HOW TO pLUES GUMAR STEFAN GROSSMAN Nea Re ec Rene oon ae ett sera See a eC oe Oe Reale ev Cnea TN CCe ce COMPLETE WITH: ¢.12 HIGH FIDELITY INSTRUCTION RECORD * 24-PAGE INSTRUCTION BOOK EXPERTLY ANNOTATED AND FULLY ILLUSTRATED Dei te wate Le tli) At) 1) * BLUES DISCOGRAPHY ALL THE FUNDAMENTALS OF BLUES GUITAR PLAYING! Recorded by PETER K. SIEGEL Production supervisor: JAC HOLZMAN XTRA RECORDS Manufactured and Distributed by TRANSATLANTIC RECORDS LTD. 86 Marylebone High Street, London, WIM 4AYANNOTATED INDEX Section 1 -- An introduction to alternating bass. ‘The style was made famous by Mississippi John Hurt, but it is used by city guitar players as well as country musicians, VESTAPOL ‘TURN YOUR MONEY GREEN ‘YOU GOT THE POCKETBOOK ‘AND I GOT THE KEY Section 2 -- Four duets, ranging from alternating bass to a 1905 carnival song, all "in the style of". CANDYMAN M&O BLUES OLD COUNTRY ROCK CANNED HEAT Section 3 -- Time to break away from alternating bass and put other techniques into effect. SAVE UP YOUR MONEY MONDAY MORNING BLUES POLICE DOG BLUES Section 5 -- Two of the hardest, most interesting Mississippi blues, Bo: .ieces came out of the Delta, yet they are quite different in feeling, MISSISSIPPI BLUES FUTURE BLUES Sources have been given-for each piece, If possible, build a library from recordings of gg thom, It's the best way to hear many of the great blues, and it is important to your playing to hear them. Wards accompany most of the songs in the book; the vocal phras- ing can be learned from the suggested records ~- that's really a series of lessons in it- self, HAND POSITION Keep your pinky on the face of the guitar. It's an unorthodox position, but country blues needs a hard, steady beat, You can get it best with your hand firmly in place, Many of the old bluesmen - Jol Hurt, Rev, Gary Davis ~~ kept not only their pinkies but also their ring fingers on the guitar, ‘The balls of your fingers should be at right angles to the string, You don't have to be exact; but if your fingers start to slant too much, a sloppy sound developes. all photos by: Herbert Grossman Tey to copy the position of my handTablature System ‘The notation for the tablature system is shown below. Most country blues are too rhyth- rically complicated to write in music form; tablature system shows fingering and the cars show the time, After you use the tablature system for a while you will find that it is "more personal” than music notation, Most guitarists can learn the system in a lesson or two ~- but you have to take the time to learn it -- don't just glance at the page. Each space is a string. ie 1 means high E . 2 means B string b 3 means b 4 means D & 5 means A 6 means low E string —_—_— A zero on the space means open string, In this case it is open first string, A number on the space means the string is fretted at that point, Here we have third fret of the sixth string. The small letters indicate chords to be used. The big letter indicates what picture this position relates to. a A staff going up from the number means your index or middle fingers strikes the note -- whichever is more comfortable. AA line connecting two numbers means these two notes are pinched together, A staff going down from the number means your thumb hits the note, - ee —_ A dot after the number means it is to be played as a harmonic, A staff between a series of numbers shows the begining and end of a phrase, ‘A dash between numbers means that your finger slides from one fret position to another, In this case the slide is from the second fret sixth string to the four fret sixth string, v A"W" means the note is whammed, A blues effect of mtn i tig di ete,By the time we started to play country blues guitar, many of the great Negro blues and gospel singers were dead. We could only hear them on old, and usually scratchy, 78 rpm records, Some of the bluesmen, long lost in time and circumstance, were rediscovered by friends, Two or three of them playing together widened to parties and talk, We were lucky, We went and listened and learned, We picked up -- that sounds too simple -- we worked to learn the different styles of playing, Some of the pieces we did were exact imitations; others were "in the style of", We turned it into a game, Choose a tune, play it in one artist's style, then another's. Or play it as it would be played in different parts of the country, "Hey, how would that sound by Reverend Davis?" "How would it go in Waycross, Georgia?" Over and over, around the room. We did this record to pass on what we learned from those old 78's, from the parties, from the bluesmen who became friends, The sixteen songs on the record are arranged to help other guitar players learn more about country blues playing. The course isn't meant to take you from "Beginner" to "Advanced Picking"; you should already know guitar chords and be somewhat familiar with blues, First play the record through a few times. Unlike many instruction records, this one has been programmed to be just plain listenable -- all the easy songs don't come first, all those in a certain style aren't grouped together. The course book does not follow the record, Here the songs are arranged by style and difficulty. On the record, therefore, the spirals between songs have been widened so that when you "play along" there will be space enough to set the arm back, But be familiar with the sounds before you pick up your guitar and come back to the book. Each piece has been transcribed into a tablature system which shows chord positions and the fingers and strings to use. The record gives you rhythms, tone and accents, Used together, the book and record are as close as we could come to teaching the way we learned, The record gives the sound: "Here's the way it goes". ‘The book tells how it gets that way. Listen a lot -- not just to this record, try the discography at the end of the book, Play along with the records, Try different styles, Practice. And don't get discouraged the first fifty times through, Learning country blues is a little like learning a new language. Stefan Grossman Sunshine KateVESTAPOL, Almost every bluesman has VESTAPOL in his repertoire, This version was put together from the playing of Elizabeth Cotton, Rev. Wilkins and Furry Lewis, It's a good piece to start with, the finger positions are simple and the only thing you have to concentzate on is the alternating bass, The hardest part is bringing your playing up to speed -~ the ‘tune started with the sound of a train, ‘The piece is played in Open D, ‘Two other fingerpicking tunes in the course are in Open D, ‘TURN YOUR MONEY GREEN and POLICE DOG BLUES, but they are more complicated, To put your guitar in Open D, tune the strings: DA D FH A D. E SECOND TIME THROUGH VARIATION FOG TOP TWO LINES‘TURN YOUR MONEY GREEN ‘One of the earliest fingerpicking tunes I learned was TURN YOUR MONEY GREEN. This version, taken from the playing of Furry Lewis, is played in Open D, but it is alittle harder than VESTAPOL, The fingering is more complex and you will need to develop the use of the 4th finger to attain the chord position shown in Photo A. The bass does not keep alternating and in parts you pick specific licks, Your guitar should be tuned: DA D F¥ A D. ‘TURN YOUR MONEY GREEN, as sung by Furry Lewis on the R,C.A. Victor "xX" series, ‘When I was in Missouri would not let me be, When I was in Missouri would not let me be, Wouldn't rest content till I came to Tennessee, If you follow me baby I'l turn your money green, IE you follow me baby I'l turn your money green, Til show you mare money than Rockerfeller ever seen, If the river was whiskey, baby and I was a duck, IE the river was whiskey, baby and I was a duck, I'd dive to the bottom, Lord I'd never come up. ‘Lord the woman I hate I see her every day, ‘Lard the woman | hate I see her every day, But the woman | love she's so far away, CAPOED Foue FRETS ‘Takk about tree hollerin’, I declare I'm an honest man, ‘Talk about tree hollerin', I declare I'm an honest man, Give my woman so many dollars broke her apron string. All she give me was trouble, I'm troubled all the time, All she give me was trouble, I'm troubled all the time, T've been troubled so long, trouble don't worry my mind, Ive been down so long it seem like up to me, I've been down so long it seem like up to me, ‘Woman I love she done quit poor me. What's @ made me hollerin', what's a madin’ me cryin’, What's a made me hollerin’, what's a madin’ me cryin’, Woman love she don't pay me no mind,YOU GOT THE POCKETBOOK AND I GOT THE KEY Because I lied John Hurt's guitar playing, Rev. Davis taught me this alterhating bass piece. He was trying to show me that this style was also used in North Carolina He used the style in other tunes -- COCAINE BLUES and PEOPLE THAT USED TO SEE CAN'T SEE NO MORE -- but YOU GOT THE POCKETBOOK AND I GOT THE KEY is good to start with in regular tuning, It is a challenge, but the results are pretty enough to be worth the effort, Put your guitar in regular tuning, ¢ & © C chord pos to be used throughout song. SECOND SECTION E F F chord position to be used throughout song.CANDYMAN CANDYMAN, one of Rev, Davis! most popular songs, was first heard in 1905 at carnival shows, It is available now on his instrumental for Prestige Records. Mississippi John Hurt has another, and very different, version, On this record, however, the song is done the way I learned to play it with Rev. Davis. One guitar is capoed five frets up and played in position, ‘The other guitar is in F posi- tion and no capo is used. The combination is a jumpy exciting sound, Fiesr GuiTae Paar © c ' i Secowo Guirse rer £ & ctM & O BLUES M& O BLUES is one of a large family of Mississippi Blues such as STONE PONY BLUES by Charley Patton, Tommy Johnson's BYE BYE BLUES, | learned this version from a Willie Brown 78 xpm, but it is now available on Original Jazz Library"MISSISSIPPI BLUES". Once you got the guitar part down, listen to the original; Brown adds vocal to the instru- ental, Isolated, the music isn't too difficult. Isolated, the vocal isn't really impos- sible, Put them together and you create a tightly woven, intricate piece, Here the song is done as a duet -~ the second guitar is playing in the style of Charley Patton while the first plays Brown's part. Although the technique needed for this piece isn't too hard, I remember it took me along time and much practice to get a decent sound, N & O BLUES is played in E position, Leave here gonna, catch that M & O. ‘Now when I leave here gonna, catch that M & 0, . I'm goin’ way down South, where I ain't, never been there before, Cause I had a notion, Lord and I believe I will, Cause I had a notion, Lord and I believe I will, 1m goin’ to build me a mansion out on Decataur Hill, Now hear all you men, ought to be ashamed of yourselves, ‘Now all you men, ought to be ashamed of yourselves. goin’ round here swearing poor girl you're a poor woman by yourself, I started to kill my woman till she layed down cross the bed, I started to kill my woman till, layed down cross the bed, ‘And she looked so ambitious, till] tock back everything I said, ‘And 1 asked her how ‘bout it, Lord and she said alright, ‘And 1 asked her how ‘bout it, Lord and she said alright, But she never showed up at the shack lastnight,OLD COUNTRY ROCK ‘The original Exom which this version of OLD COUNTRY ROCK is taken is by William Moore and can be heard as an instrumental on an Origin Jazz Library record called REALLY! THE COUNTRY BLUES or as a vocal, ONE WAY GAL, on OJL "COUNTRY ENCORE", To get even more exact, the piece is a delicate imitation of Blind Blake's famous WEST COAST BLUES, What we have done is a duet with the lead guitar playing in the Virginia style of Moore, the second guitar in the style of Mississippi John Hurt. ‘The result is a tune with 2 new flavor. ‘The piece is played in regular tuning with the low E string tuned down to D. The next song, CANNED HEAT, uses the same tuning, but with a different right hand technique, to produce a totally different feeling,CANNED HEAT CANNED HEAT is one of Tommy Johnson's most beautiful pieces, The original can be heard on a Folkways reissue," MISSISSIPPI BLUES", The piece is done here as a duet. In the introduction | noted we sometimes play exactly what the bluesmen dd, other times "in the style of" -- this is a combination, One guitar is playing as Johnson did, the second guitar part is a variation of STONE PONY BLUES, Use regular tuning with the low E string tuned down to D. Cryin’ canned heat mama, eryin' jello killing me Cryin’ canned heat mama, jello killing me Hey got to run to, take these canned heat blues. CCeyin' mama, mama, mama, you krow canned heat killing me, Cryin’ mama, mama, mama cryin’ canned heat is killing me, Canned heat don't do, like, jello never done. Iwoke up, up this morning, with canned heat on my mind, ‘Woke up this morning, canned heat was on my mind, Woke up this morning, with canned heat on my mind, Cryin! Lord, Lord I wonder, canned heat Lord, killin’ me, You got to run babe, tell me about my soul, Because a brown skin woman don't do this easy roll, woke up, up this morning, cryin’ canned heat around my bed, Run here somebody, take the canned heat too, Run here someone, and take the canned heat too, Cryin’ mama, mamma, mamma, cryin! canned heat killin’ me, Pray to my soul Lord, it gonna kill me dead, Cryin’ mamma, mamma, mamma, cryin’ camed heat killin’ me, Pray to my soul Lord, it gonna Kill me dead. 10SECOND TiME THROUGHSAVE UP YOUR MONEY ‘The full title of this piece is SAVE UP YOUR MONEY, JOHN D, ROCKERFELLER PUT THE PANIC ON, When he taught it to me, Rev, Davis didn't remember too many verses, but he «4d recall it being used in medicine shows, Here, for the first time, is a comparatively simple piece which doesn't use alternating bass all the way through, Listen to any of Rev, Davis' records to hear the style completely explored, You've heard his name mentioned a lot in this course, partly because I studied with him for years, mostly because he is one of the best and most versatile guitar players, SAVE UP YOUR MONEY is played in C position. c phat —atat ral E ALTERNATE BEGINNING ~ FiesT TWO MEASURES © 1 MONDAY MORNING BLUES Mississippi John Hurt taught me MONDAY MORNING BLUES and it is an excellent example of his style, ‘The piece is somehwat harder than those so far. It is the first in regular tuning in the A position -~ there are new chord and fingering positions which are more difficult to maintain, MONDAY MORNING BLUES as sung by Mississippi John Hurt, on Folkways, "Friends of Old Time Music, woke up this morning with the Monday morning blues woke up this morning with the Monday morning blues woke up this morning with the Monday morning blues Wel: just couldn't find my Monday morning shoes, Well | just couldn't find my Monday morning shoes. Well I just couldn't find my Monday morning shoes. Monday morning blues searched out all through my bones, Monday morning blues searched out all through my bones, Monday morning blues searched out ll through my bones, Monday morning blues made me leave my home, Monday morning blues made me leave my home, I've been laying in jail six long weeks today, 12I've been laying in jail six long weeks today, Mister change a dollar give me a lucky dime, {Ive been laying in jal six long weeks today, Mister change a dollar give me a lucky dime, And tomorrow morning gonna be my trial diy, That's the only time ever felt like cryin, And tomorrow morning goma be my trial day, That's the only time ever felt lke cry, ‘Ask the judge what might be my fine, ‘That's the only time ever felt like cxyin!. ‘Ask the judge what might be my fine, My heart struck sorrow guilt come rolling down, ‘Ask the judge what might be my fine, My heart struck sorrow guilt come rolling down, Get a pick and shovel let's go down in the mine, My heart struck sorrow guilt come rolling down. Get a pick and shovel let's go down in the mine, Some folks say Monday morning blues ain't bad. Got a pick and shovel let's go down in the mine, Some folks say Monday morning biues ain't bad. Mister change a dollar give me a lucky dime, Sore folks say Monday morning blues ain't bad, It's the worst off feeling that I ever had, It's the worst off feeling that I ever had, It's the worst off feeling that I ever had, 1 ¥ e ~w \ the ¢ A ) se 13POLICE DOG BLUES Blind Blake, from Georgia, was one of the fancy, popular and exciting guitar players to come out of the Twenties. He did everything from ragtime tunes to lowdown Blues ~~ and was the most imitated guitarist of the era, Right now none of his records are available jin the States, but watch for reissues, POLICE DOG BLUES is played in Open D tuning, Although in the listening it sounds fairly simple, you will notice how complicated it really is when you start to play, ‘The bass goes from half time to a straight alterating bass to no bass at all, The finger positions are simple, but the right hand technique is complex, Pay attention also to the unusual harmonics, Tune your guitar: D A D FF A D All my life I've been a travellin' man, All my life I've been a travellin' man, Staying alone and doing the best I can, All my life I've been a travellin’ man, I shipped my trurk down to Tennessee, Hard to tell about a man like me, All my life I've been a travellin’ man, Inmet a gal couldn't get her off my mind, She passed me up, saying she didn't like my kind, All my life ve been a travellin' man. [I'm scared to bother round her house at night, Got a police dog craving for a fight, All my life I've been a travellin’ man, His name is rambling when he gets a chance, He leaves his mark on everybody's pants, All my life I've been a travellin' man, Guess I'll travel, guess I'll let her be, Before she sics her police dog on me,BANTY ROOSTER Although many versions of BANTY ROOSTER are recorded, I learned this one from Son House. Late one night the tape machine was on and we were talking about the Mississippi Delta and its music, Son started to sing BANTY ROOSTER "like Charley Patton used to”, then he did it his way" ~~ which is how itis played here, You will hear on the record when you should use the bot tleneck or knife instead of fretting the guitar ~- the sound will be easy to identify, Getting control over the bottleneck or erie will take practice, And don't try to match the record's sound exactly, everyone's bottleneck sound is different, BANTY ROOSTER is a simple piece in Open G tuning. Later on we have a harder one in the same tuning, GOING TO BROWNSVILLE. For Open G, tune your guitar; DG DG BD BANTY ROOSTER BLUES (as sung by Charlie Patton, on Origin of Jazz Library, Charley Patton, Vol. 2.) I'm gonna buy me.a banty, put him at my back door, I'm gonna buy me a banty, put him at my back door, Cause see a stranger comin’, he'll flap his wings ard crow. What you want with a rooster, he won't crow fore day, What you want with a rooster, he won't crow fore day, What you want with « man when he won't do nothin' he say. 16What you want with a hen won't cackle when she lay, What you want with a hen won't cackle when she lay, What you want witha woman when she won't do nothin’ I say. ‘Aw take my picture, hang it up in Jackson's wall, ‘Aw take my picture, hang it up in Jackson's wall, ‘Anybody asks you what about it, tell ‘em that's all, that's all. My hock's in the water, and my cork’s on top, My hock's in the water, and my cork's on top, How canl lose, Lord, with the help of God. Tow my dog anyubere I hear him bark, know my dog anywhere 1 hear him bark, Ian tell my rider if I feel her in the dark, 17GOD MOVES ON THE WATER ‘Blind Willie Johnson tells the story of the Titanic with this piece, His version is rot available on record, but if you want the words, which are difficult to transcribe, listen toa similar version by Mance Liscomb on Arhoolie F 1023, GOD MOVES ON THE WATER is not too difficult; it has an alternating bass with the guitar tuned to Open D. This is the only bottleneck selection in Open D in the course. IE you want to hear more, listen to records by either Furry Lewis or Robert Johnson, All the fretted notation in the tablature is to be done with the bottleneck. The guitar is tured: DA D FHA D WHISTLING BLUES Rey, Davis taught me this tune after I had played him a tape by Bukka White doing PANAMA LIMITED, Rev, Davis asked his wife for a bottle or glass, She gave him an eight inch cigar holes and he played WHISTLING BLUES. He went on with many variations, taking the guitar from Open D to a tuning! called D® Open. The selection here, a compara- tively easy one, is just a part of what he did, Again, all the fretted notation in the tablature is done with the bottleneck, The guitar is tuned: DAD FEA B 18GOIN’ TO BROWNSVILLE GOIN' TO BROWNSVILLE is one of the most popular blues recorded. version is taken from the playing of Robert Johnson, Furry Lewis and Fred McDowell, 1t is a difficult piece with a lot of left hand technique -- technique that words can't describe but practice will find, It would help to listen to Robert Johnson, on Columbia, doing TRAVELLING RIVERSIDE BLUES and IF I HAD POSSESSION OVER JUDGEMENT DAY, Both are similar to GOING TO BROWNSVILLE, ‘The fretted notation in the tablature is played with the bottleneck, ‘The guitar is in OpenG: DG DG BD. Now I'm goin’ to Brownsville, I'll take the right hand road, Now I'm goin’ to Brownsville, I'l take the right hand road, ‘And I won't stop walkin’ till get to sweet mama's door, The giel I'm lovin’ got great long curly hair, The girl I'm lovin’ got great long curly hair, But her mama and her father sure won't ‘low me there. I you catch my jumper hanging outside your wall, If you catch my jumper hanging outside your wall, Now you know by that Babe, I need my ashes hauled, And went to the mountain, just as far as my eyes could see, ‘And I went to the mountain, just as far as my eyes could see, But a man got my woman and lonesome blues got me, 19 ‘And I rolled and I tumbled and I eried the whole nite long, ‘And [rolled and I tumbled and I cried the whole nite long, Boy I woke up this morning my biscuit roller gone. Now run here Baby, set down on my knee, Now run here Baby, set down on my knee, Twanta tell you all about the way they treated me.‘MISSISSIPPI BLUES This piece was taken from a Library of Congress recording of Willie Brown, (Not the same Willie Brown mentioned in the notes on M & O BLUES.) It is essentially an imitation of the blues piano playing of the twenties and thirties. IE you listen to Leroy Carr piano recording you will hear the similarities, The piece is performed here as a duet, The lead guitar plays the melody, the second guitar the rhythm ~- much like 1950 rhythm and blues, MISSISSIPPI BLUES is compara~ tively difficult, Refer to the photographs to get the Fingering of the chord positions, Put your guitar in standard tuning E A DG BE 20MISSISSIPPI BLUES Going down the Delta where I can have my fun ‘Going down the Delta where I can have my fun Where I can drink my white light and gamble Ican bring my baby hime, Don't the Delta look lonesome when that evening sun goes down, Don't the Delta look lonesome when that evening sun goes down, ~ Well you be looking for your baby, don't know where she could be found, Going back to my usta be although that she has done me wrong. Going back to my usta be although that she has done me wrong, Well I think I'll have to forgive her cause I'm tired of drifting through this world alone, She treat me dirty but I love her just the same, She treat me dirty but I love her just the same, Well it just break my heart to hear her call some other man call her name. Now goodbye I'm going to leave you and I won't be back no more, Now goodbye I'm going to leave you and I won't be back no more, ‘And my mind gets to rambling see you in 144, @ 21FUTURE BLUES FUTURE BLUES is one of the hardest country blues I know -~ it took years to really learn. You can hear the original on a reissue, Origin of Jazz Libraxy, "MISSISSIPPI BLUES", Vol, 1, by Willie Brown, (The M & O BLUES one.) It is one of the outstanding blues recorded. ‘The piece is a striking example of a style of guitar playing which came out of the Mississippi Delta, Most notable is the snapping of the bass strings. The thumb of the right hand comes under the string and allows it to snap back against the fingerboard. To hear more of the style, listen to Charley Patton's MOON GOIN' DOWN -- it is particularly effective, ‘The many different rhythm patterns which Brown used makes FUTURE BLUES especially intricate. ‘The vocal placed on top of the instrumental creates an incredibly complex arrangement, Put your guitar in Open G tuning: D G DG BD. Can't tell my future, I can't tell my past. Lord it seems like every minute, sure gonna be my last. ‘The minutes seems like hours and hours seems like days, ‘The minutes seems like hours, hours seems like days, And it seems like my woman oughta stop hor lowdown ways ‘The woman | love now she's five feet from the ground, 1 said, The woman I love now, Lawdy, five feet from the ground, And she's tailor made and ain't no hand me down, Lord and 1 got a woman now Lord and she's lightning, when she, lightning, when she, lightning smile. I says I got a woman Lord and she's lightning when she sniles Five feet and four inches and she's damn good liking size, Well 1 know you see that picture now Lordy, up on your mother's, up on your mother's, mother's shelf, 1 know you see that picture now, up on your mother's shel, Well you know by that I'm gettin’ tired of living by mysel. And it's T for Texas, now T for Tennessee, Andiit's T for Texas, now it's T for Tennessee, Lord left that woman, that put that thing on me. 22DISCOGRAPHY This discography is by no means a complete listing of the records you should listen to to fill out your repertoire and your knowledge of style, It is, however, a good start. Add others as you go along. Watch for reissues ~~ especially of the artists mentioned in the course booklet. Tite fongat (ORIGIN JAZZ LIBRARY Mississippi Blues Vol. 1 BLUES CLASSICS ARHOOUE Mississipi Blues Vol. 2 Really! The Country Blues Country Bies Encores (Charlie Patton ‘Charlie Patton Vol, 2 ‘The Country Girls ‘The Great Jug Bande easy Thomas Memphis Mine ‘hues Classes Vol, 1 Blues Classics Vol, 2 ‘Blues Classics Vol, 3 Mance Lipscomb 1 Son Jackson Number os wan oyu ons Oya on? ons ons Ls BCL BCS BCs C7 F100 F 10m 23 REF ELEKTRA COLUMBIA ‘VANGUARD PRESTIGE ‘The Country Blues ‘Blind Willie fohason Sleepy john Estes Atlanta Blues Mansell Street Jimmy Davis Leadbelly, Library of Congress Recordings Robert Johnson, King Of The Delta Blues Singers ‘Son House, Father of Folk Bhes Mississippi john Hurt; Today Skip James; Todty Chicago, The Bins Today, Vel. 1,2, 3 Gary Davis; Pre Religion RBF BF 10 RAE 8 RBF 1S FKLI03 EKL 30/2 Liss cL yrs 9220, Rs su19 ‘vag 5216, 9217, 9218 PREL 008HOW TO a3 cums At last. a definitive instruction album which describes, simply yet thoroughly. the techniques and fundamentals of playing Blues guitar. COMPLETE WITH: «.12 HIGH FIDELITY INSTRUCTION RECORD * 24-PAGE INSTRUCTION BOOK EXPERTLY ANNOTATED AND FULLY ILLUSTRATED « FINGER TABLATURE FOR 16 FAMOUS BLUES «* BLUES DISCOGRAPHY ALL THE FUNDAMENTALS OF BLUES GUITAR PLAYING! Recorded by PETER K. SIEGEL Production supervisor: JAC HOLZMAN XTRA RECORDS Manufactured and Distributed by TRANSATLANTIC RECORDS LTD. 86 Marylebone High Street, London, WIM 4AY