Chords for Richie Faulkner of Judas Priest Signature Epiphone Flying V at The Music Zoo
Tempo:
61.6 bpm
Chords used:
E
C#
A
F#
F#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F#]
[E] Hi [C#]
[F#m] [F#] there, Richie Faulkner here from Judas Priest.
I'm here at the Music Zoo.
[N] I'm here with a familiar guitar to me.
This is my brand new Epiphone Signature V.
And I'll share some stuff, share some stories
with you about it and how it came about.
This guitar came about, I approached Epiphone.
Epiphone came out to a show and we started talking about doing a Signature V.
And I've
always played Vs.
I've played Les Pauls, I've played Vs.
And a V was always the natural
choice for me in Priest.
I wanted a Floyd.
I didn't want to put a Floyd on a big thick chunk of Les Paul, you know.
So a V was the right choice in that regard.
And also it's Judas Priest.
Judas Priest has always been synonymous with a V, with KK Downing.
And I was a huge fan of Ken and Michael Shanker and Randy Rhoads with his polka dot V.
And you know, V's always been a part of my musical makeup.
And so I had an original V that was customized for me.
And it had the single scratch plate, but it had the bound body.
It had the EMGs, it had the ebony neck and the bound neck and pearl black inlays.
And I just went on from there customizing it as you do, you know, putting different
things on, different appointments.
I put the double scratch plate on.
When I'm playing with Priest, I usually have like a cuff with leather or studs or
spikes on it and whatever.
And this underneath the scratch plate on my original, all the paint's come off.
So for me, it made more sense to put a double scratch plate so this side's covered as well.
And also it looks eye-catching.
It looks unique.
But I think it's still kind of classic looking, you know.
It started off with EMG 8185s and I changed them to the 5766.
So they're in there.
It's got the Floyd Rose, obviously.
It's got one volume knob.
No tone knobs on this thing.
It's just, you know, zero to 100 or 11.
It's got the input jack here on the top wing so you can put the cable through the strap
and it doesn't hang down over like it does on some of the 67 shape V's, you know.
It's a 57 shape.
It's got a satin neck.
On my original V, you can see here I use quite a fat thumb ring.
And over the years, it's carved off the paint on the back of the neck, you know.
And it does give it a different feel.
When the paint's gone and the varnish is gone, it gives it a different feel.
It's a smoother feel.
But it doesn't look too pretty.
Now, I don't mind.
I mean, I'm, you know, not necessarily a pretty guy.
But like, you know, we wanted to recreate the feel of that wood without looking ugly.
So the master builder came up with the idea of putting a satin neck on it, which is perfect.
It's smooth.
There's no varnish.
And it looks great.
It's black, you know.
It looks lovely and smart and, you know, sleek.
What else have we got?
We've got the Falcon logo on the 12th fret.
When I joined Priest, Rob Halford, because of my surname, Falkner, comes from falconer.
And apparently, back in the day, we used to train, keep, and fly falcons for royalty and
all that sort of business.
So Rob picked up on that straight [Bm] away and gave me the name, the Falcon.
And it's kind of stuck ever since.
So I've got this on, obviously, guitars.
I've got it on tour jackets and picks and what have you.
We've got the Priest logo on the headstock, which is awesome, just to remind everyone
that it's Judas Priest.
The Epiphone logo up there, which is beautiful.
What else have we got?
We've got a battery compartment on the back there, which is awesome.
On my original, I don't have that.
I have [F] to take the scratch plate off every time I want to change the battery.
So that's nice and convenient.
You can just whip it out and put a new one in there.
[A] And that's pretty much it.
As I said, you've got the Floyd, bound head, neck, and body.
And that's it, really.
And I use them on stage alongside my original ones.
They stand out well.
The tuning is great.
The Floyd's great.
They're heavy.
Great tone.
And [C#] yeah, they do the job.
[F#]
[F#m] [A]
[G#] [C#]
[D] [C#]
[E]
[C] [E] [Em] [A]
[E] [Dm]
[A]
[G] So obviously, here at the Music Zoo, you can pick one of these up at the Music Zoo.
This is the Ritchie Faulkner
[E] Hi [C#]
[F#m] [F#] there, Richie Faulkner here from Judas Priest.
I'm here at the Music Zoo.
[N] I'm here with a familiar guitar to me.
This is my brand new Epiphone Signature V.
And I'll share some stuff, share some stories
with you about it and how it came about.
This guitar came about, I approached Epiphone.
Epiphone came out to a show and we started talking about doing a Signature V.
And I've
always played Vs.
I've played Les Pauls, I've played Vs.
And a V was always the natural
choice for me in Priest.
I wanted a Floyd.
I didn't want to put a Floyd on a big thick chunk of Les Paul, you know.
So a V was the right choice in that regard.
And also it's Judas Priest.
Judas Priest has always been synonymous with a V, with KK Downing.
And I was a huge fan of Ken and Michael Shanker and Randy Rhoads with his polka dot V.
And you know, V's always been a part of my musical makeup.
And so I had an original V that was customized for me.
And it had the single scratch plate, but it had the bound body.
It had the EMGs, it had the ebony neck and the bound neck and pearl black inlays.
And I just went on from there customizing it as you do, you know, putting different
things on, different appointments.
I put the double scratch plate on.
When I'm playing with Priest, I usually have like a cuff with leather or studs or
spikes on it and whatever.
And this underneath the scratch plate on my original, all the paint's come off.
So for me, it made more sense to put a double scratch plate so this side's covered as well.
And also it looks eye-catching.
It looks unique.
But I think it's still kind of classic looking, you know.
It started off with EMG 8185s and I changed them to the 5766.
So they're in there.
It's got the Floyd Rose, obviously.
It's got one volume knob.
No tone knobs on this thing.
It's just, you know, zero to 100 or 11.
It's got the input jack here on the top wing so you can put the cable through the strap
and it doesn't hang down over like it does on some of the 67 shape V's, you know.
It's a 57 shape.
It's got a satin neck.
On my original V, you can see here I use quite a fat thumb ring.
And over the years, it's carved off the paint on the back of the neck, you know.
And it does give it a different feel.
When the paint's gone and the varnish is gone, it gives it a different feel.
It's a smoother feel.
But it doesn't look too pretty.
Now, I don't mind.
I mean, I'm, you know, not necessarily a pretty guy.
But like, you know, we wanted to recreate the feel of that wood without looking ugly.
So the master builder came up with the idea of putting a satin neck on it, which is perfect.
It's smooth.
There's no varnish.
And it looks great.
It's black, you know.
It looks lovely and smart and, you know, sleek.
What else have we got?
We've got the Falcon logo on the 12th fret.
When I joined Priest, Rob Halford, because of my surname, Falkner, comes from falconer.
And apparently, back in the day, we used to train, keep, and fly falcons for royalty and
all that sort of business.
So Rob picked up on that straight [Bm] away and gave me the name, the Falcon.
And it's kind of stuck ever since.
So I've got this on, obviously, guitars.
I've got it on tour jackets and picks and what have you.
We've got the Priest logo on the headstock, which is awesome, just to remind everyone
that it's Judas Priest.
The Epiphone logo up there, which is beautiful.
What else have we got?
We've got a battery compartment on the back there, which is awesome.
On my original, I don't have that.
I have [F] to take the scratch plate off every time I want to change the battery.
So that's nice and convenient.
You can just whip it out and put a new one in there.
[A] And that's pretty much it.
As I said, you've got the Floyd, bound head, neck, and body.
And that's it, really.
And I use them on stage alongside my original ones.
They stand out well.
The tuning is great.
The Floyd's great.
They're heavy.
Great tone.
And [C#] yeah, they do the job.
[F#]
[F#m] [A]
[G#] [C#]
[D] [C#]
[E]
[C] [E] [Em] [A]
[E] [Dm]
[A]
[G] So obviously, here at the Music Zoo, you can pick one of these up at the Music Zoo.
This is the Ritchie Faulkner
Key:
E
C#
A
F#
F#m
E
C#
A
_ _ _ _ _ [F#] _ _ _
[E] _ _ Hi _ _ [C#] _ _
[F#m] _ [F#] there, Richie Faulkner here from Judas Priest.
I'm here at the Music Zoo.
[N] I'm here with a familiar guitar to me.
This is my brand new Epiphone Signature V.
And I'll share some stuff, share some stories
with you about it and how it came about.
This guitar came about, I approached Epiphone.
Epiphone came out to a show and we started talking about doing a Signature V.
And I've
always played Vs.
I've played Les Pauls, I've played Vs.
And a V was always the natural
choice for me in Priest.
I wanted a Floyd.
I didn't want to put a Floyd on a big thick chunk of Les Paul, you know.
So a V was the right choice in that regard.
And also it's Judas Priest.
Judas Priest has always been synonymous with a V, with KK Downing.
And I was a huge fan of Ken and Michael Shanker and Randy Rhoads with his polka dot V.
And you know, V's always been a part of my musical makeup.
And so I had an original V that was customized for me.
And it had the single scratch plate, but it had the bound body.
It had the EMGs, it had the ebony neck and the bound neck and pearl black inlays.
And I just went on from there customizing it as you do, you know, putting different
things on, different appointments.
I put the double scratch plate on.
When I'm playing with Priest, I usually have like a cuff with leather or studs or
spikes on it and whatever.
And this underneath the scratch plate on my original, all the paint's come off.
So for me, it made more sense to put a double scratch plate so this side's covered as well.
And also it looks eye-catching.
It looks unique.
But I think it's still kind of classic looking, you know.
_ It started off with EMG 8185s and I changed them to the 5766.
_ So they're in there.
It's got the Floyd Rose, obviously.
It's got one volume knob.
No tone knobs on this thing.
It's just, you know, zero to 100 or 11.
It's got the input jack here on the top wing so you can put the cable through the strap
and it doesn't hang down over like it does on some of the 67 shape V's, you know.
It's a 57 shape.
It's got a satin neck.
On my original V, you can see here I use quite a fat thumb ring.
And over the years, it's carved off the paint on the back of the neck, you know.
And it does give it a different feel.
When the paint's gone and the varnish is gone, it gives it a different feel.
It's a smoother feel.
But it doesn't look too pretty.
Now, I don't mind.
I mean, I'm, you know, not necessarily a pretty guy.
But like, you know, we wanted to recreate the feel of that wood without looking ugly.
So the master builder came up with the idea of putting a satin neck on it, which is perfect.
It's smooth.
There's no varnish.
And it looks great.
It's black, you know.
It looks lovely and smart and, you know, sleek.
What else have we got?
We've got the Falcon logo on the 12th fret.
When I joined Priest, Rob Halford, because of my surname, Falkner, comes from falconer.
And apparently, back in the day, we used to train, keep, and fly falcons for royalty and
all that sort of business.
So Rob picked up on that straight [Bm] away and gave me the name, the Falcon.
And it's kind of stuck ever since.
So I've got this on, obviously, guitars.
I've got it on tour jackets and picks and what have you.
We've got the Priest logo on the headstock, which is awesome, just to remind everyone
that it's Judas Priest.
The Epiphone logo up there, which is beautiful.
What else have we got?
We've got a battery compartment on the back there, which is awesome.
On my original, I don't have that.
I have [F] to take the scratch plate off every time I want to change the battery.
So that's nice and convenient.
You can just whip it out and put a new one in there.
[A] And that's pretty much it.
As I said, you've got the Floyd, _ bound head, neck, and body.
And that's it, really.
And I use them on stage alongside my original ones.
They stand out well.
The tuning is great.
The Floyd's great.
They're heavy.
Great tone.
And [C#] yeah, they do the job.
_ _ [F#] _ _ _
_ _ _ _ _ _ _ _
_ _ [F#m] _ _ _ [A] _ _ _
_ [G#] _ _ _ _ [C#] _ _ _
_ _ [D] _ _ _ [C#] _ _ _
_ _ [E] _ _ _ _ _ _
[C] _ _ _ [E] _ _ [Em] _ _ [A] _
_ _ _ [E] _ _ _ [Dm] _ _
_ [A] _ _ _ _ _ _ _
_ [G] _ So obviously, here at the Music Zoo, you can pick one of these up at the Music Zoo.
This is the Ritchie Faulkner
[E] _ _ Hi _ _ [C#] _ _
[F#m] _ [F#] there, Richie Faulkner here from Judas Priest.
I'm here at the Music Zoo.
[N] I'm here with a familiar guitar to me.
This is my brand new Epiphone Signature V.
And I'll share some stuff, share some stories
with you about it and how it came about.
This guitar came about, I approached Epiphone.
Epiphone came out to a show and we started talking about doing a Signature V.
And I've
always played Vs.
I've played Les Pauls, I've played Vs.
And a V was always the natural
choice for me in Priest.
I wanted a Floyd.
I didn't want to put a Floyd on a big thick chunk of Les Paul, you know.
So a V was the right choice in that regard.
And also it's Judas Priest.
Judas Priest has always been synonymous with a V, with KK Downing.
And I was a huge fan of Ken and Michael Shanker and Randy Rhoads with his polka dot V.
And you know, V's always been a part of my musical makeup.
And so I had an original V that was customized for me.
And it had the single scratch plate, but it had the bound body.
It had the EMGs, it had the ebony neck and the bound neck and pearl black inlays.
And I just went on from there customizing it as you do, you know, putting different
things on, different appointments.
I put the double scratch plate on.
When I'm playing with Priest, I usually have like a cuff with leather or studs or
spikes on it and whatever.
And this underneath the scratch plate on my original, all the paint's come off.
So for me, it made more sense to put a double scratch plate so this side's covered as well.
And also it looks eye-catching.
It looks unique.
But I think it's still kind of classic looking, you know.
_ It started off with EMG 8185s and I changed them to the 5766.
_ So they're in there.
It's got the Floyd Rose, obviously.
It's got one volume knob.
No tone knobs on this thing.
It's just, you know, zero to 100 or 11.
It's got the input jack here on the top wing so you can put the cable through the strap
and it doesn't hang down over like it does on some of the 67 shape V's, you know.
It's a 57 shape.
It's got a satin neck.
On my original V, you can see here I use quite a fat thumb ring.
And over the years, it's carved off the paint on the back of the neck, you know.
And it does give it a different feel.
When the paint's gone and the varnish is gone, it gives it a different feel.
It's a smoother feel.
But it doesn't look too pretty.
Now, I don't mind.
I mean, I'm, you know, not necessarily a pretty guy.
But like, you know, we wanted to recreate the feel of that wood without looking ugly.
So the master builder came up with the idea of putting a satin neck on it, which is perfect.
It's smooth.
There's no varnish.
And it looks great.
It's black, you know.
It looks lovely and smart and, you know, sleek.
What else have we got?
We've got the Falcon logo on the 12th fret.
When I joined Priest, Rob Halford, because of my surname, Falkner, comes from falconer.
And apparently, back in the day, we used to train, keep, and fly falcons for royalty and
all that sort of business.
So Rob picked up on that straight [Bm] away and gave me the name, the Falcon.
And it's kind of stuck ever since.
So I've got this on, obviously, guitars.
I've got it on tour jackets and picks and what have you.
We've got the Priest logo on the headstock, which is awesome, just to remind everyone
that it's Judas Priest.
The Epiphone logo up there, which is beautiful.
What else have we got?
We've got a battery compartment on the back there, which is awesome.
On my original, I don't have that.
I have [F] to take the scratch plate off every time I want to change the battery.
So that's nice and convenient.
You can just whip it out and put a new one in there.
[A] And that's pretty much it.
As I said, you've got the Floyd, _ bound head, neck, and body.
And that's it, really.
And I use them on stage alongside my original ones.
They stand out well.
The tuning is great.
The Floyd's great.
They're heavy.
Great tone.
And [C#] yeah, they do the job.
_ _ [F#] _ _ _
_ _ _ _ _ _ _ _
_ _ [F#m] _ _ _ [A] _ _ _
_ [G#] _ _ _ _ [C#] _ _ _
_ _ [D] _ _ _ [C#] _ _ _
_ _ [E] _ _ _ _ _ _
[C] _ _ _ [E] _ _ [Em] _ _ [A] _
_ _ _ [E] _ _ _ [Dm] _ _
_ [A] _ _ _ _ _ _ _
_ [G] _ So obviously, here at the Music Zoo, you can pick one of these up at the Music Zoo.
This is the Ritchie Faulkner