Missionaria Protectiva

        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