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Tommy Bolin is the most underrated guitarist ever. Too bad he died young. Check out my Stratus album and you will see what I mean.Tommy Bolin
it...I'll just let Prince show you himself...
Clip of Prince nuking a legendary Eric Clapton solo(from a Beatles orginal no less) off the face of the earth and erasing it from everyone's memory for all time.
http://www.youtube.com/watch?v=7nOtQzPCqvE
The sick thing is...he probably didn't even rehearse that solo and might never have even played that song before.
Last edited by whottt; 10-31-2006 at 05:18 PM.
Tommy Bolin is the most underrated guitarist ever. Too bad he died young. Check out my Stratus album and you will see what I mean.Tommy Bolin
http://www.youtube.com/watch?v=V46l9KaOa3M
Here's something to watch if you want to see my chops!
Whottt knows his ..Prince rocks!!
CHIRS DEGARMO.
Queensryche pwns.
ehhh....happens every guitar thread. The le says "best shredders" not "Best of all time"
hendrix, wylde, etc, are not shredders.
Whottttttttt--that prince was pretty cool.
There were a few others that might not be considered shredders either but deserve a mention since they do play fast. Best shredders usually means best of all time since there aren't many shredders now.
No....i meant "Best shredders of all time" does not = "best guitarist of all time"
Jiminy!!!
Duane Eddy = Michael Bolton.
Link Wray = Otis Redding.
Update
Eric Clapton = Most overrated sacred cow of all time.
I hear you!
I vote Jeff Beck, best shredder ever.
Alvin Lee #2? Maybe.
Wait, maybe Dale is number one.
Of course Whott would probably nominate "that guy" from the Ventures over Dale.
and Uncle Kracker >>> Dobie Gray.
From AllMusic.com
Link Wray may never get into the Rock & Roll Hall of Fame, but his contribution to the language of rockin' guitar would still be a major one, even if he had never walked into another studio after cutting "Rumble." Quite simply, Link Wray invented the power chord, the major modus operandi of modern rock guitarists. Listen to any of the tracks he recorded between that landmark instrumental in 1958 through his Swan recordings in the early '60s and you'll hear the blueprints for heavy metal, thrash, you name it. Though rock historians always like to draw a nice, clean line between the distorted electric guitar work that fuels early blues records to the late-'60s Hendrix-Clapton-Beck-Page-Townshend mob, with no stops in between, a quick spin of any of the sides Wray recorded during his golden decade punches holes in that theory right quick. If a direct line can be traced forward from a black blues musician crankin' up his amp and playing with a ton of violence and aggression to a young white guy doing a mutated form of same, the line points straight to Link Wray, no contest. Pete Townshend summed it up for more guitarists than he probably realized when he said, "He is the king; if it hadn't been for Link Wray and "'Rumble,'" I would have never picked up a guitar."But a pattern was emerging that would continue throughout much of Wray's early career; the powers that be figured that if they could tone him down and dress him up, they'd sell way more records in the bargain. What all these producers and record execs failed to realize was the simplest of truths: if Duane Eddy twanged away for white, teenage America, Link Wray played for juvenile delinquent hoods, plain and simple.
Shredders - bah
masturbatory guitar act
Sadistic.
I get the point you are attempting to make but Michael Bolton is completely uncalled for.
Hey...You act like I was out buying the records. I didn't rate him number one, just gave an honorable mention. Someone had to get those white kids to buy the records or else we'd be sitting here talking about Perry Como.
It shouldnt be called 'The Best SHredders of All Time,' but rather 'The s of rock.'
Pete Townshend was also twanging away for white middle class America, for all the wrong reasons sadly...not exactly hammering your point home like Pete on Preschooler...
Besides...I am sure I can go find some quote by some guy claiming if it wasn't for Eddy...but all I said was honorable mention...for the role less so than the actual production. Damn...you have a blistering hate on for Eddy.
Elvis was also singing away for white middle class America...and Chuck Berry and his bank account thank him for it...
If people like it they like it...
Let's take this argument to the Pat Boone forum.
I said a young man, ain't got nothin' in the world these days!
i was of the same opinion for a while, but have mellowed recently after listening to disraeli gears and fresh cream a lot recently - granted, cream is a great band overall at every spot but clapton's sound is so perfect in that band - big and fuzzy.
Here is the basic understanding of shred for those wonder if it fits in. It's not all about speed like some think. A few do that and they suck.Shred guitar
From Wikipedia, the free encyclopedia
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Shred Guitar refers to a heavy metal guitar or fusion playing style where technical proficiency is used to maximize speed, often in a neoclassical framework. Beginning in the 1980s, shred guitar appeared in a heavy metal sub-genre known as neo-classical metal, since it often involved phrases and techniques from Baroque and Classical music.
Contents
[hide]
* 1 History
* 2 Connotations
* 3 Musical styles
o 3.1 Techniques
o 3.2 Bass shredding
o 3.3 Gear
* 4 Resurgence in popularity
* 5 External links
[edit] History
Yngwie Malmsteen, heavily influenced by Al Di Meola and Ritchie Blackmore, is credited in having pioneered and laid down the basis of neo-classical shred guitar in heavy metal music, where the term shredding started to be associated to this style of playing. Before him, many electric guitar virtuosi in late-1960s contributed to the formation of the shred movement, while still lacking the technical emphasis and baroque influencies of modern shredding. It has been argued that jazz-rock guitarists like the aforementioned Al Di Meola and Allan Holdsworth can be seen as first players to record shredding in the modern sense of the word on various jazz-rock recordings since mid-1970s. In early 1980's Randy Rhoads was another important figure that pioneered shredding on heavy metal/hardrock records, starting in 1980 with Ozzy Osbourne's debut album Blizzard of Ozz and Diary of a Madman. Eddie Van Halen was also a very influential artist related to the shred guitar movement who helped popularize shredding by selling more than 10 million copies of Van Halen's debut album. It can also be argued that advances in technology in home recording and programmable bass/drum machines have led to a surge in the number of amateur guitarists releasing instrumental/shred albums on the internet, as they remove the high costs of studio recording and the need for a full band.
[edit] Connotations
Occasionally, the term "shredding" is used with a negative connotation; in this context, it refers to playing with blinding speed and technicality at the sacrifice of feeling or musicality. This is often pointed at metal players who are considered to aim to shred excessively, such as the Great Kat, or Michael Angelo Batio. This view of shredding was most prominent in the 1990s due to the popularity of 'stripped down' or minimalist forms of rock music.
[edit] Musical styles
Progressive rock, Death metal, Progressive metal, Thrash metal, and Jazz rock have adapted the style successfully. In general, however, the phrase "shred guitar" has been traditionally associated with heavy metal guitarists. This association has become less common now that modern (evolved) forms of metal have adopted shred guitar; shred guitar is now most commonly seen in the power metal, progressive metal and death metal genres.
[edit] Techniques
Guitar playing techniques commonly involved in shredding are:
* Alternate-picking
* Tapping
* Legato
* Sweep-picking
The most basic and probably most common form of shredding involves ascending and descending a two- or three-octave scale or mode at a fast tempo. This "lick" can be played by picking all of the notes (alternate-picking), or just the first and/or second note of a string (legato). This format is very versatile, and is easy to incorporate other patterns or licks into. Sweep-picking is commonly used to play arpeggios across the fret board. Tapping is also often used to play arpeggios, but is not limited to just that.
[edit] Bass shredding
Shredding on upright bass and bass guitar is much more rarely seen due to the mainly supporting role of bass and the difficulty of the techniques involved. Stanley Clarke is considered to be the first bass shredder, using a similar technique on both upright and bass guitar: Clarke-style shredding is done by continuously raking three or four picking fingers across two or three strings while barring the strings in use and sliding up, then down the neck. Another technique, more similar to guitar shredding, is very rapidly ascending then descending a two- or three-octave scale, but playing each note. An example of modern bass shredding is some of the "show-off" works by Manowar bass player Joey DeMaio, such as his cover of "Flight of the Bumblebee", led "Sting of the Bumblebee" as well as various filling segments from live shows. Another example a bass shred musician is Billy Sheehan. He is known to incorporate many techniques used for guitar into his playing bass. Bass shredding is generally considered to be more difficult than guitar shredding because of the bigger scale length of the bass and the strength required to pluck and fret decent sounding notes.
[edit] Gear
In terms of shred gear, most shredders use Stratocaster-style electric solidbodies (like Ibanez, Jackson, or Ernie Ball) with locking tremolo systems (these guitars are commonly referred to as 'superstrats') and also high-gain vacuum tube amplifiers. Various shredders will even use guitars with seven, eight (such as in the case of Rusty Cooley) or more strings to add more range of notes as well as to better display their virtuosity.
[edit] Resurgence in popularity
In recent years shred guitar has seen a resurgence in popularity. Modern shredders such as Francesco Fareri and Rusty Cooley have managed to gain notoriety on the internet, leading to wider audiences through publications in guitar orientated magazines. Modern bands such as DragonForce have helped bring technical guitar playing to the mainstream, and even acts like The Darkness, while not playing shred, contributed to the trend by making a guitar-heavy sound widely acceptable again, in what used to be a dance- and electronic- dominated culture. A style deemed 'uncool' or excessive in the 1990s is now commonplace in most emerging modern metal bands, in particular bands of the power metal genre are keen to incorporate shred guitar solos into their music.
The increase in availability of free guitar tuition on the internet (through websites like Shredaholic and 'The Shred Zone') has made it more accessible for learning guitarists to develop the high degree of technical ability required for shred guitar, which in turn has also helped boost the popularity of the genre. Also web sites like 'TruthInShredding' which feature current and undiscovered guitar players often help aspiring instrumental artists trying to get heard. Podcasts such as Bieber Labs even feature music with permission of the artists.
http://en.wikipedia.org/wiki/Shred_guitar
The two front guys in dragonforce deserve some mention, especially the asian one.
Nice find. I saw that when it was on TV.
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