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Chapter 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll<br />

Heavy “Blooze”: The Infusion<br />

of Hard Rock<br />

Beginning in 1968, blues rock took a huge leap forward with the arrival of<br />

early hard rock and metal bands like the Jeff Beck Group, Led Zeppelin, Deep<br />

Purple, Black Sabbath, Ten Years After, Grand Funk Railroad, and Mountain.<br />

Within a few years, hard rock guitarists in both the United States and the<br />

United Kingdom were turning vintage blues licks into liquid metal with<br />

screaming string bends, power chords, and heavy distortion from their<br />

stacks of high-wattage tube amps.<br />

241<br />

In this section, I cover the hard rock blues guitar greats: Jimmy Page, Leslie<br />

West, and Ritchie Blackmore of Deep Purple.<br />

Jimmy Page, frontrunner of the metal blues<br />

The quintessential group from this heavy era was Led Zeppelin, led by ex-<br />

Yardbirds guitarist Jimmy Page. A former London session guitarist, Page was<br />

a jack of all trades: He played everything from speedy blues-box leads (“Good<br />

Times, Bad Times”), country- and rockabilly-inspired breaks (“The Song<br />

Remains the Same”), bottleneck slides (“You Shook Me”), and excellent<br />

acoustic fingerstyles (“Bron-Yr-Aur”). The melodic jazz-pop of ’50s guitarist<br />

Les Paul was also a major influence.<br />

Page’s finest blues playing, however, may be on the epic minor key ballad<br />

“Since I’ve Been Loving You” from Led Zeppelin III, a masterful mix of soulstirring<br />

bends and heavy metal pyrotechnics. Later, Page’s playing moved<br />

in a more progressive direction (with sophisticated studio-production<br />

techniques — including an evolved use of effects — and a grand, orchestral<br />

arranging approach to guitar-based rock), but his guitar work on the first four<br />

Led Zeppelin albums was lovingly steeped in the electric-blues tradition.<br />

Figure 13-4 shows how Page took the minor pentatonic scale and revved it up<br />

to overdrive. To emulate Page’s playing, play largely in the minor pentatonic<br />

scale, give your guitar plenty of amp distortion (more on that in Chapter 15),<br />

don a Les Paul, bend with soul, and apply some tasty studio manipulation to<br />

your recorded sound.<br />

TEAM LinG

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