I've had many discussions about this with several guitarists. They often advocate that it's not musically valuable if they do not put their own voice to the solo, that the audience would rather listen to the original recording if the live band is playing the solo exactly as it is. I often advocate that if I can sing a solo, it's iconic enough to be played note by note, and I would expect to sing along while listening to a band. We often agree to disagree.
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What is an iconic guitar solo that should be played note for note?
- Thread starter 51PRI
- Start date
If you can own it a little, more power to you. But just like Jazz, you gotta be able to play "in" before you can play "out"
Not sure about the solo, but my band's mashup of Another Brick In The Wall and Not Fade Away demonstrates nothing on this earth is sacred.
At least it upsets Pink Floyd and Buddy Holly fans equally.
;-)
And here is how to play it note by note without Allan:
(go to 3:00 for the solo...)
I've learned two things from reading this thread.
1) There are very few truly iconic guitar solos.
2) This is nothing to do with "Band Management".
1) There are very few truly iconic guitar solos.
2) This is nothing to do with "Band Management".
That depends on the solo and the idiot trying to learn it.
There are some solos that very few idiots can learn note for note. A few Al DiMeola songs come to mind…
It's quite amusing to see guitar solos posted in this thread that the very large majority of people will have never listened to or even heard of. It can't be iconic if most people are unaware that it even exists.
Neither can it be iconic if it is almost instantly completely forgettable. Just saying.
Neither can it be iconic if it is almost instantly completely forgettable. Just saying.
I agree. I personally am very impressed by a guitarist in a cover band that can play solos note for note in song after song. I view that as a sign of extreme talent, very hard work, or a combination of both.
If I hear a guitarist say it's not musically valuable to play a solo accurately, my first thought is that they can't do it or don't want to put in the time it takes so they can do it.
I'm not speaking from a position of superiority here; I can't play all bass lines note for note even if I do put in a lot of work, but I always attempt to get it as accurate as possible, and continue to fine-tune as long as the song is in our set list.
General response: Bringing some elements that are fresh and in the moment to every performance is an essential aspect of American Popular Music. If a musician wants to play challenging music by recitation, I would suggest looking at playing Classical Music. There are multiple lifetimes of challenges in that part of the art.
My comment above regarding performance of Popular Music does NOT mean that the musician should not learn the original material NFN. To the contrary, the well prepared musician needs to thoroughly study and digest the original material. In the bass world, Brown Eyed Girl and Mustang Sally stand as excellent examples of overplayed material, which many players never deign to actually learn the the original part; instead choosing to denigrate the piece, and then perform it poorly when called upon.
Instead, even overplayed material should always be fresh drawing from the original part and other sources to create appropriate presentation for the particular performance. One of the great strengths of popular material is that nothing is overplayed, because something should always be new, while retaining sufficient and appropriate elements of the original reference. Oil + water. The art is in resolving the immiscibility.
For guitar work, refer to Jimmy Page's live performances of "iconic" pieces. Or Muddy Waters. Etc.
It's "easy" to recite most Pop material. The hard part is giving due respect while making something fresh.
Of course, if you are touring with the Eagles, then your job might be to recite precisely what they want. I hope I never have a gig like that.
My $0.019. YMMV
Dunno if this has been mentioned, but Clayton's solo on The Mayall version of Hideaway. IMO it's truly iconic. Even I learned it BITD.
These two from Al Anderson.
1966 (I think he was still in high school)
14 years later
1966 (I think he was still in high school)
14 years later
One that wouldn't typically come up in a discussion here, but I think is one of the most beautiful and perfect solos ever: Natalie Merchant "Carnival"
Generally, we're talking melodic solos here, not blues riffing. If you find yourself singing the guitar solo after you've heard a song, then it's integral to the song for the audience. Two beauties:
This depends much more on the type of band you're trying to be. If you're recreating the Songs 1:1 than a guitar solo is obviously a part of it. If the others are not learning the parts note for not, then the guitarist shouldn't be expected to play the solo note for note either in my opinion.
The Cars, "Just What I Needed." A short but cool solo
Easton is the master of the in and out solo
