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v vvv vvvvv v v vvv DIED YOLING. SOME DIED OLD. ALL PAID TH EIR DUES]\,ITH GUITAR IN FL{ND. SON'{E THE LATE, GREATAX SLINGERS OF GU/TAR TECENDSREMEMBERS BLUES,ROCK, METATAND IAZZ.

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A p r i l 4 ,r 9 1 5R , olling F o r kM , isrirrippi A p r i l3 0 , 1 9 8 tW , e s i m o n tl,l i i n o i s cKll{LEY Ii,IERGANFIELDg-rwuf ll Itl on Stov:rll's Planrrrionin Clarks(lalc, llississipl-.i, vct hc \\1rLrlcl risc fl fion his cot t o r l P i c k i n g r o o t s .N i c k r l a r n e d\ l L r d d \ ' \ \ ' r t e r s r s r l i t r l c b o r ' ,l e c r n e L oh i s f i r s t l e c o l c i i n g

s c s s i ( n irn 1 9 . 1 1 u , i t h o u sth o c s .s i t t i n g d o r v n io pla) counul blucs fur lnusicologist r\lan $'ould lill South Lonl|lxi )ears lrter. N,luddy S i d eC h i c r g o j u L e h o \ e s u i d r h i s c l c c t r i c []hss s cs. Hc fcll on halrl tines u'hen rock and ro11 s $ . c p tt h e b o a r ' d sb , u t a g e n e r a t i o no f B f i r i s h f o c k e r s f e c o g n i z e dh i s s o u n c la s t h e r elv essence of their music rnd helpedfeviral i z e h i s c : l | e e f .T h e c r i n l R c a p c rs . tolclludd\'s

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RtrEERT JOHNSEN
AORN: May8,l9n, Hazlehurst, Missi5tippi DUOr AuSust r5,1938, Grnwood, Miseitsippi Robert Il E rmY HAVEANOINTED JI Johnsonthe Kins ofthe Delta Blues.bu! the Devil got his due ;ne hot summerni;ht juke joint, when ajealous in a Mississippi hu.bandpur poison g!irar in the irineranr ist'swhiskey.Sothe story goes,although hardly anythingis clearwhen it comesto the Johnsonlegend.Eventhe bluesman's final restingplaceis in dispute.His mother supposedly attendedhis funeral at an old Zion churchnearMorganCiry,Mis.issippi. An obeliskin the churchyardofthe current Mount Zion Church commemorates Johnson. althoughhis graveremainsunmarked. A secondmarker for Johnsonis in the graveyard of?ayne ChapelMissionaryBaptist Church,just oulside IcraBena. Mis"is5ippi, where many sayJohnson's sisterhad his body movedin the daysafter his burial. ln 2001,a third marker was placedat Little Zion BaptistChurch in creenwood,110miles southofMemphis, after a woman claimedher husbandhad duga gravethere for the blues guitarist'sbody.Perhaps Johnsonknew hc wasn't fatedto rest in peace when he sang: "You may bury mybody down by the highway side/Somy old evil spirit can catch a Greyhoundbus and ride." lO(AIlOltt. MountZionChurch,Mofgan City, Missistippii Payne Chapel Misrionary ptkt Ba Chur.h, Mliriiiippi;LittleZionBaptist Quiio, Chur.h, Cfeenwood, Mlitiisippi CUltARr Gibson L-r, location unknown

SHAWN L/ANE
BORiI:March21, 1953, Memphis,Tnnessee DIED:Septembf 25, zoo3, Men phit, Tennessee

L cibbonstelloffhis 6arstoolwhen he heardShawn Lane'swarp-speed, highprecisionguitarwork. But lane was far from a flash guitarist.His diverserange ofstyleswasthe product of his fascination with everything from classical composers andpaintersto elecBORXr Februa 28, r94.2, Cheltenham, Cloucesterihire, England tronic and pop artists.Lane ry OIED: July 5usrex, EnSland 3,r959,Hanfild, showedpromiseasa guitarrlr HE OOOMAll OUT in r]leRollingSrones rockanci ist well beforehe reached I rollcircus, LewisBriar Hopkins-Jones mera famously his teens. At the ageof 15, mystedous endnot longafterbeingdismissed from the he was hired by country band(for excessive substance abuse, ironicallyenough). rockersBlackOakArkansas. Jones' drowningwaslabeled "deathby misadventure," but But Lane'smostenduring the circumstances remainmurky morethanthreedecades legacies are the eightlargely later.Onecommonlyheldtheoryhas himbeingheldunder improvisedalbumshe cut water-by the hands of resentful construction workersfrom 1995 forward,records during an impromptu palty at his Cotchfield Farm estate. that highlight his world musicfusionfluencyin everlthingftom bluesto Indian ragas. The Stonesplayed HydeParkafewdaysaller his death, Recurringhealthproblemssidelined Lanein the lastyearsofhis life. He died from releasingthousands gesture. ofbutterfliesasa memorial complications associated with lung disease IOCATIO TPriory poplarAve., Road Cemetery, Prestbury, clou.estershire, LOCAIIot{! MemorialPark FuneralHome andCemtery,5668 Memphis, Tennerree England (9o1) 18r19; 767-893o CUITAR: Vox"Teardrop," Hard Ro<k Cafe LondonVault GulIAR. vigierExcalibur pra,locatlon Su unknown

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TIMI HENDRlX CETS A BICGER_TFIAN-LIFE MEMORIAL.

I N LATE 2882. more I thrn 30 lears after his I dcath.Jin1iHcrdrix I lrrllv receivedr nremoriai fit for an aftist o f b i s s t : r t u l e .L o c a t e d i n Crccn\r'(X)d Nlcn1orial Park in Renton,WashirLton, the monument features a domed platfornr of glanite a n d r n a r h l e ,t h r e e $ a n j t e w a l k \ \ ' a )s t h a t r a d i a t c f r o m the plalform, end a bronze and granite sundial.The is a full-scale center-piece s t a r u co f H e n d r i x c a s t i r bronze.'fhe stalue si!s atop a p e d e s t a lt h a t b e a r s d r e h e a d s t o n ef r o m h i s p l e v i o u s gralesitc, r-hich ras also ll.)cated in the park. The nenorial was beEiunin the lnte Nineties b,vJimi's late father, James Al Hend x,to accomnlodate the thousands ofvisitors l ho pav tribute to the glitar legend every ,vear.The project i,!as near completion u-hen Al dicd in April 2o02. Jimi Hendrix's remains, asrvellas those of his father, stepmother and grandmother, \Yerennvcd to the new sitc on Novembef 2 6 , 2 0 0 2 ,o n t h e e l e o { rvhar rvoulcl have been the grirarisf s 60rh bift hda,v. : - : i al i ! . : i C r e e n w o o d MemorialPark,l5o Monroe Ave. NE,Renton, Washington98o56; t425/255-r511 r.:': r. rfa8ments ofi96z Fender Strato(attr(rmashed a t S a v i l l e T h e a t rL eo ,ndon, 6 ?s t r a t( b u r n e d E n g l : n d ) a n 'd and smashed at Monterey Internationa Plo pF e t t i v a lr,u n e M 18, r 9 5 7 )E , xperienc eu r i ( Proje.t,seattle,washington;'67 Tobacco 5unburrt Fender Strat, Fallr, H a r dR o k C a f eN , iagara N e w Y o r kg ; u i t a ru s e d to record "All Alongthe watchtower," H a r dR o c k c a f e L , aJ o l l a , california

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r: .Frr;. i-zzLlrr1rTHEMESTHIGHLY' I i . r . , r r ' " r r u , l q r r . r . . . , 1 L ( . 1e \ \ r , N{oDtgomcn' took the instnrmcnt beyond C h a r l i e C h l i s r i a n ' sI o l n i n s p i l c d i n r p r o v i snriolrs e r d i r l r o d r c f u t u r e .\ \ i r h h i s t r a d c m a r - ko c t l ' e s , l u s h t o n e : r n du n c r n n i l v f l u i u sjnglc notc liDes. the sell tlught N,IoDtgomer! l o t m e d a n s l l c r i c o n l o r j . r z zg r r i t a r .o n e t h x t p l r r e f s s t j l l e l n u l a t ct o . l e i . I J e w a s " d i s c o \ ' c r c d "b \ ' j . r z t s . r x o p h o n i s( tl:rnnonball A d d e r l e l i r 1 9 s q ,: r n db e c a n c a j a z z - p o p success i r i h c m i l l S i x t i e s .C | i r i c s d i s o n n e d him fo| his pop fla\.oreci srl lings. but that didn't lnrtter to a gcncratidr of!!uitrrists, inclLrdirg Lleofge Itenson, Pat Nletheny, John ScoticLd a n d K e l i n E u b . r n k s. ,r l l o f u 4 r o m t o o k \ ' l o n l g o l n e r l f t ) h e a f t .H e ( l i e d o f a h c a r t a t t a c l ia r t h e r g e o f 4 5 . NewCrown Cemetefy z,r o rC h u r c h m a n Ave..lndianapof is,lndiana4620] llil) 784.44s4

A FTER DUAr|E ALLMAI{ u r.lill<.1 ir. r Fnr,,r'"ritc-.:ccidenr in l) s hometown ofMacon, ceorgia, his bod) lat' in cold storagc until iamily lrembcrs could agreeon L u r , r a r r r r . e r e r r . . T h c o , , . r s i . , n' n r h ' . d i s p o s i t i o n c a m c j L r s to v e r a y e a r l a t e r , w h e n A l l m a n B r o t h e r s b a n d m a t e B e r r , vO a k l e ) llissed a cu|ve on his lrotofcvc]e, jus! blocks flom rvhere Duane rl as killed. Th. g u i t r r i s t a n d b a s s i s tu e r e b u r i e d s i d e b y s i d e in X,Iacon's old Rosc Hill Cemetery,s ith r r r a t c h i n gt o m b s t o n e s -T h c i r f a v e s a r e n e a r that ofthe woman celebratedin the Allman q r ^ r h e r . _ l n I l , r r o - \ o l t l i , , r n e r nR , p d . ' ' Rose Hillr Cemtery, Riverside Orive, Maon,Ceorgia3r2o1; (478)7S1-9rr9 r: FlametoL ps Paulowned b y h i 5d a u g h t e r Caladriell A el l m a no , n ditplay at Rock a n dR o l lH a l l ofFame;Cibsonscusedasprimaryslideguitarin h i sl a s t y e a r o f l i f eo , w n e db y c m h a m N a s h D ; obro u r e do n " L i t t l e M a r t h a ,o " w n e db y f o r m e r A l l m a n Irother DickeyBett, . : "TheTractor,"Oaklem y'r a i ni n s t r u m e n t , o w n e db y B e n y o a k l e y J ra . ,l t o a b a s r i s t

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Itlt'ANNA BE IRE]I/|AT
FROMJOHN LENNON TO CLIFF BURTON TOJOHNNY RAMONEKISSTHESEASHESGOODB\'E.
SHES To ASHES, dust to dust-approximately four to eight pounds of the stuff for those who are cremated. considering that cremation has become a popular alternative to burial in North America, where roughly on out ofthree bodies were
dusted in 2OO7, the mortsl remains of more musicians are going the way of the kiln.

All ofwhich hich explains exolains why whv various various notables notables are are conspicuously consDicuouslv absent absent from from the the tombstone tombstone tableaux onthese pages. Sure,markers are sometimesplacedinlocales that bore significancefor the deceased, asthey were for dust brothers t$tar( Eolan and Metallica'sCliff8unon. But the remnants ofmany artists are simply kept in an urn near their loved ones or spread over tracts ofland or bodiesofwater meaningfullylinked to the deceased. The corporealvestigesofJohnlannon and Who bassist.lohn Entwirtle are saidtobe with theirfamilies, asare those ofloh.ny R mor6,Deatl guitarist (hq.k s.huldinoi, Clashsinger/ guitarist loeStrummr and soul guitarist CurtirMayfild. WoodycuthriG's asheswerecastinto the Atlantic Ocean,while treddiellrrury's were borne away in Switzerland's Lake ceneva. corgc Hariton'sasheswerecarried offbythe cangesRiver, in India, whose waters Hindus believe ferry the deadto the afterlife. Likewise,Jerrycar<ia's cinderswere scatteredpardy under the colden cate Bridge, near his SanFrancisco home, and partty in the canges. And then there is poor p.ul t(o$off: the guitarist for Free, his mortal rehains were cremated and duly scattered in a sectionofland at colders creen crematorium in London, England. Rumor has it that KurtCobain's asheswere also divided. Courtney Love reportedly spread sorneofCobain's remains offthe muddybanks of thewishkah River inWashington, although she is rumored to keep a bit ofhim handy.The guardiansofthe dusted tid vl(ioriperhapsinspiredbythe notion that true lovers aie reunited in the afterlife-are said to have talen the SexPistol's ashesto Philadelphia,wheretheyspread them over the grave of t{an(yspungn, the girlfriend he murdered in a fit of anger.

FRANKZAPPA
BOa : December tr, r94o,Baltimore, Maryland ge(mbr4,1993, DIEDi LosAngeles,California

trLIFFBUNTIN
BoRltl:Februaryro,rg62,CastroValley,California DtEO; September27, 1985,Ljungby, Sweden nOIWltnstaltolns, Das5lsL t llu uutton was a civilizing influince on his bandmates i n M e t : r l i c r , r e r c h i n gt h e m n u s i c t h e o r y and coaxing them to move from L.A. to the B a y a r e a .M e t a l l i c a w e r e t o u r i n g i n S w e d e n when their driver lost control ofthe bus

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on an icy road.The vehicleplowedinto a ditch and rolledover onto its side. Asleep in his bunk atthe time of the accident,Burton was flung out a \,,/in dow and crushed to deathwhen the bus landedon top ofhim. Backhome,his body wascremated, with familyandfriends
scattering his ashes irto San Francisco Bay. Burton's grade school,Marshall Elementary school in castro Valley, california, put up a memorial to him. tOCATION: Marsha ll Elemenlary School, 2o1rr Malshallway, castfovalley, california94545;(51o) 537-2331 EASS: Guildeledric ba$, auctioned at Hard Rocl( cafe, NewYork city, on Novembef9,2oo4

Er RA K ZAFFA WAS SE EOOO atbeins I asmafi, c''nlcal sourpuss that peopleotten overlooked his musicaldepth.Yes,he was the authorof suchclassics as"Crew Slut'' and "Illinois EnemaBandit," but beneathsuchjuvenile titles lurk someawesomely sophisticated music everytiing fiom doo-wop and sudguitar to acidrock andfreejazz. Zappawas alsoavirtuosoguitarisqwhosetechnicalmasteryand improtOR : Jan 23,r9ro, Liberchies, Bel8ium vjsationalflights were documentedon shuf Up 'N DllD!May15, 19t3, Fontainbleau, Fran(e Pkf Yercuitdr and its spaw{ He formed what the Mothers of lnvention in 1964 I T THE AEE EF lE, GWsyguita st Django would becorne AReinhardt lost the useof two finEers ox andkeptr arious incamations oIthe groupgoing whenhe wasdiagnosed his frettinghandwhen they were buined in uncilthe earlyNineries. a fire that brokeout in his caravan.Iorcedto with prostatecancer.In tlpically unsentimental = dealwith his limitations,Reinhardtdeveloped fashion,he wasburied in an unmarkedgrave pedectlyarticulated a dazzling, soloingstyle LO(AIlOirWertwood Memoria I Prrkr218 Glendon that propelledhim to the fore ofjazz innovaAve., Los Angeles, california 9oo24(3ro) 474-1579 tors and elevated the cU,TARr A Strat burnd andabandond byHendrix glitar liom its rhlthat the'58MiamiPop Frtivaland restored byZappa, ; ; mic supporting role to nowowned bvhh son. Dweezil that ofa leadinstrument.Pariswasfirst to feelReinhardt's irnpact, when the guitaristformedthe Quintetofthe Hot Club ofFrancewith = violinist stephane Grappelli,in 1934. 6 After an unsuccessful

OJANEtr REI]{HARDT

attempt to play the newly emerging bebop Reinhardt ieturned to s*;ng. H"edied at age 43 following a stroke. lO(Arlor|. Cimetif s de Samois-surSine, Fontainebleau, France GulTARr 1939CretrchSyn(hromatic 4oo, usedto guitarduetrwith rcord HarryVolpein1945,last rhown atMuseum of MuricaI lnrtrumntr' A Tir.rfe to Djanqo

I4 CUITAR LEGENDS

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F e b r u a rry r , r 9 6 8 ,L o n g Beach c,a l i f o r n i a M a y2 5 ,r 9 9 6 ,5 a nF r a n c i s cC oa , lifornia ., . VERY JUNKTE HAS ' Er ) L r t r , ' l ! l n r h f n ' r L t r - t h u r l ( tI r j E \, 1... \,)r$-$ f i t c f h . r dc r c f \ r h i n g g o i , r g1 o rh i n r i n c j f l r ' t ! . ) q 6A . f i r I b u i l d i n gr s o l l d t o l l o w ingrvirh rhcif i,)1c(fi0us nix of punt. l.unk r r r l s l r s l o o l c s , s u h l i m c h , r L li r k c d r d c : r l \ i l l r l l c A . r n df i n i s h t d f c ( o , d i n r t h c i f 1o\cll rLrlor lubc1 L i c L r LT r th . e l u \ c r f ( , 1 (N r n d h i s f i r r c l h , r Lb l ccn blcssed $ idr :r s o r l . r n c l .i n l l r \ , t i e d t h c k n o t S c \ ' c n d : r v s rlrcr rhe wcdding. ho rr rs lirtnd rlc,rci ln : rs l r | , x r r c i s ( o horclloom lionr r heroi,r orcrdosc. Relersed the follo\r'in!a.Iuly, s L r b l i m c s s c l f ' t i t l o J r l L , L r nb , ecamc a scl s f ( i o . t h r n k s r ( Js o n g sI i l i c \ \ r h r ( I L l o f , ''Thc \\ rong \\'r\' .urd S:urtcri:r.'llrrdlc\' . i : u r c s N o \ c l l h L r s b r n d .f a t h c r . g L r i r r r i s t . r i t r o n s \ ' f i f u f , i L n k i e s u s d c l d u p o Dr h c , r l b L r ns , rlrivrl. W e i t m i n s t eM r e m o r i aP l a r k1 , 48o1 Beach B l v d .W , e5tminttec r ,a l i f o r n i a 9 r 6 8 1 '( 7 1 4 ) 88999or N o w e l l ' ," B r o w nc u i t a r " ( b u i l tb y s u b l i m e g u i t a r t e c h D a n M c D o n a l d )i r r e p o d e d l y i n t h e possession f N o w e l l 'f sa m i l y .

t o t h e u f o u p ' s s u c c c s s t h o s c : r r h i s s i g _ r 1 r t L r f cg l r i t . r ff i l l s . ) n t h e h i t s ' 1 r n L i g h t e e n " x n d " S c h o o ls O u r . , \ r i 1 r ! c t e r a t c alcoholir B u \ t o o s F c n t h i s f c \ r ' ) c e r s o l c e l e b r ' i t li n a d r u n k e n 1 r ' e c l l l l . ' f h cb a n d b r ' o k eu f i r 1 e 7 1 , r n d o \ ' c r t h c n e r t l o \ c . r r s t s L r r i t o n 'l s itu gfedLr r r l l y .r n d p r i n f L r l l v .f e l l . r p . r r tr s h e k r s t h i s h o l I c r o t l r c l R s , L r u n c h c d: r f a i l c d c o m e b . r c k c f f i r l t u c l a r t e n p t e c ls L r i ( i d ct.s ) t h c N i n e t i c . . I l u r i t ( r ns c c n r c di o b . .o r r L h ew r \ t o r c c o v , c r \ . H e s p c n rt h c N i n e t i e sl i \ i n g h r p p i l \ ' i l l ( l l r r i . ' r , l o { a , L r L rh t i s f | a i l c o n s t i t u t i o nr r L r g h t . i r ' , ' . , r , , 'l ' . . , r r . r , r 1 . . . r ' u r r H i s t o n b s t o n e r e l ) l i c L r l ers hc co\cf .ut of dre C o r 4 r e rr l b u m . s . h { r o 1 'O s a t . r n di s i n s c l i b c d N i r l r t h e t i t l e s o n g ' so p c n i D gf i f t s c h o o l s o r l r .' e s t h c v s r n g . f o f e \ ' e r . F v r g r e eC ne m e t e r y C . e n l r aA l v e .F , Last dirplayed at the guitarirt', funerai ln

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lanuary 27, 1 9 1 8R , k h l a n dM , issksippi M a y2 4 ,i 9 6 j , c h i c a g ol,l l i n o i r B L U E S - R O C KE U T T A R T S T S rh ,i ErER I e r f e ' , 1 - f i r r h f s i \ t L \ D L L .,re .\llm.rn, .lohnn\ \\ inrrf , l-ric (llrIn)n :rrrd l f t c f L l f c ! r r h c f r r . L r n c o n f i n cI dr s s i ( , r 1 r,f l.llm{,ff .JrIncs slidr guitNr lr(l gfitt\', spincch illi,rg i oicc w,rsr prrrfound irllLrcnce. Ilofn Illnrofe llrooks. rhc Dcltir disciIle ol' I t o b r ft . J o h n s o nh r J , r r i n t c n s c . sl.rsh-:urd s l o r i r L r | ns n l c . . r n d . l r n r e \ r f r c k : l i k r " D L r s t l I r B f o o , r " , r n ( 1 Lh f s k l l \ ( l f \ i n s - b e c u D r e ronicblueprirtslo, grnelltionsof blLresrrel l r L ) l r lr h f D c c I S o r r l ) t o t h e l - n s l i s h m i d , l N , r J s . J , r m c st i r k r f n r c l e | e L l o L r t .. r n d h c s . r s b o r i c ( li . i h c i n r r l l i ( r \ 1 ro i l . l b c r c z c 'I hc hc.rJstoncir tlrc gnrer rrd of thc Ncs |]r .rfrics tLn I o r t U r t t i s t ( l h L tr cpitrfh helit i lrr' ,:r ,rr: l: tl,\l N e wP o . tC h u r c hN , e w p o dR d . , E b e n e z eM r ,i s s i s t ' p p i N a t i o n as l e m ih o l l o w b o de yledricR , ock a n dR o l lH a l l o fF a m e

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THE SKY ISERYINE

NOWHERE WASTHE LOSS OF STE\'IE RAY VAUGHAN MORE KEENLY FELT TFIAN IN AUSTIN AND DATLAS.
BY BILL MILKOWSKI
on SRVintimates, suchasclub owner Ciifford Antone,a closefriend to bothVaughan brothers."I met Stevie when I was 22 and he was 17,"he sobs. "I mean,hewas myfriend, just this little guy who playedglitar. The rest Troy, wisconsin.five fatalities,including includinp a musician.Keen-eyed :taffers at the Austin is the world's trip, you know?" Americdn-gatesmon catch the itemandbegin Four dayslater,on Friday, Auglst 31, Stevie's to put two and two togetherasthe AP updates family and fiiends gather at Laurel Land the story everyhalfhour. The mysterious MemorialParkin Dallasto saytheir goodbyes. Amongthosein attendance areDouble "musician"soonbecomes "a memberofEnc then "a guitarist."By Trouble's Clapton's entourage," ChrisLa''tonandTommyShannon, 9:30,rumors havespreadthat StevieRay BonnieRaitt,Jackson Browne, Stevie Wonder, vaughan,Austin'sfavoriteson,was aboard JeffHealeyand hisband,charlie Sexton, Dr. the doomedcraft. John,BuddyGuyandZZ Top'sBillycibbons, At 1l:30,Clapton'smaner confirms Dusty Hill and lrank Beard. the worsl Vaughanwas indeedamongthe outside,more than 3,000ofthe faithful passengers in the five-seathelicopter,which slammedinto a fog-shroudedhillside near southeastern wisconsin s Alpine Valley ski resort. StevieRayhad boarded the aircmft after pedorming in an enormous bluesshow at the resort andtaling part in an all-star finale jam featuring c lapton, Robencray, Jimmie Vaughanand Chicagoblues legendBuddy Guy,all ofwhom ripped it up beforeanecstatic crowdof25,000, By noon,the capitalcity ofTexas is in shock. Vaughan's deathis the mostdevastatingblow to the Lone StarState's musiccommunitysince Lubbock's BuddyHolly died in an Iowaplanecrash3l yearsearlier. Throughout the afternoon, merchants postsignsandbanners outsidetheir proclaiming'nveLoveYou sfo.es, converge, braving 100-degree temperatures. As the serviceendsand family and friends depart,the mournersenter the chapel.one by one,they passthe casket,leavingbehind flowers,religiousartifactsand guitar picks. Last to comeforward is DougCastot a youngwheelchair-boundfan from Pittsburgh who'd flown to Austin two daysago,onlyto discoverthe funeral was in Dallas,200 miles away.He wheelshimselfup to the casketand payshis respects to StevieRayVaughan. LOCATIOfi: LaurelLandCemetry,5oooSRL (2|4) Thornton Fwy., Dallas, Texas75232i 37t-rjl6 cUlTARr SRV'5 a'59Strat with a "NumbrOne," '62neck.In a vaultin Austln.Teras

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Stevie" and "So LongStevie." Plumbing stores, Tex-Mex restaurants, musical

instrument stores,domrt shops all fly the flag ofgriefinthis centralTexastown, where Little StevieVaughan, the skinnykid from oak cliff, became Stevie RayVaughan, hometownhero andAustin'smusicalambassadorto the world. As night falls,fansbeginconvergingon Zilker Park,where,10yearsearlier,mournersgathered for a candlelightvigil the night John Lennon wasmurdered.Now they sit sideby side in the darkness-tattooedChicanobikers,lawyersin BrooksBrothers suits and crystal wielding New Agers and weep openly asdiscjockey Jody DenbergofAustin's KLBJ radio pumps a steady streamofSRV through a makeshiftPA. Even asthe mourners gather at Zilker Park, othersinstinctively headto the clubAntone's, a focal point ofthe Austin blues scenethroughout the mid Seventies and a favorite hangoutofthe Vaughanbrothers over the years. Local Tv stations beginconverging on the ciub,their cameras and microphones focused
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r:.,ir.rr : ulyr5, r 9 5 2L , eesburg F,l o r i d a ,:.li;:: A p r i l 1 3r ,9 9 r ,N e w O r l e a n s L,o u k i a n a UNK REGK FRoJoTYFE" Jnh n ny El . r r n u n o e r ss r u I I t L e p t o l t n o m t n e N e w Y o r k D o l l s o r h i s H e a r t b r e a k e r s ,a n d d e s p i t e f l a s h e so f b l i l l i a n c e , h e w a s o n t h skids more often than nor. Bv the Ninetie", the hcdonistic guitarist sought inspimtion b e y o n d N c \ r ' Y o r k ' s L o t v e f E a s t S i d e ,t r a v e l i n g d o w n t o N e w O I l e a n s ,w h e r e t h e r e a d y availability ofdrugs ensuredhis dou,nl,ar.d .liJ,,ontirrueu d r a b a r e J t. l r u r r J , r . d i e L atter e nethadone/alcohol binge i11 a scedy hotel room offthe Frcnch Quarter. John A n t h o n y c e n z a l e \ r ' a sb u r i e d i n N { o u n t S t . X l l a r y ' sC e m e t e r y o u t s i d e N e u . Y o r k C i r y , a s i . f e l l o " D u l r r d H e r r r b r e a l e r1 : n J r l - r o r i c d r u g a b u s e r )J e r r y N o l a n . . ti:r.r:!,i,, sedion crave R78,82, 5aint Mary,e 9, Cemetery r72ooBoothMemorialAve.,Fluthing, New Yorkflj5t; (7r8)3s3,rs60 i i . ; i i , , ! i ,L s P a u l J f .R , ock a n dR o l lH a l l o ff a m e

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i a_!! ir: septeriber 30,1947, London,England x i j , l r ,s e p t e m b e1 r 6 , 1 9 t , L o n d o nE , ngland ARK FE1O FIRST gained rotoriety frontl/I lta irgthe late-SixriesEnglish hipp,vfolk duo Tlrannosaurus Rex. After shorlening the band's monikertoT. Rex, adoptinganew name and crankinghis Eiuitarup to ll, Bol topped t h e U . ( . . l r ] l 1 ss i r h . u c h . r a r N e ) ( J . g l r n c r rock anthems as "Baql a cong (cet It On)" and "Metnl curu." Like nanyofhispers, Bolan faced lcar times in the mid Seventies, when glam rock lost favor with the record-buyingpublic. Bur heJooked poised fol acomeback in 1977$,hen his album Ddndy in ffie Underuorldwas u'armly receivedby Britain's punk rock elite. tsol and his girlfiiend were in theirAustin Mini whcn she plowed the vchicle into a tree, killing lTim instantly.A plaque in nernory ofBolan maybe found atColders creen Crematodumin London, where thc latc pcrformer's ashesare stored nearthose ofKeith Moor and T.S. Elior. llrl i,.!,'rlir G o l d e rG r reen crematorium H , o o pL a n e , London, England Nwri TNq o1t44 o8r-4552t74 ; l i rj r ' : r . i " : M e t a lG u r u , " el u m i n u m a c u r t o m , m a da g u i t a r e n g f a v ew di t h h i sn a m e( w h i ( hi s m i r s p e l l e d ) , Hard Rockcafe, Sydney, Australia

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( B O R N :M A R K F E t - D ) 3orh SEPTEMBER 1.94 7 16 rh SEPTEMBER. t977 MUSICIAN, WRI'TER AND POET.

MUCH LOVED AND MISSED BY HIS FANS AND ALL TI.IOSE \^/HOSE LIVES HE TOUCHED.

MARC

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THT PLANE TRUTH

THE ACCIDENT TFIAT KILLED RANDY RHOADS.
BYJEFFKTTTS
THE }|ORI{I E of March 19,1982, whilc on tour with Ozzy Osbournc, guitarist Ralldy Rhoads accepted al,Iinvitation to take a quick spir in a sma1l,single-engine plane. The band rvas on a stop in Leesburg, Florida, its tour bus parked in Flyingtsaron Estatcs, \i't(]rc Andreu, Aycock, the $oup's driver, owled a house. That moming, Aycock, a licensed pilot, had commandeeled a plane a 1955 Beechcraft Borarza F35 fiom its hangar without the pern1issionofits owner, Jerry CaLhoun.With Rhoads a n d R a c h e lY o u n g b l o o d ,t h e b a n d ' s s8-yenr-old scalllstress and cook, along fol the lide, Aycock took to thc air between nine and lo,l.u. The group's tour bus a creyhoundr.ipe rehicle ivith a golden-bIoi(,n top ard $'lite botton *'as parked appfoximately 60 feet hom a white ceoryian-style n1ansionadjacent !o the airstrip. Osbourne, manager Sharcn Arden (later tobeconc Osbournc's $,ifc) and bassistRudy Sarzo were asleepon lhe bus. Keyboardist Don Aircywas oo the bus blrt awake andu,itnessed what happcncd ncxt. The pil0t madethree 1ow passesat tree-top level in an attempt to "buzz" the tourbus. On the fourth pass,while th aircrnft r':rs fl)'ing approximately l0 feet above the groul1d at speedsofl40 to 180 m.p.h., the plane's left rvingcollided u ith the leal ofthe bus. The bulk ofthe aircraft crosscd ovcrthebus and scr.crcd a large pine tree before crashinginto the garageon the mansion'swest end. The piane cxploded and bulned on impact rvith the house, u,hich u as also S' tted by thc ensuingfirc. T\,"o r.ehiclcs palked inside thegarage, an Oldsmobile and a ror-d cranada, were destrolcd. Ore \.ictirn from the aircrnft was found outside the windorv ofthe just belowwhere the plane garage, struck thc l,',all. Thc othcr victims were found inside the garage, onc beside and one atop the burned out automobiles. T h e b o d i e sw e r e buIl1ed beyond recognition. Rhoads had t0 be identified by hisjcwell"v and Aycock through dentalrecords. Fiberglass from the explosive impact $as scattered over more than an acre, with no palt ofthe plale larger than a t e l e p h o n e ,e x c e p l t h e o n e c r u m p l e d wingthat struck the bus. Although ro one on the tour bus rvas injured, the bus {-as cxicnsir.elv darragcd on both sides. Toxicology tests detr'mined that Aycock had cocaine ir his s"vstcnl. Why did the blilliant yourg guitarist agree to go for a plane ride, given his admitted fear of flying? Did the pilot repeatedly buzz lhe tour bus in an attempt to frighten his er-wife, who was standiryoutside thebus'i Was ita cocaire fueled kamikeze run? orjust lock and roll high jinks? The nnsu'ers ma,vneverbe tully knou'n. i.jxr-taG,'{:Mountain ViewCemetry, S7oE. HighlandAve.,san Bernardino, california92404; b09) 88r-r943 r,: Yt'. Cuttom-madeJa.kro Fn l y i n g V w i t hg o l d pi(kguardand red velvet-lined case,Hard Rockcafe, Philadelphia

I8 CU ITAR LEC ENDS

ALBERTKII{E
lOR r April25, 1923, Indianola, Missisrippl Dlttr Oecember rr, 1992, phis, Mem Tennessee ORE nEEK BUITARISTS have ll IlI coooed fiom Albert than fiom anv other bluesman.Standingsix-foot-five, z5O pounds,the former bulldozer driver played his cibson Flying V \{ith frightening ferocity. King's lead plalngwas characterized by stinging, deeptone and an unorthodox approach:the left-handed guitarist played with his guitar held upside-do*,n, treble string! up, causinghim to bend his strings down, amongother idios)'ncratic techniques. Born AlberrNelson. he rookthe surnameI{ing on the heelsofB.B.King's1953 hit "ThreeO'ClockBlues." He hit his stride when he signedwith StaxRecordsin 1966 and beganworking with Booker T and the MG's, recording classicslike "Bom Under a Bad Sign." King suffered a fatal heart attack inMemphis,Tennessee. His epitaph, the tide ofone ofhis finestalbums, says it all: "I'll play the blues for you." paradire lOCAllOi|t cardens. 2t2l{. 5ih St.. WestMmphis, Arka n5arnto1, (alol j3S-zSS2 CUllARr 1958 cibson V,owned byDanny Perklns ofth Guitar Hallof Fam

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STEVEEAIilES
q, r949, SORik Septmber Miami, oklahoma DIEDl october2o, r9Z, Gillsburg, Mississippi HEN BU|TAnIST Ed King left Llnlrd llt t! Skynlrd in 1975, the bandlookedeverywhere for a replacement. But the guy they wantedwas right under their noses: Steve Gaines. the kid brodrer ofbackupsinger Cassie _Cassie caines. asked usif her brothercould jam, andwe almostlaughedat her," recallsguitarist GaryRossington. As it happene4 Gaines was an incendiaryguitarist,and his playingput life back into the band,resulting in7977'sSteet Survfuors, Sk]'nlrd's creativepimacle. Just daysafter its release, their charteredplaneran out of gasand crashedinto a Mississippiswamp.Steveend Cassie r.r ereLilled,alongwidl fie goup s singer and chief songwriter,RonnieVan Zant. IOGATIO , (markerl only;remainr at undisclord lo.ations) lacksonville Memory Ca rden5, fll Blanding Blvd,, (9o4) Orange Park, Florida 3ro73; 212-2435 GUltAnr Sunburst Fender Strat, Rockand
RollHallofFame

FREDDIE KINE z lORr{!

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septemberj, 1934, cllmer, Texas DIEDr December28, r976, Dallar, fexas K E *raddledthe ven differ!REDDIE I ent \ orldsofTexasandChicaso blues. A toweringfigure (he stoodabarrej-chested 6-foot-7),King possessed a melodicbut manly playingstylecharacterized by meatytone and fast, aggressivepicking. He was a huge influence on countless blues and rockguirar, ists,most notablyE c Clapton,who rnadehis

markby nailing King"shitinstrumental "Hide Away." Movingto Chicago at 16,Kingjoined Otis Rush,Buddy Guy and Magic Samatthe forefront ofa new genemtionof more urban, guitarists. hard-edged After scoringseveral R&B hits, Kingmoved to Dallas,where h died of heartfailure at the height ofhis populadty. He wasjust 42. LOCATIOI! SDalkman-Hillcrest Memorial Park. Northwest (2r4) Hury., Dallas, Texar 7405W. 7S225i 353-54or

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JEHI{NY RAIIENE
3OR : Odobr 8,1948, Long lsland, New York DIEDI LorAngeles, California September t5,2oo4, I S THE FAIIONES' qUlTARlsT, the man A bornJohnCumming\created thetemplate for punk rock guitar.The brutal precision ofhis muted, downpicked barrechordsand ringing power chords energizedRamones classics like "Blitzkrieg Bop," "RockawayBeach"and "SheenaTsa Punk Rocker," inspiring several generationsof latter day punk bands. Drug ftee and politically conservative, Johnny was the dri)) sergeantwho kept the Ramoneson rhe road and in Lhestudio for rwo explosive And it was John who pulled the plug decades. putting into actionhis in 1996, on the Ramones long-cherished scheme ofretiringwhile he was still young enoughto enjoy his well-deserved rest.He spenta fewyearsofleisure at homern the Hollwvood hills with his wife Linda and a prostate circleofrock starfiiendsbefore cancer claimedhis life at the ageof55. The memorial statue at his gravesite captures the image that Johrry Ramoneemblazonedon rock history for alltime:leathermotorcyclejacketpuddingbowl haircut Mosrite guitar cockedarldloaded. IOCATIO t Hollywood Fofever Cemeiery,6000 Santa Monica 8lvd., Hollywood, california 9oo38

T.BOTIIE WALKER
8On : May28,r9ro,Linden, Txas OIED: March r6,r975, Los AnBelei, Callfornia USIC'SHRAT TRUEleadguitarist, ll Itl T-Bonwalker wasboth an elect c guitar pioneerand a stylesetterforblues and rock guitarists. As a player,Walker wasa masterofthe smooth, urbaneelectricguitar styleexemplified on his trademarktune,"Call ff Sbrmy Monday."As a performer,he setthe standard for flamboyance, holdinghis fat-bodto his bodt ied Gibsonalmostperpendicular plalngbehind his back and doingsplits.Born Aaron Thibeauxwalker, he was a studentof acoustic bluesguitaristBlind LemonJefferson but switchedto electricguitarby the Thirtts, tearingup clubsin his adopted hometownof LosAngeles. Alate-Sixtiescomeback led to hi5 lo70 CrammyAward.but afier yearsol Walker died drinking and healthproblems, following a strokein 1974. rO(ATIOI:Inglewood Park Cemtery,72o E. (l1o) Floren.e Av., Inglewood, CA 9o3ori 412-650() culTAR: Rockand RollHall cibronEs-series electri(,

2OGUITAR LEGENDS

STEVESLARK
EOR r April23, rg5o, Sheffield, England DIEDr January 8,r99r,London, England tlr HE raESTBLAIIOREUSmemberoiDeI I Leppard. oneofthe lareE ighries' most successful rock bands,SteveClark appearedto be living the dream,with his long blonde hair, snalehipsandguitarhanging'round his knees. Away from the stage, howeverthe was one ofthe most troubled soulsin music.Drugs and alcohol were the qTnptom, not the cause. The real issue wasoneofself-esteem, ofwhich he appeared to havenone.And yet, it was Clark who first forced Leppard out ofthe garageand onto a stage.The one the fans called Steamin'SteveClark cam. up with the killer riffs to early Leppard crowd pleasem like "Another Hit and Run," 'Rockl Rockl Till You Drop" and "Photograph."He died in his sleepfiom a fatal comboof alcohol painkillers. andprescription As Leppardsinger Joe Elliot later obselved,"He was our Steve.but there was fuck all we could do to help him, short of tying his handsbehind his back.He was a lost cause, no matter what anyonetried to do,"

AOR r Februa St.Ann,Ja maica ry5,t945, olIDr Mayrr,r98r, Miami, Florida I CEEROII{ETO TIMETHYWhires Calch 'lla Fire:Th?LiJ"of BobMorleyrOwl Bool,ir, RobertNestaMarleypredicted that he would die at 36 tellingfriendshis "OneLove"missionwouldcommence at33 andthat three yearslaterhe would be gone, "jus'like Christ." Havingdodgedmorerh.rnonebullerin histime,

BtrB MARLEY

he probably envisioneda quick, violent exi! not a slowsuuenderto cancer. Marleysremains rest in one of the most out-of-the-way sitesof anydearlydeparted musician. His mausoleum, a small tropical hut, standsin the hilts of Nine Mile, Jamaica, two hoursfrom Kingston. LO(ATlOf,r Nine Mile, St.Ann,.lamaica CUItAR! Les PaulSpecial, Bob MarleyMusum, King5ton, lamai(a

LO(AIlOl{r Wisewood Cmetery, Hillsborough, England GUITAnST WithClark"family in Shefiield, EnSland

LEtr FENDEN
BORt* August ro,r9o9,Anaheim, California Dl:D!March 2r,i99r, Fullerton, Callfolnia EIEFORE ELARE EE LEO FEI{DER 9came along. rhe solidbody electricgui tar was little more than a gimmick. With his designfor the Telecaster, the world's first successful mass-produced solidbody electric,fender not only gavelegitimacy guirar:he gaveir stylelhaL to the elec(ric broke with tradition, thus establishingan aestheticcriterion embracedby most guitar makerssince.In 1965,after designingmost ofFender's now-classic models, LeosolL the companyto CBS,citing ill health. He was back in action by 1971, however, and designedampsfor Music Man and guitars for c&L. Iender left behind a prodigious legacywhen he succumbed to complicatlons associated with Parkinson'sdisease. LOCATIOI{! Fairhaven Memorial Park. rro2 Fairhaven (I4) Av., Santa Ana, califohia927o5i 6tt-1442
CUIIAft Fender andceorgeFullerton'r fi rit solidbody eledri., the Fendr wa, rold to "Snakhad"Esquire, a private.ollector for $37s,ooo in r99+

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DIMEBAEDANNELL
lol ! August 20,1956, Arlington, Txat DllDrDeember 8,2oo4, Colurnbus, Ohio Ir HE lllNETlES WERE A DARK era for puri.ts, I metal fearuringthe bur Partera, fierceleadguitarplayingof "Dimebag" Darrell Abbott, helped fans keep the faith. Dimebag's flamboyant pinch harmonics, whammy bar screams andgrowls,andprecisionriffing on songs like-Cemerery cares ald Couboys from Hell" fromPantera's 1990major label debutearned him insrantguitarherosraru: and he defiantly churned out inventive solos on songslike "Walk" and "Floods" when most bandswere abandoningsolos.After Pantera disbanded in2003,Dimebag and his brother, who he was Vinnie Paul,formedDamageplan, playingwithwhen a crazed ex-Maiine stormed onstageand murdered him. Dimebag was buried inhis hometown ofArlington, Texas, rn a KrssKasketalonswrtn Eddrevan Halens originat black and yellow striped guitar. Memorial Gardens Cemeter), LO(AllOi& Moore r2r9N Davi. Dr., Adington, Texas 76012

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lonfl! March 2,849, Ballyrha nnon, lrela nd London, England DltOtJune r4,r995, o I Ll OT lrAllY EUITARISTS couid bave l!bested Eric ClaDton on the critics' Dolls... when Ctaptonwas athis peak.But Rory callagherdid. The youngIrishman was his country'sfirst rock star,abluesguitarist who'd taughthimseifto play,thenwent out a avidlyin search His brand of ofaudiences. ; popularityjust musichad lost ashe'd comeof age,in the earlySeventies, but he was driven with performingand record- 9 Cobham, Bolinwasapproached by DeepPurple by his obsession quit.The newlineup in 1975 ing. This compulsion ultimatelytook its toll afterBlackmore tolt: August 1,19sr,sioux Ciiy,lowa recordedjust one album,but Bolin had aheady on callagher'shealth,ashis solitarylifestyle DllO'Decmbef 4,1975,Miami,Flofida begunwork on his fust solo album,?edser, resultedin boutsofdepression. Yearsofpoor IY BELIN maybe besrremembered beforejoining the band.shortly after releasing healthrequiredthat he undergoa liver transTo I asthe guiraristwho replaced futchie his secondslbum,Pnvate Eyes,Bolin overdosed plant.He died in the followingweeksfrom Blackmore in DeepPurpleduringtheSeventies, from a drugbinge the day after he openedfor an infection.Some15,000 fansturned out ln I but to many he was nothing lessthan America's JeffBeckin Miami. Ireland for his funeral. answerto Jeff Beck,John Mclaughlin, Jimmy LOCAIIOI{, Ca lva Cemtery, r82r lackson St., Sioux totAflOflr St. Oliver'r Cemtry, BalllncolliS, Cork, ry Page andBlackmore-aStratwielderfluentin a cily, lowa$ro5'0t2)r55-79j3 lreland wide varietyofjazz-fusion andhardrock congiven CUltAt' 1974 Black Strat reportdly ro guitar 6UlIAt:r95rthree'ton"Ex-Sunburtt" Fender texts.After revealing his razor-sharp, rapid-fire techDavid Srown,latrsold to.olldorin Colorado ownd bybrother Donal guitar plalng with the Jamescang and Billy

TtrMMYBtrLIN

22 GUITAR LECENDS

CL IT.\R ],EI]FNDS

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Born DaJrellLanceAbbott on August 20,1966, Dimebag grew up surrounded by music. His father,JerryAbbott,is a pr DJessj, D.D d coun t y musici an who owns a recordingstudio and playedpianoon numerous includiDg1998's Prince sessions, o/-E3ypt soundtrack. He also composed songs that were recorded by BuckOwns,Freddy Moe Bandyand Bobby Fender, Vinton.AlthoughDimebag's fatherdidn't pushDarrellinto music,neither djd he discoluage him from learninghow to play. "The opportunityto become a musicianwas alwaysthere," the guitaristtold Brad Tolinski in the April 1994issueofGuitdr world, which featuredDarrell's first coverirtelview. "I can remember onebirthdaywhere he said,'Son,you caneither have a BMX bike or you can have this,'and he pointedto a Buitar.I endedup takingthe bike,but he did plant a seedin my mind." The lure ofrock androll proved too toughfor Darrellto resist, however; oncehediscovered the musicofKissandBlackSabbath, therewis no turningback."l wert bacftto my old man and askedif I couldtrademy bikebackfor the g:uitar. [But]I didn'tgetmy first
guitar until my next bifthday. I was about Il, and ' he gavr me a Le" Paul copy and a Pignoseamp. Darrell initiallytaughthimself to play Deep Purple's "Smoke on the water." Then his dad showed him how to play barre chords. "That's when things really started getting healy," he recalled. "The turning point came when I discovered an Electro-Harmonix Big M\ff fnzz. Feedback!Distortionl Dude, that was d1l she wrote." Darrell progressedquickly as a player, and in 1980,at the ageof14,heentered his fiIst guitar cornpetition. Ricll L1.nn Gregg, who worked with Darrell's dad irr the studio and performed with numerous groups beforc he became an acclaimed country-rock solo artist in the Nineties, recalls judging that coDtest "Darrell rvas destined to become a superstar. Kim Davis of lauthem rock banQPoint BlanL Dean cuitars' tbunderl Dem ZelinsLTand I were judges at th$ contest that was held at tlle Agor4 which was the top rock club in Dallas at the tine. There were l0 other contestants, who ranged in age liom 19 to 35 years old. Then this l4-year-oid kid who called himself Diamo[d Daffell went on last. He started ofiwith some licks ofhis own and then played Eruprion in it. entirery. no(e for nore De0n looked at me andsaid,'Its asho-in. He s the winner.' Darell wasn't even finished yeq he went into his own thing that blew us ali away.He wa.s a maniac virtuoso, even way back then." Darrell's prize was aDan ML glitar, which becarne his signatlre ax from that day on. T\ro years later, when he was 16, he sold the guitar to raise money to buya car. The Dean wound up in the hands of guitarist Buddy Blaze, who had the instrunclt custompainted with a

brother 'ryinnie Paul"Abboft when formedthe group in 1981, Darrell was only 15.Recruiting RexBrown and singer bassist Terry claze, they recordedtheir first album,Metal Mdlc,in 1983, and released it on their own independent label.The group recordedtwo more albums, Projects in the Jungle (7984) and lAm theNrght (1985), before Glazeexited and formed the glam-metal group Lord Tracy. Darrell,Vinnie and Rex replaced him with singerPhil Anselmo and adopteda harder sound. while the first three Pantera albumssoundedlike a heavier versionofearly Eightiesgiam rock, Pantera's first albumwith Anselmo,1988's PowerMetdl, bore a closerresemblance to lateSeventies JudasPriest. on the strength of that album,
Atlannc Records bast west

blue finish andwhite lightningbolts. "Later, I got to know Buddy,andIused to beghim to sellmebackmyguirar. Darrell recalled for He Guitarworld. "He wonld alwaysrefuse. guirarlor wasgoing to put together anolher me in exchange for a trllngV that I had.I gave him the V, and a monthwentby, and Buddy just couldn'tseemtofind the time to put the a-{

subsidiary signedPanterato a recorddeal,which resultedin the band'smajorlabel debut, Corboystom Hell. Released in July 1990, the albumdisplayed a toughersoundthatbore the influenceof Eightiesthrash metalbandslike Metallica,Slayer (significantly, and Megadeth. Darrell had beenofferedthe leadguitar spot in Megadethbut theyhire Vinnie losrrhegigwhenhe in"isted paul to be the band'sdrummer) Thanksto airplayon Los Angeles' legendary hard rock stationKNAC, metal fansthroughoutthe countrysoonlearnedaboutthesenewcomers from Texasand their fresh new sound,which effectively bridgedthe gapsbetweenhair metal,thrash,hardcoreand industrial.

"T}|tS |(lI l|lil$tF 0lAl.|[1{0 t4-YtAt{-0t0 lI1|[ [AttE[ S0ilE Ll[|(S 0AIiI|EU. tTt|T [1{ tA$. ]|t$AI|IE0 [tt lvII]| ptAYt[',tltljPllil{'l}l Ttltil lil Ii{IIIIETY. [F }|IS ltlilAllI
ll0lE." ll[TtFIR -ltrrxy ltrrstnm A}rD iAtlriy tnrnr tyt{r $rrIIG,
together for me. one day he showed up on my with abox. I opened it up and inside doorstep wasthe Dean.He said,'Dude, itwasyour pnze to beginwith. Here you go."' Blazeand Darrell's friendship continued. when Darrell was interviewedfor his first guitar magazine, GL!ifdrl,l/orld's December l99o issue,Blazetestified to the guitarist s previousglories."Darrell was bannedfrom every guitar competitionby the time he was won em all. Blaze l8 because he already told cl4zs Joe Lalaina."Every hard rock band in th statewas comparedto Pantera and every guitarist comparedto Darrell." Evenin their earlyincarnation, Pantera were settingthebar high.Darrell andhis when the bandsthat In the earlyNineties, influencedPantera's new directionbegan softeningtheirsounds, Darrell and company madetheirs heavierthan ever."we look at grrt-wrenching our musicasball-busting, hea\,ynhdtever," Darrell saidin 1990. "we're a superaggressive bandand all our songs aremeanlIo be pla)edlive.Weplayanew groove we call it 'powergroove.' we're like A fter fine'runed. clean-curting machinetf. Eell, you'llview the listeningto CorboysJ+om world with a biggerpair ofballs.The album you makesyou another foot taller and g:rves go-for-it power." crushing, and Alwayswillingto sharehis techniques Darrell,still goingby tips with other guitarists,

26 CUITAR LEGENDS

t h e m o n i k e r o f D i a n o n d D a r r e l l , a g r c e dt o b e interviewed by cuifdr World for an exclusivc l e s s o n h i s f i r s t i n t h e S e p t e m b e r1 9 9 1i s s u e . shortly after it appealed, Darrellsat do\rn fol G his first Q&A inteniclv with cdifdr l4/orld, l v h i c h a p p e a r e di n t h e A p r i l 1 9 9 2 i s s u e . l r it, he discussed Pantera'sA yulgdr rispld.y otPower album, r'hich featured thc Pantera favorites "Walk" and "Iucking Hostile." H. a l s o r e v e a l c da w i d e r a n g eo f i n f l u e n c e s t h a t i n c l u d e d A c e F r e h l e y ,R a n d y R h o a d sa n d Eddie Van Haler. Most notabl!', rholrgh, hc used the opportunity to discuss plaver'she admired, u'hose inpact might not have becn felrbv the rcaders but whorn hc neverrheless s,antcd

to ,:cknorvlcdge."I'n lroln 't exas.Llude," said Darrell. "Thcrc ar.eso Inrn,v peoplc u'ho, overnight, ciairn thcy plav blues!.,but I g r e u u p d o u . n h e r e u , a t c h i n ' d u d c sf l a y w i t h m ) ' c t a d . l u s c dt o c o m e h o m e f r o m s c h o o l a n d u ' a t c h a l l t h e s ci n c r e d i b l ep l a y e l sg o i n rhr,,Ieh 'l-"ir (lruL'. Jir I\ \^ rlli.e. Bud. H r . , . 1r ,- L R : . 1 , t . . r r n u r ( r . r . I r r , ) . p r n l knorvn verv much ourside ofDallas, but thev're r l l i r c r e d ' h e -a n r l r , i r r ; r r . m p l r r h r J a l * l ofeDinflucnceon me.And,ofcoume,there's the Reverend C Bill,v cibboDs. We'v seen him more thrr oncc at clLrbsand stufl." 'l'he inteNie\'lrlso lnarkcll the fifst tilne Dalrell lct rhe prrblic know that, hcnceforth, h e p l e f e l r c c lt o b e c a l l e d D i n r c b a g . "Popie

have been calliDg me rianrond Dar-r-cll for too long," he said. "lt's a mistak. I've al*,a-vsbccn called Dirnebrg Darrell by m"vfriends. That's mv real namc. Dimebali Darrell got it?" Alr\ough I'inr.brgreceireJ r fifr ,-flJ.e Best New Talent nod in cuiidr lvorld's 1991 R e r J r r . P o l l .r h e f o l l o s i r r g , . r - l - " r " e l third for Bcst Heavy Metal Lluitarisr:rnd fourth in the Best New Talent catcgor_v. Pantera,meanwhilc, took second fof Bcsr Heavy Metal Albun1 \r'ithA yulgdr Displd_v o l P o l L , e rT . hc results appearcd iD the M a r c h l 9 9 3 l . u t u f e S h o c k i s s u e ,t h c f i r s t of many cuifdr World issuesto feature D i n 1 e b a g ' sp h o t o o n t h e c o v e r . His l99l GlVlesson marked the begil]llingofr \ e r u t i f u ll i i . r , l s h i p r h re rv e n r u d . . ( tJroD r.rF. long-running nonthl-v inshxctional colunnl, Riflcl Madness.Debuting in thc April 1993issue, the colltrxl was a favorite rlith readcrs,who were shou'n ho$.to pla!.verfthing ftoll1 the nlair riff to "Cou-bol,sfrom Hell" to thehxrmonic squerls in "Cemeterycates." Fron his firstcolumn, Dimebagrvasur cnthusiasticcontributor-. "\ /hen the guys at Cuitdr world isked lne to do . r , , ' l u n n f o r ' e m .n r ) r r r l r , r l i r r e r e . r c r i o n u r. two four-letter u,ordsrHELL ITAHll" he wfore in his dc'butcolumn. Dime'ssenseofhumor xnd ienerosity nadc Riffer Madness a nust read. Amonithe mrn).lighlights \l.ashis olTerto buy a si:r pack ofbeer for each of the firsr 50 readersto nasterhis lcssonin nnlu ral harnonics. Throughout this time, Pantera's rise continued. Their third album, Fdr Bcyond ,riven, stunned the music wolld by debuting at No. l on ihe Billrodrd magazirc Top 200 a l b u n c h a r t u p o D t h e l e c o r d ' s r e l c a s ci n 1 9 9 4 . B\ I\en. [rirnebrg hr'rerrred erorgh J(, l:rinr t o a p p e a rb y h i m s e l f o n C u i . d r w o r l d ' s A p r i l i 9 9 4 c o v e r ,w h i c h r i g h t l y b i L l e dh i m a s r h e \ \ o r l d . M u . r D r n S e _ o uC . u i r - r i . r ._ A r r ' r , e p i c e n t e ro f P a n t e r a ' sr n u s i c : r 1 mosh pit is thc band's larfier-than life guitarist, Dimebag Dallcll," Tolinskirvrote in the covcr story. _ H r ' t r r J , n r r l c r : r r . ^ ng o a r e r . ,'usl,,In !'uir..:rncc l olorful comnand ofgood-ol' boy slarLB l u . n n d e l - i m a l r e r or r r r ' r r t I r l d - o c k t a r ' . t s u th i . b n r e - r r trI ' n g - h r I l , n , ' v u r ' \ .: . r ,p n r : \e s o l o i n ga n d d i s t i n c t i v e r e z o r s h a r p ' D a r - f c l l t o n e ' i s w h a t h a s t r a d c h i m a l e g e n da m o D g a whole generarion ofp;uitarists seafching for a ne\r' Edr,r,ardVan Halen. And likc V , Halen, the ke). to the Texan's large trlent is his healthy disregard fol rules and rep5rlations." "The storyofvitutie ard mc is almosr identic.rl tothe VanHalen story," Dine said iD thc accompan),iryj interviw. "Both Eddie end Alcx l ' h v e d d - . r n r : . r rf i r , r b u r C l ,\ k i l F d . . o q J J i ( dccidcd topick up the Eiuitrr.Thc sarre thing happenedwith Vinnie and me.Igrerl.up a hcaq metalkid, ard we arc a hea$, metal band. I kno\r' it's not fashionable, but l1n pr-oudto sav thefs what rve are and rvhat we do- W'll remiin true to o r r r " " r . l r i l eJ i r k e e t : r * L r i r r ; r o ' r r d u . . " Even so, the band had begun making a fe\r' s u b t l ec h a n g e s to its sould. Dimebrgplayed fewer solos on adr 3e-vondllriven, as Panterl pfeferred to conccntrate on skull cfushing grooves. "We're into topping ou rselves," Darcll revealed to n1ein an inicr'!ic\r rt the tin1e. 'Nlost bands come out with a hca\,\, record, then thcygct lighrer and lighter. YoLrlc sruck listeniDgto thc fir'st recold, wishing

c.rr,\R LEcrNDs {ttl

and dreaming. That ain't what we're about though.We ianted thesesongs to havethe period.Everything mostimpact, we do is for the bandasawhole.It's not likeyou'vegota spotlightleadguitarplayerin the band.You're going to hear me, Rex,Vinnie, Phil, everltody." DespiteDimebag'smodesty,plenty ofpeople still enjoyed hearing him playblazing leads Darell's toneis andsearing riffs."Dimebag my favorite of any guitarist I've worked with," saysproducer Terry Date,who, in addition to producing and engineeringPantera's first four workedwirh Soundgarden. major-label aJbums. white zombie and Prong."The thingthat's so specialaboutDarrell is he'sthe only guitarist I've worked with who hasplayedthe same guitar sincehe was probably 12yearsold. He wonl take it off. Ids becomean appendage. His tone is asfamiliar ashis voice." when the nextReade$Poll appeared in the Marchl9o5issue. Dimebag rookrophonor.in the categories ofBestHealy MeialGuitarist, Best Solo('Planet Caravan') and BestHea\.T' Metal Album (Fdr BeyondDriven). He alsotook placeinthe MostValuable second Playerand fou$h in the BestLive Bandspots. Now at the heightof their popularity, Pantera hadbecome a significant influence on modemmetalbands suchasDeftones, Korn andGodsmack, who werebeginning to male rumblings oftheir own,Dimebag's razor'sharp rone andmachine fi*e rifting appealedto fans of death metal and industrialmusicalike,andnewbandsimitated Pantera'spostmodem angstand bmtal assault. But changes were taling placein the
28 GUITAR LECENDS

"|{['S I|1I []{ty E|lITAttI$ t'llE lt[]ttft[ lltTH l{1|I l|AS SA[|I G|lITAt| SIIIII l|IIIAS PI{IBABIY12Y PI.AYilTffi tAMtilAI| AS HtS Vilff." il.[. t|ts I[1'[ t$ A$
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grungehad fadedlike a mainstream.By 1996, wom-out flannel shirt, replacedby a new breed of alternative rockbands, includingSmashing Pumpkins, when Pantera Bushand311. releasedTheGredtSouthernTrendkill that year, the albumdidn'tslayits competitors on the charts. Still,when thegoupjoined a reunited BlackSabbath for 1997's Ozzfestpremiere, wirh their aggre.sive. theystunned audiences provjng that Pantera energizedperformance, and metal were still forcesto be reckonedwith. "Dimebagwassuch a nice,genuineblotre and a greatplayer,"Tony Iommi recalls."He was alwaysvery respectfultoward me, and it was lovelyto havehim on tour with us." once again,cuitdr world readersawarded Dimebag with numerous accolades in the l99o ReadersPoll, the resulis ofwhich appeared in the Marchl99Tissue. ln addition to being named MostValuable Player for the second time, Dime wasvoted the BestHard Rock/^{etal for BestRock Guitaist andtookthird place Guitarist andBestsolo("Iloods").The poll alsogavePanterasecond-place honors for Best Album (?rendftilD.Upon receivingthe news, Dime respondedin his characteristicfashion: "Pleasetell your readersl'm real flaftered and 'thank would obviouslylike to saya big-assed you'to all of 'emthat votedfor me." ReadeN continuedto heappraiseon Dimebag the following yearwhen they chosethe 100 createstsolos ofAll Timefor Cws September 1998issue, voting for "Floods"(#15),"Cemetery cates" (#3s) and 'nvalk" (#57).while Dimebag continuedto downplayhis leadplaying it was itwhenever hc obviousthat his fansstill loved broke out somechoicesolos. During the four yearsbe.l'/ee\ TheGreat E SouthemTrendkilla\dPanterds 2000 album Reinventing the Steel,t\ebandtoured and issued alive album,offcral frve:]ol P/oot Though Dimebagremarkedthat the bandneededa brea}, he mndeit more than obviousin his May 2o0o coverinteNiew that he wasthdlled to be recordingandtouring againwith Pantera. "we lookedbackon all of the goodtimes

,OAt{t|[I.I. tvAS BAI{t{tO Fl|O[,I IVItlY E|JIIAIt M[|P$IIIM BYTHTIII{I ]|EIIAS 18 BIIA|JSI 1|I AtI|tA0Y lT0t{ TilA[[.',
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Poper, didn't sell aswell asPanterareleases, but Dimebagenjoyedhis new creativeoutlet. He was enthusiasticand excitedaboutthe numerousopportlrnitiesthat seemed to reach out to him from around everycorner. He renewedhis rclationshipwith Deanguitars, which he originally endorsedup until 1994, and was at work on new guitar designs with Dean."SeeingDimeonstage with a Dean in his hands again broughr backfeelings I thought were goneforever,"saysZelinsk,. Dimebag alsostartedusingKrank amplifierc,and his new rigmade him anxious to get backin the studioto recordthe second Damageplan album."I plug straightinto the Krank and let it blaze,"he said."This amp puts the funback into playingfor me." In earlyDecember, havingfinished a coheadliningtour with Shadows fall, Damageplan were making their way back to Texas,where they planned to start recording new tracks. A handfulofshowshadbeen booked for the routehome,includinga December Sdateat the AlrosaVilla,a nightclub in a seedy areaofColumbus, Ohio.On the night of the gig, asDamageplan launchedinto the first songof their performance,2s-year-old Nathan Caleclimbedonto the stage bmndishinga9mm handgun andmurdered DimebagDarrell before hundreds of fansandhis stunned bandmates. Immersedin his performance, Dimebag perhapsneversawthe fate aboutto befall him. As sadand senseless ashis murder waq Dimebag leli this earth doing the onething that gave him the mostjoy: plalng his guitar to a crowd olpeoplewho appreciared hir remarkable gift and loved him for the unique,loving aad giving individual he was.He diedwith hisbootson, asdid somany other hell-raisingcowboyswho plied their art in the untamedwild. Dimebag Darrell wasthe original cowboyliom hell. There will neverbe anotherlike hirn I "All ofus hit a point in life wherewe need resurrecting, and it's up to you to makeit happen, straighten thingsout and letgo ofthe thingsthat arefuckedup. Where I sit,man,I' neverquit I loyemusicanilI lovethefans too much.SoI put on m! badass shoes aniL stdrted /riclring asswith rfirsband.It's been a IoLof hard work to crawl out of the hole, and it hasn't been easy, but dt thispoint I\'e gotm! fdmily, my brotherhood, m! musicand d crushing new band. t've goteverythingbackthat wds taken ftom me, anil I'm in a goodfucking place. what wasonce d misefable nightmare hasbloomed into o verysNeet, place. comfortable Ament" DimebagDarrell, Gljitar rr'r'orld,, March 2004

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we had,all the hell-raisingwe'vedone,and all the kick-ass musicwe've made,"he said."we fuckin'love whatwe do.we're happyhowwe are.We'vewatchedwhat's goneon around r.s,and we'vebeenlike a steelrod in the centerofit all.l'm still the samecat I always was.I don't get all caughtup in that rock star shit. I don't sit at home.I go out. I'll hangout with whoever,whereverand whenever, and probablydrink them underthe table,ifI can. Ifl can't,then I'll havethem drive mehome. Unfoftunately, Pantera'ssubsequent Ozzfest tour appearance in supportofleinventingthe Steelturned outtobe the band's last.Relations between Anselmo andDimebag andVinnie hadquicklygonesouthonce the bandreturned home,andthe singerexpressed his ittent to work with his numerous sideprojects,like Superjoint RitualandDown-Dimebagand Vinniehadno choicebut to letAnselmo pursue hismu\e, rhey wererircJofpuning burby 2003. their own creativeurges on infinitehold.tn the March2003issue ofcaifdr lyorl4 the coverof which featured Dimebagand closefiiend Zakk a wylde, Daffell madethe announcement that Pantera hadbrokenup.(RexBrown decided to followAnselmo andwork with lown.) In the following March issue, in a Gw cover ; story interview conductedby longtimefriend

Nick Bowcott, Dimebag irtroduced his and Vinnie's new band, Damageplan. He also opened up about the problerns that led to Pantera's demise. "I don't like to irave to go into this at all, but I'm gonna step up to the plate ,nd tell fte truth," Dinebagconfessed."I finr ybelieve that Pantera fans desene an honest answer about what went down and broke this rhing apart. Thelve been awesome to us, and I want to let them klow first and foremost that me and my brother nerer" let them down. We're embarrassed about what happened, but we had no control over it. We tried every goddafined angle we could to m r k e r h i n g sr i g h r . b u ' w e c o u l J nr . t t c r u s h e L the shit out of us and took two prime years out of our cai:eeIs, but at this point iCs totally out of our hands so we've accepted it and rnoved on. "The main reasonVinnie and me waitd around for so long and tried so hard to male it work was becausewe wanted to do Pantel a forever. We were the heart and soul ofthat band, and it meant everything to us. We honestly thought we were going to be the RollingStones of hea\,y metal. Then I got the tim to sit back, look at the band, reflect on it and go'Damn, iook what it's headed for!' Sometimes,when you're drivingl50 miles an hour, you don't have time to seethe wall ].ou're aboutto smash into." Damageplan's debut album, New Found

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N SEPTEIEER l,lE7O, the day beforehe playedhis lastevergig, U.K. musicpaperMelodyMdl.er publishedan interviewwith Jimi Hendrix. "It's all turned full circle,"Jimi told intewiewer RoyHollingworth,"I'mback right now to where I started.I've giventhis era of musicever)'thing. I still soundthe same, my music'sstill the same, and I can't think of an)'thingnewto addto it in its presentstate... when rhe lasrAmericantour finishedearlier this year,I just wantedto go awayawhile and forgeteverlthing.I wantedtojust do recording, and seeif I could write something. Then I startedthinking.Thinking aboutthe future. Thinkingthat this era ofmusic-sparked off by the Beatles had cometo an end..." The Intcrviewhadtakenplacesomedays earlier, on August 29, the daybefore Jimi played the Isle ofwight festival,an appeaiance that marked the first day of a week of intensivetouring. o\,.erthe next sevendays,Hendrix, bassist Billy CoxanddrummerMitch Mitchellwould playsix majorgigsin threecountries across Europe. Theywouldhaveplayed others, too, buLthe rour wa. cut shon duero concerns for the healthofCox: on September l, someone had spikedhisdrink with LSD;morethanoneweek later,he wasstill paranoid ard exhausted. on September9, thetourwas cancelled, andCox returnedto the states. Liltle did they realizeatthe time, but they'd alreadyplayedtheir lastgig together. September6 for his last live perforrnance. Ffomhisposition onstage. U.K.srudentturned-stagehand David Butcherwas relatively sheltered from the chaos. Buthe knew was\rrong. "on the second day, something this Englishguy who was manager ofone of the otherbandsdecidedto pullout," Butcher recalls. "The HellsAngelswere causingso rnuchtrouble.Theywere ransackingthe office and giving free tickets to everybody. They weren't in chargeofsecurity,but baslcally,theykind oftook over and therewasa lot of trouble,includinggllnfire. Machine-gun fire. For awhile afterwardI wonderedif we'd imaginedit-but it wasreal." "Thank you very much.And peaceanil happiness andall theothergoodshit." -Jimi Hend x's lastwords at the Isle of wight Festival, August30, 1970.

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David Butcher's road to lehmarn was a happy one.A studentat KeeieUniversity, where associalsecretary of the student unionhe was responsible for boohingbands, he wasalsoa Hendrix nut. "I'd beena hugefan,right fiom the firsttime I heard'Hey Joe.'when I was at university, ,lectric ,ddyland cameout, ald Ijustused tolisten to iteveryday.l still think with stethat voodoo Child'-the longversion viewinwood andJackCassady-is oneof the mostamaz ing pieces ofrock musicever." ln the summer of 1970, David and his friend DavePhilip traveled to Diisseldorf,where fehmarn.offthe coaor ofnorrhernCermany in Philip'sfatherwasstationed in the army.with the BalticSea, wasintended tobe the European Dave'sparentsaway,the two madefull useof answer to Woodstock. Instead, itturned into a the house andthe cime..ave werejust hanging dot. overun by a cerman bikergang, battered out there,getting herbally enhanced, and one from for this festival in trehmarn. bystorms,andpJaguedby cancellations daywe sawa poster actslike Eme$on,LakeandPalmer, We didn't haveany money,sowe sat down at big-name the festival wasdescendinginto chaos, violence this R?ewriter and we concoctedthis letter to al1d arsonbythe time Hendrix got thereon the festival organizers saying thatwe were pasGUITAR LECENDS

sionateaboutmusic which was true-and that we were doing a thesis on music asa unifuing force and visiting loadsof festivals..." The organizers fell for it. A few dayslater, passes arrivedin the a coupleofbackstage post.The rwo _gotour backpacks rogetherhis father had a coupleof armysleepingbags quality and we which were of tremendous we got hitchhikedallthewayup to Fehmarn. rhere Lhe nightbefore. on thethird ofSeptember.we were absolutely exhausted.Itwas really cold and we! andwe'd beenhitchhiking for a day and half, andwejust found a spot on the grass to lie down,got into thesesleeping bagsand crashed out. "In the morningwe woke up, and we were surrounded by carslwe'd crashedout inwhat wasthe middleofthe car park areaand during the night and morning,hundredsofcars had Jimi'sjourneyto trehmarnhadn't been filledwith asmuchgoodfortune.Hendrix hadn'twantedto cometo Europeinthe first place, MichaelJeffery had conbut manager vincedhim that his new Electric Lady studios, in New York city's GreenwichVillage,needed an injectionofcash.The answerwas a short tour that beganat the Isle ofWightfestival
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and continuedin Denmark.Sweden and Germany.Hendrix arrivedin Londonon August 27 and conducted a stringof inteniews before heading to the organized chaosthat was the Isle of wight and probably the largest single audience ofhis career. Around halfa million peoplewitnessed him struggling with technF

the promoter-Jimi got his revenge by plaing for 110minutes. to all the girls who "This songis dedicated get laid," he said before the final track, 'troxey Lady,'evidentlyenjoyinghimself."A11the little girls backtherewith thoselittleyellow, orange,pink and turquoise panties that they

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cal problems(the ampswere pickingup radio signals),the effects of a cold, exhaustion (the banddidn't appearonstage until2 A.M.on Monday 3l) and whatever combination of drugsand alcoholhe wasjugglingat the time. Lessthan 24 hourslater,the bandwas playparkin Sloclholm, inga gigal an amusement Sweden, where Jimi insultedthe audience for callingoutfor the hits ('Fuckyou, fuckyoul Comeup and playguitarl') and appearing wea4 *ith Lhe wholeprocess C Ah.letme tunemy guirarchere again. Oh.w hatthe hell, you don'twant to know..."). proThe Swedish moter had allegedly demanded that Hendnx play for no morethan an hour sothatthe audiencecould usethe nearbyfun fair, claiming thathe'd makemore moneyiiom the fair than the gig.Justifiablyoffended-and apparently leaving the stageat one point to a.gue with
32 GUITAR LECENDS

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Leepthrowing on the stage: It's closeto Mother's Day. Anybody that wanna be a mother, comebackstage," The next day, the band-billed everywhere asthe Jimi Hendrix Experience, despite Hendrix'songoingattempts to haveitbilled otherwise-taveled to Gothenburg for an outdoor gig. During the day he gave an interview to a Swedishnewspaperthat asked him about a contdbution he had made to the Martin Luther King Memoriallund. "Would you rather I gaveit to the Ku Klux Klan?" he you haveto decide responded. "In the U.S.A., which sideyou'reon.You'reeithera rebelor 'wirh hisidealism ques likeFrankSinana. tioned by the establishment,and his commitment questioned by his audiences, Hendrix felt exhausted. "I'm tired oflyingdown, andI feel mentally hollowed," he told the inteFiewer.

thanthepre lfrhe giglhal nighrwasbetrer viousone,it still wasn'tenoughtoimpressa visitingChasChandler, the man who had managedHendrixto stardombutparted\rays with him the yearbefore."He waswrecked,"Chandler said. "He'd stalt a song,get into the solo section and then he wouldn't even remember what songthey were playingat the time. Itwas really a*'ful to watch." It was at a party after the gigthat Billy cox's drink wasspiked.The bassplayerexperienced a nightmarishbadtlip that,combined with the stress ofa busyschedule,puthimclose to a nervous breahdown. The whole camp was at the end of its tether. to be 28 yearsold," Hen"I'm not sureI'11live drix told an interviewer the next day. "I mean, at the moment I feel I have nothing more to givemusically. I will not be aroundon this planetanymore, unlessI havea wife and children-otherwise I've got nothing to live for " with Hendrix in the grip ofa feverishcold, the bandplayedin tuhus, Denmark,that night. Three numbersinto the set,Hendrix leftthe stage. He had onlyever stoppeda gig once before at the last Band of cypsys performance at MadisonSquare Gardenin Kirsten Nefer, ; Januarythat year.A grrlfTiend, recalled that when shemet Hendrix earlier the day ofthe Arhus show,he was "staggering" and "actingin a funny way," tellingher, "I 6 don'twantyou to seeme likethis." Nefer says ; thatJimiwas unableto eventune his guitar beforegoingonstage. Helpedonto the stageby

r n a d i e s .h c \ r s e . c o f L e do f f a g a i n m i n u t e s l a F e r a s M i r c h M i t c h e l l c o v e r e dh i s e x i t b y p l a y i n g a l o n g d r u m s o l o .B a c k s t a g et,h e v e n u e , s manager, Otto Fewser, claimed that.Hendrx collapsed into my arms and we sathim up on a chtrir. He was cold-cold fever-then they asked for cocaine. 'We have not cocaine,, I say_ Hendrix could not play more." The gigcancelled, Hendrix headed back to his hotel, where he spoke once again to Anne Bjorndal, a joumalistwho had irteFiewed him earlier. "I love reading fairytales," he told her. "Hans Christian Andersen and Winnie the Pooh. fairy tales are fulI of fantasy and they appea] to your imagination.I never play a song the same twice I can't play somethrng that I do not feel and that I can't put my soul into." Bjorndal claims that Jimi then sta.ted crawling around, "actingout" Winnie the Pooh. "Winnie the Pooh is searching,', she quoted him as saying. "Ifs winter and the tracks are easy to follow and, oh, now the seasons have changed.I've lost the track...,' fIIERVfEWER Ilow do Jou get your inspirdtion? Jt,lltt E DRtxPdrdon, sdy if dgdin? f TIRVfEWET IJow do you getlour inspiration? hE oRlx From thepeople. August 30, lsle of wight Very early on the morning ofSeptember 3 , \ 4 i t c h M i r c h e l l g o r i p h o n e c a l l r e l l i n gh i m that his wife had given birth to a baby girl. Mitchell charterrd ; flighr brck ro Londor

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takingBilly Cox with hin1.Later that day, After a strongperformance in Berlin,the he metup with Hendrix in Copenhagen for bandflewto Hamburg, then caughta train a blisteringgigat the city'sKB Hallen hall. to Grossenbrode in the north.On the train, Overthe worst ofhis cold,Hendrix had spent d J i m ;w a n r e t o l i ed o \ n , s o h e b r o k e i n r o a rhedry with Neferat her pafenrshoure(lhe lockedsleeper car."The guardfrealed out and Danishpresswere already repoftingtheir stopped the train and threatened to throw us "engagement"), and he hit the stageapparent- off," tour manager Cerry Stickells recalts. The ly invigorated. In a review ofthe concert,Dan- situationwas smoothed over,and theband ish newspaper Politiften raved:"Jimi wastired anived onfehmrrn on the Saturday afternoon. and ill in Arhus,butwas so high in Copenha, "We got theremid afternoon," saidMitch genthat rhiswasrrueenergy, rrueadrenaline Mitchell,"andwere supposed to be on at eight. whichran through his fingers. through rhe By aboutsix we heardthis wind, andthen it guitar and into all ofus...As a warrior oflove turnedinto agale.We knewbythen therewere he stooddressed in many colorsandwasthe otherproblems aswell. The usualequipment bestguitaristrock androll musiccanoffer.,' trouble,plusHellsAngelswithguns." The followingmorningHendrix had a fallPromoters ChristianBerthold,Helmut ingout with Nefer,who flewback to a film she Ferdinand andTimm Sier ershadrimedrheir was workingon in London.Theband flew on eventto coincidewith the Isle of Wight Festito Berlin to perform atthe SuperConcert'70, val.They did so hopingto attractsomeofthe ar indoorfesri!al ar (heciry'sDeutschland major actspedorming at Isle of Wight, includ, hallewith ProcolHarum, Ten YearsAfter, ingHendrix, who was then atthe heightofhis Canned Heat and others.Interviewedby popularityin Germanyafter his appearance Americantrorces Network radiobeforthe in the woodstoct movie-But the promoters gig,he wasaskedifhe thought therewould hadn'tcolrntedon someofthe sameelemenrs everbea festivalas successful asWoodstock. that had disruptedthe U.K. festivaispilling 't "well. I donl kno$. he replied. I s preny over into theirs:rogubikers,overcrowdjng,bad weatherand a load ofcanceilations hard for this soundto getto all thosepeopl in suchabigcrowd.Like,if we hadsmaller that souredthe Love + Peace attitudeofthe crowdsyou canreallygetnext to 'em more,you 30,000-strong crowd. know?"How did he feelaboutplayingin front "Ifyou think the Isle of wight was a mess, of400,000people? "Well, that'swhat I mean,,, you shouldhavebeento Fehmarn,"comments he said."It'sjust too big you know?you know trord Crull. Now a NewYork basedartist, Crull was 17at the time and had heardabout ]'ou'renot gettingthroughto all of them...,'

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Fehnarn while at the Isle of wight. "I was on my way to S\(.edento meet a girl I'd met," he says. En route, he took a detour ard hooked up with British folk rockers Fotheringay (featuringpopular English singer sandy Denny u'ho in l97l sangon Led Zeppelin's "Battle of Evermore"). Soon after, Clull found hirnself hired as a stage hand and enjoyinga bill that includedthe Faces, Sly& the Family Slone, Crctus, Procol Harum, Ginger Baker's Air "Fehnarn had agood lineup,but itwasjust chaos," Crullsays today. "sandy Denny kept gerting an electric shock fiom the mic. Whocver built the stagewas an idiot. Thereweregales, so the seajust keptblowingonstage. The whole placewaswet, and so she kept getting shocks." Crull remembers another potentially dan gerous experieice as he accompanied Rod stewart and the stage manaierover to the business office to collect their payncrt. "They just had suitcascs packed with cash to give the bands in American dollars, too," he sa,vs. "we had to walk back through everyone with these casesprcked with I don't know how many thousands ofdollars. l'm sure ifthe bikcrs had knorvn, they would have storned the office." (That wasn't the only excess.BacL in the Faces camp, Clull pulled out lis bag ofgTass.The Faces pulled out theirs. "I had en ounce," he chuckles. "They nust have had a pound.") David Sutcher had alsobeen hired asstag hand. "One ofthe managersof a number ofthc English bards had paid us to be stagehands,"he

says. "ell r-e had to do was help the roadies and nale sure there weren't too many hrngers on It *,as one of those revolving stages,so the chal lenge w.Lswhen the guys came up and got on to dre backstage bit they needed piece and quiet and spaceso they could tune up. So the job was litrally just keeping people away,getting drinks... "\ e uere geringprrdrhrcquiralentofrtz a day ldbour$iso roddy], includingfood and wine, so this being 1970,we were doing pretq,' welll On day two ofthe festival, this guy who'd employed us appcared in the late afternoon. He had a huge \a ad ofcerman marks and he seid,'Listen you guys, I've got the cash for the bands that have played.I've got a couple of b r r d . t h . r rr r e d u c r o p l r l I r e r ' .b u t I m t a l i n g them hone'cause this thing is fallingapart. The Angels are just ruiningthe whole thing. T h e c a s hi s n ' t t h e r e . I ' m o u t t a h c r e . ' "Hc said, 'what are you glys doing? Are you staying on?' I said,'Yeab,I'm stlyingon 'well, that's up to becauseofHendrix.'He says, you. My advice is dor't sta,v,because it's getting dangrous. But ifyou're staying, you can take over,l)o you want to be slage manager?'so I srid ves, and he got outhis stage managerpass and snrck it on rne.Alrd thatwas that. We'd g o r r . f r o m n o * h e r ' et o g e r l i r g l r e e p r e . . l r ' \ p s , thelr all ofa sudden I then backstagepasses, u'as stagemanagcr. Whatever that neant." Hendrjx was due to take the stage at 8 p.M., b u t w h e n G e r r y S t i ck e l l s v i s i t e d t h e s i t e ,a Force 5 gale (an average ofnbout 21nr.p.h.) and torrential rain convinccd him that it

wouldbc a big mistake. Instead, Jimi stayed \r'here he was in the Hotel Dania in Puttgar d e n o n t h e n o r t h o f t h e i s l a D d .T h e h o t a l w a s home to most ofthe musicians appearing at th festival, and its bar was drunk dry. David Butcher ended up there, too. "My memory's hazy, for liood reason, but appar ently jtwas the hotel where all the musicians wele staying, and we landed up in this bedr o o m . a n d ( h e r e w e r e p e o p l ee v e r y $ h r n . i u " t crashed our. AlviD Le ofTen Years Alier was in there. Someone had a pair ofbongos and there was lots ofmarijuana goini around.I just remember feelingvery mellow, and Alvin Lee was strumn]ini away, and someone wes p h l i n g I ' o n g n s .r n d s o m r o n e s a 5 s i n g i n g . Ard wejust fell asleep where u'e were." Bill,v Cox wasn't havingnear-ly as good a r i m e o i i r ." B i l l I h r d k i r d o l a b r e e l d o w n . Gerr]' Stickles told Tony Brown for his 1997 bool. fhc Fiadl Dd-vs otimi H.ndril rpub lished by omnibus, but now outofprint). "It was part ofmyjob to nulse hin through it, r o 8 e r r h e d r l ( u \ r | $ i l n . g u , 1 ' , "1 ' 6 . . e v e r e l y paranoid ofwhat was goingon,l'ou knor,r,. Thjs *,hole thingwns goilgto collapse and goingto be killed and God e\.efybody \,r,as knou.s what else. I had !o sit on the side ofthe stage and stuiflike that, so hc could see e all rhe time. Everybodywas feelingbad at that tinc- when somebody's like rhat, it penneatcs through the \l,hole thing. Butthis was the last sho\r.- 'let's j ust do it, get it ovcru.ith and get out ofherc' and that's what happened."

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3TCUITARLf CENDS

one more responsibility. "The guy who was "I'm tired. N ot physically. Mentally. I'm going controllingthe soundtook abreak,so I was to grow my hdif back, it's somethingto hide sort ofdelegated to look afterthe soundbehind.No,not to hide.I thinkI m6ygrow but hopefullyjuststandthere and not do any it long because my daddy usedto cut it like a thing,'cause I didn't understand fhowto l{,orfr skinnedchicken." }1endxix, The (London) the mixing deskl. Iimes, September 5, 1970 "He was halfway through'All Alongthe The following morning,the bandarrived warchrower' u henhe looked roundat ms. at the festivalby 1l A.M., havingbeenresched- He's doingthis great solo,and then he does uled for midday.No soonerhad they got there that amazingthing where he stopsplaying than Stickellswas hit on the headby a ptank with his left hand-he's just got his right ofwood with six-inch nails in it. Considerhand on the frets and the solo is magically ing the tensions, the bandposedfor cerman contiluing, you know and I'n,Isort of mesphotographer cernot Piltz, Jimi evenrolling aroundandlaughingon rhegrassbacksrage. "Maybethat wasbeforehe realizedthe situ,,WhenI ation there,"trord Crull suggests. sawthem,Jimi and Mitchell and Cox weren't eventalLingto eachother.And he and Mitchell were so skinny.Mitchell's legswere as thin asmy arms." Itwas David Butcher'sjob to makesure that the band\rere takencare oi "I didn,t reallypick up on the rurmoiltharwasobt i ouslygoingon," Butcher says. "He seemed pretty relaxed.He was probablystoneda bit beforehe arrived.There was one or two joints being passed around.Hendrix was a very friendly, gentleguy, so laid back and selrsitive. They had one or two caravans at the backwhere the starsstayedfor the hour merizedby this when I realizehe's looking or sobefore theywent on. We madesure he at me. He's walkingtoward me and he's saywas okay and settledin the caravan, then we ing More drums.man. SorhereI am.trying went back to the stageand madesure the to find the right fader.Itwas a wonderful roadieshad everythingtheyneeded. Later, moment because I did acruall) find the righr he cameout ofthe caravanand camebackleversandjust movedthem up a bit and he stageand then we kept everyoneawayso that kind ofsmiled and winked, so I obviouslydid he could tune up and practice." the right thing." Butcher seizedthe opportunity to introduce Fromthere itwas "HeyJoe," "Hey Baby himselfas socialsecretaryfor KeeleUniversity (New RisingSun)," to Love" and "Message and askJimi ifhe'd comea.nd play there."Sure"FoxeyLady."As theband playedthe next talk to Gerry Stickellsaboutit " Hendrix said. number,"RedHouse,"the weatherturned At around one o'clock in the afternoo+ again. Umbrellaswent up andpeoptehuddled lhe Experience look to the sLage to boos undertarpaulins. Jimi laughed andimproand jeers and shoutsof "Ildu abl" (German visedlyrics:"Yeah,welt I got a bad,bad feel'Yeah,the for "Go home" or "Get lost"). The "official ing," he sang, and then laughed. bootleg''releasefrom ExperienceHendrix,s weatheris telling you something." DaggerRecordsimprint, Live dt the Isle of "Itwas cold and itwas raining,with avery Iftmdrn, presentswhat happensrext. Jimi cold wind," Butcherrecalls. "The rain was takesthe taunting in his stride, beingfirst coming in,andhe wassranding there. risling gracious("Peaceanyway,peace,"are his beingelectrocuted butjust carryingon,you first words), then comicallyjoining in with kno\ ? Hedidn\ movebackfromrhefronthe booing,before confronting the crowd. ofthe srage: he jusrcarried on. k \ asquire A rare video clip ofthe festival on YouTube amazing,really." showsJim i walkingto rhe mic,armsourBut the troublewasn'tover."From myposF stretched:"I don't give a fuck ifyou boo," tion onstage I could seefightsbreakingoutas he shrugs,"as long asyou boo in tune, you Jimi approached the end of his se!,' Butcher mother..."The booing ceases, and Hendrlx says. "I'm sureJimi sawthem,too, but he was introducesthe band before carrying on: powerless to do anythingaboutit." "We'd like to play somemusic for you and, The lasttwo songs Hendrix everplayed er, we hope you can dig it. Because we,re live were "PurpleHaze" and a suitablystormy sorry we couldn't come on last night, but it,s versionof"Voodoo Child (SlightReturn)." just unbearable,man.We couldn't makeit Fittingly-coincidentally, ironically-the final together like that, you know." linesofthe songandthe lastlyrics Hendrix trromthere,the bandlaunchinto Howlin, would singin public are asfollows:',IfI don,t WolPs "Killing I loor," the samesongwith seeyouno more in this world/I'llmeet you tn which the JimiHendrix Experience opened the next one,and don't be late,don't be late." their first-evergig,on October 18,1966, in par"Thankyou! coodbyelPeace!" Hendrix is.The songends, andthe crowd cheers, clearly shouted. DavidButcherescorted theband wonover. Thenir'! on to'Spanish Castle Mag- members downthewoodenstepsat the back ic," followed by "A11 Along the watchtower.,, ofthe stage, andthey got in a helicopterbound David Butcherwasstandingatthe sideof for Hamburg. BuLcher decided ir wasrimefor the stage, watchingit all, when he wasgiven him to leave, too."We weren'|t expecting to

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be paid anlthing for the final day, so we were gone. We had agoodsupplyofmarijuana.All this stuff wason sale. Theyhad guysfrom Holland out in the crowd, with everything set out 'Whateveryou wanon a table,clearlylabeled: na try, try.'Therewere no policeat all.I supposethe fact that it wason an island,theyjust thought,Let them get on with it. By the time we left, the Angels were rampaging the stage, justtearingeveD,1hingdown. I m not!ure ' why.Theywerejusrdiimanrling everFhing. trord Crullwas inthe thick ofit. He andone of Fotheringay's roadies commandeered a van andpiled the bard's gearinside."The bikers realizedthey weren'tgonnaget paid and they were running amok.When the rioting started, rhe Cermanpoliceappeared. and a gun fight brokeout. Ourvan had the windows smashed, and I helpedthe roadieby holdingup a tarpaulin sohe could seewhile the rainscamebiasring in. When we got to the hotelwhere the bandwasstaying,IrememberSandy Denny giving me a big kiss for saving their stuff, and they offeredme ajob. Shewasa real angel." As Hendrix left the site,a cerman anarchist rock bandcalledTon SteineScherber took to the stage.Infamous in cermany for songs like "Keine Macht Fiir Niemand"(,,No Powerfor No One') and "Macht KaputtWas Euch Kaputt Macht" ("DestroyWltat Destroys You"), the bandaddedto their infamywhen the stagewentup in flames. To somein the audience, itlooled like Ton SteineScherbn had lit the match,somethingthatgavethem evenmore underground credibility. The era ofLove + Peace was truly at an end. Lessthan two weekslater,on September 18, and two monthsshort of his 28th birthday, Jimi Hendrix was dead. Backin London,aweek or so after the fes, tival,David Butcherwas"sittingin an agenfs office somewhere in Kensington." He told the guy abouttheconversation he'd had with Jimi aboutplayingat Keele."It wasn'tHendrix's agent,"Butchersays, "but thisguywas saying how he could liaisewith Jimi's agentand makeit happen. And it wasatthat moment that the door openedand the secretarywalked in, in tears,tellingus that he'd died." Ifthe chaosofthe precedingweeks maLe his deathseemalmostinevitable, Hendrix himselfwas reportedlymakingplansi Ford Crull says a friend ofhis witnessed Jimi and MilesDavis backsrage ar tsleofwighr.discussing the possibilityof recordingtogether. He wasalsofindingcause to remainoptimistic. "Somethingnew hasgot to come,"Hendrix had told MelodyMaker,just daysbefore,,'and Jimi Hendrix will be there.I want a bigband. I don't meanthree harpsand 14violins-I meana big bandfulIofcompetent musicians that I can conductand write for. And witl the musicwe will paint picturesofEarth and space, so that the listenercanbe taken somewhere.It's goingto be somethingthat witl openup a new sense in people,s minds.They are gettingtheir minds readynow. Like m,, they are goingbackhome,gettingfat and makingthemselves readyfor the next trip.', i) Thdnksto David Butcher and Ford Crull. Many ofthe quotes usedin thispiecewerecollecteil in lonyBrownt The Last Daysof Jimi Hendnx.

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BY CHARLES R. CROSS

ON MARCH r, 1994, NIRVANA Pl-A\aEDTHEIR LAST SHOW BEFORE KURT COBAIN'S AN INSIDE LOOK UNTIMELY DEATH. GUITAR LEGENDSPRESENTS AT THE BAND'S FINAL PERFORMANCE.

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ol rheend of I F THERE WAS a beginning chaprer I Kurr cobains shon li[e.rhatfrnal in FebruaryI994. I mostcertainlybegan I Nirvanawere touring Europe,promoting their 1993album, In Ute,"o, and trying to plan the restoftheir tour schedule for the summer. Though Kurt had reluctantly agreedto do the European leg ofthe tour, he began the tlip with the motivationthat he waspromotinga recordhe wasproud of The first few shows o{the tour had beenteffific, even ifKurt was already complaining of a sorethroat.Problems with his throat necessitatedthree visits to doctors in the frrst week. In truth, the larger health crisis was that he had difficulty finding drugsin Europe, and that had souredhis mood and affected his health. Cobain'swithdrawal was bad enough that he was forced to take prescdptiondrugsto help him cope. rJuirn Farrs rJ.uoDarn on FeDruar) s ryprcal melancholy rnoodturnedinto something that in retrospectwas a harbinger ofdoom. The bandagreed ro do a photosession or. its off day with a photographerthey had known for years,Youri Lenquette.cobain consideredLenquettea friend, which is why he had agreedto the sessionat a poilt ill his careerwhere he rarely did promotional work. It was no surprisethat Kurt refused to smile duringthe session, but when he found a BB gun in Lenquette'sstudio,the gun turned into the focal point ofthe sitting. Lenquette later recalledtryingto convince Kurt to put the gun down, but Kurt insisted that it be included in the photos.The gun looked remarkablylike a firearm, but it was merely somethingLenquettekept in his studio as a prop and as a sort ofjoke. To the photographerand the other two membersofNirvana, cobain's fascinationwith the pistol was anlthing but humorous.He kept plalng with the gun, put it to his temple and
GUITAR LEGENDS

mimed pullingthe trigger. He completedthe act by pretending his headwas reactingto the bullet. It was suggested againthat Kurt put the gun down, but he ignored that plea and insistedthat Lenquettetale a photograph.For Lenquetteit was a diffrcult situation: he had the most famous rock star in the world posingouhageously, but photogrheposes seemed in badtaste. Still.Lhe rapher kept shooting.In one picture taken that day,Kurt insertedthe barrel of the pistol into his mouth. The pictures were widely published after his death.

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That Kurt cobainwould posewith a gun in his mouth-in front of a photographer who worldwide is soldpicrures lo newsagencies indicative ofhow far things had gone down hill. Earlyin his career, Cobainwasa masterat controllingand manipulatinghisimage, even to shoothim fiom directingphotographers certain angles.cobain alwaysvamped it up for photo sessions andhad beenphotographed with gunsbefore, buttheglotesquenatureof somethingbeyond the Pais photossuggested punkrockcynicism-itreflected simple desperation, nihilism and a largerdeathwishthat was playingitselfout in everyaspect ofKurt's life. He simplydidn't carean'nore aboutany-

thiq: not his health, band or the public image he had once valued so dearly. Kundidn\ pull anyreal triggerslhar day in Pads,but asthe tour \i'ound through Europe, he beganan almost daily ritual ofvisiting a doctor in whatever town the band was passing through.He complained ofstomachproblems, backproblems and throat pain,but mostofhis ailmentswere due to drug withdrawal. Much of Europeviewed drug addiction compassionatelyasa sickness, in contrastto the United States, where it was considereda moral failing. Many European doctors would prescribe opiatesin pill form to help addicts suffering from withdrawals. Still, finding a physician so pafticuinclinedwasa hit-or-missproposition, larly in citieswhere Nirvanahad nevertoured before.ln Barcelon4Kurt visitedonedoctor, and when that failed to produce the desired results,he visited another later in the sameday. In Paris,he visited one physician twice, the next day, in Rennes,he sawyet another. How many of Kurcs physical problems were related to his addiction and how may were issues separate could neverbedetermined. By that point in his life, it was all intertwined. When he took the more illicit route and bought drugs on the sheets,he couldn't risk taking them acrossa border, so he was ableto use only enough to get over the day'swithdrawal. Itwasn't a matterof seeking euphoria-drugs had long agofailed to give Kurt a high. It was simply a matter of staving off vomiting fever and the shales. on Iebruary 20, on a daythat sawthe band rraveling ro \4odena, ltalyfromSwilzerland Kurt turned 27.There waslittle celebration onthe tourbus. His manager, John Silva,gave asa present. Kurt a cartonof cigarettes Cobain jokedto rhecre\ thathismanagerwastrying to kill him, but consideringhisown health, cigarettes were hardly his biggestworry.

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I eb rary 24 wasKurt and Courtney's second Kurt anniversary, but theywere not togethrput offany celebrating he had plannedthat for later in the month when they were together-andplayed a show in Milan, whichwas issuedasabootleg.Itmay haverepresented the la$ aecent N irvana show, asthe group tore through22 songsover 90 minutes.Kurt wasclearlystrugglingwith his voice,but the punk part ofNirvana'ssoundwasstill strong, and the crowd loved them. By the next night, alsoin Milan, Kurfs dark He met moodbecame increasingly desperate. with Krist Novoselicand told him that he needed to quit the tour. "He gaveme somebullshlt absurdreasonfor why he wanted to blow it off" Novoselicrecalled.Though Kuds voice had beenhis main physicalcomplaint in Europe,he now addedthe familiar complaint of stomach painsto his litanyof medical conditions. Kdst was havingnoneof it; he reminded Kurt of the hugefinancial obligation the bandwould haveif they called the tour off. Kurt agrcedto continue with the tour, if only to male it through the next where datewhich would take them to Slovenia, Novoselichad relatives. Therewere neither streetdrugsnor easily and swayedphysicians to be found in Slovenia, while Novoselicand Grohl exploredthe counuy, Kun sra) ed in hisroomfor rhleedays, bouncing andhe continoffthe walls.He was miserable, uedto talkofendingthe lour. \ hile irrslorenia" Novoselicwas readingone Da! in theLife oflvan Denisovich, byAlexander Solzhenits]'n, describing aprisoneis life in a Sovietprison camp.Kurt asked Ikist aboutthe plot of the book,andwhen heheardSolzhenitsl.n's descriptionofthe camp, le remarked,"God,and lrnisorrch] wants to live!why wouldyoutly to live?' Nirvanarolled into on March 1,1994, where they had three consecutive Germany, shoM s schedLrled beforea one-weekbreal The attitudeamongthe crew andbandwas to tough it out for theseshowsandthen enjoythe upcomingtimeoff to vacationand regroup.while in Slovenia, Kurt had called abandmeetingand againsaidhe wantedto cancelthe restof the tour. He'd beeninformed that rhebanddid norhavecancellation insurance,soto pull the plugat this pointwould result in a hugefinancialpenalty."So,ifsomebody died,we'd still haveto do the shows?" Kurt asked. He wasinformedthat deathwas the only acceptable reason for acancellation. The MarchI Munichshowwasheldin Terminal Einz, a lv!\lll-era airylane hangerthat wasnow beingusedasa concertvenue.Not muchremodelinghad beendoneto the facility. that It wascoldanddampandhadacoustics were horrid for abalrdwith boomysoundlike Nirvana.Kurt hatedthe look ofthe placeand to cursedthe fact that his careerhad progressed the point where Nirvanawere plafng arrylane hangers, though part of the reasonfor this was their hugefar base,which wastoo largeand venues, rowdy{or mostEuropean opera-house At the soundcheck that afternoon,Kurt a"kcd hi" rourmanager foranad\ance on his pe. diem.After collecting his money, he said, in the crew "I'llbe backfor the show."Some were surprisedto hear that he was leavingthe facility conside ng that, momentsearlier, he hadbeencomplaining offeelingsoillthat he
38CUITARLECENDS

couldn'tstandup or playthe concert. "l'm going to the tminstation," he announced. Everyone in the creivandbandknewthat meanthe was lookingfor Munich'sdrugculture,not that j\e transportation. wasseeking Hecemebaclbut onlyrighrbcfore"howrime.

His mood had not improved but instead oftuninghis instmments or preparing a setlist, he began calling people. He called Courhey, and they argued. He called his la\l,yer, Rosemarl' carroll, and in a completely uncharacteristic move, he called his s2-yar-old cousin Art Cobainbrck

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il1 Grays Harbor, in Washington State. Art was surprised to hear {iom his famous cousin; they hadn't talked in years. They made small talk, and Kurt complained about the circumstancesofhis life. "He was getting really fed up with his way of life," Afi later reported to People magazine. Afi invited Kuft to a Cobain fanily reunion later that year. Kurt said he'd be glad to come. Kuthad personally asked his childhood heroesthe Melvins to open these European dates,and when their set was over, Kurt went to lead singer Buzz Osborne'sdressingroom where he announced that he was ending the band, hrs mar:riage, his relationship with his managersand perhaps his whole concept of being in a band. "l .houldju.tbedoingIh'ssolo. heLoldOnborne. "In retrospect," Osborne surmised, "he was talking about his entire life." T e r m ; n a l L - i n zh e l d J , o 5 0 ,a r d t h e v e n u ( was filled to capacity for Nirvana's firstshow in Germany in three and ahalfyears. Few in the crowd would have Doticed, but fiom the openingnotes, Cobain looked half-dead, and his performance, which had been rote on much ofthe tout, was almost robotic. He began with acover of the Cars"'My Best Iriend's cirl," but even this tune was redone s o t h a l i r s o u n d e d. l u u e d d o w n a n d d r o n e like, as ifKurt had wanted to take any element ofpop out ofhis sound. Coguitarist Pat Smear later recalled that Kurt'svoice was indeed completely shot bythe Munich show.,'Kurr a n d I w e r e s u i f e r i n g f r o m b r o n c h i r i s .a n d h i \

restored did Kurt return to the stage.Without aword or a smile,he began playing"Come As You Are" onaeagain.The songsoundedeven morelifeless this time.In total,the bandplayed 23 songs andendedwith "Heart-Shaped Box," the same songthathad endedthe previous eightshows. The showdid norendwith n'umph,or any feelingofvictory itjustended. As Kurt walked offstagehe went directly to his agentDon Mullel who had flown in to mahesurethis showwent offwithout any problems. the next gig," "That'sit. Cancel Kurt saidwithoutemotionashewalkedto his dressingroom. No explanationwas givenand nonewasneeded. Kurt hadbeenthreatening to cancelthe tour evenbefore it beg$, and for the entire month everyonein the crew had imaginedeachshow mighrbe the last.Novoselic, who knew Kurt better than anyone,had sensed for months that Kurds interest in leading Niryanahadpassed. "The bandwasover," Novoselic laterrecalled. On March 1,1994, the onlythingthatofficially wasthissingle ended legofthe fn UteroEuropean tour,but everyone knew that a larger story was coming to a close. Finally,in a drafq abardoned airplanehanger inMunich, in circumstances almostasdreary astheir genesis, Nirvanaended. Just a few dayslater in Rome, Kurttried to kill himselfbytaling three-dozen Rohlpnol,a powerfultranquilizerthat is commonlyknown asthe "date rape" drug. He'd left a note that referenced Shalespeare: "Like Hamlet,I have lo choose between lifeanddearh. I m choosing death."He wasrushedtoahospitalanddid not die,thoughseveral newsreportsannounced that he had.Novoselicwas backinSeattleand got a phone call ftom managementsayingI(urt wasdead. CNN ran a newsflashon Cobain's death,asdid awire service newsbulletin. voicebecame noticeably moretrashedwith Kurt cameout of a comathat aftemoonand everysong,"SmeartoldjournalistRasmus wasbackin Seattletwo dayslater. He spent Holmen."When we sangtogether, we sounded much ofthe next month on a heroin binge.His like catsfighting.His voicewassooooo gone, usage wassoreckless drat evenhis drugbuddies but instead of trying to conseNe i! he seemed began toshunhim, wonied rhathemightdiein to delightin pushingitto the'I won'tbe able their presence. When one warned Kurt that he to singfor days'limit.After awhile itwas a wasusingenoughdopeto kill himself accidentalbit much-"To Novoselic and Grohl,who had ly, Kurt replied that he intended to shoothimself beenon the roadwith Kurt for moreyears Several interventions were attempted, than Snear,it wasobvious that if the bandwas and finally on March 30, Kurt agreed to give goingto relf-desrrucr. it u ouldbe Kurl s doing. rehab another chance he hadtried four times The showitselfran23 songs, butlatersome before.He checkedinto the ExodusRecovery remarked that it felt doomed. The powerin the Centerin MarinaDel Rey,California, but left wenrourju.t asKun began building ro singrhe after lessthan 48 hours.On the flightback to fiIst line of"ComeAs YouAre,"the sixth song Seattle, he satnext to DuffMcKagan ofGuns of the set and it wasseveral minutes beforethe N' Roses. "I could tell he wasbumming," problemcouldbe fixed.This kind oftechnical McKaganrecalled. Duffoffered Kurt a ride problemhadhappened fiequentlyto NiFana home,but Kurt splitbeforetheyconnected. duringtheir career, but neverin a cold,dra{ty Overthe next week Kurt went missing, and airplane hanger. Ratherthan waitfor the crew evenrually a police reporr wa5filed anda pri to fix the problem, Kurt walkedoff to his dress vateinvestigatorwas hired to locatehim. He ingroom. I n some smallco.m;c n^isr,Dave spentmuch of the time in seedy motelsusing Grchl'sfirst showwith Nirvanain 1990, in a drugs.Sometime duringthe first weekofAp l, tinyOlympiaclubcalledthe Northshore SuIf moll likelyon April 5.hesnuck backinrohis plagued Club,had alsobeen by poweroutages. mansion, which wasnow emptyof family. That technical problem, inthe nascentearly On April 8, 1994, an electrician servicingthe daysofNirvana,had madethe showmore housediscovereda body in the greenhouse. It joyous,andthe bandplayed throughthree was Kult He had killed himself with a shotgun, poweroutages. When the lightswentout, they leavinga long suicidenote next to him. He continued playingwith flashlights endedthe note by quoting Neil Young:"I don't nonetheless, shiningontheir face, asifto saythat evenelec- havethe passionan).rnoreand so remember,ids tricity wasnot goingto stopthem. better to burn out than to fade away.Peace, love, Backin Munich,onlyoncepowerwasfully empathy.Kurt Cobain."i

16El "urt^oruou"o,

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ON MARCH r8, 1982,RANDYRHOADSPERFORMED LI\,.E FORTHE FINALTIME.
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HEt{ OZZY OABOUFITES Diary of a Mddmdn toUJ hit Knoxville, Tennessee,on the night ofMarch 18,1982,nobody

knew that RandyRhoadswould be deadthe next day.Sothe metalguitaricon'slastgig occurred without anyspecial fanfar:e. It was just alother night on the road. "Ever sincethat night,I go onstage with a different attitude,"saysRudy Sarzo, thebass ist in Ozzy'sbandatthe time.'Lou haveto go onstage everynightliLe thereisno tomorrow. 'Cause don t knowifrharwill bc ) ou really the last time yolr'reevergoingto ptaywith your friend or whoeve/s in the band.Or ifit's gonnabeyour own last night playing." Rhoad. hadcatapulred ro fime quickly. fisingfiom L.A.hairband obscuri$ roa promi nentpositionwith Ozzyall in matterofa few shortyea$.Butby'82, stardom had lostits appeal youngguitarist. to the idealistic For a well-brought up youngLutheranboy from Burbank,California, life with rock'snumber-one alcoholic nutcase hadtaLenits emotional toll. Relationshad gIown strainedbetween Rhoads andOsboume when the guitaristrefused to play on an albumofBlack Sabbath covers that ozzy wasslated to record. ThenRandyannounced that he was goingto leavethe band in order to sflrdyclassical guitarat UCLA But he promised to playouthis commitment to Ozzyandfilt all the tour dates that hadbeenbooked. That's what he was doing in Knor-villeon the nightofthe l8th. "we hadjust retumedfiom a brealq"Sarzorecalls."we did Atlanta first,

: like that But it wasjust us goingup there and beingthe bestwe could be." The show endedasusual.with an encoreof "Paranoi4" during which raw meatwasdrou.n into the audience. "And they, in turrf would throw it backat us while we were playing,"Salzo recalls."The whole stagewas full of raw meat.It wasthe most absurdsetofcircumstances." Knoxville being a small town, there were no celebrity guestsbackstage. After the show, the then anothershow,and then we went over to bandgotbackon the lour bus."l ll neverforger Knoxville. We were basicallyon a roll. The band it," Sarzosays.'nve were sitting in the fiont was alreadymakingits mark with the ,rd{y o/d loungeof the bus, and we started watching Mi,+ M.tdmdntour, and everlthingwas going along l{,.iy,a World War II Pacific Rim movie widr like awell-oiled machine." all thesekamikazepilots, which is pretty iromc At tle time, saysSarzo,"there wasstill a rift consideringwhat happenedlater. I decidedto betweenOzzyand Randy,because Ozzywas of call it a night and go to bed,but Randy and Ozzy coursenot pleased with him leavingthe band. were sitting there watching the movie. It \rasn't But I would saythat a little bit of that special like theyweretryingro avoideachother.They camaraderie might havebeenworking its way were cordial. And who knows?Maybe they had backinto our tout our backstage somekind ofconversarion. amrosphere, Maybelhey stafting especiallyafter havingtalen abreal. People working on repairing their rift." hadhadtimeto chill.I think basicalty Ozzyand In the early hours ofthe following moming Randy'srelationshipwasmending." Sarzo wasawakened by Rhoads. Thebuswas The eveningnonetheless beganwith what parkedneara tiny aimtrip in llorida, andRandy Sarzoremembers was a nightly occurrence. invited Rudyto join him on ajolride in oneofthe "Ozzysittingin a cornersaying.I ain.ldoing small airplanespiloted by their tour bus driver. It it. I ain't goingon!'Over and over again.Then seemed like a crary ide4 but then life on the road Shlron losbourne, Ozz!'s wife and manager] with Ozzywas full of cr^zy ideas.Sarzodeclined would grabhim and bringhim onstage, and the invitation andwent backto sleep. then he would justgo crazy. Shortly afterward,he was awahened by the "As far asthe performancethat night," Sarzo impact ofthe airplanestriking the tour bus,then continues,"there was nothing indicativeofwhat crashinginto a nearbyhouseand bursting into was goingto happenthe next day.No mical flames.RandyRhoads was dead,alongwith the signsor anlthing. I wish I had seensomething othersonboard the Dlane.l|

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THEWORLD'S HEWAS THE SOFT-SPOKENLEAD GUITARISTFORTHE BEATLES, HARRISON'S PI.AYING SHOOK GREATESTROCK GROUP. BUT GEORGE UP THE WORLD AND HELPED CREATE GUITAR ROCK AND ROLL.
SCAPELLTTI T BY CHRTSTOPHER

6!|'l'7?-)
E THE UlUlOLS who grew up on his music, hewasthe QuietBeatle. To the Hamburgteens that in the earlySixties wihessedthe Beades' evolution from professional cmde protopunks to polished rock stars,he wasthe Beautiful One. Butas far asGeorge Harrisonwasconcerned, he couldbebestdescribed by the namehe chose forhis recordlabelill the lateSeventicsl the Dark Horse-the stragglerwho vaults fiom behindto win the race. The choiceoftitle was ironic for Harrison, the Beatles' former leadguitarist,who died ofcancer on November 29,2oo1. Of the group'sfour members, he wasthe one most in the spoilsofstardom,the disinterested loner lessconcerned with winning the race than running it on his own terms.For those who watchedashe abandoned the spotlight for a more domestic lifestylein the Eighties As he notedin 1989, long afterhis career had passed its zenith,"I don't haveto prove an!,lhing. I don r wanrrobe in rhebusiness full-time,becalrse I'm a gardener: I plant flowersand watch them grow." He wasa leadguitaristfirst, ofcourse,an acepractitionerof R&B and rockabillyriffs whobecame the masterofhis own singularly Iluid glitartone.In this alonehe wasessential to the FabFour'ssuccess, sinceneitherLennon nor Mccartneypossessed his talentonthe instrument. More consequential, Harrison's skills asa lead guitarist are what elevated the Beatlesfrom a rhlthm-based pop act to a guitarrockgroup,anditwas in this form that they changedpopular music permanently: Beforethe Beatles, few pop groupswrote and pe ormedtheir own material. After them,no self-respecting bandwould not. It was easyto overlookHalrison's go,Harrisonseemed the loneliest, As ex-Fabs a hermit lodged in his rnock cothic English mansion andhiding behinda maneof hair and squire'sbeard. No longerrequiredto beguile to be ta}en and amuse, Harrisonseemed eager and he gavethe world goodreason seriously, to do so.As a solo artist he releasedwhat many regardaslhebestsoloBearles album.1970's AII ThingsMust Pass, and launched abenefit show the following year to help war-ravaged Bangladesh, thus laying the foundation for Live Aid, trarm Aid, Concert for New York City and every other music-oriented charity event since. when Harrison's In morerecentyears, albumscarnemore slowly and his life appeared moremonkish, itwas hard to rememberhe was there at all. Having renounced the fame {iom his diligence andtalent, that bloorned Hairison followed a path of solitude few celebratedartists dare to tread. No wonder he remained an enigmato so many,not least his former bandmateJohn Lennon, who once himselfisno mystery. But remarked, "George the mysteryof George insideis immense." To GeorgeHamison,however,thosewho questionedthe complexity ofhis choiceswere simplymissing rhepoinr."lcs goodto boogie oncein a while," he remarkeda few yearsinto hisposFBearles career. Butwhen youboogie all your life away,it's just a waste of a life and of what we'vebeengiven." ceorge Harrison was born on February at 12Arnold Grove, in Liverpool,to 25,1943, Harold and LouiseHarrison. The youngestof four children, he was a favorite, doted on by both his mother and siblings, and a sourceof constantconcernto his practical-minded father. Evenat a youngage, Harrisondemonstratedthe for which he would later self-reliant disposition becomefamouslyknown. "Georgewas always veryindependenl. hismorher recalled.'He

"Et[l|Gt HI|t|$|t lsil[|t|YstffiY. BUIT1|I I.IY$I[|Y [F GEII|GI -J0ilr{Lt|ilill il$0t ts tililtilst."

and Nineties,it washard to know what to makeofHarrison; normality,after all,was not what we'd cometo expectfrom a member ofthe Fab Four,th groupthat roseout of Liverpool, England. to conquer our senses, were suppo-ed to be largerthan life. Bearles yet iconic enoughto be desc bablewithin a space the sizeofa postage stamp:glitarist John Lennonwasthe outspoken radical, Paul McCartneythe eager-to-please bassist prodigyand drummer RingoStarrthe happygo-luckyluminary.Harrison,on the other hand,defiedeasydefinition.
CUITAR LEGENDS

significance, for he madeno show ofit. The youngestofthe Beatles, he was,in the group's early days,its most humble member,a young man unguardedlyinsecureofhis talents, who would greet reporters'questionswith self-mockery anda largedoseoflaconic Liveryudlian chaisma. when in 1964he and his shaggy bandmates were askedat their first press to get U.S. conference whentheyplanned haircuts,it was Harrison who irnpishly replied, "I had oneyesterday." somesix yearslater,when the Beatles Io fade. brokeup. how thosecharm!seemed

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ncvcr wantcd anv assistanccof an,vknrd." Eerl) on, his independence turned to outright rebellion. In 1954, at age 11,he began atterdiDg thc Liveryool Institute, and lhhough he rvrs a g o o d s t u d e n t ,h e l e s i s r e d the school's attenDts to mold hirn and his rnatcs into n 1 o d ec l i t i z e n s ." l h a f e db e i n g d i c t a t e dt o , " h e s a i d ." T h a f s n'hen things go wlong, nhcn you'rc quictly g'lOwiDgup and thel start tryingto force beinli part ofsocielv do\r'n your throar. I \r.asjust trying lo be myselt Thc_v \\,erc tr)ingto turn everybody into fo\\,s of little toffees." H a r r i s o n r e b e l l e dn o r o n l v b,r'shirking on his schoolrvolk; he also began to dress outlandishlt ind to grow his hair our. "ceorge used to go ftr school u'ith his school cap sitting ligh on top ofhis hai," his mother recalled. "ADd Yerv tight rrousers." "Cioirlgin for flash cll])thes u.aspartofdre r'ebel1irrg" he exphined. "I don't know $4rat mademe do it, but inr.olked. ThL) didn t get me.'' It $as ! good tine to be r r e b e l .R o c k n n d r o l l l v a s o n the horizon,and Hrn ison rvas alrcadl bcgnrnirts t o d e v e l o pa Di r t e r e s t i n music through his father's r e c o r d c o l l e c t i o n ,u ' h e r e h e discovcrcd Arr clican countr'1 artisls like Jinnnie Rodgefs r n d H a n k w i l l i a 1 n s ." w r i t i n g f o r a T r r i n " $ , a s o n eo f h i s i , N , o f i t e s . ' T h r t l e d mc to lhc guilar," he said. Halison leceived his fil.st irstNnlcnt ar E$nond acoustic purchased ftorlr afcllo\! studenr at rhe aie ofr3. As he fec.rlled,"It v ls a rcal chcapo honiblc liftlc g irar, blrt it was oka) at the tine." Harison rcccned lessons fron one of h is father's tiiends for r les hour . p r e r l T h u ^ d r \ n i g h rT . \ o r r p \h . . l ' l ^ r r r \ e insrnnnent came slowlyand rvith difficult-r'.he kept rt it, sonetimes practicing 'tiil his fingcr. were bleeding," !ccordingto his rrrother. H c e v e n t u r l l ) g o t r p r o p e r i l r i t r r ,. r I l o l r r e f Presi d ent, 1r'ithf holcs, thanr.as bascd on thc big Super cibson Eiuiters."l rvr:ultl sit aloulld fol hours, p1:ryingencl tr,ving to fi$rre !hirgs out. I rLscdto sit up latc at night. I didn\ Iook r. t r ' . l . u r r. r i r . p r u .r . i n ; . r r . n l , . . . - r i : " o n l , vt h i n g l r e a l l v1 i k e d . " By 1957,rock music had !lr.i!e.ljn gnli1an(l through thc recofds oftrh.is Presley,Fars Donino,little RichaId arrdBuddy Holl). Simultaneously,Great Brjtain's teer$ \\'ere uDder the spell of skiffle, a Britisb iorm of fast count|y western folkrrusic playcd on acousticSrimf. * a . h \ o r l d a r J . t l i n e \ r . . . l l r r u n J i , p u r , , l kr ' ofthe genre i[as Lonnie DoneEirn,a Scottish guitarist$hose v e r s i o no f ' R o c kT s l . r r d Line' was knoul to cverrtccnlger hom Brightou to

'Tt0t|Et l{At{ttl I[ Jill{ IJS BIIA|JSI Ht I(]{II{ ltltlt[l|0fiN, .S[lttEOT AL[TFtl[lilH|il."

.\berdccn. "l luvcd hin," rcc.rllcdH.rrin)rl. 'Hc $.rs r big her'oofninc. Firerv|rncgot guitrrs rnd fomrcd skilfle b:urdsbcc.ruso olhinr. ' Am(mjlthosc caught up in thc c|ezc was a bor on H.u rison s srhot)l bus. P.rul xlccartnr ! rrrs.t grade aheadof H.uris.,n, Lrutthe fivo hrd k D o $ , ne a c ho r h e | c r s u r l l v s i n c el I : r f r i s o n ' s r I r . l r r. l , | . . t i r , . \ \ l r . \ r f f , i , ,r l r 'l shxred irlteresr irl thc $ritJ b|orght thenr to rr\ house c l o s e ft o g e t i r e f".h u I c r r n e r . o u r r d one elcningto look et thc $rit:rf nrrnlrel I had. which I coulilncrer srrk out," s.ridHunivrn. ' w e i c a f n e di r c o L r p k ' o f ( h o r d sl i o r r ri l r r d nrrrrgrd () phv Dor't\iru Rock \Ic Decicir

d n o l r g hr o i i t B| no\\',Illrfison wrs g1r{)c r rl l' . 1 '.1. .\r' r'r'r\ . hc rl g r o l r 1 )T h o w e r c r .h u , 1 u c t L n l hj o ; , 1 e c r,r, I l . - . 1 , . j . 1 . | , r ' r ' .r1 . f i '(n)lton ri \ Prrish (lhufch, $hcrc hc s.r\r l skifllc rct clllcd the Qutrr|} Ilfn. l hc tr$rd \\ xsr)1 ro good. L,Lrt the gfolrtts lerllef imt)rlssocl \ I c c t l r e ! c n o L L gth h:r hc'deciclod to n kc his rrctLr|1intrncc.lt r'.rs .lohn, N{cCirftrlc! ' H c s rs l6 rnd i \ rs onl! l-1, feclllcd. sohe l as rbig man. I shoii ed lrinr ,r ti:w nrLrrecholds h e ( l i d r 1 I n o \ \ . T h e r rI l e f t . I f c l t I d n r r d e r r r l \\ls.' i n r p | c s s i o ns , h o $ D t h c n rh o n g o o L I l:ignring th:rt \l(Cartrlcl r'as as grrorl rr r t-'i. r. r ' ' r.!,r"'r' r'ircdl rr t i." r the QLr.rrr\ N l e n .T h o u g h l l c ( l r f t r c ! s h ( ) \ \ ' c c l talcnr orl thc instmmcnt, his sliills s cfe $ . h1Le l i l n i i c d . D u r i r l go n c r r r f l v p e r f i ) f n r N n c c ' c r t e l n p t i n l ir rs o l o o n " l \ \ e r ( r F l i l i h t R o c l i . h r f r c 7 e .I t $ . s h i s l l r s r . r n d ,l o I n u n ! v e e | s .l e s t ettcmpt to pll lcrcl gLritar'. 'l'horlih Hxr|ist)n h.r(l Do su(lr dilllclrlljes. , r" r, \(, ., ,' '. 1' - rr'...', r.11 . '. guit:u dri11s br copling thc grritel ri ifs fir,nr r c c o r d so f t h c d , r ) .A t I l c c a ( n c v ' s i n \ i t . l l i i . h e r l t e n d e d r Q L l l f N N I e n f e r h f l r r : r n c i n 1 9 5 u . -Therc \r'xs this othcr $rirarist ir rnothcr gloLUrrhrt nighr," HrrTison Iccallcd. -Hc n.rssl.c.r|..lohn r x i d i f I c o u l dp l u r I i k c t l r r L .

, 1 . 1( l t l l f A R l - U ( l E N l ) S

I could join them. I played'Raunchy ld 1957 instrumenfdl hit] for them,andJohnsaidI could join. I was alwaysplaying'Raunchy'for them. We'd be going somewhereon the top of abus with our guitars and John would shout out, 'Give us 'Raunchy,'ceorge.' " Lennon, neai) rifeeyear. Harrison! senior, was slowIo accepr him inlothegroup.'George wasjust too young," he recalled. "I didn't wantto know him at first."But Lennonwas impressed by his talentandsawthe potential for dre Quarry Men to developinto a stonger group.1r probably helped tharHarrison mughr Lennon someguitar rudiments he severely lacked."His guitar wascheap,with a little round soundhole," Harrison recalled."It only had four strings. John didn'tevenknow thatguit Is shouldhavesix strings.He wasplayingbanjo chords, big extended fingercl,ords.Isaid,'What areyou doing?'He thought that that washow itshould be. Sowe.hoMed himsome prope. chords-E andA, and all those and got him to put six strings on hisguitar." Said Lennon, "ceorgewantedto join us because he knewmorechords, a lot morethar we knew.Sowe gbt a lot from him." But all ofHarrison's houmofpracticecould not comparewith the experiencehe and his bandmates would get playing in tle cerman seaportofHamburg. By 1960,the skiffle boom had given way to the beat music ofAmericarr rock groups,and the Beatles-as Harrison, LennonandMccartneywerenow knownwere amongLiveryool's top rocl and roll acts. With Lennon's Liverpool Art College fiiend SruSutcliffe on ba.sandH arrirons friendPeLe Beston dmms,the groupwashotdingdown gigsat the Cavern, regular a Liverpooljazz club hadbegun opening il\ door.ro rocLacls . Lhar asbeatmusicgrew in popularity. Througha : localnighrclub owner named Alanwillirm: 6 - they were invited to play in Hamburg,a town infamousfor icsrowdy nightlife. "Beforewe playedHamburg in 1960we were 6 very ropy-just keenyoungkids,"Harison told - Guitar world in 1997 . "As a band,we weren't a unitj we didn't havea clue." Hamburg changed

It was in this liame of mind that Harriso4 in 1965, found hirnself&awn to India.nmusic and philosophy $e spirirual behin d ir,a fascination Perkins'guitar work influencedHai:rison's that culminated in 1968with the Beades trip playingon manyofthe Beatles'early recordirrgs. to India, where they studiedfor severalweeks By the time the group-now a four-piece with under Mahadshi MaheshYogi, the spidtual Mccartney on bassand Ringo Starr on drumsleaderbehindTranscendentalMeditation. hadbecome international celebdties, hisclean Harrison's interest in Indian music grew after and sinuousleadgritar work was helping to Lennon askedhim to add somesitar to his 1965 forge the soundofguitar rock and roll. song"Norwegian Wood." But while Harrison wascelebratedfor "Norwegian Wood' wasthe first useof sitar his playing,songwritingwas-and for years on one ofour records,"saidHarrison, who remained-hisweal suit.Lennonand recalledthat "during the filming of-Elelplthere Mccaiftey had beenwriting songspractically werc someIndian musiciaJrs in a restaurant 'rom the day$ey mec. bur Harrison didn rbegin sceneand I first messed around with one then." to develophis song[Titing talent until after the The impact on pop musicwasseismic.Before Beatles'first album,Please Ple.Ise Me. His first long,bandslike the Rolling Stones, the Blads effortproduced "Don'tBotherMe," the minorandthe Hollies were working the insEument key songthat appeared on the grcup's second into their songs. By 1967, the instrument wasso albnm,With theBeatles, in 1963. "I decidedto in$ained into psychedelic music that DanelecEo write asong,justforalaugh," he explained. \ asm3nufacturingseveral "l elecsicsirarmodels gotout my guitarsndjustplayed around tilla that could be playedlike a standardguitar. songcame.It was a fairly crappysong." But while the sitar wasa fad for some, itwas Thoughhisassessmentwas part ofa largerspiritualjourneyfor Harrison. undulyharsh, "\ henI fir:r consc;ousl! it mayexplain why nearlytwo yerrs passed heard Indianmusic, beforeHaffison attemptedto \,aite again.W'hen it wasasifl already knew it. When I was a

everlthing for the group. Shovedonto a stageat the Indra and,later, the Kaiserkeller-two ofthe strip's lower-tier clubs the five innocentsfrom played gueling l0-hour sets. Liverpool The hard work not only fusedthe group'ssound;it alsohonedHarrison's guitar-playingskills. B1now playing a solidbody Czech-made Futurama, the youngest Beatlewasbeginning to develophis own stylebased on the doublestopleadsofChuck Berry and the count fied licks he'd learnedfrom his favoriteguitarist, Carl Perkins. As oneof the main artistson the legendary SunRecords label,Perkins had madean impression on Harrison,as well asLennonand McCartney, with his rapid fire leads. What's more,Perkinswrore andperformedhis own material-songslike "HoneyDon'C'and "Everybody's Tryingto be MyBaby," and,not least, the rockabilly anthempopularized by fellow Sunartist ElvN Presley, "Blue Suede Shoes." and'BIueSuede "CarlPerkins Shoes' they don't comemore perfect than that," saidHarrison.

he did, the resultswere more often tlan not refreshinglyoriginal. "Thinl for Yourself' and Someone," both from 1965'sRubber "IfI Needed Soul,havea melodic angutaritythadsmissing fiom Mccartney's lilting melodiesand Lennon's harmonicallydissonantvocalstyle.Likewisc, 'Ta-\man. the leadtrackon 1960 s Reyolyer, is wriften with a stingingly personalmalevolence previously absentfrom the Beatles'catalog. Harrison could alsodemonstate striking melodicinvention, ashe did in the Rerolver track "I Want to Tell You." The song'sdisturbing sentimentis neadyunderscored by ajafling chord that appears nearthe end ofeach verse. Though dissonance is corffnon in today'srock and metal music,it waspractically unhead of in popular musicprior to "I Want to Tell You.', "That's an ETthwith an F on the top, played on the piano,"Harrison explainedto cuifdr World in 2001."I'm really proud of that, because I literally inventedthat chord.The songwas aboutthe frustlation we all feel abouttrying to communicatecertainthings with just words. I realizedthe chordsI knew at the time just didn't capturethat feeling.Soafter I got $e guitar liff, I experimenteduntil I cameup with this dissonant chord that really echoedthat frustration." ww It's not coincidental that Harrison's growingmusicalexpression occured in the sameperiod that he begantaking drugs. ?ot and LSD had aprofound effecton him, asit did on the other Beatles, drawinghim deeper into his psycheand awayfiom the pervasive glareofstardom. "Around the time ofnubber Souland Revolver,I becamemore...conscious," Harrison "Everyrhing recalled in 1997. we weredoing becamedeeperand more meaningful.All the music startedhappeningfor me when I started smokingreefers.I've come out the other end ofthat now and I don't do it. Instead,you leam to get your owl cosmiclightning conductor, and nature supportsyou. You begin to realize that you are very sma1l, andyet everyoneand everygrain of sandis very importalt. You listen deeper, somehow,"

ou,to* 1!B """"^o,

child we had a crystalradio wjth long-andshortwave bandsand soit's possible I might havealready heard someIndian classical music. Therewassomething about it that wasvery familiar, but at the sametime, intellectualiy, I didn't know u'hatwas happening." Towardthe endof1965, at a fi-iend'ssuggestioq Harrisonpurchased an albumoflndian musicby sitarmaster RaviShankar. "l went out andboughta record, andthatwasit," he recalled. "I thoughti!was incredibl." Harrisonmet Sharkarin 1966 durirg oneof the sitarist's london visits, andsubsequently received lessons liom hirn. Shankar not onlybecame a lifelongfriendof Harrison's him to pursue but inspired writing on the sitar,which resulted ill Harrisonwriting threenore songs-"Love You To," 'avithin You, WithoutYou" andthe groundbreaking "Lady Madonna" B-side, "The
InnerLight" thatutilizcd Indian classicaliNtrumentation. As the Beatles moved into theirfinal_vears as a band, George Harrison was gron'ing as amusician. Havingindulged his interest in Indian music, he began veering offin an entirely oew direction with his guitar playing. while his contemporaries like Eric Clapton ard Jim y ?age dcveloped a lock style based on traditional blues guiter, Harrisoll continued to look East for his inspiration. He drew into h i s g u i t a r - p l a y i n gs t y l e t h e m i c r o t o n a l s l u r s and sustainingnotcs ofthc sitar and cventuall,v employed a slide to facilitate his technique "Whateveryou listen to has to come out some*-ay in 1'our glitar playiDg," Har son told t,uttdt Wot ld |\ 1997.'l do thirl lnJixx music influenced the inflection ofhow I play, and certain things I playhave rsimilar feelinito the Indian style. Ravi shankar didbringan Indian nusicianto lny holrse oncewho played classical Indian music on a slide guitar. And, yeah, he did play runs thatwere precise and in perfectpitch but so quick. That was a real inspiratior." The change in Harrison's soundwas due not only tohis change in techniquebut to r change irr.quiprn,.nt. Intlr, uarl yrrr'uf Bcrtlcrnaria. Harrisol nostly wielded a cretsch Duo Jet and Rickenbacker Chet Atkins Count.v centleman :lnd Tennssem. The warm twangingtones of the acoustic-electric guitals wcre u.eil suitect to the $oup's conbination ofrlllthm arld blues andcountry-western-inspired music.Asof 1965, however, Harison begar to favor solidbody guitar's,whicl, delivered greater sustai[ Fron Rdbbersoul forward his guitars included a Gibson SG Standard,afender Stmtocaster,a Rosewood Telecasterand a Les Paul given to him by Eic Clapton,lis fiiend sircc 1964. As Harrisol's g'uitar style cane to naturatloll i n r h e B e a d e . f i n aI y e a r s . d i d h i q s o n g w r i r i n g . "o B e r w e e nl u o S a n d t u 7 o ,h e w r o r e . o n . e o f l . i . populxr and most songs, including"while best My Guitar Gentl"\,Wceps,""Hcrc Cones the sun" and, his oniy Beatlessongto be released as asingle, "Something." Evenso, Harrison still had to compete withLennon and McCal.hleyto get equal tine for his songs. "It wasn'l easy,sometimes,geflingup enthusiasm for my songs,"he said. "We'dbe churning through all this Lennon/Mccaft ney, Lennon/Mccaf [ey, Le ron/Mccartney. Then I'd say,'Can u'e do one ofthese?'" \ 'hen the $oup gave his 1968 masterpiece,"whilc My cuitai cently Weeps," a less-thar-erthusiastic reception, Hanison put his foot down. "I thouiht,This is reallyagood song,it's notas if it's shit."'The next day, he invited Clapton to accompany the group in the studio to record the r r J c k .- w h r c h h e J i d . A n d e r e 4 o n e b e h a v e . and the songcame together quite nicely." But episodes ofdiscord were bccomnrg more fiequent, and by 1970 the Beatles were history, torn apart by legalproblems and each menber's desir-efol greater alrtonom,y.EveD as thc band nenrbers wenttheir separatc $,alrs,it was Lennon al]d McCar'tre! who continued to q.L i c L l y relea.ilg c o n r r n a nr dh e n r o . ra t L e r r i o n so)o albums and carrl';ngon a public spatboth in the nedia and in their songs. So it was a shock when Harrison turned out n hat is argrably the best lnd rt its original ihrcc-disc leryth, certairly the longest solo a l h u n rb 1 a f o r m e r B e a r l < . R e l e a . e di r r l ! 7 t ) All Tiings M.rst Pdss is Harrison's declaratron , surfeitoI inh ospective o f i n d e p e n d e n c ea and quasi-rcligious songs including"what Is

Life?" "wah wah" and his smashdebutsingle,"My SweetLord" that showcd how little the Beatles had utilized Harrison'sgrowing talentsasa songwriterin To helpiim recordthis backiog of material, Harrison assembled an all-star groupthat included backing Eric Clapto\ Ring0 Stafl andproducer Phil Spector. wasa trio of Alsopresent musicians keyboardist Bobby whitlock, bassist CarlRadle anddrummer Jim cordon whowould in the following monthsjoin Claptonto record the rock milestone tdyld dndAsso,'f ed ,ove sonss underthe name Derekandthe Dominos. "I wasreallyabit paranoid," Harrisonsaid in 1975 aboutthis time period."Therewasa lot goirg down of negativism I fek that lin rfie-Bedtles]. to my whatever happened solo album,whethel it was a flop or asuccess,I wasgoing out on my ownjust !o havea bitofpeaceofmind. Fol rne
to do my own album after that it was joyous. Dream ofdreams. Even before I stalted the album, I knew I was going to male a good albun becauseI had so nTanysongs,so much energy." swept alongby the successof "My Sweet Lord,"A?l flrin8s Must Pdssreached No.1in Britair and the U.s. shortly after its releasein tirle lrre Novenrher l a - 0 . F r o r ni r . \ u g g e 5 r i v e to its covef photo ofHairison surrounded by r quartet ofreposirggllones,All ?,hin8sMust Passsignaledhis emergelce as abonafide nusician and songwriter. Harrison wls As 1971begEn,Georie everybody's far.oritc folmer Beatle. His popularity reached ar all tinre high in August l97l with the Concert for Bangladesh,a benefit to raise money forwhatwas then a territory of Dast Pakistan.Abrutat militan' crackdown had led 10 million of its people to flee for lndia, resulting in a vast humanitarian crisis. Instigated by Harrison's old friend Ravi Shank , the Concelt for BangladeshcoDsistedoftwoberefit shows held on August 2,1971,at NewYork Ciq/s Madison square carden. Amongrhe musicians H r r r i s o n r e c a r i r p dw e r e n - a n yf a m i l i r r f i c e . associated with A11",hin8s MustPdss, as well as one particularly specialg!est-Bob Dylan. Hadson had met Dylan on several occas'ons in the earlySixties, when Dylan was a yourg folk-rock fircbmnd. Theirbord was forged in 1968,when Harrison paid a visit to Dylan at his home in NewYork's Catskills. Incrslsingly plir.ate and withdra*-l follou,ing a nearly fatal notorcycle accident in 1966,Dylan warmed to Harrison, and the two composed "I'd Have You Anltime," one ofthe many standout backs on All ?hiigi MustPdss. Dylan was still keepinga low profile atthe time Harrison organized the

4o CUITAR LE'lE\DS

"ff[P[SAY:'YDU'V[ liltY [l{t ilt[.'gllT YOIJ'III EBI AS IIAI{Y AS Y0|J urfi,At{[ l,|0ttt, EtlEl{ M{ff YOIJ Mil'T lvAilI."
*lJIiii lli$I li
CirDcert for Bangladesh,and thouihhe made lehearsalsfolthe shoiv, Hallison didn'tkno* Lrnlil liten l!the last momeltifDylan rvould nctuallv perfom at thc concerts. "He never comnittcd hnrseli lto p/ayl right up until the moment hc carro onstnlie," H r | r i s o n r e c a l l c d ." I h n d a l i s t , s o r t o f a runninli ordef, that I had glued on ny guitar. Whcn I got to the poirt Bob wns goinito c o m e o n , I h a d ' B o b ' \ ] l , i t ha q u c s t i o l n a r k I looked ovcr m]. shoLrlclelto see ifhc u-as around, because ifhc r,!esn't I would havc to go on to the next bit. And I looked around, aro he u as so ncr-vous he had his gritar on and hi'.h,JL, H, $ r\ju.,con).Ig:su t j J s r. J i d , 'My old friend t s o bD y l a n l ' I t w a s o n l v a t t h a t rnoncnt that I knew for surc he was io'ngro do it. And after the second sho\r'he picked me u p a n c lh u g g e d] n e a n d h e s a i d , ' c o d l I f o r l y we'd done thfee sho\,!sl"' The shorv and its subse.luent concert a l b u m a n d f i l m w e r e a m a j o r s u c c c s sr ,a i s i n g 8 to 10 milliol dollars fof the inpoverishcd country. Unlbrtunatclv, lgal wranglingkept the moncv tied up in an escro\r- account for years. Har-rison had to confort himslf wirh rhe kno\aledge that he had, at the very leasr, nade \\-esterners eu,arc ofthe srrfferingil1 Bargladsh and music's potcntial to improve the human condition. Surpdsirglv, {,'hat appeared to be a promisingsolo career for Harrison came slo\.ly to a halt. He !!as still capablc ofproducing rhe occasionalhit, as he did uith "LiviDg in ihe Mrteria1\ rofld," "civc Me Love (cive Mc Peaccon Eath)," "AllThose Ycars Ago" and "Got M), Mind Set on You." In 1988,hcjoined Dylan, RoyOrbison, Tom Petty and the Elecrrrc Light Orchestra's Jcffl,vnne in the short livcd Tra\.clingWilburys, and cowrote the EI oup's hit "Handlc with Care." But for much ofthe {everfie. a|l,l LiFlI it^. H. rri.o f(.hrrr, d lr^m making music. Instead, hc indulged his inter.cst in filmmakilg, p|oducingMrrDty Plthon's ari' o/Bridn and thc indie hir lyithtldil and L Harrison's last ycars wel spent in scmircclusion. He elnergcd forthe Beatles' A n rhologl project, for \\,hich hc teamed up with McCartnei' ard Starr-to record "ttealLor.c" anr.l F t e er s r 8 i l d . r p r r r ' , , [ ' n r g . c r e a r e J h u r r . lhe latc John Lennon's rough home demos. Likewise, hc hclped prcmote the group's 199y Ycllou,s.rb,ndrine SonSiJ"dc[. S a d l y ,i n h i s f i n a l y e a l s , H a n . i s o n g a r n e r e d L e a . l l i r r , . f , , r I i . n e r . o r r . r lt r r g , d i , s l r r l - e rhan for his music- In 1999 he \r'as almost murdered bv a dcrangcd man *,ho attackcd

him in his home with aknifc and punctured l'tis lulg. A longtime snoker', Halrison o v e r c a n e t h r o a t c a n c e r i n 1 9 9 8 ,b u t i n 2 0 0 1 i t rvas revealecl that hc had an inoperable forn of br-ain cancer-.Despite attempts to stave off t \ e L l r s . a . c i r d , r d i n gl a . r d i r .h , l f " r s e t radicaltreatnert in Ne$,York Citv and Los A r r S e l e . H r r r i . u r . u r t u n r ' p dr o i r o n r h e a f t e r - l o o no f N o v e m b e r 2 9 , w h i ] c a t a f r i e n d ' s house il1 l-os Angeles. It is our good fortlrne that much ofhis b r . r u n t i . r e .J i l t r r r . l a b l e i.r r r r r r d ' r r gh e Beatlcs' catabg and a selection ofhis solo albums. Harrison reissued an expandcd and f e ' n J . r e _ e d, e r . i o , ' f 4 l / / f i i , r g .M & . 1 P n . " i n 2O01,and r remastefed Concertfor Bangladesh aibum rvas posthumousl! feleescclin 2005.

In the tributes that follorvcd his derth, Georgc Hajrisonwas mourned as a gifted guitarist and musician, ns a charitable l1rn of Cod, and as one \aho, at 58, died roovoung. UDdoubtcdly, Hnrrison in his lastdays d|erv from the \,r,ell oflndian religious plilosoph"v rhat had given hiln strcngth and faith rhroughout muchofhis life. Over thc vears,he spoke malv tines oflis beliefin reincarnation and the gr ace with $,hich he hoped to meet lis fatc. To those gl ieve \r'ho his dem ise,Il arrison niglrt have offered this passagcftom his 198o autobiogr aph)., I Me Miie: "Funr4 how people say;'You've only onc lifc, Squire.'I've given up saying 'You've got as nany as you lik, and more, even onesyou don'twant.' But it's truc.we have." {

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( ] UI T A R L E C D N D S . I T

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VISIONARY COMPOSER, GENIUSGUITARISTAND HIIARIOUSLYACERBIC SOCIAL CRITIC-FRANK ZAPPACONTINUES TO BE AN INDISPUTABLE FORCE LONG AT.TERHIS DEATH. IN A SPECIALTSTHANNI\.ERSARYTRIBUTE, GUITAR LEGENDS PRESENTS THE ONE AND ONLY GRANDWAZOO IN HIS OWN WORDS.
l l ll l l l ll l l ll l ll l l ll l l ll l ll l l ll t BYAr-ANDI PERNA I | | I | | | | | | | I | | | | | | | | | | | | | | | | | | | | | | I | | | I | | | | | | | | | | | | | | | | | |

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HAI WOULDFrank Zappa sayifhe were alivetoday? What would he sayabout beingrecontextualized, in recentyears, assomekind of 'lam band" phcnomenon?whatwould he sayaboutthe 2oo0 "electior" ofBush Il? The "liberation"of growingmonopolyover Iraq?ClearChannel's the airivaves? The shrinkingofthe record biz?Our tuckedeconomy? Ior anyoneat all familiar with zappa,it's a safebet that his take on alltheseissues would haveus peeing our pantswith laughterwhile simultaneously savoringtheincrersinglyr aresoundofa public figtre speaking the tluth. Ifs ha.d to fatho that nearly16yearshave goneby sinceZappapassed away,succumbing to prostatecancerat age52 on December 4, 1993. Because he wasso hardworking and prolific duringhis lifetime,u'e'vebeen with posthumous continuallyblessed releases ofbrand-newZappamusicin the yearssince his death.Butwhatwe've beensadlydeprived ofis the benefitofFrank's intelligent,highly originaltakeon the phenomenon we call reality,and his tifelesscrusading against stupidityin all its infinite manifestations. No wonder the world is in sucha sorrymess, Frank Zappawasone ofthe smartest peopleeverto play rock and roll, andone of the most influentialmusicians ofthe 20th century.First emergingin1966asthe leader ofthe Mothersoflnvention, he stoodout as a fielcely icoloclasticand innovativeartist in what wasarguablyrock'smost wildly creative erL The very term and concept"to freakout" enteredthe Englishlanguage andworldwide r ia Zappa collecri. e corr.ciou'rress andthe Mothers'1966debutalbum,FredftoufJ Raunchier than the Stones, more experimental tlr.rrthe Berrle.. n_ore rhJnrhr dJngerou) VelvetUnderglound,uglier than sin, Zappa andhis hirsutecohortsblendedpopulistforms suchasdoo-wopand blueswith highbrow art tacticslike Dadaismandmusique concrite and mdnipulating raw ftheart of capturing sounils otl tape td.l, dramatically expanding rock'smusicallexicon.Early Mothersof Inventionalbumslambasted the mainstrearr Americansocietyofthe Sixties, with its racial (the Vietnam tensions, imperialistaggression warwas raging),sexualhalrg-ups andboozy hypocrisy. But zappawasequallyhard on the emergent Sixtiescounterculture, suggesting that maybehippiesweren't anybrighter than their parents. Resolutely drug-freeall his life, a clear headed championofindependent thinking,Zappaneverjoined anyone's party or fashionparade. movement, As the Sixties bled into the Seventies, it became increasingiy clearthat zappawaslar morethan the propdetor ofrock's strangest freakcircus.A serious discipleofthe 20th centurycomposers EdgardVarise,Anton Webe.n and lgor Stravinsky, Zappa's own prowess considerable compositional came to the fore on soundtrack albumslike Uncle Meat (1969)and2oo Motels(1971). At the sametime, Zappaestablished himselfasa guitar heropar excellence, via solodiscs (1969). like -HotRdts He was oneof the most accomplished anddistinctiveguitarsoloists that rock haseverproduced a playerwho possessed an equallybrilliant command of 20th centuryavant-garde modalities and the lou'down,gl easyblues. generations Several ofrock musicians have learnedto countweird time sig:natures by listeningto Frank Zapparecords. Buthe also cultivatedabizarre and controversial brand of gross-out humor that madeZappastandards like "Don't Eai the Yellow Snow"and "DinahMoe Humm" concertfavoritesfor fanswho wouldn'tknow an ostinatofrom horseradish. peIwersely Zappa's fecundimagination extendedbeyond musicinto other media suchasfilm. Longbeforethe MTVera, Frank was experimenting with cutting-edge video techniques, searching for avisual equivalent to his music'scut and paste, dreamJogic discontinuityin cult movie faveslike the aforementioned UncleMeat,200 Motels and BdbJsndkes(r979). LongbeforeNirvanaand othersstartedthe ongoingcampaign for artists'rights,Zappa wasbattling against corporatecontrol of music,splitting acrimoniously with warner Bros.in 1977, and settingup his own Barking Pumpkinrecord labeland merchandising operationin 1980. This was longbeforethe intemet madeit easyfor artiststo reachthe public directly.Oneofthe first things Zappa did wasrelease 1981's ShutUp'nPIay Yer cuifdr series, three albumsconsistingof nothingbut glitar solos,culledmainly from live concerts. Meanwhile,zappa'sorchestral and chambercompositions beganto be performedand recordedwith increasing frequency by suchpr'estigious ensembies asthe LondonPhilharmonic, Los Angeles Philharmonic, Aspenwind Quintet and Ensemble Modem. Indeed,the Eighties sawan avalanche in an ofZappa releases abundance of stylesand formats-concert albumsandpristinestudio discsfeaturingthe work ofnoted playerslik guitaristsStev Vai andAdrian Belewand drummersTerry BozzioandVinnie Colaiuta. tror Zappa,musicwas not a careerbut a calling.He possessed a work ethic unlike anythingthatexistsin current music.And while we'llnever know precisely what Frank would havesaidabouttoday'sissues, we do

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har.e rhc follon.ing iltcNic$ fron 1983.Neler b c { o l c p u H i s h e d n r f u 1 1i,t w r s o f i g i n r l l } .',rrJ,rir.,l I,r ' b.ieitr^.e tip.e i I ll 5i.iai, l n r g a z i n e .w h r t ' s m o s t r e m a r k a b l ca b o u t t h i s d o c u m e r l ti s Z r p p a ' s u n c a n n ) p r c s c i c n c e . NIaD) of his connlents irbout Alner;cin soundlil{ethc"v s o c i e t ye o d ! h e n u s i c b u s i n e s s c o u l d h : r v ec o n l e o u t o f t h i s w e e k ' sB i 1 1 6 o d r d of Nrw York ?i,ncs. Thc inrcNic11.t(x)k placc.rt a tinc vllen Zappa had Icdircctcd his attcntion to playing d c c ? c c u i cg u i t a r , f o l l o w i n g a l i u r I e r r p e f i o d d c ! o t e d i l m o s t e \ c l u s i v e l ] 't o t h e s v n c l a v i c f, xn erfh digitrl worhsiation. His aluitdf alLruln, x c o n t i r u a t i o n o f t h e " ! l l g r i t a r s o l o s ,r l l t h e tine" fornrt ofthe.sfilrf L,'ph PldJ sefies, h r d j u s t b e e n r e l e a s e dg , ivinggui!ir lo\,ers lTer'r en r p l e c a u s ef o l c e l e b l a t i o n . eler'1.u I s t o k e w i t h I f a r l k i t h i s h ( J l n co n Woodro\\' Wilson Drive, just off l-.A.'s storiecl LaurelCrn)on lllvd. There,r pLrth bo|der-ecl u i t h d e n s eg l e e n e r y ' 1 c d to thc cntlance ' ' ' Z r f , ' . r , l i ' r r , . . u . . i. r . r , J r i l i r \ \ l u l i i r I t c s c a r c hK i t c h e n , l o c a t e do n t h e l i i o u n L j flool oltbe house. A r-ftxnopcncd into the smclio s loungc nd lirlco room, rvhich u'as b c s o c r v n r v i t h a n a m a z i r g c o l l c c t i o no { Z , r p p , l l n e n o r a b i l i r r n d o l h e r b f i c - a - b r a c .A l a r g e , D r ) - c l o r e l l o q ' s h a f l (( l r t e r i n n n o r t x l i z c d o n thc orchcsn al :llbun ofthc sarne n.rme) reste.l a g a i l l s tt h e b r i c k u , e l l . r l s oc o n t r i n i n g a v i d e o s c r e e n .F o o d d n d l { ' i , r c m n g a z i n ea n d o t h e r peliodicals covered r 1:rlgeerd table xnd part o f t h e l e a t h e r s o f ar e x t t o i t , i n t h c c c n f c r o f the roorrr. There \r'rs :r lirrnd piano behind rhe sofa and e locking chair ro the right. Thc r ' , .r n r r . l i . t r , ' l u r t r 1 . l r . t o p , , l r , . , t . r ' , corllporents and ll1ost of rll-\'ideocasset!es i n e v e r y c o n c e n ' r b l ef o r m n t , l i n e d u p o l t h e floor'. thc u :rlls...everyplacc.Thc cnsscttc boxcs ucre ali neatll'labclcd "Babl Snakcs," "DuLr ltooD spccial," etc. quintcsscntial I n s h o r t , t h c s c c n c1 1 a s l'frnk, wiih its scnsc oflrrcthodical, highh pro.luctive u ofk taking place anid g_\'ps! dorrrestic d i s a n : r i ' .A n d t h i s i s r r g u l b h ' r r h a t \r'as at ibe hcrrt of:rll Zappa's bost rvolk thc conflucncc ofhis obscssivcli olganizcd habit o f n i n d u i t h t h e r n e s s , rc ' ,h a n c co c c u r r e n c c s ofhis irrmediatesitlurion. Frank loved io conduct chaos calcfull,v olchcstlating rrndonr noisesb , e l c h e s ,f u d e j o k e s e n d t h e s t o n c d r u m i n a t i o n so i b a n L l m e m b e r s i n t o D a d a i s tc o n s t r u c t so f b e g u i l i n g f a s c i r r r t i o n . ln 19s8, when rhe follo\\.ing inter\,ieu t o o k p h c e , I l u s h t h e F i r s t s , a si n p o $ c r , h a r r m e t a l : r n db l a n d p o p b a l l a d sr u L l e c l e charts, th rhc cconon])$as txnliingand Zappr had r e c e n t l v e m e r g e da s a r c l o q u c n t d c f e l d c r o f o u r C o n s t i t u t i o n a lr i g h t r o f t e e s p e c c hi n t h c C o n g r c s s i o n a l' p o f n r o c k " h e r l i n g s d r a t h a c l fnlloncd h thc rvakc ofa concctcd cffortby the rellgiolrs right to ccnsol and supprcss lock music. Th:rt u,as lhc year Zappa rctircd holn t o u l i n g , d i s g l u n t l e db v i n t e l b r n c l f e u c i i n g ihat brirkc our during his final outing, the Bford$:rv the Hrrd Wa) tour.In'83, Fr.uk was srill two,ve:rrs rwa\, from being dialrrosecl w i t h r h c i l l n c s st h a t l r ' o u l d t r k e h i s l i f e i n ' 9 3 . llut onc r'ould rcvcr havc gucsscd Zappa had j u s t f i \ , e\ , e u s t o l i l e . I l a r e f o o t , d r e s s e di D a b r i g h t i e l l o u .s h i l t r n c lb 1 : r c k runring puuts, h c l o o l { c dt r i D r i n d f i t . N e v e r a l o v e r o 1 - t h e

rock press, Zappr was nonetheless cordial and -rrgt\' 3 ' r r ,r , J l . p r r i , r r ri r : ' r r . s , JUurn1..(. q u e l i e s p o s e df o f h i n r . cullat LEGET{Ds Whel1 \'.'u first stn eLl r l c . ' . ' r q . r l l ' ur r . " o r '1 ' r ' e . l e r c L . i r r l , f . r r i r r s o l o s\ .' i t h s h r r t L ' ph P I d v v c f c u i f d r i r ' 8 1 , d i d the idergive vou any rrouble'i Di(lr't it seenl kincl oflike taking all the sex scenesout ofa ioocl f i . , \ , l ^ r 5 r r r r . t r : rg r ; . r r c l r , l r o ; , r l r , . ? \\icll, in :r $ a), !cah. But I r ' r ir l t l ' , ( . ' l r , t r l r ' r r ' r L r (r , r l h $ r . r ( q , . F o l a g u 1 ,u , h o r e a l l y l i k e s g u i t r r s o l o s ,a r d clocsn t n e e d r n e x c u s er o h n l e r g u i t e l s o l . , , hcle it is boon. And thcrc havc bcer eroush cus(nners for these .rlbulns ovel the _\, eius tc) p r o v e t h r t t h o s el i s t e r r e . s exist out there. ct So it docsn t bothcr \.'outhal pcoplc arc t r k i i g . l s L r f to f o n e d i n e n s i o n a l i r t e r e s t i n r o u f n r u s i c ?T t ' sk i n d o f r p r l r r i e n t i n t e r e s t r t t h n r ,j u s t f o c u s i D g o n t h e g l r i t a r s o l o sa n d ignorirg ihc rcsr ofthc conrposition. I iton't find that cspccially'

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o b j e r t i o n . r b l eI.n r u x y , i t ' s n i c h e m a r k e t i r g . I \ , e c o r s h . u c t e di t f o r t h o s e p e o p l c n ' h o \\'anl that. Also, lhc solos thcnsclves ere cons.ructed iD stch N \\'ry thet rhe)"fe l i L e l i r t l e s e t p i e c e s .T h e , vb r v e m e l o d i c s , develof mlrnt sections aDd rccapitulations, just likc coDrpositi(nls s.e e ,t h e w a ! I ! h i n k ofa$ritar solois rs dn iDs! rt compositior Y o u h c v e r c e r t r i n r n l o L r n to f t i n l e i n u ' h i c h

5 O L J I I JJ \ R I - E ( I I \ I J \

I]|APPfttT[ftilt( Yt{EI|ltt I|At.il$Etll[Al{ ]|tAI.I.Y PI.AY."

logicor commonsense hasgot to look at what you seeon television and say,"This is bullshit." But nobodyis providingthese kidswith the criteriaby which to judgebetweenanlthing u ith an1qurliry. or evenro helpthemspol bullshit.Theyjust don't know. They comeinto the whole thing completely unprepared for the tricks that arebeingplayedon them by the car companies and everybody else.They'rejust beingused. lt's rcally not fair. c! You'reone of the few guitaristswho reallyusethe low stringsto their full porenlial. Youdo a lot of reallyrich harmonic th;ngs on rhelow \r rings. what s involved in gettingthosesort oftones? IAP'A What you do is touchyour [o1{,] E string right at the c fret, and awayyou go.There are four or five harmonicsin that little rangebetweenthe F fret and the c* fret-different points in therewill giveyou somestrange things.And the samethingwill happenon the A string,and all your other wrdppedstrings.You get...stuff Cl Somany rockguitaristsseemmore concerned with squealingon the high strings. ZAPPA well,I think mostguitaristshavea Lendenc) ro playin (hesame waytheytall. And sinceI'm not much ofa squealer-I happento be a ba tone kind ofguy to play on the low stringsis a little more in phase with my reality. clYou often pick way up bythe neck.Why? ZAPPA Well, there are a coupleofreasons for that. Ifyou rest your palm on the trloyd Rose,it puts the stringsout oftune. And I Jiketo havesomerupporrfor my right hand. so the easiest way to do it is to move farther up toward the neck and rest your hand thereThatwa1.you leep your handoff the bridge tailpieceand you getbetter intonation.To me, the most hateful thing aboutthe Floyd Roseis the fact that, when you bend a high string,everythingelseon the guitar travels out oftune. So ifyou've got any other strings ringingwhen you bend up the pitch, you get stuffthatyou don't went. So to usethat ir'ntrumentyou haveto learn a whoie new hand positiontechniqueto try and obliterate the bad things you don't want to hear,and ger the ff rharyou do.Also.picling closer "ru to the bridge givesyou the kind oftone that I dont like to usevery often.It'stwinkie.The tone getsa little bit rounder the more you go toward the fretboard. cLWho are someofyour all-time favorite guitarists? zAPPA I like Wes Montgomery, Johnny "Guitar" Watson,Allan Holdsworth,Jeff !eck, Guitar Slim and Wnlter cerwig-he p l a ) . l h e l u r eI . m . u r e t h e f e a r e f a e\ orher5, but that'swho comesto mind first. cl ls there anyoneon the current scene who you particularlyenjoy? IAPIAIn spiteofthe negative things that

you'regoingto be makingup a pieceof music,andyou hopethat the peoplewho are workingwith you onstage are alsointerested in inventingmusicon the spot.When it worLs, which is notvery often,that'sone ofthe reasons why I'mglad I havea recordingtruck. You cansnagit, Because it's goneafterthat. That'sihe only time it exists. cr Unlike other forms ofcompositionyou do-on the S''nclavier or with manuscript paper-a live guitar sologivesyou the advantage, or disadvantage, or instantaneous feedback ftom the audience. zAPPA I don r evenknow rhe audince is there.It's nice if they are,but I'm paying attentionto the instrument. clBut in other ways,one alwaysthinks of you asan artistwiih a real firm graspon who hisaudience is andwho willbe interested in what. Do you do marketingsurveys? zaP?A No,I don't do marketilg surueys. Comeon, do I look like a !'upster? What I do is this:when we're on the road,there arekids who cometo the concerts and follow us from town to town. And if we seesomeofthose samefaceswhen we arrive at a venuein the aliernoon for soundcheck, we bringrhemin and they sit in on the soundcheck. Andyou know, I talk to thesepeopleThey'realways very explicit aboutwhat they like and what they don't like on the albums. So that'sthe closest I would cometo a marketingsurvey. goingto teli me whatto do I meannobody's and what not to do. But atleastI havesom. informationthat I'm basingmydecisions on. And they're nice kids,too.

cr I just noticed that you have a tendency to localize whatyou do to certain segnents of the audience. IAPPAWell, there's no one ideal listener out there who likes the orchestra music and the guitar music and "Dinah-Moe Humm" and the whole thing. That's why sometimes lhere will be an orchestra album and the people who like the guitar stuffcan't stand that. And then a guitar album comes out and the people who liked the orchestra album can't stand that. You knowthey're allmy friends in their own way, so why not accommodate theif interests? cl, What about targeting the "youth market"? zAPPA Well, the problemwith the youth marker is (he iact rhar Ll)eygo ro lJ.S.lchools. And the United States'school system has been tumed into a kind ofassenbly line for really ignorant little consumer clones.I was lucky. I got out ofschoolback when they were still teachingkids to read and write. The market you're talking about now is basically people who can't spell, can'tcount, dor't knowantthing about economics and thinkthe mostimportant thing in the world is dressingproperly and havingapamy. S o y o u r g u e s si s a sg o o d a s m i r e as to what sort of musicwill fulfill the emotional needs ofthose people.I just think they've been cheated by the government. They're talking about yet another budget cut for education. And things are ugly enough already. cl So I suppose they'lljustbuy into whatever type ofmusic is advertised best. IApPAYeah, well, what they're being taught in schoolis how to respond to advertising. The e n e m ) o l a d v e r t i s i n g i 5 l o g i c .A r r y b o d yw i r l

currAR LEGENDs {+

"T1|I SPII|II OI'I.IT'S JUSI E[PI.AY'IIIO A I[]'IG IIilIAE[. I[01{T [)(PEITI1|AT IT'S tvtt| [[[|Ii{E BA[|(."
are said about him, I happen to think that Yngwie Malmsteen really can play.I saw some videos when I was in Europe that they were playirgon Sky Channel.I was realJy impressed. And ofcourse Eddie lydnIjdlen] is unbelievable. And this guy in Ratt, Warren Di M a r r i n i . h e . p r " t 1 1 u r b e l i e v a b l er o o .A n d r h e g ! ] L h a tp l a y e J w i r h O z z ) O s b o u r n eo n r h e album with the red eyes coming out the front. I can't remember his name. He was great, lJdke E. Lee Ed.l cl You listen to a lot ofmetalish guitarists? ZAPPA No, but my son Dweezil does.And i n t h e c a s eo f t h a t O z z y a l b u m , I h e a r d i t u hen Ozzl broughr ir over Io p'ay ir for me. That was right around the time that some guy was trying to sue himbecause the guy's son . u : c i d e .O z z y w a s o v e r h e r e t a l k i n g con_mirred about that and he had a cassette ofhis new album with him. I can't remember the name of the album, but it was real good. GLMost ofthe Guildr album was done orr a custom Strat, accordingto the liner noles wha! did that consist oe zAPPA The only thingthat is "StraC'about this Strat is the shape ofthe body. I think that the original bodyu'as a hear'y Fender Stratocaster body. And I had a neck custom made for it at lHollywo od custom shop] Performance cuitar, and it has custom electronics in it and Seymour Duncan pickups. 4 what kind ofelectronics ale nrvolved? zaPPAItwas a circuit that was designed ght hre in the Utility Muffin Research Kitchen. It's got a gain stage and two parametric EQ circuits built into it. lfs set up so thatyou can have either EQ or gain, or gain plus both ofthese concentric [tQ] pots. The pots give you variable frequency selection and variable boost and cut at the different frequencies. And then there's a screwdriver adjustment for the Q lrcsondncepointl ofthe filter-how peakf it will be. This allows you to tune righ! into the feedback point ofthe room. You crn find our w\ere'r's goingro squeal locate it and then that's it. cr Hence, a lot of that really controlled feedback in your soloing. zAPPA Exactly. cL Are the pickups just stock Seymour Duncan Strat pickups? zAPPA Seymour has wrapped some special pickups for me from time to time.I believe that what lives irthat Strat no1,r'arepickups that have an 8k boost.

cLWhat aboutamps? Signalprocessing?

TAPPA What I've been usingon the road on this tour was a pair ofCarvin heads for the clean sound. And that clean sound was processedthrough a Roland GP-8, or whatever you call it.lt's an effectbox that has the whole assortment of effects-compression, flange, bladdy blah. Thatwas on a separrte footswitch so that I could either turn it on or ofl And the rest ofthe dirty sound was made by four Marshall amplifiers: r|o 100 watts and two 50 watts. Most ofthe speaker cabinets were hidden underneath the stage and miked. And that's what's goingto the P.A. At the end ofthe tour, I started using one Marshall cabinet onstage, powered by one of the 50 watt heads,just so I could have a littie more presence right behind me. c! Looking back, ifyou had to locate a c o u p l eo f r e a l t u r n i n g p o i n t s i n y o u r development as a guitar player, are there any epiphanies that stand out? ZAPPA Yeah, when I first heard the guitar solo in "Three Hours Past Midnight" by Johnny "Guitar" Watsor. That's probably one ofthe most important musical statements I ei'er heard in my life. And also the guitar solos on "I Got Something forYou" and "The Story of My Blues" by Guitar Slim. And "Lover Man" by Wes Montgomery. G|'what about your own work? Are there any points for you where you said "Oh yeah, I really... zafPA I really got down there? cLOr, "I really took offin a new direction." IAPPAYeah. There was this guy who used to bc a drummer in onc ofmybands. His name $ a . J i m c o r d o n . H e s i n i ai l i o r m : r d e r r i g h t

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5 2 ( JU I T , \ R L E C E N D S

n o u . B u t h c s h o u ' e dn 1 ch o w t o d o r h a t t h i n g ' r I \ ' n < ( Lu f r - r Lg r i r l r r r h J .'Iirrr llicl fi.., usirS r?cpicl to do Innner ons Ed.lI ceftainlyput thattogood use for a Dunbcr of y e l r s . A D d a t r h a t t i m e , I u ' a s nt p l i y i n g g u i t a r \r'ith a whal1rn1,\'baf.So the Lrthcr impoft,rnl t h i n g r v o u l c l b e u h e n I c h a n g e do v c r - a n d s t r f i c d u s i n ES i t r a r si n s t e a do f c i b s o r s . cl A Iot of ,voLr older things rver.edonc on L e s P r L l lJ u n i o l s a n d S G s $ r i t a f s I i k e t h : r r . Tdidn't usc r sn rt until the Floi d Rosecarre a1ongT . hc old Strrts lvcrc jusl s o o L r to f t u n c I c o u l d n c \ ' c r s t a D dt o l i s t c r a t O n e t h i n g t h a d i n m i n c l i v a st h c p c r i o d right aftcf dre N,Ic,thers disbanded, whcn vou sttfted doinghearr- !,uitar solos like "NIaglc Iingefs,' on2O0,\,fote/s. \ V e l l , t h e r c a s o nI \ r a s . r b l c t o g o i n t h a t d i r c d i o n w r s b c c a u s eo f t h e d r u r r r r n e , u h o r v a si n t h e b a n d a t t h a t i i m e , A ] n s i e ) Dunbar. Rencn1lrcr, in the earlicr \,Iothefs of I n v c n t i o n i r e h a d a n a s s o f h n e n to f d r - u m m e r s thowcrcokay lorleepingabeet,bututcn I p l a y e da g u i t a r s o l o $ , i t h t h c n , t h e r e u a s n ' t much interactidr. That changed \rith dre e r r i \ . ' ao l fAvnsley Dunbrr, u ho plavcdon 200 lllote/s. \ rc Lrsedto sit herc ill mv basemcnr a n L lj i n l . H i s d r u m s $ e r e s e t u p f i g h r o v e r thcrc and I had iD anlp here. We woulcl p1e,, ir the aftclnoon.But it's been e longtimc sinceI've known anydrunmcrs i{hojust like to play drums in that way. You knou.. i{ irhout iooking at rhe clock aDd rvondering u4rcn the next palcheck was arr-ir.ing.That's prdtl n r u c h e r c s u l t o l i h e E i g h t i c s ,\ r ' i t h e \ e D b o d ) .

b e i n gc a r e c r - o r i e n t e d and soforth. The spint . ' ' - l e r . L r r r ; . p i r r 'J i e C r l u r U r i n e l e oI . don'texpect thut it's ver colringbackCl ls lhere r feason whl r-ou\,e beeD s o . r c d v el a t c l y i n r e l e r s i n gl i v e c o n c e r r e c o r d i n g st h i r l o u ' v e ! l o n c o v c r t h e y e a r s a n d r e i s s u i n gy o u r -o l d e r .a l b u n s ? -lre Ir",..r vp J-( rqler.r'r!,ln.e o l d e r a l b l L n s i s t h r t p e o p l ew r n r r h e n o n C D . l r" "ut urrc rr.ri.r Ir li,, 'vliLh r. f '" o h l c r r r t r , n o r l c g .r . n I f \ e r \ l I I , t . r p l o . l thc door', sorrebody is bootleggirlg what I do. I ' n r f i n d i r g L i i s c so f i n t e l r . i c n s t h a t T ' v ed o n c t h a t h . r I e b e c r b o o t l e g g e c lC . Ds ofinterviews . r , : r r r) e . r f .\ - ( k : A r d r o r c e l r . a | , , r e l r f c placc alc bootleggcd. So rarber thaD just grve up ard lctthe bootleggers handle my musical o L r t p L l tI, f e c l I s h o u l d r e l e a s cs o m e t h i n g . Har-dcole fans ar-cal-erdv buving these bad qualitv lecoltlings ofthe live conccrt m a t e r i a l .T h e b e s t t h i n g I c a n d o r i g h t n o \ r is give them fhcbcsrversions and the best rccording qurlitv I can provide. c L S o h a s f e i s s r i i n ga l l t h i s s t u f f p r o n l p i c d vou to go back and ree\.aluatc the ear.ly. phasc $ I e 1 l .v o u c a r ' t h e l p b u t t h i n k solnethirgabout it !vhen yoLr'reremastcrinll ir. Nlostofthc tim, I'm just giad I don't ha\.e to do thit ,lnvlnorc: don't have to pla! .| ith t h o s c m u s i c i r n s ;d o D ' t h a v e t o u , o r k i n t h o s e s t u d i o s ,u n d c l t h o s eb u d g e t s ;d o n ' t h a y e t o d e a l u ' i t h t h e b u s i n e s sp e o p l e I r v a sd e a l i n g rvith in that pefiod ofthe tilrre. The general expcr-icnce that I had r'!,as n o t p l e a s a n ta t a l l . Ics not fun ro redo those things.

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cl \\rhat's your opinion ofthc rnusic, though? \'Vell, sLrlrrc ofit's iood .rnd s{rrrc ofit's not. The problem $,ith nll fecorclings dufing that pefiod of time was that vou \r'ere stuck with.r fixed budget to nakc an album. lvhich meant that I'ou nlight want to Lrerfcct . , p , _ f , , _ 1 . 1 n q . . 6 'r,-' r . l - r r r o u c o u l , ln u r . " Wher thc dollars rvere gonc you ll.ere out of the studio:lnd rvhatever srage thc rccord wxs i n , t h a r ' s\ , h a t g o t r c l c a s e d . That's the thirg 'h... rr".r t_ouble.urrr, rn e r\o.rr | .rrni.rr.: -orhL.rufr. kr nw whrr ..ul,l ir Lrr, Lee But there afe a lot ofpeople uho lovc thosc' a l b u m s .S o t h e l e t h c y a r c . crI think they'reanongthe bestrecoros thrt canc out in that era. J u s t i m a g i n e \ ah a t t h c y $ o L r l d l r J \F . ^ u r r r l ( Jl i \ L l u o L r l J h - , . n r . r r l L . s a m eb u r i g e t a s s o n e o f t h e s r r p p o s e d "big" gfoups had rt that perioti oftime. Fol rll r h e e a r l v W a r n e r B r o s . c l b u l n s ,t h c t o t a l budget for the wholc thing u,is S27,500, naximum. And fdripping wit/r sarcasnd the really "inrportant" liroups hacl budgets forr and five tincs that amoLrntA . nd Y niddle p e r i o d w a f n e r t s r o s .a l b r . r m s had budgcts of q o 5 . o n nI n t ' r . O , r 0 I \-Ji Lll.cLigg-o.rt. \ v e f e s p c D d i n gh a l f a n l i l l i o n t o $ 7 5 0 , 0 o 0 . so ir's a little diffcrent siruationno\\' thar I l r . r \ ,r ' \ o s r c o r n p r n \I r l I \ r r e . n c . . r r f a n d d i s t r i b u t i o n d e a l . I j L r s tk e c p w o l k i n g o n s o m e ! h i n gu n t i l i i ' s d o n e . H o p e f u l l y I c a n s e l l c n o u i hu n i t s o n t h e t h i n g w h e n i t c o l n e s o u t to pay offwhat it costto ]nakeit. C LS o w h a t a r e , v o ul v o r k i n g o n l i g h t n o r i , ? Any ner\, compositions? Slrclar.icr siuff?

(;urr^R LEcDNDs {Gh

zaPPA Oh, there are tons ofthose.I work hoursare everynight on that. Synclavier usuallyaboutll:00 at night untilT:00 in the compositions morning. Thererre mrybe50O on themat sittingonfloppydiscs.ljustwork randomuntil they'redone. cLNght now, the ideaofcombiningwhat you do on Synclavier with playingglitar' doesn'treally interestyou? rapP^?layingthe gritar alongwith a you mean? sequence one ofthese daysI'm goingto try that. Because bandshavebecome j ncrediblyexpensive to maintain.And with all the inevitablepersorulityproblems,I'mnot all that enthusiastic aboutstickinganother bandtogether. why guitar c! Do you think that'sa reason is becomingless ofa prominentinstrument in pop today? Do you think other peopleare experiencing what you're experiencing? zaPPA well, pop music is not the end ofthe world. There'sa whole substructureofwhat they call pop music which is healT metal,in going which the guitarrules.Andthat s never That's a stylethat's probablygoing to change. to be with us until hell freezesover,to usea rock and roll term. But ifyou're talking about whitney Houston,that other kind ofpop music,they try to keepthoseblasphemous our of ir.Theres norhing element" frddio formatl AoR lAlbum orientedRocftlor MoR lMiddle ofthe Roactlabouta fuzz-toneguitar. They try to makethe orchestrationon those songsasneutral and comfortableaspossible. And I think the listeningpublic is, to a certain extent,deceived by what is broadcast. is not necessarily Because what is broadcast an accurateindicatiol ofwhat peopleare writing or recording.Now, what usuallygoes on the radio is the most banalproduct that to put every record companycan manage together.ln the United States, radio truly is a cultural en'rbarrassment, The only creative radio you can listen to is what they call shock radio,where peopleare talking and making things up. There'sa little sparkofcreativity there. But most ofthe music that'sbroadcast is harmful to your mental health. c! Even collegeradio is formatted thesedays. !aPeaWell, that's because everybody wants to make The Buck. That takesus back to the career orientation we were talking about before.Everybodyis looking at their watch and thinking about their pension.And they forgot how much fun it is just to get out there and play. so that's where the problem lovedmusicso much starts. Ifall musicians that they'd play it l1omatter what happened, then all recordswould be terrific. Then what would go on the radio would have to be wonderful. But the radio is showingus that people don't love music all that much, but they have a tremendousidea about how their careershouldgo.It's kindasad,kinda
hnrino,n.l lind, rfl,p

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ever hear from then until the end of time Except for the hearT metal bands, who were doing their vision ofbeauty. But then that pretty much became a formula too. Hea!ry metal took a real dolvnturn when videos came in. It wasn't so much how well you could play as how tremendous you looked in front ofa camera.so obviously the most important mernber ofevery heary m e t a l b a n d i s t h e h a i r d r e s s e r ,t h e u n s u n g hero ofrock and roll. c! But right from the beginning, metal quickly asserteditselfas a pretty stylized genre. TAPPA lt's beenaround a reallongtime, though. And I remember atime when people frowned on it, the earlyBlack Sabbath and all thatkind of stuff. When I say "people" I'm talking about rock writers and the kind of people that think they know. But the people who bought concert tickets, they always liked it, even though it doesn't get played on Ihe rrdio. I dun l rhink Ozzy i. going to rhe poorhouse anytimesoon. clWhatyou do seems to exist in its own cubicle, apart flom all ofthis-certainly jn the conception and recording ofthe music. But also, now thatyou're marketingit onyour own, it really seems to exist independently of an)'thingelse. zAPra That's the only way it can exist. There is no way that what I do fits a corporate format. And unless ther-e'sa n'iracle of evolution that takes place at the radio broadcast level, nobody will ever hear these songs on the radio. And certainly MTVwould never show a video that I would make. c L l f l o u h a dc o m e a l o n gr o d a yr s a b r ] n d new,2o-year-old artist doing what you did when you were a brand-new, 2o-year old artist... tAPaa I wouldn't get a contract. +

cLThere wasplenty ofAOR ard MOR pap in the Seventies aswell, but a lot ofit wasstill guitar music. z A P P\A e r h .b u r n o rl i l e r h eg r i l a r m u s i c oftoday. The seventiesstick out in my rock was mind asthe yearswhen corporate invented. And the people decidedthat that's the only kind ofrock the humanracewould
54 GUITAR LECENDS

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LIFE
HE CALT.ED HIS BAND DEATH, BUT CHUCKSCHULDINERLOVED LIFE, FAMILYAND THE MOST BRI]TALMETALIMAGINABLE. ASWEAPPROACHTHE EIGFIT}IANNI\IERSARYOF HIS DEATT.I METAL'SPIONEERAND SPIRITUALGUIDE, PASSING, GUII}RIEGENDS CELEBRATES
BY CHRISTOPHER SCAPELUTI

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I T WAS EARLYzOOt WHEX EHUEI headaches rerurned. over the I schuldinefs to feellikehisold I pastyear.he hadbegun just I selfagain-remarkable, consideringthat oneyear before,the deathmetal guita st had nearly died. In early January2000, doctorsin to removemore New York City had managed than halfofa cancerous tumor dangerously nestledat the baseofhis brain. Months of physicaltherapy followed while he recovered at home,in Altamonte Springs,Florida. chuck had never liked being far fiom home,away fiom his family and the orlando suburbwhere he'd grown up with his sister Beth and brother Frank. This waswhere he thrived, where he drew inspiration for the melodiesthat tempered thejagged shard.ofmu.ic he hadcrafted for Death,the bandwith which he pioneeredthe ferociouslymanic soundsofthe deathmetal genrein the mid Eighties.And indeed,back home following surgery,Chuck had begunto craft a fresh batch of songsfor his new group, "we spentthe summerof2oo0 rehearsing and recordingdemosofthe new songs," recallsRichardChristy."Itwas fun, and Chuckwas doingreally well." Though familiar to many asa castmemberof the Howard Sternshow since2004,Christy is alsoa professional drummer who is best known for his work with Iced Earth, Death and Control Denied.At the time ofthe 2000 recordingsessions, Christy had known Chuck for only a fewyears,but the two men were as _We close asbrothers. \ efeboth passionate aboutmetal,and we lovedto go to the same bars in orlando and hangout," he explains. what it camedown to was "But basically that we madeeachother laugh.We would do pranLcalls together in the middle ofpracrice. He had this dogthatused to makethis weird facewhen itwas happy,and itwould snoft
GUiTAR LEGENDS

TO [1|U[I('S GOAI TilAS "BASI| OIJT I1|I IIIST BttlJTAIttlFIS IlJIt|, TIITH T1|I [I[SI BR|JIAT E|JITAI| silJil0tl|tR."
like a pig. Sowhen me and Chuckwere happy, we'd snort like pigs." As the end of2ooo approached, therewas muchro be happy abour. Chuckwa55lrong and backat work on his music.His new gxeatand continuedto build songs sounded metalof upon the technicaland progressive control Denied's 1999deb|'rt, TheFragileArt of Existence. "And then we went into the studio,"recalls started Christy."And his healthproblems comingback." For the next 1l months,Chuckbattled heakh. tryingto win againsr hisdeterioraring time to work on his music.On gooddays,and oftenon bad ones,he couldbe foundwriting newsongs, or entrenched in the studio,stillat work on the album. "He drovehimselfunmercifullythat last year,"sayshis mother,JaneSchuldiner. "we him worried so much abouthim andbegged to rest.As the perfectionisthe is, he saidit wasjust okayand that wasn't goodenough for him or his fans.He would go on until he couldn't anymore." "Music wasChuck'sfocus.Itwas the thing that gavehim strength,"saysChristy."Itwas goingthrough inspiringto seesomebody

somethingso hard and still playingguitar al1d writing music.Chuckwasjust so committed. He gaveit eveq.thinghe had." Deathis eithertonglleCallingyourband ofutter in-cheek insolence or a proclamation wasnot given since ty, andChuckSchuldiner to flippancywhere his musicwasconcerned. Next to his family, music was most important to him, and this clarity drove him. To call his band Death wasto equatehis life's purpose with the mostuniminableendto which we all willgo: it waspredestined andnon-negotiable. with Death, Chuckaffirmedhis life. That he found his way there at all seems prophetic. WhenChuckbegan makingmusic. deathmetaldidn't exist asa genrebut asa virile, yet negligible, strain of hea\y metal practiced mostevidentlyby Britain'svenom. guttlrralvocalsand extreme Low tunings, were the musicalingredients, topped speed offby lyrical praises ofthe devil, hell and ingloriousblackdeeds. Bythe time Chuck with his firstgroup, Mantas,in 1983, appeared pockets ofgrowling dark lords were scattered plying their brandof metal in parts of the U.S., chieflyin Tampaand Orlando,the Bay area Chuckcameto this musicwith andChicago. a goal"to bashoutthe most brutal riffs ever, with the mostbrutalguitar soundever,"he told c&ittrschool, but almostimmediately, he sethis sightshigher."Though things were very crudebackthen,I still had a vision 01 becomingavery musicaldeathmetal band." The visionwas everlthing. It pushed and through Chuckto createDeath,in 1984, Deathhe cameto defineat lastthe genreof The release metalinfestingtheunderground. Bloody of Death's full-length debnt,Scream gavethe scenea united front in 1986, Gore, and furtheredthe awareness ofdeath metal as had a genre. Althoughthe music'sstandards

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longbecn cstablishcd, ChLrckraised the L.ar' rvith his tcchnical and meloclic rilfing, rvhile he uppecl the hoflof qr.rorientwith l,vricsthat dlew color'fully from gorc movics likc MaAe Thc,n,ic,slowlv ard Jle Anindtor. Thc dcaih rietd scene g]eu, and as the audience for estiblished acts gl.erv,a host of n e r v b a n d se m e r g e r l , e a c ht r y i n g t o o u t s h o c k its predecessof. By thc carl) Ninetics. thc sccnc was ovclpopulatcd ['l' speecl riffing s a t r n s o l s h i p p i n g ] n e t r l h e r d s ." D e a t h n r e r a l

frustration with th Inusic busincss for Chuck weIc thc labcls," says Jare Schuldiner. "He iold me that ifhe could bypass the labels and just play for the lans, he rvould be a happ1, r r a n . " A n d i n t h e s p i r i t o f a l l p i o n e e l s ,C h u c k could be rccklessly impulsive, as when he p u l l , ' I u r t o f a L r l o o e r r r o u rj r r . r d J y . b P f n r c it was to begin. B u t h u m i l i t y t e m p e r e dh i s c h a r a c t e r ." H e u,as always surprised nhen pcople would comc up and say they rvere such a huge fan,"

"And for me, it \r'asjust so weird; there I was, a chuck Schuldiner fan since I don't kro\,r, *,hen, and I'm u'atching him gct toDgue tied in front ofhis hero.ButChuck wasjust like any orher metal fan. I'het's lvhai made him and his music s0 gIeat," Hc \l,asborn Charles Schuldincr on May 13, 1967,in Longlsland, NewYork, the youngest ofthr-ee childrel1 born to Malcolm and.Iane schuldircr. Malcolm was a Jeu, ofAustrian dccentiJane was born and raiscd in the bibie b e l t s o u t h . R a i s i n g t h c i r c h i l d l e n ,t h e y e x p o s e d them to thc practices and customs ofboth parcrts' faiths,"includingtheholidays," says Jare. "They ended up beingthc best ofboth." When Chuck was onc, his parents mo\.ed their brood to the budding suburb o f A l t a m o r t e S p r i n g s .J a n e c a l l s C h u c k ' s c h i l d h o o d " a - L e d r cI . t o B e a v e r l i f e . " A l t a m o n t e S p r i n g sw a s l a r g e l y u n d e v e l o p e d a r t h e t i m e , a n d t h e S c h u l d i n e rh o m e w a s nestled in forests where seminolc Indians once hunled. "chuck and his brother lFrdnftl and sister [3r,rfij grcw up playing in those woods, buildingforts in lhe lrees and seeing q r i r . r l ,' r u i u i l J l i f er h e r er l : o . s r v s J a r r L " C h u c k a l 1 dF | a n k c a n p e d o u t i n t h e b a c k y a r d *,ith flashlights alrd s[acks lots oftimes, r n d r h e r eu , n r r : r r ) o f ' h e ( h i . l r p r i n r h . ncighbolhood at the house rnost days." C h u c k ' sc h i l d h o o d u a s ,b y a l 1a c c o u n r s , happy and iraditional. Family photos from thc r i r . r . J \ f . o n l r l u e r I ^ h i . t r p r e e nr r r ( f u ' t . . : t ) o u n g C h u c k d r e s s e du p a s a n l r d i l n s c o u r , d i s p l a ) ' i n g t h ec a t c h f r o m a f i s h i l g t r i p a n d Z posiniin his socccr outfit. His artistic sn-eak tr

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h a s n o u ' b e c o n r ee x c l u s i v e l ! a b o u tb e i n g e v i l , sat:rnic and ph,r'ing full speed rhead," uhuck c o m p l a i n e dt o U . K . ' sM e r d l - F o r c e is r 1 1 9 9 l ." I t ' s notwhatl'm irto at all." B)'then,Chuck had tacklcd topical subject lnatter dr:rt included .bol tion ("Alterini the Funrre"), the snrrgglcs ofthc tcrminally ill ("suicidc Machine")and the risht to die ("Pull thc rrlug"). Comnitted kr his !ision, Chuck grle shrpe t o ^ l :' t r n r r r s 1 - ,: ; r t , . r n d " , r h r re r ' . . h n r r tsLriit \\'as not \r'ithout its costs. His denands of himselfandhisb.rnd frequentll led to . ( finrur'.n r. prrriIg: herrr eer I irr rId h'. | n u s i c i r n s .B u s i n e s s left him fccting de:rlings ovenr-helurcd anrl dcplcsscd: "rhc biggcst sa,vs Ch sty. "He was the most humble 63ry.I d o n ' t k n o s , i f h e e v e r r e a l i z e dh o \ r i m p o r t a n t he was to the metalscene, because he looked :rt /rtnsef:rs a fan ofit." A n d s o i i w a s , i r 2 0 o 0 , d u r i n g C h u c k ' sb r i e f fccovel-!, that he and Chrjstl- i,!ere rttendinga K i n g D ' a n r o n d s h o w i n S t . P c i c f s b u r g ,I l o r i d a . The corpse-painted thrash metal singer lvas a favoritcof Chuck's, ard Iliamond's guitar.ist. Andy LaRocque, had even briefly pcrformed with Derth, on 1993'sIndfiidLtdl T horlSht P a r c r , , 5 .$ r r - rL r l { u ( I u , . x . . : . r a n c e ,a h r r . k ard Christy \\.ere escorted backstage. " I j u s t r e n e m b e r u s b e i n g s o n e r v o u st o 1 1 l e eK t ing. ChLrcku,as i n a l r c , " s a y sC h r i s t y .

5 t ( i u I I A R L E G U ND S

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displayed itselfearly.Says Jane,"Chuckwas interested in art and sculpturefrom a young ageand Iovedboth equally." Althoughtrrankwas seven yearsolder than Chuck,the two were closecompanions. Oneday,while returninghomefrom a visit to an out of-stateuncle,Frankwas killed in a car accident. He was 16.His deathwas devastating for Chuck,and the sobe ng reality ofthe losshauntedhim. "He never really cameto termswith it," saysJane..,He alwaysmissed trrank." In the monthsaftertrrank'sdeath,Malcolm and Janebeganlookingfor away to help Chuckdealwith his griel He had begun to take an interestin music,and the guitar had aroused his curiosity."we discussed it with him, and an acoustic guitar seemed the best,"saysJane."Itwas portable, something he could carry with himwhen we went on vacation or camping. ro a friends house or

Brook Everitt in 1999."I said screw it and went on my own," "Chuck found the acoustic guitar lessons and his teacherboring" says Jane- "He didn't like the repetitiveness ofit all." It's possibte that Chuck would have abandoned the guitar entirely had his parents not madeyet another attempt to indulge his interest. While at a yard sale, Chuck spotted an electric guitar, a pointy knockoffin the spirit ofB.C. Rich, whose guitars Chuckwould later employ. Once itwas in his hands, his old acoustic glitar was completely foryotten. "The first time he played the electric guit , it was as if a switch was tuned on in hin," says Jane. "And it never turned ofl" His enthusiasm was in large part fueled by his love ofKiss, who bythis time in the late Seventieshad reached their commercial zenith. Foryears, the], were Chuck's favorire group, as evidenced by a familyphoto inwhich averyyoungChuck is dressed up like Paul Chucksignedup for classical guitar lessons, S I a n l e y A . t t h e a g eo f 1 3 . he was rrerredro hi. but the tedium ofstudy quicklywore down first Kiss concert, courtesy ofhis mothel. his enthusiasm. "I took two lessons, and lthe By then, he had discovered metal through instrucror]showedme 'Mary Had a Little New Wave of B tish Heaq, Metal acts, Lamb,'" Chuck recalledtoPifmagazine's including Raven and, his favorite,lrol

Maiden,whoseguitar tandemofDave Murray andAdrianSmir h werecriricallo forminghis loveofheaq', butmelodic,glitar lines.In lieu ofglitar lessons, Chuckhad begunto teach himselfto playby ear,listeningto the songs he lovedand,with uncommondetermination for an adolescent, soundingthemout on the fretboardofhis guitar."He had a very good ear for musicearly on, andwhat he listened to he taughthimselfto play,"says his mother. "He absolutely loveddoingthat." ln the metal-intensive yearsofthe eariy Eighties, Chuck found no shortage offresh inspiration. In additionto U.S.bandslike Van HaJen, he wascapLivated by Scandinaviar. metalactssuchasHellhanmer and Mercyful I ate,and B tain'sVenom,who would inform his growing deathmetalsensibilities. In 1983, the arrival ofthrash actslike Metaltrca, Posses"ed andSlalerinrroduced him ro music heavierand morebrutal than anlthing he heardbefore.Bythen, he was 16and coming into his own asaguitarist."I was lucky to start playingguitar in the Eighties,"he told Pit, "when so manygreatplayerswere around to inspireme, like Yngwie Malmsteen, Van Halen and especiallyDave Murray andAdrian Smith of Iron Maiden." Chuck'sgrowing fondness for extreme metalwas no cause for alarm aroundthe Schuldinerhousehold. Malcolm and Janehad alwitysbeensupportive oftheir children's interests, and Frank'sdeathonlybrought the family closer"There is alwaysfear involved when a child dies,and I watcheddiligentlt afraiditcould happenagain,"saysJane. "Chuck'sfatherworked and had tennisand other hobbies, soI wasmore involvedwith Chuckand his interests, asI was with my other children." And sowhen Chuchdecidedto form a bandwith two Iocalhigh schoolers, the garage wasgivenup to the group'srehearsals. They calledthemselves Mantas,a pseudonym first adopted by VenomguitaristJeffreyDunn. Chuck'scohortsin thisvenflue were guitarist Irederick DeLillo, rechristened Rick Rozz, and drummer/singer Barney"Kan" Lee-The bandhad no bassist. Chuckwrote most ofthe band'smaterialand occasionally sharedvocal dutieswith Lee.Shortlyafter forming,Mantas released a five-trackcassette calledDedfhby Metal. recorded garage. in Schuldiner's Irs coverphoto featuredthe threeband members in front ofa signthat reads"DangerHigh Voltage." Publicreceptionto the gxoupwas anything but electric,however.That, combinedwith internalbandtensions, led to Mantas'breakup in lat 1984. for the first of manytimes to come,Chuckfound himselfsearching for new bandmembers. given Not surprisingly, the uncommonnarureofhis music,he found his optionswithin the Oriandoarealimited. Within weeksof Mantas'breakup,Chuckhad reconciled with Rozzand Lee.The old tineup reconvened butwith a new leadsinger Cl'tuck and a new namerDeath. Ifever Chuck'smusichad alarmedhis parents, they did nottry to deter him. Even now, ashe rubbedagainstthestill-fresh woundsofFrank's untimely dath,they kep! silent."l alwaysthoughtthat the nameofthe

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triobroke up again. while Lee and Rozz joined Massacre, anotherdeathmetalact that had formedthe previousyear,Chuckweighed his options. By now, he was nearlyl8 and closeto gaduatinghigh school.Thoughhe'd been a goodstudent,Chuckwasboredby school and anxious to pursuea recordlabel contract. As always, he turned to Malcolm and Jane for guidance. "we talkedwith his school counselor, who urgedus to let Chuckpursue h i sd r e a m .s a y s J a n e .W h i c hu e d i da f t e r gettinghis promisethat if, after a year,he did not get that contract,he would finish school and go to college." Thoughhe had only a handful of independent cassette releases to his credit, Chuckclearlyfelt readyfor a professional career. He'dbeenpracticingat everypossible opportunity,and on increasingly better instruments. At somepoint in the early Eighties, chuck switchedfrom his yard-sale to a Pervey T25,a two-humbucker elecrric modelmanufactured in 1982and 1983. A photofrom this time showshim posingwith the guitar,a youngteenpracticinghis attitude for the camera. Eventually, he would move on to a B.C.Rich Mockingbirdbefore choosing the B.c. Rich Stealthmodel,a rarity offered throughrhe company' Cuotomshop.This became his main guitar throughout most ofhis professional career. first act asan emancipated Chuck's musicianwas to headfor SanIrancisco and its pool of metalmusicians. burgeoning His search wasunsuccessful, shoftl) but in January1086, he wasinvitedtojoin the afterreturninghome, canadianthrashact Slaughter. He accepted and movedto Toronto but left two weeks after arriving, having recordedjust one track with the band,By now itwas clearto Chuckthathe had to follow his own musical goals. _ofcourse, his farher andI wereinvolved the first year,from afar mostly,"saysJane his plans,buthis "After that, Chuckdiscussed were alwayshis own. we trusted decisions him to do what wasbestforthe band,with the inferredpromisethat itwould, aboveall, be the bestfor himself,also." That March,back in SanIrancisco, he met drummer Chris Reifertand struck up a friendship.The followingmonth,the duo entereda BayAreastudioto recordthe threesongdemoMufildfion, with Chuckdoubling onbass. Mudlafion wasby far the most professional and soundingof Death'sdemos, like its predecessors, itwas circulatedthrough the underground tape-trading circuit. which is howwriter Don Kayefirct came to hearit. "I wasbiginto tradingtapeson the underground scene, and I had beenaware ofChuck'smusicsincethe first Mantastape 6 5 wasreleased. The Mantastapewas pretty primitive,but right from the startwith Chuck, you couldtell thathe had talent on the guitar = andwith writing pretty catchystuff within lhrtgenre. Therewere so manybandscoming o but asalways, the problem out ofthat scene, and wasthat theywere trying to be ashea\,T brutal aspossible and weren't ableto writc anythingthatsoundedlike a reasolably cohereDt song.Chuckwasgood,and he just

1l|AS T|JB|(Y IO $ART PI.AYIIIE EUIIAR IIII1|I IIGI|TIES ptAYtI|s tf]|tl{ s0 ltAilY GRTAT lItI|E At|0|lil0 T[ il$tl|E [IE, II|(I YtIETilIE, I|AII l|AI.Iil A]IO IAllE IIIJI|]IAY."
bandderivedfrom the deathofhis brother," says Jane."And while the word had such painful memories, I did not object." Under Chuck'sleadership, Deathbegan to find its distinctivevoice.As the w ter and, now, singerofthe group'slyrics,he tumed the focus of Death's songsaway from Lee's
60 CUITAR LECENDS

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preferreddevil imageryandtoward gore.The group released the five-song cassette Rr'8n of ?error in october 1984, and the three-track InfernalDeathtapeh. March 1985. Both were cassette-trading soldin the underground market.Response to Death'smusicwasgood, but shorrly afterissuing I nfernal Dedth. the

supportto Massacre, the deathmetalbandRick Rozz and Kam Lee had joined in was dividinghis time 1985. By this time, Lee had asajournalist for metal left the group,replacedby magazines, including Bill Andrews.With Massacre I(errdngl and working part bassist Terry Butler onboard, time asa publicistfor Combat Chuclwas freedftom fourRecords in New York City. string duties.Recording The hea\,f. metalrecord was,byvarious accounts, a labelhad formed in 1984 happyexperience. Chuck's quickly and found success old friendsprovedthey when it signedMegadethand were up to his standards, released their 1985debut, arrdLeprosy'spolished Killing Is M! Business..And productionputs their Business Is Good, contributionsto good Au/are that Death display.Musically,Chuck had agood buzz on the was continuingto grow, his undergroundscene, Kaye philosophical sideemerging urgedCombat's chief,Steve in "Pull the Plug," a song Sinclair,to signthem."I aboutlife supportand the said,'They'dbe perfectfor right to die. the label.They'redefinitely The group reconvened a bandthat'sgettinga lot of for l99o's Spiritual Healing, atteltion from people.' He with virtuosometal wasvery hesitant, but I just guitaristJamesMurphy kept badgering him to do it. replacingRozz.The album Until, finally, he agreed." maiked a breakthroughin That summer,following Chuck'smusicand lyrics. an abortiveattemptto record Turning his attentionto the their debutin Florida,Chuck daily headlines, he found and Reifertnailed down a everyday Americaa place dozentracksin five daysat of tuneworthyhorrors. the Music Grinder in L.A. "Living Monstrosiry spoke The band,suchasitwas, to the crackepidemicand stilldidn't havea bassist, the drug'saffecton unborn and Chuckonceagain fetuses, while "Altering the handledfour-st ngduties. I uture" laid out what he Titled. ScreamBlooalyGore, saw asthe implicationsof Death'sdebutwas released abortion.with thef focus upon an unsuspecting public in May 1987. "Butitshowed me that, althoughsometimes on reallife problems. the ne* songsseemed Its songs \rere little more than an extension to his detrime[t, Chucktook his musicreally more morbid and pessimistic than Chuck's ofthe pile-drivingriffs and blood-and-gor. seriously. He wasreallyinterested previoussongs. in death While it wasapprop ate to lyrics that had populated Death'sdemos. But metalandgoingasfar ashe couldwiththat." the genre,Chuckwasn'tsimply miningtopics the pro{essional production,coupledwith Any animosity Chuckfelt wasshortlived. for their suitability;hebelievedinwhat he Combat's extensive distributioncapabilitics, "Deathcertainlyhad agoodrun with Combat. sang. He was. !aysJane. a'deep rhinker. a allouedSc'pam Blood) Cor"e lo havean impact Theydid five records with them." ponderer,and his lyrics cameftom his feelings that Death'shome-brewed releases never aboutlife happenings...and things he felt was could achieve. Two yearsof travelingbetween coasts wrong in the world, He was a very concerned Slowly, lhe metal community wasbeginning had convinced personfor the wrongedpeoplein this world, Chuckto makehis homein iobuzz aboutChuckSchuldiner, the wild Florida,nearAltamonte Springs. His famil, and it saddened him." deathmetalguitaristfrom Orlando, Florida. welcomedthe decision. Musically, the album showedChuck "Chuckmovedout Don Kayehadbeenprovenright aboutDeath's on his own to a town nearus and sawus continuing to gTowas a songwriter and potentialfor success, but his victorywas when he wasn'ttouring,invitingus over for guitarist. "I started practicing more alld anlthingbut sweet.Recalls Kaye,"When dinner andvisitingus often,"says Jane.Chuck cameup with the idea that, for this band Steve Sinclairagreed to signDeath, he saidto had invited Reifertto return to florida with to move forward musically,we'd needa 'Somewhere me, in the credits,I'm gonnapur, him, but the drummerdeclined, preferring cleanerapproach,somethingreal dry and "This recordis Don Kaye'sfolly." Thatway, to stayin California.Their separationwas in your face,"he told cuitdr magazine. At ifit's a bigbust,I'm gonnablameyou.'And I amicable, and Chuckwishedhim "good a time when death metal was in danger 'Okay,' said, thinking he wasjoking. luck in the future" in the creditsofDeath's of becominga grunting Satan-glorifying "But Steve was a ball breaker. And sure second record,l9 88'sLeprosy. parody ofitself, Spiritirdl Itedling showed Oncesettled enough,when wegotcopiesofthe albumin the in Florida,Chuckwent aboutcreatinga new that death metal was important and that office,dght thereon the insidesleeve, inder Deathlineup,a process complicated by his Chuck Schuldinerwas undeniablythe 'This the llrics and credits, it said, recordis demanding standards. Henceforth,he would personto show the way forward. Don Kaye's folly.'I just thought,Oh god." be the group'sonly consistent member. Ironically, Chuck had beerl cast out ofhis Kaye'sreactionwasnothing compared to "I thinh he wasa perfectionist,"says Kaye. own band. In the weeks after the album's Chuck's. "Now Chuckwasa guy who wasvery "He really had a high standardand maybethat completion,personal and businessproblems passionate and very seriousaboutwhathe did, madeit harder for somepeopleto work with him had begun to overwhelm him, and Chuck and he could be a littlebit abrasive," recalls and meetthosedemands. pulledout ofthe European And asthe bandwenr tour that had Kaye."But he sawthis, andhe calledme, on, the musicjust got more complex.It was easy been iined up. "I cameto a point [dt] which and he wasjustlivid. He said,'Who'sgonna to play that kind ofmusic poorly,but it wasvery I thought everything was doomed to fail," take this recordseriouslywhenit saysit's hard to keepup with someone like Chuck." he told Arno Polster,without elaborating somebody s folly?He wasrerllypissed off On Leprosy, Chuckturned for studio on the details, in the March l99l edition
Af rha rima I{.vP

gotbetter ashe movedcloser to makingthe first album."

a"""*o, {@ "urto*

o f c e r m a n ) " s R o c l H d r d m r ! i : r z i n e .T o h r s surprisc, his band ncnlbcrs dccidcd to so s i r h u r h i n , . l r u r . : rn u r rf u r g . .r l - . 1 r - r u ti r . . n a c l e r v o r s e b y t h e i r d e n u n c i : r t i o n so f Chuck onstagernd in the media. Burler told I l o c / rH d . d i h a t C h u c k u . a s h o m c , n o r v i n g t h e g r i r s s .I n r e s p o n s e t o t h e i r a c t i o n s , Chuck hired rn attorrle! rnd grined the f i g h t s t o t h e n n n r eD e a t h . ' A f t e f a l l , D e a t h , ,rrll rr, br rd. f, r.ld P r.r, . rlr,,usll the) lvere l11v best friends, but I $'is \arLrng. ,\t rll tinres,lr1risiciens are r'eplaceable, ffiends ere not." Chuck had ncvcl nccdcll an cxcusc to fighr for his lnusic. N*o*,hrllded ole, he r-espotded with devrsrrting force.,qumdn, his fbllo$,up to s?iritxdl Heallnst w|s a calculated retaliation to his former bandnr ates,who clairned he rr,as wrshed upi to thc lnedia, *.hich panrtcd hh as r ngrcissistic l n o l l s r e r i e n dt o r n y o n e d e l u d e d e | o u g h t o b e l i e v eh i s d e t r a c t o r s . "This is nNch nl(nc ihan a fccord to mc," he told Mcral }ldmmer's Robcft Hccg ir thc Dcccnbcr l99l i s s u e ," I t i s a s t a t e n e n t , I t ' s r e v e n g e , " s h e d d i n g t h e g o r , vt r n p p i n g so f h i s p a s t lvrics, (lhuck no\l'\\.r'ote in a mannr thrt . c n ' r . l r l r " l , . r r r . p , , r i r , . r , lp e - - r r r ' . lCs not hafd to inegil]e hinl addressing Butler i n " S e c r e t F a c e , "w h e r e h e s i n g so f " a n a s k / T l . ' . o r . ' . l | n o ' e : r I U e i r r e r r : o n . .^ r i . l r h e o p c n i n g l i n e s o f " L a c k o f c o m p r e h c n s i o n " :" A condel11ningfeaf strikes do\\.n / Things thcy c n n n o r u n d e f s r a n d/ A n e x c u s et o c o v e r u p \ \ c a k n c s s c sr h a r l i c r v i t h i n / L i e s . " Certairly, thc irt caci'and nuance of Chuck's songrvliting rnake it cleal hc had not spent the past yerr l,ving ar'ounc1. He had been s t v i n g t o g i v e D e : r t ha r n o r e t e c h n i c a l s o u D d , a n d o n H i r r r d n h c s u c c c c d c di,n p a l t d u e t o h i s choice ofn1usicieDs.Guitarist Paul Nlasvidal a n d d r u n r m e f S e a nR e i n e r tw e r e r e c r u i t e d fion fkrIida's plogressive tech-Dretrl brnd r r | l . r .u l r . L h r . . i . s r - ' r D i d i u . i . , : r r , [ r n California's highly tech calthrash bard sadLrs. C h u c k ' s m u s i c a lg r o s t h c o n t i n u e d w i t h Death's next two album s, Indiri.ludl Tl:oLlgllt Pd.terns and.s),mboli.. But b)'1997, hc {.:rs \ c E n r r n i nr; ' r i r , , f \ . r r , c : . 5 . r . . , r r , r :r ' h e \ - . , r ,. l J C l d i l^r..r r1. \, errr! 1, r.rw .S.hoo/, 'ln thc future I plan to do a nrore meLodic, straisttforwird lnetal s c pr(icct \!ith a singer in the Rob Halford style." No$. h e p h n n e d t o s e t D e a t h n s i d et o d e v e l o pj u s t that soft ofgroup with Conh ol Denied. ''ChLrck\r'antrd () ha\.c aband in utrich hc did no singing, that u as the nairl rcason," says . l r I e . - 5 ' r ! i r ' g' r . r c r ' l ' h a r d . r n h , .r o . c e Adds Richard christ_v,"HejLrstu,rnreLl to try solnethirg $,ith a lnor-eiraditi(nlal lnctal sirtacr, b e c r u s eh e u a s r h u g e f a n o f b a n d s l i k c l l o n X,Iriden, l,Irnowar rnd bauclslike rhet.I don t thirk hc cvcr \rantcd ro stop doingDe:rth full time, Lrecause hc knew horv much that band n1e:rntt(r people. tsut hc was lead"l ibr abrcak." C h f i s t v i v a s : l l r o n g r b e f i r ' s tp e o p l e C h u c k s e l c c i c df o r C o n t r o l D c n i e d . T h o t u o h a d m e t b v c h r n c e i n 1 9 9 6 .C h r i s t y h . r dj u s t r l o \ ' e d t o O r l a n L l o! v i t h h i s b r n d , I t u f n i n l i I r s i d e , and was shopping at Altrnronte N{all \,!ith his i$itarist whcn thcv sporicd Chuck at a B. D a l t o o b o o l t s t o r e .' \ \ ' e * , a l k e d i r t o c h e c k o u t s o n r e| n e t a l l n a g a z i n e sr,n d t h e r e ' sC h L l c k f c a d i n g a m a g : r z i n eA l n d w e w e f e I ' k e .O h ,

should\re s:r,v h i ? S o w e s r i c lh i , a n d h e r v e s s u p c r n i c c .w c t o l d h i l n u e n e r e h u g c f a n r , , a n d I ' i 1n e v e rf o l g e t t h i s h e t o o k t h e t i m c t o t a l k t o u s .\ \ r e t a l k e dt o h i m l o r l i k e 1 5 , l 0 minlrtcs about rretrl. Ancl ihvas just so cool. we couLttntbclielc that ir.r nall in Orlando, ' F l o r i d N ,s ' e $ e f e n e e t i r g C h L r c k Schuldirlef. S o o n a f t e f .C h r i s t ! r n l l C h 0 c L b e g r n bunlping into one :rnothef"Prert,v m '' uch cvcrvbolt) in thc rrrdal sccnc in orlando s o u l d h r n g o L t ta t t h e s a n e p l a c e s , " sirys ' l - ' . n . I ' e . r n e J ' n v . .r h e r r ' . p r r r i e . . B l ' c o i n c i d c n c c ,\ r h c n ( l h u c k \ r r s i n n c c d ofa dlumrrer fol ControlDenicd,a nlLrtLrrl friend sug_geste C d hrist!. "Thev got lne i1r c o n t a c t$ , i r h ( l h c k , ' t h e d r u n r n r e l r e c r l l s , ' ' r n d I $ ' a s n ) n c r \ r c u s i u s tc : r l l i n g h i u rt o s e t u p . r nr u d i t i o n . I l c m c m b c r i a k i n g l n v d r u m s t o a l h u c k ' sr e h e r r s r l s p r c e r n d p 1 : r ) ' i n g fouf o f t h c m o s t c o n r p l i c a t c dD c r t h s o n g sr i g h t rurr ..1/t, rF" 'tr. tr ' '1,-. R i g h t t h e n , i t j r s t c l i c k e d .l t j u s t i e l t r u . e s o r r e , hocause I h r c l b e e np l a l i n g a l o n g t o t h o s e s o r s s o n C D f o r y c a r s .A n d t o b c t h c l c p l a l r n g tlrem lvith Chuck \r'.rsrrrirld blon irlg. ' C h f i s t y g o r t h e j o b . r n d ,i v j t h j t . e l i t t l e s l p l i s c : t h o u g h ( l h u c k r v a sr e r r | ' t o m o r , e

ahexd ivith (lontrol Dcnicd, hc decirlcd to . r ,. ' r r r r , . J , t , l r r . r r '* l . , t r , l N , u' L.rr tsla. w i ! h o n e l n o r e I ) e a l h a l b u n r ." i ! r , a ss L r p e r e r c i t e d r b o u t f t a t b e c a u s eI n ' a s x h u g e D e a t h fan." sa_rs Christ\. u'irh Scott Clcndenin on bass end Shrllrlon Hirnllll on guitar, r e c o r d i n g? f t . ' s o x n . l ChucI quiclrh beg.rn ol Pcrsercrdn... Derth's most rggressive, progrcssn'c a n r l t c c h n i c a l 1 !c h a l l c r g h g a l b u r r r . Opcnirg lvith thc srvrgc bhst of'Scrvenger of e" r. - l . r n ' 1 n : , r r . ' . , 1 , c .L r r r , r r . r . r ' e l 1 ,,ir r ' r r ' ' rd r . i . r l\ i - , I n . i D I l r . r i . r i r r i r a b l i s t e r i n gc o Y e Io f J u d a s P i c s t ' s " P a i n k i l l e r . " Rcle.sed in 1993,flie Saun(l ofParc{.|er.ln.! '\r,ne,rl,..erpr,' JI'rrrrrd. rrl."pi ri r ofmanv f:rns. their best. Chlisn lecaLlsthe subscqlrcnt tour.rs ahapp)' r',(. 1,lL,rt.'i l.u.pul..lrpr"rhi..lu\ir N I i l : r nr , n d t h e r en ' e r eh u n d l e d s o f k s r v a i t r n g thcrc. wc got olrt and hcrdcd to a rcstaurant. ) r r r .rrl r ' , l r ' l . . r r r . J t b l l u $ r n ! u . J u M r l h e li, p r r a d e .: r n d c h a n t i n g C h u c k ' s s h e e t ,l i k e i t \ l , : r s . r r ' . r , . $ t , . r " r l r . 1 . r 1 u r rr .1 r l . J r , - r i r ! . r r , l ' L u - \ i . 1 .l r r l t h . i r t " , r . p r r - . < . t . , 1 r i r r . t lhewindoivs.s'etchingusea!.Itwaslikea zolrrbie 1 r o \ , i eC l h u c k g o t s u c ha k i c k o u r o f t b a t . H c s a s s o h u m b l c d ,t t x r . "

a , t( : t t T \ R I t ; t \ F s

With the Sound o/Perseverdnce tour completed, Chuck and his new $oup wentto work on Control Denied's debut in early 1999. The sessionswere well underway that May u h e n C h u c k b e g a n r n e x p e r i e n c cp r i n i n h i < upper neck, u'hich lTebelieved was caused by a pinched nerve, possibly from strain. An MRI exam proved he was right about the pi[ched nerve; unfortunately) itwas causedby a tunorgrowiug at the base ofhis brain. On Mny 13,his 32nd birthday, Chuck was diagnosed with pontine glioma, a rare type ofbrail stem cancer that typically affects chitdren. Says Jare, "Chucl's doctors determined that he had that tumor from childhood, with no symptoms at all to alert us through the ycars.', The tumor's sensitive location made it inoperable, and Chuck underwent radiatioD therapy to controlits growth. Alternative treatments were sought as well.Iecausc h e h a d n o m e d i c a li n s u r a n c e a c o m m o n situation for nany musicians, ever those signed to label contracts Chuck's treatmenr was pajd entirely out of pocket. In all, his family spent some $90,000 for his therapies. Duringthat time, Beth put her.eal estate deals on hold to take care ofChuck and raise funds for his treatment. "I told Chuck as ajoke,'you are a full-timejob,'" Beth told MTv. "Every single dime has been for hin, but Chuck would do it for me 1,000 tines over." November brought thc release ofControl Denied's debut, rhe Frd8rle Art ofLxistenc". By then, fans knew ofChuck's condition and many assumed thc band's narne and the albunis title were a refercnce to his illDess though both had been chosen bcfore his illness was known. I n l h e r i r s rd a ) . u f 2 o 0 0 , C h u c k r r d h i r family learned of an experimental surgical procedure that could treat his conditioD. Within just one week, rhey managed ro a s s e m b l ea t e a m o f f i v e m e d i c a l s p e c i a l i s t s to perform the surgery, and to do so quickly: the head surgeon dcclared rhat Chuck's life was "in imminent dangr" and scheduled his surgery for January 19. Although the procedure was expensive, the doctors had ngreed to waive their fees. Unfortunately, the hospital hosting the operation, Neu, York University MedicaJ C e n t e r .w o u l d n o r w a i r e i r s f e e ,e s r i m a r e d at $70,oo0 to $r00,000. Although rhe hospitalwas willing to accept as little as $5,o00 as a down paymen!, Beth was also asked to sign over Chuck's future royaltres t o p a y t h e b a l a n c e .S h e r e f u s e d . Still, the surgery went ahead as planned. Nearly half the tu or was removed, and Chuck's life had been saved. Soon aller, hc began physical therapy to help him recover from the effects of the tumor and surgery. Within two months, he was telling MTV News, "Everything looks good. I'm moving pretty quick through physical therapy, and we're seeinggood r'esults." Chuck said he was especially buoyed by the financial dolations from his fans and from fellow musicians who put together benefit shows. "When this sort of stuff happens, itreallybringspeoplctogether. It's incredible how people aggl essi\.cly organized for this. It's very uplifring."

Chuck had good reasols to be optimistic. Though the tumor.had notbeen entirely removed, it had reportedly necrotized;the tissue was effectively dead. In addition, ifthe tumor had been with Chuck since childhood, as his doctors said, then it was most likely a low grade glioma, which is slower to gow and less aggressivethan a h;gh-grade variety. In any case,Chuck's prognosis for a full rccovery looked good. Workwent ahead on a new Control Denied albun, tentatively title dwhen Mdn and Machine Collide. B\t wheD Chuck's symptoms recurred in early 2001, his worst fears were realized. The lumor had begln to grow once .rgain. i | | v a d ; n gr r e a s o f l h e b r r i n r o o . e n 5 i t i v e for surgery. Havingbeen once abated, the cancer now returned with a dcvastating vengeance."Chuck lived on his own until e a r l ) i n 2 o 0 l . . a t s J a r e , ' w h e nl $ c n r I o h i s

stlililfi 0|JTulAS Atl |Jlil0tffi]t[0ltffPlT[ [l||JEl(-l|[ r{AS til[ApA[tt ff 0illtE rr$Il|Ail IftI.Ol'lIl{E HIS 1{IAtll.
housoto staywith him duringthe day and eventually ftrlltime." By May, his do(ors believed surgery waspossible and shouldbe performed immediately. Onceagain, bureaucracy blocked the door to Chuck'srecovery. Thoughhe had obtainedmedicalinsurance sincehis first operation, his insurerrefusedto pay for the sccondsurgery estimated at $70,000to the tumor existedbefore $l2o,0oo-because the start ofhis coverage. The Schuldiners, havilg exhausted thcir' fundson his previous treatments, did not havethe $30,000down paymentrequirdfor his surgery. Respondil,Ig to Chuck'sdire condition, nunler-o!rs artists-includingPantera, Disturbed,RedHot Chili peppers, Marilyn Manson,Korn and Slipknot donated merchandise for an online auctionto raise futrds. Chimairasoliciteddonarions while on the road,while benefitconcerts wer-e organized by metalactsworldwide.The outpouringof supportwasenormous. Throughout Chuck's illness, Christy regularly visited, doinghisbestto keephis friend'sspiritsup. "We'diistento metal together, nake prankcallsandgoofaround. We tried not to think aboutthe badthingsandjust stal positiveandthinlrbourmusicard happier things. We {'ouldjust talk andreminisce and look forwardto goingon tour again." "Chuckwastheonewho nevergaveup,who instilled hopeandlovein rhose all around him, andhe nevercursed fate,"says his mother. "After losingtrrank, he woried soabout whatit u oulddo to rheI hree of us Berh, [ris nephewl Christophelandmyself-to losehim.I promised him we would do the bestwecouldif

he were to lose tha!fight-" Although Chuck's condition improved by November, his weakened state left him vulnerabie to infections. Late in the month, he contracted pneumonia andwas placed rn the hospital. He was released oD December t3 and returned home. One hour later, at 4 P.M.,Chuck's bodygave up. He died as one i m a g i n e .h e w o u l d h a t e w r n t e d , a r h o n r e surrounded by his family. "At the end," says Jane, "he thanked me for t h e g o l d e n m e m o r i e so f h i s c h i l d h o o d . " The fate of the final Cont.ol Denied recordings has been a matter ofcontentioD s i n c c C h u c k \ d e a t h . l n M a r c h 2 u O 3 ,J r n e announced plans to make the unfinished songs avajlable free for download but changed her mind the followingmonth, sayingit wouldn't do anyju.rice to Chrck r final music. \4ore recertly, the SchuldiDers and Guido Heijnens, owner of the now-defu nct Hammerheart Records, to which Control Denied was unde. contract, entered into a lawsuit, with each side claimingrights to the recordings. Heijnens has previously released some oftlrose tracks, against the family's wishes,on Zero Tolerance, a two-disc compilation from 2OO4that also featured Death demos and live recordings. SaysJane, "The legalbattle continues with hope that allwith be finalized soon.I can tell you that absolutely Chuck's last album witl be released exactly as he told his sister and I he wanted it to be done. That was Beth's lasr plomise to Chuck, and she willkeep it." It's not putting too fine a point on things to say the fight for Chuck's music is the figh! for his soul. He lived for his music, and he died for it. Clearly, had he chosen a more lucrative occupation or sold out to play a more popular styleofmusic, Chuck might have lTadthe financial rncans and benefit" to beat his diseaseB . ut sellingout was an unknown concept to him; he was incapable ofdoing less than following his heart. In his life, Chuck gavenot just his music,notjust a g e n r c o f m u s i c , b u t a l s oa n e x a m p l e o f h o w an artist lives his life: \rvithout compron'ise, and on his own terms. "With regard to death metal, he coltributed a standard ofmusicianship that people are still aspiringto," saysDon Kaye. "He was a pioneer who tried to tale the music in an interestingand pro$essjve direction. And in that wa)., coming a l o n gu h e n h e d i d . h e c r ys r a i l i z e d r h eg e n r e . "His music is timeless," adds Chrisry. "lt s t i l l s o u n d s a s F e s h a si t d i d w h e n i t c a m e o u t . Plus, Chuck's style on guitar is unmatched: it's the perfect mix ofmelody, technicality and brutality. I'm extremely lucky to have been notjust part ofthe band but also a close friend ofChuck's. He inspird me, and he continues to inspire me, every day." He is clearly not alol1e. "I still receive so many emails from Chuck's fans," says Jane. "I know from them that Chuck is renembered not only as a gTeatmusician but as someonewho made, and continues to make, a difference in their lives. He inspires them still." Not allthose fans are adults who grew up with Chuck's musicj nany, says Jane, are as young as ll, ''Just r h i r r k :a n o t h e r g e n e r a t i o ni s d i c c o v e r i n g Chuck's music. He would be so proud." I

"""{@

l|1|ORTD

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'lablature clefl (held halfnoles fortwobeats each) DA z
f 5 6

quafter (held notes ioronebeat each)

* Strine I is the thin4est string: 6 is the thickest. Nunbers on the lines indicate frets (0 = open strind.

eighth noles

dotted hallnole{held ior threebat6)

quaner resl

.= .= .= .= .=
r=
t = ! =

eightheighth 16th test noie notes

_2_2_2_2_2_2*2_2_2_

16lh |esI
-r'

dotled quaner nore

l-t_tt___JJ

hall resl

.= .=
ano un dotled quanqnole G 'laed fiylhms ano un and and and 4 and uh

hammer-on

legato slide

pull-ofi

count"l

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and
* DMl

3
rea.ticulat

and

notes i^ parentheses.

bend andrelease intime (whol6-slep bend)

vibralo

grace-note Den0 full

gnce-note s 0e

'p.e-bend ("reve6e andrelease bend") full

counlr"l

anq

and 'pinch hafinonic (note frefled)

P.H.,."",""."..,\,.-".,.,q

lBend nnne b4ore pi.king.

'natulal harmonics
N.H.

palm (picking muting hand) E5

P.M._ _ _ _

Jret-hand muting

I
*Lighl! touch sning dnecnt

l-t
* Inoset gip on striags so that ther na tuger touch rhefretboad,

(short) staccato notes

kill(quick slccession of hammer-ons picking andpull-ofls) tremolo

picklng ("laking") sweep " 11-----v------

I
* n = do|9rsttoke, V= upsroke

GUITAR LEGENDS 65

"iltt I]|t IIIAIIII|S I|IAIY" BIB E tltlt/Pt[Ptt

As hedrdon LEGEND (TUFF GONG) words and Music by RobMarley * Trcnscribedby Jefr Perrin

Bb
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Gtr. I (elec.w/slighrly dirty lone)

(0:14, 111, 2:08) tr Chorus (r.) one lovo (2.)one lovo (3.)one l0ve one hearl Lel's g8ttogether and lecl lssl leel lhectildren all rlght Hear A8it wasin theieglnnlng all right) I'rnploading to all right) Bb whataboul lovo thoonhead what aDoul (Let's oettogsther an0 (onB head) whalabout whal aboutlhe onshoad (Lsl's gettoglher and {one hsad) Eb Bb

Bb

Subsntute Bass Fill I on 3rd Chorus (see below)

BassFill I (2:11,2:23) (F)

coPYRrcH rT c)r963 frrrY srx

D / B / ar R r s H rowN soNcs.

66 GUITAR LEGENDS

"[}fi t[vt/FtBFtt Efl R[A0Y"

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(r.) I
s
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all

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Sayln'

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Bb

B6s rcpeats B6s Fia. l

Basssubstitutes BassFill I on 3/d Chorus 3rd titne,skipaheadtoDo*ro

l8t's Let's Let's Eb

G1r. I

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logether logothsr toosthor Bb

and and and

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all all all

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0n

lxo slo w0 w0 morelhing Giv6 Bb

.= .=

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Rhy. Fig. I

15

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Bb

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23

B6s ptats Bass Fig 2 sinile (see bar 13)

GUITAR LEGENDS 67

As heardon RUBBER SOI,L (cAPIrol,) Wordsand Music by Jolrr\ Len|ron and Paul McC artney * Tlanscibed by Andy Aledort

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gor Somehalre r!fl| hlnk D

of love Dm

ano a

(r.) All thesq sorF rcmain (2.,3.)Tlor4h I 8omehingnevr

COPYRICIITO 1965SONY/ATVM Y SONY/^TV M U S I CP U B L N H I N C L L C , ' M U S I CS O U ^ R E WEST

68 GUITAR LEGENDS

'1il [|Y LlF["

@ Clo*" (0:28,1r0,1147)

phces har/their krow l'll never lose FSs

mon|onts alfeclion Ds

wnh lor

lovers and ftiends people and t ngs

fEl

slill can rccall rlEnt be{ore

Soane arc

1sttime, go back to E 2ru1titru, go back to @ Kelboard Solo 3rd tima, continue to @ Outro

dead and lmowlll aflen F*5

llvlng stop andthink aboutEm

b tih

I've I

loved love

thqn all you norc

@ Oot"o iz,ool
A5
Gtr. I

lib ry Dm/F

|ove

you

(2r5)
molg A5

GUITAR LEGENDS 69

"SI]L|PII l'|Al|"
AII m sic soundsin the key of A, minor, one half step lower than written. G
FFFN

S|(YI{Y[|I

As heardorrPRONOUNCED LEH-NERD SKIN-NERD (McA) . * ?rdnscribed LutdeboerandMatt scharfglass wordsdndMuiic ,y Ronnievan zsnt andcary Rossington byHemme

All guitars are tuned down one half step (low to high: Eb Ab Db Gb B, Et). Basstuning (low to high): Eb Ab Db Gb.
A5
FFETN

G
t:EIll0rr

A5

C5

ffi
E Inrro (o:00)

ElFftr tsFtsFH

trffi

ffsfi

fF+F5fr'+FIn3i.

trT+F rlFan

+FH

Moderately Slow .l = 60

c
RhJ.FiB.I

Am7

Am7
Gtr. I pl1lysRhy.Fie. I thrce lines (seebat 1) Gu. 2 (elec.w^lighrly diny bne andUnivibe) Rhr. Fig.2

1. lry mama

E lst Vrse(o:33) told me

wnen I was

young

silbeside Come

Am7

Gtr. I plars Rhy. FiB. I si\ tines (seebar 1) Gtr.2 (Uniribe offl plars Rhr. Fie.2 thrcetines (seebar 5)

ti

I
( c ) ' ! 7 3s 0 N c s coPYircHr or

70 currAB LEGENDS

"slilPffi llAll"
son andlisten closly to whatI say And lf you

do

thi8

il'll

holp you G

some

sunny oay Am7

yeah

.=
t =

2. 0h takeyour
end Riff A

t = t = ! =

! =

r=

.= .= .= .=

4:30) LqJ2nd, 3rd and 4th Verses (1:21,2:33, lime don't llvgtoohst (3.) lusl gold lorthe chman's (4.) worry you'lllind yoursell
B4s C G Am7 21 Gtts. I and 2-ptar Rhy. Fiss.I and2 thrceanl onehaf tiMs(seeba6I and5)

Troubloswill come All thalyou need Folloyi yourhea

andhey dlll |s In your and nolhln'

pass soul
eFe 24'

Golinda {onan Andyou can d0 this Atdyou cln do lhis

ye6n oh hbe oh b6be

andyou'lllind low fi you try il you try Am7

And don'ltorAll h,t I All fEi I

I gel son wsnll0r wsnllol there is somgone youmy 90n youmy 8on G

cno*" 8lmple

(1:53,3:05,5ro1) kind of

up 16lo be is lo be

above ) satislled ) rallslied) A5

Andbe a

c(

GUITAR LEGENDS 71

"sl[|F[[ l{Al{"
man A5

orbe

Somethln'

you lovs and undoBlsnd A5

Baby bea A5

30

lrd line, skip ahead to @Ourc

simple CGA5

kind ol

man G5 A5

0h won'tyou dolhis

fot me son

il youcan

Gtr. I plays Rhy. Fi8. 3 one and orc half tines (see bar 29)

=. =. :. :. =. =. :. =.

[.
A5
36 Gh. lmd2

Bo back to @ 3rd ve^e 3. Fo.gel your

A5
Gtr- 2 plays Rh!. Fig.2
Ctr. 1 (w/voltrme loob rcled back)

Am7
(see bar 5)

2. A5
39 Gtrs. 3 dd 4 (e14. w/dist.)

@ Goit". Solo 1o,oo1 0h yeeI vrill

c5
11

A5
Gt.4plays Ctr.3

G5

A5

c5

A5

FiU I (see nett paSe)

A5
Gtrs. I ahd 2 pla, Rht- Fies- 4 akn 4a hrce and one hartimes (see bar 40) Y2

42

l@

17 4

m-m-zo-

ttt

12

Bassplort Bdss FtB. I rdi." ('"" bar 4t

72 GUITAR LEGENDS

"slllPEilAll"

A5
Gtls. I and 2 pla! I

G5
Rhy. Fill I (see belo|')

A5

top notes:ctr.4 plars bouon notzs.

1O_10-

5-S>-

@trl) CGAmT
50 Gtr. I plals Rhy-Fi8. I trice (see bar 1) GtL 2 ptaysRiffA(see bar 17) sas

80 back to @ 4th Ve6e

4. Boydon'l you Am7

@ oot.o (s,ze)
And babybea slmplo somethin' simpl bea simple man you lov 8ndundersland kind of man

play 3 times andfad.e of De Baby ie 8 A5

P.M-

A5
54 Gt6. 1 ad 2

G5 (As)
P.M.

Fill 1 13:40) A5

Rhy. FiU I la:6J G5 As G5 A5 C5 A5 C5

GUITAR LEGENDS 73

As hedrd oIBLIZZAR:D OF OZZ (JET) words and Music by ozry osboune, Randy nhoads end Bob Daisley * rrdnscrired by Andy Aledort

"nllY [sB[|JI|]{t
A5 E5

AgA

tinii," iimi". l+ltN t++t+

12 3rZ

ffi'," +F4 F-FTF]

1,14

imfr'" +eF
F-ITN I ,14

D/F{

ffi arrrTl
I Moderately J = 138 Allaboard hahahahahaha lnt.o io,oor

tFTt't

E5 'r'Tri+"
FFFF

D5 fTffll
LE]N

E5 5ft

B5
lTrm

HU#

ffi

l14

N.C,{Ff5)

(A)

Aye Gye) (aye) (aye) (aye)(aye)(aye) (E) (F{5)

2 t i n eo n l ! - - - - - - - - - fdhL lni.!

(D)
c.rxnF

(E)

=. =. =. =.
=r =r

*A, additio&l Euitar pa va! ovt lubbe.! for this bat: Slide pick-hand pitkie alons siinss (in th. .rirc.tiol of ^u, white pedomi'e jast doubte putt ofs on G sdhs e,frctihs hand, p roduc ins r@don hamonics.

@ to,rs,srzt (Ffs)
5 Gtr. I

(A)

(E)
( repeot plev ious hao ba6 )

12.

(Ff5)

D5

gA

c o r v R r c H r( c ) r e 3 1 BLrzzanD

74 GUITAR LEGENDS

"I[|AZY TtlAI]|"
DlA A5 A E/A D/A A5

r,oe, e,eol @ v"""". 1o,rs, l. Crazy (2.)llstened to preachers 3. Heifsollhe Cold War D/A
Olr. I 15 P M. . P - M .- - , P.M. _ P . M -_ _ .

bul lhal'showit goes I've listened lo lools thal'swhatvre'v become A5

P.M.

lve InAA
P.M._ __ . P.M,

D/A
_

A5

Substitute Rhr. Fill2 on 3ni Verse

_

P-M.--,.

Millionsol people walchod all the dropouts herlting troublgs

living as loe8 who make lhekownrules I'm mentally numb

0ne Substitute Rhy.Fill I on 2nd Verse and Rhr. Fill2 oa 3dverse (seebelo'|)

E/A
19

D/A

A5

ElA

0/A

A5

li4aybe person conditioned Crary

E/A

D/A

it's nol loo late to rule and clnlrol I iu8t cannol boar A5

to tne I'm

EIA

D/A

A5

leam how to love nedia sells il living wilh somelhing

E]A

D/A

and forget how to and you live the lhat iust isnt A5

hate ole fatl

D/F*
P.M. -.

Rh!.Fill 2 13:39,3:a5)

D/A

D/A

A5

D5 r.n.

GUITAR LEGENDS 75

"[tlAIY T'|AIil"
4:01) @ Pre-chorus (1:07,2:06, (1.) Mental wounds not (2.) li,tenlal wounds slill (3.) Mental wounds not A5 F{5 healing screamrng healing
D5 substitute Rhy.Fill 3 thikl tine (see prertous paee)

Lile'sa bitter D vlng me Who andwhal's

In8ane to

shame )

blame ) D5
P.H.

2:r3, 4ros) @ cno"* (1rr4, l'm going otl rallg the A5

ES

on a

crazy

lraln

ctr. t sutsritutes ritl I secondtine (seebelow)and FilL2 thild tirc (see

net, P4ae)

-^ .tit

>

I'm N.C.(F{5)

going A5

olf

rails

s7 l

ona

qa4

lrain F{5

3d tine, skip aheod toB

D5

L_L--IJ

LJI
FiU I 12115J

*natural

rrr
hamonics located opprox. 8/loths

the distance betwea

lsr and 2nd frcts

N.c.{F{5)
1_8-

*.hrohati.al!

ascendiag

hiaor

tnads

**chrotuti.alry

as.endiag

Mjor

iia^

76 GUITAR LEGENDS

"IRAZY I]lAIil"
Let's go

e. t'".t ,.ga z^n 2. I've

l'

r=

.= .= r= .= .= .= .= .=

@ nriog" 1z,or1
I klow lhat

Ffs

lhings are A5
P.M.-.

gorng

wrcng lor me D5

>

>

P.M._.

You 54,.

gona

lbten A5
P.M. ,.

lo

my
P . M . ,_

w0t0s

yeah D5

Fill2 14:10) Bb

*chroMticall,

os.erdine ninor penbtonic bor patz6

CUITAR LECENDS 77

"I[|AZY I]|AIl{"
E coit"t soto (e,+s) yeah
F{5 *Ct .2 (ele. w/dist.) 58'-T T

'Dt,..eard

pra,.

nat. wh"n nqurc ^ r., all?d as B^\

Fte. J rn bar 62.

(A5)

(E/G{)

'8rdd.

r.lease while tawi\

bend

++Era.l \|hile

benn taryinq

ehd Rbr. FiB. 1

Play Rh!. Fig- I dvo and one half tines (see bat 58)

PIay Bass Fig. 3 tto and one heu tines

t_IJ

L..l

tltl

{UG{)

Bass Fi

l (see betow)

Bass Fill I

12:57)

(F{5)

78 GUITAR LEGENDS

"I[|AZY T1|AIil"
B5 (E/G*)
16-14115

F*5

B5
72 ci'.2

eo back to @

(A)

(FJG{)

.= .= .= .= .= .= .= .=

L-I-L-J

E *"0

E Outro (4:25)

Play Bass Fis. I untilJade (seebar I)

P.M.

wcal

ad libs ahd sound effects) P.M. -

D5

P.M._ _,, -.

fade out

I
GUITAR LEGENDS 79

,,AP[ST[i[P}|['" T[|AI{|( ZAPPA

As heardon APOSTROPHE () (RyKoDIsc) words dnd Music by F\ank Zappa, Jir|| cordo[ and Jack Bruce * Tr4nscribedby Jeff I,effitr

G5

A5EMDC$

Csus2 ?FFITfr
Tlaa1]

D5

C5

l:

ffi ffi

rr+l{

A5

sff:t H*lll
ll4

frft'n fuf 5fr fui4i Ft+*fl lt#t H#l

13421 tt444 tt444

r34

ffi ll34ll

#i'n H#N

#i,t Ft#N

TH,t

ffi

Tf..A'o ffi
t2tl

TTTTN 32ll

@ rooor
Moderately .l =86

N.C.(E5)
Ctr. I (elec.tr delc slighrly dirD robe&d sr elope lilter efleco

G5
y:?: ':i"::

A5

Em

G5

A5

Em

Rf A

(enverope nLter ofr)

*Ctr. 2 (elec. w/darlq slighdy dfty tone and delay)

rconporte

aftons"n?nr

Tro stutaa

at t ansed fot on

(Vdist.) Bass

solo(ol7) E Bsss D5
Ctr, I

cfs c

Csus2

D5
t e tn n g - - - - - - - - - - - - - - - - - - - - - - - 1

80 GUITAR LEGENDS

"Ap[slt|[p]|

.=
end Rhy. Fig. l

.=
t =

,= ,=
t =

r=

.= .= .=

D5
Gtr. 1 plars Rhy. Fig. t two and one har nes sinile (seebar 12)

GUITAR LEGENDS 81

.,APISIl|[PHT'
: @ cuitarsoto1trtsl .85 N.C.(85)

'lower strins

cavsht under nnstnCel

Ds 82 currAR LEGEN

,,APIST[|[PJ

.= .= .= .= .= r= ,= .= .= ,= .=

GUITAR LEGENDS 83

84 GUITAR LEGENDS

,,APIST[|OP

r=

! =

r=

.= .= .= .= .= .= .= .= .=

GUITAR LEGENDS 85

,,APIST[|[PHT"

E DrumBrerk(322)

@ tr,*t
(E5)
_Gtt. 2 plays RifA (see bar l) (play 4 tine,

E r,o,r
Cr. 2 play, Rif A 25 tmes stntle rseebar 1t

(play 4 tine,

14-14-14

-L14

12 14 14 12 14 14

86 GUITAR LEGENDS

1',Ap0sl]|[P . = '=

11111X11)

11 12 1

11 111H11

11

11 111

GUITAR LBGENDS 87

,,AFISI[{[PJ|t-

= !

=.
=r

14 ,14*14i

n-:::,,_,,'',''_,,_,,'',_,,.,,'' n ---t4-,14Fn14'

=.

88 GUITAR LEGENDS

t'AplsT1t[p . = '=

(G) (A)

Gtt.2 Rif B

.= .=

f\ \i 14

(4:55)

(E5)
Gtr.2 plqs Rif B sinite (see bat 100) Gtr, I

(G) (A)

(E5)

(G)

(A)

GUITAR LEGENDS 89

,,APISTIIIPHT"
Ctr. 2 plals Rif C seven tines sinile (see bar 101) Glr. I

90 GUITAR LEGENDS

r,l
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