Chords for All About Steve Clark Pt. 2

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Hi, Phil here again and I'm about to answer the next five of twenty questions about Steve.
_ _ _ _ _ On live recordings, kind of like I said before, we had a very different style.
Steve was a
lighter touch and mine was more aggressive and that's really, it was a different approach.
[Db] My stuff's kind of _
_ [Ebm] _ [Db] all_
[B] It's kind of like, and Steve's was, it's more [E] of a_
[Ab] _ _ [N] Vibrato
was different.
My vibrato, vibrato is when you wiggle something or _ go_
saying like
that's vibrato, right?
On a guitar, this is vibrato for those who don't know.
Instead
of just_
instead of bending [F] a note, you wiggle [A] it.
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Mine is a [Db] very slow vibrato.
[Bb] _ _ _ That's
a slow vibrato.
Steve's was a lot faster.
It was more like that.
So again, so now you
know, have a listen.
Or just look at the sleeve notes. _ _ _ _ _
_ Yeah, there is actually, there's a
guitar thing.
Me and Steve actually bought each other Les Pauls.
It was just an excuse
to spend money on ourselves but we, in denial, we said we were going to buy each other a
present.
So it was in New York City.
We went down, I forget what street it is, but it says
Manny's, Sam Ash and all these stores and we wanted to get two Les Pauls that were pretty
much identical.
Went to all these stores, nothing.
And like an hour later, I get a phone
call and it's actually from Sam Ash and they said, you'll never believe this but we've
just found two brand new Les Pauls in boxes, never been opened.
They're a serial number
apart and we've had them in the attic for ten years.
This was one of them actually.
So I got this one, lovely piece of wood and Steve got another one.
And yeah, they were
kind of, we got these in 90, 1990 and they'd been in there for ten years so they were brand
new but old.
So pretty special, pretty weird actually.
Another time, you may have seen
Steve playing a Gibson Les Paul like this one, identical to this.
Again, in early 80s,
we had two made identical.
Mine says my name right there and Steve says his name.
But yeah,
I don't think, not many people know that. _ _ _ _ _
_ _ _ Yeah, one springs to mind, there was the song Gods of War on Hysteria.
I think on that song
we hit every note on the fretboard, you know, it's all in different keys and everything.
We just kind of squashed it all together.
I think Steve come up with [Eb] this [Bb] lick initially
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[C] and then it went _ [G] something like that.
So I [C] had the, _
_ _ [N] forget how it goes now, but then
I just stuck on this extra bit which ended up being the bridge or the pre-chorus went
_ [E] _ _ _ [Gb] _
_ [E] _ _ _ something [Bb] like that.
And then it went.
_ _ _ _ _ [N] So we was recording this in Dublin on a little
cassette kind of multi-track, four track Fostex thing.
That's where we'd done our demos for
the Hysteria album.
And then this song had pretty much two bridges, two choruses, a middle
plate, a theme, a verse.
And then the other guys came in as well.
But it started off as
just sticking ideas together.
And it's like, what about that?
And they was ridiculous at
the time, but it all worked.
And Mutt Lang was going, that sounds great.
And there's
melodies over the top of it.
And it actually turned into Gods of War, which is one of the
cooler songs on Hysteria. _
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_ _ All of us actually, I know we got to do little bits here and there, but we were so busy.
We were actually the busiest band I knew of.
Most of the time we were recording.
If we
wasn't doing that, we were touring.
So didn't really get much chance to do that.
Although
I know that Robert Plant wanted Steve to play with him at some point, I think.
And yeah,
I'm sure later on, yeah, that would have definitely happened.
All of us, once we got a bit more
time and a bit more settled.
But it was never like that.
We were constantly doing something. _ _
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_ _ _ _ Favourite songs live is a bit of a weird one, because we all have favourite songs and they
change the next tour or the next week or whatever.
So I don't really know there, as far as that
goes.
As for the set list, we never done anything that we didn't like.
If someone said, well,
I don't like this song, I don't like it's flowing, we'd fire people in a band and five
different opinions.
But we'd always respect the wishes of someone if they said, this sucks,
I really don't want to play it.
So it would have been very much the same as it is now,
which is a democratic kind of set list, I guess.
And most of the time it's pretty obvious.
It's like you do songs and we've had many times people go, why don't you play this song?
Why don't you play this album track?
Why don't you play Wasted?
Very funny story, we'd done
Wembley Arena in England, in London.
And everyone was going, let's do Wasted, our manager at
the time.
And we'd done Wasted and you could have heard a pin drop.
There was like 10 people
going berserk.
And then there was 9,090 something just sitting there wanting to pour some sugar
on me and photograph.
So that's the problem with that.
So really a lot of the set list,
they kind of sort themselves out.
And it's not because you don't want to play them.
It's
because you feel that the fans are not reacting.
Or the people that come and see you, most
of them don't want to hear these songs.
So ultimately, that kind of ends up kind of dictating
the set list. _ _ _ _ _ _ _
Hit and Run was kind of cool, actually for all of us as well.
I think more
than one occasion, me, Steve, or me and Sav got our wireless things caught in each other.
And I can remember actually seeing a photo of us kind of like it looking like some weird
tarantula or something, because we were kind of stuck together in a Spinal Tap kind of
way.
So Hit and Run was kind of fun, especially when we dragged the middle section out and
kind of soloed over it and just had a vibe with it. _ _ _ _ _
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