Jinx Jones Rip and Run Jinx Jones If you’re into rockabilly and honky-tonk, you already know it can be pretty tough to track down new albums with a satisfying, authentic

Jinx Jones
Rip and Run
Jinx Jones

If you’re into rockabilly and honky-tonk, you already know it can be pretty tough to track down new albums with a satisfying, authentic sound and vibe. Over the last decade or so, Jinx Jones, out of the San Francisco Bay Area, has been one of the few reliable modern practitioners of old-school bossness. His latest album, Rip and Run, features 14 tracks full of swingin’ Gretsches and blazing Teles cranking out Bakersfield grooves over tongue-in-cheek humor (as in the Tele-powered “Redneck Barbie,” with its slinking double-stops) that’ll keep you smiling as you tap your foot and dig the guitar work. The title track begins with a stinging surf-shred lick before settling down into a classic, Dick Dale-approved groove soaked in cavernous reverb, and eventually leading to a wistful, Danny Gatton-esque solo. “Time to Have a Good Time Pt. 1” has a little too much of that winky-wink, lounge-lizard/bowling-shirt-guy vibe for my taste, but thankfully such moments are few and far between. Instrumentals like “Prairie Dog Daddy” and “Vibro eXotica” show the depth of Jones’ musical repertoire and provide a more serious mood here and there, too. The former has a Brian Setzer Orchestra-ish, big-band vibe and a slippery pedal-steel solo, while the latter pulses with hypnotic tremolo and pensive, echo-drenched bends. Similarly, “How High the Moon” sounds like a modern-day “Sleepwalk” and the fat, melancholy neck-pickup blues of “Roma’s Song” show how diverse Jones’ trick bag really is. But you’re always glad when tunes like the prurient sad-sack tale “Doghouse” (“I’m in the doghouse/for bein’ in the cathouse”) and the drag-race soundtrack/Bigsby workout of “On Parole & Out of Control”—with its pull-off frenzies and thumping upright bass—always come back to kick things into high gear.
Rig Rundown: Adam Shoenfeld

Whether in the studio or on solo gigs, the Nashville session-guitar star holds a lotta cards, with guitars and amps for everything he’s dealt.

Adam Shoenfeld has helped shape the tone of modern country guitar. How? Well, the Nashville-based session star, producer, and frontman has played on hundreds of albums and 45 No. 1 country hits, starting with Jason Aldean’s “Hicktown,” since 2005. Plus, he’s found time for several bands of his own as well as the first studio album under his own name, All the Birds Sing, which drops January 28.

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Diatonic sequences are powerful tools. Here’s how to use them wisely.



• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.

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Knowing how to function in different keys is crucial to improvising in any context. One path to fretboard mastery is learning how to move through positions across the neck. Even something as simple as a three-note-per-string major scale can offer loads of options when it’s time to step up and rip. I’m going to outline seven technical sequences, each one focusing on a position of a diatonic major scale. This should provide a fun workout for the fingers and hopefully inspire a few licks of your own.
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