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Tet (0 ements (Sila 2 N a ‘afi Me Nisa st Q ea TT ria STORY FEATURES rea tual p et it meen rors Pn Ce aA eer cere Pee eseeta at tn 52 ))) METALLICA: A MASTER OF PUPPETS TRIBUTE 52 kirk Hammett takes a look back atthe ee eee Cee er geria ene ees caterer eat eens Pe ee Hamme shows you now to play the best Baeee eset ers bi teen mores 78 ))) IBANEZ eae eee Sree een rats Sut ctiad Cems ermr sot) 33) TUNE UPS Dead Kennedy, Boys Night Out, HIM. Guitar Hero video game, Gutar Gar 2 bak, GW Inquire with My Chemical Romance, From Autumn to Ashes guitarist Brian Denoovels Guilty Pleasures. GV readers inthe spolight and more! with Symphony X's Michael Romeo ‘Anitax retrospective CDs/DVDs 42)))60 MINUTES Journey's Neal Schon makes his ‘ultimate mix CD, 168 »») SOUNDCHECK ESP James Hetfield Truckster and Dave Mustaine LTD Axxion signature guitars, Krank Krankenstein 100ewatt half stack, ISP Technologies Decimator noise eduction pedal, and Fender Jaguar HH electric guitar Playing the Market “The inside scoop on vintage gear ‘Buzz Bin JLH Products AxeTrak alect recording device New EQ Whats new and colin the world of gear The Hole Truth Fishman Loudbox Performer acoustic suitar amp Tech Education ISAC power killing your prized stomp box? The Producers Death Cab for Cutie’s Chris Walla on the advantages of his 24-track hard disc recording system 178») AVULGAR DISPLAY OF POWER ‘Acomplete overview of guitarist Dan Donegan's rig ‘STEVE STEVENS ‘The Merchant of Menace by eft Loo ‘Steel Wool by Lamb of God TRANSCRIPTIONS LE HEROES" Metallica SIAILBREAK" Thin Lizzy "SCARS" Papa Roach “BAD MOON RISING” Creedence Clearwater Revival | 154 HEY JUDE” the Beatles “PHOTOGRAPH” Nickelback 6 GUITAR WoRLD Potographby DARAGH MeDONAGH Ax CUTARSTRAPS ==) ANDGIGBAGS “A, _ FOREVERY PLAYER! @ Highest Quality Materials. © Fully Adjustable @ Longest Guitar Straps Around ‘© Made in the USA 8282 Sunset Boulevard West Hollywood, CA 90046 ph: 323.656.3882 fax: 323.656.0399 (etn Gat donates part 28 cv) Ci THE WOODSHED baal Indisposable Heroes VERY YEAR, SOME music magazine publishesallist of the most important rockalbums ofall time. Invariably, the list includes musicby the Beatles, U2, Radiohead and other music acts that have Issued groundbreaking releases. Now, we have nothing against these artists, bur there is a least one album that always seems to get overlooked: Metallica's ‘Master of Puppets. The group's revolution ary 1986 album combined the naked aggression and politcal awareness of punk with the power and ambition of metal, chen spun both into a cohesive package of songs. ‘The result was a new hardcore sound—and ‘one ofthe few truly revolutionary albums in the annals of metal ‘The musical ideas unleashed on Master of Puppets have dominated hard rock musie ae for the past two decades. Their influence can be heard clearly today on the stages of Ozefest and the Warped Tour and those of more alternative festivals, like Lollapalooza, ‘We decided tharif there was ever a time to give Metallica their due, it was on the 20th anniversary ofthe album that brought us such classies as "Disposable Heroes" and “Welcome Home (Sanitarium).” Master of Puppets, we salute thee, with as many big guns as we can muster. And the guns are pretty big, Fora start, there's Kirk Hammett, ¢o whom we bow deeply. The Guitar World Hall of Famer turned a great issue into one of our greatest by contributing vast amounts of his time to our cover shoot, three marathon interviews and lesson on hhow the play the best of Puppets WHEELS! wu The ULTIMATE affordable Gig case! www.COFFINCASE.com 818-760-2180 JOIN NOW and Win FREE GEA STANDARD. GUITAR FIT warlock Guitar ‘Then there is writer Mick Wall, who attended the Master of Puppets recording sessions in late 1985. Thanks to Mick for his top-notch story on the metal masterpiece. Last, but not least, our thanks go to Ross Halin forthe cover shoot and access to his classic Metallica photos. Recalls Hammett, “We were always taken aback by how good Ross made four young, hairy fleabags look.” For more of Halfn's majestic Metallica mages, check out Metallica (Omnibits Press, ‘omnibuspress.com), his new photo book. It contains more than 15 years’ worth of mages that follow the band from its early days onward, through parties, bad times and mega-gigs. I's a must for every hard. ‘core Metallica fan, BRAD TOLINSKI Baiorin-Chief ‘ATC.125 When I picked up the December issue with Vinnie Paul and Dimebag om the cover just broke down. I ‘was overcome with feelings I must have suppressed since Dime's death. Icon sider Dime co be the ‘most influential metal guitarist. Many have the riffs and the ‘chops, butno one ‘ever combined them like Dime did. When t learned that fellow ser- viceman shot Dime, ! was ashamed—and furious. 1 am embarrassed to be srouped in with somebody Who could commit cold blooded murder over something as trivial asa for four iong years, most ‘The only thing that kept my mind sharp was music—Pantera's music shake Dime's hand and iE BEHIND Hue GREATEST MOMENTS IN... D innc0c sce 180, a band’s breakup. served itspentin the closest thing to hell that I can imagine AL ever wanted to do was thank him for changing my life. Lwanted to ell hhim how my tank erew used to splice a CD play: we could listen to Pan tera. And [would like © thank Vinnie for sharing so much about his broth cer, Dimebag will nt be forgotten—at least not ‘on my watch! Johnny Nyne Garfield, NJ Ihave been grieving since the death of Dimebag, Darrell and wanted to thank you from the bottom of my heat for your out- standing isue.Ieried ‘when read the story of how Dime met Eddie Van Halen and fulfilled a lie tof ey: when AOC le oe er Sst id of lea polos mth rare replaced im wth arene aed Bae ison. The bea terse ack BK Dept ering frtine Bran Jhon vere reign acs Hew Yok yb ‘THANKS FOR THE GREAT ARTICLE on Dimebag's Dean Guitars collection [December 2005]. But why did you brush off the Washburn days and the guitars that ime made with the Custom Shop there? This was ‘more than a ‘temporary switch,” as your article stated, —Rob Anderson Ridgefield, CT WE COULDN’r AGREE MonE, Rob. Dime was with Washburn from 1994 to 2004, hardly a temporary stay. When we asked David Karon, Washburn’ field director of artist relations, to comment on his rela- tionship with Dimebag, he had ths to say: “He ‘aught me to be more spontaneous, to just roll with things, and all that really matters in life is the ‘music. There isn'ta day that passes that I don’t think about him and what he taught me." Pic: tured here with Dimebag are David (lef) and Doug Reynolds, product manager for Randall Amplifiers. and the actions of your staff at the Hard Rock Café’s “world’s largest gui- tar bash” event [featured in Guitar World, December 2005]. Think of the peo- ple that éream about, but cannot afford to own, a Gibson. Your blatant destruction of so many guitars that could have offered so many people a Lifetime ofjoy is truly a sick display of gluttony. —Ray Dumont via email long dream to meet him Dime was a phenomenal player and person and I only wish I could have seen hhim onstage in all his glory —Brian Broersma via email know it'sa litle late, but Twas just re-reading your 100 Worst Riff, Licks and Solos iste (December 2004], and Thave a recom: mendation for worst song, fever: “Achilles, Agony and Bestasy in Bight Parts” by ‘Manowar. Not only is it 28 ‘minutes and 35 seconds Jong, but ithasa solo for every instrument, and i's based on Homer's liad, How's that for worst ever? Thomas J. Williams Cpl, USMC ‘As we noted in the sto- ry; the event was fora charitable cause: for ‘every guitar smashed, Gibson donated a new guitar to the Peace Games ‘organization for chil- dren's music education, ‘The article should have also stated that the gui tars destroyed at the event were nonfunctional “factory seconds" slated for destruction. —GW Ed. Tam writing to express my anger over your aetions ALED" COMIC BY ERIK RODRIGUEZ & JOSH BERNSTEIN « #STUDI a = 44 60 Minutes DEAD KENNEDYS Punk icons revisit their classic disc Jon wipenvons inna Pest for red wena gina Phar y REMY WARS Rotting Vegetales 3 uit East Bay Ry, “when "wentyfive yates, he Sesh eae Ga 5 far w 1980, nowauo neacaw became __politcallandsape ie more dev tad penn a Seley Jc catet Sea blndy neds ere popuatived oekand al In Mareruped between rn and Igy the Kennedy album has never een nother yur, eh Fra wll be Moscow Olmmpierwereboycoredby€0." better, thanks toamnew 25c anaiversaryrei-_elagerin time o iv than othe present Devlons and Sen Francie purk bend Dead suethatcombinesthe bum witha bones Tre, tne may old punk pater the ennedystsued ter fircetbum, he YDthatchronicesthe group history. abut sounds va hans of ‘eral polities and oddball influences, including Sixties ‘garage rock and Forties-era song parodist Spike Jones. “Cole Porter once said he tried to make the new sound familiar GUTARSNorchis | and the familiar asia | sound new, and Seater | thaind of wha ae we did in Dead | Kennedys ays Ray Vesey | Aone with elo BosscS3 Biafra's yelping Greesen | vcs, Rao unny Siete | itt were esseniat i en StMasErmeall) 4,5 single-note gui: tsrlines were paged through an Echoplex cape echo and then fed toad tortion pedal “Technical, theeaho should eome ater the dlstordon” sys Ray, at liked my setup Hei averse fitiey de tape areal iy cool organic sound Dead Kenney’ broke up in 1986 but regrouped in 2001 fora surprise show Biff, who had been sed by hisbunamates for with Rolling royale, id pa Gils pertrnlng wiki ie Tandon it 25th anniversary wcayard bay sayeDecd than ever “Bock nthe da performing, owe only Pate tha he ine Now sretock oat very tm urrar woRLD 33 Passion Play By DAN EPSTEIN ow'r ns roo. ay Mikko Dieses Scion van reserve, Whether he's ay ing don heey if with Finnish goth metal el heroes HLM osm Diy talking about guitars, Linde’s pas fon forecast een through loud and clea “Music isa aural pare of my Hej ike food and water he explain “jst wat toconcntrate on playing the gitar, Because that isthe only thing tha essential Itsnot abou achieving Somethings abo paying is inspired Linde pick up the sui, but as Steve Vat perform anos in David Le ot’ "ankee Rae” video tha go him hooked on the instrument.“ was deeply GUTARSE) couched, "he recall Ameslonny | “I gota his solo amore | albums, the PLL. | errects: album [Album, Bako | 7985] he wason, the Betas, | DLR scuff and so on Ezzfagany To | He was he only Heetence | ‘shredder that fofectan | could listen to StaMGS | “There issomething inexplicable in his T ean playing; he puts his soul in relate 10 the scales he uses and the stuff he does.” (On H.LM.s new Dark Light CD (ire/Warner Bros.),Linde—who also cs Jimi Hendrix, Jimmy Page and Tony Tommi as major influences—mix esthrashy power chords with echo- drenched arpeggios and bluesy bends, ways emphasizing taste over flash, nen you get older and wiser," he says, “your playing becomes more con- sidered and more to the point, and you stop doing unnecessary things, like showing off: Inthe studio and onstage, Linde chiefly relies on three Gibson SG Stan- dards of recent vintage, despite the guitars legendary temperamental ature when it comes to staying in tune. “Ihave the Buzz Feiten Tuning ‘System installed inal my SGs, which helps abit," he says. ‘But'm just so attached to my SG, I couldn't imagine playing anything else. And nothing : sounds more beautiful than a guitar 2 slightly ou of tune. 34 cuITAR woRLD Technical Ecstasy Guitar World Tech Ed columnist Matt Bruck gives it up in a new tell-all book. herent and has word wth lens asdivrseas Guns owes Nirvana tnd Jon’ tchal You taow hin ae Mat Brick, Guta Worlds eset fear guru who avers your quer ton sbour gular amprand effects tach month in is popular Teh a cation mn ‘Now Matra semble his yearsofenentie nowedge none Smprebenave book, Gtr oor ‘a1 dees ogterhishar-earned widoron bing. tty a lars and guar ented gear The book et the endly Employed in Tech education tote Pech ag PLEASURES pin you everything from tuning your {guitar to improving your tone to Duying tubes...and much more. Plus, numerous helpful illustrations, photos and diagrams enhance Matt's clear explanations. How authoritative is Guitar Gear 411? Let’ just say its earned a rave review from Matt's notoriously dis criminating boss: “If you have any questions about equipment and gear, i's all right here,” says Van Halen. “Everything you need t0 know and then some. The ruth.” Guitar Gear 411 is available from Alfred Publishing (aléred.com) for $16.95. From Autumn to Ashes’ BRIAN DENEEVE SONG “Since You've Been Gone" Kelly Clarkson Breakaway tar? TORO Sesion gtr that ry bother oughtiorme one Citas ent wrapped ané oped th casa, ‘out yas 4 Goon es Pal Custos. resco stoked because ats wit ‘Sash lays Then looked athe headstock esa that said Session twas coy. Westin fauna out, bat lenses op Fecrang aft of my parson batho the My {Spam tame win hat put TERO Nero was 3 Frans Satta gu far Ras rey of ent astc ator has, toa bul loved beesselt had hese huge unto ets. nated he okra ‘isbn my ere ats your favorite piece of sea? ‘TORO Wy Elona it Les Pv boen ‘Thipefanotiat shape versie so Sih wihene its auothe hay sy esr lyon witha Session gta, “Sitscomanaoisierme TERO hove an Apna Write Eishone ite [Les Pau with Raranare Ses ety — naheon When swing uta aan lsmy wel body along ‘ular anasplt my heod oper ight 2, ‘Syebrow. That ook mo out of fora second Ang eunRaysesd open ‘on fof prety ‘ad about tat Do youremember yourtrat gi? TORO wer tateon arte ay igh schoo asin Dandeatea Hag, ‘We uationed wth Meats Fade 6 Jans -Stte | rea Tat ‘emingine Fe {ERO R wos dance thnk waist thetine. love he sone toa ts gest pop song hath gel cavamerer 5s of |especlaly enjoy ‘hevoca wanking atthe Sasa mach Imase t imyingtone BOOK Crazy from the Heat By David Lee Roth Sue rse- SET int ee ieyares ahr aye Fovtecutr ¥lentan it soure Van Hale fn, ‘hen you damn wel beter bea Bavg Lee Roth an Need say mera? DVD The Burbs Bret Jo Dante ieee Scones Sec eens man Sli DEFENDERS “OF THEFAITH iain auze Teeorucie aa 38 GUITAR WoRLD TUNEUPS BETCHA CAN’T PLAY THIS! Rock’s hottest players throw down the ultimate challenge. ‘THIS MONTH: “1 DEVELOPED THIS classically favored eight-bar etude to create something that was technealy challenging ané could be apalied te other ‘melodic ideas simply by experimenting and moving notes around. "The run is bult around a progression of sequenced major, minor ‘and diminished-seventh arpeggios performed exclusively with two- hhand tapping. As youll discover ithas some cool ascending and descending patterns and a jagged melodic contour that includes wide intervals and frequent changes indirection. Also, notice the Use of string skipping and varied raythms throughout *As there is no picking involved, each note has tobe either tapped withthe right hand, hammered onto withthe fretting, hand or pulled off from higher note onthe same string. Notice that many ofthe notes are hammered onto with the fretting hand while the strings silent—'trom out of nowhere as Edward Van Halen would say The objective isto make every note sound Gistinct and at a consistent volume. Make each hammer-on and tap ‘quick and frm to generate sufficient volume, When pulling off with either hand, pull the string slightly downward, toward the floor, before litting the finger off of It. Doing so will keep the string vibrating ‘enough so thatthe pulled-off notes don't ‘die’ Using a heavily dlstort- ‘ed tone and some compression will help even out the note attack. Good luck, and have un.” « ‘Tune down one whole step (low to high: D G C F A D). All notes sound one whole step lower than written ‘Tworhand tapping: All notes are sounded by ether tapping/hammering-on or pulling-off. ‘am t t T Th. 1 Spee Se ra a Ti fo- 6-70-50 5c? 1 1 r t em Ear Pan Bie seh ae Fare ae iret rie Tent TA SNS INTRODUCING... The Question Toth & Nai) Impecsoned vocals and efiatie is ‘iter forming South {trons Winthrop Uvrsy the ‘feorded 2006's The Wesics End On thaw sopnomore clot Te Question Emer frter explore he balance batecen sang mele: and rampant oauresin ur gal wth The Question soso make 3 pepper ster ane mre ‘Sane nding bum, "soya gars Watt Carter "Bot we seo wana pre= fers the fo! hat there songs wore, Site on sous guar Day of he Deas) Growing vocals over thvasy gatars and along hts ‘Gastar Andes Joram snd Colombian meta act Agony, asd Bi loehluertos on to aggrestie Boy ofthe note crew ot death metal oes “Beng rom Clo ves The Arto reaking Groatna Nai) it beavy songs with nop hooks and poe aeresion "hea Toronto natives gt he Steck wort ten wn he pe ‘ous two records, Sof Of end Phenomenon Opning rn Eat [thu ener On The At of Grating {FX drop the hip-hop uence tei Caer worn ansume-smore raghornara rack stance eel Crain guys faysMeNevan, se would never want tebe that fact. But we cont prch 40 GUITAR woRLD | Criminal Record fy Joe Rosso Photograph by NORY SERRA I teurs borrow and profes sional steal then we can expec big things rom Jeff Davis lead gitar wth Canadian screamo out Boys Nigh Out. “rip ff ts of peo ple” vis soerhy admis ost Teop fom Ede Van Halen—if not his ine then his sre, his sense of righeous ness an dersng-" ice described “chops sy wannabe," Davis dispatch ts gbsofVan Halen-esque tapping on Boys Night Outs tephornore release rainerck (Feet), While songs bout ailing postadoles- cent/prelfecris Mediating” “Composing”) seem tethered tothe conventions ofthe scream genre, avs carpe diem approach profoundly Tefeshing. “always want peopleosmile when they hear me play” he says “ry touse my brain when ‘writing songs, but when itcomes to pleying the gu- | taf my gut and my balls Whichever cy paris vi employs in his mus | ealpunut ss uprosytim gars Shen Buuchar to fllowhis lead tral The band’s ‘auras (020) Best leh) AMPS (Om) Orange 4x12 cabinets atcor) Marsha iMesarBorge 2 Shier utchort ‘STRINGS (2) Emie Bal super sins pa 13h ces BOYS NIGHT OUT Butchar (ef) andDavs ma newest member (he joined shortly after Trainwreck ‘was finished), Butchart sees his role as that of a timekeeper." rhythm guitarist drives the band,” he says. “rs not a sexy job, but i's an important one. Butchart displays unquestioning fealty ro Davis (Jeff's monster player”), the recognizes his ‘own unique influence on the band: “I keep things ‘ight. But that changes once I've had a few beers— then everybody has to drink the same amount as me so we can stay together hythuically, That way, we're sloppy but tight.” Spoken like aborn leader. m it out for top guitar honors. you've EVER dreamed of getting your mug Jontssvsrorcttar onder rb chance. Guitar Hero, an addictive new video same for PlayStation 2, lets you jam on virtual concert stages before a virtual audience and grad uate to larger venues as your rock career progress es. Those that master the game receive the ul mate reward: their fae on the cover of Guitar = Bus TAN TNC SY BARRE BRAWL New video game lets players duke World magazine! The game's con: troller—a nifty Gibson 'SG-shaped device with five “rete"—lets you play along with the guitar pars to more than 30 ‘lassc rock songs by artists that include Jimi Hen: dix, Red Hot Chili Peppers, the Ramones and Zakk ‘Wylde. As you improve at mimicking the guitar parts, the crowds grow bigger and the applause Touder. But watch out: blow too many notes and the crowd turns ugly, just lke in the real worl. ‘We were particularly impressed with the game's sound quality and its almost fanatical attention to detail. We were also alittle humilat ed: Guitar Hero is harder than it sounds, even for seasoned pros like us. Guitar Hero is produced by RedOctane and retals for $69.99. For more infor ‘mation, visit guitarherogame.com. a (|) 2) = Garage Days Revisted Anthrax recapture their glory days with four new retrospective discs. ANTHRAX while it was musically challenging, stadium for the first time, The CD Anthrology: No Hit Wonders the album was darker and filed and DVD versions ofthe perform (1985-1981) with tension, perhaps foreshadow. ance are similar, though not identi ing the discord and creative des- eal, nd both overflow with lan's ANTHRAX peration that ed tothe dismissal precision riffing and Spit’s burn of Belladonna and the recruitment ing sols. Half ofthe songs are ofex-Armored Saintsinger John fromAmong the Living, and among Bush, who led the band in amore the showstoppers are the title Anthrology: No Hit Wonders (1985-1991) The Videos (ovo) tmodern,iflesssuceesfil direction tack, -Caugtina Mash andthe forthe next 12 years Iya ily ba sonally bare: ANTHRAX ‘TheAntinciogyDDenitalae ingeet loses TAm dee Laie The Alive 2 (2005) eight MTV-style music videos and DVD includes an insightful SO fveliveclipethatexhbitletsof inure docansentaryof the bands “ANTHRAX create four bonus-filled packages. Eighties camera effects and plenty _early history and reunion, but fea- Alive 2 (2005) The DVD ‘Thedouble-diccompilation offlalinghal, Be surenotto miss _turelitle mention ofthe bands ean Anthrology: Noe Wonders theamwsing play-byplaybons yeah John Bish (41985-1991) features 30 songs commentary from the band ‘Anthro have not offically wer eaney morms.as fromthe band’s four studio ‘ave Z captors Anthrax fist retired Bush nor announced thee I MealcaandSlayerwere albums with Spitz end Belladon- hometown showwiththeirran- future recording plan. But ths introducing the WestCoast na, The ist CD, whichis almost mated incup, and though the gi setof dsc any indeation for a hvac tal Andoevecs chant caiecly eld fom 1988 was in a midsized New Sercy Cub, while a leat, hee future may, Pioninganequallyeavy Dut Spreading the Disease and Among theband playswth he energy and remain squarely nthe past igniy more playilweonoftie theliving, inthe beterofthe.eatbureanc x group heading fon Hteerhorn genre Inthe East Drummer and. two, capturing Anthrax at the Ftmaster Chale Benante, pestol thar axaiedprowti and shythm guitarist Seott Ian and lead collective hunger as they lashed ‘axman Danny Spitz used the influ- outwith velocity, agility and att ences of Motirhead, Accept, Judas tude to spare. “A.LR.” is driven by Priest and hardcore punk to write lethal palm-mmuted buzzsaw riff crunching, aggressive songs driven and a slower, mosh-inducing byjackhammer double bass beats midsection, "Among the Livin and soaring melodic voeals. Fora combines mid-paced chunk with while, hey seemed destined to blurring rhythms and become huge rock stars, “pflnikufesin (N.F.L.),” matches Their second singer, Joey Bel-_-headbanging power chord storms Jadonna, wasat the helm from with haunting harmonized licks. 1985 to 1992, during which time ‘The first six songs on Anhrolo ‘Anthrax scaled their greatest ‘p's second dise come from 1988's heights. They played fasterand disappointing State of Euphoria, mote incisvely than most oftheir which Anthrax wrote quickly peers, their lyrics were witier and before returning to the oad. The theirsongs were smarter. Thehigh- scaled-down tempos and overt point oftheir career was the 1987 hooks of Anthrax’s biggest com: album Among the Living, which mercial ie“Antisocial are repre. remains one ofthe most highly _sentative ofthe disc, revealing a regarded thrash albums todate, _ group trying too hard and losing So, in2004, when Anthrax its inspirational flame. Seven of found themselves fading in popu- the final nine tracks are from the larity and scrambling for ideas, band’s ast dise with Belladonna, they decided to resurrect the 1990's Persistence of Time, on ‘Among the Living lineup by rehir- which Anthrax exhibited renewed ing Belladonna, Spitz (who left musical vision. “Keep tin the after 1994's Sound of White Noise) Family” builds from a trudging and bassist Prank Bello. The acea- verse toa faster, more rhythmical sion has provided Sanctuary ly complex chorus, and the sinister Records with an opportunity to “Belly of the Beast” contrasts lust off the classic lineup's tracks, minor-key single notes with a elenentandfriends.com videos and concert footage and daunting, persistent chug. But a a rar —L———_—_ Intervewhy JO LALAINA “LAIN'T SUPERSTITIOUS” Jeff Beck Truth see) Truth stil sounds great. The agultae sound isle with allot ‘Tet Beck’ emotion an fam. boyaney, mixed with Rod Stewart's oice and Ron ‘Wood's bass, made for areally ‘nique sound completely ‘taken aback by Beck Iespoct people that always come Up ‘nd Jeff Beck one of those innovators. love everything he's done He ust Keeps pet ting beter which sexing or ime because i pves new hope that older artists cont always ‘mellow out “BUMPIN’” Wes Montgomery Bumpin’ «ess fuland smooth guitarist, had practice tape of him playing Slane in room that a friend got to me somehow. He played Sp ridculousty fast on tt blew ‘ny mind. Yet when he'd play songs, he'd ony play what was rede, and very tastefully. ‘Wes used his thamb eather thona pick whieh enabled him to.achieve a supersmoath ound that hada rillance bout His smactnness inspired me mare than any thing He's smooth a si” “BORN UNDER ABAD SIGN” Albert King Born Under a Bad Sign aver) albert King was a master at slow blues, Anyone whe likes ‘Stevie Ray Vaughan knows tracy where came trom When | heard Stevie, | sd “This boy has Been listening to ‘Albert King’ had the oppor- ‘unity to play with Albert ‘any times; a actualy aia TY show together ia Chleago. Head this strange tuning on the guitar. andthe strings wore upside down. One time uring a soundcheck he placea his guitar down. When ‘nent fo grab ft he yelled a me 42 curTaR wort “The hour of music that rocks my world. NEAL SCHON The onetime guitarist for Santana and the founder of Journey reveals the songs that shaped his musical evolution. and sad, "Put that guitar fry tunings But eo tell ust from stretching the high € tring that was very loose. It ‘wae amazing that Albert could Bena that many notes out of fone string and have his gular slay perectly in tune while Singing his heart ut. Alber King and 6.8. King are to ct ferent-soundingbives gu tarst, but Albert was ike Munammad Aire stung ike bee. “THE THRILL IS GONE” B.B. King Completely Well ase) "BB King and | go way back. 1 actually played with im at the Filmore West (in San Francisco] when Iwas around Latte time was playing with Evin Bishop every “Thursday ight at Miche! Bloomfeds chib Keystone Cornet. One night Ein brovght ret the Fllmore to intraduce tmeto B-Band see im play and got onstage with 8.8, and traded off solos I had already studied nis syle ad vibrato, When 8. played ai. pretty ‘much dupteatea what Played. He'd lock over tome as Htasay,'Whoisthat kid?” [laughs ma big an of how Ite 8. plays and how much itsays. 8B. makes the guitar single 9 oie, whieh s Something ve been working ‘nr years “SINGO” Santana Santana ass) “Tas 18 years old when Joined Santana for her third ‘album, an played on their fourth album, Garvanseral But the Santana album that hit sme the most was the very fst ‘ne. The whole band was dong ‘something brand new Carlos playing, oo, was completely sitferent than anything ese ‘around, The guys inthe band, ‘lt whom were ferent natlonalties mised Aico, Latin and Cuban gts ta form melting pt ot spiy. soul musi ITearned aot ‘rom playing with Caros— sowing down abit or one. Wile working with him he started rubbing offon me and Started rubing off enim, He ‘was getting mare ly ana Using aot of wana which was doing, and started slow Ing down and playing more ‘elosaly “ALL ALONG THE WATCHTOWER” Jimi Hendrix Etectric Ladyland ase, “Hendrie took his Bob Dylan song and made itis own lover guitar and bss playing ont He nada preconceived la ofthe arrangement before recording it wih is peobably ‘aye played bass on it When youre tyingto come up with Something diferent and magi ‘al you have tohearit in your head before you play i And Hendrix refused etl for anything less. was supposed fomect Hendx and posably lam wth him at Electric Uadyland stiles in New York, where we recorded Santana's third album, but he ced Before iteould happen” “CROSSROADS” Cream Wheels of Fire uss) "Ene Clapton a a huge ints ence on my paying, and this track isan all-time tvorit for Impcosation, been listening to Clapton afar back as is Aaysin John Mayall andthe ‘lvesbreakers and as con Pletal laleainto what he was foing on ll the Cream stuf, Clapton nada completely dit ferent sound than everyone fe ana is playing had a tof tiie When hs atoum eame ‘una this ony ot record player on which could tack bums ontop of ene another. After practicing fd goto sleep Sd the album woul pay over ‘ad aver seni, When got up the net day, Fd abeore the musi subconsciously and ‘ould pckit up much ease. Jammed with Clapton many years ago, anit was one of the Biggest tls of my ite “MILLION DOLLAR LEGS" The New Tony Williams’ Lifetime Mition Doar Legs wre "An amazing avant-garde drummer. Tony Williams's ‘ost known for is dumming wath ies Davis. Ths album features Allan Holdsworth on ‘ultar and i's Holdsworth at Fisbest Whats cool about thie records there's nota ilon time changes an t's not so brainy. Wits andthe bassist, Tony Newton, hold it down t just Big at unk rote, and Holdsworth fies ‘re the top. When I met Alan Tat him, Man. ove everything you do but Mion Dollar Legs-that is the shit Holdswerths got this tremen dus stretch, enabling him 10 play some very dierent pat terns You need dexterity beyond play what he does” “MEETING OF THE SPIRITS” The Mahavishnu Orchestra with John McLaughlin ‘The Inner Mounting Flame "ma malo fan of John MeLaughin and he Matovlsh Orchestra used tojgetona plane st toe ‘hos guys ply! Fd sit behing [arurmer ily Cobham ana betransportedto another eel "was sucha tremendus high to math those guys perform Laughlin as so mich know! frig and command ove the fata and hes til go the fre Srl passion he's always hae He's a superntonse player whether paying through a small Figera sack of amps. The lact, time sai, ald Man love to see youstrap on a dou ble-seck again andiiptousha = 1OO-watt Marshal He st = looked at me and smiled” : Ss atmavy Ra meats Bieersiccsn his Detroit hotel oom, Stove stevens hasa revelation “jist realized we'e laying oie Tonight the ultarist moans. The Showin the near suburb Str lng Helgi syerancter sop on BilyoTs US. and European or forhis new album, Des Pay round Sancta). Now seven tonto the tour (icon lies tthe end ofthe yea, Stevens soundsa bit weary We've been working el had, butte response othe nev record has ben ncredibe And Bly sounds beer than ever Were reallyhavinga gest time and ate hank forthe immense response fom he fans Back when he and idl were seva hit makers inthe id Eight ier, Stevens was one of rocks flashes guitarists, revered fo his abi to combine ouandsh tye with rue musical substance, Drawing inspiracon fom such diverse players as Curis Mayfield Steve Hone, Robers Frippand Paco deca, the NewYork native crested fey sgnatre sound thar equal pars punk rock ages sion and virtuosos ‘Stevens came to prominence in 1982 when he hooked up with Idol, the former frontman for Generation X, one of the lesser: known acts from the first wave of British punk. The two convened in the basement of Stevens’ parents’ house in New York's Rockaway Beach to write the material for Idol's smash debut, Bil- aacurran wortp Veteran guitar wizard and Billy Idol right-hand man Steve Stevens shows you how to play his best riffs and talks about his boss’ new album, Devil’s Playground. iy ANDY ALEDORT Photograph by OARAGH MCDONAGH Iy Idol, which yielded the hits ‘White Wedding” and “Dancing with Myself The follow-up, 1983's Rebel Yll, included the FM staple tite track, along with the op hit “Eyes Without a Face.” Idol and Stevens followed it up in 1986 with the double-Platinum Whiplash Smile Stevens left Idol in the late Eighties to pursue his own musical interests and formed his own band, Atomic Playboys, Jn 1989. Through the Nineties, he record: ed prodigiously asa sideman, working with such diverse artists as Joni Mitchell, Michael Jackson and Ric Ocasek. He also recorded and toured with Métley Crite's Vince Neil and penned the Grammy-win- ning soundtrack to the hit film Top Gun. In 1999, Stevens revealed his love for fla ‘menco guitar with the release of Flamen €0.A.Go.Go and later that year reunited with Idol for VEL's Storytellers and Behind the Music, They subsequently began writing together, whieh led to the recording of Devil's Playground. Steve took a quick breather to reveal all of the guitar secrets to [do's biggest hits and discuss his work on Devi’s Playground. How did you and Billy put together the new material for Devil’ Playground? STEVE STEVENS The songwriting was done in two stages: Billy and Vhad amassed a bunch of songs, and Brian Tichy, our drummer, also contributed some tunes. Billy would come aver to my place to work three days a week, and the other days he'd work with Brian, so we hhad two camps going at once. We went overall ofthe songs we'd written over the previous three years, and the most recent stuff won ost plly in the past, did you know instinctive what he'd most want to sink his teth into? STEvENs [really wanted to avoid a “et 1g" of anything from the past. Br the tune “Scream,” which is ver he “Rebel Yell” vein, but we felt ime from someone else's pective. IF had written i, it would have seemed a bit formulaic. On several songs | ‘was more involved with the arrangement chan writing. A good example is the so Race,” wh yes Without a Face” 20 years later ughs) {aw Billy has two distinct sides to his mus cal persona: the crooning balladeer and the STEVENS Right, The closing track on the record, “Summer Running,” is very unusual elogue, and I felt confident cutting it with just two acoustic guitars, like an Eagles cune. Billy hasn’t had a ecord of new material in 12 years. l thought that if we werent going to try new things Gw Scll,i’s great to heas that guns blazing, high-energy vibe that has always been an intrinsic element in Billy’s music STEVENS A large part of thats Keith Forsey’s producing, because he under. ‘ROURE1 * Wedding” intro hg: stands hythm sections and knows how to Moderately Fast d= 12 ord, we ese “yf Ltrs esos rd ing teally well, Throughout ther give a nod to the basic punk rock guitar sound that goes all the way back to Gener + = ation X. To that end, we also avoided key boards; we were confident about leaving things raw and didn’ want to over-arrange Everything inthe Fighties was vein of classic rock and rol Gw Let's get to the hits, How did “White Wedding” come about? srevens Billy wrote that one, We were : working on the first record and needed .ore material, and Billy pulled an al nighter in the studio and grinded out REE REaer i White Wedding.” His original dem neluded the “spaghetti western” in FIGURES “Eyes Without a Face” verse [Figure 1). That was my very first “Moderately Slow J fecord, recorded in 1981, so I wanted to Bo put some flash in there and overdubbed sounding harmonic overtone olo picking t rps previous chord) es, sounded by Estring while lightly running the ‘of my fret hand up the FIGURE 4 chorus string, I did two different tracks and we a Batted ines) panned them left and right, and then hey switch sides and crossed each other Another effective idea I had was 10 nelude a signature rhythm guitar rif which comes in on the second verse [F16- URE 2}. The partis built around a repeat ng chord stab played against a moving S50 0: bass line; all ofthe low root notes are picked ‘with palm-muted downstrokes, and the higher ‘wo-note chord accents are strummed with ‘unmuted upstrokes or downstrokes. Billy and I used to listen to [early Eighties synth-pop trait blazers) Suicide, which is Alan Vega and Marty Rev, and the keyboard parts often were made up of moving bass lines pitted against repeat ing right-hand parts, much like Ray Manzarek inthe Doors would often do. So Iborrowed that concept and applied ito the guitar, always look at the arrangement as a whole, and on “White Wedding" added dif- ferent guitar parts as the song unfolded in order to build power and intensity. Once I hit upon that idea, it became a style of playing and arranging that people assoctated with me. ‘ew How did you devise the guitar parts for “Byes Without a Face”? ‘stevens We had this beautiful ballad, but we didn’t want ito be a “typical” rock ballad. Billy had the idea to do arapin the middle, so we took 32 bars ofthe arrangement and left it open to interpretation and recorded the rest of the song around it. One ofthe things that’s great about Billy dol records is that we have the freedom to Dring in diferent musical syles as we see ft. Twas living in my parents’ basement in ‘Queens when I wrote “Eyes Without Face,” and the only radio station I could get down there was [WCBS-FM, which at the time was an oldies sta tion. Those chord progressions from the late- FIGURES “Rebel Yet” intro ‘Moderately Fast J = 166 Fifties doo-wop era influenced the verse entirely [FIGURE 3). The chorus [FIGURE 4] begins with the“Pete Townshend” approach of moving a chord shape up and down the neck while playing ‘an open string pedal tone, ln this case there are ‘wo open strings, the A and high E ‘aw “Rebel Yell” opens with a very distinct guitar riff that sounds like two guitars. STEVENS It does, but it was conceived and hhas always been played on one guitar [FIGURE 5]. Ifingerpick this part, using my index and ‘middle fingers to pick the top two strings and sy thumb to pick the low Eand A strings, While doing this, hold the pick berween the first ewo joints of my index and middle fingers. I then quickly switch to flatpicking for the low single notes and chords that follow this part, using mostly downstrokes forthe steady eighth-notes [bars 3-6), {ew Did you actually use a toy ray gun at the end of the guitar solo to get the “machine gun” sound? STEVENS Yes! I've always loved those Japan: ‘ese toy robots and ray guns, and I wanted to put something in the solo that really made it stand out. [had to do something radical just to insure that the solo would stay on the record! I like the science fiction angle of doing some ‘hing bizarre, sonically speaking. {ew How do you play the droning lick that kicks off “Dancing with MyselP'? STEveNs | actually didn’t play on the ogi nz ss Fe po sas0 1919 18 1010-4 Has aE = Teer t Perey : F 8s FIGURE 6 “Dancing with MyseI” intro Fast d=172 e Peon amaphe [ae ie FIQURE7 Rat Race” main itt ‘Moderately J = 104 Bast 6 le raha en ole #1 4 nal recording of that song; that’s Steve Jones from the Sex Pistols, “Dancing with Myself” was originally a Generation X song, and the producers of Billy's first record brought Steve into play on that track. ‘The into is played like this (FIGURE 6) throughout this liek, alternate between sin ale notes fretted on the G string and the top two strings played open, allowing all three strings to ring together, During the verse, 1 play the lick on just the top two strings, mov: ing the fretted notes over tothe B string and adding just che open high E string. At the time fof the recording, Billy said he wanted to hear a {guitar lick that sounded like Irish bagpipes! ew Devil's Playground is ful of great guitar parts that are played with that immediately recognizable Steve Stevens flair. One of the bests the main rif from "Rat Race” [FIGURE 71, which you play on acoustic guitar. STevENS I play that song in drop-D tuning (low 20 high: DAD GBE, but the sixth string ‘doesn't come into play uring that part. That liek reminds me of those grea intertwined guitar parts that Adrian Belew and Robert Fripp used to play in King Crimson. On the surface, the lick is simple, but the picking partern I use makes it sound a Jot more interesting and complex. rm just holding down some ewo-note chord shapes ‘onthe D and G strings with my index and ring fingers and playing a quick single-notearpeggia tion pattern that inludes the open 8 and high E strings. sound the fretted notes with the ssp, Pick and fingerpickthe top two open strings with my middie finger. ew In your opinion, what isthe sin- gle most important thing for guitar players to geta handle on? ‘STEVENS Groove. I don't care whether you play {jazs legend] Wes Montgomery grooves or Jimi Hendrix, grooves, or if you play a million notes ‘or two, Nothing's more important than laying down a solid, heartfelt groove. SULCHRY mT TV Toi aeeenea > J ee fae | | oo Aaa oF 4 ey S a H | Ci} oo . ee ee coer Pee eo one at ee ee ae Marshall ‘wall of doom,’ and when I'm warming ieee ee eee eee a ae ete eae Cae eco Pee ee eC eee Pee Cen eu ec etna? et eMC eC ee eee Ro SEM Ln Ce cence ee RS PL Pe eee ett eee ener eres co Sree ey hoe — ’ | a Ca a ne WOR Rc Ped a on Ghost Reveries, the ig Pree er ec fy ee Ri Cu good new album. Tan PCS ISI ae Se Pee ON RON RUS penne ne ree Pare ee od etal Preene ey Perera Cues Ghost Reveries (Roadrunner), Op i eae Rest eon eerie Pret ee ne ne nee eee a Penne tue ea hhow-classic Orchid), Opeth have opened up the death rien eC ni) the Sixties and Seventies, including prog.rock, British Isles folk, minor-key blues, the funk fusion of Allan Holdsworth-era Tony Williams Lifetime and, n lesser Peete if ee a ee epee mae amounts, smoky lounge jazz Akerfeldt points especially to the influence of European prog bands of the Seventies, many ‘of whom—like Andy Latimer’s ‘Camel and Derek Shulman’s Gentle Giant—were virtually ‘unknown in the United States. “Td bea lia if didn't admit that progressive rock—and even symphonic rock, to an extent— influenced me very, very much,’ says Akerfldt, who with guitarist Peter Lindgren, provides the ‘mammoth riffs and liquid leads for Opeth. “inthe early Nineties 1 started collecting albums by these bands, including Gentle Giant and King Crimson, and I was just floored by the compositions. especially admired the mood swings—all the changes that took place within even one song. Isaw ‘away that we could combine that with the death metal influence ‘we had ac the time, in an effort to make our band unigue.” ___ Notsurprisingly, perhaps, Akerfeldt’s guitar works influenced both by Sisties prog and modern metal guitarists. Inaddition to Porcupine Tree's strung with D’Addatios. For amps, they utlizea slew of var ‘ous makes, including models of Laney, Vox and Mesa/Boogie. Since 1998, Akerfelde and Lindgren have worked in Opeth ‘with bassist Martin Mendez and drummer Martin Lopez. But with the recent addition of full-time keyboardist Per Wiberg, the group has had to make room fora feast of cool keyboards, including Nord's Electro 73, piano/organ and the Nord Lead synthesizer. In addition to those keyboards, the group employs the hallowed Mellotron, the Sixties-eratape-based “proto, sampler” that gave records by the Beatles, King Crimson and, more recently, Radiohead their ghostly string, flute and choir sounds, Akerfeldt says it Is the one keyboard he can't do without. “Acche time they recorded those sounds, I think they just wanted to get as close as possible tothe sounds ofthe real instru- ments," he says. “But they ended up sounding really scary!” Part of the reason for this, he muses, due to the unpredict: able nature of ape degradation and flu ter, which warped the sounds in interesting and evocative ways. “Thaven't been into this whole progres- sive rock thing long ‘enough to have become tired ofthe sound of the Mello. ‘ron; [tll just think its fantastic. In fact, its something I want toincorporate more and more, especially thac kindof unison riffing with guitars and Mellotrons. It makes everything very heavy and moody and scary “Scary” is a good word for Opeth; they can lull you into a dreamlike, Pink Floyd— ish world of clean guitars, thrushing acoustics and ambi ent sounds, as on the “mel- low” 2003 dise Damnation, or pound nails into your forehead “Sometimes you get stuck in a formula for a few years, but every now and then you try to reinvent yourself and push the boundaries a little further.” —MIKAEL AKERFELDT steven Wison-—who produced pets Blackwater Park (2001), Damnation (2002) and Deliver ance (2003)—Akerfeld points to Camels Latimer asa key guitar touehstone In parila, he cites Latimer fui, hammeron infused Euro-blues slings asa key influence on his own solos, especially in songs like Ghost Re: eres “Baying ofthe Hounds” and on the Mellotron-assisted unison licks in “Beneath the Mire” ‘Akerfeldcand Lindgren’s meaty double-coil ones come via Pal Reed Smith Custom 24 and Custom 22 Singlecu guitars (oaded with Seymour Dancan SH10 pickups), aswell s Gibson SG Standards Fender Stratocast «splay int thei sonic equation sell and all heirguitars are with crushing, syncopated power-riffs as on the ttle cut from 2008's Deliverance. On Ghost Reveres, the band both expands the borders of those extremes and finds more organic ways of blending them, The opening cut, “Ghosts of Perdition,” is a perfect case in Point, a journey from double- Kick black metal to soaring Moody Blues-approved psy- chedelia to odd-time fusion rock o sweeping shred blues resulting ina final cadence that recalls Deep Purple's Iajestic outros from Made in Japan. The band’s fan forums are already filling up with votes for the song as the band’s best ever—for Akerfeld, i’ all part ofthe continuing process of discovery and experimenta- sion, Opeth-syle “That's what we've been ‘meaning todo since we started” he explains. “Ido admit, some: times you getstuckin a formula fora few years, btevery now and then you uy to reinvent yourself and push the boundaresalitle further. Trough making Darin tio, Isaw how we could develop ‘our heavy side by incorporating a bigger sound palette into the heavier song. ike to think there's always a purpose to what ‘we do; this is ouridea of good music and fother people like t too, then that’s great.” ce H.R.GIGE eat Ware, a 3 & Beye mers ed Sea Tac ae See ower IN THE EARLY EIGHTIES, METALLICA WERE CONSIDERED BY THEIR aaMen alm RD ya 0) IN CHEAP DENIM. WITH THE RELEASE. Oa Sea en OU coda ae ao THEY WERE DECLARED GENIUSES— YOUNG, LOUD, DICK-HEADED GENIUSES. Sa tae %, fe _ ROME gah aS a | PHOTO ILLUSTRATION BY SATU) ~ 7 id re & Hammett in San Francisco, A, Oct ber 2008 IRK HAMMETT CASTS his mind back, sighsand, ina voice as quiet and flickering as a church candle, puts it like this: “I really felt that ‘Master of Puppets was the album that defined that line- up—James, Lars, Cliff and I. Ninety-nine percent of it was conceived by the four of us. We had gotten to know each other’s musical capabilities and temperaments over the three-year period we'd been together, and I could tell that it was really blossoming into something to be reck- oned with. Every song we came up with was another great conception. Still, we never thought for a minute we'd still be talking about it 20 years later.” ‘And with good reason. At the time of the album’s release, in March 1986, Metallica were well outside the margins of mainstream rock. Dee Snider of Twisted Sister, for whom Metallica opened in 1984, deliv- ered the consensus opinion when he said the band members were “a nice bunch of kids” but there was “no way” they were ever going to make it. Consisting of Ham- mett, guitarist and singer James Hetfield, bassist Cliff Burton and drummer Lars Ulrich, Metallica were the sort of band that appealed to the self-obsessed skate-heads and thrash kids that wrote for and read the fanzines. As such, they and their mu- sic were good fun. The thought that they could be as significant as Iron Maiden and Judas Priest was laughable. Masterof Puppets changed those perceptions consider ably. was pivotal release in every sens, for both Metal lica and the rock scene they almost single-hand: edly transformed. Whether most mainstream rock erties actually understood the album or Metallica's place at the cutting edge of American rock was indisputable ‘within months of the album's release. Certainly, the sense that something major had occurred was palpable among the group's fans Like the first water breathers to flop acc dentally onto land, they'd discovered Metallica in 1983 via their fist album, the injudicously titled Kill Em All, ane fallen in love with its unequivocal thrash classes ik the hilariously straight-faced “The Four Horsemen” and the necke-aching “Whiplash” Is follow-up, 1984's Ride the Lightning, had drawn them deeper un der the group's spell withthe stunning range of its ambitious songs and dynamic arrange ments that fused thrash with acoustic, pseudo- classical and straight-ahead rock. Nothing on the album typified these qualities as well asthe rnot—and most didn’ album-closing instrumental, “The Call of Keulu, and the evocative ballad “Fade to Black With Master of Puppets, Metallica took the bold developments of Ride the Lightning and cranked them up considerably. The diverse mu sical elements that had so startled listeners onthe previous record were seamlessly integrated over the new album's length, giving Metallica's sound even greater power and presence. Even the ye newfound focus. Thematiclly, the songs formed a treatise on power and fear populated with religious and military figures, monsters and rail humans consumed by addiction and rage. Creatively, Master of Puppets was not so much a leap beyond Rie the Lightning as it was a refinement of that album's strengths. But as refinements go, it proved impossible to ignore For the group's hardcore ase, this was both good and bad news. Though blown away by the album's focus and its polished production, they lamented not only that Metallica had begun not only to splinter from thei thrash base but also to migrate from rock’ fringe and toward its commercial borders, ‘Butthen, as Ulrich, their chief mouthpiece, told me a the time, "Metal Tica was never just a thrash band any es seemed to benefit from the group's ‘way. Laccept that we had alot to dowith the way that whole scene took off. We GUITAR WontD 55 MASTER ey als were the first band to sound like that But we never thought of ourselves as ‘thrash band.’ We were always an ‘American band with British and Eu: ropean metal influences.” Metallica's ‘members had always said as much in their interviews, he insisted, “Ie just that until Master of Puppets, nobody took us seriously before.” TISN'T HARD TO SEE WHY Metallica were roundly dis missed by the establishment in the years before Master of Puppets. Although they may not have been in the same league as Priest or Maiden, neither were they innovators of a new genre. As per formers and songwriters, they were hhead and shoulders above thei fellow Bay Area thrashers, but they came off as nerds in cheap denims, with tremble-tremble song titles like “For Whom the Bell Tolls" and “Seek and Destroy.” With a few exceptions, their material was as ridiculously over the top as the moody “spaghetti western” music that preceded their shows. Apart from Burton, none of them had begun to assume the gravitas that would later characterize their public profile. Photos from this time are amateurishy silly: in one, Ulrich brandishes a pair of flaming drumsticks while pulling a suitably anguished face; in another, the group poses beside a giant vodka bottle stenciled withthe word “Alcoholic. Te was at their shows, however, that one could see traces of Metallica's potential. Their downbeat image and sped-up sound were dis: tinctly at odds with the prevailing, glammed-up rock fashions ofthe mid Eighties, as epitomized by big hair and eyeliner acts like Motley Crile and Ratt. Asa result, despite the dickhead image and ultrametal song titles, they quickly forged a reputation for themselves where it really mat tered—on the road. Yer, even that wasn't enough to soften the shock when, halfway through the Ride the Light ning tour, Metallica signed a megabuck eight POOP album deal with Elektra. Subsequently, when management team Q-Prime, home to chart busters Def Leppard, picked up Merallica, it was ‘evident to everyone that something was going ‘on. But ust what, no one seemed to know’ Certainly, there was no sense of history in the making when I visited the band in Copen: hagen during the making of Master of Puppets in December 1985. Metallica had been record: ing the album at Sweet Silence studios since September, and most of the hard work was fin ished, Swedish producer Flemming Rasmussen, who had also worked on Ride the Lightning, was running the sessions, and various studio dudes milled about: roadies, engineers, friends of friends, It was hard to tell who was actually in DAN SPITZ rave 56 GUITAR WoRLD the band; they all looked and acted alike, There were no stars in the room in those days—just soldiers ‘The group was staying atthe SAS Hotel in Copenhagen; Hammett and Burton shared one room, while Ulrich and Hetfield—Metallicas guiding forces—bunked together in another: the world!” Hammete recalls today. "We had almost all the songs writ: ten long before we got there. The only two songs that weren't finished "We thought we were just on top of were ‘Orion’ and ‘The Thing That Should ‘Not Be." Hammett still has preproduction tapes that the band “recorded on a boom box in the middle ofthe room” in El Cerrito, “We were having so much fun together that the songs kinda wrote themselves.” If the recording process itself had been dliffieut, it wasn’t evident during my visit. Aplayback ofthe as-yet unmixed ttle track sounded astonishingly good, which might be expected of most things cranked out at cear-splitting volume in a professional re cording studio, But when they played there cordings of Battery" and the recently com: pleted "Orion," it became evident that there SY Was more to Metallica than skateboard? and skull rings. Suddenly, they sounded like a band that a major label might sign to ‘a mukimillion-dollar contract. Later that night, as we settled in for cour interview at a downtown Copenhagen restaurant, | hoped 0 learn more about the group's apparent change of fortune: : Lars, however, made it clear that he hac an agenda of his own. He seemed keen to play c ‘down the fact that Elektra had obviously pat some real money into the band, claim: ing that a favorable exchange rate had allowed the band to spend months \workingon the album. As for the foreign recording location, Copenhagen ‘was chosen, he sid, because Rasmussen liked it, though one suspected the Danish-born Ulrich did, oo. It later transpired that the others had found the bitterly cold Danish winter, with its short, dark days, tough to beat. Burton had difficulty staying focused once his bass parts were laid down and briefly reurned home to San Francisco. Listening to Ulrich, it was obvious that the group wanted finally to be taken seriously. “We've always had a serious attitude toward what we do,” he said at one point, “especially in the studio. On our days off we might have a couple ofehese”—he indicated the Elephant beer—"but working on an album, you need to keep a clear head.” It was quite a cena Pa litans SD ereitrordad change from the drunken goofball personas they had exhibited just a couple of years before. And while sales were obviously im: portant to them, their main hope was toearn the respect of fans and erties ‘Clearly, they were still eying to deter. mine how to maintain their integrity while reaching fr the brass ring—to keep to their roots while broadening their sound and, hopefully, appeal. Said Lars, “There has got ro be a way tomake it without sucking.” ‘At this point, Burton leaned in “This is the closest we've come yet to doing something really cool," he said, "You can really hear the pro- gression from the last album. That was true. Yet it was baffling how so many of their more tower- ing numbers went from fast to slow, ‘usually just asthe rif Keked in, The song that would become “Master of Puppets” was such a track: in their heyday, Sabbath would have killed for such a riff. Then, just as the song starts to take off, everything slows down, Ieseemed counterintuitive, ifnot downright self defeating. Ulrich pondered this point, then replied: "I don't know that I've ever thought ‘about that guess that’s just the way we kinda like.” Years later, produc ‘er Bob Rock raised the same point with Ulrich and Hetield when he first Well, it wasn't me. I'm a low-emission vehicle. elementandfriends.com {EGP model shom. © 2005 anerican Honda Motor Cox, Ino. Recording sessions for Master of Ppesaish rroect ener cist escn roa mned to the demas for what became the Bl Tudotimiwscorasioton teks SUAS FE ys today. “Now it was jus basi re couldn't play Rock that we re mn like AC/DC or the fo but you don’t know that until tobeing com ‘until we started with Bo Stones. Ie ou finally ty it As our Copenha} mained: How would the thrash new album? How dil Metallica hope t audience with the new album without a matter they had not yet di lektra, orany would have to wait In time, they Ftttt ASTER OF PUPPETS WAS DULY sased in the U.S, on March 3 #6. Though Elektra clearly had pes for its commercial su having granted the band both and time required to do the job right, it fF could be achieves -ase, Bon Jov's Slippery ‘album, its sug stent referenc sn dining experience wound down, questions re ill wasn't clear how the pay the record ‘When Wee was the most popular Fo ing up an inad embraced by Bon Jovi of the day gestive title ser production quali the sli and every ot Judas Priest and fron respectively. cer of Puppets benefited from an im: tion mix by veteran L.A, stu ae PEGE Michael Wagener. Yet Metallica's refusal to let alone shoot a video—seemed as illing tempo chang: masochistic as their groo\ album sat s upon its release ‘Musically, Metallica had achieved of stated in Copenhay Ne wanted to make an album that left all their musical pale h ‘something we took our time on, scene behind," Ulrich said years later, shad a lot in common with ‘ot, right down to the sequencing, Like Ride che ¢, it began e slow, atmosp intro segued into fast tric rock; the track, “Battery, was an oblique tribute to their former stomping ground, the Old ‘Waldorf Club on San Francisco's Battery Street. And like the pre vious album, Master of Puppets! lead-off song was followed by the epictitle track and, four songsin, the token “ballad,” in this case, “Welcome Home (Sanitarium).” Peel back the album's outer skin, however, and it was clear there was more going on than {usc improving upon a successful template, The main difference ‘was a huge leap forward in the quality othe songwriting I's no coincidence that Master of Pup- pets was the first Merallica album to feature all-new material since the group's early days, when ‘a pre-Megadeth Dave Mustaine, not Kirk Hammett, played alongside Hetfield, Gone were tunes about how hard they were gonna kick your ass. In their place were songs about more complicated subjects. Accord: ing to Hetfield, the ttle wack itself “deals pretty much with drugs, how things get switched around. Instead of you controlling what you're tak- ing and doing, t's drugs controlling you." A a 18 ALS closer reading of the song, though, coupled rye 73 with the unequivocal imagery of the album TWAVTeNO ACO sleeve—an apocalyptic field of white cross Cee ‘es manipulated by the strings of an unseen puppet master—seems to suggest a more metaphorical attack on the invisible forces ‘of control that govern all our lives. As Ham mett now says, the “concept” behind the ‘whole album was one of “manipulation in all its various forms.” “The Thing That Should Not Be," which followed "Master of Puppets,” was clearly Inspired by the gothic horror tales of F.P. Lovecraft. Slow and evocative, it was the first of several songs on the album to es cape the confines of thrash and shoot for something more original. Even so, the song's lyrical couplet “Not dead which cexernal lie/Stranger eons death may lie" {sa paraphrased quote from Lovecraft that hhad also graced the cover of Iron Maiden’s live double album, Live After Death, which hhad been released while Metallica were in Copenhagen. Its hard to imagine that Lars, ‘the quintessential Maiden fan in those days, hadn't been aware oft t : “Welcome Home (Sanitarium),” mean- , while, was another midpaced attempt es to break free of thrash. Written from the viewpoint of an unjustly incarcerated pa- F GM] tient at a mental hospital—and destined, like the title track, to become a major high light of Metallic’ live shows over the next 10 years—the song plays upon themes of loneliness and social separation, subjects that would resurface in a more successful format on "One," a track o appear on their next album, ...And Justice for All. The next song, “Disposable Heroes,” was a musical ly straightforward antiwar song that, as Ulrich said, “rocked like a bitch.” Hammett recalls that the little guitar passage at the end of the verse was his attempt ata military march, "Twatched lot of war movies, tying to find something that was like a call to ‘arms—like something the bag pipes would play as they were going into battle—[and] that’s ‘what I came up with” usfollowup, "Leper Messiah is obviously about the hypocrisy of the TV evangelists that had become such an American phe nomenon in the early Fighties. ‘The ttle, taken from the lyric to David Bowie's 1972 wack “Ziggy Stardust,” also served as James ‘and Lars’ putdown of the Los An _geles production-line glam metal scene they had rejected in the band’s ‘earliest days, as exemplified by the line: “Join the endless chain/Taken, by his glamour... Interestingly, Dave Mustaine later claimed to have ‘cowritten "Leper Messiah,” though Hammett denies this. "There's maybe 1 chord progression that was in that song—like maybe 10 seconds that ‘came from him—that, ironically, is just before the guitar solo, But he did not write ‘Leper Messiah’ at all In fac, | remember being in the room when Lars eame up with the main musical moti.” More intriguingly, one of the major highlights ofthe album contained ro lyrics at all, its message relying totally on the eloquence of Burton's I'm now available in one solid color. I think it's a big mistake. But that's just, like, my opinion. elenentandfriends.com EGP model stam, ©2005 hnerican Honda Notor Ges, Tne. eit iy MASTODON Seedy Retin, bass par Enderoducing. Ironically, into-dust heavy ‘metal behemoth. “I remember Cif play ingtheintoto Dam. age, Inc.’on the Ride the Lightning tour, says Hammett, “It hha all these bass swell and harmonies on it. Hammett recallsBurtontelling him the pieces based on the JS. Bach chorale prelude "Come Sweet Death. Hetfield, meanwhile, used the finale to spell out the band's credo in the lines: ‘Fo: Towing our instinct not a tend/Go against the grain until the end.’ More than anything else, Master of Puppets was the indisputable proof of that. Burton called it“the best thing we've ever done, period. You read bands saying that shit in magazines and it looks so fake, butthat’s how I feel about Master... We never got that far with something before He was right. Now firmly recognized as ‘one oftheirtwo finest works—along with the Black Album—Mastr of Puppets is still the a: bbum you pull outto prove that this monumen: tal, zllion-dollar, corporate monster we now know Metallica as does actually have a soul HE REFINEMENTS DEMON. strated on Master of Puppets showed Metallica asa group that had escaped the thrash ghetto and was now ready for anything This was no longer “Metal Up Your Ass," as they had wanted tocalltheiefirstalburn, but rockwith its head out on the creative ledge- soating, hypnotic bass. Clock ing in at eight minutes, “Orion’ illustrates, perhaps better than any other track on the album, far Metallica had come since the days of Kill Em All, Hammett recalls how the haunting the middle section (a gorgeous riff later sampled by DJ Shadow on his 1997 album, ) had “already been written by CCiff—with basslines, wo- and three-part hi ‘monies, all completely arranged—while we were In El Cerrito, We were really blown away. ‘Damage, Inc. ‘ the album thae firmly bade farewell to Metallica's thrash origins, is the biggest thrash-out on the centre collection—an epic, in-your-face, bones: phenomenon, with very few exceptions, not seen in the U.S. charts since the heyday of the Seventies, “The cohesiveness from one track to the next made perfect sense to us," says Hammett “It was almost as if the album created itself. From the beginning, when we started writing the songs, al the way to the end, eally great ideas were just moving and coming out of nowhere ina nonstop flow. Itwas almost magical, because itseemed lke everything we played went right, every note we played was inexactly the rightspot, and it couldnt ever have gone any better It was justa very, very special time.” Holding the album in his han forthe fits ime, Hammett says, he knew Metallica had created something unique and lasting “I remember thinking, Wow, this isa fucking great album! Even if ir doesn’t sell any ‘hing, it doesn’t matter to me because this is such a great musical state ‘ment that we've just created, Having convinced everyone against releasing asingle—"the songs were ein the final track on Ondtage at Castle Domigton, England, ‘gust 1985 ery Pe el Oakland, CA after Bescon too long and they wouldn't get radio play anyway,” says Hammect— Metallica hit the road to support Master of Pup pets the only way they knew how. “We decided to just go fon the road and tour until we dropped,” says Hammett. “Which is literally what we did Despite the album's low chart performance, Metallica were signed up to open Ozzy Osbourne's US. tour, which began on March 27, 1986, at the Kansas Coliseum in Wichita. Black Sabbath fans toa man, Metallica ‘were thrilled by the opportunity to tour with Osbourne. Ozzy, forhis par, soon became convinced the group was mocking him. “All [used to hear coming out oftheir trailer backstage was old fucking Sabbath albums!” he recalls, But as Ulrich says, "You gotta remember, we're old Black Sab- bath fans. Without Sabbath there would have been no Metallica, We were definitely in awe when we started out on that tour. Ozzy was a fucking legend to us. Buty the end of it we'd had some good times with him.” Ofthe band’s nine-song setlist, four were from the new album: “Bat tery," which opened the set; “Master of yA Net 0g Puppets"; ‘Welcome Home (Sanitarium); Maa (es 20d “Damage, Inc.” which closed the set AVENGED Reed Pacey crear Pe ri Between dates with Osbourne, Metallica played headlining shows at small venues. ‘Thanks to their drive, Master of Puppets be } [ool emery Parte Blends the intensity of Modern Metal with soaring melodies and blistering RC aac Dee Pea eS Pe ame ae Sponsored by VE classic ee aT] Oe vi Bob Rock, as they did four years a weedy band of thrash-loving ets. that—it came from his classical influence. He lateronthe Black Album, therecord thatmade Yee e also had a really good melodie feel them superstars ed the loss ofthe band's identi Hammett says tha, for abass player, Burton Foranother, it’s entirely plausible that Bur- its soul. Inde s played a lot of guitar. “In fact, he would drive ton’s death spurred Metallica to work harder shadow over the story of Metallica and sme crazy with it, W ich higher, to hold cally, Master of Puppets. Ithas become, above aftera night of gal all, Cliffs album, imbued with his uniquely atehree . ad ofrashing afterhis death, Metallica played theirfirstshow individual personality, unshakable character, out he would immediately want to set up the with Burton’s replacement, former Flotsam and sheer courage, wry humour and deeply held electric guitats and stare playing for a coup! Jetsam bassist Jason Newsted, at the C musical beliefs hours. Pd be exhausted, bur then I'd totally get nia, The v “When Cliffleftus, twas a hug sucked into it and stat playing along with him, Puppets resumed, a oflosing a friend but a He would talk me into figuring out the guitar rmult-Platinum terms oflosing avery, very strong musicalally.1 parts of certain songs, He was obsessed with Justice for all in 1988 anc, success- mean, he was a large influence on us not just as , one of the guitar players in Lynyr fully, the Black Album in 1991. By the ‘bass player but also as a musician. He taught Skynyrd. He said that Ed King was his favorite hard toremember that Metallica had once been e the master of| album with Bur smely melodic.” listening ter Revival, the Eagles, the Velvet Underground, Kate Bush... He listened to a lot of Bach, and he turned us on to R.E.M. Atthe same time, be ‘was listening toa lot of Mercyful Fate, W head, Zeppelin, Hendrix and Pink Floyd. Plus, hhe was realy into Anthrax. So he really could have gone anywhere with his music Despite Burton’ free-ranging musical tastes, Black Sabbath remained his favorite band and Geezer Butler his favorite bassist. “Geezer But ler’ right-hand technique involved just hitting ten Zee cere 1s Ree tad RS on) rte sree er Te Meee eee ay es Reale eee PC een Entertainment Business pile ee a Mace PEt Firm _ 800.226.7625 (Game Design & Developmen L— be abe ea ee renner | si enti etee 1 roti peo Eee er) products at RAs ee Rk EAA the strings with your fingers Cliff called it ‘lop py-finger technique’ and said he had it to." As Hammett explains, a severed tendon prevented Burton from bending his right-hand pinkie. "Ie had no dexterity whatsoever, so he would just use it to hammer the strings and do anything to seta sound out of his bass. Of course, Burton's influence extended be- yond the tage. Says Hammett, “He was the most ‘mature out ofall of ws. He had a quiet strength, was very, very confident, and the esto us would defer to him in times of rouble. He just seemed Th more responsible than Burton, Hammett says, had “alot of ntegri 19," something he expressed ina stock sentence Iwas, Tdon'tgivea ‘know if chow that his time was limited but Hammett usesto this d fuck!” He he knew just very, very real. Ido he really lived it ike itwas his ast day, because he just wouldn't sete for anything other than taught me a lot. atm «picture Cliff say real tous inthis going through and I can ing, What's eal to you? Wh situation? What really matters? And he would go through a bunch of points that dida't really ‘matter, naming them off, and atthe end ofeach tone he'd say: 'I don't give a fuck!’ He was just avery, very strong guy, stubborn at times, and so much wiser and mu the rest of us. He was the guy who would repr: usand say, ‘What the hell were you think: 2 or That was a really stupid thing to do! POR Re ee eg COCR Cun ae ict ae Cee ee ee PE Re RS ere BCS ey Oe Le ee a eer) ARCHER SACLE! Mame Gest eS nee Teo oe SOT ra Ue) Rano men Lage oc Mo GUITAR woRLD cause of thathe and I would clash But we really were just bros. He was just a big influence on us all. As such, Master of Puppets was both a be ginning and an ending. You may argue about What those two things are, but one thing is for certain: Metallica would never record another album like i. “That's probably why it’s still my favorite Metallica a snamazing time for us, We right notes in all the right pl: attempt to make an album that test of time, he says acall, We just wanted to make the best possible album we could at the time, We realy just set our sights to thi always felt that if hhad andit didn't pa atleast we could say we tied our best. And that was ouratttude. He says that he played the album a day or so beforehand! in preparation for our m,” says Hammett, “It was just were putting all the ould stand the That wasn't on our rada and buckled down. And we fe did indeed give i all we interview. Afterward, he was struck by a thought: “Ifyou released this taday, it would be right up there with all the newest releases in terms of sound, quality, production, Its still relevant. Even the things James was writing about back then are still git will al relevant. And you get the feel still be relevant tomorrow.” eee eet Career “Fewer string. changes, reliable tone A ery Strings re seasoned between rious 320F ond plus 350F degrees to reduce mcrorackng Hicrocracks are microscopic cracks found in all etl. With normal tings, it's the microcracks thot allow sweat, it. gunk, et. nto the windings nd lt string go dead ond beck prematurely With Ker’ epttveHOICOLD process. the microcracks ore closed up andthe strings counteract sweat, drt corrosion and quick breakage See the dagrm blow. wwwkerlymusic.com 800-669-9540 (cont. from page 70) if ever doa solo album, maybe ld iewith some classical payers. Butta, Im only using thisas an example to show tha, pat ota | sol album il be something very eclectic lke o share tha side of my playing with people someday, but now snr the ight time. My loyalty ito maintain the Metallica legacy Fett ‘There have beon many theories spread on the internet about why you tape your has So tance ad for al why do you doit? If you look atthe side of your hand, right below your pinkie, you'll see there are some wrinkle lines. At least there are on my hand... laughs] Because of my playing style, 'm constantly hitting the strings and palm muting, ly, be right hand, Over the co! ‘wrinkles start busting op put tape over the wrinkle: break open and bleed a y “cause if a string gets in there once your hnand is cut—wow!—that stings Plus, it lets sme play faster since it reduces drag between my hand and the strings, ‘Once, when we were on tour, Looked out Into the audience and saw a kid with both his hands taped like mine. I was eracking up so much I had to give him a backstage pass. bbesound.com {for Metalia following Cif Burton's death. How did you two fist meet and wihy didn't he get the gig? Scott Cordingley as inninth grade 10th, and algebra cla yu sing for my bane." He said ay. That was on a Friday. next Monday he said, ‘bass and joined: band." was lik Les has always been a dear fiend of mine. urge when itcame time todo auditor hhad to ask him to try ou. But at ae \ lds ESAS“ DEH det g PY Pet Rat A & a : = and think platy bass player tmique personality “The tone is simply breathtaking, ...very touch sensitive Fee a nS ees ne eee a guitar with almost unnerving clarity. Pega g ete ec ee a ee Re Ce eR “Built to survive decades of industrial-grade abuse, Ce net tec eee ey professional guitar amp should be built. With the Gain boost engaged, it sounded buttery smooth, Sour ee eee Crane ce er eee Gece a ree ee ee en Since you achieved mainstream suc~ ess withthe Black Album, do you fever wish you could go back to being an underground band witha huge hardcore fan base or does ietime financial security offset nostalgia? Zack Larson sa lite bit of both, my friend, These days everyone is reall aware of Metallica, and the thac Metallica have lefe, But at the same time, as with our last album, there are so many people hhating on us that it ees like w an underground band again ng hated on by tet What should you do when you hit a creative wall? Rusty Nobles o surfing ha movie, Just do something that pulls, keep atit, yourself deeper ho diteh..whatever. a. (Guitarist, CHOICE, ial WE BUILD THE WORLD’S BEST GUITARAMBEIFIERS.” Soon eR oa een eRe Rn Au esos eke 114 ourran INXS (continued from pas and Jon Stevens. How come neither one made the band? FARRISS Bottom line: they're solo guy Great as they are, it never jlled. I med like “us” and “them,"and v find somebody who would just b w Did it ever feel as though yc brick wall, that you'd n FARRISS Yeah, sure. tv body. Jon Stevens, in paricul with us, but every time my uhica ial with him, i just never came ou music sounded goad, but it (GW Michael Hutchence cut a pretty mean figure a replacement? FARRISS Realizing that there is no replac ing Michael, for one thing. Ou hard to say ely what we w thing. indefinable, but ight for uss w it when we see it, fee LOS ANGELES Peer erika cenrees SCHOOL See hear that voice ie, me, Pick m out dive in your head: idtalka pick me." took on all com: ID was selected. How different is that from worked with Michael Hutchen¢ ‘making this record fast, ay it should be i's exciting... These are terms every ss around, but the priate to what's happening we've been inthe seudio just. rerybody's gota guitar on anc rockin’ our asses off Just lastnight we wrote anew tune that Blows away, like, 10 others. Iefeels good. Been along while sin what cling, "re appr (GW Let’ talk about your guitar playing. ur style is very controlled. Your choice of notes is spar : ps-of: doom kin FARRIS Never had any interest in that. I always try to make sure there's abit of Tim Farris in what Ido, though. Andrew, Jon and [think Jor alike, sive guitar re into the picture. 1 kn own for ef, Inside Need,” and I'm okay with that. rather be ina great band playing great gs for thousands of (888)-668-0688 people than showing off my impressive array of Virtuoso licks to27 people somewhere. {GW To be able to marshal ifs with such precision and restraint almost lies inthe face ‘of a guitaris’s innermost urge, and that's to Jam, Don’t you wanna cut loose at least once ina while? FARRISS I cut loose. There's a lot of shit Ido that stays in the rehearsal room or the privacy of my living room. ‘GW How do you generally write your riffs? Do you come up with licks and incorporate them into songs, or does Andrew [who writes the bulk of the band’s music] present a song or chord pattern and you try to fit what works? FARRISS Ic works both ways. Sometimes ‘Andrew has an idea forariffand I take it to the next level. Tha's the trick. Anybody can ‘come up with really hard riffs that boggle the ‘mind, but to come up with something that’s so simple yet sticks in your brain is a tall Fuck: Ing order. Try and write “Smoke on the Water” sometime. You!l go insane. GW What guitars are you playing these days? FarRiss Im still loving my"72 Tele— probably my main guitar I've got a'56 Strat that kichs ass, Then I've got these Eighties To- ‘kai guitars that {producer] Nile Rogers turned ‘me onto, and no matter where I play, people always comment on how huge they sound. ‘The [Tokai] Talbo sounds especially big be- cause its body is made of a type of aluminum Enlightenment Discover the sound and stability... Unique sound; Carefree playing; Road tough stability Discover with RainSong the sound and experience of graphite guitars and wake up to a whole new world—one that is impervious to the vagaries of climate. pesnSieng Graphite Guitars usually employed in race cars think. But the sustain I get with the Talbo is extraordinary. I played that guitar at Madison Square Garden, and Keith Richards commented on it. Ste Stevens wanted to buy it from me on the spot. ‘GW In your opinion, how has the band changed musically over the years—or hasn't itchanged? FARRISS We've all got alittle more back hair than when we started. [laughs] Ido think ‘we've changed somewhat, though. I think were harder; our sound's toughened up, buc it’s because we've been through so much and had ‘obear down abit more. But change is fanny; it's transitory: you can only change until you have to change again. We've tried to rediscover ‘ourselves every record, and eventually you get towhere you have to say, “Let's stop doing that.” Like lastnight: we started jamming ona song that began as athe Doors-meet-the White Stripes” ching, and we instinctively changed it into something that now sounds lke INXS. And ‘we did it simply by remembering who we are. ‘GW You mentioned earlier that, after Mi: cael died, there were times when one or two band members said, “We can’t do it anymore.” What kept INXS from breaking up? FARRISS I think we all said thar at one time or another, but it was nevera consensus, And at the end of the day, no matter how low somebody gets, we still want co be a band. ‘And now we have another chance with JD. Learn the Art of Recording i Powerful Practical Professional “Morld-clss jet affordable) education in Recording Engineering & Music Production >MEAR IT ONLINE: WwrW.GUTTARWORLD.COM Load these oF your fvorite ast MP3s on the compact flash card and you have your own portable tutor “The onboard recorder and General MIDI Drum machine which lets me dawnload all che to practice with, Feeling inspired with over 100 patterns and 8 kits will keep those creative juices fowing long into the night. Check out swwweguitarworksation.com for the latest updated application dips and rutorals thar can help you getthe most outof your GNX+ Guitar Workstation ‘See you on tage i cand studio and is a profi ctr ‘and pean an Migifech: Gur Billy Cees «20. yar een of esa Metalica “Disposable Heroes Dig ane: HEROES Gaxowto] ov | on | wo | ww [ww | 5 Genet | antl [igo [1 tag Gaatota) on | on | wo | moo ww |S Tine [vor | wet | oo | an) wa | wits [OVO Pound | ans Ware, == )=|>_ Das fees | OF Tapas |p) art Papa Roach “Scars” Dipl ame: SCARS Gunooeta]| On| 00 | wo | SO WO] etek | Gan) Bes [hit nt [a ‘GaniwotQ| on) 00 | 60 | uO wD | 0 Tone fareor mie [a4 | ws) 9s [ove (nm [Pam [am | an |r | Pas Compe 5 Tes | anpbon ‘Genus ~ Day Tews pain ‘pl Yah Thin Lizzy “Jailbreak” ‘Display Name: UATL BRAK ont) | 00 | | WO ee [isk 1 Gannota) ov | an] wo om | Yowe [avon | 6 | we | avo | 0 ‘i_| oo [a | #0 [mo | 0 6 (OVO [Fawn | am? 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FIGURE 6 is the super-quick, gallop ing, heavy main riff in “Battery,” and sure you're relieved to know that Hammett performs this part with alternate picking! Notice the effective use ‘of minor diads (root, ‘minor third) in the sec: cond and third bats. “If you play full major or ‘minor chords when us- ing a lot of distortion, they sound muddy and lose their clarity and ‘cut says Hammett “But you can play root-third diads with a high-gain sound, and they'll work well. Plus, they can add color and tension to a riff: Hammett recalls that Hetfield wrote ths riff while they were kicking back ina London flat, FIGURE 5 chorus riff - aT, NG NG. NO. NG © __Gsrfsles|CHOSIES) C585 Ne FS GSF45(E5)CSB5(65) 0585, a Oe SEN — NG, _NG Ne. & (5F#5(E510305 (65) cS 85 “Battery” FIGURE 6 main rit NCAE) BbS AS Em Dam a a eee eee fleet, Peel Cie ae Em NOES) Bhs ‘ue. As (ES FAS Ne. 65 G5 Ges BbSAS Ow Tt watching the British TV comedy The Young (Ones. “He played it, and I said, ‘What's that?” He said, just wrote it’ and I immediately said, ‘That kicks ass! Don't forget it!" He didn’t, and it ended up becoming the ‘Battery’ riff.” Hammett then plays the Master of Puppets riff he calls his favorite: the catchy pedal- point bridge riff in “Damage, Inc.” (FIGURE 7). “Tewas influenced by a certain Deep Purple riff” he says witha grin, “And that’s all Im going to say.” ‘To close our lesson, Hammett demonstrates FIGURE 8, the clean-then-heavy intro to “The ‘Thing That Should Not Be." believe this was the first time we ever tuned down low,” he states. “Itwas definitely a Sabbath influence.” ‘Once again, down picking isthe order of the day. “Absolutely,” says Hammett. “Everything is always downstrokes with us, unless it’ physically impossible topplay that way.” = ‘Special Thanks to Zach Harmon of Metallica Hor his invaluable ‘echnical assistance with this lesson. WELCOME Hone cara, TANG 328 GUITAR WorLD “Damage, Inc.” FIGURE 7 bridge rift Nc(eS) Bhs 8s “The Thing That Should Not Be” FIGURE 8 intro ‘Tune down one and one half steps (ow to high: Ct Ff BE GE Ci). All notes and chords sound one and one half steps lower than writen FES eS FI FHS) FAS ESFSFISCS FHSCHS FASDS ES FSFSCS.FSFESCES FS-FRS —FSFRSES ‘play ne) rig = CE e®O OO OO READ ’EM AND SWEEP More on sweep arpeggios, and how to play “The Psalm of Lydia,” part one. Orn rks on Neveraoe’ latest release, This Godless Endeavor, isatune called "Te Psalm of yaa” Ife. tures many of my favorite guitar techniques, Eines eee “The Palm of Lydia's played largely on a sicating guitar in drop D tuning down one +half step (low to high: Db Ab Db Gb Bb Eb). The song begin with the repented cwo- bar hythm igre shown in laURE tthe open ow tng alternates with sling roovfilth power chords feted on the fifth and fourth rings, sartng in 4/4 in bar and switching to 78 inbar 2, The best way tofeeland keep tac ofthe beats wil pay ing this figure ot count sted eghth cer: bar 1 would be counted “one wo thee four five sirsev eight (here are eight eighth noes in aba o4/4 tine), and bar 2 would be counted one two tree four fv sic sey (Gere are even eighth nots in7/8 tine), ACO: the tempo changes oaslow 2/4 foran extended ol bull from a series of tecnleally challenging sweeppickedarpeg ios. Ahi pon, the drums play 6/8 eel (eachof the wo quarter noes in each bari conned at pet: one-i-lt, cv Ie) The guar prs, eee play Bates inrhythmiesycopation that ae more eas Iy applied tothe 2/4 tempo. MQURE 2 shows thesweep picked soo (Ge 2), and F1aURE 3 istrats the backing rhythm part (G1 Lets begin with he soo (HQURE 2), On beat one ad the st af of beat, play descending and ascending minor apey- ios (G# BDA) using sweep pckng pay theists noes witha single upetroke sweep dragging the ick none upward tation across the op ve strings ith pull offedded onthe it sng ten change tirecions and ws a downstroke sweep 0 play the net sir notes witha hammeron on the ith ring n bee, peter i ly alternating upstroke and downsroke sweep, buoy onthe top thre sng. The entre measure then repeats Inbars 2 and 9 of FH@URE2, Tse big weep to play G major arpeggios in dfer- tatinversoan, sifting wa higher postion every two beats. On the last upbeat of bar Bu tperform a qulck fretboard tp athe ath fet th my pick band’s mile fi 330 GuiTaR wortD | “The Psalm of Lydia” rp ain dev oh ep ath: Db ALD GDS ES. Alas ad hrs sd ol FIGURE 1 intro, first part 0) Moderately J = 100 oc.1 0805 0505 (0505 EbsD5C505 Bb5O5 BbSCS SERS FHSS FIGURE? intro 1 Siower J enone Fons 4574077. FIGURE rhythm part frmar411 Ven = V mapas = downote (e-2 (tt nin dove on hl ow hig Eb Ab Db Ob Gimie) 107 Ds ES GYS Gs FS ES = THE PSA OF DA Hrs sy Mae ne oi Cop) 205 Rip sre by Ferien ser, followed by a double pull-off to my fret hand's pinkie and index finger. tthe start of bar 4, I shift down one fret and play some F# major sweep arpeggios (Pi Ad C#), with a couple of high “color tones” added. (Notice the tapped high E note at the 24th fret on the first string.) In bar6, shift down one more fet and play some F major arpeggios (F A.C), with anoth- cer 24th-fret tap added, The phrase ends with ‘an oblique bend, which means that one note is bent while another is held stationary. ‘As you can seein FIGURE 3, the solo’s shythm backing consists of descending chord shapes fretted on the A, D and G | strings, withthe top two open strings | included in each chord. See you next month! = BOOT SCRAPER Dissonant chords that hang over a “chug” pattern, and how to play “Boot Scraper.” WILLIE ADLER This month I'm going to discuss ‘and dissect the intro to “Boot Seraper,” from ae 5 - = X—x-0-8 0-8 POL Cees Be Bass Fig. 1 tropes previous two mens} 2 end Bass Fig. x i dl Fe SA # d Verses (019,112,904) (1) there's gonna bea albreak somewhere in this town (2) there's gonna be. trouble Some of us wont survive (3) theres gonna be @ breakout into” the city zones. aS 55 Fes FES AS 5 Fes 55 FAS ‘Gt.2 plays Rhy. Fig, La four times smile (sce meas. 2) 6S = = PM pe PM — =F = oe ‘Bas plays Bab Fire tines (se mas 3) ASAIN poled ty Pom Soper GNX4 powere “JAILBREAK” See_me and the boys we dont ike it $0 _we'regetn’up and goin’ down See, the boys. and me mean business Bustiv out dead or ave Don't youdareto try and stop us No-one could for long 410. (epea previous four measures sie) 4 Hid’ fow lookin’ right to ett you see us comin’ | thinkiv's best | can hearthe hound dogson my. tall, I hall breaks loose alarm and sirens wall Searchight on my" tal Tonights the night ‘al gystoms fall, (2d time skip ahead tolE] 2nd Chorus (Grd tie) skip ahead (8) 3rd Chorus 10 moe say Dy a hat | any tom under my beat Tie ae Pais eB Tonot iron sina bast Ee at AS ES FSS. £5 FHS. AS. cS FHS. 5 a“! — sot z Ss es T pO T yoo x + = ——- SS ——s r [Bist chorus oss es a a inten tien toot 8 ts & 5 = spac agucs pring on "8 ir. 2 (wislow tse sien) hy Fig. 20 2 cond Rhy. Fig, 2a 3 = Gir. (wow phate sien) ‘ahs ig 2 2 end Bass Fig. 2 442 GUITAR WoRLD “JAILBREAK” there's gonna be a —_—albreak 80 don't you be around &5 NC(A) (EGR) FHS fat = all ‘all pes FE) 1416) EE} esa Don't you be around AS ES Fes. ES FES AS Fes FSS Gtr 1 (phase shifter off plays Ry. Fig. 1 twice (see meas. 2) Gir 2 (phase shifter off plays Ry Fig, La twice (See meas. 2) 30 G3 ‘Bass plays Bass Fig, I twice (see meas. 2) AS ES Fas FS AS FHS [BF 2nd and 3a Choruss (2.329 thes goon be a flrak sonenboe inthe tom Tenis 6s &s 8 a5 Gi plas Fig. 2 ee meas 32 Gi Se Ry Fi 2 men 2) sonst a et OE a ‘Bas plays Bass Fi 2 simile (see meas. 22) “JAILBREAK” GNX4 powered there's gonna bea —_—albreak ne cz ABO) dont you be around Tonight Fas 85 fa fet fa fa aes (nd time) skip ahead ro 0) there's gonna be trouble Tm goin’ to find mysell in Tonight Gar. I plays Rhy: Fig. 2 (see meas. 22) Gar. 2 plays Rhy. Fig. 2a (see meas. 22) sands we sepenrrenenrnn ‘ut Bl prominent, a ‘Bas plays Bass Fig, 2 (see meas. 22) there'sgonne be trouble 0 woman you stay with tend i. Sana & Nowa) (Ice) Fis so fa rat Oe G o.2 ows hy Fig 3a end iy. Fig. 3a hy Fig. 3 end Rhy. Fig. ‘as Fig. 3 end Bass Fig. 3 “JAILBREAK” 206) (stim) You know i's ater Breakout Noa) (€G8) (FES) a (ee Guy, Land (phe sires play 3 tines) PM. . aannmnnnnnnnnnanannnnanan 4 sill oa in ben (ley ime} = = + _ == ¢ ; eS = {H) mertode NCKES) (rey $time Ms ite tony ey OR a ny Py Peng Pg 1 es» 85 55 NC(A) (GH) FES Gar, 1 and 2 play By Figs, 3 and 3a (see meas. 50) there's gonna—be trouble 80 woman you stay witha fiend yp cna fu fat SRR SRRIEANB, e614 — 1 6 OO ‘Bass plays Bass Pig. 3 (see meas. 50) GurraR WoRLD 145 > powered by zGuitar Workstation 2 “SCARS” Papa Roach As heard on Getting Away With Murder (GEFFEN) ‘Wort and Music by Papa Reach # Transcribed ty Jeff Perrin All guitars are in drop-D tuning down one half step (low to high: Db Ab Db Gb Bb Eb). Bass tuning (low to high): Db Ab Db Gb. All notes and chords sound one half step lower than written (key of B), as am Asus2 aries) Intro. (90) Moderately J =90 1 tear my_ heart open | sew myset shut My woakness is that | care too much cs 5 05 5 1 Gi 3 te, whi am deta) Rif Te a £ oF 18 yp / v Andy scars remind meta th past is real 1 teary ber open ust tote 6s @s 05 rs 6s Sons end Ra a= == = es 5 SE TO to ae a —| [ows = mel i SHS 48 = 5 z ® sare Sag en edi ios bap yel once toa: my oun atnee Sith Lins a wes cosy SOE SS = = =| SS 3 Pp 146 GUITAR WoRLD eS ate eserves Ue “SCARS (im pissed cause you came around Vny dont you st 0 1 Ew you going ft’ You fever reine You shaude ever done around Why dont Jou ° fs Fe 5 F os 6 in Fern oeee end Ry. Fig 3: — — = co oo i a rr a a a) oases = — ——— = ———— Ls bee l L I home ‘cate you channel al your pan and cant helpyou fix yourett fa Youre downing fn tear Sot eed you ny hang rome ‘fae jure crowning inte hater Std fled’ to rab your hand As Am sued a0) & esos) ES em Gin: tand 2 repeat Ry. Fg simile (se met 9) se = 70 z z —— 7 + 3 a a a Do (2rd sme) tip ahead (Breakdown Youre making m0 insane AD ten ay is Copucsons int mye nature origi) is our ast tn Perr my" teat” open tut Jou dnt “nderstand 5 r6 #5 F 6s Gauee é ie 3 plays Firs and second tins ae nex page) 15 ae 3 3: a = - 5- - ¢- 1 Co T t i Chorus (8 12521) | tearmy_ heart open 1 sow myseli ——shut_—andmyweskress. that eae too much os aunt 6s 05 rs 6 Sea 17 fit B— Tan 8-S Bass Fig. a9 sa a a a = er Foose eS end Rhy. Fig, 2 end Bass Fig. 1 S55 eS (stand 2nd times go back to Verse (Grd time) skip ahead t{E] Outro Chora ‘And our scars remind us_—thatthepastis real 1 tear my heat open Just to tel os sus Gs Ds Fs Gs Girs. | and 2 repeat Rhy. Fig 2 (see meas. 17) Gir A subsines Ry. Pll 1 (se nest page) aos end RB o ———— S a eas ass = 5 GurraR wort 147 “SCARS” GNX4 edie) [D] Breakdown (eon (Butyoudidn’t understand) Go fm yourself ca cs Ds FS cs 25 Gi and? Gir. 3 plays RITA (see meas. 4) es r — T TE] wriage ro | cant ap youth youl! buat es cn say ned Fiery bittgota move on thy om He ox 05 os 5 5 & G back (CIs 1 catty you fayourse but teas can say te tim sorybut gots moveon with my own ite No(os) (6s) (05) 5 sgh coe . ‘ _ Lt e [0p eee F—3:3-33-3-3-3-3-3-3 — [outro chorus (on 1 tear my het open 1 sow mysot shat andmywesinss is that) care too os cau 65 05 fs cs Gir 3 plays Rip oe meas 17) gy Gut? % re ry 8 48 * Bass plays Bass Fig, Pini (see meas. 7) much Andourscarsremind us that he pas ere | tear my heart open Just to fee os couse os 0s Fs Gs os Gr. subsites Ry Fil I (se low) (ak topo previ er meamrer) 4 SS ===] ———$# e a ‘Fit (08,123) iy FT (053,138 251,512) ons 6 (al wel) ——— osc rie =| Download the Tone! :<«: rian — " “BAD MOON RISING” Creedence Clearwater Revival As heard on Green River (FANTASY) ‘Words and Music by John Fogerty # Transcribed by Matt Scharfglass Gtrs. 1 and 3 are tuned down one whole step (low to high): DG C FAD. All notes and chords played by Gtrs. 1 and 3 sound one whole step lower than written (Key of D) e B AY E E6 87 A corona” GE" Ge BORE BR Gtr. 2 (acous.) and Bass are in standard tuning. (0) (A) Gtr. 2 chords bess tot Gtanderdtning: EE HH Chord mas parents reflect aca sounding ke 8 ay E & E ee repeat previous measure) 5, —S— [B) verses 08,038,139) a see ® bad ‘moon fs’ 21 hear hurricanes 2 - Blowin’ 3. Hope you got your tings together 7 a e Be a) ners se net ate) : end Ry. Fig. GUITAR WoRLD 149 GNX4. powere: “BAD MOON RISING” 1 00 trouble onthe way 1 know the end fs comin’ soon Hope: you ae ite prepared toe Gir 2 plays Rhy. Fig La three times simile (see meas. 5) owt & 8 (reper previous four measures) ‘Bas plays Bass Fig. 1 thre times (see meas 5) 1 see earthquakes ‘and_lightin' 1 fear rivers covertiowin Looks ike wore infor nasty weather ane 2 & g g ru 1 (038) £ of A E o @ @ oO wfpck and fingers (play 3 eines) * Gu. 3 (clea ee) ‘tuned dwn one whole i Notes on strings 6-4 played with the Ek ings 3 ae with theme inser ul (138) E ey A © a) O) (play 4 mes) G3 wipick and fngers— 2 Fin 3 (5 a E ons) atte o i200 “BAD MOON RISING” ] coorus exo. 129 Dati rand, aid Wats pounds ta your te Tes a tad s Pets ee © 6 © 6 O@ ame . se? . . so: == == ===> SSS {— = iS {=I TT TT TT T is 1 | i Id uw TT TT (@) (0) (a) 3 2 5 ¥ $ 7 7Z i at 3: x + + T oo TT oc = = A a oe AZ : ; 2 oan ee a_i A : we we oe 6 Bie 2s 835 r = $ j—3— 4 SS SRS =| SS) t rt i tt PrP o sag a Lo. ay = - 2 ae = 1} ; 4 <3 7 $ $ T 7 - = Se F 2 — urrar wort 151 “BAD MOON RISING” [D] Guitar Soto (10) 87 a E © G1 plays Rly. Fig 1 asic simile (se meas. 5) Gir. 2 plays Rh. Fig la nice smile (see meas. 5) ote 3(cean elec) GNX4 powered ate BS sammaaraae “ f as _ Es : ; © 8 ts 0) “ A @ Gu. pays Rhy. Fig 2 simile (se meas. 21) Gr. 2 plays Rhy. Fig 2a smile (se meas. 21) es 38 Benn z = — z es ! v5 = 5 — a2 currar wortD BAD MOON RISING” Wil i's tonight Don't come around E] «eon 6 on.3 ia 42-(12) 1a 5 4 5 6 | ° Gu,2 El Bass Gre? ine Gurtar wor 183 powered by #Guitar Workstation si “HEY JUDE” The Beatles As heard on 1 (CAPITOL) ‘Words and Music by John Lennon and Paul McCartney « Transcribed by Jeff Pein Capo Ist fret All chord shapes and guitar tablature positions are relative othe capo. AA guitar notes and chords sound one half step higher than written hey of F) Cer BIE ht Fin? NE me oi Gea Er {stand 2nd Verses (201.027 Moderately Slow =74 Hey Jude ont make it ba Telea sad °3 andmaleit beter Re - Judo ont be alaid You were made (9 out and gether The E 87 BFE 87 eure e ln aor ine in oust er > 3 MAMA AV AA FAA AVA member fo lether into your haart ‘Then you can start to makeit —bettor 2 Hey minute you. let her under Your skin then you begin to makelt—bettor A E 87 BFE e Gar, subsites By il 1 co ‘od any te you fealthe pany dude etn Dont cary the worl upon your shoulders Heyden Youtewaltng or somoone ‘2 Peon 7 a Noe Famr NE a7 one 8 out $ oy : = 33 f T 1 cool by making his wold with yeu a ‘The movement You need E Fan WE iy Fu {3 Be Fu ¢ y — 3 3 3 I 3-1 I i port B oO L BY Ce tt co my (Gary a o—s o— 7 454 GUITAR WoRLD “HEY JUDE” Piano arr fo at: © (er) (oy ricer (oy Fie) (er, eee rd andl th Verses (12.28) (a) dude oni et medown Youravetoundher now go and get her Remember to other into your (Anatetit out and et tin Hey Jude) (4 dude n't make itbad Takea sad songand make t_ beter Remember to let her under your E Bre Bure e A (repeat previous measure) 3 ry 7 7a 2 vi t oO (2nd ime) tip ahead to measure 31 [7 "9 Back [Chora II _ heart ‘Thenyou can stat to—makeit_ better So ltt owt andletitin skin ‘then You begin fo makeit betier_ better better better better better ah 87S e DD] chorus ny 18 times sine led vce) and fd ot Yeah. Wa ne na nana nana nana ne na Hey Jude) 3 3 = 3 is t (Flaps ite) " ) |e —o—s—s sso 6 66-0 6-6-0. i —L Cor we S oe powered by Guitar Workstation 3 “PHOTOGRAPH” Nickelback ‘As heard on Alll the Right Reasons (ROADRUNNER) Words and Musi by Nickelback anseribed by Jett Perrin All guitars are tuned down one half step (low to high: Eb Ab Db Gb Bb Eb). 5-string Bass tuning (low to high): Bb Eb Ab Db Gb. All notes and chords sound one half step lower than written (key of Eb). £5 Badd —Déadd9 add 66 Cmay7 i Tr tT fe 10f 4 ste a cota FBR” fagBE” TREE Tie it [A] Ist Verse (0:00) - - - - Moderately Slow J =74 Lock st this photograph vey tine | do mates me ugh 5 asst Ges. | nd 2 cos) n.Fie T lerring hroughout 1 ‘ so ne ae y $ YG L- RE) = 32 =———_—- Ca E CTS Et ++ edonmsnoe V Capote How did our eyes gt sd and what the hell fs on doeys head oat Aac9 (eee eens ‘end Rhy, Fig. 1 7 = 9: = “DL I— 4: reas OL i f = J Et 4 J Et Sing Ba _ ————————— € z — [By 2nd and ara Verses 09,128 2. fod thisis wher grew 1 tink present onmer_ ed tp 1 never nee eer went whut 5 Remember he ol eae Beewevery dolar” that weever made The cope hated us hangin out 5 act Dae Gir and 2 play By. Fg 1 three tne sine (oe meas. 1) a 5 “ply simile on 3d verse . ee ——— a @ ee =o = The second floor is hard for sneakin’ out ‘They say somebody wont and burned t down 55 3 Aadio ‘And thisis where! _wentto school Most ofthe time had beter things to do We usedto listen to theradlo andsing alongwith everysong we know Bada = ae ape © 2005 WARNER AMERLANE FuRUSHNG CORE, AB YOUR OAL PUBL Ne ase ee SANEL HORII Soe) “PHOTOGRAPH” Criminal record says broke in twice | mustve done it haifa dozen. tines wonder fis too late We said someday we'd findout how tees to sng to more than just the stering whoo! ‘Kim'sthe fist it | Kissed 44 D6ade9 ad 5 — 9 eS Should! gobackandtry to graduate Life's better now than twas back then 1 was them! wouldrtlet mein Twas sonervous that! nealymissed ‘Sho'shad acouple of kids since then havent seen her sinceGod knows when [DD] chorus (058,225,534) memory of looking out the back door-«=«|_had the photo album spreadout on my bedroom floor tts 5s Bad Gir. 1,2 and 5 play Ry. Fig, I wce smile oee meas. I) 19 Bas Gir Sis ee. owed) hart sy Ro Time to sy it Goody goodbye Every memory of walking ou the front door found the 21 DBad69 adda 55 ——7——7 8 7 (2nd in) sip aed o (3rd tne ship ahead [1] Ouro Photo thefiendthat Iwas looking fort's hard to say it Time to say it Goodbye goodbye 24 Bast . Dead ‘add 3 aoe = 7 5-630 —5—5 urra wort 157 “PHOTOGRAPH” eae) E125 ts bas 7 "0.4 (clean ce wey) 9: 3. oe) ji Gx 1, 2and3 = & . [SS tha =aee % : 7% pts { A Ee Eee EY 3-3 $$ Et 2 ES EES ee | bos oi 7 —- % 0 TO T= I 4 4 4 Hi sobackio snd Vere FE] es (Goodbye) omar sates 4 wi: backea i or 5 oes 90 eel si 2 $8 th 8 a Eg is. and2 Base t® 5 [G] Briage 259) yt miss that town 1 miss ‘heb ace: ant 1 miss tow 1 cant bokeve 5 = Gis 1.2083 33 io 158 GUITAR WoRLD “PHOTOGRAPH” You cant erase You cant replace ® So hard say Too hard to ewe 68 add Hes solace B)ctons " could re ose ys | enon the oneting tat woud never ange ery ts ast Daaaas Er 5 plays Ry Ft re meas. 4) ont te 4 Gis. a 1] outro 400) Lookat this photograph Every time Ido it makes me laugh Every time Ido it makes me 5 Bact eadso acco G3 hy. aL VEL ae KERRY KING AND BC RICH , “ iN Si = “ei | é Ce a SS Oa orca ~~ O Kich— iy Ocha A DIVISION OF HHI a OH 45238 Drake LU DNAse keenyy sauiiacheck testing L2.3.c 199 thrills nuteebalts playing the markt the buee bin aliveégigging tech education new aq auciofile THE GEAR IN REVIEW KICKIN’ THRASH ESP James Hetfield Truckster and Dave Mustaine LTD Axxion signature guitars by Erie Kirkland same custom production equipment that | James Hetfield Truckster g0es on tour withthe artists As Metallica prepared to tour for their EN 1 FIRST STARTED PLAYING ESPs known fr its signacure guitar 2003 album, St. Anger, Hetfield decided he WwW the gitar, Lused to daydream | series, which includes fantastic models based_| wanted a guitar that would reflec the about what it would be like to play | on the custom axes the company has made for | albums raw sound, So he anda friend took the custom axes of my idols. leven modified | Kirk Hammet, Jeff Hanneman, George Lynch | one ofthe guitars’ black 24 3/4-inch-scale ‘my guitars in the same manner as theirs in an | and Stephen Carpenter, among others. This | ESP Eclipse axes, gave i several coats of color attempt to capture the mojo of their person- | month, Thad the pleasure of reviewing two of | and aged it in the appropriate spots on the alized instruments. Today, the signature- | ESP's most exciting new additions tothesig-| body, neck and pickups rings. He also deact vvated the topside pickup ‘switch and replaced one of the tone knobs witha three ‘way toggle. The ESP Truckster isa faithful reereation of that guitar with respect t0 looks ‘and hardware, ‘The Truckster's beat-up Aged Primer Grey finish and high-perfor- ‘mance components give it the appearance of a hillbilly muscle ca, while its all: mahogany construction and ceramic-based active EMG. 81 and -60 pickups combine to create Het. equipment trend not only fulfills my dreams | nature guitar lineup: the of playing through this specialized gear, it sives us alla chance to own and cherish the ["pcatinum AWARD EL fa QUALITY & DESIGN| field's deep and edgy tone. The Truckster’s separate volume knobs let you individually ‘control each pickups ourpur while a single tone pot sets the guitar's level of attack, Schaller strap locks are stan dard fare, and the strings are tied toa TonePros satin-chrome locking bridge assembly and locking Sperzel cuners. As with all Eclipse guitars, the neckis rounded but narrow enough to allow even small hands to get a full grip. The 22 extra-jumbo frets make notes loud and easy to fret. §309900) Performance T plugged the Truckster straight into my Mesa Rectifier quarter stack, cranked up the high-gain “red” channel and pummeled its Celestion Vintage 30 speakers with all of the Metallica riffs I know. Predictably, the EMG- 81 helped me play blazing solos that were full of sustain and cut. But as all Hetfield fans know, James’ most notable tone begins with the EMG-60 in his guitars’ neck slot. ‘True enough, switching into this pickup pro- duced authentic Metallica tone. All of the intoxicating textures for block-crushing met al shythm sounds were present: a warm mahogany foundation, a tight and hard crunch (courtesy of the EMG-60) and rip. ping high gain (thanks to the Mesa). For ‘metal fans, it ust doesn’t get much better. Dave Mustaine LTD Axxion ‘One of metals original iron men, Dave Mustaine is celebrating his 20th anniversary with Megadeth, Over the years, he has shared guitar duties with excellent players, but it shouldn't been forgotten that Mustaine isa virtuoso himself and requires a guitar equally suited to power chords and technically chal lenging solo work. With this in mind, ESP cre ated his signature weapon: the new ESP Axxion (pronounced "Action”) ‘Mustaine’s je-black signature guitar fea ‘ures a wild "X” shaped mahogany body with back-cut contours that look like the honed ledges of a medieval weapon. For maximum resonance, the Axxion’s strings pull through the body, are elevated by a TonePros locking bridge and terminate at lightweight locking Sperzel tuners. The flush-mounted Dunlop LST PRICES: ys eels Sr ruskter $2499.00 lo ‘lal nan LTD verso for $1 2s000)- Dave nustane ewe, $21480 ao alae nan ESP version foe MANUFACTURER: The ESP Guitar Company, esppuitarscom straploks ada security and fit ell withthe | gutars stock design estes ‘he 25 1/2-Inch sale neckthrough con struction gives the Axion unreal etal nd the pessve Duncan JB and Jazz pickups provide clear anc beautfl tne base. Con trlsinciue dual vlumes,a tage toocundthrearrsy toggle. The axon’ 24 fret trahogany necks thin and wre with fairy lt ose wood board and double | inlays. 1Fyou ike sweeping and epping Youll find this neck very accommodating, | Performance (thes acoustically, the Axaion rang loudly and displayed well balanced tone tet inspired me to enjoy ts unplugged sound fr several hours. When {eventually fed the Axxion's Signa into a Boss SD-1 and my modified Marshall half stack, this singing gitar was a treat for my eas and hands, The bridge position Duncan JB Gelvered a mean and recognizable cranch on chords anda powerful uppermidrange voice forsingle notes. On the other hand the Jaze humbucker gave notes an almost angelic quality with sweet a dear earl The Bottom Line James Hetfield’ signature ESP Truckster accurately repli cates the guitar he modified for Metallica's St. Anger tour. ts powerful EMG electronics and com- fortable ESP Eclipse basis ensure hellish crunch and easy playability. Technically adept players may prefer Dave Mustaine’s signature LTD Axion. It provides extraordi nary natural resonance, classie Duncan tones and a fast wide neck. a a James Hetfield ESP Truckster PRO: Garage-born look, EMG active pickups, comfortable feel ‘CON: Lack of tonal versatility Dave Mustaine ESP/LTD Axxion PRO: Loud acoustic tone, fast and fat neck ‘CON: Shape and size ‘can be unwieldy GUITAR WoRLD 169 ee FAR BEYOND OVERDRIVEN Krank Krankenstein 100-watt half stack By Chris Gill Wes te left behind much more thana egy of incredible mist; by estab lishing partnership with Kank Amplifiers, headstrong foundation forthe next red of gpiting Diebags by piecing his inde sap ona rather remarkable amplifier The Kank ankensten amp was Dime bag’s moa beloved project before he die, Although the public never goto hea Dime bag use hissignature Kanenstein onstage or on record be made his tna tonal tweaks on the protype and give the amps endorsement jst ay before i death on December 2008. The finshed produc s cacty ashe envisioned FH | MANUFACTURER: Kran Features ‘The Krankenstein is based upon Krank’s, ‘outstanding 100-watt Revolution amp, but there are several significant differences and improvements in its design. First, the amp is ‘voiced for use with the Krankenstein cabinet, which features four 12-inch Eminence Texas Heat speakers rather than Eminence V12s, which are in the Revolution cabinet. The Krankenstein also has an additional master volume control that allows you to crank up 70 curtar wortD PLATINUM AWARD Sita ESIGI the master 1 and/or master 2 controls inthe Dime chan. nel as well as the Clean channel's volume control 10 maximum overdrive while keeping the overall volume as loud or low as you want it, Presence now functions as a ‘master control on both channels instead of juse the distortion channel. The FX loop now includes a variable FX Boost control/pull switch, and a channel switch is located on the back panel to allow you to switch channels without the footswitch controller Like the Revolution, the Krankenstein provides independent bass, midrange and treble controls for the Dime and Clean chan nels, The Dime channel also includes a sweep EQ control that dramatically shapes the ‘midrange and treble response, and the mas- ter 1 and master 2 controls let you dial in separate lead and rhythm volume levels. The Dime channel provides significantly more gain than the Revolution's Krank channel to provide the high-end sizzle and low-end fry | oR i] | that Dimebag loved, but you still also get that fat, chunky power tube overdrive that made Dime a fan ofthe Revolution inthe first place. The Clean channel—based on Krank’s Chadwick head—is also voiced differently from the Revolution’s Kleen channel, deliver ing rich, warm tone and beefy overdrive simi Jar toa vintage Fender, Performance Over the years many amp manufacturers have boasted that their amps can do it all, but ‘when it comes tothe ideal combination of classic Fender clean, Marshall overdrive and modern distortion, no other amp can touch the Krankenstein’s versatility and pure top-of the-class tone, Whether you want stinging Stevie Ray bite, Angus’ crunch, Eddie's ‘brown sound, the most heavy, bone-crush- ing power chords or all ofthe above, the Krankenstein truly delivers. Even atthe outer Limits of gain-saturated distortion, complex chords maintain crystal-clear definition. You can distinctly hear every note, and you can feel the impact and punch of the pick hitting the strings. This is as ball: syasit gets—no overly compressed static fizz here, folks. Hint: ifyou ‘want maximum overdrive at low volume, pull out the FX Boost control and "krank it up, The Bottom Line ‘The Krankenstein is every bit as incredible as the guitarist who collabo rated on its design and placed his stamp of approval on its tone. Easy to use but surprisingly versatile and deep, this amp delivers a mother lode of desirable tones that don’t require an engineering degree to dial in, They'l inspire you to become a better player and to have fun doing it. Without a doubt, Dimebag would be pleased as hell ——< PRO: Outstanding clean, ‘overdrive and high-gain istortion tones; versal None Eee oe PLAYING SONIC REDUCER By Erle Kirkland iSP Technologies Decimator noise reduction pedal MARKET IN tise Serene ite Jini Hendrivand Kure Cobain weed pracy tery sound tha emaneted om theicrigs. On the other hand, the majority of mainstream pickers don’ rypically consider hums, pops hisses and squeals to bea useful par of their tonal palette, For these players, the new ISP Decimator pedal isa dream privet “ ‘The Decimatoris the MN brainchild of Buck Waller, 2 man whose work is well known but whose name isnot Waller is both the founder of Rocktron and the designer ofthe wellknown Hush noise reduction products, with which he demon qualifications for building devices that silence hiss, hum, | Sbeeole buzzes and the like. RICE $129 ‘The Decimator benefits from Waller's past successes. The unit's covetable chrome chassis features a single threshold knab with a range from : +10 t0-7odb that allows the Decimator to adapt to | the requirements of many different instruments and effect loop applications. The unit can be powered by a nine-volt battery or AC via an adaptor (not included). Noise reduction pedals diminish the natural sus- tain of held notes, remove high end from the signal ae and aren't able to track quick staccato notes. The Decimator doesn’t suffer from any ofthese ils. Its revolutionary Time Vector Processing is able to | and seamlessly reduce the appropriate level of noise as the signal fades. Performance nse, the Decimator can be inserted between your pedal chain and amp input or in your amps effect loop to clean up noise present at the amplifier input as well as inthe preamp, Ttested the Decimator atthe end of a pedal chain in front of my high-gain Mar- shall rig, which suffers from extreme levels of hiss and fre- quent feedback issues, With the Decimator set for ~35db, the noises practically disappeared and the sound of the idling amplifier hissing through the speakers was reduced to an almost inaudible whisper ‘Throughout my test, the Decimator effort: lessly tracked every nuance of note rise and decay but never affected my attack char. acteristics or tone. In fact, the only thing I ever really noticed was thatthe noise in my system had been drastically reduced and I no longer needed to use special muting and volume techniques to control my instrument's response, The Bottom Line ‘This iSP Decimator may be the most effective noise reduetion pedal on the marker. Its operation is completely transparent and its performance is flaw- less, Once you turn it on, you'll never turn it off. ——— ‘PRO: Clear nolse reduction without signal interruption None : accurately track the complete envelope of each note BOX CRUNCH benefits of acrankeg amp ané med speak- | Feabiel bt a volans levels ou ardour ‘eightors cn ive wih The compact, Sreosed cabinet houses spectly ‘tsigned sine, 75m Eminenespeak- fr eight and 6 ohm versions Se avalate) aaa dynam Imerophne, The eb means ‘Sentay seunaproat wit 472 curTAR woRLD JLH AxeTrak direct recording device THE AXE TRAK is designed give youthe | ont minimal lakags Setip couldnt be easien feed your amo’ speaker output tothe tacos int page | fonder or mic preamp) LST PRICE: $2990, ing overdrive bat Sith leone produce ousie fev My 1O0oatt Rivera Knucklehead err tur up your torte tones fore | Bem suse by “amp You get alte bert ot | turning the master volume to igh, tha {ranked mp, ino a vet | nota testmentt he Acros power: "ih Ascot meme cout my Somat Fencer Pro Handing epebity. 1 aot know what Dveral the AusTax sounds res ands & Pesaue to use, Danny Mies IBANEZ HUGHES & KETTNER Push gutarist Alex besa nas been one Aleerphosi for ecetonay Ketinr amps, andhis ‘Contelled ithow runaway and Gal ou FENDER FOOTWEAR The Drzamisa plush fon prondes cushioned How and Saran wear mors sues (6-13) arin Baca Price: $50.00 am FULL-ON MANAGEMENT soe YAMAHA Devons at Yorata's tnd named or Queens ot the Stone Ago putas. tiectre cesgnedin te triton of ass eh opm The boy icon cad oft Bord mapa the bound rosewood nae thre saaptar single co ‘Retvome pecosta bre twin aigsytemele Testothevtage et Sid sound Color shoes itehite Sood annacont Usterce $149899, Yamane Corparation ot COOL CAT Fender Jaguar HH electric guitar By Emile Menasché T inniicticccr intent fay. With ele length of just 24 nce, the sags eck isa flinch anda hl shore than the necks foundon the company Sry, Tele and Seamaster guitar models Yer hss vay been he agua scength, Stone gies abo sons ‘oped tplayers wh small hand nd tote wth Inge spats or steched chord voles, Bu thesis ore on compact eae han Beng ble reach he sh re fom ia potion, Fr inane, the srings ar oer, yu can bend chen ely You ao lord tx Conversely, you ca oad the guar with ese ieraring fort ety tone withour inducing Carpal tne every tine ou fra chord er way, the necks compact sie ass advanages Now Fender as given the Sitievera original anupdate, The new Jaguar Speci aon ea citierpcirion duced tomber te devo aistcentury crs and eyes Construct ‘The Japanese-made HH has an alder body, maple bolt-on neck and rosewood fingerboard with 22 frets. This Jag comes in a black polyurethane fi ish, which is accented with lots of chrome hard: ‘ware. The neck is moderately chunky, with the rounded shape associated with Sixties era Fenders, ‘While the action on my test Jag was exceptionally low and encouraged effortless string bends, the instrument did not produce any buzzing. Unlike traditional tremolo-equipped Jaguars, this one has Fender's version ofthe split bridge/tailpiece setup, which they cal the Adjus to-Matic, Vintage-style tuners complete the hare ‘ware package Ithas been said chat the Jaguar’s and Jazzmas ter’s offset body shape is what Leo wished he'd