It’s perfectly feasible and justified, in some instances. It looks spectacular live because you can reach over the top of the neck and pull it with first finger on the fretting hand. “I love soloing in E and especially on Les Pauls, because there’s always an ‘out’ by bending on the highest fret you can have. I decided to do that on the top string to get myself up to where I wanted to be.“ On the Electric album, there’s that song called Bad Fun where he uses hammer-ons and pull-offs against an open string. “The next bit is where I was trying to be Billy Duffy from The Cult. I actually find the more extra notes you include, the more it makes everything sound posh. “It’s not quite pentatonic because you have that extra note in there. That’s the one thing that we nailed Justin Hawkins I have to say the guitars were recorded properly on this album. And there’s more of that humble blues scale – honestly, you really can’t knock it! What can I say, people love saucy bends! “For the opening section I was clearly trying to be Brian May, but then comes this almost funky bit on the D and G strings where I’m going for more of a Slash vibe. “I like to call it the humble blues scale! I climb down the scale and then end that run with another saucy bend. From that opening bend, it’s all blues stuff around the 12th fret really. “There’s a harmony guitar or two in there as well – in fact there’s all sorts of things going on under the hood, including five seconds of dramatic monologue for the discerning listener with a good stereo. I always start off with a big saucy bend, that’s always been my thing I guess. Then I was tasked with having the run home near the end. It’s more of a first chorus tag kind of thing. Justin Hawkins: “In this song I had the first solo, which was fairly easy to play, with a few of those licks I try to stick in pretty much everything.
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