GFTPM 1983 - 11

at'
MUSIC SALES, INC.

I@
2548 E. FENDER AVE., UNIT G

FULLERTON, CALIFORNIA 92631
D
FOR TH E PRACTICING MUSICIAN NOVEMBER 1983

CONTENTS
DEPARTMENTS
LETTER FROM THE EDITORS 5
PORTRAIT GALLERY: DAVID BOWIE & EARL SLICK Denis O'Regan 7
EDDIE VAN HALEN Steve ]oester 8
MOLLY HATCHET Pat Armstrong 9
j UDAS PRIEST Jeffrey Mayer 10
OPEN EARS: How TO LISTEN TO OTHER GUITARISTS Steve Morse 15
GUITAR SECRETS: EDDIE VAN HALEN's
SIGNATURE RIFF Rick Derringer 17
BASS IN THE 80s : THE CHANGING ROLE OF THE
RocK BASS I Pass the Dutchie Tom "T-Bone" Wolk 18
IN THE LISTENING RooM: ANDY SUMMERS/ THE PoucE john Stix 20
ON THE RADIO: GREG KIHN Peter Gordon 21
ON SONGWRITING : MARSHALL CRENSHAW Eruct' Pollock 22
NEW PROD UCTS 86
ON THE CASE : G UITAR AND BASS REVIEWS Barry Lipman 88
Q&A : ANSWERING YOUR GUITAR QUESTIONS Barry Lipman 89
PLUGGING IN : AMPLIFIER AND EFFECTS REVIEWS Elliot Randall 90
THE VINYL S CORE: RECORD REVIEWS Buzz Morison 91
VIDEO: SHOOTING B ANANARAMA's
Cruel Summer Bruce P ollock 93
THE LISTS 96
SPECIAL PULLOUT POSTER Neal Schon/Journey Greg B owler

FEATURES
B ILLY SQUIER: INTERVIEW Spencer B enedict 30

STEVIE R AY VAUGHAN : PROFILE Ed Ward 43
STEVE H owE/ As1A : THE GUITAR I NTERVIEW
SIDEBAR ON j OHN WETTON john Stix 48
R OBERT P LANT: T H E HISTORY OF L ED ZEPPELI N:
P LANT'S GUITARI ST, R OBBIE B LUNT Steve Gett 71
GUITAR SHEET MUSIC
E XPLANATI ON OF TABLATURE 69
HELL BENT FOR LEATHER/J UDAS P RI EST 11 Glenn T ipton
THE PRICE YOU PAY/ M OLLY H ATC H ET Steve H ollarul & Danny Joe Brown 24
IN THE DARK/BI LLY SQUIER B illy Squier 33
ROUNDABOUT/YES Steve H owe & Jon Arulerson 52
I CAN'T QUIT You BABY/LED ZEPPELIN W illie Dixon 72
BASS LINES
IN THE DARK 38
ROUNDABOUT 61
C O VE R PH OTO: Steve H owe/ Asia by Ebet Roberts,
H and-tinted by Fran Chin
GU ITAR (ISSN #0738-937X) is published monthly by Cherry Lane Music Co., Inc. , 110 M idland Aven ue, Po rt Chester, New York 10573 Application to mail at second-class postage rates is pen d ing at
Hialeah , Flo rida 330 10 and additional point s of entry. Single-copy price $2. 75 ($3.00 in Canada). S ubm issions of manuscripts, illustrauons and/or photographs mu st be accom panied by a stam ped self-
add resscd envelope. Th e pu bli sher assumes no res ponsi bi lity for u nsol icited m ate rial. Co pyright © 1983 by Cherry Lane Music Co., Inc . All rights reserved under Intern ational and Pan American
Co pyright Conve nti ons. Reprod ucti on in whole o r in part wi thout written pe rmi ssion of the pu bli sher is strictly prohibited. Subscription rate in U.S. and Canad a $27 .95 (U.S. fund s only). Print ed in U.S. A .
NOVEMBER 1983, GUITAR 3

IGNOBLE PRIZE AWARDS
In an effort to get to know you and to have you get to know us, we are instituting, with our
premiere issue, THE IGNOBLE PRIZE AWARDS, where readers vote for the truly deserving
players and groups, as well as the truly awful. With so much that is exemplary in rock 'n' roll
today to choose from, we had a hard time making up our minds. But we know that you, the
reader, will have an easier time casting your selections. Please fill in the coupon and mail to:
rnrnmrmrn1
Box 1490 Port Chester, New York 10573
,---------------...,
I Deadline for votes is December 31 , 1983. I
NAME
I ADDRESS I
the Roots
_________ ~
!CITY I
ISTATE ZIP I
'AGE I
I
I
THE RANDY RHOADS
METAL GUITAR TROPHY
IO
O Angus Young
Michael Schenker
O
O
Brad Gillis
Phil Collen
I
I
I
of Rock
IO O
Eddie Van Halen
I THE CHEECH & CHONG AWARD

I FOR SUBTLETY
O Motorhead O Ozzy Osbourne
Dave Murray I
I
I
I
and Roll
I O Ted Nugent O Judas Priest
IO Dolly Parton I
1
~~~ ~~~-i'iR~s~R~~si~~~L~ I
1 WllJER RECOGNITION
IO Garry Moore
IO Buzzy Feiten
O Alan Holdsworth
IO Larry Carlton
IO Mitch Perry
I THE BOY GEORGE
IMODERN ROMANCE AWARDS
Male Female
IO Sting O Joan Jett
O Prince O Wendy Williams
IO Billy Squier O Stevie Nicks
IO Rick Springfield O Kate Bush
IO Duran Duran O Lene Lovich
ITHE PIA ZADORA
IGOOD RIDDANCE MEDALLION ORIGINALS
O Fleetwood Mac
IO Supertramp • Best of the 50s & 60s for Guitar
IO David Crosby
O Blondie • A Treasury Of Django Reinhardt Guitar Solos
O Doobie Brothers
THE BRITT EKLAND AWARD

• Chuck Berry - The Golden Decade
FOR BEST ROCK 'N ' ROLL HOUSEWIFE • The House of Soul - The House of Blues
O Chrissie Hynde
O Tina Weymouth
Some music never goes out of style.
O Debbie Harry
D Patti Clapton Like the songs you'll find in these 4 collections of classic hits.
O Valerie Bertinelli
THE SIMON & GARFUNKEL PRIZE FOR
Explore the original versions of hits later recorded by such artists
GROUPS WE'D LIKE TO SEE REUNITE as Chuck Berry, Jimmy Reed, The Rolling Stones, The Beatles,
O Squeeze
Rod Stewart, Linda Ronstadt, and many others.
0 The Who
O Jeff Beck & Rod Stewart
So if you're really looking for the roots of rock, don't settle for
O Steely Dan
O The Rascals re-makes or spin-offs, get the originals!
,.e-T~
ROOKIE OF THE YEAt-..
0 Quiet Riot
Because sometimes only the original will do. ~et~.,j
.....
O Stevie Ray Vaughan These fine songbooks are available at
0 Scandal your local music store, or by writing THE GOODMAN GROUP
O Menudo
Mail Box Music, dept-GTN3A3, Music Publishers New York, New York
O Culture Club
Box 341, Rye, NY 10580 Never out of style
HALL OF FAME GUITARIST
- - - - - - - - - write-in category
4 GUITAR, NOVEMBER 1983

rnrn~umrn
FOR THE PRACTICING MUSICIAN
Publisher: LAUREN KEISER
LETTER
FROM r-t:'
THE '-(_,j
~Uor.
S
If rock 'n' roll is a secret coded
language, intelligible only to those
President: PAT RAVEN who have "the ears," then the guitar
Editors: BRUCE POLLOCK is the key that unlocks the code, the
JOHN STIX universal interpreter of that magic
Music Editor: DAN FOX language. At GUITAR Magazine,
Associate Editor, U.K.: STEVE GETT
we speak your language, whether
you play in a band or in your bed-
Art Director: FRAN CHIN
room; whether your instrument is a
Production Managers: HELEN DRY guitar, a bass or only the radio. In
FRANC GUERETTE
the pages of GUITAR the music
Advertising Sales Director: ROB WOOD come:; alive-through columns, in-
tee Preside nt, Sales & Marketing: LORAIN LEVY terviews and full-color photos, but
Circulation Manager: AL ROSENMAN mainly through the many pages of
Marketing Manager: MARK RANDOLPH the music itself. Presented here for
you to play and enjoy are 5 modern
Dealer Sales Manager: LARRY KORNBLUM
classics, from Billy Squier's In the Dark
Contributing Editors: RI CK DERRINGER STEVE MORSE to Led Zeppelin's I Can't Quit
PETER GORDON ELLIOT RANDALL You, Baby. In this issue you'll find
BARRY LIPMAN TOM ''T-BONE" WOLK Yes' famous Roundabout, in addition
BUZZ MORISO to hot numbers by Judas Priest and
Contributing Photographers: GEORGE BODNAR JEFFREY MAYER Molly Hatchet.
GREG BOWLER STEVE NAMM
Our columns are designed to
STEVE JO ESTER EBET ROBERTS
help you master all phases of the
LAURA LEVINE JOSEPH SIA
guitar. Rock legend Rick Derringer,
will let you in on some of his secrets.
Fusion stylist Steve Morse will help
you to expand your musical hori-
zons. Tom "T-Bone" Wolk, the back-
beat behind Hall & Oates, takes you
through the bass line of Pass the
Dutchie.
Our GUITAR Interview with
Steve Howe of Asia, is also designed
with the guitarist in mind. Steve's
philosophy of playing will add to
your knowledge of the instrument
and help you to appreciate his mas-
terful style.
Our Exclusive History of Led
Zeppelin, as recalled by their lead
singer, Robert Plant, is truly a special
treat for GUITAR readers. Long
silent on this subject, Plant was in-
duced to speak at last by our U.K.
editor, Steve Gett. We also meet
Plant's new guitarist, Robbie Blunt.
Another name to remember is
Stevie Ray Vaughan, the hot yo ung
bluesmaster out of Austin.
Don't forget our photo gallery
and pullout poster. There's also Andy
Summers In The Listening Room ,
Greg Kihn On The Radio and Mar-
shall Crenshaw On Songwriting.
The Editors
The Road 11aster'·
Road Master '" with two 412FC

Scorpion'" Enclosures .
c:
"'
""'
0:
b
"'
"C'
0"
DAVID BOWIE & EARL SLICK
NOVEMBER 1983, GU ITA R 7

EDDIE VAN HALEN

OJ
c
0
ii5
E
.;,
"iii
0..
MOLLY HATCHET

Jeffrey Maier
JUDAS PRIEST

HELL BENT FOR LEATHER
As recorded by JUDAS PRIEST
Words and Music by
msfr.mi6fr. mi7fr. M8fr.mil0fr.• mm

AS Eli EVIi F VIII GX ES FS F# s
Glenn Tipton
GS G#S D C G F E Am
Bright 4
m3tr.m4fr.ji1orr. mmsrr. ji 3fr. • • ;msrr.
AS
@J
11
For intro, see page 13[AJ

I II= t .n r 'I alt f f E F J
Seek him here, seek_ him on the high way
Black as night, fast er than a sha dow,
CJ Ju
,.---...._ .-----...
'
~
~
~ ~ ~
E F f F I~ ~ ~~I
--1
$ $ I A 'I
!...
nev - er knowing when he'll_ ap pear._ All a - wait, en -

crimson flare from a rag ing sun. _ An ex - hi - bi - tion
&-E F f
@)
F F J IA
' Ji
fJ r .n I ~ r
gines tick- ing o - ver, hear the roar as they sense the fear .-
of sheer pre - c1 - sion , yet no one knows from where he comes.-
c
"I
( f ~• f .n I~ F
,..--....,
~ F A
Wheels, _ _ __ a glint of steel and a flash of light!_
Fools, _ _ __ self de - struct can - not take that crown._
FVlll GSXV
§ J •---I E F r r------F
Eli EVIi AS
IA CJ f A II
Screams _ _ _ _ __ from a streak of fire_ as he strikes._
Dreams _ _ _ _ __ crash one by one_ to the ground._
(AS) G c F G AS
J J
' f
A "I
Hell bent, Hell_ bent for leath - er, For guitar lick see p. 13 [ill
I.
(AS) G c F G AS
J J 4£1 J ) J -
' ~
A 'f 'f =II
Hell bent, hell_ bent for leath - er. For guitar lick seep. 13 (ID
© Copyright 1978 Honiton Music
This arrangement © Copyright 1982 Honiton Music (A division of Arnakata Music Ltd.)
International Copyright Secured Made in U.S.A. All Rights Reserved

2.
f
c F
I - ,G
j
ES
I j.
,....----._
~ F r J
There's man Y- who
FS
, F#S
r· ar
=-
GS
r·
,,..--._
~ F r
' F I
F F I
tried to prove that_ they're fast er,- but
G#S AS FS E ....------.
r· r· r·
~
= 1:1 i:I
t a f §
' v F I F I F I I II
they did - n't last and_ they died as _ they tried.
Am E G D
' e'~fe F "-==-f 0
• For guitar solo see p.13 [g
t=<,,7 AS
I r r r r I r, r, r, r, I 1
7 , , , , ,r r
, r, I r, r, r, r, I r, r,r,1, II
,
E
.---...
~ F rI F
FS
~
F#S
r· a f
GS
r·
.---...
r I F' H F I
G#S
' F I FI ~ F
"f.
Peo - pie tried to prove thaL they're fast - er,- but they did - n't
AS FS E
....-----... N.C .
af r· af
II 11
' last
F'
,
(AS)
and_ they
F I
died as
F I
they tried .
I
G
Pere. solo
c F G AS
II
~ ~ ~f •~ ~ ~ -
' ~ I
II= "f. ¥ =II
Guitar lick []]
Hell bent, hell_ bent for leather.
,
(AS)
E E
,....----._
¥ v 1£ E v E E
G C F G AS
4
' I
11= 'I
Guitar lick as before For final guitar
Hell bent, hell_ bent for leath - er, lick see p.14 [QI
I st time [ill

2nd time rn
FOR LEATHER
Guitar Licks and Solos

Tablature explanation see pg. 69
[El II pos.
I\
G itar
0 =- OU
::: ::: ::: .,

Tab. ;;
: : ::
-
(hold)
.J =II
II: . · . . · . . : I . : . . : . : . I . · . . · . . : I a 2 :II
Flatten finger Flatten finger
Hold chord _ _ _ _ _ _ _ _ _ ____,
1/2 bar, 12th fret---------~

IJ higher
XVII pos.
half half
t t
3 3
hal f
8 va higher - - - - - - - - - - 1
XII pos. I II pos.
r---3---,
3
3 3
all slurred notes are played using one pick and H.0 .'s and P.O.'s
Peo pie etc.
[ill
II pos. I pos. ext. II pos.

EATIVE
_-FLUENCES
r leader of the Dregs, Steve
f.!one of the most celebrated
~ _- in the world. Currently he
~e Steve Morse Band, and farms
land in Georgia.)
Y FIRST MUSIC THE-
ory teacher told me that
the definition of style was
ref titian of ideas that you alone
e ~ sociated with. All of the fa-
Open
guitarists I've met or read
.Jt. who have easily identified
c . are concerned about everyone
Ears
_,illy copying them. But on the
her hand, they must have started
at some point by copying other
by Steve Morse
pe pie's solos. Imitation is the great- Literal influences are those gui- influence is when you try to identify
e t form of flattery, and it's not a tarists whose parts and solos you the essence of what attracts you to
d thing to do, up to a point. But literally learn note for note. My lit- that particular player. The question
mere comes a time when you want eral influences were Hendrix , Clap- becomes what is it about this guy
to transfer literal influence to crea- ton, Page, Beck, Betts, Duane All- that makes me want to sit down and
U\ e influence. man and john McLaughlin. Creative learn every note? Here are some
Hot wire your amp!

.. :and enhance your sound at the same time.
In order to give you more output, DiMarzid
increased the wire surface area on the new
Jumper Cabler1That way more wattage
reaches your speakers, instead of being
lost in the cables
Jumper CableS'were specifically designed
for use with guitar and bass "piggy back"
amps, and for P.A. runs. The two 72-guage
conductors each have 259 strands of fine
copper wire insulated by a clear sleeve,
and end in extra heavy-duty 114 "phone plugs.
Jumpers CableS'come in several lengths and
will noticeably upgrade the performance of
your amp/speaker combination. Plug one in
and hear the improveme nt!
o [Q)O~crr;O@PO Box 387 • Wesl New Brighton Station

Staten Island, NY 10310

examples of guitarists who I con- in almost the opposite way to Van Eric Johnson showed me th
sider myself influenced by, without Halen. Beck will leave a little breath, you can play some of the best guica
ever actually playing their licks in a wait and hit one note. But that one licks around and still take a lor!_
solo. note will be just right. The timing time to get known. He reminds m
Pat Metheny has made a big of his fills is also excellent. Here is that it takes patience and determ -
impression on me. The first influ- somebody who can play sparingly, nation to make it by your own rule:
ence I get from him is his sheer surprise you, and get more out of it Combining the influential ele-
creative ability. He will try anything as a result. ments of the players I've just men-
that he likes without worrying about Steve Howe was an inspiration tioned has helped me to develop m
what other people think. Both he for me on the classical guitar. I was own style. It's how I learn from other
and John McLaughlin strike me as fooling around with it, but took it players without copying their lick
being very strong in their convic- more seriously when I heard some- Remember copying licks is fine for
tions. Since music is more than just one else who was accomplished at getting your vocabulary down, bu
licks, that's a musical influence. both rock and classical. Howe put a you do yourself a disservice if you
Metheny's melodic approach is an- prod under me in that way. don't try to find your own voice. •
other influence on me. His left hand
is totally free. He doesn't jump po-
sitions like most people do. He'll
throw his left hand up and down
the fingerboard and follow a line all
the way down one string.
Hearing Albert Lee live com-
pletely blew me away. He can play
great country licks, but he makes it
sound funky too. Lesser-known gui-
tarist Randall Dollohan can get a
similar feel as well. It's attractive to
me to try and get that same feel
without having to copy their licks.
They showed me a different way to
do what I've been trying to do, and
made me want to try harder.
I appreciate the power Eddie
Van Halen gets out of a very smooth
fast flurry of notes in a totally rock
'n' roll setting. Before Eddie, the
most common flurry that you would
hear in rock was the same thing over
and over again. He seems to flurry
in a totally unlimited way. I've always
worried about how it felt to an au-
dience to have huge numbers of
notes coming at them at certain cli-
mactic moments. Eddie reinforced
my belief that well planned flurries
of notes just add to the effect. His
rhythm is also very well-balanced.
You don't have to steal his licks to
see that, just simply note that what
is happening works, and in a very
commercial setting.
Allan Holdsworth will do any-
thing fingering-wise and sound-wise
to make his chords sound good. He
has control of his left hand to where
he can actually articulate the sound
of other instruments on his guitar.
Jeff Beck was a literal influence
for me. I copied some of his licks at
one time or another. Now he is the
essence of melodic rock blues play-
ing. He uses space in a rock setting

The Right Hand Fingerboard T echnique
Rick Derringer
Rick Derringer is the composer of Rock and Roll
Hoochie Koo, the producer of such hits as Free Ride
Frankenstein for Edgar Winter, and the co-leader
DX.4. with Carmine Appice. As a studio guest guitarist
ca n be heard with Donald Fagen, Meatloaf and
Bo 1me Tyler. His Guitar method Book, SECRETS, is
published by Columbia Pictures Publications.
"'
"'
;;;:
.0
0
~~~~~~~~~~~~~~~~~~~Jm
the 11th fret G string with the index to hurt at the beginning. It's just like
T
HIS MONTH'S COLUMN
introduces the basic bi-dex- finger of your left hand. Although when you started the guitar and
tral move of using your right you won't hear it, that is the prep- your left hand got sore. Now you've
hand on the fingerboard to arpeg- aration for your next note. got a new finger on the fretboard
giate chords. It's Eddie Van Halen's Both fingers go down on the and it's going to get sore too.
trademark move which has become G string at the same time. Then you Once you've got this down try
a staple for electric guitarists in the pull off with your right hand to the moving your left hand down one
80s. note that's ready on the G string fret at a time without moving your
A lot of people show you how 11th fret. right hand position. A good exercise
to do this with the first finger of For the third and last note, you which also sounds hip, is to do four
your right hand. I'm not going to hammer on the G string 14th fret cycles and move, four cycles and
do that, because it means moving the with the third finger or pinky of move, etc. From here you would do
pick around. We're going to do it in your left hand. You should use well to learn the bi-dextral in all
a way where you can continue hold- whichever finger is strongest. I pre- keys. For example, if you move this
ing the pick between your first two fer to hammer with my third finger. exercise down two frets (a· whole
fingers. So instead of the first finger, The entire move is two fingers step) in both hands, you would be
we'll use the middle finger of your down, pull off, hammer on. It's ham- in the key of G major.
right hand. mer-pull-hammer. You can alter it For a good example of the bi-
This basic example of the bi- in some ways, but traditionally this dl'!xtral listen to Eddie Van Halen's
dextral will be played in the key of is the basic move. The G string is solo on Michael Jackson's Beat It. In
A major. You take the middle finger home base for the bi-dextral. It can this one solo Eddie uses every pos-
of your right hand and put it down be done on other strings but it lends sible variation of this technique.
on the 18th fret of the G string. At itself best to the G. This exercise is just a good place
the same time as you hammer that Keep in mind that the middle to start. Experiment and make it
note, you will also hammer down finger of y,our right hand is going your own. •
Playing Pass the Dutchie- - - - - - - - - - - - - - - - - - - - --_
Bass in the 80s

by Tom "T-Bone" Wolk
Tom "T-Bone" Wolk is the pe1forming

and recording bass player for Hall &
Oates. His book, ROCK RIFFS FOR
BASS, is available from the Amsco Music
Publishing Company .
T HINGS ARE GETTING

pretty exciting as the bass
guitar enters its third decade
in recorded music. As music has
sounds merged to form a new hybrid
which I call Bass in the 80s . Add to
this fusion the advent of the bass
synthesizer, which is used by every-
be a great way to start the column
off. It has all the qualifications for
a truly classic pop bass line. It rocks,
it reggaes , it's got soul, but it's just
evolved over the years I've noticed one from the Bee Gees to Devo, and simple enough to catch everyone's
bass lines have become grayer and things aren't so black and white any- ear and cross all the boundaries.
grayer. Th ings used to be pretty more. American music is definitely The basic rock 'n' roll backbeat is
black and white when I grew up in funkier. Rick James is known these still there on the 2 and 4, over which
the 60s. You had the great James days as a rocker as well as a funk this repetitive riff sing-songs its way
Jamerson with the Motown sound, master. Musicians like Michael Jack- along with the melody. Let's look at
Duck Dunn and the Stax-Volt sound, son, Earth, Wind & Fire and Hall & it:
Atlantic Records with their N. Y. stu- Oates cross over from the pop to The few technical things you'll
dio players, James Brown and his soul charts and back again with each need to know are simple. Counting
street funk and then of course the new single. Paul McCartney and eight beats to the bar, a quarter note
British invasion with players like Stevie Wonder have not only re- (staff l .) equals 2 counts, an eighth
Paul McCartney, Jack Bruce, Bill corded together but made a video note 1 count and a dotted quarter
Wyman and Chris Squire. as well. note 3 counts. A quarter note with
But something happened after the I thought the bass line from Pass an eighth note rest also gets 3 counts.
60s ended and these highly stylized the Dutchie by Musical Youth would
L.H. 4 4 4 4 4 etc.
count 1 & 2 & 3 & 4 & &2&3&4& 1&2&3&4 & 1&2&3&4&
Before getting into the line itself, chy; (staff 2 ). A variation on this into the downbeat of bar two. Watch
try these one string exercises to co- exercise would be to tie one note and don't forget to count: (staff 3) .
ordinate your right and left hand. "over the bar." That means the last
Start slow and think short and pun- eighth note from bar one, is held
L.H. 4 4 etc.
R.H. M M M M I M M M
18 GC ITAR, :\'O\'EMBER 1983

- -
-
'
- ''
I I
> - I
'
;. ;.
R.H. M M
I I I 11
I - .., ... ... I .... ... .., ... ,.. .., I "" II
I - - I - - I - II
By mixing up the dotted quarter an octave to this exercise you can

notes and the "tied" notes, you have widen the sound of the line like the
an infinite number of reggae style example in (staff 4).
bass riffs to work out with. By adding
L.H. 1 4 4 etc.
R.H. M
Experiment with different octave lines, they're not as scary as they

combinations and if you like, a third look! (staff 5 ).
octave. Watch out for the ledger
10
X fret 4 4
L.H. I 3 3 4 3 3 4
1
Here's the line from Pass the Dutchie. E, A and D strings as shown by staff 6.
I find it sounds best pl,ayed on the
0 3 0 3 3 3 2
L.H. 3 2 3 2 3 3 3 2 3
R.H. as before
Next month I'll get into some Leppard's Rick Savage and Photo- drop me a line care of GUITAR.
straight ahead rock 'n' roll bass graph. If there's something you 'd like Keep those rock riffs happening and
when I look into the style of Def me to look at in the column, please I'll see you on MTV.•
NOVF.MBER 1983, GUITAR 19

ANDY SUMMIRS "'
t:'.
"'
.D
0
a:
;;
.D
w
A
S GUITARIST FOR together and this piece shows it off like this album as much as his first
the Police, Andy Sum- very well. This is real guitar music. four records, when he was more
mers has helped redefine In some ways it's pianistic too. I love obscure. I think my favorite album
the less-is-more style of that icy, remote ECM sound. of his is Boomer's Story. Purple
playing for the 80s. His sonic shap- 2. Empty Glass, from Empty Glass, Valley is also a great album. He's
ings show off the best of what hap- by Pete Townshend , Atco SD 32- getting a little bit Hollywood-sound-
pens when a fertile imagination meets 100 ing these days and I don't enjoy him
and masters the subtleties of ad- ANDY: I'm not totally over the hill as much. It's very difficult to keep
vanced electronics. In The Listening about that one. It's not my cup of exploring in this area.
Room introduced Andy to some other tea. I do like Pete Townshend and 4. Manic Depression, from Are You
masters of nuance. this album was the best thing he'd Experienced, by Jimi Hendrix,
1. Nimbus, from Solstice, by Ralph done in years, but I find it a bit Reprise 6261
Towner, ECM 1060 dated. I can only say I liked the ANDY: I played with Hendrix in the
ANDY: I love Ralph Towner! Sol- single note thing in the beginning. studio once. I played guitar and he
stice is still my favorite album of 3. The Very Thing That Makes You played bass. Actually, I met him
his. Actually, this is one of my fa- Rich Makes Me Poor, from Bop several times. He was a great guy,
vorite pieces he's ever done. Towner Till You Drop, by Ry Cooder, very soft and shy. He's definitely one
has such a high standard that all of Warner Brothers BSK 3358 of the all-time greats. He was the
his work is good. Specifically, this is ANDY: I suppose Ry Cooder is the past master of using those minimal
a great piece of guitar playing. He's ultimate slide guitarist. I don't think riffs. The interesting thing on this
certainly taken the guitar in a new anybody can criticize him. I like the cut is that it's in 3/4 time. Today
direction. It stands as pure music; way he uses it here, to play the that's not so special, but for its time,
it's music for itself. It doesn't have rhythmic accompaniment to the long which was a while ago, it was pretty
to pretend to be an accompaniment note David Lindley is playing. I be- adventurous. He is one of the sem-
for something else. Towner is ob- lieve that's what's going on. I do inal figures in rock guitar playing;
viously combining classical tech- think the song is a bit of a nonstarter. it's already been said by so many. •
nique and some jazz improvisation. The playing is impeccable, but the
He's brought them to a new realm song is not that interesting. I don't Musical Selections by john Stix
20 GU ITAR, NOVEMBER 1983

With all the corporate planning and
mega-bucks fueling the starmaking ma-
chinery of the 80s, the Greg Kihn Band
stand out as having made it to the top
on a shoestring and a prayer.
Operating out of Berkeley's tiny
Beserkley Records, Kihn's band played
by their own rules, always putting a
premium on having fun. Through the
70s they acquired a loyal West Coast
following, which gradually spread East.
In the 80s their lottery ticket hit the
jackpot, first with The Breakup Song
followed by the monster, Jeopardy.
ONI t •
Peter Gordon's Thirsty Ear Pro-

ductions is the oldest and largest syndi-
THE
• : 1 j •/
cator for college radio. This interview

can be heard on Newsweek FM. RADIO
Interview by Amy Wachtel for Thirsty Ear Productions
K ihnspiracy
I think the nicest thing about
this band is that every note on the be distasteful to my boys, too. They were going to make these demos
record is us. Nobody ever told us wouldn't take it. In fact, they insisted and wait for somebody to offer us a
what to play. Each record was sweated that we use a couple of first takes million bucks. In the meantime we
out by the band. If it's not good, it's on the record, because they had would put the demos out as records
our fault. If it's great, it's our fault. good mistakes on them. on our own label and break even. It
After The Breakup Song there should I don't recommend our ap- was a joke that turned into a mons-
have been tons of pressure on us. proach to anybody who's in a band ter. It just took off. After the first
We were following a hit that fol- now. I say play ball and do what week Chartbuster Hits took off to
lowed a hit and a lot of people said, they tell you. You're lucky to work the point where Beserkley became
'It's time now, let's get a number in this day and age. But it works for a real label and we became a real
one hit producer and make some us. I feel good about everything I band. The first copies were shrink
hit records'-which is easy, anybody said and did. Nobody told me to do wrapped by me and Jonathan Rich-
can do it. You just go in and listen any of that stuff in 8 1/2 years. When man in the back of Rather Ripped
to this guy and do what he says. Of you finally do make it, it's a much Records upstairs in Berkeley. They
course, we never had the intention sweeter victory; also, in 1983, a weren't distributed by anybody. We
of doing that. We just wanted to go unique victory. Besides,' if one rock sold them through the mail. I re-
out and make a good album. It's band makes it, it helps all the rock member putting the labels on the
become an obsession with us to stick bands. original 2-3000 records we pressed.
together and do it our own way. If I remember stamping them. It was
The Breakup Song
you try to write hits to be commercial me, Jonathan and a couple of guys
All my best songs are written
you're just wasting your time. If you from Quake. It was literally the guys
immediately. If people give me a
sit around having fun it turns out in the band doing the actual labeling.
chance to rewrite a song, usually I'll
to be better than if you sweat over Beserkley was the first independent
louse it up. The Breakup Song was
it. By trying not to be commercial label in the New World. This was
written very quickly. I had intended
we were more commercial than we'd before Stiff, before New Wave. Since
to write words where I have the 'uh
ever been before. It was ironic. By Sun Records and all those early ones,
not trying to get good sounds in the uh uh uh uh uh.' A lot of times when there was nobody until Beserkley in
studio we got our best sounds in the you write you sing 'la la's until the 1974. It was such an off-the-wall
studio. We cut everything live and right words come. I was just playing concept. It was berserk. We never
it was unique. I think if we changed it for the band and they said, 'Wow, even thought about the name Be-
now it would hurt us. The record don't change a thing. Those uh uhs serkley. We just made it up. It was
company respects us because we've are the deepest lyrics you've ever going to be a one-time-only demo.
gone through heaven and hell to get written.' I said, 'Wait a minute, that Little did I know that I'd make 8
to this point. We made five albums was filler.' They went, 'Your filler is albums and have hit records and still
before we even met them. The fact where it's at.' I learned a lesson from be on the scene years later. That's
that we're mavericks held us back at that. Now I don't try to second guess rock 'n' roll. If you think about it,
first; it was not one of our plus myself. Usually the things that hap- you're gonna blow it. If you don't
things. In the corporate world in- pen spontaneously are the right think about it, if you just do it, react
dividual thinking like ours is frowned things to happen. to it, it works. Usually. Hopefully.
upon. But if I decided to sell out Beserkley Luckily.
and make hit records, I think my It was very loose. There wasn't
fans would abandon me. It would enough money to make albums. We
•••
MARSHALL CRENSHAW
Marshall Crenshaw was the first guy

on line at the record store when the
collection ofpreviously unreleased Buddy
Holly songs came out. Along with Holly,
he lists Les Paul and Mary Ford, the
Elvis-era Sun Records sound and Phil
Spector as his musical influences. Vo-
cally, the Detroit-born rocker was in-
spired by Phil Everly. Clearly, the rock
'n' roll of the late 50s and early 60s
holds a special meaning for the author
of Someday, Someway, Cynical Girl,
Brand New Lover, Whenever You're
on My Mind and One Day with You.
Though Ma rs hall chooses to for get it,
some may also remember him for his
portrayal of John Lennon in Beatle-
mania.
Interview by
KNEW ABOUT THE OVER- and I think I'll probably stay this Bruce Pollock
I all sound I wanted before I had way. 50s rock is so great I could be
any songs. I had the concept perfectly happy playing it for the
worked out first, then I needed songs rest of my life. I think Up on the Roof
and the human race is doomed and
all that. But if you're gonna live you
in order to make the sounds I wanted. is 100 times more brilliant than all need to know there are things to
I feel real happy when I can come the singer/songwriter stuff put to- feel good about. On the new album,
up with something that sounds like gether. But if all I did was a rehash Field Day, there's less of a balanced
the band and at the same time has of the 50s, I wouldn't be happy- view than on the first. There was
some connection to the music that's because it was done so well the first more contrast within the songs on
most basic to me. The music that time around. If I wasn't willing to the first album. I'd be describing a
really moved me earliest and in- use songs as an effort to communi- state between happiness and unhap-
spired me to want to play music is cate and reach out, then I'd be wast- piness in each song and it would be
old rock 'n' roll. I arrived at this ing time. balanced out. In the new album
sound after many years of trial and A theme I go back to again and there are some songs that are just
error. By the time I got around to again is to realize that there are purely downbeat and draggy. That's
putting out records, I knew what I reasons to feel great and things to because I was feeling downbeat and
liked and what I didn't like. I'm sort celebrate; at the same time there are draggy when I was making the al-
of like an old man set in my ways horrible unfair things in the world bum.

Deadlines always musical phrases. I don't make always say is that if it weren't for
I have to set aside time and force up words when I'm writing the mel- hotel bathrooms our music wouldn't
myself to meet deadlines. I work ody. I try to keep it as little like exist. But it's pretty much true. About
hard, but I don't like to get hung words as possible. I've read inter- 50% of all the writing I've ever done
up on details. If I've been working views with songwriters where while has been in hotels. Which is good,
on something too long, I just stop. they're working on a melody they because I live most of my life in
I don't want my stuff to be forced . make up sounds and get ideas from hotels. In fact, while we were work-
I want it to sort of spring from the them later. But I never do that. I ing on the second album, I stopped
unconscious. Those are the best ideas: try to create absolutely no suggestion % of the way through and went to
the rare kind that tumble out when of that in advance. Eventually it Boston and shut myself up in a hotel
you're not even thinking about it, develops, but I don't want it to be room. Someday, Someway was one of ·
when you catch yourself off guard suggested by something-because it the quickest things I've ever done. I
and the thing pops into your head always ends up the same; it's always literally sat down and started bang-
and you don't even know how it got 'baby' or 'tonight'. I try to stay away ing on the guitar. I had that shuffle
there. Those are the things you al- from cliches. I try. rhythm going through my mind and
ways use; it's what you're waiting My biggest influence lyrically is I came up with that riff-the song
for. If you add it all together, a song the blues. I love Muddy Waters, is basically just a riff. At the bridge
takes about a half hour of actual Willie Dixon, Hank Williams. I try I stopped, thought for a second,
writing time, but the rest of it, the to emulate that kind of delivery and okay, here's the bridge-four
time spent psyching yourself up can message in my lyrics. On Field Day, chords-bang, bang, bang. Then I
take days. I'm sort of just sitting One Day with You is patterned pretty thought up the lyrics while I was
there thinking What am I doing? much after the Muddy Waters' song, walking down the street. Cynical Girl
Should I be watching TV? Some- just to Be with You. I don't just write came off the top of my head, too. I
times I might finish a song in two words; I have to have the overall was sitting in front of my Teac in I
I
days, other times the ideas sit around concept first. More important than Westchester County, saying, Let's I
for years. I'm best at editing. I may the ideas contained in the song is play something today. I didn't get I
be a better editor than writer. Ed- the way they're presented. If they're down to finishing it until about half I
I
iting is important; but the most im- not presented well then they're not a year later. The words fell together I
portant thing of all, if you want to worth much. If you analyze my songs gradually.
ON SONGWRITING
be a songwriter, the only important you'll note I write as few words as Communication
thing, is to finish the song. That's possible. I've never written a song What happens after the words and
the hardest thing to do. You can that doesn't at least repeat one of music are done is the part I eajoy
spend years and years having lots of the verses once. That's because I the most, which is performing it and
ideas, but if you don't finish the don't want there to be too many arranging it and assembling it, trying
song, then who's ever gonna know? words, because I think words inter- to turn it into a real piece of com-
So anything that forces you to finish fere with the flow of the song. For munication. The writing part is the
the song is the greatest benefit you me the real message is the melody part I hate. I love the feeling of
could ever have. If it wasn't for and the overall noise. Too many having finished a song; I don't like
deadlines, I'd never do anything. words are just excess baggage and I to write songs. 99% of the time I
don't want that. I want to be clear make a home demo myself. I play
Words and Music and get my point across every time the drums and the bass. That's the
If I get an idea at random that I out; I want immediacy. With fewer most fun for me, trying to make it
really want to hold onto, I usually words people hear the song faster. sound like a band. Because I really
put it on tape, forget about it, and Someday, Someway was written in a like to play; that's why I write songs.
come back to it later. The ideas are hotel room in Boston. One thing I
•••
THE PRICE YOU PAY
As recorded by MOLLY HATCHET
Words and Music by
Steve Holland
E A B C D
and Danny Joe Brown
mm am 11H•Sfr.
Moderate double time feel(J = 80 - 84)
,iii~ i ~ I; 7 7 7 I7 ,, , 7
I
7
I I
7
I
7
I
7
I
7
I I
7
I
7
I
7
'f f9 II
~ see p.27 There's a
E
,~##I ~ ~ ~ Ij J £] _ ) ~ I !94
r ~ j ' ' r ~
' -t qO I
small jail in Geor - gia that you all know_ Where the sun's so hot_ and the
,~. j J £]=) ~ ~ ~J I ~ ~J ~--a ~ ~-

~ I~ ~ ~J ~.....__.~ 'f ffl1
day - light don't show,_ Where the moc - ca - sin_ she rests on a soft bed of sand,_ You can
E B
,~##I FJ~ j Jaj ' Jll E E E f "C Circ±I •
r
hear the
~
hound-dogs
¥ Ij J j
howl-ing out the land._ It ain't the way I want-ed it,_ but
D E
¥ f111
Lord,_ that's the price _ _ you pay. I said,
E
,~##I
EE E
"Jail - er, bring
r i].
me
j
wa - ter, ·for my throat
J I j) j
is
c
lJ
dry.'..'.._
I I
~
Four walls, steel
r ~ eJ ·¥~]]
• bars, I've been
'f JI
watch -ing pass - ers - by, I've been sit - tin' here so damn_long I'm start - in' to cry,_ The
J 'f J~I _r_r_r_r "E c; u I

hang - man's com - ing I'm sure - ly gon - na die._ It ain't the way I want - ed it,_ but
Copyright © 1978 MISTER SUNSHINE MUSIC, INC.

This arrangement Copyright © 1983 MISTER SUNSHINE MUSIC, INC.

c D E
'#i#I tg· r r ~ ~J 1. a II
Lord,_ that's the price you pay.
E
, _, _,__,__
,1##1 _/_ ,_' _ / _ / _____.!__,_' _ I ,z _
, ,
__, I I I I I I
I,
I
L _ _ __ ,
I
_ I
I
_ 7
7
For guitar lick under harp solo, see [fil
E
,z , , , , , , , ,., ,
I I
I I 7
7 I 7 7 7 7 7 7 7 7 7
B c D E
'#~#· , , , , , , , , •
rI
r r I
r I
Ir 7 L. r 7 L.
Ir r r r
Ir 7 L. rI 'J. ;fl I
E
•
,1##1
r F r=J71 ~ j 'I Ij J J J ro~w 'J. J1
shot a man_ in Ma - con o - ver a pok - er game ;_
'###I J7] J J j J J7 J 1 Ij JJ j J j
killed an - oth - er in At - Ian - ta just to
------
build_ my fame. Well,
'###I J ~J J J FJ. 'I Jl• I J J J J J

now hear them ham-mers, they're pound - ing out my name , It
E B
'###I r r F r F Jj J ...___, J I J J J j1J

ain't the way I want - ed it,_ but that's ·the price you pay._ It ain't the way I want - ed it,_ but
D E
'J. ~ II
Lord,- that's the price _ _ you pay. Hey

E .....---...
'##ttl r gr F f r ~ I r- t --..J
s 1=='r1
Qi:
~ r d
jail - er, how 'bout that wa - ter? My throat's still_ dry . _
,-~· ~ r ~ r 'f
E
J ~a I j J J J j
Four walls, steel bars I've been watch-ing pass - ers - by, I've been
'##ttl J QJ J J J= J1' J } IJ J QJ 4 J 'f } I

-----------
sit - tin' here so damn_ long I'm start - in' to cry, _ _ The
'##ttl r F9 j 'f ) Ij
1 J rJ ~
j 'f ~ I
,
hang man's com - m I'm sure - ly gon - na die._ It
B c D
&#ttttl f f f r xc [ j
f#
=
EJ I trr· f f CRQ:J ~J
ain't the way want - ed it,_ but Lord,_ that's the price _ _ you
pay. It ain't the way I want - ed it,_ but
D E
f f {]gjJ QJ I 1eJ
Lord,_ that's the price you pay. Oh, you done
'•ttttl - $ 'f. ,,~ IE f xc [ ~

~
run out of rope, son! It ain't

E
the
E
way want - ed
;j
it,_
tJ but
D E
f f II
Lord,_ that's the price _ __ you pay.
[9----------------1
THE PRICE YOU PAY

XII pos
I\ Joi +! at ~ ~.
3 ._
>--
::--- .. ~ ~ -~ ~ i:::::
..-
I - 11 '1'1-
" -
~)
.. ...
H.O. .. H.O. .·-.. .'':.
·- ...·- ~
·- ·-
.;;. ·-·-
There's a (etc.
slide
I\ Joi +!
-
\ .I
@)
- IL TI -
TT
~
1-,J
~
_-,J .. .. .,
~·
• .,
... ~
.,
I• 1,
•I .,
I• lo
-- - -- -- ·-·- --
- - ·-- .
i'\ Joi +!
.,
. - .,
.. ~
.,
~
.,
.....
~
-'--"- -- ~
-· 10
~ ~· ~
@)
I -,J'--"-,/ # #
,.
01
-- - -
ft
:: ·-·- -- - - -- -- ·-·- ::

,.. '" ~
.
-T~
" "
.W
~ -
,.-1 -
-,;- -,;- ......

., ~
....~
.,
,.
~
@)
~·
'-------"
•I
I 0
-
u - - --
J ·-·- -
~
V pos VII pos s/.
s/.
1-1
I shot a man (etc.)

Full
(pay)
28 GUITAR, NOVEMB ER 1983

There's a small jail in Georgia I shot a man in Macon
That you all know Over a poker game
Where the sun's so hot I killed another in Atlanta
And the daylight don't show Just to build my fame
Where the moccasin she rests Well, now I hear them hammers
On a soft bed of sand They're pounding out my name
You can hear the hounddogs It ain't the way I wanted it
Howling out the land But that's the price you pay
THE PRICE It ain't the way I wanted it
But Lord, that's the price you pay
It ain't the way I wanted it
But Lord, that's the price you pay
YOU PAY I said, "Jailer, bring me water Hey jailer, how about that water?
by For my throat is dry" My throat's still dry
Steve Holland Four walls, steel bars Four walls, steel bars
and Danny Joe Brown I've been watching passersby I've been watching passersby
I've been sittin' here so damn long I've been sittin' here so damn long
I'm startin' to cry I'm startin' to cry
The hangman's coming The hangman's comin'
I'm surely gonna die I'm surely gonna die
It ain't the way I wanted it It ain't the way I wanted it
But Lord, that's the price you pay But Lord, that's the price you pay
Copyright Cl 1978 MISTER SUNSHINE MUSIC, INC.
lntemational Copyright Secured Made in U.SA. All Rights Reserved
~Gt-- :30 v..

• Ji\ malUnO ........ ~ .....
~-~f«thetniuelO~. The~
It~ thtOU9h •x-..ive ~have made 8lg-
l'lifle8nt ttehfto1og)cal adVances l1'i the .manufacture ant1
~ of strObe tuners. Theae adva~ have culmi-
nated In the Model 4$0. We have been- able to add
feeturee auch aa back lighted dlala and Input and output
Jacks. Vet ttte cost Is slgntficantty reduced. and mind
•
you, Wat have not compromised one bit on our accur-acy
aftd ~uatly made the Model 450 easter to UH with the
new AIC (Automatic Image Clarifier) and other new
features.
*-Peterson Invites you to compare our quality, accuracy, SOME FEATURES OF THE 450
and ease of UH to any tuner on the market today. We are
sure you will agree with the top names In the Industry. * Back lighted dials - simple 1t8CJ$ tunlftf
When It comes to our competition we have nonelll • Input and output jacks for in line tuntng
See your dealer for a demo or write today for more Infor- • Automatic Image Clarifier Ate
mation • LED strobe lights never fade
• Built in condensor microphone
p~~@r.!!2.1.:! (3121 388·3311

• The full temperament Is guaranteed to be with-
in 1/3 of 1/1 OOth of a semitone. The moat
accurate tuner ever developed (U.S. patented)

Claims His Piece of the Rock
ZENT ALONE MAY GET YOU A TURN AT BAT, BUT DETERMINATION DEFINES BIG
League longevity every time. J. Geils slugged it out for ten years before breaking the bank. The
lean years of REO Speedwagon and Styx are well known. There are probably few in the industry
who remember when Billy Squier quit the music business in the early seventies to sort things
out. They do know that he came back slugging, with Tale of the Tape, Don 't Say No and
Emotions in Motion. But even as his album sales last year soared over a million, Billy was more
than happy to be the opening act for Whitesnake in England and Foreigner and Queen stateside.
Squier is ready to prove he deserves his piece of the rock.
BY SPENCER BENEDICT
G: What brought you into the Billy: The most significant part of that got you started?
professional world? that experience was that it pushed Billy: Oh yeah, that would be John
Billy: After high school I moved to me back into the real world of rock Mayall's Bluesbreakers, with Eric
New York City. I was on the scene ;n' roll. It made me realize that I Clapton. From the time I heard that
there with a band called Magic Terry didn't want to be a music teacher. record I wanted to be a lead guitar
and the Universe. That was my first G: Had you thought you were player. I was playing before that,
original band, sort of a combination through with music? but it wasn't serious. It was in high
of the Doors and Alice Cooper. We Billy: It was just that I was so intim- school and it got me a bit of notoriety
actually had a poet who half-recited, idated by the industry and the peo- on the weekends because I'd be play-
half-sung his lyrics to my music. ple in it. I didn't know if I could ing at the school dances.
That was the first step. We played survive in it. But I wanted to remain G: Were you the local guitar hero?
places like Max's Kansas City and in music. I figured I'd try to teach. Billy: There weren't any guitar heros
Steve Paul's The Scene. It was about But it didn't last long. back then. The guitar had not been
being part of the 60's movement. It G: How did you overcome your fear recognized as the force that it came
also brought me into the world of the of the music business and jump back to symbolize a few years later.
music business. I made a lot of asso- in? G: But there's always one player in
ciations that I still have today. Billy: I just knew it's what I wanted, the crowd who is "the best."
G: After the Magic Terry band didn't so I got back in the ring and started Billy: I've never been the best. The
work out, you went to the Berklee going for it again. only thing I've been the best at doing
School of Music, in Boston. That G: When you were growing up in is what I do. Now at least I'm able
was an odd switch. Boston was there a particular sound to be unique in that I do a variety
G: How did you hone your skills as
a singer and songwriter?
Billy: I developed a set of singing
exercises which I'd do every day to
try and improve my voice and range.
It's similar to when you practice
guitar so you feel comfortable around
your instrument. I can't say how I
became a writer. I just kept trying
to find some unique or clever way
of saying things.
G: Do you have any favorites.among
your own songs?
Billy: I like to think in the end that
all the songs are equal in terms of
content and translating their own
individual idea. But at certain times
certain songs stand out as unique.
of things in certain combinations In the Dark stands out to me for
that can be recognized as being my its production value. It was one of
own. I'm able to define my own "In the Dark is a par- those songs where everything in the
space. But I was never the best guitar arrangement fell into place. That's
player, the best singer, the best look- ticularly good repre- why it sounds so good. Every idea I
ing or the best dancer. I was good. sentation of how a song wanted to get into that song is there,
I was sort of a jack of all trades and without fighting for space. I always
master of none. should be done. It was remember that song as being partic-
G: After the Clapton infusion did ularly good as a representation of
you go through the usual imitation/ one of those songs how a song should be done. It started
innovation process? where everything in the out with the same value as the other
Billy: It happened to me in reverse. songs, but I was able to fulfill it a
I started thinking that I was break- arrangement fell into little bit more.
ing away while I was still imitating. Learn How to Live has a poten-
Gradually, as you evolve, you imitate place." tially significant lyric, with a strong
less and less. But there was a time melody. As soon as I started working
when I felt I was becoming individ- ever recapture that. It doesn't mean on it I thought to myself: 'This is a
ualistic when I was probably not as things don't get better, For me they song that captures a lot of what Billy
original as I thought I was. certainly have. I don't believe I'll Squier is all about.' That's a danger-
G: Besides Eric Clapton, I'd also say ever see a period which, for me, ous statement to make, because ob-
you were a Jeff Beck fan. does what the late 60s did. But for viously my music is made up of many
Billy: I was. I listened to Page, Hen- other people, say the kid who is now different aspects. I'm getting very
drix and Peter Green as well. I even 15, hopefully these times will be just personal when I say this.
listened to Jerry Garcia on the first as exciting. G: How important are lyrics to you?
Grateful Dead album. His was not a G: Are you still a big fan of old Billy: Everything is treated equally.
guitar style I retained, but I thought guitars? Songs are like puzzles. I use what-
it was pretty good. Billy: They don't make them like ever is there at the time. Whatever
G: What other memories do you they used to. I have a '51 Broad- piece fits at the time is what I put
carry with you from the 60s? caster, a '56 Les Paul Junior, a '59 in. From that point on I build it up.
Billy: I remember seeing the Stones Telecaster Custom, a '58 Les Paul G: Was the title track from Emotions
for the first time. I remember seeing Sunburst and a '57 Strat. Each has in Motion built around the bass riff?
Cream for the first time at the Psy- a different sound that I need to use. Billy: Yes, I had the idea of having
chedelic Supermarket in Boston. I I only switch guitars because I'm a bass line which never changed
think it was their first appearance in looking for a certain sound. throughout the song. It does change
the States. I was in the front row, G: Are you as particular with amps? in one spot, but basically it's the
right at Clapton's feet. I went out Billy: I use two 100 watt Marsh alls same, while the chords and melody
and bought an SG, like Clapton with two 4 x 12" cabinets. Each change over it.
played, and I painted it too. Marshall has a bass and lead chan- G: Do you see a direct line between
G: Does that same spirit of the late nel. Aside from rewiring to change the lean, tough sound of your last
60s live in the 80s? the value of the inputs, I take a cord two records and the sound you loved
Billy: It can't for me. I feel each of and patch into both channels. The in the 60s?
us has one period in our lives which speaker cabinet for each amp has Billy: I've never gone in and said
is the formative period. It's a time two Celestions and two Altec speak- 'Let's make records the way they did
of tremendous excitement and ex- ers. There's something else we do, in the 60s.' That may have happened
huberance. I don't think you can but I'm not going to tell you. because my influences come from
IN THE DARK
As recorded by BILLY SQUIER
Words and Music by
Billy Squier
cs OS ESlVII) D GS ES
Moderate heavy 4
ES
II= 7 7 7 7 ,
7 ,7 , 7 ,
7 ,
7 ,7
/ ,7 ,
7 ,
7
7
7
/ =II
@-- Synthesizer Guitar ~ and ~see p. 3S (played simultaneoosly)
~ cs
~~II= "j_ J J J J J J
@. J IJ J J J J r p-j
'------"
Life is - n't eas - y from the sin - gu - Jar side __
You nev - er !is - ten to the voic - es in side _ _
You take no in - t'rest no 0 - pin - ion's too dear __
~OS
£#~ J Ij ) ) j
@_, $ J J J j j J J ~
l I
~
Down in the hole some e - mo - tions are hard __ to hide_
They fill your ears as you run to a place_ to hide_
You make the rounds and you try to be so _ _ sin cere_
ES(VII) cs
tt~~1
@.
~ J
~
,
Fill[fil
7
, 7 ,
7
/ , 7 , 7
"j_
J J J J J J J
It's your de - ci - sion it's a
You're nev - er sure if the il -
You guard your hopes and you
1&2x 3x
'# J
@.; J J \jC i -.._____/
f v11v J J J j J J
chance that you take_ It's on your head it's a
Ju - sion is real __ You pinch you self but the
.pock ~ et your dreams_ You trade it all to a -
OS ES(VII)
,~
@.
j J J J'-.__./
;1) j ifi3?r /
------ Fill [fil
,7 ,
7 ,
I
/ CJ I
hab - it that's hard_ to break Do you
mem - 'ries are all _ _ you feel Can you
void an un - pleas ant scene Can you
Copyright© 1981, 1983 Songs Of The Knight


D GS D GS D GS
~r FtJJ J J IJ ~..__,J
CJ I r FlzJ ~ JI
need a friend_ would you tell no lies_ Would you take me in_ are you
break a - way_ from your al i - bis_ Can you make a play_ will you
face the fire_ when you see me there_ Can you feel the fire_ will you
,- D
J J J l]jj
lone - ly in
GS
the dark . . .
cs
7
, 7
7
7 z 7
7
/
DS
J
in
£)
the
cs
---------
dark . ..
Ij 7
, 7 z 7
,
meet me in the dark ... m the dark . . .

love me in the dark . . . in the dark .. .
DS ES (Vll) DS cs DS cs
~/ ,
7
J l] I j 7
7
7
, 7
, 7
7
7
,
J fJ=ll 7
7 ,
7 7L 7
7
7
, 7
7
J IJJ
in the ---------.. .
dark in the dark (repeat) in the dark_
in the dark .. . in the dark (con 't.} m the dark_
in the dark ... in the dark (can't.)
To Coda
DS ES(Vn) ~ ES
,~~j 7
7
7
7
7
7 , 7
7
7
J fJ--------- Ij , 7 ,, 7
7
I ,, I •l. 7
, ,7 ,, 7
, ,.
., ,,
'L
~and~
in the dark . ..
in the dark .. .
,- r
Don't - cha
Ettl) j
need_
ES (~and~ under)
..__,
me,_
'f
hey
j } Ij
---------
hey_
t
r
Don't- cha
a cf] need_ me_
j "f
Oh
j }..__,I
yea_
~and~
,~~j t
r
Don't-cha
a I/n r need_ me_
¥ j
Hey
41.J
hey_
$
r
Don't-cha need_ me_ Oh yea_
D.S. al Coda ~
cs 05 Es<vn)
I ,
7
/ ,
, , 7
k 7
,
7
z T7 1I , , 7,
7
/I ,, , ,
7 7
/I 7
7
7
7
7
7 , 7
/ / / /II
@] guitar solo
OS cs 05 cs
J f]...___.,,I j $ J fJ ..__,I
in the dark_ in the dark_
OS ES(Vll)
J f] I :J $ II
(effects)
in the dark_

IN THE DARK

Full Full
Full
vib . ~ vib. ~
0 rhythm guitar Important: Smaller size notes are fingered , but not played
Billy's reason for doing this is to protect against the possibility of accidentally
striking the open 3rd string which would sound wrong in this context .
--
fl ii
~
;. u
--I
-
--r -- ---I
~
I
_, . -
u' ---I ---r --- I
·--I
~ ~
"
@.: -- -
-
OU OU
--; - - -
-
A A
::
-
::
-
:: ::
-
ft
-
A

V pos.
slide
... Buzz saw effect - - - - - - - - - - - - - - - ,
- ft
ft
Buzz saw effect - - - - - - - - - - - - - - 1

note : The buzz saw effect is accomplished by rapidly scratching the edge of the pick
back and forth against the winding of the 6th string. What you should hear is
a low E plus the amplified buzzing sound.
Accuracy! In sheet music Success! It's always tough .

it's crucial. And if you 're a musician it's
That's why we make every even tougher. But now there's
Pl~~IT
Cherry Lane guitar book a book that makes it easier.
true-to-the-record, with com- Breakin* In To The Music
plete leads, precise lyrics, Business is 288 pages of
~odq
correct chord voicings, and insider's advice. With tips on
tablatured licks and solos making your demo, getting
that let you play like the a record deal, negotiating a
pros- even if you don 't read contract, and much more.
VI~~
music. It's still not going to be easy .
And we 're talking music- Just easier.
from Judas Priest, Def Lep-
pard, Molly Hatchet, Iron Look for Breakin* In at your
Maiden, Billy Squier, and .38 local book store, or write
Special. Cherry Lane Books - Dept
We call our music "play it GTN3A2, Box 430, Port
like it is." Chester, NY 10573
You 'll call it fantastic. " ... The best book on the
Look for the "play it like it is " subject that I've ever seen."
Pl~~IT
series at your local music -Kai Rudman, Editor
store, or write Cherry Lane and Publisher
Music - Dept GTN3A 1. Box The Friday Morning
430, Port Chester, NY 10573 Quarterback
TllEIQ
-RA'*''-
4'#
published by Cherry Lane Music
" quality in printed music"
VI~~
what a good solo should be. We're
not jazz players. The song is the
capable of getting through the whole
thing, it doesn't mean that I can't
.
•
•
Continued from page 32 message. If solos were the important do it. I don't think there's anything
thing, I'd make instrumental al- wrong with that. Some people would
that era. But it was unconscious. In bums. The solo is supposed to take say that's not being a real guitar
terms of making records, I've thought yo.u f:om poin~ A to point C through player. I've seen people kill them-
about trying to advance the state of this mtermediate point B, which selves trying to get it right all the
the art in recording. I think that's should elevate the song. You build way through. To me it's what's on
something I'll definitely do. Don't Say a song through the solo. the record that matters. That's what
No is one of the best rock and G: Do you work with the basic tracks you hear in the end. I'm no worse •••
roll records ever made, in terms of ahead of time? off if, in fact, I have to do something •
the quality of the recording and the Billy: No, I usually have an idea in in pieces. Sometimes it becomes ex- ••
f
my head. It's either a melod y or an pedient. You can sit there and spend ••
sound. The way it's projected, the •f
dynamics and the quality are tops. attitude that I want to explore. I two hours trying to get a perfect
G: Could you be a bit more specific won 't do 30 different solos and pick solo or you spend one hour and get
as to what makes Don't Say No such one. I might try 10 different solos some bits that you think are good.
an achievement? that are all the same and pick out And that's what I do. I do that with
Billy: Don't Say No and Emotions the bits that I like the best. If you my other guitar player as well. Jeff
are very well-produced and engi- have an idea the studio gives you Golub does a great solo in Keep Me
neered. One of the hardest things to the chance to make it right. A lot of Satisfied, which is actually made up
do, especially in rock and roll, is to it is trial and error. of four different solos. I had him
tran~fer some of the energy, spon- G: Do you have any favorite guitar play until I knew he had all the bits.
taneity, exhuberance and dynamics moments on record? Then I sat back and took the begin-
of a live show onto a record. The Billy: I like all of it. For me the great ning from one, the middle from
problem when you do live shows is thrill is that in the studio I can another and so on. Jeff loves the
that you don't necessarily get the actually play like Jeff Beck if I want solo-and it's real. He did it. He's a
performance. I shouldn't say the per- to. Of course, I'm not as complete a great guitar player so who cares? No
formance isn't right. But in working player as he is, but I can think about one said you've got to play it from
in the live medium, you've accom- how Beck might do something. I can start to finish in order to make it
plished something which you don't punch in if I have to. If I'm not valid. •
accomplish in the studio. At the same
time, in the studio you're able to refine
things to a point where you can make
a statement which can stand up for a
long time. What I try to do is get both
elements and make records which use
the studio for what it has to offer,
World's
while keeping the punch of the per-
formance. I want the liveness, feel
and dynamics of a show on that re-
cord. I think these two records have
Only!
captured that. I think people can hear
the excitement on those records. Sev-
eral producers and engineers have
NEW!
asked me how I did it. I think we're
making a contribution to the audio
SPECIAL
realization of what people want to get
on records. ROCK 'N ROLL
G: But the record is not a substitute
for the show. Gauge Set
Billy: When you perform it's totally
different, because that's the time
f.
when the communication is taking , ~ ·
place between the audience and the AND GUARANTEED TO /./.

performer. You're dealing with STAY IN TUNE
spontaneous feelings.
G: You take short, hot, rocking so-
los that seem to demand fore-
thought. Do you work them out S.l.T. STRING CO.
ahead of time? 2211 13th Street S.W., Akron, Ohio 44314
Billy: I pride myself on doing 15 to (216) 854-5025
20 second solos that say it all. That's
Bass Lines for
IN THE DARK
As recorded by BILLY SQUIER
Words and Music by
Billy Squier
Moderate heavy 4
ES
"! wr r rr
1st time
cs
- ---..
/'11"
., .,
-- --
I - -
;
'
@)
I/
- - • • • • .... .... ....'----"'....
a
Life is - n't eas - y from the sing - u - Jar side _ _

You nev - er !is - ten to the voic - es in - side _ _
You take no in - t' rest no 0 - pin - ion's too dear __
....·- -.
--. -
- - - - - - - - - - - - - - -
II• I I
...
II•
II - -
ft
-
ft
-
ft
-
ft
-
ft
-
ft
-
ft I
I -
ft
-
ft
-
ft
- - - - -
ft ft ft ft - I
I
DS
" ...
-
- - - -- - - --
<I -
.,
-- -- -- -- -- -
a
'
'I/
@) '----"' -~
-
Down in the hole some e - mo - tions are hard __ to hide_
They fill your ears as you run to a place__ to hide_
You make the rounds and you try to be so ___ sin - cere_
._
- ·- -
I
- - - - - - - - - - - - ~
- ~
-
~
I - - I
-
ft
-- -- -- -- -- -- -- I
I
-
- -
ft
-
ft
-
ft
-~
- I
I
Copyright © 1981 , 1983 Songs Of The Knight


cs
.. -
f\ ~
- -
. . .
~
@)
~
....
- •....i- ..,;-
"
-
~
- -
~ ~
It's your de - ci - sion it's a

You're nev - er sure if the ii -
You guard your hopes and you
.
I
cio.-
I ·-
.... ....
- -
, .._
- - - .._ - - ~ ~
- - -
I
~ ...
I I I
- -- - --, .,- - -
- .,-
-
A A
v
-
-
v
I
I
-
A
-
v
- l
- -.,- -.,-
" - - -
A A A I
I
"~
~
., .._ .._ .._'-----"... - -- -- -... -
chance that you take _ _ It's on your head it's a
lu - sion is real ___ You pinch your - self but the
pock - et your dreams_ You'd trade it all to a -
I I
I A I
I I
D5 E~ --
.,, - /
~"""
,.,~
'u
~
- - - ~
-
•...._____,,
l
-
~
~·
-...____.....-
- ~
I
-
-
~
I
- -
~
i...-1
-
hab - it that's hard_ to break Do you
mem-'ries are all __ you feel Can you
void an un - pleas - ant scene Can you
Ill..
-··-··- - - - - - -
-
~
-- .... ... - - - - - - -
.._ ...
I
, ~ I
-
- I l
- -
I
-- -
A
-
A
- -
A
- -
- I
I
-- --
- -
--
I
I
-- --
- - ~ I
I

GS D GS D
need a friend,_ will you tell no lies_ Would you take me in, _ are y0u
break a - way ,- from your al i - bis_ Can you make a play ,_ will you
face the fire ,_ when you see me there_ Can you feel the fire,_ will you
D GS cs DS cs
lone ly in
meet me in in the dark_
love me in
No repeat 3rd time

DS DS cs
in the dark_ in the dark

I\~
DS cs
@) - .....____,.-
in the dark_
- ., ..·-
L....._ I I
-I
I
. .. - I
.
I
-
A A
v
A
v
A A I
I
A
- I
I - A A A I
I
To Co da
-"' ~
DS
-
. t
'I
@)
-
- -
~
-..____,,.-
~
- -
in the dark_
-
I
'·- - - -
• • Joli
- ...-
...
- ...- - - - - - - - - - - - - - - -
>
- ..-
- - - - - -. -
I I II
- - - - --
A A A ft
-- I -
I -. -. - -. -. I
I
-. - ------11
II
ES ES
Don't cha need_
"f turrrr
- -
--------
me, _
-
Hey
-.....____,.-
hey _ Don't
I
cha need_ me _ Oh yeah_
I I I
I - l I
I ft ft I ft ft ft I
NOVEMBER 1983, GU ITAR 41

Don' t cha need_ me,_ Hey hey_ Don 't cha need_ me_ Oh yea_
"1 u:..r rr r r "1 wr rrr
cs DS ES
Guitar solo
D.S. al Coda Coda

-t DS cs
in the dark_
DS cs DS ES
f\ "'
-....___.,- .
@)
- ---------
in the dark_ in the dark_ (effects)
>
-- ,.
---- --- ----- ---- ~ ~
~
- - -
I
I
I ..,
A A
-
.., - ..,
-
.., I
I
I .., A
-- ~1
I
I
,.
1•
1•

STEVIE RAY VAUGHAN
Following the dusty trail of Austin's latest

and possibly greatest blues guitarist, from the Cockrow
Hill Jamboree Skate Rink to David Bowie's Outhouse.
Nobody's Sideman
By Ed Ward
UNETEENTH-JUNE 19TH- people to celebrate their own holi- Johnny Copeland doing the cele-
J is a very special day in Texas.

By legend, it's the day that word
of the Emancipation Proclama-
tion reached Galveston Island . Ever
since then it's been a day for black
day, although, of course, anybody
with a mind to celebrate is usually
welcome.
At Austin's Liberty Lunch, a semi-
outdoor club near the river, it's
brating up on stage, while a salt-
and-pepper audience dances and
shouts encouragement on the side-
lines. Suddenly Copeland an-
nounces, "We got Stevie Ray Vaughan
played at the Cockrow Hill Jambo-
ree Skate Rink," he laughs. "I guess
I was seven or eight years old. We
finally figured out we couldn't play-
any of us! Tommy Shannon was in
that band, too." (Shannon denies
this, but not strenuously enough for
anybody to believe him.) His next
band was the Epileptic Marshmal-
low, which may have had the worst
name in Texas rock 'n' roll history.
"We played National Guard Ar-
mory gigs-sloe gin and apricot
brandy and daddy's bourbon if you
could sneak some into your ftask-
opening for bands like the Mystics.
After that we played in some dives
like the Cellar, the Funky Monkey
and the Fox, where they had fake
alcohol and strippers. We'd play from
10 to 6 a.m., usually alternating with
another band, which meant we could
sometimes pick up another gig on
the side. By that time I'd named the
band Blackbird. It was somewhere
t?
between what we do now and a sort
~ of Allman Brothers/Cream thing."
He'd also spent some time in 1968
and '69 playing bass in the Texas
Storm, the band that began to bring
STEVIE RAY VAUGHAN: "Hendrix was the his brother Jimmie some acclaim,
man with the King Tone. Everything he heard he but left when Jimmie's regular bass-
ist came back. The Storm played
improved upon. There hasn't been anybody since Austin fairly regularly, and it may
have been optimistic reports from
that could touch him. I'd like to think that I'm tak- Jimmie that caused Stevie Ray to
ing it further.'' relocate Blackbird to Austin in 1972.
Not that Austin was wild about pyro-
comin' up on stage, so now we're in Vaughan was born 28 years ago technic guitar in '72. Willie Nelson
for some real double trouble!" And in Dallas and got a guitar "with had just moved back home and
sure enough, up comes a kid in a cowboys and indians painted on it," anybody with a plug-in guitar was
silver-belly cowboy hat, who plugs as he remembers it, when he was probably trying to emulate Waylon
in and starts a guitar battle that very young. He graduated into the Jennings rather than Jimi Hendrix.
nobody's going to win except the real thing in almost no time, largely Blackbird played a lot of gigs in the
audience. because his older brother, Jimmy heavy metal club, Mother Earth, as
Stevie Ray would have been (who is the guitar power behind the well as at clubs on Austin's black and
spending J uneteenth somewhere else Fabulous Thunderbirds), was get- Mexican East Side.
if things had turned out differently ting into things in a serious way. "We never did play Armadillo
and he was still the lead guitarist in "He influenced me a whole bunch, World Headquarters," Stevie Ray
David Bowie's touring band. But for years and years," Stevie Ray says says, referring to Austin's best known
that whole matter has gone by the today. "His guitars were around, he beer joint of the era. "It was hard
boards and Stevie's got his own al- brought home records that I couldn't to get gigs there."
bum, Texas Flood, made with his help but like, and I grew up with it In fact, work was so hard to get
own band, Double Trouble, out on all. There wasn 't any competition that he broke the band up and went
Epic now, and he's preparing a tour between us; that's mostly in other to work with former Leon Russell
to show the world he's nobody's people's heads. I mean, we were budd y, Marc Benno, in his band,
sideman. The latest in a long line of brothers, but as far as musical com- the Nightcrawlers. The band went
Texas-born super-guitarists that petition, that's not true." Among the to L.A. and spent a lot of time in
probably started with Johnny Win- artists on the records Jimmie was the studio "making a record that
ter (whose former bassist, Tommy buying were B. B. King, Guitar Jun- never came out," Stevie says wryly.
Shannon, plays with Double Trou- ior and, yes, Johnny Copeland. Upon returning to Austin, he joined
ble), Stevie Ray Vaughan is pre- Stevie Ray's career started with a the Cobras, Austin's longest-run-
pared to kick some ass. band called the Chantones. "We ning blues band, an outfit that has
featured most of the finest players
in town at one time or another. He
stayed with them from 197 5 to '77,
before starting his own band, Triple
Threat, with W. C. Clark and Lou
Ann Barton. "Oooh," he says today,
"that was a mess. Everybody wanted
to be the leader at once." It went
the way most bands with that many
volatile egos go, and then Chris Lay-
ton, Stevie's current drummer,
showed up on the scene, and Double
Trouble was born.
"At first we had Chris on drums,
me, Johnny Reno on sax, Lou Ann
on vocals and Jackie Newhouse on
bass. We got along fine for a while.
But with the Cobras and Triple
Threat, we'd been playing straight
blues. I got to stretch out more in
Double Trouble, and that's one rea-
son Lou Ann and I didn't get along.
She didn't like my Hendrix stuff."
Ah yes, Jimi Hendrix. The guitar
player Stevie worships the way Mike
Bloomfield worshipped B. B. King.
The single most identifiable influ-
ence in his sound. The man with
the "king tone," as Stevie Ray calls
it. A lot of the criticism Stevie's
gotten since stripping Double Trou-
ble down into a trio two years ago,
is that he sounds too much like
Hendrix. "I play too close to Hen-
drix?" he says, goggle-eyed, when
confronted with this criticism. "Man,
I consider that a compliment! Every-
thing he heard he improved upon.
There hasn't been anybody since
that could touch him. I'd like to
think that I'm taking it further."
Whether or not he is, Stevie Ray
Vaughan has managed to wow plenty
of people in the past cou pie of years.
He and Double Trouble have been
one of the few Austin blues-based
bands to make it past the local blues
circuit into national and interna-
tional visibility. At l 982's Montreux
Festival he was heard by David Bowie,
who had already decided to opt for
a more traditional guitar, bass and
drums type of classical rock 'n' roll
sound. Bowie decided he wanted found himself in New York last fall, tune. Nile was real good at helping
Stevie Ray on his forthcoming al- making Bowie's Let's Dance album. to give suggestions as to what to do
bum, to be produced by another "Making that record was fun all next, but pretty much it was just
guitarist, Nile Rogers. At that point, the way," he recalls. "David would plug in and play. " He did, and there
Stevie's management was in the just say 'Plug in,' and I'd do the is very little doubt that at least a part
process of shopping some tunes that guitar part after the vocal. He was of the musical reason Let's Dance
he'd recorded at Jackson Browne's real easy to get along with. I was became an immediate smash single
Down Town Studio in L.A. with the there for three days and played for was due to Stevie Ray's hooky guitar
Double Trouble trio. Suddenly, with a total of about two hours. There lines.
two careers on his hands, Stevie Ray were only a couple of takes for each After the album was released,
however, Stevie had a dilemma. of monies offered to any back-up can ?o is floorboard it," he says with
Bowie's touring band was rehearsing musician or sideman in need of six- a gnn.
in Dallas at the new Communica- month's work. David Bowie's man- The core of Stevie Ray Vaughan's
tions Center, and word had come agement assured Stevie Ray Vaughan arsenal is a quartet of vintage Fender
back from Stevie Ray's manager that that all of the musicians had signed Strats. He's got a 1957 blond, a
Texas Flood had been picked up by the same contract." 1959 with a 1963 rosewood neck, a
Epic for release in June. He knew According to a spokesman for 1962 with "an imitation Fender neck"
that his own record was closer to Bowie, "David did not restrict him and a 1964 with one pickup. All
what he wanted to do, but he had in any way, as long as it did not pickups are stock. The only modi-
made his commitment to Bowie. "I conflict with the tour. David has no fications on the guitars themselves
really enjoyed making Texas Flood," problem with anyone promoting are that the '57 has Gibson bass frets
says Stevie. "I got a real feel for product. We're disappointed that and the '59 has a left-hand tremelo.
doing it myself. It was mostly just the people around Stevie Ray Other guitars, which he uses mostly
us three, focused on what we do Vaughan have grabbed every op- for fun, are a 1958 dot 335 Gibson,
best. It took us about three days." portunity for a publicity stunt." a National Duolian metal-body steel
Everything blew up on the very Whatever prompted the refusal to guitar, a serial number 0704, which
eve of the Bowie band's departure sign the contract, two things are Stevie thinks is the same instrument
for their European date, in Belgium. indisputable: the contract wasn't finger-picking whiz Blind Blake is
Stevie Ray was presented with a signed, and the Bowie tour has Earl pictured holding on page 220 of The
contract to sign, and depending on Slick on lead guitar. Devil's Music, a history of the blues;
who you talk to, either refused to Stevie Ray's not worried. Double and believe it or not, a Kay solid-
body electric guitar. "I always use
Fender medium-gauge picks," he
says, "and I play with the wrong
end ."
His strings are GHS Customs, in
.013, .015, .019, .028, .038 and .056.
Amplifying the patented Stevie
Ray Vaughan sound are two Fender
Vibroverbs ("Numbers five and six,"
he notes proudly), two Super Re-
verbs ("I use 'em off and on") , a
Marshall with two 12s ("It's really
like an overgrown Twin"), two Stu-
dio Master Valve Lead Masters and,
on Texas Flood, one of the legend-
Stevie and Double Trouble: Chris Leyton and Tommy Sha:inon.
ary Dumble amps. "It was Howard
sign it or was told to refuse. The Trouble is putting together an ex- Dumble who introduced me to Jack-
reason for his decision also depends tensive tour that will show the rest son Browne, which is how we wound
on whom you ask. Bowie's people of America what the regulars in up in his studio. His amps have that
take the position that Stevie's man- Austin's blues joints have known for old, clear Fender or old Marshall
agement, flushed with superb press some time: that this is an amazing tone."
notices after a gig at New York's guitar-player. As far as effects, most of them are
Bottom Line, suddenly upped the Surprisingly, Stevie has a very re- done by the guitarist himself. He
ante, declaring the money they were laxed, almost undisciplined ap- does use a Vox wah-wah, a tube
being offered not enough and mak- proach to practice and rehearsal. screamer and "I use reverb all the
ing demands that the Bowie tour "The first thing that happens when time and sometimes the tremelo."
re-route itself around Double Trou- I pick up a guitar," he says, "is that And that's it.
ble's promotional needs, including I have this lick I play, and I just do But with Stevie Ray, as with many
cancelling a gig so that the band it. Then I mess around, trying to of the very best and most influential
could play Montreux again this year. find something I've never played and inventive guitarists, the point is
Stevie Ray's people, too, say that before. I look for chords that fit, not the many effects pedals and
finances were an issue, although the good sounds. See, I don't read mu- gadgets currently available to mod-
figures they quote off the record sic, although I'm starting to read ify the sound. It all comes from a
and the figures Bowie's people quote chord charts, thanks to David Bowie. love of playing, a desire to keep
off the record are wildly disparate. Really, sometimes I have to ask the exploring the furthest reaches of
One thing that's not in dispute is guys what key I'm in! But I'll play musical expression and the instru-
the statement Vaughan's manage- along with a record or whatever ment, and enough talent to keep his
ment issued saying that "The monies comes to mind. fingers busy for many years to come.
offered Stevie Ray Vaughan to per~ "Before I go on stage I mostly Don't just take my word for it, either;
form as lead guitarist and vocalist warm up by playing whatever I feel, wait til Double Trouble comes to
for a six-month period were the sort because when I go out there, all I your town, and see for yourself. •
Ed Ward is the author of Michael Bloomfield: The Rise and Fall of an American Guitar Hero.
YOU'R G
I
ONLY 1u1r1z1NE I
I
I
IBOO~Ilill.C.'.N ---~
'
hRL•
Don't settle lo'. ham''~'""'"'''""' morn
If the picture. than talk about them"'" , ,, ''""'
Because
to now
youmont
Each
theres a
hhitGUITAR the chords
brings tyhouheav1est
songs-from e. metall1cksth~or1ggk ~1~;;1cs-1n
, to
''""" '"' ''""to "
standard
~.':!r,:tr"'" ""':'::: ""' "'"~.1~ ~~~:: '""'''"

GU ITAR gives yo sts create
FOR THE PR ---- J
INTRDD~4~TORY
o. Poet'""''"'·
t too h
those g
t gu1tar1 ------ OFFER 3 I
how expeyrou can play them k scene is sec- I --
, SPECIAL NY 1057 II
. GUITAR-Box
And GUITAR 's c~~teh interviews , ~~ucti more
and how rage of the roe les stage Clip and Mail To. Age ·· ··-
and to none ull out posters , an Introductory
pass photos , P f these Special I $10 48 I ''m" -- I
So take advantage t~s of GUITAR for~~ ynce or
s;x$~oono nseo~~~~ co~s1der tr~sof I "''"" •o I
~r~~v~nfif1 ~ea(i~~~ ~~~t:1~9mFo~W~~~1~~:~~cket
Offers , get off the
I '"'" I
me 6Y~ar
Both subscrip d get you a I Cdy
D Senda lull
YES! me
"""for,.$~Pocket
'""' "issues) ":," Beatles Song- II
SED!(12I get
mus1cba~
D Send a 256 pag
m?a~eh~ose
sheet when you pre-pay ense to choose I D ....... " ' ' " I
,•;~;~~i'
"'
Beatles Song oo sic doesn 't it GUITAR I
l1k~ ~~t '"°"'"' . to ~l;~~k~U~TAR se~c::_
So if you gives it to you agazine- when you FREE . """"" '"' mooey
the magaz1n ttle for reading am
Afterldablle, wpl~~ ~~ one
cou 1 __ D'"'only)
II....__funds
Please ••.'.'.,;~_
allow 4 ' " " ;'""
- - - -
" '"'"'
Do not "" _I"'"-'"" -"''""- '":'.. - - ::..J I
I
I
I
Asia's at the top
of the charts.
Here's Howe.
Steve
Howe
of Asia
VIRTUOSO OF THE ROCK GUITAR
BY JOHN STIX
N THE EARLY 70s THE tained musicianship were turning radio play. It was a resounding com-
I proponents of Britain's Art

Rock movement effectively
leashed the electricity of rock
and dressed it up in a tux. Groups
like Yes, King Crimson, Genesis and
their heads away from Art Rock mercial success, Billboard Maga-
toward the jazz/fusion sounds of zine's Number One album of 1982,
Chick Corea, Weather Report and causing purists to call it watered
John McLaughlin. But in forming down sludge, while rockers made it
Asia with ex-U .K. and King Crimson Top 40.
Emerson, Lake & Palmer traded bassist, John Wetton, veteran Yes In Montreal, preparing Asia's
spontaneity and spunk for precision guitarist, Steve Howe, created a vir- second album, Alpha, Steve Howe
and musical sophistication. Musi- tual All-Star lineup of Progressive stands aloof and above the battle.
cally, the mix was adventurous and Art Rockers. With fellow Yes-man, He's already earned his stripes and
demanding, too complex for Top Geoff Downes, on keyboards, and his riches. His place in rock history
40. But while many critics and fans Carl Palmer, as in Emerson, Lake is assured. With his preference for
were shouting bravo, others cried &, on drums, Asia seemed to many playing lines through chords, notes
foul. Was this really rock 'n' roll? nothing less than a second coming that suggest chords rather than the
Weren't these Elizabethan fops just of the Movement. Yet their debut chords themselves, Howe is an ar-
a mite pretentious? album replaced classicism with a chitect of sound textures. His style
By the mid-70s, devotees of streamlined song structure and lyr- is as unique and distinctive as that
serious experimentation and sus- ics expressly designed for modern of Andy Summers or Eddie Van
Halen.
GUITAR spoke with Steve about
the evolution of his guitar style, his
JOHNWETTON
approach to songwriting, his days
with Yes and the formation of Asia. son. On half of those gigs I was
G: Do you recall when you knew blasting away with a fuzz tone on all
you had your own style? the time and getting weird harmonic
STEVE: I'd always wanted to have stuff. But there are certain limita-
my own guitar style, but other peo- tions to being a virtuoso bass player.
ple said I had one before I was There are quite a few of them around.
aware of it. I remember thinking: Unless they write songs their lon-
Are you sure I have my own style? gevity is only as long as it takes for
I wasn't so sure. In 1968 I was in a someone to come along and play
band called Tomorrow when I re- faster.
alized there were things I did that After Crimson broke up, I felt
other guitarists didn't do. I've always very frustrated. I went with Uriah
enjoyed not using the ordinary gui- Heep and Roxy Music over the next
tar licks, for instance. For a long two years simply because I couldn't
time people played blues guitar. Al- find the right people to play with.
though I like playing blues guitar, It was better than sitting home starv-
you don't hear me playing many mg.
blues phrases. In some ways it's a
~ G: Has Asia tried to divorce itself
question of finding the most obvious
~ from the 70's progressive move-
things I play and then digging in
~ ment?
around them to be more unusual
and more original. I'm not limited JOHN: We've not ignored the fact
to just one instrument. I've played that we were part of the 70's move-
John Wetton's singing and bass playing
a bit of mandolin, the koto and some have already become a trademark of Asia's ment, but we decided that the main
steel guitar, because the guitar isn't fx>P sound. He started his career with King
strength of our band now is not in
always enough for me. I also use Crimson in the seventies and has been a taking extended solos. We wanted
them because I may not have found formidahl.e presence ever since. to go back to songs.
the right guitar part. When you G: Do you have a particular bass
don't know what to do, sometimes that feels like home?
it's easier just to do something com- G: How did you first get interested JOHN: I still use the same Fender
pletely different. in music? Precision that I've used for the last
G: Do you have an approach to JOHN: I come from a musical fam- 16 years. I bought it in 1967 for
soloing? ily. My brother was an organist and $70. On Alpha I also used a Rick-
STEVE: I certainly like to know the choirmaster at my church in Eng- enbacker and a modified Gibson
changes. I like to immediately estab- land. I had to learn bass lines be- Victory bass. But the Fender is still
lish something when the guitar en- cause when he was practicing at the king. I don't know what I'd do
ters. It can be a tune or a theme, home he didn't have any bass pedals if I lost it.
but I don't like to wander in ~ithout to play on. Playing Bach pieces gave G: What modifications did you make
confidence. In Heat of the Moment, me a fascination for the relationship on the Victory bass?
when we get to the back chorus with between melody and the bass line.
JOHN: It has a wider and flatter
the solo over it, I could have come G: Did playing in fusion type bands neck and frets, so it's more like an
in and improvised. But I came in like King Crimson and U.K. force EB3 neck. The real modification is
with a tune. Something usually comes you to study the bass in a different the addition of a trigger device so I
to me to start off an idea. The real way? can play the Taurus Bass Pedal from
test is in developing that idea. I also JOHN: King Crimson certainly did. my bass. Robert Moog set it up so I
think about the climactic approach. I began writing seriously for the first can play the same note on the pedal
That's why I don't hover in the same time. I was also shot to the front of as I'm playing with my hands. I also
area of the neck for too long. I don't the stage as a vocalist, which I en- have another Taurus Pedal for my
think it gives my playing enough joyed very much. It was a good feet. On stage I use the Victory 50/
scope if I sit in one area of the neck. building period for me. But after 50 with the Fender. The Fender has
G: Do you have a problem editing Crimson I became less Aambouyant, a Vega Wireless so I can be mobile.
yourself? in that I regarded playing the in- Part of the last rehearsals were to
STEVE: There have been times when strument as something that enabled decide which bass I'll be using on
I've played more. A lot of it has to the song to work. It was no longer each song.
do with the balance of the music something I tried to play as a lead
itself. I can remember times in the
early to mid-70s when I was consid-
guitar, which is what I did in Crim- •••
ered too fast and flashy by the critics.
I disregarded them. I was just going
was available. John Wetton and I
played with a few other musicians "When your music •
..
•.
'•.
along my own little course, which I (Simon Phillips was originally con- demands quality
was happy to do. We had so much
going on in Yes that I daresay I was
sidered for the drum spot) and picked
the best of what we had. We didn't
and performance. "
•.
.
overplaying because everybody else have a supergroup concept in mind ••
was also doing it. That's what made when we formed Asia. It just hap- ••
the production a lot harder with Yes
than with Asia.
G: Have you ever thought that you
may never play the Yes material
pened that the quality of the musi-
cians I needed and wanted to play
with were of this ilk.
G: Are you a better guitar player
NS·ZBASS
t:
Mother of Pearl Inlay
'!'Ill
...
••
•••
again? A whole chunk of your mus- now than you were five years ago? I~
ical career is gone.? STEVE: I would like to think that 1•
I
STEVE: Some of it Yes never played after 25 years my technique is very
again. In time I'll be doing things good. Now it's more about who I
that recapitulate my career. I'm sure am and what I want to do with it.
I'll do a couple of songs from Yes. I'm not saying I know all there is to
Let the others play bits of Yes. For know, because I don't. I do hope
me it lives in a different world now. my technique will continue to im-
G: How do you feel about Yes get- prove, but it wouldn't worry me if
ting back together? it didn't. There's a great deal more
STEVE: I have mixed feelings. It's I can do with what I've already got.
a bit like putting a mask on. It What I look for now are certain
depends on whether there is a cre- leaps. For several months I'll be at
ative rebirth. I wouldn 't want it to what I call the normal standard .
sound like the old Yes. It's too easy Then one day I'll think of a shape
for them to do that. They will need or some way of moving on the fret-
something musically exciting. board that I hadn't thought of be-
G: What do you remember from fore, and that will start a leap.
those days? For example, side three of Topo- Send for free brochure
graphic Oceans was my 1976 leap.
STEVE: Time and memory change I went from thinking that I shouldn't
things greatly. I think of Yes in '72
and '73 with Fragile and Close to
the Edge. That's when we reached
play certain cliches, to realizing I
could twist some of them in different tQaQdoliQ bros:,J
positions and related keys. There FINE FRETTED INSTRUMENTS
our highest point with the best in- were intense sections on that album
tentions. I would also say those were where I went back in and made my
the definitive band members. I re- playing less jazz and more rock 'n'
member when we recorded Round- roll. Sometimes a lot of notes don't
about, that we thought we had made work well in rock music.
one of the all-time epics. Jon An- A small leap that I'm doing now
derson and I wrote that in Scotland. has to do with clarity. I'm able to
It was originally a guitar instrumen- think clearly about what I'm actually
tal suite. You see, I sort of write a playing. When I let myself go, I can
song without a song. All the ingre- wander off into the dark corners of
dients are there-all that's missing music. At the same time I can relate
is the song. Roundabout was a bit like to what is needed. It's like hearing
that; there was a structure, a melody any piece of music and knowing I
and a few lines. When the Americans can play on it. I expect myself to be
wanted us to edit it for a single, we able to do that with anybody now.
thought it was sacrilege. Here the It's a basic talent that I want to keep
song was so well-constructed and very much alive. I think I lost that
quite over the top-but in the end Large selection of Gibson mandolins, pre-WW2
feeling of total flexibility at the end Gibson, Vega, Fairbanks banjos, and C F Martin
we had to edit it. The song did very of Yes. guitars. Instruments in every price range by:
well. In fact Jon and I won an award Stelling, Ovation, Crate, Guild , Dobro, Sigma,
G: Are you a heavy practicer? I'm Yamaha, Kentucky, Gold Star, Flatiron,
for it in 1972. Washburn & Maccaferr i. Insurance appraisals,
G: What d id you do in the interim talking about practicing what you consignments accepted , cases, Casio & Suzuki
can't play? electronic instruments. We ship everywhere.
between the breakup of Yes and the
formation of Asia? STEVE: I'm not studious in that M ANDO LI N BROS. LTD .
sense. I fi nd progress hap pens 629 Forest Ave.· S tate n Isla nd , N.Y. 103 10
STEVE: T here was no interim. As (21 2 ) 981 - 3226
soon as things went sou r in Yes, I through discovery, not through that
In S tock - Martin Custom Gu itars :
got this together. It was low profile. The 1934 Reissue D-28 Herringbone $1,495.
T he 1939 Reissue D-45, $3,000.
I was just feeling around to see who Continued on page 60
NOVEMBER 1983, GU ITAR 51

ROUNDABOUT
As recorded by YES
Words and Music by
Jon Anderson and Steve Howe
Bm Bm/A Gmaj7 G C Csus4 Fadd9 C7sus4
Slowly and freely

mm mm mu ar11 a 11 Brisk 4 (~=about 126)
10 2 4 4
II I I II
~ Acoustic guitar solo
} j
~
I'll be the Round a bout,_ the words will make _ __
[fil
'#~J~
-
j
you
lfi
out - 'n - out.
~ I "j_ )#J ?J
I spend the
~
~
day
I ;Jl j
your
~'-/~i~ jP
way;
Bm Bm/A Gm7 Fadd9
'# "j_ j
call
J) J J J J I J J J J J J J J I J ) =- ~·
it morn - ing driv - ing thru the
-------==
sun and in and out the val - fey .
=---=----
.I
4
}-...__..,j
The mu - sic dance _ _ __ and sing,_
J1• JF J J
they make the chi! dren real - ly ring. I spend the day _ _ __
~ Bm
I¥ j J) J J J JI
your way; _ _ _ _ _ _ __ call it morn - ing driv - ing
Bm/A Gm7 Fadd9
'# J J J J J J Jl J I J 4 J. ----------==----
jJJ J J J J II '--/
thru the sun and J in and out the val - fey . In and a - round
e - ven m
Copyright © 1972 Topographic Music ltd. and Rondor Music (London) Ltd.
All Rights Administered by W.B. Music Corp. (ASCAP)
International Copyright Secured All Rights Reserved

;g J J J J Jl f J 1 J i J J P~I
the lake_ moun - tains come out_ of the sky_ and they stand_
'I J).______, j J JJ
there,_ One_ mile o - ver
we'll be there and we'll see you_ Ten_
,~~J J J J qJ J J J lqJ) j
true sum - mers we'll be there and laugh - ing, too._
•
To Coda
[Q]
,~ •
~3.e
~ 'J.
~ '---"'
J J J Jlq~ J ~ ~.______,If- j ~'~ j j j II
Twen - ty four be - fore my love you'll_ see, I'll_ be there with you._
4
[EJ 2 2
I
·(1st 2 bars) (Organ break)
I
'I J :P J 'I
will_ re - mem - ber you,_ your sil - hou - ette _ _ __
D.S. al Coda
~
iii1Jl~J
will charge_ the view of dis - tant at mos - phere. _ _ __
Coda
-$ @) con't.
2
II
(Organ break)
4 4
II
..--.. ,..-....
#~ I ~ #F ~ E E j EI ~ #F
'I
c:::t
A- long the drift- ing cloud_ the ea - gle search - ing
~ ~
down_on
r ~I
e
the land,
......... ..........
'I #~
c:J I~ #r ~J E j r I ~ #F ~4 r ~ I
e
Catch - ing the swirl - ing wind,_the sail - or sees the rim_ of the land,
~1 r
The ea - gle's danc - ing wings_cre - ate as weath-er spins_ out of hand . . .
4 OJ 4
@)
II
(Organ solo)
.......... ,..-....
'f #~ Cl I ~ #F ~4 F r F I ~ ir ~ ~ r ~ I
e
Go clos - er, hold the land,_feel part - ly no more than _grains of sand ,
w
,. 'I #~
c:J I ~ ir ~4
........
F r F I ~ ic ~4
..........
r ~I
e
We stand to lose all time_ a thou-sand an - swers by- in our hand,
OJ
~-
........ ,..........
'I#~ Cl I ~ #F ~4 ~ E F I ~ ir ~ rE E F I e
II
Next to your deep - er fears_we stand sur - round - ed by_ a mil - lion years .
I'll be the Round - a - bout,- the words will make__ you out - 'n - out.
II
I'll be the Round - a - bout,_ the words will make_ you out - 'n - out. _ _
,. (I] Freely
11
(Freely)
JJ J J II
Acoustic guitar interlude
In and a - round_

(Sustained chords on organ)
G Gmaj7 G6 Bb
~-~J I J J u oJJ J J o_fa J PJJ ~cs1 I •

the lake_ moun-tains come out_ of the sky_ and they stand_ there; _ __ •••
G F Bb Eb
*
.......___.,,
J J qJ J J a lq.P j ]) JJJJJe II
Twen - ty four before my love and I'll be there.
I'll be the Round - a - bout,_ the words will make _ _ you out - 'n - out.
~ Bm
¥ )#J J ,J~J1 j 'f j ;1) J j J JI

I spend the day your way ; _ _ _ __ call it mom - ing driv - ing
(No chords - bass figure
Bm/A Gmaj7 Fadd9 ~ only; seep._ )
~- J j J J J J J J I 0.J£J2fJ J J J JlJ J1~J I

thru the sun and In and out the val - ley . In and a - round_ the lake_
~
moun - tains come out_ of the sky_ and they stand_ there,_
[a
'f J~J J J J lqJ J J J ; j ~~tJ I I 'f
J)._____,
One_ mile o - ver we'll be there and we'll see you_ Ten_
[El
~~=J I II 'f
J1•....__.,j J J JI
_ true sum - mers we'll be there and laugh - ing, too._ Twen - ty four be -
(Em)
,. qJ J J J~J) j ~f}j j j il!t.CZ22JJ: I! 1j jgla4a

#
fore my love you'll_ see, I'll_ be there with you Dada da da da_
7 times
......__.....
~ 'f
I #! g g ts=ll2
'-----'
da _ _ da da da da da da_
[!] 2
......__.....
Ii a I II
da _ _ da
Extended jam omitted
ROUNDABOllT

Acoustic guitar - freely

(,'..
g] +
V pos. 3 XII pos.
r.-.
'l!:
u-
Synthesizer Harmonics
Harmonics----,
IV pos.
Harm.---,
Brisk steady 4
Open pos.
r i
*Also see note on page 70

-
lliJ *
••
•••
••
-
Note : [f2Jand ~ are basically the same figure but starting on different beats.
3 9

---_- _-_-_-_-:.: :-_
. r-3 P.O .
P.O.
[] 17'- V pos. XII pos. V pos. 3

+ 17'-
3 3
Acoustic guitar
Harmonics Harmonics

I '
I '
I '
'
''
I
I
I
.. '
- - -
f\ ...
I -
IV pos.
/
- - -
- -
r.-.. {i '•
I
I
-- -
~ ~
I
,. " •
- @)
4~-& '•
Harm .
one pick one pick .... I
~
-
- ,_
- -- ·-
~ ;:;
-
A
-- ·-·- '
(
't
•t
't
't
t
V pos. 't
.,._ .,._ •t
-
,. "
f\ ... 3 ~
•1 -
~ ~
• -
- ~ 3~ ~ #- • -
~
@.)
one pick one pick
- --~-- -... -. -- - -~-- - u -
" ... IV pos

- .
- - - -
--
I
- .
-&---------------
<I -
,...-
-
'
@)
u
- 4
.
-- - . - ~
--
- - -
I :l ~1
-- - - r.-..
/'I .IO
~ ~·
'
.- - -- -
I I I l
~
- --
I
-
~
I I -,
- - - - - --ii --
•
r r
' u -~
-
i r i
@)
-
one pick
r
-
i 'O
-- - . -
-- -- . -- -
-;; .... -::-::-:.-
=
;;
-- - - v
-- - .
-
-- -" - -
"
;;
-
-
v
"
NOVEMBER 1983, GUI TAR 59

Continued from page 5 I
sort of discipline. I obviously know

the value ofleaming scales and chord
inversions. That's how I originally
started on the guitar. I enjoy the STEVE HOWE: "I'd
instrument. I don't look at it as a
work piece. always imagined that a
G: Do you ever sit down just to player's sound was syn-
explore and discover new sounds?
onomous with their
STEVE: If I'm going to practice or
rehearse with other people there's guitar. Now I know that
got to be a certain amount of sounds
at my disposal. Whether I'm at my it doesn't matter which
home 8-track or in a real studio, I guitar I play, it sounds
overdub in the control room. That
way I play a comp~ten~ rol~ in de- like me.''
veloping and contnbutmg ideas to
my guitar sound. So yes, I do look
for all the tools of the trade. How
the guitar sounds fit in is very im- STEVE: I develop particular sec- quired to play it was there. During
portant. I also use sounds that are tions before I nail everything to- the first Asia tour I occasionally
not always musical. I never lock up gether. It may be a chorus or a verse, played that piece and enjoyed it
a song and say it's only just music. but I know I've got the simple mus- immensely.
I tend to think about the sound and ical idea down. We put the backing
what I can do with the guitar besides G: How do you approach perform-
track down and I fill in a certain ing a song live as opposed to re-
building the musical structure. part of the picture. Ot~er parts n:iay cording it?
G: A moment ago you mentioned still be needed, so I will be lookmg STEVE: Playing on stage has got to
writing "a song without a song" can at either unusual sounds or a part be as much like the record as we
you elaborate on that? that expresses to me something about feel is necessary. Careful consider-
the song. Often your experienc~ will ation has to be taken for how you
guide you through. .Other. times make the step from recording to
you've got to use more mvent1veness playing live. Many groups moan when
and pursue your idea. Mainly I come they make records, saying how great
up with the right ~extur~s and color~. it was in rehearsal. Other people
I try not to combme lyric~ an? music reverse the situation and say they
until I've got a substantial idea on shouldn't have done so much over-
either front. I used to write the dubbing. I say if a record is a pleas-
words and tunes together. That's ure to listen to then it's totally irrel-
the way you get spontaneous songs. evant how it was recorded. In some
After doing that for many years I ways once you start overdubbing you
found the songs took too long to have to do a considerable amount
write, because I'd become so careful on the track to get it to sound right.
about each arrangement. Then there On stage there are decisions to make,
is the identity thing. You have to but the decisions are usually more
sound interestingly different, but at about sounds than parts. Usually I'll
the same time not far removed from mix up the parts, but as a rule I will
the personality that signifie~ who is stick with the lead . For many years
playing. I like songs to be different. I did a mixture of lead and rhythm.
It's not very ambitious doing an I played in three-piece groups with
album where all the songs sound the an added lead singer. We played
same. soul music and before that, Chuck
G: What is your favorite composi- Berry songs. My favorite groups re-
tion? lied on a limited number of people
STEVE: Without thinking deeply playing with limited technical prow-
about it, The Ancient, from Topo- ess, but they were tight and exciting.
graphic Oceans, is quite a high spot G: Looking into the future, what
for me. I never tried to play a piece would you like to be known for as a
quite that challenging with a group guitarist?
in the studio and then on stage. STEVE: Virtuoso is a word I adore.
629 FOREST AVE. • STATEN ISLAND, NY • 10310
(212) 447 7500 FREE BROCHURE When I played it on stage, all the It's a tall order and one I attempt
care and gentleness that was re- Continued on page 95

•''
''
Performance Notes for Roundabout ''
''
Chris Squier, bass player from the group Yes, developed a unique style in the early 70s. He plays mostly '
'. I
'.
with a pick and uses a Rickenbacher 4001 bass. The song Roundabout is an excellent example of his '•
flashy, driving bass lines. The notation used demonstrates how it is played. ' I
In the opening lick the right hand sustains a constant sixteenth note rhythm f77i etc. except where it '
I
I
I
is marked H.O. (hammer-on) . Here you pick once for each of the two notes. The left hand plays written ' I
notes .fTn normally ; the Xs ,.c:::;=n represent a muffled tone produced by letting the string up
I
I
slightly or dampening the string with the other fingers. ' I
''
Bass Lines for •''
•'
•'
ROUNDABOUT •
I
I
I
As recorded by YES Words and Music by •I

I
Brisk 4 Jon Anderson and Steve Howe

11
Guitar solo
11 -
H .O. H.O.
I II I
. I
I .. II
II .. . .. ... .. .. .. c~• ------
I
I
R epeat 3 times
H.O. H.O.
a bout,_ the words will make _ _ __
H.O. H.O.
Copyright© 1972 Topographic Music Ltd. and Rondor Music (London) Ltd .
All Rights Administered by W.B. Music Corp. {ASCAP)
International Copyright Secured All Rights Reserved

you out - 'n' out. I spend the day _ _ _ _ __ your
H.O . H.O.
call it morn - ing driv - ing
thru the sun and in and out the val - ley . ____________
H.O. H.O .

•
..
.•..
f\ .i.I
'
..- - -
01 -
"
•.J
··-·- -
.,
...
- ..-· .-·. - --
I
• ,.. ,.. •
~
~· ~
~ ~
________
... .ff- .ff- ...
I I
I I
-
n
..-· - -- ..-·
n ... ..,
- -
.., ..-- -... -- - I
-
n I
c
I
c
•
'•
I
'c
and sing,_ they make the chi!
H.O.
I spendthe day~~~- your way ; ______
H.O.
f\ .i.I
-
, .,,
@)
'1 ..
.,
-~
- '
- - - -~
- -
~
- - - - - - ~
!~
call it morn - ing driv - ing thru the sun and an out the
- ven in the
I ··-·- -.... ~
~
I II
-- I
-
v
..,
II
I
- II

val ley, ____________________
--- iIn i
and a
• '-----"
round_
'
- I
'
~
- I I
I
I
-
., I
I
moun- tains come out_ of the sky_ and they stand_
2nd time only
there,_ One_ mile o - ver
~· ~·
J J J
'
t , t ,
I l I
l
-
I -
~ -... ...-
I
I . -
...- ... ...- I .
... ...- ~
I
I
• •
we'll be there and we'll see you_ Ten_
~·
J
.
..__..,, . - J
-------- ------- ~· •
I I I
- - -
I
I ft ft
.- ft 1
I
- ft
- . . I
I

•
..
•
•
..
•
•
.I
• I
•
- .. I . .. -,
true sum - mers we'll be there and laugh - ing, too._
..
I I I •I
•I
.. - .
I
I -. I
I • •
I
I •I
•I
•I
••
•••
•'•
......___...... .. - .. ' . ~
Twen ty four be - fore my love you'll_ ~.

see, I'll_
•
•'
.
I
•
-- .'-----"' . . ... '---'
'
'
I I
- . . - . I
I ., . - . - -
v
I
I
To •••
•
Coda
I
I
I
I
I
be there __ with you. __
. •
. I
I
I
... ... ... ... . . x ..

.,
,.
H.O. H.O.
I .,,
,.
I
-
r~•
- - - - ~
"
.:---.
I
I
I
I

3 3 2
will_ re - mem ber you,_
H.O.
-------
ette _ _ _ _ _ _ _ _ _ __ will charge_ the view
H.O.

..
•
D.S. al Coda
•
•
..
~ •
•
.
•'
•'
•'
•'
mos phere. _ _ _ _ _ _ __ •'
•'
•'
•'
I'
•'
I'
H.O. •'
I '
I
'
'
'II
I'
•-
Coda I '
'••
I\ IO '•
I -
-- .......__ -
_____,,, -
- - •
I 'I
'' v
@) •I
•
•I •
•
..
··-·--JI" '" .. . -
-- .
-
~
. • . .,
,
-
~ ~
r
> >
-
> -
>
r
-
>
.,
I II I I
I
I
II
II - -
" " -"' I
I -
"
-- "-
I
I
- - .......
I\ IO
,, .,
,
- -
@)
3
·- ....,
ft I
,.........
~
.,
... • -
~
-
~
- - (';
II• I I
I I•
II
-
n .,
- -" -
" I
I -
"
-
"
-" -
"
I
I
-- ..-.
..
I\ IO
~
@)
v
- -
3 -, ., R epeat as necessary
··-·- .. -••
I
,
-
~
- .....
- - - ., .....
- • ...'--.____-/#
I •I I
-- -- --
I .11
-- -" ;: I "
- - -
" "
II

pick up to organ solo
>,.----..._ ~
4 .0. .0.

TABLATURE EXPLANATION
Definitions
Tablature A six line staff that graphically represents the guitar fingerboard. By placing a number on the appropriate line, the
strin g and fret of any note can be indicated. For example:
5th string, 3rd fret

3
1st string, 15th fret,
2nd string, 15th fret
II
an open E chord
played together
r· i rl rr•
Position Position markings are given in Roman numerals above each excerpt. Remember that the position simply means the fret
hat your 1st finger plays on. For example, TI pos. means that your 1st finger plays all the notes on the 2nd fret, the 2nd finger plays
th e notes on the 3rd fret, the 3rd finger on the 4th fret , etc. One fret for each finger.
H!:~~:: ~·~~;~~ f~r":.~ make i ure that know t:e scale, wr h Is the basis of almost all rock solos.
The blues scale can be played at any fret; the position marker will tell you which one is suitable for any given passage.
Extended position The ordinary fingering position on guitar is one finger to a fret. Thus, the left hand covers four frets. An
extended position means that either the 1st finger or the 4th finger is stretched out of position to .reach a certain note.
Bends As every rock player knows, the pitch of a note can be raised by pulling (or pushing) a string across the fingerboard,
increasing its tension. In both the traditional and tablature notation, the note that is fingered is the one indicated. An arrow above
the note tells you how far to bend it: the word "half" for a half step higher, the word "full" for a whole step higher. If the arrow is
vertical, have the string pushed over before you strike the note. If the arrow is curved, strike the written note first, then push it
higher as indicated .
Shake The symbol for a shake (or exaggerated vibrato) is - - . It is performed by rapidly pulling and pushing the string across
the fingerboard, alternately increasing and decreasing its tension.
Slide A slide up to a note looks like ,,.,..,... . Start a few frets below the note; strike the string and arrive at the written note at the
proper time.
A slide away from a note can either go up J or down .-......_. In both cases gradually release the finger pressure on the string
so it fades away indefinitely.
Pull Off (p.o.) Strike any note played with the 2nd, 3rd , or 4th finger and without picking again, pull off the finger sharply so that a
lower note sounds.
Hammer On (h.o.) Strike any note played with the 1st, 2nd, or 3rd finger and (without picking again) hammer another finger down
sharply so that a higher note sounds.
Bar A full bar is used only for rhythm chords. Partial bars are sometimes used in solo playing. They are indicated as follows: 1/3
bar covers two strings, 1/2 bar covers three strings, 2/3 bar covers four strings.
Holding A Chord Position The symbol ,___-----; (borrowed from keyboards) means to hold a given chord while playing a single
note figure.
Letter Names Letter names such as [6J[ID(g etc. are to enable you to match up the lick or solo in Section 2 with the proper place
in the complete song cued in Section 1 .
Abbreviations
/ means to repeat the preceding beat or one beat figure .
&EB J
7
, , is played
' E±J E±J E±J E£j I
J J J J
:/. means to repeat the preceding measure
tfr J
' •=1 r r J
j j I
r is played
r r I
;!, means to repeat the preceding two measures
i D E 2
~ vr v~~ r vv 1
is played *
D
nr
E
, D E
' vf vi v lvr v?f r p- l p- ' E -

'/

SPECIAL NOTES FOR GUITAR SOLOS
I CAN'T QUIT YOU BABY
The guitar fills behind the vocal 0 ffi] (gJ [ill IQ) and [8J are played with a bottleneck or steel tube worn on the pinky of the
left hand. This explains the sliding quality of many of the notes in these fills .
ROUNDABOUT
Fills (gJ [ill the 1st part of (fil and [8J can also be played in harmonics on acoustic guitar as follows:
8va - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - 1
harmonics - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
etc.
\
\
WHEN THEY LEARN ON AN ELECTRIC GUITAR
\ THEY LEARN BETTER AND YOU ENJOY IT. RE.
Remember the thrill you got the first time you
~
,
strummed a chord on an electric guitar?
Sammy mini electrics are designed to build on
that feeling and turn enthusiasm into learning.
TO
\ ,
The small bodies and slim necks are
made for young hands. Precision machine
heads mean Sammys need less tuning
MAGAZINE
and the optional electronic
tuner permits visual
~·~ ' ~ ~ ;-, unamplified tune ups.
RETAILERS:
"" "; Connect the Sammy GUITAR Magazine is pleased to an-
to a small amplifier
(with optional battery nounce its "Retail Display Allowance
.~ pack), amplified headset Plan" available to retailers interested
(for private listening)
or our unique mini-amp-on-a-plug. in earning a display allowance on
Sammys come in the three most GUITAR Magazine. To obtain details
popular body shapes all at one low and a copy of the formal contract,
price. Padded carry bags and cable
included. Add our mini bass and please write to the Marketing De-
start a guitar band. partment, Kable News Company, Inc.,
Both you and your students 777 Third Avenue, New York, New
will enjoy the results_.
York 10017, our national distributor,
Sammy Guitar
239.00 List. who will act as administrator of our
Write for plan. Under our Retail Display Allow-
Complete Price List. ance Plan, in consideration for ful-
filling conditions of the agreement,
you will be entitled to receive a display
~
~50 (516) 489-2203 allowance. This plan will become ef-
Hempstead, N.'<. fective for all issues you receive sub-
124 Fulton A11enue' sequent to written acceptance on our
behalf of your application.
A
FTER A TIRING DAY
in front of the camera,
shooting the cover for his
current album The Prin-
ciple Of Moments, Robert Plant was
glad to take a break and go out with
a few friends for a meal at Cohen
& Wong's-a lively restaurant lo-
cated in the heart of London's West
End, that specializes in both Jewish
and Chinese cuisine.
Upon our arrival heads turned as
other diners immediately recog-
nized the former Led Zeppelin
frontman. But happily his privacy
remained uninvaded and he was
able to relax in peace.
Food and drinks were served, and
soon Robert started talking about
his imminent return to the road.
Munching on a Reuben sandwich
and downing a few beers, he was
clearly looking forward to going back
on tour. It wasn't long before he
started reminiscing about the 'good
old days' with Zeppelin.
Suddenly, he broke off in mid-
conversation, his attention diverted
by a blast of nostalgia from the
jukebox: Shop Around, by the Mira-
cles, a Tamla release from 1960.
Almost immediately, Robert started
singing along for a couple of bars
before he declared emphatically,
"What a great number. This is one
of the songs that first got me going,"
he observed. "In fact I can remem-
ber when it came out."
Somewhat ironically, only an hour
or so earlier, we'd been discussing
his early influences and I discovered Robert Plant and his new guitarist, Robbie Blunt.
that he'd become hooked on music
at quite a young age.
"By the time I was 12 I was pretty
well aware of the current trends in
ROBERT PLANT'S
pop music and also things that
weren't immediately that popular,"
he recalled. "People were buying
- HISTORY
stuff that was in the American charts
that wasn't particularly breaking out OF
over in England, like Ritchie Valens
and the Miracles and I got into all
that. There was a lot of black Amer-
LED ZEPPELIN
ican rhythm 'n' blues stuff which by Steve Gett
opened the doors to the Muddy
Waters/Sonny Boy Williamson type ''The more accessible stuff was the Howlin Wolf. Willie Dixon would be
of things that were coming out on sort of thing that people were ac- playing bass on a Chuck Berry rec-
Pye. People like Chuck Berry and tually pushing out to sell as hit record one minute and then next you'd
Bo Diddley paved the way for me ords here, like Berry, but then you hear him on Long Distance Call by
to listen to the more bluesy kind of became aware of the Chess Record Muddy Waters.
material. label, which included artists like Continued 011 page 82

I CAN'T QUIT YOU BABY
As recorded by LED ZEPPELIN
Words and Music by
Willie Dixon
09 A 07 E7 B~ A7 E9
II gsfr. 11 msfr. .fr. msfr. mm7fr.
Very slow blues ( about 40) J=
Freely (Vocal lin e 8va higher than actual pitch)
N.C.
&i
f ~
_;J I r r f !f J $
I, I, can ' t quit you , babe,
in tempo
09 3 A Fill [1j
A gr F E F r1 F ra J?;
'
'f ¥
so I'm gon - na put you down_ for a while; _
,---J---i 07
'f •1¥ Ef r Fl
I said, I can't quit you , babe, _ I guess I got to put you
A Fill (ID E7
3
F i4 J CE
' down for
09
a while ;
r--3---, 5
Fill [g A B~
Said, you messed up my hap - py home,_
A Bb
E.SJ ,,
.J E r F f • I l]g;J
, , ,
' I1 II
1 'f
I I
$ I
$
J
made me mis-treat my on - ly child.--
A
5d• r , 09
,,.-....
&"I Yes, you know ' r~

:::I
love you, ba - by,
f !f &gS
My love for
CJ E CJ
you_ I could
I
'f A
J
nev - er
17
hide._
A7
Copyright© 1965 and 1969 Conrad Music, a division of Arc Music Corp.
110 East 59th St., New York, NY 10022
Oh,
Used by Permission

3
At§; I~ ij_ -JJ

~
r ~ J j J J JI I •
I •
yo u kn ow I love you, babe, _ _ My love for you l could nev - er I'
I'
I'
I'
I'
[Q) E7
I '
A I '
'•
r r {).
I
~ ) JJ J J E E
'
"( " I
J •,•'
•
hide; And when I feel you near me, lit - tie girl ,_ I
I •
•
:·
::
,•
D7
bb rd• b F ~ d- ·*~
A Bb
~ I , A Bb
, II
'
r-7
F ij_ r-
7
r-I rI
I know you are my one de sire. _
,'•
,•
,•
A7 D7 A A7 •
, -,r-
'
I
r- r-I L rI rI rI rI rI r-7 r-I r-I r-I r7 r7 rI
Solo [fil
D7 A
, , , , I, , ,, , I,
, , , , I, , ,,
'
7 7 7 I I 7 I 7 7 I I 7 I
7
~
E7
rI ,:/_
r
, r-I
I r-
D7
7 7
r- r7 rI
A
rI rI rI
Bb
, ~
A
r7
Bb
rI
, II
A7
, , D7
, , I/
A
, A7
, ,
'
I 7 I
Solo[£]

07
E7 D7 A Bb A Bb
, , , , , , , ,
1 I1 1 II
' I r- I
r7 r r r- r- r r-7 7 L. r- r-
End solo[£:]
A D9
3 3
J J ~j J J J A ¥JJjJJJI
When you hear me moan - in' and groan - in ', ba - by , you know it hurts me deep
A Fill (QJ A7
'
1 'f
J J- J
down in
'----""'
side ;_
J
A
J
Oh,
D7
5--. 3 E
)
J fl ,f J j I
' j J;-- ~ . 1
b
if 1JJ } J J x
I
x
I
xI
. ,
when you hear me moan - in' and groan - Ln , ba - by , you know it hurts me deep down in -
A Fill [Ej
-
'
A
J
side; Oh,
E9 D9
r ,,
r r s· fEt ::J· bi Fd,,~
E
'
'f F d E 1 'f
E
when you hear me hol - ler, ba - by, you_ know you're my one de - sire!
A Bb A Bb A Bb
f7',
~ I1 II
'
7
r- r- 7
1 7
r- 7- A 1 r-7
F
Fill W

- -
I CAN7 QUIT YOU BABY

Tablature explanation see pg. 69 I
.
•
I
I•
I •
I
'I
one pick
'I
I
I
.---- 3 -
' Full----,
3 --___,
Full Full~ '
'
t
,.. Full
.. :..----. ... .. - - j j HO~
.. - ,,.1.---..... ../ •t T• .."\ 't
t
-•1
, , .,
.
A -- -
t
-
- - _,
-- .IL
't
't
I
@)
- '•
t
'I•
Full Full Full H.O~ Full Fuji~ '••
•I •
..-• .- .-
i •
..- -- .,- -.,- .,- - ..- .. -' ..- ..- - '•
-
..-------- - -v
- 't
'
"' I•
,•
I•
•
,--3 Full-,
t ______ r-3----, Full-,
-
A
r7
,
-~
-- • - ,;,;
• .. - --
H.O .~
- .. - ~
_,
..L----.
,
-,,.,
,, "
@.)
-
Full tt.o.~
Full
.- ..- - - ft
-'
-., - -
u
------- v
-.,- .,- - -
u
"'
.-•.
"'
3
-.."' . -
I 3-, I ~
- - - - - - - - -
I
,, "
A
- ,_
-
,, -..
~
- --= - - -
~--
'9
~
@)
-
--::
:; -
~
"' - ..- - ..- - - - -
--, -. ..-
.. ~
6
.." 3
. . . - - - ......_
- -·
,_ -
- - - -
~
~~ ~
'
""
-
~
@)
bi •
~
~------------
~
- ..
-
- ..-
!;
-::.. ..-'! -
"' - -
"' -
-
"' -.. - .-.
"
Full----,
Full
Full
I ---3---,
Full

3 ~I beat
-• -
V pos. 6
I\
\,I
- -
• • I I I
- - - -
v
- - -
-
v v
3 6 6

f\ 6 6
-•1
.. ... .. ... .. ... .. ... .. ... -

- --
~
" -
~
-~
@) ~--- ~ ~-
. p
-
. -- . -- . -- . -- . -.
-- --
~----------Onebeat--------...,--------,
6
6
-""
I
==
~-
6
. - . - - - - --.
-
-- .. • • •
I~
~ ... .. ... • -One beat
- - - - -- -
I
-
~ ~
-
@) -
. -
-- - - .- - -. ..- - -
-
-- p
-
-- - -
-- -
-
.- -. - - - w
- -- - - v
- - - - --
2 Full tones------~
XII pos.
i---One beat
1~'f:.
"f!:.-"f!:.
-t
A
A
• "f!:. "f!:. ~
f\
- - -
•1
- '*" .. ., .
@)
- 2 Full tones
1'
-- -
1 ·-·-
-- -. -
-
·-
·- ·-·- ·-·- ·-
·- .
A Bb Vpos A
"fr----3- 3 -3---,
-
Full

-
r--3--,
V pos. 6
.u,3 3
I\
• •
- ...J
I
- v -
- v -
3
.. ••
- -- - -- -
3 3 3 e I
..
I\
' "
.LJ.
,..._
~
~- ·- - - - -- - - - - - -
- • - 1*"
~
1*"
•••
@) I
I
....,_ ..- - ~
-
- I
I
c:
v
- - - - - - -
~
-
D
-
r
- ft
I
- - - -
~ ~
v v
"' I
•
••
~
•

3 ~ 3
JliU L J J @J J
3
J J
Full
Full Full Full
Full Full
-J-.:--i
3 3
Full Full
1/2 1/2 1/2 1/2 1/2 Full
A
B.---~--1-__..,l t------'-1-3 ~1------,1
Full

Full- - - - - --.
V pos. ----3 r--3-------,

~~+~--
· -r F [ 1ff [ r #r I J> 'I EEf F "{ f I
- --·ft·-
Full
- - -- - --
p p p
i
-. - -
ft
p --
- - -- -- -
p
- - ft
Full Full Full
-3--++
Full
r---3--~
+--3---,
- -
~---3------.
,.,
..-
f\
.I
al - - • - • • - -- - - - • • "
., - •
-.
@)
FuJI Full Full
- - -- -- --
p p
Full
i
p
+-+
-- - - -- -- -- - -- --
- - -- --
~
-
"
A 1/2
I I 3 t11
:j 3
I
3
- -
I
-" -
'
~
v
@)
-
I I ~
-- - - - -- -- -- -- -- -- -- i-......J
1/2
t
-
p
- -- - - - - - - I
- - . .
p .!.
Full
I<
f\
'I
"
-
A
-
B~
r - -- -- 3 - - - -
"!
-- - -- - -- - - ---
3 3 1
r--- - - 3 - - - - - -
3
~
----..,_
-
• .. . --. - -. "
"
"
- ~
v ' -•
@) I I ~ ~ -.i......._ .I - ~
Full ~ l:n::
1
- - - ·-,...--.....-
,...--.....
-
ft
-- - -- -
-- - - -. - ·- - -- -
: -
=
- - ::
-
~
::
:;

Co11/11wfd j.-0111 page 71
and electrifying concert appear-
"If you looked to see where it all ances. The line-up of Robert, Jimm y
came from, you 'd step back a little Page, John Paul Jones and John
bit further. And the great thing was 'Bonzo' Bonham was an incredibly
that it never got worse-it always unique combination . Their forte was
got more interesting." an essential high quality of musi-
Robert Anthony Plant was born cianship, combined with a diverse
on August 20th 1948 in Brom which , range of musical styles. While they
Staffordshire and during his child- could rock with the best they also
hood he learned to play harmonica, had their mellower moments, but
kazoo and washboards. However it's never was there any compromise in
with his voice that he made his mark. their overall approach.
During his twelve year stint with Led The band's music was consistently
Zeppelin he established himself as good and their records have all stood
one of the finest rock singers in the the test of time extremely well. Clas-
business. sic songs like Stairway to Heaven,
Zeppelin themselves were one of Whole Lotta Love and Ramble On have
the world's greatest rock groups and ageless quality, which
they brought pleasure to millions prove how good they
with their masterful vinyl product
a;
c:
u
0
rn
"'
~
(.'.)
Introducing: Robbie Blunt

would dream of playing alongside comparisons were inevitable.
O NE OF THE HIGHLIGHTS
of Robert Plant's debut solo
album, Pictures at Eleven, was the
an artist of Robert Plant's stature.
But although many readers may be
unacquainted with his previous track
"Robbie and Jimmy are very much
alike in some respects," assesses Plant,
"but I don't actually think you can
top-notch guitar work from Robbie record , Robbie Blunt is no new- compare them . Robbie listens to the
Blunt. From the pounding Slow comer to the scene and has certainly Allman Brothers and people like
Dancer to the delicatel y mesmerizing paid his dues over the years . that, and he also knows and loves
Moonlight in Somosa, he not only During the 70s, he played in a Jimmy's work. I'd say he's in the
displayed his dexterity as a player, variety of bands including Bronco, middle of several idioms though. He
but he also proved that his style was Silverhead and the Steve Gibbons doesn't rush and he picks with a lot
extremely compatible with th e sing- Band . However it's only through of finesse. "
er's voice. working with the former Led Zep- During the recording of Principle
On Plant's latest album , The Prin- pelin frontman that he's finall y come of Moments at Rockfield Studios in
ciple of Moments, Robbie's contri- to the fore and started earning some Wales, Robbie Blunt gave an exclu-
bution to songs like In the Mood, of the recognition he so justly de- sive interview to GUITAR in which
Horizontal Departure and Big Log acts serves. he provided the low-down on his
as irrefutable proof of his talent and Not surprisingly, there are those career.
affirms that he's definitely not a man who have been swift to liken his G: When did you start playing gui-
to be ignored. Surely he's the envy technique to that of a certain James tar?
of countless aspiring guitarists who Patrick Page, but then again such
82 GUITAR, NO\' EMBER 1983
·-• '
•''
•'
• I
Led Zeppelin rose from the ashes with Atlantic Records and by the •'
of the Yardbirds in August 1968, middle of October, the New Yard- •'
when guitarist Jimmy Page found birds had metamorphosed into Led • I
himself in possession of the band's •

Zeppelin. •''
name but without any accompany- The Zeppelin saga from 1968 to •'
ing musicians. A 10-date Scandi- 1980, when John Bonham died so •'
navian tour had already been sched- tragically, is a fascinating subject,
uled for the following month so Page but until recently neither Robert,
swiftly set about the task of recruit- Jimmy nor John Paul had under-
ing band members with the aid of taken any kind of in-depth retro-
his manager, Peter Grant. spective study of the band's career.
He initially teamed up with noted As f(lr as Robert is concerned, Led
session player John Paul Jones and was enlisted as drummer for the Zeppelin is very much a thing of the ''
'
subsequently they landed upon Rob-
ert Plant as lead vocalist, following
New Yardbirds. past, and not surprisingly he's far
The four musicians began re- more interested in his Cl!rrent solo
·:
a recommendation from Terry Reid, hearsing at Page's house in Pang- career.
'•
I
who had in fact been their first bourne, near the river Thames; prior But the fact remains that there ::
choice for the job. Robert had played to their departure they recorded an are still a lot of fans who are eager
with John Bonham in the Band Of album at London's Olympic Studios. to know more about Zeppelin. It
Joy and it wasn't long before Bonzo Peter Grant secured them a deal was therefore most gratifying that
Robbie: I suppose I must have been something else. When they gelled called it The Honeydrippers. We
13 or 14. I had a guitar, but I didn't
know how to tune it or anything. I
they were magic. did a few club dates, which was great
G: Bronco was your first major band. for him because the people were
i
just used to pick out single string What are your recollections of that? very close instead of being 30 rows
,•
things or whatever.
Robbie: Well, we did two albums
back. We were basically doing old
r'n'b stuff, and although I like that
::,•
G: What made you want to start and went to the states. Mind you,
playing? a lot it's not totally fulfilling. So then •
my first impressions of the states
we thought we'd try and write some '•
I
,•
Robbie: It's a bit difficult to say weren't very good at all because we
really-I suppose it was a mixture were living in Los Angeles on a very
stuff and we came down here (Rock-
field) and that's more or less how it •,•
I
of things. It was at the time of the low budget and just doing club gigs ~
came together.
~
advent of the Shadows and I guess like the Whiskey. It didn't really hap-
in those days everybody wanted to pen so we came back. The second G: What were you doing prior to
be in a band. You just said, "You album was really good, but then we that?
play drums, I'll play guitar" or what- had a bad road acciden~ which really Robbie: I was with Stan Webb
ever. knocked us sideways. (Chicken Shack) for a long time but
G: Can you remember your first G: How did you get to know Rob- that sort of ground to a halt and so
electric guitar? ert? I went up to the Midlands and just
went and played wherever I could.
Robbie: My first electric was a Haf- Robbie: Robert bought this place not
I thought it was better to play pubs
ner Colorama, but the first decent far from where I live, but in fact I'd
than do nothing. Then I had a stint
one was an SG Junior. It had the known him earlier than that. I sup-
with Steve Gibbons. There was a
double cut-away and was a beaut. It pose he was a bit of a patron for the
band called Little Acre before that,
cost about $100 brand new! Bronco boys. He used to come up
but I was with Gibbons for about a
G: What were your early bands like?
to our rehearsals at the village hall.
year and did an album with him.
It was socially more than anything
Robbie: Mainly trios, a lot of blues When that went, I even played with
and I'd occasionally have jams with
things. the Weapons of Peace, which was
him.
like a reggae band. It was very en-
G: Who were your influences back G: Did you ever consider the pos- lightening, a totally different spec-
then? sibility that you might work with him trum, but still good.
Robbie: When I was 17 or 18 I met one day? G: Coming back to the present, how
Gordon Jackson who'd been in a Robbie: No, not really. We were did the recording of The Principle
band called The Hellions in Worces- basically just mates.
ter, which had also included people of Moments differ from Pictures at
like Jim Capaldi, Dave Mason and
Luther Grosvenor. Anyway, he did
G: So how did you actually come to Eleven?
be involved in his solo career? Robbie: Well it's been more gruel-
••l
this album and I played on about
four tracks, which was a great edu-
Robbie: Well, with the passing of ling. I suppose I had a lot of ideas
Bonzo, he was at a loose end. He tucked away for the first album,
•Il
cation for me. I even did a track
with Steve Winwood. I think that
didn't really want to carry on with which were already formulated and
Zeppelin, which I thought was right, more or less ready to use. This time •I
I
had a lot to do with the way I am and so we just got together and did it's been tough because we didn't
now, because I thought Traffic were a gig. It was something to do. We Continued on page 9 5

Robert should agree to talk to GUI- dates and he reckons: "That's what Was Page a dictatorial character
TAR about those 'classic' days. the whole thing was all about. It was to work with though?
When I'd initially suggested to like 'Oh gosh, that's a good idea!' "No, not really. I think in the early
Robert that he break some of the and the thing is it would be in a days he nursed and coaxed the best
silence and discuss Zeppelin, his in- split-second that somebody would out of me and continued to do t!-:at
stant reaction was to grin, light one do something. with a great deal of tact. I was very
of his regular Winston cigarettes, "It's been obvious on a lot of the 'green', but then again if I got up
and jest: "Oh I can see what we're records anyway. Even things like and sang, I just got up and sang-
in for here!" Achilles Last Stand (from the Pres- that was a different area to anything
However he actually proved will- ence LP) which was a studio track else."
ing to talk about most of the topics before we did it live. You can see Robert immediately gained a good
I raised. I began by asking him about the interplay." deal of attention for his amazing
those early rehearsals at Jimmy Page's That spontaneity was well evi- vocal powers and by the end of 1968
house way back in September '68. denced by Zeppelin's first album, he was singing in front of American
"It was incredibly illuminating,"
he declared , "because right from the
word go everybody's musical dona-
tions, and what they were adding,
just cascaded. More and more vari-
ations of the same theme kept on
coming out because it was a com-
pletely untapped source of musical
creativity."
Jimmy Page and John Paul Jones
had already established themselves
as session men, whereas Robert and
John Bonham had basically just been
playing in clubs, and one wonders
whether it was like ha:ving two sep-
arate factions within the group. a highly raw and energetic package. audiences as Zeppelin embarked on
According to Plant: "Bonzo and I A quick blast of something like Com- their first U.S. tour.
were really raw and we'd had none munication Breakdown attests to this Success came pretty quickly in the
of what you might call the musical fact. So how does Robert look back states and Robert remembers: "It all
etiquette of schooling-the kind of on the band's debut LP in 1983? really started off on the West Coast.
environmental thing that they'd had. "Oh, obviously I was very proud. Initially we played a couple of clubs
That doesn't mean to say that they I was incredibly hungry, not to im- and it was reasonably eventful, but
hadn't got the wild side of them as press, but to get my pe·rsonal point it wasn't earth-shattering. The mo-
well, because Jimmy has always across, which I'd been trying to do mentum grew after about two or
maintained that characteristic right in the Band Of Joy for ages without three weeks into the tour. The al-
up until today and tomorrow. any particular success, which was bum had gone on ahead of us and
"But it was interesting because we very frustrating. And suddenly there the radio stations had been playing
were just kids who could play and was, to use that old term, a 'chem- it and there was a definite kind of
were used to going out and gigging. istry' that allowed everybody to ex- remarkable buzz in the crowds. It
We'd played together for so long in press themselves. So it was very was the first time I'd ever experi-
the past anyway and it was quite vital." enced anything like that. It was the
obvious that we could just get to- Having toured Scandinavia and first time for me outside England,
gether and play with anybody." played several British clubs as the apart from Scandinavia. In fact I'd
So how did the four band mem- New Yardbirds, the band made their only been to London about three
bers go about finding a common debut appearance as Led Zeppelin times by then!"
musical direction? on November 9th 1968 at the Middle The Led Zeppelin album hit the
"It was basically after going Earth club in Chalk Farm, London. streets in January '69 and over the
through a lot of Jimmy's records (Coincidentally, this was the same ensuing months the band spent most
and finding out that we did have day that Robert got married.) Sub- of their time in America. In fact, by
similar tastes that we just drew some- sequently, they continued to gig in the end of August, they'd completed
thing from everywhere. I mean there clubs. Robert felt that a lot of people three major U.S. tours. One would
was the old Dazed and Confused/I were basically coming to see Jimmy have thought that such a prolonged
Can't Quit You Baby type stuff which Page on those early dates, bout of roadwork would have been
was immediately accessible and within "jimmy was the name" he replied, exhausting.
our grasp to translate, if you like, "but at the same time I think people "It didn't bother us at all," says
or re-translate." were aware that he wasn't going to Robert, "because we kept on reach-
Robert is also adamant that spon- put his name to anything that was ing different levels that surprised
taneity was a key factor in the way half-hearted. And in actual fact me, and your eyes just opened more
the group was working in the early everybody was received pretty well." and more to what your possibilities
•''
•'
were and what fun could be had." health by my lady at the time." time, but if it was happening it wasn't ••
Despite the pressures of constant Upon their return to Britain, Rob- that evident anyway. You didn't get •'
touring, the band actually managed ert and Jimmy took a well-earned the kind of media diarrhea that sort
•
•••
to write a lot of the second album break and went to Bron-Y-Aur, a of follows success these days." •'
on tour. cottage in Wales, where they sub- Zeppelin were quite well favored
"Most of it was written on the sequently wrote material for the third by the press though in those days.
road," the singer reveals. "Some of album. "Yeah, but it was another style of
it was recorded in New York and Robert reckons that it was a re- press then. It was more of a kind of
Los Angeles, and we even did a vocal freshing environment and adds: "It fanzine-type approach. People did
on one track in a tiny little studio in also gave us the ability to enlarge take it seriously too--any musician
Vancouver. It was pretty immediate. our relationship and make it a bit
It was great having the capacity to stronger, because it wasn't all music. I '
t
I
do that and gigs as well. Bands don't Charlotte Uimmy's lady) and Mau- I '
t
normally have the time to sit down reen and Carmen (Robert's wife and I
t
and write something like Ramble On daughter) came along too. We just I
or What ls and What Should Never Be had a jeep and off we went up into •'t
I
on the road." the hills with a couple of guys who I '
I
Led Zeppelin II came out in Oc- were good personalities. It was like
tober '69 and a good deal of urgency a different lifestyle-almost a 'per- :·
I
I
that must have stemmed from writ- fect' lifestyle and we existed within ,•
ing on tour was evidenced by tracks it quite well." •'
I
I
like Hear/breaker and Whole Lotta Love. An opportunity for returning to I
I
The record leaped into the charts, normalicy?
subsequently occupying the number "Well I don't think the chances
·:
one slot for seven weeks. Robert for that were ever on! But it was a :·,•
admits to being surprised at the way another way of working."
••
•
it took off. In June 1970, Zeppelin appeared
"I was flabbergasted and it never at the British Bath Festival in front
ceased to amaze me what was hap- of 200,000 people and some reckon
pening. It took me a long time to that this was very much the turning
take it all in my stride, but I don't point after which the band never
think I actually went over the top looked back.
on the strength of it." Robert's not entirely convinced who works hard and spends months
In an earlier interview, Robert about this and opines: "I never really writing and recording and trying to
had implied that his ego may have considered that there was any par- perfect his kind of musical ideal has
gotten a little out of hand in the ticular point to turn to , or even any got to be given a bit of time. You
early days and I wondered if he still points to be made. It was just a case need an open mind by the press, at
believes this to be true. of getting up and playing. Primarily, least initially."
"No, I don't really think so. I that was what it was all about and, The whole situation with the press
might have thought that, but in ret- as I now know, that's still what it's had changed dramatically by the end
rospect I can't imagine that my ac- all about. I don't know whether we of the 70s, at which point many
tions were any different than any- became the cat's whiskers or the writers dismissed Led Zeppelin as
body else's under those circum- most prominent band around at the the dinosaurs of rock.
stances. I had a lot to take in , but I Robert believes: "The reason for
seemed to manage to do it without that was because you had another
becoming too much of a 'looney'. generation of writers who either
"If I look back now at the gigs we couldn't relate or the things just
were doing then, I think there wasn't didn't appeal to them at all. But you
that seriousness that developed later still can't knock something that's
on. If there was a conscientious mood good. If someone's over 25 when
about everybody, it's evident in the they make it, that doesn't mean to
fact that we were working very hard say the music's lost it's credibilitr,
and playing really well together." and the artist can't relate to his
By April 1970, Zeppelin had com- audience and that kind of thing.
pleted their fifth stateside trek and Because what he's doing is he's re-
word has it that Robert actually col- lating to his music. And that is alive
lapsed at the end of the tour. and well in every musician, however
"Nah, nah, nah, I didn't collapse," many people have decided that it's
he denies. "My voice packed up in either not in keeping, or obsolete,
somewhere like Salt Lake City or or out of reach, or whatever. That's
Phoenix, where the heat is so bad why we do what we do .. ."
that it affects your voice terribly ...
I think I was nursed back to good Part II Next Month
NOVEMBER 1983. GUITAR 85

NEW
ftt0~UQT8
Music Technology, Inc. an-
nounces the re-issue of its Vantage
VLP Model guitar. This limited edi-
tion model will feature all of the
guitar's original specifications and
will be available in a high-gloss black
finish. The VLP is constructed of a
birch wood top with arch design,
mahogany back and sides and a
three piece mahogany detachable
neck, with 24%" scale, rosewood fin- Bass Strings
gerboard and nickle silver plated GHS has entered the low price
frets. It features two custom de- bass string market with their new
signed Vantage Hi-Output Hum- Bassics line. They are round wound
bucking Pickups, Separate Volume strings, of stainless steel and nickel
and Tone Controls, plus a Coil Tap. construction. Three Long Scale sets
The hardware is rounded out by are available: Light (which features
Roto---matic Style Close Ratio Tun- balanced tension) .040"- .058"- .080"-
ing Gears, a Tun-0-Matic Type . l 02"; Medium Light (traditional
Bridge and a Stop Bar Tail Piece. tension) .044"- .063"- .080"- . l 02";
Left handed models available. and Medium (balanced tension)
Music Technology, Inc. .044"- .063"- .084"- .106".
105 Fifth Averiue CHS Strings,
Garden City Park, N.Y. 11040 2813 Wilber Ave.
(516) 747-7890 Battle Creek, MI 49015
Effects Rack Unit
DOD introduces a new line of
professional equipment which will
replace all existing 800 Series rack
units and expand the line with sev-
eral new units. Redesigned chassis
will not only give the series a dis-
tinctive new look, but will also house
dramatically improved electronics
and components. Pricing on the new
models will, however, remain largely
unchanged. Units will be designed
as follows: R815A 15 band EQ;
R830A Dual 15 band EQ; R831A Powered Mixers
31 band EQ; R825 Compressor- Fender announces five new pow- ent monitor mixing busses and two
Limiter; R835 Crossover; R875 ered mixers to join their Pro Sound patchable graphic equalizers. Models
Flanger Doubler; R885 Analog De- line. The leader model 3106 is a 6- 3208, 3212 and 3216 incorporate
lay; R895 Spectrum; R900 Digital channel mono unit with 200W out- four graphics and 8, 12 and 16
Delay. put, separate monitor and effects inputs respectively. Prices range from
DOD Electronics Corp. busses and a patchable 9-band $1495 to $2095.
2953 South 300 West graphic equalizer. List price is $895. Fender/Rogers/Rhodes
Salt Lake City, Utah 84115 The other four models are 200W 1300 East Valencia Drive
(801) 485-8534 stereo units. The $1195 list model Fullerton, CA 92634
3206 has six inputs, two independ- (714) 879-8080
4-Track Cassette Recorder
A new addition to the Yamaha
Producer Series Line of miniatur-
ized sound reinforcement equip-
ment is the MT44 4-Channel Mul-
titrack Cassette Recorder. An
excellent companion to the Pro-
ducer Series MM30 Portable Mixer, Foot Pedal
the MT44 permits independent re- The EXR Projector, model SPiii
cording of four tracks with full offers three state-of-the-art func-
overdubbing capability, in a compact tions in one rugged, cast alumin.um
package weighing just 12 pounds footpedal. First is the EXR ~xot~r
and measuring approximately one psychoacoustic. processor w~ich will
Strobe Tuner foot by one foot by four inches. project your instrument mto the
Independent record level controls foreground without cranking the
Peterson Electro-Musical Prod- are provided for each channel, a?d
ucts has announced the availability volume or EQ. Second is a volume
a choice of Dolby B and C n01se pedal with a fully adjustable EXR
of the new model 450 strobe tuner. reduction is included. Zero stop and
It features a full eight octave range Process Pre-Set. Third is a built-in
zero start functions make it simple frequency direct box with a contin-
with full temperament accur~cy to to relocate a specific point on the
within 113 of l/lOOth of a semitone, uously variable input/output of up
tape quickly, and full logic transport to 40 dB gain and XLR Connector
back lighted dials, automat!c image control buttons respond instantly for
clarifier, input and output Jacks for output. A twelve segment, three color
greater contro! in r.e~ordi.ng: situa- bar graph and four function LEDs
in-line tuning, built-in condensor tions that reqwre cnucal ummg.
mike, LED strobe lights, solid wood allow easy visual mounting at a glance.
Yamaha International Corporation Suggested retail price i.s $299.
case solid state components and a
larg~ visual readout. List price is P.O. Box 6600
Buena Park, CA 90622
EXR Corporation
$349.00. 3373 Oak Knoll Drive
(714) 522-9011 Brighton, Michigan 48116
Peterson Electro-Musical Products
11601 South Mayfield Avenue (313) 227-6122
Worth, Illinois 60482
(312) 388-3311
Microphone
The Audio-Technica Model
AT8 l 3 is a wide range electret con-
denser mike with a unidirectional
(cardioid) polar pattern. It was de-
signed for use in profes~ional re-
cording applications and ts equally
suited for serious amateur record-
ing, high quality sound reinforce-
ment pickup situations .. The AT~ 13
features a high-effioency wmd
screen, balanced low-impedance
output and a professional-quality ca-
NIW ble connector.

Audio-Technica U.S., Inc.
1221 Commerce Drive
Slow, Ohio 44224
fl0~llQT8
Barry Lipman ON THE CASE
hardware is completely gold-plated, tuners sitting in a six-in-line peg-
while mother-of-pearl inlays sit in head, and a tremelo bridge of the
the fingerboard and peghead. most popular six-screw pivoting re-
The guitar is buzz free up and movable spring variety. There are
down the neck, getting a good va- two humbucking double-coil pick-
riety of tones from the two double ups controlled by an either- or -both
coil pickups. There are separate vol- pickup selector switch, a phase switch
ume and tone controls for each and a set of master volume and tone
pickup and the usual three-way se- controls. Black dot markers sit on
lector switch for either or both pick- the edge and top surface of the
ups. There is a weakness with three fingerboard, as does a pretty good
fret bends about the 12th fret. That set of factory adjustments.
might not bother some players but The plastic nut is well-filed for
I strongly feel that a rock and roll the strings supplied. The action is
guitar should have the ability to average with plenty of room for
The Gibson Les Paul Custom has bend well all over. adjustments in either direction.
long been a standard of excellence It's likely that some careful mi- The bridge allows adequate in-
in the guitar industry. The instru- nor adjustments can correct this dividual adjustment for action and
ment reviewed here lives up to most problem. It is a good demonstration intonation and holds tune as well
of these expectations-with an added of the axiom that guitars, like fruit, as can be expected for this type of
surprise. There's a factory installed must be picked individually. Other tremelo bridge. Extreme bar use
Super Tune Vibrola tremelo in place than the slight adjustment problem, would throw out the tuning some-
of the usual Tune-o-Matic bridge and this is a state of the art professional what, but many would consider this
stop tailpiece. The Vibrola bridge guitar that should satisfy anyone's to be "Close enough for rock and
works great, allowing you to go wild urge to own a Les Paul. Listing at roll."
with the bar while remaining in tune. $1299 and selling at considerable The frets are smooth and pol-
Even when heavy string bends are discounts in many parts of the coun- ished; the guitar is virtually buzz-
intermixed with multiple dive bomb try, I award this guitar a conditional free. It does however, tend to cut
effects, the guitar holds tune with five cases. When it is perfectly ad- out on three fret bends all over the
exceptional accuracy. justed, this '83 Les Paul Custom with fingerboard. This may be of little
The tremelo is thoroughly ad- Vibrola may someda:Y be a collector's consequence to some players. But it
justable and its block and concealed piece. is a slight drawback in a guitar of
spring need only a shallow mortice this type. As I am sure that some
(hole) in the top. A roller bridge samples bend better than others, you
and locking nut solve the friction would do well to try several if a good
problems that distort tuning in most bending axe is required. I award this
other tremelo systems. guitar four out of five cases because
The bridge provides overall and the Ibanez RS model 125 is a profes-
individual action adjustment with sional quality guitar at a price many
convenient individual intonation ad- beginners can afford.•
justments. The tailpiece incorpo-
rates fine tuners for when the nut GUITAR would like to thank the
lock is used. There are two slight Sam Ash Music Store in White Plains,
drawbacks to this design. The fine N. Y. for providing us with off the
tuners are a little too close together shelf instruments.
for comfort and the nut lock often
breaks the thinner strings because
of the direct action of the alien Guitars are rated within
With the new Roadstar model
screw on the string. These minor 125, Ibanez has once again shown theirnown price range.
drawbacks do not prevent this from that a guitar need not carry a high
being an excellent tremelo system price to be a serious musical instru- c!J,,.. ?- EXCELLENT
for practically any guitar. ment. With a list price of $295 you ~1 - VERY GOOD
0
The guitar itself is a fine ex- get a lot of guitar for your money.
ample of Gibson craftsmanship. The guitar has an offset double ~;-:· -GOOD
There's a flawless black finish over cutaway body with smoothly carved <f} - FAIR
smoothly carved contours with con-
trasting white bindings on the top,
back, peghead and fingerboard. The
maple neck. Both feature a satin
blond finish. The hardware includes
high quality adjustable enclosed gear
&- POOR

.-•
'
•'
•''
•'
•'
•
•''
•
•'
•'
I
•'
Question: What is the best guitar ally plastic. They will work quite well in guitars that already have_ brass ••
•
polish? if properly filed for the string gauge. nuts, a drop of motor oil (any oil in •••
Answer: The many types of so- A little Chapstick can work won- a pinch) will greatly ease the sliding ••
called polishes on the market fall ders for any friction problems. Ivory of the strings. Graphite nuts may be
into three basic categories. There and bone nuts also work very well. the best on the market, but at this
are wax polishes that are made of They require practically no lubri- time they don 't have enough of a
various waxes, usually thinned to a cation, but an occasional bit of track record to be more than exper-
liquid consistency, and often applied graphite (sold as a lock lubricant in imental. In general, I see little rea-
from a spray can. These allow a most hardware stores) in the slots son to switch nuts unless your guitar
buildup of dirt-impregnated wax will help. For any friction problems has a brass nut to begin with. •
that leaves the guitar looking a trifle
dull and smeared. There are silicone
polishes that form a laye r of silicone
over the surface of the finish to fill
in scratches and enhance the shine.
These form a tough protective ov-
erlayer that may be quite practical
for car finishes, but I don 't believe
they are of much use on a guitar.
My personal preference is for the
true polishes: those that contain an
optical-quality abrasive and leave no
residue or layer behind. You use
them by first cleaning and then bur-
nishing (rubbing vigorously) until
the polish dries up and flakes off
(see the directions on the can for
details) . I recommend DuPont #7
as one of the best: it is available in
man y auto parts stores as well as in
the automotive departments of many
supermarkets. It will also do a ter-
riffic job on your car. It should not
be necessary to polish a guitar more
often than once a month. A soft
damp cloth will usually restore the
shine if there are no waxes or sili-
cones present. One final note: only
gloss finishes in good condition
should be polished . Old and checked
finishes, as well as "natural" and
semigloss finishes, require specific
individual care.
Question: Is there anything to be
gained by switching to a brass nut ?
Answer: There is no good reason
to switch to a brass nut. Although
brass is an excellent material for
many uses, when used for guitar The Wireless
nuts, it tends to "grab the strings" Nady 49 Systems Innovators
also available
too much to allow for smooth equal- with lavalier 1145 65th St.
ization of the tension differences microphone Oakland , CA
and for musical
that occur on either side of it. This instruments. 9460 8
causes tuning instabilities particu- 415-652 -2411
larly for heavy note benders and t-
bar users. Stock guitar nuts are usu-

PLUGGtlNG IN a unique vibrato, distortion and re-
verb. All of these can be controlled
Elliot Randall is a prominent studio
by foot switches. It has more than
guitarist based in New Yark. H e has
enough power with its 120 watts
worked with Steely Dan, Joan Baez,
RMS. It lists for $775.
Ashford and Simpson as well as on The only flaw I find is the lengthy
numerous commercials and movie sound- decay of the reverb circuit. But that's
tracks (Fame and Blues Brothers). H e the most common problem with
has also been a producer and recording
spring reverb units. In fact, the only
studio owner.
reason that I notice this at all is that the way and still have the feeling of
the rest of the amp's performance not being thin. For power rock this
W
HEN SHOPPING FOR the
right guitar amplifier, there is so splendid. tends to be fine. But I'd love to see
are a few important factors I find the distortion control use- still more choice of coloring. It's not
to keep in mind. Of co urse , d e- ful. Rather than hearing the speak- a particularly quiet amp. That is to
pendability is a must. Some guitarists ers brea k up because of an enor- say it squeals, hums and feeds back
prefer amps with a variety of built- mous amount of amplitude, the easily. The higher the volume, the
in sound effects. Some go for sheer distortion is achieved before the sig- noisier it gets. But the quality of the
power. Also, amps, like guitars, have nal reaches the speaker. This makes feedback is magical. Its tube ("valve")
their own distinct personalities . Like a really cold sound, more like the circuitry makes the warmest har-
food, wine and people, they can be guitar sound on Movie of the Week monic feedback there is. So the trade-
~arm, full-bodied, dry or cold as or the Energizer .commercial than off is simple. More noise to signal,
ice. Led Zeppelin. At loud levels, with more excitement on the raw side.
For this month's column, I've cho- the amp pushing substantial amounts When recording, the signal to noise
sen to review the Roland JC 120 of air, the distortion effect is quite ratio is not terribly bothersome once
Jazz Chorus Amp and the Marshall convincingly mean and sharp. The you've taken a few precautions. First,
4104 Lead Series Amp. Both of stereo chorus is one of the JC 120's keep the reco rd channel switched
these are fine tools for the electric most outstanding features. It is far off till you 're actually playing. Sec-
guitarist. However, in many ways, and away my personal favorite of all ond, figure out the best position for
they are as different as night and the available guitar chorus effects. your guitar so that it'll make the
day. I rate the JC 120 "5" with un- least noise. Rotating your seat or
Roland JC 120 abashed enthusiasm. stance, yo u'll discover that there are
I've been using these amplifiers in two "sweet spots" (least noisy) 180°
about a dozen studios. Over the past Marshall 4104 apart.
few years they've become the New When a call comes ·in for a date The 4104 lacks built-in effects such
York studio's standard. When we do that's hard rock 'n' roll, I make as reverb, chorus and vibrato, and
a session and there is a JC 120 and sure that a Marshall will be there. has only one channel. But a good
another brand of amp at the guitar The 4104 is catalogued by Marshall hot rod doesn't come with reclining
station, the first guitarist to arrive as one of the JCM 800 Lead Series seats and power windows. These
will inevitably chose the 120. amps. And lead it is. You want balls ? effects can be purchased separately.
The JC 120 is a very well-con- It's got balls. You want screaming With the preamp volume/master
structed , highly dependable amp. Its treble? It's got screaming treble. Truly volume controls, you have a wide
controls allow a great deal of ver- a descendent of the great line of range of distortion intensities. When
satility, with built-in stereo chorus, Marshall rock 'n' roll amplifiers, you crank open the preamp with
this one puts out sound that brings the master volume fairly low, you're
a tear to my eyes and a vision of getting that "tubes about to crack
Hendrix at the Fillmore East to my wide open" sound.
brain. All in all, let's face it folks, nothing
So let's get a little more serious, sounds like a Marshall except a Mar-
folks. The 4104 is also a well-con- shall. I rate it "4'12''. •
structed and highly dependable amp. Amps and effects are rated
It's only built-in special effect is its
pre-amp volume/master volume within the i r own price range.
controls which gives a wide range of ~ - EXCELLENT
total colors. It has 50 watts RMS and
lists for $995.95. ~ - VERYGOOD
T he amp is naturally bottom heavy. ~ -GOOD
Somethi ng abou t the relationshi p of
the electronics and the heavy-d uty ~ -FAIR
12" speakers, I thin k. You ca n roll
off the bass and middle controls all
(l}J - POOR
KEEP IT UP-
Loverboy
Columbia--QC38703
Performance: Well formulated
Hot Spots: Hot Girls in Love and
guitar solos on Prime of
Your Life and Passion Pit
Bottom Line: A must for Loverboy
THE
l DE ha~eh~~t ';~;:£i:~~';;~°i[~;:';;,~;
VINYL
BUZZ MORISON
Sco n will probably outsell what's come be-
fore (over 7 million Loverboy vinyls
out there now). How do they do it?
Their appeal is an arena party-rock
sound in songs about girls, love and
• • • • fun, and they've gotten real good at
~~a!~(e i~~o~Bei~s s~~~~~n;~d~i~~

Reno, as always, is up front and strut-
• • • • ting prettily. Guitarist/leader Paul Dean
fits some nice solos into the equation,
from melodic twists on the crunching
SYNCHRONICITY- nuke tune Strike Zone to some delay
The Police and feedback howling on Prime of
A&M SP-3735 Your Life. T he Lp displays a real
Performance: Expansive escalation in the use of Doug J ohn-
Hot Spots: Side two PEACE OF MIND-
son's keyboards, to the point of prom-
Bottom Line: Got to have it. Iron Maiden
inence on several cuts. Plus, there's
Capitol--ST-12274
T he first hit off Synchronicity, Ev- the fi rst-ever Loverboy ballad-about
ery Breath You Take, might be the single Performance: All metal a break-up, of course. With their big
of the year and serves notice that this Hot Spots: Die with Your Boots On sound, show and legion of fans, Lov-
album might just be the Police's best and The Trooper erboy should say Keep It Up all the
yet. There are no weak spots, though Bottom Line: A must for all Head- way to the bank.
the trio gets a little cute here and bangers and Rivet-
heads. STATE OF CONFUSION-
there (they are cute). This guitar/bass/ The Kinks
drums band has diversified to a re- The five cheery lads of Iron Maiden
Arista-AL S-8018
markable degree, and that's not to cover a lot of ground on this Lp,
say that the keyboards, horns and starting in World War II (Where Eagles Performance: Uneventful
percussion extras dominate Syn- Dare). They cruise through the time Hot Spot: Heart of Gold
chronicity. It's that the Police sound, of Icarus (Flight ofIcarus), pay a friendly Bottom Line: Spend elsewhere
while instantly recognizable, has be- visit to the Napoleonic Age (The The Kinks are big again, but you'd
come quite unpredictable. Sting still Trooper) , groove to the sounds of be hard pressed to figure out why
leads-his insistent vocals will never prehistoric man (Quest for Fire) and from State of Confusion, their 28th
change. And the ska-based rhythms end up on Frank Herbert's science- album. Confusion is right. There's
remain ("O My God"), but there's fiction planet Dune (To Tame a Land). the synthesized steel-drum affected
much more. The music is stark and The phrase "No synthesizers" on the Come Dancing, there's a bit of plodding
mysterious, and guitarist Andy Sum- album sleeve tells you where these hard rock on Labour of Love, the usual
mers, apparently greatly influenced guys are at-in the land of metal, Ray Davies heavy-handed drama on
by his time with Robert Fripp, lurks pure and shiny. Guitarists Adrian Cliches of the World and some blatantly
in the shadows, filling the songs with Smith and Dave Murray are a well- recycled riffs on Definite Maybe and
muted pluckings, synthesized creak- matched pair, swirling through the Don't Forget to Dance. Davies' voice
ings and treated whooshes. Somehow, foggy mysticism and laboring lyrics seems strained. He's always whined
the Police seem to have grown up. with some cutting solos. One favors his way through his vignettes of Brit-
The music here is simple, subtle and the tricky techniques of classical metal ish life, but here that whining irritates
beautiful, and side two, while lyrically stringbashers, while the other goes and glides by the melody a bit too
a bit depressing, offers the most for a more clean, piercing sound. often. His once clever pop politics
soothing and caressing rock music Bruce Dickinson's singing is just plain seems lightweight in these volatile
I've heard in some time. Side one is hysterical (and it will make you hys- times. And lead guitarist, brother DaYe,
more fragmented, serving to balance terical, too). Piece of Mind is a grind- does little but chord. So where will
two's wistful nature. Combined they ing slab of molten rock that gallops this leave the Kinks ? Well, if all goe
form one of the most necessary al- through history and your eardrums as planned ... at the top of the pop .
bums of the year. without pause. of course.
I
1\0\'DIBER 19 3, GCJT..\R 91 I
I
I
I
I
----- - - - - - - ---------
TEXAS FLOOD- raw blues. On Testify, a speeding trainto incorporate all manner of instru-
Stevie Ray Vaughan and Double rhythm guitar feature, he burns ments, rhythms and production tech-
Trouble through a half dozen styles that'll send
niques. From a quartet of Art students
Epic-BFE 38734 shivers down your spine. And he can creating a gratingly intense music has
Performance: Raw and Pure sing, too, in a clear, throaty tenor emerged a high-tech dance band. What
Hottest Spots: Testify and Texas Flood inflected with his Texas roots. Texas hasn't been left behind is that quirky
Bottom Line: For all fans of blues, Flood is a solid introduction to an signature guitar clanging. Each song
rock 'n' roll and hot impressive guitarist. on Speaking Tongues has a basic
guitar. dance rhythm foundation over which
miriad synth whizzes and whooshes,
Every state has its hidden master, percussive clinks and very occasional
a guy who has played in dives and guitar solos (supplied by guest Alex
become a legend. A few years ago Weir) swirl about, creating a deceptive
George Thorogood was discovered density. David Byrne's singing is still
on the East Coast, playing good-time, SPEAKING TONGUES--
somewhat demented, and his lyrics
raunchy rock 'n' roll. Now we have Talking Heads
are as cryptically paranoid as ever.
the unveiling of Stevie Ray Vaughan Sire-23883--1
But the orientation isn't angst and
from Texas, and we can thank our Performance: Rhythmically seduc- schizophrenia anymore, it's having a
lucky blues stars for Texas Flood. tive good time and dancing. The album
Vaughan is a great guitarist, and on Hot Spots: Making Flippy Floppy and does drag in places (those basic rhythm
this Lp he is backed only by the bass Moon Rocks tracks don't always amount to much),
and drums of Double Trouble, allow- Bottom Line: For dancers who think. but in all it clearly reiterates Talking
ing him maximum opportunity to flail Talking Heads have come a long Heads ability to combine New Music,
and wail, no holds barred. With a way from the scrawny, scratchy guitar Rock, Funk and Third World Musics
pure guitar sound (no add-ons or band they once were. They're still into a smooth groove approachable
gadgets) and a devil-may-care style, scrawny, but their music has grown by the masses.
Vaughan spews out flawless blues and
rock licks as if they were his native
*****
lt
lt
lt
•••••••••
tongue. The slow blues of the title cut
has a wrenching guitar solo in an
Albert King-tinged style that is naked
PLAY. GUitAR. WiTii *fiiE. STARS*! .... ~,.

lt
,.
lt
lt
r.
~n~'~Tt}R~llSJFi
I.Jo;O ZEl'lll<.:tl.~ NEIL YOUNG ,.
lt ;rs1·:rr:-cTnsv ~::;,~::
lt ,.
lt
lt lt
lt lt
lt
,.
lt
lt
lt ,.
lt lt
lt lt
lt lt
lt
EAGLES COMPLETE- Tl-IE GUITAR STYLES OF THE GUITAR STYLES OF NEIL YOUNG ANTHOLOGY- ,.
lt
lt
lt
Easy Guitar
Includes 46 great Eagles songs:
LED ZEPPELIN
The authentic guitar playing styles
SIMON & GARFUNKEL
The authentic guitar playing styles
Easy Guitar
55 of Neil's best songs: CINNA- ,.
lt THE BEST OF MY LOVE, LYIN' of Led Zeppelin's Jimmy Page' of Simon & Garfunkel' Includes MON GIRL, HEY HEY, MY MY, lt
EYES, LIFE IN THE FAST LANE, Includes 9 hits: STAIRWAY TO THE SOUND OF SILENCE. CECIL- LIKE A HURRICANE, SUGAR
lt lt
TAKE IT EASY, PEACEFUL EASY HEAVEN, BLACK DOG, YOUR IA, MRS. ROBINSON , HOME- MOUNTAIN, HARVEST, ONLY
lt lt
FEELING, HOTEL CALIFORNIA, TIME IS GONNA COME, WHOLE WARD BOUND, BRIDGE OVER LOVE CAN BREAK YOUR HEART,
,.
lt and many many more.
GF0104 / $9.95 Qty._
LOTT A LOVE, GODO TIMES BAO
TIMES and more.
TROUBLED WATER, THE BOXER,
and more. 14 songs.
OHIO and many others.
GF0139/$7. 95 Qty _ ,.
lt
lt
GF0243/$6.95 Qty. _ GF0214 / $4.95 Qty. _
,.
lt These great guitar books are available at your local music dealer,
,.
lt
lt
lt
or send for them today to:
,.
lt lt
Warner Bros. Publications
lt
,.
lt
Dept. PB
265 Secaucus Road
,.
lt
,. Secaucus, New Jersey 07094 lt
,. lt
lt
lt lt
,. lt
******************************************************
..•• '
'
•
'' •
~---- MIDLINE----....., ZIG ZAG WALK- ''•
FRIENDS-- ''
•
'•'
Foghat Larry Carlton
·....···..... ·..·: : ···:···
''
:.
.·····.·.......::-.: . . .. .. ..
Bearsville-23888--1 Warner Bros.-23834-1 '.••.
•
: : ... Performance: Surprisingly buoyant Performance: Clean and classy
'
'• .
·::-..
...
Hot Spots: Linda Lou and Silent
. . -.: i ..·...: . ..
-i\i.·:
..·: Treatment
Hot Spots: Breaking Ground and Te-
quila
'.
•
''•
:: -.: .·····!:
.. Bottom Line: Expect roots rock and Bottom Line: Worth it for mellow
nights and parties.
'.
•
'•'
you'll get it. '•'
CARA VANSERI-
Columbia KC 31610 Thirteen albums ! There just aren't You've heard his clean, arching '•'
that many bands still rocking after all guitar sounds on the Hill Street Blues •'
WELCOME-- those years. And the surprising thing theme, on Steely Dan records and on •'
•'
Columbia PC 32445 about Zig Zag Walk is how young the best of defunct jazz funksters, the •' I
~!
and innocent Foghat sounds, as if Crusaders. But unless you read a lot
Carlos Santana has been through they're still a bar band rockin' as a of liner notes or know your studio
all sorts of changes over the years. second job. They did this album for guitar whizzes, you probably "':'o~ldn:t
The fiery Latin rock guitarist started kicks and it shows, in some hot roots recognize Larry Carlton. This is his
~•'!
in the late 60s in San Francisco, with rock and rockabilly that isn't slick and fourth album as a leader and as good
Santana, which contains the still pop- greased-back like that of the baby- a place as any to check him out more
ular Evil Ways. He picked his way boom rockabilly boys of today. Gui- completely. Seven of eight tunes are
through a jazz period and lately he's tarist/vocalist Dave Peverett is still the Carlton originals, and while the gui-
· been recording the blues with the
Fabulous Thunderbirds. His career
big fog, and five of the ten songs are tarist doesn't have much to offer as a ::
has swung up and down rather reg-
his. His singing is animated and well-
echoed, but the Foghatters really take
composer, his flawless playing and
the help of friends like sax-man Mi-
•'••
ularly and his records monitor those off when he brandishes his axe. Silent chael Brecker make the album coolly ••
swings. Some are true classics (San- ••
Treatment, complete with shu-bop successful. The first three cuts are ••
tana, Caravanseri, Abraxis), while chorus, has some classic rockabilly best, with Breaking Ground featuring ••
others are best forgotten (Carlos guitar strutting; Seven Day Weekend a yawning guitar midsection. South- ••
Santana and Buddy Miles Live!, Il- offers a partying '~ew of Utopia around town is a piece of blue funk that glides
••••
luminations, Festival). For me, San- a shucking guitar/harmonic duet and sensually like lyricless Steely Dan might. ••
tana's best guitar playing and overall Linda Lou features some liquid blues And a romping cover of Tequila finds ••
musical conception can be found on ••
two albums now available in the Mid-
guitar on a rollicking shuffle jerk.
Paying homage to Bill Haley, Chuck
Carlton at his most inventive, peeling
off a low register solo oozing with •'••
~
line price range. Berry and Jerry Lee Lewis, Zig Zag sexuality. Side two leans toward fern-
l 972's Caravanseri is almost com- Walk shows off a veteran band mak- bar filler with little grit but plenty of
pletely instrumental. It's a tour de ing new music out of old sounds- pleasant smiles.
force of latin rock, featuring some and doing it damn well.
excellent percussionists, some heady
work from current hard rockers, or-
•••••••••
ganist Greg Rolie and guitarist Neal
Schon (Journey), several sensuous,
airy compositions and Santana's all-
time best guitar solo on Song of the
Wind. This gentle samba starts slowly
and builds to peak intensity, led by
Carlos' guitar for the full six minutes.
Video:
It's truly breathtaking.
Santana's following album, Wel-
come, finds Carlos increasingly drawn
A PERFECT DAY FOR
to jazz. It includes several jazz vocalists
and the guitarist's first teaming with
John McLaughlin. While not as con-
BANANARAMA
sistent as Caravanseri-which should By Bruce Pollock
stand as Santana's greatest album-
HAVE ALWAYS HAD A I literally walked a mile across that
I
Welcome does have several classic
solos. In particular, his stunning cli- thing for girls in trucks. The bridge into Manhattan , then crossed
max on Yours ls the Light, the soothing sight of a comely lady up the dangerous Lower East Side, to
guitar feature, Welcome, and parts of behind the wheel of a big wind up at Auster's candy store,
his duet with McLaughlin, flame Sky, rig--0r even a panel truck- there to partake of one or several
stand out. Both albums show that can turn my knees to cream cheese, of their famous eggcreams and wait
despite some questionable commer- my spine to jelly. I have also, for a for a suitable Miss to offer to take I
much longer time, had an impas- me home, preferably in her comfy I
cial diversions, Carlos Santana is bas- I
ically one hell of a guitarist. sioned thing for the Brooklyn Bridge. Mack truck. I
Many was the lonely Saturday night Thus, when I heard that these I
I
- ---- -------------------~---~------
J
three crumpets from England, bet- versation with Chuck Berry. "Hey schedule. They would have to pick
ter known as Bananarama, were Chuck, how're you doin?" up the pace in order to meet the 4
making a video about lady truckers "No connection," said Chuck. My p.m. deadline for their Manhattan
for their single Cruel Summer, fol- day with Bananarama in the cruel finale, a party dance scene I was
lowup to Shy Boy and Nah Nah H ey summer heat of Brooklyn proved to immediately offered an audition for.
"Do you dance?" the director asked.
"Oh no," I said.
"Great," said the Bananaramas. I
decided I loved them.
On the set, a moldy Texaco station
across from the Fulton Ferry Mu-
seum, your usual gang of vidiots
scurried about. The rock-vid scene
is almost a legitimate business by
now; lots of freelance rock freaks
envisioning making a living.
"It's the medium of the future,"
Sarah Bananarama states.
"We've already been of the opin-
ion that long boring tours are a thing
of the past," Bananarama Keren
adds.
"More people can see you on one
slot on tv than if you do a whole
tour," concludes third Banana, Siob-
han.
Meanwhile, the filming process,
even in the video age, is long and
tiresome, requiring hours of set-up
time between ten second shots. Six
takes to get one bouncy jaunt down
a city street. Having already decided
to call it quits by 6, I see my chances
of a celluloid debut vanish with the
waning sun. The Bananarama's,
meanwhile, are boarding the truck
for their third sweaty jaunt around
Brooklyn with Tony, the Trucker-
lucky guy. 'Tm walking around like
a bloody zombie," Keren moans.
"My mind is switched off." Her arm
was nearly broken, too, a while ago,
when a playful bumping match with
Sarah left her on the pavement. And
Brooklyn streets are hard. But the
animosity between them dissolved
with the heat. Now they just want to
., get this done.
-~ "It's worse than a recording ses-
~ sion," Sarah admits.
~ "It was exciting at first, seeing
yourself on film," says Siobhan, not-
ing that this is their 6th production.
Hey Kiss Him Goodbye, in the very be equally momentous. "But it's hard work and it just gets
shadow of the Brooklyn Bridge, I And equally interminable. By the more boring."
knew I had to be there. My last time I got there, at a respectable 10 A fact of life in 80s rock 'n' roll.
experience with tv tapings took place a.m .,they'd been on the set for three Lights! Camera! Inaction ....
some years ago, when I was back- hours. Only two shots had been
stage at the initial demo for Don completed and the girls were already
Kirshner's In Concert, starring Alice showing signs of wear and tear, the
Cooper, and an all-star cast of oth- tension that would nearly result in
ers. It was an interminable affair, a fist fight between two of them later
with the high point being my con- on. The shoot was falling behind
94 GUITAR, NOVEMBER l98 3
.----
I • I
'•'
•
''
•
Steve Howe exclusively. It's very powerful, beau-
'I
•
'I
Continued from page 6(J G: You've been a Fender Twin fan •
'I
to dream I could fu lfi ll. In my own tiful and practical. I do everything for a long time. Does that still hold •
on them because I got tired of hav- true? ''
•
way I am a rock virtuoso. But I '' •
ing to look after so many guitars STEVE: I don't use Twins anymore. ''
would like to be known in many
that only on some nights sounded
•
''
spheres of music. Rock opens huge I've gone back to using Fender Dual •
'•'
doors, but it also closes others. If I right. This guitar sounds right every Showmans. I've got two here in the
night. I've customized it with double '•'
could get acceptance and give pleas- studio and two cabinets, each with '•'
ure to other people beyond the rock scratch plates, and the Gibson pick- two 15" speakers. They work better •''
world, that would be very nice. ups are very carefully positioned so with the high top end of the E.S. •
the pole pieces all get the same Artist. The bass is also more pro- •''
G: What do you think is your great- volume. The neck is crucial to me. • t
est strength as a guitarist? nounced, while the mid-range takes •

It's slightly wider than the 335 or a loss. For the Asia tour I'll use Twin •' t
STEVE: I used to think I was chang- 445. It's a very clear neck. There Reverb amps with Dual Showman • t
ing guitars to find a style. Now I are no fret markings except for dots •
know that it doesn't matter which on the side. The most important
cabinets. I also used Marshall and •'
Gibson amps on both Asia albums.
guitar I play, it sounds like me. I thing to me with any electric guitar
always imagined the sound was syn- G: Any plans beyond Asia?
is the positioning of the neck. It has
onomous with a guitar and a player. to project from the right place. For STEVE: I'd like to make an instru-
I was relieved when I kept switching mental guitar record. Realistically, 1.
guitars and didn't get a different
sound. I started to realize that the
example, if you take a Gibson RD
guitar and put it around your neck,
the top fret is almost past your navel.
can't think of getting it out until
something like mid-1984. It's j ust an !!•'
sound I was making was the sound I can't have the neck around my idea I have in mind. I've got quite ••
I make. I can alter and update it, knees. I started on a Gibson 17 5 a long way to go before I'm ready.
My development now is toward more ·:
but it remains my sound.
G: Is the Gibson E.S. Artist still your
which has a high neck that sticks out
a lot. That's what I'm used to, so clarity. I want my playing to have a •••••
main guitar? that's what I need. sense of economy, efficiency and ••
purposeful ness. I'm talking about ••
STEVE: Yes, the Artist seems to G: What about your acoustic guitar? attitude and key thoughts. Clarity ••
carry on in that role. There are two STEVE : It's a 1953 Martin 0018, comes from not worrying or think- ••
••
or three tracks on the new album which is the same guitar I've played ing about music. You cannot be clear ••
where I used a Les Paul. There's for years. It's a dear old guitar and if you worry about money or con- ••••
also one track which is totally the I don't care that it's got a piece of tracts or record company demands.
Roland Synthesizer guitar. I use their wood stuck in it. It's very much my I'd rather think about experiment- •'••
Strat copy. On stage I use the Artist acoustic sound. ing.
~
Robbie extent, but then there's still people G: How do you feel about being
Blunt like Ry Cooder around . I think he's compared to him?
phenomenal. I first got into slide by Robbie: I was waiting for this ...
being lucky enough to see the All- (laughs) ... actually there's not much
Continued from page 83
man Brothers play live when I went I can say. I mean Jim's come from
really want to repeat ourselves and over to the states with Bronco. When
where he has and I've come from
do something people might expect. I saw Duane Allman on stage I
where I have. I'm bound to be com-
So consequently it's taken a bit more couldn't believe it. By the time I got
pared to him, although I didn't join
time. back home, he was dead. Led Zeppelin, I just happen to be
G: What equipment did you use in G: Which contemporary guitarists working with the singer. Consciously
the studio? do you admire? I've never set out to play like Jimmy.
Robbie: A Boogie amp, or even an Robbie: Oh, if you mention one you If they'd compared me with Duane
old reverb. In fact, I dug up an old leave so many out. I guess for me Allman that might have been more
Fender Princeton which I've used . it's still mainly Cooder. Eddie Van apt. But there's no way I can escape
We use a lot of variation for different Halen is great, a very flashy player it really. And if I become too con-
songs. As far as guitar, I mainly use and he's got great technique. I still scious of it I could end up totally
the Stratocaster. like Clapton. The early Clapton stuff freezing and being frightened to do
G: Although you enjoy playing slide, was brilliant. anything.
do you think it's gone out of vogue G: How about Jimmy Page?
in the 80s? Robbie: Oh yeah ... Jim ... I mean --by
Steve Gett
Robbie: I suppose it has to a large there you are.
- - - "- -- - - - - - - -- - -- --- - ----------- ______ J

10 Great Guita
Dickie B . r Solos from a· .
Edd. V etts m Ramblin, M It Singles
. ie an Halen
Elhot Randall . i B an, by the All
n . eat It, by M" h man Brothers
Steve Lukath J~ Reelm' in the Yea ic ael Jackson. .
Amos Garreue[nin IJ_re°:kdown Dea;~%; Steely Dan.
Jo~ Perry on ~ Midn_ight at the Oas. ad, by Boz Sea s
Ned Geraldo alk _This Way, by A IS, b~ Maria Muld~g.
Jeff B on Htt Me w·h erosm1th. ur.
E . axter on Bad G. ll Your Best Sh t
ancGClapton on After iz:~d:b~ Donna Sum~' by Pat Benatar.
J y raydon on p b i night. er.
eg, Y Steely Dan.
Gary Moore's 5 Indispensable Guitar Albums

John Mayall's Bluesbreakers, with Er~c Clapton~
Fleetwood Mac, by Fleetwood Mac, with Peter Green
Blow by Blow, by Jeff Beck. . .
Are You Experienced, by J1m1 Hendrix
Caravanseri, by Santana
¥ - - . . . . . . .
\\'lil·I
'1\NI) MlJSIC:
"'"l>I)~
1y' ~ ' ~
DefLeppard
Z.Z.Top
The History of Led Zeppelin, Part Two
PHOTOGRAPH/Def Leppard
GIMME ALL YOUR LOVIN'/Z. Z. Top
THE SALT IN MY TEARS/Martin Briley
THE 1983 OVATION
COLLECTORS' SERIES
Last year, when we introduced the first which will be built in limited quantities this Join guitarists like HEART's Nancy
in our new line of Collectors' Series year ... and never again. Wilson with yourown Ovation Collectors'
Roundbacks, the response was abso- Our 1983 Collectors' Series Limited Series Guitar. Only at your Ovation
lutely overwhelming. So it's with particu- Edition. For performers, collectors, and dealer. And only for the next few months.
lar pride that we now offer the 1983 people who appreciate fine instruments.
guitar, the first Ovation production super
shallow bowl cutaway. Finished in 3 strik-
ing black/gray sunburst with abalooe ro-
sette and inlays including a "1983" inlay
at the 12th fret, this guitar looks great.
Add our now famous piezoelectric
Ovation guitars are
distributed through a
network of authorized
Ovation "-
pickup and preamp system, Kaman Bar® dealers identified by
neck, special bowl label, and serially an "Ovation Author-
numbered Certificate of Authenticity indi- ized Dealer" decal.
Ovation Instruments, Inc., A Kaman Company
vidually signed by Bill Kaman, and you Blue Hills Ave. Ext. , P.O. Box 4
have a truly unique instrument, one Bloomfield , CT 06002

GFTPM 1983 - 11

Uploaded by

Copyright:

Available Formats

You might also like

GFTPM 1983 - 11

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

GFTPM 1983 - 11

Uploaded by

Copyright:

Available Formats

at'

MUSIC SALES, INC.

2548 E. FENDER AVE., UNIT G

FOR TH E PRACTICING MUSICIAN NOVEMBER 1983

SPECIAL PULLOUT POSTER Neal Schon/Journey Greg B owler

B ILLY SQUIER: INTERVIEW Spencer B enedict 30

NOVEMBER 1983, GUITAR 3

I THE CHEECH & CHONG AWARD

THE BRITT EKLAND AWARD

4 GUITAR, NOVEMBER 1983

Road Master '" with two 412FC

NOVEMBER 1983, GU ITA R 7

8 GUITAR, NOVEMBER 1983

NOVEMBER 1983, GUITAR 9

10 GUITAR, NOVEMBER 1983

msfr.mi6fr. mi7fr. M8fr.mil0fr.• mm

For intro, see page 13[AJ

nev - er know- ing when he'll_ ap pear._ All a - wait, en -

NOVEMBER 1983, GUITAR 11

' e'~fe F "-==-f 0

• For guitar solo see p.13 [g

12 GUITAR, NOVEMBER 1983

Guitar Licks and Solos

::: ::: ::: .,

Flatten finger Flatten finger

Hold chord _ _ _ _ _ _ _ _ _ ____,

1/2 bar, 12th fret---------~

NOVEMBER 1983, GUITAR 13

Peo pie etc.

14 GUITAR, NOVEMBER 1983

Hot wire your amp!

o [Q)O~crr;O@PO Box 387 • Wesl New Brighton Station

NOVEMBER 1983, GUITAR 15

16 GUITAR, NOVEMBER 1983

Bass in the 80s

Tom "T-Bone" Wolk is the pe1forming

T HINGS ARE GETTING

count 1 & 2 & 3 & 4 & &2&3&4& 1&2&3&4 & 1&2&3&4&

18 GC ITAR, :\'O\'EMBER 1983

By mixing up the dotted quarter an octave to this exercise you can

Experiment with different octave lines, they're not as scary as they

NOVF.MBER 1983, GUITAR 19

20 GU ITAR, NOVEMBER 1983

Peter Gordon's Thirsty Ear Pro-

cator for college radio. This interview

Marshall Crenshaw was the first guy

22 GUITAR, NOVEMBER 1983

,~. j J £]=) ~ ~ ~J I ~ ~J ~--a ~ ~-

J 'f J~I _r_r_r_r "E c; u I

Copyright © 1978 MISTER SUNSHINE MUSIC, INC.

24 GUITAR, NOVEMBER 1983

For guitar lick under harp solo, see [fil

'###I J ~J J J FJ. 'I Jl• I J J J J J

'###I r r F r F Jj J ...___, J I J J J j1J

NOVEMBER 1983, GUITAR 25

'##ttl J QJ J J J= J1' J } IJ J QJ 4 J 'f } I

pay. It ain't the way I want - ed it,_ but

'•ttttl - $ 'f. ,,~ IE f xc [ ~

run out of rope, son! It ain't