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Nazareth - Love Hurts - Guitar Lesson

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Nazareth - Love Hurts - Guitar Lesson

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Nazareth - Love Hurts guitar lesson video
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Hair Of The Dog album cover
Hair Of The Dog
1975 3:53
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Nazareth Rock 1975 G major
Capo Advisor 0 G major · Original key

Love Hurts

"Love Hurts" by Nazareth is a hard rock ballad originally written by Boudleaux Bryant and first recorded by The Everly Brothers in 1960. Nazareth's 1974 version transformed the song into a powerful rock arrangement, showcasing how a simple chord-driven composition can be reimagined with electric guitar grit and emotional weight. Its combination of clean melodic lines and raw tone makes it a rewarding study for electric guitarists exploring ballad phrasing and dynamic control.

  • The song was written by Boudleaux Bryant, a country songwriter, yet Nazareth gave it a hard rock identity in 1974.
  • Originally recorded by The Everly Brothers in 1960, the song crossed multiple genres across its various recorded versions.
  • Nazareth's arrangement is a strong example of stripping back complexity to let guitar tone and phrasing carry emotional expression.
Fender Stratocaster
Guitar

Fender Stratocaster

Manny Charlton used Stratocasters for cleaner passages and studio recordings, leveraging their single-coil brightness to add tonal variety beyond the Les Paul's thick sustain. Billy Rankin later adopted Strats as his primary guitar, bringing a lighter, more articulate texture to Nazareth's heavier sound.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Charlton's main instrument throughout Nazareth's classic era, the Les Paul's thick mahogany body and stock PAF humbuckers delivered the dense, warm sustain and full midrange that defined the band's riff-driven hard rock tone. Its set neck and weight enabled effortless sustain through cranked Marshall amplifiers.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

While less documented than his Standards, Charlton occasionally used Les Paul Customs for their enhanced midrange presence and slightly hotter output, providing added punch for studio recordings and live performances demanding extra clarity through dense amplification.

Marshall JCM800
Amp

Marshall JCM800

This amp was Charlton's primary weapon, delivering natural power-tube saturation and harmonic richness when driven hard without relying on pedal distortion. The JCM800's responsiveness to guitar volume knob dynamics allowed him to achieve everything from singing cleans to thick overdriven riffs.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Charlton used this wah pedal sparingly for lead accents and expressive solo passages, adding dramatic tonal movement to key moments without cluttering his minimalist signal chain of guitar straight into cranked Marshall.

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