I know, I know. Die-hard Stevie Ray Vaughan and Jimmie Vaughan fans—myself included—have already seen this video 43.677777 times. However, that doesn't make it any less appealing. And, since it wound up in my crowded inbox this morning, I thought I'd share it with the masses!
On the nearly six-minute-long minor-key track, Blackmore employs a creamy, overdriven Strat tone. The track has an organic, almost live feel to it; you can even hear what sounds like Blackmore flipping his five-way pickup switch at the 1:01 mark.
Musicians can still be a little fuzzy when it comes to describing the sound of a fuzz box. Some guitarists will tell you it sounds like a 2,000-pound bee trapped in a sturdy metal box — perhaps with a potentiometer installed somewhere behind the wings. And while many early fuzz guitar tunes and tones did indeed make the most of the original fuzz buzz, fuzz actually has many facets, many sides, many fuzz faces, if you will.
Stevie Ray Vaughan released four studio albums, a live album and a Vaughan Brothers album, not to mention enough leftover live and studio material to fill several posthumous albums and a box set. He even found the time to perform on albums by several other artists — from Teena Marie to Stevie Wonder to Don Johnson — very often with fiery results.
This video, a clip of Stevie Ray Vaughan and Dick Dale performing "Pipeline," one of the most famous surf-guitar instrumentals of all time, has got it all. I mean, you've got Stevie Ray Vaughan, a righty ... you've got the under-appreciated Dick Dale, a lefty ... you've got Dick Dale's bizarre hair ... you've got Annette Funicello ... you've got some lovely Fender Stratocasters ...
As the primary songwriter in Oasis he was responsible for such Nineties mega-hits as “Wonderwall” and “Champagne Supernova,” and occasionally had violent, public fights with his singer brother Liam. But what Guitar World readers really want to know is…
The capo is to guitars what sugar — or Stevia, if you prefer — is to food. It makes everything sweeter. Musicians started noticing the capo's inherent song-sweetening properties sometime in the early 17th century, when primitive versions of the handy accessory were employed to raise the pitch of a host of fretted instruments.