Tag Archives: blues rock

Song of the Day: All Along the Watchtower (by Jimi Hendrix)

Posted on by Arleigh

If you’ve never really sat down with All Along the Watchtower, you’re missing out on one of those songs that just grabs you from the first few seconds. It’s got this tense, almost mysterious vibe right away, like something big is about to go down. And yeah, quick heads-up—this is actually a cover of a Bob Dylan song, but Hendrix completely transforms it into something way more electric, intense, and, honestly, iconic.

What really separates Hendrix’s version is how much more dynamic it feels compared to Dylan’s original. Dylan keeps it more stripped-down and acoustically grounded, which gives it that raw, almost haunting quality. Hendrix, on the other hand, builds this layered, immersive soundscape that feels bigger and more urgent. Even their vocal styles reflect that difference—both are rooted in blues, but Dylan leans into a delivery that feels closer to Robert Johnson, kind of dry and narrative-driven, while Hendrix brings a smoother, more fluid presence that echoes someone like Muddy Waters.

And then you hit the guitar work, which is really the heart of the whole thing. Hendrix doesn’t just give you one standout solo—he drops two. The first kicks in around the 0:55 mark, and it’s sharp, punchy, and sets the tone with that signature bite. Then he comes back again around 1:45 with another lead that feels even more expressive and fluid, like he’s pushing things further emotionally. Both solos feel purposeful, not just thrown in to show off—they actually drive All Along the Watchtower forward.

By the time the song wraps up, it leaves you with that “wait, play that again” feeling. It’s short, tight, and insanely replayable. Even if you’re not usually into older rock, this is one of those tracks that cuts through all that—it just sounds cool. Definitely worth throwing on with headphones and really soaking it in.

All Along the Watchtower

“There must be some kind of way out of here”
Said the joker to the thief
“There’s too much confusion
I can’t get no relief
Businessmen they drink my wine
Plowmen dig my earth
None will level on the line
Nobody offered his word”
Hey!

(Guitar Solo 1 @0:55)

“No reason to get excited”
The thief, he kindly spoke
“There are many here among us
Who feel that life is but a joke
But, uh, but you and I, we’ve been through that
And this is not our fate
So let us stop talkin’ falsely now
The hour’s getting late
Hey!

(Guitar Solo 2 @1:45)

Hey!

All along the watchtower
Princes kept the view
While all the women came and went
Barefoot servants too
Well, uh, outside in the cold distance
A wildcat did growl
Two riders were approaching
And the wind began to howl
Hey!

All along the watchtower
All along the watchtower

Great Guitar Solos Series

Song of the Day: Scuttle Buttin’ (by Stevie Ray Vaughan)

Posted on by Arleigh

If you’re diving into Stevie Ray Vaughan, you’ve gotta start with “Texas Flood“—that’s his absolute magnum opus, where his insane technique clashes head-on with raw, improvisational creativity in the most soul-shaking way. It’s like he’s channeling every ounce of Texas blues heartache through those bends and sustains, turning a cover into something timeless and volcanic.

“Scuttle Buttin’“, though? That’s SRV straight-up flexing for the shredders of his era, proving he could hang with the fastest gunslingers on the block while keeping it filthy and fun. It’s less about deep emotional pours and more about cocky, machine-gun precision that still drips with blues swagger—no fancy effects, just pure Stratocaster fury.

The real fireworks hit in the guitar solo, which begins around the :35 second mark, where he unleashes a torrent of rapid-fire picking, hammer-ons, and pulls that’d make any ’80s metal dude sweat. It’s not just speed for speed’s sake; every phrase snaps back to that gritty SRV attitude, like he’s daring you to keep up while grinning the whole time.

Trust me, crank this one up if you want to hear why Vaughan wasn’t just a blues guy—he was a monster who could out-shred anyone on their own turf. Jimi Hendrix had “Little Wing” to showcase his guitar solo mastery, but for SRV, “Scuttle Buttin’” was that track, proving why, of all the guitar players since Hendrix, only SRV truly picked up the mantle of the blues musician who straddled both blues and rock genres, making them bend to his will and talent. That’s why SRV is only surpassed in my mind by Hendrix as the greatest rock guitarist of all-time and top 5 guitarist regardless of music style.

Great Guitar Solos Series

Song of the Day: Sharp Dressed Man (by ZZ Top)

Posted on by Arleigh

When I first heard Sharp Dressed Man and saw the video, I knew there was real wisdom in not looking like a slob. ZZ Top basically lays it out in the coolest way possible: looking sharp isn’t about vanity, it’s about presence. That opening riff alone feels like a wake-up call—like, hey, maybe ditch the wrinkled shirt and step into something that actually fits. It’s not preachy, it’s just smooth persuasion backed by undeniable groove.

The whole track just struts with confidence. Billy Gibbons’ guitar tone is razor-clean, every note hitting like it’s been polished before being sent out into the world. Then the solo kicks in around 1:30, and that’s where everything locks into place. Instead of going for the harder, heavier rock sound that dominated the ’70s and ’80s, Gibbons leans into the song’s bluesy DNA, keeping it tight, expressive, and full of swagger. It’s not some over-the-top shred fest—it’s controlled, stylish, and full of attitude, exactly like the kind of guy the song is talking about.

What makes the song stick is how simple the message is. You don’t need a complete lifestyle overhaul—you just need to care a little. Clean shoes, a pressed shirt, maybe a jacket that actually fits. ZZ Top turns basic effort into a full-on identity upgrade. Suddenly, getting dressed isn’t a chore, it’s a move. And once you feel that shift, it’s hard to go back.

That’s why Sharp Dressed Man feels timeless. It’s more than just a blues-rock hit—it’s like a three-minute style intervention for guys who didn’t know they needed one. It may have helped men of all ages figure out how to dress well, but don’t go calling it “becoming metrosexual”—this is ZZ Top, not a spa day. And sure, being sharp dressed gets you most of the way there, but rolling up in a customized candy-apple red ’33 Ford three-window coupe doesn’t exactly hurt the overall look either. Style matters, but style with attitude—and maybe a little horsepower—is what really seals it.

And if you’re gonna get pulled over because Deep Purple’s Highway Star made you push the speedometer a little too far, you might as well be sharp dressed when you get your speeding ticket—I say that from experience, having been pulled over not in a ’33 Ford coupe but in a maroon 1991 Mitsubishi Galant while sporting a rented long-tail tuxedo… but hey, close enough.

Sharp Dressed Man

Ah
Yeah
Ow

Clean shirt, new shoes
And I don’t know where I am goin’ to
Silk suit, black tie (black tie)
I don’t need a reason why

They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man

Gold watch, diamond ring
I ain’t missin’ not a single thing
Cufflinks, stick pin
When I step out, I’m gonna do you in
They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man (uh huh)

Uh huh

(guitar solo @1:30)

Top coat, top hat
But I don’t worry ’cause my wallet’s fat
Black shades, white gloves
Lookin’ sharp, lookin’ for love

They come runnin’ just as fast as they can
‘Cause every girl crazy ’bout a sharp dressed man
(Oh-huh, you can’t lose with the dress I use)
(That’s right, real fine)

Great Guitar Solos Series

Song of the Day: Blue Sky (by The Allman Brothers Band)

Posted on by Arleigh

“Blue Sky” by The Allman Brothers Band is one of those songs that instantly lifts your mood — like cruising down a long stretch of highway under perfect weather. Dickey Betts wrote and sang it, and you can feel his sense of ease and optimism through the melody. But while the vocals are sunny and inviting, it’s the guitar work that really carries the song’s soul. Betts and Duane Allman trade licks like two friends finishing each other’s thoughts, creating one of the best musical conversations in rock.

Around 1:07, Duane Allman takes off with the first guitar solo. It’s bright, flowing, and packed with his signature slide-guitar emotion. Duane doesn’t just play notes — he makes the guitar sing, full of expressive bends and lyrical phrasing that sound spontaneous but purposeful. His solo feels alive, like he’s narrating the feeling of absolute freedom the song evokes. There’s a spiritual quality to his touch that sets the tone beautifully for the rest of the jam.

Then at about 2:37, Dickey Betts steps in with his solo, and the vibe subtly shifts. Betts’s lines are cleaner, more melodic, and dance across the rhythm with an almost country-like cheer. His phrasing is so smooth you can hear the future seeds of his later work, where melody takes center stage. While Duane’s solo soars in a soulful, searching way, Betts’s solo feels precise and joyful — he’s painting in sunlight. Together, their contrast creates a satisfying balance between fire and finesse.

The two guitars eventually weave together in harmony, returning to the main theme before easing back into the song’s final verse. It’s one of those moments that reminds you why the Allman Brothers were so special—the sheer communication happening between players. No flashy gimmicks, no ego, just musicians playing from a place of joy. If you’re new to the band, “Blue Sky” is the perfect entry point. It sums up their balance of skill and soul, and it’s the last recording Duane Allman played on before his passing, which gives that final harmony an even deeper resonance.

Blue Sky

Walk along the river, sweet lullaby, it just keeps on flowing,
It don’t worry ’bout where it’s going, no, no.
Don’t fly, mister blue bird, I’m just walking down the road,
Early morning sunshine tell me all I need to know

[CHORUS:]
You’re my blue sky, you’re my sunny day.
Lord, you know it makes me high when you turn your love my way,
Turn your love my way, yeah.

[Duane Allman guitar solo @1:07]

[Dickey Betts guitar solo @2:37]

Good old sunday morning, bells are ringing everywhere.
Goin to Carolina, it won’t be long and I’ll be there

[CHORUS]

Great Guitar Solos Series

Song of the Day: Dazed and Confused (by Led Zeppelin)

Posted on by Arleigh

Today’s Song of the Day is Led Zeppelin’s “Dazed and Confused”, that hypnotic Yardbirds cover Jimmy Page transformed into a sprawling psychedelic monster on their 1969 debut. Robert Plant’s otherworldly wails float over John Paul Jones’s prowling bass and John Bonham’s primal drums, crafting this foggy, trippy atmosphere that’s perfect for zoning out late at night. But let’s be real, it’s Page’s six-string sorcery that cements it as essential listening.

The real magic erupts at the 3:53 timestamp in the official release cut, when Page launches into his legendary guitar solo—a blistering torrent of bent notes, ferocious pentatonic dives, and those eerie, talkbox-esque squeals that sound like the guitar’s possessed. He’s wringing every ounce of emotion from his Telecaster, stacking fuzz, echo, and vibrato into a wall of controlled chaos that feels like a bad acid trip turned triumphant. It’s raw, innovative shredding that grabs you by the soul and doesn’t let go.

Live versions took it to another level, ballooning into 10+ minute odysseys with Page’s violin bow creating those haunting drones before he dives back into the frenzy—check the ’73 Madison Square Garden tape for the ultimate freakout. This solo isn’t just flashy; it’s Page channeling pure rock alchemy, paving the way for metal and jam gods alike. Crank it up and feel the daze.

Dazed and Confused

Been dazed and confused for so long, it’s not true
Wanted a woman, never bargained for you
Lots of people talkin’, few of them know
Soul of a woman was created below, yeah

You hurt and abuse, tellin’ all of your lies
Run ’round, sweet baby, Lord, how they hypnotize
Sweet little baby, I don’t know where you been
Gonna love you, baby, here I come again

Every day I work so hard
Bringin’ home my hard-earned pay
Try to love you, baby
But you push me away

Don’t know where you’re goin’
Only know just where you’ve been
Sweet little baby
I want you again

Ah, ah, ah, ah
(Did you ever look up my woman?)
Ah, ah, ah, ah
Aah-ah, aah, ah, ah, ah, ah, ah

Aah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, aah
Oh, yeah, alright

Been dazed and confused
For so long, it’s not true
Wanted a woman
Never bargained for you

Take it easy, baby
Let them say what they will
Tongue wag so much
When I send you the bill

Oh yeah, alright

Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh, oh
Oh, oh, oh

Great Guitar Solos Series

Song of the Day: Black Magic Woman (by Carlos Santana)

Posted on by Arleigh

Carlos Santana’s song “Black Magic Woman” is a timeless tune that hooks you right from the start, but it’s that guitar solo that really makes it unforgettable and that is what make it our latest “Song of the Day.” The solo kicks in around 2 minutes and 24 seconds into the track. What’s great about Santana’s solo is how it feels like a conversation rather than just fast playing. His guitar almost sounds like it’s telling a story, with smooth, soulful notes that seem to sing. It’s not about shredding or showing off; it’s about playing each note with feeling and attitude, making you want to listen over and over.

What really stands out in the solo is how Santana uses bends and vibrato — which means he gently raises the pitch of the notes and adds a slight shake. This gives the solo a warm and emotional feel, almost like a human voice expressing deep feelings. The smooth back-and-forth flow between notes keeps it easy to follow, so even if you’re not a guitarist, you can feel the emotion. Plus, the mix of Latin rhythms shines through, giving the solo a unique flavor that sets Santana apart from other guitarists and adds some groove to the song.

The solo in “Black Magic Woman” is what really grabs listeners and keeps them hooked. It’s not about playing a million notes fast, but about making every sound count and really feeling the music. Santana’s guitar almost talks and sings with a warm, inviting voice that pulls you into the mood of the song. His unique blend of smooth, flowing notes with just the right amount of grit and emotion makes the solo stand out as something special and timeless. Instead of flashy showmanship, it’s the deep connection you feel through the guitar that keeps the solo memorable and moving for generations of listeners. This soulful approach is what turns a simple guitar solo into a truly magical moment in the song.

Black Magic Woman

Got a black magic woman
Got a black magic woman

I’ve got a black magic woman
Got me so blind I can’t see
That she’s a black magic woman
She’s tryin’ to make a devil out of me

Don’t turn your back on me, baby
Don’t turn your back on me, baby

Yes, don’t turn your back on me baby
Stop messin’ around with your tricks
Don’t turn your back on me baby
You just might pick up my magic sticks

[guitar solo]

Got your spell on me baby
Got your spell on me baby

Yes you got your spell on me baby
Turning my heart into stone
I need you so bad – magic woman
I can’t leave you alone

Great Guitar Solos Series

Song of the Day: Sympathy for the Devil (The Rolling Stones)

Posted on by Arleigh

The latest “Song of the Day” is very near and dear to my blues-covered metal heart. I consider it one of the best rock ‘n’ roll songs ever created. It’s been covered by numerous bands in the decades since it’s initial release but I will always consider the original as the best. The latest song of the day is The Rolling Stones’ “Sympathy for the Devil”.

This song was released in the early days of December 1968. It was the opening track for The Rolling Stones’ latest album (Beggars Banquet) at that date. What makes this song so great is how simple the song really comes across. It doesn’t have the typical blues rock tone of previous Stones’ songs until Keith Richard’s guitar solo around the 2:55 mark. The song definitely sounds more like a combination of folk rock (by way of it’s spoken word-like lyrics) and a samba (due to the incorporation of additional percussions like the congas).

“Sympathy for the Devil” has been called a confession song while others see it as the narcissistic bragging of the narrator. Both viewpoints are quite valid and there are more as every listener of this song hears and imagines different themes. I always saw it as a combination of the two. It’s Lucifer’s confession and bragging about his role in the tumultuous and evil events in man’s history. It’s a song that its narrator wants to understand and admit that while he has been there through all those dark moments in history, he wouldn’t have been able to do what he’s done if not for people allowing him in and becoming complicit.

Sympathy for the Devil

Please allow me to introduce myself
I’m a man of wealth and taste
I’ve been around for a long, long years
Stole many a man’s soul and faith

And I was ’round when Jesus Christ
Had his moment of doubt and pain
Made damn sure that Pilate
Washed his hands and sealed his fate

Pleased to meet you
Hope you guess my name
But what’s puzzling you
Is the nature of my game

I stuck around St. Petersburg
When I saw it was a time for a change
Killed the czar and his ministers
Anastasia screamed in vain

I rode a tank
Held a general’s rank
When the blitzkrieg raged
And the bodies stank

Pleased to meet you
Hope you guess my name, oh yeah
Ah, what’s puzzling you
Is the nature of my game, oh yeah
(woo woo, woo woo)

I watched with glee
While your kings and queens
Fought for ten decades
For the gods they made
(woo woo, woo woo)

I shouted out,
“Who killed the Kennedys?”
When after all
It was you and me
(who who, who who)

Let me please introduce myself
I’m a man of wealth and taste
And I laid traps for troubadours
Who get killed before they reached Bombay
(woo woo, who who)

Pleased to meet you
Hope you guessed my name, oh yeah
(who who)
But what’s puzzling you
Is the nature of my game, oh yeah, get down, baby
(who who, who who)

Pleased to meet you
Hope you guessed my name, oh yeah
But what’s confusing you
Is just the nature of my game
(woo woo, who who)

Just as every cop is a criminal
And all the sinners saints
As heads is tails
Just call me Lucifer
‘Cause I’m in need of some restraint
(who who, who who)

So if you meet me
Have some courtesy
Have some sympathy, and some taste
(woo woo)
Use all your well-learned politesse
Or I’ll lay your soul to waste, um yeah
(woo woo, woo woo)

Pleased to meet you
Hope you guessed my name, um yeah
(who who)
But what’s puzzling you
Is the nature of my game, um mean it, get down
(woo woo, woo woo)

Woo, who
Oh yeah, get on down
Oh yeah
Oh yeah!
(woo woo)

Tell me baby, what’s my name
Tell me honey, can ya guess my name
Tell me baby, what’s my name
I tell you one time, you’re to blame

Oh, who
woo, woo
Woo, who
Woo, woo
Woo, who, who
Woo, who, who
Oh, yeah

What’s my name
Tell me, baby, what’s my name
Tell me, sweetie, what’s my name

Woo, who, who
Woo, who, who
Woo, who, who
Woo, who, who
Woo, who, who
Woo, who, who
Oh, yeah
Woo woo
Woo woo

Great Guitar Solos Series

Song of the Day: Ramblin’ Man (The Allman Brothers Band)

Posted on by Arleigh

The Allman Brothers Band, as accomplished and acclaimed as they were, seem to not have the garnered the same attention with the younger generations like their contemporaries such as Lynyrd Skynyrd, Kansas, Creedence Clearwater Revival, etc. It’s a shame really since they were probably the greatest band to come out of the southern rock scene.

Led by frontman Gregg Allman with the mythical Duane Allman and Dickey Betts bookending him as duo lead guitarists, The Allman Brothers Band came onto the scene with their mixture of blues-inspired rock and that southern flavor (almost a touch of the bluegrass and country) that left such a huge with rock listeners during the late 60’s and throughout the 1970’s. Their signature song will always be the ever-present “Whipping Post” where anyone wanting to take up the guitar will hear the genius slide-guitar playing of Duane Allman (dying at the age of 24 and cementing his spot in rock legend lore).

Yet, Dickey Betts also had his time to shine as Duane’s partner-in-crime and this is more than evident on his work in the band’s track “Ramblin’ Man” released in 1973 which in itself inspired by the Hank Williams song of the same name. “Ramblin’ Man” is one of the band’s more country-sounding song, but it’s blues rock foundation comes to the forefront with Dickey Betts performing the outro guitar solo to finish off the song.

While Duane Allman’s death in 1971 could’ve been the death knell to this rising band, it powered through this tragedy and more than a little help from Duane’s guitar-mate Dickey Betts.

Ramblin’ Man

Lord, I was born a ramblin’ man,
Tryin’ to make a livin’ and doin’ the best I can.
And when it’s time for leavin’,
I hope you’ll understand,
That I was born a ramblin’ man.

My father was a gambler down in Georgia,
And he wound up on the wrong end of a gun.
And I was born in the back seat of a Greyhound bus
Rollin’ down highway 41.

Lord, I was born a ramblin’ man,
Tryin’ to make a livin’ and doin’ the best I can.
And when it’s time for leavin’,
I hope you’ll understand,
That I was born a ramblin’ man.

[Interlude]

I’m on my way to New Orleans this mornin’,
Leaving out of Nashville, Tennessee,
They’re always having a good time down on the bayou, Lord
Them Delta women think the world of me.

Lord, I was born a ramblin’ man,
Tryin’ to make a livin’ and doin’ the best I can.
And when it’s time for leavin’,
I hope you’ll understand,
That I was born a ramblin’ man.

[Repeat and Fade]
Lord, I was born a ramblin’ man…

[Guitar Solo]

Great Guitar Solos Series

Horror Song of the Day: Highway to Hell (by AC/DC)

Posted on by Arleigh

Highway to Hell

We’ve finally reached the finish line. It’s now Halloween. Enjoy the sun while it out and about because when it goes down and the sky darken and turns to black, the ghouls and monsters come out to play.

Those inclined towards enjoying the darker aspects of life will dance and play throughout the night as they continue their way down the highway to hell.

“Highway to Hell”

Living easy, livin’ free
Season ticket, on a one – way ride
Asking nothing, leave me be
Taking everything in my stride
Don’t need reason, don’t need rhyme
Ain’t nothing I would rather do
Going down, party time
My friends are gonna be there too

I’m on the highway to hell
On the Highway to hell
Highway to hell
I’m on the highway to hell

No stop signs, speedin’ limit
Nobody’s gonna slow me down
Like a wheel, gonna spin it
Nobody’s gonna mess me ’round
Hey Satan! Paid my dues
Playin’ in a rockin’ band
Hey Mama! Look at me
I’m on my way to the promise land

I’m on the highway to hell
Highway to hell
I’m on the highway to hell
Highway to hell

Dont stop me!

I’m on the highway to hell!
I’m on the highway to hell!
I’m on the highway to hell!
I’m on the highway to hell!

And I’m goin down..all the way!
I’m on the highway to hell..

Song of the Day: Simple Man (by Lynyrd Skynyrd)

Posted on by Arleigh

Lynyrd Skynyrd

This past week saw another great musician pass away.

Ed King was an integral part of the three-guitar sound that made the Lynyrd Skynyrd sound so unique among the other blues-inspired American rock bands of the 70’s. Some have called Ed King the backbone of the band.

He was great either on bass guitar or as the third guitarist. The latter becoming the signature sound of the band’s most popular song and one of their most requested: “Free Bird.”

While it’d be simple enough to commemorate Ed King’s passing with another listen to that hit song, it’s on another much simpler song of the band’s that best typifies the member of Lynyrd Skynyrd. He who helped give them their signature sound and whose laid-back attitude finally convinced him that it was time to leave the band when the atmosphere around it began to turn mean and violent.

Some fans of Lynyrd Skynyrd don’t have good things to say about Ed King. They think he bailed on the group just when they were reaching the pinnacle of their success and popularity. But as the song “Simple Man” says, “Oh, take your time, don’t live too fast.”

That was Ed King. It’s time you joined the rest of your band mates waiting for you up above.

Simple Man

Mama told me when I was young
“Come sit beside me, my only son
And listen closely to what I say
And if you do this it’ll help you some sunny day”

“Oh, take your time, don’t live too fast
Troubles will come and they will pass
You’ll find a woman and you’ll find love
And don’t forget, son, there is someone up above”

“And be a simple kind of man
Oh, be something you love and understand
Baby be a simple kind of man
Oh, won’t you do this for me, son, if you can”

“Forget your lust for the rich man’s gold
All that you need is in your soul
And you can do this, oh baby, if you try
All that I want for you, my son, is to be satisfied”

“And be a simple kind of man
Oh, be something you love and understand
Baby be a simple kind of man
Oh, won’t you do this for me, son, if you can”

Oh yes, I will

“Boy, don’t you worry, you’ll find yourself
Follow your heart and nothing else
And you can do this, oh baby, if you try
All that I want for you, my son, is to be satisfied”

“And be a simple kind of man
Oh, be something you love and understand
Baby be a simple kind of man
Oh, won’t you do this for me, son, if you can”

Baby, be a simple, be a simple man
Oh, be something you love and understand
Baby, be a simple kind of man