The influential bluesman raised the bar for 6-string virtuosity, influencing Clapton, Page, Beck, and a host of others while adding classic songs to the American music canon.
Check out a lesson on Otis' mastery.
For guitarists, seeing Otis Rush in peak form was like grabbing a lightning rod as it was struck. At a show I witnessed in a New York City club in 1998, Rush was entirely consumed by his music, singing and playing with an intensity so raw and powerful that it transformed his pickup band into an extension of his own consciousness. They were in sync with every glance, raised shoulder, or nod that signaled the modulations, dynamic shifts, and tempo changes he wove through his performance. And when Rush exercised his shimmering vibrato or deep downward southpaw bends, or took off on an incendiary, unpredictable solo on his Gibson ES-335, listeners erupted or gasped or simply stared with the kind of awe typically seen at the rim of the Grand Canyon or during a solar eclipse. It was that damn good.
All of that ended in 2003, when Rush suffered a stroke and was compelled to cease performing. And now, 15 years later, the venerated blues legend that was a profound influence on Eric Clapton, Jeff Beck, Jimmy Page, Peter Green, Jimi Hendrix, Bonnie Raitt, Ronnie Earl, Nick Moss, and a host of other 6-string masters, and was embraced as a peer by Willie Dixon, Buddy Guy, John Lee Hooker, and Muddy Waters, has died. Rush was 84 when he was claimed on Saturday, September 29, by stroke-related complications.
Rush was born in Philadelphia, Mississippi, on April 29, 1934. But his career ignited in a garage on West Roosevelt Street in Chicago’s rough west side in 1956. On a July day, he recorded his first single with Eli Toscano, the owner of Cobra Records. Musicians sat or stood behind a single microphone in Toscano’s claustrophobic studio, separated by a plate of glass from the recording console. When it was time for a guitar solo, the amp was rolled closer to the mic on a dolly. That debut single, which opens with Rush’s soaring high-wire voice and a tumble of notes cutting the air, was “I Can’t Quit You, Baby.”
Then, Rush was just 21. He’d moved to Chicago in 1949 with money from a good crop harvest financing his relocation. And he’d been discovered playing the tough clubs of the Windy City’s west and south sides by Willie Dixon, who also brought Buddy Guy and Magic Sam to Toscano’s attention. Rush, Guy, and Sam Maghett had a faster, more wiry, and altogether nastier approach than the artists Chess Records was recording at the time, including Muddy Waters and Howlin’ Wolf. These three guitarists would come to define the sound of the second generation of Chicago electric blues.
The music of these youngsters was forged not in the Delta but in the pressure cooker of urban poverty and wage-slavery, and crowded living conditions and race-based police harassment. That desperate energy can be heard in the tracks of Rush’s career-defining singles from 1956 to 1962, including “My Love Will Never Die,” “All Your Love (I Miss Lovin’),” “Three Times a Fool,” “So Many Roads,” “Checkin’ on My Baby,” “Homework,” and “Double Trouble.” Another fan, Stevie Ray Vaughan, borrowed the latter title for his band’s name.
Rush became Cobra’s biggest star when “I Can’t Quit You, Baby” hit the streets. The single blasted out of windows on every block of Chicago’s African-American neighborhoods. It also somehow made it across the sea into the hands of Clapton, Beck, Page, John Mayall, and others who would lead the British blues movement in the 1960s. Rush first made it to Europe in 1966, as part of the American Folk Blues Festival, a touring concert series that ran from 1962 to ’66.
Even toward the end of his performing career, Rush was modest about his influential style. “I didn’t know what I was doing then, and I don’t know what I’m doing now,” Rush told me backstage at the original House of Blues in Cambridge, Massachusetts, in the late ’90s. “People will go, ‘How did you play that?’ It’s hard to explain, to me. I feel like I’m always hitting the wrong notes.” But thanks to his whip-crack intensity and his snaking chromatic soloing style, Rush had an undeniable way of making even the notes he felt were wrong sound perfectly and deeply right. Add in his ability to make strings quiver, control dynamics and tempo shifts on impulse, and improvise in ways that made even his oldest songs sound like pups in concert (plus his signature move of stopping a solo or melody line to hang on an extended chord), and his influence as a blues guitarist is entirely understandable. His soulful, stratospheric singing added even more fuel to the flame of his legacy.
After Cobra Records went broke, Rush jumped to the Chess label in 1960, where he cut “So Many Roads.” His next hit was 1962’s “Homework,” which became a staple of the J. Geils Band. Even as his career began to languish, Rush’s “All Your Love” became the opening track on John Mayall’s 1966 album, Blues Breakers with Eric Clapton, and “I Can’t Quit You, Baby” was a blasting centerpiece of Led Zeppelin’s 1969 debut, with Page and Robert Plant shedding blood in their performance. That same year Rush got a brief boost when another acolyte, Mike Bloomfield, took him to Muscle Shoals to record Mourning in the Morning, where Rush reprised the high drama of “My Love Will Never Die” and added another classic original, “It Takes Time,” to his repertoire.
In the following decades, Rush’s career was a rollercoaster of mostly indie and European record labels with mediocre distribution, periodic absences from the stage, inconsistent performances, and health troubles, including diabetes and bouts of depression. After 1971’s Right Place, Wrong Time, Rush ceased recording for much of the 1970s and early ’80s. (“It got discouraging, discouraging, discouraging,” he explained.)
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Rush in his prime, wailing his “I Can’t Quit You, Baby” on the American Folk Blues Festival’s traveling stage in 1966, is the very embodiment of the second generation of electric blues. He snatches the torch from the likes of Muddy Waters and Howlin’ Wolf in a solo that’s a scalding fusillade of notes, balanced by the verses’ elegant pentatonic lines that cry in reply to his dark-angel singing. In his slick shades, skinny tie, and a sweater Rivers Cuomo might once have killed for, Rush is also the absolute embodiment of cool.
Rush’s last truly essential album was 1994’s Ain’t Enough Comin’ In,a burly affair buoyed by gargantuan tones from his Gibson ES-345—another of the Gibson semi-hollowbody guitars he preferred for much of his career—and his then-new-found affection for Mesa/Boogie combos. That disc’s sessions also found him tracking with a Fender Stratocaster, the model of guitar he used back in the Cobra days. And for the next nine years, until his stroke forced him into retirement, Rush managed to summon the virtues of his most articulate playing during his finest onstage performances.
Elaborating on his style backstage during our conversation at the House of Blues, Rush declared himself a firm believer in the less-is-more approach. “I figure if you put in every note you can for five minutes, it’s gonna be hard for people to figure out,” he said. “You’ve got to bring out your notes slow and easy, like in ‘All Your Love.’”
Rush had also become a serious jazz fan by then, which explains why his onstage solos became increasingly chromatic fireworks displays as the years went by. “I’m crazy about Kenny Burrell,” he explained. “I’ve learned some of his tunes, like ‘Chitlins Con Carne,’ and I’m crazy about Stanley Turrentine on saxophone and [organist] Jimmy Smith. That’s one of the reasons I play out of key sometimes. I don’t worry about that. It’s about playing what you feel. If I’m playing a solo in B, I might bend a note up to D just because I want to.”
The exceptional traditional blues guitarist Ronnie Earl developed a longtime friendship with Rush, who was one of his mentors. “Otis’ music always really touched me because it was tormented and had this minor key, deep quality,” Earl told me in the early 2000s. “I was very struck by that and by his vibrato, which I was trying to learn in my room when I was starting out. He’s the king of that: He has the best vibrato of them all. It never fails to shake my soul up. I’ve heard him take a 12-minute ride with his guitar and never repeat himself. He’s like the Ray Charles of blues guitarists.”
Perhaps due to his stroke, Rush never experienced the kind of later-career renaissance that was enjoyed by Muddy Waters and John Lee Hooker, and that Buddy Guy continues to relish. Reflecting on his ’70s and ’80s hiatus, when Rush said he was mostly “shootin’ pool and livin’ off the land,” as well as dealing with the onset of his depression and diabetes, Rush explained that “I have a gift and I chose not to use it for a while. But it felt like God gave me a whuppin’ for that, you know. So I got back to it.”
“Let me tell you,” he continued, “being a blues musician is one of the hardest things you could ever want to do. But it’s sweet, too, if you make it.”
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555’s semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555’s aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ’50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritage’s tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3×3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ’50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
“What a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,” said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. “I couldn’t be more proud to still be here 40 years later.”
With nearly 1,400 of the who’s who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. “The guitars are great. You can’t last 40 years if the guitars aren’t great,” said Mayer. “Many of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say ‘They’re too nice.’ What’s too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes … bad intonation? The product is incredible.”
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.