PTM,
I guess that you've gotta have a gal on your list:
Jonie Mitchell is a good choice for that role because she is considered the queen of alternate tunings. You can make a case that she was first on that bandwagon (Ritchie Havens might disagree). There is no doubt that she was deep into that approach very early on and -IMHO- that it was a significant contribution to the SOTA of pop/rock guitar.
Bonnie Raitt, Joan Jett, Susan Tedeschi, Joan Armatrading, and a few others probably fought it out with JM for the "distaff" spot on the list, but lost because they had no similar "signature" distinction.
Marty |
Other than the obligatory Jimi at #1, such a list is never going to seem right to everyone. The author must consider innovation, technique, influence, personal taste (and probably fame) in determining the order. How do you prioritize these factors? Probably differently than the author.
Steve Vai has great technique, but some find his arpeggio heavy lead style cold and uninvolving. Clapton is famous, influential, and has beautiful tone, but limited technique. Danny Gatton (#68 IIRC) was a technical monster before his injury and merely much better than (virtually) everyone else afterward, but he's obscure. How do you rank these guys?
I am studying guitar and play a little. I think I have a pretty fair insight into what I can't play and why. This colors my take on the list and illustrates the phenomenon that I'm describing. Go4vinyl (a much more experienced player than I am) laments Peter Green's low ranking. I'll point ou that Lindsey Buckingham isn't even on the list. I recently heard Buckingham nail Green's signature solo at a Fleetwood Mac concert. I suspect he can replicate it in his sleep. I also flat out 100% guarantee you that Green couldn't return the favor. Buckingham's technique combines very fine blues ability (IMO roughly on a par with Green's) with an utterly unique rythmic capability. His hybrid strumming/picking/fingerpicking style floors me every time.
Bottom line: YMMV.
BTW, did Django make the list? |
Sorry,
I accidentally dropped my penultimate paragraph:
This is no shot at Green, who I've admired for decades. However, he was famous for acknowledging his own technical limitations and thanking his fans for looking beyond them and just "enjoying the show". Notwithstanding the difference in their technical ability, it should be noted that Peter Green invented the solo in "Oh Well," while LB merely played it. If you love the particular "voice" evinced here, you may not be impressed by "Come" or "I'm so Afraid", Buckingham's signature solos.
Therefore, I understand why Go4 prefers Green's material, even though I prefer LB.
YMMV |
One more thought:
I suspect that these lists are built with an eye toward the future. That is, the authors don't want to set themselves up to look foolish. Sins of omission are better than commision (except for political correctness.)
Add a female to prevent sexist critiques. Cover ethnicity. Nod a little to non- manistream (i.e. non blues/blues based) styles. Mainly, however, they want to stay in the middle of the fairway. Add the very famous, very influential, or very hip/cult choices. It becomes easy for guys like Howe, Buckingham, or Terry Kath to slip between cracks like these, because pop and prog players are effectively subject to a quota.
That approach explains (for me) a lot of this list.
Marty |
Reading Duane's response, I forgot that Gatemouth had been omitted from the list. You could argue that his early recordings on the Peacock label were the first "true" rock 'n' roll records. That miss is criminal.
Marty
PS I had the good fortune of seeing Gatemouth in concert on a few ocassions (including a dinner cruise! around Manhattan island) and he was tremendous. Also a hugely underrated fiddle player.
PPS Clapton may well be overrated by certain measures, but I don't get the continued bashing. Listen to the guy play - he's terrific. Innovation, exotic technique, and even a unique "voice" aren't the whole game. Clapton's playing (at its best) is simply more beautiful than most. Tastes vary - I get that - but if you love guitar, I don't understand how you just dismiss EC.
Also, he needn't worry about sending Freddie King a check - he'll be reimbursed by about a thousand others who'll owe him on the same basis (see Carlos Santana and Mark Knopfler, for starters). BTW, Freddie King will also owe Jimmy Rodgers a few bucks, too. And I'm sure that Jimmy Rodgers will owe...etc, etc.
Marty |
One more thought - slightly OT. I just picked up a Danny Gatton cd called "Live 9/9/94". He plays a double neck throughout (Tele w/Strat pickups on top, 6 string bass w/Strat pickups below). Bizarrely eclectic set list: Chuck Mangione, rockabilly, pop-flavored originals, surf rock medley, etc. Even though this was after his arm injury, the playing is still breathtaking. Weird enough that it won't be for every taste, but if you want to hear some virtuoso pop/rock/country/jazz guitar, it's hard to argue with this one.
Marty |
Billm,
I've seen that quote attributed many times to many different people (including Clapton and Hendrix) and seen that it was purportedly directed at many people (including Gallagher and Garcia, among many others). It's kind of risen to urban legend status, and I don't know if any of these references are accurate.
I do know that you will find a more specific reference to David Letterman putting the question to Clapton on his show and Clapton's answer was "Caleb Quaye". You can find many references to that interview by googling either Letterman+Clapton+Quaye or visiting the Brazen Guitar web site. Quaye is a sponsor of the brand and quotes Letterman directly. To my knowledge, no one else has personally claimed to be the object of that quote. Of course that doesn't make it true, but the guy has to have some giant balls to make the claim if it isn't.
I will be the first to admit that my knowledge of personal claims in this matter is not complete and also that it is possible that both Clapton and Hendrix got the same question at different times and offered similar answers. However, the Clapton/Quaye episode is the only one for which I can find that kind of substantiation.
FWIW.
Marty |
I just noticed Duane's comments on Ry Cooder at #8. His points are fair, but this particular choice may simply reflect some of the other considerations that (I assume) the Rolling Stone (the magazine) team took in when compiling the list.
My understanding is that Cooder was the main influence on The Rolling Stones (the band) during the period leading up to Let It Bleed. He basically introduced mandolin and slide guitar into the Stones' vocabulary and ...arguably more importantly...moved Keef into open G tuning, which kinda defines his playing.
None of that makes him #8, but it does point out that these ratings may reflect particular considerations (especially as to "influence") that might not be apparent at first glance.
My list would look quite different, but this latest one from Rolling Stone could be worse.
Marty |
