[ Jeff Beck ]   [ Ritchie Blackmore ]   [ Jimi Hendrix ]   [ John McLaughlin ]   [ Al Di Meola ]
[ Gary Moore ]   [ Randy Rhoads ]   [ Uli Jon Roth ]   [ Michael Schenker ]   Eddie Van Halen ]

Just as players in the 90s cite such guitarists as Yngwie Malmsteen, Paul Gilbert and Steve Vai as essential to the development of their style, these instigators of such dazzling sounds and techniques were themselves influenced by musicians of previous decades. Each successive generation is rarely, in itself, responsible for initiating a completely 'new' sound; rather this is precipitated by reference to earlier styles. For instance, terminology, such as neo-classical' refers to a modern revival of old fashions, in this case those of classical music (the mode of music that included Mozart, Beethoven and Haydn and stretched from 1770-1830). This term may be extended to modern guitar music, whereby the player combines outdated concepts with current instrumental skill to produce an apparently 'new' musical form -- neo-classical (NB: There is a tendency to misuse the term: some players more often emulate Romantic-period* composers -- Chopin, Weber, Schubert -- in establishing their sound).

A more recent parallel can be found in thrash music, which is really a progression of the themes of 70s heavy metal (Motorhead, Diamond Head, and so on), combining faster rhythms and better musicianship to create a musical deviation. Indeed, the very term 'rock' merely implies its development from 'rock' n' roll', popular music that had its roots in 1950s America and which is only differentiated today by the individual interpretation of the band or musician(s) concerned.

The same applies to modern guitar players. None of the star players of the 80s would have been able to come up with such idiomatic styles were it not for the players of yesteryear. Whilst some are reluctant to reveal their influences, few, if any, lack a precedent in the annals of guitar-playing history. With this in mind, the following section examines some of these important players; for obvious reasons it is next to impossible to account for every significant guitarist. Only the most relevant are included here.

*While classical music (and painting/literature) was more concerned with how themes and ideas should be explored in terms of style and form, the Romantic movement was more concerned with what it had to 'say' than the way in which it was 'said'. Romantic music is the music of the emotions -- love, joy and sorrow.

Jeff Beck

Considered to be one of the forefathers of rock, Jeff Beck forged his reputation on the bedrock of bands such as The Tridenty and The Yardbirds (replacing Eric Clapton). His early solo releases -- under the title of the Jeff Beck Group -- include Beck-Ola (1969) and Rough and Ready (1971). For the most part, Beck forgoes the usual rock clichés, incorporating jazz and other musical styles into his sound. He has worked with many respected musicians, including drummer Carmine Appice (Vanilla Fudge and Ozzy Osbourne, to name two), John Paul Jones (bassist in Led Zepplin) and Jan Hammer (keyboards) (on 1977's Jeff Beck with the Jan Hammer Group Live).

Many guitarists have been inspired by Beck and his unusual playing style -- for instance, Beck often uses his fingers and thumb to 'pick' his solos instead of using a plectrum. Direct descendants include Jennifer Batten, Steve Vai and Gary Moore, the latter in terms of Jeff's clear sustain. Jeff Beck is still recording albums and his playing merits attention even today. He recorded with Mick Jagger (The Rolling Stones) on his Primitive Cool LP (1987), and his later solo releases are Jeff Beck's Guitar Shop and Crazy Legs (1993) (with Jeff Beck and The Big Town Playboys).

Recommended Listening

Solo: Blow By Blow (Epic/1975)

Wired (Epic/1976)

Jeff Beck's Guitar Shop (Epic/1989)

Ritchie Blackmore

Ritchie Blackmore is synonymous with the band Rainbow which he formed after departing Deep Purple in 1975. During his Purple spell, Ritchie developed a reputation for playing classical passages which complemented Jon Lord's otherwise dated keyboard sound. Albums like Deep Purple In Rock (1970) and Burn (1974) continued Blackmore's approach, enlivening the music with his colourful fills and heavy rhythms. The Rainbow releases (seven studio albums) were better suited to the guitarist's more commercial musings; yet the sound was often reminiscent of Purple. Blackmore re-joined Deep Purple for a comeback album, Perfect Strangers, recorded in 1984.

Although widely admired by the likes of Yngwie Malmsteen, Vinnie Moore and Chris Impellitteri -- themselves latter-generation neo-classicists -- Blackmore's actual contribution to the evolution of modern guitar music is nebulous to say the least; it's true he incorporated many classical ideas into his bands' music. However, his tone was often insipid and much of his live playing sloppy, the emphasis being on visually engaging -- as opposed to technically correct -- performance. Moreover, his classical embellishments, more often than not, gave the impression of being props for an otherwise vacuous technique. An undeniably influential, but hardly innovative guitarist.

Recommended Listening

With Deep Purple: Fireball (Harvest/1971)

With Rainbow: Rainbow Rising (Polydor/1976),

Down To Earth (Polydor/1979)

Jimi Hendrix

In Hendrix's hands, the guitar really realised its full potential: it became an independent object, free, sensitive and almost animate. 50 Years of Rock Music, Philippe Paraire (p.105))

Initially it would seem that Jimi Hendrix (a guitarist whose reputation was forged back in the 60s) is an unlikely choice to represent the origins of modern guitar playing. However, his presence is still perennially felt: his albums continue to be re-released; music magazines continue to dedicate space to him; most importantly, modern guitarists cite his influence and integrate his experimental ideas into their playing and their music. Yet Hendrix was an enigma: a black man who played blues-powered psychedelia in a rock setting. He was not particularly technical, making abundant use of effects like 'wah-wah' and feedback, and such visual stunts as smashing his guitar into the amp stack, even, on occasion, setting fire to it!

Hendrix's first solo band was The Jimi Hendrix Experience, formed after years of touring with soul, rhythm and blues and rock 'n' roll bands. The first album, Are You Experienced (1967), was successful enough to prompt the release of a whole string of 60s and 70s recordings, not to mention a massive posthumous back-catalogue of live and session material released throughout the 80s and 90s.

Jimi died on September 18th, 1970 from an overdose of sleeping pills. Interestingly, Yngwie Malmsteen has stated that he first picked up the guitar on the day Hendrix died. Jimi's sound was very much a product of his own era; attempts to re-vitalise his style or copy it outright are misplaced in the 90s. Guitarists today are better off adopting his ideals -- namely the exploration of new territory -- than playing his licks. Amongst his many admirers are: Uli Jon Roth, Paul Gilbert, Eric Johnson and JoeSatriani.

Recommended Listening

Solo: Electric Ladyland (Polydor/1968)

Soundtrack recording from the film 'Jimi Hendrix'(double album) (Reprise/1973)

The Jimi Hendrix Experience (CBS/1982)

John McLaughlin

One of the originators of the term 'fusion' is British guitarist John McLaughlin. When it was first propounded in the 70s, 'fusion' was almost anathema to jazz purists because it implied combining the rock idiom with improvisational jazz modes to create a musically challenging hybrid. Yet jazz itself was the direct culmination of several disparate musical forms, the music of 'communities'. McLaughlin's contribution was therefore profound.

John McLaughlin was born in Yorkshire, England, in 1942. Mostly self-taught, he was subjected to various kinds of music at an early age: classical (he studied piano and violin) and blues (Big Bill Broonzy and Leadbelly, popular blues men of the time), to name but two. He next came into contact with flamenco playing, and was attracted to its passionate melodies. By age 16, McLaughlin was playing with jazz bands and exploring the work of Charlie Parker, Miles Dewey Davis III and John Coltrane. In 1963, he joined the Graham Bond Organisation, an important British band in the 60s, which included renowned musicians Jack Bruce (bass) and Ginger Baker (drums). Through contact with occult beliefs and spiritual practise, McLaughlin was exposed to Eastern philosophy, discovering ragas -- intricately arranged systems of improvisation and composition -- and their celebrated practitioner, sitar player Ravi Shankar. Later still, in 1968, McLaughlin was asked to join drummer Tony Williams' band Lifetime. He then worked with idol Miles Davis on the seminal album Bitches Brew (1970).

In 1973, McLaughlin recorded The Inner Mounting Flame with The Mahavishnu Orchestra ('maha', meaning 'the creator', 'vishnu', meaning 'the preserver'); he went on to record further Orchestra albums, such as Birds of Fire and 1986's Adventures In Radioland. These recordings featured a diverse instrumental direction, incorporating violins and keyboards alongside guitar. John later recorded such albums as Electric Dreams (1979) and the live Havana Jam (1979) and worked with inspirational guitarists Al Di Meola and Paco De Lucia on several releases, along the way developing a reputation as a highly talented and thoughtful musician, one who ushered in 70s improvisational fusion structures. More recent releases include: Queue Alegria (1992) and The Promise. His experimental style has influenced the likes of Al Di Meola, Joe Satriani and Shawn Lane.

Recommended Listening

With The Mahavishnu Orchestra: Birds of Fire (Columbia/1972)

With Shakti: Shakti, with John McLaughlin (Columbia/Legacy/1976)

With Al Di Meola & Paco De Lucia: Friday Night Live In San Francisco (Phonogram/1981)

When persuaded to reveal their influences, many of today's guitar masters cite Al Di Meola. Born in New Jersey, USA, he is best known for his endeavours in jazz rock/Latin circles, and has released and appeared on many albums, including such widely admired efforts as Casino (1978) and Splendido Hotel. The 1977 album, Elegant Gypsy, won him 'Best LP of the Year' and 'Best Guitarist' awards in Guitar Player magazine. Meola went on to work with such acknowledged greats as Paco De Lucia (the well known flamenco guitarist), jazz player Larry Coryell and British maestro John McLaughlin -- both of whom he admired. His later solo albums include: Electric Rendezvous (1982), Kiss My Axe (1991) and Orange & Blue (1994).

Al Di Meola's effect on modern guitar techniques is profound; his fast, precise alternate picking style, and superb appreciation of melody and phrasing has won him much praise over the years. Amongst those he has influenced are Joe Satriani, Tony MacAlpine, Vinnie Moore and Zakk Wylde. His albums are essential listening for those who wish to understand the development of modern techniques.

Recommended Listening

Solo: Land of the Midnight Sun (CBS/1976)

Elegant Gypsy (CBS/1977)

Splendido Hotel (CBS/1980)

Gary Moore

Born in 1952, Irish guitarist, Gary Moore has had a healthy career, working with such well known and respected individuals as Phil Lynott (Skid Row, Thin Lizzy), bassist Neil Murray (Colosseum II) and blues men Albert King and Albert Collins (Moore's Still Got the Blues LP). He has recorded over ten solo albums and played on Thin Lizzy's highly acclaimed Black Rose (1979) release. His very individual style incorporates furiously paced scales/arpeggios, whammy bar theatrics and expressive sustain, as evidenced by Back On The Streets' 'Parisienne Walkways'.

Although his current input leans more towards back-to-roots blues numbers, Gary will always be best known and admired for his metal tunes, such jarring heavy numbers as the excellent Free cover, 'Wishing Well' (from Corridors of Power {1982}), 'Nuclear Attack' (from Dirty Fingers {1983}) and 'Murder In The Skies' (from Victims of the Future {1983}). Gary's stylised approach to the instrument has encouraged many would-be musicians to pick up the guitar and play. He has influenced such players as Jason Becker and John Sykes, and elements of his style are apparent in the guitar-work of players like Vivian Campbell and John Norum. A great guitarist.

Recommended Listening

Solo: Back On The Streets (MCA/1978)

Victims of the Future (10 Records/1983)

We Want Moore! (live album) (10 Records/1984)

Randy Rhoads

'I wish I could take time and come up with something that nobody else has done but that's gonna take a few years.' (Randy Rhoads, Guitar World, May 1982 -- reprinted in July 1990 issue {p.54})

In 1979, Randy Rhoads, joined forces with famous rock personality Ozzy Osbourne to form the Ozzy Osbourne Band. The rest is history. Randy was born in Santa Monica, California in 1956. In 1975 he formed Quiet Riot with vocalist Kevin Dubrow. The band recorded two albums (Quiet Riot {1978} and Quiet Riot II {1979}). Upon joining Ozzy's band, Randy recorded his guitar parts for The Blizzard of Ozz, a ground breaking album which introduced rock fans to the possibility of utilising classical melodies within rock-based song structures. Tracks like 'Mr. Crowley' and 'Revelation (Mother Earth)' successfully combined these two incongruous elements, increasing the album's appeal. He recorded another record with Ozzy, Diary of a Madman, in 1981. His contribution was just as inspired, but tragedy was to strike. In March of '82, Randy was to lose his life in a senseless plane accident. This loss was all the worse because Rhoads had intended studying classical guitar to degree level. Furthermore, the albums he'd recorded had only hinted at his capabilities: further honing of his highly individual style would no doubt have resulted in an even more highly prized and sought after musician. As it is, one can only refer to his undoubted skill in terms of its nascent potential.

Recommended Listening

With Ozzy Osbourne: The Blizzard of Ozz (Jet Records/1980)

Diary of a Madman (Epic/1981)

Tribute(live double LP)(Epic/1987)

Uli Jon Roth (aka Ulrich Roth)

Uli Roth held the position of lead guitarist in prestigious German band, Scorpions, playing on many of their 70s releases. These include In Trance (1975), Virgin Killer (1976) and Taken By Force (1977). In 1979 he made good on his decision to leave the band by forming Electric Sun, a group that allowed Uli to focus on his strange spiritual ideas in a classical rock setting. The album was called Earthquake and even today remains a model example of 'neo-classical' hard rock at its best. Some of the material was both jazzy and acoustic, bringing to mind Jimi Hendrix in the jangling rhythm playing. Although dogged by poor vocals (by Uli himself) and, at times, embarrassingly banal lyrics, the framework for the tunes and Roth's mellifluous solo work were second to none. Arguably, this album was the blueprint for 80s bands like Cacophony and Apocrypha, what with the very Marty Friedman-esque eastern passages and strong, soulful string bends. The diminished arpeggios, harmonic minor scales and classical phrasing are further comparable with Yngwie Malmsteen. Uli went on to record three more albums -- Firewind (1981), Beyond the Astral Skies and Prologue to the Symphonic Legends (1995) (under the moniker Sky of Avalon) -- all of which explore his unique melodic style and concern with all things fey and otherworldly. Among his many admirers are Marty Friedman, Tony Fredianelli, George Lynch and Mike Varney.

Recommended Listening

With Scorpions: Best of Scorpions (RCA/1979)

With Electric Sun: Earthquake (Brain/1979)

Beyond the Astral Skies (EMI/1985)

Michael Schenker

Michael Schenker's prestigious output includes albums with the Scorpions (Michael's brother is Rudolph Schenker, rhythm guitarist in the Scorpions) and UFO. The latter's Force It album was a particularly effective example of Schenker's soulful playing. The early MSG (Michael Schenker Group) albums lacked any real substance in the song-writing -- with the exception of the guitarist's playing; it was not until '84's excellent live release Rock Will Never Die that rock fans could finally hear good songs in conjunction with fine guitar-work. When Robin McAuley joined Schenker to form the McAuley Schenker Group in 1986, the resultant album Perfect Timing seemed to indicate a completely new musical direction. A more-or-less perfect combination of strong vocals, distinguished guitar solos and beautiful melodies, it also featured an excellent guitarist/keyboard player Mitch Perry whose more up-to-date technique contrasted memorably with Schenker's earthier style. The next two releases -- Save Yourself (1989) and MSG (1992) -- continued along these lines (although Perry was replaced by Steve Mann).

Schenker will always be respected for his adherence to melody and for his highly original phrasing -- not to mention his association with the Flying V guitar! Amongst others he has influenced Vinnie Moore, Alex Skolnick (ex-Testament) and George Lynch.

Recommended Listening

With UFO: Force It (Chrysalis/1975)

With MSG:

Rock Will Never Die (live album) (Chrysalis/1984)

Perfect Timing (EMI/1987)

Eddie Van Halen

Arguably an 80s guitarist, but for the purposes of chronology, here included as a 70s innovator. And what an innovator! From his attention-grabbing debut with the group Van Halen (also featuring his brother, Alex) called, simply Van Halen, to recording the now classic solo on Michael Jackson's 'Beat It' in 1982, to the late 80s pop rock of 5150 (1986) andOU812(1988) -- both featuring singer Sammy Hagar -- Eddie Van Halen has established himself as one of the most important guitarists in recent history. His influence is continually felt, both in terms of his technique and the band's compositional style, and there is unlikely to be a 'shredding' guitar player alive today who hasn't at one point or another expressed his or her admiration for this amazing musician.

So, who on earth is Eddie Van Halen, and why has he been so highly praised? Born on 26th January, 1957 in the Netherlands, the guitarist was actually a drummer at first, whilst his brother, erstwhile skin-pounder for Van Halen, started out playing the guitar! The brothers exchanged musical positions and, along with Michael Anthony (bass) formed a band called Mammoth. They were eventually joined by singer David Lee Roth, and so the nucleus for Van Halen now existed. Thanks to the promotion of Kiss legend Gene Simmons, Van Halen secured a recording deal and released their self-titled debut in 1978.The album featured energetically raucous numbers that would become the trademark of the band's sound; it also included the now famous guitar solo, 'Eruption', a showpiece which introduced hammer-ons and tapping to guitarists everywhere. The same year he was voted 'Best New Guitarist Of The Year' by Guitar Player magazine.

Later successes include follow-up Van Halen II (1979) (which featured an impressive acoustic solo, 'Spanish Fly'), the slightly more sombre Fair Warning (1981), and Diver Down (1982), an LP that consists of about fifty percent cover tunes. December 1983 saw the release of 1984 which has since attained fanatical status amongst rockers the world over. Featuring such classics as 'Panama', 'Hot For Teacher' and the single 'Jump', and with the addition of some catchy keyboard lines from the guitarist himself, 1984 is a masterpiece, with great playing by all concerned.

Over the years Eddie has worked with such talented and diverse musicians as Michael Jackson ('Beat It' {1982}), Brian May (Star Fleet Project {1983}) and ,Steve Lukather (Lukather {1989}), and attained a level of prominence amongst fellow guitarists almost unmatched in recent times. He is universally admired for his unique sound, which includes an individual rhythmic quality (often referred to as his 'brown sound') and appreciation of technically difficult but melodic lead ideas; he is also praised for his high energy, uncompromising approach to performance, aided, as often as not, by the charismatic persona of his one-time front man, Dave Lee Roth. These, plus his concern with the role of the band as opposed to just the solo guitarist, have determined a career studded with many commercial and personal successes, and one which has as much to offer the interested initiate as it does the knowledgeable fan. One of the most significant guitarists of the late 70s/early 80s.

Recommended Listening

With Van Halen: Van Halen (Warner Brothers/1978)

Women and Children First (Warner Bothers/1980)

1984 (Warner Bothers/1983)

From - The Modern Guitarist: A History of Rock Guitar Since the Seventies, Mad Matt Music Publishing 1995

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