10 Things You Gotta Do to Play Like Alex Lifeson

pLUS JOHN SCOfIBLD KARNIVOOL IAgUILD "'ACOUSTICS

JANUARY 2011 ,650 CAN >650 01>

o 7447001010 4 ~ewB~Y ANEW BAY M ED I A PU B LI CAT ION Media JANUARY 2011 I V OLUME 45, NUMBER 1

GP COMMUNITY 20 Don't let anyo ne tell you that it's not all about you l Share your photos, gear and CD/DV D reviews, likes/di sli kes, favorite amps and guitars, tone and techniq ue tips, gig stories, and more with the Guitor Player reader community. What are yo u waiting for? Joi n inl LESSONS RIFFS 96 Ten Things You Gotta Do to Play 24 The Legacy of Les Paul at the Iridium, MJ's sid eman, Like ... Alex Lifeson Explore the riffs, th e effects, the vibrato, and Tommy Shaw on Styx then and now, Exp erienc e PRS. the attitud e of the coolest guy in the coolest Steve Morse talks tone, and morel band to ever write songs about necromancers. COVER STORY 108 Hey Jazz Guy Jake Hertzog sp in s co mping knowledge. 70 Joe Satriani The king of instrumental guitar holds court on his new 110 GIT lesson albu m, Block Swans and Wormhole Wizards. his Vadim Zil bershtein shares the ult im ate funk pre-gig preparation, and his take on the blu es. wo rkou t. BONUS! Mike Kenea Uy ta lks abo ut wo rking with Satch. ARTISTS GEAR 38 Cool Event Guitar Player's 36 New Gear! Guitar Superstar 2010 112 Roundup! Six new acoustics from Guild 42 Blues Kenny Wayne Shepherd 48 Metal Karnivool's Drew Goddard and Mark 122 Pigtronix Mothership Hosking and Philosopher King 54 Classical Liona Bo yd 128 lexicon 60 Jazz John Scofield PCM Native Reverb Bundle 66 Roots Tony Joe White 130 Traynor Darkhorse BACKSTAGE 132 Stompbox Fever! Fu lltone Plimsoul 154 Name the Guitar Hero! 134 Brain Snack 5 Things About Cables 138 Posh vs. Poor A Bonnie Raitt rig for any budget.

COVER PHOTO Joe Satriani, photographed in Sa n Rafael, California by Paul Haggard

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~ ... ,,,., ' ..., BY VINNIE DEMASI PHOT()GR:-'lPH BY [( •.. h (, j.TLr"

Things You Gotta Do to Play Like ALEXLIFESe

AS A PRE- TEEN DISCOVERING and Gibson doubleneck cutting an but determined what I'd be doing with rock music in the early '80s, ax-wield impressive figure-and I had my first the rest of my life. ing role models were plentiful but it was guitar hero. I owned every album, Okay, so I'm going a little fan-boy Alex Lifeson- and his band Rush-who sported a complete wardrobe of concert here, but I'll bet that if you're reading motivated me to pick up a guitar. Some shirts and pins, and was a card-carrying this, you have a similar tale to tell. In thing about the Canadian trio's ability member of the Rush Backstage Club. my 25 years as a music student, educa to fuse heavy metal's visceral force with Hell-bent on rock stardom, I ordered a tor, journalist, and performer, I am prog's intricacies, their Samurai-class Rush Anthology songbook, hijacked my consistently amazed by how many of my chops, and lyrics that dared address top brother's Giannini nylon-string, and deci peers fo und their initial inspiration, val ics outside the usual sex, drugs, and rock phered the G, D, andA7 chord diagrams idation, and identification in the music and roll dictum resonated with me in a needed to strum "Closer to the Heart," of Rush. Not to mention a whole gener way no previous band had. Factor in Life the simplest song in the book. That first ation of game-changing guitarists-Kirk son's innate coolness-his long locks surge of rapturous musical discovery all Hammett, Larry LaLonde, Paul Gilbert,

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Billy Corgan, and John Petrucci, to name BE A TONE TREKKIE A later switch to PRS guitars paralleled a few-who cite Lifeson as a prime mover. A rarity in the pantheon of a move towards a heavier, less electroni Born Aleksandar Zivojinovic and reared guitar gods, Lifeson isn't cally reliant sound, 2002's Vapor Trails was in Toronto, Lifeson founded Rush with identified with a singular the first Rush album since the early '70s skin-pounding schoolmate John Rutsey in sound, In fact, he can lay to be completely synth-free, • 1968, When bassist/ vocalist/ keyboardist claim to multiple telltale Currently, Lifeson rocks a stable of cus • Geddy Lee joined the fold, his wailing oper tones at different stages of tom Floyd Rose-fitted Gibson Les atic singing and formidable 4-string skills his career. On early records like Fly by Night Pauls-including some with a Fishman piezo He.. reg\ solidified a heavy rock sound in the Grand and Caress of Steel, Alex relied mostly on a system for acoustic sounds-as well as his ings wi Funk Railroad and Cactus paradigm, The Marshall stack-amplified Gibson ES-335 original ES-355, His backline sports Signa to the Ii replacement of Rutsey with drummer/ lyri for his beefy growl, with liberal doses of ture Series Hughes & Kettner TriAmp MKII's establis cist Neil Peart in 1974 heralded a more wah pedal for solos, By 1977's A Farewell and Coreblade models, and his rack includes F/f7addl progressive, experimental direction for the to Kings, he'd switched to Hiwatt amps, a TC Electronic G-Force and 1210 Spatial tial-soul band and, excepting a brief hiatus around added a doubleneck Gibson EDS-1275 and Expander, In Lifeson's capable hands, all this F#bam the turn of the century due to personal custom-built alpine white ES-355, and he machinery is able to reproduce over three tragedies in Peart's family, the fabled troika began experimenting with chorus, as the decades' worth of history-making tones, has endured, constantly changing, broad addition of keyboards nudged the band's ening, and redefining its sound, And in sound in a more lush direction, HOLD THE 3RD '1m what is a lesson the music industry mar 1981's Moving Pictures swapped Gibsons Intrinsically predisposed to J= 8 8· ~ keting machine hopefully takes to heart, for Strats modified with Floyd Rose lock deviate from the norm, the less easily categorized the band became, ing tremolos and Bill Lawrence humbuckers Lifeson regularly sought the more their popularity grew, in the bridge position into Marshall com out aurally rich alternatives No surprise then that Lifeson, perhaps bos, Here, Lifeson's leaner tone offered a to standard chord voicings, more so than any other rock guitarist of clarity that complemented the band's One favorite tactic was to his era and stature, has a style and sound increasing use of synthesizers and Moog substitute a harmonically ambiguous unre that's been constantly evolving and impos Taurus pedals, Strikingly, Lifeson proved solved suspension (either a sus2 or sus4) sible to pigeonhole, And though he released to be one of the most lyrical, evocative for a given chord's 3rd-the note that deter a fine solo album, Victor, in 1996, analyz whammy bar artisans, as evidenced by the mines major or minor tonality. ing his playing outside the context of haunting solo in "Limelight," almost unan The moveable sus2 voicings in Ex.! are Rush's music would be a bit like disasso imously cited as his finest moment, based on A-shape fifth-string-root barre ciating Mickey Mantle from pinstripes, Throughout the '80s Lifeson willingly chords, voiced with the 5 in the bass on Aside from his stringed accomplish assumed a more textural role in the band's the low-E string, Dreamily strummed on ments, Lifeson is also lauded for his sense sonic schema, which now included an acoustic, they evoke the introductory of humor, amicable nature towards fans sequences, samples, triggers, and electronic "Tide Pools" section to Rush's epic "Nat and journalists, and willingness to lay back drums, Relying on a rack of Korg, Roland, ural Science," or the intro to "Resist." while his virtuosic bandmates flaunt their and DeltaLab signal processors, Lifeson A compelling substitute for electrified world-class skills, A lesson in Lerxst (as painted ethereal, abstract, and echo-laden root-5th-octave power chords, the quartet Peart and Lee affectionately call him) cer soundscapes, His innovative (and artisti of sus grips in Ex.2 will help you catch the tainly has something to offer 6-stringers cally altruistic) efforts on 1984's Grace Under drift of Lifeson's main riff to the classic of all ilks, So, get ready to", Pressure were acknowledged by GP readers "Tom Sawyer." T who crowned him Best Rock Guitarist, ~ B

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GUI T ARPLAYER . COM qIJeSSOnsT 10 THINGS YOU GOTTA DO TO PLAY LIKE ALEX LIFESON

aralleled BE THE KING OF the first and second strings ringing open. the ringing open third string. lectroni COOL CHORDS WITH Now slide it up the neck to a fifth-position For Ex.4c, take a garden-variety G chord -rails was OPEN STRINGS Aadd9 and seventh position Baddll and and relocate it to the seventh position lea\' l rly '70s When illuminating Life you're all set to tackle Ex.3b, a classic Life ing the 0 and G strings unfretted, and son's use of cool chords, son-style chordal salvo that harkens back to you've got the sprightly Cmaj9 that gener e of cus sus2 and sus4 voicings are 1977's "Xanadu," but recently surfaced on ates the first segment of marathon on Les just the tip of the iceberg. 2007's "Far Cry." Remember w let the open instrumental "La Villa Strangiato." lan piezo He regularly reaches for uncommon voic first and second strings ring out. The chord stabs in Ex.S supplement the ell as his ings with shimmery open strings. A listen Played four times each with a lilting 6/8 open first and second strings with a static tS Signa to the first few bars of "Hemispheres" should arpeggio pattern, the brooding Emadd9 and B note on the 4th fret of the third string, Ip MKII's establish why Alex pretty much owns the Bbmaj13 fingerings in Ex.4a yield the verse best grabbed by the pinky. Play it as writ incl udes F/f7addll shown in Ex.3a. To finger this celes to "No One at the Bridge," while the Fsus2 ten, or rearranged Bsus4, Asus2, E5 to o Spatial tial-sounding beauty simply play an E-shaped in Ex.4b is best experienced in the verse to replicate the sequence that follows the .S, all this F#barre chord on the second fret, but leave "New World Man." In both instances, dig opening riff of "Limelight." :er three wnes. ,UD ~D Esus2 E7sus4 Csus2 Asus4 ;posed to .I = 88-96 e norm, F#7add11 . sought I 3 4 2 00 ernatives voicings. 11 m c was to palm mute - - I p.m. ------~ I - I p.m. - _. -- - ~ I JUS unre palm mute - or sus4) T lat deter- A B

1 Ex.1 are lot barre bass on l med on

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om 1!111 GD I!D Asus2 E5 Bsus4 X 0 14 00 0 1 24 00 X I 3 4 00 Emadd9 B~maj13 Fsus2 Cmaj9 0 14 O X X 2 14 0 XX I 34 O x X 2 I 00 34 II II III . . Asus2 E5 Bsus4 vg Vil li .I = 110-116 II ,I ) II , , ~###! i ;b/@gf :1

G U ITARPLAYER . COM 99 10 THINGS YOU GOTTA DO TO PLAY LIKE ALEX LIFESON

While Examples 6a and 6b don't refer ROLL THE DRONES melodic bass note pattern. Variations of this ence any particular Rush song, these As a teenager, Ufeson copped roll ing lick can be heard during the third vocal arpeggiated pretties- employing either an a few classical guitar lessons section of "Tom Sawyer" or as a recurring open second or third string as the common and it's easy to detect a hint theme in "Natural Science." thread between each chord- should offer of Spanish nylon-string fla Lifeson plays these electrified and I: some insight to the chordal construct on voring in Ex.7. As in Ex. 5, picked, but to be awed by his acoustic fin ''l\nimate,'' "The Pass," "Resist," and count he's making liberal use of a gerstyle nylon-string prowess, check out less others. Remember to hold the chord droning open second string against a pinky the unaccompanied solo "Broon's Bane" thu..s fre e shapes in place and let the notes ring out. fretted B on the third string, only here it's from the live CD Exit... Stage Left. ings. Like being played out against a Tarrega-approved on Lifeso: with a bra son often three stri the guitar

j = 102-108 Bm7(no 3rd) 0 6 Gmaj9 Eadd9sus4 Lifeson a: fill ~ r--. - r"""'''L --"' r--. .. ::;;= J. = 92-1OC I.e. ------, I.e. ------, l.r. ------I • l.r . ------I fill ~T ____-_ I~.------~ -n-----~~------+_-----2~--n ----2,~---- ~~==n ==~~~~==~~==4=~~~=A=====~~~==~ ~ ___ .~ 4 ------4----~-_--4------4----+---4------~ . -"'-

____. ______~ ______~ ~; ------LB_A ------

T A B

j = 102-108 C Oadd11 A7(no 3rd) G6(no 3rd) c Oadd 11 Asus2

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ons of this KEEP THOSE ous scalar shred and a strategically placed Enemy Within," and "New World Man" are third vocal TRIADS ON TOP melodic chord figure similar to Ex. 8. Despite characterized by Lifeson's tight, offbeat hi gh recurring Having one of rock's might the breakneck tempo and fairly clean gui string chord chops like those in Ex.9. iest rhythm sections to tar sound, the intensity never wanes due to By the mid '80s, Lifeson was seeking ified and cover the low end means Lee and Peart's supersonic accompaniment. new ground to stake out in Ru sh's musi Justic fin Lifeson isn't always (Hint: Fret the first chord with your second cal landscape, now heavily populated with check out required to fill space, and is finger on the first string and keep it in con synths, electronic drums, and triggers. Will n's Bane" thus free to explore minimal chordal voic tact with the string as you slide the shapes ingly assuming the role of soni c obbligatist, ·t. ings. Like Pete Townsend-a major influence up and down the neck.) he again sought out voicings on the top on Lifeson and a guitari st who also sparred One of the few hard rock acts of the '70s three strings only now, incorporating non with a brawny bassist and drummer-Life to gracefully make the transition to the '80s, triadic color tones. Tly playing the sustained son often grabbed triads voiced on the top Rush were quick to acknowledge and assim chords in Ex. 10 with liberal doses of cho three strings. A stellar example of this is ilate the reggae influence in the music of rus, long delay, and whammy bar vibrato the guitar solo section of "Freewill," where the Clash and the Police. Dubbed "proggae" to ge t a feel for Lifeson's approach in "Red Lifeson alternates between phrases of seri- by fans, Rush songs like "Vital Signs," "The Sector l'\' and "Distant Early Warning."

F/D G/D C/D G/D F/D J, =92-100

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G U I TAR P L A. Y E R . C 0 \1 10 10 THINGS YOU GOTTA DO TO PLAY LIKE ALEX LIFESON

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REO BARCHETTA Words by NEIL PEART Music by GEOOY LEE and ALEX LlFESON <> T ' ..0"- ..0'>- 1981 CORE MUSIC PUBLISHING Used by A / .,". / .,". - Permission of ALFRED MUSIC PUBLISH B /11-.. / 7 ' /1 1-.. / 7 "."- /1 1-.. .7 :/ .7 ING CO .. INC. All Rights Reserved

RETHINK THE RIFF The term "guitar riff" gen erally conjures an image of heavily overdriven low-string sludge, and whil e Lifeson can pile drive with the best of'em (dig "Working Man," '~them," or "The Temples of Syrinx"), some T of his signature parts were written while A B thinking outside the blues box. One of my all-time favorite Lifeson moments, transcribed in Examples lla and llb, are the two melodic sequences of harmonics during the introduc tory buildup in "Red Barchetta." They sound sweet unaccompanied but really bloom when .J = 124-130 10 00 I played over the A-F#m7-G-D progression 3 I I 2 implied by Lee's bass line. 1*~ ~ ;---.... " jj II. ::---.. . . Ex.12a is the opening salvo of "The Spirit of Radio," a series of rapid-fire pull-offs on U ~ 3 ~ the top two strings that's addicting to play, sounds as right as rain, and is a hellacious fI THE SPIRIT OF RADIO Words by NEIL "" 9 ;1 9 ~ 9 f2"'g ~ - ~ fI"~9 ~ PEART Music by GEDDY LEE and ALEX workout for all four fingers on your fret LlFESON <> 1980 CORE MUSIC PUBLISH A ING Used by Permission of ALFRED MUSIC ting hand. No examination "The Spirit of B PUBLISHING CO, INC. All Rights Reserved Radio" would be complete without a men tion of the jaunty unison guitar/ bass main line. Even though it's text book low-end fretwork, I proudly present it here for your riffing pleasure in Ex. 12b . .J = 168-176 E5 A5 E5 027 ~ 1 1 REDISCOVER "jj II . . . THE RIFF Present-day Ru sh is hall u y ~--,; Ii*J-# J ~ ~ ~ ~ ~'- marked by a leaner, ==~ ~-= stripped- down sound that still manages to retain some I A '1 of the more progressively r. '1 0 '1 B ~ " fI 1. " i'i daring and sonically exploratory tendencies " from their past. But when it comes to dish ing out some serious kick-ass crunch,

10 2 G U IT A RPLAYER. COM 10 THINGS YOU GOTTA DO TO PLAY LIKE ALEX LIFESON

Lifeson is still a heavyweight champ. This a musical "lifeline" listeners could latch onto. progression voiced with E-shaped barre is amply demonstrated in Ex. 13, the chro I strongly suspect that Lifeson's playing is chords- the first two bars of which are matic-laden crusher that powers their latest that very lifeline. No finer example of this shown in Ex. 14a- over Peart's sprawling release "Caravan." exists than "Jacob's Ladder," an unusually linear snare drumming. Remember to keep structured, largely instrumental three-part alternating between bars of five and six BE THE LIFELINE rock and roll tone poem that depicts sunlight beats, while cycling through the chords. In the recent Rush: Beyond the breaking through a thunderstorm. During the track's triumphant ride out, Lighted Stage DVD documen The initial section ofthe song is under Lifeson kicks in with Ex. 14b, a knuckle tary, Death Cab for Cutie's pinned by alternating bars of 5/ 4 and 6/ 4, busting mothertrucker in l3/ 8. He then Jason McGerr deftly observes counted one-and-two-and-three-four-five, alternates it with two bars ofthe same riff that even at their most com one-and-two-and-three-four-five-six. Here, in F# starting on the 2nd fret of the sixth plex, Rush always provided Lifeson arpeggiates a C-A~-F-G-A~-E chord string, while Lee and Peart ratchet up the

J ~ 124-130 E5 05 B5 A5 E5 05 ~ 052 10 4 4 1 ~I 1 1 ,., II I I ~ I

u • -.-.h-'~:; • == =t ~J ~ ~ ~~ -.---J ---- -'~

0 G Q Q 7 7 () () 0 0 -r -r A 0 0 Q Q '7 '7 G G Q Q 7 :, :, r. B 7 ;; ;; t: ~ 0 7 '7 ;; t: 6-----2 .. r. ;; ~ ~ ~ 1 r. ". --" f) ,., 'l

·.'D intensity, cycling through increasingly com plex syncopated rhythmic settings. In the J ~ 99-105 C hands of a lesser band, the song might've 0 23 1 1 been a shambles but Rush turn it into · " ~f- something unique yet highly accessible. -- .. ~ GRAB THE I.r.------I I.r. ------I LIMELIGHT I've given major airtime to o o IA If) Lifeson's celebrated chordal B If) Q constructs, but he's also JAC OB 'S LA DDER Words by NEIL PEART Music by GEDDY LEE and ALEX LlFE50N ~ 1980 CORE MUSIC one of the most unique and PUBLI SH iN G Use d 0'1 Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved compelling lead guitarists in rock. Early solo flights like those in "By Tor and the Snow Dog" and "The ·.i'i Necromancer" combined equal doses of jJ ~ 236-246 0 chops, intensity, and melodicism, but it

1450 1 wasn't until Lifeson began articulating heav I ily with a whammy bar that his illustrious " .II . . improvisational voice emerged fully matured. Grab an earful of the flu id lead u 2 4 I 4 3 .. '7' breaks on "Emotion Detector," "Tom Sawyer," "The Analog Kid," or "Limelight"

7 7 to hear how Lifeson's intuitive mastery of A -r () -r () -r phrasing transcends scales, notes, and B c " _0 _ -,,- " () rhythms, and vibes on pure emotion.

104 JANUARY 20 11 GU ITARPLAYER.COM 10 THINGS YOU GOTTA DO TO PLAY LIKE ALEX LIFESON

Ex.1Sa recalls the languid beginnings of BETHE otherwise. And despite being called "Earth's the transcendent lead break in "La Villa COOLEST Hardest-Rocking Nerds," by Rolling Stone Strangiato" with an attention-grabbing pre GUYINTHE magazine, Rush are the epitome of coolness. bend and release articulated with a COOLEST They are three li felong friends who dropped volume-pedal swell. The modally melodic BAND out of school to make their dreams happen, Ex.1Sb has its lineage in the solos to "Lime EVER created a sound that was entirely their own, light" and "Marathon" as well as the melodic I'm wntmg and have stayed completely true to their figures of "Resist." Use the whammy bar to this on a day that Rush have again been muse. They responded to their record com give each note a bit of expressive vibrato. sn ubbed by the Rock and Roll Hall of Fame's pany's annoyance at the epic suite of the (Hint: shake each quarter-note with a triplet nominating committee. While accolades and second side of their then-latest album by rhythm.) awards aren't really what music's all about, putting an epic suite on the first side of their Another "Limelight" -styled highlight, it's sti ll surprisin g the Hal l has yet to offi next album, wrote about social injustice, per Ex. 1St starts with a serious dive-bombed cially recognize them as one of the all-time sonal responsibility, and youth ali enation, open second string. As you quickly pull back greats. Their 30-pl us years of sustained suc and carried themselves with good grace and up on the bar, sound the 12th fret harmonic cess, legions of fans, sold-out arena tours, self-deprecating humor throughout. without picking again. For the last two notes 24 gold, 14 platinum, and three multi-plat As for Lifeson being the band's coolest of the last bar, fret the B on the 9th fret of inum albums, and hordes of professional member, well that's just my own personal the fourth string but sound the A before it musicians who regularly cite them as an prejudice. Still, I'm sure I speak for many by dipping the whammy down a full step. influence and inspi ration certainly suggests when I say, 'i\lex, we love you man! " ;:t

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