Missionaria Protectiva

       When Metallica formed, all James Hetfield, Dave Mustaine, and Lars Ulrich wanted to do was rage on finger-breaking thrash metal — until they met Cliff Burton. The bassist had been playing with a rival metal group, and when they saw him play a jaw-dropping bass solo, they wanted him in Metallica so badly that they relocated from Los Angeles to his native Bay Area at his request. Once in the band, Burton introduced the guys to R.E.M., the Misfits, and Bach, opening them up to a new musicality, as he added orchestral flourishes and bass virtuosity to some of their hardest-hitting songs. His bass solo, “(Anesthesia) — Pulling Teeth,” on their 1983 debut,  Kill ‘Em All,  is an aggressive showcase of classical-music improvisation and wah-wah lyricism, while his delicate intro to “Damage Inc.” and the middle of “Orion” showed just how beautiful thrash could be. His concepts continued to resonate with the band after his death in a bus accident in 1986.    METALLICA     Ride The Lightnin

        A troubled man with a brilliant knack for electric guitar. Stevie Ray Vaughan is seen as a crucial figure in the blues revival. Vaughan had many diverse influences such as Jimi Hendrix, B.B. King, and Chuck Berry, and he helped found the blues rock group, Stevie Ray Vaughan and Double Trouble, where he, Tommy Shannon, Chris Layton and Reese Wynans recorded a number of well-known and famous songs such as “Pride and Joy,” “Voodoo Child” and “Crossfire,” to name a few. He led an embattled personal life that could have very well derailed his career. Fortunately, during his time on Earth, Stevie built a legacy that continues to inspire musicians today. Vaughan’s life was tragically cut short following a helicopter crash while on tour with Eric Clapton, but in his relatively short years as a musician, he crafted some of the most popular classic rock and blues songs. Texas Flood Epic,1983 https://www.sendspace.com/file/zik6r6

        This dynamic rock violinist has played with everyone from UK, Roxy Music, and Frank Zappa to Jethro Tull. Jobson's recordings as a leader showed much promise in their use of keyboards, computer-generated sounds, and wailing electric-violin solos. Too bad he hasn't released more of his own music. EDDIE JOBSON & ZYNC The Green Album Capitol,1983 https://www.sendspace.com/file/8f2rej

  Tommy Lee's gravity-defying drum solos and penchant for wearing as few clothes as possible made him one of metal's truly great showmen. But his bashing in Mötley Crüe was just as important as his star power. Lee's frenetic clatter helped define the glam-punk appeal of Mötley's debut  Too Fast for Love , while the earth-shaking beat that powered  Dr. Feelgood 's title track sounded as menacing and overwhelming as that song's tales of drug-fueled Eighties decadence. MOTLEY CRUE Too Fast For Love Leather,1981 https://www.sendspace.com/file/w0jm5a

        Motörhead’s most iconic song, “Ace of Spades,” opens with Lemmy Kilmister playing a tap-dancing lead bass line before falling into a melody that sounds like his Rickenbacker is headed straight to hell as he sings about feeling “born to lose.” Both in his poetry and his bass playing, Kilmister’s aesthetic was all about reckless abandon. Prior to Motörhead, he was a rhythm guitar player who switched to bass to play with space rockers Hawkwind. “[Bass] is just like playing the guitar without the top two strings,” Kilminster once said .       After his predilection for uppers got him ousted from that band, he developed his own gritty style. Kilmister’s approach perfectly matched his sandpapery voice and underdog wit, and it made him unique — a distinction he was proud of. Born To Lose,Live To Win Cleopatra,2016 https://www.sendspace.com/file/qk62d2

        A guitarist whose skills are often shadowed by the magnitude of the albums he worked on, Mick Ronson is most noted for his work with David Bowie. He helped write the blueprint for punk rock with his jagged style of playing on the  Ziggy Stardust  album. He started with Bowie just before they began the sessions for  The Man Who Sold the World  and later became the centerpiece of Bowie’s Ziggy-era backing band, which he played with until Ziggy’s farewell show. His psychedelic garage rock roots gave sonic strength and raw power to the cosmic sound Bowie was looking to create at the time. His guitar solos had a sense of melody that you can sing every note to. As if playing with Bowie wasn’t enough, he went on to work with other legends such as Bob Dylan, Ian Hunter, Lou Reed, John Cougar Mellencamp and Morrissey.  Showtime NMC,1999 https://www.sendspace.com/file/dp0h16

       Although mostly remembered as a composer,both for his solo material and film music,Vangelis has come jaw-dropping keyboard playing skills.He was close to joining Yes back in the day,but it seems that working on his own and not going through all the troubles of touring suited him more.One of a kind artist. HEAVEN AND HELL RCA,1975 https://www.sendspace.com/file/pubrdb

        Longtime AC/DC drummer Phil Rudd has recently has received more ink for threatening to kill a former employee and for possessing meth and weed than he has in all his 29 years of simple, rock-solid beats and immaculate timing. That's a shame, since Rudd's economic style and monster groove helped pave the way for the iconic band's stardom. One of the most consistent minimalists in hard-rock drumming, Rudd influenced a wave of international players from Rammstein's Christoph Schnieider to Kiss' Eric Singer. Rudd joined AC/DC in 1975, replacing Peter Clark, and played on seven studio albums before vocalist Bon Scott died from "death by misadventure." Following a bout with substance abuse and a physical altercation with rhythm guitarist Malcolm Young, Rudd was fired in 1983. He returned to AC/DC in late 1993 and played on another four albums.   AC - DC   Live   Atco,1992 disc 1    https://www.sendspace.com/file/a9tzhg disc 2    https://www.sendspace.com

      At the center of the emotional tempest that is Fleetwood Mac, sturdy, empathetic John McVie has mixed old-school rock solidity and California smooth, grounding the band’s sound for five peerlessly even-handed decades. McVie got his start with John Mayall and Bluesbreakers in the mid-Sixties, and he transferred that bedrock drive to Fleetwood Mac (a band co-named for him), forming an unshakeable bond with fellow band namesake Mick Fleetwood in their jam-heavy Peter Green days that carried over into the high-flying Buckingham-Nicks era. Hits like “Go Your Own Way” and “Rhiannon” have a subtle toughness that stood out among the band’s laid-back L.A. peers — “You’re a monster, John,” Fleetwood exclaimed when listening to a playback of McVie’s “Go Your Own Way” lines  on  Rumours  — and it’s impossible to think of “The Chain” without getting that iconic McVie bass break stuck in your head.   JOHN McVIE'S ''GOTTA BAND'' With LOLA THOMAS Warner Brothers,1992 https://

        When arguing that technical mastery isn’t an essential signifier of guitar greatness, look no further than Keith Richards. Are the riffs and solos in “Gimme Shelter” particularly complex? No, but you’ve never forgotten them once you’ve heard them. Many of the truly iconic Rolling Stones guitar licks, including “Satisfaction” and “Honky Tonk Women,” are his, despite always working with a second guitarist, be it Brian Jones, Mick Taylor or Ronnie Wood. If you need evidence of his versatility, go right to  Beggars Banquet , on which he plays sitar, slide guitar and tanpura in addition to his usual acoustic and electric, and the more subtle, haunted work on ballads like “Sister Morphine” and “Angie” is some of his best.  Main Offender Virgin,1992 https://www.sendspace.com/file/tu7tnw

      Unquestionably one of the most important keyboard players of the past half century, Emerson first made his reputation in the 1960s, with The Nice, before going on to co-found the celebrated ELP. Subsequently, he showed enormous versatility as a solo musician, and also in collaboration with others as well as composing movie soundrack music.       His effortless ability to move from rock to jazz and classical motifs helped to inform a spectacular and unrivalled approach to his art. Emerson was as capable of introspection as well as flamboyance, and he brought a keen sense of showmanship to performances, yet this never overshadowed his mastery of the keys, in particular the Hammond organ. His death in March 2016 robbed the world of a visionary. HONKY Esoteric,1981 https://www.sendspace.com/file/d1mhwj

      Neil Young has played with a lot of drummers during the past 50 years, but he always comes back to Ralph Molina, whom he first met during the Buffalo Springfield days, when Molina was a member of the Rockets. Like his Crazy Horse compadres, Molina is the furthest thing imaginable from a cookie-cutter virtuoso. "I can start playin' the guitar, and Ralph can pick it up on the wrong beat and play it backwards," Young told biographer Jimmy McDonough. "That happens all the time. Never happens with professional groups." He doesn't mean that as an insult. It's that kind of raw, from-gut-playing — and a knack for earthy backbeats that lope along with elemental grace underneath Young's signature fuzz-toned flights — that helped Molina lay the foundation of "Down by the River," "Cinnamon Girl" and other timeless classics. “We don’t know the songs; we don’t have charts," Molina said of in 2011 of his work with Young. "We

      The singer-songwriter movement of the Seventies called for backup musicians who could anchor ballads and midtempo rockers while never distracting from the singer or the song. Toward that goal, the likes of James Taylor, Jackson Browne, Carole King, David Crosby, and Graham Nash regularly rang up Leland Sklar.       Sklar’s understated, nonflashy but melodic bass can be heard on many Taylor classics (“You’ve Got a Friend,” “Handy Man,” “Your Smiling Face”) as well as on Browne’s “Doctor My Eyes” and all of  Running on Empty , and Gene Clark’s cult classic  No Other . In the Eighties, his bass became an integral part of Phil Collins’ records, heard on “Don’t Lose My Number,” among others, and Sklar even funked it up on the Weather Girls’ dance-club anthem “It’s Raining Men.” No wonder Crosby has called him “the best player in the world.” JACKSON BROWNE Running On Empty Asylum,1977 https://www.sendspace.com/file/ljvb8c

     Rock'n'roll's most ardent philosopher king has to play guitar,but contrary to expectations,the Who's fulcrum shied away from solos.In his earliest work Townshend used power chords as set changes to play the landmines youth culture were stumbling over.As his narrative ambitions extended so did the depth of those chords.They paired with the morass of Keith Moon's drums and demanded to have their questions answered.When they weren't,you could sense their deflation in Townshend's sad,afterthought picking.It was a telling blend of blue-collar effort and complicated stabs at transcendence.As a result Townshend was able to say strictly through rhythm-playing what a million wordy lead players could not.   Who Came First   Track,1972 https://www.sendspace.com/file/k4c2r8

       Banks formed Genesis with Charterhouse school pals Peter Gabriel, Mike Rutherford, Anthony Phillips and Chris Stewart in 1967, and remained at the helm of the prog rock giants until they were effectively put into cold storage following a 2007 world tour. He is responsible for many of the band’s lengthy epics, and also for bringing a big symphonic edge to their sound. Although his solo career was not as successful as some of his bandmates, he is often seen as the progressive core of the Genesis sound. He recently worked in the classical realm with three well-received works.    The Fugitive    Charisma,1983     https://www.sendspace.com/file/kfglk5

The sophisticated foundation of Swedish metal band Meshuggah's rumbling, experimental sound, Tomas Haake creates an off-kilter feel by playing a standard 4/4 beat with his right hand and tumbling polyrhythms with everything else. The result is beats that often sound like the mechanized revving of a Lamborghini Diablo SV. Since Meshuggah's first album, 1991's  Contradictions Collapse , Haake has modified his approach by adding electronic beats and increasingly more sophisticated drum patterns, courtesy of guitarists Fredrik Thordendal and Mårten Hagström. MESHUGGAH Contradictions  Collapse Nuclear Blast,1991 https://www.sendspace.com/file/qt39nc

      Prior to joining Guns N’ Roses, Duff McKagan had barely touched a bass. He was an ex-guitarist and ex-drummer who had come up in Seattle’s early-Eighties punk scene, and the combo of his background and his raw approach to playing gave Guns N’ Roses songs like “It’s So Easy” and “You Could Be Mine” a rough edge. To learn the instrument, McKagan binged on the bass lines of Prince , Zeppelin’s John Paul Jones, the Clash’s Paul Simonon, Motörhead’s Lemmy Kilmister, and, most surprising, Barry Adamson of the postpunk group Magazine. “In Magazine, those bass lines were so pronounced, he had the chorus pedal on the bass,” McKagan once said, referring to a device that gives the instrument a glassy, almost hollow sound, “and that’s really where I grabbed the chorus pedal for Guns.” That secret weapon helped McKagan push his bass to the forefront on  Appetite for Destruction  and the  Use Your Illusion  LPs, equaling the musicality of Slash and the grit of Axl Rose, making him an integ

     If you are in a band with Freddie Mercury chances are you won't get your fair share of the spotlight.This is why May,who pound for pound holds his own against or even surpasses the likes of Page,Iommi and Gilmour,is shamefully underrated as a guitarist.he holds a masterful guitar tone that is recognizable on the first note.Not only can he shred,but does so against the wide range of stylistic shifts his band took.Queen layered their songs with lush vocal harmonies and piano parts.May was skilled at not crowding,yet could fill an arena with a single note.Most guitarists who don't have the chops to play an arpeggio are quick to call guitar solos a masturbatory excess,but May was the shinning example of having the skill and knowing when to temper it with taste.He could burn a fretboard as well as any guitar legend,but served their songs first.      Back To The Light      Parlophone,1992       https://www.sendspace.com/file/x0h5jp

      Roger Waters and David Gilmour may have dominated the Pink Floyd headlines, but few will argue against the fact that Wright’s delightful keyboard sound coloured much of what the band produced. He also wrote some of the band’s more memorable pieces of work. He rarely ventured beyond the confines of Floyd, but when he did, it was often more than worthwhile. Famously sacked by Waters during the making of  The Wall , David Gilmour brought him back into the fold for 1987’s  A Momentary Lapse Of Reason , while  The Endless River  was Gilmour and Nick Mason’s final tribute to their late keyboard player. Broken China EMI,1996 https://www.sendspace.com/file/uhsars

      Guns N' Roses' landmark debut,  Appetite for Destruction , gets much of its swagger from the tense yet swinging beats of Steven Adler, the band's energetically goofy drummer. "To Steven's credit, and unbeknownst to most, the feel and energy of  Appetite  was largely due to him," Slash wrote in his autobiography. "He had an inimitable style of drumming that couldn't really be replaced, an almost adolescent levity that gave the band its spark." Bassist Duff McKagan agreed: "Without his groove, we wouldn't have come up with a lot of those riffs," . Adler, who was fired from the band in 1990, was replaced by technically advanced drummers like Matt Sorum and Frank Ferrer, but no one can properly capture his exuberant, whiskey-soaked, youth-gone-wild pulse. ADLER'S APPETITE Adler's Appetite EP Arrogant Bastard Ltd.,2005 https://www.sendspace.com/file/blh3gn

     Boston bass player Tony Levin earned his earliest sideman cred with jazz flautist Herbie Mann before sessioning on Bob Ezrin-produced albums for Lou Reed and Alice Cooper.Ezrin then introduced Levin to Peter Gabriel,who was just re-entering the music world after leaving Genesis and starting a family.He's been a constant figure on Gabriel's albums and tours since then,providing wobbly,futuristic lines on electric upright bass and co-inventing 'funk fingers' to slap at his instrument like a drum.      Levin also managed to take more session detours with John Lennon,Bowie and monsters of prog like King Crimson,Yes and Pink Floyd,as well as put together a catalogu of solo work and collaborative band releases.Forty years on,Levin has parlayed only timely connection into status as one of the most killer silent killers in music,his distinctive look,sound and tools helping him cut an imposing figure out of the normally anonymous context of the backing band. LIQ

     Eric Clapton is the name for God in the lips and hearts of other guitarists.Tha man has spent more than 50 years repping for jammy psychedelia,fluid AOR,traditional blues and world-weary singer-songwriter pop.We can get some measure of Slowhand's influence through his partnership-a member of the Yardbirds,the Bluesbreakers,Cream,Blind Faith,and Derek&The Dominoes,an album collaborator with JJ Cale and BB King,a live foil for Jimmy Page,a secret weapon for the Beatles-even before we look at his own score's worth of albums. Slowhand RSO,1977 https://www.sendspace.com/file/xfr629

           A Juilliard attendee for piano aged just nine, by his late teens Rudess was more interested in synthesisers and progressive rock. He was offered gigs with both the Dixie Dregs and Dream Theater, initially choosing the former. However, he worked with Dream Theater drummer Mike Portnoy on his Liquid Tension Experiment side-project, and in 1999 he replaced Derek Sherinian in the prog metal overlords. He’s been with them ever since, although he delves into his solo career and has also worked with both Steven Wilson and Ayreon.    JORDAN RUDESS     Listen    Invincible,1993     https://www.sendspace.com/file/8gt3m0

      Born on August 28, 1948 and raised in Chicago, Danny began playing at the age of nine after watching his uncle, who was a drummer, play at family gatherings. By the time he was twelve, he was playing in a variety of rock bands and, when he was fifteen, he met Walt Parazaider and Terry Kath at an audition for a group called the Executives.       While studying percussion at DePaul University with Bob Tilles, a well-known percussion genius, Seraphine came into contact with several of the musicians who would later comprise the Missing Links, the forerunner of Chicago.       Danny's influences are as diverse as his style. They include Buddy Rich, Tony Williams, Mitch Mitchell, Elvin Jones and Grady Tate.         Danny believes that Chicago's most significant contribution may be in its inspiration to others. He is hopeful that Chicago will inspire other musicians to be aware of the possibilities available through the use of imagination and open minds toward forms of mus

     It can be easy to overlook McCartney's skills as a bassist for two excuses:           a) he was in the Beatles,their myth still writ so large deconstructing it seems counterproductive           b) Paul plays basically all instruments ever made,most of them quit well      But if one sets the mania aside and pays close attention to certain Beatles and Wings songs,McCartney's bass moves are almost blindsiding.He approaches the instrument from a composer's perspective:McCartney knows the essence of melody better than any of his peers,and his incredibly mobile bass lines for tracks like 'Something' and 'Taxman' casually take flight off harmonies most players would have to flight to locate. BEATLES Abbey Road Apple,1969 https://www.sendspace.com/file/rp9inx