aA a TRIBUTE TO IN Sei a Bu ROCK ea al § Ha 3 any | REVENGE! on Mi td OZZY OSBOURNE - EuTi a ay 7 Mama, I’m ea gcc 7 ester oo aS.) ame CHILI PEPPERS % d _ Fitts vy ae Get] S ee ANTHRAX k ON THE ROAD De Caught In A Mosh WITH : THE CHILI Lee eielid | JOURNEY Lights oF —=5 3 PRIMUS — . Pil ss aa gat | A Race Car Driver i — wn aCy Prete % Bla elm ea coe) MUSIC TRANSCRIPTIONS & LESSONS at ee er ae BTU ic BO CU US CR ele weer id City lights and vibrato delights in this classic ballad. Bass-line included! OZZY OSBOURNE + Mama, I’m Coming Home BUC U ae R Ue ANTHRAX * Caught In A Mosh CU CUCM CESS UCR PRIMUS - Jerry Was A Race Car Driver Funk-in-your-face fun from the Seas Of Cheese. Bass-line included! RED HOT CHILI PEPPERS «+ Suck My Kiss POSE ee Cty FEATURES KISS: GENE SIMMONS SSS Ue PSUS CC RUSS CSC a CL a ANTHRAX: DANNY SPITZ Bring the noise and your guitar for a special lesson with the Master of Mosh se eR a JOHN FRUSCIANTE & FLEA re ae ater en Pua aa ciated Cee aid OSS DEPARTMENTS PASSING NOTES Prom a telv aay Be TU) Seu Su Melero ay Pre TAS Cee ely Ctra eC Mn ss teres CMAs Remo hry SP ey CL Seer cs pees Ce UE) Ce Oa Uc greatest in guitar gear, books and ST UME ae Mrs Pra ae aay Berea vel SCS ae cA CAL) COM eu Ra} NLtaslab ih tdai hd telat) A guide to all of the special notation re eh SO SU Oke arid Pe ences just like the record. Cee ee ee eee cee aorta en neni tet t ceno ecVERY HEAVY METAL Yawn. Wake me up when Yngwie’s [May "92) off the cover. What's the guy talking about? His mind is as bloated as his body. He’s got nothing new to say—and nothing new to play. It’s really too bad tha guys allowed the Swedish meatball to befoul an otherwise fine issue. The Pearl Jam and Nirvana transcriptions were choice, “We're An American Band” is surely one of classic rock's finest, and Pink Floyd is, well, Pink Floyd! So, keep up the good work, but keep overweight, over-the-hill Eighties guitar “gods” off your cover. Rodger Citron New Haven, CT you Yngwie Malmsteen has influenced me more than any other player, but I still think he needs to grow as a musician, instead of just as a guitarist. His remarks about Van Halen were uncalled for, espe- cially since Eddie isn’t afraid to lay back—unlike Yngwie’s incessant, self- indulgent soloing, Bill Piney Point, MD Yngwie on the cover of Guitar School— aieee! People slander his good name, call him fat, describe his playing as empty and meaningless—it's all a smear, just a lot of pap about one of the great Nordic artists of this century. Thanks, Mr. Lalaina, and shame on those vile bags of solid waste who attack the man who has been both a hero and a father figure to me. Mohamed Iqban Kew Gardens, New York AL'S PALS Treally enjoyed reading the interview and lesson with Al Di Meola in the May issue of Guitar School. He's been getting a lot of coverage in the Jazz press, but it’s nice to see him in a publication like Guitar School. He has truly been an influence on many contemporary guitarists. Howard Hart Moreno Valley, CA The Di Meola lesson was awesome. I first tried playing the examples without read- ing the lesson, and they sounded all 6 = GUITAR SCHOOL July 1992 wrong, But after reading the explanations, a whole new world opened for me on the guitar. The trills sound like Bach piano inventions! I think Di Meola has the right attitude as far as the difference between commercial music and good music. Five stars and two thumbs up for the May "92 issue. J. Erich Lehmiller Galvez, TX JULIUS SEIZURE T see where you covered Al Di Meola last month. I wish you hadn't; whenever my younger brother, Julius, sees a name with iwo capitol letters (like Di Meola), he has a seizure. We had to call the doctor and everything. Otherwise, good issue. Wolfgang Peltz Milwaukee, Wisconsin DEAD HEADS Tbought my first guitar about a year ago, and if it wasn’t for your magazine, I'd still be playing “Happy Birthday.” Every time I pick up Guitar School | find a transcrip- tion to one of my favorite songs—like Sepultura’s “Dead Embryonic Cells {Mar., '92] It’s about time some under- ground metal got some coverage! Jaymz Hix Hamilton, OH Guitar School is the top guitar magazine, but you still have a big flaw—not enough hardcore groups! Seeing “Dead Embry- onic Cells” was refreshing. Keep songs like that coming Joe Rosen Berlin, MD MORE GILMOUR Thanks so much for Wolf Marshall's Rock History on Pink Floyd’s The Dark Side Of The Moon (May, '92]. David Gilmour is one of rock’s greatest and most underrated guitarists. He has always been an inspiration to me. Brian Martin State College, PA BROWN-NOSER Jimmy Brown's alternate-picking primer certainly didn’t improve my social life spent every waking hour practicing the exercises included in the lesson. Serious- ly, though, the primer’s text was clearly written and informative, and the ex were highly useful. Excellent, excellent, excellent. Goldie Lefkowitz Indianola, Mississippi rcises Guir See agate Nu a ‘1415 Broadway, New guitar JULY, 1992 « VOL. 4, NO. 4 PUBLISHER Stanley R. Harts EXECUTIVE PUBLISHER Dennis S. Page ASSOCIATE PUBLISHER/ADVERTISING Greg Di Benedetto CO-EDITORS-IN-CHIEF ‘John Cerullo, Brad Tolinski DESIGN DIRECTOR ‘John Flannery EXECUTIVE EDITOR simmy Brown MANAGING EDITOR Daniel B. Levine SENIOR EDITORS Joe Lalain, Jett Kitts MUSIC TRANSCRIBERS Dave Whitehill, Jesse Gress, Michael DuCios, Chris Amelar Jett Catania, Andy Robyns CONTRIBUTING EDITORS Wolf Marshall, Guy Mann-Dude, Jef Gilber, Michae! Fath, Carl Culpepper Glenn Thrush, Keith Wyat, Alex Houton, Richie Kotzen, Roy Ashen MUSIC EDITORS Jimmy Brown, Robert Dye, Iwo lwasz Darren West, Nick Bowcott CONTRIBUTING PHOTOGRAPHERS Michae| Petrella, Ann Summa, Gino Carin ‘Markus Cuff, Rick Gould, Alex McKnight, Jet Tismar Paul Natin, Nell Ziozower, Gene Ambo, Lorinda Sullivan, Joe Sia, Chris Waiter, ae! Kaminski, Joe Giron, Mark Weiss, Bob Leate, Wiliam Hames, Phototeatures, Retna Lt. ART ASSOCIATE Susan Rothkopt PUBLISHING ASSISTANT Late Stehlik ILLUSTRATOR Bob Eckstein COMPUTER MUSIC TYPOGRAPHY Darren West LICENSES/PERMISSIONS. Elaine Sexton PRODUCTION DIRECTOR Roy Mosny CIRCULATION DIRECTOR Richard Fogel ADVERTISING DIRECTOR Robert Oye ADVERTISING SALES Bob Beucer RETAIL SALES MANAGER Jonathan Rheingold EDITORIAL AND ADVERTISING OFFICES 1115 Broadway New York, NY 10010 (212) 80; Fax: (212) 6 R Audit Bureau of Circulations [GUITAR SCHOOL (ISSN 1058-0220) i published siz 10070. Single copy price $3.50 in U.S. and $3.98 in Canada. Basic subscription price for one year (6 issues) is $11.94: two years (12 ‘ssues) Is §19.94. Submission of manuscripts, lustrations andlor Copyright © 1992 by Harris Publications, Inc. Al igh 3 Copyright Conver in part without written permissionCOREE re tae erousy heavy guia eam of Trevor i rm Pree cst Pore Ms mis rat ee at Prone ieee ere ea Scie nn) creck ey ee Ce ion ee near) chomp. The band’s trademark double un a Cece ean cd our) mee Pure oes Pee ee ad oe Peer) ‘So good, in act, that West's retun Pc ea ca ont) Pend renee ates Poy any eT Coad PE en Sn oy Pos Seca Perro) rTMY GUITAR IS FALLING APART, omplains Ual Kid Joe's Roger Lat ‘Doyou know any guitar companies suck; 1'm outa here,” says Lat. that woalé wan! o sponsor us? Klaus was rehearsing net door, and ‘Whal witha hit single, 2 platinum he sae, ‘Whee your amps over here, EP (As Ugly As They Wanna To Be), Then we just larted doing our own anda tour with Ozzy Osbourne, Ugiy thing. Kid Joe's two axe-men naven' had The groups curently occupie with ‘muh time {0 gel thee gear tageth- toring and writing the follow-up to A fr. "Tim stl using the gular! Ugly As They Wanna Be. “Our next made in high school wood shop,” release willbe much more diverse ‘ays southpaw Klaus Eichsta. "I says Lar. "We want o write some had to bring 2 screwdriver tothe studio justo heep it ‘ogetner! Cathy rit, comical lyies and pop sersibi ties have made Ugly Kid Joe 19628 Cinderella story. Togeth- for jst ite over a year, the group formed wen gu- lait Lahr and Eichstadt became fed up with thelr respective bands. “One day | jut sad, “My band ‘bluesy things." “And we're going to take our time and do it righ,” adds ichstat "Besides, I need time to go backto high schoo! and make anew wile” —Daniel 8. Levine Roger Lahr &. Klaus Eichstadt Infectious GROOVES: SPREADING THE DISEASEHis soulful vibrato and pop hooks have sold millions of records, but heavy guitar is NEAL SCHON’s first loveKiss’ god of Thunder, GENE SIMMONS, Curses a waste| decade and plots his Peiqataiet ah ae cei MST Ad Batata sm a Raa eee Cae at CU UU Su RUC Ue rg ‘of the band’s notorious stage show. Kiss’ influence on the rock world ‘outweighed that of any other band during this era, and yet the guitar- playing community never seriously acknowledged the impact of the band’s gloriously chunky, no-frills rock. aU Su runs. Paul Stanley never tapped a three-octave A minor-seven arpeg- PO a RC eee ee eR ee ee Gene Simmons. Other guitar-oriented rock bands thrived on these PCO Cn ee a Coed eee hes inspired young musicians to hone their chops, the back-to-basics approach and hook-laden songs of classic Kiss albums like Dressed To Kil, Alive! and Destroyer are what first inspired them to play. ee ee eS au gleam. And the only inspiration Asylum, Crazy Nights and Hot In The ‘Shade gave young players was to change the station in disgust. cl Da OR Cy “Kiss was the reason like most of those records,” admits Gene Simmons during this Guitar bestest SSL mre Dee ek beara tae aes all my fault—t let pad et eee Pec MeL) BOC CSR ee SES PES EOL GME s first stunned New York City's glitter-rack underworld—the band is Sar Cent ae Soe ‘once again in the midst of change. Reports inside and around the Kiss SU SOREL aPo x ya He may not Lae : ‘ <¥ a cere f snag aan rene tes eee SG io S fee arsed cel eos agen Lobel ere word that Eric was Cony he was to report rer be 4 lay down solos ee W ratory lors told Ea —_ rey him thre oro ° Deg ee Peery Po ery er Ce Praca etd eae es Poa Pree Sy races Pe ad Pern Let) Ce eo ry Soy Cra eethe end GS: Kiss has undergone numer ‘ous Tine-up changes in the past Was it more difficult to lose Eric? SIMMONS: Everyone deals with line-up changes differently. 1 just try 10 ‘move on, Bl sometimes it’s not that easy With Eric, we were certainly hurt by the loss, but we had to face reality, which was to heep Kis wend it, We decided 10 GS: How did Erie Singer become Carr's replacement? SIMMONS: Singer played with Paul Si on his "89 solo tour, and he recorded “God Gave Rock And Roll To You 2)" with us for THE ROCK AND BLUES KIT From thetic of Bes tothe power of sys THE MODES KIT Late tm simple ales chon in ay key. CD plas laminated sale chats sany toad TAB, “I didn’t even think of being a musician until | was about 13. That's when I discovered Kiss, and it was all over. They changed my life, and I thank them every day.” —Dave Sabo, SKID ROW the Bill & Teds Bogus Journey soundtrack when Eric Carr was sick. His drummin style realy fits our musie—in fact, it's very similar to Bric Carr's 8: What do you feel are the differences ‘between the "70 Kiss and the '80s Kiss? SIMMONS: During the last tour, something started to happen to Kiss, When we played the best I’ve seen for learning and practicing fretboard patterns. Scho Magavine ‘THE ROCK RHYTHM. ‘AND CHORDS KIT CD a char THE SPEED KIT Piay'any ck Taster and ‘leaner than you ever ‘owsne possible! 6 doubie CD kit wah char, Hog and booklet teach he the masters ANY 2 KITS, 349.90 [ALL'@KITS..SAVE OVER $15.00..$97.90 “ANY SKITS, “S74 90 SHIPPING r= 0+ AR SOL J 1022 compact Oise Drerrat way co? ‘AvDIO borers eit the older material, there was a kind of ener ay we hadn't felt in years. Certain songs. Sounded andl felt better to play. During that tour I convinced myself thal, over the last 10) years, Gene Simmons really hadn't been in the Kiss picture tall. | was there, physical ly, but my heart just wasn’t in it, When 1 Took over the last decade—since the Dynasty album (1979)—1 realize that 1 didn't like most ofthe albums, Somewhere along the way, Kiss tamed into a pop band. When we fist started, Kiss was just four guys from the streets of New York who played rock ‘n* roll because they did't want to work 9-10-5 or roba bank for money, We did things our own way, by ourown morals principles and beliefs. But Kiss became so | s0 quickly, that we all be successf ine addicted t6 the fame Twas a victim of what I warned everyone else about—I believed what I read about ‘myself, “Oh, Gene Simmons, his tongue is so long, he serews so many cool guy! In the "80s, Hollywood knocked on my door and asked me iT wanted to do movies, so [did that, People said I should become a ‘manager, and I did that. They said I should start a record label, and I did that. After 1 found Van Halen and Cinderela, they said 1 should go out and find more great hands, and I tried that. Along the way, 1 not only hhurt myself, but Kiss as a whole BS: Were you spreading yourself too thin? SIMMONS: O, absolutely, Every part of me that was involved in something else was a piece that was missing from Kiss, Now I realize that [have to cut out ll my other pro- jects—the record company [Simmons Records) isin mothballs, I'm not managing Liza Minelli, or anyone else. and I'm tur ing down movie offers. For now on I'm just doing Kiss—at least through the next cen tury. At some point I might get back to all cof my other projects, but not atthe price of diluting Kiss. 1S: Why do you think the musie changed? SIMMONS: Kiss became a pop band, and i's ‘my fault—1 let that crap get out. T want ‘apologize to all the fans who've wondered why we haven't been making the records that we used to make Kiss has always been a working bband—a“four-wheel drive” ideal. Everyone | sings, everyone writes, and everyone plays their own instruments. In the early days whenever we would have « hit with a so that had nothing to-do with Kiss, li Beth." “1 Was Made For Loving You" or “Hard Luck Woman,” record companies would throw money at us and girls would tell us how much they wanted to have our babies. Kiss was never supposed to bea girl's band, but over the last decade, ou music became too fluffy—and E take full responsibility fori GS: Why was Ace Frebley fired? SIMMONS: When the band started, werehearsed in a $200-0-month loft on 23d Atthat time, ev I had the same Swret, in Manhattan ated, vision. As for Ave, he was poor, but he was 1 star—he could never talk to people too well, but when he played guitar, he made it sing, But once success came, it raped Ace of his soul. He couldn't handle it, As the concert halls started 10 fill up and the plat inum albums came in, Ace started to screw up. He wouldn't show up for recordings and he got involved in booze andl drugs. li robbed him of his place in the band, and i robbed a piece of him. Today there's sill a piece of the puzzle missing—Ace isn’t the same person that I once knew who serewed Ace was Ace. He didn’t even ni 0 up ton «someone t0| and say, “Go serew yourself, Ace.” He did it 10 himset. ist in the and good. He was the lead gui biggest band inthe world, andl he thrown out. Ace and Peter [Criss] have toby kicking themselves inthe butt for what the did to themselves. The only thing that saved Paul and me was we were never into booze or dn 85: Do you ever feel sorry about firing Ave? SIMMONS: No, Maybe we were too stupid to know what we were doing by firing Ace, but the whole is greater than the sum of its t bands like Van Halen Aslongas the parts—just look Tourney and Fleetwood Mac people involved have the same motivation ‘the music will have the same soul (5: How did Ace's personal problems the early Kiss albums’ SIMMONS: A\ce wasn't the only guitarist on Destvoye ‘many of those soles were done by Dick Wagner. For example, “Sweet Pain” is not Ace. He said he had, and 1 quote » to by 7:00. Some days he woulda’t show up at al Once Ace became a star, he thought the laws of gravity didn’teffect him, He thought he was invincible. On Alive 2, Bob Kulick [Bruce Kulick’s brother] and Rick Derringer did some of the soles, Ace got more Serious ‘on Dynasty, but the only way we go Ace 10 A card game 10 play on The Elder [/981] was to mail the 24 track tapes to his home, because he didn’t want to leave his house. Ace hardly played ‘on Creatures OF The Night |1982|—the gu corded by Vinnie Vineent and Robben Ford. Even Eddie Van Halen cam down to play, but that didn't work out. Peter started to serew up on Un Hedida’t play drums on that album —it was Anion Fig [World's Me mus Band} We tried to give as much flexibility to both guys. We told them we'd wait until they straightened out. But after a while, we hind Dange to make changes. 8S: Did the four solo albums released in 1978 have anything to do with the problems with Ace and Peter SIMMONS: We did the solo albums because alter we finished filming Kiss Meets Th “The ‘God Of Thunder inspired me to pick up the bass ‘and make my own thunder. Thank you, Gene’ —Patrck Badger, EXTREME Phantom Of The Park, Ace and Peter they felt “musically confined” in Kiss, and wanted to do solo albums. Paul and I sac ‘Go ahead—but stay inthe band, We'll sup port you, but don’t blow it for your elves —don’t leave Kiss." In the end, eal Cece ery cy Pree Peet Rene eT a) Sa ae ee asec or Coke amor) See WL RUS 813 Wilber Avenue, Battle Creek, Ml 49015, U.S.A Paes cate Sa Cor Beas Essential Equipment. nies hate BS: Ace's solo projects SIMMONS: | think his was the best, He didn’t rt his Kiss music out through Kiss bum is considered the best of th so it came out in his solo album, His album was the most Kiss-Like On the other hand, I was totally satisfied with my role in Kiss, so T went off into th Twilight Zone" with my solo album. {had Helen Reddy, Donna Summer Cher, Rick Neilson and everyone 1 could think of that was doing something uniqu: ‘come down and contribute. | wanted al o the Beatles to sing background vocals, but they didn't show up GSE Isn't Ace ‘urtenily working on materia a) Peed Cees Corte re) GHS Stings.) iy 1082 TAR SCHOOL» 18trying to secure a new record and Paul had been working on, it started 10 contrac fel like the first album all over again, SIMMONS: [Jowers and shakes GS: But you said the same thi head. eyes closed} W's over, Ace last album, Hor In The Shade after the SIMMONS: ‘Part of the healing. process before whether you're addicted to heroin or fame about Kiss) stopped developi 0s—but what he hat, when he was poor, was great. He just is admitting that you're sick. It was around point Hot in The Shade that I realized somethin; (8: Lets talk about Kiss’ new material. How was wrong in Wonderland, In retrospect, 1 did the band goabout writing new songs for give Hot In The Shade an“E” for effort, but Revenge the songs just weren't there. It wasn't an SIMMONS: Isiarted writing after the lasttour, uncomfortable record like Crazy Nights ind none of the material | wrote had any: Dynasty and Unmasked, but it still wasn’t up thing to do with declaring myself the — to the quality of Destrove id's champion cocksman, The new GS: Confessions like these are difficult 10 yout street things—angry swallow coming from a childhood hero of jopies. When I heard what Bruce [Kulick] so many, including myself For Better Performance, (Send eracsd uve IFyouwantto makeitin music theplace lessons that dramatically asst practice to grow fast isthe A tana Insicute of Music (Our staff of instructors are all working ‘Wehaveachallengingprogram ofinstruc- professionals. And our visting faculty tion in guitar,bass,percussion, voiceor key. seminars feature some ofthe top names in board. Youll work to understand anddeveoprhesilsanddicicine | Ai caves. a ind workshops, you receive pe NUS vate instruction and videotaped the music business Dont put of this opportunity the premier music school i the South, New classes form quarter year round, Call or ‘write for deeals today! 5145-D Northbele Perkway/Noreross, Georgia 30071/ Telephone 404.242.7717 ‘SIMMONS: I's funny —everybody seems te think that I know what I'm doing. Kiss isn't keting ‘clue. This ride is cone big rategy—I really don't ha to me as itis to everyone else GS: How does Revenge differ from the albums you released in the '80s SIMMONS: This record could just as easily have been called Kiss, because it's very ‘much like our first album in its intensity, We knew that it was time to cut out all the pop trappi vardin s. In fact, we had sharp-shooters the studio with orders to kill any Desmond Child figure that came too close Rock ‘n’ roll shouldn't be ear candy. Once your parents stat liking your music, rock roll is dead, GS: How did you choose Bob Ezrin to pro: duce the new album? SIMMONS: Blob was not only responsible for ‘one of the best two or three albums we've fever done, which was Destoyer: but also the worst album we've ever done, Music From The Elder. Both were proxluced by the san uy. but in two different states of mind, At the time, we thought both albums were great, Now we know The Elder w 1004, but Destroyer has stood the test of Time—and that’s how you know that some thing is good. When we play songs like “Detroit Rock City’ today, t tll works, Metallica recently closed their set in Detroit with that song, vana once covered “Do You Love Me ‘on a compilation album [Hard To Beliew A Kiss Covers Con ‘and White Zombie did an EP called God OFT all From the Destroyer album, The only bands covering songs like“ Was Made For Loving You" are the Boston Pops Orchestia and disco bands in Sweden and Japan’ All can say is that Bob Ezrin was rth less and demanding in the studio, an 1use ofthat, this album is going to hick cople’s butts. We've found ourselves all gain, and Revenge is going to be the kind of record Kiss will continue 10 make GS: | understand you wrote some mate with Bob Dylan SIMMONS: Yeah, we wrote a song togethe but it didn’t make it to our new album. ways wanted to write with Dylan, as wel as Pete Townshend and Keith Richards ays who wrote classic guitar songs, Whe Dylan and I sat down, what came out was kind of a Tom Petty/Traveling Wilburys song. I wanted him to write the lyrics, bu 10 do it, 50 I did. The ly he asked me ‘okay, but they sure ain’t Dylan, (5: Bruce used about 10 different Revenge. What basses did you use! ‘SIMMONS: Thc bass is very distorted om this rd, used a Pedulla on some stuff, and an old Spector that was made for me abo 19 years ago—the same one I used on “Cal ing Dr, Love” and “Rock And Roll Al Nite." Lalso used a piece-of-shit, red Yam hha bass that probably didn't cost more tha$200, but sounded great. It's made of teri ble wood with cheap pickups, bu it sound: Sometim nt next door to Whoever else was recording in the studio to sce what they had. If it was good, | used it There was absolutely no rhyme oF reason to the instruments I played on this album—no preconceived notions of tones and styles. I let my ear be my guide. 8: Didn't you recently design a bas SIMMONS: Yes. I's called“ The Punisher.”:and BC. Rich is putting it out. I's got a octaves neck that's totally exposed — dif ferent from the Fenders where, if you want toreach up, you have 10 go past the body. Ws a very simple design that I came up and B.C. Rich s wanted to do it. said they could, but only if it was to my specifications. For example, if itcame out neck-heavy, they would've had ing board, When I'm le to hold my hand ‘out tothe side, hit an open A, and have the completely stil. I don’t want the neck to drop 10 the Moor, You know, a bass isn't just a musical instrument it's picee of ar i's furniture. The design is just as impor: tant as the sound that comes out of 6: Tha SIMMONS: To me, technical j Some of the most interest on is crap, sounding instruments have madesign point-of-view. Some out-of-tune stuff is a like on the early Zeppelin and Cream albums. [earned from a music theoretici that a piano that’s tuned perfectly won't sound right—it actually has o be alittle out of tune to sound in tune How did you, Paul and Bruce divide the playing duties on the new album SIMMONS: We never follow any rules in the studio. It doesn’t matter who plays what on four albums. The day a m himself by the instrument he plays isthe day hhe might as well become a session musician. Bruce played some bass tracks, as did Bob Ezrin. | even played guitar on some songs. The notes are never too fast or com Mechanics of Metal” ‘A SOUND AND ORGANIZED APPROACH TO MASTERING THE GUITAR Amwgamnaen noe nO ae USED GEAR pYMAIL THE CHEAPEST WAY TO OUTFIT YOUR ENTIRE BAND Diy m Whyte ray mck THE WORLD’S LARGEST USED EQUIPMENT DEALER. 34,000 Used & Vintage Guitars, Amps, Drums, Keyboards, Pro Audio Geor, Effects ‘and more in stock! ! ‘Sure We Sell Tons of New Gear Too, But You Can Get That at Your Local Dealer MONEY BACK GUARANTEE cag ware mapy oar Del ty etn BY aL £0. Box 108, Seem N 03079 USED LINE © 603-894-6492 VINTAGE LINE © 617-536-4205 24 HOUR FAX HOTLINE # 603-893-3517ete Ke tape sets). These powerful tools Men ei ear) Pee eee es your home (gui Pe Erne ete es et um sessions and songwriting. Used conn tab. Chrome Dolby tapes (50 min.) Seer Rae ete) oe resent sions mre iB are) ee ees ere nee rena at ty caren parse tet ete Lage roe neers eens et eerie ine eneot ry i095 i995 Ea arena bert oe obec td monn erne earn eel pecorenereoeree ea Fertentaeor et aera aria plicated for any of us to play, but sometimes it comes down to feel. For example times Bruce would play a rhythm part, and it just wouldn't sound right, so Paul would play it. Even though Bruce can play rings around Paul, sometimes Paul has a better And when a riff sounds too musical, I'll take my buffalo f play the puitar to make it sound like a bull: dozer. Eric Carr even played bass on "I Still OfThe Night) you look at the classic bands, many of the people Love You" [Creat dited with playing certain uments often didn’t. Keith Richards played bass, and so did Hendrix: (5: How has your bass playing changed over the years SIMMON as part of the rhythm sec with the kick and the During the *80s, I started playin on-—locking in ipproached bass playing that way before. | grew up with stuff like Hendrix, Cream, ‘Mountain and Ron Wood when he played buss in the Jeff Beck Group, where the bass was less interested in wha the drums were nd more interested in what the So. inthe early days of Kiss. my was playin bass parts always walked and did counter melodies against whatever else was going on, like in “Strutter” and "Rock And Roll All Nite.” Inthe "80s, when we started doing all 1 Was M You,” I as told that the bass should pump along in the background, But there's no more that disco erap like For Loving ‘ofthat now—my bass is much more indepen dent. To me, there's nothing like listening to a song that makes you hum the bass lick, ike All Right Now GS: How would you characterize your approach to the bass? ‘simmons: 4 meat and potatoes kind of player. | was ly Kiss a shit. used a have a working man’s syle. I'm uch more adventurous in the days, because I didn’t giv lotof E-string slides and noise forthe sake just over-the-top stuf. In a lot of ways, it was much more honest b \was less thought-out. Now [real time goes by, it's tough to get that innocence back. I think technical ability can become the enemy of rock ‘n’ rol 85: Rev 4h Kiss album, How de you keep your playing fresh after SIMMOKS: When you're doin an overdubin ‘Way up so the sound completely envelops you, Lighting is also very important—th darker the better. When we record, there are itl, no Fans, no fruit Atmosphere is very important. You know, [think there's a reason why bands like Black Sabbath and the Stones come from England ‘where its rainy and gloomy, and bands like the Beach B wm sunny California, 5: Do you think Kiss has been overlooked by hard-core musicians? SIMMONS: [think all those ma Guitar World and Guitar For Th ing Musici show you how 10 play the licks, but they zines, like Prac are atotal waste of time, TheECO with oanny sat «STRINGS: D'Angelo, .009 0.042, AMPLIFICATION: Mo Preamp and a VAT CABINETS: 2 Marshall, 360 Watt 4x2 cabinets EFFECTS: TC Electronics 2290 delay, 2 moditied Sony Wireiess systems; TC Ee trois distortion box; Eventide Harmonizer, Gatex Noise Gate; GE Microwave 26 GAR scm0O. 1 1982 iE LAST TWo years have been pretty hectic for Anthrat.” Danny Spitz told Guitar School as be picked ‘uta taxed for that evenings Grammy: Award ceremony For the second year in a 708 Anthrax has been nomina cod—ast year it vas for thet highly acclaimed Persistence Of Time LP. ths time thet Antack Of The Killer B's EP spas rightly inthe running Oneot the highlights ofthe at Ber pater was Anthrax” col aboration wath leading street 2 rappers, Pubic Enemy. for & $ highly spirited vesion of ES Bring The Noize” The result ing video made MTV history by being featured on both “Headbanger's Ball” and "Yo! MTV Raps! Asaresit ofthe success of this co-ventue the two groups decided to boy fo where no rock rap groups had ever gone before, and hit the road togcthe, “When we first decided 10 tour with Public Enemy. we planned on doing arenas.” siys Spitz. "We figured tha i we hit venues that either of ws could just about fill, we'd probably sel them out with fase. But no promoter would took us! They were convinced that when our Fans and Public Enemy’sfans got together. they" bun the place down, Everybody olds. You can't ho this tour Buys forget it” But we sid Screw i! We don't care if we havc to play hars—we want his tourtohappen We dd getafew big gigs—we played for 17000 people in LA~but in most cites we only goto play 3,00 {LObr seat theaters Most ofthe people who came tothe shows weren't Arias or Public Enemy fans—the tur atracted more altemative auience, twas great fun I way nice wo get back othe intimacy ofthe smaller venues Aside from being musically ewarding venture, Anthrax time with Public Enemy was aso. great personal wicess "We got on extaordinanly wel with PE-—bettr tan anyother band we've played with, multiplied by ten was the same forthe, too. There were no rock "roll egos anywhere, The crews nd the bands gt along just ke big. happy family” says Spt “Tt wasn't facts the Walton: it was just realy ally cool “To be ttl honest with you. [ely dont know how we can ever tp tha tour—both in tems of fun and bringing together people of opposite musical tines, We'd love to rite a song from sratch with Chk D, sot woul tly bea combination of metal and ap--no just us doinga PE song or vice-versa. Another potently exciting chaprer is also about to open inthe Anthrax already bulging history namely. brand:spanking-new deal with a fresh recor label. "Yeh, we've just moved over to Elektra,” says Spit. don't chant to sla Island [Records bu they werent handling us correctly "You xe. wee what you would call “mall connoisseurs” When Anthrax ison tour, we travel at night, So to kil ime during the day, we visit @ mal trtwo, We always look for our records and they're notin half the stores’ Its disheartenin. We'd see huge displays up for smaller bands who'd be in town tree or four weeks afer us. We really didn’t get any promotional push from Island. Our lat few alums have all one gold with ease but that’s completely de to word-of-mouth “Things ae pong to be very different with Elektr,” continues Spitz. “Thislime, we are in the driver's seat, We're just about to start writing our new record, and it should be out by October. Lean"t wait. This is going tobe Anthrax’ year —Ican fee itin my bones. To get out oftheir contractual obliga with Island, Anthrax recently recorded a live LP at a show in Irvine, California, The album won't be released for another two yea, but the dise’s slightly “off-the-wall ‘bonus racks will be well worth the wait. “In addition tothe stuff from the Irvine gig, we ‘decided to add something different,” the uitarist reveals. "So, we recorded a perfor- mance at Electric Ladyland recording stu dios in New York. About a hundred fans. were there, mostly contest winners, and they madea lot of noise. We planned on record ing four songs, but the kids were so into it, we ended up playing for over an hour, We mainly did covers and old songs we don't play live anymore, like “Metal Trashing Mad” [Fisiful Of Metal]. We didn’t even rehearse that song, but someone inthe audi ence shouted it Out and we just tore it up. (Only four songs will be on ihe album, but the rest of the stuff should pop up some: ‘where—you know Anthrax!” dike wo give you some rhythm-play tips for Anthrax’ style of musie thats lo of not know about.” Sips Danny Spite with marked enthusiasm. “In main stream rock, chorlsare pretty much allowed toring ou but in our music. the single most important thing is to mute the strings with the heel of your picking-hand in front of the bridge.” says Spitz. [sev Photo A and Figure 1. "By pushing down on the strings, you mae ©© ©© BOOOGHOGO O08 G0 HO00HO FIG. 5 aie RA LEITELE paw © © OO ©OOOHO OO O000000000000060 FIG. 6 =p , = ma FIG.7 & ¥ (mma a 4) 1892 GaMTAR SHOOK.» 27.(ommeman'y vnvavavavavava as Bik 6s aL As et that low-end “grind” happening If you have a Noting bridge like the Floyd Roxe Danny uses, be careful not to inadver tently “Sharpen” the notes when palm mut ing. “I mute the strings by resting my right hand palma in front ofthe bridge” says Spitz somewhat heavy-handed and don’t want 10 ssorry about a tuning problem, simply re adjust the spring tension of your Floyd so the hack of the bridge rests lighily on the body of the guitar Figs, 2 and 3), Although you won't beable to pull upon the whatnmy bar you can lean on the bridge all you want with ‘ut fear of sending your axe sharp. The way you grip your pick [Phot Ais also important when you're chugging out a palm-muted choed progression,” says Spi ‘You'll get a more “ballyy” sound ifthe lesh fof your thumb and index finger hit the strings, as well as the pick ‘What you do with your lef-hand is also importani,” continues Anthrax you want to get a really ti like attack happening. you've got to use your fretting hand to help mute the strings ietween each chord strum, Hf you want to ive a staccato passage like this [plays Fig real definition and crispness, use your pinky to deaden the strings after each open ES chord [Photo Cl I you find the rhythms in Figure litle too difficult, warm up with Figure $, but stil use your pinky to mute the strings, Don't ‘worry about inducing unwanted harmon ies—if you're correctly muting with your right hand, you won't hear them, FOLLOW THE BOUNCING BARRE To get the same type of clearly define, barre chords, you have to ‘bounce’ your leti-hand on the strings." Says Spitz. By “bouncing.” Danny means you should relax your left hand just enough to Sop the notes of the chord from ringing. without actually lifting your fingers off the sirings. By loosening your grip, you will mute the strings and achieve & effective Staceato effect, Danny played Figure 6 10 illustrate this point, Once again, there's no danger of unwanted harmonics due to the right-hand muting To get used to the bouncing technique. practice the staceato rhythmic ideas in Fig ooo ures 4 and 5 while summing a palm-mut ced, 314-position GS power chord. Notice that Danny fingers a complete G major barre ‘chord with his left hand. even though he’s ‘only strumming the Sth and 6th strings (Phot Dy ‘quicx Pick. Tn our music, rhythm playing i all down strokes.” says Spitz. “They give you that ‘extra “crunch.” Ninety-percent of our chord work is exclusively down picked. Sure some riffs would be easier 1 alternate pick, but they just wouldn't sound as “mean, To build up my right-hand strength and stamina, FIL take an idea [plays Frgure 7] and repeat it over and over while gradually getting faster. I also use this exercise to ‘warm up before a gig ‘For some of our really uptempo stuf we'll occasionally use upsirokes and alter nate picking,” Danny concedes. “To pre pare, Il just speed up a repeating rhythm patteyn.” (plays Figure 8) THE HEAVY CHORD This is one of Anthrax” favorite chords saays Spitz as he plays the ES shape used at the end of bar 3 in Figure 8 (Photo F and Figure 9), “I's just a regular ES power chord atthe Tih fret with a B note [he ff added on the low E string.” Changing the rote order From (high to low) roouith 10 fifth/root is called inverting (for more on this subject, see Wolf Marshall's Rock Basics column inthe July "91 issue of Gui tar World), “We call this baby “the heavy chord? because of its dark and evil sound. We use itall the time. Forexample, the mainSih position, Obviously, this idea works in reverse (from Bb 10S) andean beusedelse wshere on the neck (tochange between ES andl ‘C mayor in the 9th position, for example) BRING THE NOISE When we say “noises” are very important 0 us, we mean thal we sometimes play ings that aren't really chords,” says Spitz ‘We use percussive sounds and nasty sounding "non-chords" that commercial bands wouldn't dream of using. For exam ple, just before my solo in “Be AI, End All wwe do something Tike this [plays Fig. 1] Although this rilf begins with an open ES chord and is detintely inthe key of E, what nse in terms of follows docynt make any ruse theory oF chords noises. F know this trom the jazz vita. | lessons F took when [first started wed to be in the school jazz band and had to sight-read some pretty screwed-up chords. but they were nothing compared 10 the noise we make in Anthrax! this ‘varying keys’: ithappensall the time in just to be different, but Eve grown out of ‘our stuf. You can't just randomly throw in that. [dont even think of seales anymore SPITZ ON SOLOING acool-sounding blues cliché [plays Fig. 4. I don’t think to myself, “Seott [Jam is fit You have to be changing from G10 Eb 10 A to F minor so jove and chords over I've got [0 use t Mivolyadian Mat-five seale Anthrax” songsare Frequently dissonant and because it wont al fou beforehand. “In our music, anything which you're playing, and be very, very or whatever.’ Iuhink. “This isa heavy song oes,” says Spitz. “One minute a riff mig ful with your note choice, When I'm that’s slow and grinding I've got to come be in say, G major [performs Fig, /2].and working on a then in the very next bar an “outside’ chord fora very long like AbS will appear [plays Fig. 13]. Lcall — “L used to be into finding weird scales, a theory be aware of the 2 ‘unpredictable, so Danny's leads are thous sak, Histen to the song up with a slow, winding, meaty kinda lea ne before Try anything. The notes gotta come Irom your bear. not Pere ti Pee cele aie Roemer hae fashioned way Youte working pee aE ee etc speed (15/16 ips) for scrutinia big breaks right around the eee eae eel ad ev ce seen ocd vel we car Lee eee ees! Pee en Ee er rete eee cee erie i) In short, the 424 comes loaded with the rue ences Racin euoe ati) See et eet See eer oat] Mo ec ole are get as Come see the 424 Portastudio today at The cassette recorder section of the 424 your nearest Tascam dealer. And see how far features simultaneous recording of upto4 —_upa few hundred bucks can take you TASCAMBY GLENN THRUSHita ROAD AXOLOGY JOHN GUITARS: Fender Stratocaster AMPLIFICATION: Marshall 2555 100-watt lead head Marshall Major 200-watt bass head Marshall 4x12" cabs EFFECTS: Ibanez Wah-wah; Boss Distortion, Stereo Chorus, Phaser FLEA BASSES: Ernie BaliMusic Man AMPLIFICATION: Gallien Krueger 80088 Mesa/Boogie 2x10” cab Mesa/Boogie 2x15” cab EFFECTS: Boss Dynamie Compression moved from the smog and heat of thir native San Fernando Valley. You know, today's says guitarist John F uavering Young Frasciante is taking it hard Uniappable Fes basist and counereultur the worst the county is gray and so ae the people.” he moans. “Belfast, on the othe hand, was pretty intense—there’s all these military checkpoints to protect against IRA suicide bombers. It was the best crowd I've ever played for, because the audience was So hungry. When [really want to go home, Tell myself that I'm helping people. In Belfast you really fee! wanted The road is traditionally where the Pep pers cook, but after cutting 90 minutes of their best music with megs producer Rick Rubin last year, they are eager to get back home and do it again, Blood Sugar Se Magik was the product ofa five-week, 20 hour-a-day recording session in reportedly haunted mansion in the Hollywood Hill The foursome were always atight group of guys, but the Blood Sugar Sex Magik sex Sions have changed the way the band thinks As always, the tattooed forces behind the Peppers’ much-imitated sound are Flea and frontman Anthony Kiedis. But four years after replacing founding guitars Fille Slo- ‘ak, who died ofa heron overdose in 1988, John Frusciante has emerged as a rhythm maker formidable enough to drop Steve Cropper to his arthritic knees. Frosciante cleans up his out-of-phase tone | on Biood Sugar, and lays down nearly 90 minutes of uninterrupted funk groove | simple: and’ strong,” Without soundi | erate his esc 22nd bird isciante, his voice an all-star cast of living guitar ghosts: Neil Young, Mahav | ishnu John, Robbie Robertson, Jimmy Pa | and Adrian Belew. | Conversely, Flea has toned down his | moto, grab-'em-by-the-throat basslines giving Frusciante enough space to call his } own shots. The result is a four " string collaboration that blurs the Tine between the musicians and their instru ments ulk to Flea and Frusciante about their gear, and they'll tell you that their instru ments are mere extensions of their sock: draped body parts. Ask about the band, and they'll say i's a funnel, into which they pour the thousands of albums they've heard, their love for each other and, of course, their col: ind six lective sex drive. Call it a lesson in Zen and the Art of Rhythm Mi GUITAR SCHOOL: Happy Birthday, John OHM FRUSCIANTE: Thanks. | G8: How does it feel being on the road? FRUSCIANTE: I don't fee! so good right now. we had a bad day yesterday, traveling in | from Milan, Right now, all I want is to g0pote UCC Pree cct rca Coe ‘THE GUITAR VOCABULARY SERIES ($19” each) © Sh chiny Bek Cate) @ 6 JAM-ALONG-TRACKS (512" each cassette) erg: or fe et 0 the @ fait Se et ns home, hang out with my girlfriend and play 85: Clariner? FRUSCIANTE: | don't play guitar sles ment, I don't know what FLEA: | started by playing ‘0, not yet: maybe when w home, He likes to do it by himself right now 1's private thing for him. But I've heard him play, and I think he's really good. Very open. 8S: Have you ever tried playing the rumpe FLEA: I"ve never played trumpet with the Chili Peppers. I did play litte with a band called Thelonious Monster. [t was awa my dream to be a great jazz teumpet player uta Soot «37Metal, Rock and Blues. Listen & Learn Complete Guitar Parts NoteeForeNote. The most accurate and complete transcriptions. Period. Solos. and iythms & fills, fine tuned over 8 years of success by the originators of audio ‘guitar transcription solos. 2-5 hours. $14, Note*Fore) Ih Matched Sets eile area y Lo pao fills, endings. hours. $16 Matched Sets Solo, Rhythm & Fills. Absolutely all the guitar parts. (On Note*For+Note™ audio tapes, you hear each phrase played exactly like the original, then each note is described indetailand played. Example fifth position, fourth string, seventh fret “A”, then you hear the note played, Just play along with the lesson and memorize. If you prefer writing the parts down, Manuals are available for 50 each (twenty eight pages general instruction, fifty two pages blank tab) TH GLASS MAL US, ¥ itn eter frm or CALL 1-800-678 FRET usm rr + GUTARScHOOL. J 1282 Note*ForeNote™ Solo Tape Sets in- clude all of the improvised guitar (ote Rhythm & Fills Sets include every guitar part from every track of the original recording except the solos. Al rhythm guitar, introductions, and I Rock Performance Music S.A, vag 15 a oe ESL Almantyay: TAPE 24 oot, wr eee eats wor. ene Tare 1 : ee a Z2TOP: TAPE 132 So eee it = Et wuicemn in Seams Tee EE Yamin Tera Gael dene Sue Solo $14, RiytsFils $16, Maohed Sots 23, lant Tavs1.s0 a a Bil: (4 5: Are there any similarities between the trumpet and the bass? FLEA: Yes. They are both musical instru: ments {$: What other musical instruments did you take to Europe? FRUSCIANTE: Three Strats. Some people think they need all these racks and stuff, but [don’t have any. I play on Marshal heads, so they sound different every night don’t actually change any ofthe knobs myself, so don’t know exactly how they're set. [just play until I get a certain fee. Sometimes there's a wal-wah or fuzz tone, but mostly I play straight through a Mar, shall FLEA: I'm using a Music Man with a Gal Krueger head and Mesa/Boogie cabinets. They're loud. 8: The new album seems less cluttered than your previous efforts—you can really hear cach individual instrument doing ity own thing FLEA: Actually, I haven't heard that record in about a year, but I remember trying to play very simply. In the past, 've played some things just to be a bitchin’ player, bu that wasn't part of the overall altitude this, time around. FRUSCIANTE: | played with a much cleaner {guitar sound on this record: I don’t have that many reasons to play dirty anymore. When you want to play heavy, you got to play ‘irty, but the clean sound is the natural sound. Personally, my favorite guitar sound. is straight into a four track—straight into the board, Does that sound right? I'm not fi ing very smart today 85: Compared to touring, maki must've felt like being in the womb, Lheaed you locked yourselves in haunted mansion, and jammed all day and night. That kind of reminded me of Dylan and the Band’s The Basement Tapes. FLEA: It was a very peaceful time. FRUSCIANTE: “Womb” is a good word, We didn't ever leave the place—you just woke up relaxed, took a few deep breaths, put & ie in your ear and started making music the record Very easy. Very beautiful. Concentrating on doing nothin don’ lly care about my own creativity I didn’t even pay attention to my own play ing. I just care about my fife T wasn’t even Tistening to the guitar of how I was making it sound during the recording sessions. I just enjoy playing music with people Lleve. You don’t pay attention to what you're playing you just look into the other guy's eyes, or a his hands, or his knee, or whatever. FLEA: Jamming well has alot to do with your understanding of humanity. It also takes hard work and dedication. 1 think we had bbeen stagnating; getting together in that kind‘of environment loosened things up. Touring saps me physically, but not musi cally, You don’t usually realize when it’s happening, but the road makes you a better musician, and much more accustomed 10 playing all the time and thinking on your feel Las night, found myself plays nt bass lines. It was sueprisi simple le 1 jst built a rehearsal studio in my house et back and just jam when | ean’ wait 0 want tits been a dream of mine 68: Who do you want to play with? FLEA: Everybody, I play with Steven Perkins, the drummer from Jane's Addie tion, | just finished working on Ro; Waters’ new record, | even gota call from aif Beck's people, They asked me if L want ‘ed to work on his new album. I was really into it, but then | found out that he's going into the studio the day we go back on the sad, Lhad to say no. 6S: Were you disappointed? FLEA: Yeah. Ireally think I could light a fire hot that he’s an old fart oF tunder his as. anything. I just think | could really sha things up. 68: Who shakes you up? FLEA: A lot of people. Hillel really did, He got me to play the bass when we were in high school together, We had some incred: ible jams. the world who could share that. It will never happen again, swe were the only two people in Lady Luck Guitars Affordable Quality ‘Se Avs For Free Catal, call or write dy Luck Industries r--------- Vs socks s10s0 PS coves s250 JS eo0es 515 i aerate ‘Now the proven, popular Rock Performers Guitar Method includes video cassettes on Technique and Style. Look, learn andbe inspired to work on your awn distinctive style Jim Gleason studied the masters for 35 years to produce this RPGM Set -3 books (1,300) ‘audio and 4 video cassettes, “Highly recommended” - Guitar World RPM VIDEOS vera. Esch ox The best instruction you've imple played in ive vide (uide, solo exuriples, rhythm tracks, melodic thenshovmone noteatatime, Adr Seale & ar ur trina. Frethoard appears aeross the screen. For each BOOK 1:RockGuitarFundamentals.274 pages DOU. @ cicle appears exactly where. your & three W min audio tapes All techniques inert should be placed. ‘number in the Uinel tapping and sweep picking), enateme iC specifies the finger. An image of sales and base chords” Over 400'leks, Style abearsaboe the relfourd, pointing up for an Studies of Va, Van Halen, Malmste sestroke or down fora derstrak The audio track describes and plays each nate pages three YO minute aio apes. Hurreds le. chord and arpeggio fingerings. Sil Studies of Satan, Beck Vaughan, Van Hale, ich, Vai others, Rhythm glia. 8 BOOK 5: Improvisation, Composition, and ‘Advanced Fingering. 08 pages and three 90 minute audio cassetes. Extensive fingering construction & progression apeasiotypese4 00 chordt BOOK 4: Advanc Relationships. is ner ot minute radio tape By Jim Cle Dave very scaleand chord seth complete dictionary’ of uselul chord s Technique I Video. lbs Rock yatta techniques Style 1 Video captures Van Halen, Mal Var Rhoads Hendrix Page, Clapton, Schenker Berry and 8.8 King with a soon the syle of tach 2 hours and 40 Technique 2 Video intermediate Arpeggio/Seale Snd scale tone chords ever assembled, 8225 BOOK 5: Chord Progression and. Rhythm Guitar. 102 pages & two 80 min- audio taper Rhythm gui Blues progressions, rnigue, 403 Rock, Meta & i ts EW Performance --------- + --4 Doors -svese CD reomoue 1 von0 28 OD sme voto - 25 Cl reomauea woro ses srmeewero 825 oy sn CO avewoeas se CD nusaoois-s10 SD spooks, wocos- sis” oor -s2 58 Ano 2 sHIPPWG MUS. Freig are ‘Mail in order form or CALL 1-B00-678-FRET sav- ces. es TAR S00. = 36Bil 85: When people close to me die, L can remember conversations Thad with them, word-for-word. Can you recall, noe-for-note musical conversations you had with Hille: FLEA: Absolutely. I remember the tone and texture of those conversations and they sometimes still inhabit me when I play That's when I let things be natural 68: To John. Was joining the band after Hil: cl died the fulfillment of alife-long dream? FRUSCIANTE: No. The only dream or goal 1 have isto have a family, that sor of thing 8: So what does being ah lepper mean ffer INTERMEDIATE * 40» can scanak DISCOVER ent kind of Summer. 11 WEEKS * JUNE - SEPTEMBER © EVENING CLASSES * WEEKLY PRIVATE LESSONS » LIVE PLAYING WORKSHOPS + BEGINNING AND GUEST ARTISTS WEEKLY + This is your first step on an extraordinary journey. An experience you will neve forget. In Hollywood, right in the heart of the music industry. 11 weeks ong, you really have time to get into your instrument whole endless summer. Of course, there's the Roxy, the Troubador, the Whiskey, and the Ghina Club, There's the Pacific Ocean, Malibu, Zuma and the surf. There's Disneyland and Universal Studios, There's those Hollywood nights and sun, sun sun. Let's face it, we'e talking about a Summer of Discovery. Your future's here Now. to you’ FRUSCIANTE: Making music with people 1 love, and making records. I've alw believed that music is something be expressed by words, I remember being ata baseball game when Twas a kid. Iwas trying to play, and failing miserably, y and frustrated, so | just stood in the outfield and wrote a song in my head. Then I went home and filled a whole side of a tape with songs Tmade up. [as very angry back then, I don ‘need to express those kinds of emotions now, but I'm sil a firm believer that music isn't somethit 65: Irs preity obvious you guys listen to just put everything. You both must have an ad of School! ALL STYLES * To eat, sleep, breathe, lve it fo {enormous number of albums. FLEA: We have like six tapes we've been lis tening to on this tour: Miles Davis’ “Porgy And Bess.” a mucldy Waters compilation, Velvet Underground, Black Flag’s “Dam: an Echo and the Bunnymen, and one can't remember. Miles Davis is just unbelievable. You lis ten o Kind Of Biue, and you hear all you'l ever have to, That was one of the first records | ever bought. | wore it out and replaced it, FRUSCIANTE: | have the ‘of anybody 1 know—p set CD collection obably a couple thousand or more. Listening to my collection isall [ever really want to do, That and read [ just got through listening to Charles Mingus’ “Oh Yeah": it’s the one where he plays piano and screams his ass off GS: Is Mingus an influence? FRUSCIANTE: He mus be, considering he was probably the only man to ever have sex with 23 women in one night, [awghs] [just read GS: By the way. do you get naked on the FRUSCIANTE: Whenever the mood strikes. I's nothing you plan, or predict, or anything like that, It just sort of happens. You have to be free, That's what getting naked is about—opening your mind and playing with people you love *KISS Rock And Roll All Nite Asimple solo is an “Ace” in the hole MOST BEGINNERS PLAY EVERY LICK they've ever learned inthe first four bars of their solos, resulting in aimless, easly for stable noodling. Ace Frehley’s lead break inthis classic live version of “Rack And Roll All Nite” shows how to build 2 mem: ‘rable solo from a few simple, catchy ideas (melodic development) Ace's lead break is divided into two sec lions, each of which is followed by & restatement of the into figure. He begins the first halfof the solo in the familiar Sth position, A minor-pentatonic “box” and ‘employs unison bends and double-stops in aclever, cyclical pattern (Fig, 1), Staying in that same position, he then follows this idea with a series of quick pull-offs and bluesy doublesstop bends (Fig. 2, Frehley begins the second half ofthe solo paren by (more ores) re ‘octave higher, in ing his first idea, one 17th position (Fig. 3), This octave transposition creates a dramat- ic “building” effect and lends a cohesive- ress to the overall “story.” Frehley contin. ues with a series of fast triplet hammer-on/pull-offs (Fig. 4) in the same position. Again, note the similarities in rhythm, note-choice (the octave difference notwithstanding) and articulation between this phrase and the one heard earlier in bars 50-52 (see Fig. 2), ‘Ace Frehley builds the perfect solo for Kiss" biggest hit from the few simple ideas discussed here. So, before you throw every lick you know into your next solo, go with your “gut feeling,” and try to develop the first idea that comes into your head. Jeff Catania BASS NOTES Gene Simmons uses “ghost” notes and added chord tones to give “Rock And Roll Al Nite” the perfect rock ‘n’ roll founda tion, Staying primarily in the lower/middle rea ofthe fretboard, Simmons uses a pick to play open-string “ghost notes” between the fretted ones to fill out his sound (see ‘meas. 12). These notes are fet rather than, heard. Unlike fully-muted “dead” notes, Which have a distinct and deliberate rhyth: ‘mic attack, ghost notes are m between the other notes ‘Simmons imparts a bluesy, dominant. seven quality o the A and E chords during the verses (see rehearsal letter B) by emphasizing each chord’s missing, lowered seventh tone. (For example, the lower sev tenth of an A major chord (A, C#. E] is G. ind the lower seventh of an E major chord IE. G#, B] is D.) Try integrating this approach into your own playing style, but be careful not 10 add any notes that clash with the basic harmonic scheme. Use your ears and your heart, and after a period oft al and error, you'll be Slammin’ down the ‘baddest lines here-to-fore unknown, Michael DuClos Fig. 3 varaton of rigralpatrn gveceLeettr FIG. 4 ieee tt fj (gece tet t fost F aut — + oH oe ‘ean sew00. 1900 « 48