No. This is not my long awaited op-ed about the evils and perils of TV. This is to announce (or need I say brag about my acquisition of tickets, seeing as there are only a few left) the seemingly out-of-the-blue Television show at the Georgia Theatre. Word is that they are only playing three shows in North America, and they will all consist of playing their pinnacle album, Marquee Moon in its entirety. This is a once in a lifetime show, and one that I never thought I would be able to see.
People tend to lump Television in with the Patti Smith/ Ramones/CBGB crowd. They did grow out of that scene, but geography was about the only thing they had in common with those other bands. The sound is timeless. When I first listened to their '78 debut, I thought it sounded more modern than anything new stuff I was listening to at the time. The groove was so complicated and yet so soulful. The guitars had a distinct but familiar interplay. I was smitten. It's a shame that Richard Lloyd won't be playing with the group, but Verlaine is the main component of the group. It would be a bit like seeing Hendrix at the final show in Berkeley with Billy Cox on bass. Yeah, it wasn't the Experience, but it was fuckin' Hendrix. Verlaine and Jimi are kindred souls of the musical world. It's hard to say what would have happened had Hendrix carried on into the 70's and 80's, but odds are, by 2013, he would be working the nostalgia circuit coming to an outdoor amphitheater near you.
This isn't trying to be disrespectful of Hendrix. He is and always will be the greatest and most groundbreaking guitar player to ever grace this planet. He singlehandedly changed music forever and continues to this day. But he existed in an intersection of both time and space where guitar technology, culture, drugs, his songwriting and popular music taste all aligned in a glorious three or four year harmonium. Had Hendrix lived any longer into the 1970's, the world would have combusted. Or, more likely, he would have innovated himself into obscurity. He would have gone the way of Clapton in the 80's and 90's. Maybe even the wretched path of Steve Winwood. He would have been on the forefront of synths and drum machines just because that was how his brain worked. Once technology had let him off of his leash, he would be free to delve into projects and ideas that the world wouldn't have been ready for. He moved quicker than most musical minds, there was just a brief period in the beginning where we could catch up to it. Hendrix's music, though, has the benefit of being frozen in time.
Verlaine does not have that luxury. And his time of alignment was shorter. But where Hendrix took the blues, soul, fuzzed out guitar and LSD, and morphed them into the Experience, Verlaine took punk, avant-garde, minimalistic production and literature and turned them into Television. Critics at the time were hip to the importance of their sound, but they only really rose to attracting a cult-following for a brief period. Television broke up and got back together a few times over the years, but none of the members garnered much more attention. Verlaine went on to create several albums that stumbled into the 80's, but they got bogged down in the production standards of the decade.
On some level, it's sad to see an act rehashing an old album on tour, but at this point in Television's career it's a healthy way to look back at the unrivaled piece of art that came together in 1978. Creating an album at the caliber of Marquee Moon is worth a lifetime of achievement. It was and still is something larger than the band. If you can catch one of the shows in this country, please do. It will certainly be a high point in your concert-going career.
Sunday, September 15, 2013
Thursday, August 22, 2013
Shame, Shame Jack White
The exploitation of celebrities and stars by the paparazzi and sympathizers like TMZ or the like is disturbing to me on the deepest of levels. I certainly don't buy into their formulated and manipulative opinions of people whom they choose to raise up or demonize. Mostly because I don't really care about the people that frequent the tabloids. But I must admit that when my friend Connor sent me a text message all the way from Brooklyn concerning Jack White's latest divorce craziness, it sent me into a bit of a frenzy. White was calling Dan Auerbach, 1/2 of the Black Keys (official) lineup, an a*shole "ripoff" for "copy[ing] me and push[ing] himself into my world" (exact quotes). I don't mind admitting that I lost a sizable amount of respect for the president of Third Man Records, whose logos were all over those damn emails, upon reading that quote.
Now, I'm having a difficult time seeing why White was bringing up Auerbach in the first place. The email is about a mediation concerning their separation gone awry, so maybe I'll give Jack the benefit of the doubt and assume it's Stan Auerbach, Dan's brother, who stole his wife and all of his peppermint-candy-themed undies. Those are the only circumstances under which I would grant White the right to talk about a man named Auerbach and get away with it.
Otherwise, it would seem somewhat hypocritical for a man who has openly professed his reliance on classic blues. If anything, early Auerbach and Carney sound more like Junior Kimbrough (they even recorded Chulahoma: The Songs of Junior Kimbrough). Regardless, they've gone in a whole new sonic direction. From Danger Mouse's experimental production of Attack and Release onward, the Keys had developed something all their own, and something radically different. Even rap. It eventually turned into an over-produced, fluffed up outfit that indulged in elements that the duo had only flirted with before (Brothers represents the threshold there). I'm not personally a fan of them now (I only have enough love for two band members), but I felt Auerbach needed some defense in this case: The Black Keys sounds nothing like the White Stripes, whose definition of "over-produced" is adding a piano or letting Meg sing.
Even the Keys' covers of old blues standards hold a much more raw tone. More cutting and muff'd guitars. Dirtier, more technical drums. Certainly more distorted, compressed vocals.
Auerbach was a bluesman. White was songwriter well-versed in the blues. Today, Auerbach is a pop songwriter with a blues background and White is a songwriter who has made the full transition into the logical next step of Rock-n-Roll. He's even dumped his Airline for a Gretsch and his Silvertone for boutique amps.
White went on to Dead Weather and Raconteurs because the Stripes' sound had run its course. They had taken the vintage fuzzed-out 60's cheapo guitar, caveman drummer formula as far as it would go. The man is not only a fantastic musician, but also a smart business man. He treads a fine line there, and somehow still stays cool. I just hope that he has not been carrying around these sentiments since the Black Keys came on the scene. That would be incredibly disheartening. I hate losing respect for people. Especially those whose music I enjoy so much.
But I'm not fit to judge the man's character. So, I'll let you all decide whether or not White is justified in his comments, just having an off-day and blowing off steam 'cuz he inherited Jay-Z's only non-problem, or if he is just mad that the Dead Weather is just not that amazing of a band. Feel free to comment.
Now, I'm having a difficult time seeing why White was bringing up Auerbach in the first place. The email is about a mediation concerning their separation gone awry, so maybe I'll give Jack the benefit of the doubt and assume it's Stan Auerbach, Dan's brother, who stole his wife and all of his peppermint-candy-themed undies. Those are the only circumstances under which I would grant White the right to talk about a man named Auerbach and get away with it.
Otherwise, it would seem somewhat hypocritical for a man who has openly professed his reliance on classic blues. If anything, early Auerbach and Carney sound more like Junior Kimbrough (they even recorded Chulahoma: The Songs of Junior Kimbrough). Regardless, they've gone in a whole new sonic direction. From Danger Mouse's experimental production of Attack and Release onward, the Keys had developed something all their own, and something radically different. Even rap. It eventually turned into an over-produced, fluffed up outfit that indulged in elements that the duo had only flirted with before (Brothers represents the threshold there). I'm not personally a fan of them now (I only have enough love for two band members), but I felt Auerbach needed some defense in this case: The Black Keys sounds nothing like the White Stripes, whose definition of "over-produced" is adding a piano or letting Meg sing.
Even the Keys' covers of old blues standards hold a much more raw tone. More cutting and muff'd guitars. Dirtier, more technical drums. Certainly more distorted, compressed vocals.
Auerbach was a bluesman. White was songwriter well-versed in the blues. Today, Auerbach is a pop songwriter with a blues background and White is a songwriter who has made the full transition into the logical next step of Rock-n-Roll. He's even dumped his Airline for a Gretsch and his Silvertone for boutique amps.
White went on to Dead Weather and Raconteurs because the Stripes' sound had run its course. They had taken the vintage fuzzed-out 60's cheapo guitar, caveman drummer formula as far as it would go. The man is not only a fantastic musician, but also a smart business man. He treads a fine line there, and somehow still stays cool. I just hope that he has not been carrying around these sentiments since the Black Keys came on the scene. That would be incredibly disheartening. I hate losing respect for people. Especially those whose music I enjoy so much.
But I'm not fit to judge the man's character. So, I'll let you all decide whether or not White is justified in his comments, just having an off-day and blowing off steam 'cuz he inherited Jay-Z's only non-problem, or if he is just mad that the Dead Weather is just not that amazing of a band. Feel free to comment.
The Futurebirds are like a(n even more) stoned Neil Young and Co.
plus a bit more reverb...especially in this Hear YA session.
Just check out those caterwauling harmonies in Serial Bowls, and Neil Young's For the Turnstiles.
And tasteful Lap Steel parts are always key to the best songs. Kudos to Ben Keith and Dennis Love. Examples include: really most of the Birds' tunes, and Neil's classics, but hell I love this song: Harvest
Let's be honest, Futurebirds has fantastic production on their albums, but anyone who has seen them play will agree: they are best live. Ex: American Cowboy. Those raw vocals, Thomas. Hot damn. They sound worn out, road tested, smoked and barbequed. Much like my main men Neil and Co. Tonight's the Night's Come on Baby Let's go Downtown (They also had multiple vocalists in the band, in this case it's Danny Whitten).
What Brannon Miles and Billy Talbot (and even Rick Danko behind Neil) have in common: Understated bass lines that f***ing deliver- Death Awaits, Roll Another Number (for the road).
They switch it up live, or slow things down, but they still keep it Toit like a Toiger. See: Tan Lines, Everybody Knows this is Nowhere.
Futurebirds takes some of the key elements of Neil Young's classic (some Stray Gators, some Crazy Horsi) band and sound and puts them in a more euphoric light. This isn't to say that the lyrics of the Birds can't get dark. They can. Especially in their latest release. Somehow, even songs like "Death Awaits" and "Heavy Weights" (probably one of my favorites from Baba Yaga) have an uplifting quality to them (even those both songs literally sound heavy---weights, awaits. Ha ha). There is a lot more that the 'Birds have in common with StrazyHorse. Including sounding great on vinyl. This HearYa Session is free, but bands need and deserve support.
And if you haven't checked out Hearya.com. Please do. They have other fantastic sessions like
This one. This one. And this one. (even this one).
Just check out those caterwauling harmonies in Serial Bowls, and Neil Young's For the Turnstiles.
And tasteful Lap Steel parts are always key to the best songs. Kudos to Ben Keith and Dennis Love. Examples include: really most of the Birds' tunes, and Neil's classics, but hell I love this song: Harvest
Let's be honest, Futurebirds has fantastic production on their albums, but anyone who has seen them play will agree: they are best live. Ex: American Cowboy. Those raw vocals, Thomas. Hot damn. They sound worn out, road tested, smoked and barbequed. Much like my main men Neil and Co. Tonight's the Night's Come on Baby Let's go Downtown (They also had multiple vocalists in the band, in this case it's Danny Whitten).
What Brannon Miles and Billy Talbot (and even Rick Danko behind Neil) have in common: Understated bass lines that f***ing deliver- Death Awaits, Roll Another Number (for the road).
They switch it up live, or slow things down, but they still keep it Toit like a Toiger. See: Tan Lines, Everybody Knows this is Nowhere.
Futurebirds takes some of the key elements of Neil Young's classic (some Stray Gators, some Crazy Horsi) band and sound and puts them in a more euphoric light. This isn't to say that the lyrics of the Birds can't get dark. They can. Especially in their latest release. Somehow, even songs like "Death Awaits" and "Heavy Weights" (probably one of my favorites from Baba Yaga) have an uplifting quality to them (even those both songs literally sound heavy---weights, awaits. Ha ha). There is a lot more that the 'Birds have in common with StrazyHorse. Including sounding great on vinyl. This HearYa Session is free, but bands need and deserve support.
And if you haven't checked out Hearya.com. Please do. They have other fantastic sessions like
This one. This one. And this one. (even this one).
Thursday, August 15, 2013
The Genius of Burt Bacharach and Reforming Top 40
I know Elvis Costello has been bringing Burt and lyricist Hal David's music back into the forefront with his revival of their tunes and even a collaboration with Bacharach in the late 90's, but I think it's time a new generation of musicians learned the calculated beauty of the duo's songwriting.
These tunes embody the music theory behind writing a pop song. The chord changes are familiar without being repetitive, exciting without being jarring, and catchy without being annoying. These are the melodies that get stuck in your head even when you hear them in passing. You find yourself humming them all day and you may not even know why, but that is the beauty of wonderfully applied music theory. Those progressions and melodies are formulated to appeal to everyone's ear. So, whether they are being performed by Jackie DeShannon, Dusty Springfield, The Carpenters, Costello or even the White Stripes the structure of the songs is what shines through. It transcends the artist or production.
I would defy any guitarist/keyboardist to learn a Bacharach/David tune and not be able to put your own spin on it and make it appealing to your audience, be they metalheads or Bieber-ites. The state of pop radio today is sad and weak at best. Repetition has replaced structure. The thinking today seems to be, "if we repeat a chorus enough, it'll stick." This isn't an indie-kid/old rocker rant. I don't want to put experimental or potentially off-putting songs on the radio just because my weird music brain likes them from time to time. I just yearn for pop songs that everyone enjoys, even as a guilty pleasure. I'll be the first to admit that I am a sucker for a good pop song, but I haven't heard a solidly written tune on top 40 for a long while. To quote Zeppelin, "Where's that confounded bridge?". Adele needs to find it!
I firmly believe if we begin to revive the music of Bacharach/David, Manilow, Holland/Dozier/Holland, we can bring about another generation of songwriters that write with their pop sensibility. Another Paul Simon, Lennon or McCartney, Neil Young or Elvis Costello. Something has been diluted and lost since them, and we need to return to those roots. We don't need to revive, but reaffirm a foundation for new growth in pop music.
These tunes embody the music theory behind writing a pop song. The chord changes are familiar without being repetitive, exciting without being jarring, and catchy without being annoying. These are the melodies that get stuck in your head even when you hear them in passing. You find yourself humming them all day and you may not even know why, but that is the beauty of wonderfully applied music theory. Those progressions and melodies are formulated to appeal to everyone's ear. So, whether they are being performed by Jackie DeShannon, Dusty Springfield, The Carpenters, Costello or even the White Stripes the structure of the songs is what shines through. It transcends the artist or production.
I would defy any guitarist/keyboardist to learn a Bacharach/David tune and not be able to put your own spin on it and make it appealing to your audience, be they metalheads or Bieber-ites. The state of pop radio today is sad and weak at best. Repetition has replaced structure. The thinking today seems to be, "if we repeat a chorus enough, it'll stick." This isn't an indie-kid/old rocker rant. I don't want to put experimental or potentially off-putting songs on the radio just because my weird music brain likes them from time to time. I just yearn for pop songs that everyone enjoys, even as a guilty pleasure. I'll be the first to admit that I am a sucker for a good pop song, but I haven't heard a solidly written tune on top 40 for a long while. To quote Zeppelin, "Where's that confounded bridge?". Adele needs to find it!
I firmly believe if we begin to revive the music of Bacharach/David, Manilow, Holland/Dozier/Holland, we can bring about another generation of songwriters that write with their pop sensibility. Another Paul Simon, Lennon or McCartney, Neil Young or Elvis Costello. Something has been diluted and lost since them, and we need to return to those roots. We don't need to revive, but reaffirm a foundation for new growth in pop music.
Friday, July 26, 2013
A nod to my buddy...
...Glenn Brigman (of Ty Segall anecdote fame- see first post), who just released a new single with his band Triptides on Stroll on Records.
Congrats, man! Sounds great.
Triptides- Set You Free
Congrats, man! Sounds great.
Triptides- Set You Free
Admitting Defeat...
This past Monday, the new group of very talented musicians with whom I'm currently playing under the moniker of Tres Tigres Tristes, played a really fanastic songwriting showcase at the famous Eddie's Attic in Decatur, GA. We did not win, or even advance to the top 5; regardless, it was an exciting night, and we gladly bowed to those who made the cut. The talent in the room was palpable. We met some amazing musicians that night, we picked up a couple of gigs, and were invited back by the emcee to play next month.
The winner that night, Catherine Feeny, truly stole the whole show. The first song she played quieted the whole venue. I looked at our bass player, Will, and mouthed Holy sh*t. She's gonna win. Anyone in the room could have seen it coming. We were all fortunate enough to watch her play another song in the finals, and the emcee coaxed her group into playing four additional songs after most of the audience had gone home. Feeny was there with her friends, Sama Dams, who also played an incredibly electric guest slot at the showcase and backed her up on the last few tunes. Katie, Will and I were able to enjoy an intimate little set with the ten folks that were lucky enough to stay behind. Still, it was that first song that really caught my ear. I went home and downloaded it (along with the rest of her album, America). It's called "Spill it All Over the Ground". It's phenomenal, and, not that she needs it, but good luck, Catherine. [Even] Great[er] things are in your future (she's already opened for Wilco...super jelly).
Catherine Feeny- Spill it All Over the Ground
The winner that night, Catherine Feeny, truly stole the whole show. The first song she played quieted the whole venue. I looked at our bass player, Will, and mouthed Holy sh*t. She's gonna win. Anyone in the room could have seen it coming. We were all fortunate enough to watch her play another song in the finals, and the emcee coaxed her group into playing four additional songs after most of the audience had gone home. Feeny was there with her friends, Sama Dams, who also played an incredibly electric guest slot at the showcase and backed her up on the last few tunes. Katie, Will and I were able to enjoy an intimate little set with the ten folks that were lucky enough to stay behind. Still, it was that first song that really caught my ear. I went home and downloaded it (along with the rest of her album, America). It's called "Spill it All Over the Ground". It's phenomenal, and, not that she needs it, but good luck, Catherine. [Even] Great[er] things are in your future (she's already opened for Wilco...super jelly).
Catherine Feeny- Spill it All Over the Ground
Thursday, July 11, 2013
Top 10 Guitarists of the 2000's
For my first entry on the Dark Prince Jeffrey music blog I wanted to make a list. Lists seem to be popular (or controversially unpopular and therefore popular) on the interweb these days. This list, though, has a place close to my heart. I've been playing and writing guitar parts for almost ten years now, and I feel that through this I have developed a deep relationship with the instrument and established a brotherly empathy with those trying to "make it" in this crazy world of modern music.
All of these artists began releasing music after 2000. All of the other lists I could find under this title included artists that have been established since the 90's (Jack White, Tom Morello, John Fruciante) So perhaps I should have titled this, "Top 10 Relatively Unknown Guitarists of the Past Decade". And most likely the few people who read/care about this list will scratch their heads at some of the names on here, but I fully intend to justify each and every choice I've made. All of these artists are unique, but what they have in common is ability to compose tasteful melodies, guitar parts that compliment the song and are not shredding or wanking, and undeniable skill that constantly inspires and makes me excited to play the instrument.
It should be noted that this is not a ranking, and I'm sorry if I missed anyone.
1. Kevin Parker- Tame Impala
One listen to the powerhouse riff of "Half Full Glass of Wine"will have anyone bobbing their head in a hypnotic groove. The thing that really puts Parker on this list is the fact that he always leaves you wanting more (i.e. the solo at the end of the aforementioned track). His guitar playing isn't precise or virtuosic, but it is so damn tasteful. It builds the song in the best ways possible. Note the solo that transitions into the backbone of the chaos at the end of "Keep on Lying". Tame Impala is really starting to catch on these days, and Parker's playing and writing have everything to do with that.
2. Daniel Rossen- Grizzly Bear, Department of Eagles
You'll rarely hear Rossen play a solo in the traditional sense, but his chord compositions and counter-melody lines are so texturally and tastefully complex that they are impossible to ignore. They can't help but become the focal point of the tracks. Not to mention the signature guitar tone that he has honed over Grizzly Bear's four album, two EP career that comes from a beautiful vintage Guild T-50 into a Fender amp with the reverb cranked. His acoustic playing is also incredibly non-traditional. It really shines in "Southern Point", which could be one of my favorite tracks of all time.
3. Hank Sullivant- Kuroma, 1000 AD
Sullivant is one of the greatest unsung guitar heros of this age of music. On Kuroma's first album, Paris Sullivant builds a really classic sound. He is the first on the list that really caters to the "guitar solo" in the most traditional sense. Don't mistake this for him being a showboat, though. His solos really evolve the tracks. And his rhythm playing ain't nothin' to scoff at, either. Sullivant has a great pop sensibility, and his songwriting has only gotten stronger in recent years. Kuroma's second album Psychopomp is the best album you've never heard, and if you like great experimental pop you will be kicking yourself for not picking it up sooner. For newer stuff, check out this side project 1000 A.D.. Rumor has it that Kuroma has a new album in the works. Be on the look out.
4. Ty Segall- solo, Reverse Shark Attack, Fuzz
One of the youngest on the list, Segall has really made a name for himself in the last few years. The dude has one of the most raw, cut-your-head-off styles out there today. Your ears will be ringing for days after seeing him play live. Segall's guitar playing is no-nonsense f*ckin rawk, but he isn't sloppy. In fact, despite his garage-y sound, he is very pretty true to his playing on the records. He's a showman for sure with a ton of talent and limitless potential. An anecdote for the road: My buddy Glenn and I saw him at the Earl in Atlanta a couple years back. After the show we had a great conversation with him about the Kinks, among other topics. He signed Glenn's copy of Melted with the note, "Ray Davies is God. Let us go to church." A reverence for the classics. Just another reason this kid will go far. That and his ability to tastefully twist knobs on delay pedals.
5. Oliver Wood- Wood Brothers
Wood is definitely the rootsiest player on the list, but he does not constrain himself to traditional playing in the least. His compositions are deceptively simple. His voice is sweet and his playing is 100% soul. Tracks like "Glad" off Ways Not to Lose are prime examples of this. Being the only guitar player in the bass/guitar duo with his brother, Chris (who also plays with Medeski, Martin and Wood), Oliver has to fill out the composition. This takes an amount of skill that is easy to overlook, but is something that everybody should appreciate. He is incredible at slide, as well. The solo on this track gives me goosebumps every time.
6. Patrick Flegel/Christopher Reimer- Women
Experimental does not even begin to describe the guitar playing on Women's two full length LP's. Their second album, Public Strain is a triumph of haunting noise-rock. The compositions are like journeys through dissonant shadows that, at the very moment that you think they have reached their darkest, pull you up into the light of resolution. The interplay between Flegel and Reimer's guitars is incredibly complex, and at times harkens back to the Verlaine/Lloyd guitar dynamic of Television. Listening to either of Women's albums, I constantly catch myself thinking, How the Hell are they doing that? The chord structures and suspensions that they employ are nothing short of extraordinary, and the precision with which the two guitarists must play together is really something to be admired. Unfortunately, Reimer passed away last year, and the shaky construction of the band may have crumbled for good. Remember him through amazing tracks like this:
7. Kurt Vile
Vile is just one of those players that comes along every once in a while that takes a whole new approach to the instrument. The alternate tunings, the non-traditional fingerpicking styles, and use of effects on acoustic guitars all amount to a fantastic, original sound. Vile also has one of the most unique sense of melodies that I've ever had the pleasure to hear. His production has recently become a little more radio-friendly, but he isn't rolling over or selling out. He is using the bigger budget and more open tape to create an even more complex sound. Still, sometimes I miss the drum machines.
8. John Dwyer- Thee Oh Sees
I've been on a huge Oh Sees kick ever since I got their new album, Floating Coffin. Dwyer is another fuzzfiend. Recently, he developed a new fuzz pedal with Death By Audio called the Fuzz War Overload, and it is all over the new album (DBA also provides pedals for #4, Ty Segall). Dwyer also has a really unique gear set-up that accounts for somewhat of a signature sound. He often plays a Burns 12-string with their Trisonic pickups into some fuzz and often uses a Whammy pedal to throw in octave sweeps, which can be heard in songs like "The Dream". His experimental and at times almost avant-garde playing really distinguishes Thee Oh Sees from any other garage-y rock band out there, and they've really hit their groove with this lastest output. This is my favorite track off Floating Coffin.
9. Ruban Nielsen- Unknown Mortal Orchestra
10. Mac Demarco
Any guitar player that describes his gear as stuff that "no serious musician would ever use", or his genre as "jizz jazz" is A.O.K (almost obtusely kick-ass) in my book. (Plus, I have to have at least two Canadian artists on any list that I make, according to secret Canadian--I've said too much...) But not about Demarco, who is quickly becoming one of my favorite songwriters/guitarists out there. There is something just magnetic about the funky riffs and lo-fi sound of his guitar tones. He comps some really fantastic chords and is a hell of a rhythm player. His lead lines serve as fantastic counter melodies that are anything but traditional, and create a great dichotomy from the funky chords he employs. He is going to be another one to watch in years to come.
Runner-ups:
John McCauley- Deer Tick
Tim Presley- White Fence
Cass McCombs
Matt Mondanile- Ducktails, Real Estate
All of these artists began releasing music after 2000. All of the other lists I could find under this title included artists that have been established since the 90's (Jack White, Tom Morello, John Fruciante) So perhaps I should have titled this, "Top 10 Relatively Unknown Guitarists of the Past Decade". And most likely the few people who read/care about this list will scratch their heads at some of the names on here, but I fully intend to justify each and every choice I've made. All of these artists are unique, but what they have in common is ability to compose tasteful melodies, guitar parts that compliment the song and are not shredding or wanking, and undeniable skill that constantly inspires and makes me excited to play the instrument.
It should be noted that this is not a ranking, and I'm sorry if I missed anyone.
1. Kevin Parker- Tame Impala
One listen to the powerhouse riff of "Half Full Glass of Wine"will have anyone bobbing their head in a hypnotic groove. The thing that really puts Parker on this list is the fact that he always leaves you wanting more (i.e. the solo at the end of the aforementioned track). His guitar playing isn't precise or virtuosic, but it is so damn tasteful. It builds the song in the best ways possible. Note the solo that transitions into the backbone of the chaos at the end of "Keep on Lying". Tame Impala is really starting to catch on these days, and Parker's playing and writing have everything to do with that.
2. Daniel Rossen- Grizzly Bear, Department of Eagles
You'll rarely hear Rossen play a solo in the traditional sense, but his chord compositions and counter-melody lines are so texturally and tastefully complex that they are impossible to ignore. They can't help but become the focal point of the tracks. Not to mention the signature guitar tone that he has honed over Grizzly Bear's four album, two EP career that comes from a beautiful vintage Guild T-50 into a Fender amp with the reverb cranked. His acoustic playing is also incredibly non-traditional. It really shines in "Southern Point", which could be one of my favorite tracks of all time.
3. Hank Sullivant- Kuroma, 1000 AD
Sullivant is one of the greatest unsung guitar heros of this age of music. On Kuroma's first album, Paris Sullivant builds a really classic sound. He is the first on the list that really caters to the "guitar solo" in the most traditional sense. Don't mistake this for him being a showboat, though. His solos really evolve the tracks. And his rhythm playing ain't nothin' to scoff at, either. Sullivant has a great pop sensibility, and his songwriting has only gotten stronger in recent years. Kuroma's second album Psychopomp is the best album you've never heard, and if you like great experimental pop you will be kicking yourself for not picking it up sooner. For newer stuff, check out this side project 1000 A.D.. Rumor has it that Kuroma has a new album in the works. Be on the look out.
4. Ty Segall- solo, Reverse Shark Attack, Fuzz
One of the youngest on the list, Segall has really made a name for himself in the last few years. The dude has one of the most raw, cut-your-head-off styles out there today. Your ears will be ringing for days after seeing him play live. Segall's guitar playing is no-nonsense f*ckin rawk, but he isn't sloppy. In fact, despite his garage-y sound, he is very pretty true to his playing on the records. He's a showman for sure with a ton of talent and limitless potential. An anecdote for the road: My buddy Glenn and I saw him at the Earl in Atlanta a couple years back. After the show we had a great conversation with him about the Kinks, among other topics. He signed Glenn's copy of Melted with the note, "Ray Davies is God. Let us go to church." A reverence for the classics. Just another reason this kid will go far. That and his ability to tastefully twist knobs on delay pedals.
5. Oliver Wood- Wood Brothers
Wood is definitely the rootsiest player on the list, but he does not constrain himself to traditional playing in the least. His compositions are deceptively simple. His voice is sweet and his playing is 100% soul. Tracks like "Glad" off Ways Not to Lose are prime examples of this. Being the only guitar player in the bass/guitar duo with his brother, Chris (who also plays with Medeski, Martin and Wood), Oliver has to fill out the composition. This takes an amount of skill that is easy to overlook, but is something that everybody should appreciate. He is incredible at slide, as well. The solo on this track gives me goosebumps every time.
6. Patrick Flegel/Christopher Reimer- Women
Experimental does not even begin to describe the guitar playing on Women's two full length LP's. Their second album, Public Strain is a triumph of haunting noise-rock. The compositions are like journeys through dissonant shadows that, at the very moment that you think they have reached their darkest, pull you up into the light of resolution. The interplay between Flegel and Reimer's guitars is incredibly complex, and at times harkens back to the Verlaine/Lloyd guitar dynamic of Television. Listening to either of Women's albums, I constantly catch myself thinking, How the Hell are they doing that? The chord structures and suspensions that they employ are nothing short of extraordinary, and the precision with which the two guitarists must play together is really something to be admired. Unfortunately, Reimer passed away last year, and the shaky construction of the band may have crumbled for good. Remember him through amazing tracks like this:
7. Kurt Vile
Vile is just one of those players that comes along every once in a while that takes a whole new approach to the instrument. The alternate tunings, the non-traditional fingerpicking styles, and use of effects on acoustic guitars all amount to a fantastic, original sound. Vile also has one of the most unique sense of melodies that I've ever had the pleasure to hear. His production has recently become a little more radio-friendly, but he isn't rolling over or selling out. He is using the bigger budget and more open tape to create an even more complex sound. Still, sometimes I miss the drum machines.
8. John Dwyer- Thee Oh Sees
I've been on a huge Oh Sees kick ever since I got their new album, Floating Coffin. Dwyer is another fuzzfiend. Recently, he developed a new fuzz pedal with Death By Audio called the Fuzz War Overload, and it is all over the new album (DBA also provides pedals for #4, Ty Segall). Dwyer also has a really unique gear set-up that accounts for somewhat of a signature sound. He often plays a Burns 12-string with their Trisonic pickups into some fuzz and often uses a Whammy pedal to throw in octave sweeps, which can be heard in songs like "The Dream". His experimental and at times almost avant-garde playing really distinguishes Thee Oh Sees from any other garage-y rock band out there, and they've really hit their groove with this lastest output. This is my favorite track off Floating Coffin.
9. Ruban Nielsen- Unknown Mortal Orchestra
Getting toward the end of the list, I had a lot of trouble deciding between these last few names (hence the Runner-up section), but Nielsen made the list for one reason: the solo on "Ffunny Ffriends". This was the first track the world ever heard from UMO, and Nielsen released it on a nameless, information-less Bandcamp account. I love the combination of R&B grooves, psychedelic tones and lo-fi production, but the solo is really something special. Nielsen serves as an experimental filter for all these genres. He employs a great combination of funky chords, thumbpicking and hammer-ons, not to mention his love of funky old effects like the Roland Funny Cat. This is also the only live video on the list. This is because a) youtube live videos are usually crap-tastic cellphone quality and b) he shreds even harder on this version than on the studio track (plus that Copperphone mic looks and sounds so great.)
10. Mac Demarco
Any guitar player that describes his gear as stuff that "no serious musician would ever use", or his genre as "jizz jazz" is A.O.K (almost obtusely kick-ass) in my book. (Plus, I have to have at least two Canadian artists on any list that I make, according to secret Canadian--I've said too much...) But not about Demarco, who is quickly becoming one of my favorite songwriters/guitarists out there. There is something just magnetic about the funky riffs and lo-fi sound of his guitar tones. He comps some really fantastic chords and is a hell of a rhythm player. His lead lines serve as fantastic counter melodies that are anything but traditional, and create a great dichotomy from the funky chords he employs. He is going to be another one to watch in years to come.
Runner-ups:
John McCauley- Deer Tick
Tim Presley- White Fence
Cass McCombs
Matt Mondanile- Ducktails, Real Estate
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