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2 most feeling guitar solos of all time, in my opinion


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Here are LIKELY the two of the most feeling-full guitar solos I've heard in the 40 years I've been playing and listening to see who was the best of all.


When I say feeling, I don't mean any particular KIND of feeling, sad, happy, energetic. I mean that the timing, and choice of the notes somehow makes it plain that these two guys are coming from feeling and not from planning.


I hate to ask you to listen to entire 5 minutes of each song, (tho it might help the mood) so I'll tell you that the first song has two equally good solos at about 2:40 and 4:01, and the second song has its solo at about 1:42. I would humbly recommend that you start listening 15 seconds or more before the solo, just for mood's sake though.


http://www.youtube.com/watch?v=kMx6OvwboFo this is Leslie West of Mountain


this is Wes Montgomery (clean slow guitar)
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Okay, I know I'll get chewed on for this but...


How about Segovia playing music written by another: especially Bach's Chaconne? And some of that's even so fast that I have too much of a hard time separating notes in my head to consider reproducing them.


Hey, nobody here, repeat, nobody here loves good blues better than I do. But...


The question is "feeling." This hits it as well as anything.


Here's another concept, too. I was privileged to sit 20 feet or so from Carlos Montoya, the flamenco "saint" if you will, once upon a time. Although he wasn't weeping or screaming, the passion - joy or sadness - was obvious and you didn't have to be watching to know it. Again... you wanna look at a transcription to figure he was hitting perhaps three to five times the notes per measure at times as "one or two string at a time" guitarists? And that doesn't include the flamenco version of "strumming." Just note for note pickin'.


That last, I'll add, is kind of a pet peeve of mine, by the way.


I truly wonder how some of the great classical and flamenco guitarists would have treated "blues." But I've a hunch there have been more than a few of them that would have had music sets to set the world on fire. The problem is perhaps the "classical" mind set that requires or greatly prefers notes to memorize and the "jazz" mentality followed by most blues and rock musicians as well. Which brings me again to some of the flamenco guys. I dunno.


I'd also like to hear some of the "great" rock and blues players manage even the "top string" lines of such as Bach's Bourree in Em and keep up the pace and timing.


No, I don't hate "plectrum" pickers. I'm just pointing out that there's more than one way to play a guitar well.


Bottom line: We tend to get these "discussions" most obviously with relatively recent musicians in specific genres. Don't forget there are greats who ain't never done blues or rock 'n' roll. Sometimes they play(ed) lotza notes per measure, sometimes far fewer. But the greats had a lot going for them, and many have been recognized as such.

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Okay' date=' I know I'll get chewed on for this but...



I'd also like to hear some of the "great" rock and blues players manage even the "top string" lines of such as Bach's Bourree in Em and keep up the pace and timing.






I was just thinking about a guy I gave a ride to in SF many years ago. He ended up staying with us for a few weeks and jamming with my band. The guy was an awesome picker from Austin or SA...I disremember. Anyway, part of his daily practice was a 10 minutes of Bach, first the right way, then backwards, note for note. Wish I could recall the exact piece, I can play it on keys. He left the Bay Area after getting a gig with the John Lee Hooker band. Mike Fagaris (sp) was his name and we never heard from him again.

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wicked1' date='

I almost went with Europa—who wouldn't.

But at the time I'd been listening to several songs off Santana's Supernatural and was probably influenced by that.[/quote']


I had to groove on some Europa last night on the keys, so it was fresh in my mind! Man, nothing turns me on quite like Santana....*sigh*

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