A much written about topic, but, in this case, rarely with as much wit and vividness. And preciseness ; 'I CAN SEE FOR MILES Pete Townshend, the Who (best on 7in vinyl)' indeed!
http://entertainment.timesonline.co.uk/ ... 265350.ece
The Sunday Times
August 19, 2007
The top 10 guitar solos
A great solo is primal yet precise, mixing sheer attack and sonic delicacy. John Perry of the Only Ones chooses his top 10
There are few sounds in rock to rival a great guitar-player hitting his stride. Power, melody, the tension between attack and delicacy – all these separate the real players from that vast band of also-rans.
Let’s define terms. The solo exists to break up the typical verse/chorus/verse/ chorus structure of songs from every genre of popular music. A well-turned guitar phrase can form a song’s principal hook (eg, Satisfaction), the “hookâ€
The top 10 guitar solos
-
Otis Westinghouse
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Good list, though I wish we had sound clips as I sadly am ignorant of most of those. The three that spring to my mind are the aforementioned John Perry's in Another Girl, Another Planet, which might have been an ironic postmodern joke in its context, but is certainly up there with the greats; Robert Fripp on Eno's St Elmo's Fire, thrilling enough to have a heart attack over; and my all time fave is Neil Clark at the end of Forest Fire, which is not just guitar solo but also massive keyboard/band crescendo, but the guitar carries it and every moment is sheer perfection. Not fiddly notes a la Fripp, but the best feedback ever, and the best massiveness of guitar noise, and pretty much the best an electric guitar has ever sounded to me, with the possible exception of "Heroes" (which can't quite qualify as a solo!). I've just been listening through all 5 versions on the three volume Lloyd BBC releases, and a couple of the live ones are awesomely good too, but you could never fully recreate the scale of it from the studio.
There's more to life than books, you know, but not much more
http://www.charliegillett.com/phpBB2/vi ... php?t=5007
Adam posts -
................. let me offer a few alternatives:
1. Charlie Christian: "Swing To Bop" (available on many compilations)
Recorded at Minton's in, I believe, 1942, this is the only example we have of Christian stretching out at length. If you're not a jazz fan you could probably care a little more, but if you are then this is an absolute feast. You can hear Christian (who died of tuberculosis at the age of 24 or 25) placing the electric guitar solo firmly at the cutting edge of all that was new and exciting in jazz at that time. His tone, his attack, his swing, his choice of notes - with this solo Christian set the agenda for good jazz guitar soloing for decades to come and it sounds as fresh today as when it was created. Not least because it rocks like a mother...
2. Chuck Berry: "Sweet Little Rock'n'Roller" (available on many compilations)
I could have chosen any one of at least a dozen classic one-chorus Chuck Berry solos but I picked this one because of the way it "bubbles" up from the lower octave and, theory buffs, almost uniquely for Berry it includes a leading note on the way up. Once he's got the fancy stuff out the way, he drops down an octave and plays a few dirty old blues licks with trademark offhand grace and impeccable swing. Nobody ever did it better. (Sorry Keef!)
3. Hound Dog Taylor: "Freddie's Blues" (from "Beware of The Dog!")
An impromptu off-the-cuff slow blues recorded live at some college in the mid-70s, Hound Dog was nearly done (he died of cancer a few months after this was recorded). This solo is a strange combination of muffled licks, feedback, big chords and weird tremolo effects. It's like nothing else in Hound Dog's discography and it's achingly beautiful. Possibly my favourite guitar solo of all time.
4. Jimi Hendrix: "All Along The Watchtower" (available on many compilations)
For my money, this is Jimi's masterpiece. It contains every aspect of his style in finely detailed miniature: his extraordinary facility with octaves, wah-wah control, licks in two and three note chords, straight blues, modal runs and, in the case of the slide section, jaw-dropping magic - like, how the hell does he DO that? Plus it's one of his best ever vocals AND he plays bass on it. Four minutes of genius.
5. Django Reinhardt: "September Song" (available on "Django's Blues")
My favourite bit of Django: this was recorded in Paris in '46 or '47 and features the man playing electric. He's obviously completely absorbed Charlie Christian but he still sounds like no-one but himself. He can barely contain himself throughout the clarinet's exposition of the opening tune - quoting "Peanuts" in between the lines of the melody - and when he comes in for his solo it's like an enormous sigh being yielded. So many fragments of melodies, so many broken chords, so much virtusoity being put at the service of so much emotion. They'd beaten the fucking Nazis! They'd gone. The nightmare was over. It's all in this music.
6. Albert King: "Personal Manager" (from "King Of The Blues Guitar")
Albert doing what Albert did best. He was Hendrix's favourite and this is a good example of why. Two solos on this slow, seductive blues and in both cases Albert saves the best till last. No-one else could bend a string like that. He knew it and so did everybody who heard him. He was a one-trick pony but when your trick's as good as that, who needs another?
7. Pete Townshend: "Out In The Street" (from "My Generation")
Rock guitar as an eight second explosion. Virtually no notes in this solo - just clicks, feedback and scraping noises. The effect is absolutely galvanising. I don't think any other rock guitarist has ever compressed so much aggression and excitement into such a small space. Pure expression, and a perfect solution to a lack of technical expertise.
8. Franco: "Attention Na Sida" (available on compilation)
After lecturing his audience for 15 minutes on the dangers of AIDS, Franco lets rip with the most exquisite bubbling guitar solo I've ever heard. He plays above the natural register of the guitar and I would love to know how he tuned it. But that's just a technical detail, his playing is so effortlessly melodic and floating, it sounds as easy as breathing - until you try and figure out what he's doing! Too bad it fades so soon.
9. Blind Willie Johnson: "Dark Was The Night, Cold Was The Ground" (available on collection: "Praise God I'm Satisfied")
The definitive Black American blues slide guitar recording. Made in about 1927, this contains every technique and coloration in the genre. Astonishing guitar playing by any meaningful definition, and likely to remain the gold standard in its field for all time.
10. Duane Allman: "In Memory Of Elizabeth Reed" (from "The Allman Brothers Live at Fillmore East")
An object lesson in the now discredited art of forging a long, rock guitar solo. Duane Allman observes the disciplines and aesthetics that so many lesser players ignored: he builds slowly, he takes his time, he plays melodically, he does not show off, he brings the solo to a climax, he climbs down and plays two or three loving little rubato phrases before returning gracefully to the ensemble. I suspect he was probably good in bed.
Ok. That's ten. I could list another twenty at least but I hope I've managed to share some of my love for this stuff without getting too technical or too trainspotter-y.
Adam posts -
................. let me offer a few alternatives:
1. Charlie Christian: "Swing To Bop" (available on many compilations)
Recorded at Minton's in, I believe, 1942, this is the only example we have of Christian stretching out at length. If you're not a jazz fan you could probably care a little more, but if you are then this is an absolute feast. You can hear Christian (who died of tuberculosis at the age of 24 or 25) placing the electric guitar solo firmly at the cutting edge of all that was new and exciting in jazz at that time. His tone, his attack, his swing, his choice of notes - with this solo Christian set the agenda for good jazz guitar soloing for decades to come and it sounds as fresh today as when it was created. Not least because it rocks like a mother...
2. Chuck Berry: "Sweet Little Rock'n'Roller" (available on many compilations)
I could have chosen any one of at least a dozen classic one-chorus Chuck Berry solos but I picked this one because of the way it "bubbles" up from the lower octave and, theory buffs, almost uniquely for Berry it includes a leading note on the way up. Once he's got the fancy stuff out the way, he drops down an octave and plays a few dirty old blues licks with trademark offhand grace and impeccable swing. Nobody ever did it better. (Sorry Keef!)
3. Hound Dog Taylor: "Freddie's Blues" (from "Beware of The Dog!")
An impromptu off-the-cuff slow blues recorded live at some college in the mid-70s, Hound Dog was nearly done (he died of cancer a few months after this was recorded). This solo is a strange combination of muffled licks, feedback, big chords and weird tremolo effects. It's like nothing else in Hound Dog's discography and it's achingly beautiful. Possibly my favourite guitar solo of all time.
4. Jimi Hendrix: "All Along The Watchtower" (available on many compilations)
For my money, this is Jimi's masterpiece. It contains every aspect of his style in finely detailed miniature: his extraordinary facility with octaves, wah-wah control, licks in two and three note chords, straight blues, modal runs and, in the case of the slide section, jaw-dropping magic - like, how the hell does he DO that? Plus it's one of his best ever vocals AND he plays bass on it. Four minutes of genius.
5. Django Reinhardt: "September Song" (available on "Django's Blues")
My favourite bit of Django: this was recorded in Paris in '46 or '47 and features the man playing electric. He's obviously completely absorbed Charlie Christian but he still sounds like no-one but himself. He can barely contain himself throughout the clarinet's exposition of the opening tune - quoting "Peanuts" in between the lines of the melody - and when he comes in for his solo it's like an enormous sigh being yielded. So many fragments of melodies, so many broken chords, so much virtusoity being put at the service of so much emotion. They'd beaten the fucking Nazis! They'd gone. The nightmare was over. It's all in this music.
6. Albert King: "Personal Manager" (from "King Of The Blues Guitar")
Albert doing what Albert did best. He was Hendrix's favourite and this is a good example of why. Two solos on this slow, seductive blues and in both cases Albert saves the best till last. No-one else could bend a string like that. He knew it and so did everybody who heard him. He was a one-trick pony but when your trick's as good as that, who needs another?
7. Pete Townshend: "Out In The Street" (from "My Generation")
Rock guitar as an eight second explosion. Virtually no notes in this solo - just clicks, feedback and scraping noises. The effect is absolutely galvanising. I don't think any other rock guitarist has ever compressed so much aggression and excitement into such a small space. Pure expression, and a perfect solution to a lack of technical expertise.
8. Franco: "Attention Na Sida" (available on compilation)
After lecturing his audience for 15 minutes on the dangers of AIDS, Franco lets rip with the most exquisite bubbling guitar solo I've ever heard. He plays above the natural register of the guitar and I would love to know how he tuned it. But that's just a technical detail, his playing is so effortlessly melodic and floating, it sounds as easy as breathing - until you try and figure out what he's doing! Too bad it fades so soon.
9. Blind Willie Johnson: "Dark Was The Night, Cold Was The Ground" (available on collection: "Praise God I'm Satisfied")
The definitive Black American blues slide guitar recording. Made in about 1927, this contains every technique and coloration in the genre. Astonishing guitar playing by any meaningful definition, and likely to remain the gold standard in its field for all time.
10. Duane Allman: "In Memory Of Elizabeth Reed" (from "The Allman Brothers Live at Fillmore East")
An object lesson in the now discredited art of forging a long, rock guitar solo. Duane Allman observes the disciplines and aesthetics that so many lesser players ignored: he builds slowly, he takes his time, he plays melodically, he does not show off, he brings the solo to a climax, he climbs down and plays two or three loving little rubato phrases before returning gracefully to the ensemble. I suspect he was probably good in bed.
Ok. That's ten. I could list another twenty at least but I hope I've managed to share some of my love for this stuff without getting too technical or too trainspotter-y.
-
Otis Westinghouse
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There are a number of David Gilmour solos that would make my cut- melodic, inventive, and always fitting the tone of the song. Definitely agree with the poster above who mentioned Hendrix and All Along the Watchtower. I'd throw in Elvis Costello on I Want You, Dave Davies on You Really Got Me and for fun, Glenn Tipton on Judas Priest's Beyond the Realms of Death.
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mood swung
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Otis Westinghouse
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mood swung
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invisible Pole
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From listserv -
Thanks for the link to this article, John. I've always thought Top 10
Greatest Guitar Solo lists to be the preserve of those lank-haired
adolescents who hang around guitar shops subjecting both merchandise
and
clientele to their endless, nerve-shredding repertoire of metal
"licks".
(You know, the ones who spend most of their time between issues of
'Guitar
Player' eating crisps and pulling themselves off into discarded socks.)
Mr
Perry, however,makes some
interesting
points and chooses some off-the-beaten-track favourites. I've not heard
everything he lists but can certainly vouch for Moby Grape's 'Hey
Grandma'
and the extraordinary Creation track.
The comments about classical and jazz-rock geetarists were a little
condescending, though, were they not? (Oh yeah? Well, let's see what
you can do with just a sleeveless t-shirt, a bandana and a slap bass
accompaniment, Mr So-Called Only One.) A bit of rock/blues snobbery or,
at least, short-sightedness towards other musical genres at work there, I
think. After all, any fule kno that, for instance, you can't walk five
yards in Andalucia without tripping over at least half a dozen twelve-year-
old flamenco guitarists who could chew up and spit out most established
rock axe gods without so much as breaking sweat. And the idea that rock
and rollers have some sort of monopoly on playing with "soul" rings a
little hollow when you think of, say, 'Johnny B Goode' - guitar playing of
such precise, poetic genius now reduced to mere cliché' thanks to the
attentions of countless beer-bellied, ham-fisted bar bands through
succeeding generations.
The remarks about Hendrix and Clapton were spot on, pinpointing for me
the key difference between the two (rhythm!) and helping me to understand more clearly why it is that I love Jimi's work but find goat-eyed purist Clapton's playing as cold and unappealing as his permanently sour expression. (As somebody once unkindly remarked upon hearing that god-awful 'Tears In Heaven' song, "no wonder his kid jumped out of a window".)
My more musicianly acquaintances (that is, the ones who, unlike me, got
past 'Jimmy Crack Corn' and 'Banks Of The Ohio' in the teach-yourself-
guitar books) tell me that I have fairly execrable taste in guitar solos.
When I offer it as my sincerely held belief that Lou Reed plays two of
the greatest solos ever within the space of a single song they just roll
their eyes heavenward and go back to work on copying out those parts
to 'Freebird', 'Stairway To Heaven', 'Comfortably Numb' et al.
This be the stuff, though:
'I Heard Her Call My Name' - Velvet Underground (Lou Reed)
- In which Mr Lewis Reed, aided by guitar and amplifier only,
convincingly
conjures up the sound of his own mind splitting open. Twice.
'The Wait' - Pretenders (James Honeyman-Scott)
- How many tracks from the Pretenders debut could I have chosen? The
perfect miniature on 'Kid' is another contender. 'Tattooed Love Boys',
too. A masterclass in lean, melodic invention.
'No Fun' - The Stooges (Ron Asheton)
- Free jazz meets punk rock. Who would dare elbow aside this force of
nature for James Williamson? Iggy, man, what were you thinking? See
also: 'Loose', '1969'.
'Peggy Sue' - Buddy Holly
- More of a rhythm solo, really, but so simple and so perfect.
'Reelin' In The Years' - Steely Dan (Elliott Randall)
- Where did this come from? Dazzling technique, yet totally in sympathy
with the needs of the song. Makes me want to give up trying.
'Race With The Devil' - Gene Vincent & The Blue Caps (Cliff Gallup)
- I know who my money's on. What greased lightning would sound like if
it played the guitar and sported a rockabilly quiff.
'Pale Blue Eyes' - Velvet Underground (Sterling Morrison)
- Fragile and brilliant. A thousand sickly-looking youths peer out from
behind their fringes in awe.
'Lofty Skies' - Tyrannosaurus Rex (Marc Bolan)
- Wide-boy mod chancer and ersatz hippy Bolan somehow transforms
himself into a guitar god just by thinking about it. See also: 'Elemental
Child'.
'Machine Gun' - Jimi Hendrix
- Whoo-hoo! Music to kill gooks by. See also: 'Burning Of The Midnight
Lamp', 'Little Wing', 'All Along The Watchtower', etc., etc.
'Maggot Brain' - Funkadelic (Eddie Hazel)
- Play it like your mother just died, George Clinton told him, but
Eddie ups the stakes by playing like he just finished burying his entire
family in a mass grave.
'Whiskey In The Jar' - Thin Lizzy (Eric Bell)
- Stand and deliver or the devil he may take ya! One of the first
guitar solos I ever mimed to in front of the bedroom mirror.
'Goodbye To Love' - The Carpenters (Tony Peluso)
- Another of my early tennis racquet/mirror numbers. Even then I knew
that the Carpenters were fundamentally wrong. You couldn't admit to liking this in public. But that unexpected fuzz-guitar solo just sounded so great -and it still does.
Now, where did I put that sock?
Mark
"You hacks don't know where it's at
You can't appreciate the master of the Strat..."
Thanks for the link to this article, John. I've always thought Top 10
Greatest Guitar Solo lists to be the preserve of those lank-haired
adolescents who hang around guitar shops subjecting both merchandise
and
clientele to their endless, nerve-shredding repertoire of metal
"licks".
(You know, the ones who spend most of their time between issues of
'Guitar
Player' eating crisps and pulling themselves off into discarded socks.)
Mr
Perry, however,makes some
interesting
points and chooses some off-the-beaten-track favourites. I've not heard
everything he lists but can certainly vouch for Moby Grape's 'Hey
Grandma'
and the extraordinary Creation track.
The comments about classical and jazz-rock geetarists were a little
condescending, though, were they not? (Oh yeah? Well, let's see what
you can do with just a sleeveless t-shirt, a bandana and a slap bass
accompaniment, Mr So-Called Only One.) A bit of rock/blues snobbery or,
at least, short-sightedness towards other musical genres at work there, I
think. After all, any fule kno that, for instance, you can't walk five
yards in Andalucia without tripping over at least half a dozen twelve-year-
old flamenco guitarists who could chew up and spit out most established
rock axe gods without so much as breaking sweat. And the idea that rock
and rollers have some sort of monopoly on playing with "soul" rings a
little hollow when you think of, say, 'Johnny B Goode' - guitar playing of
such precise, poetic genius now reduced to mere cliché' thanks to the
attentions of countless beer-bellied, ham-fisted bar bands through
succeeding generations.
The remarks about Hendrix and Clapton were spot on, pinpointing for me
the key difference between the two (rhythm!) and helping me to understand more clearly why it is that I love Jimi's work but find goat-eyed purist Clapton's playing as cold and unappealing as his permanently sour expression. (As somebody once unkindly remarked upon hearing that god-awful 'Tears In Heaven' song, "no wonder his kid jumped out of a window".)
My more musicianly acquaintances (that is, the ones who, unlike me, got
past 'Jimmy Crack Corn' and 'Banks Of The Ohio' in the teach-yourself-
guitar books) tell me that I have fairly execrable taste in guitar solos.
When I offer it as my sincerely held belief that Lou Reed plays two of
the greatest solos ever within the space of a single song they just roll
their eyes heavenward and go back to work on copying out those parts
to 'Freebird', 'Stairway To Heaven', 'Comfortably Numb' et al.
This be the stuff, though:
'I Heard Her Call My Name' - Velvet Underground (Lou Reed)
- In which Mr Lewis Reed, aided by guitar and amplifier only,
convincingly
conjures up the sound of his own mind splitting open. Twice.
'The Wait' - Pretenders (James Honeyman-Scott)
- How many tracks from the Pretenders debut could I have chosen? The
perfect miniature on 'Kid' is another contender. 'Tattooed Love Boys',
too. A masterclass in lean, melodic invention.
'No Fun' - The Stooges (Ron Asheton)
- Free jazz meets punk rock. Who would dare elbow aside this force of
nature for James Williamson? Iggy, man, what were you thinking? See
also: 'Loose', '1969'.
'Peggy Sue' - Buddy Holly
- More of a rhythm solo, really, but so simple and so perfect.
'Reelin' In The Years' - Steely Dan (Elliott Randall)
- Where did this come from? Dazzling technique, yet totally in sympathy
with the needs of the song. Makes me want to give up trying.
'Race With The Devil' - Gene Vincent & The Blue Caps (Cliff Gallup)
- I know who my money's on. What greased lightning would sound like if
it played the guitar and sported a rockabilly quiff.
'Pale Blue Eyes' - Velvet Underground (Sterling Morrison)
- Fragile and brilliant. A thousand sickly-looking youths peer out from
behind their fringes in awe.
'Lofty Skies' - Tyrannosaurus Rex (Marc Bolan)
- Wide-boy mod chancer and ersatz hippy Bolan somehow transforms
himself into a guitar god just by thinking about it. See also: 'Elemental
Child'.
'Machine Gun' - Jimi Hendrix
- Whoo-hoo! Music to kill gooks by. See also: 'Burning Of The Midnight
Lamp', 'Little Wing', 'All Along The Watchtower', etc., etc.
'Maggot Brain' - Funkadelic (Eddie Hazel)
- Play it like your mother just died, George Clinton told him, but
Eddie ups the stakes by playing like he just finished burying his entire
family in a mass grave.
'Whiskey In The Jar' - Thin Lizzy (Eric Bell)
- Stand and deliver or the devil he may take ya! One of the first
guitar solos I ever mimed to in front of the bedroom mirror.
'Goodbye To Love' - The Carpenters (Tony Peluso)
- Another of my early tennis racquet/mirror numbers. Even then I knew
that the Carpenters were fundamentally wrong. You couldn't admit to liking this in public. But that unexpected fuzz-guitar solo just sounded so great -and it still does.
Now, where did I put that sock?
Mark
"You hacks don't know where it's at
You can't appreciate the master of the Strat..."
-
Otis Westinghouse
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ReadyToHearTheWorst
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bambooneedle
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One of my favourite guitarists, Tommy Bolin. I could post endless samples of his soloing genius but here is just one example. Never mind the silly video.
http://www.youtube.com/watch?v=4WeY9jvLRC0
http://www.youtube.com/watch?v=4WeY9jvLRC0
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mood swung
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Otis Westinghouse
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Guitar lick more than solo, no? I like that song, but it's all too laid back and sun-drenched. I drummed on it for a party gig and it was so much more fun with a livelier funked-up drum beat, with lots of extra, subtle snare beats and more of a heavy locking onto the bass + bass drum anchor. Know what I mean? Less isn't more here, take some speed and rip it up a bit!
There's more to life than books, you know, but not much more
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mood swung
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Otis Westinghouse
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mood swung
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Some fave guitary bits - some solos, some riffs.
Berton Averre–“My Sharona" solo - the Knack
Steve Howe - The intro riff to "Siberian Khatru" - Yes
Mick Ronson - "Moonage Daydream" - the David Live version
Martin Barre - "My God" solo - Jethro Tull
Mick Taylor - "Time Waits for No one" solo - The Rolling Stones
Roger MGuinn - "Eight Miles High" - The Byrds
Phil Manzenera - "Out of the Blue" - Roxy Music
Neil Young - "Drive Back" - Zuma
George Harrison - "Day Tripper" - The Beatles
Berton Averre–“My Sharona" solo - the Knack
Steve Howe - The intro riff to "Siberian Khatru" - Yes
Mick Ronson - "Moonage Daydream" - the David Live version
Martin Barre - "My God" solo - Jethro Tull
Mick Taylor - "Time Waits for No one" solo - The Rolling Stones
Roger MGuinn - "Eight Miles High" - The Byrds
Phil Manzenera - "Out of the Blue" - Roxy Music
Neil Young - "Drive Back" - Zuma
George Harrison - "Day Tripper" - The Beatles
echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
Fave rock/pop guitar solos and stuff:
Tonight She Comes - The Cars (Elliot Easton)
The Wind Cries Mary - Jimi Hendrix (JH)
The End - The Beatles (John, Paul, and George)
I Forgot to Be Your Lover - William Bell (Steve Cropper)
Cause We've Ended As Lovers - Jeff Beck (JB)
Jump - Van Halen (EVH)
Jessica - The Allman Brothers Band (Dickey Betts)
Killer Queen - Queen (Brian May)
Let's Go Crazy - Prince and the Revolution (Prince)
Race With the Devil - Gene Vincent (Cliff Gallup)
Tonight She Comes - The Cars (Elliot Easton)
The Wind Cries Mary - Jimi Hendrix (JH)
The End - The Beatles (John, Paul, and George)
I Forgot to Be Your Lover - William Bell (Steve Cropper)
Cause We've Ended As Lovers - Jeff Beck (JB)
Jump - Van Halen (EVH)
Jessica - The Allman Brothers Band (Dickey Betts)
Killer Queen - Queen (Brian May)
Let's Go Crazy - Prince and the Revolution (Prince)
Race With the Devil - Gene Vincent (Cliff Gallup)
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Jackson Monk
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mood swung
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but no list can be complete without a little Heat.
the very Reverend Horton Heat
http://www.youtube.com/watch?v=qn4lJqbv7So
the very Reverend Horton Heat
http://www.youtube.com/watch?v=qn4lJqbv7So
Like me, the "g" is silent.