The term "hammer on and off" can mean different things to different players. IE, Herb Remington's thingy at the 2nd fret playing his classic "Remington Ride" uses a form of hammer on.
Jerry Byrd's "Steelin' the Blues" played at the 1st fret uses another form.
Sol Hoopii's using pull off's along the entire first string using triplett picking (of the first string) on several classic Hawaiian tunes, could be called a form of hammer on.
A number of Hawaiians used it way back. Some still do.
Ralph Mooney had a clever set of licks using yet another form of it while playing back up to the late Waylon Jennings.
Of course Jerry Douglas and other dobro players use yet another form of it. In fact a it has become almost "signature" of the present "Dobro" playing. And who could ever forget Josh Graves?
So it dates way way back. Now who is the master? That is a toughy.
But IF I had to pin it down and again it WOULD be tough, I would have to give it to Buddy Emmons. For he does it with the finesse that is unequaled IMO. And like his harmomics, they are pefectly executed every time. In a word it simply could not be done smoother IMO, no matter what type of instrument he plays.
One particularly fine use of it by BE is when he plays "Steel Guitar Rag". He uses a double repeated form of "hammer on" and off as he walks down the strings after the classic walking up the strings at the beginning of the famous steel guitar tune.
I have heard others do it, and I have tried it. But never have I heard anyone do it quite like he does it.
I am aware that probably most would give Jerry Douglass the blue ribbon. I respect that. He is incredible. But I would have to give him the red ribbon and Buddy the blue ribbon for sheer techique and pureness of the sound.
carl[This message was edited by C Dixon on 29 March 2004 at 09:23 AM.]
