Rhythm Ninjas

Guitar World’s 50 Greatest Rhythm Guitarists of All Time proves the point that you can have a tremendous impact without being a flashy soloist.

Chuck Berry, Steve Cropper, Bo Diddley, Don Everly, The Edge, Keef, Andy Summers, Pete Townshend, Malcolm Young … these guys defined the sound of the band, erected the songs on their chords, and for the most part didn’t need a solo to make the tune kick butt.

As Danny Kortchmar says, “it’s easier to play a screamer solo over a heavy groove than it is to make that groove.”

Which is why cats like Alex Lifeson, Jimmy Page and Jimi Hendrix, who are perhaps know for their soloing, are also on the list.  And deservedly so:  it ain’t easy to give us a rhythmic groove and a solo all at the same time.

I can’t figure out why John Lennon doesn’t make these lists, though.  Maybe my Beatles obsession just drives me to want to include a guitarist who happened to play rhythm, as opposed to a guitarist of revolutionary importance.  Maybe, but I still think he was pretty darn good.

Sounds Like …

Here’s an obvious truth: although they covered a lot of ground over many years (not enough, in the case of The Beatles), The Beatles always sound like The Beatles, and The Rolling Stones always sound like The Rolling Stones.

But here’s the thing:  what made them so darn good is that they could do anybody else.  The Beatles do Roy Orbison and come up with Please Please Me.  They do Dylan and come up with You’ve Got To Hide Your Love Away.  They start jamming Fleetwood Mac’s Green Manalishi and arrive at Sun King.

Same thing with The Stones.  While always true to their blues roots, they’ve absorbed and played back: Rock and Roll, British Invasion, Country, Folk Rock, Psychedelic, Hard Rock, Jazz Fusion – and just about everything that ever came out of Motown, Memphis and Muscle Shoals.  I know some cynics who think The Stones sold out and became silly by trying to stay relevant in the late 70’s as the world shifted into Disco and then 80’s R&B, but I disagree.

What I hear is a great band saying, “Yeah, we can do that.  Listen!”  And then they prove it by serving up a classic example of the style.  But even as the do that, they remind you they’re still The Stones.  The riffs, the grit, the guitar bi-play, the self-caricaturing vocals – they’re all there.  Miss You is both vintage Disco and vintage Stones.  Rock and A Hard Place sounds like it could have been recorded by Robert Palmer, but the presence of Keith and Ronnie make it better.  And just to drive the point home, they give us Sad Sad Sad on the same album.  “So much for this ‘new’ R&B thing.  Now here’s some rock and roll.”

Paul McCartney’s solo career proves that if The Beatles had lasted longer, they too would have remained relevant by continuing to listen to the new music around them, absorbing it, and the giving it back to us as fresh magic.

The Beatles and The Stones prove that you develop your own style by absorbing the music around you, and you evolve that style by continuing to listen.

I Stand Alone

Gibson’s 10 Great One-Man-Band Albums reminds us just how freakin’ talented some cats are.  Write the tunes, play all the instruments, produce it, mix it … sheesh!

Prince (we’ll call him Prince today), Dave Grohl, Steve Winwood, John Fogerty, Todd Rundgren – oh, and this English knight called Paul McCartney.  These guys stand as giants, even when performing as members of their respective bands.

Then they go and demonstrate that they might not actually need the help.  Hats off to ‘em, I say.

Rock is full of huge talents whose creative force drove not just the songwriting but the studio production – guys like Jimmy Page, Keith Richards and Pete Townshend, for example.  But they don’t stand on their own.  They need the presence of – not to mention the chemistry with – other musicians.

By the way, where is Stevie Wonder’s Innervisions?

Sweet Jam

Further to that last post on The Charlatans, if you go back to the references you get one awesome jam session:  John, Paul, George, Ringo, Mick, Keef and Stevie Winwood.

Woulda got some sweet sounds out of that supersession!

Still Crazy After All These Years

Oh.  So Rolling Stone ran a readers’ poll on the Greatest Rock & Roll Rebels, and it makes a bit more sense.

Including the intro, which says these rebels pushed boundaries and refused to conform.  That’s a little more on point.

Here’s the list: Jim Morrison, Dylan, Zack de la Rocha, Keef, Iggy Pop, Johnny Cash, Lennon, Zappa, Axl Rose, Bowie.

All in all, there’s a lot more cohesion here than in the previous list.  Interesting that Johnny Cash is the only name to appear in both versions.  And also interesting, I guess, is that I’m more qualified to be a reader than an RS editor, since my list was closer to the general public’s.  Of course, the editor guys’ job is to spark discussion and debate.  Like we’re gonna conform!

Anyway.  Play by your own rules.  That’s the message.

Rebel Rebel

So Rolling Stone compiled a list of Rock & Roll Rebels, and introduces it with a smorgasbord of context.  Rebels are: bad boys, sensitive, revolutionaries who don’t understand why things have to be the way they are. 

Not sure that gives me a clear picture of what a rock & roll rebel is, but here’s their list:

Plastic People of the Universe, Fela Kuti, Elvis Costello, MC5, Peter Tosh, Sinead O’Connor, Kurt Cobain, Victor Jara, Jerry Lee Lewis, Public Enemy, Marilyn Manson, Steve Earle, The Clash, Sex Pistols, Johnny Cash

Neither does the list.  Some of these folks aren’t really rockers, although you can’t dispute the rock and roll attitude.

But rebel against what?  The government, parents, the “establishment”, societal norms, expectations, good taste?  Rebel consistently, or once upon a time?

Depending on your definition, there are lots of other candidates: Lennon, Richards, Dylan, Alice Cooper, Bowie, Zappa, Morrison, Hendrix …

Maybe the definition doesn’t matter, ‘cause at bottom rock and roll is about rebellion, isn’t it?  As Brando would say, “what’ve you got?”

Play With Fire

Now here’s a difficult list to assemble: Gibson’s Keith Richards' 10 Coolest Guitar Riffs.  Difficult to narrow down to only 10, that is.

Here’s the list:

Satisfaction, Get Off My Cloud, 19^th Nervous Breakdown, Mother’s Little Helper, Paint It Black, Jumpin’ Jack Flash, Gimme Shelter, Honky Tonk Women, Brown Sugar, Start Me Up.

Easy, right?  Sure, but what about: Street Fighting Man, Beast of Burden, Bitch, The Last Time, even Tumbling Dice?  Keef is rivaled only by John Lennon and Jimmy Page in terms of volume, impact and unforgettability of killer riffs.  As the article points out, these riffs are now part of the culture.

You may or may not think Keith Richards is respectable, but time appears to be on his side.

Partners in Crime

Gibson has a list of 20 Great Rock and Roll Songwriting Partnerships, which includes:

Strummer and Jones from The Clash

Tyler and Perry from Aerosmith

Marr and Morrissey from The Smiths

Page and Plant from Zeppelin

Fagen and Becker from Steely Dan

John and Taupin for Reggie Dwight

Bachman and Cummings from The Guess Who

Chilton and Bell from Big Star

Jagger and Richards from the Stones

Lennon and McCartney – ya, d’ya think?

Nice to see Bachman and Cummings on the list, although The Guess Who had more than a few good songs after Bachman departed.

Why no Holland-Dozier-Holland?  Motown was rock ‘n’ roll, and those guys outsold everyone.  I know the article was tagged ‘dynamic duos’, but it’s really about partnerships.

Otherwise it’s a solid – if predictable – list. 

Or maybe it’s constrained and difficult to populate.  I scrolled through my iTunes library, and had a hard time coming up with any other real partnerships.  Lots of cases where the whole band gets credit.  Cases like CSNY or the Eagles where there were several individuals who each contributed great songs, but not many real partnerships.

Curious, that.  Music is such a collaborative thing.  I would have expected more.

Satisfaction

I recently read Philip Norman’s biography on Mick Jagger.  It could have been called Satisfaction:  Mick Jagger and the Invention of Corporate Rock.

I mean, we all know The Rolling Stones are a major brand and a well-oiled machine.  Kinda like Apple but, with more wrinkles – and a few more urban myths.

But what I realized reading this book is that Jagger was acting more like a CEO than a rock star right from the beginning. 

If you think about the Stones over the last 20 years or so, no problem seeing him in that light.  But in the 60’s and 70’s?  Deaths, drug busts, mars bars, blood transfusions, radio bans, prime minister’s wives …  this band was a train wreck. 

But the train somehow kept rolling, and Jagger managed his way through the mayhem.

Anyway, an interesting read, with enough salaciousness to keep most people amused.  That is why we read rock biographies, right?

Listen Up

There is no better way to get your attention than to kick off a song with a killer riff, as illustrated in Gibson's 10 of Rock's Greatest Guitar Intros. 

Something new, something clever, something loud, usually something simple.

Hey!  Over here!  Pay attention.  Stop what you’re doing.  You’re gonna dig this.

It’s arguably part of the formula for a great rock song.  As hinted by the carefully worded title, these are 10 of rock’s greatest intros, not rock’s 10 greatest intros.  The comments below the posting really drive this home.  No end of worthy candidates.

Though, really, is there anything better than I Feel Fine?  No wait!  Layla.  No, Start Me Up.  No, no, no!  Blackdog.  Wait! …

And One For All

I need to take a second pass at this…

So speaking of riffs, New Musical Express’s 50 Greatest Guitar Riffs of All Time is nothing if not democratic.  Everyone seems to get a turn.  You’ve got at least one each for rockabilly, British Invasion, psychedelia, hard rock, metal, glam, classic rock, new wave, euro pop, alt, grunge, hair, punk, thrash … have I missed anything?

And kudos to NME for spreading the joy, but really, shouldn’t the likes of AC/DC, the Stones, or U2 been on the list more than once?

And if you insist on limiting to one apiece, is Sunshine of Your Love really Clapton’s best riff?  Is Free Fallin’ Tom Petty’s?

As for the Stones, limiting it to one is kinda silly, so it might as well be Satisfaction.

Oh, and even though even one isn’t enough for them either, no Beatles?  At all?  Does NME have something against them?  For heaven’s sake!

I was delighted to see the likes of The White Stripes, The Kings of Leon and The Black Keys on the list, but some of the others just seem to be arbitrary.  I dunno.  When I read these lists I try not to let my peronal taste get in the way (really, I do), but I’m not sure what NME’s criteria was.  Influence?  Sales?  Recognizability?  Airplay?  Fairness and diversity?

Cool collection of pictures, though.

Postscript - best write-up goes to the one for Nirvana’s Smells Like Teen Spirit:  “Is the most remarkable thing about this riff that it killed hair metal or that it made Nirvana superstars against their will?  No, the most remarkable thing about this riff is that even after hearing it 87 million times it still sounds so visceral.”

Say It Ain’t So

Aw…   New Musical Expresses piece on 29 Rock Myths Exploded is just a party-pooping downer.

No stomach pumps? no song-induced suicides? no mud sharks? no ash-snorting? no doobies in the john at Buck House? no Mars bars? no ham sandwiches?

Aw, come on!  They were such great stories!

Anyway, how do we know Charles Mansion didn’t audition for The Monkees?  Did anyone ask Stephen Stills?  Are we sure Paul didn’t die?  And what about Dylan?  Are we really sure?

And dammit, we gotta believe Keef had those full-body blood transfusions!  It’s just part of who he is!

Who are these people at NME?  Of course Robert Johnson sold his soul to the Devil!  Everyone’s known that for, like, 75 years.

This is what’s wrong with the Internet.  People can just make stuff up!  Deniers!  Truthers!  Balloon-prickers!  Liars!

Good on Keith Richards, by the way, who, true or not, got himself involved in 2 ½ of the 29 myths.  1^st place, even if it is in an alternative reality.

Riffer Madness

Gibson’s Top 10 Riffs of the 80's serves as a great reminder that the 80’s weren’t as grim as all that after all.

Here’s the list:

  1.  AC/DC – Back In Black

  2.  Rolling Stones – Start Me Up

  3.  Ozzy Osborne – Crazy Train

  4.  Scorpions – Rock You Like A Hurricane

  5.  Def Leppard - Photograph

  6.  Judas Priest  - Breaking The Law

  7.  Michael Jackson – Beat It

  8.  The Clash – Should I Stay Or Should I Go

  9.  Guns N’ Roses – Sweet Child o’ Mine

10.  Rush – Limelight

But …

The preamble talks about riffs really coming into prominence in the 60’s, thanks to the likes of Dave Davies, Pete Townshend and Keith Richards.  Sure, but why is John Lennon never mentioned?  Davies and Townshend had a handful each.  Only Lennon could rival Keef in both quantity and quality.

And why is Jimmy Page not mentioned?  Hello?

Some other tunes with killer riffs I might have nominated include:

She Sells Sanctuary – The Cult

Money For Nothing – Dire Straits

She’s Waiting - Clapton

Would I Lie To You? – The Eurythmics

Paper In Fire - Mellencamp

Every Breath You Take – The Police

Refugee  - Petty

Sunday Bloody Sunday – U2

Owner Of A Lonely Heart - Yes

Sharp Dressed Man – ZZ Top

Pretty good list, reinforcing the immortal songs are built on three chords, the truth, a backbeat, and a great riff.

Memories

Rolling Stone’s 25 Greatest Rock Memoirs makes for, um, an interesting read.  It points out that the plot is mostly the same (big dreamer makes good, lives the life, then the world comes crashing down), then gets you thinking about Elizabethan revenge tragedies.  Hmmm …

Their list includes:

Steven Tyler: Does The Noise In My Head Bother You?

Boy George: Take It Like A Man

Anthony Kiedis: Scar Tissue

Ronnie Spector: Be My Baby: How I Survived Mascara, Miniskirts, and Madness

Tommy James: Me, The Mob and the Music

Chuck Berry: The Autobiography

David Bowie: Moonage Daydream: The Life and Times of Ziggy Stardust

Paul McCartney: Many Years From Now

Slash: Slash

Keith Richards: Life

Bob Dylan: Chronicles, Volume One

And the winner of the longest title goes to …  Ronnie Spector.  Bowie should have tried harder.

Shortest title:  Keef.  Most obvious:  Slash.

2012 was a busy year for rock memoirs, so a year from now this list might look different (a few are on my ‘to be read” pile).

Some people will be surprised to learn that rockers can read and write, but I’ve read a few of the books listed, and enjoyed them.  Actually, there’s one exception; Chuck Berry’s book was disillusioning.  Mortal folk don’t dig it when their heroes turn out to be jerks.   

Then again, that’s all part of the Elizabethan revenge tragedy thing.  Like, the article compliments McCartney by saying he did less to f**k up his good luck than any rock star who ever existed.  Glowing praise, indeed.

Anyway, a few new reading suggestions.  Hopefully there are no pie recipes.

Trinities and Triangles

I started playing this game in my head:  name three guitarists, then start exploring how they defined your musical world.

Take Robert Johnson, Jimi Hendrix and Eric Clapton:

How did they define musical boundaries?  Well, how about roots (Johnson is the source), astonishment (as only Hendrix) and musicianship (Clapton exactly right)?

What about connections?  Let’s see: there’s a direct line from Johnson to Hendrix (how did he come up with that?), a link between Johnson and Clapton (that’s perfect for the song), and an eternal contention for supremacy between Hendrix and Clapton in the OMG department.

How about John Lennon, Keith Richards and Jimmy Page?  Boundaries set by genres (Rockabilly, Blues and Celtic-Indo-European-something-or-other Folk?).  Strong connections on riffs, riffs, riffs?

How about Woody Guthrie, Son House and James Taylor?

How do just three names sum up what appeals to you, where your boundaries are, what styles you dig, how you play, what you aspire to?  How do they differ?  How are they similar?

It’s a fun game.  Try it.

How Sweet It Was

Well, we already knew this, but a recent study has confirmed that Pop Music Is Simpler And Louder than it used to be.

We sure knew about the loud part.  Just check a CD pressed in the 80’s compared to one pressed last year.

But the study compared almost half a million songs, and found that melodies have been steadily getting simpler.  And the harmonies are disappearing.

Do ya think?  I mean, how much can you get out of shouting over an over-driven power chord?  Or talking over drums and bass?

Gone, it seems, are John Lennon’s chromatic counterpoints, Keef’s mangling and dangling and tangling, or Motown’s pedals.  Too bad.

The study admits that today’s dance beats are infectious.  They are.  They also  were.  It was always about the beat, but it used to also be so much more.

As the title of the article says, it sure is infectious.  But who wants a virus?  I like music that alters my DNA.

Cultural Icons

We like to touch them.  We like to play on them.  Sometimes, it’s a thrill just to look at them.

Get your mind out of the gutter.  Mainly, we like to hear them.

I refer to the Rolling Stone list of 20 Iconic Guitars.

Some obvious choices: McCartney’s Hofner Violin bass, B.B.’s Lucille, Les Paul squared, Stevie Ray Vaughan’s poor abused strat, Bo Diddley’s Cigar Box, Neil Young’s Old Black, Springsteen’s Esquire, What’s-His-Name’s What-Is-That?

Some I guess-so’s:  Eric Clapton’s Blackie (really, couldn’t it be any strat – since the 60’s when it could have been any Gibson?), Jimmy Page’s Doubleneck (undoubtedly iconic, but I always picture his Les Paul when I think of him), Keef’s Micawber (ya, he likes Tele’s, but he has like ten million guitars of all makes and models, right?), Lonnie Mack’s Flying V (hmmm, not Albert King?)

One WTF?: George Harrison’s 12 String Rickenbacker (George changed guitars for practically every album!  How about John’s Rickenbacker?)

To be iconic means the association has to be a strong one.  Frequently used or seen, or played at a seminal event (like Hendrix’s Monterey strat, as opposed to all the other strats).  So most of the guitars on the list make sense.  Some, though, seem to have been chosen to get the iconic player on the list.

They’re all cool though.  I do like to watch.

Rock ‘N Roll Train

Question: who would you say is the perfect guitar hero?

Clarification: not the best, not your favourite, but the one with the perfect blend of attributes, the one who best exemplifies the role.

Well, my answer is Angus Young.

Hard driving riffs that are informed by – and rival – such riffmeisters as John Lennon and Keith Richards.  Guitar solos that are acts of sedition, solos that frequently quote Chuck Berry but also convince you that Jimmy Page is doing his impersonation of Jimi Hendrix.

And the “so-I’m-dressed-as-a-schoolboy-gotta-problem-with-that?” attitude.  I mean, is anything missing?

Oh, and his tone is amazing.  Dark and ballsy, sharp and biting all at the same time.

Angus is hard as a rock.

Godfathers of Rock

Gibson has this list of 10 Pioneers Who Inspired Rock's Greatest Guitar Heroes.  Cool list.

Scotty Moore, Chuck Berry, Lowman Pauling, Link Wray, James Burton, Dick Dale, Jimmy Nolan, Cliff Gallup, Hank Marvin, Carl Perkins.

In the full article you get a great sense for the huge influence these guys had: Hendrix, Clapton, Knopfler, Page, SRV, George, Keef … all listed as disciples and students.

Personally, I never got Dick Dale and Link Wray, but I wouldn’t dispute their impact.  I would, however, swap out one of them for T-Bone Walker.  The single most influential guitarist on the list is Chuck Berry and, as the article points out, Chuck owes a lot to T-Bone.

We’ve been dining off that meal for 60 years.

Jalopy Rock

Gibson has this list of 10 Great Garage Rock Bands.

The intro talks about garage rock as both primitive and singles-oriented (not self-contradicting?) while Wikipedia describes garage rock as raw and amateurish - and punkish.

To me, rock and roll is punkish by definition. Three chords and a message (even if it's only complaining about the cheerleader who doesn't notice you) - that's the essence of rock and roll. Everything else is just window dressing - or pretense.

Anyway, here's the list:
The Count Five
Flamin' Groovies
13th Floor Elevators
The Seeds
The Troggs
MC5
The Electric Prunes
The Kingsmen
The Stooges
The Velvet Underground

Note to Gibson: not sure I buy that Jimi Hendrix loved The Troggs. I always felt his whole Wild Thing thing at Monterey was a put on.

The point of Gibson's list is who were the pioneers, so it is a pretty good list. Otherwise I might have said: where's Camper van Beethoven, The Northern Pikes, The Smithereens, or even George Thorogood? Not that any of these sounded amateurish.

It's not that I admire poor production of sloppy musicianship, but to me it's the feel of the music, not the degree to which it sounds professional. It's about raw rock and roll. So, my list would also include Creedence, The Kinks, The Status Quo, even The Stones and Neil Young.

We're talking genres, right? And a genre is about style and attitude, not commercial success, and certainly not ability. I mean, if Keef isn't punk then I don't know who is!