Watch the Midnight Walkin online guitar lesson by Ladd Smith from Modern Nashville Guitar

Like I said, I don't have a whole lot to add here, but the hybrid picking can really add a whole new percussive dimension to your playing. I'm doing a lot of hammer-ons and pull-offs and big bends, I'm working out of the Dorian Mode a lot here. That's something fun for you to do, find a groove in a minor key and play a Diatonic/Major scale one key below (This one is in A - try the Major scale in G). That's a pretty cool thing to play with, Joe Walsh uses that approach a bit I've noticed. Another thing in here is trying to emulate 'Horn Stabs' - this just comes from listening to horn sections and their phrasing. Check out "Chicago" or anything from Stax Records or Motown. You can gain so much control by trying to emulate a great Sax player's phrasing. If you think about it, these guys are the very first ones to use 'distortion' - in the early days of jazz. Just listen to Clarence Clemons (Legendary Saxophone with Bruce Springsteen & The E-Street Band) or Bobbie Keys (Top NY Session Sax Player - Rolling Stones, etc.) they can overload that reed with air pressure and distort their tone. I've always heard that Link Wray would stick pencils in his speakers (in the early 50's; making him effectively the very first guy to purposefully try to get distortion) because he just wanted to sound like a saxophone. Anyhow, this particular track really lends itself to the Santana vibe. However my approach to doing big rock solo guitar tracks are very much influenced by all the great work of guitarists like Larry Carlton, John Fogerty, Mark Knopfler, Dann Huff, Jimi Hendrix, Joe Walsh, Jeff Beck, Jimmy Page, Eric Clapton, Neil Schon, Gary Rossington, Brian May, Dicky Betts, and so many others. 'Nashville Rocks', that could be a whole new course within itself!