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6072 25 GREAT GUITAR SOLOS. CD TABLATURE

Euro 20,99

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25 GREAT GUITAR SOLOS. CD TABLATURE

Transcriptions · Lessons · Bios · Photos
Series: Guitar Book
Softcover with CD - TAB
Author: Chad Johnson
From Scotty Moore and Jeff Beck to Eddie Van Halen, Steve Vai and beyond, take an inside look at the genesis of rock lead guitar. The book and CD compendium provides solo transcriptions in standard notation and tablature, lessons on how to play them, guitarist biographies, equipment, photos, history and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book! 152 pages.

In 25 Great Guitar Solos, we take an in-depth look at some of rock guitar's finest moments. Whether it's the jaw-dropping technique of Yngwie Malmsteen, the unmistakable individuality of Jeff Beck, or the melodic brilliance of Mark Knopfler, each solo stands out as a unique achievement within the rock guitar genre. Travel through time as we explore rock' n' roll history with bios, photos, lessons, full notation and tablature, a sound-alike audio CD, and much more. There's plenty here to keep you occupied and enough stylistic variation to satisfy your occasional craving for the eclectic. About the CD. The accompanying audio CD with this book includes all 25 solos performed note for note with a full band and is playable on any CD player. For PC and MAC computer users, the CD is enhanced with Amazing Slow Downer software so you can adjust the recording to any tempo without changing pitch! The time code shown at the start of each solo transcription indicates the point at which the solo begins in the original recording. All solos on the CD performed by Hal Leonard studio musicians. Scotty Moore, Jeff Beck, Eddie Van Halen, Steve Vai and many others, take an inside look at the genesis of rock lead guitar. The book and CD compendium provides solo transcriptions in standard notation and tablature, lessons on how to play them "HOW TO PLAY IT", guitarist biographies, AGE AT TIME OF RECORDING, GUITARS, AMPS, equipment, photos, history and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book! 152 pages. Note: only solos are notated, not complete songs.

25 Great Guitar Solos is the latest instructional paperback release from Hal Leonard Publishing, the leader in educational material for musicians. It's 25 transcriptions of some of the greatest signature guitar solos ever recorded. This collection will no doubt thrill any burgeoning, motivated guitarist, whether they're young or old, novice or veteran. The content is comprehensive and accurate, yet portrayed in a simplified manner that doesn't overwhelm or discourage the learner. The book is complete with transcriptions, lessons on how to, biographies on each song and artist, photos, and a notation legend. A CD is attached as well, which includes note-for-note renditions of all 25 songs, done by a complete band, and playable on any CD player. Additionally, the CD is enhanced for PC and MAC users, with slow down software for a painless learning experience. You can decelerate the songs to any tempo without changing note pitch. Taking full advantage of the lessons in this book will improve and add sparkle to any guitarist. The bio sections are fascinating, and loaded with info pertaining to the songs and the recording artists who played them. For example: 'All Along The Watchtower' gives a short bio of the life of Jimi Hendrix and his music, and then goes into detail about how the song is done, its arrangement and chord changes, key and measure continuance, and also about the guitar and gear used. The collection of songs is excellent.

Transcriptions · Lessons · Bios · Photos
Series: Guitar Book
Softcover with CD - TAB
Author: Chad Johnson

"A composer does not just write the main Inelody; he composes every orchestrated part in the entire sound spectrum. That is also what I do, but I do it in the form of rock 'n' roll." -Yngwie Malmsteen. Of all the eighties "shredders," Yngwie Malmsteen stands out as the most prominent. He raised the bar more than any other single guitarist and inspired legions of followers in the same way as Eddie Van Halen (see "Eruption"), Joe Satriani (see "Satch Boogie"), or Steve Vai (see "Big Trouble"). With the release of 1984's Rising Force came a fully-developed and entirely unique style that fused heavy metal and classical music with dizzying results. Eddie's technique was awesome, but Yngwie's was simply staggering. He had solidified his place instantly among the guitar gods. Born Lars Johann Yngwie Lannerback in 1963 in Stockholm, Sweden, he adopted his mother's maiden name, Malmsteen, after his parents divorced. As a young child he was particularly unruly and actually refused his mother's suggestions to take up a musical instrument, feeling as though music wasn't quite macho enough. At the age of seven, however, this would change. Yngwie saw a documentary on Jimi Hendrix (see "All Along the Watchtower") in which he burned his guitar on stage, and that was all Yngwie needed. Hendrix and Deep Purple's Ritchie Blackmore (see "Highway Star") inspired him early on, and Yngwie was particularly interested in the way Blackmore combined classicallytinged minor lines with heavy rock riffs. To say he became obsessed would even be an understatement; Yngwie eventually dropped out of school at around age ten (!) so. he could stay home and practice. His mother, well aware of the talent young Yngwie displayed, supported the decision. Through his sister, Yngwie was introduced to the music of classical composers such as Bach, Beethoven, Mozart, and Paganini. He became particularly interested in Paganini, who combined a dazzling technique with an unruly, "wild man" demeanor. Yngwie patterned much of his attitudes after the nineteenth-century violinist, eventually resulting in a healthy ego and wild on-stage antics. By his late teens, Yngwie was playing in several local bands around Sweden but finding little success with the then pop-dominated musical tastes of the time. After sending demo tapes to several labels in the U.S., he struck gold in the form of Mike Varney. The president of Shrapnel records, a label tailored to the new "shredding" style emerging at the time, Varney invited Malmsteen to Los Angeles in 1981. Yngwie quickly joined the band Steeler, which did release one album, but he soon left in search of a band with a style better suited to his. Alcatrazz was a closer fit, and Yngwie remained with them until 1983, releasing one studio album (No Parole from Rock 'N' Roll) and one live album (Live Sentence) before deciding to set out on his own. Yngwie's spot in Alcatrazz would be filled by Steve Vai. Yngwie recruited his longtime keyboardist friend Jens Johansson and formed his own band, Yngwie J. Malmsteen's Rising Force. Their debut album, Rising Force, was released in 1984 and sent shockwaves through the rock guitar world. The album actually peaked at #60 on the charts-an extremely impressive feat considering the majority of the album was instrumental- and received a Grammy nomination for Best Rock Instrumental Performance. Yngwie swept the readers' polls in ...

... over 13 million. The band instantly became the biggest in the world, and they freely indulged in all of the debaucheries that rock stardom affords. In 1988 they released G N' R Lies, an album that combined their first EP with four new acoustic-based songs. They scored another huge hit with the delicate ballad "Patience," but "One in a Million," with its shocking, outspoken lyrical content, swarmed the band in controversy and negative publicity. At the American Music Awards, Slash and bassist Duff McKagan, both severely intoxicated, made an extremely inappropriate acceptance speech laced with profanity, further damaging the band's public image. By 1990, both Slash and Steven Adler had developed serious heroin addictions, and while on tour with the Rolling Stones, Axl announced that he would leave the band if certain members didn't stop "dancing with Mr. Brownstone." Although Slash was able to get himself clean, Adler continued to truggle and was eventually fired from the band, with Matt Sorum (from the Cult) brought in as a replacement. Amid all the controversy and drama, the band had been working on their followup album, augmented in the studio by keyboardist Dizzy Reed. The release was delayed for nearly a year, but Use Your Illusion I and Use Your Illusion II finally came out in September of 1991-unfortunately for them, this was the same month that Nirvana's Nevermind hit the helves. Though the Illusion albums sold ell initially, it was only a matter of time before grunge took the nation by storm. The Spaghetti Incident?, a collection of punk covers, was released in 1993. but failed to make much of a splash. Since then, Slash has stayed active with Slash's Snakepit in the mid-nineties and more recently the successful Velvet Revolver, which features former Stone Temple Pilots frontman Scott Weiland, Duff McKagan, and Matt Sorum. Axl Rose, the only remaining member of G N' R, has been promising the release of a new album for nearly a decade, which has turned into somewhat of a running joke amongst the music industry. How to Play It: Slash was truly a breath of fresh air in the late eighties. His sound was so raw and unpolished compared to others of the day, yet he still had considerable chops that seemed unlikely given his punkish edge. With "Sweet Child 0' Mine," he created one of the most memorable guitar tracks of the decade. The infamous intro was striking enough, but the lengthy solo really provided him an opportunity to shine. At first the song comes off as a jangly, upbeat pop rock song, complete with loves truck lyrics and the standard changes. The entire mood changes at the solo, however, and that new darker, menacing vibe carries out through the rest of the song. The solo begins with a dramatic key change from D major to E minor by way of a chromatic walk-up. Slash begins navigating the new Em-C-B7-Am progression with sparse, tasty phrases from the E minor scale, occasionally alluding to the harmonic minor scale over the B7 chord. He employs imitative phrasing throughout to lend direction to the solo, as is evident is measures 2-3, 6-8, and 9-14. He makes extensi e use of both half- and whole-step bends throughout, with pitch-perfect intonation in each instance. Notice how Slash works with the rhythm section, gently accenting the "and" of beat 2 with many of his melodies to reinforce the main rhythmic pulse of the song. At the end of measure 16 he kicks on the wah and unleashes a pre-composed sixteenth-note ascenuing rUll based 011 the E harmonic minor scale that ushers in the energized second half of the solo. The lick lasts two measures, as the Am chord is extended for one extra measure to heighten the build-up into the next section. Though it begins in seventh position, it ends up in twelfth position, shifting positions on the high E string exclusively with pinky slides. The first two beats don't pose much of a fingering problem, but after that things can get hairy if you don't think ahead. Try fingering the C and D# notes in the second half of beat 3 (measure 16) with your first and third fingers, respectively. After that, you should be able to continue sliding your pinky up for the position shifts without a problem. At measure 18, over the new four-measure progression of Em-GS-AS-BS-CSDS- G5, Slash turns up the heat with gutsy pentatonic-based phrases mostly in... Vital Stats: Guitarist: Slash, Song: "Sweet Child O' Mine", Album: Appetite for Destruction, 1987 Age at time of recording: 22, Guitar: Gibson Les Paul, Effects: wah wah, Amp: Marshall

YEAR, SONG, GUITARIST, ARTIST / BAND, ALBUM

1955, Rock Around The Clock, DANNY CEDRONE, BILL HALEY, shake, rattle & roll
1956, Hound Dog, SCOTTY MOORE, ELVIS PRESLEY, The real Elvis
1967, Sunshine Of Your Love, ERIC CLAPTON, CREAM, Disraeli Gears
1968, All Along The Watchtower, JIMI HENDRIX, Electric Ladyland
1969, Let It Be, GEORGE HARRISON, THE BEATLES, Let it be
1970, 25 Or 6 To 4, TERRY KATH, CHIGAGO, Chicago II
1972, Blue Sky, DUANE ALLMAN, DICKEY BETTS, ALLMAN BROTHERS BAND, Eat a Peach
1972, Blue Sky, PART 2 SOLO, DUANE ALLMAN, DICKEY BETTS, ALLMAN BROTHERS BAND, Eat a Peach
1972, Highway Star, RITCHIE BLACKMORE, DEEP PURPLE, Machine Head
1973, Free Bird, GARY ROSSINGTON, ALLEN COLLINS, LYNYRD SKYNYRD, Pronounced Leh-Nerd Skin-Nerd
1973, La Grange, BILLY GIBBONS, ZZ TOP, Tres Hombres
1975, Bohemian Rhapsody, BRIAN MAY, QUEEN, A Night At the Opera
1975, She's A Woman, JEFF BECK, Blow by Blow
1975, Walk This Way, JOE PERRY, AEROSMITH, Toys in the attic
1978, Eruption, VAN HALEN, Van Halen
1978, Sultans Of Swing, MARK KNOPFLER, DIRE STRAITS, Dire Straits
1978, Sultans Of Swing, PART 2 SOLO, MARK KNOPFLER, DIRE STRAITS, Dire Straits
1980, Crazy Train, RANDY RHOADS, Blizzard of Ozz
1980, You Shook Me All Night Long, ANGUS YOUNG, AC/DC, Back in Black
1983, (You Can Still) Rock In America, BRAD GILLIS, JEFF WATSON, NIGHT RANGER, Midnight Madness
1983, (You Can Still) Rock In America, PART 2 SOLO BRAD GILLIS, JEFF WATSON, NIGHT RANGER
1983, Am I Evil? KIRK HAMMETT, METALLICA, Garage Inc.
1983, Pride And Joy, STEVIE RAY VAUGHAN, Texas Flood
1984, Black Star, YNGWIE MALMSTEEN, Rising Force
1986, Big Trouble, STEVE VAI, Eat 'em and Smile
1987, Satch Boogie, JOE SATRIANI, Surfing with the Alien
1987, Sweet Child O' Mine, SLASH, GUNS N' ROSES, Appetite for destruction
1990, Get The Funk Out, NUNO BETTENCOURT, EXTREME, Pornograffitti

Availability:

6890 25 GREAT CLASSIC ROCK GUITAR SOLOS. Dave Rubin. CD TAB. 2010

Euro 19,95

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25 GREAT CLASSIC ROCK GUITAR SOLOS. Dave Rubin. CD TAB.

Transcriptions · Lessons · Bios · Photos
Series: Guitar Book
Format: Softcover with CD - TAB
Author : Dave Rubin

From Eric Clapton and George Harrison to Brian May and Eddie Van Halen, take an inside look at the genesis of classic rock guitar. This book/CD pack provides solo transcriptions in standard notation and tab, lessons on how to play them, guitarist bios, equipment, photos, history, and much more. The accompanying CD contains full-band demonstrations of every guitar solo in the book. It's playable on any CD player, and is also enhanced so Mac and PC users can adjust the recording to any tempo without changing the pitch! Songs include: Louie, Louie - Mississippi Queen - Money - Paranoid - Radar Love - Reeling in the Years - Smoke on the Water - Sweet Home Alabama - Tush - We Will Rock You - White Room , and more.

Song List:

Black Betty
Born On The Bayou
The End
Jeff's Boogie
The Lemon Song
Lights Out
Long Time
Louie, Louie
Mississippi Queen
Money
Paranoid
Radar Love
Reeling In The Years
Rock And Roll Hoochie Koo
Rocky Mountain Way
Smoke On The Water
Snortin' Whiskey
Soul Sacrifice
Sweet Home Alabama
Train Kept A-Rollin'
Tush
We Will Rock You
Whipping Post
White Room
You Really Got Me

106 pages

Availability:

6692 WOODSTOCK: THE GUITAR SONGBOOK. TAB. 2010

Euro 19,95

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WOODSTOCK: THE GUITAR SONGBOOK. TAB.

A r t i s t T i t l e
JOAN BAEZ -JOE HILL.
THE BAND -CHEST FEVER -THE WEIGHT.
CANNED HEAT -GOING UP THE COUNTRY.
JOE COCKER -DELTA LADY -LET’S GO GET STONED.
COUNTRY JOE MCDONALD -I-FEEL-LIKE-I’M-FIXIN’-TO-DIE RAG.
CROSBY, STILLS, NASH & YOUNG -BLUEBIRD -WOODSTOCK.
GRATEFUL DEAD -DARK STAR -ST. STEPHEN.
ARLO GUTHRIE -COMING INTO LOS ANGELES.
RICHIE HAVENS -HANDSOME JOHNNY.
JANIS JOPLIN WITH THE KOZMIC BLUES BAND -PIECE OF MY HEART -TRY (JUST A LITTLE BIT HARDER).
THE JEFFERSON AIRPLANE -VOLUNTEERS.
JIMI HENDRIX WITH GYPSY SUN AND RAINBOWS -HEY JOE.
MOUNTAIN -THEME FOR AN I MAGINARY WESTERN.
SANTANA -EVIL WAYS.
SLY AND THE FAMILY STONE -EVERYDAY PEOPLE -I WANT TO TAKE YOU HIGHER.
THE WHO -MY GENERATION -SUMMERTIME BLUES
TEN YEARS AFTER -I’M GOING HOME. TAB.

Availability:

5880 BEST ACOUSTIC GUITAR SONGS EVER. TAB.

Euro 20,00

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BEST ACOUSTIC GUITAR SONGS EVER. TAB.

Series: Recorded Version (Guitar)
Softcover - TAB
Artist: Various Artists

Notes-and-tab transcriptions of 35 classic acoustic hits from the 1960s to today, 256 pages
Including:

Across The Universe
Against The Wind
Angie
Babe, I'm Gonna Leave You
Behind Blue Eyes
Breaking The Girl
Crazy On You
Daughter
Disarm
Dust In The Wind
Every Rose Has Its Thorn
Foolin'
Free Fallin'
Have You Ever Seen The Rain?
Heaven Beside You
I'd Love To Change The World
Iris
Jane Says
The Joker
Landslide
Like The Way I Do
Love The One You're With
Maggie May
Melissa
More Than Words
Norwegian Wood (This Bird Has Flown)
Pink Houses
Signs
Silent Lucidity
The Space Between
Tears In Heaven
Thick As A Brick
Upside Down
Wanted Dead Or Alive
You've Got A Friend

Availability:

6956 CLASSIC ROCK HEROES, GUITAR MASTERS SERIES Joe Charupakorn CD TABLATURE

Euro 25,99

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CLASSIC ROCK HEROES, GUITAR MASTERS SERIES Joe Charupakorn CD TABLATURE

ORIGINAL RECORDINGS

Classic Rock Heroes
Guitar Masters Series
Series: Guitar Masters Series
Format: Softcover with CD - TAB
Author: Joe Charupakorn

Inventory #HL 00699915
ISBN: 9781423423614
UPC: 884088129606
Width: 9.0"
Length: 12.0"
104 pages

Classic Rock Heroes not only contains accurate guitar transcriptions of 10 classic rock anthems and biographical information on each artist, it also includes a CD with the ORIGINAL RECORDINGS OF EVERY SONG! Hear every note as played, every lyric as sung, and every bend as you remember – this is the real deal! Songs include: All Right Now - Born to Be Wild - Cold Gin - Renegade - Rocky Mountain Way - Snortin' Whiskey - Stuck in the Middle with You - Takin' Care of Business - Thirty Days in the Hole • What's Your Name. Also features great photos, detailed gear listings, and album info. 104 pages

Song List:

All Right Now - FREE - 1970
Born To Be Wild - STEPPENWOLF - 1968
Cold Gin - KISS - 1974
Renegade - STYX - 1978
Rocky Mountain Way - JOE WALSH - 1973
Snortin' Whiskey - PAT TRAVERS - 1980
Stuck In The Middle With You - STEALERS WHEEL - 1973
Takin' Care Of Business - BACHMAN -TURNER OVERDRIVE - 1973
Thirty Days In The Hole - HUMBLE PIE - 1972
What's Your Name - LYNYRD SKYNYRD - 1977

Billboard Hot 100. The band was now a major act,
breaking attendance records worldwide on its tours.
Skynyrd opened for the Rolling Stones in front of
a crowd estimated at up to 500,000 people at the
Knebworth Fair in Hertfordshire, England. After the
show, members of the band hobnobbed backstage
with society's elite-even smoking a joint with actor
Jack Nicholson!
The band's next album, Nuthin' Fancy (1975), was
recorded with new drummer Artimus Pyle, who
replaced Bob Burns (Burns left the band citing
fatigue and health issues). Other big lineup changes
soon occurred-AI Kooper bowed out of being
Skynyrd's producer and midway through the tour
for Nuthin' Fancy (named the "Torture Tour") Ed
King, exhausted by both life on the road and Van
Zant's abusive behavior when drunk, left the band;
this would later prove to be a life-saving move. In
December 1975, female background vocalists, The
Honkettes (Leslie Hawkins, JoJo Billingsley, and
Cassie Gaines) were added. Mega-producer Tom
Dowd was brought on to produce the band's next
album Gimme Back My Bullets. Dowd agreed to
produce the album only on the conditions that the
band follow his zero tolerance policy for drunkenness
and that they rehearse consistently at a set time. At
the recommendation of Honkette Cassie Gaines, her
brother, guitarist Steve Gaines was added to Lynyrd
Skynyrd. Gaines brought back the three-guitar fury
to the Skynyrd sound and very shortly after joining,
took part in the live album, One More for the Road.
Gaines appeared on the band's next studio album,
Street Survivors (1977). Initially, it seemed like this
album would be a disaster. Producer Tom Dowd
left midway through the recording to finish a Rod
Stewart album, and initial impressions of the album
were lackluster at best. The finished product turned
out to be a miracle and is considered by many to be
Skynyrd's best album. It went platinum and reached
#5 in the US. Unfortunately the album will always
be associated with the tragic events that happened
three days after its release. On October 20, 1977,
while en route to a gig at Louisiana University,
Skynyrd's chartered tour plane ran out of fuel and
crashed into a swamp in Gillsburg, Mississippi. This
crash killed Ronnie Van Zant, Steve Gaines, Cassie
Gaines, and Dean Kilpatrick (road manager). As an
eerie coincidence, the cover of the original edition of
Street Survivors depicted the band in flames. After
the tragedy, that cover was replaced with a different
shot, sans flames.
MCA released a compilation album, Gold and
Platinum in 1979. That same year, the surviving
members performed "Freebird" at Charlie Daniel's
5th annual Volunteer Jam, at the Nashville Municipal
Auditorium. This performance was the impetus
behind the Rossington-Collins band, formed in
1980. Female singer Dale Krantz was added along
with former Skynyrd bassist Leon Wilkeson and
keyboardist Billy Powell. This short-lived band
released two albums between 1980 and 1982. Other
offshoot bands included the Artimus Pyle Band (Pyle
wouldn't join the Rossington-Collins band because
he didn't approve of Krantz fronting the band)
formed in 1981, the Allen Collins Band, formed in
1983, and Rossington, formed in 1986.
To commemorate the tenth anniversary of the crash,
Lynyrd Skynyrd reunited in 1987 with surviving
members Rossington, Powell, Wilkeson, Pyle, and
King. Allen Collins, paralyzed from a 1986 drunk
driving accident, singed on as musical director, and
new members, vocalist Johnny Van Zant (Ronnie's
younger brother) and guitarist Randall Hall (from
the Allen Collins Band) were added. Allen Collins
died on January 23, 1990 from complications caused
by pneumonia. The following year, Lynyrd Skynyrd
recorded its first studio album since the airplane
tragedy, Lynyrd Skynyrd 1991, which was produced
by Tom Dowd, and in 1996, a documentary entitled
Freebird ... The Movie was released. The band's place
in history was cemented on March 13, 2006, when it
was inducted into the Rock and Roll Hall of Fame.
Lynyrd Skynyrd is an icon that has forever impacted
the American cultural landscape and now, more than
three decades later, is still going strong.
Performance Notes
Lynyrd Skynyrd's sixth offering, Street Survivors
(1977), was among the band's most successful
albums, reaching platinum status and peaking at #5
in the US. Sadly, it was the last album recorded with
the original lineup. Among the highlights of Street
Survivors was "What's Your arne:' a ignature song...

...now-apprehensive band had to do the gig, if only to
get gas money for the trip back to Ohio. To everyone's
surprise, the band kicked ass as a power trio and would
consequently retain this format. A lucky break came
in the form of a last-minute slot opening up for The
Who in Pittsburgh, PA. Pete Townsend took a liking
to Walsh, referred to him as "America's answer to all
the English flash guitarists," and brought the James
Gang out for its European tour. After the tour, the
James Gang released The James Gang Rides Again,
which featured one of its all-time classics, "Funk #49."
The band's next album, Thirds, was Walsh's last studio
album with the band. In addition to tour burnout,
Walsh started to feel restricted by the confines of the
trio format. This precipitated his departure from the
James Gang after the live release from Carnegie Hall,
James Gang Live in Concert, which was recorded live
with no studio overdubs or fixes.
After leaving the band, Walsh moved to Boulder,
Colorado and took six months off from guitar,
spending time on his radio hobby. In 1972, he
released his first solo album, Barnstorm, which had
a more fleshed out sound with keyboards, synthesizers,
and vocal harmonies. Walsh's next album,
The Smoker You Drink, the Player You Get, was his
breakthrough album, peaking at #6 on the charts.
The album featured one of his most recognizable
songs, the classic "Rocky Mountain Way." Tragedy
struck in 1973 when Walsh's baby daughter was
involved in a car accident and died shortly thereafter.
This incident forever changed Walsh's life and
propelled his self-abusive personality. Residue of
the tragic event is evident in the title of his next two
releases, So What in 1976, and the live album, You
Can't Argue With a Sick Mind. After the loss of his
daughter, Walsh did not have the strength to continue
a solo career and joined the Eagles in 1976, replacing
Bernie Leadon.
With Walsh on board, the Eagles recorded the
landmark Hotel California, one of the best selling
albums of all time. The album was #1 for eight nonconsecutive
weeks on the album charts and featured
two #1 singles-"Hotel California" and "New Kid in
Town." In 1978, Walsh recorded another solo effort,
But Seriously Folks, which featured the signature
Wal h classic "Life's Been Good" It took the Eagles
two-and-a-half year to rele oll '-up album,
The Long Run, but it was worth the wait. The album
reached #1, earned the Eagles a GRAMMY®, and
spawned three Top 10 singles-"Heartache Tonight,"
"I Can't Tell You Why," and "The Long Run." After
The Long Run, the Eagles took a "fourteen-year
vacation," disbanding until 1994's reunion album,
Hell Freezes Over, a mixed live/studio set that hit
#1 immediately upon release. Now older and wiser,
the Eagles reunited on the condition that everyone
stay clean and sober, prompting Walsh to check into
rehab. In 1998, the Eagles were inducted into the
Rock and Roll Hall of Fame and to this day, continue
to forge ahead, bucking the ever-changing musical
climate. In 2007, the Eagles released The Long Road
to Eden, the band's first studio album since 1979.
In the period since the Eagles' comeback, Walsh
recorded a slew of solo albums including There Goes
the Neighborhood, You Bought It: You Name It, The
Confessor, Got Any Gum?, and MTV Unplugged,
among others. He also regrouped with the James
Gang in 1996 at an election rally for President
Bill Clinton. With Walsh back in the band, the
James Gang has made several television appearances
including The Drew Carey Show, and has since
performed and toured sporadically.

Performance Notes
Despite his reckless image and his ballsy style, Joe
Walsh is a studied musician with a firm grasp on
music theory. He minored in music at Kent State
University and later received an honorary doctorate
in music from Kent. Growing up, Walsh started on a
diet of Beatles and Rolling Stones, learning George
Harrison's lines note-far-note. He later moved on to
the solos of Eric Clapton and Jeff Beck, meticulously
copying every nuance. This determination, combined
with his relentless gigging schedule, nurtured a
refined, yet powerful guitar stylist.
"Rocky Mountain Way" is one of Walsh's personal
favorite solos. The song is basically an extended
blues, enhanced with slide guitar and talk box. Walsh
nailed the slide parts in one take. After the first take,
Walsh wanted to do another, like most musicians
would, just to make sure. Everyone in the studio
unanimously agreed that it was a perfect run and told
Walsh "you're done." The rest is history.

... experience, having previously played with the moderately
successful MS Funk (a band that had opened for
Kiss). Initially, Shaw didn't know much about Styx
and actually looked down on them. He wasn't interested,
but went to the audition anyway and wound up
getting the gig without even touching his guitar. He
sang "Lady" with DeYoung and because he could hit
the high notes, DeYoung said "we want you in the
band."
Shaw made his debut, playing guitar, singing, and
writing/co-writing several songs on the band's next
album, Crystal Ball. The album did moderately
well, but it was the band's next album, The Grand
Illusion, that would take Styx into the big time.
The album went multi-platinum and "Come Sail
Away," a fantasy-themed single from that album
hit #8 in the US. Styx's next effort, Pieces of Eight,
also went multi-platinum. By this point, Shaw had
been making his mark on the band's sound. Pieces
of Eight featured three singles penned by Shaw,
"Renegade," "Blue Collar Man (Long Nights)," and
"Sing for the Day." The album Cornerstone followed
in 1979 and contained the bands biggest hit "Babe,"
which hit #1 on the charts. Cornerstone veered away
from the prog-rock sounds of previous efforts and
into a more pop/rock vein. As a result, its more mainstream-
friendly sound went multi-platinum, peaking
at #2 on the album charts. The bands momentum
continued with Paradise Theater, which also went
multi-platinum and was the only Styx album to
reach #1. "Snowblind," one of the songs from the
album caused controversy when activist Tipper Gore,
among others, accused the track of containing backwards,
satanic messages.
Although the band was on top of the world, not all
was well in Styx land. Around the time Shaw joined
the band, DeYoung suffered a nervous breakdown
and went for a stay at a psychiatric center. After
his recovery, he brought his wife and daughter on
the road. The DeYoungs were devout Catholics,
which created a major lifestyle conflict with the
band and brought about increasing intrapersonal
tension. Artistic tensions also came to a boil among
the band's songwriters-DeYoung's vision saw the
band going into a more theatrical direction while
Shaw and Young were pushing for a harder, more
rockin' sound. DeYoung got his way with the band's
next platinum album, Kilroy Was Here. The album
was a concept album that spawned the legendary
mega-hit "Mr. Roboto." DeYoung was also hellbent
on making a film version of Kilroy Was Here,
much to the chagrin of the other band members.
The movie was ultimately abbreviated to a fifteenminute
short film (costing Styx $1.5 million) to be
played on the Kilroy tour, which was already an
over-the-top, theatrical affair that had band members
wearing costumes and reciting dialogue. The tour's
ultra-elaborate production proved to be a nightmare
for the crew. Gargantuan sets had to be transported
daily from arena to arena, and numerous technical
snafus plagued the production. DeYoung didn't make
the situation easier. Whenever the film projectors
failed and the Kilroy film couldn't be shown,
DeYoung would refuse to sing and the show would
be over-not a good move considering ticket sales
were already drastically declining. It got so bad that
the last round of the tour was suddenly cancelled.
Tension in the band was at an all-time high and a
breakup was all but inevitable. During this period of
uncertainty, A&M released a live album, Caught in
the Act, which featured material from the Kilroy Was
Here and Paradsie Theater tours. The band went on
hiatus and Shaw and DeYoung pursued solo careers,
each releasing several solo albums. In 1990, after
extensive negotiations, the members of Styx decided
to record another album. DeYoung called Shaw to
start pre-production but got a shocker on the phone.
Shaw, with the aid of A&R legend John Kalodner,
had formed a new band, the Damn Yankess, which
featured Ted Nugent and Jack Blades, and was in the
process of recording an album. Glen Burtnick, who
had a deal as a solo artist with A&M Records, was
brought in as a replacement for Shaw and joined Styx
while they were still recording Edge of the Century.
During the negotiations for this album, DeYoung
used his clout to revamp the financial terms of the
band in his favor. He made himself the sole producer
of the album, thus getting points from the album,
excluding the others in the band.
Also, rather than split the publishing equally as
had been done previously, each songwriter now
solely owned his publishing, and at this point, only
DeYoung and James Young were writing songs for
the album. DeYoung also somehow managed to get...

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1283 ACOUSTIC GUITAR OF THE '60S AND '70S. SIGNATURE CD

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ACOUSTIC GUITAR OF THE '60S AND '70S. Angie -blackbird -ice cream man -Melissa-here come the sun -greensleves (J. Beck), e altre. CD TAB.

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6240 ACOUSTIC GUITAR SONGS FOR DUMMIES. 34 songs, 256 PAGINE. TAB.

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ACOUSTIC GUITAR SONGS FOR DUMMIES. 34 songs. 256 PAGEs. TAB.

About A Girl, NIRVANA -Across The Universe, BEATLES -Angie, ROLLING STONES -Annie's Song, JOHN DENVER -Behind Blue Eyes, THE WHO -Best Of My Love, EAGLES -Blackbird, BEATLES -Crazy Little Thing Called Love, QUEEN -Drive, INCUBUS -Dust In The Wind, KANSAS -Fly To The Angels, SLAUGHTER -Free Fallin', TOM PETTY -I'd Love To Change The World, ALVIN LEE -Iris, GOO GOO DOLLS -Landslide, FLEETWOOD MAC -Layla, CLAPTON -Leaving On A Jet Plane, PETER, PAUL & MARY -Love Of A Lifetime, FIREHOUSE -Maggie May, ROD STEWART -Night Moves, BOB SEEGER -Norwegian Wood (This Bird Has Flown), BEATLES -Patience, GUNS N' ROSES -Pink Houses, MELLENCAMP -Signs, TESLA -Space Oddity, BOWIE -Tangled Up In Blue, DYLAN -Tears In Heaven, CLAPTON -Thick As A Brick, JETHRO TULL -3 AM, MATCHBOX 20 -Time In A Bottle, JIM CROCE -To Be With You, Mr. BIG -Wanted Dead Or Alive, BON JOVI -When The Children Cry, WHITE LION -You've Got A Friend, JAMES TAYLOR. TAB.

Series: Guitar Collection TAB
This songbook will have even beginning guitarists playing 34 of the best acoustic rock songs ever with the help of performance notes and guitar tab arrangements. 256 pages.

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6695 ACOUSTIC ROCK GUITAR SONGS FOR DUMMIES. TAB. 2010

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ACOUSTIC ROCK GUITAR SONGS FOR DUMMIES. TAB.

inclusa: Mrs. Robinson

Series: Guitar Collection
Format: Softcover - TAB
Artist : Various

Everything you need to play some of the greatest acoustic rock songs is here, including note-for-note transcriptions with lyrics and tab, and easy-to-understand performance notes. Features 32 complete tunes:

Songs:

Against The Wind, BOB SEEGER -All Apologies, NIRVANA -Babe, I'm Gonna Leave You, LED ZEPPELIN -Band On The Run, PAUL McCARTNEY -Blackbird, BEATLES -Change The World, CLAPTON -Crazy On You, HEART -Dance With Me -Daughter, PEARL JAM -Don't Ask Me Why, BILLY JOEL -Every Rose Has Its Thorn, POISON -Fooling Yourself (The Angry Young Man), STYX -Give A Little Bit, SUPERTRAMP -Have You Ever Seen The Rain? CCR -Heaven Beside You, ALICE IN CHAINS -Jack And Diane, MELLENCAMP -The Joker, STEVE MILLER BAND -Learning To Fly, TOM PETTY -Love Of A Lifetime, FIREHOUSE -Love The One You're With, CROSBY STILL NASH -The Magic Bus, THE WHO -Melissa, ALLMAN BROTHERS -More Than A Feeling, BOSTON -More Than Words, EXTREME -Mrs. Robinson, SIMON & GARFUNKEL -Name, GOO GOO DOLLS -Rocky Raccoon, BEATLES -Silent Lucidity, QUEENSRYCHE -Time For Me To Fly, REO SPEEDWAGON -Walk On The Wild Side, LOU REED -Working Class Hero, JOHN LENNON -The World I Know, COLLECTIVE SOUL.

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5507 SELECTIONS FROM ROLLING STONE MAGAZINE'S 500 GREATEST SONGS OF ALL TIME: CLASSIC ROCK TO MODERN ROCK, 67 SONGS! TAB. 2009

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SELECTIONS FROM ROLLING STONE MAGAZINE'S 500 GREATEST SONGS OF ALL TIME: CLASSIC ROCK TO MODERN ROCK, 67 SONGS! TAB.

67 Songs!
344 pages

Sixty-seven of the best songs of the rock era, all chosen from Rolling Stone® magazine's "500 Greatest Songs of All Time." The book covers 67 classic songs spanning the classic rock era to the modern rock era all arranged to include all important guitar parts and yet remain easily playable.

Songs Include: Alison * Another Brick in the Wall Part 2 * Back in Black * Bad Moon Rising * Beat It * Billie Jean * Bitter Sweet Symphony * Bizarre Love Triangle * Black Dog * Blitzkrieg Bop * Born in the U.S.A. * Born to Run * The Boys of Summer * Brown Sugar * Come Together * Comfortably Numb * Fake Plastic Trees * Family Affair * Fast Car * Get Up (I Feel Like Being a) Sex Machine * Gimme Shelter * Go Your Own Way * God Save the Queen * Good Times * Graceland * Heartbreaker * Highway to Hell * Hotel California * I Wanna Be Sedated * Into the Mystic * Iron Man * Kashmir * Knocking on Heaven's Door * Layla * Like a Prayer * Lola * London Calling * Losing My Religion * Lust for Life * Maggie May * Moondance * No Woman, No Cry * Paradise City * Paranoid * Paranoid Android * (What's So Funny 'Bout) Peace Love and Understanding? * Personality Crisis * Radio Free Europe * (Don’t Fear) the Reaper * Respect * Sheena Is a Punk Rocker * Should I Stay or Should I Go * Spirit in the Sky * Stairway to Heaven * Stayin’ Alive * Sweet Child O' Mine * Tangled Up in Blue * Thank You (Falettinme Be Mice Elf Agin) * Thunder Road * Walk on the Wild Side * Welcome to the Jungle * What’s Going On * Whipping Post * Whole Lotta Love * Wild Horses * Wish You Were Here * You Can't Always Get What You Want.

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6598 ROLLING STONE: SELECTIONS FROM THE 100 GREATEST GUITAR SONGS OF ALL TIME. TABLATURE 2010

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ROLLING STONE: SELECTIONS FROM THE 100 GREATEST GUITAR SONGS OF ALL TIME. TABLATURE

Rolling Stone: Selections from the 100 Greatest Guitar Songs of All Time

36 Songs That Defined Rock Guitar
Item: 00-32815
UPC: 038081357263
ISBN 10: 0739061488
ISBN 13: 9780739061480
Category: Guitar Mixed Folio
Format: Book
Instrument: Guitar
Version: Authentic Guitar TAB

Crossroads
Cream,1968
» No. 3 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
Eric Clapton once described Cream's music as "blues ancient and modern." This track is what he meant. He was not yet 23 when he played this high-velocity version of the Robert Johnson song at San Francisco's Winterland on March 10th, 1968. Everything in Clapton's solos is grounded in the blues vocabulary but pointed to the future. "When Clapton soloed, he wrote wonderful symphonies from classic blues licks in that fantastic tone," Little Steven Van Zandt told Rolling Stone in 2004. "You could sing his solos like songs in themselves."
Appears on: Wheels of Fire (Polydor)

Brown Sugar
The Rolling Stones, 1971
» No. 5 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
“Satisfaction" may be the Rolling Stones' most recognizable riff, but this Sticky Fingers hit – based on a gutbucket guitar part devised by Mick Jagger – is the band's raunchy guitar pinnacle. Keith Richards' secret weapon: He's playing a guitar that's missing its lowest string.
Appears on: Sticky Fingers (Virgin)

Eruption
Van Halen, 1978
» No. 6 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
Eddie Van Halen's 102-second mission statement was a piece he invented onstage: a solo showcase for his mastery of tone and technique, notably the rush of notes he produced with his fretboard tapping. An army of teens would try to duplicate it, emerging years later in every metal band of the Eighties.
Appears on: Van Halen (Warner Bros.)
(Music appears on page)

Stairway to Heaven
Led Zeppelin, 1971
» No. 8 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
"Stairway," Jimmy Page told RS in 1975, "crystallized the essence of the band." It's a masterpiece of dramatic ascension: Page's acoustic picking rising into chiming chords, which introduce the solo, a brilliant succession of phrases that steadily move toward rock& roll ecstasy.
Appears on: Led Zeppelin IV (Atlantic)
(Music appears on page )

Statesboro Blues
The Allman Brothers Band, 1971
» No.9 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
In 1968, Gregg Allman went to visit his older brother, Duane, on his 22nd birthday. Duane was sick in bed, so Gregg brought along a bottle of Coricidin pills for his fever and the debut album by guitarist Taj Mahal as a gift. "About two hours after I left, my phone rang," Gregg remembers. " 'Baby brother, baby brother, get over here now!' " When Gregg got there, Duane had poured the pills out of the bottle, washed off the label and was using it as a slide to play "Statesboro Blues," the old Blind Willie McTellsong that Taj Mahal covered. Duane had never played slide before, says Gregg, but "he just picked it up and started bumin'. He was a natural." The song quickly became a part of the Allman Brothers Band's repertoire, and Duane's slide guitar became crucial to their sound. "Statesboro Blues" was the opening track on their legendary 1971 live double album, At Fillmore East, and ever since, the moaning and squealing opening licks have given fans chills at live shows. "It wasn't something that Duane would play the same way every night," says current Allmans guitarist Warren Haynes, one of many guitarists who have filled Duane's shoes since he died in late 1971. "But in all of our heads, that's the way it goes." There's one thing the current band doesn't try to replicate from the Fillmore East performance: At the end of Duane's sublime "Statesboro" solo, the guitarist hits an off-key note that Gregg calls the "note from hell." "He left it in because he knew I hated it," says Gregg, claiming that the mistake only adds to the song's legend. "It was live. It was something that happened."
Appears on: At Fillmore East (Island/Mercury)
(Music appears on page )

Whole Lotta Love
Led Zeppelin, 1969
» No. 11 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
This thundering rewrite of Muddy Waters' "You Need Love" showcased three of Jimmy Page's specialties: primal, monomaniacal riffs; innovative production; and solos with the savage mastery he'd developed as a top-flight session musician in the pre-Zeppel years.
Appears on: Led Zeppelin II /(Atlantic)
(Music appears on page )

Layla
Derek and the Dominos, 1970
» No. 13 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
"I didn't do it - it was Duane," Eric Clapton said, laughing, in 1988. Guest guitarist Duane Allman
created one of rock's most exciting and memorable licks, pinching the vocal line from Albert King's "As the Years Go Passing By"and speeding it up. App~ars on: Layla and Oth~r Assorted Love Songs (Polydor)
(Music appears on page )

My Generation
The Who, 1965
» No. 15 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
Before smashing guitars was a cliche, it was a shock, and The Who's signature song was one shock after another, from Pete Townshend's pile-driving two-chord riff to his sudden disappearance while bassist John Entwistle solos to the glitchy feedback that ends the original recording.
Appears on: My Generation (Geffen)
(Music appears on page )

Black Sabbath
Black Sabbath, 1970
» No. 17 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
Tony Iommi invented heavy-metal guitar out of necessity: He'd lost two fingertips on his fretting hand, and he used thimbles and dropped tunings to make playing easier. His crawling, dissonant riff (also called "the devil's chord") became the basis of thousands of metal songs.
Appears on: Black Sabbath (Warner Bros.)
(Music appears on page )

Blitzlaieg Bop
Ramones, 1976
» No. 18 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
There's no guitar solo, because guitarist Johnny Ramone hated solos. But his down-stroke barre chords were fat with Dick Dale's twang and Bo Diddley's strumming. Joey Ramone once said that in Johnny's guitar, he heard organ, piano and other instruments that weren't really there.
Appears on: Ramones (Rhino)
(Music appears on page )

People Get Ready
The Impressions, 1965
» No. 20 from Rolling Stone" Magazine's 100 Greatest Guitar Songs of All Time
Curtis Mayfield's deepest civil rights anthem is powered by his eloquent open-tuned guitar-playing: The backbeat echoed the new sounds coming out of Jamaica, and the subtle, fluid solo spirals are as expressive as his singing. Bob Marley later synthesized it with "One Love."
Appears on: Ultimate Collection (Hip-O)
(Music appears on page )

Can't You Hear Me Knocking
The Rolling Stones, 1971
» No. 25 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
The fist-on-your-door riff was classic Keith Richards, while the solo showed Mick Taylor's disciplined touch. "Mick was so lyrical on songs like 'Knocking,' " Charlie Watts has said, noting his love of the song's long instrumental coda. "That was a complete jam, one take at the end."
Appears on: Sticky Fingers (Virgin)
(Music appears on page )

Back in Black
AC/DC, 1980
» No. 29 from Rolling Stone" Magazine's 100 Greatest Guitar Songs of All Time
Angus and Malcolm Young's dual-guitar masterpiece is the platonic ideal of hard rock. The bridge alone is heavier than most axmen ever manage, and the riff is instantly recognizable: "Black"has been covered by everyone from Living Colour to Shakira, and sampled by the Beastie Boys and Eminem.
Appears on: Back in Black (Epic)
(Music appears on page )

Sweet Child 0' Mine
Guns n' Roses, 1987
»No. 63 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
Slash was sitting on the floor in Guns n' Roses' squalid East Hollywood house sometime in 1986 when he started fooling around with a chiming, circular melody. "It was an interesting sort of pattern," Slash says. "But Jesus Christ, I never thought it was going to become a song." As he kept playing, fellow G n' R guitarist Izzy Stradlin joined in, playing a simple chord progression. They didn't realize that Ax}Rose was listening in from upstairs - and writing lyrics. At rehearsal the next day, the band hashed out what would become "Sweet Child" - over the objections of Slash, who was convinced that the music was too lightweight for what he saw as a "thrash band," But he relented, and soon came up with the lyrical, multisectioned solo that ended up on the finished song. "It's a combination of influences," Slash says. "From Jeff Beck, Cream and Zeppelin to stuff you'd be surprised at: the solos in Manfred Mann's version of 'Blinded by the Light' and Gerry Rafferty's 'Baker Street.''' Despite the solo's complexity, it was the song's precise intro that proved challenging onstage. "It's easy now, but it was very daunting in the early days," Slash says. "Especially because I drank exorbitant amounts of alcohol and had other chemical things going on. I hated playing that song for years."
Appears on: Appetite for Destruction (Geffen)
(Music appears on page)

Adam Raised a Cain
Bruce Springsteen, 1978
»No. 67 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
Before he was known as a songwriter, Springsteen was the fastest guitar player in Asbury Park. And in this bluesy hard-rock blast, he lets those chops loose again, pushing the E Street Band to garage-land with the angriest lead guitar on record.
Appears on: Darkness on the Edge of Town (Columbia)
(Music appears on page 10)

Money
Pink Floyd, 1973
»No. 69 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
David Gilmour hangs back for the first three minutes of this definitive Floyd rocker, which started as an acoustic blues song in rehearsals. Then the song shifts from a 7/4 stomp into straight time, and he delivers a rampaging freakout, ending up on notes so high most guitars don't even reach them.
Appears on: Dark Side of the Moon (Capitol)
(Music appears on page)

Summertime Blues
Blue Cheer, 1968
» No. 73 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
This power trio's cover of Eddie Cochran's classic was their only hit, sometimes called the first heavy-metal record. It's a showcase for the massive roar of Leigh Stephens' guitar, so fuzzed-up it scrapes like steel wool, dragging the rockabilly riff through the dust.
Appears on: Vincebus Eruptum (Island/Mercury)

Beat It
Michael Jackson, 1982
» No. 81 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
There had never been a soul hit with as much heavy guitar as this or a heavy-metal hit with as much soul. Paul Jackson Jr. and Steve Lukather play the menacing riff, but Eddie Van Halen's speed-shred solo is the coup de grace. Van Halen says producer Quincy Jones' only advice was "go be yourself."
Appears on: Thriller (Epic)

How Soon Is Now?
The Smiths, 1985
» No. 90 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Trm<
Trading guitarist Johnny Marr's spidery technique for a sobbing oscillation on a few extended chords and a tone-bending wail that sounds like the world racingby, this song became a club standard, opening the passageways between underground rock and dance music.
Appears on: Meat Is Murder (Sire) (Music appears on page )

Memo From Turner
Mick Jagger, 1970
» No. 92 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of AllTrmtt
Guitar virtuoso Ry Cooder, who played on the Stones' Let It Bleed, accused Keith Richards of stealing his open-G tuning technique on singles like "Jumpin' Jack Flash" and "Gimme Shelter." Cooder's jittery slide guitar defines Jagger's first solo recording, which was written for his film role as a decadent rock star in 1970's Performance.
Appears on: The Very Best of Mick Jagger (Rhino)
(Music appears on page )

WhiteRoom
Cream, 1968
» No. 55from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
The first rock supergroup, Cream gave Jack Bruce and Ginger Baker as much playas Eric Clapton, but Clapton's unrelenting wah-wah cascade signs his name in foot-high letters over the song. Along with Jimi Hendrix's "Voodoo Child (Slight Return)," it made that pedal the sound of '68 psychedelia. Appears on: Wheels of Fire (Polydor) (Music appears on page 246)

Eight Miles High
The Byrds, 1966
» No. 56from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
Roger McGuinn's chiming 12-string solos helped to mold Sixties rock. But what he was inspired by here wasn't rock at all: Indian classical music and saxophonist John Coltrane's explorations of single
chords and phrases. McGuinn said his guitar "breathes like a wind instrument."
Appears on: The Byrds Greatest Hits (Columbia/Legacy)
(Music appears on page 80)

Dark Star
Grateful Dead, 1969
» No. 57from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
Considered the Dead's greatest live track, this definitive near-half-hour version from an acid-soaked Fillmore West show is Jerry Garcia at his spaciest and most exploratory. Framed by Bob Weir and Phil Lesh, Garcia's free-form improvisation is the song's "nightfall of diamonds" come to life. Appears on: Live/Dead (Rhino) (Music appears on page 76)

Rumble
Link Wray, 1958
» No. 58from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
In 1958, guitar distortion and power chords were virtually unheard of, but Wray stabbed a pencil through his amplifier to make it sound nastier, dragged his pick like a switchblade, and got this blues riff banned by radio stations as an incitement to violence. Not bad for
an instrumental. Appears on: Rumble! The Best of Link Wray (Rhino)
(Music appears on page 186)

Freeway Jam
Jeff Beck, 1975
» No. 59from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
After years of leading bands with vocalists, Beck proved he is his own best singer. There's a howling quality to his string-bending in this brisk funk. "There were thousands of guitarists playing with their Les Pauls cranked up bloody blaring loud," he later told RS. "I needed to try something new." Appears on: Blow by Blow (Epic) (Music appears on page 90)

Soul Man
Sam and Dave, 1967
» No. 61from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
"Play it, Steve!" shouts Sam Moore - he's calling out to Steve Cropper, the genius who powered Stax Records' house band. Cropper's fluttering, high-end riffs provide the song's rhythmic mojo, and his squealing fills (for which he used a cigarette lighter in lieu of an actual slide) are its third singing voice. Appears on: Soul Men (Rhino) (Music appears on page 179)

- Adam Raised a Cain, Bruce Springsteen

- Back in Black, AC/DC

-Beat It, Michael Jackson Van Halen

-Black Magic Woman/Gypsy Queen, Santana

-Black Sabbath, Black Sabbath

-Blitzkrieg Bop, Ramones

-Brown Sugar, The Rolling Stones

-Can’t You Hear Me Knocking, The Rolling Stones

-Crossroads, Cream

-Dark Star, Grateful Dead

-Eight Miles High, The Byrds

-Eruption, Van Halen

-Freeway Jam, Jeff Beck

-How Soon Is Now? The Smiths

-I Can See for Miles, The Who

-Layla, Derek and the Dominos

-London Calling, The Clash

-Memo from Turner, Mick Jagger

-Money, Pink Floyd

-My Generation, The Who

-My Iron Lung, Radiohead

-Panama, Van Halen

-People Get Ready, The Impressions

-(We’re Gonna) Rock Around the Clock, Bill Haley and His Comets

-Rumble, Link Wray - Words and Music: Link Wray, Milton Grant - 1958

-Soul Man, Sam and Dave

-Stairway to Heaven, Led Zeppelin - Words and Music: Jimmy Page, Robert Plant - 1997

-Statesboro Blues, The Allman Brothers Band - Words and Music: Will McTell - 1929

-Stay with Me, The Faces - Words and Music: Ron Wood, Rod Stewart - 1972

-Summertime Blues, Blue Cheer - Words and Music: Eddie Cochran, Jerry Capehart - 1958

-Sweet Child O’ Mine, Guns n’ Roses - Words and Music: Steven Adler, Saul Hudson, Duff McKagan, W. Axl Rose, Izzy Stradlin - 1987

-That’s All Right, Elvis Presley - Arthur Crudup - 1947

-White Room, Cream - Words and Music: Jack Bruce, Peter Brown - 1968

-Whole Lotta Love, Led Zeppelin - Words and Music: Jimmy Page, Robert Plant, John Paul Jones, John Bonham, Willie Dixon - 1969

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