Richie Kotzen starts our jam with a fast slide down to approach the G on the 8th fret, second string, adding slide-style vibrato along the way and breaking into a fast hybrid-picked pattern. Paul Gilbert whips out a 16th-note pattern demanding precise picking, before going into a stringskipped quintuplet Blues scale figure. Then some Greg Howe-style slide vibrato, and into the second chorus we embark on some colourful legato with hybrid picking. Eric Johnson starts in the open position with some trademark runs, moving up an octave and continuing with more twonote Minor Pentatonic pull- offs. Yngwie starts with a trill between the root (E) and the b7th (D), before diving into an aggressive Hendrix-y bend and sliding down to the open position, where he rolls down the Blues scale to end on the 2nd fret, fourth string. Satriani’s vibe is modal, with a descending three-note slide-based sequence using E Dorian to start the third chorus, finishing with some fast tapping with the edge of the pick for a blues harp-type of effect. Vinnie Moore also goes for Dorian mode with a descending two-note sequence, before moving up to ‘shape 1’ on the 12th fret and hybrid picking an ascending Minor Pentatonic sequence with some high bends up to the 5th (B, 19th fret). Schenker is very legatobased; in fact, you only need to pick one note to play the first two bars of his part. Taking us into the final chorus, Schenker gets into a repetitive three-note triplet pattern on the Minor Pentatonic, which he converts into a 16th-note pattern to add more momentum. The penultimate contribution is Bonamassa’s machine gun-like picking. Take your time, making sure you get a steady flow with the timing of the picked 16ths. Who better to have the last word than the masterful Stevie Ray? Here, we are outlining the chord tones of 7th chords (C7 and B7) and letting them ring, before continuing with some awesome Blues-scale based phrases, featuring lots of fast bends. The final phrase includes both the F# (2nd or 9th) and the F (b2nd or b9th) in the legato lick on the first string, adding some extra flair and colour in the process.