Jan
31
Written by:
bcleveland
1/31/2012 10:43 AM
To guitar players of a certain generation, it may be hard to accept the following solos as ‘overlooked.’ After all, these songs were mostly hits by superstar acts—it’s difficult to imagine them not having a serious impact on anyone playing guitar back when the songs were new. But for some reason, in the years that followed, these solos would rarely come up in conversations amongst aspiring guitarists.
I’m not letting myself off the hook here. I can remember my pre-teen and teen years, being glued to Van Halen, Ozzy, and Yngwie albums, ignoring guitar playing that felt less ‘current.’ But eventually, I opened my eyes (and ears) to something very important: that in order to be a more complete, well-rounded and diverse musician, no matter what musical style one is drawn to, it is essential that one explore the music of previous eras. And for aspiring lead guitarists, this means listening to and studying some of the great guitar solos of the 1970s.
Still, to this very day, among a majority of guitar players my age—give or take a generation or two—I’ve found scant acknowledgment of guitar solos from this era.
Why is that?
Here’s my theory: those of us who were drawn to lead guitar during the '80s and later were under the shadow of one of the greatest guitarists of our time and arguably of all time: Edward Van Halen. With his lightning fast licks—speed picking, two-handed tapping, harmonics, feedback squeals, dive bombs, and other groundbreaking technique—not to mention grooving rhythm playing, all delivered through a crunchy, "not available in stores" tone, Eddie Van Halen (or, as he’s referred to nowadays, EVH), had unwittingly ushered in the '80s a couple years early. Beginning with Van Halen’s 1978 debut, right up to the Orwellian titled
1984, Eddie changed the vocabulary of guitar forever (note: although Van Halen’s next period—with Sammy Hagar on vocals—was more commercially successful, it was far less musically influential and is considered by many, including yours truly, to be not in the same league). Not since Jimi Hendrix’s arrival in the late '60s had the rock music scene experienced a virtuosic assault of such magnitude, the impact of which has been unparalleled since.
And not only was EVH the "cutting edge" of lead guitar, Van Halen (the band) was a powerhouse, a supergroup, the epitome of "coolness." David Lee Roth’s pairing with EVH was a caffeinated, sunny California version of Mick Jagger & Keith Richards—with a harder sound, faster tempos, flashier clothes, and wilder hair. Rock from the '70s suddenly sounded like a leftover relic of a bygone era—hearing it next to Van Halen was like watching
The Way We Were on your VCR after you’d just been to a big screen movie theater with Dolby Surround Sound to catch
Back To The Future.
So to the up-and-coming generation of guitarists who began during this period—the thousands (millions?) of us locked away in our rooms attempting to woodshed to "Eruption," there was little interest in learning anything B.V.H. (Before Van Halen). And no sooner had we gotten a grasp on Eddie’s playing than along came Randy Rhoads, Yngwie Malmsteen, Joe Satriani, and so many others who helped define modern lead guitar well into the '90s and beyond. Enter the era of P.V.H. (Post Van Halen).
But, somewhere along the way, a strange thing happened: a lot of '70s guitar solos held their own, withstanding the test of time. In fact, many have arguably held up better than a some of their more "modern" counterparts (early Van Halen being a notable exception, of course). Take the solos on this list, for example: they may not have the flawless execution that was expected by guitarists after 1980, but they represent guitar playing that is considered "undeniably good" according to many experienced ears. They combine feel, taste, dexterity, and memorable melodies, as well as fitting the mood of the songs and helping tell the ‘story.’ They are all worth learning note for note, and playing them will make your licks of the 80s and later sound better (disclaimer: the author admits to not knowing all of these solos note-for-note).
In a recent post, while describing what makes a great recorded track, popular music biz blogger Bob Lefsetz said it best: “It’s not about perfection, it’s about capturing lightning in a bottle.” These words apply equally to guitar solos, and those listed here certainly qualify. Though they may not have the flash, sizzle, screams, pizzaz, and perfection that came with the '80s, when it comes to building a solid foundation, these ten overlooked solos of the '70s are beyond essential:
Song: “That Smell”
Band: Lynyrd Skynyrd
Album: Street Survivors (1977)
Soloists: Gary Rossington, Allen Collins, and Steve Gaines
Although this band is best known for a timeless redneck anthem contagious enough to catch on North of the Mason Dixie line ("Sweet Home Alabama") and an epic jam whose title has become a source of comedy ("Free Bird"), it is this tune that truly captures the full potential of Skynrd’s triple-guitar-solo threat. There are several solos throughout, all worth learning. And while every lick here has a great feel, my personal favorites are played by Steve Gaines, who mixes blistering speed with emotion and extremely innovative slides and bends—a bit like Hendrix gone country. Tragically, Gaines passed away in the infamous 1977 plane crash that killed several members of the Lynryd Skynrd band and crew.
Song: “Blue Jean Blues”
Band: ZZ Top
Album: Fandango! (1975)
Soloist: Billy Gibbons
Sharp dressed and cheap-sunglass wearing Billy Gibbons is one of the most successful guitarists of all time (and with his famous beard, one of the most recognizable). Although his unique signature sound—a mix of Texas bar blues, heavy rock, and strong pop melodies—has always been appreciated by guitarists, it has rarely been considered "essential." But upon hearing the guitar licks of this "obscure" track (by ZZ Top standards), some might think they’re hearing Stevie Ray Vaughn, while others have guessed it could be an early recording of Joe Satriani (that one’s a bit of a stretch, but there are some similar elements). So, while ZZ Top may have a lot of big hits with guitar playing that’s considered "cool" and "fun," it is this lesser-known track that places Gibbons in a level of much higher importance than previously realized.
Song: “Bat Out Of Hell”
Artist: Meat Loaf
Album: Bat Out Of Hell (1977)
Soloist: Todd Rundgren
In terms of tone and energy, I’d say that Todd Rundgren (along with Ritchie Blackmore and a few others), was one of the few playing with a dexterity, energy, and attitude that foreshadowed EVH. Yet this track is a relatively recent discovery for me and an interesting story: upon moving to New York in the late '90s, I was surprised that everyone seemed familiar with the album
Bat Out of Hell except me. Friends back in the San Francisco Bay Area weren’t familiar with it, either. We’d all heard of it, but few had actually heard it. How could that be? The answer came in 2006, when I was hired to play guitar in a series of concerts in collaboration with the composer of this best-selling album, Jim Steinman, who’d also written hits for Bonnie Tyler and others. A reliable source (other than Jim) gave me the scoop: back in the '70s, there’d been a falling out between Meat Loaf and the late Bill Graham (the Bay Area’s legendary music business patriarch). In the aftermath, venues in the Bay Area had stopped booking Meat Loaf and radio stations stopped playing this album. So by the time I finally heard this, I realized there were some serious licks to catch up on! Check out the solos throughout, but especially at 1:00 and 6:30 in the track.
Song: “Don’t Take Me Alive”
Band: Steely Dan
Album: The Royal Scam (1976)
Soloist: Larry Carlton
Jazz and jazz-rock guitarists are no strangers to the work of Larry Carlton—but that hasn’t always been true of rock players. A good place to start is this tune, which could be an "honorary" metal song (an outlaw anthem along the lines of Judas Priest’s "Breaking The Law," with angry verses that could have been penned by Dave Mustaine). Its not only a great tune, but a perfect showcase for Carlton (one of many Steely Dan collaborators)—who was considered one of the great players of the second half of the decade. There are great Carlton licks all over this track, combining the blues-rock feel of vintage Beck and Clapton with just the right touch of modern jazz vocabulary. Learning this stuff as a prerequisite to Van Halen is a great idea. Although in later years, Larry Carlton would find success as a smooth-jazz artist playing music tailor made for ‘Lite FM’ radio stations, it is his work in Steely Dan that remains quintessential, as well as essential. (Also recommended: "Kid Charlemagne," "Josie.").
Song: “Bohemian Rhapsody”
Band: Queen
Album: A Night at the Opera (1975)
Soloist: Brian May
This example is a bit of an exception since the song, with its anthem-like solo, is anything but overlooked, thanks to a couple of resurgences. But, in the mid to late '80s, many of us young guitarists weren’t aware of it. That’s a shame since the solo, with its crying bends, fast runs, and strong melodic fabric, is a perfect prerequisite to harder rock and metal (check out guitarist Michael Schenker’s great solo on UFO’s "Rock Me Rock Me," a clear descendent of "Bohemian Rhapsody"). Awareness increased in the '90s—first in the U.K. (following the death of vocalist Freddie Mercury) and then in the U.S. (via comedians Dana Carvey, Mike Myers, and their hit movie "Wayne’s World"). Interesting fact: while May’s guitar prowess is well known, in his spare time, he is one of Britain’s leading authorities on astrophysics, a respected University Chancellor, and a prominent animal rights activist.
Song: “Comfortably Numb” (second solo)
Artist: Pink Floyd
Album: The Wall (1979)
Soloist: David Gilmour
This example is another exception—guitar players generally acknowledge David Gilmour’s incredible feel on this song. But it is the second solo that needs to be further appreciated and considered more essential. Most seem to zero in on the first solo in
Dmaj which, with its wonderful melody, perfect bends, and emotional delivery is essential in its own right. But it is that second one, in
Bmin, where Gilmour shines on like a crazy diamond—his screaming bends, blues attitude, pinched harmonics, slides, vibrato, and other basic elements have a conviction and clarity that rival any '80’s metal solo. Of course, check out both solos, but be sure not to overlook that second one.
Song: “Breakdown ”
Band: Tom Petty and the Heartbreakers
Album: Tom Petty and the Heartbreakers (1976)
Soloist: Mike Campbell
Since the mid-'70s, Mike Campbell has been a purely supportive guitarist—he is there to help veteran rock superstar Tom Petty do what he does. But listen closely and you’ll hear a guitarist that makes really great note choices. His solos may not dazzle, but they more than make up for it in terms of being memorable. This track is a good place to start, since Campbell’s licks help introduce the verses, and are as much a signature of the song as Petty’s lead vocal. Guitarists in their formative stages would do well studying all of Campbell’s licks on this tune—they’re not too complicated to learn, but simply sound great. Advanced guitarists, especially those knee-deep in their hammer-ons and arpeggios, ought to step away from their shred albums and spend some time with this track, just to be reminded how effective good taste and simplicity can be.
Song: “Don’t Fear the Reaper”
Band: Blue Oyster Cult
Album: Agents of Fortune (1976)
Soloist: Buck Dharma
This is a song that anyone who listened to rock radio in the mid-'80s heard a zillion times. And for me, a teen in Van Halen mode at the time, these lead guitar parts just blended into the background. But listening to the solo today reveals that there was some really interesting, impassioned, even exotic playing going on, courtesy of BOC guitarist Buck Dharma. The solo section employs a harmonic minor feel, giving it an electrified Middle Eastern or Mediterranean quality, unusual in rock at that time. It ventures away from the mode at one point (around 3:00), but is otherwise true to form. A great place to begin learning licks with a bit of international influence.
Song: “Never In My Life”
Band: Mountain
Album: Climbing (1970)
Soloist: Leslie West
When I was starting out, Leslie West was a name I didn’t know—I discovered him by reading an interview with my favorite guitarist at the time, Michael Schenker. Afterward, Mountain’s best known tune, "Mississippi Queen," would re-enter the public consciousness every few years via beer ads, soundtracks, and cover versions. But there are many more gems besides that one big hit. Case in point: "Never In My Life," which features one of the most underrated riffs of all time, in a class with Led Zeppelin and Cream (whose producer, incidentally, was Felix Pappalardi—the bassist in Mountain). The main solo is fairly short—more important are the little fills of licks spread throughout. Damn are they good! Highly recommended for building a vocabulary of great slow bends and vibrato.
Song: “Do You Feel Like We Do”
Artist: Peter Frampton
Album: Frampton Comes Alive (1976)
Soloist: Peter Frampton
Peter Frampton is seen as a cautionary tale of the music business. After years of hard work, mostly under the radar, he released an album, Frampton Comes Alive, that rocketed to #1, becoming the best-selling live album the world had ever seen. But, as quickly as he’d risen to the top, Frampton fell from grace, not due to scandals, addiction, or anything typically sinister, but several career missteps: an unsuccessful follow-up album, a bad Rolling Stone cover photo, and most damaging of all, an ill-fated musical film, Sgt. Pepper, in which he co-starred alongside the Bees Gees (that’s right, not the Beatles, the Bee Gees). But underneath this "Behind The Music" drama, Frampton had done some really interesting guitar playing. “Do You Feel Like We Do,” in its bid for live album feel, is riddled with crowd-pleaser moments (the "talk-box," is showcased like a product demo at NAMM). But look beyond and you’ll find many flowing, interesting, and unique melodic lines. A good place to start is the natural (no talk-box) solo at 2:20. Being in D, it brings to mind Eric Clapton’s "White Room" solo, but soon gets a touch of jazziness that brings to mind Larry Carlton and Carlos Santana. Although Clapton, Gilmour, and others may have more clarity and "blues attitude," Peter Frampton’s melodic content is in a class of its own. He deserves to be looked at beyond the now-faded hype surrounding him.
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37 comment(s) so far...
Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
A very good break down of why these solos are important. I've been amused in recent years with guitarists just now breaking down a Buck Dharma solo, and significantly impressed by how complex his seemingly simple solos are. For me, it validates the time I spent in the '70s trying to do the same thing, and the $$$ I spent to see him live every time he was in my home town of SUX.
By BobK on
2/1/2012 11:27 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Totally great guitar solos and also really good songs. Other one to mention is 25 or 6 to 4 by Chicago.
By Lamberto Ibarra on
2/1/2012 11:27 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Have to say that I'm surprised that nothing from Robert Fripp made the cut. With Larks, Starless, and Red Fripp's King Crimson created an entirely new guitar based music, one that morphed into New Wave guitar lines (via the Bowie Berlin albums), made Allan Holdsworth digestable for a wider audience, and stuck around for the Fripp/Summers vaguely world music albums. In sum, it was not a dead end -- or just slick update on blues forms.
By Jeff A. Taylor on
2/1/2012 11:27 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
All good stuff, as usual Alex.
I'm a particular fan of Buck Dharma, but DFTR wouldn't be my starting point for a new player. I had been playing acoustic guitar and fooling around with electrics a little bit - until I heard the ending solo on "Dominance and Submission" from "Secret Treaties" O...M...G.... It has all of that modal quality in Buck's playing but with an unmatched frenetic explosiveness that few few players have equaled - then, or since. The version that made it onto the record was recorded in '71 or '72 - there was nothing else like that happening. Give it a listen or two. Best Rgds!
By Brad Le'Lee on
2/1/2012 11:27 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Thanks Alex, I'll have to listen to Leslie West and Mountain, never got past Mississippi Queen.
Frampton was also in a great band called Humble Pie: 30 Days in The Hole, I Don't Need a Doctor ya baby! I learned alot from from Do You Feel off the iconic live album but never cared for anything thing else on it.
Cheers
By Spence on
2/1/2012 11:26 AM
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Something you may be overlooking
Alex, i think there is something you may be overlooking.
1977 was Year Zero. Whether you were into punk and electronica or not, they changed everything including rock. It seems to me that most rock fans and journalists don't realize that post-1977 modern rock is as different from classic rock as classic rock is from jazz, because modern music is influenced by modern classical while classic rock is influenced by the blues, folk, country, and gospel. They might sound the same but they are NOT the same thing at all. Eddie, along with groups like Metallica and Iron Maiden in metal, or Sonic Youth and U2 in alternative rock, took the guitar to places it had never been because they were not limited to blues licks or psychedelic rock ideas. They had no loyalty to jazz and i doubt any of them cared much for gospel or country. For the 70s players blues, jazz, country, folk and gospel were the whole enchilada and just about everything they did came out of those styles. For modern rockers all of that was verboten and the source material was largely from free jazz, krautrock, new york and london punk, industrial, disco, reggae/world music, new wave, and this unruly thing called the new wave of british heavy metal that had no musical precedent anywhere.
There were plenty of guitarists in the 70s who predated the 80s guitar solo style: Jimi Hendrix was the beginning of it all but Robert Fripp, John McLaughlin, Gary Moore and Scott Gorham, Pat Travers, Tommy Bolin, Eddie Hazel, Peter Frampton, Al DiMeola, Ted Nugent, Mick Ronson, Tipton and Downing, Keith Levene, Angus and Malcom Young, Pete Willis (Def Leppard), and Tom Scholz all predated the 80s and did things with both their guitar styles and production techniques that 80s style players take for granted today. Andy Summers, Keith Levine, and Pat Metheny between them invented an entirely new way of playing the guitar that had NOTHING to do with blues notes or distorted tones and that style was everywhere in the 80s and continues on in indie rock to this very day. But what was missing in these players was a new ATTITUDE. Eddie had the new attitude plus the chops (which a lot of the alternative players lacked) and he became the leader of the new generation who didn't want their parents' music but wanted something of their own. And he created a sea change that pretty much retired a lot of 70s guitarists the same way that Nirvana retired many hair band players of the 80s or that rappers such as Lil Wayne and Eminem have downgraded the art of even being a guitarist from mandatory to optional in the 00s music world.
For a lot of guitarists from the 80s (whether they shred like Van Halen did or are anti-technical like Johnny Ramone), listening to 70s rock is like watching black and white TV: it's interesting for nostalgia but has nothing to do with the way we do things today because music is thought of in a completely different way now than it was back then.
In short: it's a generation gap.
By Dion Wright on
2/2/2012 11:58 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great list. I would also consider Bill Nelson and BeBop Deluxe. Listen to "Crying to the Sky" or "Axe Victim". Also, Jan Ackermann"s "Hocus Pocus".
By Dave on
2/2/2012 11:58 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
There's one solo from the 70's that I feel as been badly overlooked, and should be added to your list. It's Richie Blackmore's solo from Lazy, which appeared on the Machine Head album. This solo is a wonderful fusion of rock, blues and jazz.
It may not be as flashy as many of the later Van Halen style, super speed, solos, but it is wonderfully lyrical. And as I alluded to above, can appreciated by jazz players as well as blues or rock fans.
By Bill Paterson on
2/3/2012 1:10 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Thanks for all the comments so far. It's especially good to hear from folks who remember when these songs were new and get their perspective.
I think its also important to point out that these solos were chosen not from the standpoint of the listener, but from that of the guitarist wishing to get a solid grasp on guitar playing purely rooted in rock, blues and jazz. None were chosen as being the most modern/cutting edge solo of its time. If either of those premises were the case, the list would probably look quite different.
Also, this is by no means a definitive list. If I've left out any of your favorites, just add them to the list.
A lot of folks, here and on Twitter, FB etc..., have mentioned Blackmore and Fripp. These were names that were considered, but are far less overlooked than those most mentioned here.
And folks: if you'd like to start a thread for your comment, please feel free to post it on my site, www.alexskolnick.com. Just click the update corresponding to this article on the right hand side.
Thanks for your feedback (pun intended)
Alex
By Alex Skolnick on
2/5/2012 3:10 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
I think what a lot of us who grew up in those days remember, as much as the notes themselves, was the distinctive tone, the raw sound, that so many of these players had. Having your own sound was still valued and, as much as effects were coming into their own, you still had to work at it.
I really think the emphasis on tone was responsible for the failure of MIDI guitar to catch on when controllers were first introduced in the 80's. Aside from poor latency, no one wanted their guitar to sound like every 3rd rate keyboard player out there.
To put in my two cents, I'd nominate two solos from Ry Cooder's "Showtime": the quasi-fingerpicked "Do-Re-Mi" and the slide solo from "How Can A Poor Man Stand Such Times And Live".
For my money and that style of playing those were just the epitome of tone, touch, and emotion. I just played them again and they still send chills down the spine.
By Frank Pergolizzi on
2/10/2012 2:02 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great list and yes, I'm old enough to remember each and everyone of them at the time of their release. One dude everyone seems to overlook is Randy Bachmann. Both his years with the Guess Who (when they produced their best work) as well as BTO were filled with riffs, tone and more. Who can forget the fuzz on "No Time"? But the LP I really loved of his was "Not Fragile." At that time (1974) the BTO sound was thick and chewy. Check out the guitar work on the title song and Sledgehammer. Great stuff.
Another song I would recommend that came out a few years later (1977) is on the Chicago XI album. This was Terry Kath's last album. There is a song on that album that I fell in love with the very first time I heard it and might very well be the last song Terry ever wrote. It's called "Taking It Uptown." (Many years later I wrote a song dedicated to him called "Uptown Weekend.") If you listen to this song, what you hear is a huge crunchy, riff-driven monster that simply overwhelms the senses. This world lost a great one when Terry died.
One final note about the transformation that happened in music after the 1977-78 time frame. It was Van Halen's "Running with the Devil" that sent them on their way but at the same time you had the elementary sounds of Talking Heads just starting to catch on. Along with Punk, New Wave, and Metal (hardcore), rock would never be the same. After the Skynyrd tragedy, I stopped listening to 70s music for a very long time. I stopped listening to Pink Floyd after DSOTM. I stopped listening to Steely Dan after Aja. In the 80s for me, everything became about "new music." That's where I've been ever since. So now I spend my time listening to the White Stripes and the Black Keys, the Yeah, Yeah, Yeahs, anything new and non-commercial.
By utah on
2/10/2012 2:00 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
fully agree except.....BOC.....not a fan of their music. Finally Leslie West recognized somewhere! I was very familiar with Bat and lived in the Bay then but was already a huge Todd fan so maybe thats why
By jd111358 on
2/10/2012 2:01 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
I think Jeff Beck produced at least three candidates for this list...all different..
She's a Woman
'Cause we've ended asLovers
Goodbye Porkpie Hat.
...man...Peter Frampton...we'll agree to disagree....
By Robert Smallwood on
2/10/2012 2:01 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Total agree an Steve Gaines work on "That Smell". Everytime I hear that it gives me goose bumps and wonder how many other great solos he had in him. Tragic loss.
Another of my favortie solos from the 70's is Steve Lukather's solo on "Hold the Line". That solo mesmerized me when I first heard it - I was 12 at the time and just learning to play guitar and it's still one of my favorites. I loved the sense of drama and anticipation created by those big long bends when he launches into the second half of the solo and how perfectly it sets up for the blazing fast riff.
The second solo on "Comfortably Numb" was always my favorite. It so eloquently captures the despair that is really underneath the "numbness" of the character in the song.
By Leo Post on
2/10/2012 2:01 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great choices, Alex. As one born in 1955, I grew up listening to great bands from the 60's onward. I've been playing guitar since '69, so I borrowed my share of chops from them all....you name 'em, I played them (or tried to). So many greats from the '70's and '80's, SO many....but I have to say my all time favorite, hands down, is the late, great Gary Moore. He gets tucked into the Thin Lizzy bucket far too often; that was a very small part of his long career. When it comes to pouring one's heart out through our instrument, no one holds a candle to him....and that includes Santana (who my playing is most often compared to; I appreciate the compliment....but damn, if ONLY they'd say "Gary Moore"). Gary wasn't nearly as well known here in the States, but I defy anyone reading this to go check him out (can start easily on Youtube) and not get instantly hooked. Check out his live version of "Empty Rooms" or his live "Parisienne Walkways" with Phil Lynott handling vocals (they co-wrote the song; were friends since childnhood in Belfast). Listen to "The Loner" from the '80's....and tell me if you've ever heard a prettier chorus in your life. "Over the Hills and Far Away" will bring out the Gaelic in you and bend your head with his chops. Check out his sessions in Montreaux.....or his live duet on "The Thrill is Gone" with B.B. King or "While My Guitar Gently Weeps" with George Harrison (again, live).
...and of course, his most famous song, "Still Got the Blues". Pure poetry, vocally as well as on the guitar. Masterpiece.
The guitar is about heart, not chops. I learned that a very, very long time ago. I'm not a flashy, speed player....I couldn't do finger-tapping, etc. if my life depended on it. Yet, people (God knows why) seem to love my playing. It's probably because I tend to pour my heart into it....and that's what many of these great players you've chosen, Alex, did and do. For those who slag Frampton, know that he has absolutely MONSTER chops as a guitarist. David Bowie, no less, called him the best guitarist on the planet. He also had heart....lots of it.
For you younger folks....dig back into these catalogs of great music. Go discover Gary Moore....go get blown away by Frank Marino (& Mahogany Rush)....give April Wine a real whirl....give good ol' Uncle Ted Nugent a real, fresh listen.....take your time and expand your musical vocabulary. You'll be a better player for it, and I guarantee you'll have a blast doing it.
By the way, Alex, I'd be totally remiss if I didn't add how much I loved your work with TSO. Awesome group, phenomenal shows. I just love TSO and hope you get back in and mix it up with them some more.
God bless.
By Stuart Alexander on
2/10/2012 3:28 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Just the Same Way by Journey. Great solo by Neal Schon. Tons of feeling, great chops and melody over interesting chords. Never hear about that one.
By JoJo on
2/10/2012 4:26 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great choices, I remember them all. First time I heard "That Smell" I was blown away. Skynyrd had some of the most interesting guitar work ever recorded. Buck Dharma (aka Donald Rosener) has been a favorite guitarists of mine for many years. At various times I've learned and played a lot of his music and seen him many times live. He is just a different kind of player. Like George Harrison he does his own thing and it works. My favorite recording of his is the live versions of "Subhuman" and "Last Days of May" from "On Your Feet Or On Your Knes." "Perfect Water," "Astronomy," "Damaged," and "Golden Age of Leather" should all be checked out if your are interested. Great article.
By Wolfboy1 on
2/17/2012 8:55 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great to see Don't Fear The Reaper mentioned in your top ten. That song, and the entire live album Some Enchanted Evening inspired me to play guitar. When I heard that solo to Astronomy I knew that was what I wanted to do for the rest of my life, and I have not wavered from it. Buck Dharma is even better today than he was in the 70's, go check out a BOC live show and you'll see for yourself, the man is incredibly melodic and really has a style of his own.
Also nice to see readers mention 25 or 6 to 4, and Lazy, two more of my favs. And BTW Alex, you rocked on 11/11 with Rodrigo Y Gabriela.
By Larry Anderson on
2/17/2012 8:55 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Jethro Tull's "Aqualung" has a great solo by Martin Barre. And legend has it that while Martin was tracking the solo Jimmy Page wondered into the control room from the studio next door and kept waving at Barre to say Hello. Martin just kept playing and laid down a classic solo while basically blowing off "Mr. Led Zeppelin" himself (LOL).
By Mike McQuain on
2/17/2012 8:55 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Blinded By The Light, Manfred Mann's Earth Band. Dave Flett's solo is one of the best of any rock song, ever. Catch the whole solo on the album version, the way the FM radio stations used to play it, not the AM-radio edited single.
By mooncaine on
2/17/2012 8:55 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great list Alex, you have a schooled ear.
Tom Scholz, the outro solo medley on "Hitch a Ride" from Boston's debut album. Majestic, soaring lines.
Paul Kossoff, on Jim Capaldi's "You and Me". Beautiful and agonizing at the same time, Koss' pain pouring out through his guitar.
And we could go on and on. Lots of great guitar work in the 70's!
By Kim O'Hara on
2/17/2012 8:55 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
STEVE HOWE... where is he? Still my fave guitarist of all. (Freebird is a clear rip off of Wurm!) From his sick pedal steel in "Going For The One" (where you're wondering what Rick Wakeman is doing on crazy synth until you realize it's all guitar!)... heck, even in the godawful ASIA, their first album has some incredible HOWE solos!
By cxb on
2/22/2012 1:26 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Also, I'm sorry to ruin the party, but when I first heard EVH in the late 1970s, I was not very impressed. He wasn't doing anything that everyone else wasn't already doing, and if you don't believe me, just listen to the guitar solo from BOSTON's 1976's "It's Been Such A Long Time". It sounds JUST like vintage EVH... 2 YEARS prior to VH's debut! Also, I think if you listen to all of Jethro Tull's "Live Bursting Out" you also hear many of EVH's "trademarks" like pinched harmonics etc! EVH even stole tapping from Hackett in GENESIS! Still love EVH, but there was a lot of historical RE-WRITING going on after he came out.
By cxb on
2/22/2012 1:26 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
How about one of EVH's big influences, Ronnie Montrose. From his sideman solo's on Free Ride and Frankenstein to his amazing Montrose album which introduced Sammy Hagar to the world.I saw Montrose as the opener for Spooky Tooth, (Mick Jones later of Foreigner) and Humble Pie with Steve Marriott,(post Frampton) and Ronnie absolutely tore the Utica, N.Y. War Memorial apart!
By Andy Basic on
2/22/2012 1:25 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
John Cougar: "I need a lover" The song sucks, but the solo is crushing!
By david mollen on
2/24/2012 1:27 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Nice post I agree with some of the solos you picked. for those of you who want to play like these greats check out my site www.acoolwaytolearnguitar.com
By jeff on
2/26/2012 6:44 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Being born in 57', like THE Chevy, I was a teen of the 70s.
Thanks Alex, I now feel somehow vendicated. I know, and love, every one of the tunes you'ved mentioned here.
By UVBlues on
2/26/2012 6:43 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
According to the folks at Steely Dan, the guitar solo on "Don't Take Me Alive" was performed by Walter Becker. For the longest time I thought it was Larry, as well.
By Phil on
2/27/2012 3:54 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
It's only recently that Peter Frampton has been getting some of the attention and recognition that he deserves as a fine guitarist. I wouldn't put him in the virtuoso category but he is an excellent player nonetheless. It's nice to see him in Alex's list and I agree on the song and the solo-it is right up there with some of the best. Also included is David Gilmour. If he isn't one of the most underrated guitarists that ever held a guitar in his hands and put a strap over his shoulders than 1 x 1 does not equal 1 nor does 2 + 2 equal 4. It's that simple. He might have layed down one of the best sounding guitar solos that exists with his effort in "Comfortably Numb." Alex being a guitar virtuoso himself has some idea of what he is talking about so when I hear Frampton and Gilmour being mentioned by him all of you other geniuses out there who disagree can go suck wind.
By George (NJ) on
3/6/2012 8:47 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
I've always loved great songs first, and especially ones with great solos that really make those songs. Two of my 70's favorites have to be Jeff Baxter in "Rikki, Don't Lose That Number" and Glenn Tilbrook in "Another Nail For My Heart", two perfectly suited solos for two great songs, IMHO anyway.
By Shawn on
3/6/2012 8:47 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great list and agree on many of the additions in the comments. Here are a couple others that I have worked on that have definitely helped me:
1. Day of the Eagle, Robin Trower. Great tone and use of effects like chorus, tremolo bar, wah, and also speed that doesn't always resolve in the pentatonic box.
2. Super Stupid, Eddie Hazel, Funkadelic. Awesome wah, speed and emotion and cool, funky licks throughout.
3. Boddhisatva, Skunk Baxter/Denny Dias, Steely Dan: Amazing chromatic playing that blends jazz/blues/country feel.
By Arun on
3/21/2012 1:44 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Great list and agree on many of the additions in the comments. Here are a couple others that I have worked on that have definitely helped me:
1. Day of the Eagle, Robin Trower. Great tone and use of effects like chorus, tremolo bar, wah, and also speed that doesn't always resolve in the pentatonic box.
2. Super Stupid, Eddie Hazel, Funkadelic. Awesome wah, speed and emotion and cool, funky licks throughout.
3. Boddhisatva, Skunk Baxter/Denny Dias, Steely Dan: Amazing chromatic playing that blends jazz/blues/country feel.
By Arun on
3/26/2012 1:47 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
A solo I always loved was Gerry Rafferty "Baker STreet".
It's a great song with a great build up to that solo with a great sounding Les Paul (I would imagine)
By Chris on
3/30/2012 7:49 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
A solid list, and as mentioned, certainly not definitive. As someone mentioned above, Martin Barre's solo on Aqualung, and I'd add the riffage in Crosseyed Mary, should be considered mandatory if you are learning lead guitar. And while Blackmore is not really overlooked, the uninitiated should check out Deep Purple in Rock. Released in 1970,Speed King is an amazing piece of guitar wizardry..check out the interplay between Ritchie and Jon Lord. And then move to Hard Lovin' Man. You can practically hear EVH & Yngwie trying to learn this note for note.
Glad to see Todd Rundgren mentioned, known as a producer and songsmith, young kids have no idea how well he really plays. Check out some of the amazing work with Utopia.
And lastly the great Leslie West. A major influence on most of the guitarists I know (Jersey). Never In My Life is a fave, but go back and revisit the solo's for Theme from an Imaginary Western, From Yasgurs Farm,and Nantucket Sleighride.
Guitar.....it's all good. Peace.
By Jim Santos on
4/9/2012 8:36 AM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Hey Alex, you forgot about Elliot Easton. All of his solos are like another part of the song, it's like he plays the perfect part for all songs, just like Mike Campbell. I'm also a huge fan of Billy Gibbons, how bout "Fool for Your Stockings"
By Brian on
4/16/2012 1:59 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
Alex, great selections and breakdowns.
Mike Campbell and Leslie West are incredibly underrated. Nice to see them get some recognition. You've got major class.
By Alealejandro on
8/13/2012 1:17 PM
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Re: Alex Skolnick: Ten Overlooked, Essential Solos of the '70s
These are the songs that I and my brother love. We love listening to these songs.
By essays.mightystudents.com on
4/19/2013 8:38 AM
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