ROCKIN' THE BLUES, The Best American and British Blues-Rock Guitarists: 1963-1973. BOOK WITH CD & GUITAR TABLATURE
LIBRO METODO DI MUSICA BLUES, CON CD.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.
METODO, MANUALE, STUDIO, TECNICA.
Lessons - Music - Historical analysis - rare Photos
Series: Guitar Educational
Softcover with CD - TABLATURE
Author: Dave Rubin
Take a journey inside the blues with Dave Rubin's latest book, Rockin' the Blues: 1963-1973. This seminal 10 years produced some of the most influential blues-rock guitarists of all time. Learn about the lives of these trail-blazing guitarists, their individual styles, accomplishments, and techniques, then play along with the accompanying CD and taste the magic yourself. Each chapter delves into the world of a key blues-rock guitarist from this period, with rare photos, historic insights, interviews, and guitar solos written in standard notation and tablature and performed by a full band on the included audio CD. Explore this exciting time in music history with a book that covers it like no other. Artists covered include: Duane Allman, Jeff Beck, Roy Buchanan, Eric Clapton, Alvin Lee, Keith Richards, Robbie Robertson, and others. 104 pages
ROCKIN' THE BLUES: From the U.S. to the U.K.
The history of the blues is laced with irony. The national tragedy of the transatlantic slave trade begun in the 1600s sought to deprive Africans of their culture, but inadvertently exposed them to European musical traditions and instruments that led to the birth of the blues in the American south circa 1890. Some in the Anglo population had their ears open early on as evidenced by a white man, Arthur Seals, beating W.e. Handy to the distinction by just two months with the first published blues, "Baby Seals' Blues" in 1912. After "Crazy Blues" by Mamie Smith was recorded in 1920 there began a lengthy period of the blues as an integral component in the African-American community until it was superseded by soul music in the early 1960s. Throughout this entire period of time most, though certainly not rdl, white listeners in America applied basically benign neglect to the blues. By the early 1950s, however, white country musicians in the South began incorporating blues licks and phrasing into a new, embryonic form of music as yet unnamed. Often they learned directly from their black neighbors or family employees out in the sticks. Merle Travis, Chet Atkins, and Scotty Moore were some of the earliest and most prominent, with Moore applying his seamless blending of country and blues licks to the music of an ambitious young man in the summer of 1954. The greasy, astoundingly charismatic singer Elvis Presley was joined by Moore and upright, "doghouse" bassist Bill Black at Sun Studios in Memphis, and their revolutionary hybrid of hillbilly boogie and blue would eventually come to be called rockabilly a few years later. In fact, it was the official, if not absolute, beginning of rock 'n' roll as a style of music and as an unprecedented youth movement. Other white cats like Carl Perkins, Jerry Lee Lewis, Dale Hawkins (whose 1957 recording of "Suzie-Q" featured James Burton's seminal blues-rock licks), Roy Orbison, and even Johnny Cash would build on Presley's success. Meanwhile, Chuck Berry was concurrently combining blues with country and western music and swing jazz (by way of jive-talking shuffler Louis Jordan) to create a distinct style that rocked and swung, and his influence on rock is inestimable. In addition, the chugging boogie blues of Jimmy Reed would also exert a considerable effect on both future American and English blues-rockers. It took some time for the I-IV-V progressions of 1950s rock 'n' roll to give way to a new form of rocked up blues in the early 1960s. Roy Buchanan in the Washington, D.e. area, Robbie Robertson in Toronto, and Lonnie Mack in Cincinnati, to name three of the most prominent, began bringing an edge and energy to their version of the blues rarely found outside of black blues guitarists like Lafayette "Thing" Thomas and Auburn "Pat" Hare. Keenly aware of the potential contained in the right combination of axe and amp, they were the sonic pioneers who would fry their vacuum tubes in order to achieve the thick, overloaded sound that would thrill fans and fellow musicians alike. The blues-based San Francisco bands like Big Brother and the Holding Company, Creedence Clearwater Revival, Quicksilver Messenger Service, the Steve Miller Band, and the early Santana band that arose in the mid-1960s (and contributed so much to the music of the counterculture movement in the latter part of the decade) also understood that the "medium (loud, distorted guitars) was the message." Technology played a significant part because as the amps got bigger, so did the sound, and savvy guitarists got hip to the fact that they could riff and solo with the expressiveness and power that had previously been the domain of honking tenor saxophonists. Perhaps no one delivered this powerful, earth-shaking message better than Jimi Hendrix, at once a true hluesman and blues-rock icon. The Allman Brothers Band with dual axemen Duane Allman and Dicky Betts were arguably the most important American group to bring all the elements together in an accessible style also steeped in authentic blues roots. Still at it after thirty-five years, they spawned a new genre known as Southern Rock that was in fact, blues-rock with a Dixie accent. Lynyrd Skynyrd, the Marshall Tucker Band, 38 special
TABLE OF CONTENTS
Introduction
John McVie Interview
Scales for Blues-Rock Guitar
Duane Allman
Jeff Beck
Roy Buchanan
Eric Clapton
Rory Gallagher
Billy Gibbons
Peter Green
Bugs Henderson
Alvin Lee
Steve Miller
Jimmy Page
Keith Richards
Robbie Robertson
Mick Taylor
Mick Taylor Interview
Leslie West
Guitar Notation Legend
Italiano
English
