Free : Fire and Water : 26 June 1970 / Remastered 2001
Pure and unadulterated , "Free" emerged as keepers of the flickering flame of the British Blues in a quartet of a beautiful balance . Paul Rodgers's huskily yearning vocals , clothes courtesy of the small ads in Melody Maker . Paul Kossoff streching his timeless guitar licks with his Les Paul's sustain , teenage Andy Fraser's mile-wide bass , rock-steady Simon Kirke 4/4'ing the whole together . Their manifesto was nowhere better proclaimed than on "All Right Now" .
Alexis Korner has suggested that they call themselves Free after his own Blues trio "Free At Last" , and seemingly erupting out of nowhere , they found themselves up amongst the headline acts at the Isle of Wight Pop Festival of 1970 . Yet they were never able to build completely on that success , not least through trying to keep Paul Kossoff's drug addiction under control .
1973's "Wishing Well", Free's final single , was a heartfelt plea from Rodgers to Kossoff - he failed to heed the song's message , and was dead within three years . "Fire and Water" is the third studio album and became the band's breakthrough hit, reaching #2 in the UK charts and #17 in the US , making it the most successful Free album.
Rodgers formed his next band , "Bad Company", founded in 1973 , with Mick Ralphs, former guitarist of "Mott the Hoople". Rodgers said: "Mick and I were trying to come up with names for the band . When I called him and said 'Bad Company', he dropped the phone."
"Bad Company" toured successfully from 1973 to 1982, and had several hits .
Label : Universal Island Records – UICY-9132 Format : CD, Reissue, Remastered Made in : EU Released : 2001 Genre : Rock Style : Classic Rock
1960: The Liverpool group the Beatles changed their name to the Silver Beetles. The group, which included Stu Sutcliffe on bass and drummer Tommy Moore, along with John Lennon, Paul McCartney, and George Harrison, auditioned to be the backing group for Billy Fury, Johnny Gentle or Duffy Power at the Blue Angel (formerly known as the Wyvern Social Club), a club owned by manager Allan Williams. Fury, Gentle, and Power were all looking for bands, and four other groups, including Gerry and the Pacemakers, auditioned the same day. Moore was late, so the group used Johnny Hutchinson, the drummer from the group the Casanovas, another auditioning group. Despite the fact that the drummer had never practiced with them, the Silver Beetles were still the class of the five. Fury indicated that this was the band for him. Moore then came staggering through the door and took over on drums. Not too long afterward, Fury abruptly decided that he didn't need a band, and the Silver Beetles were subsequently assigned to back Gentle on an upcoming tour of Scotland. (Note: some websites claim that the group changed their name to the Silver Beetles on May 20, but according to the book 'The Beatles As Musicians: The Quarry Men Through Rubber Soul' by Walter Everett, the name change occurred on May 10. Some websites say that the group changed their name from Johnny & the Moondogs to the Silver Beetles on this date. According to 'The Beatles Bible', the group stopped using the name Johnny & the Moondogs in January, and briefly called themselves the Beatles before switching to the Silver Beetles.) 1963: The Rolling Stones recorded their first songs, including their version of Chuck Berry's "Come On", at Olympic Studios in London. 1964: Dusty Springfield made her television debut singing "I Only Want To Be With You" on the CBS program The Ed Sullivan Show. 1965: The Beatles recorded "Dizzie Miss Lizzy" and "Bad Boy". 1965: The Rolling Stones recorded part of "Satisfaction" at Chess Studios in Chicago. 1966: Janis Joplin was invited to San Francisco by her friend Chet Helms. Helms wanted her to audition for a group he was managing--Big Brother and the Holding Company. 1967: British police arrested Mick Jagger, Keith Richard and Brian Jones for various drug offenses. 1968: Jim Morrison, seeing what he thought was abuse of audience members by policemen, incited a riot at a Doors concert at the Chicago Coliseum. 1969: Tricia Nixon, daughter of United States President Richard Nixon, invited the Temptations and the Turtles to perform at a White House Ball. 1969: She sang backup for Eric Clapton, Joe Cocker, Leon Russell and Delaney & Bonnie but on this date, Rita Coolidge debuted on the chart with her own first single--"Turn Around And Love You".
The Moody Blues~To Lovely To See You
Gavin Estler, prog-rock fanatic, on which albums he would make Bill Clinton, Tony Blair, Nick Clegg and others listen to
Newsnight presenter Gavin Esler has travelled the globe interviewing politicians and cultural icons. He's also a big fan of progressive rock. "I had a Jethro Tull album under my arm – and, I'm afraid, wore flares," he confesses of his past. We asked him to recommend the prog-rock albums that various political figures might appreciate.
Bill Clinton Pink Floyd's The Piper at the Gates of Dawn was the first album I ever heard and it was just so different. I think they might similarly guide Bill Clinton, although it would have to be Dark Side of the Moon for Bill. He can light up a room like a shining orb in the sky, but he has another side. In the White House press corps we talked of "Sunday-morning Bill", a contrite, Christian southern guy, and "Saturday-night Bill", who got up to various things with Monica Lewinsky. I never discussed music with him, but he had Aretha Franklin, Bob Dylan and Wynton Marsalis at his inauguration and he once had Kid Creole and the Coconuts playing on the White House lawn. He seemed very interested in the Coconuts.
Tony Blair
He was a rock'n'roll prime minister who cheered people up, but his reputation changed after the Iraq war. Jethro Tull's 1968 debut This Wasis a reflective album about change. I was 13 when my parents allowed me to go and see Tull and I think they thought they were harmless folkies. But what I like about prog is that it's never one category – sometimes Tull are jazz, folk or fairly head-on rock of the kind Blair likes. I think he would relate to the wonderful [frontman] Ian Anderson as an amazing survivor rather than a man in a codpiece playing flute on one leg.
Angela Merkel
The German chancellor is into German opera but Wagner could almost fit into a prog category, so she might like Van Der Graaf Generator's ALT album. It's German for "OLD" and has a track called Colossus. Like Blair, Clinton and Thatcher, she's head and shoulders above everyone else in politics. She speaks perfect English but has interview questions translated for her into German. I asked her why and she chuckled: "Those extra two seconds give me time to think."
Nick Clegg
Clegg's a fully paid-up member of the human race with a family and regular pursuits, but I can't quite imagine him listening to King Crimson. Their early stuff is pretty eccentric and berserk, but 21st Century Schizoid Man from the album In the Court of the Crimson King sums up his situation perfectly. For the next election he's got to be loyal to the coalition agreement while distancing himself from the Conservatives. Maybe all politicians are a bit Schizoid Man now, because compared with the cold war days, solutions to problems such as Syria aren't as clear as they once were.
Margaret Thatcher
I'm not sure Mrs. Thatcher really liked music apart from the odd showtune and Strauss. Peter Hammill can be quite dark, formidable listening, but she might have understood the point of his 2012 album Consequences
[http://www.sofasound.com/phcds/consequences.htm],
because everything she did had consequences. The Falklands war gave her a huge majority, which empowered her to make big changes to British society, which led to the poll tax, which cost her job. I was interviewing her once when a Sky reporter was pinned in the room, so he crawled out behind Thatcher but below the camera. She said, "What I fear about the world economy is … do get up you stupid boy!"
Gavin Esler presents the second annual Progressive Rock Awards at Kew Gardens on 3 September. His new book, Lessons From The Top, is published by Profile.
Is today's current incarnation of progressive rock similar or
different from that of what we "old timers" who remember how it was
in the sixties, seventies and eighties? I would daresay that many of us who
grew up listening to the likes of King Crimson, Yes, Pink Floyd, Jethro Tull, Genesis,
ELP, etc. consider that era to be the "Golden Age" of this
genre.
I
would really be interested in hearing from some of my younger colleagues on the
forum who are more conversant than myself with the latest offerings in this field
as to their feelings vise verse how this era stacks up against the previously
cited one, especially in terms of musical innovation, creating "concept
albums", or whatever other criteria one might wish to use in making an
assessment of this topic.
And
I guess if one wishes to opine on which time period is "better" or
"superior" to the other employing these criteria or others that would
be really interesting as well. {Even better would be if the opinions could be
buttressed by concrete examples and arguments.}.
Today progressively involves
more technical virtuosity rather than the concept of composition and harmony.
Former progressive bands in the present, the modern reincarnation, aren’t
progressive-they are alternative.
In
my opinion, after King Crimson, Yes... etc (and bands that you've counted)
ensure the glory of that rock direction and after the label
"progressive" at that time attracted a huge number of music lovers,
began in the late eighties transition in subgenres of which is the only
progressive metal had real value. Combination with other, generally more
commercial directions did not give anything spectacular. Metallica,
Queensryche, DT are great bands in the progressive period (metal), and showed
how the concept of progressive music lives in nineties and today, but with a
combination of extraordinary virtuosity. Progressive classical music is under pop
& commercial assault (by me) disappears into the background and if we say
that Muse is a progressive, then I conclude that what I say about alternative.
It's not progressive; it's just flirting with progressive.
In
my theory the musicians of yesterday's bands like Yes were more unique then
modern progressive musicians. In the days of Yes the audience and the public
opinion were not so after technical skills and they focused more on the overall
result as a band, not so on the single musicianship. Now often the songs are a
vehicle to show a circus of virtuosity. I guess, if Yes would be a newcomer-band,
a guitarist like Steve Howe would be accused for his "limited" style.
But his style is very unique, because of its limitations. Today’s musicians are
forced not only to be a virtuoso. Especially in the genre of Progressive Rock
they are also forced to handle all musical styles at ease. In an interview
Steve Howe said once, that he wanted to play "like nobody else
before". He was searching for a new language of the guitar. Today the
impression is, that the musicians want to show, that they can recreate all
styles and techniques and melt them into a song. DT in my opinion is melting
Metallica, Yes, Pink Floyd, Deep Purple, Led Zeppelin and the Mahavishnu
Orchestra. I really dig DT, but are they unique like YES? I don't think so…
Commonly
like our ages, The best music, progressive or otherwise was from the 60/70/80s.
Cause that’s when we were young. No not just that but there were more
apprentice served musicians. More opportunities for playing in clubs, pubs etc
in the days when they did not need a license to play live music. More chances
to hone your skills and find out what the people liked. You only have to look
at groups like the Beatles to realize how relevant these factors were. I have
recently re visited SHORT STORIES worth a listen by anyone. A mini masterpiece.
Many
questions concerning the generation of the 70's music, such as a fan of Yes,
Genesis, Gentle Giant, The Nice or ELP, etc. Are there any bands playing today
that can equal those?
It
all depends on what you're looking for. Are you looking for bands that sound
like these bands or for progressive rock bands that are blazing their own
trail?, and all back to your musical tastes, but now you need to know,
reference that represents progressive rock music today, it is;
Porcupine
Tree (Up The Downstairs, Dead wing, The Incident, Lightbulb Sun for a good
representation of different phases of the band and maybe Coma Divine a good
live album.
Transatlantic:
A prog "supergroup" made up of members from Dream Theater (ex drummer
Mike Portnoy actually), Spock's Beard (ex leader, now solo artist Neal Morse),
Pete Trewavas of Marillion and Roine Stolt of The Flower Kings. They have put
out three excellent albums over the years and some great live material too. I
would also recommend any of the aforementioned bands, Spock's Beard, Marillion,
Dream Theater (progressive metal) or The Flower Kings. Also:
After the Dream Theater Live rocked Jakarta to hold a
concert on the beach carnival, Ancol, last Saturday, 21 April, they were a
great success and very satisfying for lovers of progressive rock music,
especially in Indonesia.
Three days later, on Tuesday, April 24th yesterday,
Jakarta was rocked again by the legendary British Live Concert Group, Yes, in
the Ballroom of the Ritz Carlton Hotel, with personnel Yes for now, are: Steve
Howe (guitarist), Chris Squire (bassist) , Geoffrey Downes (keyboardist) and
the last; Jon Davidson of new members and the youngest, most of them is
over 60 years, while Jon Davison age reached 42 years old next month (May 9,
1970), as a vocalist.
Before Jon Davison joined, Yes already have a lead
singer, Benoit David, but in december last year, he abruptly resigned, because
his health is quite alarming, whereas at that time the band already have a timetable for the month of
April-May 2012 will hold a concert of the world Spring Tour , to the country
New Zealand, Australia, Japan, Indonesia and Hawaii, as well as major cities
among these countries.
The band was forced to recruit for the new singer, by doing a test audition
was elected to the nomination fell to a talented young vocalist, Jon
"Juano" Davison is an American
singer who was lead vocalist of American progressive/symphonic rock band Glass
Hammer
At first I personally pessimistic than the results of
their decisions, (Steve, Chris, Alan), because they are the leaders and
founders of Yes, especially Chris Squire, he was one of the eldest who have
contributed to the Yes of the initial set up in 1968 to the present, The founder were, He and the vocal Maestro
Jon Anderson, Peter Banks (keyboard), Tony Kaye (guitar) and Bill Bruford
(drummer), Steve Howe, joined Yes, was
replacing guitarist Tony Kaye, at the mid-1971, and position Peter Banks was replaced
by Rick Wakeman as the keyboardist,
this formation line-up was the
culmination of their glorious career of the band, the best of their albums,
"Fragile" (1971), "Close to the Edge" (1972), Yes Songs
(live, 1973), the album is half the drum section has been filled by Alan White,
"Tales from Topographic of The Ocean", Alan White replaced Bill
Bruford and joined for the album "relayer" (1974), Patrick Moraz replaces Rick position for a while, he worked
on solo career in his album projects: "The Six Wives of Henry VIII
"(1974)," Journey to the Center of the Earth "(1974)" The
Myths and Legends of King Arthur and the Knights of the Round Table "(1975),"
Liztomania "(1975). And in 1980 Geoffrey Downes replace Rick Wakeman and
participate in released the album
"Drama" (1980). This group continues to have ups and downs with the
flurry of respective personnel in released their solo albums, but this band
still exist and formidable.
Perhaps just an information for the name of its founder
figure who always become a trade mark, namely Jon Anderson, had already proved
on the album Yes, Drama (1980), which Jon was absent didn't participate in this
album, vocals filled by Trevor Horn, and almost of the true fans are not too
appreciative, sounded mediocre, but then on the
Album 90125 (1985), Jon rejoined Yes, try to give new color to the
arrangements of the music goes to pop, quite successfully, follow the trend of
the time, where Genesis succeed with The
Abacab
Yes dismiss Anderson in 2008 and he maintains They did it Because he was too ill to tour, and David Benoit took his place. Later the band also treat Benoit David with the same thing with Jon Anderson first time, and Jon was offered to return as the singer, but he refused, because he too had had a schedule for a gig solo career collaborating with Rick Wakeman. Therefore forced to recruit Jon Davison. Apart from the arrogance or the saturation of the band with Jon Anderson relationship, This statement footage directly in the interview he was.
Return to their show with the theme "Celebrating 44 Years of YES in wonderous One Night ", Ritz Carlton Ballroom, Jakarta.
First kick from early songs sung with Their hit
"Yours is No Disgrace", the band, the which performed with Jon
Davison from Glass Hammer on vocals, he was perfect in the song is. My
pessimism disappear instantly, by
estimate the audience that night about
1,000 people, many give applause for Jon Davison and other Yes personnel.
With the arrangement of light and a magnificent stage
show support this band be wonderful for watched, after that, "Tempus"
follow by the song "I've Seen All Good People", "Live on a movie
set," "And You and I", many of the audience, especially among lovers
This music, including myself, participated enthusiastically sing along.
Steve Howe solo session with the guitar is stunning in
the song "Solitaire" and "The Clap", Chris Squire, tapped the bass still fierce as ever, he's
the best bassist progressive rock world player. Allan White and Geoffrey Downes no
less great. "It's amazing That They still have that precision and power
after all this time.
From their latest album Fly from Here (2011), produced by
Trevor Horn, the 6 songs were sung by Jon Davison reliable sing the songs with
vocals that sound almost similar to Jon Anderson's voice, as well as the theme
song from the show, " wonderous Stories "," Into The Storm
"," Heart of the Sunrise ". The audience more enthusiastic again
when the song "Owner of a Lonely Heart", the audience singing along,
some dancing, followed by "Starship trooper". Recently closed by the
song "Roundabout" as an encore.
It was a realy great live show, the audience very happy though tired. Yes it
is really astound that night, That
Legendary progressive rock band from England, was able to prove that they are
still to be reckoned through the action of a duration of 2.5 hour spectacular. Yes is still great, Flawless, Fabulous and Fantastic!
List Of Songs at the Event of
"Celebrating 44 Years of YES in One Wonderous Night", Ritz Carlton Ballroom, Jakarta.
It took nearly 25 years for the progressive metal band Dream Theater to stop by to Jakarta since releasing their first album. Their performance for approximately two hours at the Eagle Eye Indoor Stadium (MEIS), Carnival Beach, Ancol, Saturday (04/21/2012) evening quench the thirst of the fans as fanatical.
Since the afternoon, thousands of fans who dominated the age established already crowded Carnival Beach Ancol area. Most of them dressed in black complete with a compact style attribute his idol's band.
The atmosphere was a little heated up ahead of a concert started as a concert arena entrance gates never opened, while thousands of spectators accumulating. Finally, at around 21.00 pm James LaBrie and the colleagues appear on the stage holding the respective instrument.
Before they performed as the opening of the show filled with guitar recital by the most talented fingerstyle of Andy-McKee, currently signed to the American record label Razor & Tie.
Once completed, the lapse of some time in preparation for their show begins, as the opening song is “Bridges in the Sky” live playing. Eagle Eye Indoor Stadium with a capacity of 10 thousand spectators was torn rumble. Supported by a magnificent stage lighting and sound are up, Dream Theater opened with a perfect concert. John Peter Petrucci directly exhibiting agility of his fingers on guitar strings. The audience began to jump and cheer.
After bringing '6: 00 ', the vocalist James LaBrie was greeted and chatted a bit about the delight he finally set foot in Indonesia, to complaints about the traffic congestion of Jakarta.
"Finally we're here. It may take some time to meet you, so tonight we have to have fun," said James, who looked relaxed in a black T-shirt clad in jeans.
"Build Me Up, Break Me Down" and then played, immediately greeted by "Surrounded" and 'The Root of All Evil". James also introduced their new drummer Mike Mangini who replaced Mike Portnoy.
Mangini is not a new drummer wrestling a dozen years in the music world. Since 1987 ago, he was a drummer accompanist various bands and musicians such as Steve Vai, Extreme, Tribe of Judah, and much more.
Many fans are wondering, like what the heck drumming Mangini appointed to fill the position left by the caliber of drummer Mike Portnoy?.
All seemed answered when the 49-year-old drummer's solo showcase game. Mangini drum set sits in a frame resembling a bird cage full of cymbals.
Mangini can beat his drum with a very fast tempo, accompanied by the accumulation pedal plays that are not less cool. To measure the drummer who was nearly half a century, Mangini is extraordinary stamina.
Not only Mangini and John Peter Petrucci which each skill performance on stage. John Myung's the bassist not want to miss.
Not to mention a touch of Charles Jordan Rudes on the keyboard is thick with progressive flow. In addition to the keyboard, Jordan also uses the iPad to produce musical instruments.
The concert continued with the song "A Fortune in Lies",''Out Cry", "'The Silent Man", and the song "Beneath The Surface 'is taken from their latest album "A Dramatic Turn of Events". Almost all of the audience sing along in the song of the most eagerly awaited, "The Spirit Carries On".
Dream Theater brought about 16 songs total,are as follows:
Bridges in the Sky
6:00
Build Me Up, Break Me Down
Surrounded
The Root of All Evil
Drum Solo
A Fortune in Lies
Outcry
The Silent Man
Beneath the Surface
On the Backs of Angels
War Inside My Head
The Test that Stumped Them All
The Spirit Carries On
(w/ Petrucci and Rudess Intro)
Breaking All Illusions
Pull Me Under
Truly is a great gift to the audience this spectacular show although tired but happy and satisfied faces were seen in most of the audience.
Category for the history of rock music genre prog rock, art rock, or rock orchestra, represented by the 10 musicians of the most innovative guitarists of our time. And for the category of genre of rock & roll, blues and hard rock of all time is represented by, among others;
Steve Howe (Yes)
Few guitarists have incorporated as many styles as Steve Howe has. Drawing upon influences that range from Django Reinhart to Barney Kessel to flamenco legend Carlos Montoya, the Yes guitarist used his trusty ES-175 to propel such classics as “Your is No Disgrace” and “Heart of the Sunrise.” His solo composition, “Mood for a Day,” from the Fragile album, showed that classical music could be cool.
Robert Fripp (King Crimson)
Jagged, angular, and sonically adventurous, Robert Fripp’s playing sets a high standard with such early King Crimson classics as “21st Century Schizoid Man” and the two-part opus “Larks Tongue in Aspic.” His work with David Bowie, especially on “Heroes” and Scary Monsters, laid the bedrock for some of the latter’s finest albums.
Martin Barre (Jethro Tull)
Ian Anderson may be the face of Jethro Tull, but the band’s Celtic-inspired folk rock gets most of its energy from Martin Barre’s aggressive six-string work. On songs such as “Bungle in the Jungle” and “Aqualung,” Barre showed a sense of economy and melody that sometimes eluded his prog-rock peers. His solo in “Aqualung” is often cited as one of rock guitar's greatest moments.
Alex Lifeson (Rush)
Characterizes Rush’s best work can be traced to the versatility of Alex Lifeson. A melodic soloist, Lifeson is also capable of subtle rhythm playing that elegantly serves the song at-hand. In the group’s early years, he often used a 1976 ES-355 to craft the band’s ambitious soundscapes.
Greg Lake (Emerson, Lake & Palmer)
Though he’s better known for his songwriting and bass skills, Greg Lake used his superb fingerpicking talents to provide ELP with some of its best moments. Acoustic pieces such as “From the Beginning” and “Still …You Turn Me On” have become standards in the prog pantheon. The lesser-known piece “Daddy,” from ELP’s overlooked 1994 album, In the Hot Seat, is nearly as good.
Peter Banks (Yes, Flash)
Before there was Steve Howe, there was Peter Banks. Artistic differences between Banks and singer Jon Anderson prompted Banks’s departure from Yes in 1970, but in his little-known ‘70s band, Flash, Banks used an ES-355 to create several should-have-been prog rock classics. “Lifetime,” from Flash’s In the Can album, is his tour-de-force.
Jan Akkerman (Focus)
Had he done nothing more than serve as the driving force on the 1973 hit “Hocus Pocus,” Jan Akkerman’splace in progressive guitar history would be assured. Following his departure from Focus in the mid ‘70s, the Dutch guitarist went on to release several acclaimed solo albums. Readers of Britain’s Melody Makermagazine voted him “Best Guitarist in the World” in 1973.
John Petrucci (Dream Theater)
Prog-metal greats Dream Theater would hardly be the same without the virtuosic six-string work of John Petrucci. Counting Steve Vai, Alex Lifeson, and Steve Howe among his influences, Petrucci is one of prog’s most technically gifted artists. Through the years he’s added emotive qualities to his soaring talents as a shredder.
David Gilmour (Pink Floyd)
In addition to bringing an overt blues influence to the genre, David Gilmour is one of progressive rock’s most melodic lead players. While his solos often build to operatic proportions, he’s always kept Pink Floyd’s spaciest excursions tethered to earthbound traditions.
Steve Hackett (Genesis)
Steve Hackett’s work in Genesis tended to fly under the radar. During his ‘70s tenure with the band, however, his subtle six-string work helped shape the group’s art-rock sound. In addition to being a pioneer of two-handed tapping, Hackett was among the first rock artists to view the guitar as an ensemble, symphonic instrument.
10. Pete Townshend (The Who)
The guitar, as an instrument, has never sounded as angry as when played by Pete Townshend. Listen to “Young Man Blues” on Live at Leeds or “The Real Me” on Quadrophenia, and you will hear the sound of a man on the edge, abusing his instrument as the only means of expressing his repressed rage. Punk was born from this. Heavy metal. Hard rock, in all its various forms, can be traced back to the London kid with the big nose windmilling like his life depended on it. The genius of Townshend, though, is that this is just one facet of his playing. I dare you to find a more sincere, emotional solo than the one Pete takes in “Love Reigns O’er Me.” Or hillbilly glee to match “Squeeze Box.” Too iconoclastic to conform to the Mods, too musical to be a true punk, Pete Townshend stands in a category all his own. – Michael Wright
9. Robert Johnson
No guitarist has had a greater impact on modern blues and rock guitar than Robert Johnson. Over the course of just 29 original songs, the “King of the Delta Blues” laid the groundwork for styles further shaped and developed by Jimmy Page, Eric Clapton, Duane Allman and countless others. A haunted figure, Johnson led a life shrouded in mystery, with some insisting only a pact with the Devil could account for the seemingly sudden burst of guitar skills that took hold in him in his early 20s. In truth, as those who knew him have said, Johnson worked diligently to perfect the craft that yielded such classics as “Love in Vain,” “Crossroad Blues” and “Sweet Home Chicago.” Keith Richards once described Johnson’s guitar playing as sounding “like Bach.” Clapton calls Johnson’s music “the most powerful cry that I think you can find in the human voice.” – Russell Hall
8. Chet Atkins
One of the founding members and architects of the Nashville Sound, Chet Atkins was unquestionably the greatest and most renowned guitarist country music has ever known. Over the years, Chet released hundreds of remarkable solo recordings displaying his undeniable talent, but it was his work as a session guitarist that may ultimately be the part of his legacy that shines the brightest. Mr. Guitar was one of the most prolific session players in history, and his stunning work can be heard on many of the biggest records of all time, including on countless classics by Elvis Presley, Hank Williams, the Everly Brothers and dozens upon dozens of A-list artists. Chet’s groundbreaking fusion of jazz and country-picking would go on to influence such legendary guitarists as George Harrison, Mark Knopfler, Glen Campbell, Jerry Reed, Duane Eddy and countless other big-time artists. Check out the DVD Chet Atkins: Certified Guitar Player to witness to Atkins’ undeniable greatness. – Sean Dooley
7. Eddie Van Halen (Van Halen)
For countless guitarists around the world, history can easily be divided into two distinct eras: pre-Van Halen and post-Van Halen. And it all started with an explosive instrumental track that clocked in at a brisk 1:42. The blistering pyrotechnics on display in “Eruption,” from the group’s debut album Van Halen, proved an epiphany for millions of aspiring – and accomplished – rock guitarists everywhere. That track alone signaled a seismic shift in the way the instrument would forever be played. Eddie’s performance on “Eruption” is nothing short of mesmerizing. No guitar had ever sounded like that – it was almost hard to believe that it was just one man, one instrument, one take and no overdubs. Eddie’s patented double-handed finger-tapping on the fretboard created an almost symphonic cacophony the likes of which had never been heard before, and rock music would never be the same. Simply put, Eddie Van Halen is easily the most influential (and poorly imitated) guitarist of the last 30 years. – Sean Dooley.
6. Jeff Beck (The Yardbirds, The Jeff Beck Group)
Only the rarest of musicians are capable of celebrating a milestone like a 65th birthday by making one of the their best albums and, sure enough, Beck’s beautifully orchestrated 2010 release Emotion & Commotion recalls the passion and scope of his pivotal 1970s masterpieces, Blow By Blow and Wired. On those albums, with his 1954 Oxblood Les Paul and limitless imagination, Beck ducked his early history as part of the original Holy Trinity of British blues to prove his artistry has no boundaries. Even as a bluesman, Beck was unique. His post-Yardbirds playing with The Jeff Beck Group on their 1968 debut Truth has passages of noisy expressionism that would fit modern discs by Sonic Youth or Muse, despite his gargantuan strength as a melodist. Whether playing as a sideman, headlining small clubs like Ronnie Scott’s or flooring a horde of fellow six-string virtuosos and their fans at Eric Clapton’s Crossroads Festival, Beck is an absolute master — perhaps the absolute master — of modern electric guitar. – Ted Drozdowski.
Forget about his far-reaching solo work for a minute. Forget Cream. Forget the Yardbirds. Forget Derek and the Dominos. Forget the beer commercial and “Tears in Heaven.” Forget everything. The main reason kids should still be spray painting “Clapton is God” on city walls is because of that solo on The Beatles’ “While My Guitar Gently Weeps.” All that came after that was just gravy. The musician nicknamed Slowhand has always had a strong sense of melody and even his dense, improvisational solos never fade without offering substance. He has spent his career swinging between experimentation and tradition while collecting Grammys. He can play deep and soulful. He can play loud and searing. He has been a prolific champion of the blues, paying tribute to idols like B.B. King and Robert Johnson at every opportunity. And after all this time, his spot-on playing still manages to dazzle. – Aidin Vaziri.
3. Keith Richards (The Rolling Stones)
The undisputed musical leader of The Rolling Stones, Richards is the best rhythm guitarist in history. He’s the rajah of the riff, the overlord of opening tuning and the sultan of “Satisfaction.” Taking cues from Chuck Berry, Muddy Waters and Jimmy Reed, Richards’ genius lies in simplifying a guitar phrase until it’s down to the absolute essentials. His riffs are unfettered. By using an economy of language, they remain unforgettable. Peter Frampton might have made his axe “talk,” but Keef had already been holding conversations with listeners for years. And what’s a better ice-breaker than the opening riff to “Brown Sugar” or “Start Me Up”? Richards also deserves credit for playing well with others. Working in the Stones with Brian Jones, Mick Taylor and Ronnie Wood, Richards has employed “the ancient art of weaving,” bringing together the lead and rhythm guitar parts via methods learned from his heroes. And when the Stones tour, Keef’s still up there working his butt off – forever in service of band and song. – Bryan Wawzenek.
2. Jimmy Page (Led Zeppelin)
Rock’s sorcerer supreme, Jimmy Page took the blues, rockabilly and folk and fired it out of a cannon with the release of Led Zeppelin’s eponymous debut in 1969. Years of teeth-cutting in London studios and a short, but eventful, tenure in the Yardbirds only served to sharpen Page’s incomparable skills. Not content to rest on an already winning formula, Page took quantum leaps forward in songwriting, producing and playing on every Zeppelin album. After an initial period of silence following the band’s split, Page re-entered the rock scene as Guitar God Emeritus with The Firm, on solo albums and in collaborations with The Black Crowes, David Coverdale and his old partner in crime, Robert Plant. Page remains one of the most influential and revered guitarists of all time. For case in point, watch The Edge and Jack White, in the film It Might Get Loud, turn into fawning schoolboys when the master launches into the opening chords of “Whole Lotta Love.” – Michael Wright.
1. Jimi Hendrix
Jimi Hendrix revolutionized guitar playing and rock music – building a rainbow bridge between blues, rock and roll and the psychedelic experiments of the mid-’60s. Never has a guitar player appeared so “at one” with his instrument – his live shows were more out-of-body experiences than performances. His tragically short recording career saw only three studio albums, Are You Experienced? (1967), Axis: Bold as Love (also 1967), and Electric Ladyland (1968). Hendrix’s performance at Woodstock remains a genuine iconic moment in rock and roll history. Jimi Hendrix was only 27 when he died in a London flat. Neil Young said it best when he inducted Jimi into the Rock and Roll Hall of Fame, “Hendrix threw a Molotov cocktail onto rock and roll.” – Andrew Vaughan
Votes for the Top 50 Guitarists of All Time were included from Michael Wright, Bryan Wawzenek, Andrew Vaughan, Sean Dooley, Arlen Roth, Aidin Vaziri, Russell Hall, Ted Drozdowski, Paolo Bassotti, Dave Hunter, Jeff Cease (Black Crowes), James Williamson (Iggy & The Stooges), Steve Mazur (Our Lady Peace), Martin Belmont (Graham Parker & The Rumour) and the Gibson.com Readers Poll.
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