![]() The answer came from the music shop run by one Jim Marshall, and a deceptively small 1962 45-watt 2x12 combo. How Marshall’s debut amp opened a new chapter in rock ’n’ roll history In this department, too, the guitarist had floundered, dabbling with a Vox in the Yardbirds, but finding the combo “too toppy”. What I would do was use the bridge pickup with all of the bass turned up, so the sound was very thick and on the edge of distortion.”Īnother critical factor was Clapton’s amp. “I was trying to emulate the sharp, thin sound that Freddie King got out of his Gibson Les Paul, and I ended up with something quite different, a sound, which was a lot fatter than Freddie’s. “It had really come about by accident,” the British guitarist wrote of that honeyed roar. The Chicago bluesman could also take indirect credit for Clapton’s feted Beano tone. The price tag was just £120: testament to the discontinued Les Paul’s rock-bottom popularity compared to semi-hollow models. But his interest in the Les Paul had been piqued by the sleeve of Freddie King’s Let’s Dance Away And Hide Away, and he didn’t hesitate upon spotting a ’59 to ’60 Cherry Sunburst example in the Lew Davis music shop. In his early years, instruments had come and gone, from the Kay Red Devil of childhood to the ‘63 Telecaster of the Yardbirds era. What I would do was use the bridge pickup with all of the bass turned up, so the sound was very thick and on the edge of distortion Eric ClaptonĪnother line in the sand was Clapton’s choice of guitar. “The fire he puts into that solo is unbelievable.” “One of the greatest blues guitar solos ever,” says Joe Bonamassa, who described Beano as the “template and universal language” for his 2012 album Driving Towards The Daylight. No less powerful was the Mayall-Clapton co-write, Double Crossing Time. Memphis Slim’s Steppin’ Out was closer to a swagger, while Mayall’s slow-blues, Have You Heard, achieved lift-off when Clapton’s combustible solo entered the fray. When he felt the spirit, he was untouchable John Mayall There was Hideaway, of course – Clapton tearing through its three-minute duration with peerless soul and swagger – then there was the smack-in-the-mouth lick of Mayall’s own Little Girl, and the swooped bends and thrilling double-time break of Otis Rush’s All Your Love. Scan the track listing and you found a run of covers that confirmed Mayall’s fathoms-deep blues knowledge, spiced with a fistful of the bandleader’s originals. When the lineup descended on Decca Studios the following May, the Beano sessions were the perfect fusion of material and performance. “When Eric felt like playing,” reflects Mayall, “You really took notice.” Aware that his new recruit was the group’s selling point, the wily Mayall had chosen material to suit, with cuts such as Freddie King’s instrumental Hideaway offering a showcase for Clapton’s molten phrasing and perfectly weighted touch. “It was a tough electric sound, spearheaded by people like Howlin’ Wolf, Muddy Waters, John Lee Hooker.”īy night, for a flat weekly fee of £35, Clapton stepped out with the Bluesbreakers to play shows that left a crater in the London club scene. “Modern Chicago blues became my new Mecca,” he remembers. Joining the lineup in April 1965, Clapton’s days were spent absorbing Mayall’s extensive vinyl collection in the bandleader’s attic. “I was very grateful that someone saw my worth,” picks up Clapton, “and my thinking was that maybe would be able to steer the band towards Chicago blues, instead of the sort of jazz blues they were currently playing.” “Eric was the first guitarist I heard,” remembers the bandleader, “who had it.” And so, on 28 March 1965, he gathered his rhythm section around a jukebox in Nottingham, played the Yardbirds’ necktingling B-side Got To Hurry, and suggested they hire the ousted guitarist. Mayall recognised that the Bluesbreakers lacked a guitarist to channel the hard, lean, electrified attack of Chicago players such as Freddie King. Just call 1-84 for help or to place your order.I was very grateful that someone saw my worth, and my thinking was that maybe would be able to steer the band towards Chicago blues, instead of the sort of jazz blues they were currently playing Eric Clapton Please get in touch with us personally if you have any questions. Stacy McKee Chord Melody Solo Collection <= To Search By Artist Name or Band Name Click here to see the Now you can download thousands of DVDs by True Fire instantly! Now you can download guitar tab for individual songs instantly! Now you can download over 4,000 DVDs instantly!ĭownload Service For Individual Guitar Tabs! ![]() *Click Here For Featured DVDs Of The Week On Sale Now!! Patterns" by Stacy McKee (with 1st order) * ![]() John Mayall Tabs - Guitar Solos, Tab Books, Instruction DVDs + Video Lessons John Mayall Guitar Tab Books, Instruction DVDs, Solos, Transcriptions, Video Lessons
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