According to one source, New Orleans -born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable.
This early form of the music set the pattern for later musicians. The meaning of "funk" continues to captivate the genre of black music, feeling, and knowledge.
Recent scholarship in black studies has taken the term "funk" in its many iterations to consider the range of black movement and culture. In particular, L. Like soul, funk is based on dance musicso it has a strong "rhythmic role". Before funk, most pop music was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible.
Together, these "interlocking parts" created a "hypnotic" and "danceable feel". New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late s, and made it its own.
Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. Some examples of chords used in funk are minor eleventh chords e. Unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps often alternating a minor seventh chord and a related dominant seventh chord, such as A minor to D7 with melodo-harmonic movement and a complex, driving rhythmic feel.
Even though some funk songs are mainly one-chord vamps, the rhythm section musicians may embellish this chord by moving it up or down a semitone or a tone to create chromatic passing chords. The chords used in funk songs typically imply a Dorian or Mixolydian modeas opposed to the major or natural minor tonalities of most popular music.
Melodic content was derived by mixing these modes with the blues scale. In the s, jazz music drew upon funk to create a new subgenre People Make The World Go Round - Stevie Wonder - Live At Last: A Wonder Summers Night (DVD) jazz-funkwhich can be heard in recordings by Miles Davis Live-EvilOn the Cornerand Herbie Hancock Head Hunters.
Funk continues the African musical tradition of improvisationin that in a funk band, the group would typically "feel" when to change, by "jamming" and "grooving", even in the studio recording stage, which might only be based on the skeleton framework for each song.
Funk creates an intense groove by using strong guitar riffs and basslines played on electric bass. Like Motown recordings, funk songs use basslines as the centerpiece of songs.
Indeed, funk has been called the style in which the bassline is most prominent in the songs,  with the bass playing the "hook" of the song. Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and slap and popping bass. Slapping and popping uses a mixture of thumb-slapped low notes also called "thumped" and finger "popped" or plucked high notes, allowing the bass to have a drum-like rhythmic role, which became a distinctive element of funk.
Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic ghost notes  also called "dead notes". Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of swing feel in some songs e. James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul show  By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm.
In Tower of Power drummer David Garibaldi 's playing, there are many "ghost notes" and rim shots. Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, ostinatosthat are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk. In funk, guitarists often mix playing chords of a short duration nicknamed "stabs" with faster rhythms and riffs.
The two guitarists trade off their lines to create a " call-and-responseintertwined pocket. The technique can be broken down into three approaches: the "chika", the "chank" and the "choke". With the "chika" comes a muted sound of strings being hit against the fingerboard; "chank" is a staccato attack done by releasing the chord with the fretting hand after strumming it; and "choking" generally uses all the strings being strummed and heavily muted.
The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the electric bass and the cutting tone of the snare and hi-hatswith a rhythmically melodic feel that fell deep in the pocket.
Guitarist Jimmy Nolenlongtime guitarist for James Brown, developed this technique. The pattern of attack-points is the emphasis, not the pattern of pitches.
The guitar is used the way that an African drum, or idiophone would be used. Nolen created a "clean, trebly tone" by using "hollow-body jazz guitars with single-coil P pickups" plugged into a Fender Twin Reverb amp with the mid turned down low and the treble turned up high.
Funk guitarists playing rhythm guitar generally avoid distortion effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, Fender Stratocasters and Telecasters were widely used for their cutting treble tone. Guitarist Eddie Hazel from Funkadelic is notable for his solo improvisation particularly for the solo on " Maggot Brain " and guitar riffs, the tone of which was shaped by a Maestro FZ-1 Fuzz-Tone pedal.
Ernie Isley was tutored at an early age by Hendrix, when Hendrix was a part of the Isley Brothers backing band and temporarily lived in the Isleys' household. Funk guitarists use the wah-wah sound effect along with muting the notes to create a percussive sound for their guitar riffs. A range of keyboard instruments are used in funk.
Synthesizers were used in funk both to add to the deep sound of the electric bass, or even to replace the electric bass altogether in some songs. In the s, funk used many of the same vocal styles that were used in African-American music in the s, including singing influences from blues, gospel, jazz and doo-wop.
As funk emerged from soul, the vocals in funk share soul's approach; however, funk vocals tend to be "more punctuated, energetic, rhythmically percussive[,] and less embellished" with ornaments, and the vocal lines tend to resemble horn parts and have "pushed" rhythms. The lyrics in funk music addressed issues faced by the African American community in the United States during the s, which arose due to the move away from an industrial, working-class economy to an information economy, which harmed the Black working class.
The Funkadelic song " One Nation Under A Groove " is about the People Make The World Go Round - Stevie Wonder - Live At Last: A Wonder Summers Night (DVD) that Blacks overcame during the s civil rights movement, and it includes an exhortation for Blacks in the s to capitalize on the new "social and political opportunities" that had become available in the s. The political themes of funk songs and the aiming of the messages to a Black audience echoed the new image of Blacks that was created in Blaxploitation films, which depicted "African-American men and women standing their ground and fighting for what was right".
Funk songs included metaphorical language that was understood best by listeners who were "familiar with the black aesthetic and [black] vernacular". In the s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and double entendres to get around these restrictions.
Horn section arrangements with groups of brass instruments are often used in funk songs. Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists. The instruments in funk horn sections varied. If there were two brass instruments, it could be trumpet and tenor sax, trumpet and trombone, or two saxes.
Quintets would typically take a pair of brass instruments saxes or trumpetsand add different high and low brass instruments. With six instruments, a brass section would typically be two pairs of brass instruments plus a trombone and baritone sax holding down the bottom end. In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn section parts on a synthesizer with "keyboard brass patches", however, choosing an authentic-sounding synthesizer and brass patch is important.
Funk bands in the s adopted Afro-American fashion and style, including " Bell-bottom pantsplatform shoes, hoop earring[s], Afros [hairstyles], leather vests, Funk allowed everyday experiences to be expressed to challenge daily struggles and hardships fought by lower and working class communities.
Gerhard Kubik notes that with the exception of New Orleansearly blues lacked complex polyrhythmsand there was a "very specific absence of asymmetric time-line patterns key patterns in virtually all early twentieth century African-American music These do not function in the same way as African time lines.
In the late s this changed somewhat when the two-celled time line structure was brought into New Orleans blues. Robert Palmer reports that, in the s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado 's mambo records.
Longhair's rhythmic approach became a basic template of funk. According to Dr. Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans. Alexander Stewart states: "Eventually, musicians from outside of New Orleans began to learn some of the rhythmic practices [of the Crescent City].
Most important of these were James Brown and the drummers and arrangers he employed. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes. By the mids, James Brown had developed his signature groove that emphasized the downbeat —with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African-American music.
Brown's style of funk was based on interlocking, contrapuntal parts: syncopated basslines16th beat drum patterns, and syncopated guitar riffs. On "Ain't it Funky" the tonal structure is barebones. Brown's innovations led to him and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as " Cold Sweat "" Mother Popcorn " and " Get Up I Feel Like Being A Sex Machine "discarding even the twelve-bar blues featured in his earlier music.
Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns Ellis credits Clyde Stubblefield 's adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything.
But 'give me a New Orleans beat' — you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming. In a interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat Simple as that, really. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.
A new group of musicians began to further develop the "funk rock" approach. Innovations were prominently made by George Clintonwith his bands Parliament and Funkadelic. Together, they produced a new kind of funk sound heavily influenced by jazz and psychedelic rock. The two groups shared members and are often referred to collectively as "Parliament-Funkadelic. Clinton played a principal role in several other bands, including Parletthe Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate.
Following the work of Jimi Hendrix in the late s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with funk, borrowing wah pedalsfuzz boxesecho chambersand vocal distorters from the former, as well as blues rock and jazz.
Other musical groups picked up on the rhythms and vocal style developed by James Brown and his band, and the funk style began to grow. Dyke and the Blazersbased in Phoenix, Arizonareleased " Funky Broadway " inperhaps the first record of the soul music era to have the word "funky" in the title. In Jimmy McGriff released Electric Funkfeaturing his distinctive organ over a blazing horn section. Their debut album East Bay Greasereleasedis considered an important milestone in funk. Throughout the s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.
Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. The Temptationswho had previously helped to define the " Motown Sound" — a distinct blend of pop-soul — adopted this new psychedelic sound towards the end of the s as well.
The s were the era of highest mainstream visibility for funk music. Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. InRose Royce scored a number-one hit with a purely dance-funk record, " Car Wash ".
Even with the arrival of disco, funk became increasingly popular well into the early s. Funk music was also exported to Africa, and it melded with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kutiwho was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat". Jazz-funk is a subgenre of jazz music characterized by a strong back beat grooveelectrified sounds  and an early prevalence of analog synthesizers.
Similar genres include soul jazz and jazz fusionbut neither entirely overlap with jazz-funk. In the s, at the same time that jazz musicians began to explore blending jazz with rock to create jazz fusionmajor jazz performers began to experiment with funk. Jazz-funk recordings typically used electric bass and electric piano in the rhythm section, in place of the double bass and acoustic piano that were typically used in jazz up till that point.
Pianist and bandleader Herbie Hancock was the first of many big jazz artists who embraced funk during the decade. Hancock's Headhunters band played the jazz-funk style. The Headhunters' lineup and instrumentation, retaining only wind player Bennie Maupin from Hancock's previous sextet, reflected his new musical direction.
He used percussionist Bill Summers in addition to a drummer. On the Corner was jazz trumpeter-composer Miles Davis  's seminal foray into jazz-funk. Like his previous works though, On the Corner was experimental. Davis stated that On the Corner was an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tanpura and tablasand Cuban congas and bongos, create a multi-layered soundscape.
Both sides of the record featured heavy funk drum and bass grooves, with the melodic parts snipped from hours of jams and mixed in the studio. Also cited as musical influences on the album by Davis were the contemporary composer Karlheinz Stockhausen.
In the s, largely as a reaction against what was seen as the over-indulgence of discomany of the core elements that formed the People Make The World Go Round - Stevie Wonder - Live At Last: A Wonder Summers Night (DVD) of the P-Funk formula began to be usurped by electronic instrumentsdrum machines and synthesizers.
Horn sections of saxophones and trumpets were replaced by synth keyboardsand the horns that remained were given simplified lines, and few horn solos were given to soloists. Electronic drum machines such as the Roland TRLinn LM-1and Oberheim DMX began to replace the " funky drummers " of the past, and the slap and pop style of bass playing were often replaced by synth keyboard basslines. Lyrics of funk songs began to change from suggestive double entendres to more graphic and sexually explicit content.
Influenced by Kraftwerkthe Afroamerican rap DJ Afrika Bambaataa developed electro-funk, a minimalist machine-driven style of funk with his single " Planet Rock " in So don't be shy!
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For an outline of the Librivox audiobook production process, please see The LibriVox recording process. Obviously listing something as subjective as musical greatness is tough and inevitably going to cause disagreement, but this is another level.
Including John Frusciante and Jack White was a little absurd. Excluding Eric Clapton was shocking, offensive, but almost admirable. Very little genre diversity, too. By my count, half of these players are blues or heavily blues-based. The complete absence of heavy metal is glaring. This list is ambitious, but golly, this is pretty darn bad.
John Mayer? And I love Jack White but top ten? Some have great moments that were captured and regurgitated in the media time and a get which put them in a permanent vista. This is greatness? OUCH that hurts…but it happens. Some completely lost track with what they were doing during a show casing of their solo work…oops. The truth is, people hear only what they want to hear and will by their very disposition, ignore the negatives and embrace the positives of their work—alas this is why this supportive listeners are called FANS.
In truth, there are far too many outstanding players working behind the scenes of modern day music or session players that nobody knows about but have definitely heard and someone else is being recognized for it. Brent Mason 2. Eric Johnson 3. Steve Wariner 4. Larry Coryell 5. Reggie Young 6. Ronnie Montrose RIP…miss you bro 7. Les Dudek 8. Jan Akerman 9. Tatyana Ryzhkova. Let this video be a discovery vista and a symbiotic revelation to what guitar and player is all about in giving their instrument a voice for YOU to hear.
Above all, much of it has to do with the players in question being at the right placeat the right time, playing what the audience wanted to hear from that performance at that point in time. Ritchi Blackmore is the biggest guitarist in the world after Jimmi H endrix ,of course. I want to know what you say. In all these comments I have seen no mention of Derek Trucks. I hear you on all the big name rock guitarists.
I see no Brian Setzer either. Les Paul, Django Reinhardt. Go look up Lighting Rod and try to keep up. Redd Volkaert, hell even Willie Nelson plays a mean lead guitar. No top ten list can be real without the name Jack Pearson. Former Allman Brothers guitarist, Nobody on your list can hold a candle to him. The best is in the ears of the beholder.
The guitar exists hundreds if not a thousand years. Addressing mostly recent electrical guitar players and disregard most famous classical and flamenco players is lying to history. Not to mention Goya or Pacco de Lucia even with one word is a crime against guitar playing. Shame on all of you spring chicks. Anyone without the skills and ability to shred well technically should not be on a top list ever.
Any top list without Buckethead is incomplete since he has the highest ability. Buckethead has over 50 albums so it is hard to find the good stuff since a lot of his work is experimental, but his good stuff is the best stuff. Oh wow just before pushing post I just found yet another awesome older Buckethead song… Brazos.
If your voting on pure guitarist and no particular style then jose felicano is Number one. The worlds greatest living guitarist. I always say that Jose Feliciano? Flamenco, latin, bolero, classical, rock ect ect…. You name it and Jose can play it. Rusty Cooley 9. Javier Reyes 8.
Chris Broderick 7. Jimmy Page 6. John Petrucci 5. Jeff Loomis 4. Steve Vai 1. Tosin Abasi No Doubt. What a shame…. Please — get serious! It is about creating and experiencing ART!!! Richie Sambora? Eric Johnson? Eric Clapton? Jimi Hendrix? Jimi Hendix to Robert Johnson… Big gap there. Every single person on this list is a celebrity besides him Robert Johnson. AND 90 percent of them play electric guitar. Comment if you are a guitarist and have actually done your homework.
Pat Metheny can play with speed, complexity and emotion that is beyond just about everyone on that list. Otherwise Wes Montgomery or other jazz greats would be included. Not to mention country pickers like Merle Travis that are incredible…. Leaving aside guitarists whose relative fame is debatable such as Steve Hillage or Terje Rypdalhow can you have a wannabe like John Mayer on your list, but not Dr.
Jimi is really the best, but how a man who died 80 years ago, when no real music recording existed was the BEST?. Because my grandpa said so? Ahhhhhh john frusciante!!!!!! Whooop whooppp. He deserved that!!!!!!!! He inspired me like you will never think! He is epikkk. This is the worst top 10 guitarists list ever. Jimmy page needs to be top 3 on THIS list. Jack White? Red hot chilli peppers? It is supposed to be a list with the greatest guitar players after all.
One of the best modern guitarist in the whole world! So frustrating!!!! That guy Dino!!!! Guitar exists in other type of music beside rock you meatheads!! Hate to break it to you but compared to people like Django Rheinhardt and Chet Atkins…. Eddie Van Halen and Steve Vai bloooooowwwwwww!!!!!! Ryan and Jfauser obviously play guitar and have decent taste in music.
The rest of these people are clearly retarded. Anyone who commented that this was a good list needs to reconsider what makes up a great guitar player. Creativity, technicality and musicality all come in to play when your talking about the highest quality players. Truth be told…SRV and David Gilmour are probably the only players on this list that deserve to be there.
You have to be kidding with this list right? Here are some of the best guitarists in my opinion. Andreas Segovia Truly the first guitar hero. Took the guitar from a peasant instrument to being respected and popular. Django Reinhardt Two fingers and still played more beautifull than just about everybody else.
Jimi Hendrix Even a non-hendrix fan like me cannot deny his influence on rock and how much it spreads throughout many genres. Talk about caving to political correctnes!!!. Not a single thought of your own in your head,huh? God, what a pathetic list. Rest In Peace? This list kind of blows. There are no greatest guitarists. And I hate how people think guitar is sickly limited to rock guys who in the whole scheme of things are pretty amateur. How about Eric clapton?
Heck if Charlie Christian or django rhinehardt had never started playing solos guitar would still be a strict rhythm instrument playing crotchets to emphasise the beat. He had 2 fingers and did more for the guitar than anyone on this list?
Especially Tom Morello? Listen to any of those guys and it will completely redefine your thoughts on the guitar. It can so easily be intelligent and soulful simultaneously…. Synyster Gates should also be on this list cause he brings such thoughtful lead progressions to modern metal.
The only way any modern guitar player would ever be on a greatest guitarist list is if they somehow completely change everything which is extremely unlikely. Where the necks Eddie van halen? And chuck berry? Their musical sense and ability to compose and play the full thing without making any noise or unnecessary tones is unprecedented.
Well I had a hard time making the list because there are a lot out there and there is a tendency that the most known ones are getting rated as the top ones. We should not be proud and force some false truth from pride. We should honor every person including guitarists and thereby honour the creation of god. What I am saying that we should look at the first three or four on each persons list and discard the rest. Of course we always forget some fabulous guitarists and often some that deserve number two even number one on the list.
Thats what statistics is good for. HOwever that said statistics is often a pillow for people. Faith and loyalty to true values is what brings success and fucks statistics.
THings untoched statistics works but its the respect of god that changes things. Finally someone who gets Brian May. Instantly recognizable,no one sounds like him;He can play any genre and beautifully.
When it was just Brian playing with Freddie singing I had to remember to breathe. Perhaps you have deemed putting more video clips for your blog articles and keep readers extra entertained?
Just my my idea, Good luck. Hendrix is the most overrated guitarist of all time. Those of you asking why John Mayer is on the list, are you out of your mind!!?? I mean seriously!!! Yngwe Malmnsten 2. Joe Satriani 3. Eric Johnson 4. John Petrucci Dream Theater 5. Steve Vai 6. Nuno Betengcourt Extreme 7. Paul Gilbert Mr. Big 8. Jimmy Hendrix 9. Kirk Hammet Mettallica Slash GnR.
And who the hell is John Mayer?? Frank Zappa is the greatest. Those albums completely eclipse everything else that has ever been recorded. What about Trey Anatasio? I cannot stand the hippie commune nonsense that follows Phish but that guy is amazing. That man can play anything; literally anything. He has been playing stuff like Peaches En Regalia to perfection live for literally decades. Go out to Grooveshark and find this song and list to it. He is playing sax and xylophone solos to perfection on the guitar.
And that is just one example. There are literally hundreds of examples that you can find if you willing to look. There is no better example of building tension in a solo then that right there. Lastly — inspiring many that they could earn a living playing in a rock and roll band no mention shame on you of — Scotty Moore. Hardly any mention of female players, why is that? Yet no Nile Rogers? And Keith Richards should be up there but why not Ronnie Woods?
Such a narrow list limited by populism not necessarily ability, tone or compositon. Not really much of list was it? Glad John Frusciante got some love on this list.
Interesting list — but the absence of Chet Atkins and Lenie Breau is simply criminal. Those two were incomparably greater than most of the folks on this list — no argument possible. Except for Paco De Lucia. Jimi Hendrix 2. SRV 3. Eric Clapton 4. Jeff Beck 5. Pete Townshend 6. Angus Young 7. Eddie Van Halen 8. Jimmy Page 9. David Gilmour Buddy Guy. This is one of the most disappointing list of all time i can say. None of the guitarist i expect were included in the list.
Steve Vai 9. Al di Meola, 8. Frank Gambale, 7. Eric Johnson 6. Paul Gilbert 5. John Petrucci 4. Andreas Oberg 3. Yngwie Malmsteen 2. Chris Impelliteri. Michael Angelo Batio. But most of the guys you mentioned are not even close to these guys. More over, the top ten list. Compared to these guys on my list, Santana People Make The World Go Round - Stevie Wonder - Live At Last: A Wonder Summers Night (DVD) look like a cannon fodder.
They basically have everything under their belt. Tommy Emmanual? Shawn Lane? Al Di Meola to name a few. This list is insanely bad! First of all, John Mayer is only as good as your typical high school amateur. Never limit yourself to the mainstream! There are many guitar players that are mentioned only because they are famous and have influence because of that. They may come up with a catchy riff or played in a well known band.
I recognize that these lists are really the preference of the writer and that in itself makes the list valid. However……Robert Johnson at 1? That title goes to Son House, who taught Robert Johnson. The fact is that you could have had a Clapton without a Robert Johnson. There is little doubt in the word that Clapton and Hendrix are 1 and 2 and those spots are interchangeable between the two of them.
These guys took the playing of some of the old timers — Johnson included — to another level. Alvin Lee may not have known the difference between the phrygian mode and refrigerator mold but he could play circles around most of these guys. So while some folks may be technically better than, say, David Gilmour who would you rather hear?
I think this is a pretty good list. Robert Johnson deserves 1. My favorite guitarists are all underrated like Neal Schon and Alex Lifeson. But no Frank Zappa. I have seen Steve Howe 7 times. I would have to say. The Reason? He can play any type of music that you can put in front of him. He is amazing!!! Kudos to Keaton who mentioned this.
Wow, just wow. So many guitarists nominated, but so many great guitar guitarists not even mentioned. John M is one I would certainly consider for a place in my own top ten guitarists. Speaking of Cambridge in the late sixties, of course Dave Gilmour was another who came out of that scene, but he and Nick were far from alone. For example, there was and is Fred Frith. You deserve it to yourself to check him out before you dismiss him.
Then there is Allan Holdsworth — not just a superb technician but a master of long melodic lines. His name usually comes up in these debates. John Etheridge is pretty good, too. Or that master of comping, Freddie Green? To Charlie Christian? MarleyIII gets special credit as the only one naming the marvellous Jim Hall, who really should be up there in one of those ten spots.
Or Dennis Coffey? How can you guys have neglected Barney Kessel, truly a top ten contender? Astonishing technique — enough to make the shredders weep with envy, coupled with an exquisite feel for melodic line. Martin is one of the few guys or gals whose playing brings tears to my eyes regularly. When one of his albums gets into my CD player it stays there for weeks.
I just noticed that no-one has mentioned Robben Ford — another master of both technique and taste and a certain contender for my top ten list, fighting for a place in the same space as Larry Carlton and John Scofield. Just saying… Oh, and for the record, never used to be a John Mayer fan, but then I saw him and man, he is amazing… Also, more Matt Bellamy! Tom Morello?
John Frusciante? Paul Gilbert is better than any other guitarist on this planet hands down I can promise u that. Covering from every genre and musical style, Paul is the best! Vlatko Stefanovski. Top 5 ever. Eric Clapton 3. Jimmy Page 4. Saul Hudson Slash 5. Van Halen. Dimebag darrel. Dave Mustain 3. Jimmy Page not so good 1. The great battle Eric clapton vs Kirk Hammet So: Eric is simple not so powerfull he is from the old music from : rock n roll and rock….
Kirk is powerfull he have so good solos : seek and destroy solo master of puppets solo and other but Kirk Hammet is member from Metallica ,Metallica are trash metal and its not so easy to find out who is better metal or rock guitaris. Top TEN lists are not serious. We know who is the besteven though for various reasons a loy of people dont even know him. Rory Gallagher is the best, by far. Ranking starts after Rory Gallagher. As for the Quote……. He actually wrote alot of Chet Atkins material.
As for misquoting Hendrix you may not want to be so quick to point fingers…. Where the hell is dimebag darrell? I think duane allman should be on here. SRV Hendrix. B Duane Allman. Jimmy Page. Are YOU joking? Clapton, Hendrix, King…. Jimmy Page? Broaden your horizons my friend. What about Esteban? Glenn Campbell is an outstanding guitar player. Lee Roy Parnell is second only to Duane Allman as far as that style of slide playing. It would suck if everyone played the same.
Variety is the key…learn to truly love the art of music. Just like blonds, brunettes and redheads they are all wonderful! If you even try to list the top ten of anything, you are only shortchanging yourself. Any list without Gallagher is not valid.
But well i hate lists about whos the better musician. These i some i like, then you sort out the list, if its a big deal to you. Jimi: I dunno, ask Rory Gallagher. Robert johnson as 1, really?? I remember a long time ago a man asked Jimmy hendrix how it is to be the best guitarplayer in the world: aske Gary Moore said Hendrix.
Moore is a phenomenal, world class guitarist. Good list — not so sure about Page being number 7…should be more in the range, in my opinion. For my humble tastes the breakdown is below. Most emotional and spine tingling — David Gilmour my favorite guitaristnobody touches his solos. Also John McClaughlin. Clapton… old slow hand… of course. Bachman-Turner Overdrive. My list goes like this: 1. Jimmy Page 3. Kirk Hammet 4. Stevie Vaughn Ray 5. James Hetfield.
Chet was THE best guitarist to ever reach popular standings. Which gets me thinking, this list would be a lot different if it included people that were in the background, but were easily better than anyone popular.
For me chet would still make top even on that list though. This is just not a top 10 list, its a random list of guitarists that someone thought People Make The World Go Round - Stevie Wonder - Live At Last: A Wonder Summers Night (DVD) be controversial. If your list has no Rory Gallagher, well then on behalf of the music world. Five guys that have to be on every top ten list. Chuck Berry 3. Duane Allman 4. Eric Clapton 5. Stevie Ray Vaughan.
Hendrix 2. Buchanan 3. Beck 4. Allman 5. Guy 6. Clapton 7. Page 8. Winter 9. King Jimi Hendrix is the only guitarist that should be included. Agreed with the absence of Trower and Alvin Lee, and many others. John Mayer on this list is a joke! I agree with what you say about King but when Clapton and Beck cite him as influences its hard to keep him off. No way can this list be accurate simply for the fact that there are so many styles out there with such important players, having a list of greatest guitar players with BB King and Tom Morello on it is ridiculous.
There should probably be separate lists for separate genres. Now, out the icons, the best rock guitar player of world is a young Pedro Castilho. Very emotional, the guitar is your trird hand.
What is the musical schooling of whoever made up this top 10 list. What is a guitar player top 10 without Django Reinhardt? Also, more than one if not most of the players mentioned in this top 10 will be played their socks of by Jimmy Rosenberg. Finally, about the other top 10s, objectively, anyone presenting a list list with Jimy Hendrix lower than place 3 has to be more influenced by his music than his superb technique. That's the worst list I've seen. Jack White is on that list?
That's a complete joke. I could play Jack White under a table. The guy can barely hit a note let alone stay on pitch.
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