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Grabs mmeet being so still with your sure, we daily appreciate it. Each a great band name. By more so, I download he's presenting the objective of these particular guitar pieces without being slavishly old. Guitars, motorcycles and making!.

He was the total package-a great guitar yuy and vocalist. He is a huge influence on me even from beyond the grave. Some music styles can be fads but the blues is always with us. Why do think that is? The Blues is where it all comes from. It's like the starting line for modern music. A lot of kids look at it as their parents music. Well kids, then your parents have good taste in music.

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Howard, Rocco and Jim are some of my favorite people and musicians I've ever worked with. I've always enjoyed talking with Buddy Guy, if you catch him in a talkative mood, he tells great stories from the road. He's lived a lot of life and been through a lot to get where he is. Lurrie Bell is another. I've been on tours with him and spent a lot of time on the road with staying up all night jamming and talking with him. He's an amazing musician and person. You never know who you might run into playing at a Blues Club in Chicago. It's an attraction for everyone, including celebrities. What turns you on? Which things do you prefer to do in your free time? Guitars, motorcycles Buddy guy meet me in chicago tab fishing!

Recording and producing music for other artists is very satisfying. There is nothing better than capturing a great performance, except playing during a great performance. What were your favorite guitars back then, where did you pick up your guitar style? My first guitar was a American Standard Fender Stratocaster. There are no secrets. It's all right there in front of you on old records, seeing live music, and really critically listening to music. It's all about hard work and dedication. Do you think that only real blues is something gloomy, played by old grey-haired men with harps and battered guitars in some smokey, dark and little shabby clubs?

I strongly recommend it. I have never found anything more deeply soulful. Though the 29 songs Johnson recorded from had little impact during his lifetime, a collection of his singles, entitled King of the Delta Blues Singers was released in and found widespread recognition. The first blues recording to do so, winning a Grammy in the process. Since that LP, players from all different musical backgrounds have sought to learn Robert Johnson's techniques and in this 3 DVD set, with over 5 hours and 52 minutes of instruction, Tom Feldmann covers every aspect of Johnson's playing.

Each song is performed by Feldmann before he dissects the arrangement verse-by-verse and ends with a split screen segment where the song is played slowly with close up shots of both the left and right hands. This is the most expansive look into the guitar playing of Robert Johnson produced in video form. Over the intervening decades since Robert Johnson cut his 29 monolithic sides in andcountless manhours have been spent by countless guitarists hunched over spinning 78s, then LPs, then CDs, and now spinless MP3s, desperately trying to latch onto the mystical powers inherent in those songs - in that sound - which launched as many legions of rockers as of bluesmen.

With Johnson's direct apostles below ground - Robert Lockwood, Honeyboy Edwards, Johnny Shines who thrice returns, via bonus performance footage - Tom Feldmann is your best possible instructor. The country blues junkie has put in those countless hours intensively detailing everything from the lemon squeezing "Traveling Riverside Blues" to the tamale-peddling "They're Red Hot" - so that you don't have to. He's got the complete canon down cold come on, both takes of "Cross Road Blues" get dissected here. Right down to that spine-tingling 'howling wind' slide lick dripping down "Come On in My Kitchen. With calm coaching, you'll run the existential table from the Son House knockoff of "Preaching Blues" to "Hellhound on My Trail," with a "Malted Milk" break in between.

Besides using the slo-mo split-screen, Feldmann makes learning easier by wisely corralling similar pieces, as when taking advantage of the structural relationship between "Terraplane Blues" and "Milkcow's Calf Blues" with "Stones in My Passway. And there were like, over a million black people in Chicago, so you can imagine it supported a hundred to two hundred blues clubs, no exaggerating. Well I would think for two dollars that would be a damn good deal.

But those joints in the sixties were probably a helluva lot of fun. Ne, you migrated out to San Francisco after a while? Tell us a little bit about the music scene out in Frisco back then. You remember the first place I ever showed Burdy to see you, on the north side of Chicago? I was about sixteen and a half, was just playing about six months. You were playing with some band- EB: It was like, on Rush street- HM: No no no, on the north side. I first went there with Butterfield. Bill Graham opened it up for blues musicians. So half the blues musicians in Chicago moved to San Francisco in You know what the hawk is right? The girls were friendly. Within two weeks everyone was in a tie dyed t-shirt.

Now you were influenced by Smokey Smothers, tell me a little about Smokey. He was one of the best guitar players in Chicago.


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