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The 100 Greatest Guitarists (vol. 5)
| Artist | Song | |
| The Who |
I Can See For Miles 
|
|
| The Mahavishnu Orchestra | Meeting of the Spirits | |
| Aerosmith | Walk This Way | |
| T-Bone Walker | Mean Old World | |
| Les Paul & Mary Ford | How High The Moon | |
| The Mothers of Invention | Willie The Pimp | |
| Elvis Presley | That's All Right | |
| Funkadelic | Maggot Brain | |
| Creedence Clearwater Revival | Green River | |
| The Byrds | Just A Season | |
| King Crimson | 20th Century Schizoid Man including Mirrors | |
Comment:
Five down and three to go in the list of the 100 greatest rock guitarists ever.The other four volumes can be found here.
Quiz #2-For a free copy of the entire 8-volume set, answer this one. Which guitarist performed under the name Rhubarb Red?
Notes on the fourth volume
50 Pete Townshend: Pete Townshend destroyed guitars almost as much as he played them in the mid- and late 1960s, smashing his Rickenbackers and Strats in frenzies of ritual murder at the end of the Who's stage shows. But he also pioneered the power chord on the Who's 1965 debut single, "I Can't Explain," and on the follow-up, "Anyway, Anyhow, Anywhere." Townshend was arguably the first in rock to use feedback as a soloing tool. Live at Leeds is an exhilarating display of his unique guitar violence, while Who's Next, the band's greatest studio achievement, shows how much melody and beauty there was inside Townshend's thunder and lightning.
49 John McLaughlin: After playing with British blues bands in the mid-Sixties, McLaughlin moved to New York, where he helped pioneer the jazz rock that became known as fusion in the early Seventies. Miles Davis' classic Bitches Brew doesn't just feature McLaughlin, it also boasts a track named after him. In 1971, McLaughlin formed the Mahavishnu Orchestra, which combined the complex rhythms of Indian music with jazz harmonies and rock power chords. He played blizzards of notes, clearly influenced by the sheets of sound of his idol, John Coltrane. The first two Mahavishnu albums, The Inner Mounting Flame and Birds of Fire, are every bit as incendiary as their titles suggest. 48 Joe Perry: Joe Perry has spent most of his three decades with Aerosmith being compared to Keith Richards as the songwriting foil to the band's Jagger counterpart, Steven Tyler. But his admiration for Richards and Jeff Beck was grounded in blues and R&B. Perry's immortal pimp-roll lick in "Walk This Way" was a natural progression from Aerosmith's early covers of Rufus Thomas' "Walking The Dog" and James Brown's "Mother Popcorn." Perry's iridescent lyricism comes through in "Dream On," one of the only power ballads worthy of the term. 47 T-Bone Walker: T-Bone Walker invented the guitar solo as we know it - he was the guy who figured out how to make an electric guitar cry and moan. Born in Texas in 1910, he was a bluesman touring the South by the age of fifteen. He shocked everyone with his 1942 debut single, "Mean Old World," playing bent notes, vibrato sobs and more wild new sounds that other guitarists hadn't even dreamed of. Walker invented a new musical language, from the urban flash of "The Hustle Is On" to the dread of "Stormy Monday." 46 Les Paul: Born Lester Polfus in Wisconsin on June 9th, 1915, Paul is a guitar inventor as well as player. He was tinkering with electronics at age twelve and built his first guitar pick-up from ham radio parts. By 1941 he had built the first solid body electric guitar prototype. In 1952, Gibson began selling the Les Paul model, now a rock 'n' roll standard. He was also a pioneer in multi-track recording and a staggeringly talented guitarist, cutting a string of pop hits with wife Mary Ford in the early fifties.
Feedback:
continuation of notes on the guitarists
45 Frank Zappa: He was both a drummer and composer before getting serious about the guitar. But in his more than four decades on stage and record, Zappa - who died in 1993 - soloed with the same dis- cipline and experimental appetite that he applied to the rest of his protean legacy: symphonies, doo-wop parody, big-band fusion, sociopolitical satire. For a man who ran his Mothers of Invention with an iron fist, Zappa was actually a joyful improviser who combined the melodic rigor of his orchestral ideals with the dirty, frenzied pith of his earliest love, 1950s R&B. He also came up with the best instrumental titles in the business, including "Invocation and Ritual Dance of the Young Pumpkin" and "In-A-Gadda-Starvinsky." 44 Scotty Moore: Moore played electric on the eighteen epochal sides Elvis Presley cut for Sun Records in 1954 and '55, including "That's All Right," "Good Rockin' Tonight" and "Mystery Train." His mix of country picking and bluesy bends would later be termed rockabilly. When the King signed with RCA, Moore went along with him, and the result was another round of classics like "Heartbreak Hotel" and "Hound Dog."
43 Eddie Hazel: Hazel was the guitar visionary of George Clinton's Parliament-Funkadelic empire. Born in Brooklyn in 1950, Hazel grew up in New Jersey, where he fell in with Clinton's funk mob. For the title track to Funkadelic's 1971 album Maggot Brain, Clinton asked Hazel to imagine the saddest possible thing. Thinking of his mother's death, Hazel unleashed ten minutes of sad acid-rock guitar moans. "Maggot Brain" became a landmark, and Hazel inspired disciples from Sonic Youth to the Red Hot Chili Peppers with a Strat full of cosmic slop. When Hazel died in 1992, they played "Maggot Brain" at his funeral.
42 John Fogerty: In the height of psychedelic excess in the late Sixties, John Fogerty wrote, sang and played guitar with Creedence Clearwater Revival like a man from another decade: the Fifties. His impassioned vocals and plainspoken politics were a big part of CCR's crossover appeal on underground-FM and Top Forty radio. But Fogerty's taut riffing, built on country and rockabilly improvisations, was the dynamite for such CCR hits as "Born on the Bayou" and "Green River." Also a must listen is his extended break on the band's 1968 cover of Dale Hawkins' "Susie Q."
41 Clarence White: A child prodigy bluegrass picker, White found early fame with the Kentucky Colonels, but he's best remembered for his association with the Byrds. His classy twang first popped up on their 1967 album Younger Than Yesterday, came through loud and clear on 1968's Sweetheart of the Rodeo and grew as the band delved further into country rock. White was co-inventor of the Parsons/White Stringbender, which enables a regular guitar to simulate a pedal steel. Sadly, the man who brought it to prominence was mowed down by a drunk driver in 1973.
40 Robert Fripp: Fripp helped define prog rock, starting in 1969 with King Crimson. Fripp's trademarks are swooping fuzz-tone solos that skirt the fringes of tonality, slashing rhythm parts in an array of tricky time signatures, and intricate, finger-punishing single-note lines. Fripp and his friend Brian Eno invented the "Frippertronics" infinite tape-loop system, thus creating the ambient music subgenre.
45 Frank Zappa: He was both a drummer and composer before getting serious about the guitar. But in his more than four decades on stage and record, Zappa - who died in 1993 - soloed with the same dis- cipline and experimental appetite that he applied to the rest of his protean legacy: symphonies, doo-wop parody, big-band fusion, sociopolitical satire. For a man who ran his Mothers of Invention with an iron fist, Zappa was actually a joyful improviser who combined the melodic rigor of his orchestral ideals with the dirty, frenzied pith of his earliest love, 1950s R&B. He also came up with the best instrumental titles in the business, including "Invocation and Ritual Dance of the Young Pumpkin" and "In-A-Gadda-Starvinsky." 44 Scotty Moore: Moore played electric on the eighteen epochal sides Elvis Presley cut for Sun Records in 1954 and '55, including "That's All Right," "Good Rockin' Tonight" and "Mystery Train." His mix of country picking and bluesy bends would later be termed rockabilly. When the King signed with RCA, Moore went along with him, and the result was another round of classics like "Heartbreak Hotel" and "Hound Dog."
43 Eddie Hazel: Hazel was the guitar visionary of George Clinton's Parliament-Funkadelic empire. Born in Brooklyn in 1950, Hazel grew up in New Jersey, where he fell in with Clinton's funk mob. For the title track to Funkadelic's 1971 album Maggot Brain, Clinton asked Hazel to imagine the saddest possible thing. Thinking of his mother's death, Hazel unleashed ten minutes of sad acid-rock guitar moans. "Maggot Brain" became a landmark, and Hazel inspired disciples from Sonic Youth to the Red Hot Chili Peppers with a Strat full of cosmic slop. When Hazel died in 1992, they played "Maggot Brain" at his funeral.
42 John Fogerty: In the height of psychedelic excess in the late Sixties, John Fogerty wrote, sang and played guitar with Creedence Clearwater Revival like a man from another decade: the Fifties. His impassioned vocals and plainspoken politics were a big part of CCR's crossover appeal on underground-FM and Top Forty radio. But Fogerty's taut riffing, built on country and rockabilly improvisations, was the dynamite for such CCR hits as "Born on the Bayou" and "Green River." Also a must listen is his extended break on the band's 1968 cover of Dale Hawkins' "Susie Q."
41 Clarence White: A child prodigy bluegrass picker, White found early fame with the Kentucky Colonels, but he's best remembered for his association with the Byrds. His classy twang first popped up on their 1967 album Younger Than Yesterday, came through loud and clear on 1968's Sweetheart of the Rodeo and grew as the band delved further into country rock. White was co-inventor of the Parsons/White Stringbender, which enables a regular guitar to simulate a pedal steel. Sadly, the man who brought it to prominence was mowed down by a drunk driver in 1973.
40 Robert Fripp: Fripp helped define prog rock, starting in 1969 with King Crimson. Fripp's trademarks are swooping fuzz-tone solos that skirt the fringes of tonality, slashing rhythm parts in an array of tricky time signatures, and intricate, finger-punishing single-note lines. Fripp and his friend Brian Eno invented the "Frippertronics" infinite tape-loop system, thus creating the ambient music subgenre.
Another great volume, Dean...(more or les).
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if g.a.b.l@bs isn't answering les paul, i am.
in my haste to try to win a copy of this classic series i failed to notice how great the mix is. every tune a winner in all their wonderous variety.
mahdishain shoots and scores with an assist to g.a.b. l@bs. Thanks for playing.
crikey, this is a great series . . . I keep grabbing CDs from the rack that I haven't listened to in years because of this . . . Maggot Brain . . . wow !
Can't complain with any choices here...
T-Bone Walker is good enough for me, the rest are just icing.