[Bars 42- 49] The middle- eight features A7 a lot, but here, Gary adds slightly jazzier harmony, including A13 and typical Dorian-sounding F#/C# chords. Roll the volume back a little for this section, but don’t over-pick the low notes (particularly the C#) or they’ll sound too big. Gary uses a great bit of chord modification (D#m7b5 changed to D#9) and a chromatic passing chord of Dmaj7 to get us back to C#m. [Bars 50-57] The first half of the solo mixes Gary’s typical blues phrasing with rockier bottom-string palm-mutes. There’s also some great triplet phrasing and timing in the final two bars of this section, where you’ll really need to dig in with down picks to find the sweet spot for the pinched harmonics (somewhere around the middle-to-bridge pickup position).