If Jerry Garcia played in a death metal band instead of the Grateful Dead, he might have designed a guitar like the Guardian. At least that’s kind of the idea that Nashville luthier Sean Farrell had in mind when he conceived this guitar.
I start in the seventh-position B minor pentatonic box pattern with some string skipping and hybrid picking, using my pick-hand middle finger in conjunction with the pick. I hit the first note, on the low E string, with a down-stroke, hammer-on the second note, then pluck the third note, on the D string, with the middle finger, followed by another hammer-on.
On beat three of bar 2, I flip my fret hand over the neck and perform the arpeggios on top of the fretboard. Here, I use my thumb [indicated by the t in the finger prompts below the tab] to fret the low E [sixth string, 12th fret] so I can make the fret-hand transition over the neck without skipping a beat.
Maybe it’s the makeup. Maybe it’s the merchandising. Maybe, at the end of the day, it’s just the music itself. Whatever the source, it is safe to say that few bands have inspired as much fervent devotion—and also rabid derision—as the self-proclaimed “Hottest Band in the World,” Kiss.
This video is bonus content related to the May 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
Last month, we dissected the first six bars of the guitar solo section in the title track of Nevermore’s latest release, The Obsidian Conspiracy. Let’s pick up where we left off and take a detailed look at the rhythm and lead parts I play over bars 7–10 of the solo section.
Bugera was the first and may still be the only budget-minded manufacturer whose all-tube, hand-built amplifiers successfully challenge and sometimes eclipse the performance of today’s elite super amps.