That's terrific, Mike. Thanks a lot! Much appreciated.

Ah! I could have sworn I covered that phrase. Casualty of first time jitters, I guess. Sorry about that!

No worries! You're doing a great job, I'm learning a heck of a lot from you already. It probably seemed like a small thing to you, but when you mentioned about doing the upstroke on the 16th note skip on the previous lesson -- it actually was a huge revelation for me. I've been struggling with Duke's lesson on "Flying Home", the great Charlie Christian/Benny Goodman tune. I've spent maybe a month working on it, and havent been able to get the phrasing right on the head when I play it up to speed. After your comment I realized that I was trying to do it all in downstrokes, and it's just way too fast to get the swing feel doing all downstrokes -- at least for me. So because of your comment, I re-thought it, and I'm now making great progress on it. Thanks so much, Mike! 

It's amazing how much of a difference little alterations in technique can make. Charlie allegedly played with all downstrokes, but you know, he was Charlie Christian and I'm not. Everyone's hands are different, too - I know from playing with Duke that he and I sometimes have COMPLETELY different technical approaches to making basically similar sounds. It boils down to what works for you.

I put a quick video with that missing phrase above - hope it helps.

It's funny about the double stop thing; I've never been a note-for-note guy (so this experience was at least as instructive for me as it was for anybody), but I've heard so many versions of that song and played that song so many times that once I got in front of the camera, some of the note-for-note went out the window and I ended up playing it the way I thought I remembered it. Clapton definitely did the slide down, but I know I also heard Otis live versions with that part in it. If I do this video lesson thing again, I might not try to go AS note-for-note as I did here - it would give me a slightly wider margin of error!

EDIT: Huh. Just listened to the intro of about seven different Otis live versions, and he never does that (although sometimes if there's a rhythm guitarist, they're doing something similar). Must be a holdover from the Mayall/Clapton version. This is the humbling part of the experience, I guess.

Thanks! I don't know about the amp situation at Cobra, other than that Otis' amp was a Danelectro Challenger currently owned by a friend of mine in Chicago. It's possible that Ike Turner was playing through that amp or another like it, but one of the things most people don't talk about when it comes to gear is that a lot of amps sound basically similar. 

The crazy whammy bar playing on "Double Trouble" is Ike, and Otis is playing with the finger vibrato. "All Your Love" has a pretty clear rhythm/lead division of duties, but a bunch of those tunes have two lead guitars, harmonica, and saxophone all winding their way through the sonic stew. It's a cool sound. In general, Ike's playing is more jagged and raw.