FEATURES

GUITARAND BASS
SHEETMUSIC
1 7 ExploiningTob
l 8 PerformqnceNotes
1 9 BATTERY
Metqllicq
Guitor tronscriptionby JesseGress
Bassrronscriprionby Andy Aledort

2 8 SOUTHOF HEAVEN
Sloyer
Tronscriprionby Andy Aledo't

3 8 5 M I N U T EA
ST O N E
Pqnlero
Guitortronscriptionby PoulPoppos
Bosstronscriprior by SteveGorenherg

49 CAUGHTIN A MOSH
Anthrox
Tronscriprionby SteveGorenb€.9

62 DEADEMBRYONIC
CELTS
Sepulturo
Guitor tronscriprionby Jeff Jocobson
Bossrronscriprionby SteyeGoi€nb€rg

HOUR
74 IN MY DARKEST
Megodeth
Guito! trons.riprion by Poul Poppds
Bossrronscriplionby SreyeGorenberg

Sone dorertdt it this itsue hos heen rcPtinted ltum

rfie best ofGuitor For The Pro<ticing Musicion's

C!!er.id.oiient p h o i o sb y K r i ! r n a o r o h o n

PRNTED
NTHE
USA
 HAIINDMAI!
KNOA]{DJETF
rcRRY
qI IYFD

Whal wer€ your €arly rcck inlluencos?

K E B F Y : r e m e m b e rs l a f l n q l o p a y . . J u .
' a r n l h e 7 l h g f a d e w a s nI r n l o f i r L rcs
c e l o r el h e n I h a d o l d e f s r s t e r ss o h i d
'o lslen lo lherr slull Back lfref lor
. i l e n c e s . I w o u d p r o b a b l yb e l l r c { r s l
B o s t o nr e c o r d O n c e I g o l m y o w r I ' c a d
: n d d d n l I s l e n l o e v c r y b o d ye s e s m u .
sc I was old JudasPrlesl had qurlar
c s s o n sl o r a y e a r A l l e r t h a l | l t o l f l o l l
b a n d w r l h m y g u r l a rl e a c h e r .w h r c l rw a s
a o n v e n r e nT l h e y n e v e rw c n l a i r y pa c c
b , r lw t r a tw a s q o o d a i l o u l l h a l b a r i dw a s

JEFF I sla(ed playnll whcn Iuarccl

1 8 s a v e dL r pa l m y m o n e ya n L lD o l r J l i l
a q u r l a r A f l i o n t ho r l w o m o f l h s l a l . j I
T e i K e ( y N e x l d o o r l r o m w f r c r oI v r a s
i / o r k r n gh e h a d a b a n d l h a l r e h e a r s . r d
3l lhs Pace I was lrcfds wrlh llrcfl
a n d u s e d l o m e s s a r o u r L iw ( l r l l r c r f
K E R B Y T o . r r( A r a y a )d r d nI v / a n ll o p l a y
'or a long lrrne I was
lLrsm l c arid Joll
' o r a w h l e H e s g o l a l o l n r o r oc l l l f u r f l
n l u e n c e st h a n d o
J E F F r M u s c a l y I w c n l l h f o L , q r rl r ' L '
,hoe rock n roi lhnq Led Zcpp0Lrn
A e / o s ml h W h € n w e { r s l l l o l l o g o l l n i r
r l a s I n l op u n k a l o l a f d l h a l s w i r c r oT l r o
s p e e do l l h r s b a n d c a f t i c l r o r r r
D d yor.isver srl wilh records and trgure
oulsongs?
K E R R Y I d r d a l I h e l m c W c L r s c .l o
! o c o v e r s d g o h o m ea f d p c k o u l l v ? ( i
o r l h r e es o n g s a n g h l P r i e s ls o | ( a o r i
'ron Maden Sabbalh. AC]DO UIO
N o w . s i n c ew e d r d l h a l a n d w e n l l o o L r r
o w n s l y e . a l w e s l e n 1 0 s l h c o l . l i / 0r ,
srLrragarn
J E F F I o v e l s l e n n q r o g L r l a fp n y c r 5
k e S a l r i a n ra n d Y n g w e qel rrllLi
e n c e da l o l b y l l r e . r i B u l I d o ' rI s I a o $ / r l
! v l h r l d o n l w a n l l o { r n Ou t ) p l a y r r r l
t h e r rr l l s o n o u r a b u m
How do you leel aboul what s goinq on
ighl now?
J E F F T h r a s hh a s b r o k o r rl h r c L ' ( l l rl J L r l
l h f k l h c o n y D a n o s l l r a i a r c a o r r ( tl o
J,ako arylh nll oLrl ol I arc [4oliil |j t
w h o h a , r ca l f e a d ya i o r r c1 ! r , a n t l r r r i r y
l r e l , , f t x l ; d e l ha n a A n l h r a t l l i n k l l I
r r 5 r a ( r [ ] s 1l l o n l l l o b o l . r l ( l o l r ( i n
K E n R Y N o w l s ! o r r ( r l o w . i r ( jl l { l
5 f i ' r r . ! ! r s o r i s o { w h a l l , 4 c l irl r L i is l i r l
.rj llr'rrs r r'cw wavc ol lr{i;lv!,rilrl
t ,,trt^: t()cl Grri! N lloic! r|,r
( 1 . ) , ! r r i I ! r r r i l i : i v o c . r s o ( j ( x r ,l l x l
r i r ! r 1 l r ( , , r x j . r { r a I l l r i r k q ; r r r rs l x r L[ ]
l j r j r i L , i l , r ao l l l l r t ] ( , i r l l ] I . , l r o r ! j l r .

J E F F r i l , t r | j ,( l . l r r { t . l o l r r | . r i r t , l
t r r . r ' , t . ) 1 1t t : l r , r C L r r f i , ( i l ) , I r / r l
T l u y ' o k . A { i l r l , r r c c l : i . i r r l v l o . tr ' i
l r r i r l 1f l r ; r i n . l o r r l r t i l r L rlll r J l
l i r v r i l r y q u r l r r l r r r o . r , k r Y r i r r r l, r
I i ( l . l o 1 is . l r i r r A l n l f ( i l r ) | l k , ! r ' l "
Irxr r)l Jo! 3 !how! | rl.llrI kr(N llr)
 KERRY KING AND JEFF HANNEMAN
he was When he came on mv |aW songs we
dropped.Al soundcheckswe do ao;e" takethe limeand lhrnkaboul naveDeenlryng lo pll rogerher
I We can say.lhal s good bul rl we d d oay one 5 a reai srnce
lh ng oji the Sur/mgatbum SleveVarrs Ihrsrlwoutd hot double soto we
Increobe, loo His F/exibleatbum is lo surprisepeopte. be better lre and Kerrvtike wanl to do that but we haven.lqolten
somelhinqioutd around
gfeat generallybe wfiflenone way w; swtlch wfilng Io rl yet we Iake so muc6 Irme
BritIhe_Stayer styleremainsunchanged. lnrngsaroundto be dtl'erent the songs,the recordcomoanv
rEFF Hlgnr.unlesswe leel we want to KERRY: s.ays.come on. we ve qor ro reco,i rh6
plav somelhing Theres no tormuta.The.es aloum 5o we dont have
else but frqhlnow we onrybeen one or lwo trmero do rt
donl. Listenlo Sout/)o/ Hea;e, the tast we ve had occasionswhere rve Deenworkng al t at home and
lyrcs wr| en belorewe had a mayoe on lhe nexl record
track has mellow guitar. I wrote thal song.we we
rnreeyearsago on my old louclrack tl lrke rlJs usuetlywfiteprecesol sonos one DecauseI lov€doublesotos have
30 and try Io l,qureout wh;h Was Ihisatbumdone live in
was somelhingI toved but didnl leetal n s trttogelher the studio?
Ine ltme was right for slayer Now we eno bestIo be a song At the KERRY:We drd drums
or lhe bsss. and borh
wofked il inro Ihar sonq I dont know rlr]o_:lu_ssong Ihen we trv lo l lvrics guilarsat once Thenwe wanleda bel-
wlalwe ll be dorngIna coupteolyears JErr Ineres c inslead ot musrc lo tvfica rer gurtarsound,so we
Hrgntnow we?ehappy wrrhwhar we fe knOW rwowaysI wrte I e/ther lars over aga n The did all the aui
exactvhow drumsare al h-ve
Oorng tvleand Tom have been qell|no go n my head lhe songts qornqlo lhe leadguilarsandvocalsarea[ ovel
Inloclassical and I tugt ware rl or i
rfustc alety lwas-slficlti nave lhe ri'ls and
rnlopLinkrock we sta ed wth lhe ao. Kerry lgel toqelherwrlh Whenyou ptay live does the
and we kind ol work rl orrl stutthavs
gtessron, ro be tightly
and nowwe re slarlrnq to m; KERRY ljsualtyme and Jet' /uslcome KERRY: rehearsed?
r!re as a bandandgetrntoOlher Ihtnos In wrth rifisand showil lo Tom.Ths Weve ptayecllogetherlor so
Howdo youapproachthe musc in te;s rong atlwe dtd !.raspractrcelxee davs
alDumhe cont.rbuted rhe lv.cs rnore lo qel readytor the rour
ol wriling? Me and Jetl atmostatwayshave filts to speed Ge'trnqthe
JEFF:Instead ol sayng wete oo no to onng Io lhe rehearsa/or we ll get bachtakesmaybesevendJysto
play,asllhehldswrl toverrany;ay we an nour lhere wnererts not sloppyas he| on the real
and a hall
are our own worslcriiics we st there an roealor a rifi eafly and we lt have raslsongsYoucanr feDtace the,eelnO
and
and.go no lhats not theway rl shoutd everybodygets lhere.make rt beller trtl or berfgon a staqewrlhanvlhrno
oe Lers workon rhrsfrlt and rfake rt lo rhem l\,laybe and lhen showrl JEFF I ve atwayshad coniOenie
one per atbum my ptayrngand being on wrrrr
fJellerThe wav we go about w rnq w€ [ nave somelh]ng sonq staqe tve
workedour A lol neverbeenneruous.lt s somelhi;o
or tmes, on lhis lasl album.l d go In and lo do. I hkc
and have lun cjonq ll c6esnl
oo one or lwo takes and I guess Jell matlerwhal
wenl In and did lhreoor torn slze lhe crowd rs; I rLrstoo
oul and have tun Tom rhe snadr
ls lhat th€ usuatway yol, do solos? lhrowsup sometrmes
KERRYrl dependsWe usualvhavcto on He gels nervous, betorete o;c<
dO leads belore were rea(jy We sav c.owds ll especialvwrllibro
we ptayL.A.and hrs tamrtvr;
we ll be readytn a coupteol days. an; lhere.
he gels nefvous.I JUSIhav6 a
rney sav o[ay youfe do/nq leads to time
oay 50 we lry I we oo In and lddte KERRY:You 0ooo
arouncjwth how wete gofg lo staft t Ihe lime can hale rl to dealh bul
ano go kom there.I gel a slarlrnotead remposget Vouieon stagers worthI
tasterlive.
deal and Ooon kom there KEFRY Weve gol to keep a cao on
Do you dtscusswhat each o, voLrwll lhal this lour.
do? Last touf they clotsrlv
IneywererealtastThisyearwe krnddl
KERRY:No We bolh lrsleoro rl anci I rcalzeo whal
someDodyreallydoesnI I ke I hke il I a DUmwas we wefe dorno our tast
wavtastefandlhesorqs trve
cjrdnl lke Jefls. he cJprobab]yreclorl wefe even laslef Partol wlratwe dcl
ne reallydrdnl hke mrne.I d Drobabtv rnrslour
and albumwas lo bo cifierenl
redo rl ll we lrade oil teads anctlhe; uo you
copyyoursotos?
don I work togelher somebodyw il KEBRY[/oslo
cnange hemwedo We,ustdo
rnemIn the studo onceand betorewe
Yo! donl heaf thal too ofien,tuo lead go
gurrarptayerssharingthe responsrbfitv weon lhe roadwe havean rdeao' whal
do ll mightbe a |tte ofi. but its
all lhe way down. prely ctose.
JEFF The.e wrll be trrneswhen Kerrv Are thero
comesn lo do hrspaftand |lt comer; you solo?scaleslhal you lhjnk ol when
ano r I In fny gaps and he I qo You KEARY I
jLrsr can ontytelt you thal I know
Diewmc away lvcgot loqoback ror a tacl one
ano redomtrle Thercrs a trt|el}t ol mode In tearntng scate lts lhe Dofian
gu
compclilron one thinq me and Ketry lrngInlolhenamcs tar I was tusloel
otscateswnentiurr
ano startcdgorlq by ear lt m/ghtstan
wrn a Uorianscate,burIn lhe pe.od ol
a startlo re trnrsh o1a teadtls Oorno to
be mayhem
JEFF. I praclrceal the time I just like
playrngI learnscales.Ive beenwork-
Inq on rnalofand mrnorarDeoorosI
dont knolt how ro reacj musra Ever
srrcc lhe begrnnng I ve been se
InrrqnrI want to sta ge ng Intothe
redirrcalsrdeol rt tv€ gol a krend n
5Lric,dal Tendenctesand he rhrowsme
I
ca.tlnred an Page r6a I
 STAYTR
scales now and lfren Ghosls of Wai
h a s a t t e s o o w l h l i r e a r p e g g i o ss o
I s s t a r l n gt o c . e e p n l h e r e
The echoey €llects on _MandatorySui-
cide remindedme ol Hendrix.
JEFF: Thal was me
KERRY thnk ts kfd o' Doors ke.
Tom kes the Doors a ol
J E F F T l r r no n t h e r e v e r o; n c s l a ( h i l
lng lhe gurlar
K E R F Y I i k e e j i e c t s r y p es : L l r b l t
wasnl In a po$ilonto Lse m! ellecls
ke Jell was He s been mess .g wilh
h r s w i r e r eI w a s m o v n ! l h s l e a r H e
p r a c l r c e da l o t a n d h a d a i s e l l e c t s

On the record ii sounds ke you play

rea y loud if the studio.
K E R R Y :I p a y t h r o L r g ah V ? - s t a 1 0 0
walt head We mighl ha!. L3ed two
h e a d s a n d t w o c a b n e t s Y ! r .r e d o n e
lhal belore On the oder arJnrs llre
sound s bad, prodLrclion-!!se r?ca!se
we re n rea cheap stuclos \\re rse rwo
s t a c k s a p i e c e O L r rg L r i l a rs o J r d s a r e

gulars You gel your ve scJ.d and

s a y t h s s o u n d sg f e a l Y o J g o n s r d e
and whalhappened?
wonder why bands don l lry recording
inaha?
K E R R Y TT h a t s h o w m y g , r t a r w a s i l
was n a ha way wlth baii es t !!as h gh
wa s gelthesoufd wart n theroom
t h e n l l g o e s l h r o u g ht h e b o a r d . i o t h e
speakers n lire slenirg room afd ts

J E F F :W e a s o L r s eB o s s l 0 b a n c E O s
a n c lS P X - g o ST h e B o s s E O i r a s a t l e
overdlve to it lh nk we gei cLrrext.a
sound from the EO s We LrseI ior more
p o w e r I w a n t a i a 1 ,c r u n c h y g u i t a r
soLrnd For rhyihm solnds Lrsedto use
t h e B C R r c hB l c l " r e sw l h l h e p f e a m p
swlch on il bLrl now lse a Jackson
wth EMGS When do rry soos t's
slra ght: i don I need any peda s or exlra
overdrve ForS ayer lirals what lse
A l h o m eI u s e a S l r a l o v e l i r a ls o l n d .
It has so mLrciriee fll The soLos pay
al irome have fi'rore iee ng they're
bluesy They wo! df t be fight on stage
w r l hS l a y e r o v e b L r e s rB B K l n g L e d
Z e p p e l l nI e x p o r e r h eY n g w i el y p e m e
ocllc rlls ve gol one thal we do at
s o u f d c h e c k w o L dr n t d o i t w t h S a y e r .
W e w a n l e d t ob e t h e h e a v e s tg r o ! p n o l
fecessar y tfre iasiesl lusl heavy. aq
gressve voent musc Thals some
lh ng st ll wanl to do bll when l m nol
d o n g S l a y e r . k e d o n g o t h e rl l r n g s
loo have an eight-tfackal home and
m a k eh o m er e c o r d i n g sT h e s o o s l i k e
l o p a y a r e o n t h o s el a p e s . c a n s e e r l
e v e n l L r a rel yv o v n g a n d g e r l i n gi n r ol h e

MEIAIMONSITF
DAVE
MUSTAIN
&
DANNY
<D I T T

I downat Sundan6
I (a clubon Longls.
land).In m8rching
Air
Jodans endsnreddod

Spirzol Anlhrar,brcka
brcadto96theflor tho
lilst time.ln thiscorpo'
rale a9€ or procossod
rebelion.lhoyworclhs

lBnltessmusiclull ma-
jor labersuppon.Al lh€
sundancesuftmdth6y
wo.eproParoo ro grap.

issuosol our tims:Th€

ol Punkto
rclalionship

Gurralsihowro lind rh6

mahasPx.goi and

bandwaarpinkundoF
aoa. we sontour Mu.

do.l, alongp manlylo

looraon long lsland,

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lo lhem lhal yo! r. nal!/ally

wcanf! rrrik lrrki*oal Thal s
nol I.uc I yo! rc a .lDod onou|h
b a . d a n d l h e . o r . 0 a r r ! l , a sl a ' l h
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crearve conlro ,rd a nt ol npll
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acousticE!itar,Theles a merershifiro 1218, up to thevocalentmnce at drelirstverse. bar 9, blr itt still the sane scale.The solo
wheresomeinteresting andvariedguird Iig Afterlhe vocalsend,at the doubletime windsirs way down dramatically aswell as
urescrop up. Takea look at Rhldm Fi8lre section,there is somefurious right hand positionally,so that by the e.d ofthe solo
4,whichhasa linle l6th noteskipon beatsr w o r k i n t h e r h y t h m g u i t a r :a l r e r n a r i n g the guite hd Norkedils wayftom a high!
and 4. The scaleis E blues(E G A Bi B D), p a l m - m u t e dE s w i t h t w o n D r ep o w € r at the lTth fret, secondst.ing,to an open
minusthe B. The F"in the B, power.hord chords.Noricetheres not a singlera88ed 6 t h - s l r i n gl o w E . A s i f t h a t w e r e n ' tl o w
lendsa t crid feelro theproceedings. thlead on rhesenoresrrhe rwo guitarsare enough,Dan Spitzd.opsthe whamny bar,
tutr8 h an eight'barpasageor running andg.indsourfaceunderthecollectivejack'
eighdrnotesthatsedesto furthe.inciteand At 2:10,10bes b€forerbe secondverse, bootof rhestompingmoshpit. ,t c'
agitaterhe Sroore.ln the nine-ba.section Gt!s.lll & tV playa Lodid solndingline(in
leadingup ro the meierchange,all manner Fr:F:GA B C D El-Whatdefinesthat sound FIVEMINUTES ALONE
of r2l8 subdivisions are encounteled: held is fte,2 {G)and the,5 (C).Noticethat the Funkchopsis whatwiil getyou rhrough
notes,eighth-notetriplets,l6th-norcslurs, secondversedeviales ftomthefirstinfom, the lnlro of this mediumslowseether. The
and quartereighth powerchord movenenl Theret a Beatleslikeguita. riff (albeit muted nores(indicatedby x" noreheadt,
T h i s l e a d si n e x o r a b l yt o l h e 4 / 4 m e t e r w i t h a s u p e . - c r u n c hr r e a t m e n Or h a t doublestopsljdes,and l6th-notesyncopa-
chmgean.ltempDincrease. appearsat 2:39,at tbe balf rime secrion onsaie hallmark oftraditionaltunk play
nifl C is densewith chromaticismand beginningwithlhe lyric .ells. This is the ing. The diiferencehere ot courseis thar
16ih notes as it scur.iesa.ound spoken- lastinstdce of humd Sund ph)ing aswe theres moundsoldistodon aDdno subtle
sun8lyrics.FinaUyat Rhlthn Figure5 we known. we rhengo inio a monsrrously dif- rhythmicinte.play-the band deliverethe
gerthe classicchuBgingMegadeth.hlthm ficult rhyrhm guitar sectionai 1hebridge figurcsin tull rhtthmicunison,RiffAaDdits
rifi.lt is thisthatbackstheEuitarsolo,a blur od final four barebeforelhe solo.The solo cousinnitr B p.ovidetherelease in an explo
o f . o n - n e l o d i c ,f . e n z i e dg e s t u r e sb,o t h itselfis in 12th-and ]4th-positionE minor sionof highlychronuic but rnelodicnotes.
slurredand picked.The solo neverleaves (E,F:CAB C D), bri attedptsto assignany The first versegrooveseitlesdoM a bir
r z t b - p o s i t i o nE b l u e s ( E G A B t B D ) , woddlyaftriburesto it beyondthararefmit- to a moreslationaryhamony.Aftera fou!
a l t h o ! 8 hp l e n t yo f . h r o f t a t i c t o n e sa r e less,other than to sayil s iast, it s picked, bar single-note line,the figurere$'mesibul
droppedin. ftafs .othin6 comparedro the it's non helodic in construction,and woe unde.theheadingof thepre chorus.Things
chaosthatp.evailsin thesecondsolo(4:35). to thosewho rry to playit up to speed.-l C beginto unravelthough, beginnirgilirh fie
Talk aboutyour slur blu.sl More notesare wide-viblatoed notesinbar3.Thena varia-
slured than picked for the first nve bars CAUGHI 11{A MOSH tion ofthevese riffk recallcd.
until theres a rapid-picked descending line Anihra\ begintbeir raplike rant with a No surprisesnr lhe chorus,becarserhe
at ba.6, whichrecallsa sud ritr gonetragi stun-Gunn(asin PererG!rr) ritr Lrased in E introlitr, RhtthmFigure1 caiiiestheeight-
callyahry.lts ftee-fom leadafte!dEr, bur minor (RifiA).At the versethe tempopicks ba! chorus.It s afterrhe second!e6e and
with every note picked, not slurred. Nodce up toq=205,andthe Suitarfi8uresale more c h o r u s ,i n I h e l o n B ,n e b u l o u sp a s s a g e ,
the rhlthmsee la'lly conventional, too,bot n e t a l - l i k e :p o w e rc h o r d sc o n n e c t e db y wherethe iieesland nosr interesting Euitar
the start and stop feel olrhe lines,loosely pulsinglow E s. The slDwe!pre cholusand w o r k o c c r r s . E s s e n t i a l l ivt s b e n t d o u -
basedin Eminor (EF,GA B C Dl, cieatesa chorus(q=180) continuethemeralfeelunril blestopsin lhe l6th.norerhfhms, broken
eight ba6 beforerhe secondveree,when up by an episodeoftr€m-picked,slow-bent
Orderis resroredat rhe intoduction of RitrA takesover.(Thh is whereft€ lyric's noles.The lead guita! neler reallybreaks
thequafternotetiplets in GuitarV. There's corc, "what is n? caught ih a mosh!" freei.to leadland,and rhis conr.ibutesto
sohe vesrigiallead guitar, i. the form oi thepent-up,smoldernrg leelof the song.
rlhammy-bardives,but we.e backintorhe At 2:52theres a rempochangebackto I.C.
s o . g s t r u c ! u r e .M e g a d e t hs u p p l i e st h e q=20s,and rhen there'sa groovechange
musicalcumd in the lormof a chromatical i o l r b a r sl a t e rt o d o u b l e - t i m ef e e l .T h i s SOUTHOF HEAVEN
ly ascending powerchordriffthat tales us killingpaceis whatthe guitansthasto look Tbh songis built primarilyaroundtwo
all the way to the denorenentof dream)' foMard to whenitcomestime to solo-and electricguiralsrhatplay sinSlelinesin har
arpeggios firstheardin theintro. .ome 1hetime does,at 3i06.Ifyou wereto m o n ya n d d o u b l e$ e r h y r h mp a r i s .T b e
Ion chappelL lo.k at rbe noLeswithoutseeingthe tempo o p e n i n gr h e m ee s r a b l i s h easn ! m i n o r
iL ) n , y o u m i g h t t h i n k i t a l y l i c a l ronalityudlizingchromatically descendi.g
DEADEMBRYONIC CELLS m i n o F f l a v o r esdo l o ,B u t a t t h i s s p e e di t m a j o r t h i r d s h a p e sT. h i s p b r a s ei n n o t
At n6t glanceir doe$ft look like any' soundsasifit s brimmingwithkinericener basedon anypdricularscale,andtheuseof
r h i n gs t r a n g ei s h a p p e n i n gi n t h e i n f t o : gy, waitinE ro break free. It never reall,v rhedescending rhirdscre?trcs an eerilyaton-
rheres palm muredopenE'sinre6pe6ed does,strangely,but other bizalre things do al elleci.Thisis hdmonizeda fou.tb below
anonS power chords.But the fact is, rhe happen.The har ony startsto gel strange by a glitar lhafs veryquietin the mix.This
list pageofrhh sonSis devilishlydifficul!to around bar 7, \ Je rhere s an F, and a hdmony linebecomes the naintheme(Ritr
play !p to tempo becauseof all the chro- jump of aDaugn 'ed 2nd ro G,.Thisis rhe C).Thesongmovesinto doubletime at the
madcmovementin the powercho.dsand f a m o u sP h r y g ' a , ,) o m i n a n t s o u n dt h a i s e c o n dv e r c e ,w i t h b o t h g u i t a r ep l a y i n g
variety of coftbinations of open E s and sponsa 12,a majo 3rd, and a i7. In E the Cahtin'ed anpage1AB
18 METAL
MONSIEBS
 page17
TablatureExplanation
I BATTERY
As Recordedby l\retallica
{Frcmlh€ albumMASTER
OF PUPPETS/E
eK6 Ae@ds)
Words and tvltlsicby
D Janes Hetfield and Lats Uhich

E5 F5 D/Fl C5 si5 A5 95 En 8/Dt c5 D5 Fl5

gr g:a

ffi ffi-ffi-imi*im4i*
ffi aii dia-", -S\".
ffi Ff, H4e Hf{ H+#

IE

'k

E5
gh

'J,

)_

r c ' I l l r L r r Lr o , I n ? h r u ( l d t i n . o i r )
w/Riffa
-_ E5 c5
iiili 1

tuff I (Elec.sli.Iv) n7. ----]tr

'8

fl

I coM oh or s c€s 4 D€abMM lr€cAP) MFIAL

MONSIEF
hlsrolondftrylhskudAluohsFe*0d
 F5 ' ' 3D./ F l
c5 E5 A5 B/DI

N.C,(E5)
'Rhy,Fis.2(Ctr.l) Br5 45 (E5) En D/DlEr (E5) r E 5 )F l 5 C 5( E 5 t c 5 c 1 5

8,5 45 E 5
, . t-T--l En l/Dl En(E5)
)

,ji,tp'1.
Rh::Flc;3)
l!t, 2.d, 3.d v.es
li^ill#,",:f ;,* "",,,
Rl di;;; Bl5 ,{5 (E5)

l- Lalh - i4 out ihe ac - tion, & -rm-ins the re . ac - tion,

2.Crusi-ins a[ de-c.iv - qs, nasn,i.s non-be-liev -.n,
3, Cir- clc of de-srdc - tio., ham-d.r comcs msh- iry,
w/Rny.Fis. 2 (lsl 4 bau orly)
En {Ei) Bt5 A 5 ( E s ) F t 5c 5 (E5Jcsclt(E5, Bl5 A5 (E5) Em B/Dl

w.!k areripped .nd tom a , say.
nel - er cno - 13 po - t.n - €y.
pow - er-hou* of en - er , gt.
att
Hyp- no tiz - ing po{ - Dr, crush- ing aI that co* - er,
Hu.-sry vi -lence *t . er, feed ' ins oif th. weak - er,
whip-pin8 up 3 fu - iy, d o n - i - . a t in8 flu - ry,
w / R h yF
. iB.3
A 5 ( E 5 ) F 1 5c 5 r E 5 ) c 5 c 1 5E t c5

bat - ter- y is he.c

breed-irg on in. sn i tyl i Sm.ln.insrhroush the bound ri.\. lu - na . cy hls found ne,
we cre- itc lbd bat
A5 F5 - ,I^Dr '' ' . w / R h y . F2i s( .l s t 4 b 6 o n l ' l
D G5) Btsa5 rr5, tm B/Dl Em(fi) B l s A 5 i E 5 ) F l 5c 5 ( E 5 ) c 5c l 5

w/Rhy.Fis,3 s/Rhy. Ft.2 (lsl2 bas o.ly)

E5

Pound-in3 our ag-9.6 - sion tums in-to ob-s - sion, cs,nor kil the b.t - rf - yl

20 MFIALMONS]TR
t En B/Dl E 5 B/Dl . ig.:(ln 3 baisonlr)
w/RhyF
I (E5)

l
Can-nol kill lhe fan - ly, bat , ter - y has ground ed

l B t i F 5 q R h r .F r s . : . rr J b , ' ! o n t y /
4
tr
ttr BDt Lr,tsr s,. A5 i-; Lt;) ) A r5 {( E
B r, 5 t ,5
. r)

= Bt5 E5
a/FiUI (ctr.ll)&Rhy.Fis.3(cir. t)
) )l

) E5

E
*:J

c5 D5 G5 B5
t\
,t-1)) ),) ) )s t\ it ),
Ptv

E5 C5

fl., J''ta
t\l -- -=-"
t1 A ), )^) ,J
",' "--------

! PP l ir l,-I l p p

';l- J. & -r.

_.s A _4- _=!- -L- .r L J- .t p r

MflA MONS]TB
 @q' @'F" @.F. @"F"
E BI5 45 E B'5 A 5E B I 5 45 E At5 A5 E BI5
.rfrtn rT)-- ,-TJ) rT)- )-n)-fru1-) )-)

B'5 A5 Bt5 E B'5 A5

@"*" @-- @"F.

E Dt5 E Bl5 E A,5 A5
f------f---------- l
-J- -J- -3- -J- . 3- -J- . J -. -3- -J- -J-

@q- @4-
E B'5 A5 E B'5 c5 F5 5
,-n r-n r1--J-- )-1--J-- 1 [t1- J-fr'T
-3- -J- 8ra'-
:11-J-

_3_ -J- <J! -J- -J- _J- -3- J

E B'5 ?{5 E BI5 E5

22 METIT
MONSIIF
 -J-

+3 -- <3-

) *-:

w/Rhy.Ft.2 (lrt 3 b6o.ly)

(E5) Bl5 A5 (E5) En B/Dl Em{E5)

yl
*/Rhy. Fis.2 (lsl3 bas o.ly) Br5
Bl5 ,{5 (E5) En B/Dl En (E5)

F5 Br5 95 Bl5 85 Ats 85 FI5 F5

METrt
MONSIIR
 BASS LINE FOR
BATTERY
As Recordedby Metallica
(Frcmlh8 albumMASTEaOF PUPPETgEI€klraF6@ds)
Wods andMusbby
JamesHetfi.ldand La/sUhich

Fat J - t9o
N.C.(E)

12.
B'5 A5 E/DI

N.C.(E 855 A5 N.C.(E5) Bl5 A 5 N . CF. l t G5

*r + + L +

ceriqR ors ccqi. oslh itosb (ascq4

rturoiondrtupyish sdd a Fhh!tu*ry3.
24 MflA!MO\STIB UdbyPmfuoloqhMsco@
 N.C.(E5)

En B/DlN.c{E5) Bt5 A5 N.C.(Es)

I I
Bts As N.C.(E5) Bts A5SB'5 F5 D5

F5 B/DI E5 E5

META.L
MONSTER
 Bt5 A5 N.C.Bt5A5
N . C . B l 5 AN
5.C,(Es) Dt5 A5N.C.B'5

a5 N,C.Bt5 ,{5 N.C.Bt5A5N.C.(85)

[fTAMONSTB
l

Fls

N.C.(E5)

N . C( E 5 ) Bt5 A5 Bl5 F5 N.C.(E5I Bl5 45 N.C.(E5I

Bts A5 Bts F5 E5 Bt5 B5

MEIAL
MONSIEF
TablatureExplanationPage17

SOUTH OF bY HEAVEN
Slayer
As Recorded
(FM $e albumSOUTHOF HEAVEN/O€|Ai6n@n Focords)
Woltlsby Ton Araya
Musbby Jell Hannenan

E5 Ais c5 Fl5
t-It EE LaA\r. H,r'. eifi:.r, eii\r,. ruH,.
E4+H ffiffi fii4ffiffi ffi
Tl" ffi
@=EO-cl
O = ^ r @= B l
@'DtO=F[
S l o * H e s v yR o ( k J = 5 4
N.C.(E5)

q-

N.C.
cr.III

tuff c
clt.ll

R IB

I METIT
MONSIIF
hFiBidr c ry; iqir +e€d
 E5
) ) ))') 't '1 / 2 't 2)/'/)2

neylled {me wher In rrtr!

Un sus pect ing vic -rids, no warn-ingsj no J u d s e ' m e n l d a yl h

, e *c-ondcon-ing d- !iv.s-
:o'
@12r'
E
4 ffi__F::F::l=
,F7{*/nino
>
ll.c.(E5)
t: r;.*t

Be- foE y6u seerh. lBht.

ctr. E5 F5 E5 E5
,I\
Cti Il

-n
.tl
.ll
ll
_ll

; )))/22)))2)22/2/) N.C(E5) Gs N.C. N.C

PM .-.... . .-. .1

= For - gol - rn chrl - dien con iorm- a ne* failh.-

=
l Rhy Ff. I

5',
:

=
=
-

h3

Mfl& MONSIER
N.C. C5 N.C. c5 NC.

The nev' er end ' ins search ior Your

G5 N.C. G5 N.C,

na - tion in then orn re

Ft5

d m - p a n r ,a n 4e of dn -

r/Riftc&D(both2tinet
N.C.(E5)

MOI6IE8
MEIIT
c E5

c=l
l

N.C G5 N,C. F5 N.C. c5 NC

=

Bas.tard sons- be , gd your cunt. ingdaugn-1e6. Pro n6, cu, oushorh-e( with your in - ces tu ous ir-1heu
I-
N.C. Cs NC. F5N.C. cs N.C. F5 NC. G5 N.C. F5 N.C. C5N.C. Fs

E n J r e a r \ o u l \ . o n d . n n e d f o r : t l e - r e r n r t y . O b - t a i n e db y i n - n o r al ob.$r-vance 3 ddm, 1-neeringde i ty.

i'rhfi"?ig.:
a r,r r
Ft5 NC. Ft5 NC. Frs

Sl"' er, c5 NC E c5 NC

=
On and on. soulh of

tnd reler\.

MFrt|MOISTEN 3 1
 NC.
Ft5 , N.C.

On a.d on, south of h.av en

Ft5 N.C

4)
@T- , @'F" iend RhY-Frs
.,Tii .nfr:, ru.o,s,_.,,
cn.ll-/ 2 ///') ttz /t r1/ >
d,",|"hr @"F^ @q..
x ''_ - It"_-----_"- Pr{-....> P..--. E F5 E Al5 E
Rhy.P 8 w -- - " - - - - - - - - - - - - - - - - " - - - - - - "

METAI
MONSJTF
 @*- O--
E E c5
@q-

=
:-

@"fi o.rc(lrd Jd' ia ns (i)!,.i

E
c5

:- '- - 6rr"^ -i-"-' ,-:,

//.^%]

@*- @a- @--

E @-- @q.'
E E E E

^g{' ,""6ii}i,--...

+
--n
l

= N.C.
- c5 N.C G5 N.C, G5 N.C.

toot ol all e.'' s t r r e r , e a io r a black_ soul. A forcerhat hastived

=
=
:-n

.l-- \2 \2 \, !--
.!\ !\4\4\ ^

N.C.

nev - er .nd- in3 search for a trulh nov-er tor The los of aU hope andyour dig ni , ty

MFTAL
MONSTER33
 w / R h y . F i s2 & F i l l 3
Ft5 N C. Fl5 NC, Ft5 Bt5 N.C

Ch! -os ram-panr,an ige- ol rttr_rtun. Con-lion - la - li.ns. lm -pul-siv. hab

N.C. Abs cs N.C. C5 Ft5 N.C. 5 c5 N.C 65 Ft5 N.C.

On and on.euih of heav On and on,Futh of heav en.

N.C. c5 N.C, cs Fls NC. N.C cs N.c. G5 Fr5 N.C EF

On .nd on,soulh of heav - en On and on,sulh of hcav

6.F"
-E a,jr"e-
-E 6la-
-E -E
Al5 Ct Ct Ft5 c5 C5
FFr # -r
J--n )-1
-o''''-'-----_\

9l'=r,'r

Futr i9\4lv\,.v!!w\4!v!!!vl9\!lv\4\\!\{|\^
------------_'--------------------1rl

w/RhYFis 5 (3 tim_s)
uffi c5

;:=,t ) "3-

FiII3
{Gir. III)

34 MEIAL
MONS]TB
 @a- @.F"
Fl5 E E
->\
#

@a- @4- @--

F'5 E c5 E

Y_v_-----_
..>-./4{\^^\^{t\^{^

-------vv-r:

c5

J.
s/Rhy.Fis.5(lst.bd onlyroa{
- Ats C5 E
,-,.-l- I r-T)-- )--)--f---)
ffi
,!!!\ ,1!!!1L\{^r'!!\vv!\\4\rv!\^

-=':'::'1

rvib */'im. be 'hr! ri[in3.

c5 E5
9l'aT

::-

i:"+ _:5Y75

Sequeinto "S ent Sc@m

MEIAIMON$B A5
 BASSLINEFOR
SOUTH OF HEAVEN
As Recordedby Slay€r
An€i€n Records)
{Fomfte erbumsoulll oF HEAvEtUD€r

Wordsby Ton Anya

Musicby Jetl Hannenan
Slo* flavY Rock/ = 54
E5
@ =E r O =D l
O= ^tO= ct htrc o E5 L 1=TL L

rt??t"tttt?f
E# !: -!:
An un- forsocnfu - 1ue nestledsone_whe.ein
tme-rerc/

c5 E5 G5 E5
't .!l
,t??t?tt????
r+ r+ l+
rorm a new faith. lcr. /
gat your cunr -ingddush-les.lerc /
rhe hBn of a bhckrul.1er../

Mru MONS1ES
 ! tr55NNCC 0

3
= E5 At5 C5 NC c5 Fl5 N.C. E5

=
-

Play 3 tines
DS ot cada I (\9hepedt)
4es
=-l

Ft5 N.C. FIs E5 G5 N.C. c5 Fl5 N.C

=
:l

c5 N.C.

MFIAL
MONSIIF 37
 page17
TablatureExplanation

5 MINUTES ALONE
As Re@rdedby Pantera
(Fromlh€albumFARBEYoNoDRIVEN/E6iW€SI
Feods)

Wods andMusbby vincentPaulAbboft,

DaffellAbbott.RexBrown& PhiliDanselno

6=o 6=e
@-c O=D
Mod.Ei€ Rodr J = 100
G5 A5 E5 G5 A5 E5 G5 A5 E5 B'5 G5 E5
Cts I &ll

B15

c5 A5 E5
G5 A5 E5 B I 5 G 5E 5 c5 As E5 c5 A5 E5

B t 5 c5 E5

copFcholgs!c@McdtePl,6M.b.rc'
Aigha&niful€dt'wtrT#ffifudfi@c@,
3a MflALMONSTF AftghbFlEfu0dbybs
 LI see You had you! mind- all nade up!
2.1 r@d your eyes, your mind- was nadc up.

Rly. Fig.2

F
Be fore I sole to yoLr plan tnn spned.
Yo! used com - pler - ion for ! coun hl t@1.
=
3

=
T
I
=
+1

out n- ixe pasr.

=
:
k not bs - lieved,- nY woids sne - yhat dc ceiv - i4,-
ad - %n ta8e of- know where I ve oEe fron,
l
I

T
T
n

METAL
MONS]IF
-l You'vevaged a war of
-neF6,-
bul you €n't dush the king dom.

cs A5 E5

cani b e w h a ty o r i'dols de,-

v\\4!r\\4iv\4\ \4\44M{^{{{M
/!4 t\ ,!\ ,!v!M ,\4{1\^ /!,1 -\ ^

/r^r\4 4r^r 4\\ ,!$v!,v\ ^4,v1t^

c5 45 E5

4,! ^A /v^/ww44\ 4\4 { ^ /l4vv!'!!\vw Arvw!!\iv\

'14 \4\ 4{ ^\Vv\,!vvlvv!\A\^^ ^4\{\ r 4\{ ^ 4r \\4\M

Rhy. Fill I (Clr. II) Rny. Fill2 (6tr.II)

MflALMONS]IF
 c5 A5 t5 N,C.
r---------a r----r--T-----l
=

(l ask you, 'Be6e, just cjve ut

'1\ {,,i,\r!4r^\{ {^^^4r{4^^^^ {!,v\ 4\\4\\ 4r!!1rt\4M

c5 As E5 C5A5 E5
r. w/Rny.Fic.| (2 tinet
tt cs a5 F5 c5 A5 E5 csA5E5 B t 5 G 5 E 5

nve nin-ules a-lone.

G5A5 E5 Bt5 G5 E5 G5A5E5 G5A5E5 c5A5E5 Bt5C5Es

five nin-utes a- lone,-

=
=
-

bud- dy sne brc- ken

As cls cs

=.=

=
-
=

MFIAI
MONSTIF 41
 c5,^sEs
c5A5E5 c5 45E5 c 5 A 5E 5 B b 5G 5 N . C .
)

uh.
c5A5E5 B'5G5E5 N.C.

CF'l & II
rh

r".uu-o*o.""oii'u,' ,)j----=.-i; _:,:.-.---...-

w/Riffc

'l?
.'"r,uru.r",ur,'n 'i nI'

tNoG is su$ai!"d wjirun. pickiq ro.dn. more bd

Rny.FiU3
(ctR I & ID

ME}TMONSIEN
:l rt i r I

(cnddoubletime reel)
F5

l':^...^^t.^^*

F l 5E s F 5C 5 !5 Fl5 E5 F5 G5E5 Fl5E5

'{

rd bycr rody(rs.riieo y)--ia

Glr. III

MEIrtIllNSIER 43
0 E5 ctE A5IE E5 !t5/E

you, "ne6e, ju$ eive us.'

Glr.I

Glr. II

c5 A5 E5 C5 /{5 E5 G5 A5 E5 at5 c5 E5

c5 .{5 E5 G5 A5 E5 B'5 G5 E5 E5 A5 E5 BI5 G5

MONSIER
MEIAL
 BASSLINEFOR
E
5 MINUTES ALONE
by Pantera
As Recorded
(Fom lh. albumFAR BEYONDDFlVEllE*lW€d A4odsl

= Wordsand Music by VincentPaul Abbott

a="A-" DarcllAbboi. Bex Btow & Philio Anselho

= Mode€teRoct J = loo
= (Diumt C5 A5 E5 c5 A5 E5 c5 A5 E5 Br5C5 E5
:=

c5 A5 E5 c5 ,A5E5 c5 A5 E5 B t 5 c 5! 5 c5 A5t5 G5A5 E5

3 c5 A5 E5 at5c5 E5 c5 ,{5 E5 c 5 A 5E 5 C 5A 5 h 5 B i 5C 5 E s

4
a
I lvatul:) l.l see you had yournind aI nade up...
2 I rcrdyour eyes,yournrindsasnadeup .

:+ Dt5/E

3
t5

F
+
d Aldghbafrh*sldby!!#Tffidffibd@ep
A|E0h6Fe.fuUdbyPtrddi
METAL
MONSTEF45
 G5 A5 E5

N.C.

c5 A5 E5 cs A5 E5 BJ5C5E5

c5 45 E5 Bl5 C5 E5 C5 A5 E5 G5 A5 E5

B'5 G5 E5

ll2
N.C. N.C.

METAL
MONSIIF
 ct5 c5 Fl5 F5 C5 A5 E5 c5 A5 E5

=
-l

c5 As E5

N.c.(Gm)

=
-

i-

=
=

t
_r

_=
-

I,IFIAL
MONS]TF 47
 .A A'5 F5 E

B I 5 E 5 F I 5E 5 E5 FlsEs F5C5 E5 Fl5E5 x

G5 A5 E5 B t 5C 5 E 5

Repeat and lad.

Bt5 Cs Es C5 ,A5!t5

MFIALMONfiB
\
CAUGHT INAMOSH
As Flecorded
by Anthrax
{Fromthealbln aMONGTHELlVlNGrsand
Feods)
WadsandMusicW J. Beladonna,
page17
TablatureExplanation E aello,C. aenante,S. lan, D. spitz
E5 c5 B5
?.J:' iei\r'. #ii 'git
Eli
l rnif r4fi1 ffi Hqn Fiir
ffifl

D5 t--
Crr.Il A5

-
" l

\ F El^* o""o*
0...1='r,
-; 44

I ..-'-':.--=/ \=--
;r

,l
:

l{ Es N.c c5\.c. ri E5N.C D l 5 E 5 NC .

I Vhy donl you In lcnrhcnl rr! ro lilk ro

4.3.Seeo.tditi.,nl lrri.s

c@gh 6re37 NF M* 61 4hsord6 ad adnidsd by zmb Etur56 rc )

MONSTER 49
MFIAT
 N.C. c5 N.c. F5 E5 N.c. Dl5 Ei N.!-.

think-ine ol your sell, tur just a scc.ond, fool.-

N.C.

Snur up, shut up, I don't wan' na he.r yorr noutn.

tr/Rhy. Fis. I (ln 3 ba^ only)

N.C. B5 c 5 N . C . E5 N.Ci Dl5

th. hell oul of my house.

slisrrtlyslo*erJ = l8O
E5 N,C, Fls N.C.

Can\ stand ir ror an - oth 'er

50 MflALMONSTEB
 E5

E5

,rs

(l

=
'1_

=
-:--

clap - pins w'lh- one

METALIIONIIB 51
 (endRirAl ) Rifi'{2

q'^

;chl)-caushr

IVONSTER
METAL
 E5
F-

b. - fole you speak- for your words.-

c5

-
-

L_

t-
=
=
-TI

N.C.

Fig.2)

=
MflALMONSTEF
w/Rhy. FlA.3 (3h limes)

N.C.

N.C. c5 N.C. G5 N.C. c5 NC. c5 N,C.

N.C. G5 N.C.

MflALL4II.ISTEB
 J---? .

B5
) .). |\
J

=
=

=
=

METAI
MolSilR 55
 DS ktaubletine fed) al Codo

AdditianalLlti6
2. Do.'l lell ne ho$ lo do nyjob!
Tberet the door,yolr nane\ on tne l(nob-
Youle alvaysin the wav,like a basl on mv back,
Weieyou drcpped$ababy?'Caus brainsyoul.ckl (fo Ptchoa)

but you don,i und.6tand.

ln lryi.C to reason,
Talkinsin cicles,ve'l1nevergel it stnighl
Jun you andme in ou lheatreot h^re.(To htchot^)

56 MEIAL
[1ONSIEfl
 BASSLINE FOR
CAUGHT INbvAnthrax
As R€corded
A MOSH
From m6abumAMoNGTHElNtNcr.hnd R@rds]

Wotds and Mueb by J. B€Iadonna,

F Belb, C. Benante,S: tan, D. Spjtz

D5

N.C.

c@i6r o1s7 Np turc 0{ |Ehb slM $d ah6d byzoars FndFds rE )

svcpld+dtu@aB
'Blfucqg'gdM!41J'sA4Fio1ts*6.lE METALMONSIR
57
 2ndtine Ba$ lacer(next4 bd only)
E5 N.C. B5 c5 N . C E5 N.C

(vocal:)l.Nhy donr ro! lis - ien whei I'm lry-in to

2, Donl tell ne how to do ny
3. Hey,

E5N,c. 85 C5 NC, F5 E5 N,C

85 C5 N.C. F5 E5 N.C. Dls E5 N.C.

sliqldy sloeer J= l8o

N.C.

rta.d it ior s - oin-er

IiIONSIB
META
E:l

il

B5

f
;-"r

;=

*rl4
_I
.lL

.l

MFIAL
MONS]IF
 N.C. E5

,r, I

F.r^* c5 N.C.

MFIAL
MONSTEfl
=

_ :tl
.tl
ll

=
J

;r
3
3
lt D s tdoubk hhe Ie.lt ot coda,

=
=

MFIAL
MONSTTF6I

t-
 DEAD EMBRYONIC CELLS
bYSepultura
As Recorded
R@ds)
(Fbn $o albumAFlssF@drunn€r Music by Sopulluta
**y^ytr"::',*:,
pase17
Expfanation
Tablature

w."ffi*iii4iffi ffi'"ffi*ffi ffi

FaslRo.k ,=212
Bt5 Ft5 N.C. Ff5 N.C.

N.C.

Br5 N.C, F5 E5

N,C F5 N.C.

F5 N.C. F5N.C. F5

(]lffiOrsr tuek Mud.. m. (AscP)

uidby Fds d @runF tuds
MFIAIMOI,ISIIB
c.
=
I

=+41 i\7 ; +\i ;1

=

r-5 E5

=
-I
q
F 5 N . C .1 5

F5 E5

MONS]TF
MFIAL

t
 N.C

^ F5 F5 N.C cs cl5 c5 N.c. cs ct5

c5 cr5 c5 N.C.

MflALMONSITB
 2 n dr i n e c l r , I s u b i i t u l e R h y F i l l 2
G5 N.C. c5 cl5 F5 N.C. E5 F5 N,C, c5 crs

-ry

c5 cl5
:
l

G5N.C- c 5 c l 5 Yc s N c . G5Cl5 F5 N,C.

N.C_

l
tr
l

- -
lT. ]t
c5cl5
ra) ",-----------'-
J

: (endRhy-Ft. 4)
E B!5 E FI5 E c5 Crs w/Rhy,Fis 4 (3 tinet
FIF FFF I_F FFF
B'5 E G 5C l 5

A sorld full ol vi-o-lence ev-ry wheF.

@4- o4* @"Fi

c5 ct5
E BI5 E Fl5 a at5 E

Rhy. Fill 2

MEIAMONSIER
 F5

N,C.
F5 N,C.

2.\lt ol

VRny. Fis.3 (lst 3 ba6 only)

F5 N,C. G 5 C l 5 C 5 N.C, c5 ct5 c5 N.C_ c5 cl5

plscc con suncd- by

F5 N.C. B l 5A 5 B r 5 N.C. F5 E5 Bt5A5 Bt5

Gl5
\
sr5A5Br5 N,C, ). )

Rhy-Fiu I (OtF.l &ll)

METAI
[i0tts:lB
= )=) .)

= R i t fB -- - - - - - - - - - - - - - . - - - - - - - - - - ' ' - - '

= {

l
-l
=

(endhalftimc teel)Double
tine rel
l@nt m Bridle
= lnoolion)N._

tr cbr - ro ' sion in -side,

4
l

F.

lL-
N,C.

Fr - nal prcm- o . ni

w/Riff B (ch r)
orrr ntr 3 tid$ @2n.
Als 85 At5 Fl
- ))))))))))))))))
,) ) ) ) ) ) ) ) ) ) ) ) ) t) ) ,t )..>/)
"'))'))/)2

@rii.

)) taII ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )))))).))

MEIAMONS]IF
 { (c5)

N.C.

R i r rD ( c l F . I & I I )

f,

6A MONSTEB
MEIAL
 NC.

It lts rpr rp rp

Dr5 N.C,

!.c o,. ,,,*- w ' t u i f E r c t rl l r w/RifE

F r f fE . . . . . . . - . . . - . . . ....ri"rr.': j::- N.c N.C. rsX

l
( s / l r d b a ro r R h y .F i e . 3 )
I c5 N.C
Rhy. Fill I
Substirute
c5 ct5 F5 N.C.

gy.- Wete born-

N,C. F5 E5 BI5 A5 Bt5 N.C. F5 E5 Bls As Bts

:
Rhv.
Fir. 5- ,
(G-ks!') E Bt5 I Br5 Bts As w/Rhy.Frg.5 (3]4nnes)
( e n dh a l f t i m ef c e l )l & I l ) t-t
E5 B b 5A 5 1
i--l )-1-E @*-
E

B ! 5A 5 B ' 5
@J"' 9*' g- Rlr A5 Bl5
(ooF'
-F
Br5
",, ",,

@a- @-- @3n.

E F5E A5 cl5 9*
at5
@a-
E
r_-r_-T-t L )r)

MONSTES
MEIAL

I
 BASSLINEFOR
DEI\D EMBRYONIC
As Recorded
by Sepultura
CELLS
(Fbm rhe albu6 ARlsEl4loadtunneineods)
Musicby Sepu wa
worclsby MaxCevaleft
and AndreasKisser

/:\ ,a\ NC N.C. Fl5 N.C. Fl5 N.C. Bt5 N.C.

Bt5 N.C. Fl5 N.C. Fl5 N.C. Bts N.C,

F5 N,C, N.C N,C.15

ll5
N.C. F5!5 F5N.CF
. 5 F5 N.C. F5

ceiqh olsi Fcndo* &4h, rd lr6d')

70 I,IFI,'IMONSTEB
 G5 N.C,

l c5 cfs G5 N.C. c5 ci5 Fs N.C.

F
tr

=
-

- N.C.
G5 Cls

F5 -- ---l
lr.-
=

=
-+

MONSITR
MEIAL
 (cnddoublerine reel) N.C.

E5 F5 N.C. C5 Cl5 c5 N.C. c5 cl5 G5 N.C

B!5 N.C.

N.C.

MEIAI
MOtISitB
N,C.
N.C.

1,. _ t2. (enddoubterimefe.t,

E5 Cs Fl5 E5 G5 F'5

E5 F5 N,C,cs 0r5 C5 NC.

F5 N.C, F5 N.C.

Bt5 N,C. B15 N,C. F5 N,C. F5 N.C_ F5 N.C, /{5

MEIAT 73
MOITISTEF
 IN MYDARKEST HOUR
As Recordedby l\4€gadeth
(Fom lho albuo So FAB,sO GOOD...SowHAlucapilol F@rds)

page17
TablatureExplanation WordsanclMusicby DaveMustaine

qfrh "l$#
Fffiffi- ffi*ffi'"flihffi ffi
andDaveElefson

Bt5
iFa{
ffi
2nd line Cn. lll substituleRhy.
E5 Fill I
Ct$, I & II (Gt.Il cont,o. Ioser st.r0

I
li Rny, Ft, I (Gt6.ll &lll)

o--..--
(crr.IIcont.onupperstafoctr, III

*YE

I let hnB

Rhy. Fill I (Ctr. III)

(/#cl0196vslvgUVedaq\b
a tunsid M,sr Mis: @ B \e c..{fu d &"."..bE tr sdu c4.u vdcrE

I
74 MNALMONSITF F,,!d;EM |c MdEtu@ et. Lrd.,P.o.e cls, cffiJffi, Nsw 20€0Ad'rbgs*)
AFligfutl..ad|6?Efulc@t9hls.ddU!€db'M
)
0
4

f,
4

x
 td)4m @tr. (Ctr' II cont.
clE. E5 E c5 G in notation)Cb.Ill ptty l tim6
, II & III ) ))
SIbnt rdrer r.= I la )))). ))) )))) ),,)),))
w/Rhv.Fiu 2 (lst timconly) Pldvl tims
Gtr'n
E5
c t 6 l , l l & I U ( 4 t h t i n e C t u . l I & U I c o n t .i n d r s n . t c t r . I

(4th rine ct!.I conl, in slashet

-F. @eF^ @@^

EE5 E 85_,C5 C5 E E5 EE5
T--f-- -T-l -T-
I &|n)r. )J1 ). -T--1il ).

t .r hour or need,
I
R l r yF. i s . 2 A{ C t t . I I )

@qF" o"F"
E E5 E
--T--l
).

And though I teached

Rhy. Fill2 (clr.lV)

MflAIMONS]IB
 G n dR h y .F i g . l l q / R h y .F i g s . 2& 2 A
@)q- o-- o-* o-* l
E85 EC5 E E5 E E5-. E ,45
."r-t '. . /
:11
F'M'.. .., i
).

fl
=
OoF. @"F. G)4* @4* O*-
O*- @)"p* @F.
c5E C5EE5EE5 E EC5EE5EE5E

did nol- shine on- ne.-

j*. @*-

a ver-y !arc'- f"r

l
I=

MFIAI
MONSTTf

I
 cv rr rh k- I gct lonr

ev er think- that I need ed lovc?- Dld yo! ev-* s t o p r h i n t . i n s - y o ur u t h e o n . - r h r r I n ' r h ' n l- i n ! o n -

N.C. c5
--'''_>\

ctis.I,ll & lll

N.C. Bt5

when I n

78 METAL
Moi'TSTIR
 Bt5

B5 c5

a
bow I livcdmy life- for you,

=
=

E5 85 C5

,3) c5' E5 B5
=
F

=
=-
J
eyes,- l e l l m e v h o y o ur h i n ky o u a r c-

+=

METAI
[1OI1STE
 GtB. I. Il & III

(E5) Fs P/RiifC (7 tincn E5

N r-_'l
n&nl^/ < | 1 )4)) ! ! | | 1a:

E5
N T-'I
a,^2 a. I .,)r)- I I 12^

MEIAL
MO.ISIEB
 ^r--J- , --
l
Ev er lai

= ( - n r dR h y .F t g . 5 )
E5
i.-----r-----l-
)))t-

ll

J
But I Cot ' ra dje
l
Il E5 w/Rhy.Fig.5 t2lifret
.<=_\

B
F
tr
1

l ,AH p

3 *j-- 3

:
l

l
MONSIERal
METAL

t-
 R h y . F i g .b r u r a I l l & I l l )

Fill I (crr. v) (Ctr'v outl

MONSTEF
MFIAL
 w/Rhy.Fl!. 6 (27rtimet
I

c5

=
so r'lone. lnr

E5 w/Fill: 85 C5
=
=
-

=
=
-

:]
=

=
=
aa

':2 z -.v,
Stz

::2 ..r/

MFIAL
MONSTB

I
 @
- 3x , A Aj
-c..t. B'
c5

rn'ng

_J -

O4- @"-

^I-J----J--- .t---7----)----) )) =-t--IJ, G;-

pil
--.

-:t)/

w/Rhy.Fig.? (6% timed

€FFi
@--

a4 MONSIEB
METAL
 o4-

+ O"ts" @*-

+
1r
E5vr

lel-i'+,

L3J rrir.

wrtn
n,jo! rd aboYe pn.n.
MflALMONSTTF
 @4- @*- o-- @4*
AB'5A a5v A E5vn A
-------_

-3- -J- -3- -3-

(Clr. V) a Bt5
"

@-- @4- o@- @*-

r,-J-- -3

f,-
-l -3

MEIAT
MONSTEB
 Ctu.I,lI&III F5 ct5

I
l Br5vr Dtvu (@nr.in noBrion)
^J-J-J- J-J-J1^')-J1 T1'D^'TD'TJ1^'J-71 .
'''i9,.
vo"i'fitrh E5
=

= 'w/Rny. Fh' I & lA a.d

nd chord or Rhy. rs. I & hr dorc ol rny. Ft. lA l} Rifi A rE rcr .tuL

=
Edll

,-----)JlL

Clc,Il& [l
=

=
-

=
Rny. Fill3 {Gir. Iv)

4
METAI
[rci6TB
 BASSLINEFOR
IN MYDARKEST HOUR
As Recordedby l,Iegadeth
(FDh lh. albumSO FAB.SO GooD...sO wHATtcapho B@ords)

WorclsandMusbW DaveMustaina
andDaveElbfson

c.p'iqhloloeMdaEMwE'MGb6dlhqMli
m!#ddmaldu,So6fudMdcm
Fda4r!{EM M!& Ptffmtud . NSw.2c€0A!sbr695*I
aa METAL
MONSITF ruF€hbFsrd h€ifu cqEhl sa6d ud byPnb#
4 85 C5 852C5

(Vocol) ln ny hour of nced,.,

85 C5

D5 C5

N.C, D5 BI5

PM....plr

MEIAT
Moi'ISIEB a9
 MQNSITF
MFIAL
 D5 B'5 ,{5 E5

I
:]

s
fl

rr:-
E5 C5

15

=
T
IIEIALMONSTB9I
 lr,?
N,C. E5 N,C. A5

|t u, a.".
".".

Fi''--=]

IIONSTB
MEIAI
 Metallica's reoutation is that of a
street fighting band of rowdy ne-
andefthals, capable of bending
steel in their bare hands, leap-
ing musicalboundariesat a
single bound,and who,
disguised as four primitivejugheads,
f ightfor truth,justiceandthe American
way of Metal. In reality. des-
pite their image and atti-
tude,MetallicafDusesmusi-
cianswho considerevery
note,diligentlyprepare for
what they do, and, in the
case of Kirk Hammett, actu-
ally take lessons to work on
the three t's of guitarsmarr-
ship-tone, technique and
theory Hammettdoes some-
thingelse longthoughtana-
thema to rock guitarists,let
alone heavy metal guatar-
ists,he preaches practice
and practiceswhat he pre-
aches.
We sent our Music Edi-
tor, Andy Aledort, out to
match wits and licks with
the man recently voted
GUITAR'SMetal God in
Waiting.

94 MFIALMONST:R
 Howdid youlirstget lntogultar?
grew up in san Francrscoand rny
brolherused lo play gular He had a
red Gbson SG back in '67 or 68 |
rememberwhenI was sevenyearsold
and he wasn'taroundI pickedup lhe
guilar.phrggedt n andstartedbanging
it around I d dn I tolch the gu tar for
anotherslxyearsWhen got inlobuying
a bums slartedlo p ay aif glilar. Then
I dec ded to do the realthing. got my
iirstguitariroma frendof mine.Whenl
was 15 I tradeda Klssalbumand$10
Ior some Montgomery Ward Specia lt
was 77 0t 78 and I stenedlo all the away ll was like N,4ichaeSchenkerwlh
popuar slull thalwasout,J mi Hendix lhe samec aity and dynamcs bLrtin a
ThinLzzy and Aerosmith. When heard way I was betterfrorna lechnicalpoint
UFO was blownaway.Obsession had of vew. ll rich Rothwas p ayingstuff I
lustcomeoul and lwenl o1rlandboughl couldn1-avenialhom Ne p ayeda lot ol
a lher albums.I lried lo play Michael arpeggiosand harmonicm nor scaes
Schenkersolosfor lhe nexltwoyears. This is belore Randy Rhoadsslaned
Whalolhersongswereyoulryinglo play? lsing similar ideas.EXAMPLE #1
I was really nlo J mi Hendrxand Ae.o Aflerlislenng lo UklchRothI dec ded I
smith,Pageand Beck. wanledto be sholld earh more scales EventualyI
thenextJimiHendrx. Aiterplayingaround earnedlhe lundamenlal modesarpeg-
I o r a w he t d d n t s e e m l i k ew o u d b e gios and circe of slhs eamedhow
toosuccesslul in do ng that. heardUi irnportantltwas lo earnlheuseofscales
RothwiththeScorpions and he b ew me and chordexercises.EXAI/PLE #2

Er.2 Threc octavescal.s

r
Didyoumakeup thelingerings yoursell? slenedlo Blow by Blow and Jell Beck parl ld lislenlothelimingbelweeneach
Theyrelradilona In my lifthyearof andJanHammerL/ve andWted slarted phraseand howhe bu I it. To lh s day I
paying slarledlakng gultarlessons isteninglo F/ash,and lhe bar work he wsh could earoall lhose U rich Roth
wth Joe Satiran the same guy who doeson there s so good soos note lor nole. I slill cant. I can
workedwith SteveVa Joe went on 10 werc youplayingBeckandHend x cov- emuale themand gei ihat leei. I do try
joinlhe GregKhn bandand s nowon and keep awayirom arpeggrosn my
n the l rst band was in we d d a hal solosbecausepeope ike U r ch Rolh
Whal olher momenlsol lrulh haveyou hourversonol Plrpe Haze.A l oi us andTonyMacApineare dong il a ol
run inlo? were playinglor maybe lwo monlhs ll s gr€at,buttoomanypeope aredo ng
Jeil Beckrea y put oneoveron me H s Whenit cameto slenng(ootherpeope I
phrasingwasinc.edb e. lwas n aweoJ ld lry and copy bul I could nevergel Did you use arpeggiosas a praclice
lhe way he co!ld takea slmplelick and anythingnole Jor note Id try moreto
makeit soundso ba lsy.Hepul so much emualelhatfeelandgrabihalsamesorl Yes Heresan exampleol whal I mrghl
rnusclenlo it. Thiswas mosllystufl ol1 ol phrasng.li lherewas sornerealy
EeckO/€,whch s nowrealbasic. I aso great phraslngon a Michae Schenker

.) B nalortriads

d ) E h i n o r r r i a d s( c o n r l D U e c y col ef f o i l l N r o A . D . c . ? . . )

MO.ISIER 95
MEIAT
 "Alotof
tim6if tie
feelistlw
e!?n bough
tienot6are
v{eird,I'd
latief g(]l0r
theltrling.
I donl drgit
rvneng|ltur
prayfrs JUsr
play lasta[
donl callyey
anynrng.
I mme ilom
lfieoldsclool
ol tricClaptofl
hingabhto
say
somching
wilhdPnote"
Whenyoupraclicelhemodesdo youtind
lhef6 are someyou can morooasilylil
intoyourplaying?| h6aryou usingAeo-
liana lol,
As muchas possibleI lry and baselhe
solosaroundlhe chord struclureol the
song.An exampleis lhe beginnrngol
''Fadelo Black. l ll do an Am scaleover
a seriesof chords.llry andftndas many
noleswiihinlhe chordas I canandwork
wilh lhem in the solo so il soundshar'
monically righl.WhenI comestoworkrng
oul solos, lll sil down and just play
whalevercomesinlo my mind.lts im-
porlanllo havea catchysoundrngsolo
ralherlhanlusla bunchol l6lh and32nd
notes.A solohaslo havea melodyIo l.
lt has Io take oll and lil lhe conlexlol
lhe song. lll work out a solo wilh lhe
casselteollhemalerralspendngweeks
lhinkingup parlslo pul in And wh,anI
gel lnlo the studio I change it That
happens100%ol thetrme.A lolol trmes
if lhe leelis here evenIhoughlhe noles
areweird.l'd rathergo for the leehng.ll
has to havea lol ol energyloo I donl
dq jl whenguitarplayersjusl play last
and donl reallysay anylhing I come
lromlheold schoololEricClaplonberng
wlh onenole.
ablelo say somelhing
Didyou lislenlo lhe bluesa lol also?
WhenI lrsl sla(ed playrnggu aa I was
underlhe inlluenceot my brother.He
lsed lo lislento EricclapronwrlhJohn
Mayalls BluesbreakersDo you know
'Hrdeaway? l lov€thalsong. (SeeGUI-
TAR.March.1987)
oid you look back lo wh€relhey were
96 MflTMONS]TF
I
i
geflingil lrom,guyslikeMuddyWal6rs? especiallylike this one composer,De-
I was young and I was loqkinglor a libes.Ive goltenintq lisleninglo movie
cedainkindol energy.NowI canappfe- soundlracks whichotlen haveclasstca
ciateit. Onegrealsonglhal llislen lo all trackson lhem.Thals beena prolound
lhe lime is "DrinkingWine, by Sonny intluenceon me in the lasl hall a y€ar.
Terryand Erownieftrcchee.I love lhal My lavoritealbumol lhe minuleis the
song.I lstenedlo a lol ol eleclricblues HurgerSoundtrack. ll hasalol ol gloomy
playersea.ly on- Schenkerwas an ex- classicalslull on il.
Iensionol lhat. He heaw melalized1l In the lunes you wil€ are you ihinkingol
UlrichRothusedlo do Red House in particularimagorywhen you writs lhe
the scorpionssel.Thal'swhatanracled
me lo thatsod ol slyle.I likedJoe Pefiy Jameswrilesallthelyrics.Welllalkaboul
becausehe was such a sloppygu ar conceplsand songlillesand he ll wrile
playerbut he soundedso good all lhe lhe lyricsup. He singsi he wriles lhe
lyrics.l m nol goinglo put wordsin his
The atlitudoasrightlhore, its lhe fi|st mouth As lar as wiling ritls,we wite
thing you hear. Aerosmilhlunos like whalwe leel.Wele alwayswrilinglasl.
''DrsamOn" and SweetEmotaon" were aggressNe
stulf OI courselhalconjures
not thaltypical. up aggressiveimagery.Almostalways
I like Brad Whillord,loo. I llslenedlo themusrccomes'istand lhelyricslaler.
''TrainKept a Bolling everyday lor a
tiilh some almost
year. lryrngto leam lhe gurlarpads. I You combinsm€tal
love thal song.Theyhad a happentng
and
heavygu{ar toneback lhen.Aerosmilh Thafs not somelhingwe s[ downgels
have a meeting aboul. Everyone
werea bg inlluenceon me and James
(Helfield)and we slill hslenlo lhem ll tapestogetherat lhe end ol a tour.We
wasa realbig lhrillplayingwilh lhemat all exchangelhemand saywhalwe like
lhe lowaJam lasl year and whal we dont like. This will work
hereor lhere Thenwe gel it all shaped
Didyoudo anyclassicalsludies?
I was in a classicalgurlarclassIn hLgh up and wo.k rl all logelher one line in
"Oisposable Heroes"hasa prellydislincl
schoollor a yearanda hall.I gradualed mrlilaryleel.
and lhal was lhe end ol lhat FromIhen
on I was playingin bands I was In a Doyoucomeup wilhmostol the music?
band calledExodusand lhal look up a Meand JamescomeuPwilh a lotol lhe
lol ol my lrme ThenI lornedlvelalhca. rills Chllcameup wilha lol ol it, loo.He
gel back lntorl. I m redrs- almoslexclusively
l ll evenlually wrolelhe middlepa(
coveringa lot o{ lhe classicalmusicl in Ofion He wrole lhe entireinlro lo
''DamageInc.
liked back in lhose days. like Bach I
ri Therewasaweirdefteclinlroto "Orion. Whals yourmainqlilar?

wlh tonsol distortonon t Rhoadscuslom ltled with EMG pck

lhls and lour bars ol that. The solo in
Thatwasorganthrougha Lesliecablnet lly twornan gu larsarea JacksonRandy Ballery s lowng and has a good
amounlol crazness,llashyguilarstLiff
Do you expe mentwilha lot ol dilJerenl ups and th s blackmongrelSlratwhrch and melody.
etfeclsin the stldio to gei yoursounds? has a Fernandesbody EMG pcklps. Onethingyoor.iseon lhe r€cordlhalyou
It dependson the stuation On The and oder Charvelneck Golohluners. don1 hear lhal ollen is th€ wah wah
Thing That Shoud No1Be, after lhe and lhe FlovdRose. Dedal,
gutarsoolheres ths hgh-ptched whne Whatdo youlhinkol EMGpickups? I ove lhe Wah pedal lt goes back lo
soundwhich was done tiy placingthe They are greatfor a lead sound They isteningto a lot ol Hendrx and Joe
Slral on my lap and jammng a glass havea h gh ollpll andare chunkyand Pefty BrianRobertson JrornLizzyused
candleholderbetweenthe stringsrighl fu I I can get good lowsolr ol themior doubletrack allotriy soos. lpLildown
by the pickup ThenI pur lhe bar down thebaslcsoo andgo backanddo lhe
all ihe way lo d the engineerto go He A big pad ol lhe Melallicasoundis thal exacl same soo again. I thickenslhe
rolledlhe tapeand groundlhe cande toneandg vesyoutheroomsoundlwice
hold€r agansithepckupsandlheslrngs ll's a lol ol low end and low m ds dialed over so it soundsbrgger
wh e letlng the baf up and down I gol In A lotof thelpper rnds area so laken Soa otolthalroomsound islrommiking
areallyhighplched otheModdlyscream out Thehgh end s pul up lherelo do lechniques?
Canyo! give us any moreexamples? thalhgh crunchOn lhe graphrc EO ol We use a lot ol arnbientm king as we I
On.ast verseol Masteroi Puppets. l my MesaBooge ihe lowendis reaih gh as the tradtonalmke n irontol lhe
usedbackwards gutar I got a sem- and t sweepsdown lo the md and cabinel Thereare mkes strategicaly
cleangltaf loneand payed n Em for comesup on lhe hgh end Llve lm placeda ovefthe room. havea thr,oe
lwo or threem nuteson a quarterinch us ng a MesaBooge SirrurclassI ior m ke setup lor one amp and go lor a
lape we revefsedIhe lape to gel the rhy,lhmand for ead a lvlarsha50 watt blend of al three m kes. The lasl lwo
besl pans and pLrlthemIntothe verse wth one 4x12 cabnel Fof recordng albumswere done ln the same room,
Haveyo! ever istenedto a trackback- Masterol Puppets used l\lesaBoogie us ng the sametechnques.Thiswas n
wards and played alohg to that? On exclusveybecauselherewerentany SweetSlencesludiosin Denma .
"CastlesMadeol Sand, Jimilistened lo happeninglvlarshaheads n lhe enlire I too l'rn glad lhat hardlyanyoneuses
the basic track backwards.The leads countryol DenmarkI irsed one head oneloday. go throughthreeor lourCry
madeso mlch sense.EddieKamersaid and ofe 4 x 12 Marshallcab netwith65 Babyson tour.lm bascallybuyng the
Jimi would islen and learn lhe chord watlCeleslions anddlllerentm kingtech newDuniapones
progression backwatds. niques.The Boogiesare greatior low The CryBabysdislortlhe sounda little.
Whatwe were shoolinglor was some- endslullandrhythm. Forleadlthinkthe ll s lusl the ighl amounlof powerboost.
thinglhatwoud so!nd abstract.lsoloed [4arshallsare warmerand more tube I alwaysuselhe ead pckup whenI use
ln Emwilhoulhslenng lo the music. soundng
You wantedthe cash soundlrom nol Do you useanyolherguilars? Youdon'lgel as muchol a sweepother-
Knowing whalwoud go overwhal? havean Ar a KnightWarrior thal I use wise,Whalolheretleclsdo you use?
'The Thing I have an ADA Digtizerand an ADA
the ExactyWe ddnt expectI to lurnout lo lunedownto C# lo play
as we as ,1d d hadlo arguewithlhe ThatShouldNol Be Muli Eliecls which has Chorus and
engineerto evengo throughthelrouble. Howdo you buildparts?The beginning Flange I use echo,ilangeand chorus,
I cameoLrlrea we I ol 'Battery"hasa lot ol guilarson it, plus a wah I dont lhink lll ever be
)ol So in lhe stldio you try lols oJdilferenl Jamesd d lhal Ne piayedrl a on a withoulone I use a distortonpedalto
the
overdubsand I somethingworksyou scratchlrackandlhendubbedlhe nylon brlngout a touchmoresustan. I lound
keepil on? gudarparc lnst usng a clicklrack He a disto(lonbox n olr reheafsalroom
Exacty ln lhe soloIo Masteroi Pup' lay-"red lt ke a cake.Heputtheclassical and set the d als.I tapedoverlhe d ais
pels, pLrlled on lfreslr ng by accidenl guilarpartdown thenlhe eleclrc gutar so no onewo! d changethembut also
and it lrelledon the nul or the pic(l.lplo parl. Thenhe went back and pul sleel lapedovefthenarneoflhe pedal dont
gel a realy h gh noie I s notwhalwe d stringon lop ol lhenyonslrng andlhen
planned,but we dec,dedlo keep t I hit d d lhe ead lasl Thereare at easli ve Show me sofie of your lavo le chord
lheia se harmon,c at th€4lhirel andpull guilarson lhere.Thegu lars are aways
up on the FloydRosebar. The Floyds doubed.as are the vocas I ky and We useoctavesa lol somellatledI tlhs.
are real aggressrveand when m on solowasprellysponlaneous. l hadcome andlhe thirdin the bass. Baltery uses
slageI rketo wresiewithlhe thng t !p wlh a soloand hatedit. I decidedI m nor and maiorth rds.
doesnlsil fal lt sts ai a 32 degree shouldp ay somethng tola y dlllerent. Whal do you see yourselJ doingin lhe
angle so I can pu up a whoe €tep Thatr ll justcarneoul I s a lotallynon lulure?
SornelirnesI hil lwo strngs.bendlhem scaar approach. I payed a harrnony Onelhinglm conscious of wlh guitar
andwhenI canl bendthemanymorel ll overit, loo You are one ol lhe few bands using
sta( bendrngon the Dar Whataboulyourpicksandslrings? acouslicguilarson a lol ol tracks.
Howmuchpilchdropdo you allowlor? luse oean^,4arkey CuslomLlghisthat Its just for texture. Lghl and dark.lt
Unlilit llatiensagainstrhe p ckup cal havethe lirst lhree strngs lrom a n ne adds morerichnesslo the sound.
il lhe KatuLrsound On the song "The set and the lasl threeslr ngsiiom a ten Youottenuseoddlimesignaturesorodd
Th ng ThalSho! d Nol Be the guitaris | !setheGreenTorlex p cks ts between
luneddownto D on the record.Lve we a meoum ano a neavy. Its llsl a feel donl thinkany ol us
lunedownto C# Al lhe endol thesong Do yo! haveanyiavorrlesolos? knowshow to counl8/5. lt s llst a feel
ldrop th€bara lhewaydownunt its I ke lhe soos in Sanlarum 'The Theonlypersonwho was able to fgure
Ilappingagainst lhe pckups.lt s justa Th ng s so spontaneous lke the solo out a time and wrile t on a piece ot
big uglymonslrous crealureburpng.On n 'Battery becauselhe phrasingis paper was cifi. He had an rnmense
riy guitarlhe midde pckupis setdown diilerenlirom what usuallydo. ll was knowiedge of liming,musicalharmonies
ower becauseI gets in the way oi lhe morebrokenup.A lotol t mesmy phras andmusctheoryin genera.
ing s brokenup eveny withfourbarsol cdthued d We 1O3
MEITMONS]IR
97

t-
 . EIAMctNEt EAFIFIELL I

his s iustlhe kindof efiectthe band

lkesto haveon theiraudlences, too
Aihoughfrontman Ansenro proiuse-
y thankshea.linersSkd Bowior alow-
ng themto jon ihe tour,Pantera makeii
c earthroughtfrer musicthattheyre not
aboutto lLrst ay down
and die onstage tfrey o
f ght for lhe ians d
respecllust as hardas
any malor oano oLI
there,and lhe slralegy
seemsto be workingli
d
was onrya rew years
agolhat Pantera werea
lledgingthrashact trom
ihe LoneStarstate but
ihen their debut,
Cowboys framHell.sad
n excessof 130,000
copes, and now lhe r
current set vulgar
Display of Power, s
staLkng ls way even
f u r f h e ru p t h e a b u m
charls.As anoihermark
of theirr singpopllarity,
thefoursome p ayedihe
g g of a lifetme asi
September, jammingn
frontof severalhundred
thousandrock starved
ians ai the ep c
l/]onsiersof Rockcon
cerl in Moscow.ll that
weren't enolgh the
y o u n g m e r ae r s a s o
sharedthe stagewith
someralherrespectab e
companythat day
Metalca AC/DCard
lhe B ackCrowes.
"l don'tknowwhich
was more amazjn9
aboutlhat show the
numberol ians thereor
the dudeswe p ayed
w th," musesa ralh-.r
sweaty Darre no!'r
reaxing backstageaiter
an incendary sel n
Phladelphia. 't s lunny
how we got on the b I
too. The A&R guy who
got |Js signed, Mafk
Foss,leflAico andwas
lhenhelplngput togeth
er the Monsiers of Rock
show Theyneededone
morebandto lllthe slot
and th s Bussianpro
motersad he wanieda
young,honeslbandihat
couldrealydo ihe bLrsi
ness.lle'd seenus pay
v e , t o o ,s o n e m e n -
l r o n e oo u r n a m e r o
N,4ark, who freakedoLrl

1OO MflAI
MONSIEB
 PANTEFIA

and said,'Hey,I m lhe freakln'guywho a oi about the Alstn Players,but all dolng most of the work. actuaLly
sgnedtheml'Sowe werein. lt waseven theseguys are frornDalas. N,4y dad thoughtthe Rse' solowas a littleslop-
funnier,becalrsewhenwe wers maktng worked at PantegoSound,wherewe py,bui it hadcharacter, so tleftit ln.
the Cowboys from Hell rccotd, wa did now cut our alburns, and hs did a record "Scae-wise, lknow a maiorscale,
somegigs to keep us freshduringthe with Bugs,so I was uckyenoughto sli anda minorscaleanda peniatonlc b ues
production,bui t reallybrokeour con andwatchhim Pay.
I
centlaton,so we sworewe'd neverdo He'd tell me about
3 thai again.Then,we'rerght ln the mid- what he was fe€ling
a dle ot VulgarDisplay,workingrea hard,
6
and Mark ca s, askingus 10 corneio lng,so eventhough
i [,4oscow to p]ay wiih Metalllcaand I'm a meialplayer,
AC/DCIWe couldnt passthat up. The I'm lnto heartand
E
a
showwentgreal,too, and eventhough 1e€1,
the fanscouldnt speakEngish,they
nolevaue and

could sU fee the emotionin Phillips shred that s no

voice-l guessmusc ls ths universallan_ problem-but to
guage.And you shoud s€€ this movie me, guys who
ihey'reputtingout ol the conceit Ive shredall the time
seen the Panterasegmeni,and even maybearen'tta ent-
thoughtheychoppeda few of my solos ed enoughto PlaY
jn hall,the audence is golngiotaly tasty or melodically.
berserk.Ive neverplayedin frontof that L g o t a g g r e s s i o n ,
many people before in my life, but thai's not the
ether...and probabyneverwillagain." whoe pictur6,and
For Darrel, it s beena long roadircm you can see that n
his daysas an axe-obsessed teenagerin
Texasto that h storicl/oscow siage,but
evenhis earlydayswere markedby inspircdbig timeby
highpontsof theirown, n fact,afteronly EddieVanHaLen on
playinga yed or so, the youngpicker
was bannedfrom everyguitarcontestin RandyRhoads,MichaelSchenker,and scae,andthal'saboutas deepas ever
th€ state-argey becausehe had especiallyAce Frehleywere importantfor got. Two days ago, I boughl a scale
alreadywon the.nall "lt's not my clajm me, too. But l've neverlearnedmore bookandwasleaming the F majorscale
to fame,"he says,grinnlng. "ButwhenI lhan two or threesolos by any play€r-l ln five postions,iusi to fee ke I was
was 14 or 15, iherewas this station was aways after gettingthe vibe of the doingsoriethingposUvefor my playing
caled QT02.whichback thenwas the player,especiaLly Van Halen.I sUl listen But I'm not a heavytheorydude at al,
big rock staton around,and they had to Eddie before I go onstage,to get and l've only evertakenone or two
th s 'Hoitest GuilarPLayern Texas con some of the spontaneityand livenessof lessonsn my lfe, Theonlypersonwho
iest.Thedea wasthatyou'drecordilvo hisplaying." taughtm€ anything is my d€d,who s
minutes of your hotiest licks and then Along these Lines,one oi the rnost reallya wel rounded musician. He pays
take ii to this musicstore n Dallas, exciing aspectsof Darr€l's aying p ls his acoustic guilar reallyfluenuy, and also
whereihey'd lislento lt and pickthe best slick pickingand phrasing siyle,which, in electric guitar and keyboards, Whsn I
i5 players to competeat thlsclubcalled contrastto manyotherthmshers,is pol- was a kld, I remembershowinghimthat I
'SmokeOn The Water'on ihe E
the AgoraBallroom. So You'dget uP lshed,tasteJul,and blindinglyfast (ust knew 'Try doing it with
therean.l p ay ior flverninutes,and checkout the synapsejryng solo in string and he goes,
theyd narrowit downto the iop lhree. "Fise").Surpdsingly, the gutaristplays these barrechords.' So then I beqan
So my parentsgot me intothe cLub,and down his iechnicalprowess,preferring payingRantrantrant,rant rant_ra-ranl 'Jeez,
I got up thereand waledon something insieadlo prcachthe goodwordotsoul- just ike Blackmoreand ihinking,
ke 'Erupi on,' or Randy Rhoads tul guitarmanship. "p€ a play€r.I think my Dadknows eveMhingl' Laso used lo
'lMotherEarth,as wel as myown lcks, I I m Lrst qood €nough lor thrash, go over to hs house on Sunday nights
'To
wasallfred-up,andeventhoughI didnt DlamondD. continues, me,a lhrash witha recordiksClapton'sCocane or
ihink dld al that wel, got pickedfor dude ike Aiex Skolnickis mor€ like a somevan Haenone,andhe'dshowme
the top threespots,and ihen went up SievaVai, or any oiher guy who knows how to p ck thingsofi lhere by figurng
again,hammered as hardas I could,and everyscalein the book, or how a noto is outih€chordsorwhateverilhen I'd learn
wonfirctprze,whichwasa Deanguitar, goingto soLrnd evenbeforehe playsit, the rest on mY own from there. He had
Then I enleredthe next contest,won fm noi tryingto blowthatguydown,bln problemswith Van Halen,though.He'd
agalnandgot a charvel,enteredanoth- hedoesn'lalwayssoundlikehe s playing say,'Damn, thatguyusesa lot of reverb.
er, won an ESP and so on. Eventually, irorn ihe heart to rne-he sounds more Anybody who hasaguitarsoundikethat
'Look man, like somebodywho went to school, cansoundlikeGod."'
ihe contestpeope sa d
you'vealreadywon sevenconlests,so learned to worka computerandpaichin Thoughhe hirnselfdoesni use as
why don't you let somebody eLseiake a 20 milion words per minute. lt's just much reverbas Van Halenin the studio,
shoi-just be ajLrdge or somethlngl'And chops,andanybodycanleamthat,whie lhe Panteragularisi does try io approxi_
thatwastheendof mycontestdays. playingfromthe heartmeansmoreto me niate th€ spontaneous energyil'latthe
"lguessbeng fromTexasfguresinto than playinga milLion noles.So I dont guitarleg€ndbroughtto hisbands eary
my playlng,too. There'sa ot o{ great havegrcaichops,and don'twantany records.And whilehe's on the subject,
play€rs down there like Bugs l'm fastenough,but Im not a shreoder. the axemanalso eventuallybreaksdown
Henderson, JlmmyWalLis, and Ricky And do moreof the egatoVan Halen anddvulgesthesecrsibehindhissuper'
Lynn-al big influences on me,Youhear stuff than you think, and my Ieft hand is h i g h ' h a r m o n lscc r e a ml'e c h n i q u e .

MEIATIIONSIIB1O1

F
 . ETIAMclNEl EIAFIFIELL

,rr,{IllusonDelue
N"ReplicaTuners

Anothererclusiuefrom

+=-+a+
^^r.furP.hqfulo|&36'Pad'sqrlil"
"Okay,here'smy harmoniclick, and I
hope everybodylearns it," Darrell
explains- "llhinkthisisthe onethingthat
l'vecontributed io th€ gtlitarsc€ne,and
Cawbaysfrcm Hell,I just did one solo
and that's all I worked from. But I don t
coverlhese demo jobs note tor-note,
and I siill try to be as spontaneous as
eventholgh ii's no big deal,it s mY possible.But this way, you dont waste
thing. Fi|st, I take the G stdngand flick it everybody's time in the studiotrylngto
with my loft handwhilsdumpingmY igurc out yourdamnedgutar solo."
FloydRoseway down.Then,rightwhen while Darrell'swild-asslead and

r_ffi
ii goesdown, I slightlytap it on eitherthe rhythmparts are helplngh m io become
sth frel, 4th, 3t!1,2nd, 1 1/2 ot 1 1/4 one ol lhe top th|ashersof the year,a
frets.And finally,you yank il up really goodchunkof his populadty alsostems
smoothly, andit sings.Youcan hearit in from his singulartong,a voiceso oeep
'DemonsBg and menacingthat it seemsto be waiting
the beginning of my soloto
Driven,'PeoplethinkI'm usinga wham- out of a siephenKingnovel."l'vealways
my pedalor a harmonizer, but it's just wantedmy very own tone,' statesthe
meandmyfngersl Panterlan,flatly. "Actually,a lot of it
"ln the studio,the bandsp€ndsa lot comesfrom my Randallamps.I won a
of time wrillngsongsand workingon th€ Bandallhalf-stackln one ol thosecon_
WM tb ctfrhs,zf rhythmtracks, so ihe last thing any- tests,and I heardsomothingdlfferentin t
&d|lftop@dV4fuuliltrNhd6aloinry
Emflin bodv's interestodin is my guitarsoio. than oth€r amps-it was like a chain-
'bfu|Md@M@pnoh|M,byh6,fu Phil says that the day of the lead guitar saw---€ndI bet myseifthat somedayI
@ drn playsris over-he'd likeihe leadto be couid maks it my own, Then, aft€r a
ew otaw" w **w l q n:ffi ' one measurelong,so we couldget back year-and-a-half, I found it. The funny
"* "l,na
tu tuotu N r@d ti6 tu b m @N e drh, tu into thp jam, and I agreeto a cenain thlnqis thatthevre soid-statearnps,bul
oa€nt, l mean,there's neverqoinqto be eve;ybodythinksthey re tube. The
'A6@fufut||sMMh4ed&@fud'eft
ii*t@hhM.PMDMd anothsrEdwardfuckin'Van Halenwho Randallpeopleonce sent rne a tube
HlffF plays loads that you don'i ever want to amp,andit dd sounda littlewarmer,but
ZF end. The kind of stuif we do is more thesolld-staie is stillanastyfuckin'amp,
group-oriented,so I try to keep my solos and I loveit. I usesix RGlooHTsonstage
interesting and innovative io the extent now.And I'm not a dudewhos getting
bdse}dr6'm!!d!'n!iihfrI6b!ftcl|s that I can. For most leads,I usuallysay ihe brand new Boogie or Soldano
to the guys, 'Lei's go to the key of A, for shlpp€dto him everyweek-thai s why
a bar or two and th€n go back into the so manyoiherguysdon'thavetheirown
song,'just so we'llhavsthe wholetune sound.I don'thavea peda boardihat's
d'!.c6d writtenand done with. We don t change 30 feet ong, elther just a FurmanPO4
eid*'qrniidhr 4hhdsdd,s[ppnq
ii much a{terthat, structurally. Thenl'll parametric EO and a bue MXR6'band
take the basictrack home,siick it in my EO for rny tone, For guitars,I only use
flirtlicsds&tfl,fr
u!,i@ry,ij& 4'track,and playa solo overit; then
'll Deans,becauseto me, they'refucking
Xffi"!tsts*l##Hl'ltP,fl
llllt"ii$i96iiii switchto track 4 and do anotherone- fghiing weapons---€shotgunlOriginaly, I
Finally,I listento the two leadsfor any ovedthemjust for the look,andwhsnI
interesting thingsthat are goingon, and was 13, got a Deancatalogand neany
'd!3in'ig*lflgllo'liM.bF shit in my pants,A few yearsago, the
r,lncddr then work off that the next dav. Then
a g a l n ,o n ' C e m e t e r yG a t o s ' f r o m company wenloul of business, andnow
 IPANTEFIA

r DABBETTS
T I just searchfor od ones all the time
especally ihe ML mode,whichs haf
Fyng V haf Explorerwith lhe huge
headstock and22 irels.ThenI put Foyd

DESERT
t.
ISTANDDISGS Foses on 'en'rand aso insla B
Lawrence15001or L500xLpicklrps.I
discovered thal pickupwhenI gaveone
to a friendas a birthdaypresenl But
afterlhad t instaledn hisgutar, went
home,pluggedn and iustwa ed for
threehoursbecauset soundedso good.
Theharmoncsandclaritywereso amaz
lngthatI st I wont usean!,thng e se.'
With the geartalk windingdown it
becomesc ear that the backstage
bound Darrel, who's been pat ent y
answerngquesionsfor abouian hour
has his mindon morelesurelypursuls,
and is readyio wrap ih ngs up. Bui
beiorehittingthe posfconcertira , the
axemandecdesto endthe nierviewon
a ph osophical nole,and att-ampis a
slrmmationof the Panleraexperience,
which he does w th lust a p nch oi
Texasbredwisdom:"Ourmusc s wld,
and thats it. I dont want lo spendrny
lfe playingboring,low key musc, so
when pck up myaxe,ljustgo for t and
rip,unessI'm realysck or somethng I
liketo fuckln'hammed And sure,I've
gottenhurtai a bunchof g gs, I ke beng
knockedoul, anclstag-adving with my
l
F gular intoa groupol50 people.Buthel
lhat'slusia partof rock n' rol, dude.g
a
s lew licksto lallbackon.Therewerequile synlhesizers or realsldngsand horns?
D METALMASTERY
KRK HAI,,IMETT
of METALLTCA a few I cameup with,too. On the third Weve awayshad inslrurnentals on a-
s Continued Lon page 97 album I was rea y difliculltor me nol to bums.A lol ol Inslrumental passages
repeal mysell Thereare some things coLildbe usedforsoundlracks rnmoves
In 'TheThingThatShouldNot Be,'the lhal eventualy becomea basc paft oi ll s hardto speculalewthlh s band Who
il
solohassomernleresting scales. yourstyethatyoLialwaysp ay.Oniulure knows.we co|Jd grow to be a reggae
slarl out wlh a bar th ng. Thal entire albumsI wanllo gel inlostulllikeguilar band Lookal Rush Theyslarl€doul as
ft
solos is lhe more abums yo! do lhe syntheszersand new gu lar soundslor a rea heavyLedZeppelink nd oi band
moreyou havelo lry notlo repealyouc soloingeffecls I wantto strivelor some- on lhe lirsl a bumand nowon the alest
sell Thafshard On theI rsta bumI had lh ng new a I rhe t me, with a dllterenl album they have reggaehylhms and
I prcdominant keyboardsYouneverknow
a fa rly wde reperloireof licks Whenit styleor a dillerenltechnique.
camelo the seconda bumI hadquitea Whalaboutolher inslrumentalion
lhrough
)I Ex.4 TheThinsThat ShouldNotBe
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rrttory
seltuLir'€
"Ue ref tect the anger oT
beinq born in a place
Li ke Brazit. It's a m c l o d y a l a n a n d y R h o a d s ,a n d t o u a l s o
rea I ty fucked up pLace.
r started Listenins to
this kind oi nrusic be-
caus€ I !as hanging !rith
peopLe !.Jhotisten
to
more aggressive stuf{,
and Ne atrays
rounded by peopte t.yins
to fuck us ove r/ like
the potice and society.
Evenybody !as aqainst
!hat we t1ere doi ng and
thought Ne ve re just
bunrs !ho had no {uture-
Atl those thinss can get
inside y ou, and !hen you
urite musi c is !hen you
are goi ns to express
yourseLt. That is {hy
the band has that dark
si de-not satani c, but
the dark side of ti{e."
I , , l a xc a v a l e r a , vocaList/
guita.ist {or Sepultura/
conres by his .ase hon-
estty. 0riginatLy
tura battLed not to be
the brightest star in
the nusic scene but just
to survive as a band.
Thei r dream/ at one time
thouqht to be unattain-
abLe/ !as to be heard
outside of Brazi l. \,lith
Chaos A-0., thei. fifth
Jult-lensth album (and
{i.st on Epic)/ Seput-
tura have j oi ned the
ti kes of Pantera as the
next genefation oJ metat
bands cha.ging into a
!rinning battte to take
on not onty Erazi t b'rt
the khote !,lorLd.
Ue spoke !ith Cavatera,
lead guitarist Andreas
Ki sser/ and ever qui et
bassist PauLo Jr. about
!hat it's tike fo. a
death meta t band to
break out oJ Brazi L. le
b-Agan |rith the obvious:
the music itseL{
106 t'r|{ N,]5rEFS
ndre.s, you have L$o nr0{.nccs iu
your le,d wo.k that are casil,v
hcard, one is a strong scrsc Df
baler srroog M.l'nsleen.bops thin8.
A N D n E A S( I S S F R : l i k € c l a s s i c i l ?I l o v e
Itr dr Rhoadsilrhnrk h-"$r$ nr! llrs( iDUu
encr Dit1 oId ltta.l,tuut arl 1|li..atul aJ
ar:: hnv€ n srrorg nrfllcn.c lvirh nre. I l)la!
a l i t r l €b n o l c h s s i c i L . . o r { i . g u i l a r .I l m k
s o n r ec l a s s e s d { lI L h i r r kI ' l l l n k e{ D o n n t r c
be.rusc I rcrlh lil. (lt srlle r.d {trurd. I
a l N . t s l r l k ) p u t r h i sk i r d . l n r i e . c e n r n r t
le.ds rvlrlnrsLccD onlv h.s rhe chssicrl
nrfluenc.rin BcG tioriDg aiier r while I I)u(
nrgenierrlr ag8rcssivcsftrlTwitb rhe clbsi
lvho nrstired you aitcr Rand)'Rho.ds?
ANDRF.T\S: Rir.iie llLacLdrorc,lorv l.nrm,
limrry Pigc. slevi-" lh! V Lghrt. I slartr{l
p l . ) l n 3 . o v e i s w h e nI s l a e ( l p l a l i r 8 g u i r a r
''\lr. Crohlcy \vasour big song l\jc p a-vcd
Zct)pcliL Nlcrnllicn !enonr, Del L.ppard
rll thc b.nds \vc liked lo lis(cr lo. Il i{as
good schoolnt8lor nr, plJ!irg tlx^r Jongs.
I h e r es r l o t o f n c \ v s r l f f v l n r c a . l r d r a l l
rhc nme il ror lisrd (o Dc.D l\nPle, ljlatl
S r b b a r h l, e d Z e p p o h ro r l h . l \ D e o i b r n d .
Erch so.g ]'ou crn listcD(o tor 20 .r:t0
\ c . r s i f d . l \ L r v s h e a rs o c t h i f g t e N
!on r..l$a!\ goirij lo lrrtD sonrclhi.g
l\hcn you played in a cover band, did you
.ccrcalc thc Darisexactly?
Seput A\DRE S:I ried h phv il.{clly bul I 'n
nevcr glnig Loplavcxa.nl like rnorh.r 8ui
rar phye. bo..un rh. sr!le is so ilill0redl I
r . i c d i r n a n . I L c a n r e (rl l o t d o i n g l h . t r l
WbalMs yorr d.vdream as agnitar pla,v$l
ANDIIEAS:[rcr\ll]ing rin donrg no$ ]!rs r
d.eam lor nc bcfore Ne ner0r lhorghl
Ne d o\or plry oursidc llrrzil or .uGnlc nrv
w.s 1he.e a lucky brcak ihal hehed lhe
ANDRI:AS:Il ilns lhr.hrnce io sign Nitlr a
l a b e l l H . r a i u n n o r l o u L s j d cI l l i z i l l r w r s r
bad.oniia.t rl lhc rirr. and srilis. N€
chxn8cd n a Lot \!c signed\rith Lpicnn{l \ve
h r r c a ( h o l e d i i l e r e n tc o r L f u c t..\ l t h c l i n e
\ c s i g n e dN i t h R o l d r u r r c r w c h a d a
ch.D.c to record an llburr rvnh a good tr.
{ l u c o ra . d p l . y o u r s i d el l r : r / i l l o r d r . l i r s l
( i n r c l h r L $ . s r h . b e g i n n i n gt u r u s . T h c
i j r € a L e s cr r P c r i . ! c e \ ! r s r o I ) l a r o r t s i d c
llraril and meer i lot of people
we.e you the o.ly band doing this in
ANDREAS:Th.r. s a lot oi Earige bands in
Bruil. We aI slalred ar the same ponrl bul
we did ihings ditTcrcnlll SepultLm opencrl
a lot ofdoors for otbcr ban(ls some bands
rhat broke up are bacli logclher xgain.lhey
hare a new hdpe ard nc\v larth lhey s€en s
. o r i n p o s s i b l e t o b r e a ko o r a r d h a v € a n
inrpacr I he s.en-"is geunrgbiggcr.
Cllrdos,4.D, has nD.eolthc Brazilian influ'
ence lhar any ofyour olher records, Thc
acouslic picce, 'KaioNas,"is tbe moslobvi
ANDRLqS:It $as aD idca w-" had tur a long
t i m - " N l e a r d l \ ' l a xl i s r e Dl o a l o t o l L e d
zepl€lin and rhcr.s r ior r)l Ied z€ppelin
i n f l u e n c €n r t h a t s o n 8 . l h e s e ( r n d h a l i i s
renuv Northexr !rizili.n nr rh€ music and
r h ) , i h n rl t . a m e o u Lb v c r a r s o d a y p e r n x l .
l\tc and Nlax gor a couplt'ot rills logelher
rvritjfg nr his backyard.Th. rccorinrg Lo.a.
t i o n N i s . o . l b e c r u s ei t $ i s l i k e a b i g s t { n .
r8c roonr .Dd rhis guy rli.rc coLlccrsvoodoo
masks n.{l srull. \r'r rccorrlcd rhe song live
jD a casrle nr wllcs. Tlicr. !v.s no ce'lingl
t har s Nh! !ou hear tl[ bndsiil s nll natn,l.
Thc rcr.rb is llom rle casll.. ft's rhc sound
ol rlrc rconr Nnh hrg-" walls. tu w.s a Srcar
r i b . a r d $ c 8 o r s o m e p e r c u s s i o ni N l r u
r r . n ( s a . d b r o u g h to u r g u i l a s . w c p u t i r
rogcthcrlcry last l vasv-"rynatural.
You neve.NaDlcd to puI a melody ovcr ir?
A\DREr\S: io or the sednril hall l ptl lhc
l-"rd becrusciI s rcry rafn:al olth€ way pco
!le playnr Brizil. Irri.d j.mming ard wc
p l 0 v e ( lo v - " ra n d o v c r . I u s e d a F e n d e .l 2
srriDgand xn Anlurnr B.rco SpanFh gunar
!aul. pla_vs rhe bas,Isor lc.valcra dNmt
pl.!s thc ronrs, and mo and l\'lax pla-vIhe
rcous(ic so cveryb.dypla_vsroScthei.
Do you a.d Max usually do your owD
ANDREAS:$Ic borh do our or!. parrs wc
rehcrsc a lor.when we hlve limc ofl se
l i k e r o r c h c a r s cn t h e . l l e n n x n l a n d w e e k
e n d sr r e l r e c . l r s n o r a j o b ,h u l \ { c h r l e . . r
r.i,, tines ro do rhingsi.d sr do n ldurnlSl
rhe Ne€L. Ne vc wrlrren ih-" n)ngs Logetltcr
s i n c et h c b . g i u r i n g . l o r n , a . w € d . i n c
s.Dijs !( rhc salrc rnne. Ilach day wc niccl
tl)r a !nr!c bn ro dofkon th. songs.We bxsi
. r U ! d o d i l l e d n r h ! r h n r s { l i l i e r e n rl b t t l t r !
_Thh
Drrr\ Ir s lilc, drirbn prrl crn Ilt on
rhd p r r 1 . $ c l i k .doingilDie.eb_vpiec!.
You don't $ork on onc songat a rime?
r\NDnF)ls: lve nsuallr{lon t do drat
Y o u s a _ v".l r e r € ' s a g o o d i d c a ; 1 e l s u s e i t
hcrc, You lhen comc up wilh aDolher
good idca and it might go lo a differe.t
A N D R E A S :I h a t s i i g h t . \ ! ! s l a r l t v o t k i n g
sirh orc rilt, druinbear or b$s Iill.lfc slall
p l r l n r g { l i f l c r c n rr h ! r h m s { t r c r s i r l h . l
I r' labi.rr ! \ ] e d o r h . r w b o l e s e . l i o n d n d s a y ,
s.ool.\\t.rn !se ir on thissong.'
r\trd you donl try lo wrile one whole song
ANDnEAS:No. for C}dos,4./) i!€ had some
s . . g s f i n i s h e dl i r s l , i e h j c h r ! a s d i l l € r e o t
becr^e $e did jNr the song.
I d sayyou wrile in a unique way.
A N D R E A S :Y e a h , b u i t h a r ' s t h e w a _ vw e
srarrcd doing il si.c. I loined lhe band in
8i. lhe albur was called s.rtrlt,"tB, I
put nry ideas inro it but they have no.e
h a r d c o r e i n r l u e n c o s :n o r e p u n k . I h . v e
truir' urdirioDil henr! ncral irilucnccs. we
 len often lou play rhythm guitar mo.e S o " W e W h oA r e N o t a s
like. drummerhittingihe skins, Others"could hrve been
1 \ D A L { S : \ ' c a h ,I t h i n k s o ,b e c a u s e we
rhi:ri 1, do rlrr ritf it s nol only guirarand ANDREAS: Yean.I d rather
b : . . 4 r 1 h t s h o l e ,s t r o n gp u n c b T . he do likethattbd pltthou
d ' : r : . . i d 8 t r i r ahr a v et o b e r e a l l yc l o s e , sandsof leadsand differ
elr:r r1or. rhxn Lhebass.lt s nol verygui- ent guirarsoundson jusr
r x r . r : r u e n L c dirt s m o r el i k c r h e w h o l e b e c a u s ei i i s a n i n s r r u
3r)ur tose'herpur.tnSangerour
The lead€r is the rhythmic punrh more The soundon Ciraor,4D,
thm chordchangesand hdmonies. is your bestq€r. Did you
; \ \ D R l . \ S : l r e m e s sa r o u n d a b i t r v i t h s w i i c h i n s t r u m e n r so r
(hortj. andnrelodicstuff I plt dy leadsonl
L,ur:h€ shole conception is morethe ener PAULO:I slvitchedoor of
g \ \ \ e r h i n ka b o u tp l a y i n SI i v e a n d n o r t h e b a s sr i g . I u s e t h e
unnS'ncts in rhesrudio. samekind of cabinet.The
'lell
me about the shucture for "We Who bassandheadsweretotal-
Are\or asOthers." l y d i f f c r e n r .I u s e d t h e
A\ORE{S:Ii s verydiffe.entirom whatwe A m p e gS V T2 , a H a . t k e
dd brnrt Wt didn'thavethe plar m do an system cabinet and
'n\Gurx.d'al and then laddl rhe vocalsjit
..!rr ou' like rhar.we h.d beenjanming. A N D R E A ST : his is rhe
\\e rn.d ro put vocalson differentpansand firsl album nhere rhe
ir crne out likethat. b a s ss o ! n d s l i k e a b a s s .
$}en !ou do a songyou don'rihink of the On Arire and Bereaththe
Xeaairs eventhe grna.s
A\DRL{S: Thereis no generalrule.Some and drums are really
song\\e nrrr with a vocalline. Md shr$ muddy- On this we cap-
tured rhe live feeling,
IPrDducedAndyWallace was coming fron Dassiveguitarsoundbecause its four gui
rr tr ^ ^ +L ILI E^ the same direction. He kcpr everyrhingwe tars;two are Md and two a.e me, It s not
I U I recorded.A lot ofguirar and bass passages reallyclear.On C/raoJMax useda cibson
he used rvere ftom rhe firsr day in rhe siu- SGwilh ldge stringsto get the bonom end s
dio. He kepi the irst vibe, rhe llrst teeling. f o r s o D e p a r t sL h a ta r e r e a l l ys l o w a t r d
fi rst t i me We didnl ness with differeDrrigs,.abinets healT.So rhar'sthreeguitarssometimes,
and guilars. We rsed all rhe same gear we burmostlytwdg!iiars,
lsed in .ehearsal. We jusr '!ent into rhe Haveyou spent time trying to d€velopa
we necorded studio.I uscd new Mesa/Boogic gear that i soundyou hed in yourhead?
hadnl used before the Trid{is and the A N D R E A SN: o , I l i k e j u s t t o p i c k u p a n
500 Stralegy. I recorded rhe rhyrhm with inst.umentand srartto warm up. I like to
]US t one Ihe blact Randy RhoadslactsoD, rhe leads jam, plav liee, nol havethingsexactlyrhe
wirh a Charvel Model 2, the same guitars same.Sometimes I playin ircnt ofa video.I
do differenrLhings, not only studylike lif I
gu l tar each. PAULO:I did a couple ofdifferent bass w e r ei n l s c h o o l .I h a v et o e n j o yi r . Y o u
parts.I .ecordedup m five times in different developit fasterby playjngaI over.
ways. Ooe time lndy wallace was holding who would you ljke to jam wiih?
We d'i dn't rhe string for me. We tried taping my flfth ANDREAS: I hadthepleasurc tojm arready
slring becauseir was ringing. He mixed it all wirh JasonNenstedftonr Merallica. He is a
doubLe by ANDREAS: The most important part was
blues lover like I am and we ger along very
'!eu. we .ecordeda rapeand n soundslike
that Andy Wallacehad the patiencetD lisren drunk peopleplayiDgbhes-il wasEreatto
to every note we tried aDd picked our rhe
mach r ne best palrs and best feeling. He caplured On this new record you play rewerlines
a n d m o r e s o ! d d s ,m o o d sa n d p a r t s . I t
anyth 'i ng. You had many t.acks and he wodd comp it Decomesmore your om styre.
ANDREAS: Tha {as myco.cem, not rDdo
ANDREA$: Yeal! that's ffictly what it was tJ.ical leadsand solosb€calseit getsbor
Iik€. we kept the basic guirars when we ing in this sryleolmusic. AIlthe songsare
OI reolded dJum6.Some parts I overdubbed, very strongand aggressive and insteadol
some its tbe first guitar. ADdy foond rhe p u t t i n ga l e a do n t h e t o p o f t h e d r u m s ,

LL sound riSht spots.

He would ffnd the righl spots i.om difer-
which arc very strong,I would nther rse
6olosrbararegoingro.hangea little bit dE
mi performan@s and mix them iogether.
You puposely iri€d not to usea lot of whar
tts more ANDREAS: Sometnnes you cd, sometimes
you just se one. For the firsr ljme we you'v€ alreadyleamed-you decidednot ro
recorded just one guitar each. We didn r

c L ea n. " double b_\rmachine o! anyrhi.g. we got a

lull sound thats more clear. On /lriv its a
ANDREAS: Not really,It was normal1odo
iI like this. Wben we write our songswe
*

MEIAL
MONSTERS
107
 s€*tut:+t:l'€

rre*-fGzE-a.Arce

Rhythmligure L Thc chord nmledr.nt

N . c . ( E 5 l ' c 5 1 5 , e s t a b l i s h easD E l ) h r v g r . D
(ll F G A ll C D) tonality. Nr)Liccrh-" use of
palm muting alonguith rnrgingcho s
'fhc pre chorus i.atr'.es a toDal'ty
changc to }. dinror, though the Dclodv (?l
skirrsbetwee. major ind minor thirds
(fhis is Miilcr as }. ftiDor ior sjnplicnv s
sake) The rhytlnn parl is agltr bised on
powcrchording.onbined wilh single
n o i e s . T h e c h o r u s f € a t u r e sa r c t u n r t 0 E
minor and lhe {se of chromatichD as A s
G5 and F5 chords are syrcoDated againsl
cighrh-norcopen low E s, nilh asinglc note
harmony oD trea6 3 and 4 ofthe s€condlrar

T h e l i r s t S u i t a rs o l o b c g i n s w ' L h s l o w
phrasesblscd on I Dorian (! F: a;A B i; I)l
dovinsinLo haphdard freocricismal bar 6;
the following pbnses irrclLrdepassingloncs
$ , c h a sn r e r t a j o r r h n d( G l r a l l i ! . ( l l ) l l i t
sirlh tC)and flar nine (Il.l lre secondgurLar
solo (sec outro) fcatures 1nresbdscd on E
Phrygian, again pcrlorncd Nnh nrtcnsitv
Thc unusMlphras.s aDdanibiguoustonali
tv D.ke rc lnres sound spookv, espcciall!
rir.side bends in bar T and th. bend ro rhe
flar sixrh,hcaely vibmtoed, iD bars I and l0
'fhc
s o n g c D d s i { i l b G t r ' l l b c D d n r gu p a
major s€verth, idlowed by both gurrars
ieedingbact DoresIionr an E iriad (ll (l: Ill
'Ihe
s o D gs e g u e si n t o " S i l e n lS c r e a m ( n o t
included her.), conlnnrnrgthe slashlesr'
AndYAlalatl

BATIERY
Iames llellield ovcrdubhed lbur gu'l.rs
Lr the acousticin1rclo this trn. recreatirrga
''Spanish guitar lecl. lhis givesNa! to dt
sdre lines PlavedbY ulrimatc
guirds. lhesc liD€sd. basedor]\ Aeolidr (i\
Il CD E F Cl. The im.rcsrnr,lthirg.lronL lrc
verses nrrlbd p.n {and nN.:h olNlet.llica s
m u s i c )i s t h a t i l j s v e r y t r e e h . n n o n i c a l l y
reledn8 ro trnonal rclationshiPsilba! I lB i
to A5 nr an I pcdal) tl hdnroDic n\inor (l] F:G
]\ Il C D) in bai 2, and minor thnd lo naj{tr
rhjrd (G5Io C5l in bir 4, .jl Playedlvilh shili
ing syncopatuns.Ther-"is alsothe o.cisionrl
I's. ofan odd iime nre.surt' such as Llrc5/J
bar ihal pops up riShr b€lorc rhe intcrlude
a . d i h e b e g h r n i n go t l h e c . d a l h e i i r s r l 0
l i k e t { r c h i . g e l h c N a l o La n d l h i r k r b ! u I plry live I like it n\orc likr thar becausen
trarsol (irk Hamntclt! solo are bascd on ll
Dorian 1[ Ii G A B c) I)l aldtSu'ith I p.nra' ideas.\\'c do r!.r! song togethcr .s i sers nroru of a charactensl
b a D d .I t s n o l s c p a r r l c P u r t h s t o g e t h c f ftor. dissomni chords
tonic minor (F GAB Dl rnd lhc Il blucsscale
Bars ll t h e s h o l . a l b u m o r P ' o c e s$ a s n o r . c o r On 'Propaganda"Yo{ get r g
\rhich adds& tr) iilcDtai{nic nrinor'
and l2 ieatrtre an alonal lull offrill afier scions {lccision, like !or sav. Ii w.s rn)rc
prcvious scdcs lor nroral ro ieei whal Nas good lor a Prrt ANDnFAS:lr'sjrst tttcc.olcs \vtrh tlrc oPen
$hich Kirt rennns to the
li slridg rnrgnrg.Idon't knoN llrc ollr€r noles
the rcmaindcr ol the solo,l(nrcl! oulhriDg
But you knew yon $ereD t goina to plav b u t r l r . r N r s l t r e l i r s Ls o n s N . d i d l ( l r t h i s
tbe chord ching€s. liYou i{
y.u havet{) nsc a lot ofdh a l b u . r . $ r p l a y e dt h i s s o n g l i l e \ ! h c . N .
Merallica'ssouDd,
A N D R E A SI :d i d n 1 N . n r r o | t r v t v l ) i t r l l e n { l r { n r r c ds t h o z z y , \ \ r f s t r r r \ ! i 1 h r h e g u r l i r
tordD and pump lds ot lo$ end .s rhe gui ahra,vslikr L. nre
bassy, csp-"ciaily gunar. i\'lost ol the ldrs I cr.rc up \!rlh nl b..ru{'I
tar souDd is vcry thick and
r h c s t l d n ) I h r d i o l c . n ( l r es o l o r g d i n ) difier€rt.oisesatddillcrc sound\ l:
rh€ chords. ,4.n. B

1 OO MO\STERS
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