Chords for TRACII GUNS guitar lesson "L.A. GUNS Early Years" PlayThisRiff.com
Tempo:
112.6 bpm
Chords used:
E
Gb
Bb
A
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Alright, so let's talk about the reason why Bob probably contacted me to do this, and
that's about the earlier stuff I did with LA Guns.
Which at the time, I didn't feel it was particularly groundbreaking, but it had a certain [Gb] tonality
to it that was almost, people used to always describe it as rough or raw or dirty or something like that.
Which leads back to the sloppiness part.
There's a guy named Johnny Thunders, who a lot of people might be familiar with, might
not be familiar with, he was in the New York Dolls.
And he would play a Les Paul Jr.
basically through a Fender Twin Reverb, and he is just
the king of the slop.
Which to me, I interpreted it [N]
as the next version of Joe Perry, the next version of
Keith Richards, the kind of rock and roll kind of thing.
And at the time when I got into Johnny Thunders, I was also really into Randy Rhodes, I was
really into Eddie Van Halen, Tony Iommi, stuff like that, Michael Shanker.
So I wanted to blend that together.
I wanted to go, okay, I can shred like this, and I [Gb] can play sloppy like this, how do I
put this all together?
And Nikki Beat, our drummer, [Bb] said, oh that's Jimmy Page.
Which I never really [F] thought about.
Page could do it all.
He could shred, he could play sloppy, [Gb] actually sloppier than anybody, which I've had [N] many
debates over his Arms Benefit concert, his solo on Stair to Heaven.
Was it genius?
[B] Was it pure emotional [Bb] genius, or was it pure crap?
Well, it's open to interpretation, and that's the greatest thing about rock and roll.
Some [Gb] people would say, I know for a fact that Steve Vai, he defends that solo to the end.
Going, no, that's Page, man, he's doing his thing, [B] and all that stuff.
But anyways, [F] all these things went into those early LA Gums records, especially the first
two, which is a blend of Johnny [N] Thunders and Eddie Van Halen and Randy Rhodes, and even
Mick Mars from Motley Crue.
I was a young guy, and that [Eb] was the stuff that was popular, and I tried to get it all
into one thing.
And the way I [N] recorded back then, which I think had a lot to do with that sound, I used
solid state amps.
I used Randles.
And on the first record, I used Randle RG-100s, which are the same amp that Dimebag used later
on the Pantera records, and we used them in a very different way.
That solid state kind of tone, you could get this really tight rhythm thing going on, or
if you open it up, broaden some more mid-range into your tone, you get more of [G] a sound like this.
You can hear all the strings, but [Bb] each string has its own kind of [N] hair on it, which makes
it a very uneven sound, and it makes it sound dirty.
And a lot of people associated me with that sound, and I've even been called the pioneer
of sleazy guitar, which I think is absolutely absurd, because there's nothing sleazy about my guitar.
So, let's play some LA Gunn songs, and I'll show you something.
How about Sex Action?
I got the distortion pedal on now, which is a copy of an old Tube Screamer.
Just going through my tube amp, [Bb] through the Echoplex, and my 51 Nocaster pickups.
[E] [Gm]
[E] [G]
[D] [Gm]
[E] [D]
[E] [B]
[N] And you can see that it's basically, you could play this on an acoustic guitar, but with
the right kind of attitude, the right kind of sound, it becomes a hard rock tune with
some blues licks, some country licks, all in the space of 15 seconds, you know?
And that's that early LA Gunn.
And then No Mercy is kind of [E] like a motorhead.
[A]
[E]
[A] [Am] [A]
[E] [Em]
[A]
Very sloppy, [Eb] very rock and roll, loud, dirty, and sleazy.
[Db] [N]
that's about the earlier stuff I did with LA Guns.
Which at the time, I didn't feel it was particularly groundbreaking, but it had a certain [Gb] tonality
to it that was almost, people used to always describe it as rough or raw or dirty or something like that.
Which leads back to the sloppiness part.
There's a guy named Johnny Thunders, who a lot of people might be familiar with, might
not be familiar with, he was in the New York Dolls.
And he would play a Les Paul Jr.
basically through a Fender Twin Reverb, and he is just
the king of the slop.
Which to me, I interpreted it [N]
as the next version of Joe Perry, the next version of
Keith Richards, the kind of rock and roll kind of thing.
And at the time when I got into Johnny Thunders, I was also really into Randy Rhodes, I was
really into Eddie Van Halen, Tony Iommi, stuff like that, Michael Shanker.
So I wanted to blend that together.
I wanted to go, okay, I can shred like this, and I [Gb] can play sloppy like this, how do I
put this all together?
And Nikki Beat, our drummer, [Bb] said, oh that's Jimmy Page.
Which I never really [F] thought about.
Page could do it all.
He could shred, he could play sloppy, [Gb] actually sloppier than anybody, which I've had [N] many
debates over his Arms Benefit concert, his solo on Stair to Heaven.
Was it genius?
[B] Was it pure emotional [Bb] genius, or was it pure crap?
Well, it's open to interpretation, and that's the greatest thing about rock and roll.
Some [Gb] people would say, I know for a fact that Steve Vai, he defends that solo to the end.
Going, no, that's Page, man, he's doing his thing, [B] and all that stuff.
But anyways, [F] all these things went into those early LA Gums records, especially the first
two, which is a blend of Johnny [N] Thunders and Eddie Van Halen and Randy Rhodes, and even
Mick Mars from Motley Crue.
I was a young guy, and that [Eb] was the stuff that was popular, and I tried to get it all
into one thing.
And the way I [N] recorded back then, which I think had a lot to do with that sound, I used
solid state amps.
I used Randles.
And on the first record, I used Randle RG-100s, which are the same amp that Dimebag used later
on the Pantera records, and we used them in a very different way.
That solid state kind of tone, you could get this really tight rhythm thing going on, or
if you open it up, broaden some more mid-range into your tone, you get more of [G] a sound like this.
You can hear all the strings, but [Bb] each string has its own kind of [N] hair on it, which makes
it a very uneven sound, and it makes it sound dirty.
And a lot of people associated me with that sound, and I've even been called the pioneer
of sleazy guitar, which I think is absolutely absurd, because there's nothing sleazy about my guitar.
So, let's play some LA Gunn songs, and I'll show you something.
How about Sex Action?
I got the distortion pedal on now, which is a copy of an old Tube Screamer.
Just going through my tube amp, [Bb] through the Echoplex, and my 51 Nocaster pickups.
[E] [Gm]
[E] [G]
[D] [Gm]
[E] [D]
[E] [B]
[N] And you can see that it's basically, you could play this on an acoustic guitar, but with
the right kind of attitude, the right kind of sound, it becomes a hard rock tune with
some blues licks, some country licks, all in the space of 15 seconds, you know?
And that's that early LA Gunn.
And then No Mercy is kind of [E] like a motorhead.
[A]
[E]
[A] [Am] [A]
[E] [Em]
[A]
Very sloppy, [Eb] very rock and roll, loud, dirty, and sleazy.
[Db] [N]
Key:
E
Gb
Bb
A
B
E
Gb
Bb
Alright, so let's _ talk about the reason why Bob probably contacted me to do this, and
that's about the earlier stuff I did with LA Guns. _ _
Which at the time, _ _ I didn't feel it was particularly groundbreaking, but it had a certain [Gb] tonality
to it that was almost, people used to always describe it as rough or raw or dirty or something like that.
Which leads back to the sloppiness part.
There's a guy named Johnny Thunders, who a lot of people might be familiar with, might
not be familiar with, he was in the New York Dolls.
_ And he would play a Les Paul Jr.
basically through a Fender Twin Reverb, and he is just
the king of the slop.
Which to me, I interpreted it [N]
as the next version of Joe Perry, the next version of
Keith Richards, the kind of rock and roll kind of thing.
And at the time when I got into Johnny Thunders, I was also really into Randy Rhodes, I was
really into Eddie Van Halen, Tony Iommi, stuff like that, Michael Shanker.
So _ I wanted to blend that together.
I wanted to go, okay, I can shred like this, and I [Gb] can play sloppy like this, how do I
put this all together?
And Nikki Beat, our drummer, [Bb] said, oh that's Jimmy Page.
_ Which I never really [F] thought about.
Page could do it all.
He could shred, he could play sloppy, [Gb] actually sloppier than anybody, which _ I've had [N] many
debates over his Arms Benefit concert, his solo on Stair to Heaven.
Was it genius?
[B] Was it pure emotional [Bb] genius, or was it pure crap?
Well, it's open to interpretation, and that's the greatest thing about rock and roll. _
Some [Gb] people would say, I know for a fact that Steve Vai, he defends that solo to the end.
Going, no, that's Page, man, he's doing his thing, [B] _ and all that stuff.
But anyways, [F] all these things went into those early LA Gums records, especially the first
two, which is a blend of Johnny [N] Thunders and Eddie Van Halen and Randy Rhodes, and even
Mick Mars from Motley Crue.
I was a young guy, and that [Eb] was the stuff that was popular, and I tried to get it all
into one thing.
And the way I [N] recorded back then, which I think had a lot to do with that sound, I used
solid state amps.
I used Randles.
And on the first record, I used Randle RG-100s, which are the same amp that Dimebag used later
on the Pantera records, and we used them in a very different way.
_ That solid state kind of tone, you could get this really tight rhythm thing going on, or
if you open it up, broaden some more mid-range into your tone, you get more of [G] a sound like this.
_ _ You can hear all the strings, _ _ but [Bb] each string has its own kind of [N] hair on it, which makes
it a very uneven sound, and it makes it sound dirty.
And a lot of people _ associated me with that sound, and I've even been called the pioneer
of sleazy guitar, which I think is absolutely absurd, because there's nothing sleazy about my guitar.
So, let's play some LA Gunn songs, and I'll show you something.
How about Sex Action?
I got the distortion pedal on now, which is a copy of an old Tube Screamer.
Just going through my tube amp, [Bb] through the Echoplex, and my 51 Nocaster pickups.
[E] _ _ _ [Gm] _
_ _ [E] _ _ _ _ [G] _ _
_ [D] _ _ _ [Gm] _ _ _ _
[E] _ _ _ _ _ _ [D] _ _
_ _ _ _ [E] _ _ _ [B] _
_ _ [N] _ And you can see that it's basically, you could play this on an acoustic guitar, but with
the right kind of attitude, the right kind of sound, _ it becomes _ a hard rock tune with
some blues licks, some country licks, all in the space of 15 seconds, you know?
And that's that early LA Gunn.
And then No Mercy is kind of [E] like a motorhead.
_ _ _ [A] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
[A] _ _ _ _ [Am] _ _ [A] _ _
_ _ [E] _ _ _ _ [Em] _ _
_ _ _ [A] _ _ _ _
Very sloppy, [Eb] very rock and roll, loud, dirty, and sleazy. _ _ _ _
[Db] _ _ _ _ _ [N] _ _ _
that's about the earlier stuff I did with LA Guns. _ _
Which at the time, _ _ I didn't feel it was particularly groundbreaking, but it had a certain [Gb] tonality
to it that was almost, people used to always describe it as rough or raw or dirty or something like that.
Which leads back to the sloppiness part.
There's a guy named Johnny Thunders, who a lot of people might be familiar with, might
not be familiar with, he was in the New York Dolls.
_ And he would play a Les Paul Jr.
basically through a Fender Twin Reverb, and he is just
the king of the slop.
Which to me, I interpreted it [N]
as the next version of Joe Perry, the next version of
Keith Richards, the kind of rock and roll kind of thing.
And at the time when I got into Johnny Thunders, I was also really into Randy Rhodes, I was
really into Eddie Van Halen, Tony Iommi, stuff like that, Michael Shanker.
So _ I wanted to blend that together.
I wanted to go, okay, I can shred like this, and I [Gb] can play sloppy like this, how do I
put this all together?
And Nikki Beat, our drummer, [Bb] said, oh that's Jimmy Page.
_ Which I never really [F] thought about.
Page could do it all.
He could shred, he could play sloppy, [Gb] actually sloppier than anybody, which _ I've had [N] many
debates over his Arms Benefit concert, his solo on Stair to Heaven.
Was it genius?
[B] Was it pure emotional [Bb] genius, or was it pure crap?
Well, it's open to interpretation, and that's the greatest thing about rock and roll. _
Some [Gb] people would say, I know for a fact that Steve Vai, he defends that solo to the end.
Going, no, that's Page, man, he's doing his thing, [B] _ and all that stuff.
But anyways, [F] all these things went into those early LA Gums records, especially the first
two, which is a blend of Johnny [N] Thunders and Eddie Van Halen and Randy Rhodes, and even
Mick Mars from Motley Crue.
I was a young guy, and that [Eb] was the stuff that was popular, and I tried to get it all
into one thing.
And the way I [N] recorded back then, which I think had a lot to do with that sound, I used
solid state amps.
I used Randles.
And on the first record, I used Randle RG-100s, which are the same amp that Dimebag used later
on the Pantera records, and we used them in a very different way.
_ That solid state kind of tone, you could get this really tight rhythm thing going on, or
if you open it up, broaden some more mid-range into your tone, you get more of [G] a sound like this.
_ _ You can hear all the strings, _ _ but [Bb] each string has its own kind of [N] hair on it, which makes
it a very uneven sound, and it makes it sound dirty.
And a lot of people _ associated me with that sound, and I've even been called the pioneer
of sleazy guitar, which I think is absolutely absurd, because there's nothing sleazy about my guitar.
So, let's play some LA Gunn songs, and I'll show you something.
How about Sex Action?
I got the distortion pedal on now, which is a copy of an old Tube Screamer.
Just going through my tube amp, [Bb] through the Echoplex, and my 51 Nocaster pickups.
[E] _ _ _ [Gm] _
_ _ [E] _ _ _ _ [G] _ _
_ [D] _ _ _ [Gm] _ _ _ _
[E] _ _ _ _ _ _ [D] _ _
_ _ _ _ [E] _ _ _ [B] _
_ _ [N] _ And you can see that it's basically, you could play this on an acoustic guitar, but with
the right kind of attitude, the right kind of sound, _ it becomes _ a hard rock tune with
some blues licks, some country licks, all in the space of 15 seconds, you know?
And that's that early LA Gunn.
And then No Mercy is kind of [E] like a motorhead.
_ _ _ [A] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [E] _ _
[A] _ _ _ _ [Am] _ _ [A] _ _
_ _ [E] _ _ _ _ [Em] _ _
_ _ _ [A] _ _ _ _
Very sloppy, [Eb] very rock and roll, loud, dirty, and sleazy. _ _ _ _
[Db] _ _ _ _ _ [N] _ _ _