LIBRO

METALLICA GUITAR TABLATURE SPARTITI ACCORDI LIBRO-The Unforgiven-Nothing Else Matters-chitarra

METALLICA, METALLICA. TABLATURE

 

KIRK HAMMETT

 

You've said in the past that for the first albums you had a "gunslinger" attitude.

That went right through Master of Puppets, which was kind of half and half. I can still think of times when I thought, "Well, this solo just has to be the shit." But that was also when I started to slow down and give my solos a little bit more breathing space. The solos on the Metallica album are more my kind of style. Another thing I learned just recently concerns laying back, and pushing on notes, playing certain notes softer and certain notes harder. It's like a real subtle thing that makes a ton of difference. It comes from the blues. It's more like that grooving, swinging thing-the big 4/4 type beat. I remember one time Jason [Newsted] put on a blues recoordand the band sounded like they were about to fall apart at any second. The bass player's playing behind the beat, the guitar player was in front of the beat, and the piano player was like soloing all over. There was something compelling about listening to that type of music. I thought to myself, sometimes when music is played like that, it has the ability to keep the listener on edge. I stored that in the back of my mind. Then when we went into the studio and I was doing my solos, [producer] Bob Rock was aware of that same aspect. He goes, "Why don't you try to incorporate some of that into this little passage right here?" I learned a lot from his suggesting that. Listen to "Sad But True."

 

How have you been exploring the blues?

Me and Jason jam a lot. Jamming with someone helps your playing a lot more than just playing by yourself in a room. Maybe it is obvious but we just started doing this on tour. A lot of people ask, "What are you going to do on your day off?" I tell them, "Me and Jason are going to jam." They kind of look at us funny. They think, "Isn't that what you're doing gigging, going out and playing?" I go, "Yeah, but when we jam is the time when we pursue our outside musical interests." Me and Jason are heavily into the blues now. Buddy Guy, Albert King, B.B. King, of course the Vaughan Brothers. I just picked up Magic Slim. He rips. He is amazing. He plays a Jaguar. Robert Johnson is incredible. Son House is incredible too. Clarence Gatemouth Brown ...when that guy picks up a violin and plays blues licks on a violin, me and Jason feel like crying all the way home. We're going to form a blues band when we get off the road. We have a lot of songs written. We play anything from jazz tunes to sloppy '50s progressions-you know, those A minor, F, C, G [chords] that every '50s song uses. We play Mississippi Delta style blues. We play slide and Hendrixy stuff. One time we played "Voodoo Child" for an hour. One night when I was really drunk I sang ''I'm A man."

 

What might attract Metallica fans to the blues?

Check out the mood. Howlin' Wolf wrote some pretty heavy riffs. "Smokestack Lightning" is the riff everyone knows. Back then it was considered punky and dirty and lowdown. It was the devil's music. It's similar to the people we see out in front of our gigs handing out flyers saying Metallica is the devil's music and "666" and all this other crap. Those blues people were getting the same bad rap a lot of people are trying to hang on us right now. If you turned it up and played it aggressively, "Smokestack Lightning" is basically a heavy metal song.

 

Sort of what Jeff Beck did to "Ain't Superstitious."

Exactly. The attitude is there. Maybe not the types of distortion and types of low end but the basic attitude is there. The attitude of rebellion, anger and not being satisfied with your lifestyle. A lot of those same feelings came across in that music that come across in heavy metal. If someone wants to get into blues and is looking for that same sort of thing, you ...

 

 

... in the band and my own guitar playing. I see it here and there. It's a passing thought to me. I don't dwell on it. Alot of it has to do with the fact that we're a high profile metal band now.

 

That's not it. It was a stylistic change. Are you aware of that?

I guess I am aware of it but I haven't thought about it. Maybe it's short-sightedness. I notice there has been a stylistic change in a lot of other metal bands. The heavy down-picking thing, the palm muting thing, the fast stuff, the minor chords, the flatted fifth type progressions, the tempo changes from half-time to doubletime are real popular right now. Whenever I hear a lot of that I think, "Hey, that's just like this song." A lot of people try to get James' rhythm guitar sound, much the same way that players tried to get that Yngwietype of playing back in the mid '80s or the Van Halen hammer-on thing in the early '80s.Alot of people are trying to get the sound and that attitude that James gets.

 

The Priest/Ozzy/Sabbath/Dio sound is considered almost passe.

Yeah, you're right. I might be wrong but I have a feeling that heavy metal is going to start getting more industrialized, like Ministry and Godflesh and Head of David. The main guy in Ministry, Al Jorgensen, had a side project called 1,000 Homo DJs. He did a cover of Black Sabbath's "Supernaut" and industrialized it. I listened to that and thought this might be the new direction that metal is going in. At the same time we have the whole Seattle thing, which isn't new. I've been listening to Seattle bands since 1988. I might get a lot of flak for this, but Pearl Jam remind me of classic rock. Nirvana have moments when they are very Sabbath-like. Bands like Tad sound like late '70s hard rock to me. Soundgarden sound Sabbathy but that is a little more obvious. It backs my theory that music has a way of recycling itself and regurgitating out all the bad elements and keeping all the good elements and adding in fresh ideas.

 

Will Metallica become industrialized?

I don't know; it all depends if I buy a·sampling device or not. We all write music, then we all get together. Once all that music comes together, that's when the change is evident. Our sound is capable of changing within a couple of weeks. It's all depending on what everyone has written over the past two years and how everything has been coordinated.

 

What's your answer to those who say you sold out on the Metallica album?

That's all bullshit. Sold out! Come on, we just got together and we wrote music that we wanted to make different. We approached it from a different attitude and we were totally taking a chance. Sold out!We could have put out an album just like our first four albums. That would be selling out because that is tried and true success. That's guaranteed success for us. That's what selling out to me is: Guaranteeing your success. We went the opposite route.

 

Do you anticipate you will not go back to the era when bass and drums played the same riff?

I wouldn't rule out that playing technique. As far as having a whole album like that, I don't know. We've grown musically over the course of this tour. I've seen it with all of us. James is listening heavily to country and western music and playing pedal steel. I've become even more of a Hendrix fan than I've ever been and I'm playing a lot of blues now. Lars has a very open ear now to younger, fresher things that are out on the street. I don't mean this as an insult but Lars used to only listen to bands once they made the Billboard Top 10. He is a lot more open in his listening nowadays. Our musical taste has changed considerably over the course of this tour. Who is to say what the next Metallica record will sound like?

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€29,99

METALLICA RIDE THE LIGHTNING-GUITAR TABLATURE SPARTITI CHITARRA LIBRO

METALLICA, RIDE THE LIGHTNING. Con l'intenzione di formare un gruppo di metallo dalle sonorità Europee, un danese a Los Angeles di nome Lars Ulrich, deciderà insieme a James Hetfield, di chiamare il gruppo Metallica. La breve parentesi con Dave Mustaine alla chitarra solista, lo spostamento della band a San Francisco, l'aiuto del proprietario di un negozio di dischi, Jon Zazula, e poi l'entrata della chitarra di Kirk Hammett, confluirà nella registrazione del primo album nel 1983. Il secondo disco "ride the lightning" sarà registrato in Danimarca, e uscirà nell'agosto del 1984; in breve tempo entra in classifica vendendo subito in maniera inpensabile per un gruppo metal di questo genere. Nel settembre del 1986 dopo l'uscita del terzo album, durante il tour europeo con gli Antharax (il cui nome è stato preso da un pericoloso morbo che colpisce gli animali e le persone) il bus del gruppo sbanda e va fuori strada, lasciando il bassista dei Metallica Cliff Burton privo di vita. TAB.

Price: €26,99
€26,99

MITCHELL JONI HITS Authentic Guitar TABLATURE SPARTITI LIBRO CHITARRA CANTO ACCORDI BOOK

MITCHELL JONI, HITS. TAB.

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

Titles are: Big Yellow Taxi * Both Sides Now * California * Carey * Chelsea Morning * Chinese Cafe * The Circle Game * Come In from the Cold * Help Me * Raised on Robbery * River * Urge for Going * Woodstock * You Turn Me On, I'm a Radio.

Includes the Following Selections:
Title Composer
BIG YELLOW TAXI
MITCHELL, JONI
BOTH SIDES, NOW
MITCHELL, JONI
CALIFORNIA
MITCHELL, JONI
CAREY
MITCHELL, JONI
CHELSEA MORNING
MITCHELL, JONI
CHINESE CAFE
HY ZARET/ALEX NORTH
COME IN FROM THE COLD (PRINT ONLY)
MITCHELL, JONI
FREE MAN IN PARIS
MITCHELL, JONI
HELP ME
MITCHELL, JONI
RAISED ON ROBBERY
MITCHELL, JONI
RIVER
MITCHELL, JONI
THE CIRCLE GAME
MITCHELL, JONI
URGE FOR GOING
MITCHELL, JONI
WOODSTOCK
MITCHELL, JONI
YOU TURN ME ON, I'M A RADIO
MITCHELL, JONI

Price: €30,99
€30,99

MITCHELL JONI MISSES GUITAR TABLATURE SPARTITI LIBRO CHITARRA ACCORDI BOOK MUSICA

MITCHELL JONI, MISSES. TAB.

CATEGORY: Guitar Personality
VERSION: Authentic Guitar TAB
FORMAT: Book

This album-matching folio collects all of Joni's personal favorites, hand-picked by her. Titles are: The Arrangement * Beat of Black Wings * Car on a Hill * A Case of You * Dog Eat Dog * For the Roses * Harry's House * Hejira * Impossible Dreamer * Magdalene Laundries * Nothing Can Be Done * Passion Play (When All the Slaves Are Free) * The Reoccurring Dream * Sex Kills * The Windfall * The Wolf That Lives in Lindsay.

Includes the Following Selections:
Title Composer
A CASE OF YOU
MITCHELL, JONI
CENTERPIECE
JOHN MANDEL AND JOHN HENDRICKS
DOG EAT DOG
MITCHELL, JONI
FOR THE ROSES
MITCHELL, JONI
HARRY'S HOUSE
MITCHELL, JONI
HEJIRA
MITCHELL, JONI
IMPOSSIBLE DREAMER
MITCHELL, JONI
NOTHING CAN BE DONE
LARRY KLEIN, JONI MITCHELL
PASSION PLAY (WHEN ALL THE SLAVES ARE FREE)(PRINT
MITCHELL, JONI
SEX KILLS (PRINT ONLY)
MITCHELL, JONI
THE ARRANGEMENT
MITCHELL, JONI
THE BEAT OF THE BLACK WINGS (PRINT ONLY)
MITCHELL, JONI
THE MAGDALENE LAUNDRIES (PRINT ONLY)
MITCHELL, JONI
THE REOCCURRING DREAM (PRINT ONLY)
MITCHELL, JONI
WOLF THAT LIVES IN LINDSEY
MITCHELL, JONI

Price: €29,99
€29,99

MOORE GARY, AFTER HOURS. GUITAR RECORDED VERSIONS authentic transcriptions with notes and Tablature

MOORE GARY, AFTER HOURS. TAB.

Presenting the authentic, fully transcribed tablature and notes from Moore's 'After Hours' album. Learn to play one of the greatest blues/rock guitarist's songs note-for-note.

Contents:

Cold day in hell
Don't you lie to me (I get evil)
Story of the blues
Since I met you baby
Separate ways
Only fool in town
Key to love
Jumpin' at shadows
The blues is alright
The hurt inside
Nothing's the same

Price: €39,99
€39,99

MOORE GARY BALLADS & BLUES 1982 1994 GUITAR & BASS TABLATURE BOOK LIBRO BASSO SPARTITI CHITARRA

MOORE GARY, BALLADS & BLUES, 1982 1994. Con Tablature per chitarra e chitarra basso. TAB.

Price: €74,99
€74,99

MONSTER MAGNET POWERTRIP GUITAR TABLATURE RECORDED VERSION CHITARRA LIBRO SPARTITI

MONSTER MAGNET, POWERTRIP. TAB.

Price: €197,99
€197,99

BBM AROUND THE NEXT DREAM BASS TABLATURE GUITAR GARY MOORE-GINGER BAKER-JACK BRUCE SPARTITI

MOORE GARY, BBM, AROUND THE NEXT DREAM. I Cream anni '90 con Gary Moore, Ginger Baker, Jack Bruce. Basso e Chitarra con TAB.

Price: €59,99
€59,99

MOORE GARY STILL GOT THE BLUES Guitar Recorded Version TABLATURE CHITARRA LIBRTO SPARTITI

 

MOORE GARY, STILL GOT THE BLUES. TABLATURE

Series: Guitar Recorded Version TABLATURE
Artist: Gary Moore

The finest effort yet from Gary Moore, Includes color photos and a special introduction section. Eleven songs in all.

While Gary Moore has made his mark as an international star player/singer/songwriter - he has been somewhat of an enigma to the American music audience. Too talented and original to be just another flash metal guitarist - yet too hard and fast to appeal to the critical elite, Moore now will finally gain the attention he deserves with his latest musical offering, a respectful and poignant homage to the soundtrack of his adolescence, aptly titled "STILL GOT THE BLUES”.

The blues, after all, was where it all began for Gary Moore. Moore watched the British blues explosion Witha wide-eyed wonder that remains with him to this day, and while it's perhaps his versatility as a player – from the hard rock of his early work with Thin Lizzy, to the often jazzy, sometimes Celtic inclinations of his solo work - that has earned him the reputation of one of the greatest contemporary guitarists, it's his natural gravitation towards the blues that makes "STILL GOT THE BLUES" such an essential chapter In the Gary Moore Story.

Moore himself says: "I'm basically a blues player who just got mixed up in heavy metal for a while." And anyone who's heard the likes of "Parisienne Walkways," "Empty Rooms" or "The Loner" will recognize that.

Moore actually started playing when he was 10, after his father, a local Belfast promoter, bought him a guitar off of one of the musicians in one of his show bands.lt was a huge acoustic contraption, a German Framus model that looked like a cello next to the tiny 10 year-old, but Moore took it home and in the first week learned to play "Wonderful Land" by The Shadows by detuning the strings so his fingers could reach the right notes.

"I drove my mum crazy," he recalls, "because I wouldn't go out and play football or join the Boy Scouts, I'd just sit at home and play the guitar." But to the young Belfast boy, learning to play the guitar was something that took on even more significance the moment he heard John Mayall's definitive "BLUESBREAKERS" album with Eric Clapton on guitar.

"I can still remember someone putting "All Your Love" (a track from "BLUESBREAKERS" originally recorded by Otis Rush) on a record player and me reeling back from it going, 'God, what's THAT?!!!' says Moore. "I'd never heard a guitar sound so powerful before, because until then, guitars had al--yayssounded so thin and dinky. Suddenly, Eric Clapton had turned everything upside down overnight, and for all the kids atschool the "BLUESBREAKERS" album was the hip one to get into."

By this time Moore had a "proper" guitar, a Fender Telecaster that he'd persuaded his dad to buy on time, but only on the condition that he joined a "horribIe" band called Dave And The Diamonds. His dad would still be paying for that guitar two years after he left home, but Moore soon moved on to form his own blues band, a trio called Platform Three, and then eventually to Skid Row, his first professional band.

"There was a great blues scene in Belfast during the late '60s," says Moore. "Butthere wasalsoa big blues scene in Dublin, and I used to travel down every Wednesday night to play with a band called The Method. It was there that I bumped into Brush Shiels, the bass player from Skid Row, and he asked meto join the band. I was unsure at first because they weren't a blues band, so I made some inquiries and was told by the bass player in The Method thatthey had this 'really freaky singer - a big black guy who did strange things with an echo on his voice,' and that intrigued me enough to give it a go."

So Moore found himself Dublin-bound. The "really freaky singer" was, of course, Phillip Lynott, with whom Moore would enjoy a string of successes over the coming years, and more importantly perhaps for the young guitarist at this time, the band also gave him the chance to meet his all-time idol. Fleetwood Mac's Peter Green.

When Lynott left Skid Row to form Thin Lizzy, the band remained a trio with Moore taking on a more prominent role. Moore and Green were ultimately to kindle a flame of mutual respect after Skid Row opened for Fleetwood Mac in Dublin. Green was impressed enough to invite the youngster back to his hotel after tne gig for a jam, and even tried to help the band secure a record deal.

 

Anno - Titolo - Autore

1965 - All Your Love (I Miss Loving) - Otis Rush
1959 - As The Years Go Passing By - Daedric Malone
1990 - King Of The Blues - Gary Moore
1990 - Midnight Blues - Gary Moore
1990 - Moving On -Gary Moore
1966 - Oh Pretty Woman - A.C. Williams
1990 - Still Got The Blues - Gary Moore
1990 - Texas Strut - Gary Moore
1989 - That Kind Of Woman - George Harrison
1955 - Too Tired - Johnny Watson, Maxwell Davies, Soul Bihari
1957 - Walking By Myself - J.A. Lane

96 pages

Price: €22,99
€22,99
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