Campbell playing live with his Les Paul.
What were some of the interesting things
you noticed while going through the tracks?
Our tempos are so consistent
that we could literally splice the front half of
a song from one night, and the second half
from another night, and put them together.
You would never know the difference.
We’re very precise in that way.
So does that mean there aren’t any mistakes
on the record?
.] I’ve got a few mistakes
on there. I heard a couple of bum notes
and bad chords. I like the fact that I get to
do that on a live album. We left mistakes
. I remember
going to [producer] Mutt Lange and saying,
“Hey—that chord!” He’s like, “Yeah,
yeah—it sounds great!” It’s kind of funny,
because everyone thinks he’s such a perfectionist,
but it’s actually the vibe he goes
for. That’s more important than getting all
nitpicky. If it’s got character, it deserves to
be on the record. [Turns to Campbell
close do you stick to Steve Clark’s guitar
Pretty close. Not 100 percent,
note-for-note, but certainly 90-something
percent. His parts weren’t guitar solos per
se. They were very much a part of the
song—very melodic, very thematic. I think
it would be an injustice to the song if I
were to go way off and do my own thing.
And yet you can still hear your Vivian
Campbell-ness on the record—even
though you’re playing someone else’s parts.
.] Thank you. I play
heavier than Steve did. When I take the
solo in “Armageddon It,” I don’t play it
100 percent, but I definitely play it in my
style—which is much, much heavier.
Campbell with a sparkle-finished Les Paul equipped with a DiMarzio Super 3 in the bridge position.