DAVE RUBIN

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1920 there began a lengthy period of the blues as an integral component in the African-American community until it was superseded by soul music in the early 1960s.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 

THE THE '50s ERA, WHERE ARE THEY NOW ? TABLATURE

SERIES: Where Are They Now?
CATEGORY: Guitar Mixed Folio
VERSION: Guitar/Vocal with Tablature
FORMAT: Book
Dave Rubin

Each book in the Where Are They Now? series contains over 50 songs by the artists who defined the music of the era. Plus, each book contains an essay about the times and a special "Where Are They Now?" update section on the songs and the artists.
The '50s Era artists include: Beach Boys, Bill Haley and the Comets, Debbie Reynolds, Del Shannon, Diamonds, Dion and the Belmonts, Duanne Eddy, Eddie Cochran, Elvis Presley, Everly Brothers, Fats Domino, Isley Brothers, Little Richard, Penguins, Platters, Ricky Nelson, Roy Orbison, Ritchie Valens, and more!

Nel 1964 un'allora sconosciuto chitarrista di nome Jimi Hendrix, registrava con uno speudonimo con gli Isley Brothers la canzone "testify". Hendrix in quel periodo era senza casa e fu O'Kelly Isley che lo vide mentre era in un negozio e lo portò a casa della famiglia Isleys. Presto Hendrix sarà incluso nelle registrazioni che il gruppo stava facendo, "Testify" e "Move" over and let me dance".

The '50s Era: Rockin' Around the Clock 

An amazing confluence of musical and sociological forces combined to create the first rock era in the '50s. The end of World War II in 1945 was followed by a period of cautious optimism regarding our economic future and anxiety about the vast global changes brought about by the dropping of the atom bomb and the ascendancy of Russiaas a world power. After being excluded from aspects of American life taken for granted by white people, doors began opening for blacks starting with Jackie Robinson breaking the color barrier in baseball in 1947. That same year Leo Fender brought out the first commercially successful solid-body electric guitar, thereby allowing the playing of much louder music. As had been the case in the first half of the twentieth century, popular music was affected by these developments. Swing jazz, boogie-woogie, and blues had begun metamorphosing into a hybrid known as rhythm & blues (R&B) near the end of the war. More dance-oriented than blues, but earthier than swing jazz, it was the music of celebration and romance although topics like race and politics were sometimes alluded to. Saxophonist and singer Louis Jordan was in the forefront with jumpy, jivey tunes like "Choo Choo Ch Boogie" and "Caldonia" that were built on infectious rhythms and featured witty, intelligent lyrics. Other early pioneers included Charles Brown, Nat "King" Cole, and Ray Charles. All three were accomplished piano players and singers with a blues bent and were supported by low-key guitarists as sidemen. The electric guitar was, however, making noise as an exciting featured solo instrument around the music scene as the technology advanced, and it had been ever since blues godfather T-bone Walker and jazz giant Charlie Christian ignited the airwaves in the early '40s. By the beginning of the '50s, blues shouters like Big Joe Turner were belting out a form of raw, raucous R&B suspiciously close to what would become rock 'n' roll. At the same time Les Paul and Mary Ford were creating an innovative type of pop music that was so optimistic it was practically giddy. Though Les had a blue streak in his playing, the artificial, overdubbed studio world where his guitar and Mary's voice existed was a far cry from the funky juke joints and house parties where the new black music fomented. Concurrently, R&B vocal groups with bird names like the Orioles, Ravens, and Flamingos began singing street-corner harmonies that would come to be called doo-wop. Out in the country, guitar pickers like Scotty Moore-influenced by the western swing of Bob Wills, the honky-tonk country & western (C&W) of Merle Travis, and the blues-were starting to fool around with a new music that borrowed from white C&W and black R&B. A revolution was in the making, just waiting for someone to lead the way. Four years into the decade the planets were in the right position in the heavens for a shooting star from decidedly humble beginnings to blaze a path to the front. The end of one decade and the beginning of another does not demarcate eras. An argument can be made that the '50s rock era did not arrive until 1954. That year Senate hearings on Commie-baiter Joseph McCarthy were televised, the Supreme Court banned school segregation, and powerful H-bombs were tested by the U.S. Government, events that would have a profound effect on teenagers and later the baby-boomers born just after WWII. Though their parents had weathered the war years and were grateful for the outcome, some children felt disaffected and confused, a situation dramatically presented in Rebel Without a Cause with new teen idol James Dean. Most significant for the emerging youth culture, however, were Bill Haley and the Comets' waxing "(We're Gonna) Rock Around the Clock" in April and the work of a poor young truck driver from Memphis, Elvis Aron Presley, who in July of 1954 cut a couple of songs at Sun Records in Memphis as a gift for his mother and to celebrate his nineteenth birthday. A year later Haley's blockbuster would hit #1 on the Billboard charts and be prominen ea ured in Blackboard Jungle, one of the first films about tension in inner-city schools. Elvis would be called back to Sun by producer Sam Phillips. Phillips, who had been recording heavy bluesmen like Howlin' Wolf and Ike Turner, had been frequetly quoted as saying that he could "make a million dollars" if he had a white man who could sing like a black man. He gambled on Elvis being the one and changed the course of popular culture. The irony is that black blues and R&B already figured prominently in Elvis's musical experience and that the song that broke him in the South was "That's Alright Mama," originally performed by blues artist Arthur "Big Boy" Crudup. This co-opting of black culture by rock 'n' rollers, though accomplished with respect and acknowledgment by Elvis and many others since, would cross ethical boundaries with "covers" of black songs by pale imitators like Pat Boone. The ramparts of pop music continued to be scaled in 1955 as Chuck Berry, the "father of rock 'n' roll guitar," roared across the radio waves with "Maybellene" in 1955. Besides creating an original instrumental style based on the blues, boogie, and C&W music, Berry astutely observed the consuming passions of (white) teenagers with cars, girls, and rock 'n' roll itself. In 1956 Elvis hit the big time by signing with RCA Records. Little Richard, Fats Domino, Jerry Lee Lewis, Bo Diddley, the Everly Brothers, Ricky Nelson, and Buddy Holly, not to mention instrumentalists like Duane Eddy and the Ventures, would follow as the reign of the tenor saxophone ended and the low-slung guitar became the sound and the symbol of the times. The visceral effect that the new music had on the youth of America was not lost on the keepers of the public morals. Crusaders relentlessly criticized rock 'n' roll and deemed it "jungle music" whose ability to excite to the point of delirium was alarming. Unfortunately, they were provided with unintentional ammunition. Elvis was censured for wiggling his pelvis on TV (and removed from the scene by induction into the Army in 1958) and pioneer R&B and rock promoter Alan Freed (credited with coining the term "rock 'n' roll") was caught up in the payola scandals of the late '50s. It all seemed to come to a grinding halt when Chuck Berry was arrested for violating the Mann Act (transporting a minor girl across state lines for immoral purposes) and Buddy Holly, Ritchie Valens, and the Big Bopper (J. P. Richardson) were killed in a small plane crash in 1959. Cute novelty songs about flying saucers and "The Purple People Eater" coming on the news of the Russians launching Sputnik, the first man-made satellite, did nothing to stop the powers that be from prematurely dancing on the presumed grave of the rebellious music. Meanwhile, Dick Clark with his daily "American Bandstand" and his Saturday night show kept the barely flickering flame alive with tame pop acts like Fabian and Frankie Avalon as the decade ended. The next three years saw folk and its puny cousin, hootenanny music, followed by the descendants of doo-wop, the great girl groups like the Shirelles and Crystals. Early soul music, the next evolutionary step from R&B and surf, that revitalizing instrumental music from California, helped to rescue rock from Andy Williams and Connie Francis. The Beach Boys, though coming from the same Southern California hot rod and beach scene as surf music, elevated popular music again to a level of youthful exuberance founded on finely crafted songwriting that owed a surprising debt to Chuck Berry. Though Elvis never regained his bluesy vitality after coming out of the Army in 1960, Roy Orbison made the transition from '50s rockabilly to epic flights of emotional intensity with classics like "Crying." The torch was passed to John F.Kennedy from the old general, President Dwight D. Eisenhower, in 1960, but the sound, look, fashions, and conservative politics of the '50s persisted until JFK'sassassination in November 1963 and the British Invasion of 1964. The counter-culture revolution that rose out of those two seminal events would alter the music and politics of the entire civilized world in the '60s. 

Includes the Following Selection:
Title Composer

1953 - (WE'RE GONNA) ROCK AROUND THE CLOCK - BILL HALEY AND THE COMETS
FREEDMAN, MAX/DE KNIGHT, JIMMY

1955 - AIN'T THAT A SHAME - FATS DOMINO
ANTONIE DOMINO, DAVE BARTHOLOMEW

1961 - BARBARA ANN - BEACH BOYS
FRED FASSERT

1957 - BIRD DOG - EVERLY BROTHERS
BRYANT, BOUDLEAUX

1960 - BLUE ANGEL  
ROY ORBISON AND JOE MELSON

1957 - BLUE MONDAY - FATS DOMINO
DAVE BARTHOLOMEW AND ANTOINE DOMINO

1957 - BYE BYE LOVE - EVERLY BROTHERS
BOUDLEAUX BRYANT AND FELICE BRYANT

1965 - CALIFORNIA GIRLS - BEACH BOYS
WILSON, BRIAN

1958 - CLAUDETTE
ROY ORBISON

1960 - CRY CRY CRY - BOBBY BLAND
DEADRIC MALONE

1961 - CRYING 
ROY ORBISON, JOE MELSON

1961 - DADDYS HOME - SHEP AND THE LIMELIGHTS 
JAMES SHEPPARD AND WILLIAM MILLER

1964 - DON'T WORRY BABY - BEACH BOYS
BRIAN WILSON AND ROGER CHRISTIAN

1956 - DONNA 
VALENS RITCHIE

1954 - EARTH ANGEL - THE PENGUINS
D. WILLIAMS, G. HODGE & J. BELVIN

1964 - FUN, FUN, FUN - BEACH BOYS
LOVE, MIKE/WILSON, BRIAN

1960 - GEE WHIZ - CARLA THOMAS
CARLA THOMAS

1957 - GOOD GOLLY MISS MOLLY - LITTLE RICHARD
ROBERT BLACKWELL, JOHN MARASCALCO

1960 - HELLO, MARY LOU (GOODBYE HEART) - ROCKY NELSON
PITNEY, GENE/MANGIARACINA, CAYET

1965 - HELP ME RHONDA - BEACH BOYS
LOVE, MIKE/WILSON, BRIAN

1956 - HONKY TONK - 
BILL DOGGETT, CLIFFORD SCOTT, BILLY BUTLER, HENRY

1950 - I DON'T CARE IF THE SUN DON'T SHINE - ELVIS PRESLEY
MACK DAVID

1934 - I ONLY HAVE EYES FOR YOU (from "42nd Street") - THE FLAMINGOS
WARREN, HARRY/L: DUBIN, AL

1959 - I WANT TO WALK YOU HOME - FATS DOMINO
ANTOINE DOMINO

1957 - I'M WALKIN'  - FATS DOMINO
ANTOINE DOMINO, DAVE BARTHOLOMEW

1964 - IN MY ROOM - BEACH BOYS
BRIAN WILSON AND GARY USHER

1957 - KEEP A KNOCKIN - LITTLE RICHARD
RICHARD PENNIMAN

1958 - LA BAMBA - 
ADAPT & ARR BY RITCHIE VALENS

1955 - LET IT BE ME - EVERLY BROTHERS
BECAUD / CURTIS / DELANOE

1934 - MILK COW BLUES - ELVIS PRESLEY
KOKOMO ARNOLD

1957 - MY SPECIAL ANGEL - BOBBY HELMS
DUNCAN, JIMMY

1964 - OH, PRETTY WOMAN - 
ROY ORBISON  / DEES BILL

1960 - ONLY THE LONELY (KNOW THE WAY I FEEL)
ROY ORBISON AND JOE MELSON

1958 - PETER GUNN (FROM "PETER GUNN") - DUANE EDDY
MANCINI HENRY

1958 - ROCKIN ROBIN - BOBBY DAY
JIMMIE THOMAS

1961 - RUNAWAY - DEL SHANNON
SHANNON, DEL / CROOK, MAX D.

1966 - SEA CRUISE - FRANKIE FORD
SMITH, HUEY P.

1959 - SHOUT - ISLEY BROTHERS
O'KELLY ISLEY,RONALD ISLEY,RUDOLPH ISLEY

1958 - SIXTEEN CANDLES - THE CRESTS
DIXON, LUTHER/KHENT, ALLYSON

1933 - SMOKE GETS IN YOUR EYES - THE PLATTERS
JEROME KERN; OTTO HARBACH

1958 - STAGGER LEE - 
HAROLD LOGAN, LLOYD PRICE

1958 - SUMMERTIME BLUES 
JERRY CAPEHART  / EDDIE COCHRAN

1956 - TAMMY - DEBBIE REYNOLDS
RAY EVANS/JAY LIVINGSTON

1957 - TEQUILA - THE CHAMPS
CHUCK RIO

1957 - THE STROLL - THE DIAMONDS
CLYDE OTIS AND NANCY LEE

1960 - THE WANDERER - DION AND THE BELMONTS
MARESCA, ERNIE

1957 - WAKE UP, LITTLE SUSIE - EVERLY BROTHERS
BRYANT, BOUDLEAUX / BRYANT, FELICE

1960 - WALKING TO NEW ORLEANS - FATS DOMINO
ANTOINE DOMINO, DAVE BARTHOLEMEW

1963 - WIPE OUT - 
THE SURFARIS

BEST OF ROCK'N'ROLL GUITAR. Licks. Dave Rubin. Blue Suede Shoes -Bo Diddley -Guitar Boogie Shuffle -Hello Mary Lou -Hound Dog -Mystery Train -No Particular Place To Go -Not Fade Away -Oh, Pretty Woman -Race With The Devil -Rebel 'Rouser -Rock Around The Clock -Runaway -Susie-Q -That'll Be The Day -Train Kept A-Rollin' -Wake Up Little Susie. CD TABLATURE.

LIBRO METODO DI MUSICA ROCK N' ROLL CON CD. 

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

TECNICA, MANUALE, DIDATTICO, 

Serie: Signature Licks Guitar
Copertina morbida CD - TABLATURE
Autore: Dave Rubin

Il Meglio di Rock'n'Roll

Studia i riff e solo dei pionieri del rock'n'roll e della chitarra. Questo libro completo di CD fornisce una analisi passo per passo degli stili e tecniche chitarristiche di 17 brani dalla meta degli anni 50 agli anni 60, anni "pre-Beatles". IncludeBlues Suede Shoes • Bo Diddley • Hello Mary Lou • Hound Dog • Mystery Train • Not Fade Away • Oh, Pretty Woman • Rebel 'Rouser • Runaway • That'll Be the Day • Wake Up Little Susie •e altri.

64 pagine

Blue Suede Shoes - Performed by: ELVIS PRESLEY - Words and Music: Carl Lee Perkins - 1955
Bo Diddley - BO DIDDLEY - Performed by: Words and Music: Ellas McDaniel - 1955
Guitar Boogie Shuffle - The VIRTUES - Words and Music: Arthur Smith - 1946
Hello Mary Lou - RICKY NELSON - Words and Music: Gene Pitney, C. Mangiaracina - 1960
Hound Dog - ELVIS PRESLEY - Words and Music: Jerry Leiber, Mike Stoller - 1956
Mystery Train - ELVIS PRESLEY - Words and Music: Sam C. Phillips, Herman Parker Jr. - 1955
No Particular Place To Go - CHUCK BERRY - Words and Music: Chuck Berry - 1964
Not Fade Away - BUDDY HOLLY - Words and Music: Charles Hardin, Norman Petty - 1957
Oh, Pretty Woman - ROY ORBISON - Words and Music: Roy Orbison, Bill Dees - 1964
Race With The Devil - GENE VINCENT - Words and Music: Gene Vincent - 1956
Rebel 'Rouser - DUANE EDDY - Words and Music: Duane Eddy, Lee Hazlewood - 1958
Rock Around The Clock - BILL HALEY AND HIS COMETS - Words and Music: Max C. Freedman, Jimmy Deknight - 1953
Runaway - DEL SHANNON - Words and Music: Del Shannon, Max Crook - 1961 
Susie-Q - DALE HAWKINS - Words and Music: Dale Hawkins, Stan Lewis, Eleanor Broadwater - 1957 
That'll Be The Day - BUDDY HOLLY - Words and Music: Jerry Allison, Norman Petty, Buddy Holly - 1957
Train Kept A-Rollin' - JOHNNY BURNETTE and the Rock 'n' Roll Trio - Words and Music: Tiny Bradshaw, Lois Mann, Howie Kay - 1951
Wake Up Little Susie - EVERLY BROTHERS - Words and Music: Boudleaux Bryant, Felice Bryant - 1957

JOHNSON ROBERT, STYLE AND TECHNIQUE. 32-20 Blues -Come On In My Kitchen -Cross Road Blues (Crossroads) -Hell Hound On My Trail -I Believe I'll Dust My Broom -I'm A Steady Rollin' Man (Steady Rollin' Man) -If I Had Possession Over Judgment Day -Kind Hearted Woman Blues -Love In Vain Blues -Preachin' Blues (Up Jumped The Devil) -Ramblin' On My Mind -Stop Breakin' Down Blues -Sweet Home Chicago -Terraplane Blues -Walkin' Blues. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE. 

LIBRO METODO DI MUSICA BLUES CON CD.

SPARTITI PER CHITARRA CON :

 ACCORDI, PENTAGRAMMA, TABLATURE. 

A Step-by-Step Breakdown of the Legendary Guitarist's Style and Technique
Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Dave Rubin
Artist: Robert Johnson

Explore the music of one of the greatest acoustic bluesmen of all time with this fascinating book/CD pack. Blues expert Dave Rubin provides an introduction on Johnson's place in musical history, and extensive notes on his tunings, arrangements, fingerstyle technique and guitars. Features in-depth lessons and audio examples of 15 of his most famous songs, 64 pages

Table of contents :
Come On In My Kitchen
Cross Road Blues (Crossroads)
Hell Hound On My Trail
I Believe I'll Dust My Broom
I'm A Steady Rollin' Man (Steady Rollin' Man)
If I Had Possession Over Judgment Day
Kind Hearted Woman Blues
Love In Vain Blues
Preachin' Blues (Up Jumped The Devil)
Ramblin' On My Mind
Stop Breakin' Down Blues
Sweet Home Chicago
Terraplane Blues
32-20 Blues
Walkin' Blues

BOOGIE BLUES RIFFS, D. Rubin 25 classic patterns arranged for guitar. CD TABLATURE

LIBRO DI MUSICA ROCK CON CD.
SPARTITI PER CHITARRA. ACCORDI, PENTAGRAMMA E TABLATURE. 

in Standard Notation and TABLATURE
Series: Guitar Collection
Softcover with CD - TABLATURE
Author: Dave Rubin
In the words of John Lee Hooker, "If you got the boogie in you, it got to come out." This book/CD pack contains 25 must-know boogie blues riffs arranged for beginning to intermediate guitarists, as well as interesting facts and quotes from blues history. The companion CD demonstrates every example in the book. 32 pages.