A bottleneck is a glass or metal tube that fits over a guitarist's finger – usually the ring finger or little finger – and stops the strings of the guitar when it is slid up or down the instrument's fingerboard. Originally, the glass tube was the neck of a bottle that had been broken off and sanded down for use by blues guitarists.
Strictly speaking, bottleneck refers to glass and slide refers to metal, but the terms are often used interchangeably. The corresponding guitar style, known as slide guitar, makes possible effects, including glissandos, voice-like cries, and notes between the frets, which aren't available in conventional guitar playing.
Glass slides produce a smoother sound; metal slides are louder. The use of different fingers also produces different sounds. An advantage of putting the bottleneck on the pinky is that it leaves the first three fingers free to hold down chords.
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A guitar with a high action is best for slide since it reduces the likelihood of fret buzz. The slide merely rests on the strings; it is
Used to press the strings down to the frets. For this reason, it should come to rest directly over the frets, not slightly behind them.
Many of the most effective slide guitar effects are created with open or dropped tunings, which allow whole chords to be slid up or down.
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The slide guitar style had its origins in African one-stringed instruments and also Hawaiian guitar styles, which were introduced to the southern US by Hawaiian soldiers during the Spanish-American War. It developed during the era of black slavery, in and around the Mississippi delta, at the same time as the blues. Due to the Hawaiian influence, the first slide players laid their guitars flat across their lap, and used any suitable object, such as a cigar tube or broken bottle neck, as a makeshift slide.
The techniques of slide guitar were pioneered by several important early blues men, including Charley Patton, Eddie Son House, Big Joe Williams, and Leadbelly, and passed on to the next generation of blues guitarists, such as Muddy Waters, Robert Johnson, and Elmore James. These players then took slide playing into the electric blues era and influenced rock guitarists like Eric Clapton, Duane Allman, and Rory Gallagher.
A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · ZIt’s not possible to know the exact specifics, but at some point near the beginning of the 20th century, a random musician in the Mississippi Delta must have rubbed a guitar’s strings with a knife, glass bottle, or other hard object, and in doing so discovered that the instrument could be made to produce an eerily vocal-like sound. At around the same time, the Hawaiian musician Joseph Kekuku pioneered the steel guitar by using a steel bar on the strings for a similar effect.
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While the origins might be murky, it’s clear that slide guitar became popular with blues guitarists like Robert Johnson and Son House and Hawaiian musicians such as Sol Hoopii in the first half of the 20th century, to say nothing of country-and-western and bluegrass musicians like Noel Boggs and Leon McAuliffe. The sound of an open-tuned instrument played with a slide is inextricably associated with these styles and their offshoots, and American popular music in general.
But in the century since slide guitar became a common practice, the technique has been used in just about any imaginable context from rock to jazz and beyond, on acoustic, electric, and resonator guitar, lap and pedal steel, and other stringed instruments. The six musicians showcased here—Harry Manx, Steve Dawson, Doug Wamble, Ross Hammond, Marisa Anderson, and Debashish Bhattacharya—show just how wide a range of concepts, sounds, and inflections can be brought to life with slide technique.
Harry Manx was a young teenager when he bought his first blues album—Johnny Winter’s The Progressive Blues Experiment—and instantly fell in love with the sound of the slide guitar. He eventually got around to tuning a guitar to open D, placing it across his lap, and teaching himself to play slide with a socket wrench. “In those days [the late 1960s and early ’70s], there weren’t really any teaching materials available, so I had to work it out by ear, ” Manx says. “Listening to Ry Cooder, David Lindley, and Jerry Douglas, I was able to hear the possibilities.”
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Manx, who dropped out of high school at 14, says his education came from working as a soundman at the El Mocambo blues club in Toronto and seeing great blues players like Muddy Waters and Willie Dixon up close. He began his life as a professional musician by busking in Europe in the mid-1970s, finishing up this itinerant work in the late 1990s in Japan. Manx, now his mid-60s, says, “I spent a lot of time playing other people’s songs and making a decent living. Then at some point in my mid-30s, I realized that I really wanted to play more slide. My first few attempts were very frustrating, but after practicing slide for three hours every day, I quickly got better. With my right hand, I started to develop a kind of slap that would indicate the beat while I was picking, and I could see my street audience getting into it more.”
In the 1980s, Manx travelled frequently between India and Japan, and one day while busking in the latter country, he followed some interesting sounds into a small record shop and learned that he was hearing Indian classical music. “What an awakening I had that day, ” Manx says. “Upon returning to India, I went immediately to Rajasthan to find Vishwa Mohan Bhatt, the creator of the mohan veena (a 20-string slide guitar). I arrived at his doorstep late in the evening and pretty much laid my life at his feet. He accepted me as his student and gave me a veena. What a joy and a blessing it was to be close to the mountain of talent and graciousness that he is.”
Though Manx admits he never became a great Indian classical musician, he did find a way to incorporate the music’s feel and depth into everything he does today—including his latest album, Hell Bound for Heaven (Stony Plain), with the Canadian multi-instrumentalist Steve Marriner. Through his travels, both literal and figurative, Manx has arrived at a unique slide style that is equal parts Eastern and Western. “My blues is a little Indian, and my Indian is a little bluesy, ” he says.
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Manx’s main instrument is a Taylor 710, set up for lap-style play in a D-based tuning—either D A D F# A D (D major), D A D F A D (D minor), or D A D F# A C# (D major seventh). The guitar is outfitted with a Sunrise pickup, which Manx plugs into a Universal Audio preamp. He also has a National Style 0; a Gold Tone model Banjitar six-string banjo (tuned to open C); and a four-string cigar box instrument (tuned F F C F), made by the luthier Grant Wickland. Manx uses acrylic nails on his picking hand, a Dunlop Lap Dawg tonebar, and assorted Elixir strings.
Growing up in Vancouver, British Columbia, in the 1980s, Steve Dawson enjoyed playing typical rock-band fare on the electric guitar. He figured he’d become a serious musician and study jazz when he enrolled at the Berklee College of Music in Boston, but things took a sudden turn when he arrived. “That’s where I got into acoustic guitar seriously, as well as dobro, country music, bluegrass, and fingerpicking, ” he says.
After college, Dawson worked with various bands but grew weary of playing in loud bars, where the clientele was less than attentive, so he formed an acoustic duo, Zubot & Dawson, with fiddler Jesse Zubot. The duo toured all over the world and found success, which Dawson has leveraged into a busy and multifaceted career. Now based in Nashville, the guitarist splits his time between serving as a sideman for musicians like Matt Andersen and Birds of Chicago, recording and touring in support of his own music, and working as a producer for “whoever comes calling that I think I could work well with, ” as he puts it.
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Dawson, who estimates that 80 percent of his work involves a slide, plays both in conventional position and lap-style on the Weissenborn; he also does a good bit of pedal steel. As opposed to a fully open tuning like E, D, G, or A, he usually opts for double dropped D, in which strings 1 and 6 are tuned to D, as he finds this arrangement most practical. “That allows me to play all the slide stuff I want, ” he explains, “while also getting through entire songs without playing slide.”
Whether playing with the slide or without, Dawson draws from a deep well of influences—the blues and rock canon
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