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Guitar Techniques - - NEWS - Neville Marten, Ed­i­tor neville.marten@fu­turenet.com

I STILL RE­MEM­BER the first time I heard Robben Ford prop­erly. I’d caught the odd Yel­low­jack­ets track but I’d not heard him par­tic­u­larly fea­tured. Then his record com­pany sent through his new al­bum: Talk To Your Daugh­ter. It was on cas­sette and, when I left my desk at Guitarist for the hour’s drive home, I stuck it in my car’s player. Oh... My... God...! It was ev­ery­thing that I’d ever wanted to be as a player: that huge dis­torted tone; the direct con­nec­tion to 60s blues play­ers like Bloom­field and Clap­ton, and the clear love for BB King and Al­bert Collins; but there was this whole jazzy ‘other side’ that lent huge dol­lops of so­phis­ti­ca­tion and in­tel­li­gence to the mu­sic.

I al­ready knew Larry Car­ton’s work since I’d got his first three albums af­ter a friend in­tro­duced me to him. But, not know­ing the two had watched each other and al­most learnt from each other’s play­ing, the first ques­tion in my in­ter­view with Robben the next day: “Your play­ing sounds some­what Carl­ton-esque,” didn’t ex­actly go down too well. But we got over that mi­nor hump and I’ve in­ter­viewed him sev­eral times since. He did quite like it that I spot­ted that one of his strings had slipped flat in one of the al­bum’s outro so­los: “Wow, not many peo­ple would no­tice that: I did re­alise it but I liked the solo and de­cided to leave it.”

This month, Phil Capone has dis­sected the play­ing of th­ese great gui­tarists to show that you can get a few of their nu­ances into your own play­ing – bol­ster­ing up the usual Pen­ta­tonic and Blues scale licks to sound much more in­ter­est­ing. Phil in­cludes loads of great licks and some of the the­ory be­hind it all. Enjoy, and I’ll see you next month.

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