HAL LEONARD

OSBOURNE OZZY RANDY RHOADS YEARS LIBRO CD CHITARRA TABLATURE S.A.T.O.-FLYING HIGH AGAIN-DEE

OSBOURNE OZZY, THE RANDY RHOADS YEARS. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Composer: Aaron Rosenbaum
Artist: Ozzy Osbourne
Artist: Randy Rhoads

With note-for-note transcriptions of Randy Rhoads' searing guitar work, gear set-ups, performance notes, historical retrospective and a play-along CD, this info-packed book will teach you to play 72 licks from 11 of Ozzy's most recognizable

 

 

Few musicians in the history of rock have been as beloved — revered, really — as Ozzy Osbourne’s late guitarist and musical soul mate, Randy Rhoads.

Only 25 when he was killed in an airplane accident in 1982, Rhoads managed in a few short years to establish himself as one of the most innovative guitar players in the world. On landmark Ozzy songs like “Flying High Again,” “Crazy Train” and “Mr. Crowley,” the guitarist wowed the world with solos and rhythm playing that managed to be explosive and tasteful, and a classical sensibility that was his alone. His premature death only served to solidify his legend, and his many fans keep his memory and spirit alive.

Guitar World acquired a tape of a seminar given by Rhoads himself before an enthralled group of Randyphiles at Music City in Greensburg, PA, on Feb. 2, 1982, only six weeks before his death. Here is the transcription of the lesson presented that day, in which he reveals himself to be every ounce the dedicated — and utterly unassuming — guitar hero.

Whether fielding questions from the audience about the details of his rig or the complexities of his technique, Randy was the perfect gentleman. And as his opening statement to the audience reveals, he was modest and humble, qualities that, as much as his guitar playing, endeared him to his fans:

“This is only the second time I’ve ever done this, so please don’t expect me to just come out and handle things real well; I’m very nervous about speaking in front of people, so you’ll have to give me a hand by asking a lot of questions. I’ll do anything I can to help you out.”

What effects do you use when you play live?

I have a pedalboard that’s got an MXR Distortion +, an MXR 10-band equalizer, a chorus, an MXR stereo chorus, an MXR flanger, a Crybaby wah pedal and a Roland volume pedal. I used them much more in the past than I do nowadays, but now our sound man is starting to add a lot more up front. Sometimes I use them more for quiet rhythm parts, just to enhance the sound. I never use echoes or anything for leads.

Do you have a preamp built into your guitar?

No, I just have the Distortion + on the board, and I just keep that on all the time. My amps are Marshalls.

What speakers do you use in your cabinets?

I use Altecs. I prefer those to Celestions because they’re very bright, clean speakers. I found that Celestion speakers are pretty dirty, and if you add a fuzz box to them they’ll sound terrible.

Do you ever have trouble with feedback?

Yes, I have lots of problems there. For example, if you let go of the guitar for a second, it will feed back. You’ve got to play so that you’re covering your pickup. If I don’t want to do something quiet, I have to either use the volume pedal or click off the fuzz—otherwise my guitar will squeal. I’ve gotten used to playing that way.

Do you have a special tremolo unit on your Charvel Flying V?

Grover Jackson, who owns Charvel, builds the guitars himself for me, and I use his tremolo units. There’s no perfect tremolo, except for maybe a Floyd Rose, but Grover’s are very good. I have another Flying V, the polka-dotted one, but it isn’t a Charvel, and I do have tuning problems with it all the time.

What kind of music did you play when you first picked up the guitar?

I’m 25 now, so I don’t remember what I was playing when I was seven. I just played the guitar. One of the early things I remember was strumming [the flamenco guitar standard] “Malagueñia” on an old Spanish guitar. Later on I just started playing anything I heard on the radio: “Gloria” or “Louie Louie” or whatever.

What players did you admire growing up?

I get asked that all the time: “Who’s your favorite?” “What are your influences?” If you play long enough, your influences are bound to change. I never had a phonograph ’til I was, I think, 16, so I couldn’t just sit and copy my favorite players. I had to listen to the radio, and I liked whoever was good. One of my favorites was Mountain and Leslie West — those harmonics and that sustain. I just thought Leslie was the greatest. But now, I don’t have a favorite — I just like anybody who plays guitar.

Did you take lessons or were you self taught?

Mostly self taught. When I was young I took lessons—basic folk and classical training—then I started playing rock. I’m actually taking lessons now.

You’re taking lessons now?

I did when I was in England.

Who was your teacher?

Anybody. I just take lessons from anybody, like when I have a day off or something. I’ll find someone in town and just pick their brain.

Were you in other bands before you hooked up with Ozzy?

I was in a local band in L.A. called Quiet Riot for five years. I was still with them when I met Ozzy, so I had to leave. Other than that, I was just in some garage bands and other little things that didn’t work out.

Didn’t you put out a couple of records with Quiet Riot?

Yeah. We had a record deal, but we were very young and we lost the deal. It just fell apart. The records were later released in Japan. I was 17 years old and the producer wanted to make us sound very much like a pop band. I mean, if you hear it, there’s hardly any guitar on it.

What do you think of other guitarists, like Michael Schenker?
I think Michael Schenker is excellent, a great rock player. He’s very melodic and he plays with lots of feeling.

Are there any other players you’d put in that category?

Oh, I could name a hundred. I mean, everybody who’s out there is really good at what they do. Eddie Van Halen is fantastic, Ritchie Blackmore…

There are critics who accuse you of copying Eddie Van Halen. Are you influenced by him?

Well, we’re both from the same town and we were both in local bands. It seemed like everybody in L.A. was a lead guitar player, and we all played very similarly. Everybody used to say we all sounded very much the same.

What do you think of Angus?

Angus Young? I think what he does, he does great. He’s so into it.

Tony Iommi?

I didn’t know too much about Black Sabbath when I met Ozzy. That’s probably why I get along with Ozzy—we’re different and come from different musical backgrounds.

Does he ever talk to you about why he left Black Sabbath?

Oh yeah, all the time. I guess they just weren’t getting along. They had been together a long time—14 years or something like that.

When you write a lead, do you focus on the melody or go for more of a technical, dazzle-type thing?

It depends on what the progression is and what the mood of the song is. You have to put down something that suits the song well. I like to play melodically.

What would you say is important for having a good band?

Aside from being able to play well together, you all need to be on the same level mentally. If one guy wants to go out and earn money in a lounge and another wants to go out and do originals, then you’ve got a conflict. I think you should all want the same thing out of your band and like the same kinds of things. That’s a good start, I think.

Is it true that when you auditioned for Ozzy you didn’t even have to play? That you just plugged in your guitar and tuned up?

Yeah, it was even more embarrassing than this. [laughs] I thought I was gonna play with a band. All I brought was this little Fender warm-up amp. When I got there, everyone was behind the glass, and in the room was just me and my amp. And they said, “Okay, play.” And I thought, You’ve got to be joking. I mean, what could I play? I didn’t have any other musicians with me. So I just started warming up, then Ozzy said, “Yeah, you’re good.” I had only played for a few seconds. Then I got kinda mad and thought, Well, you haven’t even heard me yet.

Can you play some stuff for us now?

What would you like to hear?

How about the solo breaks in “Over the Mountain,” where you play the fast, unaccompanied licks?

The first lick in that section is played like this It’s in E minor. Then the next break is just a series of real quick pull-offs to open strings , with a tremolo bar dive added at the end. That’s all there is to it. There’s just one real lick in it; the rest is just, oh, noise.

Play the solo to “Revelation (Mother Earth).”

Okay. It’s in E minor and is very similar to a harmonic [minor] scale. It starts on E flat [D#] and goes up to E flat [D#] again at the very end. For the next lick, I use the edge of the pick to make the riff sound an octave higher. It sounds a lot different live, because I’m trying to slow it down so you can see what I’m playing. Then the next bit is played like this. The only weird notes in it are the E harmonic minor parts.

Could you play the fretboard-tapping riff from your “Flying High Again” solo?

Sure. You start with your left-hand index finger on C# [1st string/9th fret], and you tap with your right hand on a high A [1st string/17th fret]. When you move over to the B string, both hands move up one fret. You then repeat the process on the G and D strings, which finishes off the lick.
The next four bars of the solo are played exactly the same way, but begin down a fourth, in E. The same process is repeated, shifting up one fret as you move to each lower string.

What key is “Flying High Again” in?

It’s in A. When I play “Crazy Train” and then go to play “Flying High Again,” I’m a half-tone out.

Did you tune differently on Diary of a Madman as compared to Blizzard of Ozz?

Yes, we tuned down one half step when we recorded Diary.

Why?

When we were recording the second album, the tuner we had was miscalibrated, and I began to like the sound of being tuned down a half step for some of those songs. A lot of people tune down a half step, but I’d never done it before then. It gives a much heavier sound to the chords, and it just gives you a meaner sound, overall. When we play live, some of the songs are tuned down and some are not, so I use different guitars which are tuned accordingly.

Could you play the beginning of “Crazy Train”?

Yeah, sure.

Are you using a wah-wah on that part at the beginning?

No, just a distortion pedal.

How do you play the main rhythm part to “Crazy Train”?

Like this. The chord progression is A E/A D/A A; the open A string is played against all of the chord voicings. The fast lick at the end is played with pull-offs to open strings. At the end of the verse section, I use chordal inversions, like this. Each chord is played with the third in the bass [the major third appears as the lowest note in the chord voicing]. Here, the chord progression is A/C# E/G# D/F#, with the third of each chord played on the low E string.

How do you play the rhythm part to the section that leads into the chorus?

That part’s played like this. On the second verse, I add a riff when I get to the F#m chord at the end of the progression, like this.

How do you play that really fast, ascending lick during the second chorus?

That riff is sort of a “fake”; I don’t even do that lick live, because it sometimes sounds really sloppy. I used to play it live, though. It’s just an [arpeggiated] F# minor triad shape that slides up the neck chromatically [ascending one fret at a time], but I’m going to lie and say that it’s played perfectly. All it is is this, after which I hurry into a pick slide before the lick dies. When you play loud, you can get away with playing a lick like that without playing it perfectly.

Did you use tapping in the “Crazy Train” solo, too?

Yes, the solo begins with this tapped lick, after which I play a slow trill that slides down one whole step.

How do you play the last lick in the “Crazy Train” solo?

It’s in F# minor. I’m trying to remember it because I don’t do that run live anymore. To the best of my recollection, it’s played like this [FIGURE 4H]. The lick begins one and a half steps below F#, on D#. If you were to play the lick in A minor, it’d be done like this.

Is there a term that describes these kinds of riffs?

These riffs are all articulated with hammer-ons. I know of no other particular name to describe them.

Do you do any particular finger exercises before you go out on stage?

I have some exercises where I use the first, second and fourth fingers in order to warm up. Here’s one [FIGURE 5A] in which I’m just sort of “wandering around.”

It’s good to do exercises like this [FIGURE 5B] using “alternate picking” [down-up-down-up, etc.], and to keep speeding it up. I used to like practicing licks that contained a lot of hammer-ons, like these [FIGURES 5C and D], but I don’t do those things that much anymore. These licks are great, though, for warming up your fingers before a gig.

Could you show us those unusual chords in “Diary of a Madman”?

Sure. The song begins with an A [major triad], with the flatted fifth added to the chord. So, you’ve got the root note, A, the third, C#, then the flatted E, with the open high E on top. The sound of the Eb and the E together gives you that dissonant sound. As you can see, the notes on the D, G and B strings descend as the chords progress through the first five bars. This section ends with an arpeggiated Emaj9 [Eadd2] chord, with the seventh, D, dropped in at the end.

The verse section features virtually the same chords as those used for the first four bars of the intro, but played in a different time signature. This section ends with some different chords played in yet another time signature [6/8].

Then there’s the heavy, distorted riff which appears a few times during the song. Here’s how it’s played during the intro. Following the bridge and the interlude, I shift to this heavy rhythm guitar part. The last chord in bar 1 [the two-note Em] is very similar to C7, but I think of it as E diminished, as both chords are built from almost the same notes [both chords comprise the notes G, Bb and E].

Right before the interlude, I play a heavily distorted riff that is similar to the first heavy riff, which is in A minor, but is here transposed to E minor. This is followed by the interlude, which begins with an Em(add9) chord.

When you take your spotlight solo each night on stage, do you ever improvise or do you always play the same solo?

It’s basically the same. But it depends on the sound I have onstage: if it’s a bad sound, I just do a basic form of the solo. But if it sounds really good, I like to carry on with it.

 

SONG LIST:

CRAZY TRAIN
DEE
DIARY OF A MADMAN
FLYING HIGH AGAIN
GOODBYE TO ROMANCE
I DON'T KNOW
MR. COWLEY
OVER THE MOUNTAIN
REVELATION (MOTHER EARTH)
S.A.T.O.
SUICIDE SOLUTION

80 pages

Price: €27,99
€27,99

OVERKILL TAKING OVER TABLATURE play it like it is AUTHORIZED GUITAR FOR THE PRACTICING MUSICIAN LIBRO

OVERKILL, TAKING OVER TABLATURE

play it like it is
AUTHORIZED EDITION GUITAR FOR THE PRACTICING MUSICIAN.
CHERRY LANE MUSIC COMPANY INC.
TRANSCRIBED BY: BRAD McPHAIL, JIM SCHUSTEDT
INTRODUCTION: MARK PETRACCA


Songs include:


DENY THE CROSS

WRECKING CREW

FEAR HIS NAME

USE YOUR HEAD

FATAL IF SWALLOWED

POWERSURGE

IN UNION WE STAND

ELECTRO-VILOENCE

Overkill II (THE NIGHTMARE CONTINUES) 

Price: €59,99
€59,99

PEARL JAM TEN Guitar Recorded Version TABLATURE Alive-Black-Deep-Even Flow-Garden-LIBRO

PEARL JAM, TEN. TABLATURE

Pearl Jam - Ten
Series: Guitar Recorded Version TAB
Artist: Pearl Jam

Matching folio to their break-through album including 11 songs. Includes: Alive • Black • Deep • Even Flow • Garden • Jeremy • Oceans • Once • Porch • Release • Why Go. Also features photos. 112 pages

Inventory #HL 00694855
ISBN: 9780793519026
UPC: 073999948554
Width: 9.0"
Length: 12.0"
112 pages
 

Alive
Black
Deep
Even Flow
Garden
Jeremy
Oceans
Once
Porch
Release
Why Go

 

PEARL JAM
... crashing down in an explosion of splinters. "There, now you try it."
The fan tries in vain to imitate the simple maneuver and succeeds only in breaking
the guitar-by dropping it again. Laughter and applause by onlookers break
up the scene. "Cut! That's a keeper," shouts a director. The camera stops rolling, ending
McCready's stint as a teacher at the Rock Star Fantasy Camp. The Pearl Jam guitarist is taking
part in a satirical sketch that is being taped for broadcast on cable channel Comedy Central'
s Almost Live! He ambles off the stage, smiling. He is followed by Soundgarden's Kim
Thayil, who plays the rhythm track to "Black Hole Sun" as a group of shirtless, short-haired
hopefuls try their hand at being sexy lead singers. Later, Nirvana's Dave GroW will be
taped demonstrating the finer points of drumstick twirling and accepting MTV awards. Like
McCready, Thayil and GroW are having a lot of fun taking jabs at their own celebrity.
But there is a serious side to all this alternative cheekiness. The camera sets up to shoot
a bit on how to party hearty like a rock star. A bar table is covered with full bottles of beer
and Jiigermeister and heavily salted snack treats. The on-camera players, whose job is to
look as drunk and wasted as possible, crowd around. McCready declines the offer to sit in
on the shot, not wanting to perpetuate the assciation between himself and alcohol. He's
recently attained clean and sober status and is not being preachy-he's being honest.
"I learned a lot about myself while in rehab," he says. "But I still have a ways to go."
Given the dual pressure of being in one of the world's most popular bands and, in his
mid-twenties, having the kind of disposable income that Donald Trump would envy, it's
not that surprising that McCready overindulged in booze and drugs during Pearl
Jam's first three meteoric years. But he says that's all behind him now, a claim that he substantiates
with his calm demeanor and clearheaded thinking and speech. Having successfully
completed alcohol and drug rehabilitation late last year in Minneapolis, McCready is anxious to get back to what he does best-which happens to include turning guitars into kindling.
The cast and crew break for lunch. McCready, stil1 squirrely with adrenaline,
jumps on stage andjams with Bil1 Stainton, the show's producer, on drums, and Joe
Lockett, of the Kiss tribute band Gene's Addiction, on bass for an impromptu reenactment
of Kiss' Alive, minus "Cold Gin." The makeshift band bulldozes through
"She" and "Black Diamond" as McCready lights up the room with some electrifying
soloing. Young, rich, famous and alive, he's at the top of his game. Vitalogy, Pearl Jam's latest album, is also flying high, so to speak. Like its multi-titanium predecessors Vs. and Ten, the diverse and experimental (and occasionally downright confusing) record sold a staggering million copies in its first seven days. With their popularity soaring to cosmic levels, this spring Pearl Jam will embark on a world tour that will last well into the summer. Until then, the revitalized McCready looks
forward to the March release of an album by Mad Season (Columbia), a side project he
formed with members of Alice In Chains and the Screaming Trees. A no-frills, melodically
grounded slab of moody guitar rock, Mad Season showcases McCready's powerful,
minimalist riffing. "It gives me free reign to playa lot of leads, too," he says with a grin.
Time to go back to work on Almost Live! McCready joins Thayil in a bit on how to
make rock star faces. There's the "heavy metal magazine" face, the "rock video" face, the
"album cover" face, and the "screaming guitar solo" face. McCready, 13 million Pearl
Jam album sales behind him, knows them all' whether the camera is rolling or not.

GUITAR: Tell me about Mad Season.
MIKE McCREADY: We have Layne Staley [Alice In Chains] on vocals, Martin Barrett
[Screaming Trees] on drums, and a guy I met in rehab who's become a good friend of mine,
John Baker Saunders, playing bass. Mark Lanegan [Screaming Trees] came by and
helped out on a couple of songs; he sings with Layne on ''I'm Above," which is our first single.
I called up Layne when I was in rehab in Minneapolis to see ifhe wanted to play some
music together. I've known Layne socially for a long time, but we reallY didn't know each other on a personal level. I started coming up with specific song ideas that I could just hear his vocal over, like "Life Or Death," which I thought would be a cool, heavy thing. So I

methodically tracked him down. [laughs] The band came together after we had jammed together two or three times and decided to do a gig. We did a show at the Crocodile Cafe [a watering hole popular among Seattle's rock-scum elite],just making up shit as we went along. We had a couple of song ideas and knew that it was clicking really well, so we thought we'd hit the studio. It's hard to describe the album. Martin plays some vibes and Layne plays guitar, there's some jazzy stuff, some blues, some arena rock. I bought a Gibson Jimmy Page double-neck [EDS-I275] for the sessions. I look like an idiot with it, but it sounds so cool. I can totally get Jimmy's "Stairway To Heaven" sound. But who knows what the plans are for the project. We'll probably just do this one album.
We're going to do one show in New York and one in L.A., but other than that, all I want to
do is play around Seattle.

GUITAR: How does working with Layne differ from working with [Pearl Jam singer] Eddie Vedder?
McCREADY: Both Layne and Eddie will write out lyrics while we're recording basic tracks. But they're very different people and just the process of working with a different person has added a whole new dimension to my playing. Layne is more spontaneous because that's how Alice In Chains work. We did all the Mad Season music in about seven days. It took Layne just a few more days to finish his vocals, which was intense since we only rehearsed twice and did four shows. So this has been the most spontaneous thing I've ever been involved in. This was done even quicker than Temple Of The Dog, which took about four weeks. When we sit down to do Pearl Jam material, we'lI work for maybe a month or two, then....

PEARL JAM
... Basically, we agreed that we had to decompress and find the same space we
were in when we first started the band. We've experienced so many strange and
exciting things already, now we just want to get back and do music like we used to. When
everything blew up, everybody kind of lost their minds. Actually, Jeff and Stone had a
pretty good hold on it throughout, and I think Eddie did too ...but everybody has their own
ways of dealing with it. And mine, for a long time, was getting fucked up. I was clean for
about a month-well, semi-clean; I can't bullshit about that-but I fell off the wagon
after the Kurt Cobain thing. That fucked with everybody really hard. I mean, how do
you get to that point of depression where suicide's the only way out?

GUITAR: This is probably a redundant question at trus point, but how are things going for you
now that you're clean? McCREADY: Trungs are good. It's great to be
clear-headed and wake up early and get on with my day. And putting trus Mad Season
thing together has been a blessing. It's weird, though. I want to drink every day. But the
longer it goes, the more the urge lessens. I drank for 15 years and I do want to drink, and
I get depressed sometimes when I'm in a social situation where people are drinking and
I want to get in on it. But I realize I can't do that because I'll end up on the floor, pukIDg
and pissing my pants and rolling around in the street naked and blacking out and breaking
things. Willch was always the way I seemed to end up. ThIDgs are good and bad. The rughs are a
lot rugher and the lows are a lot lower because I can't cover up my emotions with alcohol.
Playing live, I'm a lot more focused on the music rather than just being in a daze, the
way I was before. And the whole concept of me thinking that I needed something-be it
valium or crystal meth or pot-to write songs or be creative is bullsrut. 1 couldn't put anything
together when I was doing that crap. LSD might have helped me in certain ways,
but it fucked me up a lot more than it helped.

GUITAR: Is that all behIDd you now?
McCREADY: I trunk it is. But like they say, it's just one day at a time. I want it to be over. I
don't want to go back to feeling like srut every single day of my life and blacking out. If! go
back, I'm gonna die.

GUITAR: Vitalogy is a strange album, very eclectic.
McCREADY: There is some weird stuff on there. It came from being on the road; it was
mostly recorded wrule we were on tour. We lid a little bit at Bad Animals Studios in Seattle
at the end of our Vs. tour, then some in New Orleans and some in Atlanta. They were
songs we had been doing at soundcheck. Edlie had some old tunes, like "Better Man."
Jeff had "Notrungman."Those songs mostly came just from jamming. At first I didn't
trunk it had any continuity. It was weird; when I heard the final album, I lidn't really like it,
wruch may have been because I was so fucked up when we recorded it.
I like it now, I trunk it's cool, but I'm ready to do another one right away, just because I've
become clean. I couldn't even come up with an idea for a fucking song before. To be honest,
I couldn't even put a song together. I'd come up with parts of songs like "Glorified
G," but now I can actually put two things together. I have about 70 songs right now.
Some are good, some are shit. But I'm finally focused. I also have a lot more confidence
now, whereas before 1was kind of intimid ated by Stone and Jeff because they're really
good songwriters.

GUITAR: What happened to the solos on this album? I think I might have heard one. McCREADY: Vitalogy is not really a "solo" album. I don't think the songs demanded solos; it was more of a rhythmic album.

GUITAR: Does Edlie play guitar on the album?
McCREADY: Yeah, he plays a lot. He plays on "Better Man,'" ot For You" and a couple
others. He plays a lot more live, too. Having three guitars has added a whole new rumension
to the band. He has trus kind of punk rock way of playing, and Stone has this weird
rhythm thing, and I do the leads, so it's opened up totally new doors.

GUITAR: Vitalogy, even with all its iliosyncrasies, sold nearly a million copies its first week out.
McCREADY: That to me is so far out there that I don't even understand it. It does fuck
with my head, but at the same time, if! try to figure it out, it'll really make me crazy. It's
very strange. Granted, I'm happy we sold that much, but I have no idea why.
The thing that really freaks me out is when really weird people follow us around at airports and hotels. Fans are cool, but these obsessive people just scare me. Thankfully, now that I'm clean, I can see through it all a bit better and understand that this is part of the whole thing. Before, I never wanted to leave my house. It's still fun for me, but I feel stupid sitting around bitching about it. I was the same way [as those fans] with bands when I was a kid. I hid underneath the Scorpions'
limousine when they played the Hec Ed Pavilion in Seattle with Iron Maiden. [laughs]

GUITAR: I know what you mean. I'm surprised Kiss didn't have me arrested for stalking them
when I was in the eighth grade.
McCREADY: I worship Kiss. They're the whole reason I started playing guitar.

GUITAR: How do you feel about Pearl Jam's occasional punk leanings, given that punk rock is
not your background? McCREADY: That's not my background at
all. Mine's more metal and arena rock. I think it's cool, though. It's new for methat
aspect is definitely coming from Eddie and Jeff and Stone-but I'm into it. I'm into
all kinds of music.

GUITAR: How do you relate to punk, then?
McCREADY: It's music. It's the common denominator when we get together and play.
We play well off of each other despite our different musical backgrounds.

GUITAR: What are your thoughts on the new punk explosion? Do you see it as succeeding Seattle
as "the next big thing"?
McCREADY: Yeah, it's probably a natural progression, though I'm not really into bands
like Green Day or Offspring. I think Nirvana did the punk thing really great. I trunk the
Clash were a really good example of a great punk band. I wasn't into them when they were
around, but now, looking back at them, I can see that they were great rock and pop songwriters,
as well as being punk.

GUITAR: Do you think people are attracted to Green Day and Offspring because of their sense of humor? Do you think they need some relief from the "seriousness" of the Seattle sound? McCREADY: Could be. But we don't actually take ourselves as seriously as people trunk.

GUITAR: Has Pearl Jam's conflict with Ticketmaster worked against you in any way?
McCREADY: It's eliminated us from certain venues, but we won't know how it's really
affected us for a while. We're working on an alternative right now.

GUITAR: Pearl Jam turned down the opening slot on the Stones tour. Was that because Ticketmaster had their weenie in that campfire?
McCREADY: No, I just don't trunk Jeff and Eddie were into touring with them. We got to
play with Keith Richards on New Year's Eve last year, and even though Keith is one of our
idols, we felt like we had already done it.

GUITAR: Can a band of Pearl Jam's stature survive without touring, or maybe doing just selective touring?...

A GUIDED TOUR OF PEARL JAM'S GEAR.

ALTHOUGH PEARL JAM shies away from doing product endorsements and advertisements, their tech George Webb was more than happy to give Guitar World a detailed description of the band's touring rigs.

EDDIE VEDDER
"EDDIE HAS THREE reissue Telecasters, including his first guitar, which his mom bought him. The other two are just '52 reissues. He stole one from S.I.R. [Studio Instrument Rentals] about a year ago when he went to Roger Daltrey Sings The Music Of Pete Townshend. He ended up just taking it home-then we got this huge bill. "Amp-wise, Eddie is using a vintage 4x 10 Fender Super Reverb, but he may switch to a '72 100-watt Hiwatt. Eddie definitely has a Who/Pete Towshend fascination, hence the TelecasterlHiwatt combination. "

STONE GOSSARD
"STONE CHANGES HIS gear constantly," says Webb. "Fortunately, though, he keeps things simple. He doesn't like rack units, and he doesn't want to deal with MIDI or any of that crap. He basically wants to plug straight into an amp and use a couple of stomp boxes. "Stone mainly uses Les Pauls. He has two Goldtops-a '54 and a '72- and the sunburst Paul he's had since Mother Love Bone. He's also got a reissue Strat and a Hamer Duo-Tone electric/ acoustic that he uses for 'Daughter.'" Gossard's tech Tim "Skully" Quinlan tunes all the guitars to their many alternate tunings using GHS Boomers 0.0 II's. Gossard uses Dunlop Tortex 0.73mm picks. From the guitar, Stone's signal is sent to his pedal board by a Sony WRR-840 wireless. "We use different pedals to achieve different amounts of distortion and overdrive: a DOD graphic eq pedal that boosts the signal and drives the amps' preamp sections harder, a Boss Hyperfuzz and an old Ibanez TS-9
Tube Screamer. Stone uses two amps, so we use a Rocktron Rack Interface that feeds the
amps two totally separate signals to elirninate any impedance problems. "Right now, Stone is playing through a atchless H/C-30 head powering a Marshall 1960 100-watt4xI2, and an old brown Fender Deluxe. He uses relatively low-powered amps and drives them hard, so he gets the tone and warmth of the power tubes working. Stone doesn't push them to where they really distort though-he leaves that to the foot-pedals."

JEFF AMENT
"Jeff had two basses, NBA I and NBA 2, which were basically Warmoth necks and bodies assembled by Mike Lull at Guitar Works, who works for everybody in Seattle. Unfortunately Jeff destroyed both of those. Mike is making Jeff a new bass with a Warmoth neck and a body shape that Jeff kind of stole from an old Mosrite. "Jeff has Bartolini 94-1's in all his basses, except for his Hamer 12-and-eight-strings [whichfeature EMG s]. Right now, Jeff's main four-string is a custom-made Modulus Graphite copy of a 1960 Fender stack-knob Jazz bass." Other basses in Ament's collection are a Wal four-string fretless, a Gibson hollowbody Les Paul Signature Model bass strung
with flat-wound strings and a Curruther's Sub- I upright bass. Jeff's fretted four-string basses
are strung with Dean Markley SR200 Mediums, and his fretless takes Medium-lites. He favors Dunlop Tortex Imm picks. "The signal from Jeff's wireless goes immediately to a D.I. box so the house soundman gets a signal, and then to a crossover that splits the highs and the lows. The low-end signal gets sent directly to an SWR Grand Prix tube preamp and then to half of a dbx 166 compressor and to a Crest 6001 Power amp that drives three SWR Big Ben 18-inch speakers.
"The other half is the fun part: The signal gets sent out to the foot-pedals-a SansAmp
GT2 distortion pedal, a Dunlop Tremolo, a Boss CE-2 chorus and a Boss Octaver-and
then returns to an Uptown Flash MIDI switcher/ mixer which divides the signal and sends it
to four preamps. The signal from each preamp then gets sent back to the switcher. This system
allows me to select whichever preamp I want at the press of a button, because Jeff Iikes
to use different tones for different basses and different songs. The first two preamps
are Pearce B2P's. They're two-channel units with a lot of eq capability, especially
in the mids, which are parametric. One channel is meant to be dirty and one is meant to be clean, but you're able to use one channel at a time or combine the two of them; Jeff can get a really dirty, distorted sound and combine that with the thickness of a clean sound. Each channel has its own master output, so you can blend clean and dirty in any ratio that you want. "The third preamp is an SWR SM900 that Jeff can get a couple of clean sounds out offor his fretless. He's also playing clean more and more with his regular four-string. Finally, there's an Ampeg SVP Pro, which is the only
tube preamp that we use. It's basically an SVT preamp in a single rackspace that he uses mostly for his upright bass sound." The output of the Uptown Flash unit goes to the other half of the dbx 166 unit and out to two Crest 600 I power amps that drive three SWR Goliath II 4x10's.

MIKE McCREADY
"MIKE's RIG IS a pretty basic mid-Seventies classic rock setup with nothing digital," says
Jeff Ousley, McCready's tech. "He uses a lot of guitars: a maple-necked, hard-tail' 56 Strat,
a rosewood-necked '59 Strat, and a mapleneck '58 as well as a couple of '62 reissue
Strats that we got from the Fender Custom Shop and two '52 reissue Telecasters. There's
a Gretsch hollow-body that he uses on 'Glorified G.' He also owns a bunch of Les
Pauls. There's the '72 three-pickup Gibson ....

Price: €26,99
€26,99

PEARL JAM, TEN. Bass Recorded Versions TABLATURE Alive-Deep-Oceans-Once-Porch-Release-Why Go

 

PEARL JAM, TEN. BASS TABLATURE

Pearl Jam - Ten*

Series: Bass Recorded Versions
Artist: Pearl Jam

Matching folio to their break-through album including 11 songs. Includes: Alive - Black - Deep - Even Flow - Garden - Jeremy - Oceans - Once - Porch - Release - Why Go. Also features photos.

Inventory #HL 00694882
ISBN: 9780793523689
UPC: 073999948820
Width: 9.0"
Length: 12.0"
56 pages

Alive - MUSIC: STONE GOSSARD - LYRICS: EDDIE VEDDER - 1991
Black  - MUSIC: STONE GOSSARD - LYRICS: EDDIE VEDDER - 1991
Deep - MUSIC: STONE GOSSARD, JEFF AMENT - LYRICS: EDDIE VEDDER - 1991
Even Flow - MUSIC: STONE GOSSARD - LYRICS: EDDIE VEDDER - 1991
Garden - MUSIC: STONE GOSSARD, JEFF AMENT - LYRICS: EDDIE VEDDER - 1991
Jeremy - MUSIC: JEFF AMENT - LYRICS: EDDIE VEDDER - 1991
Oceans - MUSIC: STONE GOSSARD, JEFF AMENT - LYRICS: EDDIE VEDDER - 1991
Once  - MUSIC: STONE GOSSARD - LYRICS: EDDIE VEDDER - 1991
Porch - WORDS AND MUSIC: EDDIE VEDDER - 1991
Release - MUSIC: STONE GOSSARD, JEFF AMENT, MIKE McCREADY, DAVE KRUSEN - LYRICS: EDDIE VEDDER - 1991
Why Go - MUSIC: JEFF AMENT - LYRICS: EDDIE VEDDER - 1991

Price: €29,99
€29,99

POLICE THE BEST BASS Recorded Versions TABLATURE BASSO SPARTITI LIBRO-Every Breath You Take

POLICE, THE BEST. BASS TAB.

Series: Bass Recorded Versions
Artist: Police

A collection of 19 of their best, including, 96 pages

Born In The 50's
Can't Stand Losing You
Canary In A Coal Mine
De Do Do Do, De Da Da Da
Don't Stand So Close To Me
Every Breath You Take
Every Little Thing She Does Is Magic
Invisible Sun
King Of Pain
Man In A Suitcase
Message In A Bottle
Omega Man
Roxanne
Secret Journey
Spirits In The Material World
Synchronicity II
Walking On The Moon
When The World Is Running Down, You Make The Best Of What's Still Around
Wrapped Around Your Finger

Price: €31,99
€31,99

PRIMUS, ANTHOLOGY 1 A THRU N. GUITAR & BASS TABLATURE Play It Like It Is SPARTITI CHITARRA LIBRO

PRIMUS, ANTHOLOGY 1 A THRU N. Bob, dmv, eleven, fish on (fisherman chronicles chapter 2), ground hog's day, here come the bastards, jerry was a race car driver, john the fisherman, mr. krinkle, my name is mud, nature boy. Per Chitarra e basso. TAB.

for Guitar and Bass
Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Primus

Includes 11 guitar and bass transcriptions in notes and TAB from this alternative funk/metal band featuring Les Claypool on bass. Also includes a Primus timeline. 88 pages

Bob
DMV
Eleven
Fish On (Fisherman Chronicles, Chapter 2)
Ground Hog's Day
Here Come The Bastards
Jerry Was A Race Car Driver
John The Fisherman
Mr. Krinkle
My Name Is Mud
Nature Boy

Price: €31,99
€31,99

PRIMUS ANTHOLOGY 2 O-Z GUITAR & BASS TABLATURE Play It Like It is LIBRO SPARTITI Spegetti Western

PRIMUS, ANTHOLOGY 2 O THRU Z. GUitar AND bass.. Pudding time, seas of cheese, southbound pachyderm, spegetti western, those damned blue-collar tweekers, tommy the cat, too many puppies, the toys go winding down, wynona's big brown beaver. Per Chitarra e basso. TAB.

for Guitar and Bass
Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Primus

Includes 9 more Primus masterpieces transcribed for bass and guitar in standard notation and tablature, GuitarOne Approved!
96 pages

Pudding Time
Seas Of Cheese
Southbound Pachyderm
Spegetti Western
Those Damn Blue-Collar Tweekers
Tommy The Cat
Too Many Puppies
The Toys Go Winding Down
Wynona's Big Brown Beaver

Price: €30,99
€30,99

QUEEN A NIGHT AT THE OPERA GUITAR RECORDED VERSIONS TABLATURE LIBRO Love Of My Life-Bohemian Rhapsody

QUEEN, A NIGHT AT THE OPERA. TABLATURE

Death On Two Legs (Dedicated To...)
Lazing On A Sunday Afternoon
I'm In Love With My Car
You're My Best Friend
'39
Sweet Lady
Seaside Rendezvous
The Prophet's Song
Love Of My Life
Good Company
Bohemian Rhapsody
God Save The Queen

THE classic Queen album, six studios where used during it’s recording making it the most expensive album recorded at the time. It features Bohemian Rhapsody a song which has subsequently become a cultural phenomenon being the only single to sell a million copies on two separate occasions. ‘NATO’ propelled Queen into superstar status around the world. It also features John Deacon’s first top ten hit single ‘You’re My Best Friend’.

Tracks
1. Death On Two Legs (Dedicated To) (Mercury)
2. Lazing On A Sunday Afternoon (Mercury)
3. I’m In Love With My Car (Taylor)
4. You’re My Best Friend (Deacon)
5. ’39 (May)
6. Sweet Lady (May)
7. Seaside Rendezvous (Mercury)
8. The Prophet’s Song (May)
9. Love Of My Life (Mercury)
10. Good Company (May)
11. Bohemian Rhapsody (Mecury)
12. God Save The Queen (Trad.arr May)

Did You Know?
1. The album now includes the legendary -Bohemian Rhapsody which constantly tops various charts - most recently the Guinness Book of Records top song of the last 50 years!
2. One of the most expensive albums ever made.
3. Freddie asked the press to stand during the playback when -God Save The Queen played the UK’s national anthem and they did!
4. Queen faced legal problems with the opening track (Death On Two Legs) and EMI. had to pay a substantial sum so the album could be released
5. First No.1 hit album

Price: €99,99
€99,99

QUEEN GREATEST HITS GUITAR TABLATURE LIBRO SPARTITI CHITARRA-Crazy Little Thing Called Love

QUEEN GREATEST HITS GUITAR TABLATURE 

LIBRO PER CHITARRA CON TABLATURE

Series: Guitar Recorded Version TAB
Artist: Queen

17 of their greatest for guitar, including:

Another One Bites The Dust
Bicycle Race
Body Language
Crazy Little Thing Called Love
Don't Stop Me Now
Fat Bottomed Girls
Good Old-Fashioned Lover Boy
I Want To Break Free
Killer Queen
Now I'm Here
Play The Game
Save Me
Seven Seas Of Rhye
Somebody To Love
We Are The Champions
We Will Rock You
You're My Best Friend

128 pages

Price: €32,99
€32,99

QUEEN THE BASS GUITAR COLLECTION TABLATURE Bass Recorded Versions I Want It All-A Kind Of Magic

QUEEN, THE BASS GUITAR COLLECTION. TAB.

Series: Bass Recorded Versions
Artist: Queen
18 bass transcriptions, including:

Another One Bites The Dust
Bicycle Race
Bohemian Rhapsody
Crazy Little Thing Called Love
Death On Two Legs (Dedicated To...)
Fat Bottomed Girls
I Want It All
Keep Yourself Alive
Killer Queen
A Kind Of Magic
Play The Game
The Show Must Go On
Somebody To Love
Stone Cold Crazy
Tie Your Mother Down
Under Pressure
We Are The Champions
You're My Best Friend

96 pages

Price: €24,00
€24,00
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