It’s very simple playing but hopefully emotional in the way I used the vibrato and the sliding between the notes.” 3.
I had this similar hybrid picking thing going with the plectrum and fingers, where I would pick a note and the little finger would catch this grace note giving it this muted feel sound, due to the way I attacked the note. If I have to admit to an influence, I have to say it was Mark Knopfler. “The song is in A and the solo is in its relative minor key, F#. It’s a bit of a player’s guitar, and it changed my playing a little to where I had to be a little bit more on top of it. “When I performed ‘Native Son’ live during the tour for the Into the Fire (opens in new tab) record, I used a custom Fender Tele (opens in new tab). At that time, from the mid ’80s through to the 1990s, we used that guitar a lot on our records, especially on Waking Up the Neighbours (opens in new tab). It was mainly clean, though I did use an Ibanez Tube Screamer to give it a bit of a kick on the front end. “For this recording, I played Bryan’s 1962 Strat through a 1960s Vox AC30 (opens in new tab). It was mainly clean, though I did use an Ibanez Tube Screamer to give it a bit of a kick Keith Scott I played Bryan’s 1962 Strat through a 1960s Vox AC30. I had a lot to express from an emotional side because I loved the sentiment of what Bryan was saying in the song, and hopefully we did accomplish that. And we did one other take where we added maybe one or two things, and that was it. “Once Bob Clearmountain in his superb way dialed up a sound that was appropriate for the track, we went for it and got a couple of really great takes. I came in when it was at the demo stage and did some of it as an outline, so I had a rough idea of where I was going when it came to recording the solo. “I have indigenous background in my family on my father’s side, so there was a connection with this song, specifically in that regard. “Native Son” from ‘ Into the Fire (opens in new tab)’ (1987) I had that guitar until about the late ’80s, and it was my main guitar on the road up to a point.” 2. When Van Halen brought out their first record, the thing to do was take out the three-pickup arrangement and stick a single humbucker in the back, which is what I did too. For that matter, I had started out playing on a Strat. “I was covering things like Jeff Beck’s Blow by Blow in the clubs, which made me want to get a Strat again. I rented it for a few months first before I finally bought it, as I had been playing a Les Paul Custom at that point and wanted to try something different. I had gone into a music store and just picked a brand-new 1976 white Fender Strat with a maple neck off the wall.
I picked the Beast up during my club days in the 1970s. “I used my ‘Beast’ Strat through a rented Marshall, with a DOD Overdrive pedal. Every record that I did, if I managed to get a solo off the floor, I would consider it a major victory. I always thought that if you manage to get a bit of the solo off the floor on the basic recording, it was such an amazing accomplishment, because you weren’t thinking about the solo – you were thinking about getting the arrangement right so that you had the basic track covered. “At that point I started the solo with that trill, and we got most of it in one take because I wasn’t thinking about it. Bryan told me, ‘Forget about everything we just said and go for it,’ and he pressed the record button.Įvery record that I did, if I managed to get a solo off the floor, I would consider it a major victory Keith Scott When we went in to do the solo at the Power Station in New York, I made about 10 attempts before Bob had to go and take a phone call. At the time we recorded the demo for the song in 1982, we hadn’t toured a lot, but we had made some headway in the United States. “Bryan played the main opening riff to the song.
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