This is a fast 16th-note alternate picking run in C# minor that starts out on the high E string and moves across the neck, staying pretty much in the ninth through seventh positions and ending with a whole-step pull bend and vibrato on the low E string.
I tap with my middle finger and begin this lick by flicking the string with the finger to get the sound going, doing a "phantom" pull-off to the A note at the fifth fret. I then play a sequence that goes "hammer, tap, pull" and repeats as I move across the strings, initiating the first note on each lower string with a "hammer-on from nowhere."
Since leaving the Red Hot Chili Peppers—for the second time—in 2009, John Frusciante has remained largely absent from the mainstream public eye. But that doesn’t mean the guitarist hasn’t been busy writing, recording and releasing new music. In fact, his output in the past few years has been staggering in both quantity and scope.
I begin in ninth position with a fairly compact shape that spans the ninth to 12th frets. At the end of bar 1 and moving into bar 2, the fret hand shifts down two frets and spreads out to cover a four-fret span, from the seventh fret to the 11th. Use your first, second and fourth fingers to fret the notes.
He was one of the greatest electric blues guitarists of his time, but Michael Bloomfield is nearly forgotten today. His friend and collaborator Al Kooper hopes to change that with the new box-set retrospective From His Head to His Heart to His Hands.
Among historic Gibsons, Tom Scholz’s 1968 Les Paul “Goldtop”—the first of two that he purchased in the Seventies—certainly ranks high. It’s the guitar heard on every massive Boston hit and all six of the group’s albums to date. As such, it was an ideal instrument for Gibson to replicate as part of its Collector’s Choice Series.
Boston’s Tom Scholz has a musician’s soul and a scientist’s obsession with the phenomena of sound and music. Those qualities have helped him and his long-running group create some of the most lavishly layered, hooky guitar rock of the Seventies and beyond. The guitarist was a senior product design engineer for Polaroid in the Seventies who spent his off hours tinkering meticulously on a set of demo recordings in his home studio.
If Jerry Garcia played in a death metal band instead of the Grateful Dead, he might have designed a guitar like the Guardian. At least that’s kind of the idea that Nashville luthier Sean Farrell had in mind when he conceived this guitar.