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Home , Ace Frehley, Eric Singer, Kiss Unplugged, New York Groove, Shock Me

APRIL 1996 • VOLUME 13 • NO. 6

FEATURES 24 The Best Guitarists You've Never Heard Of We could name them here, but you've never heard of them. So read on 28 The rock circus rolls back into town 28 Riffology Classic riffs and solos, plus a Kiss history 42 Alive Again Little Deuce Scoop: Exclusive interviews with Ace, Gene and Bruce on the family reunion and future plans

48 Rhythm Displacement by Jon Finn Professor Finn gets funky

56 Studio Guitarists byWolfMarsha/1 Session great Steve Lukather takes us on a walk behind the glass

PROFILE 21 Bert Jansch byHPNewquist

COLUMNS 70 Mike Stern OVER THE TOP Bop 'n' Roll, Part 2 72 Alex Skolnick THE METAL EDGE 74 Reeves Gabrels BEYOND 76 Tony Franklin BASS NOTES 78 Steve Morse OPEN EARS 152 HookinQ Up Your Pedals SOUND F/X 158 The Recording Guitarist Oat's What I ua About DAT

DEPARTMENTS 6 Opening Act 8 Input 10 Groundwire 68 Contest WinaB.C. Rich guitar 69 Toy Box Knowyourtubetypes 156 Guitar Picks 164 Tracks 172 Advertiser Index

ENCORE 176 Musical Definitions by Charles H. Chapman and Jon Chappell

GUITAR & BASS SHEET MUSIC 81 Performance Notes by Jon Chappell 82 Explaining Tab 83 MY JEKYLL DOESN'T 95 BETH Kiss 105 AFTERSHOCK Van Halen 129 SATELLITE Dave Matthews Band 140 INTO THE GREAT WIDE OPEN Tom Petty ssues ofyo rou decide t

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ntinued on page 1 the sit and 8; judge! and sc and re big pri NewJ given took a Comp bandit with h tory a Ourc EMO, h moun- in in Nepal's Inner Dolpo region. He s not only the first to scale the ountain, but saved a friend's life dur• the climb.At lower altitudes you n find the new anthology set, which lly compiled himself, unlike last year's uier retrospective, which didn't actly get Billy's stamp of approval. ach will be released in conjunction th a CD-ROM featuring interview tage, vids, rare photos, and song ps. -RM

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precursors to Eddie Van Halen's popular two-handed taps). Stanley was a stock rhythm guitar player-no better or worse than thousands of others-and Simmons was about as generic a hard-rock bassist as you could get. But all that was beside the point: Kiss put on the best rock shows in the world. To make their concerts even more spectacular, they would line up dozens of empty speaker cabinets onstage to make it seem like Kiss had the biggest guitar amplifica• tion system on planet Earth. To Kiss' credit, the audience bought it. But if you consider that the '70s were the "big• ger is better" decade (remember, Smokey & The Bandit was considered a real gem of a movie in its day), this shouldn't be sur• prising. Although it was a fun decade for entertain• ment, no one has ever characterized the 1970s as the decade of good taste. The first three Kiss studio were relatively non• descript affairs, but the aptly titled Alive! double disc served

Kiss began as a four-piece in City, circa 1972. Bass player and for• mer grade-school teacher (born Chaim Whitz, later Gene Klein) and guitarist (a.k.a. Stanley Eisen) had covered Beatles tunes in , but wanted to form a glam-rock band, using clown and kabuki make-up as their original contribution to the genre. After answering an advertise• ment in a New York paper, Paul Frehley joined the band as lead guitarist. From the outset, the band was never taken seriously. Their riffs were admittedly stolen from the best sources ("Firehouse" from Zeppelin's "Misty Mountain Hop," up all the fury, frenzy, and fire (literally) of a for instance), their songs never ventured Kiss concert. One of the great ironies here is that few people had heard of Kiss before the far from a four-chord format, and what they lacked in technical ability they live set came out. So just who were all those people that filled the coliseum shown on the made up in volume and stage presence. Despite the protests of his modern-day back cover? Like , whose fans, Frehley was hardly a lead-guitar Frampton Comes Alive! would create the innovator; the majority of his solos relied same mystery the following year, Kiss already had a deeply loyal fan base that on bending single notes over and over (although his pick-tapping solos were could fill the rafters whenever the band hit town. It was just that the wider world hadn't ... heard of them ... yet, that is. band came up with a well-arranged, deftly With the release of Alive!, however, the orchestrated set. Utilizing harmony band found its "overnight" success, and on "" and "Shout It Out whetted the public's appetite for a studio Loud," thundering power chords on "Do You that would deliver the same high• Love Me," and eerie riffing on "God Of volume rock goods. Since most of the world Thunder," Ezrin got more mileage than had never listened to any of the band's stu• most people expected out of Paul Stanley dio records, Kiss had to come up with some• and . The solos were well-chore• thing that would not be snickered at. ographed (especially "Detroit Rock City") Fortunately, the band succeeded. By all but never felt forced or stilted. The record's accounts, then and now, Destroyer was an success was due as much to the guitarists' exceptiona.[ rock album; not from the stand• ability to make pomp rock sound raw and point of technical guitar playing, but from reckless as for Ezrin's technical direction. the marriage of big guitar songs with studio To further build up the growing Kiss technology. Under the guidance of producer tsunami, the band appeared on national Tv; (, Pink Floyd), the landing a prime spot on comedian Paul Text continues on page 35

Deuce Here's a chordal riff that mixes three• note triads with doublestops.You can play this riff entirely out of 5th position by using your ring finger for the 7th-fret doublestops.

Words and Music by Gene Simmons. ©1974 Hori Productions America, Inc., Gladwyne Music Pub. Corp. & Cafe Americana

STRUTTER from Alive! (0:56 - I :03) AS 85 AS 85 AS B5 AS F#5

Words and Music by Paul Stanley and Gene Simmons. ©1974 Hori Productions America, Inc., Gladwyne Music Pub. Corp. & Cafe Americana

NOTH IN' TO LOSE from Alive! (0:00 - 0:03) " . -n . .____.. =t1 p

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Words and Music by Ace Frehley. ©I 974, I 977 Hori Productions America, Inc. & Cafe Americana

32 GUITAR APRIL 1996 PARASITE from Alive! (2:04 - 2: I I)

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Army Think of this riff in_ two parts: the straight-ahead, high-low sound of bars 1-2 versus the bouncy, II syncop:ited figure m bars 3-4. Note that both parts end with a two-beat figure that's unlike the wants preceding I ½ bars. ------•H H you! Wordsand Music by Paul Stanley and Bob Ezrin. ©1976 by Hori Productions America, Inc., All By Myself Music & Cafe Americana Continued from page 32 SHE from Alive! (0: 13 - 0: 19) Lynde's 1976 Halloween special. Like The success of "Beth"-a single-Kiss ing airplay with "." But the G5 8>5 G5 C5 112 N.C. Beatles on The Ed Sullivan Show, this was embarked on a long and arduous journey band members began to suffer from their J) the first chance many teenagers had to wit• that continues to this day. Rock And Roll own glam excesses-especially Frehley. ness the band's dazzling performance Over, , Alive II and Double Sinking deeper into drugs and drink, he power. After burning all over "Detroit Rock Platinum followed, as did the release of became reckless (wrecking cars seemed to City," gently crooned his way simultaneous solo albums, which despite be an ongoing pastime) and alienated him• self from the other members of the band, 112 through the ballad "Beth" (all lip-synched, "shipping platinum" reportedly didn't sell of course) and, in a flash, Kiss had instantly too well. Considered a brilliant public rela• especially Simmons and Stanley, who were turned every 13-year-old in America into a tions ploy, little memorable music was cre• notorious control freaks. charter member of the , as their ated here, with the exception of Frehley, Frehley departed from the band bitterly fan base was called. Kissmania had begun. who had shown that he was capable of both in 1982 after a series of poorly conceived After Destroyer, and the breakthrough writing and playing his own material, gain- and received albums, notably and Text continues on page 40

112 /4) H "JI -~ "' ' --,J -: --,J .. --,J -: ~ ·-H ·-H sf. ~ ~ ~ ~ ~ ~ 112 ------• ' _;f\ H -~ C C :::i:~ic~~~ Music by Gene Simmons and Steve Coronel. ©J 975, 1977 Hori Productions America, Inc .. G/adwyne Music Pub. Corp., Rock Steady Music & Cafe . . :- " 0• / : " " " II" ------II - - . - - - - - " .------" BLACK DIAMOND from Alive! (0: 18 - 0:36) . . H H 112 Am F G6 f) A Jj A sl. " - --, --,J -: ~ - --, -: - • ·-H H H H H p .. -I ·-H ~ ~ H H I j j j j j j 112 let ring ~~ r-, .!! H .!! p H .!! " II" +--1 8-' ----., - ,.------;_ --., ------. - . - " ----., - . - - . - - - " . " . -H . . . H H st. Words and Music by Paul Stanley. ©1976 Hori Productions America, Inc. & Cafe Americana Am Fmaj9 G6 " .

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Full flies and why another goes down the toilet. Perhaps the best explanation behind Kiss' success is just what any of their fans will tell you (that is, before they punch you in the teeth). And that is simply that Kiss writes great kick-ass rockers, looks cooler than anyone else, and is perhaps the best freakin' live band in the world. Now, 20 years after their heyday, the Kiss juggernaut rolls on, even earning their own segment on MTV's Unplugged. After all the back-bit• ing and mudslinging, there was Stanley, Words and Music by Gene Simmons, Kulick and new drummer Eric Simmons and Singer joined onstage by Ace Frehley and ©1992 Hori Productions America, Inc. and Gene Peter Criss for rollicking acoustic versions sf. Simmons Worldwide of "" and "Nothin' To Lose," plus a new take on "Beth." And judg• Continued from page 35 ing by all the smiles and fist-pumping from . He was replaced by the audience, you could tell that many of Vinnie Vincent, a Frehley look-alike who these same fans were the ones who was technically a better player than Ace. watched the Paul Lynde Halloween special, Upon hiring Vincent, Kiss removed its all those many years ago. This, if nothing make-up and shored up its career with Lick else, proves that the Kiss Army is alive and It Up, a surprising return to its early sim• well in 1996. Amen to that. ~ plicity. Though a skilled player, Vincent was apparently even more difficult to manage than Frehley, and he was tossed out by Simmons and Stanley. Contemporary metal flash Mark St. John was hired in 1984 for All rights for Cafe Americana in the U.S. , but he was soon diagnosed as Administered by Intersong U.S.A., Inc. All rights outside the U.S. Controlled by Polygram having Reiter's Syndrome and was unable International Publishing, Inc. All rights for I Stole to continue playing with the band (he later Your Love, , and Unholy Administered by Polygram International Publishing, Inc. worked briefly with Peter Criss). All titles: International Copyright Secured Kiss finally settled on New Yorker Bruce All Rights Reserved Kulick, formerly of the band Blackjack (fea• turing local singer Michael Bolotin, who later shortened his name to "Bolton"). In retrospect, he was probably the most well• rounded guitarist to ever join the Kiss ranks. While he had to play much of Frehley's material over the years, he was instrumental in the band's return to promi• EVERY MAJOR BRAND nence in the late 1980s and early 1990s as a hard-rock band par excellence. With Kulick, ACOUSTIC, ELECTRIC AND BASS GUITARS the band recorded 1992's Revenge, which BASS AND GUITAR AMPS • VINTAGE GUITARS pushed them back to a popularity rivaling their Destroyer days. Interestingly, Vinnie EFFECTS PEDALS• GUITAR SYNTHESIZERS• KEYBOARDS Vincent also received co-writing credit on SOUND SYSTEMS • PRO AUDIO & RECORDING EQUIPMENT that album. Frehley continued on, post-Kiss, with a checkered solo career, releasing albums WE'LL BEAT ANY DEAL! CALL Now! under his own name and with a loose outfit he called Frehley's Comet. Surprisingly, he emerged as one of the biggest influences on the guitarists of early '90s metal, notably Pantera's and Anthrax's ; even country-pop sensation Garth Brooks turned out to be a huge fan. B.B. KING In hindsight, this may have more to do with GEORGE HARRISON Boz SCAGGS WITH DEREK SNYDER - DEPT. WITH RICK WAITE - G.M. AT WEST L.A. MUSIC Frehley's stage antics and simple power GUITAR chords than any technical proficiency. Still, 11 as a guitarist, he is appreciated-even wor• WHERE THE PROS SHOP'' shipped-more in retrospect than he ever Phone and Fax orders accepted. We Ship Everywhere. 1,-----~ 11 ------was during his tenure with Kiss. 11Where The Pros Shop ALL MAJOR As for the larger Kiss phenomenon, rock CREDIT CARDS, critics are still scratching their heads look• WEST L.A. MUSIC FINANCING, ing for an answer. But pop culture is a tricky 11345 Santa Monica Blvd. West Los Angeles AND LEASING. beast, and it's often hard to figure out a Two blocks West of the San Diego (405) Freeway (310) 477·1945 Fax: (310) 477•2476 rational reason why one celebrity vehicle

40 GUITAR APRIL 1996 GUITAR APRIL 1996 41 When did you guys start talking about get• Later, MTV got hot on the idea of these was just singing, somebody else was playing ting together for the Unplugged show? Kiss conventions. They wanted to film one. bass. So there was no real adjustment. But The history of this really starts with the And that developed into the certainly when we started playing the tunes Kiss Army, who on their own-through the thing in their studios. Now, before that, we together, we had a rehearsal hall and we make-up years and through the non-make• had talked amongst ourselves and decided to thought it would take a while to just sort of up years-have been holding Kiss conven• invite Ace to the conventions. After all, if jive. But the gears were designed to all mesh. tions all over the world. They kept asking us you've invited Peter, the very least you can do The very same thing that attracted us to each to appear at Kiss conventions, and we just is invite Ace. Well, Ace couldn't make it to the other in the beginning kicked in when we really couldn't do it. We physically couldn't be Kiss conventions, because he and Peter were saw each other years later. The songs being everywhere at once. So we decided to hold both out on tour together. On the other hand, played by those hands and voices just came our own Kiss conventions, and basically kept when we were due to go into the MTV studio, out sounding right-almost like those songs promoters and booking agencies away, and Ace was finally available. So we said, since he were designed for those people. rented the places ourselves. In essence, we couldn't make it to the put together sort of a traveling Kiss Hall of conventions, why does• Fame. Twenty mannequins, classic guitars, n't he come to the artwork, lyrics, Kiss tribute bands, and so on. Unplugged and sort of We decided to break the final wall, the moat sit in? that separates band and fan. We were all in And then it immedi• the same room, no make-up, no fancy lights, ately brought up the no nothing. Initially, we'd just get up there question, Well, wait a and have heart-to-hearts with the fans. It minute: IfA ce is going to became very clear that while they wanted to be on Unplugged for a talk to us and find out what was in our song or two, how come minds, they still wanted to hear us play. We Peter's not there? So we weren't lugging around a stage or anything, said, we'll invite both of so the acoustic thing became a reality. We them, we'll do maybe started playing acoustic stuff and literally two songs together, and taking requests on the spot. A better time I that's it. Then it sort of can't remember having. The fans really got to developed into how know us, and we really got to know them a about Bruce and Eric? lot better. What do they do, just The conventions were going to start in sort of get offstage? Los Angeles. Peter called me out of the blue How do you dance a and told me about his daughter, who was dance you've never now a teenager, who loved the band but was learned? Slowly but too young to really have seen it and all that. surely, with all of us• In fact, I think she was born after Peter had Ace, Peter, myself, Eric, ' left the band. But he wanted to know Paul, Bruce-we all fig- ' whether or not he could bring her down and ured out what the right just show her the stuff ... you know, "this is vibe was. To tell you what I used to wear, this is what your dad that we had a good time did." I said sure. We had run into each other would really be an over the years. And we'd had our differences understatement. It was within the band, but outside the band, as legitimate, it was real, human beings, you're always a part of the and it was really family. I said, "Sure, you bet. And in fact, I'm heartfelt by everyone sure people want to ask you a couple of involved. questions, so why don't you get up and do a symposium? You know, get up there and let Is this the first time it them ask you whatever's on their minds." could have happened? And that's how that developed. No, it happened Then when I told the rest of the guys, Eric before. We jumped up onstage when Ace was How did you decide on the song selection? Singer in particular, he said, "How could you playing New York at in '88 or A lot of tunes were thrown around. Ace insult him like that?" I said, "What did I do?" '89. We went there to see him, just to lend wanted to do "Shock Me," and we tried it, He said, "How come you didn't ask him to support, and he literally came off the stage but because we were playing Unplugged, play with us?" And I told Singer, "The reality and dragged us onstage. And people acoustic, it's a completely different world. is, I was thinking of you; that you're in Kiss thought it meant more than that, but the Something about "Shock Me" prevented it now, and Peter is not." But Singer turned reality is that over the years I've produced from really coming alive on acoustic. So Ace around and said, "I think it would be the other artists and always invited Ace and changed his mind, decided to do the Stones' coolest thing. The fans would get off on it, Peter to play. So over the years, we've "2000 Man." And we went along with it. and so would I." So, I told Peter about it, and always sort of kept in touch, even though he said, "Yeah, sure, what the hell." We did we were not in the same band anymore. Why that instead of another Kiss tune? two tunes together. Peter sang "Hard Luck When you hopped onstage at the You know, that's funny. I mentioned that Woman" and then Singer and Peter sang Limelight, or when Petersat in at the conven• to him, too. He just said, '2000 Man' is about "Nothin' To Lose" together. We had such a tion, and when you were rehearsing Ace, it doesn't matter who wrote it." great time that we decided, well, this is cool, Unplugged, did everything gel immediately? we'll keep in touch, good luck on your tour How much did you rehearse before you and so on. Then we parted company. The first time we jumped up with Ace, I went in to MTV? ..

GUITAR APRIL 1996 43 will rock you. Sure, that's cool, the Man," written by Stan Lee. And I want to I used an acoustic guitar. Their criterion was getting back with Kiss. I only saw positive sense of everybody together. But all make sure you put the 1-800-905-KISS in this basically 'if the guitar doesn't have a hole in things. I respect Gene, Paul, Bruce, and Eric movements-bowel or other• article for those who want to order the it, you can't use it.' as musicians, and I look forward to working wise-come from one person. And KISStory book. That's very important. "Getting the equipment all taken care of with them in any capacity at any time in the maybe that connected somehow. Because my mother does want another was actually more difficult than having all future. And I'm still working with my own "!," so that when you sang the house." the original Kiss guys together again. To be band. We have material in the can and we're lyrics in the audience, you didn't honest, it was a little tense at first, but I think ready to shop it." sing "We," you sang "!," and imme• For guitarist Bruce- K ulick, the Unplugged it was also exciting. I mean, these guys hadn't In addition to rejoining Kiss for the diately it connected to you, yes record wasn't so much about a reunion as it worked together in years. I had run into Ace a reunion, Ace plans to lend his name to a new you, I'm talking to you. was about making Kiss' battery of electric few times at SIR in New York, so I knew him line of Les Pauls, courtesy of Gibson's songs work acoustically. He, like Gene, was only in passing, and Peter had hung out a few Custom Shop. Let's say you or Paul at this point similarly tight-lipped about the band's times during the convention. Everybody was "It looks like I might end up doing an Ace pulled a Stu Sutcliffe and just dis• reunion plans, laughing every time he had to tense and excited at the same time. I know Frehley signature model Les Paul, which I'm appeared. Could it be Kiss without say "No comment." Bruce, Gene, Paul, and what I do, and I know what Ace does, and really not supposed to talk about yet. It's a Gene Simmons? finished a new studio album in he's the same way. For the two of us, I think three-pickup cherry sunburst with a flame It would be a different Kiss, but February, their first since Revenge. However, our biggest concern was suffering over how top, gold hardware, Grover tuners, with there's absolutely no reason why that album has been put on hold due to the to make the guitars work acoustically. Ace Kiss can't continue in any way, release of the Unplugged record and the was maybe even a little more surprised then I shape or form. There's no differ• reunion tour. So instead, Bruce talked to us was about using acoustics. He went through ence between Kiss and a football briefly about making the switch from a bunch of guitars. team or a commando team. A team plugged to unplugged. "The most interesting thing about the is only ever as good as the people "We had been playing the Kiss conven• actual session was getting two drummers to in it. And once a team believes that tions sort of acoustically when Alex Colletti work together in an acoustic setting. With the we're nothing without Joe Wombat, from MTV came out to see us in Detroit. He guitar players, we were all trying to remem• Day and a half. We went in there, we right vibe-talent notwithstanding. There are you're screwed, because all your eggs are in was a fan, but even so, I don't think that he ber which riffs went to which songs and went over the songs, oh, four or five times, a lot of talented people out there. There's just one basket. And there are many bands that was prepared for what he saw. Most people showing each other variations on different and that was it. an otherness about the band, and I'm not have succeeded and done very well without don't think that Kiss can play acoustically parts. But when you're drumming along to sure I can describe it as well as a Kiss fan members who they thought couldn't be and still get a crowd going. I think he was acoustics, how much can you do? But I think Was everything completely comfortable? could. It's just some other kind of a ... almost replaced. In fact, some bands never had orig• impressed with the roar of the crowd. Eric and Peter pulled it off really well.'' No, it wasn't 100% comfortable. The a cross between superheroes, religion, and .. inal members at all. The Oak Ridge Boys: "We hoped that the convention could be funny thing about family quarrels is, as time . let's just say the band to its fans takes on a there's not a single original member of The an MTV piece, but Colletti decided to do a goes by, you forget just what it was you were - larger-than-life importance. Oak Ridge Boys. Those guys started in the full-fledged Unplugged. That sounded great, Of course, the essential ingredient for a fighting about. When it's happening, broth• Look, I don't fool myself. The most impor• late '30s. Sort of a Menudo of . but I don't think any of us were quite ready full-scale reunion was the return of guitarist ers and sisters are allowed to fight like cats tant band that has ever existed, to me, was for the nightmare of what that really meant. I Ace Frehley. After all, it was his vibrato• and dogs, but if anybody on the outside has . End of story. Everybody else can Do you get pissed off when you guys get didn't know how difficult MTV would be laden solos and spacy stage persona that anything to say about it, you protect your kiss their boot-heels, including me. But I will knocked? about instruments. When they said no gave the original lineup a certain amount of own. I felt very comfortable, emotionally tell you, Kiss fans will tell you, whether you You know what? I almost consider it a electrics, they meant it. Paul came to me musical credibility while contributing to its and otherwise, just really plowing into Ace listen to the band anymore or not is not even kind of badge of honor. Think about it. Only early on and said that the Chet Atkins elec• other-worldly mystique. Wh~t would it be and Peter about whatever my point of view the point. It changed peoples lives. And I important people get picked on. Even the tro-acoustics we had been using weren't like coming back to a band that he had left was. But, clearly, if anyone ever said any• don't know why. I mean, when you think Pope; not everybody likes the guy. I can't going to be allowed for the show. I had been of his own accord 15 years before? thing bad about Ace or Peter from the out• about it, it's all kind of silly. You wear make• think of a single important person in music, running them through a SansAmp pedal dur• "I was on tour in Canada with Peter Criss side, I'd kill them. I have the right to have an up, you spit blood, you spit fire, and sing or otherwise, who doesn't get knocked by ing the conventions to get a tiny bit of distor• when Gene approached my manager about emotional point of view about Ace and songs, and then you go home. We had no somebody. So if we're in that league, that's tion during solos, and it sounded a bit more doing an Unplugged. We thought it would Peter. Outsiders have nothing to say about it. platform, no point of view, we never talked not so bad. The only people who don't get Strat-like than an acoustic, so I was cheating be good for Kiss and great exposure for me about the secret of life, had no political picked on are the people you don't care a little then. But MTV wanted none of that. and for Peter. I was excited, so we jumped at So it's very clear that you consider those stance. We were closer to comic-book people, about. There's no such thing as bad press, They wanted real acoustics. it. Even prior to Unplugged, me and Paul guys still part of the extended Kiss family. and yet there was sort of an uplifting quality there's only press. If you don't get press, "That wasn't going to be so easy for us. We and Gene had sat down a couple of times Well, you have no choice. The fans clearly that the people got out of it. that's bad. always tune down a half step, and I usually over dinner and discussed old times and will not let you forget that. And let's be clear: try to use light strings for my solos. Plus, we basically buried the hatchet. With that out cream and black pickups. But it won't have a nobody here is fooling themselves with the But in retrospect, the music has caught up So you're not even concerned that they were going to play variations of guitar parts of the way, we were able to talk about doing flaming pickup-I wouldn't want the law• idea that 10, 20, 30 years down the line, peo• to the legacy of Kiss, influencing bands like spell your name right. that were originally written to be played on business without any worries. Plus, I suits!" ple still aren't going to say, "Oh, you're that Soundgarden, Pantera, and Nine Inch Nails. You know ... just send a check. Because Les Pauls and Strats. Regardless of how beau• cleaned up my act; they didn't have to worry Speaking of which, what is the deal with guy from Kiss, right?" That's your brand, that's Why is the music as important now as the it doesn't matter what I say, people still get tiful a Martin or another acoustic is, electric about me walking in after drinking three that flaming pickup? your birthmark. make-up and the shows were then? what they want to get out of it. You pay your guitar parts are just not going to sound quite bottles of champagne. "Basically, it was a pickup containing a Beats me [laughs]. I tell you, this band ticket, and you're allowed to take whatever right. "I was a little nervous and skeptical when smoke bomb and a quartz light. The quartz Are there people who have played with does not have a self-esteem problem, but we you want home. "So we had acoustics brought in from all I met up with them in New York. I didn't light was so bright that with the smoke com• the band that were not necessarily members never planned it that way. We just wanted to over. We got them from SIR [a New York know what to expect. But I walked into SIR ing out, it looked like it was on fire. On occas• ofK iss? walk our walk, talk our talk, and write the Anything else in the near future that you rental/rehearsal studio] and from Sam Ash, with Peter, and they made us feel right at sion, the cardboard cylinder that surrounded There were other members of the band, songs we loved writing and singing. And think is worth talking about? and even from the manufacturers. Martins, home. They gave us big hugs and we remi• the smoke bomb did catch on fire, and but clearly was in Kiss, absolutely. never had any point of view about doing any• Well, at the same time as the Unplugged Takamines, Ovations, Epiphones. I ended up nisced for a while. Then we talked about flames did come out. But nothing ever actu• Eric literally drummed his entire life in Kiss thing more than putting on a great show. album and long-form video, there's also using an Ovation Elite, because I could rip what songs we were going to try. Bruce was ally ignited. And then the fireworks came out and died in Kiss. He was with us 11 years. Writing great tunes that didn't mean very going to be a $10 magazine called Kiss more on that than on a Martin. I did cheat a very gracious too-he helped me out with of the stand, not the guitar." There was never a sweeter person; I've never much. Ear candy. But the one thing that we Nation, like a Playboy size with Playboy bind• little there, too, because I used a Bass DI 'Beth' because I wasn't sure of all the chords So how does Ace feel about merging his met another human being who had a sweeter always had a point of view on was that the ing and a fold-out, but everybody's got their from SansAmp to get a boost in my tone. It [laughs]. The only awkward thing for me, infamous showmanship with the musician• disposition. This guy never said a bad word single "I," one person, can change the world. clothes on. It's going to be a 50 page comic was also something that I knew I could step actually, was playing acoustic guitars, since ship he has cultivated as a solo artist? about anybody. Other members didn't last, The 'T' was very important in the lyric over• book, plus another 100-odd pages of articles on that would lift me above the band's vol• I'm used to playing a Les Paul. "I think I can do both at the same time," and/or couldn't take it, or just didn't have the all. "I want to rock and roll"-not we will, we and stuff. Then we'll have "Kiss Meets The X- ume. And that was okay with MT\!, as long as "I couldn't see anything negative about Ace says with a knowing grin. ..

44 GUITAR APRIL 1996 GUITAR APRIL 1996 45 lliSS Alllln - The Unplugged session proved to be the catalyst for a reunion that would bring Ace and Peter back to the Kiss family as full members-at least for a while. The question then became: What to do? The various sce• narios that were tossed about, kicked about, and rumored about ran from the expected to Ho the incredibly bizarre. Among them: gm allc Kiss on Broadway, The Show. A musical retrospective, a la Beatlemania. All members anc of Kiss, from Simmons to Singer, would be Di~ played either by Broadway musicians and all I actors or by tribute bands. thr. Upside: A walk down memory lane for any Kiss fan. wit Downside: There'd probably be a lot of old ladies visiting Times Square who go to the show expecting family fare along the lines of Cats. Kiss On Broadway, Live. A retrospective of the band's history, only this time played by the original band members themselves, for an extended series of shows on Broadway. Upside: An intimate evening with your favorite Kiss characters, up close and per• sonal. Downside: The rigors of doing eight shows a week might sap the spontaneity from what should be a "rock show." Kiss, The Reunion Album. An album with contributions from the most visible players, past and present. Upside: Probably won't include Vinnie Vincent. Downside. The band might be tempted to do a new version of the disco hit "I Was Made For Loving You." Chor * Kiss, The Reunion Tour. The four origi• dimi nal band members would pull out all the maj! maj£ stops for a full-scale arena tour. Gene, Paul, who Ace, and Peter would perform with make-up alte1 (Eric and Bruce would sit this one out in blue preparation for the release of the studio record). Expect plenty of fireworks and The amp onstage jams. Incidentally, this gets our vote vinti as being the most likely scenario to play itself 50-• out in 1996. spe, LEARN Upside. Just like the old days, man. "You cha, ART wanted the best, and you got it!" spri1 REC: and I:> I N Downside. Might be mistaken for other You can get the practical, real-world skills needed to successfully start your haw "Bring Back The Geezers" tours. sing career as a recording engineer, producer or studio musician. • Hands-on /Th, approach, learning by doing • Previous experience not required • Complete ligh 300 hours of training in less than 2 months •6 studios filled with the latest What really ends up happening or not Fret equipment •Small classes, excellent personal attention •Job placement happening is in the hands of Gene and Paul, $39! assistance • Financial aid available • Low cost, on-campus housing who are now acting as their own managers. Make no mistake, it will be their show from For free brochure, call or write today start to finish. Ace, Peter, Bruce, and Eric 1-800-848-9900 1-614-663-2544 will be along for the ride in some capacity, THE RECORDING WORKSHOP lending chops and nostalgia to the proceed• 455-E Massieville Rd ings. But when all is said and done, Gene Chillicothe, Ohio 45601 and Paul will be the ringmasters in what Ohio State Board of Proprietary School Registration #80-07-0696T promises to be one of the biggest rock and roll circuses of the year. ~ 46 GUITAR APRIL 1996 OJ, BETH As Recorded by Kiss (From the album KISS UNPLUGGED/) Transcribed by Steve Gorenberg Tablature Explanation page 82 Words and Music by Peter Criss, Stanley Penridge and Bob Ezrin II is

Tune down 1/2 step: @=E~ Q)=G~ (2)=A~ @=B~ @=D~ (D=E~ Moderately J = 110 C Dm7 Rhy. Fig. I (Gtr. I) G 111 Intro fl _J_ ~ u • ~ • I J_ I I I I J M - J l ~ ~ - -- - - ~ • • tJ ... I _l - ~ - - s- J l I J I . - -- ~ -- . I I J - - 111 'nif letring l I I

- "- -"- ~ A - - .J J> -"- __. . A ,.. J> " - . __. A - . - ft - - - . A . ~ - D A - A - - A - -" A - ft ------Rhy. Fig. IA (*Gtr. II)

_j • J . ~- ~ ~ • ~ t ~ ~ ~ n- n ~ I - r- - ~ ... _l - I J - - ~ - - ' ' I - - -- 'nif let ring [ I ,, r I J 'll •__) v - -" A H sl. :; - _.I - ~ wlfingers------i A . ,! ,.. A - ;; ------~ n - - ~ ;: i, __;; = ------= - . *Acous. - C - --- H --sl. - Dm7 G ' _./--_. ( end Rhy. Fig. I) ~ fl_ - I J_ I J_ I I J- l 0 OJ - - - - ~ - ~ ,1 ... - I J_ - - - ~ ~ J l J I I . . . u ~ ft -"- - :; . . ft ~ - - . . ft - ~ A - ~ -" . - = - - - . ~ C - A - - - ~ - ,,.= -= ,., (end Rhy. Fig. IA) ~ ~ J-. • ._ r- ~ t ~ ,n, - - r ~-- tJ ... - - r- -r ~ I ~ J L 1 I I L l I - - - l J r I r I J tt ~ - ~ . - . • . - ;: - : J> - - - ~ =- - - - - ~ - - - - -

Copyright 01976 Cafe Americana, Inc., KISS Songs, Inc., Rock Steady Music, Inc. (ASCAP) and All By Myse~ Publishing Co., Ltd. (BMI)

GUITAR APRIL 1996 95 BETH As Recorded by Kiss (From the album KISS UNPLUGGED/Mercury Records) Transcribed by Steve Gorenberg Tablature Explanation page 82 Words and Music by Peter Criss, Stanley Penridge and Bob Ezrin II s

Tune down 1/2 step: @=Eb Q)=Gb (2)=Ab @=Bb @=Db (i)=Eb Moderately J = 110 C Dm7 Rhy. Fig. I (Gtr. I) G II Intro . J ,. .. I I I I " r I I J I J I ,. r - - .: - :' .. .. - r - - - - r 11 - - I I I L I I - - - r - I - • • _J I I l I I II 11if let ring ~ - . - :: . - . I - - . - - 4 :: - - - - - . - - - n ------Rhy. Fig. IA (*Gtr. II) • ..J ' ,. .. ~- !: ~ - - ~ ~- ~ - I I - - ~ - - ~ ~ I I J - - - - :' ' , - 11if let ring r I r I I 11 :.J •-.;:::)' ' r H sf. - '! :: . - wlfingers ------i I ! - . - 4 :: - - - - = - K - - :: - - = ;. = = ------;. - *Acous. --- - C - H sf. Dm7 G ( end Rhy. Fig. I) ..J- .. ~ -" .. - I I I I I I J I J .,, - r ------' r " ~ ~ - r - - - - - I I I I I - . . - .. tt - - - - '! - . - . . - - - - - '! ------:: - - - = - - - - .- - '! - - - = -:: (end Rhy. Fig. IA) ' ..J- ...... - ~ - ~ .... - . - - "" - - - - - ~ ~ - - - ~ - ~ ~ I I I I I I I - - " I I r I r I J tt "

'! - :: - '! - . - - .- - - '! - - - . - . - - - - '!= ------!" - -::

Copyright 01976 Cafe Americana. Inc .• KISS Songs, Inc .• Rock Steady Music, Inc. (ASCAP) and NI By Myse~ Publishing Co., Ltd. (BM/) , '

GUITAR APRIL 1996 95 Beth Beth

D7 F G Am 2. G ,...._, F G ' . ~ I - - ~ ~ . . ~ - - - - ~ ~ - - " .. I I I I - - - - tJ I - .. ~ L - - think I hear them call - ing. - tJ - -L --- Oh Beth, what can L, I do? - - Beth, what can I I\ I ~J I I l. - .J ' .. - ~ ' J ...... -- - ~ . , - .- ~ .. L .. - - - - ,_ - . ·- - " L I - ,-.:: ti . - _11 I I .. - .I _ " 'I e-- ~ .. 11 1 ~ 11 11 . - - '! \ '! - - - ~ ! .,. . V = - - - . '!- :, .! =.,, V------.c- ~ :t - - . - ~ '!= - - V V - ·- .,. : - V= = =.,. .,. = V ..- V V I'\ " . • - .,-, .~ - .. L ~ I J l. . . ~ .. - - • .. .. I . " - ~- - - - ~ -~ .,_- --. . ~- - .. - - ,. . . .. 1 .. .I "flt '. . . ~ 1, _1 ~ I .I I ., - .. .. - - i....J V ~~ ~ ~ ] ~ 111 111 111 - - ~- . ! 11 111 ~ - -.c = V - - '! - ! ! - V - - - . . '! '! - . - - ! ! ! ! '!= V .! '!- V - - ~. "' = . = ~ = '.! : - '? '? :- : - w/Rhy. Figs. 1 & lA .. V V V = =.. = '! '! = =V V - V V- C Dm7 G 1. - - - G F G C do? " I - C w/Rhy. Fills 1 & lA ------~. .. - Dm7 Esus4 E - ' - ~ - I Beth, what can-- I do? 2. You II Guitar solo (end Rhy. Fig. 2) w/Rhy. Fig. 2 .. ,-.. . .. J}- .. ~ Am ~" . .- ~ ~ - G F . ·" Full Full Full ·- . - - - Gtr.11 Full tJ .I J ) }··············-:. ~ ~ . I- I I I '-' 1 ~ 11'--'_..11 -~ ~ s/. At1 s/. . ~ • ...... [-)!: .. ~ - - , --- e ee ,_, ------.. ~ . _, I I I '! -'! - - - tl r ~ = . = '! '! - .;. ! V - L._ 3--l - '! .! ! I Full I/ Full ='! V Full = = = :: '!I V- Full = - '? : ~ A.H .• s/. V V = j _J - ...... ······.·-:. =~ '! .. V / r.p V = - - V .,. . . - - - -' - V -- - , - rv ,v V ,v - V - - - - - .. ,v V ·- , - .. "' .. V ·- = V

s/. ' ~ • .. ~ , . .- -:--- ~ . J J Em J I . - ,. D7 t .. ·.1 - -'!;- - ~ - - i ~ 1 1_..11 *

'! . =- .! ! V - , _, - - '.! / V ] V- V- ~= . - L._3--..J =V = - L._3--..J '! V .. , ..- - V =V H p p

98 GUITAR APRIL 1996

GUITAR APRIL 1996 99 Beth Beth

F G Am Am G 1/2 F G s/. j I I "'. ! .. .. ~ ~ r- - .· .. - - ~ - - ~ '- ~- - - ..- •J - Full 'cause me and the boys.L, will be play - ing 1/2 all p I p sl. I\ I ' ..- - - '", ,_ ,;..-c ,_ - 'V, - ·- u- - - V ------' "' "' -

s/.

s/.

3rd Verse C Dm Em w/Rhy. Figs. I & IA ~ C I - ., ~ Dm7 G - ~ - - -, ~ ~ ., - - ~- - .------. ' - ._J - - I .,...... - ., 3. Beth, I know., you're lone - ly, and I hope you'll be al - right,. - night. _ Ooh. _

Gtr. I I I J I I I I I I I I I Dm7 G ' .. ~ ., ~ C - - - ~ - - Gtr. I - - - 17'., ._J .. I .

- . ------. - rit. ------V - ' ------'

Gtr. II ...... (Spoken:) All night. j .. .-* - .. - .. Gtr. II ------..i u i I r I

- - - --.,- T rit. = "!. - - .! ------"' - - V - - - -

100 GUITAR APRIL 1996 GUITAR APRIL 1996 101 BASS LINE FOR Beth BETH Chorus As Recorded by Kiss Am G (From the album KISS UNPLUGGED/Mercury Records) F Em D7 sl. Transcribed by Steve Gorenberg Words and Music by Peter Criss, Tune down l /2 stepr Stanley Penridge and Bob Ezrin Just a few more hours ... @=E~ @=D~ Q)=A~ (D=GI,

Moderately J = 110 sl. C Dm7 G H . ~ I .. 1. I mf F G Am G F G C sl. -- sl. .. I I .. I - I "' I ., - K .. "". I tt . ..

C H H Dm7 G ,,,--., H . ' r~ -

I i..,..,,i H G r--,._ H F G ., I II I ·n I 1 - ., I I I ., .• I - II H 2. You sl. sl.

1st, 2nd Verses C Dm Em Am G *, '

I (Voca/:)1. Beth, hear you call - ing . C Dm7 G say you feel so emp - ty . H ~ H 1 T I l l' I II, I - TT .. ,. I _, _, I I V .. l *w/slight variations H ad lib repeat. ,,--.., H

H F G C Esus4 E sl. .. ' ' --a• .. , I I I C sl. ' H Dm7 Esus4 E . I ... )~~-~ .. ,,,.--- - I I II .. I 'I I - ' II -· V I .. I -.i I - I s/. I ~ sl. H l ., I I II I .. I - I -- Copyright 01976 Cafe Americana, Inc., KISS Songs, Inc., .. l ., II I ., I II Rock Steady Music, Inc. (ASCAP) and NI By Myself Publishing Co., ltd. (BMI) ;;

102 GUITAR APRIL 1996 GUITAR APRIL 1996 103 Beth

Guitar solo Am G F Em .. s/. er • .... <]. ' .. let ring------······i

I I I I I I I V / V V I :; I ' s/.

D7 F G Am G ... s/. ,, ..- s/. I I I -:

I I I I I I l. ,, I / - .,_ ,v ,v I ,, V I V I'" '" :; I st. s/.

3rd Verse F G C C Om .. I I ' I ' • -._,- l r 3. Beth, know you're lone ly ~ I II I I I _, " II I V I .v V II V V 'I ., V I

Em Am G F G C ' '". u--

I I ,I I I I I II V I I I ·11 .. I

H Dm7 G C ,--___ H .. '

I

s/. H .! '- I I I I I I I ., I - I ., V - 1., ' I "' I H

H Dm7 G ...... ,,..--..._ - H I rit. s/. H --- I I '- I II I I II I . 'I - l" II H

104 GUITAR APRIL 1996