Great Guitar Solos Of The 1980s (Take One)

Steve Stevens

What do we expect from a great guitar solo? A sense of contour, of line, a bit of colour, a good tone and maybe a touch of – that horrible word – narrative. A bit of flash never heart anyone either, but mostly we’re probably listening for emotion and ‘storytelling’.

Luckily for us, the 1980s featured an embarrassment of riches on the guitar soloing front, a decade when you could hear everything from glorious cameos of post-punk insanity, slabs of avant-garde weirdness, shock-and-awe widdlefests and sometimes perfect little compositions in themselves.

Sometimes great solos came from the guitarist in the band, but more often than not they came from the ‘ringer’, the session player. Truly great players of all stripes could find themselves blowing on a top 10 single. Their job was to add the pizzazz, the zing, the memorable bit that all the kids wanted to learn.

So here’s a selection of goodies from the guitar-shaped chocolate box, featuring some rock, some blues, some fusion, some soul, some new-wave, some pop, some metal, some funk, some jazz. (With a disclaimer: lots of great guitarists missed the cut including David Torn, Eric Johnson, Stevie Ray Vaughan, Albert Collins, John Scofield, Skip McDonald, Bill Frisell, Billy Gibbons, Terje Rypdal, James Blood Ulmer, Sonny Sharrock, just because I couldn’t think of era-defining solos, and maybe also because they played so much guitar…)

24. Michael Hedges: ‘Aerial Boundaries’

The whole thing is a solo, of course, but it’s one of the most astonishing examples of solo guitar in recording history, a mixture of tapping, strumming, thumping, hammering and plain old melody. No overdubs and a very strange tuning on the classic title track to Hedges’ 1984 album.

23. Tribal Tech: ‘Tunnel Vision’ (Guitarist: Scott Henderson)

An almost perfect solo from the jazz/rock master’s album Nomad. It’s so complete it sounds almost pre-composed (though apparently only the first eight bars were hummed to him by the tune’s writer Gary Willis), each interesting idea following completely logically from the last. Starts at 1:13:

22. Talk Talk: ‘I Don’t Believe In You’ (Guitarist: Robbie McIntosh)

This one taken from the classic album The Colour Of Spring can be filed in the ‘minimalist’ category, but it’s brilliant. The way the veteran Pretenders/McCartney guitarist bends into his last note, perfectly fitting with the key change, is sublime. Starts at 2:52:

21. Johnny Guitar Watson: ‘Telephone Bill’

Johnny G pulled out all the stops for this barnstorming bebop-meets-blues breakdown, from the Love Jones album, closing out his funny proto-rap in some style. He also gets extra points for quoting Dizzy Gillespie’s ‘Salt Peanuts’. Starts around 3:30:

20. Bootsy Collins: ‘Kissin’ You’ (Guitarist: Stevie Salas)

From Booty’s now forgotten 1988 album What’s Bootsy Doin’, a brief but flamboyant classic from one of the great unhinged metal guitarists of the decade, often used as a ringer by George Clinton, Bill Laswell and Shakespear’s Sister to good effect. Gets started around the 2:44 mark:

19. Thomas Dolby: ‘Budapest By Blimp’ (Guitarist: Larry Treadwell)

The LA-based guitarist was part of a Christian duo backing the Pope on his infamous ‘Popemobile’ tour of American stadiums when he answered Dolby’s magazine ad, and he excelled himself on this epic track from Aliens Ate My Buick, coming up with a strong melody over the funky break and even throwing in a little Dave Gilmour homage. Starts around the 5:30 mark:

18. Trevor Rabin: ‘I Can’t Look Away’

The title track of the Yes guitarist’s 1989 solo album was a song of two brilliant solos, but I’m going for the opening salvo, a brutal, flashy classic that features all the notes he knows and more.

17. Robert Cray: ‘Waiting For The Tide To Turn’

You could choose almost any solo from Mr Cray’s Bad Influence album, but this one seems to be best encapsulate his classy string-bending, snappy rhythmic sense and ice-cold Strat tone. Starts at 1:33:

16. Nile Rodgers: ‘Stay Out Of The Light’

A brilliant player not necessarily known for his solos, but this closing track from his forgotten second solo album B Movie Matinee finally showed exactly what he could do – a fantastic mixture of Charlie Christian and Jimmy Nolen. Starts at 3:37:

15. John McLaughlin: ‘The Wait’

McLaughlin plugs in the Les Paul and unleashes one of the most vicious solos of his career, gradually developing in intensity, with even a touch of his old mucker Carlos Santana at times. Unfortunately it mostly fell on deaf ears, coming from a nearly-forgotten 1987 album Adventures In Radioland. Starts around 1:43, with crap sound quality:

14. Defunkt: ‘Eraserhead’ (Guitarist: Ronnie Drayton)

One of those great, unhinged solos that starts at ’11’ and then just carries on in the same vein. The underrated session great is given his due and goes for it. From the punk/funk legends’ forgotten, excellent 1988 comeback album In America.

13. Yngwie J. Malmsteen: ‘Black Star’

This piece, kicking off the Swede’s Rising Force opus, is a guitar masterclass from top to tail, but the first few minutes demonstrate some extraordinary touches like a legato section that you’d swear was achieved with a delay pedal. Starts around 0:29:

12. Stanley Clarke: ‘Straight To The Top’ (Guitarist: Carlos Santana)

The song – which kicked off Stanley’s 1981 career nadir Let Me Know You – may be a disco cheesefest but Carlos’s solo is a stonker, an emotive showstopper with a luscious, creamy tone and lots of emotional moments. It was a good period for Santana – see also Herbie Hancock’s ‘Saturday Night’ and Carlos’s own ‘Stay Beside Me’ and ‘Song For Devadip’. Starts at 2:21:

11. It Bites: ‘You’ll Never Go To Heaven’ (Guitarist: Francis Dunnery)

The Cumbrian gunslingers wrote a great ballad here and Dunnery laid his claim as one of the great Brit guitarists of the ’80s with this extreme solo, a sometimes lyrical, sometimes demented mixture of flash and panache. From the lads’ debut album The Big Lad In The Windmill. Starts at 5:09:

10. Billy Idol: ‘Rebel Yell’ (Guitarist: Steve Stevens)

He produced several memorable moments alongside the 6’2” blond bombsite born William Broad, but Stevens excelled himself here with a memorable, well-organised solo full of flashy bits and unexpected ‘outside’ notes. Starts at 2:27:

9. Joe Satriani: ‘Ice 9’

Satch’s sophomore album Surfing With The Alien of course produced some guitar highlights but this track featured one of his most distinctive solos ever, Allan Holdsworth meets Eddie Van Halen, no doubt helped by the cool little drum fill that introduces it at around 1:15:

8. Randy Crawford: ‘You Might Need Somebody’ (Guitarist: Steve Lukather)

This gets in for superb tone and admirable restraint, apart from that fantastic flurry of notes in the middle. Luke could hardly do any wrong around this time. Just around the corner was Quincy’s The Dude, ‘Rosanna’, Joni Mitchell’s ‘Love’ and Jacko’s Thriller. Starts at 1:50:

7. Red Hot Chili Peppers: ‘Sex Rap’ (Guitarist: Hillel Slovak)

One of those great solos that sounds like it could fall apart any second, and it frequently does. From the lads’ uneven but sometimes thrilling George Clinton-produced Freaky Styley album. Starts at 1:14:

6. Yellowjackets: ‘Monmouth College Fight Song’ (Guitarist: Robben Ford)

In the days when Robben’s trump card was playing bebop/blues with a distorted guitar, and when he loved blowing over interesting chord changes, this track from 1981’s Casino Lights is a guitar classic. A super-sophisticated mixture of Charlie Parker and Albert King. Starts at 1:35:

5. Sting: ‘Little Wing’ (Guitarist: Hiram Bullock)

Hiram could be relied upon to produce classic solos in the late 1980s, as he did with Steps Ahead, Terri Lyne Carrington and on his solo records, but this one from Sting’s …Nothing Like The Sun was just sublime. Starts at 1:27:

4. Pink Floyd: ‘Comfortably Numb’ (Guitarist: David Gilmour)

Take your pick between two fantastic solos from The Wall album, but I’m going for the first one, a beautiful feature with a killer tone and great use of whammy bar. Starts at 2:38:

3. XTC: ‘That’s Really Super, Supergirl’ (Guitarist: Dave Gregory)

He apparently rehearsed it alone for hours in a little room stinking of rat poison in Todd Rundgren’s rather rundown studio complex in Woodstock, upstate New York, but it paid off, a memorable, melodic, chiming classic. A few phrases even bring to mind Robert Fripp. Starts at 2:08:

2. Mike Stern: ‘Time In Place’

The title track of Mike’s second solo album demonstrated definitely one of the slowest solos of his career, and also one of the best. Starts at 1:35:

1. John Martyn: ‘Johnny Too Bad’

This was one of the more memorable solos of Martyn’s career, during a decade when he was more interested in songwriting than making extreme guitar statements. But he sure found his Les Paul’s sweet spot on a classic cover version from Grace And Danger. Starts at around 1:28:

Next time: Part two of our rundown of great 1980s guitar solos.

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XTC: Skylarking Uncovered

It’s only natural that a young(ish) man’s fancy should turn to Skylarking at this time of year. And though I must have listened to it tens of times (and recently wrote a detailed piece about it here), Steven Wilson’s instrumental mix uncovers many of the album’s sonic secrets. You might even say that it’s like listening to a whole new thang.

Though lead songwriter/vocalist Andy Partridge had a somewhat ‘strained’ relationship with producer Todd Rundgren during the recording (in recent book ‘Complicated Game’ Partridge occasionally – tongue firmly in cheek, of course – refers to him as ‘Herr Rundgren’ and states that he would only allow one or two takes per overdub), this version demonstrates once and for all that Todd played a blinder on Skylarking, as arranger, sound designer, occasional keys player and backing vocalist. And the others (Dave Gregory, Colin Moulding, Prairie Prince, sundry guest players) weren’t too shabby either.

Things to listen out for: the charmingly ramshackle 12-string guitars and Mellotron underpinning ‘Summer’s Cauldron’, the dramatic cello gracenotes that punctuate ‘Grass’, Partridge’s Stax-flavoured guitar and Todd’s synths on ‘That’s Really Super Supergirl’, Gregory’s superb piano on ‘Ballet For A Rainy Day’ and ‘Season Cycle’ and intricate guitar on ‘Earn Enough For Us’, the mad mariachi trumpets that kick off ‘Big Day’, Prairie’s subtle drums on ‘Mermaid Smiled’, and…well, you get the idea.

It seems unlikely that this will appeal to any but the most hardcore XTC fans, but who knows? The top-notch songcraft and synaesthetic textures may even draw in some new punters.

XTC’s English Settlement: 35 Years Old Today

r-1455277-1313625163-jpegVirgin Records, released 12th February 1982

Produced by Hugh Padgham and XTC

Recorded at The Manor, Oxfordshire, October/November 1981

Working titles: Rogue Soup, Motorcyle Landscape, World Colour Banner, Explosion Of Flowers, Knights On Fire

Album Chart position: #5 (UK), #48 (US)

Singles released: ‘Senses Working Overtime’ (UK #10)
‘Ball And Chain’ (UK #58)
‘No Thugs In Our House’ (did not chart)

Andy Partridge (vocals, guitar, keyboards, percussion, co-composer): ‘We spent the summer of 1981 rehearsing at Terry “Fatty” Alderton’s Tudor Rehearsal Studio and it was very sweaty. All the Swindon heavy rock bands would rehearse there, drink cider and piss in the corner. Terry (Chambers) had forgotten how to drum. He had spent the early summer working on a building site and when he set up his drum kit it was more like scaffolding. He was just useless (but apparently improved pretty quickly… Ed.). I forced him to buy a new snare drum and timbale. I bought a Yamaha acoustic. It opened up possibilities for new sounds where the live arrangements mattered less. I’d become unhinged a couple of times on tour and wanted a break. The album cover (by Ken Ansell)? I think it was just that we were fascinated with the Uffington Horse. The Americans thought it was a duck…’

Dave Gregory (guitar, keyboards, backing vocals): ‘I’d always dreamed about owning a 12-string Rickenbacker but it had seemed like a frivolous folly until now. I fell totally in love with the sound. English Settlement was a watershed record for us. We’d made a couple of guitar records and then the acoustic side came out. It was definitely a progression. There weren’t too many songs, just not enough time…’

Colin Moulding: (vocals, bass, keyboards, percussion, co-composer): ‘I bought a fretless bass. I thought it would fit in with the acoustic stuff we were doing but it was impossible on tour. You have to have a flair for playing something without frets and I haven’t. As soon as the lights went out…the rest is history…’

For much more info on English Settlement, check out Neville Farmer’s book ‘XTC Song Stories’.

XTC’s Skylarking: 30 Years Old Today

xtcVirgin Records, released 27th October 1986

10/10

Produced by Todd Rundgren

Recorded at Utopia Studios, Woodstock, upstate New York

UK album chart position: #90 (!)
US album chart position: #70 (!)

terry-thomas

Terry-Thomas in ‘School For Scoundrels’

Side One:

1. ‘Summer’s Cauldron’

Andy Partridge (composer): ‘Something about the words reminded me of Dylan Thomas. Not that I’m saying I’m a Dylan Thomas. More of a Terry-Thomas, really…’

2. ‘Grass’

Colin Moulding (composer): ‘A lot of people think the song’s about marijuana – it isn’t. Todd said: “Don’t sing so deep. You sound like a bit of a molester.” So I just did the Bowie thing and added an octave above it…’

3. ‘The Meeting Place’

Moulding: ‘Because the riff was a bit like “Postman Pat”, we were just figures on a Toytown landscape viewed from above. It was me meeting her (future wife Carol) at the gates for a sandwich in The Beehive pub, embroidered with the suggestion of a lunchtime quickie…’

4. ‘That’s Really Super, Supergirl’

Partridge: ‘I’d go into his (guitarist Dave Gregory) little room, smelling of aftershave and guitar wax and dead mice, and he’d be rehearsing this solo over and over again. I can still see him playing it. I remember when we were recording the song that Todd was trying to master it on keyboard, and Dave whispered to me, “He’s got the chords wrong!” He thought the chords were major, and they’re not. I was hearing it a lot more clangorous…’

5. ‘Ballet For A Rainy Day’ (Partridge)

6. ‘1000 Umbrellas’

Partridge: ‘There was very little time to do the strings. They had one run-through and then recorded it. Their balls were on the line but they turned in a pretty fine performance…’

7. ‘Season Cycle’

Partridge: ‘I felt that I had maybe laid the ghost of Ray Davies ‘fore me and written a song that could stand up against “Shangri-La” or even, dare I suggest, “Autumn Almanac”.’

Side Two:

8. ‘Earn Enough For Us’ (Partridge)

9. ‘Big Day’

Moulding: ‘I’d been messing around with the chords of Labi Siffre’s “It Must Be Love” and, with a little moving around, it became this sort of fanfare to a big event, a ticker-tape parade for a big day.’

10. ‘Another Satellite’

Partridge: ‘I regret writing it because things turned out so marvellously with the person (Erica Wexler) it’s all about. The story had a happy ending because Erica and I finally got to express the emotional bond that was always there.’

11. ‘Mermaid Smiled’ (Partridge)

12. ‘The Man Who Sailed Around His Soul’

Partridge: ‘It just says you’re born, you live and you die. Why look for the meaning of life when all there is is death and decay? Todd said, “Let’s do a John Barry thing” and, literally overnight, came up with his arrangement with brass and flutes. It’s bang on. Cod spy music.’

13. ‘Dying’ (Moulding)

It frightens me when you come to mind
The day you dropped in the shopping line
And my heart beats faster when I think of all the signs, all the signs
When they carried you out your mouth was open wide
The cat went astray and the dog did pine for days and days
And I felt so guilty when we played you up
When you were ill, so ill
What sticks in my mind is the sweet jar on the sideboard
And your multicoulored tea cozy

What sticks in my mind is the dew drop hanging off your nose
Shrivelled up and blue
And I’m getting older, too
But I don’t want to die like you
Don’t want to die like you, don’t want to die like you

14. ‘Sacrificial Bonfire’

Moulding: ‘There was a touch of “The Sorcerer’s Apprentice” and a bit of Arthur Brown’s “Fire” in it, I suppose. But I wasn’t moralising. It was just that this was an evil piece of music and good would triumph over it. (The strings) were a bit too Vivaldi for me, but it had to go somewhere, I suppose…’

Further reading: ‘XTC Song Stories‘ by Neville Farmer

Complicated Game‘ by Todd Bernhardt/Andy Partridge

Book Review: Inside The Songs Of XTC

complicated gameBooks about songwriting are a small but fast-growing and fascinating subgenre of music journalism. Alongside such classic tomes as Paul Zollo’s ‘Songwriters On Songwriting’, Omnibus Press’s ‘Complete Guides’ and Bob Dylan’s ‘Chronicles’, we’ve also recently had Daniel Rachel’s excellent ‘Isle Of Noises’. And now here comes another cracker.

XTC fans, however, may be slightly surprised about the publication of ‘Complicated Game: Inside The Songs Of XTC’, a gripping new book of interviews with mainman Andy Partridge, seeing as they may possibly feel that it would hard to better Neville Farmer’s ‘XTC Song Stories’.

But, while obviously covering similar ground, ‘Complicated Game’ zooms in with forensic detail on a select group of Partridge songs, particularly ones that may well have been overlooked throughout his stellar career (‘Travels In Nihilon’, ‘No Language In Our Lungs’, ‘Beating Of Hearts’, ’25 O’Clock’ etc). He once said that XTC’s music explores the unexplored nooks and crannies of the guitar neck; this book does the same for their discography.

Essentially, ‘Complicated Game’ is a transcription of over 30 interviews by American rock journalist/musician Todd Bernhardt. Though some of Partridge’s legendary West-Country repartee and clever wordplay occasionally get a bit lost in translation, these conversations are candid, detailed and never less than engaging. Discussions about a rhyming couplet can suddenly give way to painful memories of Partridge’s divorce, or asides about Swindon or 9/11.

The ‘Dear God’ controversy gets a whole chapter. The thorny subject of record company wrangling is never far from the surface, and Andy’s troubled relationships with producers is also a constant theme, with Steve Nye, Todd Rundgren and Gus Dudgeon taking centre stage (the former being described as ‘possibly the grumpiest guy we’ve ever worked with’!)

There’s just enough musical theory discussed too, and – not surprisingly, given that Bernhardt once interviewed Partridge at length for Modern Drummer magazine – a lot of emphasis on the role of the rhythm section, with much talk about Colin Moulding’s superb bass playing and many hilarious anecdotes about original XTC drummer Terry Chambers and later sticksmen Pete Phipps, Prairie Prince and Dave Mattacks.

But, most importantly, Partridge is able to give detailed and fascinating answers about where he gets his songwriting inspiration, looking in detail at how unusual – and often completely accidental – chords can set off images and themes, and also how much he associates music with colours. There’s also a lot of advice for songwriters about how to develop initial ideas.

Andy_Partridge

Of course, the real measure of a great music book is how quickly one is drawn back to the records, and ‘Complicated Game’ works a treat in that regard – I rushed first to the CD and then to the guitar to try and nail down ‘That’s Really Super, Supergirl’ and ‘Church Of Women’. The orchestral arrangements and song structures of the truly singular ‘River Of Orchids’ and ‘I Can’t Own Her’ are also discussed in great detail.

There are a few minor quibbles: some of the interviews have a slightly ‘flogging a dead horse’ feel to them, and also there’s a strange reluctance to talk about Partridge’s contemporaries – Sting, Weller, McAloon, Gartside et al go unmentioned, and Elvis Costello is only referred to once in terms of his huge bank balance…

But hey, enough of my nitpicking. ‘Complicated Game’ is another fine book about songwriting, a good holiday read for ’80s music fans and a great companion piece to ‘XTC Song Stories’. I devoured it almost in one sitting and will definitely be reaching for it regularly.