RIFF-it good. Add Comment. For Your Precious Love 2. For Your Precious Love feat. The Impressions 3. Giving Up on Love 4. Good Times 5. He Will Break Your Heart 7. Hey, Western Union Man 8. I Don't Want to Hear Anymore 9. I Stand Accused I'm a Telling You Let It Be Me Let It Be Me feat.
Betty Everett Make It Easy on Yourself Moon River Need to Belong Never Give You Up Only the Strong Survive Whatever You Want Cheeeek that out dude. Lead RIFFs:. Bad selection. Save Moon River - Jerry Butler - All Time Jerry Butler Hits (Vinyl.
Really delete this comment? Yes No. For Your Precious Love. The Impressions. Giving Up on Love. In the Beatles ' early days, George Harrison briefly billed himself as Carl Harrison in honor of his quick-picking hero.
Perkins' bright, trebly style — which the rockabilly king picked up from blues players in Tennessee — defined the singles he put out on Sun Records "Blue Suede Shoes," "Glad All Over" and influenced scores of players from Eric Clapton to John Fogerty.
He's never been a monochromatic headbanger, though, delving early on into the delicate picking of "Fade to Black" and later embracing the more nuanced hard rock of the Black Album.
And it's great. As his recent solo set, Several Shades of Whyshowed, he can get shamelessly pretty with an acoustic, too. The Police were a new kind of power trio, and Andy Summers was the main reason. Summers played as sparely as possible, constructing clipped twitches or dubby washes of sound — leaving ample room for Sting and Stewart Copeland. Legend has it that funkadelic's "Maggot Brain," the minute solo that turned the late Eddie Hazel into an instant guitar icon, was born when George Clinton told him to imagine hearing his mother just died — and then learning that she was, in fact, alive.
Hazel, who died of liver failure in at age 42, brought a thrilling mix of lysergic vision and groove power to all of his work, inspiring followers like J Mascis, Mike McCready and Lenny Kravitz. A true guitar polymath, Nels Cline has tackled everything from gothic country rock with the Geraldine Fibbers to a full remake of John Coltrane's late improvisational masterwork, Interstellar Space.
He's best known, of course, as Wilco 's gangly guitar hero, lurching into extended seizures "Spiders [Kidsmoke]" or spiraling into lyrical jam flights "Impossible Germany". Lou Reed has been blowing traditional guitar styles to bits since his Velvet Underground days. Buddy Holly turned a generation of future heroes — George HarrisonEric ClaptonJeff Beck — onto the guitar, with an elemental style: an antsy mix of country and blues that merged rhythm and lead; check the push-and-tease Album) on "It's So Easy," which echoes Holly's growl-and-hiccup vocals.
Playing his Stratocaster and fronting a double-guitar-bass-and-drum quartet, Holly essentially invented the rock band. Tom Petty 's lead guitarist for more than 40 years, Mike Campbell never clutters up a song with notes when two or three bull's-eyes will suffice. John Fahey, who died in at age 61, was American folk guitar's master eccentric, a dazzling fingerpicker who transformed traditional blues forms with the advanced harmonies of modern classical music, then mined that beauty with a prankster's wit.
In the Nineties, Fahey switched to a spiky minimalism on electric guitar that made him a post-punk icon. Like his conversational singing, Willie Nelson 's guitar playing is deceptively laidback, playfully offbeat and instantly recognizable.
Amazingly, Nelson has been playing the same Martin M classical guitar, nicknamed Trigger, since ; it has defined his sound, a nylon-stabbing mix of country, blues and Django Reinhardt's gypsy jazz.
Though the guitar now has a large gaping hole, Nelson still plays it nightly. We are both pretty battered and bruised. Schooled in flamenco and jazz, Robby Krieger pushed beyond rock at a time when most players were still bound to the blues.
In the Doorshe had the improvisatory flair to follow Jim Morrison's wildest journeys, wrote some of their biggest hits "Light My Fire"and picked up the slack in their keyboard-drums-guitar lineup.
I always felt like three players simultaneously. The strongest thing I did for Joni as a producer on Song to a Seagullfromwas keep everybody else off of that record. She was a folkie who had learned to play what they call an indicated arrangement, where you are like a band in the way you approach a chord and string the melody along.
She was so new and fresh with how she approached it. It's the reason I fell in love with her music. She was a fantastic rhythm player and growing so fast. She had mastered the idea that she could tune the guitar any way she wanted, to get other inversions of the chords.
I was doing that too, but she went further. I understood her joy in using bigger tools later — jazz bands, orchestra. But the stuff she did that was basically her, like 's Bluewas her strongest stuff. Match her and Bob Dylan up as poets, and they are in the same ballpark.
But she was a much more sophisticated musician. By David Crosby. Dale played as fast as possible, at max volume; Leo Fender Moon River - Jerry Butler - All Time Jerry Butler Hits (Vinyl attempted to design an amp that wouldn't be destroyed by Dale's sheer loudness. He was no virtuoso, and that's the whole point: By snatching electric guitar from note-shredding technicians and giving it back to artists, freaks and poets, Kurt Cobain became one of the most important players ever.
Cobain didn't invent alt-rock. But with his love of Cheap Trickthe Melvins and Kisshe gave it the metallic power necessary to conquer the world. His playing wasn't all untutored squall, either: See the unconventional chord progression and mastery of quiet-loud-quiet dynamics on "Lithium" — and pretty much every other Nirvana song. The Red Hot Chili Peppers always knew how to rock a party; it took John Frusciante to turn them into an arena-packing band with a sound they could call their own.
He was barely known for decades after his death. But the 29 songs Robert Johnson recorded in and became holy writ to rock guitarists from Clapton to Dylan. They were dazzled by the way he made a guitar sound like an ensemble — slide and rhythm parts yelping in dialogue, riffs emerging from the mist. Dylan remembered playing King of the Delta Blues Singersthe LP that rescued Johnson from obscurity: "The vibrations from the loudspeaker made my hair stand up. The stabbing sounds… could almost break a window, Moon River - Jerry Butler - All Time Jerry Butler Hits (Vinyl.
By the turn of the century, new-metal grinders and post-grunge plodders had given loud guitars a bad reputation. Then Jack White hit the reset button. With each savage riff, he reconnected hard rock and roots music and showed that a blues-based band could escape what he calls "note-pushing Stratocaster white-blues bullshit. Richard Thompson has been one of rock's most dazzling stylists since his days with Fairport Convention, a British folk-rock band that veered into English traditional music.
Shooting out life-affirming riffs amid lyrics that made you want to jump off a bridge, he combined a rock flatpick attack with speedy fingerpicking. His electric-guitar solos, rooted less in blues than in Celtic music, can be breathtaking, but his acoustic picking is just as killer; no one knows how many tears have been shed by players trying to nail " Vincent Black Lightning.
But he achieved guitar-god status with his own Mahavishnu Orchestra, where he made his Gibson spit fire like a many-headed dragon. That polyglot mastery earned him huge respect from jazz and rock peers alike: Jeff Beck called him "the best guitarist alive. When B. It was the clear tone and melodic invention of his single "Mean Old World" that blew everyone's mind, and Walker refined his approach through hits like "Call It Stormy Monday. But he wasn't a look-at-me guy. He played with feel.
He may have spent much of his Guns n' Roses prime shirtless, drunk and surrounded by snakes, but Slash brought good taste and restraint back to hard-rock guitar. And lyrical solos like the from-the-mountaintop grandeur of "November Rain" were permanently laced into the songs' fabric. Out of all the hopped-up Caucasians who turbocharged the blues in the late Sixties, Texas albino Johnny Winter was both the whitest and the fastest. Songs like his cover of "Highway 61 Revisited" are astonishing showpieces of his lightningfast thumb-picked electric slide playing.
Jimi Hendrix sought him out as a sideman, and Muddy Waters recognized his talent at first glance, becoming a friend and collaborator: "That guy up there onstage — I got to see him up close," Waters later said. After Allman's death Album)the group continued with Betts, scoring with "Ramblin' Man" and "Jessica.
Asheton, who died incalled it "those magical three fingers. When Bob Dylan described the Band 's "wild mercury sound," he was really talking about Robbie Robertson's guitar, as exemplified by his torrid, squawking solo on "Just Like Tom Thumb's Blues" from their tour.
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