Autograph - Turn Up The Radio Solo (w TAB)

[LeftyLoungeLizard]

One of *the* signature 80's guitar solos, and one of *the* best constructed guitar solos ever (it fits the song perfectly).

And it's fun as hell to play.

I included TAB here.



1 /10p9 9 12p9 10 10p9 10p9 9
2 /10p8 10 10 10 10 8 5
3 /7p6 9 7 6 4 7 6^~
4 /7p5 7 5~ 5
5 /5p4
6

1 12 11 10 9 17h19p17 17 19 20 21 19 17
2 10 12^ 10 10^10 14^14 17^17 19 19 20 17
3 5/11 9 21\19 18 16 18 19 18 16 19p18
4 17 19 16
5 19 17 17 16^16~
6

1 t15-7-10 t17-7-10 (2x) t17-9-12 t19-9-12 (2x)
2 t15-8-12 t17-8-12 (2x) t17-10-14 t19-14
3 t14-7-11 t16-7-11 (4x)
4 t14-7-11 t16-7-11 (4x)
5
6

1 t17/19\17p12^12
2 t17/19\17p12^12 t14(10^10)p10/12^(t15)p12~ t14(10^10) t14p10-t13p9-t12p8 and on down the fretboard etc...
3 t14/16\14p9^9
4
5
6

 

[LeftyLoungeLizard]

To quote Steve Lynch on this solo:

“I was influenced early on by Harvey Mandel, who I saw play in 1974,” he explains. “But the real kicker was when I saw Emmett Chapman, the inventor of the Stick, when he did a clinic at GIT, back in 1978. That completely changed my view of guitar, and that’s when I immersed myself in the technique heavily, using all eight fingers. I believe the release of my book in 1979 was so well received because there was nothing else out there to explain the technique.”


Certainly, if you didn’t know Lynch by 1984, you did after hearing “Turn Up the Radio.” His solo announced the arrival of a major talent. “It was a composed solo, as all of mine are,” he says. “I believe each solo should be written to accommodate the song. I spent five eight-hour days working on that solo until I knew I had it. I even had the band transpose the chord progression up a whole step, to A major, to give the solo a lift.”

Critical to Lynch’s guitar tone was his custom Charvel, which was fitted with a Seymour Duncan pickup. “It was built in 1984 by Grover Jackson at the San Dimas factory and had a poplar body, maple neck and ebony fretboard,” he recalls.

“I remember there was an old Marshall 50-watt head with 25-watt Celestion speakers. There was also a hot-rodded Mesa/Boogie amp that I played through simultaneously. I doubled the solo, as I’ve done with all my solos, with the tape speed running at 99 percent on one track and 101 percent on the doubled track to give it a slight out-of-pitch sound, which actually made it sound fuller. We panned one at 10 o’clock and one at 2 o’clock for separation.”