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Requiem
(more) »rank: 8525by: John 5
: :John 5 is known as one of the best modern shredders around (2007 winner Best Shred Album of the Year for 'The Devil Knows My Name' in Guitar World Reader's Poll). He's even likened to the Page or Hendrix of this generation. He's worked with Marilyn Manson, Rob Zombie, David Lee Roth, Leah Andreone, 2wo, Meat Loaf, Paul Stanley, Ryan Downe, Hazy Dreams, and Rodger Carter. This is his fourth solo effort.
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Degradation Trip Volumes 1 & 2
(more) »rank: 13633by: Jerry Cantrell
: :John 5 is known as one of the best modern shredders around (2007 winner Best Shred Album of the Year for 'The Devil Knows My Name' in Guitar World Reader's Poll). He's even likened to the Page or Hendrix of this generation. He's worked with Marilyn Manson, Rob Zombie, David Lee Roth, Leah Andreone, 2wo, Meat Loaf, Paul Stanley, Ryan Downe, Hazy Dreams, and Rodger Carter. This is his fourth solo effort.
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Jimi Hendrix : Live at Woodstock
(more) »rank: 5450by: The Gypsy Suns and Rainbows
: :You want guitar precision, listen to Jim Hall. You want perfect pitch, listen to Ella Fitzgerald. You want raw, electrifying, frightful, unruly, mesmerizing, aggressive, urgent, and occasionally brilliant gutbuckets of sound, listen to Jimi Hendrix's Monday morning Woodstock finale. Most of the masses had gone home, Jimi was nervous, his band unrehearsed, and the sound was as muddy as the grounds, but so what? In August of 1969, Hendrix's band, which he dubbed Gypsy Sun and Rainbows for this performance, was in a period of transition between the heavy psychedelic bluesy Experience and the more soulful, rhythmically dynamic Band of Gypsys. The two ...
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Land of the Midnight Sun
(more) »rank: 9302by: Al di Meola
: :You want guitar precision, listen to Jim Hall. You want perfect pitch, listen to Ella Fitzgerald. You want raw, electrifying, frightful, unruly, mesmerizing, aggressive, urgent, and occasionally brilliant gutbuckets of sound, listen to Jimi Hendrix's Monday morning Woodstock finale. Most of the masses had gone home, Jimi was nervous, his band unrehearsed, and the sound was as muddy as the grounds, but so what? In August of 1969, Hendrix's band, which he dubbed Gypsy Sun and Rainbows for this performance, was in a period of transition between the heavy psychedelic bluesy Experience and the more soulful, rhythmically dynamic Band of Gypsys. The two ...
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The Ventures Play the Greatest Surfin' Hits of All Time
(more) »rank: 8771by: The Ventures
: :If there's irony in the fact that the founding fathers of surf rock the Ventures hail from quarters not exactly renowned as bastions of sun-drenched wave-riding (Portland, Oregon, and Tacoma, Washington), it only stands to reason that their inspirations weren't exactly baggy-clad and bushy-blond-coiffed, either (Les Paul, Chet Atkins, Duane Eddy). But those unlikely roots did indeed spawn a 40-year career for the band as international stars and, more important, instrumental rock's first and foremost preservationists. This album replicates much of the Ventures' longtime tour repertoire, drawing on their own considerable hits ('Walk, Don't Run,' 'Perfidia,' 'Hawaii Five-O') as well as covers that ...
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Alien Love Secrets
(more) »rank: 14904by: Steve Vai
: :This specially priced, seven-track mini-album could have been titled the 'Many Moods of Stevie Vai' given its stylistic sweep. 'Bad Horsie' is a widescreen, effects-laden monster, 'Juice' is a high-speed boogie, 'The Boy from Seattle' verges on Metheny territory and 'Tender Surrender' oozes with subtlety and taste. All this, plus a thrashing rocker that football coaches can motivate the troops with: 'Kill the Guy with the Ball.' --Jeff Bateman
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88 Elmira St.
(more) »rank: 31589by: Danny Gatton
: :Danny Gatton ranks with rock & roll's all-time tragic guitar heros. One of the 1980s' greatest guitarists--and unquestionably one of the most eclectic and versatile axe-men ever--he committed suicide in 1994 without achieving the kind of fame his talent should have provided. Though initially considered a rockabilly guitarist, due to his associations with Roger Miller and Robert Gordon, this all- instrumental debut solo album (later LPs feature occasional guest vocalists) reveals that the man could, and did, play everything--jazz, country, blues, folk, swing...you name it. Most of the tracks here are originals, the exceptions being a John Martyn cover, Charlie Patton's 'Funky Mama,' ...
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King Of The Surf Guitar: The Best Of Dick Dale & His Del-Tones
(more) »rank: 18269by: Dick Dale & the Del-Tones
: :This collection rightly concentrates on Dale's instrumental exploits as the Jimi Hendrix of surf music. Nineteen sixty-one's 'Let's Go Trippin'' was the first real surf instrumental, although the pyrotechnic fretwork of later Dale records is largely absent. Those divebomb runs, reverb drenchings, and impossibly quick picking displays materialize on the next single, 'Shake & Stomp,' then bloom on the revved-up Middle-Eastern standard 'Misirlou.' Dale's instrumentals generally fell into two camps: standard-progression frat blasts ('Take It Off,' 'Night Rider,' 'Mr. Eliminator') and minor-key Middle-Eastern excursions ('The Wedge,' the 'Pipeline'-esque 'Banzai Wipeout,' 'The Victor,' even 'Hava Nagila'--which Jewish purists must have regarded as a hora ...
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You Had It Coming
(more) »rank: 46050by: Jeff Beck
: :At an age when fellow ex-Yardbirds guitar gods Eric Clapton and Jimmy Page are polishing their legend and trying to recapture it, respectively, Jeff Beck has produced one of his most challenging and rewarding albums. An edgy, metallic maelstrom with a distinctly postmodern slant (thanks largely to the tense, digitized rhythms of producer Andy Wright and drummer/programmer Aiden Love), You Had It Coming is the kind of album his fraternal fretmeisters might scarcely understand, let alone attempt. Already the guitar's unparalleled master of feedback, distortion, harmonic sorcery, and microtonal manipulation, Beck here pushes the envelope yet again. From the manic thrash-metal of 'Earthquake' ...
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Live Alive
(more) »rank: 32668by: Stevie Ray Vaughan and Double Trouble
: :Most live blues recordings have a feeling of intimacy, as if the concerts took place in some out-of-the-way venue for an audience who not only know all the lyrics, but know the performers personally as well. Live Alive, in contrast, feels like a large-scale rock concert, an epic production full of grand gestures. But really, nothing suited Stevie Ray Vaughan's style better; everything, from the overall sound to the solos, feels big. The roar of the audience, especially for favorites like 'Pride and Joy,' 'Cold Shot,' and 'Texas Flood,' is huge but distant, an arena sound. Overall, Live Alive leaves the impression of ...
