Hear It Here

Guitarist - - Techniques -

AL­BERT LEE Hid­ing

Al­bert’s first solo al­bum from 1979 opens with the nowl­e­gendary Coun­try Boy. Ad­mit­tedly, we’re jump­ing in the deep end here, but there’s no harm in that, as long as we take the ‘long-term os­mo­sis’ ap­proach rather than at­tempt­ing to du­pli­cate it im­me­di­ately. An­other – more melodic – side of Al­bert’s play­ing is show­cased on Now

And Then It’s Gonna Rain, which also em­ploys a de­vice called a B-Ben­der, help­ing him to em­u­late a pedal steel gui­tar.

DEEP PUR­PLE Ma­cHine Head

We’re go­ing for con­trast here. Ritchie Black­more’s play­ing of­ten has a sur­pris­ingly light touch. The riff that got dozens thrown out of gui­tar shops – Smoke On The Wa­ter – is not at­tacked with a heavy pick and metal dis­tor­tion at all, but played us­ing fin­gers, light over­drive and a pos­si­bly a Les­lie speaker cab. How­ever, this may be the re­sult of his gui­tar blend­ing with Jon Lord’s Ham­mond or­gan… Check out his phras­ing on Lazy, too, which works beau­ti­fully us­ing hy­brid pick­ing.

TOMMY EM­MANUEL end­less Road

It’s fairly safe to say that any gui­tarist giv­ing this a lis­ten will def­i­nitely pick up a trick or two. Tommy is from the thumbpick school of thought, so is in­cluded here to il­lus­trate the points made about this ear­lier (as well as in­spir­ing us all to prac­tise more). His ver­sions of Some­where Over

The Rain­bow and Chet’s Ram­ble give an over­view of what can be ac­com­plished, though many of these ideas are trans­fer­able to hy­brid pick­ing, too.

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