TG 45 - Jul 1998
TG 45 - Jul 1998
Contents
FEATURES
THE BlUETONES PAGE 12
Guitarist Adam Devlin at The Last Chance Saloon
YNGWIE MAlMSTEEN PAGE 15
The speedy Swede is back - on CD faa ...
MOTORHEAD PAGE 17
We chat to Lemmy's right-hand man, Phil Campbell
SOUNDTRACK OF OUR LIVES PAGE 18
More from Sweden - it's classic rock time
RITCHIE BLACKMORE PAGE 12
TG talks to Ritchie about his new project
NOW THAT'S WHAT I CALL .. THE '80S PAGE 44
Ten top '80s riffs you must know!
REVIEWS
TANGlEWOOD PIONEER II PAGE 84
An exclusive look at a newie from Tanglewood
DIGITECH RPI MUlTI-FX PAGE 67
Floor-based fun with the RPTs little brother
SESSION EnE PUNK PAGE 88
A small combo with big attitude
DEARMOND STARFIRE SPECIAL PAGE 71
Stylish semi, complete with Bigsby-style trem
BRADLEY HOG PAGE 72
This little piggy went to market ... and it was loud
TECHNIQUE
CLASSIC TRACK - CREAM PAGE 78
Spend some quality time in the White Room
ACOUSTIC - DIRE STRAITS PAGE 90
Knopfler's Private Investigations - with full backing
TV THEME - THE SHAOOWS PAGE 98
Man Of Mystery, it is from a TV show ... honest!
NOVICE - ERIC CLAPTON PAGE 102
Make your playing Wonderful Tonight
SONGSHEET - ROBBIE WilLIAMS PAGE 105
Play the ex-Take That man's biggest hit, Angels
REGULARS
BLUES - JOHNNY WINTER PAGE 108
White lightning blues technique NEWS STORIES PAGE 8 MARKETPLACE PAGE 123
With tutor directory
ROCK - AlEX UFESON PAGE 11D lEnERS PAGE 58
Weird tempos abound with the man from Rush NEW GEAR PAGES2 NEW REWSES PAGE 132
CLASSICAL - JOHN DOWLAND PAGE 114 MAIL ORDER PAGE 130 DEMOS PAGE 137
Medieval musings with Mistris Winters Jumpe
SUBSCRIBE PAGE 131 RIOOR MORTIS PAOE 138
TAKAMINE COMPETITION PAGE 118
READER ADS PAGE 122 Watch out, Rigor's about
1998 Young Acoustic Guitarist Of The Year compo
GUllUR
30 MONMOUTH STREET, BATH BA1 2BW
Tel: 01225 442244 Fax: 01225 732285
INTERNET: hwylle@fulurenetco.uk
TRACKS 5-10 WEB SIIE: htIp:Ilwww.muslclansnuk
CD Contents
Spandau Ballet, Dura.n Duran and Yng-wie Malmsteen. What
(leaving) Art acinar Jenny Price
5eoolor art _Ian Miller
Art SWAT team David Dyas
ConIrIbutars
Steve Allsworth, Richard Barrett,
Ben Gilbert, Chaz Hart, Kit Morgan,
more could you possibly want? The TG OD has it all... Derek O'Sullivan, Dominic Pedler, Tony
Skinner, Neal Slateford, Henrlk Tuxen,
ALBUM TRACKS iii''lii . t_jiji KULA SHAKER ii;''lii .. "~i ACOUSTIC:
Ian Waller, Simon Young
Music engravers
iMill'" YNGWIE MALMSTEEN Smarl Dogs - intra riff (0'20) DIRE STRAITS Simon Troup and Jennie Harrison
Another 11me (5'01) Knight on TIre Town - Intra riff (0'09) - PRIVATE INVESTIGATIONS Disc maslllrlng and co-ordlnaUOn
Govlnda - Intra licks (0'39) Private Investigations - complete(5'40) Adam Crute
Supersonic Swedish rock.
Taffva - Intro (0'47) Private Investigations - backing (5'45) PIIoIograpily
(P) 1998 Ranch Life PAGE 15 Rick Buettner, Gavin Roberts, SimOll Dodd
Tallva - solo (0'25) Classical guitar in rock? PAGE 90
IUustraUons
1;''lIt*j MOTORHEAD Hey Dude - Intro (0'23) Mat Rich, Stuart Gibbins
Better Off Dead (3'39) Sound DI Drums - intro (0'19)
Lemmy and his boys. Govlnda - backing (0'52) Senior advertising manager Rob Last
(P) 1998 Steamhammer PAGE 17 Crispians coolest riffs. PAGE 27 Classified Sales Scott Longstaff
Group production manager Judith Green
i'!f.!H!.' SOUNDTRACK RITCHIE BLACKMORE Deputy group production manager
OF OUR LIVES
Mentra Slider (6'38)
Child In 11mB - solo section
Deep Purple solo.
(2'47)
PAGE 36 '4;.'4: .. ':'1.1
CLAPTON - WONDERFUL TONIGHT
NOVICE:
Nicola Lucas
Production co-ordinator Donna Atack
You like classic rock? Here goes. SenIOr ad designer Claire Walkins
iii'JI!8Miiui NOW THAT'S WHAT Bm 1 Instrumental riff (0'53) Circulation dlrel:lor Sue Hartley
(P) 1998 Coalition PAGE lB
I CALL... THE '80S! .!!m...2 Simple Instrumental riff GnJup ,0_
Simon Haisman
iisf.!1!1JI1 BLACKMORE'S NIGHT Kings DI TIre Wild Frontier Versesection (0'38)
PubliShing director Jane Ingham
MondTanz (3'33) ManagIng -." Greg Ingham
- Adam& The Ants (0'43) Wonderful Tonight - backing track(2' 45)
Go moon dancing with Ritchie. Planet Earth - DuranDuran (0'28) Clapton, the easy way. PAGE 102
(P) 1998 Coalition PAGE 32 Pretty In Pink - PsychedelicFurs (0'18) InIIQII5o.' "-'I'I'tIgf'.ll'hlcs b\ lIache!. AI"'Y, Simou Jon): 2,
Fields DI Rre (400 Miles) ii;''lft.*f',"j BLUES: I.I~. Tim,llridll, Jasorl. ;.;!t'i~ Uicbdrd, ~Iark& MllIt
REVIEWS - Big Country (0'35) JOHNNY WINTER Printed and bound in the UK bv
Cradley Print. \\'est ~Iidlallds'
ii;HI!'''i TANGLEWOOD PIONEER II 2000 Miles -The Pretenders (0'40) Johnny Winter-style solo (1 '11) N'f,"'~ Ir.uw di!rtn1mtlml; Futul'l" Puhhshmg(B2:?5 ,14:!!14
ISSN1!l5515O-19
Milk 11ay Woman- demo (1 '07) New Years Day - U2 (0'40) Full-band baCkingtrack in Am (1 '47)
o Future PublishioX U1Jfi;
So new it's a prototype. PAGE 84 Don't You Forget About Me White-haired rebellion. PAGE lOB i\tlt'fllIl.'\butioll<tuT...w(;.n)..,~",""Utt.~1
11:111 pnl.w.du,. rfw {lag, offuH ~ lt rl rnJ1)ndlf.
- Simple Minds (0'21) '1;(;111:,91 ROCK: unit.. oth!'rwiF ~~.u iu..do;mo. ~nJ hI writh'!!:
DIGITECH RP3 "up.<rttitlh~""m;I\.-brl'\-ponln<''''.SI_II''I . nt''''lOI
Everybody Wants To Rule TIre World RUSH - ALEX LlFESON "' .. n"""'I"rtP..uIu....pn',..nn.'Il"'~u(thepubMbtT
MULTI-FX
- Tears For Fears (0'14) Examplesplayed over backing (2'57)
Two presets (0'18)
Tlrrough TIre Barricades Hock, the Lifeson way. PAGE 110 AdvertIsIng
two programs (0'21)
- SpandauBallet (0'26) Rob last 01225 442244
Propelle"'ead - demo (1'23)
She Drives Me Crazy - Fine CLASSICAL: 5ubscltptlons & back issues
The RP7's little brother. PAGE 87
Youngcannibals (0'23) JOHN DOWLAND 01458 271136
Future Publishing, FREEPOST (8S4900),
ii;!!i4@' DEARMOND The TG team don their Mlstrls Winter's Jumpe - 2 guitars(0'51)
SOmerton, somerset TAll 6BR
STARFIRE SPECIAL stonewashed denim. PAGE 44 Mistris Winter's Jumpe - solo (0'52) Subs enquires subs@futurenet.co.uk
Feelln' Guilty - demo (1 '34) Might as well jump. PAGE 114 Cusfon1er services 01458 271136
Semi-acoustic shenanigans. PAGE 71 TECHNIQUE ae-&I enquires
TUNING GUIDE
ii;9H,lfl TAKAMINE customerservices@luturenet.co.uk
bad things about Kula Shaker: As ever-polite bassist Alonza Bevan patiently explains; 'Well,
i1
HE
their unashamed avowal of all things we were slogging away with nothing else going for us, playing solidly
retro, the half-baked Eastern for two and a half years until we got signed at the end of '95 - after
philosophy espoused by frontman touring with Reef. We were gigging in pubs and clubs in London,
Crispian Mills, and worst of all, his then we blagged some supports and got on bills at festivals. I think
comments in a music weekly last year that that's why we're so tight because we've
Hitler, in spite of his (ahem) bad press, was had the time to learn our trade."
basically was into some good things, like Crispian adds: "We were realising that through all our hard work,
mysticism and magic. A Kula Shaker show with we had become a much better band, and there came a turning point
burning Swastikas on stage, anyone? Thought for us, both personally and musically. And it's when you have a
not. Profuse apologies from Crispian ensued, personal crisis that the music starts getting really good."
but the damage was done. Kula Shaker are And what about criticism that the music is predictable, that the
now portrayed in the music weeklies as the influences are worn too openly on their sleeves? Crispian says
band it's hip to hate. But that's missing out defensively: "I don't think, 'Let's get my slide to sound like Dave
just one factor: their music. Gilmour, or my vocals like John Lennon on Tomorrow Never Knows.'
Crispian himself laughs off the press criticism, This is just what we enjoy playing, it's what we're drawn to. We are
'We're just four guys playing music - sometimes going to move on from here, but this is where we are at light now,
we find ourselves reminding each other what and we're having fun doing it. But we can't deny that we have been
we're doing, just singing songs." So no tantric influenced by traditional classic acts."
crusades to reawaken the old order of Krishna So exactly what classic acts light the Kula Shaker fire?
consciousness - just good honest rock 'n' roll What mantras mould the mind of Krishna-child Crispian?
from a good honest four-piece band, with Well, the list isn't a surprising one - "Abraxas by
Hammond organ and wah pedal wig-outs taking Santana, Deep Purple's Made In Japan - one of the
you right back to the days of messrs Blackmore best ever live rock albums - and Dave Gilmour's
and Lord, live in the Budokan, circa 1971. guitar stuff on Dark Side Of The Moon. As far as
guitar goes, that's totally where I am
HUSHED UP coming from," Crispian proffers.
Take Hush, their cover of the, er, Deep Purple Cover versions pilfered from an
cover. A live favourite with Kula fans - it was existing (and already famous)
released as a Single after the debut album cover version, songs about the
(imaginativelytitled K) had already hit the top of Grateful Dead called, cheesily,
the charts. The track was recorded in a single take, Grateful When You're Dead,
with just a couple of drop-ins to correct errors in and heartfelt psychedelia
the keyboard and bass parts - Crispians wild in an age when bands are
Stratocaster lead was winged, proving this to be more into beer than
an extremely well-rehearsed band, with a guitmist Buddha - these facts seem
with a great feel for his instrument. to suggest Kula Shaker are
CD TRACKS 12-19 KULA SHAKER FEATURE
TOTAL GUITAR
ISSUE 45 JULY 1998
FEATURE KULA SHAKER CD TRACKS IZ-18
~R On the CD
"-The opeDsecond strinll' In the first bar should sound very relaxed, but at tbe most of any dynamics - ell';the first two staccato notes of the riff and
the same time dou't allow any other open strinll'S to rinll' over it. Make the accent at the end of the _ bar.
;;~~ On the CD
"
.
05
~,t.
1\ II =86 I ~ I
@)
.... _ ._. u __
-Q
E
B
.~ u
~v
~ u
, ~
!<v
The first bar a.nd a half of this riff is given to a big-sounding open D distortion, or the chord will ring on, smothering tbe picked notes later in
chord, In tbe middle register of tbe the instrument. Don't use too much tbe riff and _mng the feeling of space.
II II
u ----
~-----------------l :~-~
.Q
~.
e- let ring- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ .J
E
B
G
D v
A
D u
. I "
~
let ring
J
Fm7
- ~
FmS
-
Fm7
- ~
FmS
-
I
u u
I I
Et> (with slide)
.- I
- r ~-~ ~~
s S S S S
.. u
'" 'u 'u
"
TOTAL GUITAR
ISSUE 45 JULY 1998
FEATURE KULA SHAKER CD TRACKS 12-19
~~ On the CD
" KULA SHAKER: Tattva (bottleneck solo) - cont ... CD TRACK 16
fI I ~--..~ ~-f'- ~ .. I
./
/
@) ,
S S S S
~~
,~ v v
s: ~
,~ ,~ ,~
~
;;"'"
Use a bright overdrive with the middle pickup position. The slide should
be used on the first finger to make it easier to access the first fret.
t . I "
1 . =; ._
I .. \( .\( ..,}{_ .A>( . .A>( .A>( ~. \( Y Y Y Y
.\( ~
@)
PM PM PM PM
- - PM I
....'u ....'u ....'u .... .... .... ....'u ....'u ... .. .
'v
-~
,uP'::-
.Vn
'u
Un
'u 'u
.Un
'u
::: :::
.":. .":.
'u 'u
.~-'u::: :::
.":.
'u
.~'uX- ::: :::
.":. .":.
'u 'u
Un
::::
'u
:::: ::::
'u 'u
.~-'uX I
, ~ ~ ~ ~ )r ,;
i ~ ~ ~ ~ ~ ~ ~ ~ ~ :: " sc
@)
PM PM PM
l!
-- - PM
.~
'u "'. 'v "b,l- .- 'u 'v
" "
I!
"
I!
" :::.
Yo
::: tx
.u.
.~ I!
11 ~ ~ ~ ~ tr ,; i ~ ~
z; ~
e, ~ ~ X_ _X x. X ~ =; .. \( ~
@)
PM PM PM
- - PM
Keep your picking hand going in a constant semiquaver rhythm. then the
oft-beat accents in the second bar win naturally occur as up-strokes.
Guitar sound
ecause of the psychedelic nature of the band,
B xxo xx xxo xx These box shapes should be
'1'1
it's easy to assume that the Kula Shaker all you need to figure out the
guitar sound relies on effects. Not so - all of these riff from SouDd Of Drums. Bar
riffs will work with simple overdrive and reverb. 1 consists of two notes only -
open D and 5th fret C. The
If you do apply effects, use them just to thicken ascending bar 2 riff uses the
the texture - from example, try short delay 7th fret position shown. Bar 3
(lOOmsor less) to create a double-tracked effect, features a rapid hammer-on
or a compressor to tighten the rhythm sound. OpenDandC Drift and pull-off at the 4th/5th fret.
(capo 2) (capo 2)
-~~ On the CD
After Bta.m=.ta.rk on 19'70'0 rock leg-ends Deep Purple,
guitarist Ritchie Blackmore is about to release a brand new
album. IAN WALLER. caught up with him to chat about
classical music, guitars and everything in between ..
O much has been said about It's about opening the door to people who didn't
S
the 'awkward' and 'difficult' know too much about Renaissance music.
Ritchie Blackmore - that he's "1 think it's music from the heart rather than from
a real sod to interview, a the head or for financial gain. It's what I want to do.
demanding egotist to work I'm so used to going into a studio with the hard rock
with and as likely to demand a thing and putting down riffs and progressions, but I
band member's P45 as plug in his wouldn't listen to the finished product because it was Mond Tanz
Fender. Well if any of this has ever totally different to what I originally wanted," he adds. Mond Tanz (German for Moon
been true, none of it was evident when "It's taken me this long to get to the stage of saying, Dance) is one of three
Ritchie recently spoke to us about his well, I'm going to do something 1 want to do instead instrumentals on the Shadow
latest project, Blackmore's Night, an of playing for managers and promoters." Of The Moon CD. Blackmore
album that's been released 30 years explained that the track was
after the beginning of Deep Purple. HOW DEEP IT GOES inspired "by observing a group
Blackmore recently turned 53, an age From the earliest days of Deep Purple in the late of gypsies that congregate to
that has seen his contemporaries either 1960s there has been a classical element to much of dance in the field next to my
turn to the classical scene or rely on the Blackmore's playing. Although the classical lessons as house to drum in the summer
sympathy and sepia-tinted memories of an 11 year-old ended prematurely ("because I was Solstice when the moon is full."
tile nostalgia circuit. Blackmore, really slow at picking things up"), Blackmore found in
Although there are due to be
however, has always been the Purple's John Lord an ideal playing partner. His four instrumentals on the next
individualist, preferring to go his own way. rousing keyboard accompaniment borrowed much
album, Blackmore generally
The result is Blackmore's Night, a from the pomp and splendour of classical
prefers to shy away from them.
renaissance-inspired collaboration orchestration. An early result of this was Lord's
"I never think of myself as a
between Blackmore, his vocalist (& Concerto For Group And Orchestra, which Purple
guitar player that should do
fiance) Candice Night and a group of presented alongside the Royal Philharmonic
guitar albums. Unless I have
Long Island musician friends that the Orchestra at the Royal Albert Hall to critical acclaim something to say and I have a
former Deep Purple guitarist describes as - a recording that helped seal Purple's reputation as good singer to play with, I'm
"the most musically satisfying CD recording one of the most talented of Britain's 70's rock bands. really not that interested in
that I have ever been involved with." Blackmore's earliest memories of picking up the doing just instrumentals, so I
He explains; "I've been into Renaissance guitar are of a schoolfriend who had one - and so he shy away from that. I really
music for 30 years, but have never played it. decided he wanted one too. "It started off with think a singer is very important;
Over the last ten years I'd be playing it listening to Tommy Steele when 1 was 11 and then I it's like an orchestra without a
around the house and Candy would join in moved onto Hank and The Shadows, then Duane lead violin. I love instrumentals,
and that's how we started. Eddy, Buddy Holly, Les Paul and Chet Atkins. Jimi but not all the time."
"The material for the album came Hendrix was an inspiration, not just his guitar playing
together quickly, although I never thought but the way he would write a song with a heavy riff Guitars: Ritchie Blackmore
that I'd be playing it. Still, we kept an and extemporise around that. (P) 1997 HTO Records
open mind and compromised just a little. "I started songwriting because 1 heard The Who
TOTAL GUITAR 33
45 JULY 1998
FEATURE RITCHIE BLACKMORE CD TRACKS 4 & 20
playing I Can't Explain and I knew that Head and Burn. A lot of people think I hate the music; I don't hate it
Ritchie was something I wanted to do. I started at all. I was listening to it the other day on the radio and it sounded
great. But you have to go on to other things."
Blackmore with riffs, then a progression, and now I
come up with the top lines as wei!."
By the time Blackmorejoined HEBE COMES THE NIGHT
Roundabout in 1969, he was already a much sought-after session Since the release of Shadow Of The Night, Blackmore has been busy
man. Within a year Roundabout had become Deep Purple with a touring and recording another Renaissance-influenced Blackmore's
line-up of Blackmore, Lord, Ian Gillan, Roger Glover and Ian Paice - Night album, as well as planning some British dates for later this year.
this was to remain the band's most powerful and successful "It's tricky playing this sort of music live. At the moment we must be
incarnation. While Purple were getting a blossoming reputation in the quietest band in the world," he comments. "For a purist like John
America, British acclaim was slow in coming. Then in 1970 they Williams it must be very tricky be to heard over an orchestra. He's
released Deep Purple In Rock with Blackmore able to give full amazing, he must practice 20 hours a day."
creative vent to his oh-so distinctive solos, complemented perfectly by When it comes to other guitarists, however, Blackmore is less
Gillan's searing vocals and Lord's anthemic backings. easily inspired. "People are often say 'What do you think ofYngwie?'
Almost immediately Purple were and I think he's incredible. I think
at the forefront of the '70s British they're waiting for me to say he's
rock explosion. The album Fireball terrible or something, but he's not.
was released in 1971, building on the He doesn't seem to hesitate to say
band's growing reputation, They hit that I was an inspiration for him, but
new heights with the classic Machine sometimes it's a little too close and I
Head. Introducing classics like feel a little strange about that."
Highway Star, Space Truckin' and the So is he flattered when he hears
incomparable riff-laden Smoke On his style of playing appearing in
The Water, Purple were at the other people's work? "I did hear it
pinnacle of their creativity. the other day, funnily enough, on the
radio. I thought it was me and I'm
FIBE IN THE SKY going 'Who the hell is that?', and it
Over the next couple of years, despite was Joe Satriani. I would never
further releases and continuing believe that this guy would sound
acclaim, relations in the band grew anything like me. When I bought
strained. The early seeds of Sutjing With The Alien I played one
discontent between Gillan and side and thought, Wow, the guy's
Blackmore had already been sown amazing', but I played the other side
and within a short time Gillan, Glover and something wasn't getting me. It
and Blackmore all quit. Soon after was incredible technique and playing,
Deep Purple called it a day. but it lacked something. Maybe it
This new found freedom gave was a bit too technical and fast."
Ritchie the chance to form his own "I gave up trying to play fast when
band, Rainbow, the perfect vehicle I was 17, believe it or not, because I
for him to build a unit solely around just concentrated on speed and
his musical requirements. Dealing everything else was irrelevant. It
with a series of personnel changes took a few people to say 'You know, I
that somehow illustrated Blackmore's think you should slow down' and I've
Single-minded determination to get been slowing down ever since!
things just as he wanted them, "For Blackmore's Night I'm playing
Rainbow built on the following that an Alvarez, a Taylor and a Lakewood
Blackmore had secured among acoustic, usually miked, sometimes
Purple fans to create some of the best plugged into a Crate amp, although
commercial rock of the early '80s. on the heavy stuff I'll use an Eng!.
Perhaps inevitably, rumours "A lot of the playing is structured
constantly abounded of a Deep in this Renaissance thing. You can't
Purple reconciliation and in 1984 the just start improvising. That's a big
rumours were true - the band released Perfect Strangers. challenge for me. My worst problem when playing the guitar is
Over the followingfew years Deep Purple went about remembering melodies and sticking to them. But in this stuff you have
successfully reclaiming their crown of British rock supremacy from to. There's not room for improvising as there is in rock 'n' roll or
the clutches of a countless AOR rock wannabes, despite the comings blues, the rigid minors and things are all just exact, rigid structures.
and gOings of Gillan. Finally though, Blackmore quit Purple again at "There's something very rewarding when it works, something very
the end of 1995: "It was all a little too pretentious and pompous for fresh and fulfiling. But it's nervewracking, especially going out in
me, but they're a great band and good musicians, and it's good that front of an audience and playing so quietly. I'm used to coming on
they carried on because when I left they thought that was the end, stage and breaking up guitars and screaming loudly with a fist in the
and I kept saying 'Why don't you just get another guitar player and air. This is the complete opposite; it's like appearing naked on stage.
carry on.' We ended, I thought, as friends. Since then it's gone But, yeah, you do get used to appearing naked on stage.
downhill and there's all sorts of comments, and I wonder why. I don't 'There's still a place for another Rainbow project, maybe next
get along with Gillan but as for the rest, we're just normal guys. year, but at the moment I'm excited about this music. I was getting
"Without Purple I would never have got to do what I do now. We tired of churning out the next rock 'n' roll record, so I thought that I
played a lot of good music back in Deep Purple In Rock, Machine should back off for a while and I'm very happy playing this." liE
~~ On theCn
RIOHARD BAB.IU1TT
CHilD IN TIME
tra.u.scribes a.u.d pla.ys Ritchie
Bla.ckmore's epic solo, taken from the cla.ssic 1970
album, Deep Purple In Bock.
II
DMITTEDLY,most of Blackmore'ssolos Ritchie begtns on the neck pickup of his
from around this period have become Strat 'with a mellow series of bends and trills,
ii;!UIf4 I'
J Am G
: 72
1;,1'- -tl'- 1;,p.. ---- I'- ;_ "'-' r
l- ~ ,_ I'- ;--p.-I'- ,;,~ ~ )~ ~ ;_ ~
"
t) ~
w/neck PIU
BU sl \V BU
B B ....._
B :.-=- 'v u 'v
"" ....._ ":' o_<::_ '"
....._
Am r-3---,
~t: r:' ,~
" ~I'-'
-
1-=
=.
~
-- . -- , jf,'~
t) LID - -~ .J."...:I
'" BO H P P p P
'v v 'v v p p _fll. ..., BU
'v v v _v o 'V.
v .s: .s: _" ~
.s: v
~~ On the CD
H P P P P
1 1
w!bridge PIU RP 7- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
1/4
" 1 __
-- )
~
1 _.....--.._
~ - --.........J ~ '" / ~
1/4
~
RP 7- - - - - - - - 1
-
P P P P BU H P
u u
" " u
" -,
"
,.............. _.,...., 1""""1""'1- ~ I- .!"'-r-,
~
string
noise
- - -,
H P P P P P P P
u u u u u u
u
"" <,
/
"
" " " "
" ~
- -
I-
--.... .J ..... -
__ r--r-,
. ~*
~
L:L ""'"
siring
noise
'v
/ <- <-
" " v
TOTAL GUITAR 3
UE45 ISSUE 45 JULY 1.998
FEATURE RITCHIE BLACKMORE CD TRACK 20
~~ On the CD
DEEP PURPLE: Child In Time CD TRACK 20
"
,....._
W" ~ . ., . ., .,
- -=
-
I'"
~ . W" ~ . ~ . ~ li ~~ ~~ ~ =:::'.L..J
. v . --z: -,,- o
V ..., V o ., '"' ., " o "
o . -z: --:::r
"
~ ~
p p
-.0..../ -.......J ~
p p p p p p
-.0.....1
p p p p
- ~
p p pp
- ~~~""""'--J
p p p p p p
o o V oJ oJ V OJ ..., V " .,-v oJ v V " ., o ., V -0-0 oJ o V
'"' ., V
--;;y-v
L>!_ ~ 1.>[ L>!_ t.;:!_ 1.>[ ~
~ === I ~ .
lay back- - - - - - - - - - - - - - - - - - - - - - - - -"
P BU BU BU BU BU BU
p p " oJ U " 0 !!:! 0 'V' ,-} 'V\I"'! IV\I"} IV\I'} ,,-} 'V\04.
IV o '0 IV IV IV IV IV
IV U IV 0 IU 0
IV IV 'v U
--u
" 0
" oJ
o " 0
___.,
--, - --
,------- 4 ----,
I I ........
"
~ o.....L...oJ ~~ -- =_ ~ / /
p p
o oJ U o
~~ On the CD
~ . ~ b,_ ~ ,_ Fl-
" /~
~
PB & RP 10- - - - - - - - I
~ :;: 6'
U
,.........
"J.
r=. r>. r> r-..
'v 'v 'v
'----'
" I _
- ~ ~ . . . ~. . . ~. . .~.- ..
~ ~ ~
H P H P H P
P P P P
H P BU BU BU BU BO
'v .v 'v
'~J .~, .~, '~J
.; 1-1-'" ~ ~ ~
PB 8- - -t
BU BU
BU
'V
I~
BU
'V
BU
IV
.~ 'v I~ lv'
V IV,
TOTAL GUITAR 39
ISSUE 45 JULY 1998
FEATURE RITCHIE BLACKMORE CD TRACK 20
~~ On the CD
DEEP PURPLE: Child Iu Time CD TRACK 20
BU BU
- ~
BU
o
-,,- ru....,- IV '0 -"
P BU B
o 'V}
r-2---, ~
1\ .,. jr . .,.' jr.' jr.' .jr#jr# jr -e'
'-l
- :::::J"
BU
-....
BU
..
BU
t.-
BU BU BU
l"
v v 'V,
H .._,
>! H .._,
>! H >! ...". TU"
'v 'v,
'-' 0
V
'-' 0 'V,
V " '-' 0 0
II"'~ ~ . ~ ~ ~
?~. ?~.--~. m~ ~~~n~"--I
~ L-i.-J
!a'0
-
BU BU "" BO P P P i P
V o 'v IV\T"~ 'V' '<'} "'}"V"- IV 'v u 'v 'v o} P
u 'v
-;v
oops!
1\ I~
j4
~--
~
P P
- ~ ~
P
~ i'"
S
~
11.
P
I:::::I.-LJ
P P
-0" --.::1 c
V V
1\ ~ _'t' ~ - ,.-.--.._
- ,.-.--.._
- ,.-.--.._
-"'-3 - - - -
"' P P H P P H P P H P P
v v .._, " v V
" "
.., o " V
"
~~ On the CD
.
DEEP PURPLE: Child In Time CD TRACK 20
1\
. .x. .x. .x. .x.
)(
.)( n.--- . ~. ~.
~ - -
BU BU BU BU BU BU P P P P P P
"
1\ ~. II~. . ~ ~ . ~ ~ . . . ~ ~ ~ ~ ~ .----.
~
p p p p p p
~
. . ._._.
slightly flat- - - - I
~
BU BU P P P
v ,u v ,u u u u v u u u p p p
u " u
" ...,~v~...,~v ~ v "" v "" ..., "" v
c: a:
v '"
1\
~ ~
~ -- - /
~ ~ ~J~
- ~
- ~
.
5
, v , u , , ., u ,
V V V U U v
x7
- ,# t t: ~ t t: ~ t f: ~ r- 1'- ~ t t: ~ r- f: ~ r- 1'-
1\
.. ..
tJ ~ (slide 1 only)
let ring- - - - - - - - I (3 to bridge PIU)
,~ ,..., "'-
,..., '" ,..., "'- ,..., 'v
Z
~ /'
TOTAL GUITAR
ISSUE 45 JULY 1998
FEATURE HITS OF THE '80S CD TRACKS 21-30
~~ On the CD
-
to/bar
I
Fm
2
D~ -----
" ..
~ ... . ,;
~
u
ustbar- - - - -
v u \"
" I - D.C.
(0n repeat)
~ . ,; ~ -,J .. ~ ~
---- -.
U
IV
BU
u
V V 'u
This simple but effective melody uses downstrokes throughout. Barre the four bars. Move to the fourth position for the second half. but sUp down a
first fret and use your third finger to fret the first note of each of the first fret for the last note of in the seventh bar.
DURAN DURAN
Planet Earth (1981)
Charted: 21 February, 1981; Highest position: 12
F
____ e-
" ~f/
@)
S S
V ~ V U V V ~ V 'V
Om F
fI tria
@) -
S S
v ~ u u v u ~
For thls question-and- wer phr you need only use your index and_ also be with your seeond finger. Use a pitehshifter up an octave, with
second finger, starting the melody with your seeond. AU the slides should distortion to emulate the Roland GRaDOgnitar synth on the original.
TOTAL GUITAR 47
ISSUE 45 JULY 1998
FEATURE HITS OF THE '80S CD TRACKS 21-30
~~ On the CD
J=134 IL 112.
D Bm A G A A
1\ II I ~
= .~
'--""
~ - -
~ ~q .. ~ ...... / .
.; v_ f.-" 11 ~ ~ ~ ~ ::::::~ ~ ~ ~ ~ ~ ~
5
~ \i \i \i ~ ~ ~v ~v ~v v " " " ~v ~v \i
o v
\i
o
\i
o
\i
o o
v v v
Barre the B minor in bar 2 witb your index finger at the second fret, finger for the 0 at tbe fifth fret in tbe lourtb bar, reaching tbe flnel F.
enabling yon to quiokly barre the following A chord. Use yonr second witb your index finger belore rapidly shlltlng up a fret lor tbe D ohord.
~~ On the CD
f\ II
J=97
----
.r-r,
x4
----
Cadd9
I I
05
I ,~ I - G
~
Fade in
""-Io"",/~
let ring throughout
~ ""-10"",/ ~ .~ ~ ~ -' -' V'"",'"
pp
u c. " u c. "
Keep the notes fretted as long as possible, to let them ring ont, Use
ohoms, medinm.length delay and a bright (bridge pickup)tone,
U2
ew Years Day (1983)
Charted: 22nd January, 1983; Highest position: 10
~Ej On the CD
Am C Em 11. 1 2.
8~--------------------------------------------------------------------------------------,
f\ .,,_-.,,_ _----_ ~' ."'. If'- ~
"'I ......, I
RP
~~ ...
RP
S S
- UE 45 JULY 1998
TOTAL GUITAR 51
FEATURE HITS OF THE '80S CD TRACKS 21-30
! On the CD
1\
t.I
Am
~
c
- . .
~
Em
-;'._~-; I
r--...
Am
...._.,
P"""1
1
-- RP RP
v v
S S
Co Co V 'v o
" "
Co
-u 'v 'v 'v "
1\ ,.......,
t)
RP
..__..
RP
- I I I I-....J I I-....J I I "-
S S
c: 'v 'v
" 'v ,<:
" "
,. ~ sr
Because Edge wanted to use sliding notes to create a specific effect, there notes should be slightly muted after they've been played, to avoid the
are lots of position-shilts in this melodic solo. The cross-picked opeu heavily overddven sound descending iuto mush.
10 CRAP THINGS SIMPLE MINDS The B-reakfast Club, and the song set the scene.
The track was written specifically for the movie
FROM THE '80s Don't You Forget About Me (1985) and set the trend for Simple Minds' next album -
Charted: 20th April, 1985; Highest position: 7 although it wasn't featured on it. Unfortunately
Drum ntach ine: Looked
1 crap, ounded Ii'orse. aturday, March 24th, Shermer High School,
this seemed to be a case of shooting themselves in
S
the foot, as they went on to distance themselves
What Shermer, Illinois 60062... " so went the
2 Saxopholle S%s:
happened to the gllitar!? voiceover as we heard Simple Mind's Don't
from the song which reached number one on both
sides of the Atlantic. Guitarist Charlie Burchill
You Forget About Me fade out for the first time.
3 luminou socks: lVorll
ill [~lIg1(//1l/, nuule ill
.'leI/afield.
That oh-so '80s phenomenon of the teen movie
was set to launch a small-time Scottish band into
sums up the whole experience of 1985, 'We had a
lot of worldwide success. That was nice, it kind of
reflects where we were at the time, but it's not
the stratosphere of global success. The film was really what we're about. It's actually one of my
4 nreakdallcil1{!,: lleadnpin,
u-iudmill, cra=.ylegs?
Souud like too mOllY
least favourite albums - just big block songs".
Nevertheless it was these big block songs (Alive
lagers to /lie. mate. And Kicking, Sanctify Yourself) that paved the way
for the band's appearance at that seminal '80s
5
The MIIllet: The haircut
fit for a fish.Preferably a event, Live Aid. This stance continued as they
penned the pseudo-political Mandela Day for 1988's
flolltil1g one.
Nelson Mandela concert then took on the troubles
lIe{/(I/}(IlU/S: IIIexplicably
G liukct} Leith .J and .5 ... of Northern Ireland with the epic Belfast Child.
The five-piece outfit were often unfairly
That cher: ure ou-e YOII so
1 IIl11ch. Oh yes ICe do.
compared to U2, but The Edge provided the
overall sound of his band whereas Charlie had a
TOTAL GUITAR
JULY 1.99B ISSUE 45
FEATURE HITS OF THE '80S CD TRACKS 21-30
'1'1
to the 8th fret, second string.
Aid famine relief. Naturally, it became one of those Use your third finger for this
songs you couldn't switch the radio on without slide, from the Eb at the 4th
hearing for the next six months. fret to the G at the 8th. Play
Tears For Fears' fame, however, was not to last the G every other note, whtle
playing Bb and C alternately
out the '80s; after a lengthy time off the band at the sixth and eighth fret
released the epic Seeds Of Love in 1989, and the GandBb GandC respectivelYt letting the notes
picked notes picked notes ring out in a triplet rhythm.
duo parted soon after. Solo career obscurity
followed for both musicians. iE
SPANDAU BALLET
Through The Barricades (1986)
Charted: 8th November, 1986; Highest position: 6
~~ On the CD
-- -~ --
~. ~.
Emadd9 Bm7 Cadd9 Emadd9
1\ II -(.\
@)
i
let ring throughout
-
-,I 11
p
L
- -
V
o "
v v V "
~~ On the CD
SPANDAU BALLET: Through The Barricades (cont ... ) CD TRACK 29
1\ jj
Fadd9
~ .
Am7/E
~ .
Amin7bs
!:
1'":'\
0
1'":'\
I
...
~
- - r- l 1...1
- r u
v v v
v v v u u u u u u )i
v v v v v v ~ ~v
u u
Although you could play this acoustic part flngerstyle. it was originally fretting fingers clear of adjacent strings. The arpeggios in the final two
played with a plectrum. Make sure the notes ring out. by keeping your bars use the same pattern, but the bass Dote moves down in semiton8s.
A
s the decade that introduced us to the
dubious pleasures of the Filofax, the mobile
phone and Cheggers Plays Pop entered its
ath throes, the Fine Young Cannibals hit the
p charts with a vengeance. Essentially born from
e ashes of The Beat, the group responsible for
e ska-like pop hit Mirror In The Bathroom,
.:uitarist Andy Cox and bassist David Steele
rocured small-time actor/musician Roland Gift,
..JCked the title of a Robert WagnerlNatalie Wood
- m and FYC was born. Despite having a
ckground in dodgy cabaret bands, Andy's guitar
)'ing filled out the sparse three-piece sound of
Cannibals. Consolidating the success of their
- t eponymous album, FYC released a couple of Buzzcocks' Ever Fallen In Love gained the Quintessential '80s album
ver versions, stamping allover them with their rapturous applause of Buzzcock Steve Diggle, The Raw And The Cooked (1988)
o tinctive, slightly off-centre approach. claiming it surpassed the original. Their second
articularly successful was their cover of Elvis' album, The Raw And The Cooked was preceded by Ludicrous '80s moment
ispicious Minds (complete with erstwhile the funky single She Drives Me Crazy, complete Their remix album -
mmunard and '80s icon Jimmy Sommerville on with a guitar hook to die for beneath Roland's The Raw And The Remix
king vox) while their left-field version of The singular, almost falsetto delivery. ii3
!~ On the CD
~
1\ jj
D
.. ..
o
.. ~.
~
,
G
~
Bm
11
i
-- A
-..'-'"
:;-:~'
w/octaver -Bve - - - - - - _I
PM-----'
D
A ~ ~)1
F
C ~ '-1
G v ~v
D
Use down-strokes for the IIrst bar, fretting the octaves with your index Barre the G chord in the first bar with your index finger. in preparation
and third finger, making sure your index finger damps the fourth string. for the Bm and A barre chords of the last bar.
TOTAL GVITAR 55
SUE 45 JULY 1.998