Sonic Boom: The Guitar Gods Thread

[KRYPTON INC.]

So a couple of funny stories about Joe Walsh. We will get to his guitar playing in a bit, but almost as important to the history of rock music as his own playing was his ability to connect his famous peers with the right gear - gear that they did not even know they wanted or needed.

In 1968 and early 1969, Jimmy Page was playing his old Fender Telecaster from his Yardbirds-days with his new band Led Zeppelin:

Originally developed as a country and western guitar by Leo Fender, the Telecaster's core tone was bright and twangy. Not what you would expect of the band that would come to define 70s hard rock and arguably give rise to heavy metal music. Joe decided Jimmy needed a new guitar. He just so happened to have a 1959 Les Paul Standard (a "Burst", the same type of thick, heavy sounding guitar that Eric Clapton had invented rock lead guitar on 4 years earlier) that he had recently had the neck shaved down on. Joe didn't like the feel of the new neck, but he thought Jimmy might... The rest is history:

As Jimmy himself puts it:


After the release of the Who's critically acclaimed 1969 rock opera, Tommy, Pete Townshend was under a lot of pressure to top it. He had also reached the limits of what he could do with his current Gibson SG Junior and HiWatt setup. Once again, his friend Joe Walsh thought he could help. So Joe brought him a 1959 Gretsch 6120 Chet Atkins, an Edwards Pedal Steel volume pedal, and an old 1959 Fender Tweed Bandmaster amplifier.

To put it mildly, a Gretsch 6120 is not what comes to mind when you think of a hard rocking 1970s rock guitar:

However, you put in the hands of Pete Townshend and combine it with a Fender Bandmaster and a Edwards volume pedal, and you get this:

From 1970 to this very day, the Gretsch into the Edwards pedal and Fender Bandmaster has been Pete's primary electric guitar set up for recording. It was used for all classic 70s Who albums from Who's Next to Who Are You.

The story as told by Pete:


Thank you, Joe Walsh, guitar whisperer and gear guru!

 

[KRYPTON INC.]

Just browsing Imgur and this nugget makes it to the front page:

On this day in 1966, after moving to London, Jimi Hendrix played with drummer Mitch Mitchell and bassist Noel Redding for the first time — The Jimi Hendrix Experience was formed.

Spoiler: Hendrix Live In Sweden- Killing Floor

Spoiler: The Jimi Hendrix Experience - Foxey Lady (Miami Pop 1968)

 

[DKDetective]

@KRYPTON INC., if you are going to post more Hendrix, I feel the need to bring up the only British guitarist who was not afraid of Jimi, the great Peter Green.

Peter was the second British Blues great to come through the guitar god incubator, John Mayall and the Bluesbreakers. When Eric Clapton left the Bluesbreakers in summer 1966 to form Cream, Mayall, with a phenomenal eye for talent, hired a young Peter Green. Like Eric, Peter played a1959 Les Paul Standard through a Marshal amp, but that is where the similarities ended. Where Eric was aggressive and fiery, playing fast with aggressive bends in the style of his idol Freddie King, Peter was restrained, moody, and almost minimalistic.

Saying with one note what others needed 5 to say, Peter was one of the greatest guitarists of all-time. He had an incredible feel, touch, tone, and restraint. Like Clapton, Green left Mayall after about a year and recording a landmark album with the Bluesbreakers to form his own band. You might have heard of it, it's named Fleetwood Mac. Despite being the star attraction as lead vocalist and lead guitarist, Green named the band after his drummer, Mick Fleetwood, and bass player, John McVie, with whom he had played in the Bluesbreakers. Due to Green's stardom, their first album was titled "Peter Green's Fleetwood Mac". Under Green, Fleetwood Mac was British Blues band like Cream. Sadly, a bad LSD trip in 1969 triggered a lifelong battle with mental illness for Green and he left the band in 1970.

As a result, not many are familiar with him, but many are familiar with those he influenced..

For instance, the famous Santana hit, Black Magic Woman, was not written by Santana. It was a cover. A cover of an early Fleetwood Mac song written by Peter Green. I encourage anyone with an interest in Blues or old-fashioned rock and roll to discover Peter's music. Here are some of his greatest works:





Continuing the Bluesbreakers' trend as a incubator for guitar gods, Mayall replaced Green with another unknown young kid, one Mick Taylor, but that is a story for another time...

 

[KRYPTON INC.]

Many thanks for the information and insight @DKDetective.

I knew of Green's issues that made his career a lot shorter and less prolific than many would have liked. Interesting to see the ripple effects of these things. Because of course the revamped Fleetwood would bring in Lindsey B. and Stevie Nicks.

Which leads to this... What's your take on Lindsey's contribution to Rock as Mac's guitarist?

I think he's way underrated. Fleetwood Mac is a witches brew at the best of times in their classic line up and Stevie's voice was a big part of the success but the specific sound and style of Lindsey is distinct. You know his sound, and his skill raises the bar on a lot of Mac songs, in my opinion.

 

[KRYPTON INC.]

Rock lost one of its truly great lead guitarists today when Eddie Van Halen passed away at 65.

He's from another time, another head space. A student of the guitar as well as a pioneer who set the stage for many an imitator in the late 70's and early 80's who was still charting hits well into the 90's. The front men may change but whether you loved Diamond Dave or the Red Rocker you came to listen to Eddie shred with both abandon and laser focus at the same time.

I'm sure @DKDetective could do a much better job at doing Eddie justice. Needless to say Eddie was a very big part of a lot of great memories for people of a certain age and that runs the gamut from people in their early 40's to those just getting over the hump of 60.

If one has never given Van Halen a try here are some album cuts to whet your appetite:











RIP Eddie Van Halen.

 

[DKDetective]

Rock lost one of its truly great lead guitarists today when Eddie Van Halen passed away at 65.

He's from another time, another head space. A student of the guitar as well as a pioneer who set the stage for many an imitator in the late 70's and early 80's who was still charting hits well into the 90's. The front men may change but whether you loved Diamond Dave or the Red Rocker you came to listen to Eddie shred with both abandon and laser focus at the same time.

I'm sure @DKDetective could do a much better job at doing Eddie justice. Needless to say Eddie was a very big part of a lot of great memories for people of a certain age and that runs the gamut from people in their early 40's to those just getting over the hump of 60.

If one has never given Van Halen a try here are some album cuts to whet your appetite:











RIP Eddie Van Halen.

I am too raw to try and sum up Eddie's contributions right now, so I am just going to share a fun little anecdote. One thing that has always made me fond of Eddie is that we both share the same favourite guitar idol, Eric Clapton. As a teenager learning the guitar, Eddie did not have a lot of fancy effects or equipment, so he couldn't try and learn a lot of Hendrix stuff which needs a whammy bar and a lot of effects to learn to play. Instead, he focused on trying to learn Eric Clapton's guitar parts note for note because, with the occasionally exception of a basic Wah pedal, Eric would just plug his guitar straight into his Marshall amp, turn it up, and just play. Consequently, when Rolling Stone did their list of Top 100 Greatest Guitarist and Eric landed at the Top at Number 2 right behind Hendrix, guess who penned the tribute advocating for Clapton's position on the list, it was Eddie.

In 1985, during one interview, a journalist asked Eddie if it was true that he knew a lot of Clapton's guitar solos from the Cream-era note for note. Eddie confirmed it was true. She asked him if he could play her a little of Clapton's live masterpiece, Crossroads. Eddie obliged right there on the spot:

Flawless in 1985, at age 30, just as it was at age 15 when he learned it.

 

[Lobo]

"Sit down, enjoy a nice cold one, and listen to the greatest rock and roll guitar player in the world Mr Eddie Van Halen". -DLR



RIP Eddie.

 

[Broseph44]

RIP Eddie, we’ve lost one of the guitar gods.

 

[Broseph44]

Also a side note about the band itself. Anyone else with me in absolutely loving the Van Hagar era? 5150 is just an amazing album. Sammy brought so much more to the band and had a great voice. Of course still love the early days with Roth. But I can’t deny that I honestly prefer and love the Hagar era.

 

[elgaz]

RIP Eddie, truly an iconic guitar God if ever there was one.

As someone who's played guitar for 26 years the subject of "Who is the greatest guitarist of all time?" is over that has come up very often with friends and people I've gigged with. To be honest ............. I don't like the question as I don't think it can be answered in a way that's fair.

How is a great guitarist judged?

I've seen some guys who can shred so fast that you can't even follow their finger movements; insane speed and technique. But beyond that, some lack the adaptability to play other slower styles as successfully.

Then you have someone like Brian May, who's an extremely accomplished and world famous guitarist. Yet, he can't (by his own admission) play some of the insanely fast solos that he will find on Youtube and post on his social media. He's humble and in awe of those players. Yet Brian May's guitar work is so unique, and iconic, and has stood the test of time. You can almost identify his guitar playing by the sound alone and the riffs and melodies he devised with Queen remain ingrained in public consciousness. He's one of the reasons I first picked up a guitar. So on a technical level, he may be an 8/10 and not a 10/10, but he has been so inspirational it's hard not to include him in any greatest guitarists list.

We also have a habit of instantly visualising rock guitarists when these lists inevitably come up. Yet, in recent years, I've come across some classically trained guitarists on Youtube who have completely blown me away. They meld technical ability with an uncanny way of channeling multiple melodies through the guitar.

All this means I don't really have a favourite guitar player, but I have a long list of guitarists who - for one reason or another - have left a big impression.

So because he hasn't yet been mentioned, and he's often overlooked in favour of the Slashes/Eric Claptons/Steve Vais/etc of this world, I'll throw in Gary Moore.

Born in Northern Ireland (like myself) in 1952, he was a virtuoso whose guitar work extended across many different styles; blues, hard rock, heavy metal, jazz fusion. He was well known for playing in 2 major bands (Skid Row, and then Thin Lizzy) before branching into solo work and collaborations with other well known musicians. He was a Gibson Les Paul fan and often associated with the guitar.

MusicRadar have a great summary of his style : "Gary was always equally at home playing fast alternate picked lines as he was when playing flawless legato phrases, and his rock playing was always as high on melodic content as it was on technique, with his aggressive vibrato being instantly recognisable."

His most famous solo album ("Still Got the Blues") had a striking cover showing him as a young teenager learning guitar in his Belfast bedroom.



The solo performance below is a perfect example - in my opinion - of his amazing ability.

 

[KRYPTON INC.]

Also a side note about the band itself. Anyone else with me in absolutely loving the Van Hagar era? 5150 is just an amazing album. Sammy brought so much more to the band and had a great voice. Of course still love the early days with Roth. But I can’t deny that I honestly prefer and love the Hagar era.

I always think of the Ramis scene in Airheads when this comes up. Everyone remembers the Lemmy bit but the Roth/Hagar bit is funny too.


For me (A little OT cuz we're talkin' singers, but what else is going on here, right?) I am of the same mind when it comes to Van Halen's front men as I am of AC/DC. I was honestly too young to "know" Scott's era of the band in the moment. And by the time I discovered them Johnson was there on MTV as the face I saw belting out ubiquitous radio hits even in the 1990's. I came to Scott's stuff after Live at Donington made me a convert. And... I ****ing fell in love with the Scott stuff, which... I do think is a much more varied time in terms of output by the band. I love Thunderstruck, Shoot To Thrill, Who Made Who, For Those About To Rock etc. But you can tell right from conception on up that there is a strong amount of calculating going on. They aren't just chasing a hit, but a particular kind of hit. The anthemic, fist pumping 3 minute diddy that can easily be seen as being used at a sporting event or some such. Some of my most beloved of AC\DC's songs fall squarely into that category (And Scott sang a fair share of them: If You Want Blood, It's A Long Way To The Top are just two examples.) so I'm not immune to their charms. But it is clear so many years after Bonn's death that desire, lets say, to produce more songs in the wheelhouse of The Jack, Night Prowler, Give Me A Bullet, What's Next To The Moon, Big Balls, Touch Too Much, Sin City, Ain't No Fun Waiting Round To Be A Millionaire... It withered.

For myself, the Scott time is a much more varied sound song to song, especially compared to the Johnson stuff. And I think all those songs above are bangers, but that's me.


So with Van Halen I feel the same to a large degree with maybe the caveat that I think Van Halen didn't ever go chasing stadium hits like Johnson era AC\DC, or at least not in the same way. Diamond Dave is absolutely a front man up there with all the greats. He's the Mick Jagger of his particular moment, no doubt. If you want to pit Sammy against Dave based on charisma or stage personality, and that matters alot, then Sammy is gonna get the short end of the stick there. But when it comes to the music? That is a tougher sell for me. The Hagar time produced some all time undeniable greats in the Van Halen catalog. Hagar's time showed Eddie and the boys could absolutely still compete in a market with acts that were at that time already 15 to 20 years younger than the band members and that they could still pull out charters that were in heavy rotation on radio and MTV. I mean... Right Now, Finish What You Started, Top Of The World... These are undeniable songs. To me anyway.

 

[Broseph44]

I always think of the Ramis scene in Airheads when this comes up. Everyone remembers the Lemmy bit but the Roth/Hagar bit is funny too.


For me (A little OT cuz we're talkin' singers, but what else is going on here, right?) I am of the same mind when it comes to Van Halen's front men as I am of AC/DC. I was honestly too young to "know" Scott's era of the band in the moment. And by the time I discovered them Johnson was there on MTV as the face I saw belting out ubiquitous radio hits even in the 1990's. I came to Scott's stuff after Live at Donington made me a convert. And... I ****ing fell in love with the Scott stuff, which... I do think is a much more varied time in terms of output by the band. I love Thunderstruck, Shoot To Thrill, Who Made Who, For Those About To Rock etc. But you can tell right from conception on up that there is a strong amount of calculating going on. They aren't just chasing a hit, but a particular kind of hit. The anthemic, fist pumping 3 minute diddy that can easily be seen as being used at a sporting event or some such. Some of my most beloved of AC\DC's songs fall squarely into that category (And Scott sang a fair share of them: If You Want Blood, It's A Long Way To The Top are just two examples.) so I'm not immune to their charms. But it is clear so many years after Bonn's death that desire, lets say, to produce more songs in the wheelhouse of The Jack, Night Prowler, Give Me A Bullet, What's Next To The Moon, Big Balls, Touch Too Much, Sin City, Ain't No Fun Waiting Round To Be A Millionaire... It withered.

For myself, the Scott time is a much more varied sound song to song, especially compared to the Johnson stuff. And I think all those songs above are bangers, but that's me.


So with Van Halen I feel the same to a large degree with maybe the caveat that I think Van Halen didn't ever go chasing stadium hits like Johnson era AC\DC, or at least not in the same way. Diamond Dave is absolutely a front man up there with all the greats. He's the Mick Jagger of his particular moment, no doubt. If you want to pit Sammy against Dave based on charisma or stage personality, and that matters alot, then Sammy is gonna get the short end of the stick there. But when it comes to the music? That is a tougher sell for me. The Hagar time produced some all time undeniable greats in the Van Halen catalog. Hagar's time showed Eddie and the boys could absolutely still compete in a market with acts that were at that time already 15 to 20 years younger than the band members and that they could still pull out charters that were in heavy rotation on radio and MTV. I mean... Right Now, Finish What You Started, Top Of The World... These are undeniable songs. To me anyway.

I always think of the Airheads scene as well haha, love that movie.

 

[KRYPTON INC.]

RIP Eddie, truly an iconic guitar God if ever there was one.

As someone who's played guitar for 26 years the subject of "Who is the greatest guitarist of all time?" is over that has come up very often with friends and people I've gigged with. To be honest ............. I don't like the question as I don't think it can be answered in a way that's fair.

How is a great guitarist judged?

I've seen some guys who can shred so fast that you can't even follow their finger movements; insane speed and technique. But beyond that, some lack the adaptability to play other slower styles as successfully.

Then you have someone like Brian May, who's an extremely accomplished and world famous guitarist. Yet, he can't (by his own admission) play some of the insanely fast solos that he will find on Youtube and post on his social media. He's humble and in awe of those players. Yet Brian May's guitar work is so unique, and iconic, and has stood the test of time. You can almost identify his guitar playing by the sound alone and the riffs and melodies he devised with Queen remain ingrained in public consciousness. He's one of the reasons I first picked up a guitar. So on a technical level, he may be an 8/10 and not a 10/10, but he has been so inspirational it's hard not to include him in any greatest guitarists list.

We also have a habit of instantly visualising rock guitarists when these lists inevitably come up. Yet, in recent years, I've come across some classically trained guitarists on Youtube who have completely blown me away. They meld technical ability with an uncanny way of channeling multiple melodies through the guitar.

All this means I don't really have a favourite guitar player, but I have a long list of guitarists who - for one reason or another - have left a big impression.

So because he hasn't yet been mentioned, and he's often overlooked in favour of the Slashes/Eric Claptons/Steve Vais/etc of this world, I'll throw in Gary Moore.

Born in Northern Ireland (like myself) in 1952, he was a virtuoso whose guitar work extended across many different styles; blues, hard rock, heavy metal, jazz fusion. He was well known for playing in 2 major bands (Skid Row, and then Thin Lizzy) before branching into solo work and collaborations with other well known musicians. He was a Gibson Les Paul fan and often associated with the guitar.

MusicRadar have a great summary of his style : "Gary was always equally at home playing fast alternate picked lines as he was when playing flawless legato phrases, and his rock playing was always as high on melodic content as it was on technique, with his aggressive vibrato being instantly recognisable."

His most famous solo album ("Still Got the Blues") had a striking cover showing him as a young teenager learning guitar in his Belfast bedroom.

View attachment 37969

The solo performance below is a perfect example - in my opinion - of his amazing ability.

Moore does a mean Voodoo Child.

 

[DKDetective]

RIP Eddie, truly an iconic guitar God if ever there was one.

As someone who's played guitar for 26 years the subject of "Who is the greatest guitarist of all time?" is over that has come up very often with friends and people I've gigged with. To be honest ............. I don't like the question as I don't think it can be answered in a way that's fair.

How is a great guitarist judged?

I've seen some guys who can shred so fast that you can't even follow their finger movements; insane speed and technique. But beyond that, some lack the adaptability to play other slower styles as successfully.

Then you have someone like Brian May, who's an extremely accomplished and world famous guitarist. Yet, he can't (by his own admission) play some of the insanely fast solos that he will find on Youtube and post on his social media. He's humble and in awe of those players. Yet Brian May's guitar work is so unique, and iconic, and has stood the test of time. You can almost identify his guitar playing by the sound alone and the riffs and melodies he devised with Queen remain ingrained in public consciousness. He's one of the reasons I first picked up a guitar. So on a technical level, he may be an 8/10 and not a 10/10, but he has been so inspirational it's hard not to include him in any greatest guitarists list.

We also have a habit of instantly visualising rock guitarists when these lists inevitably come up. Yet, in recent years, I've come across some classically trained guitarists on Youtube who have completely blown me away. They meld technical ability with an uncanny way of channeling multiple melodies through the guitar.

All this means I don't really have a favourite guitar player, but I have a long list of guitarists who - for one reason or another - have left a big impression.

So because he hasn't yet been mentioned, and he's often overlooked in favour of the Slashes/Eric Claptons/Steve Vais/etc of this world, I'll throw in Gary Moore.

Born in Northern Ireland (like myself) in 1952, he was a virtuoso whose guitar work extended across many different styles; blues, hard rock, heavy metal, jazz fusion. He was well known for playing in 2 major bands (Skid Row, and then Thin Lizzy) before branching into solo work and collaborations with other well known musicians. He was a Gibson Les Paul fan and often associated with the guitar.

MusicRadar have a great summary of his style : "Gary was always equally at home playing fast alternate picked lines as he was when playing flawless legato phrases, and his rock playing was always as high on melodic content as it was on technique, with his aggressive vibrato being instantly recognisable."

His most famous solo album ("Still Got the Blues") had a striking cover showing him as a young teenager learning guitar in his Belfast bedroom.

View attachment 37969

The solo performance below is a perfect example - in my opinion - of his amazing ability.

I was going to get to Gary shortly. Since he inherited Peter Green's famous Les Paul when Peter's mental illness got bad and he gave away his possession, he was next up after Peter in my list of underappreciated greats. Gary is playing "Greeny" in that video you posted. As awesome as Moore's technical skills are in that video you posted, I am partial to his reconnection with the Blues in the 1990s and it really showed off some of his other talents, such as his great feel, subtlety, and emotiveness as a player. He even did a tribute album to Peter Green, recording covers of a slew of Green's Mayall and Fleetwood Mac classics:

 

[KRYPTON INC.]

 

[KRYPTON INC.]

A thread like this... You're gonna get some proselytizing for what anyone posting likes.

I'm not immune.

As a teen I was raised in a house that was very much awash in both the standards and classic rock of my parents time but also the music of the moment, whatever that might be. Dad loved Willie Nelson ( Was born on Puerto Rico so... Make sense of that.), mom is a Stones/Joplin/CCR freak that also adores Steisand and partied to Fania All Stars. Grandma had the music of Sinatra and the big bands on during the day. My mother's sisters were disco divas. My older cousin Belinda had crushes on both the hair metal guys and George Michael. My older brother introduced me to hip hop in it's infancy.

But where did that leave me? What was going to be "my thing"? By the time my teen years had started in earnst, I was happy to listen to a wide range of music but I can't deny I tended to lean heavy into what became known as classic rock, with a general interest in pop music in general. Nothing however had "hit" me from the then current crop of acts, in the same way say listening to The Doors or Zep for the first time. The rock zeitgeist at the time, the "Alternative" sound or Seattle's grunge scene... I liked a lot of it. But... Yeah, I was in the minority at the time being able to (And frankly, still do...) reamain nonplussed at the reaction to Pearl Jam and Nirvana. I've grown to appreciate them a lot more... But honestly still don't "feel" them musically.


And then Matthew Sweet dropped the guitar fueled power pop-rock confection of perfection that is the album GIRLFRIEND in 1991.

Today Sweet is a vet of the music scene with producer's credits and work in TV and movies galore. You might recognize him as a member of Austin Power's band Ming Tea as Sweet did work on those Myer's comedies.

Girlfriend the album just spoke to the iner 14 year old INSIDE of my then 14 year old self. It's a trip through the mind of the young man smitten by love, torn by conflicting emotions in a conflicting world and of course... The yearning for sex and intimacy that a lot of that sentimental crying about "love" is a cover for (It's rock... Taking the **** truck to pound town is always in the mix there, somewhere...). Sweet wrote this album after, you guessed it, a terrible breakup, a divorce, that fueled his creativity to a higher level than what he was capable of before, frankly. ( I am a million percent a Sweet fan so I've actually bought his previous album... I took that bullet for you all. Don't waste your time. It's... Not good. )

It made me an instant fan and made Girlfriend one of the official soundtracks to my and my friends' summer that year, and each year after until high school graduation.

Why bring any of that up here? Because in order for then sensitive singer song writer Matthew Sweet to create his pop riff HQ masterpiece he needed a new sound unlike what he'd done before and that required axe men with impeccable chops. Sweet saw this as akin to a Beatles album like Rev0lver and that needed powerful but melodic riffs. He brought on board two incredible guitarists in the form of Richard Lloyd and the late Robert Quine. Both had a cult rep, Lloyd being a member of the influential band Television and Quine had worked in various capacities with talent like Brian Eno, Tom Waits, Lou Reed, Marianne Faithfull... He'd been around let's say.

I could go on about Sweet's song writing and vocals, and the way Girlfriend and his other albums like Altered Beast or Blue Sky On Mars are obviously products of a keen mind in the production booth. That all of course is huge in what makes me a fan. But in terms of hearing sweet licks that feels like 1960's Beatlesesque pop rock was given the classiest of 90's paint jobs, you have to give props to his two lead guitarists. Sweet continued to work with Lloyd and toured with both Quine and Lloyd. I was luck as a teen to go see Sweet twice, once at East Stoudsburg University in Eastern Pa., and once at the Trocadero in Philly, featuring Quine at ESU and a few years later in Philly Lloyd was on stage. I can honestly say that both shows were phenomonal and a big part of the credit goes to just how good both those guys were at a live show.

This is music so close to my heart there is almost no way I can be rational about it, but I do feel that in some objective way anyone can see what I see, or hear what I hear. For me, this is MY album. It's like in the 1990's when everyone was losing their minds in the comic book world over Sandman and I was all "That's ok... But I prefer The Question by Denny O'neil." In an age of Dinosaur Jr.s, Fugazis, Nirvanas and Pearl Jams, this was the drum beat for my own personal march. This is just rip roaring good power pop rock with some killer lyrics and some soulful and powerfully played lead guitar work.

Give Sweet's music it's day in court if for nothing else than to hear some of Quine and Lloyd's best and most memorable work.

Spoiler: Learn My Licks- Matthew Sweet's Girlfriend

Robert Quine - Wikipedia

Spoiler: Matthew Sweet- Girlfriend

Spoiler: Matthew Sweet- Winona

Spoiler: Matthew Sweet- Dinosaur Act

Richard Lloyd (guitarist) - Wikipedia

Spoiler: Matthew Sweet- Evangeline

Spoiler: Matthew Sweet- Ugly Truth (Rock)

Spoiler: Matthew Sweet- Sick Of Myself

 

[KRYPTON INC.]

@DKDetective

Have you seen this before?

 

[DKDetective]

@DKDetective

Have you seen this before?

No! But thanks a ton for sharing. I love Robert Johnson. So much 1960s-1970s blues and classic rock can be traced back to him. A singular talent.

 

[KRYPTON INC.]

Conan O'Brien Needs a Friend podcast on Earwolf

Willie Nelson on Conan Podcast.

 

[RockSP]

 

[KRYPTON INC.]

You know the SOUND even if you don't know the band.


For Boomers this was a huge part of their musical diet during a very tumultuous period in the nation's history (Yeah... It's happened to those before you. In fact, marching against injustice and getting their heads caved in by authority figures is something that a good slice of your dads and grandmas did in the 1960's, 1970's and early 1980's and they have the literal scars to prove it, cuz, sorry to break it to ya'll but when there's police action today against protestors, crazy as it sounds, it's a lot less worse than decades past due to cameras being everywhere, a system of litigation that is open to actually defending protestors, something the older protests themselves were about, and the mere fact that the protestors today have a road map to follow in the first place, thus allowing today's people to aviod the traps and trials of the past...) as well as being many of them's go to rockin' house party music. In fact, while it's not a completely apt analogy, I can sense a similar musical vibe as Rage Against The Machine in how this bang made pains to be political in it's content often but then was also a stone cold groove/riff machine of a band on top of it.

For the generations that came after the immediate connection to the times that produced this music was of course not there, but the music itself remained and what we were left with was the passionate sound of some twentysomethings from the late 1960's from California who were obviously just gaga over Blues, Old School Country, Folk and Rock. The key that brought it all together though was the mind behind it all, in the form of singer, songwriter and lead guitarist, John Fogerty.

And of course I'm talkin' bout Creedence Clearwater Revival.






CCR is almost it's own thing in my mind. Their fanbase is wide as the sky probably because of all the influences that the band wore on it's shoulders during its days of dominance. CCR is a band that allied both impeccable production and passionately delivered lyrics that caught the social vibrations in the air and put them down on vinyl, but all that was probably not going to be accomplished without Fogerty being as good as he was with both the pen and the guitar pick. The band reached such heights that today it's suffering a bit from ubiquitous airplay of their most known hits. I mean... As amazing a song as Fortunate Son is, being so overused and overplayed has dulled the impact of the message of that song, not to mention lulled us in a state where we just don't see how insanely musically talented both the band and Fogerty were.

Fogerty was on the pulse of the youth culture of the time and that comes through with his lyrics for sure but lets give the man some big props in terms of both his arrangement and production, he definitely has a vision for his songs, but man is he underrated for his guitar work and how he was able to come up with so many great riffs. As mentioned before I like watching YouTubers do music reaction videos to the classics and far more often than not Fogerty's work with CCR still makes the heads bob and the lyrics still hit even for those born long, long after America pulled out of Vietnam.

If all you know are the CCR radio hits, and that's not a bad place to start, give them a deep dive to hear some energetic classic Rock with a tasty Southern/Swampy sound.

Spoiler: CCR- Sweet Hitchhiker

Spoiler: CCR- The Midnight Special

And when I was talking about YT reactors:

Spoiler: Andy And Alex- Born On The Bayou

Spoiler: Andy And Alex- Run Through The Jungle

 

[KRYPTON INC.]

 

[KRYPTON INC.]

For no reason what so ever...

 

[Lobo]

I just want to say the last concert I went to before the pandemic was Gary Clark Jr. He put on a great show, and was amazing with the guitar.

If you guys ever get a chance to see him live, I'd highly recommend it.

 

[KRYPTON INC.]

I just want to say the last concert I went to before the pandemic was Gary Clark Jr. He put on a great show, and was amazing with the guitar.

If you guys ever get a chance to see him live, I'd highly recommend it.

Lucky duck.