This video is bonus content related to the May 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.

Boarding School: Are you a pedal-board dunce? Fear not! In this illustrated tutorial, Guitar World shows you everything you need to know, from choosing a board to powering up and laying out your pedals.

The more effect pedals you use, the more you need a pedal board. Even the most basic unpowered board can provide a useful platform to hold your pedals securely, provide cable management and keep everything from sliding around onstage.

Powered boards have the added function of supplying electrical connections to all your pedals, thereby eliminating the need for power strips and multiple wall warts that can take up space and create a nest of dangerous wires around your performance area. For more complex or specialized rigs, a custom pedal board can meet your specific switching requirements and make performance headaches a thing of the past.

Unfortunately for those who have never had a pedal board, the prospect of building or buying one can be overwhelming. You have to determine not only what size you'll need for your set-up but also make sure it matches the power requirements of your pedals, some of which might take require, 12, 16, 18 or 24 volts.

There's also the matter of cables, of which you'll need many, each cut to the minimum length to ensure signal integrity and keep your layout tidy. The confusion only gets worse once you go online and see the plethora of pedal board models and options available to you.

For the complete, six-page pedal board lesson, including photos, diagrams and explanations, check out the all-new May 2014 issue of Guitar World.

This video is bonus content related to the May 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.

Ibanez has pretty much ruled the shred guitar market since the late Eighties when it started offering signature models designed in collaboration with heavy hitters like Joe Satriani and Steve Vai.

However, the company's popular RG series models go back before then to 1985, when the Roadstar II Series was renamed the RG Series (although the current RG body style and headstock that we all know and love didn't come about until two years later when Ibanez offered the RG as a less expensive and more modest alternative to Vai's JEM models).

Today, the RG Series retains the spirit of those late Eighties models, but the new Prestige models like the RG655 show how much the RG has evolved.

Today, GuitarWorld.com and RevolverMag.com share the exclusive U.S. premiere of Corey Taylor's new version of Dio's "Rainbow in the Dark."

The track, which you can dig into below, is from a new Dio tribute album, Ronnie James Dio: This Is Your Life, which will be released April 1. You can check out the complete track and artist listing below.

On the track — which originally appeared on Dio's classic 1983 album, Holy Diver— the Slipknot and Stone Sour frontman is joined by Steel Panther guitarist (and former Guitar World columnist) Satchel, Stone Sour drummer Roy Mayorga and touring friends Jason Christopher and Christian Martucci.

"Ronnie was the most natural singer I have ever witnessed," Taylor says. "He could do anything, hit any note, make any audience lose their minds. He was one of the greatest and I'm so happy I got to see him live. 'Rainbow in the Dark' was the first Dio song I really loved to death--just a powerful, high-energy hard rock song that was so good I wished I'd written it.

"When I was asked to be a part of this album, I knew there was only one track I wanted to record and luckily I got it. I only hope I did it justice. Having had the privilege of meeting Ronnie before he passed, I hope he knows how much I loved him for who and what he was: One of the greatest."

Take a listen and let us know what you think in the comments or on Facebook!

The album will raise funds for the Ronnie James Dio Stand Up and Shout Cancer Fund.

Ronnie James Dio: This Is Your Life Tracklist:

01. “Neon Knights” – Anthrax*
02. “The Last In Line” – Tenacious D*
03. “The Mob Rules” – Adrenaline Mob
04. “Rainbow In The Dark” – Corey Taylor, Roy Mayorga, Satchel, Christian Martucci, Jason Christopher*
05. “Straight Through The Heart” – Halestorm*
06. “Starstruck” – Motörhead with Biff of Saxon*
07. “Temple Of The King” – Scorpions*
08. “Egypt (The Chains Are On)” – Doro
09. “Holy Diver” – Killswitch Engage
10. “Catch the Rainbow” – Glenn Hughes, Simon Wright, Craig Goldy, Rudy Sarzo, Scott Warren*
11. “I” – Jimmy Bain, Oni Logan, Rowan Robertson, Brian Tichy*
12. “Man On The Silver Mountain” – Rob Halford, Vinny Appice, Doug Aldrich, Jeff Pilson, Scott Warren*
13. “Ronnie Rising Medley (featuring “A Light in the Black”, “Tarot Woman”, “Stargazer”, “Kill the King”)”– Metallica*
14. “This Is Your Life” – Dio

Last year, guitarist Walter Trout was hit with a life-threatening liver disease, which caused him to lose 100 pounds.

"For five years, Walter, Provogue Records and I have worked toward making Walter's 25th year as a solo artist a special celebratory event," Marie Trout says.

"But the festivities will have to wait. Walter is urgently in need of a liver transplant. It has been heart-breaking for me to watch Walter struggle through these past many months, as we tried various treatment options provided by Walter's doctors and liver specialists.

"One by one the treatments failed. Yet through it all, Walter's courage and determination continually amazed me. Even as he has become a shadow of his former self, after losing 100 pounds and much of his strength, he continued touring, writing, playing, singing and recording.

"Music and playing for people offered Walter what it always has: It is therapy and a life-line for him when the Blues comes callin'. Thus the theme of this album is colored by his confrontation with mortality combined with a deep, all-abiding desire to persevere, and a good dose of typical Walter'esque life-affirming defiance!"

Provogue and Mascot Label Group's Ed van Zijl adds:

"When Walter re-joined Provogue in 2008, we talked about a plan leading up to the 25th anniversary of his career as a solo artist which is this year, 2014. Besides a new album, we made a book and a documentary. Not only to make people aware of the 25th anniversary, but also to have people realize how good and how important an artist Walter is for the blues rock genre.

"The touring set up for 2014 was fantastic with shows at the North Sea Jazz Festival and the Carre Theater in Amsterdam among many other great ones. Instead of being out there on the road, Walter is fighting for his life. and there is nothing to celebrate at the moment.

"This is so very, very sad and we are all praying for Walter to come out on top. The album will be released as planned, and Walter definitely wants this one to be heard. In the meantime our hearts are with Walter and his family."

The label will release Trout's The Blues Came Callin' June 10 in North America. The album was recorded throughout 2013. The songs reflect Trout's thoughts about mortality and his renewed appreciation for being alive. The Blues Came Callin' features 12 new songs, 10 of which are originals. One is written by John Mayall for the occasion; the other is a J.B. Lenoir cover.

Trout searches his soul on the album and lays it bare allowing the celebration of his career to be infused with new appreciation for life. The upcoming official biography is co-written with British music journalist, Henry Yates. The manuscript will be released simultaneously with the new album. Titled Rescued From Reality: The Life and Times of Walter Trout, the book features previously untold stories, and is packed with rare photographs from the musician's personal archive.

Trout is awaiting a liver transplant at UCLA Medical Center in Los Angeles. A fundraising initiative began last week to support Trout and his family; it can be viewed here.

For more information, visit waltertrout.com.

So this guy named Hiro — also known as larzgallows on YouTube— creates and posts what he calls "One Man Zepp" videos.

Although it's hard to be sure, we're assuming he's playing all the instruments in the videos, all of which feature impressive, spot-on covers of classic Led Zeppelin songs.

We've included four of them below — "The Song Remains the Same,""Since I've Been Loving You," the abbreviated The Song Remains the Same version of "Black Dog" and "Whole Lotta Love."

Guitarists who appreciate Jimmy Page will dig the super-up-close shots of the neck as Hiro plays the guitar parts on session- and/or venue-accurate guitars. Enjoy!

P.S.: If you visit his YouTube page (See the link above), you'll notice he also does "One Man" covers of a few Van Halen tunes.

In association with Music Masters Camps, shredder — and Guitar World columnist — “Metal” Mike Chlasciak will host his “Metal Heroes Summer Camp” August 25 to 29 at the Full Moon Resort in Big Indian, New York.

Developed for metal-heads ages 12 to 18, Metal Heroes Summer Camp is designed to teach, motivate and inspire through intense but fun instruction in heavy metal.

The highlight of this vacation experience will take place on the last day, when the students will have a chance to perform with Mike in front of their family and friends during a live concert staged at the camp’s playground.

“I am beyond excited to kick off and welcome you to the Metal Heroes Summer Camp," Metal Mike says. "Doing an event like this is something that has been on my mind for a very, very long time. I’m psyched. All rock band instruments are welcome focusing on guitar, bass, drums and vocals. I hope you will join me on this 100 percent full-on metal journey.

“I've always wanted to share my tour and music experiences with younger metal-heads and I’m really looking forward to open up the metal vault with you on so many levels in order to help you sharpen your skills to metal ninja perfection.

"While helping you with individual tasks, we’ll also learn to make amazing progress when rehearsing with a band to talking about any musical challenges that you might face. I can guarantee this will be incredibly fun and you will learn a lot, too.

“You also will get some great inside tips on how the music business works, how to work well with others, all the while you fully immerse yourself in the music of the metal gods. We’ll be jamming together, hanging out together, studying what makes a song or a performance great - while everyone will get a chance to ask their questions and get plenty of one-on-one playing tips."

Tickets for Metal Heroes Summer Camp are on sale now at musicmasterscamps.com.

All camp packages are $1,299 and and include lodging, gourmet meals, housekeeping and access to all workshops, seminars, performances and camp activities. Full Moon Resort features an eclectic array of comfortable country-inn accommodations. There is a $595 non-participant option where you can watch your child’s progress at Metal Heroes Summer Camp while you absorb the beauty of the Catskill Mountains.

All accommodations are just steps away from daily camp activities. Guests can enjoy the spring-fed swimming pool and explore the splendors of the Catskills. Dedicated to the celebration of nature, music and the arts, this one hundred-acre wonderland of mountains, fields and streams is a world of its own.

For more information, visit musicmasterscamps.com, metalmike.net and facebook.com/metalheroessummercamp.

Seymour Duncan has released its new Jason Becker Perpetual Burn Humbucker.

From the company:

The story of the Jason Becker pickup starts decades ago when Jason was catapulted to the top of the guitarist world, thanks to his work with Cacophony, David Lee Roth and as a solo artist.

Becker writes: "I remember Bob Rock bringing in a Les Paul with a Duncan JB in it while I was recording the David Lee Roth song 'A Little Ain't Enough,' and I absolutely loved it. After playing with Bob Rock's guitar, I contacted Seymour Duncan to potentially work on a Becker pickup. We talked about what I wanted and over the course of a few months, they sent about six test pickups.”

Becker came to Seymour Duncan looking for a pickup with enough gain for singing leads and the dynamic response for complex chording and ringing clean tones. As the pickup was nearing completion, his ALS was making things increasingly hard and the pickup was never released.

As to how Becker came back to completing the pickup, he writes: "A couple years ago, my buddy Michael Lee Firkins came over to test a possible Becker signature amp. We tried tons of guitars, but didn't find any that sounded very good, or at least that sounded like me. We finally plugged in the guitar with one of my test Duncans in it, and we were all floored! It was like magic.

"We decided to finalize the pickup and I would say the final tone sounds like me, only way better! It has the thick beef and balls that we metal players and old Van Halen fans like, plus a sweet, clear and crisp, yet warm lead tone.”

With an Alnico 5 bar magnet and a 12.11k DC resistance, this pickup has the clarity and punch for Becker's brand of high-octane shred but is a great choice for rock, blues, and fusion as well. It's a drop-in replacement for any humbucker-equipped guitar and requires no modification to the instrument.

Each Perpetual Burn pickup is hand built in Santa Barbara, California, and is available in standard spacing or trembucker and in black, white or zebra and can be ordered in an assortment of colors as a shop floor custom.

For more information, visit SeymourDuncan.com.

The Allman Brothers Band played 10 nights at New York City's Beacon Theatre before having to postpone their final four shows of the run due to Gregg Allman’s ongoing struggle with bronchitis.

They played the final two nights, Friday and Saturday, March 21 and 22, without Allman.

Throughout the run, guitarists Derek Trucks and Warren Haynes, who have announced that they will no longer tour with the band after this year, were front and center.

Both guitarists use different rigs with the Brothers than they do on their own, in the Tedeschi Trucks Band and Gov’t Mule, respectively.

Duane Allman’s 1959 tobacco sunburst Gibson Les Paul was on the way from Cleveland’s Rock and Roll Hall of Fame, courtesy of Duane’s daughter, Galadrielle, who owns the instrument. Trucks and Haynes were planning on playing it March 28 and 29, two of the cancelled shows. The plan was for each guitarist to play it one set per night, both nights.

I visited with guitar techs Brian Farmer (Haynes and bassist Oteil Burbridge) and Bobby Tis (Trucks) before the March 21 show for a look at the gear on an otherwise abandoned Beacon stage. Both musicians utilize rigs that are beautiful in their simplicity.

WARREN HAYNES

Haynes played through two amps: a PRS Super Dallas with reverb and a Sewell Texi Plex without reverb. The latter was designed and built by Doug Sewell, who now works for PRS. Virtually the same amp is now available through PRS. Both amps feed into a Marshall 4x12 cabinet with Vintage 30 speakers.

Haynes also has a 100-watt Ampeg BA 115 cross stage bass amp that feeds Oteil Burbridge’s bass lines behind him. “He likes to really hear and feel the bass,” Farmer says.

Haynes primarily played a few different Gibson Les Pauls and 335s at the Beacon. His most-played Les Paul was “Chester,” a Gibson Custom Shop Warren Haynes model with a '59 neck, a '58 body and Gibson Burstbucker pickups. For a few songs in drop-D tuning, he played “Dee,” a '58 reissue with Burstbuckers. He also played “Big House,” a 1959 Les Paul owned by the Big House Museum in Macon, Georgia.

Haynes also played two 335s: “Huddie,” a new Gibson Memphis Warren Haynes model, which is a copy of his ‘61 335, which he no longer takes on the road, and “Blondie,” a ’59 reissue. He also sometimes plays a Zagler ES, which is custom made by Austrian builder Paul Zagler.

The guitars are strung with GHS burnished nickel strings, .10-.46. “The only exception is Dee, where we use GHS Nickel Rockers, and I change the .46 to a .54,” Farmer says.

Haynes’ Allman Brothers pedal board is extremely minimalist. With Gov’t Mule, he utilizes at least 10 pedals, but the with the ABB, he has only an Ernie Ball volume pedal into a GLab Warren Haynes model Wowee Wah into a Palmer Tri Line A/B switch to alternate amps.

“His Allman Brothers band setup is simple and effective,” Farmer says. “He gets most of his tonal variation by alternating guitars and amps, as well as pickups.”

The band’s guest amp, which was used this run by Jimmy Vivino, Gregg Allman Band guitarist Scott Sharrard, bluesman Junior Mack, Devon Allman and others, is a PRS Dallas labeled Charlie, for Trucks’ son, and run through a PRS 4x12 cab with Vintage 30s.

DEREK TRUCKS

Derek Trucks’ main guitars are two Gibson Custom Shop Dickey Betts “From One Brother to Another” model SGs, which are based on the 1961-62 SG Duane Allman gave to Betts and both played in the original ABB.

Trucks also played a sunburst Les Paul, which is a ’53 converted to a ’59 electronically and borrowed from a New York collector.

Trucks’ rig is a model of simplicity. Like Haynes, he runs through two amp heads: a PRS model HXDA, which Tis describes as a combination of a Marshall Super Lead and Super Bass; and an Alessandro, which Tis says is similar to a beefed-up 1959 Fender Twin. “It has a really clean and clear David Gilmour-type sound,” Tis says.

The Allesandro has reverb, but the PRS does not, so before hitting the amp, Trucks’ guitar runs through a 1963 Fender Reverb unit. The amps run into a Randall 4x12 cabinet with Custom Eminence speakers.

The only other thing in Trucks’ signal chain is a Radial Tone Bone switching pedal and a TC Electronic PolyTune tuner.

“He doesn’t like thinking there is anything between him and his amp,” Tis says. “It’s guitar-tuner-reverb-amp-done. Even his cable and tuner have been carefully selected to have no noise. “

OTEIL BURBRIDGE

Bassist Burbridge plays only two instruments: a Road Worn Fender P Bass with a Jazz Bass pickup added — and a six-string Fodera. He plays through two Epifani bass rigs. “They’re American made and based in Long Island, and Oteil loves them,” Farmer says.

Photo gallery: All photos by Alan Paul except where indicated.

Alan Paul is the author of the best-selling book One Way Out: The Inside History of the Allman Brothers Band.

UK-based experimental pop band Fanfarlo will return to the US this week for a month-long tour in support of their new album Let’s Go Extinct.

Recorded by the band and David Wrench in a tucked-away recording studio in North Wales, Let’s Go Extinct is, in many ways, the true successor to the band’s debut, Reservoir.

Having cast off the colder, more synthetic feel of their second record, Rooms Filled With Light, Let’s Go Extinct is the sound of the band cutting loose from all expectation, and just letting whatever’s going to come, come.

In its newfound openness, the record takes in the ‘50s electronic experimentations of Raymond Scott, Shadow Morton rockabilly filtered through Suicide, West Coast sacred cows Brian Wilson and Fleetwood Mac, a little Krautrock here, a spaghetti western flourish there, a blast of Young Americans soul all the way over there.

To celebrate the upcoming US tour, Fanfarlo released a gorgeous bedroom acoustic version of Let’s Go Extinct cut, “The Beginning and The End.” Watch below:

Fanfarlo North American Tour Dates

3/26/14 San Francisco, CA @ Great American Music Hall
3/28/14 Portland, OR @ Dante’s
3/29/14 Vancouver, B.C. @ Venue
3/30/14 Seattle, WA @ Tractor Tavern
4/1/14 Salt Lake City, UT @ Urban Lounge
4/2/14 Denver, CO @ Larimer Lounge
4/4/14 Kansas City, MO @ Middle of the Map Fest
4/5/14 St. Louis, MO @ Duck Room at Blueberry Hill
4/7/14 Minneapolis, MN @ Triple Rock Social Club
4/8/14 Madison, WI @ High Noon Saloon
4/10/14 Chicago, IL @ Lincoln Hall
4/11/14 Columbus, OH @ Skully’s Music Diner
4/12/14 Millvale, PA @ Mr. Smalls Theater
4/14/14 Detroit, MI @ Shelter
4/16/14 Toronto, ON @ Lee’s Palace
4/19/14 Cambridge, MA @ The Sinclair
4/22/14 New York, NY @ Bowery Ballroom
4/23/14 Brooklyn, NY @ Rough Trade
4/25/14 Philadelphia, PA @ Underground Arts
4/26/14 Washington D.C. @ U Street Music Hall

For more, visit fanfarlo.com.

“This first lick [FIGURE 1] is an arpeggio etude [musical-sounding exercise] in A minor that integrates tapping, multiple hammer-on and pull-off combinations and a little bit of economy picking into a steady stream of 16th notes.

It pretty much stays within the realm of the A minor pentatonic scale [A C D E G], with the flatted fifth, Eb, added in the last two bars.

Playing in this kind of way—with wide fret-hand stretches, taps and an occasional finger slide—helps you cover a wide swath of fretboard territory and yields a smooth, flowing sound.

This etude is an attempt to make the pentatonic scale sound more like an arpeggio. With this in mind, I include the chord symbol Am11 in bar 2. Notice in bar 1, however, that I purposefully avoid the note D, in effect creating an Am7 arpeggio [A C E G].

Notice that, when moving to a different string during the Am11 pentatonic section that begins midway through bar 2, I’ll initiate the first note on each successive string with either a pick-hand tap, an upstroke with the pick or a fret-hand tap. This latter technique, which is sometimes referred to as a ‘hammer-on from nowhere,’ is indicated by a capital H above the tab.

Try to articulate each note as clearly and loudly as possible; make every tap and hammer-on firm, and when pulling off, pull the string slightly in toward your fret-hand palm to keep the string vibrating. Also, try to mute the strings not being played to keep them from ringing sympathetically. This is accomplished primarily by lightly resting the palm of your picking hand on the strings whenever possible.

FIGURE 2 is a four-bar 16th-note run based on an exotic-sounding Cmaj7#11 arpeggio [C E G B F#]. Some people refer to this as a five-note scale—a ‘haiku,’ or something like that—but I like to thing of it as an arpeggio because it gives me a better concept about what I can do with the notes. For example, knowing that it is a maj#11 arpeggio tells me that I can play it over a IV [four] chord in a major key—in this case, G major—or over the VI [six] chord in a minor key—in this case, E minor.

Technically, this run is pretty straightforward, incorporating conventional picking with hammer-ons, pull-offs, finger slides and some string skipping. I would advise you to pay extra attention to picking clarity and efficiency, especially when string skipping. Try not to move the pick any more than you have to—just clear the strings, as opposed to ‘leaping’ or ‘bouncing’ over them.

If you check out the video for this lesson, you’ll notice I use a thumb pick. This is an attempt to bring together all the techniques I’ve worked on in my playing career, namely, classical, country finger picking, tapping and, of course, flat picking, in which case I press my index finger against the bottom side of the pick so that it feels like I’m holding a regular plectrum.

I have written some riffs that incorporate fast picking and strumming as well as two-hand tapping, and using a thumb pick enables me to quickly and conveniently transition from one technique to another. Using a thumb pick like a flat pick can feel a little weird, though, so I’m still experimenting with it.”

In my last column, I discussed some ways that you could deal with so-called "tedious" practice.

This term can mean different things to different people. In particular, I was talking about that initial and often uncomfortable moment when your fingers are learning to play something new.

At that early stage, it's too difficult to have fun with the pattern or lick in question, so you play it (ad nauseam) until it becomes second nature. This highlights the process of improving one's muscle memory.

After that column was finished, I started thinking about the very concept of practice itself. If you can make some noticeable improvements with your physical chops by passively practicing (perhaps while watching TV), can you sharpen your mental chops without a guitar in your hands? Absolutely.

There are only so many hours in a day, and most people don't have access to a guitar for a good portion of that time. But that doesn't disqualify the average person from becoming a great musician. What can you do to actively "practice" while you're driving in your car, riding on the subway, stuck on an airplane, at the gym or on your lunch break?

First, we can use technology to our advantage instead of playing random cell phone games. Most of the devices we carry in our pockets have immediate access to more information than heads of state had only a few decades ago. Let's make a list of the best ways you can practice when you're away from the six string.

Learning Music Theory

When you think about it, the main objective of music theory is to fully explain the concepts behind chord construction and how that logically connects with intervals, scales and modes. Once you grasp these concepts, it's advisable to memorize them so you're not constantly referring back to various websites.

This is the first step before you can apply any of your new-found knowledge in a musical scenario. So you really don't need to have a guitar around when you're acclimating to this new information. All you need is a phone or tablet and a decent website or app with reliable information (I have a thorough explanation of music theory basics at my website broken into Part 1 and Part 2).

Memorizing the Notes on the Fretboard

Let's say you only have an hour (maybe two) in an average day to sit down and play your guitar. Do you really want to spend the first 20 minutes trying to memorize notes like you're studying for an exam? I didn't think so. It's better to spend those 20 minutes warming up your hands.

Memorizing the notes can be carried out by using an app on your phone or tablet. This way, you don't feel the pressure of "studying" the notes. Instead, just casually look at the app whenever you have a few minutes to spare during the day. After a while, you'll realize how comfortable you are with the fretboard.

Learning Rhythm Notation

Again, this is an activity you can engage in without a large and bulky book. Just download an app and become familiar with basic rhythmic divisions (whole note, half note, quarter note, etc.). Even if sight reading isn't an ultimate goal of yours, it never hurts to be able to read some basic notation.

Watching Videos

Instead of watching some viral YouTube video that probably won't enrich your life in any way, watch a video of a great guitarist that will inspire you to practice harder. It's funny how a five-minute video can totally shift your perspective and motivate you to learn new things.

Actively Listening to All Styles of Music

This might be the most underrated aspect of becoming a well-rounded musician. The key word here is "actively." In today's world, we have music playing all the time. You can let your iTunes library play in shuffle mode for hours on end. But how often are we only listening to music? No reading, no playing video games, just fully enamored with whatever song is playing?

This is especially beneficial if you're trying to get into different genres of music. A rock guitarist might get into jazz by simply playing "2-5-1" progressions and practicing some jazz-oriented scales. On the surface, this might make him or her feel like they know how to play jazz. But I'm sure a seasoned jazz player would disagree.

Put down the guitar and listen to some great jazz music. Obviously, the same goes for any style (country, blues, classical, etc.). This will take you much farther than memorizing a few finger patterns.

There you have it, you can accomplish a great deal without having a guitar anywhere near you. Take advantage of any free time you have and use it wisely!

Photo: GabPRR via photopincc

Chris Breen is a New Jersey-based guitarist with 14 years of experience under his belt. He, along with his brother Jon (on drums) started the two-piece metal project known as SCARSIC in 2011. They've recently been joined by bassist Bill Loucas and have released an album, A Tale of Two Worlds (available on iTunes, Amazon and Spotify). Chris also is part of an all-acoustic side project called Eyes Turn Stone. Chris teaches guitar lessons (in person or via Skype). For more information, visit BreenMusicLessons.com.

Guitar World celebrates the 50 greatest guitar moments of Eric Clapton's five-decade career—from the Yardbirds to Cream to Derek and the Dominos and beyond.

There was a time when the name Eric Clapton meant one thing and one thing only: guitar god.

His incendiary six-string exploits with the Yardbirds, followed by a pair of mind-blowing 1966 albums—Blues Breakers with Eric Clapton and Fresh Cream—briefly put the passionate young Clapton atop the U.K.’s, if not the world’s, guitar hierarchy.

By the late Sixties, he was sharing the spotlight with such rock deities as Jimi Hendrix, Jimmy Page and Jeff Beck. Significantly perhaps, it was around this time that Clapton began incrementally distancing himself from the flashy, lengthy solos of his wild youth, as he segued from Cream to Blind Faith, and then from Derek and the Dominos to a successful solo career.

He eventually fell under the mellow spell of J.J. Cale and the Band, put more emphasis on singing and songwriting, and dabbled in country rock, reggae, acoustic music and ultra-slick pop tunes.

Today, Clapton, who turns 69 on March 30, enjoys an enviable spot as one of the most respected elder statesmen in rock and blues. And although he happily handed over the guitar-god mantle decades ago, he’s not averse to melting a few faces when the opportunity arises.

Guitar World looks back at Clapton’s 50-plus-year career and pinpoints what we consider to be the 50 greatest guitar moments—thus far. Our list digs deep into his six-string artistry, putting the emphasis on the playing and not necessarily the hits. We hope you enjoy this guide to Clapton’s cream of the crop.

50. "Cocaine"
Eric Clapton—Slowhand (1977)

While Clapton was certainly no stranger to the song’s titular substance, “Cocaine” was actually written by American singer/songwriter and frequent Clapton collaborator J.J. Cale. The infectious main riff, in E, is a bit reminiscent of that other Clapton classic “Sunshine of Your Love” and provides an equally amiable vehicle for some tasty soloing on Clapton’s part.

His approach is understated and funky but with occasional flashes of fire. A second overdubbed solo improvisation joins the main line midway through, and Clapton adorns the outro with some more Strat leads. Despite the enduring appeal of “Cocaine” as a party song, Clapton has claimed it is actually an anti-drug number.

49. "A Certain Girl"
The Yardbirds—For Your Love (1965)

This track has a great New Orleans R&B pedigree, having been written by the legendary Allen Toussaint and originally recorded by Ernie K-Doe, best known for his 1961 hit “Mother in Law.”

The Yardbirds’ somewhat whimsical British Invasion treatment of “A Certain Girl” is probably a prime example of the group’s pop direction that made Clapton so uncomfortable at the time, but he nevertheless claims the track as his own with a bluesy lead guitar intro and a ripping little solo midway through.

His Tele tone here is nothing less than searing.

48. "Got to Hurry"
The Yardbirds—Crossroads (1964)

This track is an early—if not the earliest—example of the magic Eric Clapton could work with a 12-bar blues, even at the tender age of 19. It originally appeared as the B-side to the Yardbirds’ third single, and first big hit, “For Your Love.”

Instrumentals were typical B-side fodder at the time, but this one, in all its reverby over-compressed glory, has enduring value.

While the song is clearly a group improvisation, it was credited to the Yardbirds’ producer Giorgio Gomelsky (originally using his nom de plume O. Rasputin), who claimed to have hummed the main riff to Clapton.

47. "After Midnight"
Eric Clapton—Eric Clapton (1970)

At the dawn of the Seventies, following stints in several legendary British bands, Clapton launched his solo career with a new American sound and a switch from Gibson guitars to the Fender Stratocaster, the guitar with which he would shape the sonic signature of his latter-day career.

“After Midnight” is the first song he recorded by American singer/songwriter J.J. Cale, whose work Clapton had been introduced to by Delaney Bramlett, one of his musical collaborators at the time.

With its frenetic tempo and gospel-inflected backing vocals, the recording was a major success for the newly reinvented Clapton. His guitar solo for the track is simple, yet effective.

46. "Cat’s Squirrel"
Cream—Fresh Cream (1966)

A free adaptation of a song originally recorded in 1961 by bluesman Doctor Ross, “Cat’s Squirrel” was a largely instrumental highlight of Cream’s 1966 debut album.

Repeated restatements of the main motif, lifted from the Dr. Ross record, alternate with bouts of riffing on guitar and harmonica and, in one break, a few lines of scat singing. The guitar tone is a bit thin, compared to Clapton’s earlier work with Mayall and what would come later, but it’s nonetheless compelling.

A frequent Sixties jam vehicle, the song was later covered by Jethro Tull on their 1968 debut album, This Was.

45. "Double Trouble"
Eric Clapton—Just One Night (1980)

Recorded in Japan in December 1979, Just One Night isn’t exactly a firecracker of a live album.

Although the band is tight and gritty, the material is spotty, since the tour was supporting Clapton’s low-spark 1978 album, Backless. Meanwhile, Clapton’s tone can best be described as “Strat into amp. The end.”

However, all of the above can’t keep a good song down, and Clapton shines on his extended cover of Otis Rush’s “Double Trouble.” This minimalist masterpiece in C minor spotlights Clapton’s dynamic monolog of a solo, one punctuated by pinch harmonics and a nearly flawless choice of notes.

44. "Those Were the Days"
Cream—Wheels of Fire (1968)

This up-tempo track features Clapton performing some “Crossroads”-like high-register wailing (in the key of A, as on that song) over Ginger Baker’s and Jack Bruce’s bombastic double-time groove.

His solo is noteworthy for the way he keeps his phrasing coherent and his bends and vibratos smooth at such a brisk tempo and with such a busy accompaniment.

Distractions like those could easily cause a less seasoned guitarist to get ahead of himself rhythmically and lose his composure, in terms of touch and feel.

43. "SWLABR"
Cream—Disraeli Gears (1967)

A solid track from Cream’s game-changing 1967 Disraeli Gears album, “SWLABR” is one of several compositions on the album by bassist Jack Bruce and Pete Brown.

The title is an acronym for either “She Walks Like a Bearded Rainbow” or “She Was Like a Bearded Rainbow” (accounts vary). Clapton’s lead work on the track exemplifies his Gibson SG-driven “woman tone,” rich in sustain and low-frequency detail.

His solo employs the Mixolydian mode (major third, minor seventh), which was very popular in psychedelic music at the time, owing in part to its similarity to the tonalities used in a number of Indian ragas.

42. "Lay Down Sally"
Eric Clapton—Slowhand (1977)

With its laidback “white-guy funk” groove and infectious chorus, this track was tailor-made for late-Seventies radio and became a major hit for Clapton in 1977.

The interlocking, dual rhythm guitars—performed by Clapton and the song’s co-author, George Terry—establish a shuffling, gently propulsive groove that tugs against the minimal bass and drum patterns.

Country overtones abound, and the tasteful, clean-tone Strat solo is perhaps the closest Clapton’s ever come to anything like chicken pickin’.

41. "Stone Free"
Various—Stone Free: A Tribute to Jimi Hendrix (1993)

Clapton’s interpretation of this Jimi Hendrix’s composition was the title track of a 1993 Hendrix tribute album that included contributions from guitar heroes like Jeff Beck, Buddy Guy and Slash.

Clapton plays it close to Hendrix’s original, cowbell groove and all, but he takes the guitar solo in his own direction and even sneaks in a quotation from “Third Stone from the Sun.”

40. "Motherless Children"
Eric Clapton—461 Ocean Boulevard (1974)

By 1974, Clapton’s guitar playing started to take a back seat to his singing and songwriting, but that didn’t mean he couldn’t still have fun.

“Motherless Children,” one of the strongest opening tracks on a Clapton album since Cream’s Wheels of Fire, features Clapton on slide guitar, and it burns from the get-go. The song, which finds the guitarist delivering a playful variation of the melody during the twin guitar solos, was arranged by Clapton and his Derek and the Dominos band mate bassist Carl Radle.

The song also features fine playing by second guitarist George Terry and drummer Jamie Oldaker.

39. "Deserted Cities of the Heart"
Cream—Wheels of Fire (1968)

Clapton tunes his acoustic and electric guitars down a whole step (low to high, D G C F A D) and plays this song as if it were in E, although it sounds in the key of D.

Using full barre-chord voicings and vigorous, Pete Townshend–style strumming, he creates a deep, powerful accompaniment to Jack Bruce’s vocals.

Clapton’s solo, beginning at 1:51, is fiery and aggressive, and the string slack from the detuning makes for some unusually fast finger vibratos, creating a shimmering sound that might otherwise be attained by speeding up the recording. As always, Clapton’s phrasing is tight and in the pocket, and his interplay with the bass and drums creates a powerful musical statement.

38. "She’s Gone"
Eric Clapton—One More Car, One More Rider (2001)

This spirited live rendition of a track that originally appeared on Clapton’s 1998 studio album, Pilgrim, outstrips the original on several fronts.

What had been a fairly lackluster electronic-tinged pop track in the studio becomes a full-blown lead guitar free-for-all in concert. Clapton bursts out of the gate like a steroid-crazed racehorse, strafing the audience with a rubato flurry of bluesy leads before the main riff and funk groove kicks in.

The track’s two extended solo sections contain some of the most urgent playing in his catalog, and his overdriven Strat tone is harmonically rich with full-bodied sustain.

37."Just Like a Prisoner"
Eric Clapton—Behind the Sun (1985)

The last minute and a half of “Just Like a Prisoner” might represent Clapton’s mid-Eighties high-water mark, at least from a shred perspective.

The song features what could easily be considered one of his “angriest” solos. He even keeps playing long after the intended fade-out point, until the band stops abruptly.

Maybe he was upset about the overpowering Eighties production, ridiculous synthesizers and obtrusive, way-too-loud drums that threaten to hijack the song at any moment.

36. "Old Love"
Eric Clapton—24 Nights (1991)

This quintessential live performance of the soulful R&B-style ballad from Clapton’s 1989 album, Journeyman, finds the guitarist in top form, as he seems to effortlessly improvise phrase after phrase of perfectly timed licks and runs.

Clapton varies his touch from delicate to ferocious and coaxes a wide dynamic range out of his Strat while judiciously using holes of silence between long, fast runs, allowing the groove to breathe.

This track is also a great and rare example of Clapton using the Aeolian mode—specifically A Aeolian (A B C D E F G)—in this case over the repeating chord sequence Am-Dm7-Gsus4-G.

35. "5:01 AM (The Pros and Cons of Hitch Hiking, Part 10)"
Roger Waters—The Pros and Cons of Hitchhiking (1984)

Pink Floyd frontman Roger Waters’ first solo album abounded with something that Clapton’s early Eighties albums sorely lacked: screaming guitar solos.

The title track features a mini masterpiece of a solo, a composition within a composition, much like his work on “Badge,” another blues-driven pop gem.

For the album’s most generous serving of Clapton, check out “4:41 AM (Sexual Revolution),” which finds the guitarist dishing out a nonstop array of blues riffs in E minor using a compressed, crystal-clear Strat tone. Clapton’s contributions to Pros and Cons and George Harrison’s Cloud Nine stand out as highlights of his bountiful Eighties session work.

34. "While My Guitar Gently Weeps"
The Beatles—The Beatles (1968)

On September 6, 1968, Clapton entered Abbey Road Studios to overdub a solo on a new Beatles song, George Harrison’s “While My Guitar Gently Weeps.” Clapton played Lucy, Harrison’s red 1957 Gibson Les Paul, which was a gift from Clapton.

In a sense, his presence in the studio was another gift to Harrison, since it forced John Lennon and Paul McCartney to take his song seriously. Clapton originally wasn’t all that into the idea, saying, “Nobody ever plays on the Beatles’ records.” “So what?” Harrison replied. “It’s my song.”

As it turns out, the Fabs were on their best behavior that day.

33. "That’s the Way God Planned It (Parts 1 and 2)"
Billy Preston—That’s the Way God Planned It (1969)

In early 1969, when Cream were history and the Beatles were quickly heading in that direction, George Harrison invited Clapton to sit in on sessions for Billy Preston’s fourth studio album, which Harrison was co-producing.

Clapton’s brilliance is best represented on the album’s powerful title track. While the verses and chorus feature Clapton’s sympathetic fills, things take off during the song’s final two and a half minutes. It’s as if Preston and Harrison pulled Clapton aside and said, “Okay, go nuts, man!”

Maybe he was inspired by the presence of Cream/Blind Faith drummer Ginger Baker, who also plays on the track.

32. "All Your Love"
John Mayall & the Bluesbreakers—Blues Breakers with Eric Clapton (1966)

John Mayall’s cover of this 1958 Otis Rush song showcases Clapton’s tasteful, competent handling of a minor blues progression set to a medium-tempo, quasi-cha-cha groove.

Using his 1960 Les Paul Standard, with the bridge pickup on, plugged into his cranked-up Marshall JTM45 2x12 combo, Clapton kicks things off in the arrangement’s opening 12-bar chorus by authoritatively digging into and bending notes within the A minor pentatonic scale, demonstrating a refined touch and excellent pitch control over his bends and vibratos.

When the tempo, feel and backing progression abruptly change to a faster shuffle and dominant-seven chords at 1:50, Clapton leads the way with stinging, B.B. King–style A major- and minor-pentatonic licks, pausing in just the right places so as to let his phrases sink in and the groove breathe.

31. "Five Long Years"
Eric Clapton—From the Cradle (1994)

Clapton’s reading of this slow 12/8 blues standard showcases the guitarist tearing it up on his signature-model Strat, using a thick yet biting high-gain tone, and doing some impassioned “crammed” phrasing à la Buddy Guy.

Playing in the key of A, Clapton relies predominantly on two scales—A minor pentatonic (A C D E G) and A blues (A C D Ef E G)—and occasionally touches upon the major third, A, so as to acknowledge the one chord, A7.

This is some of Slowhand’s fastest blues shredding, yet it is characteristically polished, devoid of bad notes and embellished with finger vibratos that are fierce but never manic.

30. "Tribute to Elmore"
Eric Clapton & Jimmy Page—Immediate All Stars (1965)

Often credited to either the Immediate All-Stars (named for the Immediate label, on which the tracks first appeared), Cyril Davis’ All-Stars or the All-Stars, “Tribute to Elmore” is one of seven tracks recorded by Clapton and Jimmy Page alone at Page’s home studio.

The “Elmore” in the title refers to blues legend Elmore James, and the track serves as a tribute to his essential blues-shuffle recordings, such as “Dust My Broom,” “I Believe,” “Sweet Home Chicago” and “Anna Lee.”

Backed simply by Page’s rhythm guitar, Clapton adds deft soloing representative of his work during this period.

29. "I'm So Glad"
Cream—Fresh Cream (1966)

Cream’s reworking of this old blues tune features Clapton performing some deft hybrid picking (pick-and-fingers technique) as he starts off the song with a turbocharged turnaround lick in E.

He picks chromatically ascending and descending sixth intervals on the G and A strings in conjunction with the open B and high E strings to create a shimmering, banjo-esque waterfall of notes.

His solo, beginning at 1:26, is noteworthy for the way Clapton harnesses the elusive power of controlled harmonic feedback from his cranked, reverberant Les Paul/100-watt Marshall rig and takes the time to allow notes to swell and sing, making his instrument work for him as opposed to just slavishly playing lick after lick without pause.

28. "Bernard Jenkins"
John Mayall & the Bluesbreakers—Blues Breakers with Eric Clapton (1966)

The B-side of the second single ever issued by John Mayall & the Bluesbreakers featuring Eric Clapton, this swinging instrumental in G offers a perfect glimpse into Clapton’s playing in 1965, with his 1960 Les Paul Standard plugged into his JTM 45 Marshall combo, creating the sound that would change the face of blues and rock guitar.

His smooth and effortless phrases depict the influence of B.B. King, Freddie King, Buddy Guy and T-Bone Walker, but even at 20 years of age, Clapton has already found a truly distinct and uniquely signature voice as a soloist.

27. "Can’t Find My Way Home"
Blind Faith—Blind Faith (1969)

Steve Winwood’s gorgeously wistful composition was a highlight of Blind Faith’s one-and-only album.

He and Clapton both play acoustic guitars on this elegiac track, which can be read as a swansong for the Sixties—the comedown after the party. Clapton was hitherto known for his explosive electric playing, and his sensitive, supportive acoustic guitar work on this track was a revelation and a harbinger of Clapton ballads to come.

26. "Tales of Brave Ulysses"
Cream—Live Cream Volume II (1972)

This live version of a key song from Cream’s 1967 breakthrough album, Disraeli Gears, was recorded in 1968 and released in 1972, long after Cream split up.

It exemplifies the group’s intensely creative way of using its studio recordings as vehicles for extended bouts of fierce freeform improvisation in concert. When Clapton’s wicked wah-pedal leads aren’t taking the spotlight, they’re providing support for Jack Bruce’s equally wild bass riffing, which edges perilously close to avant-garde atonality.

25. "Ramblin’ on My Mind"
Eric Clapton—E.C. Was Here (1975)

Clapton first assayed this song by his seminal influence, bluesman Robert Johnson, on the 1966 Blues Breakers with Eric Clapton album, delivering it in a bare-bones piano/guitar duet that marked the guitarist’s vocal debut on record.

Nine years later, he revisited the song on his live album E.C. Was Here, this time with a full band backing him. The tempo is slower than the earlier track, and Clapton’s vocal sounds more relaxed.

The solo section modulates through a series of key changes (E, Fs, A, D, then back to E), as Clapton fluidly alternates eloquent legato passages with the terse bursts of notes that by this point had become a Slowhand trademark.

24. "N.S.U."
Cream-Live Cream (1968)

Though it lasts only 2:48 on the studio album Fresh Cream, this Jack Bruce composition would usually be stretched to 10 minutes and beyond in concert, centered around a long jam in A (based on an A7 tonality).

Clapton's ingenious opening guitar figure here is executed with hybrid picking (a combination of flatpicking and fingerpicking).

While fretting a C root note (fourth string/10th fret) and G a fifth above (second string/eighth fret), he sounds the open G and open high E strings within an alternating-picking pattern. Additional mystery is added to this deceptive riff via the occasional pull-off on the B string from A (10th fret) to G (eighth fret).

23. "Had to Cry Today"
Blind Faith—Blind Faith (1969)

Though Blind Faith lasted barely long enough to record a single studio album, this disc captures Clapton at an essential stage in his development as a musician.

A photo inside the album shows Clapton playing his 1963 ES-335 through a blonde Fender Showman “piggyback” combo, which was likely used for the recordings. He plugged straight into the amp and used no effects, achieving his full-bodied tone and rich sustain by cranking the amp.

His rhythm parts are double-tracked, offering exquisite chordal counterpoint as well as harmonized single-note figures, while his initial solo is as perfectly constructed and melodic as the very best of his recorded solos.

22. "I Shot the Sheriff"
Eric Clapton—461 Ocean Boulevard (1974)

In 1974, Clapton had a Number One hit with his reggae-influenced cover of Bob Marley’s “I Shot the Sheriff,” a recording that doesn’t even feature a guitar solo.

Wasn’t this guy playing 17-minute versions of “Spoonful” just six years earlier? That’s the point: the song represents Clapton’s evolution as an artist and guitarist, kicking off a stretch of seven studio albums where he morphed from guitar god to hit maker who just happened to play guitar.

Ironically, the song evolved into a vehicle for extended soloing. Check out his explosive version of it from the 2004 Crossroads Guitar Festival DVD.

21. "Don’t Think Twice, It’s All Right"
Various Artists—Bob Dylan: The 30th Anniversary Concert Celebration (1993)

Although Johnny Winter and Neil Young contributed their share of electric guitar fireworks to Bob Dylan’s 30th anniversary tribute concert in October 1992, the undisputed guitar highlight of the show was Clapton’s scorching rendition of “Don’t Think Twice, It’s All Right.”

Clapton—who transformed Dylan’s bouncy, fingerstyle acoustic masterpiece into a breezy electric country blues—left no doubt that he could still deliver intense, emotional solos that sent listeners’ hearts skyrocketing.

The performance—and Clapton’s crunchy, overdriven Strat tone—foreshadowed his long-awaited, if temporary, return to the blues, 1994’s From the Cradle.

20. "Sleepy Time Time (alternate)"
Cream—Royal Albert Hall London May 2-3-5-6, 2005 (2005)

Why would Cream’s live reunion album include an extra, “alternate” version of “Sleepy Time Time”? The answer might lie in Clapton’s exhilarating guitar solo.

In the Sixties, this Fresh Cream track was a live highlight and vehicle for inspired soloing (See Live Cream). In 2005, Clapton didn’t disappoint. The second half of the solo in particular is full of fireworks—emotion-fueled bends that land in just the right spot, notes that subtly blend major and minor, even an off-the-rails moment when he unintentionally strikes several open strings.

From 3:57 to 4:25, close your eyes and it’s 1968 all over again.

19. "Steppin’ Out"
Cream—Live Cream Volume II (1968)

One of the many standout tracks from 1966’s Blues Breakers with Eric Clapton, “Steppin’ Out” was a staple of Cream’s live shows, as evidenced by this 13:39 version recorded March 10, 1968, at San Francisco’s Winterland Ballroom.

Clapton kicks off his solo by quoting the saxophone solo heard on the 1959 original by Memphis Slim featuring Chicago blues guitarist Matt Murphy, and he incorporates elements of Murphy’s guitar solo phrasing as well.

At the four-minute point, bassist Jack Bruce drops out as the song breaks down to a guitar/drum duet, one that will provide endless fascination to those interested in a deep study of Clapton’s soloing style.

18. "Groaning the Blues"
Eric Clapton—From the Cradle (1994)

In a 2011 GuitarWorld.com poll, From the Cradle was voted Clapton’s fourth-best guitar album, sandwiched between Cream’s Wheels of Fire (5) and Disraeli Gears (3).

One of From the Cradle’s many guitar highlights is the dramatic and greasy “Groaning the Blues,” a Willie Dixon song recorded by Otis Rush in 1957. Sometime in the Eighties, Clapton began infusing his solos with wild “in the moment” bends. It’s an approach that’s put to effective use on “Groaning the Blues.”

His solo, which is peppered with Gatling gun flurries of notes, also features repetitive staccato bends, including one particularly “out there” bend at 3:38. And it all works.

17. "Stormy Monday"
John Mayall & the Bluesbreakers—Blues Breakers with Eric Clapton (Deluxe Edition) (2009)

T-Bone Walker’s signature blues composition, with its jazzily modulated ascent from the I to the IV chord of the standard blues progression, provides a vehicle for some of Clapton’s most explosive soloing ever.

This version, recorded live at a Mayall club gig in 1966, fades in on the guitar solo, and it’s clear that Clapton is on fire. The track pairs the guitarist with bassist Jack Bruce, a classic match-up that laid the groundwork for the formation of Cream. This historic audio document reveals what all the excitement was about.

16. "The Core"
Eric Clapton—Slowhand (1977)

At the core of “The Core,” an often-overlooked track from Clapton’s popular Slowhand album, is a crunchy killer of a riff in A. One can’t help but wonder if the song, an almost-nine-minute-long duet with Marcy Levy, would have been a hit had it been edited down and released as a single.

It has a lot going for it: a catchy bridge, lyrical depth, a kick-ass sax solo by Mel Collins and one of Clapton’s most exciting guitar solos from his “laid-back” mid-Seventies period.

At the 4:13 mark, he unleashes a furious barrage of notes that recalls the Slowhand of 10 years earlier.

15. "Sitting on Top of the World"
Cream—Goodbye (1969)

Cream first tackled this venerable blues classic in a studio recording on their Wheels of Fire album, in 1968.

But this live version from Goodbye, released shortly after the group split up in 1969, offers a great opportunity for more extended soloing on Clapton’s part.

By approaching the time-honored 12-bar structure with a degree of rhythmic freedom bordering on reckless abandon, bassist Jack Bruce and drummer Ginger Baker coax inventive phrases of remarkable fire and fluidity from Clapton and his ax.

14. "Sunshine of Your Love"
Cream—Disraeli Gears (1967)

Perhaps the most artistic and certainly the most famous example of Clapton’s “woman tone,” this song features the guitarist wailing on his 1964 Gibson SG with its volume cranked and tone control rolled all the way off to produce a thick, dark, sustaining tone.

Clapton milks the tone for all it’s worth in his solo by spending just as much time bending and smoothly shaking notes as he does burning though D major and minor pentatonic licks.

He begins what would become one of his most memorable solos by quoting the melody to the old standard “Blue Moon,” cleverly juxtaposing it over this song’s sinister D blues-scale bass riff. His finger vibratos in the intro/verse riff and solo are laudable for their consistently even amplitude and width, and they serve as a great example of what it means to be a seasoned rock lead guitarist.

13. "Hideaway"
John Mayall & the Bluesbreakers—Blues Breakers with Eric Clapton (1966)

This tour de force reading of the classic Freddie King instrumental established Clapton as Britain’s foremost blues guitarist.

It’s also one of the tracks that made guitarists everywhere covet a sunburst Les Paul Standard and Marshall Model 1962 “Bluesbreaker” combo amp, the setup responsible for Clapton’s blistering guitar tone on the record.

Clapton is often at his best in the 12-bar idiom, and this is one of his strongest performances ever. The band breaks out of the composition’s main shuffle groove for a number of rhythmic change-ups, including a quotation of Elmore James’ signature “Dust My Broom” riff.

12. "Have You Ever Loved a Woman"
Derek and the Dominos-Layla (1970)

This 1961 Freddie King song is a Clapton staple, one that he has performed at nearly every concert since 1970, the year that he cut this version of it with Derek and the Dominos.

Within the first five seconds of his intro solo, we hear blazing virtuosity combined with deep feeling and pure originality.

Through both his intro and two-chorus solo, Clapton floats over the beat with beautifully free phrases, with his “Brownie” Stratocaster plugged straight into a tiny Fender tweed Deluxe cranked to 10. It is simply one of the greatest and most inspired electric blues solos ever recorded.

11. "Presence of the Lord"
Blind Faith—Blind Faith (1969)

Backed by a powerhouse, dream-team rhythm section of drummer Ginger Baker and bassist Ric Grech, Clapton kicks this soulful, gospel-flavored ballad into high gear during the double-time solo/interlude section that he initiates midway through the arrangement with a Hendrix-style, wah-inflected A minor pentatonic riff.

This ushers in a rhythmically charged, psychedelic jam at 2:42, for which Clapton ran his Gibson Firebird’s signal through a Leslie rotary-speaker cabinet, set on slow to produce a swirly, phasing sound that ebbs and flows around his scorching melodic phrases.

Clapton masterfully uses the wah and rotary speaker effects to accentuate the peaks and valleys in his licks and plays with a flowing, articulate touch, balancing quick bursts of 16th notes with held bends and vibratos, displaying his trademark spot-on control over both his timing and pitch.

10. "Sleepy Time Time"
Cream—Live Cream (1968)

Cream’s initial inspiration grew from their dedication to a trailblazing, group-improvisational reinvention of blues forms, including Willie Dixon’s “Spoonful” and Skip James’ “I’m So Glad.”

This track, which they originally cut in the studio for their late-1966 debut, Fresh Cream, offers bassist Jack Bruce’s singularly twisted view of a swinging 12/8 “modern” blues in a more condensed but no less cutting-edge form, as compared to the 15-plus-minute jams that highlighted Cream’s performances.

Live Cream combines four tracks recorded March 7–10, 1968, in San Francisco at the Fillmore West and Winterland Ballroom, plus one studio outtake, “Lawdy Mama.” Cream played a staggering 200 shows in 1967 and, after just two weeks off, resumed an equally grueling schedule from the very start of 1968.

This LP captures them during their 223rd to 226th performances in just 14 months, so it’s no wonder they achieve the purely magical in-sync group improvisation displayed on this track and in evidence throughout this album.

Playing through a pair of 100-watt Marshall stacks (using the 1960A and 1960B “tall” 4x12 bottom cabinets), Clapton produced a massive sound. There is debate over which guitar he used on specific live recordings, as he alternately played his 1964 “The Fool” Gibson SG, 1964 Firebird I and 1963 ES-335 during this period, though some photos from the 1968 tour show him with a Les Paul.

Clapton’s soloing here evokes the influence of B.B. King as he moves deftly between phrases based on C minor pentatonic (C Ef F G Bf) and C major pentatonic (C D E G A). His lightning-fast hammer-pulls and heavenly “floating” vibrato illustrate why the 23-year-old Clapton was called God during this period.

09. "Why Does Love Got to Be So Sad?"
Derek and the Dominos—Live at the Fillmore (1994)

In 1969, following the implosion of Cream and the short-lived Blind Faith, Clapton found himself at a career crossroads.

Disillusioned and directionless, he joined the powerhouse husband/wife-led Delaney & Bonnie and Friends as a sideman, and by that summer he appropriated Delaney Bramlett (with his entire band in tow) to produce his first solo release, Eric Clapton.

Three musicians from this lineup—bassist Carl Radle, keyboardist and singer Bobby Whitlock and drummer Jim Gordon—formed the nucleus of Clapton’s next band, Derek and the Dominos, who recorded the seminal Layla and Other Assorted Love Songs in the summer of 1970 and toured as a four-piece through August.

The Dominos’ live shows were filled with long jams, and at nearly 15 minutes, “Why Does Love Got to Be So Sad?” was one of the longest, opening with an extended wah-infused funk workout. With stellar high-harmony vocals added by Whitlock, this four-piece emits a huge sound.

Clapton’s first solo has all the fire, fury and melodicism of his greatest playing, his 1956 “Brownie” Stratocaster screaming pure virtuosity and conviction. The second half of the song is a seven-plus-minute D major jam during which the 25-year-old guitarist displays inspired chordal and single-line inventiveness.

08. "Badge"
Cream—Goodbye (1969)

Much like “While My Guitar Gently Weeps” (see entry 34), Cream’s “Badge” is the result of a strong and ultimately long-lasting friendship between Clapton and the Beatles’ George Harrison.

When Cream decided to call it quits in late 1968, each member of the band, including Jack Bruce and Ginger Baker, was required to come up with a new song for the group’s final album, Goodbye, the remainder of which would be filled with live cuts.

Clapton called on Harrison for assistance. “I was writing the words down, and when we came to the middle bit, I wrote ‘Bridge,’ ” Harrison said. “And from where [Eric] was sitting, opposite me, he looked and said, ‘What’s that—Badge?’ ” Clapton wound up calling the song “Badge” because it made him laugh. For the session, which took place only a month after “While My Guitar Gently Weeps,” Harrison played rhythm guitar.

Clapton, playing a shimmering, Beatles-inspired arpeggio riff through a Leslie rotary-speaker cabinet, enters the song at 1:06 and plays the rest of the way through. His guitar solo was overdubbed later.

The brilliant solo, which lasts a cozy 33 seconds, is a prime example of a “composition within a composition.” It finds Clapton sending his considerable blues chops through a pop-rock funnel, something he’d do on and off for the next 45-plus years.

07. "Spoonful"
Cream—Fresh Cream (1966)

Just as “Crossroads” introduced a new generation of music fans to the mystique of Robert Johnson, Cream’s “Spoonful” brought extra exposure to Willie Dixon, who wrote the song, and Howlin’ Wolf, who originally recorded it in 1960.

And while Howlin’ Wolf’s stark-and-dark version is haunting in its own right, Cream’s take on the song—driven by Clapton’s guitar and Jack Bruce’s heavy bass—moves it several steps further along.

Clapton’s solo, which starts at 2:23, seems almost playful at first, as if he’s toying with the listener, but at 2:46, things take a sudden and profound turn toward the dramatic. He plays a series of notes—virtual howls and moans—high on the neck, punctuating them with several perfectly timed cracks at his low E string.

At 3:31, he launches into a completely new melody, taking Bruce and drummer Ginger Baker along for the ride. Clapton’s tone on the track, a unique dense, reverb-drenched sound that only a Gibson humbucker could produce, stands alone in Cream’s canon and in Clapton’s entire discography.

At Cream’s live shows, “Spoonful,” like several other songs, gave the band members plenty of room to stretch out, as can be heard on the sensational, nearly 17-minute-long version on Cream’s Wheels of Fire.

06. "Layla"
Derek and the Dominos—Layla (1970)

Having played with several of the most influential bands of the Sixties, Clapton launched the Seventies with a new group of his own devising, Derek and the Dominos.

He wrote this tune—the title track of their debut album—to express his unrequited love for Pattie Boyd, who was George Harrison’s wife at the time but would leave Harrison for Clapton later in the Seventies. The song’s killer main riff was something Clapton cooked up with legendary guitarist Duane Allman, who guested on the Derek and the Dominos sessions at the suggestion of producer Tom Dowd.

The unusual half-step downward modulation from the D minor main riff/chorus key signature to the verses, which are in D flat minor, enhances the despairing mood of Clapton’s lovelorn lyric.

There’s a deep sense of musical telepathy in the way his bluesy Strat lines interweave with Allman’s eerily spectral slide guitar improvisations during the song’s extended solo over the main riff structure. This gives way to the track’s stately piano-driven coda, penned by Dominos drummer Jim Gordon and affording Allman and Clapton even more real estate over which to stretch out.

05. "Let It Rain"
Eric Clapton—Eric Clapton (1970)

This tastefully arranged song from Clapton’s debut solo album begins with the guitarist overdubbing a sweet-sounding mini choir of three harmony-lead guitars with perfectly synchronized finger slides and vibratos.

Together they create the effect of one instrument playing a melody harmonized in triads, but with the brightness and clarity that can only be achieved by three separate single-note lines, or “voices.” Clapton recorded this song on Brownie, his Fender Stratocaster, using its bright single-coil bridge pickup for his lead parts to achieve a brilliant tone and crystal-clear note definition.

Clapton’s solo over the song’s outro features his signature polished finger vibrato and use of parallel major and minor pentatonic scales (both in the key of A in this case). He begins by riding out on the high A root note on the high E string’s 17th fret with alternate-picked 16th notes.

Clapton then proceeds to travel down the string through the A Mixolydian mode (A B C# D E F# G)—a distinctly different approach to position playing—before gravitating toward A major pentatonic box shapes, using multiple hammer-ons and pull-offs to create a succession of repetition licks with syncopated “threes on fours” rhythmic phrasing that creates an almost banjo-like country feel.

While Clapton’s lead tone here is markedly brighter than what he used earlier in his career, his unique style, as determined by his phrasing, string bending and vibrato, remains his signature.

04. "Steppin’ Out"
John Mayall and the Bluesbreakers—Blues Breakers with Eric Clapton

“Steppin’ Out” is one of Clapton’s best-known Bluesbreakers tracks, and with good reason. Along with “Hideaway” (see entry 13), it delivers the heftiest dose of Clapton’s solid, mind-blowing tone and ferocious playing.

This upbeat, straightforward blues instrumental in G finds him borrowing bits and pieces from Memphis Slim’s original 1959 version. Clapton (along with John Mayall on keyboards) plays the figure from Slim’s piano intro and then references the track’s tenor sax solo.

At the 54-second mark, he incorporates an ingenious “scraping” technique from the original guitar solo, which was played by Matt “Guitar” Murphy, who would go on to join the Blues Brothers Band in the late Seventies.

But there’s a lot more going on here. Clapton incorporates some serious finger vibrato on the 12th fret of the G string—which only adds to the sustain produced by his overdriven Marshall amp—and he uses finger slides as he shifts between several positions of the G minor pentatonic scale.

The well-paced solo ends with Clapton, much like his idols B.B. King and Buddy Guy, bending high on the neck before returning to the intro figure. It’s worth noting that he recorded other versions of “Steppin’ Out” with his short-lived 1966 supergroup the Powerhouse and with Cream, including the knockout 14-minute version on Live Cream Volume II.

03. "White Room"
Cream—Wheels of Fire (1968)

Penned by Cream bassist Jack Bruce and Swinging London poet Pete Brown, “White Room” provided a suitably glorious opening track for Cream’s third album, 1968’s Wheels of Fire.

From the first notes of the song’s 5/4 bolero intro, it’s clear that this is a landmark recording. Clapton’s mysteriously evocative layered guitar textures set a mood of high drama before the main 4/4 groove kicks in with an irresistible invitation to some serious hippie-era proto-head banging.

The descending D minor verse progression is reminiscent of Cream’s earlier epic track “Tales of Brave Ulysses,” which is said to have been based on the chord pattern in the Lovin’ Spoonful’s 1966 hit “Summer in the City.”

“White Room” contains some of Clapton’s finest wah-pedal artistry. He employs the device to create fluttery, aquatic magic in the choruses and to answer Bruce’s verse vocal lines with incandescent leads that match the fevered intensity of Brown’s lyrical imagery.

Breaking with the time-honored tradition of putting a guitar solo in the middle of a song, “White Room” waits for the outro fade to unleash the full fury of Clapton’s slashing, psychedelic blues-wah frenzy. Clearly, they saved the best for last.

02. "Have You Heard"
John Mayall and the Bluesbreakers—Blues Breakers with Eric Clapton (1966)

Quite frankly, if Clapton’s “Have You Heard” guitar solo doesn’t cause heart palpitations, shortness of breath or at least a mild case of goose bumps, you might want to seek medical help.

The dramatic, 73-second pentatonic masterpiece is hands down the most frenetic, passionate solo of the guitarist’s 51-year career. The solo, which bursts out of the starting gate at the 3:25 mark, strings together a series of spectacularly intense, incendiary bends, hammer-ons, strategically timed position shifts, and slides.

Clapton caps it off with a bevy of climactic high notes, an earmark of his solos on Blues Breakers with Eric Clapton. All of it is delivered via his groundbreaking new sound, a solid, sustained, overdriven tone that he forged by plugging a 1960 Gibson Les Paul Standard into a 42-watt Marshall 2x12 combo and cranking it up to ear-splitting levels.

On the album, Clapton burns and bedazzles like a futuristic amalgam of his many influences, including Freddie King, Otis Rush, Hubert Sumlin and Buddy Guy. Amazingly, Clapton was only 21 (about to turn 22) when Blues Breakers was recorded in March 1966.

Even if he had simply vanished or faded away after the release of the album that summer (much like his stolen and still-missing 1960 Gibson Les Paul Standard), he still would have earned a respected place in the annals of electric blues guitar.

01. "Crossroads"
Cream— Wheels of Fire (1968)


“Crossroads” has long been regarded as Eric Clapton’s most inspired and well-crafted lead guitar performance, and with good reason.

This live, highly reworked cover of Robert Johnson’s “Cross Road Blues” features him and band mates Jack Bruce and Ginger Baker performing some intense—and extended—interactive jamming on a 12-bar blues in A, set to an uptempo, double-time groove with a driving even-, or “straight-,” eighths feel.

The high point comes during the arrangement’s second, prolonged guitar solo, when the group engages in a rhythmically dense improvisation that represents the exhilarating apex of blues-rock freeform jamming. Conjuring a killer creamy tone with his 1964 Gibson SG Standard and stacks of 100-watt Marshall amps, Clapton exploits the rig’s available sustain, using his signature vocal-like finger vibrato technique to make his guitar sing.

Particularly noteworthy is Clapton’s consistently wide and impeccably intonated bend vibratos (bent notes that are then shaken), especially during his upper-register second solo, which he plays mainly in the 17th-position A minor pentatonic (A C D E G) “box” pattern.

He combines notes from this scale with those from the parallel A major pentatonic (A B Cs E Fs) to create varying hues of melodic “light and shade,” more so during his first solo, and seamlessly shifts/drifts from one position to the next by using legato finger slides.

The result is a performance that ably supports the then-popular declaration that Clapton is God. “Crossroads” may be a song about striking a deal with the Devil, but this recording shows Clapton in supreme command of his divine powers.

Top photo: Jan Peterson/Redferns/Getty Images

Today, GuitarWorld.com presents the exclusive premiere of the "In God You Trust" guitar play-through video by Assassins.

The track can be found on the band's new album, War Of Aggression, which was released March 18 by eOne Music/Good Fight Music. The album is available at iTunes here.

For more about the band, who are touring now in support of Carnifex (check out their remaining dates below), follow them on Facebook.

Assassins on Tour:

3/27 West Hollywood, CA @ The Whisky
3/28 Lancaster, CA @ Industry Theatre
3/29 Anaheim, CA @ Chain Reaction

Godlyke has announced the release of Maxon Fuzz Elements, seven new pedals designed to reproduce the unique sounds of the world’s most desirable vintage fuzz pedals.

Using modern software technology, Maxon has modeled and mapped the complex elements that make up the core sounds of these legendary effect units, reproducing them using advanced analog circuitry that is accurate and stable.

Each Fuzz Elements model features a compact, diecast enclosure, LED status indicator, easy-access battery door and true bypass switching.

FA10 Fuzz Elements Air: Accurately replicates the classic octave-fuzz sounds of the Univox Super Fuzz. Two distinct fuzz tones via the Fat/Scoop switch. Street price $189

FEA10 Fuzz Elements Earth: Based on the classic “Ram’s Head” transistor fuzz circuit of the Seventies — loud, throaty fuzz with singing sustain and excellent note definition. Street price $189

FE10 Fuzz Elements Ether: Adds a parametric tone section to the FA10 circuit. Cut or Boost specific frequencies to create a variety of new fuzz/Octavia tones. Street price $199

FF10 Fuzz Elements Fire: Emulates the massive, bottom-heavy octave-fuzz sounds of the Roland Bee Baa. Features two distinct fuzz sounds via the Notch footswitch. Street price $189

FWA10 Fuzz Elements Water: Adds a parametric tone section to the FEA10 circuit. Cut or Boost specific frequencies to create a variety of new fuzz/distortion tones. Street price $199

FW10 Fuzz Elements Wind: Conjures up the classic fuzz tones of the Vox Tonebender Mk. II. Vintage/Hot gain settings and switchable output buffer. Street price $189

FV10 Fuzz Elements Void: Based on the Ampeg Scrambler, generates even-order harmonic overtones that are dynamic and frequency dependent to create unique Octavia/ring modulator sounds. Street price $189

For more information, visit maxonfx.com.

In celebration of the release of their fifth studio record Let It Go, The Infamous Stringdusters will embark on a two-month album release tour.

The band will also make their first appearance at the New Orleans Jazz and Heritage Festival.

Let It Go will be released April 1 on the quintet's own High Country Recordings.

The 11-track album is a statement of versatility from the IBMA Award-winning band - Andy Hall (Dobro), Andy Falco (guitar), Chris Pandolfi (banjo), Jeremy Garrett (fiddle) and Travis Book (upright bass) - that has spent the past eight years developing an acoustic sound that defies categorization.

During recording sessions at White Star Sound, a secluded studio on the rural outskirts of Charlottesville, Virginia, the five members of The Infamous Stringdusters crafted a multi-faceted record that runs the stylistic gamut from intricate newgrass and anthemic country jams to high-energy acoustic rock and dusty balladry.

Preview the crisply harmonized, gospel-flavored title track below:

Let It Go album release tour dates:

3/12 - Charlottesville, VA - Jefferson Theater
3/13 - Raleigh, NC - Lincoln Theater
3/14 - Atlanta, GA - Terminal West
3/15 - Asheville, NC - The Orange Peel
3/17 - St. Louis, MO - Old Rock House
3/19 - Chicago, IL - Lincoln Hall
3/20 - Kalamazoo, MI - Bells Brewery
3/21 - Cleveland, OH - Beachland Ballroom
3/22 - Syracuse, NY - Westcott Theater
3/23 - Hudson, NY - Club Helsinki
3/25 - Burlington, VT - Higher Ground
3/26 - Boston, MA - Paradise Rock Club
3/27 - New York, NY - Bowery Ballroom
3/28 - Baltimore, MD - Ram's Head Live
3/29 - Washington, DC - 9:30 Club
4/11 - Denver, CO - Ogden Theater
4/12 - Denver, CO - Ogden Theater
4/13 - Salt Lake City - State Room
4/15 - Bozeman, MT - Emerson Center
4/16 - Missoula, MT - Top Hat
4/17 - Seattle, WA - Neptune Theatre
4/18 - Portland, OR - Wonder Ballroom
4/19 - San Francisco, CA - The Independent
4/20 - Las Vegas, NV - Brooklyn Bowl w/PHIL LESH
4/22 - Solana Beach, CA - Belly Up
4/23 - Flagstaff, AZ - Orpheum Theater
4/25 - New Orleans, LA - New Orleans Jazz & Heritage Festival
4/26 - Oxford, MS - Double Decker Arts Festival

Keep up with the band at thestringdusters.com.

Kenny Wayne Shepherd has release the electronic press kit (also known as a video) in advance of his new studio album, Goin' Home, which will be released May 20 via Concord Records.

You can check it out below.

"This is a homecoming in more ways than one," Shepherd says of the album, which will mark the studio debut of the Kenny Wayne Shepherd Band. "I felt like I was retracing my steps and reliving all the good times that I've had in my life because of this music. And hopefully, that amount of happiness comes through on the album."

The album, which was recorded in 11 days in his hometown of Shreveport, Louisiana, finds Shepherd revisiting a dozen of the vintage classics by B.B. King, Albert King, Freddie King, Muddy Waters and more.

The new disc features guest appearances by guitarists Joe Walsh, Warren Haynes, Keb' Mo' and Robert Randolph, plus Ringo Starr, Kim Wilson of the Fabulous Thunderbirds, the Rebirth Brass Band and one of Shepherd's musical mentors, Pastor Brady Blade Sr.

Shepherd's band features singer Noah Hunt, ex-Stevie Ray Vaughan and Double Trouble drummer Chris Layton, former Firm bassist Tony Franklin and keyboardist Riley Osbourn.

For more info, and to pre-order the album, visit kennywayneshepherd.net.

Below, you can watch the new video, hear a full stream of Shepherd's cover of "Palace of the King" from the new album and check out the album's complete track list.

Track Listing:

01. Palace Of The King
02. Everything's Gonna Be Alright
03. I Love The Life I Live
04. The House Is A Rockin'
05. Breaking Up Somebody's Home
06. You Done Lost Your Good Thing Now
07. You Can't Judge A Book By The Cover
08. Boogie Man
09. Looking Back
10. Cut You Loose
11. Born Under A Bad Sign
12. Still A Fool

Guitarist Albert Cummings is one of those rare modern blues players with a great mix of chops, vibe and feel. We sat down with Cummings to discuss his new Hal Leonard DVD, Working Man Blues Guitar.

Did you study a lot of instructional material — like your new DVD — when you were coming up as a player?

I can't really think of any that I've watched and learned from. Early on I watched some videos on B.B. King. Of course, they were back when there were VHS tapes so I can't even watch them now. Hal Leonard sent me several tapes of some very well-known guys.

I found that most guitarists can easily show someone how to play something, but they can't tell you why they are playing it. I've always studied the why more than the how.

I wanted to provide something I didn't see on most of the tapes. I wanted to make it very simple to understand. This DVD is not set up for the absolute beginner, although I think it is probably a very good thing to watch to set the mind thinking correctly. When we finished making the DVD, I remember one of the camera men saying he thought he could play guitar now just by listening to me talk about the easy approach. That was a great moment because it was exactly what I was striving for.

What prompted this DVD release?

I did an interview with a friend who works with Hal Leonard. He knows a lot about my approach and my style of thinking. He always found that the way I think of guitar was/is very interesting. He brought it to Hal Leonard, and they approached me to discuss my style. I guess I take what I do for granted because I was extremely honored that Hal Leonard found my style so unique that they wanted to share it with the world.

What do you hope guitarists will take away from the DVD?

I think I cover a lot of ground with on it. The one thing I want people to get out of the DVD is that all you need to play guitar is two hands and a brain. Yes, and a little thing called determination! I meet many players on the road who are intimidated by people who have gotten really good at playing. It's just the fact that they have spent more time practicing and learning, and that's all it is.

I wanted to teach people about good practice and bad practice. I tried to focus this DVD on helping people create their own style and being able to express their feelings with their guitar. I know tons of very well-known guitarists who can play what they've practiced very well, but they can hardly step away from what they have learned. This to me is a waste.

I've always said, "Be yourself because everyone else is taken." I want to encourage people to express what's on their mind with their guitar. It might sound difficult, but I think it is easier than most people think, depending on how they look at it.

What players do you really try to learn from?

I am watching and learning from everyone. I can learn from even the worst player because I believe watching what not to do is just as important as watching what to do. I love to watch anyone play guitar. One idea can change your whole approach to a different style, so I'm always on the lookout. B.B. King joked with me one night back stage. He said, "We don't steal licks, we borrow them!" That has always stuck in my head. We are all melting pots of our influences.

When can people expect the next CD or DVD from you?

I'm working on another album right now. For some reason, I seem to be bubbling up with all these cool grooves and guitar songs. I plan to dig back into the rocking blues music that gave me my start. I am really excited about getting back out there and playing guitar. It just makes me smile!

That grape-colored Fender Strat you have looks amazing! What would it take for to part with that guitar?

That's a funny question! The Fender Custom Shop made that special for me, and I think the only way it will leave me is when someone pries it from my dead, cold fingers!

For more about Cummings, visit albertcummings.com. For more about Cummings' new instructional DVD from Hal Leonard, visit halleonard.com.

Hey there!

My recording schedule has been all over the map for the past few months, so I'm sorry for my absence here on GuitarWorld.com!

I've been doing marathon sessions to try and complete all of my current and past obligations. I'm cutting back on my studio work to make time for my own musical projects.

I still love session work, but it's good to re-evaluate priorities every once in a while.

Here's a story.

Back in October, I got hired to add guitar — and anything else I wanted — to 28 songs. Nice, right? Good money. Easy. I had probably played these songs, or recorded these songs several dozen times over the years. All cover tunes. Mostly from the Sixties. But not the groovy psychedelic Sixties. This was the music from Italian vocalists arranged in a very old-fashioned way.

Don't get me wrong — that could be some of the coolest, vibey, retro music you've ever heard. Picture James Bond meets Ennio Morricone meets Quentin Tarantino! But this was done with no imagination, no respect, no real anything but to get the music done. I could tell the vocalist hardly knew some of the songs and only wanted to get it done and out.

Wow. Not good. This was not only Muzak...it was BAD MUZAK! (Is there good Muzak? Does it still exist? I don't know. But this was it.) It made me sick. Really sick. I remember Jimmy Page talking about doing sessions and one day realizing that that's exactly what he was playing! Muzak!

I did some self-evaluation. I was becoming increasingly unhappy with the work. Some was great! Half was just for money. I began to see a trend happening in music. "Artists" were showing less and less respect for the product they released. Less and less respect for any talent, small as it might be, that they possessed.

They'd rather have the vocal tuned down than learn how to sing better. Loops replaced not only drummers, but even creative programming. (I love creative drum programming as much as real drums; there is thought and chops and work being done to create it.) Arrangements? All head arrangements.

This scenario became unacceptable to me. I do have some talent and some experience and too much love for music to be involved in projects where the artist cares more about it being done fast and cheap than EXCELLENT! And that should be the only choice! Ever! I had fallen into a trap and wanted out...at any cost!

So, in my personal evaluation, I realized my chops were fading from lack of use. My feelings about the very things I loved were waning due to lack of respect. I chose to muscle through, get it done and get out. Not get out of all sessions. Just the ones I deem wrong for me, wrong for my soul.

I literally told the producer that this was it. He's the guy who did it, the guy who made me want to stop doing work like this. He was insulted and couldn't understand what was wrong with the crap he gave me. I just laughed.

Do you have the same respect for yourself, the music, people and the life you love to make the hard decisions? And it is a hard decision. Turning down money can be very difficult. Walking away from security can be scary. But then I remembered we aren't guaranteed the next day of our lives. We only have today.

I will continue be a session guitarist, but I will have only quality recordings to write about. (I'm limiting my session work to 16 to 20 hours per week.) And I will be playing the notes I choose, or fall onto, with every last drop of emotion, on the music I choose. And I will have the time to complete as many personal projects as I can!

One last interesting note: On the very first day after I completed the old work, I started to practice again and play. And I can honestly say, I played with more heart, dedication and care than I had in years. It felt pretty damn good. Way better than becoming a musical whore. And my schedule is being filled with my own projects and playing guitar on work that is being created by people who care.

The rest have not heard from me in weeks. I won't even return the calls.

Ron Zabrocki on Ron Zabrocki: I’m a session guitarist from New York, now living in Connecticut. I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just believed everyone started that way! I could pretty much sight read anything within a few years, and that aided me in becoming a session guy later in life. I took lessons from anyone I could and was fortunate enough to have some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played many jingle sessions, and even now I not only play them but have written a few. I’ve “ghosted” for a few people that shall remain nameless, but they get the credit and I got the money! I’ve played sessions in every style, from pop to jazz.