GUITAR WOLF...Robert Fripp

 


     Some might consider it unfair that Robert Fripp’s best-known guitar work isn’t with the band he devoted decades of his life to, King Crimson. It’s on David Bowie’s “Heroes”: The reverb-heavy leads on the title track alone are ingrained enough in the consciousness of popular music to guarantee that Fripp will never be unheard. Even if he’d just been a session legend and invented the Frippertronics tape-loop system of ambient sound creation, Fripp would have a place on this list. But, of course, he did so much more.
     Plenty of post-rock and avant-garde musical artists owe a considerable sonic debt to King Crimson or Fripp’s various collaborative efforts—particularly the haunting sounds he provided to Brian Eno on songs like “Here Come The Warm Jets” and “St. Elmo’s Fire.” His style on the essential Crimson albums isn’t much different from what he’d provide in his best-known sidework: improvisation-heavy, sharply distorted, influenced by free jazz and classical as much as blues and psychedelia. Although the riffs and leads on “21st Century Schizoid Man” are some of rock’s most iconic, Fripp had little to no interest in conventional ideas of how to use the guitar, introducing the folk crosspicking style to the rock canon and often eschewing traditional tones and time signatures for unpredictable arrangements that would baffle many guitarists attempting to emulate them.

LEAGUE OF GENTLEMEN

Thrang Thrang Gozinbulx

Discipline,1996

official bootleg live 1980

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GUITAR WOLF...Joe Perry

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        It’s hard to conceive a better musical foil for Steven Tyler than his longtime partner and occasional adversary. For more than 40 years, Joe Perry’s monstrous, blues-on-steroids riffs have been  Aerosmith ‘s bedrock. And his solos, jutting out from “Walk This Way” or slashing boldly through the high-gloss production of later hits like “Janie’s Got a Gun” and “Cryin’,” have a caffeinated energy that’s every bit Tyler’s match. AEROSMITH Get A Grip Geffen,1993 https://www.sendspace.com/file/rd9fbo
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LITTLE DRUMMER BOY...Matt Cameron

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        More than any other drummer, Matt Cameron laid the rhythmic foundation for the Nineties rock revolution, reconciling proggy technicality with overwhelming force. He aptly characterized his rotary-blade rhythms on the 1991 Soundgarden track "Jesus Christ Pose" as "a pure assault of the senses," but that efficient brutality wasn't necessarily characteristic of Cameron's work with the band – his drumming on  Superunknown  is as thoughtful as it is heavy, from the fluid asymmetry of "Spoonman" to the unshakeable backbeat of "Fell on Black Days." Twenty years after its release, Dave Grohl was  still raving , "Nobody played drums like Matt." When Soundgarden suddenly disbanded in 1997, Cameron wasn't out of work for long: Pearl Jam invited him on tour the following year.  SOUNDGARDEN  Badmotorfinger A&M,1991 https://www.sendspace.com/file/uaniyr
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ONCE UPON A TIME...One Niter

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  EELA CRAIG  One Niter  (Vertigo,1976) - Prog/Symphonic rock       The album "One Niter" is the peak of Bognemayr and K.'s artistic quest. Hubert's philharmonic ambitions found a way out in the use of a gigantic keyboard arsenal. Majestic Mellotron fanfares, chorales and a string of harpsichord arpeggios greet the listener at the threshold of the 14-minute "Circles" suite. Cosmic synth landscapes shimmer in a radiant flute scale. And then the bravura leitmotif is either played out in a full-fledged rock key with an incredibly rhythmic funk addition, or hidden behind a light fairy-tale pastoral, saturated with the leader’s touching vocals. Needless to say, the imagination of the band members literally flows here, sometimes taking on rather bizarre silhouettes. According to similar canons, an ecstatic hymn is melted into a powerful fusion structure (“Loner’s Rhyme”): hard rock marries with jazz; Encouraged by  Raoul Barnett's  congas,  "Hammond"
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