In honor of the expansive new box set from Rounder Records, Skydog: The Duane Allman Retrospective, we focused on his single-note soloing on classic Allman Brothers’ cuts like “Stormy Monday” and “Whipping Post.” This month’s column is dedicated to Duane’s mastery of the art of slide guitar.
Stevie Ray Vaughan’s distinctive playing style is earmarked by equal parts pure power, intensity of focus, razor-sharp precision and deeply emotional conviction. And then there’s his tone—probably the best Stratocaster-derived sound ever evoked from the instrument.
These videos and audio files are bonus content related to the October 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
Regarded by many as the three most vital purveyors of pure hard rock/heavy metal sonic evil, AC/DC’s Angus Young, Led Zeppelin’s Jimmy Page and Black Sabbath’s Tony Iommi have each forged a distinct, instantly recognizable guitar style and sound. After more than three decades of dedicated service, all three players continue to influence countless up-and-coming metalheads the world over, and an in-depth study of each guitarist’s distinct musical personality is mandatory for any aspiring hard rock player.
Students have often asked how I go about building creative, interesting rhythm parts when playing over a repeating one- or two-chord vamp.
As touring guitarist for Great Southern, the group formed by Allman Brothers Band founding guitarist Dickey Betts, I’m required to lay down musical rhythm parts behind extended solos on songs like “Blue Sky” and “In Memory of Elizabeth Reed,” and it’s a challenge to craft supportive rhythm parts that will both enhance the power of the soloing instrument while also locking in with the rhythm section to drive the groove along.
This month I’d like to address this worthwhile topic.