NUGGETS: NAME THAT TUNE
With a biblical name, this ’70s
Scottish hard rock group featuring
guitarist Manny Charlton forged a
classic blues-rock riff with Fig. 5 for
a hit track with a title that is never
sung. Taken to be a reference to
a popular hangover cure, it was
originally “heir” – hence the vocal
hook “son of a bitch.” Bonus: Play
the G note on string 4 at fret 5
with the pinky, pulling up slightly
to access the “true blue note”
between the G and G#.
Fig. 6
Moderately slow h = 92
Em
Fig. 5
Moderately fast q = 128
E7
0
0
2
3
2
0
The occult has long played
a part in blues and bluesbased pop music from the
earliest recordings. From the
E minor pentatonic scale,
Fig. 7 is a section of a song
that was originally written for
Jeff Beck as a single for his
debut album with Bogert &
Appice in lieu of payment for
his guest appearance on the
album of a certain Motown
singer/songwriter/keyboardist/
harmonica player. However,
with the power trio’s album
delayed, Motown head honcho
Berry Gordy opted to release
this artist’s version first, and it
became his second #1 single
0
4
3
B7
3
2
2
Fig. 7
JUNE/JULY
C
3
Moderately slow Funk h = 90
Em7
2
2
0
2
1/4
2
2
5
2
5
2
Named for a beehive hairdo
resembling the nose cone
of a gigantic US nuclear
bomber, this new wave
group’s first hit in 1978 was
a red-hot number sporting
the clever riff in Fig. 6. The
notes are derived from the
E Aeolian mode, aka the
natural minor scale.
0
0
2
0
0
FIG. 1
“PETER GUNN”
FIG. 5
“HAIR OF THE DOG”
FIG. 2
“AQUALUNG”
FIG. 6
“ROCK LOBSTER”
FIG. 3
“PIPELINE”
FIG. 7
“SUPERSTITION”
FIG. 4
“HOW MANY MORE TIMES”
DIGITAL EDITION
2
0
17