GUITAR SIGNATURE LICKS

BON JOVI, A STEP-BY-STEP BREAKDOWN OF THE GUITAR STYLES AND TECHNIQUES OF RICHIE SAMBORA. CD TABLATURE

LIBRO DI MUSICA ROCK CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

LEZIONI CON LE PARTI PIù IMPORTANTI DELLA CHITARRA,

MANUALE DIDATTICO, STUDIO, TECNICA. 

Series: Signature Licks Guitar

Format: Softcover with CD - TAB

Author: Andrew DuBrock

Artist: Bon Jovi

Examine the riffs & solos of guitar great Richie Sambora, who gives Bon Jovi its signature sound. Includes these hits in notes & tab: 

Song List:

Bad Medicine

Born To Be My Baby

Have A Nice Day

I'll Be There For You

In And Out Of Love

It's My Life

Keep The Faith

Lay Your Hands On Me

Livin' On A Prayer

Runaway

Wanted Dead Or Alive

You Give Love A Bad Name

Width: 9.0"

Length: 12.0"

80 pages

Mike Stern, A Step-By-Step Breakdown of the Guitar Styles & Techniques of a Jazz-Fusion Pioneer. SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE .

LIBRO METODO DI MUSICA FUSION CON CD. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

MIKE STERN
A Step-By-Step Breakdown of the Guitar Styles & Techniques of a Jazz-Fusion Pioneer
Series: Signature Licks GUITAR
Format: Softcover Audio Online – TAB
Serie: Signature Licks Guitar
Autore: Joe Charupakorn
Artista: Mike Stern

Scopri la magia di un asso di chitarra Mike Stern con l'edizione speciale di Assoli d'Autore che includono le interviste e le lezioni con Stern, informazini esclusive sull'attrezzatura, l'analisi approfondita di 14 titoli e in più un CD audio con tutti  gli esempi musicali del libro. Le canzoni sono: After You • Jigsaw • Like Someone in Love • One Liners • Play •Sunnyside • Swunk • There Is No Greater Love • Tipatina's • Wing and a Prayer • e altre.

Inventory #HL 00695800
ISBN: 9780634068010
UPC: 073999813074
Larghezza: 9.0"
Lunghezza: 12.0"
128 pagine

Discover the magic of guitar wizard Mike Stern with this special edition of Signature Licks that includes an interview and lesson with Stern, exclusive gear info, in-depth analysis of 14 songs, plus recordings of demos for all the music examples in the book! Songs include: After You • Jigsaw • Like Someone in Love • One Liners • Play • Sunnyside • Swunk • There Is No Greater Love • Tipatina's • Wing and a Prayer • and more. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. 

After Blood, Sweat & Tears, Stern returned to Boston and played with saxophonist

Jerry Bergonzi (who he met through his teacher, the late Charlie Banacos). He also took

over Bill Frisell's spot in trumpeter Tiger Okoshi's Tiger's Baku, a band that Frisell helped

put together. In 1979, Stern landed his next big gig, with drummer Billy Cobham. During

a gig with Cobham at the now-defunct Bottom Line in New York City, Miles Davis (at the

suggestion of saxophonist Bill Evans) came to check out Stern. He liked what he heard

and Stern got the ultra high-profile gig for Davis's 1981 comeback tour. It was a major

milestone in Stern's career, and one that catapulted him into jazz stardom.

Stern played on three Miles Davis albums: The Man With the Horn, which featured a

burning solo on the first cut "Fat Time" (named in Stern's honor for both his great timefeel

and his at-the-time, corpulent physique); We Want Miles, a great live album; and Star

People, which also featured guitarist John Scofield, who was recruited as a second guitarist

because of Stern's then drug and alcohol problem. Having gradually become unreliable,

Davis ultimately let Stern go, to sober up.

During this time, Stern reconnected with Jaco Pastorius, playing in his Word of Mouth

band. They also played together nonstop when Stern lived above 55 Grand Street, a New

York City jazz club they played at since its inception (not to be confused with the 55 Bar

on Christopher Street, where Stern currently plays twice a week when he's in town). Jaco

wound up crashing at Stern's pad and the two were inseparable, playing at all hours of

the day and blowing lines over changes. Alas, they were also doing "white lines" to the

point of losing control. Stern checked into rehab, and in 1985, the cleaned-up guitarist

rejoined the Miles Davis band. Pastorius, however, never cleaned up. The drugs and alcohol

had severely impacted his mental state and behavior for the worse, and in 1987, during

an altercation with a bouncer outside a nightclub in Florida, he was tragically beaten

to death.

Since his tenure with Miles Davis, Stern has gone on to perform and record with

Michael Brecker, the Brecker Brothers, Bob Berg (with whom he co-led the Mike Stern/

Bob Berg band), Jaco Pastorius's Word of Mouth band, Steps Ahead, David Sanborn, Joe

Henderson, George Coleman, Ron Carter, Jim Hall, and Pat Martino, among others.

Stern has also recorded numerous solo albums-the first being Neesh, in 1983, which

was recorded for Trio (a Japanese label), right after Stern first left Miles Davis's band. It

was recently re-released, but only in Japan (on Absord Music Japan). In 1986, Stern

signed a deal with Atlantic Records and recorded Upside Downside. This marked the

beginning of a 15-year association with Atlantic Records that spawned ten albums and

three Grammy nominations. In 2004, with the demise of the jazz department at Atlantic

Records, Stern recorded his first album for ESC Records, These Times (now available on

BHM Records). In 2006 Stern moved to Heads Up International Records for his release

Who Let the Cats Out?, which garnered Stern a fourth Grammy nomination. A live DVD,

Live-New Morning The Paris Concert was also released in 2006, by independent

German label, lnakustik. This DVD featured Richard Bona, Dennis Chambers, and Bob

Franceschini. In 2009, a sequel to Live-New Morning The Paris Concert was released

and features Tom Kennedy, Dave Weckl, and Bob Franceschini. Big Neighborhood,

Stern's most explosive guitar album to date, was also released in 2009 and featured virtuoso

guitarists Steve Vai and Eric Johnson, among others. Stern's earlier Atlantic recordings,

with the exception of Play and Voices (which are still available through Warner

Music), are now distributed by Wounded Bird Records, a CD-only re-issue label.

Despite Stern's enormous status as a world-renowned jazz-fusion guitar virtuoso, his

prodigious technical abilities (which he seamlessly combines with a heartfelt lyricism),

and his impressive history onstage with countless jazz legends, Stern is a humble and

grounded musician whose sole mission is to constantly grow as a player. "The more I

know, the less I know" is one of Stern's favorite quotes, and it is indicative of his approach

to music, as a neverending quest.

For this Signature Licks edition we have enlisted Mike Stern as a consultant. He offers

not only unique analytical and historical insight for each selection but also a special private

lesson, to help you understand the theory behind his burnin' lines. And indirectly,

large portions of the information in this book have been gathered over the years, during

my studies with Stem and om itnessing countless live shows.

ONE ON ONE WITH MIKE STERN

What was the first jazz solo that had an impact on you?

Well that's a hard question because my mom used to playa lot of jazz records so I always

heard jazz around the house. I started playing when I was 12, but I was 17 when I started

getting more into jazz. I guess it was something off a Miles Davis record. One of the

first records I used to scope was Herbie Hancock's Maiden Voyage. That was one of the

first albums that I checked out and tried to play along with. At the time, I was listening to

more blues, rock, and Motown, and playing along by ear.

When you played along with Maiden Voyage, were you soloing over it or were you

trying to play the actual parts?

I was doing a little bit of both-the actual parts and the solos.

Do you remember the first solo you transcribed?

Yeah, it was a Joe Pass solo. I picked a blues because it's an easy form and Joe's solo

had a lot of inside bebop. It was a medium swing, not a real fast tempo.

Did he playa lot of sixteenth notes in the solo?

He was playing a lot of eighth notes, just a lot of really cool bebop lines. Joe was a very

clear, inside player in a lot of ways. He didn't go outside the key too much, and it was very

clear what he did when he did go out, the way he outlined it. He was amazing like that.

There was a lot of bebop vocabulary; he used to play with Oscar Peterson. It took me

about three weeks to transcribe the solo. I had to slow the record player down, which

almost ruined the record. Finally I taped it and finished the rest. Later on I showed it to

some people and they said most of it was wrong [laughs]. But doing it myself was amazingly

helpful.

After you learned the solo did you take licks from it and use them in your own playing?

A little bit, and some of the phrasing, too. It's like when you read a book or short storyyou

don't memorize every word; you just take certain things away from it and then enough

of the remaining information goes unconsciously into your brain, or in the case of music,

into your ear. Over time, if you take from enough different solos from different people, you

don't sound like just one guy.

For a long time now, I've been more into copping piano and saxophone solos. But

when I was first transcribing, it was guitar because it was my own instrument-and that

was hard enough. But like I said, transcribing lines for myself was really helpful; I got a lot

more out of it that way than from reading it from a book.

Were you writing out the solos?

Yeah, I wrote them down. Then I'd read through it, not so much to cop licks but more like

reading a magazine or a short book, where you might remember a couple of phrases and

quote from it-you don't memorize every word. Some people go too far and memorize the

whole solo, but the idea is to learn how to phrase unconsciously and then twist it around

your own way, as a kind of springboard for your own ideas. That way you get a vocabulary

in a certain style; for instance, if you want to work on your bebop vocabulary, you do

a lot of bebop players. I did a bunch of guitar players at first-Joe Pass, Jim Hall, Wes

Montgomery, George Benson-and then I got into horn players.

INTRODUCTION
DISCOGRAPHY
THE RECORDING
ABOUT THE AUTHOR
MIKE STERN'S GEAR
ONE ON ONE WITH MIKE STERN
BOP 'N ROLL: A LESSONS WITH MIKE STERN

After You - Mike Stern - 1986
Jigsaw - Mike Stern - 1989
Like Someone In Love - Words: Johnny Burke, Music: Jimmy Van Heusen - 1944
Odds Or Evens - Mike Stern - 1991
One Liners - Mike Stern - 1997
Play - Mike Stern - 1999
Showbiz - Mike Stern - 1996
Sunnyside - Mike Stern - 1996
Swunk - Mike Stern - 1994
That's What You Think - Mike Stern - 1997
There Is No Greater Love - Words: Marty Symes, Music: Isham Jones - 1936
Tipatina's - Mike Stern - 1999
Upside Downside - Mike Stern - 1986
Wing And A Prayer - Mike Stern - 1996

KESSEL BARNEY, passo per passo il suo stile tecnico e chitarristico. BOOK CD TABLATURE

LIBRO DI MUSICA JAZZ.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE.

This entry in the Guitar Signature Licks series is dedicated to the sounds and techniques of Barney Kessel. Barney is a guitarist who is acclaimed as an important transitional figure, one who was pivotal-essential-in the jazz genre as the music evolved past its swing roots into bebop, hard bop, and modern jazz. The selections in this volume are gathered from, arguably, his most significant and influential period: the 1950s, when jazz guitar was still in its infancy. Several pieces are presented in their entirety: "Tenderly," "Salute to Charlie Christian," "Speak Low," and three Poll Winners trio tunes, "Minor Mood," "Foreign Intrigue," and "I'm Afraid the Masquerade Is Over." These are guitar intensive arrangements that showcase Barney's guitar role prominently and must be studied as complete works. Listen to the whole track and follow along with the detailed analysis of the distinct sections. Others, like "Barney's Blues," "Indiana," and "64 Bars on Wilshire," are offered in specific sections, where the guitar is stating the theme, interacting with the ensemble, or featured as the solo instrument. The time codes displayed in the selections refer to the original recordings.

Barney Kessel is one of the most famed and beloved jazz guitarists in music history. To many aficionados, his name is synonymous with jazz guitar. Bred on swing music of the 1940s, Kessel was one of the earliest players to absorb the language of modern jazz and bebop, mixing the new and old sounds with a swinging delivery, rhythmic vitality, and musical imagination all his own. His work remains towering and influential to the present, and he is widely acknowledged as one the leading voices of jazz guitar. Born in Muskogee, Oklahoma, on October 17, 1923, Barney Kessel decided on a career in music at an early age. He bought his first guitar at age twelve with money saved from selling newspapers. Essentially self-taught, Kessel received a few rudimentary essons in a Federal Music Program of the WPA in the summer of 1935. His earliest influences included swing musicians Charlie Christian (guitar) and Lester Young (tenor sax). Over the next four years, Kessel progressed quickly and established a strong regional following, enhanced by performances with the Varsitonians, a twelve-piece college band, while still a young teenager. By 1939, Kessel's reputation had grown to the point that his mentor Charlie Christian sought him out during a visit back home (Oklahoma was also Christian's home state). At age sixteen, Kessel met, hung out, and jammed with his idol, a duly impressed Christian, in early October of 1940. This experience inspired him to pursue a full-time professional career in music. In 1942, Kessel moved to Los Angeles and worked as a dishwasher while he made the musical rounds, sought auditions, and developed contacts. He was soon hired to play in comedian Chico Marx's band, led by drummer Ben Pollock. Kessel rapidly became a major player in the burgeoning West Coast jazz scene, performing and recording with Charlie Parker, Howard McGhee, Wardell Gray, Sonny Criss, and many others. Like many jazz musicians of the era, he also began accepting studio work on radio networks and Hollywood film scores and joined Frank De Vol's commercial orchestra. In 1944, Kessel appeared in Norman Granz's award-winning jazz documentary Jammin'the Blues. He was the only white musician in the film. Kessel also played in numerous big bands between 1945 and 1947, including the ensembles of Charlie Barnet and Artie Shaw. Kessel performed on record dates with Shorty Rogers and Benny Goodman, toured with the Oscar Peterson Trio in 1951-1952, and participated in Norman Granz's prestigious Jazz at the Philharmonic concert series. His contributions to Charlie Parker's legacy, contained in important tracks from 1947 like "Carvin' the Bird" and "Relaxin at Camarillo," brought further acclaim and broadened is jazz credentials. These and other high profile concerts and recordings led 0 e's greater exposure and recognition in America and Europe.

Titoli:

(I'm Afraid) The Masquerade Is Over [Magidson, Herb] [Wrube, Allie]

64 Bars On Wilshire

Barney's Blues

Begin The Blues

Contemporary Blues

Easy Like

Foreign Intrigue

Indiana (Back Home Again In Indiana) [Macdonald, Ballad] [Hanley, James]

Minor Mood

On A Slow Boat To China [Loesser, Frank]

Salute To Charlie Christian

Speak Low (One Touch Of Venus) [Weill, Kurt] [Nash, Ogden]

Tenderly [Gross, Walter] [Lawrence, Jack]

Vicky's Dream

CD TABLATURE

Wolf Marshall insegna lo stile e la tecnica di una leggenda del jazz, esaminando attentamente 14 titoli. 96 pagine.

BLACK SABBATH, THE BEST OF, GUITAR LICKS. Troy Stetina. DVD LESSON

DVD METODO LEZIONE DI MUSICA METAL,

LEZIONE DI CHITARRA, PER IMPARARE A SUONARE LA MUSICA DEI BLACK SABBATH.

TECNICA, RIFF, ASSOLI, DVD DIDATTICO,  

Accordi di ferro e trilli diabolici. Prima pesanti e lenti blocchi di accordi irremovibili, poi rapidi vibranti tremolo con terzine, e cambi di tempo, Anthony usa in modo inconfondibile, trilli e mordenti, creando una suspence e una tensione particolare alla musica. Il trillo è una rapida sequenza ritmicamente uniforme e prolungata di hammer-on e pull-off tra due note; i mordeneti e i gruppetti sono figure ornamentali sempre legate, tra note adiacenti e di breve durata. Power chords slides, e trilli sono in Black sabbath, N.I.B., wicked World e altre. Enormi e minacciose sfere di piombo scivolano verso noi, ci inseguono! Da piccole fessure fuoriescono improvvisamente protendendosi pericolose sottili lame sflessibili, che tremolanti come serpenti cercano di colpirci, ritornado poi a ritroso all'interno. Anche il jazzista Wes Montgomery che è tra i chitarristi preferiti di Iommi suonava, ma in maniera diversa, con questi abbellimenti. DVD

Guitar Signature Licks DVD
Series: DVD
Publisher: Hal Leonard Corporation
Medium: DVD
Artist: Black Sabbath
Composer: Troy Stetina

On this info-packed DVD that makes learning licks easy, acclaimed guitarist and educator Troy Stetina teaches Tony Iommi's trademark guitar riffs and solos on eight classics from one of hard rock's greatest bands. Features detailed analysis of: Black Sabbath
Children Of The Grave
Iron Man
N.I.B.
Paranoid
Sabbath, Bloody Sabbath
Sweet Leaf
War Pigs (Interpolating Luke's Wall)
Approximately 60 minutes.

WINTER JOHNNY, Guitar Styles and Techniques of a Blues Legend, Signature Licks. CD TABLATURE

Johnny Winter 
A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Blues Legend
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Author: Dave Rubin
Artist: Johnny Winter

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including: Bad Luck Situation - Be Careful with a Fool - Bladie Mae - Highway 61 Revisited - It Was Raining - Leland Mississippi - Mean Town Blues - Rock and Roll Hoochie Koo - Rock Me Baby - Still Alive and Well - Sweet Love & Evil Women - TV Mama. 96 pages

Inventory #HL 00695951
ISBN: 9781423416418
UPC: 884088096311
Width: 9.0"
Length: 12.0"
96 pages

JOHNNY WINTER: WHITE LIGHT

As if to mock the very notion of whether or not a "white man can play the blues,"
Johnny Winter, with his nearly translucent albino skin and blindingly white hair, blasted
down the doors starting in the late 1960s for everyone who loved the music. He once said,
perhaps ironically, "In my own mind, I was the best white blues player around," but clearly
that qualification no longer applies. The legendary Lonnie Mack and the British contingent
of Eric Clapton, Peter Green, Mick Taylor, and Jimmy Page before him had shown
the possibilities of rocking the blues, but no one was adequately prepared for Winter.
Notes flew from his fingers like blazing blue diamonds, creating shock and awe for everyone
within sight and earshot. It was the perfect culmination to the blues revival with Winter
carrying the torch while throwing gasoline on the fire. He would go on to not only influence
fellow Texans like Billy Gibbons and Stevie Ray Vaughan, but also the stone
Chicago blues cat Bernard Allison. Most significantly, for more than forty years he has
played and contributed to the musical language of the blues in ways that were only
strengthened by his numerous forays into rock.
John Dawson Winter III was born in Leland, Mississippi on February 23, 1944 to John
and Edwina, but was raised in Beaumont, Texas. The senior Winter, a career Army officer
who sang, played saxophone and banjo, and was a fan of the big bands, encouraged
Johnny and his younger brother Edgar to pursue music. John's father had been a cotton
broker in Leland and after WWII attempted to take over the business, becoming the boss
at the storied Stovall Plantation, an important figure in early blues history.
Johnny was singing and playing the clarinet by five, but eventually quit clarinet when
an orthodontist advised against it due to his overbite. Three years later he added the
ukulele to his repertoire and then was given the baritone variety by his grandfather. By
1954 he and Edgar were appearing as a duo, singing barbershop quartet songs like "Ain't
She Sweet" and "Bye Bye Blackbird," and even auditioning for the nationally broadcasted
Ted Mack's Original Amateur Hour. It was about this time that Winter's father offered
the opinion that there were only two people, Ukulele Ike and Arthur Godfrey, who had ever
amounted to anything on the diminutive stringed instrument, and that the guitar might
prove to be a better choice. The advice was heeded, especially after Winter realized that
the emerging rock 'n' roll music at the time was played on the guitar. Within the year, he
was learning note-for-note guitar solos off the records he bought by mowing lawns, hauling
garbage, and saving his lunch money. T-Bone Walker, Howlin' Wolf, Muddy Waters,
Chuck Berry, and Carl Perkins were favorites with The Best of Muddy Waters being an
early purchase and the records of Robert Johnson inspiring him to play slide guitar. He
recalls shopping regularly at a record shop owned by Keith Ferguson's father years
before Ferguson became the bassist for the Fabulous Thunderbirds. Winter's first guitar
was his great-grandmother's "hundred-year old classical guitar." Later, his great-grandfather
bought him his first electric guitar, a Gibson ES-125, non-cutaway, with a single P-90 pickup.
There were not many white people in Beaumont in the 1950s as seriously into playing
and listening to the blues as Winter. One of the few was Joey Long (nee Longoria)
who was a little older, and the first white man Winter heard play the music. Like almost
all electric blues guitarists from Texas, he was profoundly influenced by T-Bone Walker.
Winter, on the other hand, while acknowledging his debt to the legendary electric blues
pioneer, also had a strong love for Chicago blues not always shared by his fellow musicians.
When Winter would hear blues guitar idols like Otis Rush push and vibrato their
strings, he would marvel at how it was done, not realizing at the time that it was as much
an expression of their inner soulfulness as the lighter gauge strings they were using. For
a while he accomplished the technique with a whammy bar. Ever open to whatever blues
caught his fancy, it was the expert string articulation of Clapton that would eventually
convince Winter around 1967 to become an acknowledged master of finger vibrato and bending.
In 1959, with Johnny on guitar and Edgar accompanying on piano, Johnny & The
Jammers promptly won a local talent contest sponsored by radio station KTRM. Their
prize consisted of a recording session, and they cut the single "School Day Blues" b/w
"You Know I Love You," ultimately released by Dart Records. It became a regional hit,
resulting in Winter being called to provide guitar on record dates supervised by local promoters
and producers. As was the custom in those days, the music he was playing was
what people wanted to hear-rock 'n' roll, R&B, and then soul music-not blues. All the
while he was compulsively woodshedding his chops and voraciously listening to all the
blues recordings he could find. A treasure trove resided at radio station KJET where DJ
and bluesman Clarence Garlow of the Bon Ton show befriended him, took his requests
on air, and let him hang at the station while also showing him guitar techniques. "I first
saw him at Jefferson Music Company where I worked as a guitar teacher," Winter
explains. "He walked in and I recognized his voice. His style was similar to T-Bone Walker.
On his show he also played a lot of his own records" laughs Winter. "I was about twelve
years old, and he was one of the first guitar players to use light gauge strings, and he
taught me how to use an unwound third. We jammed together a few times, too, including
once at my house that was great."
Winter cites Chet Atkins and Merle Travis as guitarists who really made him want to
play (and his impetus for using a thumbpick). He learned the rudiments of country fingerstyle
from Jefferson Music coworker Luther Naley and some jazz from Seymour Drugan,
the father of Dennis Drugan (the bass player for the Jammers). He briefly attended Lamar
University in Beaumont after high school, sneaking down to Louisiana on the weekends
to jam in the blues clubs. There and in Texas he was often the only white person in the
club, but felt welcome for the most part due to his obvious and sincere love for the music.
His perseverance and total immersion in the blues gained him access to the local
scene by 1963 where he got to jam with B.B. King in a momentous occasion. The following
year he took a pilgrimage to Chicago to join Dennis Drugan in the Gents where he
hoped to play blues, but instead ended up once again performing the popular music of
the day. While in the Windy City he met Michael Bloomfield at his club, the Fickle Pickle,
for what would become a solid friendship based on mutual admiration. Winter was back
in Texas a year later, however, and cut "Eternally" for the KRCO label, which leased it to
Atlantic Records, scoring a regional hit that allowed him to advance to the next leveltouring
and opening for rock acts like Jerry Lee Lewis and the Everly Brothers. In 1967
he made a fortuitous move to Houston, a hot bed for blues in the Lone Star State, and
convened a trio with bassist Tommy Shannon and drummer Uncle John "Red" Turner,
who in turn encouraged Winter to concentrate on performing the blues, knowing he was
mastering the style at a rapid pace. The band became a fixture at the Vulcan Gas
Company ballroom, later dubbed Armadillo World Headquarters, and Winter's reputation
soared on the wings of his impossibly fast, furious, and fluid solos. While in residency he
got to play with Freddie King and met Muddy Waters for the first time, with whom he would
form a lifelong friendship. In addition, responding to the creative rock experimentation
going on in the late 1960s, he also tried his hand at the psychedelic experience musically
and sartorially.

Take an in-depth look at the fiery blues stylings of Johnny Winter with this instructional book/CD pack. You'll learn the main licks from 12 songs, including:

TITLE - AUTHOR - ALBUM - YEAR

Bad Luck Situation - Johnny Winter - SAINTS & SINNERS - 1974
Be Careful With A Fool - Words & Music: B.B. King, Joe Bihari - 1957 - JOHNNY WINTER - 1969 
Bladie Mae - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Highway 61 Revisited - Words and Music: Bob Dylan - 1965 - SECOND WINTER - 1969
It Was Raining - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Leland Mississippi  - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
Mean Town Blues - Words and Music: Johnny Winter - THE PROGRESSIVE BLUES EXPERIMENT - 1969
Rock And Roll Hoochie Koo - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Rock Me Baby - Words and Music: B.B. King, Joe Bihan - 1964 - STILL ALIVE AND WELL - 1973
Still Alive And Well - Words and Music: Rick Derringer - JOHNNY WINTER AND - 1970
Sweet Love & Evil Women - Johnny Winter - NOTHIN' BUT THE BLUES - 1977
TV Mama -  Johnny Winter - NOTHIN' BUT THE BLUES - 1977