Rock

This­month, Mart­inCooper head­stoTen­nessee­tocheck out­a­groupof­mu­si­cal­fam­i­ly­mem­ber­swhoseeclec­tic rock­sound­has­setchart­sa­lightaroundthe­world.

Guitar Techniques - - • Contents • November 2014 • -

Martin Cooper ex­plores the sta­dium rock of Kings Of Leon.

that,as­the­out­fit­com­prises broth­er­sCale­bFol­low­ill (leadsingeran­drhythm gui­tar),bass­play­erJared Fol­low­ill,drum­merNathan Fol­low­il­landtheir­cousin MatthewFol­low­illon­lead. The­broth­ers­be­gan­play­ing atPen­te­costalChurch meet­ingswheretheir­fa­ther Ivan­waspreach­ing,and soon­be­camea­close-knit fam­ily­band.Hav­ing of­fi­cial­ly­formedasagroup, the­quar­tet’smu­sicwas pri­mar­i­ly­root­sySouth­ern rockand­blues.They­had someearly­suc­cess­with­the 2003al­bumYouthAnd YoungMan­hood;how­ever, it­was­sub­se­quen­tre­lease On­lyByTheNight,in2008, that­sawthem­cat­a­pult­edto su­per­star­dom,with­songs likeSexOnFire­andUse Some­bodylead­ingth­emto sell­outv­enues­suchas London’sO2Arena.

The­band­draws in­flu­ence­fro­martist­sas di­verseasQueen­sOfThe StoneAge­andS­lyAndThe Fam­i­lyS­tone,with­ele­ments ofU2-stylede­lay-drenched sin­gle-note­lead­li­nes­ona num­beroftheir­songs.Lead gui­taristMatthewFol­low­ill de­claresthatThinLizzy­have­beenan in­flu­enceon­his­play­ing,and­hasal­sostated that­some­time­sen­tiresongsarewrit­ten­from the­foun­da­tiono­fasim­plesin­gle-notephrase, suchashap­pened­with­UseSome­body.

The­band­haslargelystayed­awayfromthe usu­al­rock-star­tantrum­sand­melt­downs,and seem­sto­fo­cus­sole­ly­on­makingand­play­ing mu­sic.With­six­al­bums,and­manysold-out trip­saroundthe­worl­dun­dertheir­belts,plus Gram­myandBritawardsinthe­bank,Kings OfLeon­look­set­to­con­tin­uetheir­suc­ces­sas th­eycel­e­brateth­eir15thanniver­sary­to­gether.

Our­track­this­mon­th­fea­tures­man­y­ofthe playin­gap­proaches,lick­sand­tone­sas­so­ci­ated with­KingsOfLeon.Thein­trobe­gin­switha fewsim­ple­chord­sandthen­movesin­toa sec­tionof­chop­pyrhythm­play­ing,no­tun­like thetype­ofthingth­atAndySum­mers­fromthe Po­lice,or70s­new-wave­bandssuchas Blondiemightem­ploy.

We’reinthekey­ofC­ma­jor(CDEFGAB) forthe­w­ho­le­track,withthe­ex­cep­tionofthe F#notein­bars17-22,which­hintsatthekey ofG­ma­jor(GABCDEF#).There’snotricky tech­ni­calplay­ing­to­taxy­outhis­month;here, it’sabout­con­cen­tratin­gontheac­cu­ra­cy­ofthe notes,timin­gand­tone.Th­esolois­nice­and straight­for­ward,too,fol­low­ing­chord­tones forthe­firsteight­bars­be­fore­bringin­gin­some typ­i­cal­ly­melod­icphrases.

Check­out­the­p­lay­ingtip­sand­no­ta­tion­for de­tail­son­pickingand­dy­nam­ics,andtheGet TheTonebox­for­somem­o­r­e­in­for­ma­tionon sound­sandgear.

Cale­bFol­low­ill play­inghis un­usual1972 Gib­sonES-325

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