NEW TELE Embaday VINTAGE HOT ROD’S: J Bass elt lB a CoV ry Pry i } Play: TEEN Brighton Rock Steve Howe Be ia eH Cea Ce Para ~ r La tits aes co jassics iteForDestruction .) MSS Esti ri & thenew VRalbum) > -) ‘| Be) a, oAar: eee rasAnew benchmark Sec rerun Ro ace ect Dee ee et ee my crystal cleans to the highest gain ever found on a Marshall, with total ease ee te een te og ee een cucu aa) Cee Ee cen ce a a nas CU EO ul ody amplifier that has been built to the highest standards of our UK factory, Cee CE CR ua Corin Nae ena er ence utarneteiclomiontetene Deere tee eet ee ee en eer aay kan eran Coca cetera aaa Co | a ener 48 PEAVEY ELECTRICS Bargain time: the Generation Triple’ Single EX and Generation Custom EX 52 FENDER VINTAGE HOTROD ‘52 TELECASTER (Old-school looks, but an added humbucker for a new-world sound 56 GRETSCH PLAYBOY Beyond cool 15W retro combo 60 VINTAGE ACOUSTICS The all-solid timber V1300 and V1800 ea 64 DAVE KING PARLOUR Now simplified, but still luscious 68 WHAT'S BEST? Six of the finest compressor pedals 80 FRANKFURT SPECIAL! It’s Europe’s annual twang-fuelled enormo-fest. Guitar & Bass was there with camera and notebook in hand Tao ELECTRIC GUITARS Cee AMPS AND EFFECTS aN ACOUSTIC GUITARS TT BASS GUITARS DN a po} adeee ee errs) TSC pera eee tsa rene eer Prd et ee) pee eg Pree ns preenetec eectt =.) July 2007 ROBE ESB Cat Phil Harris on the gl ampli 94 PRIVATE COLLECTION John Walford has a guitar rival those of a few galactic rock stars 106 HOME LUTHIER Part 6 of Dave King’s acoustic guitar nth: bracing! eft untouch 36 HANK MARVIN The No. 1 Str track rundown of list gives us a tra 3 project 42 DAVE PEACOCK Dave's bassist and his musical life | building series. This ee 72 EPIPHONE EMBASSY Not lke the ones yor '76 EUPHONIC AUDIO COMBO ‘The iAMP-500 142 DUFF MCKAGAN the Guns N’Ros ORDER REPRINTS OF Pete Tayahe Centerfold from Swedish makers OeVilai claims to be the world’s first folding lactic guitar. tine pilot and devoted guitarist Fredrik Johansson was fed up with leaving his sx sting behind when he went off to work, 4 he spent the last 10 years developing the sutcasetiendly piece of kit you see here. The guitar costs 2600 euros and Pe Fairer terete Youre Ma Blrs968 son Flying V forthe princely sum of £36,000. With an ‘estimate of £30,000 to £50,000 placed oni. the guitar uld turn out to be a shrewd ivestment, Possibly the most iconic of Bolan’s collection of Gibsons, Stats and custorn-made instruments the guitar was used by Marc throughout the 1970s, and most famously played on Top OF The Pops backin 1972 performing the rif from yes it stays neatly in tune the strings neat roll up, s0it can be played sight after opening ‘fab innovation, we thought, butit seems that the folding electric is nothing new — in fact, Roger Field has just contacted us developed 30 years ago In 1975 Roger was thilled to meet Chet Atkins through mutual friends, and Chet mentioned that he often removed the neck of his Fender to with pictures of a prot it and the two went their separate ways. After much graft Field finaly found the solution — using a similar system as the Centerfold — and presented the prototype, dubbed the Foldaxe, to his hero. He didn't stop the Keith Richards, Eic Clapton and Hank Marvin, to name just afew A brief ‘contract with one company soured Rogers appetite fr the big time ‘and only a handful were ever made. Howeve, we're sure Me Feld wil be taking mote than alt interest in the prog of the Centerfold putit in his o flew somewhere to play gol. Roger boldly stated that he would design him a folding guitar that stayed in tune, Atkins bet him he right bag when he the: he showed it to rather psychedelic T I yioraed chr opposite is just one of 30 fibreglass Les Pauls that wil be displayed in public places around Tower Bridge in London this une While the 02 Arena in Greenwich the building formerly known as the Dome wil play host to no than 30 regulaszed SG hhand: painted by some of the UK's met famous artists such at Sie Peter Blake and Gerald Scarfe. Al willhave a design endorsed and signed by guitarists incuding Slash, Bian May and Mark Knopf In September the guitars and sculptures willbe auctioned off, with the proceeds going to three different charties. Winner of a Guitar Award for best value acoustic under £1000. Send your details on f) 2 postcard to Vintage Draw, PO Box 531, Croydon CR9 2ZA by 1 August 2007,TONES MUSIC STORE HARLOW, ESSEX A medium-sized double-ronted guitar ‘and general music shop, Don't be put off by the picture above: it's much better Inside. Some great ideas, too: check out the over-25's ‘weekend warriors! sessions LAYOUT: Spit into two by a column, but the space is used to good effect STAFF HELPFULNESS: They had time to spare atthe end ofa long day. Bravo! RANGE OF NEW GEAR: Penty of acoustics and guitars, if litle disappointing in the bass department — probably not surprising this close to some big specialist bass shops. Lots of amps and effects across the price range, a selection of cymbals displayed properly on 2a tree, kts both analogue and digital, sheet music, violins, banjos, mandolins, ‘and wind instruments all availabe. Br include Ovation, Hiwatt, Line 6, Roland, Epiphone, Orange, Fender, Gibson, Takamine, Tanglewood, Dean, Sabian and more. Headset, radio and standard mics, music, guitar and mic stands, gig bags, ds hard cases, flightcases and strings RANGE OF SECONDHAND GEAR: Not thei thing, but repairs are available BEST BARGAIN IN THE STORE: Fender Sting Precision at an unprintably low pice, and a Silver Series Squier Jagmaster at a tempting £179.99 HIGHLIGHT: Diamond Statin case, £949 CONCLUSION: An excellent lo resource, with lots of extra valu to keep you coming back Sos Layout 15, Staff knowledge 7 Staff helpfulness. 18 Range of new goar 7 Range of secondhand gear. .8 Parking Yes, nearby Pre ne Vintage Markel Coots? ‘The Dallas International Guitar Festival celebrated 30 years of vintage Gealing this Apel. A special exhibition was staged staring ‘Clapton's Blache’ ‘and SRV's ‘Lenny’ to ‘mark the 30th show. ‘The other news from Dallas is that the huge pice rises ofthe last Couple of years would less than at 2006's ‘event. No one expects massive reductions, ‘but R does appear that the market may have peaked. AY ‘The Lice Real Ale, Jazz & Blues Festiva in the Miglands will be the from 21-24 June Highlights include The q tleket includes ‘camping; call 01543 262223 oF s00 vow Beware Fake Gltsons! Gibson have Issued a ‘checklist to help spot the counterfeit ‘guitars that have recently started emerging from China: ways buy from an uthorised dealer ‘Make sure the gultar isnot undersized sThree-erew truss rod cover? W's fake Real Gibsons all have one-piece necks *Many fakes have black piekup cavities ‘Always ak forthe ‘owner's manual and warranty card. For more info on spotting * fake, zip along to eur gibson.com. use eo cers Wetter bow) hare ined intl and ashes ln ft of Sipotone Su: om dng fr of tng te tru of choc 207 among the finest instruments Desn have eve bu See wiwn.deanguitars uk.com or cal 01268 413366 for details Schenker will be playing his new axe at the Rock And Blues festival inthe Derbyshire Dales on 26-29 Jy along with The Scorpions and UliJon Rath. See wirwrockandblues tkcom for more info, FI rite the bronze bust was unveiled Zakk Wylde played In wll never lave his set it and J wil aways be dedicated to This Rivera song which, he says, Darrel. Over at the Download antera’s Dimebag Darrel Festival in Donington the second [Abbott was inducted stage will be named atte posthumousy into Dimebag as 8 homage from the iclywood's RockWalk on Sunset organisers who have dubbed him Boulevard on 17 May, alongside ‘arguably the greatest guitarist of such sicstrng luminaries as limi alltime’. Pay your respects at Hendrix. Eric Clapton and Slash. Donington Park from 8-10 June, rh a Na eatoe Se SS Des aches om oanen Saccucasatc: pn Savcumocecani | peslakarahasevabeeterd fe, first hear in arpegglated form using this voicing at 0:24.Wild At Heart So is this the future of guitar -oris Dave Harris just as mad as his axe? westetraopengyie! —Gemni5W bate ipate's pales ara ene Tonedwihcchocndslecdwelsboreons Senge venir neh Tomaetomee (ecssnmias ‘aececowcs subtlety. I's entirely possible to ‘Mad Axe is a little more ‘employ this to musical weighty than my Les Paul - Stead vieton rd comparable with a twin neck? — =: oun proves a dimension in playability which but lightweight core a fuily bushes wet dream. I's areal isnot easly achievable by fledged electric guitar entirely pleasure tobe able to pick up conventional mean: haunting playable: a natural for near and pluckwith theease ofa to Hendin fact. Such power foetal and dose work-Mad passive instrument. assisted musicality, as lam stil ‘Axe Lite, you might cat. The _-—Clearlyeffects are mandatory, finding, can require an adapted minimal chasis plate permits so I chose the Zoom G2 for playing technique and care of fensy fingerboard access: the technical quality, shape and the touch, but is very rewarding materials are machined and fact that it does the job. Itako. Mad Axe it lite more handsfinshed, with an aray of goes withthe colour scheme. weighty than my Les Paul~ holes atthe pesimete for The stomp switches ae easily comparable with a twin neck ‘mounting outboard units. accesible, fa touch hard to but i surprisingly comfortable Now, obviously we press—Imayincude emote _and pleasantly balanced. Tough Aress ) Made a demo? Produced your own CD? Here’s the pick of the crop that landed on our desk this month Colours Of My Soul Once again Australia delivers wrangle a wide varlety of up a DIY recording of ‘moods from his Peavey surprising quality and, hey, Wolfgang, a Martinez the tunes ain't bad either. classical and an Ibanez steet- Kara is a self-confessed fan of string. He also does a good smooth Latin and acoustic- job of proving that a Roland coloured rock. He manages to guitar synth can turn you into construction, agricultural ~ yes, but Ike the reassuring fed The handing freedom combined with the power is unspeakably good fun, and | cannot put this thing down, Pd imc tup ina studio: thi acoustic guitar. eo Sonat to Opn i, tn oom Noune, 230 Nigh Stoo, Croydom Mhdwe mit hora pote plese” ‘a multhinstrumentalist Quality music, but the drum [programming Is litle too ‘90s Ina Roland RB sort of way. Nonetheless, good stuff.Pe Te ve the tight to eit where we f ve finally gone and done it! Here's a pic of my own home- made fuzz box. bought an assorted batch of Germanium Red Spot transistors off eBay, then pulled Vox Tone Bender and a Furz Face circult diagram off the Internet. The other bits (including the Since I became a born ‘again guitarist back in 2000, Guitar & Bass has ‘always been on my ‘monthly shopping list. Seven years ago | purchased my fst guitar for 23 years and set out conan adventure to lear al | could about guitars, amps and pedals. Gutar & Bass was a constant source of ‘build your conn’ inspication, and I now own a selection of partsastertype uitars (oe: httpd! wurwphotoboxco.uk/ 10 syer-comane, diecast box) were ‘from a firm called CPC = you can find them ‘on the net. I built the whole thing on some stripboard {it's only a simple circult) and then changed a couple albury5$5865) with my latest project, a reliced masterpiece, being prepared by the superbly talented Clive Brown. | got Clve's deals fom, you've guessed it, Guter & Bess afew years 290, and have since introduced Nacho Bafos (author of Ice eeieene oy eer by trial and error to get the sound, wanted. 1 ‘wound up ‘cramming the ‘whole lot In the ‘box and jiggling ‘the wires round to make It all ft, but maybe one day | will get round to tidying up. But the result? One custom-bullt super-duper fuzzbox with a fantastic ‘loose sound. I haven't heard the like since the ‘guitarist in the fest band I was in, as bass player, had a new Fuzz Face, a Gibson 335 and Vox AC30 bought for him by his ‘dad in the early 60's (maybe his The Blsckguard Book to Give, and they are now working together to restore and maintain Nacho’ fine collection of blackguards: original Broadcasters, Nocasters, Esquites and Telecastrs! The latest acoustic ‘vitae articles inthe ‘magazine have got my juices flowing, but what | really need isa revival or text of the Stinger amp project trom the early 20005. The pedal projects have been superb and. you've inspited me to build my own guitars but just need that comfort blanket of some amp- build artides to complete ‘dad won the pools). Looking at remarkably ‘similar-looking Items In the review sections ‘of guitar magazines, Vm wondering... £169, anyone? Geott Walker Morcambe G8B: There's a lot of ‘satisfaction to be had ‘making up pedals ~ ‘they're not that hard todo and they can sound fantastic, No doubt you've seen our hits we have a new ‘one coming, an Incredibly cool phaser/ ibrato, and itl be announced next issue it the parts get here ‘on time. Meanwhile, hhave fun with some new pickups ~ fitting ‘thom’s easy! ny self-assembled line-up, ‘Any such plans in the fea future? Keep up the excellent work Peter Ball via e-mail j8B: Thanks for all the ‘compliments, Peter, We're especialy glad you like all our kts and DIY projects as we take alot of pride in these and genuinely believe we do this better than any other guitar ‘magazine. Yes, a new amp build is a good Idea, but it’s a huge Droject. We've been talking about it for a while, and maybe now Ws time to get something special sorted out. CLASS ACT 1 was reading through some of the recent copies cof the mag and reread your arte on great Bish blues guitarists (March 2007). Your mention of Stan Webb reminded me of 2 Chicken Shack gig | sow last November. The band Were supporting John Mayall’ Bluesbreakers at UEA: I'd never heard them before so | had no idea what to expect. Webb did't just show how brillant guitarist he's, but also what a showman he can be. During one solo, one of the volume knobs fll ff bis guitar. Webb couched down tying to find the errant bit of plastic, and when he finally found ithe reattached it to his guitar and went back into the vocal, all the while stilSTAY FIT AND PLAY BETTER: STRAP ATTACK! ‘Wearing your guitar around your knees might be ool in some ctles, but it forces your fingering hand's wrist to flex forward as fara it an to allow your fingers to reach the tets and this can give ‘veto all kinds of horrors like tendonitis, carpal tunnel syndrome and joint problems. On the other side of your body, the shoulder has to drop down, playing a blinding solo! And one of the best moments dung the last song, Webb put his guitar down, took the radio mic off the stand, got down from the stage and walked through the audience while singing the song. | remembered thinking how I'd hate to done Guiter 8 Bass for not going down this route and for knowing there are readers who want a good magazine about guitars for a decent p 2. Ard | love the tabs and the guitar DIY cok because both follow and understand. ‘Norman Graham have to folow Chicken Nottingham Shack on stage. Then it was ohn Mayal'stun,. UTTER kim Ralls RUBBISH! Norwich You can’t be seious Britain's Top 10 Blues SIMPLE IS Guitaists (March 2007 GooD Having been a regular issue) — just one man's pinion, Please in future guitar magazine reader for many yeas, since the catly 708 in fact (Ym showing my age here), | got very despondent when various magazines started to offer let your tenders decide. Let's have a proper pol nominate: 1, Ere Clapton; 2 Peter Green; 3, Mick Taylor 4. Stan Webb; 5. Johnny Whithil: 6. Gypy Mayo; 7. Davy Geaham; 8. Chis Rea; 9. Dave Kelly 10, Danny Kirwan, CE Richards Windsor supposedly free CDs and DVDs with their magazines, which saw prices ie sharply, Now for the people that want that kind of thing that’s all very wel if theyre GB: We chose Julian Piper to write this plece because he’s one of the UK's blues experts and we rate his opinion highly, but we agree there's nothing wrong prepared to pay the price Which is some cassis almost £6, This is ferorbtant and | refuse to buy these magazines. Well Woke Up This Mornin’ LETTER: so you can reach to pick or strum, and this posture can cause neck, nerve and circulatory problems (thoracic outlet syndrome), the symptoms of which include numbness, tingling weakness and pain in the arm and fingers and even reduced co-ordination. Neck pain is common as you have to stain to see your fretboard, and the upper back starts to ache as it’s fled forward to help you reach. Doing this for hours on end will result in real problems, Lusky it can very easly be prevented. deal your strap should be atleast 2" wide to distribute the pressure. When it's adjusted, your elbows should be bent at around 90 degrees; this keeps the wrists in a neutral poston and the neck and back quite straight. With the right postion, youl be able to stor stand without adjusting the auitar’s positon. Also, considera strap such as 8 Slider Strap or Dare tap, which distribute the weight ofthe guitar ove both shoulders with a reader poll~ it's Just a different thing. Expert opinion informs debate; if we throw It ‘out completely we will end up with an Internet-driven pseudo- magazine where only the majority's opinion Is worth reporting, To the left Is my Strat, to the ight is my stopdaughter’s dog Jack, named from The Band's The Weight. The Stratis an original Mexican, Jack isa btsa, Both are black with white scratchplates, and does he love being scratched (that's Jack). Waging his tall isa sign of a good mood (ack), wiggling the trem Isa sign of my goad mood (Strat). Both need care and attention, and give back plenty. Am I correct in presenting my Strat’s colour as Jack Black, then? Erik Hofsten Norway q * al EDITOR'S} LETTER heeesen know, the sort of players who get so Pere ey an Pere tty Peomrniy pore ey 10 be living in a world where an aging old Pre oe gie edad eure stars of the ’80s and Ester) pl rerreny Peer ets Ct od coed eae) Peery Tee ad nen Trucks and Justin Parnreety ea es eae really seem patie ees ee tot! ener eras nner Soares iri ety eer Perens ean Perici coe Poti) Poets rere Det] ry Se sorta 11Fresh As A ‘Sunday Morning This double CD offers up 1 hour 39 minutes of the patton sain of Bish fingerstyle guitar running through his captivating repertoire. twas recorded lve atthe Shetild Memorial Hall in Api last year, and Bests virtuosity is beyond question; there's no band, just that deep voice and a single acoustic picking everyting from the fist song he ever ‘wrote Courting Blues — ‘0 Hey Petty Gi from his most recent album The Bleck Swan. The only tits you could level is that ll sounds abit too easy; you keep hoping for 2 dynamic fingerbluting instrumental workout to stretch Jansch’s considerable talents, but it never quite comes. fyou already have abt of Bert in your collection you'll probably have most of these songs, but otherwise Sundey Moming is the perfect intoduction to 3 true national teasute. No Ifs, Buts, Maybes Not the 1970s footballer famed for taking chunks Cut of the opposition’s shin, but the dynamic Rockpile guitarist who held his own alongside Dave Edmunds and Nick Lowe for ive years Bremner went on to play with the great and the 00d with credits including the solos on The Pretenders’ Chain Geng and Kisty MacCol's There's A Guy Werks Down The Cho Shop Swears He's Eis, Berner adopts a hinestone cowboy style western ‘wang on this cockure solo effort complete with honkytonk riffs and cheesy ‘ys that will ave you étinging and chorting in equal measure. DVDs ‘Sweet Warrior (Proper Record: Thompion's fis electric album in three years kicks offin fine style with Needle ‘And Threec’s lurching, almost Beefheart ian riff helped along with mandolins and ‘biting vocal. Second track Never Give Up keeps the momentum, raising hopes that this could be the stellar piece of work that we've been waiting years for Sadly, after this impressive stat the ‘quality becomes litle uneven ~ although Thompson's filer puts many ‘others finest moments inthe shade. ed's Gonna Kill Me isa highlight Witten about kag froma soldier's perspective ~ ‘Dad being slang for Bagdad = it stands up to some of his best Work. That can't be said for too many of the other songs, but fortunately Thompson's inteligent guitar lines can jolly along even the blandest tune. smpanied by the The Velvet Rut ‘man’s sparkling acoustic (city Sslvagertin angel) fingerpicking. From the delicate flk of The Wesp to the jazzy meanderings (of Ugly Angelit seers he ‘an handle all enees with ‘consummate ease, The instrumental Don’t Drink and the Tom Waitsian Allinetruments on this album were played by Mr Gunter although other than an occasional bit of piano and percussion the poetic musings of this ‘American singer songyriter ate mestly Where You Got Ain’ Whet You're From bring seme beguiling bie ‘the party, maryng fine fretwork with a collection of fyrically-adept songs that convince on just about every level Live In The Middle East ) This is the very fst time the daddy of alternative rock power trios have been captured live on VD not actually in the Mile East, but 2 smmalish dub in New York Recently reformed, the bband seem frighteningly adept, and the sound of aneman J Mascs letting 12 syer-comatee fips described on this very dsc by Sonic Youth's Thurston Moore at "Motorhead times ten, 2 killing, Slasher, i Hendeix style guitar thing" Expect mind-boggling amounts of al that plus such praise from peers, such as Kevin Shiels and Steve Albin From The Beginning Settle yours in with a few crates of heavy (or maybe a si-pack of yellow cans of Watney’ Pale Ale, depending on liver condition), and re live the majesty ofthese feted hard rockers. The bulk of the DVD is the entiee "77 B8C Sight & Sound Concert, induding incendiary versions of Heir F The Dog, Razamance and Whiskey Drinkin” Woman. The audience is subdued, but no one is impervious to the revamp of dassc weepie Love Hurts, Manny Chan's bhypnotic Les Paul work s {reminder of times when diy riffs done deftly (and ‘melodicly) were a uitara’s sole priorityiverside) "play the blueySome count sings Ashton on The Road Is My Religion, which marks him out a5 2 master of understatement. Anyone who's ever seen the Aussie maestro lve wil testify that he isa force of nature wit a guitar in his hands, and Prohibition comes as close as he's ever managed to capturing that fie on record, Backed by Alex Harvey Band alumni Chris Glen (bass) and Ted McKenna (drums), Ashton's butane-fulled attack on the superior shutfle of Ain't My Style and beautifully fractured Come On/Den't Wolk, Run! is matched only by his Fighteous'naucous take on Rory G's Secret Agent cob Waring without further ERR OM 2do. This heady brew of Global Warning ‘unkand jazzilected (uugene) sonics demonstrates Schofield’ ability to stay in the pocket as much as his cohorts, organist Jonny Ey ceceson lenin and i It your response to seeing drummer Evan Jenkins. This means that you appreciate itll the more when he does cut lose, Matt Schofield in out recent Greatest Bish Biuesman feature wos Whe hat Zalgeu hia: want evidence that blues in the 218 century is sila potent force you should rab a copy of Gobel oo ere NN’ Roses, Velvet Coe’ Peers Paul Stenning independent Music Press) Avwhistlestop tour ofthe le and times of one of ‘those special people who et through life without a surname. We do find out ‘Slash’ eal name but ‘there are precious litle eter deta or insights as on high-octane stomp Someone and the slowly stewed Once In While ‘Album highlight, though, {is Searchin’ ~ Give Me A Sign, which provides the proverbial masterclass in how to build a guitar solo offered. The potted history of Guns N’ Roses with some extra Slash {quotes culled from ‘atious publiations is This double ve CD commemorates the 40th anniversary of the British folk-ockers ~ and theit ower to weave a rich tapesty of traditional and modern styles is as great as ever. Simon Nicol and the band go through a set st that stretches as far back the late 60s with Crazy Man Michael However the focus is on the present fine-up's material, and sights. (On The Ledge isan ideal opportunity to savour and wallow in one of this fie ile’s finest bands ‘Shrunken Heads erin’ Crocus) All The Young Duces may remain his biggest hit, but Mott The Hoople frontman Hunter's latest bum is rammed with asc roots based rock of the west coast kind. Add Hunter's arch, insightful Iie and you're taking about a surefire winne. BOOKS engaging enough, but you never feel you're learning anything much about the man. A ‘aid you know?" chapter full of quotes, facts and an analysis of his handwriting tis to make ‘up for these shortcomings but tue fans would be advised to wait for the official autobiography due inthe autumn. Although anything to do with G N'R tare artves on time. Sap) Judgements [Los Straitjackets | Rock En Espatiol Vol.1 (ep Roo) The curtent kings ofthe surf instrumental link up with vocalists Latle WilliG and Cetar Rosas to tring us some dassic rock and rl, with a Latino twist, belted out in Espanol. Poison hy and Dizzy Mis izzy will never be the same again ————EE———s Tall Stories From Under The Table (weekender Records) Paul Weller endorsed these spirited Jam copyists by playing a bit of keyboards on final track Let It Lay, and if’ aight with him it's aight with us. Ge Dislocation Blues (Rounder) Recotded just months before Whitey’s tragic death, the ate Texas bluesman's collaboration with Aussie partner Lang is raw, brooding colletion that sticks long inthe memory. — The Awakening (Roadrunner) The latest instalment from the German metalcore cvuthas ses guitarists Dennis Schmidt and Mare Gort become even more of a welhoiled iff machine one tinge with arena rock dynamics Ganging Up On The Sun (Reprise) Five albums in and the Boston out stil dever utterly sublime jangly pop that canbe enjoyed by ‘the whole family. The (vey) honourable exception isthe explosive The Begining Of The End kk ——— Blues, Waltzes And Badland Borders (Train wreck) Having providing sterling sisting support foe Van Morison and Bonnie Ratt, Patani give us top-notch TexMexrockably instrumentals, Coo CO ROCOL eer ey Creat Dr Rock (Faber) Do "How To Pay Guitar’ books bore you (ora loved one) with their cold, mocking pages? Then you right want to give this ‘one a spin, Fil ilustrated in.a comic book syle, it’s clear, simple and covers ‘an antul lot of ground quickly — using ifs and sole from a wide variety ‘of both old and new classics to get the point ‘across. Hem, that’s some ‘900d bite-size learn’ p07 cara tne 13Tin tegh Set Croydon Co He a: 02057269000 tothe addross opposite and name your preferred electric string gauge. First correct entry drawn wins two sets of Vinel strings! Closing date: Ist August Web: ww gutarmagazine cok Mars Lee 6208726 8902 (Marco, eeey permed com) ~>) MP-GT1 LMG meen ET. iy Portable MP3 Guitar Trainer Pocket Licklearner Re Gelahel a. Guitarist aaa as bahia designed for musicians. Based on the award-winning CD-GT1 MkII, this mobile guitar trainer has enough memory to store ci) eae collection using a data wheel, dedicated but- 7 tons and a graphical backlit display. Tracks a - & and sections can be looped or slowed down best bands in the world. Songs can also be pitched up or down to match the tuning of your guitar, so you don't have to re-tune for Sots r = ‘The MP-GT1 lets you play along with thick overdrive and multi-effects. A chromatic tuner and a metronome are also builein. A high-speed USB connection is ey mT ee hal ala Bote Eo a TO eset Rnd eee o = r st Aedes ee Sets sell! Tearm new riffs and tricky passages of the S — A Retna Ponti come arene a — Weta eaNas ar Bier of playback time (an optional power supply is Arve, distortion, delay, chorus and more 24-bit AD/DA converter Eee + Guitar canccler with selectable pan point *_ Lithium Lon rechargeable bacery for en be All of this is packed into a player smaller * Variable Speed Audition (VSA) changes the * USB port for MPS file import and bat- tong tempo without affecting the key tery recharge Cena oe Sienna ate tn * Pitch contol changes tempo and key atthe * Auto power-off Function oC aes} Da nee Serer OSD oe ett a oe eee eee on) eee ee cori pester rameter Seen ten ee er) EE er aren ee oe See oer nee Cet eet ern i aa aroma pet 1) mia! TASCAM.>) ree rea) ‘The Croxley Cenue, Watford, Hers, WDI8 8TE SOR Ee Eee een eet ea ey ee ee eredcoer ae coer}Slash aes Back when hairspray, spandex and pointy guitars ruled, a bunch of dishevelled rock renegades from LA arrived to save the day. Michael Heatley chronicles the madness behind the legendary first G N’R album and discovers named Slash became a true guitar god ard as it might be to take in, It's 20 years Crees Cea een eee Ta Pr es Pre ach eer eter ct i rant. ent on eee oe ot Sees Cees king to the max, Jack Daniels bottlein one hand and Cee ee TR rear cd Ceres helped survive the Nirvana-inspied cull of halt ‘metal bands like Poison, Skid Row and the rest. Cee ray Ce Cun ee ead three albums of original material in which the Cor ene eet ee eg Re ee eee rs terre a remem ety ‘Mesa/Boogie amps gave him a sound that was far Coane eat a err arty ee ae Cease ete Ce oe eC) Se eee eas Se aan both loved Aerosmith and the Stones and we used Pere ead Ree ea ‘guess. He's a great guitar player ~If you let him go, ent mt end ‘and then, but that’s what he loves to do.” Crue Cag were off and running. The first Appetite song the Renee Eee a cee es pei eercn eet et re ett understanding became so telepathic that they even Pe ea en aera) the first half of the (pre-chorus) solo on Nightrain. When Appetite For Destruction was released on Cetera Ete? Perron)‘I figure we’re just the resident down- and-dirty rock band at the moment’ - Slash speaking in 1988 property of a privileged few. I took longer to get tothe top of the US chart than any ‘album since Fleetwood Mec by Fleetwood ‘Mac 12 years earier— but its effect onthe ‘tock scene as a whole, and guitar players the world over inthe summer of 1988, was ‘nothing short of seismic. I igure wee just the resident down-and-dity rock band at ‘the moment, sneered Slash. ‘Everybody ‘wants to have that record because it's not that safe. and it ooks cool next tothe Finest Cuts ‘Slash’s best five guitar moves on ‘Appetite For Destruction Paradise City Check out the way Slash obtains a superior Stonesy country ‘sound with some pedal stet-lce bends elcome To The Jungle Something a= simple as resting hs picking hand on the bridge makes this sound a milion tkmes ‘more percussive O°MIne One of the most Jeonle Intreductions inthe history of rock musi. And then there's the wah- wah solo, Say ne more: nelle What started as an acoustic song turned into a searing rocker when Slash turned his amp up. "He went Inco this bashing thin,” ‘marveled Stradlin, We sald, wow? wnstone Superiative solo apart, the song proves beyond doubt that Slash isa true team player The ‘onth ofthe Slashy/tzxy years 20 syer-comeann George Michael records in their collection * So this was the outfit that took over from the Stones asthe self-styled "World's Most Dangerous Rock'n Roll Band’. And if A Rose was the new Jagges, pouting and preening with more than a hint of menace, then Slash, omnipresent cigarette drooping from his ips, filled the Kee role. onic, teal, since ly's hythm guitar style owed far more to Me Richatds than his companion’s coruscatig Les aul leads, [Never mind the order, though, the ingredients were there. Image-wise, Guns N'Roses di ther own, thing ~ and the same went for the album, which had tobe re-sleeved after Robert Witisms’ controversial ‘obo-rape? cover was banned. In Louisiana, record shop owners were threatened with a $5,000 fine or 18 months inal for Selig the ‘offensive version. The music inside was just as dangerous, veering mancaly from ‘major hit Sweet Chie O’Mine — Aa Rose's love hymn to (brie) bride-to-be Elin Every ~ to Mr Brownstone, dscibing the heroin habit that would lead more than one band member to the threshold of mortality, Out Ta Get ‘Me was a tous of the prisons and houses of conection of Al Rose's home state of Indiana, while Rocket (Queen descibed a gil who had burned out too s00n, All were powered by Slash ifs Many of the songs started life on tour in Slsh’s hotel room, Thee was fatty ‘estabshed routine as he explained. ‘sit in bed withthe TV tuined down, staring at the ceiling, coming up with stuff in my head, ‘tying to make things work. | puta lot of stuff on tape.’ Thus Slash would come up with most ofthe riffs, Al the melodies and Iyries and nay the chords ‘Slash has repeatedly stated that when he ‘came up withthe signature intro to Sweet Cité O'Mine, he was only joking. Ax liked it and would not back down, so they recorded itanyway. Bassists, however, will endorse the ‘magic added by Dutt Mekagan, stil playing with Slash today in Veet Revolver. ‘thought of old Faces bassines real cool, ‘ot overpaying but unique’ Duff revealed ‘Slash tls us today that the way the songs come together with Vehet Revoher is ‘not dissimilar to the way Guns worked. t's «2 combination of five guy,’ he explain “Everybody in the band hasan idea that they bring tothe table, and it goes through a process. This guys got a part he thinks s going to work, and ‘everybody has got thei input. By the time it's turned into a compete song ‘prety much been addressed by ‘everybody inthe band. I's got everybody's stamp on it and it sounds ‘mere ike the group than if someone came in with a complete song and said “this is how it goes.” “The way it works is very similar in a lot of ways to how Guns worked corginally Even in the later years of that band, it was always very kind of democratic group. Many of those songs have stood the test of time, Thee Guns N'Roses numbers had found theie way into the Velvet Revolver repertoire on thei ast UKappearance in 2005, And two ~ It's So Easy and Me Brownstone ~ were taken from the fist album, which temains a asicSLASH BEGINNINGS Slash was botn in Hampstead, the son of @ white father and black mother, Father ‘Anthony designed record sleeves, while ‘mother Ola had a showbie connection, t having designed stage clothes forthe likes ‘of David Bowie, When he and his mother telocated from Stoke-on-Trent to Southern CClfornia in 1976, Slash - stil a pre-ten ‘saw his future in the same busines a his parents, yet he found his biggest influence ‘not among his mum's records, but on a date Girt fd been tying to When | was 14 Lwent over to see this up for months Choice Of A New Generation ‘Slash Is responsible for inspiring many a aultar player, Not that he'l adn ‘mind ‘really really shy about knowing what kind of effect my guitar playing’ had on othor people, because that’s the kind of overwhelming thing thae I might hear from time to time from someone on the street, he domurs. "e's ory fattering, but k's hard for me to picture that somebody would st down and do basically the same thing I did when | started playing. ‘Aes very humbling. Iwas listening to the songs we've Just recorded and 1 ‘can’t even play my own solest But | will say that on [Velvet Revolver's new album] Liberted, whon we went into rehearsal, Iwas thinking about how She played Aeroumith's Rocks. Ilstened to iteight Slash acquied his first guitar wathin 9 year, either from a garage sae ot his grandmother depending on who you nes, and forgot about het believe, and teamed up with local ad Steven Ale whom he betiended ater he aw im fling off his skateboard, thought he'd Kiled himeal, so | went over to see it he was alight’ sad Slash ‘Ader not only had an amp in his bedroom but the whole back catalogue of Kiss records from which to cop licks. They made an unusual-lookng pac the blond Holywood child and hie dark-skinned, players pick up the guitar and how they are nuenced, how they sit ‘down and learn people's solos. | used todo that. Sometimes I stil do ‘Close to home, when vocalist _uitarist Simon Nell was setting up Indie combo Biffy Clyro ina small Scottish vllage in the "90s, Kurt ‘Cobain and Slash were the ruling, guitar heroes: not content with ‘choosing one, he absorbed Intiuences from both. Welsh wizards James Dean Bradfield and Kally Jones have likely earned arf or {we from Slash through thelr careers. ‘And over In the United States the lst of ‘out-of. tho-closet acolytes ‘considerable: Keth Nelson, New corkscrewshaited pal wi habit, but they were fast friends, Such was Slash’s progress on the bass that Als cropped his onm axe-hero ambitions and @) 2 chain-smoking “American Shame, Jason Krause, ‘Nashville Pussy, Gary Sunshine, Kenny ‘tson and Haraline all definitely reflect a strong Slash influence.‘The local store had this great wine called Nightrain that could fuck you up for a dollar’ - Duff McKagan ‘switched to drums. Slash: sai I'd take up the guitar because it had more strings. Then ‘as began to learn more about what | was doing, | really got into the instrument" A Gibson Explorer copy was rapidly acquired with this am in ning. The pat formed a band, Roadcrew, which Slash has since ened to ‘Metalica without singer’. The lack ofa frontman led to an attempt to poach local rival Ad Rose ~ but When the fst Guns N'Roses gut {Guns quit to reform his old band Hollywood Rose, Slash found himself summoned to fil the gap. Hipal came as part ofthe dea lsplacing original drummer Rob Gardner and in June 1985, the definitive Guns Noses lineup was born. Given that lazy had known A for 15. years, it was crucial for Slash to stike up an immediate rapport with his guitar partne. ‘They had litle choice: the pir were soon living cheek by jw in a 12°12" room at the Garden Stuio, a rehearsal space the whole band had moved into. We would sit inthere endless rights Izy recalled, 22 syor-cman ‘Think of Slash and, guitar apart, the first thing that comes to mind i the top. hat. So where did the idea come from? Read The Dirt, Métley Crie’s no-holds- barred biography, and you'l find that [Nikla Shox gave Slash his frst topper: tn fact, he was delivering Ie when he passed out due to a nearethal ‘overdose... which ed tothe writing of ‘Crie clasie Kickstart My Heart, ‘Attest, elmes wore hard for Guns [N’Roses. Nighrain on the fist album ‘was a hymn tothe qualities ofa cheap land potent brew; one which, as GN'R bassist Duff MeKagan explained, lay within the band’s limited budget. “When we wore living inthe Gardener Street studio, we had no money but we ould dig up a buck to goto the local Iiquor store. Ie happened to soll this ‘great wine called Nightrain that could fuck you up fora dolla. Five dollars and you'd bo gone. We lived off this stu.” In 1992 Slash was signed up as an ‘endorsoe for Black Death vodka: hs tastes had clearly refined as his bank balance improved. The bottles came in ‘black coffn-shaped box bearing the {raphic of skeleton... wearing a top hat, of course. Jack Daniels has been a | Slash: A Way Of Life constant influence, and as forthe cigarettes, we understand he switched {rom Marlboros to noxious Gitanes. ‘Well soon be reading his own reminiscences of those early days n his autobiography. Ie was one of those things "dl been asked to do a number of times over the years and I never felt ‘was the right time,’ he explains. 1 certainly did’ want i to sound lke Fd {got to the point where “Okay, Ive done everything, let's put outa book..." “Someone gave me the Idea of ust doing 8 book on this chapter of my now I've got another band and t'm ‘moving on. I can handle that. There's a sense of finality that comes with some autobiographies that I dida’t want, $0 this just cakes us from my childhood, all the freaky shit that’s gone on, al the ‘way up to Velvet Revolver. “e's stuff you've never heard me tell anybody before. There's alot of personal insight into the whole Guns N’Roses experiance, how I picked up the gultar and how all that started, the music business from when Iwas fist Introduced to It back when Iwas ite, all ene bands I grew up listening to. lesa snapshot of the last 40 years.”Claudio Pagelli, thé talented Itallan designer, has worked closely with Burns@’ pee to create a unique new design of guitar, Bias (ceo oozes contemporary retro chicwith gorgeous Co a trully individual style. TANT ssi Rela ata y Za lets SEN eect WV mesa seco rees| * Compound Fingetboard radius (10 thru 12 inches) * Burns® Gear-o-Matik™ Truss Rod * 2 x Bums® Jet-Sonic™ Split Coil Humbucking Pickups SP a ekee le micas LST 1) Prem s|o \ TEE 5 ra Tne: “Coulee a Ar GoreStoked! Slash Returns 10 The UH ‘As be prepares to play the county of his birth, Slash can reflect on the best and ‘worst of lve memories. When GN’R ‘made thelr UK debut at London's ‘Marquee Club in June 1987 they were ‘more or less unknown outside of heavy ‘metal circles - but no-one was prouder ‘to be treading a British stage than Slash. ‘Tewas so Important, he talls Guftor & Baas. I think we di three datos a the ‘Marquee. Ie was so gratifying to have nad success with those shows and be blo to come back as more than jst an “LA thing”, but actually get a warm, reception from the fans.” [Next stop was the Hammersmith ‘Odeon, highlight of fve-date tour in “We were one of the few LA bands that already had some roots and rock’n’roll values’ - Slash 28 wo ‘November with Faster Pussycat but drummer Steven Adler had to bo replaced by Cinderall's Fred Coury after breaking his hand ina brawl. They Interrupted a US tour to appear at the ‘Monsters of Rock Festival at Donington 1988, where ewo audience members dled, though through ne fault of the a eee oar would require ‘the crowd sectioned of. land alot more people making sure that people aren't put in a positon where ‘they might got hurt.” [Now he's looking forward to returning with Velvet Revatver, and Its for more than professional reasons. ‘ts boen a long fuckin’ time. Last time I was over playing whatever guitar was around. We wuld plug in at four in the morning. I ‘was backin an alley so we could play as loud as we wanted, at any tne Survival in the eatly days wasnt easy they'd bum food off gifriends, smoke cigarettes for medical research and do most things to raise funds short of sling thes bodies. When A&R men started citing ater a slffinanced EP Lie ?!°@ Like A Suicide brought ther tothe attention of the music business, they played hard to get. Stinging out the record companies meant more fee meals: ‘We started eating good. ‘The LA club circuit quick fll under the spall, but the signs of imminent disaster were there among band handbils carying such legends as: fresh From Detox’ and ‘Addicted ~ Only the Strong Sunive!, Meanwhile the guys dossed down in their studio in the clothes they stood up in, Indeed, Slash was sil paying of his Les Paulas his band hit the charts ‘There were plenty of rivals that talked the talk, but according to Stash, only the ‘Gunners walked the walk. ‘t's alway beeen the guitar with the whammy bar and the LA drum sound and one guy who can't sing. We were one ofthe bands that came out of UA that already had some roots and some rea rock'nll values ‘Tote values weee shortly to emerge on record, as Getfen Records signed the band on 26 March 1986 at a reported $75,000 lus the cost of recording a debut ful length album. Iwas a modest imestment that would pay off in spades, Guns N'Roses had sown the seeds of thet own eventual demise with thei ful ‘on drug use and outrageous behaviou Many predicted a fatality, as with Brian Jones and the Stones, but all five orginal members of Guns NRoses - none of was for an awards ceremony in 2005. fm ooking forward to meeting my extended family ~ cousins and stuff who were too young for me to have met when I was around. tm going to meet a whole ‘bunch of them, which is going to be really interesting. And I think my dad's {gonna come with me, He hastt bean back since Iwas four, five years ol. I's {gonna bea really coo! trip for me. “England was always my favourite place to go,’ he continues. I always look forward to it~ I has that “home away from home” vibe for me. I might be overly based, but I think when Ie comes. down to my favourite place to actualy goand play, England is ke’ whom remain withthe volatile Ad survive, That said, Slash has recently ‘emerged from a spell in rehab, so he dearly stl treads a fine line The leather strides are stil going strong and, atan age when most quitasingers have settled fora spreading waistine and a more sedate way of life, Slash seems set to follow the Keef blueprint and grow old disgraceful Long may he do so. @ Tasle For Gear Studio: ‘Appetite For Destruction was recorded at varios places in Callfornia inchading Rumbo Studios In Canoga Park Take One Studio in Burbank, and Can Am Studio In ‘Tarzana, Producer: Mike Clink Guitars: ‘Les Paul replica handmade by Max Guitars in Los Angeles and modelled on "59 Gibson fametop Amps: ‘Assorted Marshal heads and stralght-front 4x12" cabinets sSteings: Erle Ball Slinkes gauged 011", O14", .018", 028", 038.048" Eftects: Dunlop DCR- ISR Rack Wah, Rocktron Hush ll CX, DBX 166 ‘compressor, Yamaha SPX 900, Boss DD-3, MXR 10-band graphic EQ, Hell Talk Box. Picks: Dunlop Purple TortexUCD Rac 6505 gives me that ripping ania inFreedom ‘The smart money was on Velvet Revolver imploding in about five minutes flat - but now Slash says that we should brace ourselves for the band’s finest record to date. Interview: Michael Heatley titar heroes worth the name are inetably a mass of contradictions. That's why Slash, who proudly states his contributions tothe new Velvet Revoher album Lbertad ate his most spontaneous ever (1 even kept the mistakes in’), admits he stil sisi hotel rooms tying to fg ‘@actly how lef Beck plays his complex jazz-tck licks Tell him he's been responsible for a generation of guitar players, and he'l cringe. You said that, not me,’ comes the voice from behind clasped hands. But, now coming up 42, the former Guns Noses helaiseis certain ‘enough of his past and future to have ‘an autobiography on the stocks even if despite much pleading, he's rot keen to divlge any exclusive ruggetsjust yet. Unie the fst Vehet Revolver album, the follow-up has been cut by five musicians who've played = & together hundreds of ines in the Seri 7 intervening theee years ~ and that, eta u . Fed as pt s2ys Slash, is ely important, We al 0t together, put the rst cord out f aed started touring ~ it went tke Gear that, twos so bythe seat ofthe “The rock’n’roll business never mS pants that nobody sat down and 1907 Gibson es Pa’ thoughthowitwasallgongtoend = CRASS toamaze me. There are Les Pas wep by Mae Lp at the end ofthe day. We just cts nA an about livedin the moment So atthispont © Ways surprises round the corner’ = | *:2«:r< w= we have the knuryof being able to aac, oe lookback atwhat wewent through. Despite chalking up the hours and Chili Peppers to Johnny Cash, was Beas Gut acoutes ‘That whole two and a hal ye miles, Slash admit that "the rock'n'roll suddenly eplaced by Brendan the making ofthe fit record and! business never ceaes to fuckin’ O'Brien, Ask tf wast a question of art sinh moet the tour., fuck, we went through a amaze me. There are always surprises finding someone to referee five ea, cant wen hellof aot So when we wentin to around the nest comet’ And one strong chatacters, and you'llewin Mstonspestrs record this ime, realised the benefit came right in the middle ofthe that Rubin, prot to his eat, was the of all hatexperience and how we sessions when super-producer Rick peacemaker.’ funay you brought__ J HaTahbox en Binion hhad got to that place” Rubin, favourite of everyone from the that up. ick was the guy who, @) [Stes Senvien secant 27‘Tlistened to BB King and Albert King for about six months, just driving in my car, learning licks by ear’ 2B yer somata Pent) Eee | Under the Covers ‘Velvet Revolver’s current setlist couldn’ plture how the band contains some pretty weird covers, would play ie from the instrumental Including a song by a bunch of point of ew. just seemed Beatles-obsessed 70s rockers and a lightweight. twas lke there was inew-wave at rock classe. The nothing ~ It was Nuy. But then 1 latter ~ Payche Kier by Talking ‘was the guy who hated Sweet Chid Heads — snot on Libertad, but will O’Mine when it was fist written! ‘be coming out later with five other “Brendan did get me to record an ‘songs that just missed the cut: But acoustie version of i with ive Can't Get t Out Of My Heod by the drums, and I Istoned back to that. Electrlc Light Orchestra caused He Just kept predaling me until considerable friction between, ‘naly 1 put seme electric guitars on guitarist and producer. e— and at that point it started “That was a suggestion from faking ona ife ofits own. He was Brendan. And lat me tell you, he very pationt. He had to deal with hhad a hard time sling the band on me walking out ofthe room a It, especially me! admits Slash. couple of times, Bu he didn’t press iknow the song and could pkture me too much, e was a gentle way of, Scott singing It, because It's convincing me over a period of time perfectly in line with his vole, but | that Itwas good. And tis” although we hada hard time adapting that would te appropriate. On one and one for gain. Usual find fault tohis tle of working, actually came in song called Grave Dancers did the with almost any distortion but this one's and refereed between the different _ whole rhythm track on a Stat, and on pretty much prominent on the whole of personalities. twas very eye-opening, a track called This Fight I used a the record, ether distortion out ofthe almost a liberating experience for the Gretsch Country Gentleman, solo or just pumping the output. uy tobe able to it in one toom and "Tused a lap stel fora couple of ‘Amplication-wise, he stuck with his speak openly about how everybody felt ifferent things and a Les Paul set up signature Marshalls, another Marshall about something. Iwas something _for slide on another song, But basicaly JCMBOO 100W head and a couple of ‘weld never done. And Rick started the twas a realy simple setup. lused a cabinets with 25W Celestions. That was process. But when it came down to t, couple of different pedals. had my basicaly it. But Marshall has a new head Fick's criteria of how to make a record own custom wah pedal that | used a that's just coming out that | used atthe ‘iit realy fit in withthe band’s lot on this ecord more than on any tail end ofthe record. t's a fucking kee ideas, sowehad a very amicable split. other record and then | used 2 and | used it for a couple of songs. "We went for Brendan O'Brien who _voicebox on one tack. used this thing intend to use it live cos it sounds as Scott Weiland] had experience with called aQ Sound, which isa litle MXR good as my Sash, but it's even better before: weall had respect for the body pedal that sounds abit likeawah _it'sallitleittightersounding* of work that he'd done, What was pedal when you have it partially Songs from the new album wil be in taking us months with Rice tookus —_—_dapressed, used that for one song. the Velvet Revoher set as they play weeks with Brendan. We were in the Pretty much ll the solos on the record Europe this summer - but not enough studio with him for three weeks.” ‘where diven byan MXR pedal with for Slash’s liking, i we had our own In terms of guitars, 75 per cent of two buttons oni one fr istoction way, we'd play the whole record. We the record was cut with an LPreplica made by an LA luthier - the very same ‘guitar Sash used on Appetit, for alot ‘of Lose Your llusion, the Snakepit release and forthe last Veet Revoler record. "That's my mainstay recording uitar he confims But did experiment... wel, not realy experiment, but there were songs on the record that called fora certain kind ‘of sound and I broke out some guitars‘And what was the approach to sclos this ime around? "Well, usually hear them so perfecty in my head | can pay them more ot less note-fo note, so by the time we get on the record | petty much know i. Unless i's srt of superfast rack, which has a ‘Inever really went back and fixed anything. I decided to keep it, mistakes and all. It’s very raw’ ‘now that we have to work it and play construction I'm familiar with, But this record was more spontaneous than that, I never really went back and fined anything. That was the most honest representation of my feelings at the time, 10 | decided to keep it, mistakes and all It's very raw: Slash maintains that he’s constantly listening and learning. "Wherever lam and there's music on, | heae things some of the ot to have some catalogue at this point "Some ofthese shows are only going tobe 45 minutes tops because we're songs. Butt playing all of Europe, some festivals and Download this time around. These will be shot sets. But we'te ato paying Hammersmith and some other dates in the UK and we're headlining those. that case wel play four new songs, in the others two. ‘We're playing a song calle Let Rol, the opening song on the record wich is very fast and in you face. She Mine, the last one we recorded, that’s @ punchy song. Get ut The Door's one of those you can actualy move toas far as the beat's concerned and will fel realy good playing lve, and She Bules Quick ingle. There are other songs onthe record that we ‘could play lve but, tree of that four were inthe running to be the single and one isthe mest aggressive song, but realy cool, sma Mochines isthe fs Reluctant Hero (Of the playors that broke through In the "80s and "90s, only Slash and Kurt Cobain ‘ond to turn up in ‘Bost Guitarist” polls. ‘1 never see any ofthis stuf, so I didn't know that, Slash calms. Kure was great, you know, 50. I's nice to be mentioned in the same breath, “You've got guys ike Kirk Hammett, who's got another record coming out, Kenny Wayne Shepherd ls around... there's couple of guys that are realy doing thelr thing, but its not as Hf there's 50 fuckin ‘guitar payers all out there doing something, I's weird that way. There's not ‘ot of lead gultar players in rock’ ‘bands, what you'd call lead gultar players Bear born Saul eee eenesy Parner’ 968, BB King and Albert King for six ‘months learning all kind of ks by ct. cidn't have my guita, | was Akivng in the cat, andl picked em up that way. Ae you do this longer and longer, you get better and bette” ‘And though he's sold millions of records and has ust emerged froma. spelin hab, Slash stl has that same hunger What has been carying me through al the shit, everyting Fve been goin through, isto be able to go out and play Which is what it’ al been for. t's not an easy business to be in it's certainly not an easy career @ ‘30 worth it proper right now. Gultar has taken that proverbial back seat and become sor of “Oh, ed be good to have a gultar sound”. {es not really about guitar playing. "Yes not lke what Iwas ralsed on, 20 Pm cone of the few guitar players in what you'd ‘eallthe current musie scene, at least as far 35 rock’ rolls concerned, that ls actually sven more than two or three seconds couple of notes. Do you know what | rican’ So there's nota lot to compare me ‘with. I would consider myself someone ‘who is realy ino the gultar and really Inspired to take something as faras can every time | put a sole ona record, ‘And its strange because inthe 80s, eesti sag eee Tg beeen! berahg ey Diss nee to and ty to figure them out in my head, Fre gota lot better at that. f lean take long enough | can pick it up and play it later. Iwas doing that a lot wile making this record, listened to Peace Rae eee ret any ba Cente Se CAS Ca et when Guns came out, i seemed lke wo were the only guys who played standard roelnroll gular a that point. Everybody ‘se was doing a version of the whole Van Halen experience. In the very earty 80s ‘when all sorts of pop bands wore coming ‘ut there were very few guitar players in that whole mc as well “Lreally love what I'm doing and I's nlee to be recognised fort. get a bie Intmidated by being mentioned In polis and stuff’cos | now when I was 2 kid read magazines about the great lead guitar players Jimmy Page. Jo Bock, all ‘these guys. don’ know It have achleved that status" ssioned Ero eee era ea) and Carole King sya 29Distance Armed with a blistering new record, Gary Moore tells Michael Heatley about recording after a few jars of ale, how not to sound like Clapton, and why you shouldn’t take Parisienne Walkways too seriously hen you see Gary Moore scowling out from under the tite Close As You Get. the inference is clear ~ backoff! But ‘as with mast things Moore, scratch the surface and you find he's rowhere near as fearsome as his sound and image sometimes suggest "You can take the ttle Close As You Get in to ways,’ he explains. “e's quite a personal cord, soit's as dose as you're going to get to the person yout seeing. Butt’ aso about blues snobbery. That's what was realy behind it~ this thing about people playing the blues who aren't necessatily the “right colour" ot fom the right place, This ike turning round to them and saying, wel this is as dose as you're going to get! You can takeit that way, as well? The album's a 50-50 mix of old blues and sett penned numbers and radio had much to-do with his choice ‘of songs. When Planet Rock, a digital station in London, asked Moore to research and presenta series of six ‘two-hour blues programmes, he tembatked on a voyage of rediscovery ‘that led to some great material. needed 30 songs each week. You can think of 30 off the top of your head for the fist one, but then you have to Start digging’ he explains. ‘Sol went ‘lot further backinto the music than Ihave in recent years | started listening to peopl ike Leadbelly and ‘Son House over again. twas really ‘reat ‘co found material fo the album ~ lke the losing tack, Son House's Sundown, | would never have attempted it before. The other catalyst was drummer Bian Downey, with whom Moore ‘Close As You Get - it’s a personal record, so the title’s about that, but it’s also about blues snobbery’ worked in 70s supergroup Thin Lizzy. really ows his stuff, and on this ‘ian and | go way back, even before album helped me find Evening by {joined Skid Row. Brian from Jiemy Witherspoon. We wete going Dublin, and t'm from Belfast. | todo! Put A Spell On You and we actualy met him in Belfast when | _ realised how stupid that was because was V4or 15.and playing ina band it's been done to death, Brian said called Piatform Three. Brian grew up “Let me show you this" So we it the con the same blues Igtew up on; he internet, found it and did it on the Don ey 4 [cataooe = won ‘compete fant nas. ogo ooo eer ha sceegngitarcnt. Tiree wong mane rine ree basa “Taye realy geet gusane Fey tareabegys saa Soptmeln {hep hd abo Gear st mans 2 2000 woogie ab rte 31‘Tve never done an acoustic track before in my life. I never felt confident enough to do it’ spot So it's thanks to him that some 32 ayer comanee of the material came together. Though penned by Chuck Brey, Gary carne to 30 Deys via the Johnny Winter rendition. “t's lot more guia friendly and suited my style better. | slo stole the solo off the W version, but then I went off and did a kind of rockabilly solo! When you do sornething Bke that, yu and nobody's really heard you play that to something you don't usually do ‘way before’ The solo was cut live with the tac test We ke almost alt recorded it withthe bass and drums, thee ot four takes, and chose the one Su th the best overall feel." Recording the previously mentioned ndown marked another step into the known for Moore. ‘I used one of thove Ozark resonators. | got one bet fore Cvistmas. ve never done an acoustic track in my if... ever felt ho nfident enough to doit, to be It took alot of time for me to feel comfortable about it ied the idea of recording it italy in my kitchen, but I ied that dit didnt sound right. | did it inthe udio a few times and it sounded too much ike making a record. So we went down the pub on the lastnight, ba you inevitably do towards the end of album, had afew pints of ale, went to the studio control room, sat on the couch, puta mic up for the vocal ‘and one tothe guta, and did itn one take! We mixed i there and then and tended up on the record. It took a ‘hile before relly ft in the mood to doit, and to doit in one pas. You have to~ there are six verses in that song, You can’t fuck it up at all you can't drop in! Elsewhere the main guitar was ‘the Les Paul 59, the one everyone knows But Have You Herd, the moody John Mayall classic, posed problems and resulted in the only ‘pre-planned’ solo ofthe album. ‘| opened up the sound because | kept on playing too much lke ric Clapton. For God's sake, | was 14 when thet came out! Everytime we id it | played those licks, and said “This isn't going to get on the record Jit sounds like some pub outfit The band went home and | tried again, | ended up playing a 335 on it. | id it in much moce mellow way up to the intensiy of the solo, but I think it sill has that dark thing about it which ‘ely ike, withthe echoey guitar! did't eal let tip unt the solo came up. So atleast | got more out of it than {an Eric Clapton clone version, which was the lat thing l wanted, ‘868 Telecaster made an appearance (on 30 Days and Had! A Dream, a ‘Moore-penned ballad towards the end hich has an almost county fee That's Telecaster thougha First Class Mayall Gary Moore's admiration for British blues godfather John Mayall was ‘evident when he got up and played ‘with him in Brighton last year, and ‘continues with the cover of Have You ‘Heard trom the legendary ‘Beano’ album on the new record. ‘Yohe’s 70, the same age as my ‘dad, and he doesn’ like having nights off. He plays more gigs ina row than any band { know. Ho's phenamenal. You se him up there stl sounding the same as he ever ‘did and he’s got Buddy Whitington up there, who's a great player. ‘ove sitting in with those guys, {e's big thll for me. The first time In Brighton last year I was on stage and he sad “Al Your Love”. Buddy looked at me and sald “You start!” and I fucked up. I's tke, of no, 1 on’ bolave It | fucked up the fist ‘ote, you know, Erle Clapton. played with them at Shepherds Bush a couple of weeks later, and got Ie eghe chat time, Kewas ke Pd reamed ofthis all my Me, playing Al Yur Love with John Mayall and It fended up a horrible nightmare. Buti id ie in the end”Acoustic PU eee Rye Charming. Drs Pee ae et ma ee eee ne See eee recur mandolin and ukulele. Vintage Over 60 models to meet your Sa untae BT aca SS Secu Peet cue en cia ny Your choice for Acoustic Excellence. intageAcoustics from £549 to £79°° www.jhs.co.uk‘Albert King told me the simplest thing in the world was to play every other lick. That’s the key to it’ ‘Vibrover reissue with two 10 speakers I's an old warherse, the Tele, with a thick neck on it~ a real bastard to play, but you get a great sound out oft, Unusually for me, Ive been using iton stage, for 30 Deys and the Albert Collins one, Too Tre ‘Amp-wise, Gary used a selection ranging from an Orange Tiny Terror with a Marshall 2x12" cai the Vibroverb toa recentivacquited ‘mid'60s AC3O. "I used hardly any pedals at al’ he reveals, 0 really what you're heating i just a guitar and amp. He's pleased with his self penned songs, and feels Trouble At Home, t second tack ofthe album, gave him the opportunity to show how a blues solo should be constructed... with plenty of space. This was the fst time made a record where the phasing was just how I wanted it’ he says. ind if you listen to that solo, ithas alot of the elements of what ! would calla 900d approach to playing blues ‘Part ofthe sound is not about the ‘amp and the gut, it's what you play and when you don't play. fyou've got 2 realy ood tone, the tener wil be able to wait for your next note if you leave hoes inthe right places. ve met people at dinner partes who won't For One Night Only Mark Feltham, harmonica-player of British bluet combo Nine Below Zero, not only {guested on the album but encouraged Gary {to shake off the studio dust and make an ‘unscheduled public appearance. “We wore recording at a studio called Hook End out In ‘the country near Henley Moore relates. “Thora was a bg power cut - remember that big storm in February? The power lines came down and we had no lectrety for ‘wo days. The first day It happened Mark arrived: le had taken about three trans for him to get there! So we sat there drinking 3 syer-comatee shut the fuck up... they've got more important things to say than the next 91. Don't be afraid to let go. Leave twice as long as you would normally and get used to leaving those holes "When I fist worked with him, Abert King said to.me as we were easing the studio, “The most simple thing in the wot is play every othe ik.” That's the key toi right there, Because we all play every fuckin’ lick, but if you play every other lick and leave that big cups of tea all day until it started to got dar Amazingly, ho was playing just up tho road that night ina pub called the Crooked Bilt, about five minutes fom the studio, ‘0 It wasn't a wasted Journey. sald “I'm not {ucki sitting here all ight In the dark with the candles, freezing me arse off -lcome and watch your gig. *So I got up there, they asked me to play, And I id haa set with them, le was ‘small that every timo the waltress passed, | had eo i my gular up to lt her byt Hove doing things tke that when I get a chance.” cone eec eri Petipa eesti roe Steve Levine space, the licks you do pay wil mean 0 much more, Thats the best advice | can give people. You have to get used to basicaly keeping your gob shut When you haven't got anything to say Let's end this feature as Gary Moore ‘ends his performances, with Perisienne Wekways. Its super-sustained intro has ‘always been a showstopper since the song became a Top 10 hit single back in 1979, but Moore has leaxned to view itwith a certain amount of reverence. “We played at Milton Keynes once, and | got the best Spinal Tap-type review eves. he bughs. It said "Gary ‘Moore is one of those artists tha kes 1 play a song four minutes after it's finished.” 1 said "Yeah, | do, you're Fight, you've got me down, mate." ‘Then there were the two guys who ‘sed to follow me around with a stopwatch inthe 80s and 90s. They 87 "03, Gary, you going forthe four ‘minutes tonight?” They used to time it! ‘So | uined tint a realy stupid thing almost on purpose. t's more of a thing forthe audience. Before, it used tobe that you had to gett spot on. in that same spirit, Clase As You Get is ‘Moore with the rough edges ~and al the beter frit @ pe ecetee| eae has Prcvecoiey Sarees ey VangS i 7 our space Rae (tastes “uy Myspace ==—-_ = PU nea) leeds Q If you are a PRS player in an unsigned PERE ee eR Re) CN ee aed toh Visit www myspace.com/prsguitarists meee Pees ed oot ret eet ecu rac} REN Cee LrgVersion Therapy He might be eligible for free eye tests, but the joys of jam, slippers and watching crown green bowls are not for Hank Marvin. Steve Mitchell gets an exclusive track-by-track rundown of his latest studio album 6 I 'm supposed to be febred” laughs Hank Marvin. However, as he's talking to Guitar & Bass from the mixing desk of his home studio in Perth, Australia, you'l have to take his protests witha pin ‘Admittedly, The Sha tour back in 2005 seemed to dose but now Hank a very big chapter is putting the final polish to anew slo album, The Guitar Man, twas his label's suggestion of vers project that got his creative synapses angling. ‘Although I'm in retiement mode, 'm alway ready to playa guitar’ he explains. binned some oftheir suggested tracks, added a few others and arranged all the songs with flow Perth resident Gary Taylor, who was in The Herd with Peter Frampton, We aimed for an gt0up feel. Alot of ‘thought went int the treatment, and | think really works * One ofthe hallmarks ofthis album ~ his firs since Guitar Payer in 2002 ~ is the way acoustic thythm guitars underpin the gracelulas-ver Stratwork “Blectri thythm just wouldn't work Marvin opines. "ve always liked that contrast with a Stat. Most ofthe old Shadows records had exactly that Local musicians keep the album a downhome experience. Orummer Ric Eastman and basist Roy Martinez were on Hank’ last album: Chris Care ‘adds percussion. ‘Ric and Roy ae very creative, Roy isa fab trtless bassist and a very good guitarist, oo,’ ‘approves Marin. think I'd better keep my eye on bie! YOU'RE BEAUTIFUL "Avery hie-dven song, s0 we looked to develop the melody. We take ita bit faster than the orginal with simple, gutsy pulse to it. James Blunt would go potty if he heard it play lect, but there's an interesting acoustic harmony inthe middle YOU'VE GOT A FRIEND 'Singersongwriter stu often very personalised and can be a challenge to interpret ~but this has a gre tune and chords. | checked out James Taylor's original and Carole Kings version, but I didn't copy that fingerstyle guitar pat. e's 10, with afew ticks ustic rhythm guitar, all the tacks, and Fm playing a Stat. WHILE MY GUITAR GENTLY WEEPS rere “The oiginal sounds bit messy RR row, This was alot of fun, | play PASSER with a dity sound. leven dug out an old wah-wah pedal Morley. F've used a Tubescreamer before, but! think just cranked up the amp. Ihave a Matchless 10C30 head in the control and the cab inthe lve area. Ive ued Match started recor They're beautilly made, but he price of an AC3O. ve had some old Voes fied up, and the/te sounding great. FIELDS OF GOLD “lowe the Sting version, and Clif iit on his duets album with Baery Gibb, Buti could be very ‘epetitive, How did | avoid that? Sheer talent! | play mainly Stra, with an improvzed acoustic solo on & Rob ‘Ayoard guitar. He's guitar maker from Scotland, It’s avery high-quality Selmer-stye guitar he made for me WILD WoRLD "This natualy lends itself toa gentle fegg2e feel. It's very sparse and simple. It's the Stat again. | have three signature models in the studio. My “normal” one is strung.01r- @050", but on a couple of tunes | play cone stung 010.046, 501 can bend around a litle move. There's another cone thats strung .012"-052", IT MUST BE LOVE ‘We've given this one a more rocking treatment than Labi Site's original Isa played on electric wth a ower, smal group sound, HERE, THERE AND EVERYWHERE ‘few months before The Beatles released this in "6, we were recording at Abbey Road. Poul McCartney came in and said: Look, Ive gota tune I'd love you guys to recoed. He sat atthe piano and played this with no words ot tite. OF course, we loved it. He said he’d do usa tape and send it over, but he never did. When Revoher came out, there it was. Forty years lates, ve finaly recorded it LIGHT MY FIRE "Vike the dea of an echoey, swampy Strat on the verze with a londdown sound. I puta real groovy harmony on the chorus witha sight Cuban feel to it There's an acoustic solo that gets away from the melody just set up 2 guide echo to record. When we mix, Frm not stuck with something that wrong forthe finished track. We used a couple of echoes. A local ‘guy caled Pau Rossiter has developed an analogue echo using all the old cute. really has that ently "605 sound | used to get. I's either that or the Echoes From The Past system. IF TOMORROW NEVER Comes. thought the Renan Keating version sounded very county | only found out later twas a Garth Brooks song. ike the lyric ~ but that’s not mach help on an instumentall | pay the Stat throughout and the accordion adds 8 lovely plaintive atmosphere.” PATIENCE "knew it from Take That, and found out late it was a big Guns Noses hit. We tried a ‘hulle version, but preferred the orignal fel Hank Marvin plays Slash ~ but without the hat!” GUITAR MAN "Much mote raucous than the cxiginal. The ringing Strat sound has abit of African hfe about Ie really rock along, with an almost CCajurstyle accordion. » *What happened to the guitar in the late 60s was wonderful. Sadly, the Shadows’ creativity was diminished’ DON’T KNOW WHY “i's an easygoing treatment of the Norah Jones version I play an acoustic Solo on the Ayward fora different texture. Like the Hodson, it’s based on the old Selmers. They hada long scale with a lot of projection. They wer jazz ‘guitars from an era before eectics, 0 they were going for volume: NINE MILLION BICYCLES ‘Awonderl evocative melody with soohaticated changes Or acoustic utors are eninioe of Cinese ting instrument, athough ve never really Bevond The Stratocaster ‘Marvin hasn't always been welded to a Fender or a Burns. ‘I once had a Gibson Firebird. I coulde’t walt to ‘got rd ofthe laughs. My heavy rock look lasted about five seconds! {used a Les Paul with Welch and Farrar; the fat sound and the sustain ‘made me play in a diferent way, but "couldn't get on with the weight, and with two sets of contro I was forever turning myst oft “remember seeing Jimi doing Hey Joc on TOTP... brillant. I'd got the ‘Bluesbreakers album with Clapton, and | loved his expressiveness. Fee! Free was great, to0. Peter Green, was magle with the early Floetwoods = such a beautiful touch, What happened to guitar playing in the late 60s was wonderful, Sadly, because of internal strife in the bband, our creativity was diminished. ewas nota happy time for me, and Iewas very stifing asa guitars. “Iwas never exposed to the slctric blues players lke those guys. isconed to acoustl folk blues, but! ‘was more into early rock’nrall twang, So thas to be a Strat for ime, but I did lke a PRS I once tried”a) 0 ee is p> HAPPY BIRTHDAY ET OAL entsae Marv Name That Guitar Ht you saw our May 2007 cover feature you ‘Would have seen the article's main pkture ‘of young Hank Marvin jamming with Clif {In someone's front room. But what was the aultar he was playing? ‘tes my old Antoria’ reveals Han) ‘cost me the princely sum of £35. What a shocklng gular! But | jst loved it. ¢ looked like a rock'n'roll guitar, and Ie was the nearest thing Fd seon to a Fender. tt had a horrible chunky neck and fingerboard, and the neck was shaped lke a boomerang from the ith to ninth frets. A really igh action, pig to play, but what the hell! “None of us knew anything about truss ‘rods: | don’t even know if there was ono, adds with a chuckle.“ was blond, with a small body, tke a miniacure Les Pau. There wore two chrome-covered pllaps wth no ower. But it got me rocking.” ‘gone down the ethic instrument SONG FOR DAVID last of The Shadows? ‘We got back ute. The only time dabbled was in “Witten by Gary and myself. Atibute together forthe big tour and that's Greece fiming Summer Hofiay. where to Dovid Hodson payed on his guitars, over now" he says. "There was never we picked up some bouzouki” He made them for my final tour but any intention to continue. Ise the sadly died in February. They sound so whole thing up to resolve a lot of issues ‘SUMMER HOUSE 00d, are a joy to play and prefered between Broce and myself that had got “Acracking number, written asan them forthe album to myTaylors or blow out of al proportion. Happy. it instrumental by my son Ben and Phil ‘Martins. They sound ctferent to bid the tick Italo provided dosute for Watts, soit'sapertect one to play ts American makes. ve got three of his alot ofthe fans. nota pretty litle thing it's stong guitars that wil really treasure: ‘Nex year is the SOth anniversary of stoove. Ben recorded some very gutsy cour first tou with Cif The thought uitar tacks with loads of farout AND FINALLY... has been expressed but there's nothing polchords. | don't now how you'd —-Sowith our appetites whetted for more on therader atthe moment, nothing ‘compare it=I don't sten to much of Hank Marvin's elegant. ical takes planned, But! suppose something modern stuf” con the fara, have we really seen the could happen!’ @ Hank's Hodsons Hank’s a huge fan of the work of Selmer’s alternatives became a big, luthier David Hodson, who sadly it with jaz players. David Hodson's assed away this year Based in revival ofthe styles produced some Loughborough, Hodson specialised in beautifllpmade guitars that really a wide range of Selmer-syle projected: his instruments are now Instruments of superb qual, all much sought ater, and can fetch ‘ult his traditional workshop high prices. Hank Marvir’s not the using hand-made tools. His catalogue only famous Hodson gultar fan - the Included mandolins, tenors, basses Ist aso Includes Gordon Gitrap, and even electrics. Based on the John Etheridge and John Jorgenson, Iconic 1920s Model Jazz designs of For more info see ww. Feallanfthlor Marlo Maceaferr, _hodsonjazzgultars.com ‘The Novernber 1960 | He turned ee first-ever video',a | Top30charthad nine | down anoffer | atBruce Welch's 1980Shads promo | guitar instrumentals. | to join Roy Reed cont et Wood inThe | best man at Hank’. Sirs Move in 1970 | No invite yet from Cliff 490 yer com stanfel elw at rleeet ae er eT eg Cn ee CeCe ance ns ee er et ae net ie ad aera Pena ttt i eae tel a coy TR ae et a Tete glenda Per ea a potent Seeds aa heme ae enaiecie Peer erecta eee seer vero ees ran td Pee barren re Se ea eet) oat Se hgsdcadranoodeondaaad Precip ents hore enn urrupen ted erred perenne canis Only a real Les Paul... Says Les Paul! Grover Machine Heads : Locking Stopbar Distributed Exclusively in the UK by Rosetti LTD. 4 Tamdown Way, Springwood Industrial Estate, Braintree, Essex. CM7 20L DO er a ee eaDave Peacock Can’t Gertcha Out Of My Head Chas & Dave, a Cockney novelty duo? No: they’re not Cockney: they’re not a novelty act - and drummer Micky Burt makes it a trio. Graham Hazelwood rabbits with national treasure Dave Peacock con't let the boots-and: playing bass with Mike Berry and The syle and obvious London roots braces image foo! you ‘Outlaws and they were having a few quickly earned them a ‘cockney Catalogue though alot of thei songs hits with Joe Meek’ he recalls. | knees-up' tag are rooted in the knockabout music heard a bas slo on an Outlaws ‘When we fist started to write ofthe youth = which theyve instrumental called Swingin’ Low. these songs, we just wrote about endowed with own-brand humout to with Chas adding a real clicky sound.’ things that people cceate ‘rockney. a lovable hybrid of Dave and Chass paths often x! Dave explains lan Dury, Squeeze and Ronnie Barker crossed on the session circuit they round saying, Aint Lond: Chas & Dave are skilled musicans both gigged with Ciff Bennett and I's not Cockney. I's basically English and songwriters whe havehoned The Rebel Rousers, and Dave was _rock'nol. People used to say," bet ‘theit craft over many years much in demand on the county and they don't understand youin the EOE "1 started out on bassin a band ee called The Roling Stones,’ Dave “We don’t go round saying “Ain’t Peacock grins. The other lot hadn't coneotatient wehscntoors London great?” It’s not cockney. (of em. I used to play bass on the bottom stings of aFramus quite, ‘ts basically English rock’n’roll’ and the guitar player said, “Why don't you get a bass?" I didn't know folk scene, playing for artists such as north”, but places like Glasgow and they ected! Sol went straight from Wille Neon and Mick Greenwood. Edinburgh go mental fr us. fom Torna ro ‘a banjo to a Burs bass.” By the mid"70s the dinosaur rock "We've goto set ways of writing aR ‘Dave grew upin the North London acts who were stoking the appetite songs. With Gertcha we were doing suburb of Ponders End, a stone's for punk had spurred Dave and Chas a session with Big Jim Sulivan, who throw from one ofthe fist electric into forming a duo who could write was in the studio putting some vocals bass payers in London, a fiend-ofe- thet own songs and sng in thei com his album, Big i's Back. | had fend called Chas Hodges.’He was own accents, and ther singalong——_one of them dungatee things that was all the fashion, n looked at me though his glasses and s ee : es! Gert poor] at him in bis braces! Ger ray the sort of thing my old Dad used to say, 50 we wrote Gertcha just to Eos smake lim Sullivan laugh!" Gertcha was adopted for a TV advertising campaign for Courage beet; eventual eight Chas & Dave songs were used, each winning an award and earning the boys valuable free pub ity, Them ads were tke tle mini-ideos, Di people ate precious about thet songs, but that’s bollocks. fit's a geod song, why not? Some ‘goad songs’ have been ‘more lucrative than others. Chas & @) sr ote tte 43‘Yeah, Pete Doherty and Car] Barat are fans. It’s great! Everyone likes a gee-up, don’t they?’ Dave wrote the theme tune to the Alf Garnett series In Sickness And lo eal; Margate was used as incidental music on the 1989 Only Fools And ss Christmas special and Dave's bassline on Labi ifre’s Got The was sampled on rapper Eminem's debut hit ‘My Neme Is Dave wasn't paid forthe sample. No, we haven't got a tanner cut of em, he shrugs. Dave i equally phlosophical about bands suchas Blut and The Libertines, ‘who appear to have borrowed heavily from Chas & Dave's tle, jut as Dave ‘was influenced by rock'’l, boogie ‘woogie, county and bluegrass. Yeah, Pete Doherty and Carl Barat are both fans. I hink ts great!” he insists. Everyone likes a gee-up, don't they? If you get a young band getting off on you stuff, what’ better than that?” Dave has always played banjo and stil tins out to accompany his old mate Joe Bown, but his st love is his eer ead Y trusty Fender Precision, which he knocks it don to alow D.Idon't just to getinto it because you need your bought in 1969.1 play ital the time leave it down there, use itke a ighthand nails short. | play a lot of and know it inside out" he declares. Scruggs tunes, ike su. I's a gimmick banjo stuf, lawhammer and that, and its become part of me, abit ike lve got into, but when | pick up a bass you've got to have nails for that. Ido Herbie lowes’ old blue Fender. 've that ain't gait, really mis it ove love banjo, but the trouble with got a Hipshot D-tuner on it which Upright bass, but ve never bothered bluegrass is you need a band to pay with, and I don't really have time | ike laying utara wel but I dont take e 0 0 tle eacoel tose the ragtime fingers stuf Big Bil roonzy and things ike tat. ‘Chas & Dave have now been paying Chas & Dave's talent for writing hot and we was dying of thirst so we | topether for well over 30 years, and feolgood songs with catchy melodies went into this place fora drink. We | Dave's musical philosophy is simple: to has earned them fame In some far- don’t know what it was but there J fillin the holes. if Chass singing | might flung places ‘Iwas in Darwin with was a bloody great swimming hole | Puta few fancy lcs in between,’ he iy missus walking round a shopping and all these people were in there. | 52s ‘but when Albert Lee siti play a precinct,’ Dave recalls, There was.a We jumped in with all our clothes lot simpler soit doesnt get in the way {Froup of Aborigines sitting on the on and we were swimming around, play every single day, not because | floor holding thelr bables. As me Chas was up the other end and this J have to, but because | want to,’ he and my missus went by. one of ‘em Aboriginal bloke says to him, concludes. ‘Iget up inthe morning, wont, “There's old Chas & Dave fou're Chas & Dave, aren't your” | have a cup of tea and pick up a guitar there. [Sings the chorus rom The That's defintely true, both thom | or 2 banjo. I's great when you're on @ Sideboard Song) “I don'c care, 1 storls! Ala No Pleasing You was on 99 and you'e playing to people, but | don’t care.’ their chats for six months, so don't need other people to enjoy it. | ‘And that ale the end ofthe suppose they had a chance to know | justlove playing guitars and banjos and story. On the way back, we were what we looked tke! ‘bass guitars, and we have a good time fon our gigs. 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