
Was Moody and Marsden one of the most underrated guitar duos of all time?
Intermediate
Intermediate
- Develop a better understanding of blues-rock riffs from the ’70s.
- Learn how to harmonize solos and riffs.
- Create interlocking guitar parts that make sense.
Whitesnake’s self-titled album is a pinnacle of ’80s hard rock, instantly making them one of the biggest rock bands of the era. It was a departure from their previous six albums due to significant lineup changes. Both original guitarists, Micky Moody and Bernie Marsden, had left the band and opened the doors for former Thin Lizzy guitarist John Sykes to join. Sykes’ influence, which began on the 1984 release, Slide It In, moved the band away from its British blues-rock sound towards the more popular American glam-rock vibe. Let’s take a look at the band’s style during the Moody/Marsden era which is often overshadowed by 1987’s incredible success.
After leaving Deep Purple in 1976, David Coverdale eventually formed his own band with guitar duo Moody and Marsden. During the early ’80s he also had former Purple colleagues Ian Paice and Jon Lord in the mix. While Whitesnake clearly stuck to the same genre as Deep Purple, and some songs are reminiscent of that legendary band, Whitesnake have their own recognizable style thanks to Moody and Marsden’s melodic guitar work. Besides the pentatonic-based power chord riffs that were typical for ’70s blues rock, Whitesnake incorporated a lot of harmonized melodies that seem inspired by Thin Lizzy.
Even though their sound changed somewhat on every album, it’s always been anchored by classic Marshall tones. If you don’t have a Marshall-style amp, I’d check out pedals like the Friedman BE-OD, Wampler Plexi-Drive, Bogner La Grange, or many others. Aim for a more vintage-style tone rather than a hot-rodded sound.
Let’s start with Ex. 1, which is a simple power chord riff in A minor. Note how there is some harmonic movement within the riff. The syncopated slide into the tonic is very typical. Also, it’s cool to alternate between the two double-stops over the root in measure 2. Whitesnake used it a lot but is also famously known from Ram Jam’s hit “Black Betty.”
Ex. 2 is a single-note riff like the ones you can hear in songs like “Medicine Man” from Whitesnake’s Lovehunter album or “Fool for Your Loving” from Ready an’ Willing.
Medicine Man
It’s in G minor and uses the faithful G blues scale (G–Bb–C–Db–D–F). The main motif repeats three times before ending with some chromatic approach notes for the turnaround. Those little chromatic notes at the end really add a bluesy feeling to this riff. I incorporated another very “Whitesnake” idea by moving the riff up to C (the IV chord) before playing another two measures of on the tonic. I then ended on a big open-string G power chord.
Ex. 3 imitates a chorus that could be found on a track like “Lonely Days, Lonely Nights.” Whitesnake often used major and minor chords instead of power chords in the chorus to bring out the melody. This progression is in the key of E and features the IIm and b7 chords, which were very common in rock music of this era. Check out Danzig’s “Mother” or Van Halen’s “Ain’t Talking ’Bout Love” for more examples.
Whitesnake - Lonely Days, Lonely Nights
Ex. 4 is a bit of a solo section over the same progression in A minor. While sticking mainly to pentatonic material, Moody and Marsden also incorporate the 9 and even target it before resolving it to the 3. You can find the 9 as a melodic passing note in the first measure as well as in measure 3 where I hold the G while it becomes the 9 over the F major chord. Then I resolve it to the A in the final measure.
Ex. 5 is another riff that features a dual-guitar attack, again in octaves. Moody and Marsden would often do this with their signature riffs. The upper octave adds a more melodic touch to an otherwise simple single-note riff.
Since harmonizing in thirds was so common, Whitesnake also incorporated them into a few of their melody lines. In Ex. 6 the harmony is a third below the actual tonic line giving it the more colorful flavor of a sixth from a harmonic perspective. A very Whitesnake-y sound. Also note how the last note moves in a different direction creating a bit more harmonic movement.
For Ex. 7 we’ll take a look at one of the few shred lines you’d encounter in Whitesnake’s earlier work. I shamelessly stole it from the “Medicine Man” solo and changed up the end a little, simply because these slightly shreddy moments were very rare in Whitesnake’s music at that time. It’s a simple pentatonic line in G# minor that mixes a few different subdivisions. You can pick it or play it with hammer-ons and pull-offs. It’s just to build a bit of tension at the end of the solo.
Hopefully, after this lesson you will feel inspired to go back and check out Whitesnake’s early catalog. They were a woefully underrated rock band during that time and thanks to Moody and Marsden, the blues-based, hard rock sound will continue long after the band itself.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
Ernie Ball, the world’s leading manufacturer of premium guitar and bass strings, is proud to announce the release of the Pino Palladino Signature Smoothie Flats, the newest innovation in flatwound bass strings.
Developed in collaboration with legendary bassist Pino Palladino, these signature sets are engineered to deliver an ultra-smooth feel and a rich, warm tone that’s as versatile as it is expressive. Available in two gauges—Extra Light (38–98) and Medium (43–108)— Smoothie Flats are crafted with a precision-polished cobalt alloy ribbon for low tension, flexible playability, and deep vintage-inspired sound.
Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
Product Features:
- Precision polished for an ultra-smooth feel
- Cobalt alloy ribbon winding for a rich, deep sound
- Flexible, low-tension design for superior playability
- Trusted by Pino Palladino for studio and live performance
Pino Palladino Signature Smoothie Flats bass strings are available at Ernie Ball dealers worldwide.