Develop a strategy to methodically work through the changes of Johnny Cash’s classic jam.
Intermediate
Intermediate
- Put a simple country twist on a 12-bar blues.
- Create honky-tonk motifs over chord changes.
- Develop your CAGED vocabulary.
When learning any genre of music, it makes sense to master as much of the repertoire as possible. This will prepare you for the songs that are likely to be called on jam nights with other players. Jazz musicians are all over this concept. Show up to a jam session and you're likely to encounter players who have memorized dozens of standards, such as "Autumn Leaves," "Misty," and "All the Things You Are." When these tunes are called out, you'd better be ready to play them.
Blues musicians have it slightly easier since the 12-bar blues form is so ubiquitous. Often bandleaders might just call out the key and count it off. In this lesson, we'll focus on a country standard, "Folsom Prison Blues." As implied by the title, the form is basically a 12-bar blues, but we'll add a country twist.
Johnny Cash - Folsom Prison Blues (Live)
Johnny Cash's At Folsom Prison is one of the most iconic live albums ever. Although Cash originally recorded the album's title song in 1955, this version from Cash's 1968 visit to the California maximum-security facility has become the definitive one. Luther Perkins' twangy solo has become a standard, too.
Here's an example of a basic 12-bar blues:
In Cash's version, you'll notice that the only difference is that you're staying on the V chord in measure 10, rather than going down to the IV.
In Ex. 1, I've written a simple rhythm guitar riff the way someone like Roy Clark might play the song. Hold each chord shape and then pick the strings required using the picking pattern displayed. The key here is not simply remembering where to put your fingers, but the sound of the progression.
Ex. 1
The next phrase (Ex. 2) focuses on outlining a melody with diatonic thirds based around each chord change. In measure one, I'm visualizing an "A" CAGED shape at the 7th fret and connecting the double-stop on the 3rd and 2nd strings up to the double-stop found in the "E" shape at the 12th fret.
Ex. 2
Thirds are an essential part of country lead guitar. Below, I've visually outlined how the double-stops in the first measure fit between the "A" and "E" CAGED shapes. Of course, all CAGED shapes can be transposed to other keys, so make sure you put the work in!
Ex. 3 uses notes of a hybrid scale, where we add the b3 to a major pentatonic shape. In E, that would be E–F#–G–G#–B–C#, or 1–2–3–b3–5–6. I've played a simple country cliché over the E chord, and then moved this same lick up to each chord to outline the changes. This approach of dealing with each chord as its own musical event creates a more authentic country sound than taking one scale and playing it over a selection of chords.
Ex. 3
Ex. 4 expands on the previous idea: Here we play the same basic cliché lick from the previous example, but now add some melodic embellishment in alternating measures. The lick in measures one and two fits around a "C" shape barre chord, while the licks over the A and B7 chord fit around an "E" shape barre chord. It's important to get a grip on this idea, as it will allow you to play licks quickly in any key.
Ex. 4
Ex. 5 features the same licks as in the previous example but switches up where you play them. So, instead of starting with the "C" shape, as in the previous example, Ex. 5 launches into the lick around the "E" shape at the 12th fret.
When the chord changes to A, this time we play the lick based around the "C" shape, but higher up the neck to outline an A major chord in the 9th position. (Contrast this to the previous example, where we used the "C" shape to outline E major in the 4th position.) When it's time to outline B7, we shift the same "C" shape idea up two frets.
Ex. 5
A full solo covering multiple positions, Ex. 6 is almost exclusively built on the notes of the hybrid scale we mentioned earlier. Measure one plays around an "A" shape before using some diatonic sixth intervals to shift down the neck in measure two.
Measure three continues the E chord, but now in the "C" shape, which transitions down to the open "E" position in measure four. Measures five starts in the open "A" position; we then work our way up to the "E" shape barre chord at the 5th fret in measure six.
Measures seven and eight outline an E chord in the "C" shape, again shifting down to the "E" position in the next measure. When the B7 chord hits, I play a repeating motif around the "A" shape that resolves to the "E" position in the 10th measure.
Ex. 6
There's no denying this example will take time to get up to speed, but don't give up, as it's more than possible. The real focus here should be how fluidly you can use these CAGED positions. In fact, when this starts making sense, you should be able to play each of these licks on any chord.
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In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
An easy guide to re-anchoring a loose tuning machine, restoring a “lost” input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
This collaborative effort between Japanese and American guitar builders aimed for old-school quality without breaking the bank.
I recently called a rideshare to pick me up from the airport and was surprised when the driver pulled up in a Jaguar. I’d never been in one and was stunned at how quiet it was, and how the backseat was as comfortable as a living room couch, but retained a refined look. This 1998 Masterbilt prototype reminds me of that airport ride.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
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- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
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