Stevie Ray Vaughan earned respect as a blues and rock player—a musician who could bridge the two worlds in a single solo. As with all great guitarists, his rhythm playing was as strong as his leads. He excelled at a style of shuffle playing that has its roots in earlier players, yet he was able to turn it into a personal trademark. This lesson is dedicated to Stevie's memory.
Sixty years ago, barely a decade into the electric guitar era, Clarence “Gatemouth” Brown unleashed one of the wildest guitar instrumentals ever captured on record. “Boogie Uproar” was just that, a dose of pure, in-your-face electric energy that musically linked the past—the sophistication of swing—to the future: the raw ferocity of rock and roll.
For guitarists accustomed to channel switching and distortion pedals, the thought of being forced to plug straight into a clean amp can be a nightmare. But the big, bad guitar sounds of classic blues are all “straight in,” so how do players turn this apparent handicap to an advantage? The secret is to attack.
Gene Vincent and the Blue Caps epitomized rockabilly’s iconic image, with their leather jackets, ducktail hairstyles and kick-ass-and-take-names personae. The band also introduced one of the most adept, versatile and influential electric guitarists of his generation: Cliff Gallup.
Last month, we examined the acoustic mastery of New Orleans guitarist Snooks Eaglin, which was captured on the acclaimed 1959 album New Orleans Street Singer.
Ironically, solo acoustic performance was only a sideline for Eaglin, who mainly played electric guitar and sang with full bands. Between 1960 and 1963, a series of Dave Bartholomew–produced contemporary New Orleans–style R&B recordings for Imperial Records explored that aspect of his talent.
These videos and audio files are bonus content related to the July 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.
Little Walter served his musical apprenticeship in Delta roadhouses during the early Forties and intently studied the style and techniques of down-home blues harmonica masters such as John Lee “Sonny Boy” Williamson, but he also took the instrument into new territory by emulating the jazz-tinged phrasing of jump-blues saxophonists.
These videos and audio files are bonus content related to the June 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.