Artist	Song
Johnny Winter	Prodigal Son
Phish	You Enjoy Myself
Joni Mitchell	All I Want
Lightning Hopkins	Trouble In Mind
Van Halen	Eruption
Yes	The Clap
Moby Grape	Hey, Grandma
Link Wray	Rumble
Living Colour	Love Rears Its Ugly Head
Howlin' Wolf	Shake For Me
Danny Gatton	Pretty Blue
Captain Beefheart & The Magic Band	Big Eyed Beans From Venus
Ike & Tina Turner	Proud Mary
Nils Lofgren	Silver Lining

Comment:

This is the third installment of eight to the list of the 100 greatest rock guitarists ever.

The first volume can be found here, and the second volume can be found here.


Quiz #2-For a free copy of the entire 8-volume set, answer this one. Danny Gatton, guitarist extraordinaire yet relatively unknown, shot himself to death in his garage in 1994. What well-known jazz organist was he recording and touring with at the time of his death?

Notes on the third volume
74 Johnny Winter: In the early Seventies, Winter took the blues into hard rock territory with his overdrive takes on anthems such as "Johnny B. Goode" and "Jumpin' Jack Flash." He produced a string of solid albums for his hero Muddy Waters. "It's a living music," Winter said. "For me, blues is a necessity."
73 Trey Anastasio: Anastasio can play anything he hears. Phish's guitar anti-hero has Pat Metheny's cinematic sense of pacing and Frank Zappa's impish inclination toward noise. His epic solos balance technical finger-work against screaming climaxes, and they're exciting even when he's sloppy. 72 Joni Mitchell: The secret to Mitchell's daring guitar work is that she uses more than fifty different tunings. She devised the alternate tunings to compensate for a left hand weakened by childhood polio. In time she used them as a tool to break free of standard approaches to harmony and structure. 71 Lightnin' Hopkins: Sam "Lightnin" Hopkins learned the blues from Blind Lemon Jefferson in the Twenties. He was a ferocious electric stylist, though he's perhaps best known for his nimble acoustic fingerpicking during the Sixties folk-blues revival. He often just made it up as he went along. 70 Eddie Van Halen: The sound-obsessed Van Halen makes even simple lines sound like towering chorales and pioneered all kinds of tricks, such as fingers hammering the fretboard. Van Halen sought something different from his rock peers: music that was arty, but never so much that it lost touch with devastating hooks. 69 Steve Howe: During an era when everyone wanted to be a bluesman, Howe brought jazz, country, flamenco, ragtime and psychedelia into the mix for prog-rockers Yes. The ringing harmonics that open "Roundabout" may be Howe's best moment, but Close To The Edge displays his full range of talents. 68 Jerry MIller: Miller was tempered on the Pacific Northwest R&B bar scene before joining the San Francisco ballroom band Moby Grape. His playing was never self-indulgent, and his soloing was propulsive, always aware of where each song was headed.
67 Link Wray: Wray is the man behind the most important D chord in history. You can hear that chord in all its raunchy magnificence on the epochal 1958 instrumental "Rumble." By stabbing his amplifier's speaker cone with a pencil, Wray created the overdriven rock-guitar sound taken up by Townshend and Hendrix.
66 Vernon Reid: Reid reinvigorated hard rock with shots of soul, jazz, and hip-hop. His solos embraced the free-form abstraction of his early days as a jazz player, but they flexed enough muscle to bowl over any Metallica fan.
65 Hubert Sumlin: Sumlin's work on Howlin' Wolf classics such as "Wang Dang Doodle," Back Door Man" and "Spoonful" inspired Keith Richards and an entire generation of British bluesmen. Wolf's idio- syncratic phrasing humbled countless sidemen, but Sumlin embellished the singer's every pronouncement with angular phrases, vibrato-laden riffs and audacious glissandos.

Feedback: