“After this, Mötley’s done!” proclaims Mick Mars. He’s talking about Mötley Crüe’s recently announced Final Tour, which will see the band crisscross the globe—with Alice Cooper in tow for the North American leg—for one last hurrah. It’s a farewell celebration of the highest order, and one that is, Mars assures, truly a farewell.
I often get asked about my chord work, particularly about the voicings I use. My chord style initially developed as a result of my dissatisfaction with the way traditional guitar voicings, particularly triads, sounded.
When news broke in the early evening of May 2, 2013, that longtime Slayer guitarist Jeff Hanneman had succumbed to liver failure at age 49, a shockwave of atomic force rippled its way across the metal community that left many stunned.
Little Walter served his musical apprenticeship in Delta roadhouses during the early Forties and intently studied the style and techniques of down-home blues harmonica masters such as John Lee “Sonny Boy” Williamson, but he also took the instrument into new territory by emulating the jazz-tinged phrasing of jump-blues saxophonists.
Last month, we looked at the intro rhythm parts and the intro guitar solo to the title track of the latest Nevermore album, The Obsidian Conspiracy. This month, I’ll go over the remaining single-note intro theme and primary verse riff. As you’ll see, the latter is a lower-octave version of the final intro lick.
One of my favorite ways to explore new riffs, chord patterns and melodic figures is to take one of the seven fundamental modes and use its structure as a guideline. In doing so, I often discover new chord shapes or melodic ideas that I may not have otherwise come across.
Percussive acoustic playing has been around forever, and it’s easy to see why. The guitar is essentially a drum with strings stretched over it. (Its cousin, the banjo, uses a drumhead to cover the body.)
As a lead guitarist in a heavy metal band, when I solo I like to go for licks that are simple and repetitive and “drive the point home” as well as take the solo and song to another level. The licks in this month’s column are designed to sound impressive while being relatively easy to play—which is important to me, because I’m drunk most of the time.