Roy Rogers is a bona fide slide maestro who has been a big cat on the blues and roots scene since the early ’80s, when he started working with John Lee Hooker. He has since garnered eight Grammy nominations, and produced Grammy-winning tracks with Hooker and Bonnie Raitt. Other collaborative credits include Béla Fleck, Sammy Hagar, Carlos Santana, and Ray Manzarek of the Doors. Rogers’ signature Delta slide sound can be heard on the original soundtrack for One Flew Over the Cuckoo’s Nest, as well as on the soundtrack for The Hot Spot with Hooker, Miles Davis, and Taj Mahal. Rogers continues to tour the world leading his longstanding Delta Rhythm Kings, and he’s also working on a new project called “StringShot—Blues & Latin” with Badi Assad on guitar and vocals, and Carlos Reyes on violin and stringed harp. Their album is due in the fall.
While some slide aces are primarily electric slingers—think Duane Allman—and others such as Leo Kottke are strictly acoustic cats, Rogers is equally at home on either side of the equation. As we’ve usually focused more on his electric playing in GP, we figured this slide-themed issue was a good time to let Rogers hold court about his acoustic side. Take it away, Roy!
—JL
IT’S ALL ABOUT RHYTHM
It’s especially important for acoustic playing that your overall approach include playing rhythm with the slide. A lot of players tend to use the slide just for leads and melody, but it can also be an integral aspect of defining the groove.
THE SLIDE
What slide you choose is really about comfort. Use what you like best. Metal slides have more tonal bite to my ears. When I first started playing slide after seeing Muddy Waters perform, I used