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[es just oneina jong line of digital signal proces sore designed fos theaecpusy creative musician Fora full-color product sheet, write DigiTech 5639 South Riles Lane, Salt Lake City, Utah 84107, Or call (801) 268-8400. #2 Digitech Start at the top. Digi Techie registered trademark ofthe DOD Electrons Corporation. © 1988 DOD Electronics Corp, Manufacturedin the USA“G&L Guitars and Basses are the best instruments | have ever made.” Cae 2548 E. FENDER AVE, UNITG em eS ‘Mi GAL Gutters end Sosses ore Amétioce mess, FULLERTON, CALIFORNIA 92634 [eprcecbeplipereeeerehetreapomecal (744) 874-4750 LS Tek NE SSA (Onmmmoen rein re hesRes Drei aR eae ely came Perea ere Pr aeeetsyaet O PC eer a oh len erection bd Eee Prema BASS SECRETS ya aay Rondy Coven Be). 83 lferrew by Andy oa ae amen eed brs ba os Bere aH Pe as hae Lg et nares sy Bee beet! wea at ae De 7 rm i oo itd Dieenersten tod Pe a et ean edo ee Ea Ere merc ottat cree iets tea an Peaieter Lena aren ee cae” FOTN Ae el evan Blea Caer aren Cerrar SOrrriimiivertearr rary cream SW ore areata Boner NOOSA cae ABLE NEWS COMPANY, INC PR Cee NT OE} onan WOMEN feta ay 0) Transcription by Kenn Chipkin Dd Sree RI RON ice] eee BUTE R Sot gd ANTHRAX oe amen Pry 73 oe ene Sea oe ea erat og te SN a aoN eae aa AUS NTA CANT ptur sare aoaSend to P.O. Box 1490 1 Chester New York. 10573 Dear GUITAR Magazine, | bought the latest issue (Dec.’87) with Jimmy Page on the cover. I'm glad that you're stil doing articles on the real monuments of rock guitar. A while back | bought the issue with Hendrix on the cover, I've always dug both Hendrix's ‘and Page's guitar playing. | have both ‘on CD. The sound is superb, particularly on headphones. | ike the part in “Dazed. and Confused.” where Jimmy Page makes his guitar sound like the "Jolly Green Giant blowin’ his nose.” | bought that Led Zeppelin Vol.lf about this time of the year in 1969. That was 8 years ‘ago. In fact, IB years ago | was I8 years old. | started playing guitar in late sum- mer of 1969. | also Rave the Grateful Dead's American Beauty, with “Sugar Magnolia” on it. Keep up the good work. ‘Bob Schmidt Minneapolis, MN Dear GUITAR am a classical musician and | love it, but | also love rock and the only way | ‘could learn it is through magazines. | ought magazines for years io try and leam rock styles and techniques but {i nally | was in Florida and found GUITAR in @ bookstore and it was just what | needed. So thanks a lot. I'l be an eter- ral subscriber Pete Stearns Worcester, MA Dear GUITAR, Ihave been receiving your magazine for ‘over two years now. | find it very inforrn= ing and helpful. In response to a etter in your December '87 issue, | would lke 10 ‘say that Wolf Marshall's columns are ap- preciated greatly here. My personal fa- Vorites were his columns on Steely Dan, Led Zeppelin Il and /V, Randy Rhoads, Steve Vai and Allan Holdsworth. Music Appreciation has introduced me to al- ‘bums like Wired (Jett Beck) and Abbey Road (the Beatles). Yes, al times the column can be hard to comprehend, but ach one is extremely tastefully written Marshall has written his columns on ‘many of rock's pioneers and landmark albums. One of his obvious intents is 10 Give more insight on these greats to the layer and not to promote a “worship” of these people. Most professional play- (5 would agree that the 60s and 70's were a very beneficial period of rock guitar inspiration. Of course, no one should be limited to just that period of GUITAR, MARCH 1988 music. But itis a period that most would ‘agree shouldnt be ignored. Marshall Uses excellent detail and often explains the theory and rhythmic aspects— something that I think is very important Ron Geida Agawam, MA Dear GUITAR, [am writing in response to Greg Ross’ letter in your December issue. He stated that your magazines runs too many co- lumns on how to saund like so and so, ‘when in your interviews the musicians stress the importance of finding your ‘own sound. He also said that hero wor. ship is bad and unhealthy. Well, | would Tike to say he is totally wrong! Hero wor- ship is only natural, and iit wasn't for so Called hero workship some great guitar- ists wouldn't be here today. For exam. ple, in an interview with Yngwie Malm- steen he stated that at tirst he thought being a musician was being a geek until he saw Hendrix. So, as you can see, hero worship plays an important part in the life of a musician. And | think that GUITAR Magazine gives us a lot of in- formation on other players and their styles. It can also increase our vocabu- lary and extend our knowledge. Greg also stated that we shouldn't think in the ast; we should think ahead. Well, in ‘order to think ahead we should look ‘back and leam from our past mistakes Charlie Garcia San Antonio, TX Dear GUITAR, Sorry. but I've got one bitch! Your Mag- azine is awesome! Now about the guy who thinks he don’t make no mistakes True, hero worship isn't healthy, but 10 pick up where they lett off, oF to impro- vise, is. And if you say you don't have a hero or haven't used anybody's licks, then you're lying, As far as perfection. Randy did a damn good job of it. Listen to either Quiet Fict lor if, multiple gui- tars! When he got with Ozzy he [ust mastered i, | call it perfection. Yeah, | know Randy's gone, but his music stil inspires me, and it will ‘il the day I'm gone. Ross Euwards Pasadena, TX Dear GUITAR, In reply to Greg Ross’ letter, | hate to burst your bubble, but no one ever said Rangy or Jimmy didn't make mistakes. It you look on the cover of this magazine youll see the words “GUITAR For The Practicing Musician,” Music Is an art form, an outlet, in which someone can express themselves. If someone can appreciate another person's use of this Outlet,” it's beautiful. When learning someone else's music, you as a growing musician will be putting yoursel in an- ‘other perspective, and that's growth. It| ‘spent ten years learning all the material Randy leamed and composed, what dit ference does it make, just as long as | write music that reflects my emotions and personality. To learn what's appeal ing to you and to write your own material is not to look backward, but forward. Are we Supposed to sit around and rit-pick every musician’s shortcomings? Every- one is human and couldn't possibly cov- er every aspect of the guitar. That's why we have more than one guitarist. One more thing, since yau like quoting £0 ‘much, try this one for size: "To thine own self be true"—especially on the guitar. Carla Rosario (Chicago, iL Dear GUITAR, This letter is in response to Greg oss’ letter in the December, '87 issue. In his letter Greg wites "Hero worship isn't healthy.” Greg, this is just not true. My guitar hero is Steve Vai. | love his ‘music and I lave to play his music, but | don't “slavishly copy his style and ‘sound.” When I hear a song with Steve Vai, it inspires me, not to copy it, but 10 be a belter guitarist, period. It inspires me fo practice and strive to be the best | ‘can possibly be, not to instantly go out ‘and fty to be exactly lke him. Just be- cause | “worship” him, that doesn't make me think that he is perfect in every way. | know he makes mistakes, and after hearing him play, he makes me want to cut out more of mine. Blake Johnson ‘San Ramon, CANish ese Ee Sass NaiNeG eR OlO°M, whole way of thinking about music. | was in my early teens and had just start ed playing when this unt then | basically just heard rock. They were playing fusion stuff through Mar. shall stacks which most people had not done at that point in time. They incorpo- rated things from jazz and rock and classical stuff. It struck me like where | want fo be. Listening to it today, the guitar might sound a litle sloppy compared to now clean people play inticate passages nowadays. But it's still great guitar playing and the drumming is fabulous. Billy Cobham was a great drummer and he drove it really well. Jan Hammer, who everyone knows from Miami Vice, used to play some cool stuff in that band too. The Mahavishnu Orchestra had the energy chor tHe taiimelenncticsen lot oti bene just had & liked the second allbum (Birds of Fire) a whole Iot too. | recommend ums 19 anybod who has em yat. A lot people staring today are not in tune to that mu tuned in to the classical ro which is great, but they si (0 this 100 be: cause i's not so restricted. | like to in corporate al sounding scales, but | like to incorporate them more over a tusions! Where you can do what Bros in of Ronnie his was his best 1. He was more int senting what he w ¥ as opposed to making money ink he feels he's got to do some: 0 sell a milion albums, As far as Campbell goes, he is a good rock guitar player. | don't think he a lot of chances, but what he 2 he does real well, which is frock sometimes with litle minor scales. | like the song. I's the highest | , DAVID 7 CHASTAIN senses vid T. Chastain’s album output makes Yngwie Malmsteen look like Boston. nergy song on thai record. i's a good Within the last two and a half years, he has released six Lps, the most re- song 10 open an album with, and I like cent entitled David T. Chastain Instrumental Variations, Raised in stant = NY "Re progression goes, | thrk and now living in Ohio, Chastain’s Eurometal based playing is a voealist there is right now. He can sin Purposeful mix that combines more than a hint of fusion and blues/rock, (eal, Nh an eally song and he ca making him perhaps the most well-rounded of the current spate of fleet- Fonds: Porerrialy) PacuiGl avait fingered players, We put him to the test In the Listening Room, where he Ronnie James Dio analyzed five songs in two and a half minutes, CC Rider’ rom Third Degree, ‘Meeting of the Spirits DAVID: We're starting off in a great by Johnny Winter/Alligator from Inner Mounting Flame. place, with one of the best son DAVID: That's Johnny Winter. Is that by John McLaughlin and the Maha- one of the best albums of all ime. When some of the newer stuff? I like some of vishnu Orchestia/Columbia first heard this aloum | changed my his older stuff better. My favorite is “Be © GUITAR WARCH 1988SUPER REASONS TO STOCK UP NOW YOU CAN GET ALL THOSE HARD-TO-FIND BOOKS DELIVERED TO YOUR DOOR. NO SEARCHING - NO CLUB-HASSLE + NO STRINGS! MUSICIAN’S BOOK SERVICE A Division ot Muiean's Buying Service 4 335 Gracia’ vai ions by Wot Marsal fay sve ugh nate. fords toners fis 20 3.98 Souizié soniés Fonte uranisrs Estes by Harvey Vinson Sey mad area fngtdy ceca ie #7, Mas Eeraiowie nieces ton MUSICIANS Revisoa by Graig Anerson Whiten spt angus anaese of dea tastrdons Demo vecorsineluges 8 pos Gompicie oiiad Hernia AEB cael hea Hobie ic Dams Mik Faison enna ck rus ues, mow ‘sion, howto ead chars. an 5.98 Pay = 8.95 by sine AiStai cuit ‘yen Kamimots Roce ia Flarseovons standard aa GUT pate eae Dy Tay Gover eater and ibiatre of Basten ce oS ‘hat complete quie to Satbat Met class. pl gaiarneeded. fap, ular playing rex Rap Nonmedte rsd muss gamer ees 5 by om Wak, Ezamine and Elana’: sya tough ote #2 inf 98 ‘We conievere coitan PLAYER OMNIBUS EOTION 5 saad’ Srsiidve Voom eLeeTMe ea Sales hai "ony ie Sun’ lovee Resmi ea ratrton Cee Ah fou boks ot Th ‘Adrian Lego soy ot es aa Complete Guta Player Alyeurned know to 28 1 mean ce enrergaeeee. eormmees Srsnmcisatt Meters BEng We eee bth ay fnustiang and eaten. nate BEATLES SONS sete SE en, aaa te = » ‘song-writing team of modern Semecaini™ eb waver! oy [ed Drolessoral ow-how or ating wxling oad Bos 195 feaci voiinseié were {QUITAR by Mark Masi Cones alimertant ytiic Sipe. Ase power chords “ 295, ie chiianisrs bcrdRE HORO ENCYCLOPEDIA yom Pare ae rar bok or uta ve published Contin al the songs end ‘move eatues int Compacts Guta Player Aleman standard rotation vt grams ana era Symons us ys, #8 chs eh eri Wik#s FOR cura Dy Mark mcnais Carne sperets of 0 vy rea ve were FOR EASY GUITAR ‘avi ross fs ro Gest Dok of professional know-how or renting excing base Tres, soins eee Beda ee mtn caso See by Rennet Saker element Payer aces you pay ny make of eoerone eyocard using te music ots 20 aie ego’ 298 Fe cisis teva yD. Crombie & Witen ‘al ular Caio. Syne A selection of hw patches ated Pocacs 1 Bhasin ro Sha auiaa 8 Sen tom ms ana Hustla» ary Uson Soaring an ote 300 ay way acho fines, Lenn ana. Ron oft god ean, propestane tess its, Motsivey ararged for ferent Sadi Sos Eales moddiaton rok Etome van eaulorent, ford cor rede MUSICIAN'S BOOK SERVICE , Please send me Box 3913, Dept. 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Live at the Fillmore with @ 24-minute jamming song is what | grew Up on. People should listen to that. They don't need to get overboard with it, but that would bring in the emotional side more than just chops. "The atude Song dir Roni oy Steve VaiRelatvty DAVID. “inat by far my favorte thng ve heard Steve Valco, is a great pecs, totaly unpreditabis. You rover {row whats'comng up next savant garde rock gutar eee pisces wih Baw Cee foth and alcerace, but te is by far more improssve, om what Th hoard Ig tle GP eRe habitats totaly off the wal You can hear the Zappa in here going heavy tet! There's ot what you cou cal Great load guitar breaks, jst & mascive conglomeration of ily pate cor ing ano gong inal ferent arectore Its a wrotfun fo lstan fo he upbeat e's kind of hike a Hencr of te late Bes, Hos binging in al those new Sounds ike Hendy bought inal these new sounds Metal Hea | | Aorta ear by Accept Porat DAVID! ike Accept. their chord progressions are @ ie diferent hom tos! bands. Another trademark i tat Usually unten they go note lead guar they change Meyer ke the way ths Stas out There was thet bi they. Cor rowed ftom 2 aesieal pce. The unse campenod lead eco had tome ops string nose and ft could have been a te br cleaner But Wot oinan 19 00d Tock gular payor and ie fed & ood ack tone. He comes. rom the i2escal German/Sohenker schoo! ne fenot.as prolent a, sey, Tony waca pinot Malmsteen at laying arpeggios Tie guy sours tore sof aupie tat these oer guys. comes roe noe sioet Sounding. might ke Wale more protien than at. =Do you need someone else to tell you when your guitar's out of tune? You've got enough people telling you what to do as it is. So when it comes to your guitar, you be the boss. Taking charge is easy— when you buy new STINGER high-tech electric guitar strings, because we've in- cluded a special insert that tells you: how to tune your guitar; how to choose good strings; and, the best way to change your strings. 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NY!" a = =a a sve heavy into heavy meta, ths otter wl ‘SaoonFr Rovbox tao Teretauts, eter toe tan ee at wus area aaa ae arate ie Raat een overage Se | rach aench es ney evens hn [eran ryar en anesthe ran 28s | Cont wail Ce embers. | Geemrhecetic SoeleSnppng and sanding) wenciange, wsiinee’ ssonacbater ExeMcaeet | Soeres eee ee Wud Cubpteninticaet meceyenrs. tan of Compact Bscecunenyeurney. | oa T PrBtyheavy Pont ogni selectonsanayou order a5 a CD member and these pur- | 2 Suntan ic tied pene’ tay Ot asontn cae Cet inert oo" | ‘arsalstoclstot tra youmaycorce! menounos atun | ere. Sonat reras ver mcasie | ‘How the Club worka:overy four weeks ofthe Chive spereton with yourmeacuctry ‘Sona my seca ms ype ofresering eck nah {93:tmes 2 vost youll recewe the Cubs. shiomont jou are not eats for any ‘Beascerres "* Toreconas Bere cine tee eae nn emery | | Myra maaical tresiatcech on IBoton of te Mert for whichever kina of wit 10 daya or a ul ung ona yu wr caaltmmeyareswctcer ees ear) ‘rusts yours nto. plus hundreds of ater- hayeno rte obigaton atin an ktoday. CngayMeaL CMARDROGK "Ei sorr Rook Herein games eae oue ee enema ee gown amnion femeeaem aa | Rice mares Semuitiaae aaah eget petticoat ccrmranrses era et | Heecatsitem Sasa Etre ease | Sade atmos mnerene ita Greet e Ee aP ae ETE | aa wabunnccecranat covery ten ieee | pe ep peep ed eee four bara cetgaton= | ae om i stertipdme's ais se Goel nant aantnurtvnn | Semtinemrtecsen, Oe oh You'doction yeu ever oosns ary Slee eros you to sa more ht albums 3 reeled neces Siiecintgas Ste ne AE det eRe | eet eseectcere peer Sarycunisact” pauanetamamerde | C wimmecnemeeos mere [———] Bier pls’ on aternmt anetton son "The Copan an records tet You order fstsleeton and? te bonus cop erelnsnd oa eguer Cus press mi cautng yur mornborsip wil be oiled at | Pesteres yer Teadacertmrcnne GBs ShSe? pis stoora andtarcing. — CBS: iesevtes SeeantouMseses iMut-unt cots spec and Hssses ote oranmsuffering artist thing, and lord knows | did a lot by my own hand to keep that going, and | nearly killed me,” John Hiatt said. "I have since come to find that it's a load of codswallop. | work best when I'm in good mental, physical and spiritual condition With his latest release, Bring the Fam Iy.John Hiatt is doing the best writing his career. Aiter a grueling series of sonal and_ professional setbacks, 35-year-old songwriter, who st 17 years ago in Nashville ‘ang went on to gain the di being dropped from three bels, after releasing achieving albums, hat love, which, by his own mace all the Gitference in I moved back to aga because my first Fe so many years | subscribed to that had a daught and | didnt want to sta les anymore, he explaine met my wile, Nancy, so it turns out it was the best thing | could have done. On the new album, ‘Learnin; io Love You ‘was written in January 1986, right after | met her. | hate to ruin anyone else's perception of the + ut for my money it kind of all comes down to thal terms, the tune. Speaking in songw ‘album was sort of abo point where | was able to fe how much | cared abx which | had never been never felt that way before | was just incapable, tote (of coming that clean, | investing that degree of seit | was just unable to be Long a critic's favorite, a singer's songwriter, preferred by tastes. that range from the merely sophisticated to the dangerously twisted, ‘rom Rosanne Cash to Dave Edmunds to Eivis Costello and Bob Dylan, Haat is also a singer of some note, most often belonging fo the highly revered sub-category of sou where blue-eyed meeis crosseyed. Such catalogue distinctions and many Country hits aside, it was, after his most recent fallure to dent the playlists of a tineared America, a pass that caused him more than once to ponder. twas time to reconnoiter,” he admit- ted. "Am | mainly going to be a song. writer? I didn't even know what kind of a record to make even if | had a label ‘And then Demon Records in England somebody ina song, my work direct offered to put a record out on me and | thought, ‘Okay, here's the small label route that I've never tried. At least ill be an outlet for my stuf | was doing a lot of solo performing and | liked that. So it was sort of looking like, well just toss uta record on Demon once a year and cary on, That was fine; I'd accepted that. But | really didnt know what kind of a re- Cord to make, so it was literally on the back burn er. | wasnt even thinking about making one any time soon. | was just out (on the West Coast doing aun of 12 shows, when John Chelew, who books the clubs | play, and I {got together and he had some ideas on how | should make a record hief among them was the concept, heartily em- braced by Hiatt, of per- forming live in the studio. ‘One of the most appeal of the deal was that in four days Id have a finisheo he acknowie There was a lo factor and t'm into that these days. It was an in tense four days, and some of the most excit ing music I've ever been involved. in.” Especially with buodies like Ry Cooder, Nick Lowe and Jim Keliner to prod him along. “All the songs were written and: nobody knew them; nobody knew how they were going to come out and be arranged, and in fact we dicn't talk about it! We just played. It was great. And then John started taking lapes around and the next thing we knew four major labels wanted it That Bring the Farnly eventually expe- rienced a commercial fate similar to his seven previous albums, surely by now hardly ‘phased the man. His love of songwriting is wound too deep in his SOU to unspool at the loss of bullet, the Cropping from another label. "A lot of times songwriting is just an exercise for me to keep from going nuts or explo. ing or feeling a litle too weird for this planet," he sai a way of keeping mysel here. Sometimes it serves the Purpose of explaining things to myself, W JOHN HIATT By Bruce Pollockand sometimes it's just the guy in the garage who builds the ship in the bottle. T'was writing tunes and lyrics almost within a month or two of picking up a guitar. The guitar was immediately dele- gated to a backup instrument, some- hing 10 strum so | could write some songs, sing some melodies. | wasn't one of those guys who sat up in his room trying to break the code on licks off of albums. | had a friend who did that, but | was immediately ready 10 write songs. | leamed four chords, about the only four | know even stil. I've honed them to a fine point though. As it turns out now I've {got a lite bit of a career just as a song: writer; people actually record my songs. But | would do it even if they didn't. It's lust something I've done for so long. I'm not trying to make it sound like just a hobby; i's how | make my living too, but | would tind @ way to do it whether I'had an outlet or not, or however narrow that outlet might become. A lot of times songwriting is just an exercise for me to keep from going nuts or exploding or feeling a little too weird for this planet. With Hiatt's ever-widening circle of converts, there's no immediate chance Of those channels drying up. Just ask Rosanne Cash. When Columbia refused to release Hiatt’s "Pink Bedroom” as the fifth single off her Ahythm and Romance Lp, she made sure that "The Way We Make a Broken Heart.” was the ltst sin gle from King’s Record Shop. A wise decision, as the song went to number ‘one on the Country chart. Hyatt original- ly wrote the song for Ry Cooder’s Bor- Gerling, in 1980. Recently he was asked to provide some music for Bob Dylan to sing in Hearts of Fire. Dylan didn't choose any of those songs, instead opt- ing for a Hiatt chestnut called "The Usu- al.” Of breaks like these early Christmas presents are made. “I just heard it yes terday, "said Hiatt of tne Dylan rendition, ‘and | could die happy now But that Hiatt prefers to live happy is exemplified by his new attitude about his profession. “Im naving a new expe- rience since | got an office. | jove work: ing by myself: | don’t work well in large groups, or even small ones. We just Bought our frst house ever last year and |[had to beg, borrow and steal to buy it lve got a house payment. Im an adult. Ws a big old house, but it's just that ‘when I'm there | know I'd rather be play- ing with the kids than being down in the basement working. | have my office in the same house where the guys are that administrate my publishing, s0 I've been inthe habit lately of running around the 44 GUITAR, MARCH 1088 comer and going, ‘Listen to this, | just wrote it’ | kind of enjoy gelting some Cold, objective viewpoints, These days im usually of the mind that once you start a song, finish it even if it's dog poop. Its worth the exercise. My main fitual is just @ pot of coffee and get started early. Im gone by 1PM. But Il work on a song for three or four days at a time. | don't know about you, but it hurts me when | use my mind. i's dan- gerous. | just wear myself out. Maybe Ill get_ some thing going and then Il re- alize three hours later that Tim two verses into it and | want that last verse, but | know the brain cells are a litle duller than they were when | started and | know Im going to be settling here if | go ahead. | used to do that. | used to go ‘Oh, I've {got to get this done.’ And I'd ut in a third verse that was maybe not quite mation or grand should have ict of songs laying that sutfered from that syn- drome. But | feel fortunate nat | have the opportunity to make mistakes. | think that's a privilege, not only in songwriting Perhaps Hiatt would be another Raymond Carver but for one flaw. "My memo ty is awl, "he revealed and then forgot that he revealed “I think that's why | could never write anything longer in format than a song. | would love to be ‘a short story writer, but like they say, a good memory is paramount to a good fiction writer anc my memory is bad. If | get more than one idea at a time it drives me nuts if | dont have it put down. Il be driving in a car, singing the melody in my head, but |’ won't have anything near me. So | have to be around @ tape recorder of something. | have a litle mono nothing machine that cost $25 and | usually put songs on here and when | get two or three to- gether Ill bring it to a demo studio. That's fun for me ‘cause | go in and usually play all the instruments. I'l either punch up a single drum track on a drum machine or sometimes I'll play the drums or |'l get a friend in to play the music that | can't do. The high point of a song for me is when it's finished and | feel ike i's a good song. But | s0 enjoy the process of songwriting that that's also the low point, because i's over Getting the idea i a high point too: fee ing those endocrines shake loose gets you kind of pleasantly high | would sup- pose. It's kind of a compromise after that point, good or bad. | guess I'm selfish, It's fun to hear what happens how it sounds when you put a band to it how other people perceive it, what they might add to it. It's always grafitying when something connects for whatever While Hiatt can certainly appreciate e Leonard Cohen conceit that per- forming can sometimes hurl him back ppatticular song, more often his songs take on a life of their own on stage, like children determined to leave home ‘Songs get away from me inexplicably, he said. "Like all of a sudden a song that I've been doing in a show, maybe ‘even though I've been doing it in a cif- ferent place and changing it up and I've ‘always been able to hook into it and get ahold of it enough to fee! it—all of a sudden itll get away from me and | won't know why. It's like a suit youve always worn; all of a sudden nothing fits fight and you don’ know what's wrong You fee! like youve been abandoned. But otherwise he has no complaints ‘You know," Hiatt philosophized, “I's such a rough gig. I'm pulling into the office and I'm out by one in the after ‘noon and I'm saying to myself, ‘Why do writers always ask me ft I'm bitter that my career isn’t further along?’ It's like for Chris's sake man, I've been doing What | love for 18 years. | pull info the office and | might work two or three hours. Like is really killing me,"#U.S.PATENT NUMBER 4581976 is very proud to announce that we have been granted a patent by the United States Gov't Patent Office for our RPS Reinforced Plain Strings. This is the first meaningful patent obtained for a me ase kaa in Hale Eu face ge Try a set and see on aa pros like have chosen RPS"Strings.NOTE-FOR-NOTE” GdITAR Want to know EXACTLY how they play it? OUTRAGEOUSLY ACCURATE SOLOS DESCRIBED IN EXPLICIT DETAIL ON CASSETTE. No music reading involved. GET A FREE TAPE!!! For every four Note-For-Note Tapes you buy at a time, get the fifth one free. 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BOOK 1 — 254 pages. siyle studies of VAN HALEN, MALMSTEEN, VAl, RHOADS, HENDRIX, PAGE, CLAPTON, SCHENKER, BERRY, 8.8 KING, ove/ 400 ick al rock techniques, an EXCELLENT foundation i scales and chords BOOK 2 — 270 pages Msi theory, readings principles Of “ingcring & technique, phrasing and accompaniment Hundreds of scale COLLEGE LEVEL HOOK ON ADVANCED IMPROVISATION AND COMPOSITION APPLICABLE TO ALL GUITAR Ee ge D eg fel an tngcring, modes, barony nelesy: chcrd consiniclon se prgn eal nns te eset aes typ apd Ato chord Rogertees BOOKS 1, 2 and 3 use standard notation and tablature. Each book includes: * Three 90-minute lesson cassettes + Rhythm tracks + Progressivelesson guide + Solo examples + Melodic scale & arpeggio patterns + EarTraining BOOK 4 — 304 pages. CO-AUTHORED BY JAMES GLEASON and DAVE CREAMER. Dave played with Miles Davis and George Benson acclaimed him as the best young Jazz guitarist in the U-S. This definitive book on arpeggio Fingerings includes every scale and chord in Common use. the most complete dicionary of useful chord synonyms and scale tone chords ever assembled, Over 3000 arpeggio fingerings Every related scale is shown for over 90 arpeggio types. Melodie arpeggio studies. One 0-minute cassette CHORD PROGRESSION BOOK — This 52-page book has the ess the present. The 377 progressions are on one 90-minute LESSON casseite. tial chord progressions used in Rock-related music from 1955 0. DEALER INQUIRIES WELCOME PRICES (U.S. ORDERS POSTPAID): SOLO TAPES $15 each RHYTHM TAPES $20 per set BOOKS 1, 2, 3 and 4 $27.50 each Chord Progression Book $12.50 each CAL. RESIDENTS ADD 7% SALES TAX U.S. orders also shipped U.P.S. C.0.D. Call (415) 644-1426 24 hours a day to place your order. FOREIGN ORDERS SHIPPED AIR MAIL Payable in U.S. Dollars by International Money Order ONLY Canada and Mexico Add $3 per book all other foreign countries add $1 per nin tape, $10 Allow 2 to 6 weeks for foreign delivery Send check or money orderin U.S. Currency ONLY to: Rock Performance Music P.O. Box 126G Berkeley, CA 94701-0126| noticed there's more guitar playing on this album than there was on Nervous Night? Before we went in to do this record | made a conscious decision that | was going to play guitar again. | mean really é Play guitar. Years ago Rob and I had a band called Baby Grand and we had a couple of albums out on Arista. There's = some serious guitar playing on there. | don't think | have the chops | had then. 2 It was real fusion type of music, | was just the guitar player at that point. | wasn't singing or writing. On Nervous Night, | was as much into playing bass and mandolin and kind of spreading myself out. Actually | ended up spread- ing myself thin because | started piaying harmonica and recorder on a tube as well. But on One Way Home | really wanted to be a guitarist again. Ive 6 playing for over 20 years. That's w reer ning in better for me than p fed Junior and my box, turnin wailing. It feel from being. influ enced by Hendrix sprtval ing 1ANING mee ANING Clapton and Beck TO THE Im a guitar play Winn first and foremost. ih ‘on this album 1 m: | sure every song has | guitar solo. On every c | said, what can to i make this exciting? | always had a guitar in my hands. Actual- ly, | played all the guitars on the and cid the bass on some cuts. By the time Rob and | wets tne songs all the guitar parts are done and that’s what happens in the studio. We work so fast and we have such a precise idea of what we want to do that by the time John comes around, i's really done. He hhas the challenge of making it his own and playing it live, which he does an admirable job of. Our producer plays an important part. Rick is into what ne calls macro.” He wants every part, every lyr ic, every sound to be macro—big. You can magnify it; you can make it the size of the Empire State Building. Like that Quitar part in “Johnny B..” that arpeg: Glated verse and chorus part, i's mac- fo! You can hear it ang follow it don't have to concentrate to under What itis. When you do Understand that there are levels to it There are six tracks of guitar on that. We Interview by Marie Woodhal 19have two tracks of a stereo Junior, two tracks of a stereo Telecaster, and then | oubled the two tracks of the Schecter The solo is the Junior. It comes out sounding like one big guitar. How do you prepare yourself to get your uitar personality across? hysically, | work out every day. That's what Keeps us sane on the road. Every ay our road manager finds a gym for Us to play racquetball and lift weights, I'm not really athletic, but | force myselt tobe. Every time | pick up a guitar, | get Creative and that's my practice time. In the studio, | try to whip myself into an emotional frenzy when I'm playing. If | could be transported at that moment to a stage, | feel like I'd be projecting in a much bigger way than | ever actually do in a live performance. On stage, | haven't reached that point of easiness. | sometimes say, why can' | just stand like this live and feel this intense and feel like I'm projecting? When Im play- ing live what | do is imagine I'm playing live for the first time. Sometimes it works. Fil also force myself not to do stage moves that ve gotten used to doing Like on the end of "And We Danced,” | would always cross over to the left side Of the stage and play to the front rows ‘Some nights I'l say, 'm not going to do that tonight. 'm going to stand stil there and just feel the power.’ You resort to - ash at consistently low prices. will bring music your ears. Call 1-718-347-7757 124 FLITON AVENUE HEMPSTEAD, NY 11550, 20 GUITAR. MARCH 1988 Nobody gives more sound for less than Sam Ash. been filling America’s playing and recording needs for more that 60 years. So whatever your needs may be, youll find that the helpful and expert people at YOUR SOURCE FOR MUSIC AND SOUND ‘or ask Operator for Toll Free number. litle things like that. It also helps that you're playing to cifferent cities and cit- ferent audiences every night. | keep changing, internally and externally. What's hard is that I'm kind of stretched to my limit live. Not only am | playing guitar, I'm also singing. Like on "Johnny 83.” | start the song on a mandolin, which Ihave on a stand. | play guitar and | play harmonica in the riddle and then | play the guitar solo and then | go back to harmonica, and during all that | have to sing a lot of the song and play all those guitar licks in the end and then go back to the mandolin. So I'm at my limit The trick is to make it seem effortless. helps if | switch guitars for a night. What equipment are you using on stage? I've gotten a really consistent great live setup now. I's basically the same thing | use in the studio. The only amp I've used in the last few years is Vox AC-30 I've hag that for 20 years. I've used it\on every record I've ever done. | got so Used to my studio sound that I figured Out a way to duplicate it live. | plug the guitar straight into the amp. | use a Nady Wireless and | take a Y off the mike in the amp and | run that into a PCM-70. The two outputs of the PCM-70 {6 into two direct boxes which go to the Rouse. So all my effects are actually off my mike signal but | control them on you need 10 make music at Sam ts a fact that Sam Ash has im Ash “MUSIC STORES: stage with a mini-foot control, s0 | can Change the patches, and then from the direct boxes | also feed two more AC ‘30's, one on each side for me to monitor my offects in stereo. So | have three AC 30's on stage, although only one of them is really the direct guitar signal. That Junior is the mainstay of my existence. ‘Although there's a Schecter that Rudy Pensa built for me. I's all rock maple ‘and it was all parts he had lying arouna In fact, it was the last of the old maple and last of the gold plated humbuckers Tluse ita jot on the record, | also have a Kramer. They're building me a doublen eck guitar mandolin. | collect guitars to play them. | have a single pickup Tele Body Prototype that plays great. Guitarwise, what were the magic mo- ments on the album? “Hard Rockin’ Summer” was one take; the whole thing, solo and all. On that ‘one | wanted to be like one guitar player playing the whole song and then he turns up and does the sale. We record: ed that whole song in one day. It was the last song we recorded. Everything was one or two takes, “Graveyard Waltz” actually started from a birdcall | heard while we were in West Virginia We were sitting outside of a house we rented and drinking wine coolers. We heard the bird, and | turned it into a rtf It sounds like a live jam, I'did that solo seven times, trying to get it to sound like a live jam. We probably spent more time overdubbing that song than anything else. | kept cutting the solo on different guitars tying to get one that would cut through the wall of rhythm instruments and | wound up using the Schecter that | have. We spent three 's getting the bass part. It's a very simple but it took a lotto get i right. We went through different types of rhythm instruments under the solo, That steel guitar was the last averdub on the recorc. That guitar was @ 1955 Gibson Lap Steel that | bought from a friend in 1976 for forty bucks. The only guitar that we cut on the song was a Schecter and the only way it would sound right is if | had the action cranked all the way up. So | could only do two or three takes at a time betore my fingers just gave out. The guitar licks at the end were the most magic moments, which were all first take. Live Im using the red Junior. 1 tried using the Schecter, but the Juniors @ great axe,with less to worry about How do you avoid guitar cliches? That's tough, you know. Your fingers get patterned just as your brain gets pat. terned by the English language. Now | have an acoustic guitar that | put into all these bizarre tunings. | read an inter- View with Michael Hedges. and that's, how he writes a lot. | love Michael CContinvea on Page 109winning pedal. Theballotsare in, The Dis (22) pps toons noel 19's most innovative foot-controlled, effects/signal processor product. That’s how it was honored at the Musicand Sound Awards, held recently at the 1987 NAMM Exposition. Best in a tough field. Pretty impressive when you consider it was judged by music dealers across the country Int REG eens a ge AT the praises of the PDS 1002. It’s getting outstand- ing reviews from musicians nationwide. Musi- cians who cast their votes by making the PDS 1002 the largest selling digital delay pedal in The 1987 Music and Sound Avward iTech the country. For digital effects including sound-on-sound, infinite repeat and delaying up to two seconds, there's justnocontest. Theentirestaff at DigiTech is proud of the PDS 1002. Proud that their work has been recognized. And proud that their product is manufactured in the U.S.A. ee Digifech Start at the top. ‘The design leam ofthe PDS 1002. from left: Frank Nelon, Honnie Miler, Rob ry, Bil Brotherton and fim Pennock, DigiTeghisareisteredrademarct he DOD Bacrnics Corraton, ©1887 DOD Eton Cor Manuf inhe S.A,Send Your Guitar Questions To: GUITAR QUESTION P.O. Box 1490 Port Chester, N.Y. 10573 by Barry Lipman QUESTION’ Is there any way to tell my Fender guitar is pre-CBS?Derek Blak- ley, Minneapolis, MN’ ANSWER. There are several. First you must find out the date the guitar was made. To the best of my knowledge, Fender was bought by CBS in late '65. (it-has since been sold Fender usually Stamped the date of manufacture under the finish on the end of the neck where the neck-mortice would conceal it while the neck was on the guitar. The date is also often found stamped under the fin- ish beneath the pickguard or in the neck-mortce. Also, many collectors and luthiers have lists that can date older Fenders by their serial numbers, These numbers are stamped into the neck bolt-plate on the back of the guitar. If you send me the serial number along with any other letters or logos printed on the plate, with a SASE, | will try to dat for you, Please don't send st bers from guitars with plates t have the “F" logo, three-bolt neck-plate, or serial numbers printed on the faces of the headstocks. These are all post-CBS guitars and | don't have accurate dates for them, QUESTION: Why does my guitar sound really thin when | turn its volume down with its on-board volume control?—K.A, Byington/Lincoln, Ne ANSWER: Your guitar probably has a low-volume crisper capacitor installed across the hot leads of the volume pot. This is done more and more these days to offset the muddiness that often ac Companies the lower volumes in guitars without the capacitor. This cap works better with some guitars and pickups (and players) than with others. If you fing your sound too tinny or thin at lower volumes, open your control compart- ment and take a look at the back of your volume pot. There should be three ter: minals. One of the outer two is usually grounded by being soldered to the pot's Casing. The other two hot leads may be connected by a capacitor. A capacitor 's usually shaped like @ pancake or chicklet about 3" in size, They are usu- ally green, orange or tan, It you find a capacitor soldered to oth of the hot legs, clip it out while being careful to avoid damaging any other wires connected to the same ter The Best Parts of Guitar Playing Come from Warmoth minals. If this makes your guitar sound too muddy at lower volumes, you can try experimenting with different value ca- ppacitors. This will affect the frequency of the signal added at iow volume. If the pitch of the effect sounds right but the intensity is wrong, try connecting a min= lature 500k trim-pot in series to the ca- pacitor. Connect one wire of the capaci- tor fo one of the voume por's het leads. The other cap lead goes to the inner leg Of the trim pot. Solder either of the two Cuter legs of the trim pot to the other hot lead of the voumie pot. Now you can adjust the trim pot to control just how much high-end sound the cap will pass at lower volumes. QUESTION’ Is there any way to reverse the yellowing of the once-white bindings on my Les Paul?—Joe Vallina/Oak HIILWV. ANSWER: The color of your bindings is caused by the yellowing of the clear finish over time. Refinishing with a non- yellowing clear would be the only solu- tion, but is a very costly remedy for such ‘a minor problem. The yellowing seems 20 or accelerated by ultravio- 1 can slow down the process ing your guitar out of sunlight I fact, try to by kee and flourescent lights keep it in its case whenever it is. not being played Geasteeastsound Proudly announcing the Grand Opening ‘of ournew location! You'veneverseen anything like us! Fercilong tre now. ‘weve been the biggest and best in the Northeast. ally, we look it. Tiemense guiter section with amplification, effec} rs Made in the U.S.A. For your copy of the most comprehensive catalog of Premium quality guitar parts & hardware (in gold, chrome or black), send $2.00 to: “2 Warmoth 11610-A 0th Ave. E., Puyallup, WA 98973 « (208) 845-0403 22 GUITAR ARCH 1068 + Luthiers Barry Lipman & Steve DeTone on stoft Now, high-tech showroom » Huge, off-street parking Io + Performance stage for PA consultation Soon: + Multiple teaching studios + Weekly Jam Nite s WATS line» More! our great deals for years -xperience the new Eastcocst = 203/748-2799TABLATURE EXPLANATION ‘TABLATURE A six-line staff that graphically represents the guitar fingerboard. By placing a number on the appropriate line, the string and fret of any note can be indicated. For example: ‘8h string, rd tet Ist string, 1m ret, ‘an open € chord 2nd arng 1 ret, played togathor Definitions for Special Guitar Notation (For both traditional and tablature guitar lines) aw FP [BEND: Sie he note and ‘ond up lon (one re SLIDE: The st nati stuck snc en he sare ger othe franc eves some sg ‘oie acaon oe ancora ‘TREMOLO PICKING: The fetes picked as apy are Cortruouay 2s peso. SLIDE: Same as above. treet esecend ae fru NATURAL HARMONIC: The ‘rethand ig overs re [arog over ne et ete hontis crc A cme ‘sounds prosucod BEND: Seka me nate and bong up ewe Sep to ses) LEGATO BENO AND RELEASE: cre he rote Berd (or who) sep (re rgearte Al tree Petes ‘eted ory he et nae sux SLIDE: Sve vp to he roe Soom ARTIFICIAL HARMONIC: ‘The tet hand tages he rte sicates Tre nek hana Dsus he naman by {ng anger toby euch ‘eg atho et nscatea 6 Pateroses and puck wih Shane tngee ‘SLIDE: Sic the pote ard {ide up andere rub of fs. rear fnge pressure ine endothe sce {GHOST BEND: Berne note Bs ar wre) ston. hen ‘sive ARTIFICIAL “PINCH” HARMONIC: Tro ns eto nary ar harmon produced by ‘0rg ne eget he ao Ore tpol te dex ger Te piecnana oe nomi po aac High vlane o ‘toto wl a or str varety ol Pemencs PICK SLIDE: The age tne oes bed dow re lergh rine ang A sertey os Sprodvced ‘GHOST BEND ANO RELEASE Berd Be nt ve ‘hier wate) sep Ske ta ‘roach bod bcs the co HANMER-ON: Sree flower rt. en seu he igor rte wh anther Dp tenrgt whan Beng TREMOLO BAR: The picn ot ‘ue or chord aopeed a. Seciiodnunbero eps hen ‘etunad oe tiga pics UNISON BENO: The ower re ser sig belo De over tis nen bert one Bic ofthe higher. Thy PULLOFF: Gon trgers re free agecert con intaty pacevon te rts to be source Ste he wt (her rete. hen soured he PALM MUTE (PM): Tne rte WiBRATO: The sng lover rata ypu e noe ‘spartaly mad by he pk aie by rp berg ad ‘lee ghar roe wie ana torny ovchnane aieory dome cae ‘eoing We ner nte hee ‘gly a kere he pe rand tendo bor FRETBOARD TAPPING: armet (ap) oto ret oe wah re nce or {ge ote ck Pans and pl tote note Fate bye Ht fang CT" eas apped! rates [MUFFLED STRINGS: A porous sours prodvend playing be vetnand acres Te ings winoa deessrg ‘emtote rotors snd ark Inger wih heck here [SHAKE OR EXAGGERATED VIBRATO Tre ch s vane’ ‘0. gratrceroo by vraing wien he ethane emo tae ARCH 1988 GUTAA 23RMANC FREE BIRD This tune begins as a ballad featuring acoustic guitar and slide, and eventually breaks into a Souther rock stomp fea- tuting double leads played in a style indebted to Eric Clapton and Duane All man. The slide guitar has been tabbed for standard tuned guitar. During the "Tock out" section of the tune, two gui- tars play the Solo in unison for the most part, with occasional discrepancies Which have been notated. All of the so- loing is based on G pentatonic minor (G.Bb.C.0F) and G pentatonic major (GABDE). This solo contains some fast passages, well executed by guitar- ist Allen Collins. Working out this solo will prove to be a chops builder ang will provide a lesson in Southern rock’blues guitar. WOMEN Def Leppard are known for bridging the gap between pop and heavy rock and "Women’ is indicative of their ste. The intro features the typical rbVl- DVI (Em-C-D) chord progression with a sim- ple melody on top of it. These. intro Chords are actualy formed by many overdubbed guitars playing (and vibra- {bing} single notes, better Known as the "Tom Scholz sustaining electric guitar orchestra” method, For simplicity, they are arranged here for one guitar, Notice how the intro melody is employed in the rythm guitar during the verse (over ‘one part love ..."), creating an unusu- al voicing with a Lydian (#4) sound. The Zeppelinesque chorus guitar part is based on E pentatonic minor (EG.A\8.0), The guitar solo is based on E Aejoian (EF#.GAB.CD) and fea. tures a well-executed tremolo bar riff in Dar 5. The outro solo features a chord progression reminiscent of Steve Morse {(Oixie Dregs), featuring. ist inversion chords (3ra in the bass) this is espe: cially true in the last series of chords, Where the primary relationship of fourths resolving to roots (Eb to Bb) modulates, in whole steps twice. The soloing guitar focuses on chord tones (roots, thirds, ‘ane tne) primarily. This solo is no chops burner; itis melodic and to the point. employing a siraightahead rock roll attitude. 24 GUITAR NARCH 1868, SKELETONS IN THE CLOSET Anthrax’s free-wheeling approach makes them the most fun band in all of thrash, as they play with a sense of mu: sical freedom and humor. Witness the ‘weird intro. These guys come up with some unusual chord progressions, throwing many heavy rock cliches out the window. The basic 16th note figure in bar 9 is a staple of thrash, and these Quys play it fast. All the mhythm parts are made up of rootith (°5") chords used in conjunction with. single note lines. Dan Spitz uses some unusual scales in his soloing; his first break during the second verse is based on the fith mode of A harmonic minor, which is the same as & Phrygian with a major third (EF, G#AB.CO). His second, thitd, and ‘fourth breaks are based on E pentatonic minor (E,G.A,B,D) with passing tones. Spitz alternates between these two scales during the first eight bars of his 800, before breaking into a riff based on an E diminished arpeggio (E,G.8b,C#). The following triplet riff is based on E Aeolian (EF#G.A.8,C,D). His soloing during the last verse is primarily based ‘on E pentatonic minor. Many of these nis are fast, and Spitz articulates them all excellently, Besides his fast chops, Spitz should be appreciated for his bi zaite sense of melody and humor, as these qualities bring the music to life BACH’S BOURREE IN E MINOR by Ben Bolt When attempting to play a classical style piece, i's good 9 develop your fight-hand technique, because you pluck the strings instead of using a pick. To form a good right-hand posttion on the strings, place your thumb, index, middle and ring fingers of the right hand ‘on the third string. Your right thumb should be extended to the left of the index finger. As a general rule, your Tight thumb plays the bass notes while your right fingers play the other notes. The litte finger isnt used. There are oth- er ways to position your right hand, but this example will get you started in the right direction. Another key element in right-hand development is to alternate ‘your right-hand fingers as much as pos- sible, in the same way good rock play- ers don't use all down strokes of up strokes. They use a combination of both strokes to facilitate speed, Bach, Beethoven anc Paganini used parallel, oblique and contrary motions in their compositions. Today many rock players have used these’ concepts to their advantage in composing and per- forming. Parallel motion is when two lines of music move so that the interval between them remain the same. For example, the lead guitarist and bass player both play in the same direction of pitch (ascending or descending) like Billy Sheehan and Steve Vai did on Da- Vid Lee Roth's "Shy Boy.” Oblique motion Is when one ine of music repeats the same tone while another line rises or descends in pitch, Randy Rhoads guitar work in " Crazy Train’ is a good example of oblique mo- tion. As Ozzy sings, Rhoads repeats the ‘open A string while changing harmony ‘on the higher strings. Oblique mation is. @ classical texture used in heavy metal Contrary motion is when two musical lines sound together andi move in oppo- site directions. one descending in pitch while the other rises. To apply contrary tion, the lead guitar may go higher in pitch while the bass player goes lower in pitch. Jimmy Page uses contrary mo- tion in "Stairway to Heaven.” Bach ‘opens this Bourree in Em with a perfect ‘example of contrary motion, which was his forte, Randy Rhoads used this ident al phrase inhis classical guitar compo- sition “Dee.” My transcription of the Bourree appears in its original form. Je- thro Tull and Yngwie Malmsteen record- ed it with some variations trom Bach's original Playing the Bourree, you will discover it mainly consists of contrary and Oblique motion You will also discover the two distinct musical lines that speak for themselves. This is the mark of a great composer. A ROCK PLAYER'S GUIDE TO Book in TAB & notation. TAPE in- Develop right hand cluded. (FREE SEWUWOAR technique! 27 easy, moderate, & ad- with your order: Melodie Sale Bocke in TAB & notation; scales used by Paganini, Bach, Beethoven) READ THE TAB AND PLAY ALONG WITH THE TAPE — you'll learn classical guitar immediately! BY BEN BOLT vanced pieces Send $1495 plus $82.00 postage in check/money order (US, currency) to: OCTAVE APART MUSIC PUBLISHERS, PO. Box 10182, Knoxville, TN 31939 (TN residents add $100 sales tax)Tablature Explanation page 23 FREE BIRD ‘As Recorded by Lynyrd Skynyrd (From be album PROUNCED LEM-NERO SKM-NEROMCA Recor) Words and Music by ‘Allen Colins and Ronnie Van Zandt ce Se ete eee ee AF fi AOA Ra ft AR” oe Bar a ae Gouange es o is re ‘9 te oe af cnn 32 og Ty. */Rio Fst r Daust_D Dest _D Dig Em eee SIA ee Oe ee 2 222 cis, 1 (ofa) a pea TW (end Ry. Fie. 1) faa a FS SPI ES Sem Paar ee © Das$D Dass DuustD_ “Dsus ABER IIT 3 IT2 eda SA es nn Sealine Saar aes Z De a. a. aa a aa Saar cnr ee ae ee ee hurr sea cums 25it Verse W/Rhy. Fla. 1(4 sles) & Rhy. 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Fie. 3 tIJaAIT III TIA ATID FIAT IT AG a Won't you Ay. 30 GUITAR, ARCH 1268, Heated OeGuitar solo w/Rhiy. Fig. 3 (4 times) G Ste Fy bs Py ARO 1968, GUTAR 34waste ino hold bend ee ee rar % © Sy c 32 GUITAR MARCH 1208c Bs w/Rhy. Fig. 5(2 times) Bes nay al 2 mop uo ; De MARCH 1988.GUTAR 33,\w/Rhy. Fig. § (Ist 3 bars only) ray oa eS Ps Pe Popes Pe Eee oe yoo» yy pa = i my wiRay. Fi 9 < » 3 pee Tu, [Se coaents Fol Fy Pal Fn Fl RU Fala Fu MARCH 1888 GUITAR 39.vw / Rhy. Fig. 10(3 times) Bis cs bbs os Guo st tha) = J S say, 2 A, own 5) Bhs Soo. 5 ose gouge Fe 40 GUITAR, WARCH 1968,W/Rhy. 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