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Buddy Guy on the blues giant who turned his back on him — and the hilarious reality check that followed
By Christopher Scapelliti Published
Albert King was notoriously protective of his upside-down guitar style, but Guy was quick to point out why copying his moves was literally impossible

Tommy Emmanuel says a fatal gang fight triggered a lockdown before his gig at San Quentin Prison. He went on anyway
By Phil Weller Published
Performing for lifers inside California’s most notorious prison, the guitar legend was rewarded with tears, bear hugs, and a deeply moving reminder of the healing power of music

Eric Clapton’s Beano album just turned 60, but you’re still missing the point of what Slowhand achieved
By Jim Campilongo Published
Slowhand reinvented electric blues with this landmark recording.

"She made it look so effortless.” Watch Amy Winehouse stun audiences with her voice and a Stratocaster
By Christopher Scapelliti Published
Known for her singular voice, Winehouse was also a talented guitarist. She died 15 years ago today

Randy Rhoads’ constant practice drove Ozzy Osbourne crazy. The solution? A tiny pedalboard designed to please them both
By Christopher Scapelliti Published
A unique feature were the "Ozzy Jacks," added at the singer's insistence

Ronnie Montrose offered a brutal assessment of Sammy Hagar
By Christopher Scapelliti Published
Montrose had fired Hagar from his namesake band, but in 1983 he still believed his former singer was “adequate” at guitar and “just ends up using every cliché in the book”

Tommy Emmanuel on the challenging guitar technique Chet Atkins taught him in a dream
By Christopher Scapelliti Published
Emmanuel was just 11 when he found solace in Chet Atkins’ albums. Years later, the guitarist appeared in a dream and taught him the technique he couldn’t figure out in waking life

Vince Gill explains how his fingers became the secret to the Telecaster sound that fooled a steel guitarist
By Christopher Scapelliti Published
From his beloved ’53 Telecaster to the fingerstyle technique he learned from Mark Knopfler, Gill explains why the sound of a guitar ultimately comes down to the hands playing it
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