Friday, April 6, 2007
Post 5 for today: Great Moments in Recorded Electric Guitar, Part 1
1:12 - 1:19 -- some songs are well known for having a good groove. Melvins songs typically have a strong groove to them, but in this section, the groove lurches, stops, and restarts in such a powerful way that the "rhythm" all but causes a fold to open in the fabric of time.
Stranglehold, by Ted Nugent:
7:49 -- Once we get over the concept that the Nuge kills animals of every kind to cook them and make jerky from them, we look back and fondly recall his awesome prowess on the axe. Here are four of the fastest notes ever played, and with such precision.
Rub 'Til It Bleeds, by P.J. Harvey:
Throughout this entire song, the passion of the playing matches the vocals, and though the guitar line mostly just repeats, it is placed perfectly at the very front of the mix! Its rare that a guitar can be so far forward, as if leaping right out of the speaker, and sound right. The guitar tone and break-up are excellent as well.
Strange, by Wire:
Speaking of tone and distortion.... The guitar in this song makes me almost want to cry from envy. Its not the tone I'd want for every song, but I wish I knew exactly how to get that sound. A Big Muff Pi comes close, but I have a feeling this requires a great deal more, as if its happening in a rare expensive 70's Orange amplifier that's had its tubes warming up for hours, preceded by just the right pick-ups. (If you're wondering where you've heard this song before, it's likely the more popular cover version by R.E.M.)
Seether, by Veruca Salt:
Much of the guitar is just Green-Day style distorted punk I-IV-V power chords, but during the in-between times, it's a testament to the beauty of occasional harmonics and fretting sounds when the gain is turned up.