Guitar Solo Quotes

Mia's smile is melting chocolate. It's a kick-ass guitar solo. It's everything good in this world.

Look at what you've done, you're losing me is what you've won. Got me planning to go solo

When "Here Comes the Sun" started, what happened? No, the sun didn't come out, but Mom opened up like the sun breaking through the clouds. You know how in the first few notes of that song, there's something about George's guitar that's just so hopeful? It was like when Mom sang, she was full of hope, too. She even got the irregular clapping right during the guitar solo. When the song was over, she paused. "Oh Bee," she said. "This song reminds me of you." She had tears in her eyes.

I have them a few minutes to absorb everything while I teased Ubie, who only had to recover from his near-death experience. I was so glad Reyes hadn't ripped him to shreds. I liked him much better un-shredded. Unlike, say, my preference for lettuce or heavy metal guitar solos.

There was one solo; but it was a guy. It was this character called 'Freddy Fast Talk' and it was the bad guy. I didn't care, I was like I will dress up like a guy, I want to sing that song. And so I remembered we drew on eyebrows, and I had like a moustache,and we put all my hair up in this hat. So I dressed like a guy and sang the solo.

We sat side by side on the swings. The creaking sound they made seemed sexier to me than a Jimi Hendrix guitar solo.

I’m sure if Shakespear were alive today, he’d be doing classic guitar solos on YouTube" -Peter Capaldi.

I was petrified of making a mistake—head-banging to the wrong song or not hard enough, or thinking a guitar solo was over when it wasn't. A rule of thumb is that if the guitar solo is by Led Zep or Lynyrd Skynyrd then it's not over. Ever.

Epic is a word we often hear overused these days. Epic is Echoes or the guitar solo in Comfortably Numb. THAT is "Epic.

there are only so many times you can listen to the guitar solo in Pink Floyd’s “Comfortably Numb” without going a little numb yourself,

Graham: Rod told me I needed to cut out half of my solos. Said they were interesting for people that loved technical guitar work but boring for everyone else. I said, "Why would I play to people who don't care about good guitar?" He said, "If you want to be huge, you gotta be for everybody.

Drew is the opening song on my favorite album. He’s the song that everyone loves, the song that draws me in and makes me want to listen to the whole album without stopping. He’s the catchy song with the great hook, fancy guitar solo, and soaring vocals. But Shane … Shane’s the hidden track. He’s the song I don’t listen to until I’ve devoured the whole album. He’s that quiet song with the unbelievable melody. The song that makes me understand myself a bit better. Once I discover a truly special hidden track, I never get sick of it.

In a cacophony of shouting and kicking and pelvic-thrusting and flashing lights, the song blasts into the guitar solo, and there’s not a single person in the bar in their seat, not when a Prince of England is knee-sliding across the stage, playing passionate and somewhat erotic air guitar.

(This is from a tribute poem to Ronnie James Dio: Former lead vocalist of the band Rainbow, Black Sabbath. This is written with all the titles of the hit songs of DIO. The titles are all in upper case) You can “CATCH THE RAINBOW” – “A RAINBOW IN THE DARK” Through “ROCK & ROLL CHILDREN” “HOLY DIVER” will lurk “BEFORE THE FALL” of “ELECTRA” “ALL THE FOOLS SAILED AWAY” “JESUS,MARY AND THE HOLY GHOST”- “LORD OF THE LAST DAY” “MASTER OF THE MOON” you are When my “ONE FOOT IN THE GRAVE” With our “BLACK”, “COLD FEET”, “MYSTERY” of “PAIN” you crave You’re “CAUGHT IN THE MIDDLE”, “BETWEEN TWO HEARTS” When “HUNGRY FOR HEAVEN” “HUNTER OF THE HEART” hurts “FALLEN ANGELS” “FEED MY HEART” “FEVER DREAMS” “FEED MY HEAD” “I AM” “ANOTHER LIE” “AFTER ALL (THE DEAD)” Not “GUILTY” if you “HIDE IN THE RAINBOW’’ With your perfect “GUITAR SOLO” “DON’T TELL THE KIDS” to “DREAM EVIL” Don’t “GIVE HER THE GUN” to follow “DON’T TALK TO STRANGERS” Those “EVIL EYES” can see “LORD OF THE NIGHT” “MISTREATED”; “MY EYES” hate to fancy “SHAME ON THE NIGHT” “TURN UP THE NIGHT” Now it’s “TIME TO BURN” “TWISTED” “VOODOO” does “WALK ON WATER” And today its our turn “BLOOD FROM A STONE” “BORN ON THE SUN” I’m “BETTER IN THE DARK” “BREATHLESS” The “PRISONER OF PARADISE” you are! Forever you are deathless “SACRED HEART” “SHIVERS” Laying “NAKED IN THE RAIN” “THIS IS YOUR LIFE”- “ WILD ONE”! Your “GOLDEN RULES” we gain “IN DREAMS” “I SPEED AT NIGHT” I’m “LOSING MY INSANITY” “ANOTHER LIE”: “COMPUTER GOD” Your “HEAVEN AND HELL”- my vanity! By “KILLING THE DRAGON” “I COULD HAVE BEEN A DREAMER” I’m “THE LAST IN LINE” To “SCREAM” Like an “INVISIBLE” screamer Now that you are gone “THE END OF THE WORLD” is here “STRAIGHT THROUGH THE HEART” “PUSH” “JUST ANOTHER DAY” in fear “CHILDREN OF THE SEA” “ DYING IN AMERICA” Is it “DEATH BY LOVE”? “FACES IN THE WINDOW” looking for A “GYPSY” from above Dear “STARGAZER” from “STRANGE HIGHWAYS” Our love “HERE’S TO YOU” “WE ROCK” “ONE MORE FOR THE ROAD” The “OTHER WORLD” anew “ONE NIGHT IN THE CITY” with “NEON KNIGHTS” “THE EYES” “STAY OUT OF MY MIND” The “STARSTRUCK” “SUNSET SUPERMAN” Is what we long to find “THE MAN WHO WOULD BE KING” Is the “INSTITUTIONAL MAN” “SHOOT SHOOT” to “TURN TO STONE” “WHEN A WOMAN CRIES” to plan To “STAND UP AND SHOUT” before “ THE KING OF ROCK AND ROLL” Though “GOD HATES HEAVY METAL” “EAT YOUR HEART OUT” to reach the goal. From the poem- Holy Dio: the Diver (A tribute to Ronnie James Dio)

She sat on the end of the dock, shoes and socks off, feet trailing in the water, to wrestle with the knot. When she was on coke—yeah, she had done that, too—she could’ve struggled with the knot for a happy hour, enjoying it as much as sex. She would’ve played that knot like Slash hammering out a guitar solo. But after five minutes she quit. No point. There would be a knife in the tackle box. You had to know when it made sense to try to untangle something and when to just cut the motherfucker loose.

Harrison’s visit to Dylan’s Woodstock sessions and his invitation to Eric Clapton to solo on “While My Guitar Gently Weeps” convinced him that an outsider could revive stalled sessions. Dylan and the Band treated Harrison as an equal, while in his own band, Lennon and McCartney persistently patronized his material, even as it began to peak. (Lennon, in fact, sat out most of Harrison’s Beatle recordings from here on out.) Taking in an ally could only ease Harrison’s reentry into the contentious Beatle orbit. Along with lobbying for Ringo Starr to replace Pete Best, bringing Preston into the Get Back project stands as a defining move for Harrison: he single-handedly rescued Let It Be, and pushed his material throughout 1969, until Abbey Road featured his best work yet.

I'd solo on my guitar; then sing; then solo; then sing some more. one stopped when the other started. That way I felt a continuity, not a conflict, like a wheel that keeps turning. Both sounds - guitar and voice - were coming out of me, but they issued from different parts of my soul.

Instead, he picked up his bass guitar, and, in what seemed like an odd coincidence, he began to play a solo version of “One of These Days” while staring up at the stars projected on the dome over our heads. Then I noticed a practice set list taped to the floor in front of him, and saw that several of the songs listed there were tracks I knew from my father’s old mixtapes.

You okay, Bobert?” He says pretty much what I expect: “I don’t know how I’m going to pair Ramón. He’ll drown Lisa.” Robert’s pianist, a man named Luther, is pretty wonderful. “Can Luther carry the solos?” “On piano?” I shrug. “Just spitballing here.” He appears to consider it, and then shakes his head. “The songs don’t lend themselves to keys. The strings have a richness, a vibrancy that the piano can’t mimic. It needs to stir something inside you. Luther is amazing, but we need a musician who demands your attention. Who makes you feel.” The idea seems to heat my blood, and I straighten. “Wait. Wait.” Robert looks up, confused. I hold up my hand. “An idea is forming in my brain.” His expression clears in understanding. “No, Buttercup.” “He’s exactly what you’re describing,” I insist. “You’ve never heard him, but trust me—he is.” “He plays guitar. Honey, I know you’re enamored, but—” “It’s not that, I swear. And he’s not just some busker hanging out on the street. He’s gifted, Robert. Listening to him play is like watching Luis onstage. I feel the notes. I know I’m not . . .” I search for words, flushing. Trying to tell Robert how to do his job is dangerous; he may be my uncle, but he’s been a brilliant musician for much longer. “I’m not a trained musician like you are,” I say carefully, “but I feel like classical guitar might work here. It’s gentle, and soft, yes, but has the passion and—the vibrancy you mention? It has that. If we’re changing the sound entirely by bringing in Ramón, why not change it this way, too? Have a guitar sing with Ramón, instead of a violin?” Robert stares at me, speechless. “Just come with me once.” I grow dizzy from the awareness that I might be convincing him. “Once. That’s all it will take. I know it.

What was captured on tape sounded apocalyptic. 'Eruption' (first titled 'Guitar Solo,' according to the song’s track sheet), takes flight after a quick drum fill and a power chord. Edward sends notes and harmonics soaring before diving down with some gravity-defying tremolo bar bends. Alex and Michael then fire off a flak burst of three chords. Edward maneuvers again, twisting and turning, strafing and bombing before turning on the jets and heading skyward with a flurry of notes. He recedes again, leaving only a descending low note in his wake. After another pause, he attacks again, faster than ever. He weaves and twists and then unleashes his secret weapon: his two-handed tapping technique that would astound and confound guitarists across the world. Finally, an atomic blast, courtesy of Edward’s Univox echo chamber, concludes this minute and forty-three seconds of open warfare on the guitar world.

When his solo came at the end of the song, he poured his heart into it, directing all of his energy into the guitar in his hands and projecting it out toward her. As his fingers moved over the strings, he imagined them moving over her skin. Caressing her body, intimately exploring the sensitive flesh of her inner folds. In his mind, he could see it all so clearly, the images from that night flooding his brain as he played. Touching her. Kissing her. He was momentarily transported back to that night and he lost himself in it.

Of course, the first song is “Come Together.” It starts with that great weird “shoomp” and the bass part. And when John started singing “Here come old flattop…,” what happened, but Mom knew every single word of the song! Not just every word, but every cadence. She knew every “all right!” and “aww!” and “yeaaaah.” And it kept going, song after song. When “Maxwell’s Silver Hammer” started, Mom said, “Yuck, I always thought this was totally sophomoric.” Still, what did she do? She sang every single word of that, too. I hit the pause button. “How do you even know this?” I demanded. “Abbey Road?” Mom shrugged. “I don’t know, you just know it.” She unpaused the CD. When “Here Comes the Sun” started, what happened? No, the sun didn’t come out, but Mom opened up like the sun breaking through the clouds. You know how in the first few notes of that song, there’s something about George’s guitar that’s just so hopeful? It was like when Mom sang, she was full of hope, too. She even got the irregular clapping right during the guitar solo. When the song was over, she paused it. “Oh, Bee,” she said. “This song reminds me of you.” She had tears in her eyes. “Mom!” This is why I didn’t want her to come to the first-grade elephant dance. Because the most random things get her way too full of love.

The four solo careers unveiled previously hidden internal politics as each man packed and moved out from the cozy Beatle mansion. Lennon seemed closest to Ringo, and then George; neither Harrison nor Lennon ever appeared on a McCartney solo album or vice-versa, whereas Ringo played for all three. Of course, Lennon’s solo “career” had begun as early as 1968 with numbers like “What’s the New Mary Jane” and “Revolution 9” during the White Album sessions, and then his avant-garde projects with Ono. Casual jams reflected these affinities as well: John and Yoko appeared onstage with George Harrison, Eric Clapton, and the Bonnie and Delaney band in London in December of 1969. Harrison was slumming with the band after sitting in for a night and having rather too much fun; he appeared onstage anonymously until it got reported in the music press. Mostly they got away with two weeks of touring, with Clapton and Harrison sharing lead guitars almost before most audiences figured this out.

Guitar Town was out, and it was doing okay," [Steve] Earle recalled. "But the label didn't want it to happen. Jimmy [Bowen] certainly didn't. He didn't like the record. He didn't like me. But it was out there and got really good reviews, though mostly from the rock side of things. . . . "'Guitar Town' was doing okay as the second single," Earle said. "Then around the same time, Bruce Springsteen walked into Tower Records in L.A. and bought a couple of things. He got Willy DeVille's first solo record, and he bought Guitar Town. A kid who worked there at Tower reported it, and it ended up in a column in Billboard. I sold fifty thousand records the next week and got booked all over the place. So that was it: I had a career largely because Bruce bought my record and it got into print.

Paul’s bass line and a wiry guitar solo from Denny finished Wings’ contributions to the track. Also polished off that day was ‘Let Me Roll It,’ which had in common with ‘Piano Thing’ a repeating instrumental riff—in this case, a bluesy, slightly distorted guitar figure—as its spine. Something like the figure that runs through Lennon’s ‘Cold Turkey,’ the ‘Let Me Roll It’ riff called for a distinctive atmosphere, which Paul and Emerick created by putting the guitar through a PA system rather than a guitar amp, giving it a bright, high-power sound.

since the accident. I don’t know what her problem was. After all, I was a “hero.” At least the newspaper said so. “Hey, Alex,” she said, twirling her ponytail with her pencil. “Oh, hi,” I stammered, looking down at my burger. “You guys sounded really great in the talent show. I didn’t know you could sing like that.” “Uhh, thanks. It must be all the practice I get with my karaoke machine.” Oh God, did I just tell her I sing karaoke? Definitely not playing it cool, I thought to myself. TJ butted in, “Yeah, Small Fry was ok, but I really carried the show with my awesome guitar solo.” He smiled proudly. “Shut up, TJ,” I said, tossing a fry at him, which hit him between the eyes. “Hey, watch it, Baker. Just because you’re a ‘hero’ doesn’t mean I won’t pummel you.” “Yeah, right,” I said, smiling. Emily laughed. “Maybe we could come over during Christmas break and check out your karaoke machine. Right, Danielle?” Danielle rolled her eyes and sighed. “Yeah, whatever.” I gulped. “Uhhh…yeah…that sounds great.” “Ok, give me your hand,” she said. “My hand,” I asked, surprised. “Yep,” she said, grabbing my wrist and opening my palm. “Here’s my number,” she said, writing the numbers 585-2281 in gold glitter pen on my palm.” I will never wash my hand again, I thought to myself. “Text me over break, ok?” she said, smiling brightly. “Yeah, sure,” I nodded, as she walked away giggling with Danielle. “Merry Christmas to me!” I whispered to TJ and Simon. “Yeah, there’s just one problem, Dufus,” TJ said. “Oh yeah, what’s that, TJ? That she didn’t give you her number?” I asked. “No, Dork. How are you going to text her if you don’t have a cell phone?” He smiled. “Oh, right,” I said, slumping down in my seat. “That could be a problem.” “You could just call her on your home phone,” Simon suggested, wiping his nose with a napkin. “Yeah, sure,” TJ chuckled. “Hi Emily, this is Alex Baker calling from the year 1984.” He held his pencil to his ear like a phone.  “Would you like to come over to play Atari? Then maybe we can solve my Rubik’s Cube while we break dance ….and listen to New Kids on the Block.” He was cracking himself up and turning bright red. “Maybe I’ll type you a love letter on my typewriter. It’s so much cooler than texting.” “Shut up, TJ,” I said, smiling. “I’m starting to remember why I didn’t like you much at the beginning of the year.” “Lighten up, Baker. I’m just bustin’ your chops. Christmas is coming. Maybe Santa will feel sorry for your dorky butt and bring you a cell phone.” Chapter 2 ePhone Denied When I got home from school that day, it was the perfect time to launch my cell phone campaign. Mom was in full Christmas mode. The house smelled like gingerbread. She had put up the tree and there were boxes of ornaments and decorations on the floor. I stepped over a wreath and walked into the kitchen. She was baking sugar cookies and dancing around the kitchen to Jingle Bell Rock with my little brother Dylan. My mom twirled Dylan around and smiled. She was wearing the Grinch apron that we had given her last Christmas. Dylan was wearing a Santa hat, a fake beard, and of course- his Batman cape. Batman Claus. “Hey Honey. How was school?” she asked, giving Dylan one more spin. “It was pretty good. We won second place in the talent show.” I held up the candy cane shaped award that Ms. Riley had given us. “Great job! You and TJ deserved it. You practiced hard and it payed off.” “Yeah, I guess so,” I said, grabbing a snicker-doodle off the counter. “And now it’s Christmas break! I bet your excited.” She took a tray of cookies out of the oven and placed

Her eyes were closed to the sunlight flickering past the window, her ears plugged with tiny white buds, slender fingers tapping a steady moderato beat at odds with the easy sway in her shoulders. I couldn't hear the music, but as I watched, her body coiled around a deep breath, and the rhythm accelerated through the flat of her hand, and then her hips rocked to four powerful chords, and her head dropped loose on her shoulders, and she squeezed her knees together and drew in her feet, her calf muscles tautening and her ankle bones turning and then tendons in the back of her hand thumping time and the cords of her neck pulling the skin tight over her collarbones as her body snaked through what I heard in my head as Hugh Burns's guitar solo in "Baker Street" clear as day. And though confined to her seat, she danced unselfconsciously and without restraint, and every small movement in every small part of her—the life in her—was the most beautiful thing I thought I'd ever seen. I wanted to cup her gently in my hands and carry her home and keep her forever but, mindful of the probability that she might have other ideas, instead I closed my eyes and turned up the music in my head and, in spirit if not quite in body, danced with her instead.

and echoes to my singing. More sounds went on—an arc-like melody created using an echo machine, and then a guitar solo at the end that was made by selecting fragments from a number of improvised solos. Finally, I sang the song after jogging in the studio, because for some reason I wanted to sound out of breath. Of course, I was singing the same words and melody as I had been on the earlier, straighter, version of the song, but now to a vastly altered musical track—a fact that also affected how I sang. The song, as it was released,

If "Fighting" produced one very positive thing in the studio, it introduced that unique twin guitar sound that would be part and parcel of Thin Lizzy. It emerged from nowhere towards the end of the recording, up until that point Gorham and Robertson would simply share solos between them: "It was a complete accident," Gorham said later. "Brian Robertson was playing a single note line. Somebody flipped the delay button on. It was something like a quarter-second delay, and the note followed him accidentally in harmony. Everybody was amazed at the effect. We decided to try it for real and put it on whatever decent lines it made sense with.

That evening was marked by yet another magic moment in Ozzy lore as local Chicago photographer, Paul Natkin, captured the iconic onstage image of Ozzy lifting Randy by his arm during a guitar solo. The photo later graced the cover of the Randy Rhoads Tribute album.

Numerous other researchers have also been fascinated by how we form connections. As Sievers began reading science journals, he learned that in 2012, scholars at the Max Planck Institute for Human Development in Germany had studied the brains of guitarists playing Scheidler’s Sonata in D Major. When the musicians played their guitars separately, with each person focused on their own musical score, their neural activity looked dissimilar. But when they segued into a duet, the electrical pulses within their craniums began to synchronize. To the researchers, it appeared as if the guitarists’ minds had merged. What’s more, that linkage often flowed through their bodies: They frequently began breathing at similar rates, their eyes dilated in tandem, their hearts began to beat in similar patterns. Frequently even the electrical impulses along their skin would synchronize. Then, when they stopped playing together—as their scores diverged or they veered into solos—the “between-brain synchronization disappeared completely,” the scientists wrote.

Normally, an album with Crazy Horse would have meant a tour with them, but much to the surprise of Jeff Blackburn and his band members (former Moby Grape bassist Bob Mosley and drummer Johnny Craviotto), Young began rehearsing with them instead. In early July, the newly renamed Ducks, after a duck’s landing they saw in town, played its first shows—in local bars in Santa Cruz. In what the Santa Cruz Sentinel called “the worst-kept secret in town,” the Ducks would drive to a club and ask the opening act for their slot (“They were fine—they knew they couldn’t draw what we could,” says Mosley). Charging only a few dollars for admission, they would tear through sets of songs by Young and by Blackburn. Young debuted new material like “Sail Away” and “Comes a Time” in more electrified versions than were later heard on record. “It was unfathomable,” recalls Mosley. “Some of the guitar solos took me into outer space. It was incredible shit.” Starting in mid-July and ending around Labor Day, the Ducks would play more than twenty

The upshot was that the album consisted entirely of Roger’s writing. David’s input was minimised – apart from his guitar solos, which even Roger was not foolhardy enough to try and influence – and most significantly Roger decided to take on the bulk of the vocal duties himself, leaving David to sing one song, ‘Not Now John’. In the past, the inflection of David’s vocals had inevitably made some subtle changes to the melodic structure of Roger’s songs. So this change, and the loss of Rick’s trademark keyboard sound, meant the disappearance of key elements from what had become an established ‘Pink Floyd sound’.

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Unfortunately, the grunge scene took over and once that happened I thought for me there was no future in pursuing a musical career. You know I’m a solo type of guitar player and there were no guitar solos anymore and once Nirvana hit there were no more guitar solos and I was like, ‘oh, it’s over.’ Once that “Smells Like Teen Spirit” thing hit there were no more guitar solos.

Se payer la tête du pôle monétaire il est encore temps de tout prendre en dérision les hommes et les gouttes de pluie les femmes et les flocons de neige il est sain de rire des étoiles du marché des plans à trois des astres du Top 50 des solos de guitare de la lune des plans d'épargne de l'arc-en-ciel on peut même prendre en ballon le globe les ambitions du soleil et les sourires niais de l'univers tant qu'on y est mais il ne faut jamais se moquer des nuages des nuages qui nous habitent

As culture war, the backlash was born to lose. Its goal is not to win cultural battles but to take offense, conspicuously, vocally, even flamboyantly. Indignation is the great aesthetic principle of backlash culture; voicing the fury of the imposed-upon is to the backlash what the guitar solo is to heavy metal. Indignation is the privileged emotion, the magic moment that brings a consciousness of rightness and a determination to persist. Conservatives often speak of their first bout of indignation as a sort of conversion experience, a quasi-religious revelation.

You didn’t have to have choruses, you didn’t have to have lead guitar solos, you didn’t have to have anything,” said Watt. The lyrics were basically rants by both Watt and Boon that they dubbed “spiels.” “We just say what we say,

since the accident. I don’t know what her problem was. After all, I was a “hero.” At least the newspaper said so. “Hey, Alex,” she said, twirling her ponytail with her pencil. “Oh, hi,” I stammered, looking down at my burger. “You guys sounded really great in the talent show. I didn’t know you could sing like that.” “Uhh, thanks. It must be all the practice I get with my karaoke machine.” Oh God, did I just tell her I sing karaoke? Definitely not playing it cool, I thought to myself. TJ butted in, “Yeah, Small Fry was ok, but I really carried the show with my awesome guitar solo.” He smiled proudly. “Shut up, TJ,” I said, tossing a fry at him, which hit him between the eyes. “Hey, watch it, Baker. Just because you’re a ‘hero’ doesn’t mean I won’t pummel you.” “Yeah, right,” I said, smiling. Emily laughed. “Maybe we could come over during Christmas break and check out your karaoke machine. Right, Danielle?” Danielle rolled her eyes and sighed. “Yeah, whatever.” I gulped. “Uhhh…yeah…that sounds great.” “Ok, give me your hand,” she said. “My hand,” I asked, surprised. “Yep,” she said, grabbing my wrist and opening my palm. “Here’s my number,” she said, writing the numbers 585-2281 in gold glitter pen on my palm.” I will never wash my hand again, I thought to myself. “Text me over break, ok?” she said, smiling brightly.

I’ve heard people complain about my guitar when I play solo shows. “Why does he insist on playing that guitar? It sounds like it’s strung with rubber bands.” To which I say, Um . . . Shut the fuck up, get your own guitar and ring like a silver bell for all I care. I need a guitar with strings that don’t sound like a twenty-year-old who wakes up at five a.m. and has a venti iced Americano and is ready to seize the day! I need strings that sound like me, a doom-dabbling, fifty-year-old, borderline misanthrope, nap enthusiast.

There was a band jam going, a slow groove I knew he could get into, and we were trying to launch his solo. Before he started, I told him to play like his mother had died, to picture that day, what he would feel, how he would make sense of his life, how he would take a measure of everything that was inside him and let it out through his guitar. Eddie was the kind of player who rose to a challenge. If you gave him instructions or a prompt, he’d come around to it. And when he started playing, I knew immediately that he understood what I meant. I could see the guitar notes stretching out like a silver web. When we played the solo back, I knew that it was good beyond good, not only a virtuoso display of musicianship but also an almost unprecedented moment of emotion in pop music. That was the missing ingredient that arrived in time for that song; it was maybe the first time that our emotional ability as artists matched our technical ability as players.

But Ram was mostly recorded in NYC, in a top-dollar studio during nine-to-five business hours, with two sidemen he’d never met before. It was a professional approach to music designed to sound unprofessional. It worked, too, with Hugh McCracken playing that great guitar break in “Too Many People.” (My favorite McCracken solo, except maybe Steely Dan’s “Hey Nineteen.”) For Paul, country life meant stretching himself. He kept featuring

On early solo albums like Blizzard of Ozz and 1981’s Diary of a Madman, Ozzy dabbled in cartoon devil worship over the neoclassical guitar wizardry of Randy Rhoads. It was like Van Halen for guys who hated seeing girls at Van Halen concerts. Ozzy even dyed his hair that David Lee Roth shade of blond, but he otherwise kept himself ugly for street-cred purposes.

Despite all the solo vocals, each using the others as a back-up group, the White Album still sounds haunted by memories of friendship—that “dreamlike state” they could still zoom into hearing each other sing. They translated Rishikesh into their own style of English pagan pastoral—so many talking animals, so many changes in the weather. One of my favorite British songwriters, Luke Haines from the Auteurs and Black Box Recorder, once told me in an interview that his band was making “our Wicker Man album.” He was miffed I had no idea what he meant. “You can’t understand British bands without seeing The Wicker Man. Every British band makes its Wicker Man album.” So I rented the classic 1973 Hammer horror film, and had creepy dreams about rabbits for months, but he’s right, and the White Album is the Beatles’ Wicker Man album five years before The Wicker Man, a rustic retreat where nature seems dark and depraved in a primal English sing-cuckoo way. They also spruced up their acoustic guitar chops in India, learning folkie fingerpicking techniques from fellow pilgrim Donovan, giving the songs some kind of ancient mystic chill.

By the time the guitar solo erupted into being, Dakota had her eyes closed, her hips swaying like the breeze and Eddie lost inside a bubble with her. There was something about her all right, and it wasn't the cocktails telling him that, either.

Helms had probably figured out that the steel guitar was the crucial instrument for Hank; its notes were the wordless cry that completed his vocal lines. The steel guitar sustained the mood and took most of the solos

That was an enormous leap—to go from the safety onstage or in the studio of singing with a band behind you to just facing an audience with your own guitar,” Rubin says. “Once we decided that we were going to make it a solo acoustic album, I noticed a change in him when he was just singing in my living room. Before, he had been relaxed and singing in a very personal, intimate way. But suddenly he changed. He began performing the songs, and it wasn’t the same.

I hadn’t noticed before, but two of the ghostly musicians looked very familiar, and rather out of place. A big redheaded man in Western clothes sat at a steel guitar, grinning and tapping his boots as he traded solos with Miles Davis. Next to him, a pretty blond woman played the fiddle, leaning down from time to time to kiss the redheaded man on the forehead. JD Grissom and his wife, Anne, from the Dallas Museum, had finally found a party that didn’t have to end.

rockabilly, solos, which used very few notes, mainly double stops (that is two notes at once) and were primarily

running one note into another, became common; notes were bent and held for longer than before, and

approach and technique, or else you risk mixing them together and end with up a style of music called fusion,

funk guitar breaks, but the final three require a level of skill

Zachary looked down into the swirling morass that was his beer as the man walked onto the stage and started to play a solo piece, the band respectfully allowing him to start off his set by staking his claim. Zachary would give him staking his claim. He had his guitar nestling close by his side, as always, the leather of the case gently touching his calf, sending an almost erotic charge through his body every time he moved like the less than innocent brush of a future lover's hand on a bare arm.