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TG 45 - Jul 1998

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80% found this document useful (5 votes)
1K views27 pages

TG 45 - Jul 1998

mag

Uploaded by

André Lenz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 27

The top new Tanglewood

heads our stack of


cool review gear.

ISSUE 45 0 JULY 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

fo_ WHAT'S ON THE TG CD? SEE PAGE 6


ISSUE 45 JULY 1998
TOTAL GUITAR 5
I

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

VOLUME 45 0 JULY 1998 glorious stereo on


the TGCD. EdItor Harry Wylie
Deputy editor Joe Bennett
ProducUoa assistant Sian Uewellyn
S1afI writer Joo Jannaway

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

Tune a fish, or your guitar. (0'21)


COMPETITION Editorial enquiries
Purple Pages - demo (1 '01) August Dawn (2'28) TG office 01225 442244 ext (2682)
Total Guitar Ucensing enquiries
Newall-valve combo. PAGE 72 ii;M": .. t4ii CLASSIC TRACK: Win a uitar. PAGE llB
Chris Power +44 (0)1225 442244
WHITE ROOM - CREAM
FEATURES White Room (5'02)
Inlemel enquiries
Neal Slateford: nslatelord@futurenetcom
RIFF OF THE MONTH White Room - Full-band ii;",I1Md IMMEDIATE Musk: copyright CCMlrdlnalor
Lou Reed - Sweet Jane (0'22) backing track (5'09) Money Lender (1'12) Gabrielle Stackpool: 01225 732218
gabrielle.stackpool@futurenet.co.uk
Lou's sugary tune. PAGEB In the white room with Elic. PAGE 78 This month's top toon. PAGE 137 CIrculatIon
I Mandy Joseph 01225 442244
SubscrIpIIon price for 12 Issues
UK 51; UKDD 43.35;
Europe 71; rest 01 world 81

Total GuItar Is a If tile


~ AudIt " CIn:I!Ia1IonI
~ JuI-Oec 997: 45,G07

6 TOTAL GUITAR Jl."L1. 199 ISSUE45


The Kulas (l-r): Jay Darlington
(keys), Paul Winter-Bart (drums),
Cdspian Mills (guitar & vocals)
and Alonza Bevan (bass).
12-19 KULA SHAKER FEATURE

Knights On The Town


With a brand new sing-Ieat the top of the charts, and their second album
due any day, Kula Shaker are once again officially guitar band
of the moment. HARRY WYLIE looks back at their rise to stardom
with six great Kula riffs transcribed by RICHARD BARRETT.

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

Kula little more than a cod '60s pub covers


band. But no - there is more to them
invasions, but certainly nothing to the tide that is to come with the
second LP, due for release later this Summer.

Shaker than that, and Crispian is keen to endorse


the fact. Even the name of the band
The first single from the album, Sound Of Drums, is already
riding high in the charts, and the band's tour - dubbed (amusingly)
holds deep, and possibly mind-blowing, the 'Revolution For Fun' tour has began to roll around the larger
significance; "I'd heard the phrase 'Achintya Bhedabheda Tattva' in venues of the country, although Crispian's voice has already let him
India, and I got a friend to explain it to me. It means the down on a couple of dates. The name of the current tour suggests an
simultaneous inconceivable difference and non-difference of reality," end to the cod philosophising of yore and a return to the ballsy rock
he says, strangely deadpan as he delivers this nigh-useless 'n' roll of Hush - organ and wah workouts and bluesy pentatonic
information. "Then someone else who was actually called Kula Shaker soloing, This is confirmed by the fact that the sound of the band has
rang me and said, 'Just remember - Achintya Bhedabheda Tattva'. 1 certainly got raunchier, in spite of the Monkees-style chorus of Sound
thought that was weird. So I had the idea of doing something with Of Drums. Recording for the new, as yet untitled album (perhaps it'll
this mantra. We started working out the music and it sounded so be 'L'?), kicked off at Ocean Way in LA under the surprising
good that we made a track out of it. It was really velY organic." guidance of Rick Rubin - AC/DC fanatic and Def Jam supremo -
and George Drakoulias, responsible
ON THE UP AND UP for the Black Crowes and Primal
Singing your second single in Sanskrit Scream's rockier offerings. Bob
after the early demise of your first Ezrin, another celebrated producer
(the afore-mentioned Grateful... ) (whose credits include Alice
may sound a slightly foolhardy move, Cooper), took over the controls to
but for Kula Shaker, bizarrely, it finish the LP. Rocky stuff indeed.
worked. Things went wild with the
release of Tattva in the summer of GURUS OF GEAR
1996 - not since the days of Hendrix On the gear side of things, the band
had such a searing Strat solo been have always kept things simple -
heard so high in the charts. Crispian uses whatever comes to
While Oasis tunes were hand, with his trusty black and white
swaggering around with beats so '70s Strat, of course. As he explains;
leaden you'd think they were "1 started on a Strat copy, then 1
buried to the waist in concrete, the went on to a Squier, then a Fender.
Kula offering soared with its unique I've only ever had three guitars. The
and distinctly Indian-vibe. Crispian Strat's a versatile guitar and you can
explains it thus; "the whole thing put a lot of your character into it.
about music isn't necessarily about I've had mine for about 10 years,
how good you are, it's about what's since 1 was 14 - it's got the big '70s
driving you on to be a musician. The headstock, three bolts in the neck
Indian feel in our music was already and a heavy old body.
in me a little before I went. I was into "1 don't know anything about
the vibe, but we increased it." amps. All 1 know is that I've been
But it was their basis as a gigging lucky to get my sound with whatever
band that saw them take the next step gear I use. I wanted something
down the path of Kula righteousness classic and tubed-out, so 1 have a
- the famous Knebworth appearance Fender Twin and a wah-wah and a
with Oasis, where Crispian and multi-FX unit. I always use
chums blew the clumsy beer-sodden compression, overdrive and a lot of
Gallaghers off stage. Second single delay." Live, it's a Boss ME-8 that
Hey Dude (also transcribed for your delivers the punch for his
delectation in this issue) repeated the psychedelic soloing. A Rickenbacker
performance of Tattva, and the band's 330-12, or a new Squier Venus (that
days of playing toilet venues to a Crispian endorses), supplies the
roomful of hippies were over. spacey jangle or atmostpherics in
And Kula Shaker certainly did tracks such as Govinda.
their fair share of toilet-trading. Go back just three years and playing Ask Crispian to analyse his own guitar playing and he's
the Krishna tent on the Green Field at Glastonbury, was Crispian and uncharacteristically uneffusive - "I'm technically shoddy, and it's all
Alonza's magic band, then dubbed The Kays. Govinda was among the about habits that are good and bad. I've been playing solidly since I
early faves with the acid-befuddled crowd of mantra-mumblers they was about 10; if I think about it, my style's all about the right hand -
attracted at this inauspicious venue. The turnaround began in the I'm pretty limited with my left, so the right is where it all happens."
spring of 1995, when Crispian Mills experienced something of an Lyrically, things remain the same for the new material - although
epiphany. It caused him to change the name of the then slogging singing in Sanskrit is out for the time being. One new song, Hurry
psychedelic four-piece (who also did Deep Purple covers) from the On Sundown is co-titled (also amusingly) Had Om Sundown,
Kays to the more spiritually-resplendant Kula Shaker - which literally presumably a phrase with cosmic Significance to bald men in orange
means 'good luck'. And indeed, the luck was theirs, an album deal robes on Oxford Street. The album is about 'love, magic and
with cash-fat Sony subsidiary Columbia ensued. devotion' - Crispian's own personal philosophy, but as the Hammond
Two years later, debut LP K has sold upwards of a million copies, kicks in for yet another storming Strat-fuelled psych-rock workout,
and the band's retro-fuelled tunes have travelled remarkably well to you can't help but follow that Kula groove. Revolution for Fun?
foreign shores - Japan and America have both seen mini Kula Maybe there is something to this madness after all ... iE

TOTAL GUITAR
ISSUE 45 JULY 1998
FEATURE KULA SHAKER CD TRACKS IZ-18

~R On the CD

BIOB4B.D BABR.ETT and SurON YOUNG take a look at the


style and s01W.d of Kula Shaker gaitarist Orispian .ills
and play some of his greatest riffs .
LTHOUGHhe draws heavily from the The first example, Smart Dogs, is essentiallythe
psychedelic influence of the late '60s, same phrase repeated, as the band dynamics
Crispian Mills' driving guitar style change the feel of the backing. This is typical of Smart Dogs - t-ear intra riff
offers a different slant on things. It takes a the way the band write riff-based songs,
harder-edged approach which hints at an although the one-bar phrase in Knight On The
affection for far rockier stuff. His choice of gear Town is more straightforward dynamically. The Knight On The Town - riff
reinforces this idea. He uses a '70s style Strat loud, dliving feel of this riff is helped by the '9;'d6:'I'
through a valve amp, (currently a Matchless presence of an overdubbed guitar in the right BYTE 1 Govinda - intro
head) with a minimum of effects, prefening speaker which doubles the riff from the second BYTE 2 Govinda - riff
to use altered tunings (like drop D) and/or a time round, giving a more dense effect.
capo for more unusual sounds. Govinda starts with a spacey intro featuling a
'9;'i":.'
Tattva - intra
Though his guitar playing is often very chord- straight power chord, followed by staccato
based and textured in order to create their double-stops on the first two strings. When the ";94:'1.1
'Hindie-rock' sound, Crispian is not averse to the band comes in, this evolvesinto a cross-picked Tattva - solo
odd solo. Even some of his apparently simple 'let ling' Dsus2 chord.
riffs (check out Smart Dogs) need just the right The other two exampleswe've transcribed Hey Dude - rhythm part
touch to sound correct, so be prepared to spend (Tattoa and Hey Dude) were featured when we ii;t!SIi3"~1
a little time on these less obvious details. last interviewed the band back in issue 24, but Sound Of Drums - 8 bars
We've transcribed five examples of his we've included them here for the sake of
work - Smart Dogs, Knight On The Town, completeness. Hey Dude shows the bands more
Govinda, Tattva and Hey Dude, plus the box straight-ahead rock style while Tattva goes to Govinda -looped backing
shapes you'll need to figure out their latest hit the other extreme, with its modal arpeggiated Guitars: Richard Barrett &
Single,Sound Of Drums. intra and psychedelic bottleneck solo. rum Simon Young

KULA SHAKER: Smart Dogs (intro) CD TRACK 12


wide
x7

"-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.

KULA SHAKER: Knight On The Town CD TRACK 13

This doublestopped riff should be played with downstrok~ to keep the


rhythm tight. The secondtime through, it's doubled by another lI'11itar.

TOTAL GUITAR JULY 1998 ISSUE45


CD TRACKS 1.2-19 KULA SHAKER FEATURE

;;~~ 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.

KULA SHAKER: Govinda (main riff) CD TRACK 14 BYTE 2

II II

u ----
~-----------------l :~-~
.Q
~.
e- let ring- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ .J
E
B
G
D v
A
D u

Thls-rlff--Ismore textur:, due to tbe cross-picked Dsus2 chord In bar 2.


After the lick in bar 4, immediately hit the open power chord a&ain.

Improvising the intra, so you can tryout


the two licks above, and also
have a go at trying out your
Here are four different scale own ideas In tbis style. All the
patterns for improvising scale shapes are based on a
psychedelic solos over the root note of D, and all feature
Govlnda pattern. We've created the maJor 3rd1flat 7th
a backing track (CD TRACK 18) combination that characterises
D Mixolydian D (maJ3Jb7 D~
which is basically a loop of most of the band's work.
mode Interval shapes) IIIIDIIe(HUt)

. I "

~
let ring
J
Fm7

- ~
FmS

-
Fm7

- ~
FmS

-
I

u u

" " " "


Crisp1an is so heavily Floyd-influenced that thIS riff uses the exact same key. Let the notes ring out for as long as possible, and use tbe neck -
notes as Gilmours Shiue On You Craq Diamond ria. albeit in a different pickup witb plenty of distortion.

KULA SHAKER' Tattva (bottleneck solo) CD TRACK 16 ~

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

..... ..... .....


'u 'u 'u
--
'u ''b.I- .- 'u 'u 'u 'u 'u .~'ux .~x'u .":.
x
'v
.~'vX .~'vx .~x'v .~x'v ::::
'v
::::
'u
::::
'u
x
r:
'u

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)

28 TOTAL GUITAR JULY 1998 ISSUE 45


CD TRACKS 4 & 20 RITCHIE BLACKMORE FEATURE

-~~ 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

34 TOTAL GUITAR JULY 1998 ISSUE 45


FEATURE RITCHIE BLACKMORE CD TRACK 20

~~ 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'

classics,but our Child In Time The guitar solo section from


punctuated by staccato phrasing. Under a
Child In Time, played all the
transcription is almost a textbook example of his sustained A on the third string, the band shifts
favourite techniques. Listen out for the trills, way through as shown in our
from slow 414 to a driving 1218 rhythm, similar to
intricate picking patterns, arpeggios, repeated transcription. The solo begins
other classic Blackmore solos (eg Black Night,
staccato bends, pre-bends, patterns with the slow repeated bends
Strange Kind Of Woman and Lazy). This is
incorporating open strings and of course, a bit of (neck pickup) and gets
where the fun really begins, moving to the
whammy bar abuse for good measure! gradually more rapid and
bridge pickup for the second and longest section
aggressive as it builds up to
of the solo. It would be a good idea to have a
the final organ/guitar
few listens through before you start to learn
arpeggios. We've marked the
from the tab to grasp the order of phrases and
changes in pickup selection in
structure, as Ritchie hardly lets up at all for the
the tab at the start of the bars
next two minutes. A useful technique to adopt
in which they occur.
Sound throughout this solo is the 'Minimum Movement
Principle' ie keep your fretting hand relaxed and The piece was played using a
Use a bright tone without too much as close to the fretboard as possible. Keep very thick plectrum, picking
distortion. The longer sustained picking movements in the wrist, with the tip of over the neck pickup (with a
notes are a product of sheer
the plectrum never straying too far from the peck of pickled pepper).
volume, but compression should
help the guitar 'sing' at lower string. This is particularly true of the closing
The guitar used was a 1976
levels without having to pile on phrases of the solo where the ascending and
Strat, through a Digitech
overdrive. Add an analogue delay descending arpeggio and scale phrase is played
GSP2112, in 'distorted tube'
(or a digital unit with the treble alongside the organ. Practice-wise,this is a
mode, with compression, delay
reduced) set to at least 250ms. definite case of 'more haste less speed', so is best
and reverb added.
worked up to gradually.Even two slow runs
through will work wonders. iE Guitar: Richard Barrett

DEEP PURPLE: Child In Time CD TRACK 20 "

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

TOTAL GUITAR JULY 1998 ISSUE 45


CD TRACK 20 RITCHIE BLACKMORE FEATURE

~~ On the CD

" DEEP PURPLE: Child In Time CD TRACK 20 "

Double time feel


J=I64

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
"

" :---.. ~ :--.. ~ ~ I~

~ ~
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.>[ ~

" ,-3---, .. ~. , .. . ..... t. : t. !~ !~ !~ !~ !~ L~--

~ === 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

" "t:-f ~ ~ .. ~ ~ . ~ ~ .. . I ..- r"""r""1 I ------


~ --....J ~

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

TOTAL GUITAR JULY 1998 ISSUE 45


CD TRACK 20 RITCHIE BLACKMORE FEATURE

~~ On the CD

DEEP Pl}RPLE: Child In Time CD TRACK 20

heavy trem abuse ---- --- - - - - -- - - - - ---..,

~ . ~ 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

" t ~ t ~ ~ t ~'~ t ~ ~ t ~ ~ =J~ ~~ ~~ ~~ '~ )~ ~ ~ ~ '~~~.---


.;
PB&RP 10- - - - - - - - - - - - - I

H P BU BU BU BU BO
'v .v 'v
'~J .~, .~, '~J

" "~. ~~.-~.~~.


----------------
jf,~' jf ~. jf ~. jf,~' . ~. ~

.; 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

1\ III jr . .,. jr __ -.,.. -----.,.. .,. . I~ .,. ~ ~ jr.~'


..
~

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

"

TOTAL GUITAR JULY 1998 ISSUE45


CD TRACK 20 RITCHIE BLACKMORE FEATURE

~~ 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

Quintessential '80s album


Kings Of The Wild Frontier (1980)
ADAM AND THE ANTS fresh air in the otherwise deathly serious world of
New Wave pop. Adam And The Ants were
Kings Of The Wild Frontier (1980) originally a concept dreamed up by notorious Sex
Ludicrous '80s moment Charted: 2nd August, 1980; re-entered Pistols manager Malcolm McLaren - the original
"I'm a dandy 21st February, 1981; Highest position: 2 'Ant' image was closely associated with punk; all
highwayman ... " bondage trousers and raunchy guitars.
nplug the jukebox, and try another In spite of a promising debut LP, Dirk Wears

U flavour," Adam Ant implored in the 1980


number 2 single Ant Music - and the kids
responded in their droves. Adam and his merry
White Sox in 1979, the group were roundly slagged
off by the press. It was after McLaren did the dirty
and poached the entire band (save Adam himself)
.band of ants may seem a ridiculous bunch now, but for new project Bow Wow Wow (which also
their rhythm-driven music was a genuine breath of featured an early incarnation of Boy George, as the
dubiously monickered Lieutenant Lush) that
things really took off in antworld. Adam and his
new improved antband were made up of
songwriter and guitarist Marco Pirroni, now
famous for those twangy, edgy Gretsch guitar lines,
bassist Kevin Mooney and dual drummers Terry
Le Miall and Merrick. The image was now all
warpaint and tribal drums, best characterised by
the 1980 single, Kings Of The Wild Frontier, also
the name of their second LP. By the following year
the ants had tired of their red indian image, and
went on to ever greater heights of absurdity as
dandy highwaymen (see pic) and renaissance fops.
Follow-up singles Stand And Deliver and Prince
Charming both hit number 1 in the UK charts.
"Fa Diddly Qua Qua," as the great Ant leader
himself was wont to say. But sadly it wasn't enough
to save the band from the dustbin of musical
history - internal squabbles finally split the ants for
good in 1982, and Adam went on to enjoy an
unspectacular solo career. iJl:B

~~ On the CD

ADAM AND THE ANTS: Kings Of The Wild Frontier CD TRACK 21

-
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.

TOTAL GUITAR JULY 1998 ISSUE 45


CD TRACKS 21-30 HITS OF THE '80S FEATURE

DURAN DURAN
Planet Earth (1981)
Charted: 21 February, 1981; Highest position: 12

air, highlights and headbands. Or Duran

H Duran, to the uninitiated. Named after a


character from the Jane Fonda film,
Barbarella, the pretty boy group hailed from the
wastelands of the West Midlands. The Durannies
exploded onto the pop scene in 1981 with their
debut single Planet Earth.
Even the lavish production and Nick Rhodes'
bleach-blonde, heavily made-up synth nonsense
couldn't eradicate Andy Taylor'sinfectious riffery.
imon Le Bon warbled on about this being Planet
Earth in the most bizarre chorus of the decade
zive or take The Birdie Song or Nena's 99 Red
Balloons) while the 19-year old guitarist strutted
his stuff on an old Squier Tele loaded with joining Def Leppard and Thunder (although he Quintessential '80s album
eymour Duncans. Somewhat surprisingly Planet has produced several of their albums) and Rio (1983)
Earth never appeared on an album, except for an confessed that when he first joined Duran Duran
extended live version on Arena, but that hasn't he was "the only one who knew the difference Ludicrous '80s moment
hindered its cheesy popularity. between a major and a minor. I have a more The Wild Boys video, clearly
Although Duran Duran, as Simon Le Bon, John musical background whereas Nick's approach is a
Taylor (bass) and Nick Rhodes, still trawl the globe style sort of thing." This, of course, was true.
in support of their latest LP, Andy left behind both Nick Rhodes was that well-known purveyor of
the band, the pastel jackets and eyeliner at the quality '80s style - eye shadow, satin suits and the
peak of their fame in 1986. He recovered, to a obligatory floppy platinum blonde fringe.
egree, by releasing an entire album full of dodgy If you have the urge to catch up with Andy
covers, including Montrose's Space Station No 5 these days, you'll find him in ex-Power Station
and Wilson Pickett's Mustang Sally. cohort, Robert Palmer's touring band. Just don't
In his time Andy has also managed to avoid expect any Duran covers though... iE

DURAN DURAN: Planet Earth CD TRACK 22

F
____ e-
" ~f/

@)

Gtr synth in Bves RP

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

Quintessential '80s album:


Talk Talk Talk (1980)
PSYCHEDELIC FURS
Pretty In Pink (1981)
Ludicrous '80s moment: Charted: 2nd May, 1981; re-released: 23rd
The 1986 Pretty In Pink video, August 1986; Highest position: 18
cheese alert!
agged hair, jagged sneers and jagged teeth. It's

l unfair to lump the Furs in with the rest of the


1980s' androgynous, New Wave freakshow.
Richard Butler's Bowie-esque vocals and John
Ashton's dipsomaniac guitar veered between
melancholy tragi-teen anthems and noble punk-
romance without a care for the fashion-fixated age.
Pretty In Pink was a minor chart entry for the
band in 1981. It's a glittering collision of vocalist
Richard Butler's abstracted, Amis-inspired lyrics
and John Ashton's beautifully erratic guitar style.
But anything special is destined to be spoiled. In
1986 the song was turned into the theme for the the '80s music crimes; a disco beat and a
lamentable weepy-eyed chick flick of the same screaming sax. It gave the band their greatest hit,
name. The track was re-recorded with the worst of but integrity had finallyleft the building. Ii:E

~~ On the CD

PSYCHEDELIC FURS: Pretty In Pink CD TRACK 23

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.

member of New Wavers The Skids, Big Country


BIG COUNTRY enjoyed early hits with the anthemic singles Fields
Of Fire (400 Miles) - the bagpipe one - and In A
Fields Of Fire (400 Miles) (1983) Big Country. The next single, Chance, saw their
Charted: 26th Feb, 1983; Highest position: 12 songwriting skills truly at their peak, and debut
ook back on the '80s and you'll recall that album The Crossing still ranks as one of the most

L 1983 was a pretty bad year for guitar pop -


in fact, probably the lowest point in the
entire decade. Punk was officially over, New Wave
original guitar releases ever. Stuart Adamson; "We
always tried to orchestrate the guitar parts,
because when we started out there weren't any
had died on its feet and the chirpy drones of synth guitar bands having hit records - we opened doors
pop were firmly in ascendance. But amidst all this for a lot of other guitar bands."
electronic hideousness there appeared a highly Sadly, the next generation of Scottish music
unusual guitar band, Big Country. wasn't to share the inSight of Adamson and
To get away with being a guitar band in 1983, Watson. Deacon Blue, Wet Wet Wet and Texas
you needed a gimmick, and theirs was simple: all looked to the smooth soul pop sounds of the
make guitars sound like bagpipes, wear tartan US for their inspiration ... Ii:E
lumberjack shirts and sing about their Scottish
roots - remember, a bit of ethnic flavour was hip in QUintessential '80s album:
the '80s; the Irish had U2, and now the Scottish The Crossing (1983)
had the dulcet tones of Big Country. Ludicrous '80s moment:
Formed in 1982 by Stuart Adamson, an ex- Bagpipe guitar

TOTAL GUITAR JULY 1998 ISSUE 45


CD TRACKS21-30 HITS OF THE '80S FEATURE

~~ On the CD

THE PRETENDERS: 2000 Miles CO TRACK 25

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

uitarists had to be pretty clever to get

G noticed in the '80s - and none came


cleverer than U2's The Edge, Between
Ie twin horrors of bad British heavy metal and
nodyne chart pop, The Edge (the artist formerly
own as David Evans) created a unique sound, "I
dn't actually like much guitar playing when I was
_ \ving up. I just knew I didn't want to sound like
yone else," he claimed. Pentatonic scales and
wer chords were abandoned in favour of spacey
oicings of simple major chords, all through his
pical dotted-crotchet delay pattern. Edge even
- d Sellotape to mute unneeded strings to get his
demark rhythmic sound.
By 1983, the band had established their
utation as a great live act (captured later that Sunday Bloody Sunday and New Years Day -r the Quintessential '80s album
ar on the Under A Blood Red Sky album), but it latter giving them their first UK top ten. It was War(1983)
the their third LP, War, which was to make also a great example of the inspired playing of The
m the most popular guitar band of the decade. Edge, who swapped between piano and guitar in Ludicrous '80s moment
ncentrating on the thorny topics of religious and the intro, and used his all-black Strat to play one of Bono's cowboy hat at Live Aid
litical conflict, the album featured singles his all-time best guitar solos. ~

~Ej On the CD

U2: New Year's Day (solo) GO TRACK 26"

Am C Em 11. 1 2.
8~--------------------------------------------------------------------------------------,
f\ .,,_-.,,_ _----_ ~' ."'. If'- ~

"'I ......, I
RP
~~ ...
RP
S S

'" 'v , .. '"


v
v v
u u

- UE 45 JULY 1998
TOTAL GUITAR 51
FEATURE HITS OF THE '80S CD TRACKS 21-30

! On the CD

U2: New Year's Day (solo) - cont... CD TRACK 26

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

, B Kl1i{!,ht Rider: a 111011 tclu


talks to his car. Nothing
keyboard player to augment his live sound and was
not so reliant on effects. He had a mighty odd
Icmllg Leith that then ... choice of guitar, too "I use Gibsons a lot, both
touring and in the studio. I've been using a Casio
9 na-n" Skirts: TIL'O skirts
ill Olle, bargaill or ichat? guitar and it's absolute dynamite. When I tell
people - especially guitar buffs - they're spewing
Bad IIl11sic: Stand up
10 I'hi/ Collin, Bil/y
in the corner." Hardly surprising really... i:i!)
Ocean, Ilcncard Jones, Quintessential '80s album
Bros, KlIjagoo{!,oo, Go West Once Upon A Time (1985)
et al, YOll IL'ere shit! Ludicrous '80s moment
A Casio guitar?

TOTAL GUITAR
JULY 1.99B ISSUE 45
FEATURE HITS OF THE '80S CD TRACKS 21-30

well to get a number one back in those days!). In


true '80s style it also became one of the anthems
for the rock charity movement when it was re-
recorded in 1986 (under the cheesy title xxxx xxxx Everybody Wants To Bule The
Everybody Wants To Run The World) for Sport World begins with a slide up

'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

n the '60s there were the Beatles and the

I Rolling Stones. In the '90s we've got Blur and


Oasis. If you liked one you weren't supposed to
like the other, 15 years ago it was Duran Duran
and Spandau Ballet. Spandau was formed in 1979
by the brothers Kemp - Gal)' on guitar and Martin
on bass and some pals from school. With the
classic singalong pop songs of Tme and Gold,
Spandau managed to corner the market for classic
yuppie pop. The band were smartly turned out
with a nifty line in pastel pink suits, frilly shirts and
pencil-thin leather ties. Through The Barricades
was quite a departure for a band who previously
had relied on upbeat pop. The gently picked
acoustic guitar showed Cary off as both an
accomplished player and songwriter. Prior to this,
the guitar featured on their recordings was
somewhat low in the mix and in that '80s way,
completely drowned by heavy-duty production and for acting careers, beginning with roles as the Kray Quintessential '80s album
keyboards - all this despite having two guitar brothers in a moderately well-received movie. In a True (1983)
players in the band. The multi-talented Steve more ironic move, however, Spandau singer Tony
Norman turned his hand to percussion, rhythm Hadley recently attempted to resurrect his solo Ludicrous '80s moment
guitar and that essential item of '80s band career by releasing a cover of, of all things, Duran They wore kilts, for
paraphernalia, the saxophone. Duran's 1984 hit Save A Prayer. Sadly, the record- God's sake
When the band split, Gary and Martin opted buying public stayed away... iE

~~ On the CD

SPANDAU BALLET: Through The Barricades CD TRACK 29 "

-- -~ --
~. ~.
Emadd9 Bm7 Cadd9 Emadd9
1\ II -(.\

@)
i
let ring throughout
-
-,I 11

p
L
- -

V
o "
v v V "

54 TOTAL GUITAR JULY 1998 ISSUE 45


CD TRACKS21-30 HITS OF THE '80S FEATURE

~~ 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.

FINE YOUNG CANNIBALS


She Drives Me Crazy (1989)
Charted: 7th January, 1989; Highest position: 5

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

FINE YOUNG CANNIBALS: She Drives Me Crazy CD TRACK 30

~
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

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