Saturday, March 31, 2012
Lick of the Day: Boogaloo Blues
Today's Lick of the Day comes from Musician's Institute instructor and Guitar World columnist Keith Wyatt, who shows you a 12-bar blues lick -- "boogaloo" style!
Lick of the Day: Boogaloo Blues
Friday, March 30, 2012
Guitar Picking Technique - The Basics
If you want to do some serious guitar picking you need a fairly heavy pick. I recently read a post on a forum where a guy said he uses a dime for speed picking. This might be a trifle extreme but it illustrates how far you can go in the pursuit of individual style. Whatever you choose for a pick, hold it between your index finger and your thumb. That might seem obvious but we need to be on the same page. And let's get something straight right away - you need to pay attention to how you hold the pick. The sound you get is cleaner if you are holding the pick parallel to the strings. Angling the pick gives a softer attack.
You pick guitar strings with the pointy part of the pick, and the idea is to pick clean and fast. But it takes practice. There are a few different ways of looking at developing picking speed. One school of thought says you keep your wrist rigid, starting the movement from the elbow. You can also just use the index finger and thumb in a circular movement but your body is probably going to want to move from the wrist.
Any mode of picking you actually use will be a mixture of the above methods reflecting your own body's way of working. Here is a good place to mention pain. Don't play through it, you will injure yourself. If your wrist or hand or arm hurts - stop. If it hurts when you start again tomorrow, maybe you should see a doctor. It's best to look after your body and live to pick guitar another day.
For playing fast you need to develop your alternate picking technique. Start with a downstroke and do alternating down and up strokes. Don't try for speed at this stage, you are just getting your muscles used to the picking movement.
Many guitar players mute the strings that they are not actually playing so no unnecessary sound is picked up. Place the meaty heel of your hand on top of the strings, in front of the bridge. If you are playing metal guitar, you will be going for the chugging sound that some pressure on the strings will give you. If you want to hear the notes ringing while you are playing fast, lessen the pressure of your hand on the strings.
Another consideration for a guitar picker is the dynamics of the sound produced by picking near the neck or near the bridge. You are possibly already aware that you get that Duane Eddy twang by playing close to the bridge, and the sound mellows as you move your picking hand closer to the neck.
Of course you are going to be in need of further exercises for getting your up and down strokes flowing automatically. You can get these from a teacher or from an internet search. For practicing muting and experimenting with different sounds, you should already know some songs you want to fool around with.
You pick guitar strings with the pointy part of the pick, and the idea is to pick clean and fast. But it takes practice. There are a few different ways of looking at developing picking speed. One school of thought says you keep your wrist rigid, starting the movement from the elbow. You can also just use the index finger and thumb in a circular movement but your body is probably going to want to move from the wrist.
Any mode of picking you actually use will be a mixture of the above methods reflecting your own body's way of working. Here is a good place to mention pain. Don't play through it, you will injure yourself. If your wrist or hand or arm hurts - stop. If it hurts when you start again tomorrow, maybe you should see a doctor. It's best to look after your body and live to pick guitar another day.
For playing fast you need to develop your alternate picking technique. Start with a downstroke and do alternating down and up strokes. Don't try for speed at this stage, you are just getting your muscles used to the picking movement.
Many guitar players mute the strings that they are not actually playing so no unnecessary sound is picked up. Place the meaty heel of your hand on top of the strings, in front of the bridge. If you are playing metal guitar, you will be going for the chugging sound that some pressure on the strings will give you. If you want to hear the notes ringing while you are playing fast, lessen the pressure of your hand on the strings.
Another consideration for a guitar picker is the dynamics of the sound produced by picking near the neck or near the bridge. You are possibly already aware that you get that Duane Eddy twang by playing close to the bridge, and the sound mellows as you move your picking hand closer to the neck.
Of course you are going to be in need of further exercises for getting your up and down strokes flowing automatically. You can get these from a teacher or from an internet search. For practicing muting and experimenting with different sounds, you should already know some songs you want to fool around with.
Thursday, March 29, 2012
Stock Up and Save with Guitar Center! Take $100 Off!
Rock out to these savings at Guitar Center! Take $100 off a single item $499 or more! Use Coupon Code: Save100. Valid 3/29/12-4/1/12 and Stock up on the stuff you use the most - 20% off Strings, Sticks, Heads and more! Use Coupon Code: ACC20. Valid 3/29/12-4/1/12.
Additionally, for a limited time, Guitar Center has extended the Free Shipping offer. Only $49 Minimum Purchase required when shipping to address of your choice, no minimum when shipping to store!
Additionally, for a limited time, Guitar Center has extended the Free Shipping offer. Only $49 Minimum Purchase required when shipping to address of your choice, no minimum when shipping to store!
George “Buddy” Guy (July 30, 1936)
George “Buddy” Guy is an American blues guitarist and singer. He is a critically acclaimed artist who has established himself as a pioneer of the Chicago blues sound, and has served as an influence to some of the most notable musicians of his generation. Guy is known, too, for his showmanship on stage, playing his guitar with drumsticks, or strolling into the audience while playing solos. He was ranked thirtieth in Rolling Stone magazine’s list of the “100 Greatest Guitarists of All Time”. His song “Stone Crazy” was ranked seventy-eighth in list of the 100 Greatest Guitar Songs of All Time also of Rolling Stone.
Biography
Born and raised in Lettsworth, Louisiana, Guy began learning guitar on a two string diddley bow he made. Later he was given a Harmony acoustic guitar, which, decades later was donated to the Rock and Roll Hall of Fame. In the early ’50s he began performing with bands in Baton Rouge. Soon after moving to Chicago in 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. He recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966.
Guy’s early career was supposedly held back by both conservative business choices made by his record company (Chess Records) and “the scorn, diminishments and petty subterfuge from a few jealous rivals”. Chess, Guy’s record label from 1959 to 1968, refused to record Buddy Guy’s novel style that was similar to his live shows. Leonard Chess (Chess founder and 1987 Rock and Roll Hall of Fame inductee) denounced Guy’s playing as “noise”. In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none were released as singles. Guy’s only Chess album, “Left My Blues in San Francisco”, was finally issued in 1967. Most of the songs belong stylistically to the era’s soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin’ Wolf, Little Walter, Sonny Boy Williamson II , KoKo Taylor and others.
Buddy Guy appeared onstage at the March 1969 Supershow at Staines,England that also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glen Campbell, Roland Kirk, and Jon Hiseman.
By the late 1960s, Guy’s career was in decline. The heavy blues-rock scene he had helped inspire was flourishing without him. For the next two decades, Buddy Guy had to endure the neglect many blues and rock artists faced in their careers. There are now online videos of Buddy playing with Jimi Hendrix in the late 60s. As visionaries and pathfinders they are overlooked while their followers received the fame, recognition and fortune.
Guy’s career finally took off during the blues revival period of the late 1980s and early 1990s. It was sparked by Eric Clapton‘s request that Guy be part of the ’24 Nights’ all-star blues guitar lineup at London’s Royal Albert Hall and Guy’s subsequent signing with Silvertone Records.
Music
While Buddy Guy’s music is often labeled Chicago blues, his style is unique and separate. His music can vary from the most traditional, deepest blues to a creative, unpredictable and radical gumbo of the blues, avant rock, soul and free jazz that morphs at each night’s performance.
As New York Times music critic Jon Pareles noted in 2004:
Mr. Guy, 68, mingles anarchy, virtuosity, deep blues and hammy shtick in ways that keep all eyes on him… [Guy] loves extremes: sudden drops from loud to soft, or a sweet, sustained guitar solo followed by a jolt of speed, or a high, imploring vocal cut off with a rasp…Whether he’s singing with gentle menace or bending new curves into a blue note, he is a master of tension and release, and his every wayward impulse was riveting.
In a revealing interview taped on April 14, 2000 for WRUW-FM Cleveland (a college station), Guy said “The purpose of me trying to play the kind of rocky stuff is to get airplay…I find myself kind of searching, hoping I’ll hit the right notes, say the right things, maybe they’ll put me on one of these big stations, what they call ‘classic’…if you get Eric Clapton to play a Muddy Waters song, they call it classic, and they will put it on that station, but you’ll never hear Muddy Waters.”
Influence
For almost 50 years, Guy performed flamboyant live concerts of energetic blues and blues rock, predating the 1960s blues rockers. As a musician’s musician, he had a fundamental impact on the blues and on rock and roll, influencing a new generation of artists.
Buddy Guy has been called the bridge between the blues and rock and roll. He is one of the historic links between Chicago electric blues pioneers Muddy Waters and Howlin’ Wolf and popular musicians like Eric Clapton, Jeff Beck, Jimi Hendrix and Jimmy Page as well as later revivalists like Stevie Ray Vaughan.Vaughan stated that, “Without Buddy Guy, there would be no Stevie Ray Vaughan.” Guitarist magazine observed:
In addition, Guy’s path finding guitar techniques also contributed greatly to rock and roll music. His guitar playing was loud and aggressive; used pioneering distortion and feedback techniques; employed longer solos; had shifts of volume and texture; and was driven by emotion and impulse. These lessons were eagerly learned and applied by the new wave of 1960s British artists and later became basic attributes of blues-rock music and its offspring, hard rock and heavy metal music. Jeff Beck realized in the early 1960s: “I didn’t know a Strat could sound like that — until I heard Buddy’s tracks on the Blues From Big Bill’s Copa Cabana album” (reissue of 1963 Folk Festival Of The Blues album) and “It was the total manic abandon in Buddy’s solos. They broke all boundaries. I just thought, this is more like it! Also, his solos weren’t restricted to a three-minute pop format; they were long and really developed.”
Eric Clapton has stated that he got the idea for a blues-rock power trio while watching Buddy Guy’s trio perform in England in 1965. Clapton later formed the rock band Cream, which was “the first rock supergroup to become superstars” and was also “the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s.”
Eric Clapton said “Buddy Guy was to me what Elvis was for others.” Clapton said in a 1985 Musician magazine article that “Buddy Guy is by far and without a doubt the best guitar player alive…if you see him in person, the way he plays is beyond anyone. Total freedom of spirit, I guess. He really changed the course of rock and roll blues.”
Recalls Guy: “Eric Clapton and I are the best of friends and I like the tune “Strange Brew” and we were sitting and having a drink one day and I said ‘Man, that “Strange Brew”…you just cracked me up with that note.’ And he said ‘You should…cause it’s your licks…’ ” As soon as Clapton completed his famous Derek & the Dominos sessions in October 1970, he co-produced (with Ahmet Ertegün and Tom Dowd) the Buddy Guy & Junior Wells Play The Blues album with Guy’s longtime harp and vocal compatriot, Junior Wells. The record, released in 1972, is regarded by some critics as among the finest electric blues recordings of the modern era.
In recognition of Guy’s influence on Hendrix’s career, the Hendrix family invited Buddy Guy to headline all-star casts at several Jimi Hendrix tribute concerts they organized in recent years, “calling on a legend to celebrate a legend.” Jimi Hendrix himself once said that “Heaven is lying at Buddy Guy’s feet while listening to him play guitar.”
Songs such as “Red House” and “Voodoo Child ” partly came from the sonic world that Buddy Guy helped to create. According to the Fender Players’ Club: “Almost ten years before Jimi Hendrix would electrify the rock world with his high-voltage voodoo blues, Buddy Guy was shocking juke joint patrons in Baton Rouge with his own brand of high-octane blues. Ironically, when Buddy’s playing technique and flamboyant showmanship were later revealed to crossover audiences in the late Sixties, it was erroneously assumed that he was imitating Hendrix.”
Stevie Ray Vaughan once declared that Buddy Guy “plays from a place that I’ve never heard anyone play.”Vaughan continued: Buddy can go from one end of the spectrum to another. He can play quieter than anybody I’ve ever heard, or wilder and louder than anybody I’ve ever heard. I play pretty loud a lot of times, but Buddy’s tones are incredible. He pulls such emotion out of so little volume. Buddy just has this cool feel to everything he does. And when he sings, it’s just compounded. Girls fall over and sweat and die! Every once in a while I get the chance to play with Buddy, and he gets me every time, because we could try to go to Mars on guitars but then he’ll start singing, sing a couple of lines, and then stick the mike in front of me! What are you gonna do? What is a person gonna do?!
Jeff Beck affirmed: Geez, you can’t forget Buddy Guy. He transcended blues and started becoming theater. It was high art, kind of like drama theater when he played, you know. He was playing behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it in the same chord. Beck recalled the night he and Stevie Ray Vaughan jammed with Guy at Buddy Guy’s Legends club in Chicago: “That was just the most incredible stuff I ever heard in my life. The three of us all jammed and it was so thrilling. That is as close you can come to the heart of the blues.”
According to Jimmy Page: “Buddy Guy is an absolute monster” and “There were a number of albums that everybody got tuned into in the early days. There was one in particular called, I think, American Folk Festival Of The Blues, which featured Buddy Guy. He just astounded everybody.”
Former Rolling Stones bassist Bill Wyman: “Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues. Such is Buddy’s mastery of the guitar that there is virtually no guitarist that he cannot imitate.”
Guy has opened for the Rolling Stones on numerous tours since the early 1970s. Slash: “Buddy Guy is the perfect combination of R&B and hardcore rock and roll.” ZZ Top’s Billy Gibbons: “He (Buddy Guy) ain’t no trickster. He may appear surprised by his own instant ability but, clearly, he knows what’s up.”
Guy was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.
Awards
Guy previously served on the Hall of Fame’s nominating committee. Guy has won six Grammy Awards both for his work on his electric and acoustic guitars, and for contemporary and traditional forms of blues music. In 2003, he was awarded the National Medal of Arts. This medal is awarded by the President of the United States of America to those who have made extraordinary contributions to the creation, growth and support in the arts in the United States. By 2004, Guy had also earned 23 W.C. Handy Awards (more than any other artist has received), Billboard magazine’s The Century Award (Guy was its second recipient) for distinguished artistic achievement, and the title of Greatest Living Electric Blues Guitarist.
In 2008, Buddy Guy was inducted into The Louisiana Music Hall of Fame while performing at Texas Club in Baton Rouge,Louisiana.
Rock and Roll Hall of Fame
Guy was inducted into the Rock and Roll Hall of Fame on March 14, 2005by Eric Clapton and B.B. King. Clapton recalled seeing Guy perform in London’s Marquee Club in 1965, impressing him with his technique, his looks and his charismatic showmanship. He remembered seeing Guy pick the guitar with his teeth and play it over his head—two tricks that later influenced Jimi Hendrix. Guy’s acceptance speech was concise: “If you don’t think you have the blues, just keep living.”
101 Amazing Licks - Lick 51
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
101 Amazing Licks - Lick 51
Tuesday, March 27, 2012
Let There Be Rock: AC/DC's Angus Young on the Rhythm Playing of Malcolm Young
ANGUS YOUNG: Malcolm's really underrated. He makes the band sound so full, and I couldn't ask for a better rhythm player. Sometimes I look at Malcolm while he's playing, and I'm completely awestruck by the sheer power of it. He's doing something much more unique than what I do-with that raw, natural sound of his. People like Malcolm, Steve Cropper, Chuck Berry and Keith Richards-they're all doing something better than the rest of us. I can't deny that Eric Clapton's and Eddie Van Halen's lead stuff has influenced a stack of people, but for me it's the rhythm thing that's way more impressive and important to a band.
Let There Be Rock: AC/DC's Angus Young on the Rhythm Playing of Malcolm Young
Learn Scales On The Guitar
The job of practicing scales on the guitar can be quite tedious. It is hard work without any immediate reward and the long term reward is kind of not very clear. There is a reason why you need to learn scales on the guitar. When you are improvising or composing guitar solos your fingers need to be able to go from one note to the next without your brain having to think about it. The end result when you learn to play scales is your mind can relax and play with musical ideas instead of needing to think, "where do my fingers go next?"
There are two ways to practice guitar scales. The first is to play as fast as you can with a maximum amount of tension and a minimum of precision. This kind of scale practice is characterized by fluffed notes and a distinct lack of improvement. The other way is to play your scales slowly and carefully, trying to keep your arms relaxed as you play. This way you are always learning something about how your body works and what you can do to improve the way your scales flow as you practice.
The major scale is a good place to start. This scale is a series of notes with a definite number of intervals or steps between each note. For a guitarist a step is one fret. The distance between D and E is one step and the distance between F sharp and G is a half step, which means G is the very next fret up from F sharp. If you are playing in the key of D, the notes of the major scale will be: D E F# G A B C# and D.
Another scale you will be seeing mentioned in guitar literature is the pentatonic scale. This scale contains five notes. The notes of the pentatonic scale are the first, second, third, fifth and sixth notes of the major scale. So the in the key of D the notes are D E F# A and B.
If you become familiar with the pentatonic scales in a few keys, you will be able to compose guitar solos using the five notes of your pentatonic scale played at various locations on the fretboard. Then it will be your turn.
Ricky Sharples
There are two ways to practice guitar scales. The first is to play as fast as you can with a maximum amount of tension and a minimum of precision. This kind of scale practice is characterized by fluffed notes and a distinct lack of improvement. The other way is to play your scales slowly and carefully, trying to keep your arms relaxed as you play. This way you are always learning something about how your body works and what you can do to improve the way your scales flow as you practice.
The major scale is a good place to start. This scale is a series of notes with a definite number of intervals or steps between each note. For a guitarist a step is one fret. The distance between D and E is one step and the distance between F sharp and G is a half step, which means G is the very next fret up from F sharp. If you are playing in the key of D, the notes of the major scale will be: D E F# G A B C# and D.
Another scale you will be seeing mentioned in guitar literature is the pentatonic scale. This scale contains five notes. The notes of the pentatonic scale are the first, second, third, fifth and sixth notes of the major scale. So the in the key of D the notes are D E F# A and B.
If you become familiar with the pentatonic scales in a few keys, you will be able to compose guitar solos using the five notes of your pentatonic scale played at various locations on the fretboard. Then it will be your turn.
Ricky Sharples
Monday, March 26, 2012
Talkin' Blues: Conversational Phrasing
February's "Talkin' Blues" column looks at the ways in which everyday speech patterns influence blues guitar playing, a concept called conversational phrasing. Conversational phrasing could be best epitomized by the guitar work of Albert Collins, but as Keith Wyatt points out, it has remained a secret ingredient in the arsenals of many guitar greats.
Talkin' Blues: Conversational Phrasing
Saturday, March 24, 2012
In Deep: Howlin' Wolf and Hubert Sumlin
These videos are related to the February 2012 issue of Guitar World. For the full text and tablature for the column, you can pick up the issue of newsstands now or in our online store.
In this month's "In Deep," our own Andy Aledort takes a close-up look at the blues guitar artistry of Howlin' Wolf and Hubert Sumlin, the guitarists who epitomized the sound of Chicago blues.
In Deep: Howlin' Wolf and Hubert Sumlin
Friday, March 23, 2012
Thursday, March 22, 2012
March Savings with Guitar Center! Take $20 Off!
Check out these new March offers from Guitar Center -- Take $20 off purchases of $99 or more! Use Coupon Code: MARSAV. Valid 3/22/12 - 3/25/12 and take 15% off entire purchase (up to $500 discount) when financed on Guitar Center Credit Card! Valid 3/22/12 - 3/25/12.
Also be sure to take advantage of Guitar Center's March Exclusive Affiliate Offer - Take 9% Off A Single Item $99 or more! Use coupon code: MARCHMAD9! This offer is live and will run through 3/31/12, so be sure to start promoting now!
Additionally, for a limited time, Guitar Center has extended the Free Shipping offer. Only $49 Minimum Purchase required when shipping to address of your choice, no minimum when shipping to store! Please post the link below to communicate this feature.
Also be sure to take advantage of Guitar Center's March Exclusive Affiliate Offer - Take 9% Off A Single Item $99 or more! Use coupon code: MARCHMAD9! This offer is live and will run through 3/31/12, so be sure to start promoting now!
Additionally, for a limited time, Guitar Center has extended the Free Shipping offer. Only $49 Minimum Purchase required when shipping to address of your choice, no minimum when shipping to store! Please post the link below to communicate this feature.
Talkin' Blues: The Legacy of Charlie Christian
The following content is related to the April 2012 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in ouronline store.
This month's "Talkin' Blues" with Musicians Institute instructor Keith Wyatt looks at the legacy of the first star of the electric guitar, Charlie Christian.
Talkin' Blues: The Legacy of Charlie Christian
Thursday, March 15, 2012
Wednesday, March 14, 2012
101 Amazing Licks - Lick 58
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Click below for lesson.
101 Amazing Licks - Lick 58
Tuesday, March 13, 2012
101 Amazing Licks - Lick 57
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
101 Amazing Licks - Lick 57
Monday, March 12, 2012
101 Amazing Licks - Lick 48
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Click on the link below for lesson
101 Amazing Licks - Lick 48
Sunday, March 11, 2012
101 Amazing Licks - Lick 63
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Click on the link for lesson.
101 Amazing Licks - Lick 63
Friday, March 9, 2012
Kirk Hammett: How to Play Like Stevie Ray Vaughan
It’s definitely true that Stevie Ray Vaughan is one of my all-time favorite guitarists.
Ironically, I was never really into Stevie while he was alive. Then, shortly after he died, I got hold of a video of him playing a live show and was just totally blown away by his timing, his tone, his feel, his vibrato, his phrasing — everything. Some people are just born to play guitar, and Stevie was definitely one of them.
Kirk Hammett: How to Play Like Stevie Ray Vaughan
Click over for lesson.
http://www.guitarworld.com/kirk-hammett-how-play-stevie-ray-vaughan
Ironically, I was never really into Stevie while he was alive. Then, shortly after he died, I got hold of a video of him playing a live show and was just totally blown away by his timing, his tone, his feel, his vibrato, his phrasing — everything. Some people are just born to play guitar, and Stevie was definitely one of them.
Kirk Hammett: How to Play Like Stevie Ray Vaughan
Click over for lesson.
http://www.guitarworld.com/kirk-hammett-how-play-stevie-ray-vaughan
Tom Morello to Rush Limbaugh: "Hey Jackass, Stop Using Our Music"
You'd think after Rush, Peter Gabriel and the Fabulous Thunderbirds all requested Rush Limbaugh to stop using their music during his show, Rush might pick someone a bit more right-wing-friendly to play during his radio show.
Tom Morello to Rush Limbaugh: "Hey Jackass, Stop Using Our Music"
Thursday, March 8, 2012
101 Amazing Licks - Lick 55
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Click on the link below for lesson
101 Amazing Licks - Lick 55
Wednesday, March 7, 2012
101 Amazing Licks - Lick 22
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Click below for lesson.
101 Amazing Licks - Lick 22
Tuesday, March 6, 2012
Interview: Johnny Winter Discusses 'Roots,' a Tribute to His Favorite Blues Greats
Johnny Winter has been playing electric blues since the Sixties, and his enthusiasm for it only grows with time.
"There's never been a point in my life where I was even close to getting tired of playing blues," he says, relaxing in his dressing room at B.B. King's Blues Club in New York City, where he's performing a record-release show for his 2011 album, Roots. "The truth is, I love playing the blues, now more than I ever have before."
Click below to continue story.
Interview: Johnny Winter Discusses 'Roots,' a Tribute to His Favorite Blues Greats
Monday, March 5, 2012
101 Amazing Licks - Lick 52
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Click on the link below for lesson.
101 Amazing Licks - Lick 52
Saturday, March 3, 2012
SOLOING STRATEGIES: Jimi Hendrix
Sure, Jimi Hendrix was known for being a strange, outta-sight cat and a wild, eccentric guitarist. But look past all the psychedelic mayhem and you’ll find some of the most beautifully melodic, rhythmically complex, and harmonically uncanny solos in rock. “Purple Haze” may feature some of the most fuzzed-out sounds on the planet but it also boasts a mini-masterpiece of an introduction as well as an E-Dorian solo to die for. “Third Stone From the Sun” is about as psychedelic as it gets but it also contains one of the most memorable octave riffs in the annals of rock.
SOLOING STRATEGIES: Jimi Hendrix
Friday, March 2, 2012
101 Amazing Licks - Lick 25
We all know a great lick when we hear one—Jimmy Page’s solo breaks in “Whole Lotta Love” and Mark Knopfler’s blistering triads in “Sultans of Swing,” for example. Moments like these grab your attention and aurally brand your ears forever. Or, sometimes it acts more subliminally: You suddenly find yourself playing a certain lick over and over again, wondering, Where have I heard this before?
Through the years, these licks have evolved into a vocabulary for the guitar. And like great writers who are always able to find the right word to make a point, great guitarists always have that essential lick at their disposal to express, in the moment, what they’re feeling. And whereas the best writers are able to string
Click on the link below for lesson.
101 Amazing Licks - Lick 25
Through the years, these licks have evolved into a vocabulary for the guitar. And like great writers who are always able to find the right word to make a point, great guitarists always have that essential lick at their disposal to express, in the moment, what they’re feeling. And whereas the best writers are able to string
Click on the link below for lesson.
101 Amazing Licks - Lick 25
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