued into the 80s with genre-
specific pedals, such as the Death Metal and
– much to Kurt Cobain’s disdain – the Grunge
in the early 90s.
However, by the time the Millennium hit,
the brand began to flag, until DigiTech revived
the DOD name in 2013 with the first in a series
of reissues. Now, the brand is back in full force,
with a host of reimaginings and all-new
designs under its belt. Today, we’ll be plugging
into two modern-day distortions, as well as a
couple of revived 90s tone-manglers, all of
which feature true bypass switching and
bright blue status LEDs – now, let’s get going,
for DOD’s sake…
DOD DOD
Boneshaker £154 MeatBox 2015 £154
A Bone to pick with you Fresh Meat
a cOllaBOratiOn with boutique Unlike a conventional octaver, the
builder Black Arts Toneworks, the Meatbox adds a synthesized sub-
Boneshaker aims to provide heavy octave with a hint of envelope to your
tones to suit extended-range and tone, and can even simulate subwoofers
baritone players. A three-band EQ through a regular cab. The pedal’s raspy,
with individual levels provides huge nasal saw wave can be tweaked via the
gain-shaping potential, while a depth low and sub knobs, but it’s best suited to
knob rounds and pushes the lows to cut baritones and extended-range guitars,
through. The pedal sounds mighty with since it has some difficulty tracking
everything at 12 o’clock or with specific the open B string upwards. Adding
frequencies boosted, straddling the line distortion post-Meatbox brings out the
between distortion and fuzz. Provided octave tone no end, but be careful: too
its particular brand of grit is your cup of much bass will kill your speaker at
tea, you’ll have no problems honing in higher volumes! Like the original, it’s
on the dirty sound you’re after. enormously fun, but ultimately niche.
86 JANuAry 2016
GeAR ROunD-up
DOD
Gonkulator 2015 £154
Ringing in your ears
the Original 90s Gonkulator was a cult
curio, partly down to its unappealingly named
controls (Suck, Smear, Gunk, Heave) and its use
by Incubus guitarist Mike Einziger, but mainly
because it was a limited ring modulator. The
reissue ups its appeal by adding an adjustable
carrier frequency, which allows you to tune the
ring mod to your playing – keep it in key, and you
can get some pretty usable clangs and bell-type
tones. A built-in distortion circuit makes
everything infinitely more palatable, and makes
for a pretty fine drive with freq and ring dialled
out. Most of the time, however, the Gonkulator
sounds like a bemused Dalek – whether that’s a
good thing or not is up to you…
DOD GunslinGer £94

’sling your hooks
One Of the first all-new DOD designs since the
company’s rebirth, the Gunslinger offers a more
conventional distortion than the Boneshaker. Its
MOSFET clipping provides a tight, snappy gain
with a valve-like response, which yields big
at a GlanCe amp-like sounds with a bridge humbucker,
type: distortion, sub coupled with a hefty serving of sustain for solos
synth and ring and grunt for rhythm playing. We aren’t such big
modulator pedals fans of the lower-gain tones, which seem to lose
COntrOls: the punchy mids of the pedal’s more distorted
settings, but higher drive levels clean up nicely
Boneshaker: distortion, with your guitar’s volume knob.
depth, level, low
frequency/level, mid
frequency/level, high
frequency/level;
Meatbox: octave,
output, sub, low;
Gonkulator: gain,
dist, output, frequency, DOD BOneshaker DOD meatBOx (2015)
ring; Gunslinger: gain, Features Features
SUMMarY
SUMMarY
level, low, high sOunD quality sOunD quality

sOCkets: Input, output, Value FOr mOney Value FOr mOney
power, except BuilD quality BuilD quality
usaBility usaBility
Meatbox: input, TrS
OVerall ratinG OVerall ratinG
octave + sub output, TrS
dry output, power
Bypass: True bypass DOD GOnkulatOr (2015) DOD GunslinGer
pOwer: 9V battery, 9V Features Features
power supply
SUMMarY
SUMMarY
sOunD quality sOunD quality

(not included) Value FOr mOney Value FOr mOney
COntaCt: Sound BuilD quality BuilD quality
Technology 01462 480000 usaBility usaBility
www.digitech.com OVerall ratinG OVerall ratinG
JANuAry 2016 87
REVIEw
Vox ValVeTronix VT40x
in and ouT
YoU can plug in external
sources using the aux in
jack; the headphones
socket also doubles as a
models recording output and
interfaces with any mixer
The familiar amp
model selector
switch accesses 11
different amp sims Bias & Class
(up to 20 using the
The new Bias and Class buttons
tone room editor
operate to vary the Vt40x’s
software). the
dynamic response and add
amp actually
crossover distortion, along with
reconfigures itself
other subtle nuance effects
for each setting
aT a glanCe
Type: Digital/analogue/valve hybrid
modelling combo
OuTpuT: 40W
Speaker: 1x10” Vox Special Design
COnTrOlS: Amp model select, gain,
treble, middle, bass, volume, power
level; preset mode switch, 3x effects
select button, 2x effects value edit,
bank select, 4x channel select, tap
button, bias shift, class select
SOCkeTS: Input, aux in, headphones
out, footswitch (optional) in, USB
WeighT: 9.5kg
Vox ValVetronix Vt40x £238 DimenSiOnS: [HxWxD]

404 x 462 x 225mm
COnTaCT: Vox Amplification
The Brit amp co revamps an old favourite 01908 304600 www.voxamps.com
Vox introduced its

Valvetronix amps
way back in 2001, and they’re still
Technology) modelling system to
simulate each amp down to the
last component, changing gain
amp adds significant warmth and
dynamics, which is still difficult to
capture in the digital domain.
But the fun doesn’t end with
what you get out of the box; Vox’s
Tone Room editor software allows
going strong today, outlasting structure, tone network, operating The VT40X’s sounds have really in-depth editing of parameters,
most of the modelling amp class and bias, all in real time. improved with more focus and adds extra models and effects and
competition along the way. There’s On the surface, the VT40X’s detail. The Vox models are lets you save personal favourites
no real secret to this; they sound control panel looks quite similar to uncannily realistic, especially the offline, in addition to the eight
superb – and while they aren’t the the old Valvetronix amps, but with AC30TB, which captures the patches you can store on the amp
cheapest, the sounds and build some new features, most notably original’s class A grind and vocal itself. You can also sample other
quality more than compensate for the class and bias buttons. These solo voice. Other old favourites user patches, which can be a great
that. After such a long time, help for newbies.
however, it was clearly time for a
refresh, which has given us the
newer, better VTX series.
The sounds have improved, All in all, there’s no doubt: the
new VT40X and its stablemates
have extra added zing in many
The 40-watt 1x10 VT40X has a
restyled sealed cabinet, with a
clever bass reflex design to
with more focus and detail departments, making them even
more desirable, and ensuring that
the Valvetronix line remains at the
enhance the 10-inch driver’s bass allow selection of class A or class such as Boutique OD (based on the top of the amp modelling hill for
response. Inside the chassis, there’s AB, as well as shifting the bias a Dumble) and Double Rectifier many more years to come.
a new digital signal processor that, voltage from normal to either cold have more dynamic range, with a Nick Guppy
along with other components, or hot modes. Both buttons change sweeter, more detailed top-end
takes advantage of 15 years of the VT40X’s dynamic response, that comes almost uncomfortably FEatuREs
technological progress to offer affecting the Valve Reactor circuit, close to the real thing. The effects
SUMMARY
sound qualIty
more realistic sounds than ever which uses a real 12AX7 valve to are equally impressive, with a ValuE FoR monEy
before. This is where Vox has provide more realistic valve-driven choice of 12 onboard modulations,
BuIld qualIty
leveraged the considerable digital tone and response. While the delays, reverbs, overdrives and
expertise of parent company Korg, preamp is digital, this digitally distortions, as well as a handy playaBIlIty
using its VET (Virtual Element controlled analogue part of the noise reduction. oVERall RatIng
88 january 2016
gear vinTage veC501bgb
Vintage VEC501BGB £249

Looking to go electro in the new year? There’s some
serious value for 2016 here
the decision to buy an
electro-acoustic is
usually a commitment to having
and resulting in a well-balanced
sound. Even with the bass control
at 12 o’clock, it delivers the goods
aT a glaNce
Top: Solid Sitka spruce
PreamP
the Isys preamp’s phase
button performs two
a guitar you can use live. It keeps for chord work through our Laney Back & sides: Mahogany useful functions: it boosts
bass at low volumes and
your options open, with a guitar A1+ combo. The treble control Neck: Mahogany suppresses feedback if
capable of being more than a go-to and phase button allow further scale: 648mm (25.5”) you take it onstage
for the house. But Vintage’s latest fine-tuning to suit your style. FiNgerBoard: Rosewood
model wants to expand your There’s an onboard tuner, too, so
horizons even wider with USB there’s no excuse to commit that FreTs: 20
connectivity, which throws an cardinal sin of open-mic nights. elecTrics: Fishman Isys 301
additional recording option into Last issue’s Martin GPX1AE w/ USB; volume, bass, treble Looks
the mix. We’ll get to that soon, but brought USB connectivity for knobs; phase, tuner buttons the herringbone/abalone
first, let’s look at what kind of direct recording to your computer Hardware: Open-gear
rosette is the closest thing to
bling here; the transparent
dreadnought the VEC501 is. and it’s here on the VEC501, too. scratchplate is all about
The finish instantly grabs our You should see it more as a bonus
tuners – chrome die-cast low-key functionality
attention; the Satin Burgundy than an essential feature, allowing leFT-HaNded: Yes (Natural
Burst sets itself apart in the sea of you to get an idea down in a noisy and Satin Natural only)
natural finishes in the entry-level environment. We find the output FiNisH: Satin Natural, Satin
electro market. There are more through the mini-USB markedly Mahogany, Satin Burgundy Burst Finish
traditional options available in the higher compared with recording in
(shown), see website for other aS well as this Satin
range, but we like this shade’s GarageBand from the jack into an Burgundy Burst, the
finish options VEC501 range includes
This is a serious contender for

coNTacT: JHS 01132 865 381 Satin Natural and
Mahogany finishes,
www.jhs.co.uk plus a rather striking
‘Natural’ with a little
your Christmas money

burst look of its own
distinctiveness, subtle class and interface. But all the caveats of

practicality. It’s tasteful, reserved piezo-driven electro-acoustics are
and solidly built all round, in fact also amplified in this scenario; the
– save the divisive Vintage ‘V’ inlay plastic-y zing is no competition for
at the 12th fret. The cream binding mic’ing, even with some sensitive
works well with this finish, too. use of reverb and EQ. But where
Let’s get down to business. The mic’ing isn’t an option, this is
action here is low, and it’s going to another recording solution on an
please anyone who’s used to an already well-priced instrument.
electric. Low usually means buzz, If the new year brings with it
but even in DADGAD, there’s none resolutions to get out there and
to be found, and the cutaway play as an acoustic troubadour or
means it’s an inspiring player all band leader, the VEC501 could
the way up the ’board. There are certainly help make them a reality,
sparkly highs and resonant mids as with great-value playability and
you strum, but they’re let down a sound quality, which should make
little by a comparatively lacking it a serious contender for your
low-end for a body of this size. This Christmas money.
is emphasised when you need Rob Laing
more projection for fingerpicking.
The action contributes to that to Features
some degree, but plugging in
SUMMaRY
sound quality
reveals hidden depths. Value For money
Fishman’s Isys preamp with
Build quality
Sonitone piezo again shows itself
to be impressive and dependable, playaBility
producing enhanced bass notes oVerall rating
january 2016 89
REVIEw
mXr/raIngEr FX
MXR EVh 5150

oVErdriVE £174
It’s Eddie in a box – with knobs on
Clad in shiny and matt
black, like emo
Peter Parker in Spider-Man 3, the
The vibe here is more modern
Eddie than his famous ‘brown’
sound, but adding some phase and
new EVH 5150 Overdrive was delay to the signal chain helps dial
designed in conjunction with the the years back. Elsewhere, the gate
man himself, Eddie Van Halen. control, powered by MXR’s clever
To get the best from the pedal, and Smart Gate circuitry, dials out
hear the sound in Eddie’s head, set unwanted noise caused by your
your amp controls for a flat, clean pickups. Simple to set up, when
tone and let the 5150 do the work. you stop playing, the knob will
We put the pedal through its paces glow yellow and hiss disappears. Type: Overdrive pedal
with an old Peavey Wolfgang, and The 5150 Overdrive is easy to ConTrols: Output, bass, mid, treble,
once engaged, the overdrive sound navigate and, in typical MXR
is smooth yet doesn’t sound fashion, is built like a tank. That
gain, boost, gate
processed. A tweak of the passive gate is a fantastic selling point, too. soCkeTs: Input, output, power
Features
three-band EQ controls, in We were hoping for a bit more Bypass: True bypass
SUMMaRY
sound quality
particular the bass and mid knobs, vintage EVH, but as it stands, this power: 9V battery, 9V power supply Value For money
dials-in an addictive fat-sounding is still an exceptional overdrive (not included) Build quality
stack tone, and you can push the pedal. If you love Mr Van Halen, it’s
ConTaCT: Westside Distribution usaBility
boost button for a small increase in got his name written all over it.
saturation and compression. Ed Mitchell 0844 326 2000 www.jimdunlop.com oVerall rating
RaingeR FX
Echo-X £119
The digital delay with X-pression factor
iT makes some of the UK’s
most eccentric pedals, such
as the Dr Freakenstein Fuzz, but
loops the current repeats so you
can play unaffected over the top –
great for atmospheric intros.
recently Rainger FX has focussed It all adds up to a wealth of
on mini-pedals, and the Echo-X is entertaining pitch swoops and
the latest – a digital delay with oscillation revs, although the core
real-time control, courtesy of the delay tone is pretty tasty, too,
included Igor pressure pad. courtesy of the PT2399 chip (as
First, a whistle-stop tour: level, used in many boutique delays),
rate and feedback handle your which delivers a slight low- and
usual delay duties, while input high-end roll-off for an analogue Type: Digital delay pedal with
controls the input level and flavour. 540ms is your max delay pressure-sensitive controller
volume handles the overall output. time, though repeats tend to get a
Two push-buttons determine the little crunchy beyond 350ms.
ConTrols: Level, rate, feedback, input,
Igor’s functionality: push the right Sure, the setup doesn’t make volume, send button, feedback/rate button Features
button in to adjust feedback, out to achieving unity gain particularly soCkeTs: Input, output, power, Igor
SUMMaRY
sound quality
adjust rate. The left button easy and Igor is a little sensitive, Bypass: True bypass Value For money
activates the send function: this but the Echo-X is such a perfect power: 9V power supply only Build quality
leaves your signal dry until you blend of untameable and
(not included) usaBility
step on the Igor, which re-engages controllable, we don’t mind a jot.
the delay; step off and the pedal Michael Astley-Brown ConTaCT: Rainger FX www.raingerfx.com oVerall rating
90 january 2016
Gear aCCeSSorieS
Diago Sprinter
The small Sprint
Mini-peDals are getting bigger
and bigger (in terms of popularity,
natch), and Diago is jumping on the
craze with the compact Sprinter
pedalboard, which houses six minis
or four Boss-sized pedals. Measuring
390x160mm, the Sprinter is machined
from HDF, which keeps the weight down
and rigidity up, and features six rubber
pads underneath for onstage stability,
while the entire top is covered in looped
pedal carpet. A nylon bag with EPE
interlayer and outer pocket is included,
as well as an adjustable shoulder strap
and a two-metre roll of Velcro.
(£39.99, www.jhs.com)
TC eleCTroniC Sentry
noiSe Gate
Gating gets Sentry-fied
of all the applications for TC Electronic’s
TonePrint technology, we never expected noise
suppression, but the Sentry Noise Gate gets
one over rival suppressors with a multi-band
noise gate and advanced noise-removal
algorithms, enabling it to hone in on
specific frequencies. A hard-gate mode
is also available for more abrupt gating,
as well as TonePrint functionality via
TC’s TonePrint Editor, which allows
you to precisely shape the pedal’s
noise reduction to your rig. Onboard
controls comprise threshold, damp
and decay, while it also features a built-in
effects loop for precise noise removal.
(£95, www.tcelectronic.com)
Wi audiolink CruzTools Groovetech

pro alp55 Soundhole WrencheS
Wireless… Wi not? Cruz control
if onsTage freedom is your bag, you’ll if There’s one thing acoustic
know that a fair few wireless systems players hate, it’s adjusting an awkwardly
are bulky and obtrusive. Not so with the positioned truss rod – fortunately,
AudioLink Pro. This compact system CruzTOOLS has developed a solution in the
delivers uncompressed audio across a form of its cunningly angled GrooveTech Soundhole
15Hz to 20kHz frequency range (so no Wrenches. An extended hex blade and ball-end
clashing with the singer), plus it attaches to tip provide an easy fit in the truss rod nut, while
your guitar strap – no sticking a transmitter a screwdriver-style handle affords extra
in your pocket here. Its 3.5mm and USB grip and avoids damaging your precious
jacks make it easy to integrate into a digital acoustic during setup. The wrenches also
guitar rig, while you get a load of connection come in 4mm and 5mm sizes, ensuring
converters thrown in for regular setups, too. all types of truss rod are covered.
(£179, www.widigitalsystems.com) (£11.50, www.cruztools.com)
LEarn to pLay star wars
Video
Words: Charlie Griffiths on your
tG cD
Video Lesson
Theme
Get ready to ewok ’n’ roll with TG’s rocked
up guitar version of the Star Wars Theme.
May the chords be with you!
’STar WarS
TheMe’
cheaT SheeT…
AppeArs At:
0:00-0:26
tempo: 100bpm
Key/scAle: Bb major
mAin techniques:
Palm muting/
vibrato/triplet
rhythms
trAcK: 72-73
94 january 2016
star wars LEarn to pLay
TG Tip
Practise the triplets
starting with both
a
downstroke and
upstroke. you’ll ne
ed
to use both methods
in the track
B b major scale
These are the notes you’re
looking for… because
nearly every note you’ll be
playing is based within
this scale. run through
the shape to prime your
fingers for the task ahead.
1 1
6
1 1
2 2 2 2 1
4 4 4 4 3
january 2016 95
Classic
track
the Police
Message In
a Bottle
Give your fret hand a serious work-out courtesy of
Andy Summers’ signature sus2 arpeggios in this
up-tempo classic from The Police
© ITV/REX Shutterstock/Rex Features
96 january 2016
classic track the police |
SoUND ADVice
the PolIce burst onto the scene in the
late 70s. Their highly distinctive and
original post-punk, reggae-flavoured
blend of pop and rock placed them at Everything you need to know before playing ‘Message In A Bottle’
the very cutting edge of the new wave
movement. The most demanding aspect
of this opener from 1979’s Regatta de
Blanc album is the reach required to fret get the sound channel CLeAN
guitarist andy Summers’ signature sus2
chord shapes. In particular, F#sus2 is In the early days of The Police,
Andy Summers played this track
quite the finger-stretcher as it falls low on his Fender Telecaster Custom,
down on the fretboard, where the frets usually set to its bridge position
single-coil pickup through Marshall
are farthest apart.
The sequence contains no open
1959 Super Lead heads and GAIn BASS MId TrEBlE rEvErB
Marshall cabs. Ideally set your
strings, however, so you could easily amp quite loud but without much
preamp gain. A flanger gives you
practise the piece higher up the neck to Andy’s rounded glassy tone, and
gradually build your stretching ability. dial in a little compression to
coMPressor flanger
For example, try starting at the 7th fret so increase the sustain.
Level: Rate:
your first chord would be Esus2, followed 5 2
by Csus2 (8th fret), Dsus2 (10th fret) and Attack: Depth:
asus2 (5th fret). Take it easy and don’t 2 5
Sustain: Mix:
stretch too hard, though – increasing your 5 5
reach takes time and you must take a
break if you feel any discomfort.
x x x x x x x x x x x x x
chords 4 1
4 1 1 1
5 1 6 1 7 1
2
there’s no getting away 2 2 2
from it – the chords in 3 3 4
Message In A Bottle are
quite the challenge. Start by 4 4 4
practising the sus2 shapes.
They’re all the same shape; c#sus2 c#m7 d5 d#sus2 esus2
they just start in different x x x x x x x x x x
positions on the fretboard.
Develop your stretch by
7 1 2 1
2 1
2 1 1 1 1 1
9 1 1 1
practising the shapes higher
up the neck, moving down to 2
lower positions as you start to 2
get comfortable. Once the 3 4 3 4 3 3
shapes start to feel familiar
try practising the changes. 4
e5 F#sus2 F#5 F#m7 F#m7

x x x x x x x x x
5 1
5
1
5 1 1 1 7 1
2
2 2
3 4 3 4
4 4
asus2 a5 a Bsus2
scales 9
1 1 1 1 1 1
7
1 1
9
1 1 1
andy’s lead playing is 2

expressive, but tight and
accurate. Nearly everything
he plays in Message In A Bottle 3 3 3 2 2 1 2 3
is based around shape 1 of the
C# minor pentatonic scale, 4 4 4 4
with just brief moments in the
other shapes shown here.
Practise the scale shapes 4 3 4
before trying out the tab to get
a feel for how Summers puts his
lead ideas together. c# minor pentatonic c# minor pentatonic c# natural minor
scale (shape 1) scale (shapes 5 and 1) scale
january 2016 97
classic track the police | Full track + backing
(tracks 74-75)
thIs song comes with a full demo track and
the Police
Message In a Bottle a backing track (minus guitar) on your CD.
Music and lyrics by Gordon Sumner Simply insert the disc in your player, press play
© 1979 G M Sumner
Worldwide produced by kind
and jam along, guitaraoke style!
permission of Hal Leonard Corporation
all rights reserved. International
Copyright Secured.
Message In a Bottle
Full
intro / Verse / outro taB
q =148
C # sus 2 F # sus 2
Intro Play 2 times
Asus 2 Bsus 2 Verse Play 8 times
# ## 4 œ
Outro to fade
& # 4 .. œ œ 4
œ
œ. œ 4
œ.
œ œ œ ..
0:00 2:10 1
2
1
œ œ 2
4
1
œ œ 2
œ œ 2
4
3:17 1
0:06
1:00
T . .
A
B
. 4
6
8
7
9
9
11
4
6 7 .
5 7 2
⇥ ≤ ⇥ ≤ ≤ ⇥ ≤ ≤ ⇥ ≤ ≤ ⇥
⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥
the sus2 chords in this riff are easiest when fretted with your first, second and fourth fingers. They are quite a stretch, so practise fretting the shapes first, before trying the position shifts and, finally,
picking the strings one by one. We’ve suggested two picking approaches below the tab.
harmony Part
Esus 2 C # sus 2 D # sus 2 C # sus 2
## œ œ œ
& # # 44 œ œ œ œ
œ œ œ œ œ
œ œ œ œ
T 11 8 9 8 9
A 9 6 7 6
B 7 4 6 4
thIs part is played in harmony with the main riff and like the main riff, it is based on Andy Summers’ signature sus2 chord shapes, so the same rules apply. With no string changes to deal with and
played higher up the neck, we think this line is easier than the main riff so hone your skills here if you find the main part too challenging.
Pre-chorus
A5 D5 E5
## j
œœ œœ œœœ œœ
& # # 44 .. œœ œ œœ œœ œœ œœ œœ œœ n œœ œœ œœ ‰ ..
œœ nœ œ œ œ œ œ
œ œ œ œ œ œ œ > >
0:32
>
Guitars and backing: Phil Capone
1:26
2:36 PM throughout
T . .
A
B
. 7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
5
7
7
5
7
7
5
9
9
7
9
9
7
9
9
7
.
5 5 5 5 5 5 5 5
1
⇥ ⇥ ⇥ ⇥ cont. sim.
98 january 2016
|
classic track the police
Pre-chorus continued
F#5 D5
# ##
Play 3 times
n œœ œœ œœ œœ œœ œœ œœ
& # .. œ œœ œœ œœ œœ œœ œœ œœ nœ œ œ œ œ œ œ
..
œœ œ œ œ œ œ œ œ > œ
T . .
A
B
. 4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
7
7
5
7
7
5
7
7
5
7
7
5
7
7
5
7
7
5
7
7
5
.
3
2 2 2 2 2 2 2 2 0
straIghtForward three-note powerchord shapes are used here, played with steady downpicking and gentle palm-muting. The devil is in the detail, though; notice where the accent symbols
>
(denoted by in the notation) fall, and pick slightly harder to emphasise the relevant chords.
chorus 1 (rhythm guitar)
C # m7 A F # m7
## ww ww Chorus 1. Play 3 times
ww ww
& # # 44 .. ww
Chorus 2. 3. Play 7 times
ww .. ww ww
w ww ww ww
0:47
1:41
2:51
T . 4
5
5
5 . 2
2
A
B
. 4
6
4
6
7
7
. 2
2
4
5 2
Just three barre chords form this simple chorus rhythm part – all you have to do is make sure you strum at the right time. Drummer Stewart Copeland keeps the hi-hat and snare busy, so listen out for
his regular, thumping kick drum to stay in time.
chorus 2 (lead guitar)

C # m7 C # m7
~~~~~~~~~~~~~~~~~A œ ~~~~~~~~~~~~
## œ ˙.
j œ j 3
œ œ ~~~~~~~~~~ j œ
3
j ˙
& # # 44 Œ
œ
œ œ œ ˙
3 œ œ
J Ó Œ
1:42
~~~~~~~~~~~~~~~~~ ~~~~~~~~~~ 9
~~~~~~~~~~~~
BU BD BU BU BD
T 11 (13 ) 13 (11 ) 9 11(13) 11(13)
A 11 11 9 11
B
1
C # m7 A C # m7 A
˙~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#### œ .
Œ
œ
j3
œ œ œ
3
œ œ œ w ˙ Ó
& J
~~~~~~~~~~~~~~~~ PB 11
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
BU BD
T (11 ) (13) ( 13 )(11 )
A 11 11 11 9 11
B
5
january 2016 99
classic track the police|
chorus 2 (lead guitar) continued
C # m7 C # m7
œ.
A
## œ. j
3
œ. œ ~~~~~~~~~~ j
3 1/4
~~~~~~~~~~~~~~~~~~~
& ## Ó œ œ œ
œ
œ œ œ œ ˙.
~~~~~~~~~~ 3
~~~~~~~~~~~~~~~~~~~
BU
T 9 11(13) 11 9
1/4
A 11 11 9
B 11 9 7
9
9
A C # m7 A
# ## 3
3
œ
1/4
~~~~~~~~~~~~~~~~ œœ .. œœ
1/4
œ ~~~~~
& # ‰ œ œ ˙. Œ ‰ œ
j
œ œ œ œ œ
œ
~~~~~~~~~~~~~~~~ ~~~~~
PB 11
1/4 1/4
T 9
9
(13) (11) 9
A 9 11 11 BD 11
B 7 9
7 9 11
12
##
F # m7
œ œ w
œ œ
& ## w w ‰ œ
j œ
w/flanger
let ring
9
T 9
10
9
A 11
B 9
15
suMMers’ waIlIng C# minor pentatonic (C# e F# G# B) lead lines weave in and out of Sting’s vocal here. Notice the regular use of triplets (three notes in the space of two – shown with a ‘3’ and
brackets over or under the notes). Bar 9 is the clearest example. You’ll need steady timing for these.
chorus 3 (lead guitar)
C # m7 C # m7
A
œ œ œ œ œ ~~~~~~~~~~~~ œ A
j ~~~~~~~~~~~~
## œ ˙. œ ˙ œ œ œ œ œ œ œ 1/4
œ œJ œ j
j j
& # # 44 Œ Œ ‰ J œ
3
2:51
~~~~~~~~~~~~ PB 12
BD ~~~~~~~~~~~~ 9
RP
1/4
BU BU BU
T 11(13)
(14) (12) 10 9
11(13) 11(13)
BD
(13) (11 ) 9 11 9
A 11 11
B 11
1
100 january 2016

classic track the police |
chorus 3 (lead guitar) continued
C # m7 C # m7
A
œ œ ~~~~~~~~~~~~~A
# # # # œj œ~~~~~~~~ ~~~~~~ œ œ œ ˙ œ. œ œ œ
œ œ
3
. œ ˙ Œ
3
œ œ œ J J J
& J
~~~~~~~~ ~~~~~~ ~~~~~~~~~~~~~ PB 11
BD
T 9 11
9 12 10 10 9
(13) (11 ) 9 11
A 9 11 11 11 13 11
B
5
C # m7 A C # m7 A
# # # # œ~~~~~~ ˙~~~~~~~~~~~~~ œ. œ. ~~~~~~~~~~~~~~

1/4
.
3
œ.
3 j
œ ˙.
œ œ. .
œ
& œ j
œ
œ œ œ œ œ œ œ
~~~~~~ ~~~~~~~~~~~~~ 1/4
~~~~~~~~~~~~~~
BU
T 9 9 11 (13) 9
A 11 9 9 11 11
B 11 9 7 7
9 7 9
11
9
C # m7 A
œœ .. œœ F # m7 ~~~~~~~~~~~~~~~~~~~~
# # # # ~~~w
j
œ
œ
j œœ œœ œ œ œ œ ˙ œ œ œ.
& ‰ ‰ J J ‰
~~~ 9
~~~~~~~~~~~~~~~~~~~~
BU BD
T 12 (14) 9
11 (13) [13 ] (11 ) 9 11 (13) [13 ] (11) 9
A BU
BU BD
B
13
you’ll need steady fret-hand control to reproduce Andy Summers’ tight but expressive lead work here. Use two, or, where possible, three fingers for the string bends. ‘PB’ denotes ‘pre-bends’, where
you must bend the string to pitch before you pick the string. Practise these details before attempting the section in full.
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Open-mic
Songbook
the beatleS
yesteRday
Add the Fab Four’s classic track to your
songbook with TG’s lesson on Paul
McCartney’s fingerpicked masterpiece
RepoRtedly the most covered
pop song in history, Yesterday is one
of the Beatles’ best-loved songs.
Some of our favourite versions are by
Chet atkins, The Bar Kays, Willie
nelson, Eva Cassidy and joe Pass.
Less widely liked is Linkin Park’s
2006 Grammy awards mash-up
with jay-Z and Paul McCartney
himself, but it raised smiles here at
TG Towers. With so many versions in
so many styles, Macca’s classic is
clearly prime open-mic material.
To play along you must retune your
guitar to ‘D standard’ (DGCFaD),
which means every string should be a
tone (two frets) lower than standard.
There are lots of chords but they are
easy; remembering all the shapes is
harder than actually playing them.
For an authentic rendition you’ll need
© Robert R. McElroy/Getty Images
to play fingerstyle. TG’s top tip is to

ensure your thumb picks down to
one side of your fingers so they don’t
collide. and if fingerstyle isn’t for you,
then why not make up your own
cover version?
102 january 2016

open-MIc Songbook the beatles |
yesteRday
Words & Music by john Lennon & Paul McCartney
TGR274.Beatles.fig01.musx Yesterday
the beatleS
© 1965 Sony/aTV Music Publishing.
uK/Eu reproduced by kind permission of Music Sales Limited
File Date:
uS/Can 13:32
reproduced 12/11/2015
by kind permission of Hal Leonard Corporation. The Beatles
all rights reserved. International Copyright Secured.
Page 1 of 1 Contributor: Charlie Griffiths
Notes:
yesterday Engraved by DigitalMusicArt.Com
Intro /96VerSe
q
q== 96
5 7
‰ œ œ œ œ œœ œ ‰
F
F5 Em A
A7 Dm Dm/C
œœ œœ œœ œœ œœ œœ œœ .. ‰ œœ œœ œœ œœ œœ œœ
Em Dm Dm/C
œœ
& b 44 œœœ œœ œœ œœ œœ œœ œœ
q = 96
.. ‰
F5
n œœ œœ œœ œœ œ œ œœ ˙
œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œœ œ œœ œ
4 3
3 4
4
4
4
.. ‰˙ .. ˙ ˙
3 3
&b4 œ˙ œ.
3 3
˙
3 3
œ œ œ œ œ œ œ
3 3
2
J
2 2
˙ ˙
2
2 2 2
2
T
D
D
. 3 3 3 3 3 3
. 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0
.. 3 ..
3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0
T A
A 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 3
3 2
2 2
2 2
2 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0
A
A
F
F
DC 30
0 0
30
0
30
0
30
0
30
0
30
0
0 0
0 0
0 0
0 0
0 2
2 2
2 2
2 2
2 2
2 2
2 2
0
0 0
0 0
0 2
0
0 0
0
0
TB C
. 3pp .
AG 2 2 0
B G
FD
3 3 3 3 3 3 2
2
A CD
0
a
0 0 3
3 0 0 0 3
3 3
3 0
0 2
2
B G
D 3
m
m
a
3
i
p ai
b 77 b
B b maj Bb
j j
m
B C 7 F 5 Dm 7 G B F 5
‰ œ œ œ
maj i C7 F5 Dm7 G F5
œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœœ nn œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ

&b
& œ œ œ œ œ˙ œœ œœ œœœ œœœ œœœ œœ œ œ œ œ œœ œœ
œœ œ œ œ œ œœœ œ œ œ œ œ
3 4
œ œ
3 4
3
˙ œ
3
3 3
1 3
œ ˙
2 1
˙ œ œ œ ˙
1 3
œœ
2 2 1
œ.
2
Jœ
2
2 3
2 3
2 1
1
0 0 0 2 2 3 3 3 3 3 3 0 0 0 3 3 3 3 3
T
T
0
0
0
0
0
0
0
0
0
2
1
1
2
1
1
3
1
1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3 3
3
0
2
2
0
2
2 0
0
0
1
1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
A
A
0
0 0
0 0
0 0
2
2 2
2 2
2 0
0 0
0 0
0 0
0 0
0 0
0
2
0
0
2
2
2 2
2 0
0 0
0 0
0 0
0 0
0 0
0 0
0
B
B 3
3
0
3 3 2 0
2 2
0
0
0 3
3 3 3
5 3 3 2 0 0 3 3
5
Notice that single notes are played on bass strings and higher notes form chords on the treble strings. Use your thumb (marked ‘p’ below the tab) to pick the bass
notes, and your first (i), second (m) and third (a) fingers for the chords. Pick somewhere between the neck and sound hole to produce a warm, mellow sound.
x o o x o o x o o x x o x o o o x o
Chords 1 1 1
theRe aRe lots of 2 3 4 2 3 3 1 1 1 2 3 4

chords to learn so take 2 3 4
it slow, break the piece
down and practise it 3
in short sections. The
DGCFAD tuning means D G c F a D D G c F a D D G c F a D D G c F a D D G c F a D D G c F a D
that the chord shapes F5 G Gm Gm/c G/B a7
you recognise sound a x o x x x o x o o o x o o x x o x x o
tone lower than they do
in standard tuning. For 1 1 1
example, the first chord
2 3 4 2 3 2 2 2 3 1 2
looks like a G shape
but the pitch is actually 3 3 3
F. This is because the
chord names represent
the actual pitch heard,
rather than a particular D G c F a D D G c F a D D G c F a D D G c F a D D G c F a D D G c F a D
fret on the guitar. a7/e a5 Bbmaj7 Bb c7 c
x x o o o x x o o o o o o o x x
Guitars and backing: Charlie Griffiths
2 1 2 2 3 3 3
D G c F a D D G c F a D D G c F a D D G c F a D
Dm Dm/c Dm7 em
january 2016 103

|
open-MIc Songbook the beatles Backing track (track 76)
this song comes with a backing track on your CD.
Simply insert the disc in your player, press play and
jam along guitaraoke style!
Song Sheet
Ye ste rd ay
Verse 1 Verse 3
F5 em a7 Dm Dm/c F5 em a7 Dm Dm/c
yesterday all my troubles seemed so far away
yesterday love was such an easy game to play
Bbmaj7 c7 F5
now it looks as though they’re here to stay Bbmaj7 c7 F5
now i need a place to hide away
Dm7 G Bb F5
Oh I believe in yesterday Dm7 G Bb F5
Oh I believe in yesterday
Verse 2 Bridge
F5 em a7 Dm Dm/c
Suddenly I’m not half the man I used to be a7/e a7 Dm c Bb a5 Gm Gm/c F5
Bbmaj7 c7 F5
Why she had to go I don’t know, she wouldn’t say
There’s a shadow hanging over me a7/e a7 Dm c Bb a5 Gm Gm/c F5

I said something wrong now I long for yesterday
Dm7 G Bb F5
Oh yesterday came suddenly
Verse 4
Bridge F5 em a7 Dm Dm/c
yesterday love was such an easy game to play
a7/e a7 Dm c Bb a5 Gm
Why she had to go I don’t know, Bbmaj7 c7 F5
now i need a place to hide away
Gm/c F5
she wouldn’t say Dm7 G Bb F5
Oh I believe in yesterday
a7/e a7 Dm c Bb a5 Gm
I said something wrong now I long
outro
Gm/c F5
for yester-day
F5 G/B Bb F5
Mm-mm mm-mm mm mm-mm
alSo aVaIlable:
plaY gUItar WIth… the beatleS 1967-1970
Guitar notation and taB with full lyrics & chord names, 176pp.
£24.95 ref. No91399)
Take your place with The Beatles with the help of these specially recorded
full band backing tracks and Tab transcriptions. The accompanying 4 CDs
have two specially recorded backing tracks of each song, one a full demo
with guitar showing you how the song should sound and the other is
without guitar for you to play along with on your own guitar.
28 songs, including: Don’t Let Me Down, Get Back, Here Comes The Sun, Sun
King, Hey Bulldog, Let It Be and 22 more.
www.musicroom.com
104 january 2016

next mOnth on sale 15 january
t r a ns f Orm plus
YOur plaYing Start Your Band
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in 2016!
FiniSh
Your SonGS
record
Your deMo
Make this year the one where you

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Group teSt
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Three low-enders
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and Hagstrom
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n Essential practice schedules to Boutique tones? Goo
develop every area of your playing goo g’ joob!
n Beat the January blues: busting

out of the pentatonic rut p l us
All content subject to change

n Learn more chords: the
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l O a ds
n Your technique questions answered
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techniques gET YOUR gRadEs |
RgT / PERfORmancE awaRd / LEvEL fivE video
lesson
Rock Ballad
w w w.b it .l
y/tg 275v
id e o
Cover more of the fretboard and bring new life to your solos with
RGT’s Level Five lesson on the good old minor pentatonic scale
Performance
Awards
For rGT’s Level Five electric uses several one-octave shapes of through the different scale shapes
guitar Performance award lead the G minor pentatonic scale. so you can see how the phrases in RGT is the UK’s only
specialist guitar
playing section, you have a choice Each shape has its own phrasing the solo link together. Finally, examination board.
of musical styles. an example solo options, so string bends or short remember that our solo is provided You can download a
has been notated here using a rock melodic ideas may be easier in to help you create ideas of your free Performance
ballad track from rGT’s Level Five some shapes than in others. Mixing own – you only get the chord chart Awards syllabus and
handbook/CD as a backing. The up patterns will add a few tricks to in the rGT book, so it is up to you to find a registered guitar
track is in G minor, and our solo your lick-bag. Start by playing come up with a guitar solo. tutor to help prepare
you for RGT exams at
www.rgt.org
G minor pentatonic scaLe
3Rd FReT 5Th FReT 7Th FReT 10Th FReT 12Th FReT
>
>
>
>
>
1 2 4
1 4 2 4 2 2 4
1 3 1 3 1 4 1 3 1 4
3 1 4 2 4 1 3
4 1 4
Shape 1 Shape 2 Shape 3 Shape 4 Shape 5
SoloinG wiTh different scale shapes can generate a wealth of ideas so take your time to get to grips with these five patterns. These are all the same scale and are
based on the same notes (G B b C D F), just played in different areas of the fretboard. Practise each shape on its own and also try moving from shape to shape.
LeveL Five soLo
bb bb 444 œ œ œ œ œ ˙~~~~~~~~
~~~~~~~~ Cm j
œ
~~~~~~~~~
~~~~~~~~~ Dm œ œ œ œ œ œ œ
q = 65
& œ . œ ˙
Gm F
& 4 œœœœ œ œ œ œ ‰ R ‰ J œœœ ‰

œ
~~~~~~~~
~~~~~~~~ ~~~~~~~~~
~~~~~~~~~
T
T 6 6 8 6 BU 6 6
A
A 3 3 3 5 3 7 7 5 (7) 5 3 3 5 7 7 7 7 10
B
B
3 5 5 5
Eb ~~~~~~~~~ ~~~~~
bb ‰ . r œ œ œ œ œj ˙ œœœœœ œ œœœ
‰ œJ œ œ œ jœ œ œ
Dm Cm F
& œ Œ Œ œ œ œ œ œœ
j
~~~~~~~~~ ~~~~~
T BUBD 6
A 8 10
7 10 10 12 12 10
12
10 12 12 12 10
12
7 5
3 5
3 5 (7) (5) 3 5 7
B 10
5
ThiS exAmPle solo is a great study piece and gives you an idea of the standard you should aim for at Level Five. Each bar starts with a ‘rest’ (a notated moment of
silence) so take care with the timing. Watch the video to hear a play through. Ensure your hammer-ons are evenly played and your vibrato is smooth and clear.
january 2016 107

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108 january 2016
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january 2016 109

techniques tab guide |
Tab Guide
Get more from TG by understanding our easy-to-follow musical terms and signs
What is taB?
Tab is short for tablature, a the sixth (thick) string at the Unfretted strings are shown
notational system used to give bottom to the first (thin) string with a ‘0’. The key and time
detailed information as to at the top. On these lines, signatures are shown in the
where notes should be played numbers represent the frets traditional notation. TG also
on the fretboard. Tab appears where you should place your includes a timestamp to tell
underneath conventional fingers. For example, an A note you where in the original track
music notation as six on the 2nd fret, third string, will you’ll find each example.
horizontal lines that represent be shown as a number ‘2’ on Finally, a tempo marking is
the strings of the guitar, from the third line down on the tab. expressed in beats per minute.
FRet BOXes: chORds, scales and capO nOtatiOn

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

o o o x o o
CAPO 2nd
FRET >
CAPO 2nd
FRET > 4 1 1 1 1
1
2 2 2 2
1 2
3 3
2 3 3
4 4 4 4 4
A major scale
A (G) d (C)
THe blue line in the diagram represents a capo – for this A chord, place it at the Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the THe fret box diagram illustrates the fret hand fingering for the A major scale using
2nd fret. Capos change the fret number ordering. Here, the original 5th fret now pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab as black dots for root notes and red dots for other scale tones. The photo shows part of
becomes the 3rd fret, 7th fret now 5th fret, etc. if they were open strings. the scale being played on the fourth string with the first, third and fourth fingers.
GuitaR techniques: pickinG

down and up-picking tremolo picking palm muting pick rake appreggiated cHord
THe symbols under the tab tell you the eacH of the four notes are to be Palm-muTe by resting the edge of Drag the pick across the strings shown Play the notes of the chord by
first note is to be down-picked and the alternate-picked (down and up-picked) your picking hand palm on the strings with a single sweep. This is often used strumming across the relevant strings
second note is to be up-picked. very rapidly and continuously. near the bridge saddles. to augment a rake’s last note. in the direction of the arrow head.
110 jAnUAry 2016

techniques tab guide |
FRettinG hand
Hammer-on & pull-oFF note trills slides (glissando) Fret Hand tapping Fret Hand muting
Pick the first note then hammer down afTer picking the first note, rapidly Pick the first note and then slide to the SounD the notes marked with a square X markingS represent notes and
on the string for the second note. Pick the alternate between the two notes shown in next. For the last two notes pick the first, by hammering-on/tapping with your fret strings that are muted by your fret hand
third note and pull-off for the fourth note. brackets using hammer-ons and pull-offs. slide to the next and then re-pick it (RP). hand fingers, instead of picking. when struck by your picking hand.
BendinG and viBRatO

bend and release re-picked bend pre-bend quarter-tone bend Vibrato
freT the first note (here, the 5th BenD up to the pitch shown in the SilenTly bend the string up from the 5th Pick the note then bend up a quarter- your fretting hand vibrates the string by
fret) and bend up to the pitch of the brackets, then re-pick the note while fret (PB5) to the pitch of the 7th fret note, tone (a very small amount). This is small bend-ups and releases. Exaggerate
bracketed note, before releasing again. holding the bent note at the pitch shown. pick it and release to the 5th fret note. sometimes referred to as a ‘blues curl’. this effect to create a ‘wide’ vibrato.
haRmOnics
natural Harmonics artiFicial Harmonics pincHed Harmonics tapped Harmonics toucHed Harmonics
Pick the note while lightly touching freT the note as shown, then lightly afTer fretting the note in the triangle, Place your finger on the note as shown, a PreviouSly sounded note is
the string directly over the fret place your index finger directly over ‘x’ dig into the string with the side of your but sound it with a quick pick hand tap at touched above the fret marked TCH
indicated. A chiming harmonic results. fret (AH‘x’) and pick (with a pick, p or a). thumb as you sound it with the pick. the fret shown (TH17) for a harmonic. (eg, TCH 9) for it to sound a harmonic.
viBRatO BaR / Whammy BaR

wHammy bar bends scoop and doop sustained note and diVebomb gargle wHammy bar Vibrato
THe note is picked as shown, then the ScooP: depress the bar just before a noTe is sustained then the vibrato SounD the note and ‘flick’ the vibrato genTly rock the whammy bar to
vibrato bar is raised and lowered to the striking the note and release. Doop: bar is depressed to slack. The square bar with your picking hand so it ‘quivers’. repeatedly bend the pitch up and down.
pitches shown in brackets. lower the bar slightly after picking note. bracket indicates a further articulation. This results in a ‘gargling’ sound! This sounds similar to fret hand vibrato.
OtheRs
pick scrape Violining Finger numbering pima directions pick Hand tapping
THe edge of the pick is dragged either Turn the volume control down, THe numbers in the traditional any kind of fingerpicking TaP (hammer-on) with a finger of
down or up along the lower strings to sound the note(s) and then turn the notation refer to the fingers required to requirements are shown at the bottom your picking hand onto the fret marked
produce a scraped sound. volume up for a smooth fade in. play each note. of the tab notation. with a circle. Usually with ‘i’ or ‘m’.
jAnUAry 2016 111

The Final Countdown
New Year’s
resolutioNs
9. Learn how your gear works
admit it: you’re Mr Quick Start. you stick to the
presets on your multi-effects, have never pressed
half the buttons on your POD, and couldn’t tell us
what your amp’s send/return sockets do if we put
a gun to your head. This year, spend a day getting
under the bonnet of your gear – you’ll thank us.
8. Venture up the neck

you’ve always viewed the fingerboard beyond
the fifth fret like Frodo views Mordor in The Lord
Of The Rings: a terrifying, bewildering hinterland
where only bad things can happen. Make it
your mission to learn every note on the neck,
especially the teeny ones at the top with the
cobwebs on them.
7. Buy a metronome
If you always play unaccompanied, you probably
aren’t even aware that your timing slides around
like Keith richards on ice. To avoid a public
Get out and play You don’t need to go mental,
– nothing beats the shaming when you hook up with a flesh-and- but playing every day will do
rush of live gigging blood rhythm section, blow your Christmas wonders for your guitar skills
money on a metronome, instead of another
overdrive pedal. 2. Buy a 1. Play every day
chord book
10. Get out of 6. Stop teasing the drummer you’ve got the major nobody’s expecting
the bedroom Only last night, you put superglue on his drum
stool, you horrible bastard. Seriously, give the
and minors down. Fine, you to commit to
but if you want to write
If you’re the kind poor bugger a break before you scar him for life. more nuanced songs, a Steve Vai-style
bedroom rock star and stop accidentally round-the-clock,
who only interrupts his 5. Play in different styles plagiarising Oasis,
finger-destroying
Once you’ve sworn allegiance to a genre, it’s easy buy a chord book
legato regime to collect to get blinkered. Classical is for toffs. jazz is for and learn all the ones woodshedding
that sound like a
the cheese toastie pseuds. Blues is for dead people. Truth is, the best
chemical equation.
regimen, but the
players – such as Hendrix – stirred everything into
that his mum leaves the pot. If you don’t want to be a one-dimensional Disclaimer: TG takes guitar should be in
on the landing, make drone, get your arse onto Spotify. no responsibility if you
end up as a cape-
your hands for at
2016 the year that you wearing prog muso. least 20 minutes each
Words: Henry Yates Photography: PeopleImages, Vaaka/ istockphoto
4. Learn a bit of theory

re-enter society. join not so much that your bandmates want to ram a day to stop it feeling
a band. Book a gig. conductor’s baton up your arse. But absorbing a like a foreign object.
few nuggets of useable theory – which notes ‘fit’
Conquer the world. over which chords, say, or the substitutions to pull Too busy? Kick your
rock ’n’ roll should be out when jamming with mates – will make you a Hollyoaks habit and
far more interesting player.
played on your back all of a sudden you’ll
in a subterranean 3. Change your strings find you have an open
sweatbox – not you change your socks, pants and bedsheets. schedule, lightning-fast
So why would you think it’s acceptable to play on
perched at the end of six-month-old rusty cheesewire that’s clogged fingers and, let’s face it,
your bed. with dead skin, stale sweat and Wotsit dust…? a higher IQ.
Weird chords – not just for
jazzers and prog-rockers…
112 january 2016

9000

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