I SPENT A considerable amount of time in the late Sixties lying on the floor of my girlfriend’s bedroom, listening to an album called A Hard Road by John Mayall and the Bluesbreakers. It featured an exciting newcomer to the British blues scene at the time — a guitarist named Peter Green, who had accomplished the Herculean feat of replacing Eric Clapton in Mayall’s band. By this point, Mayall’s previous disc — Blues Breakers: John Mayall with Eric Clapton, the so-called “Beano album” — had already become the stuff of legend. This was the era of “Clapton is God” graffiti.
But Green’s work with Mayall offered a different, and arguably deeper, dive into the mysterious, mystical thing that we call the blues. Green didn’t dazzle in the same way that Clapton did. Instead, he reached right inside your chest and wrenched your heart from its cavity. But to say, as some have, that Green favored emotional expression over technical virtuosity also sells him short. There’s a high degree of mastery in his work with Mayall and the band he went on to found — Fleetwood Mac. But Green deployed that mastery from a place of humility with respect to the grand tradition of the blues. He saw the electric guitar not as some kind of macho superstar phallic symbol, but as an implement with which we can claw and scrape our way to the essential truth of the human heart.
Sadly, the great heart of the man we knew as Peter Green stopped beating on July 25th of this year. He was 73 and died in his sleep. Not much more is known about his passing at the time of this writing.
Denne historien er fra November 2020-utgaven av Guitar World.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra November 2020-utgaven av Guitar World.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Kittie - Guitarists Morgan Lander and Tara Mcleod discuss the canadian metal powerhouse's unexpected rebirth — by fire!
Guitarists Morgan Lander and Tara McLeod explain that making new music was “not on their bingo card” when the band regrouped in 2022 for a few festival appearances, preferring to think of the sets as more of a “final lap” than a new beginning. But drilling into old favorites — whether the nu-flavored teenage slams of 1999’s Spit or the more venomously groove-thrashed tunes of their late-’00s period — revealed that despite not having raged together in years, there was something undeniably special about Kittie’s musical connection. “Playing with these girls is like putting on an old pair of pants,” Lander says. “It’s very comfortable — and it looks good too.”
McKinley James - Why all you really need is a guitar, a drummer and some serious low-end six-string skills
Nashville-based blues rocker McKinley James came flying out of the gate in 2022 with his Dan Auerbachproduced EP, Still Standing By. His momentum screeched to a halt, however, when his keyboardist split, leaving only him and his drummer, Jason Smay (who also happens to be his father). “For a moment, I was like, ‘What are we going to do?” James says. “But then I thought, ‘Well, other bands have succeeded as a duo. Maybe we can, too.”
TC Electronic TC 2290P Dynamic Digital Delay
THE MID EIGHTIES was a golden age for digital delay, thanks to the proliferation of pro- and studio-quality rack effects units from Eventide, Korg, Lexicon, Roland and Yamaha.
Danelectro Doubleneck
WHEN I THINK back to the Seventies, the famously coined “Me” decade, it seems the only surefire way you could leave audiences awestruck was to strap on a doubleneck guitar.
CARLOS ALOMAR
The former David Bowie guitarist talks Young Americans, Station to Station and the Berlin Trilogy, plus recording (and co-writing) \"Fame\" with John Lennon
GEORGE TERRY
It turns out Eric Clapton's Seventies guitarist (and co-writer of \"Lay Down Sally\") also played on ABBA's \"Voulez-Vous.\" Below, he looks back on a decade-plus of E.C., Bee Gees, Diana Ross and more
FRANK MARINO
The Mahogany Rush frontman charts the band's Seventies lows and highs, plus SG's, pickups and how he was definitely not visited by the ghost of Jimi Hendrix
DEWAYNE "BLACKBYRD" MCKNIGHT
The jazz/funk/fusion veteran on his smooth segue from Herbie Hancock sideman to full-on Funkdaledic member -plus his '70s gear and what he learned from Shuggie Otis
PAT TRAVERS
The Canadian-born virtuoso discusses the rise and fall of the Pat Travers Band, witnessing the U.K. punk revolution and the riotous roots of \"Snortin' Whiskey\"
JOE PERRY
The iconic guitarist looks back on Aerosmith in the Seventies, the decade that literally made and temporarily broke apart those Bad Boys from Boston