Chords for Vito Bratta - Interview

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_ I'm at the Mid-Hudson Civic Center in New York, and it's pouring rain outside, and they
said after the last song, exit stage right.
Me, I gotta go the other way.
And when I opened up the door, it was the parking lot where the trucks are, like right there.
And the door slammed behind me.
_ All of a sudden I hear people chanting.
You know, it's pouring rain, I'm out with the truck drivers, they're all looking at
me and I'm like, you know, dressed up with the guitar, pouring rain.
And I hear, you know, why, why, why, everybody's screaming for an encore.
How do I get back in this place?
I walk all the way around, and I get online with the people.
And I go in, and I swear this happened, and the guy's like, $20, please.
I see your ticket.
I'm like, no, you know what I'm saying, I'm in the white line we just played.
Yeah, yeah, yeah, yeah, yeah.
Come on.
We get a lot of people [D] who dress up just to get in for real, they want their guitar signed or something.
I'm like, no, you don't understand.
So they held me up there, we never did the encore. _ _ _ _ _
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_ [D] _ _ The obsession of guitar came with the [B] obsession of Jimmy Page and Led Zeppelin.
There were others, you know, Robin Trowers, Hendrix, Pat Travers, you know.
But Jimmy Page was the obsession, it was like, I had to be like [A] Jimmy Page, you know.
And then after that, it was like only [A#] a few years later when Eddie Van Halen [A#] came out,
[N] and then that was it for me.
Eddie Van Halen opened a lot of things for me, you know, like a lot of people want to
play like him because they want to be like him.
But like, for instance, you know, with the guitar I'm holding, you know, by that time
I had a Stratocaster with the little single coil pickups, and I had my Les Paul with the humbuckers.
I knew I loved the sound of the Les Paul, _ but I liked the feel and I liked the bar,
the tremolo bar on a Strat.
And it just, Eddie Van Halen made me realize, well, you can put the electronics of one guitar
in another, and I didn't know that.
_ So and then it was like you hear certain things in your head.
It's like, you know, I always used to wonder myself, like, okay, I'm playing down here.
Wouldn't it sound wild if I could all of a sudden go up here?
But how do you do that?
You know, your fingers aren't that long.
And then when you see Van Halen go like this with this hand, it's like, _ oh, well, that's
it, you know?
It was kind of like he opened the door.
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[B] _ _ _ _ [D] _ _ [N] I always loved Boston and Journey and Van Halen and stuff like that.
It was like heaviness with melody.
It was like, you know, when I plugged into an amp, you want to be heavy like Eddie Van
Halen, but at the same time, I loved Elton John.
_ And that's what gave me a combination.
That's why with White Lion, it's like, you know, we always stayed melodic and stuff,
but I always had, you know, made sure I had a heavy guitar sound because, _ you know, that
to me is what it's at.
It's, you know, it's got to be heavy guitar, [E] but at the same time, melody.
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_ [F#] I mean, if you're just, you know, doing that and you can say, you know, and start hearing
a melody in your head that somebody would be singing, well, when it comes up to doing
a lead, he's not singing anymore.
Like, for instance, for the Wait solo, like I got to turn this on and make noise now,
[A] you know, I wanted to go, _ _ _ _ you know, to start the solo. _ _ _ _
And [B] then, you know, I heard the note.
That was it right here.
So that's when you add another word.
[A] _
_ _ You know, the little, you know, shaking and the little _ subtleties.
But originally you hear, and it's like, that's a melody.
Mike could have sang it.
_ And that's, you know, I piece it together. _ _
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_ _ [E] There's no rules in rock and roll.
Rock and roll is no rules.
No rules in rock and roll.
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