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SelfDevouringSnake

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Everything posted by SelfDevouringSnake

  1. Imagine if you will Led Zeppelin in the present day (2011 A.D.). Imagine a reformed Led Zeppelin. It could happen, after all the three surviving members (vocalist Robert Plant, guitarist Jimmy Page, and bassist John Paul Jones) reunited for a one-off show in 2007 with drummer Jason Bonham filling in for his father, deceased original drummer John. Here's the twist: imagine Led Zeppelin without Plant, Page, Jones, or Bonham. For whatever stupendous reason, the four have decided not to participate in Led Zeppelin, and have granted you, an ambitious manager, control of Led Zeppelin's legal rights. Robert Plant is not interested in reforming the band, and is planning another solo album with his group Band of Joy. Jimmy Page, despite heavy thought over this decision, chooses to move on from Led Zeppelin and eventually agrees to the decision. John Paul Jones is intrigued, knowing that he can not participate due to his obligations with Them Crooked Vultures. Jason Bonham is slightly reluctant, but he is also working with a band (Black Country Communion), so he gives in to the decision. Now you are officially the manager of Led Zeppelin. The press is highly intrigued. The reformation is a huge deal; it makes headlines and is discussed on every talk show. There is outrage, support, bewilderment, and confusion from the highly divided fanbase. You don't have a band or any sort of plan yet, but it's your move. What do you do? I'll give you my example for the hypothetical situation. I'm the manager. I'm psyched about the extreme hype the reformation is getting, but I'm also a little pissed. People are angry, and I'm the one they're blaming. I want to prove that this is going to be a worthy band, not the steaming pile of shit that everybody thinks it is going to be. My plan is pretty simple: get a new band together, make them write an album (which would almost certainly top the charts regardless of quality), and have them do a world tour. Here's my hypothetical band: * Chris Cornell - vocalist. This would be assuming that he could be tempted from the recent Soundgarden reunion (who can know?)... In any case, Chris Cornell is a strong songwriter, and an even stronger singer (he has something like a four-octave range). I feel he would be one of few people who could do a decent job emulating Robert Plant live while bringing a completely different style to the table. He could also serve as a rhythm guitarist (as he did with Soundgarden). I'd be completely confident of his creative ability, that I can say for sure. * Paul Gilbert - guitarist. Gilbert is a technically flawless shredder who has played in Racer X and Mr. Big. His solos can be flashy and tasty but are sometimes excessive, but he is never at a loss for them. The challenge here would be to see him utilize his talent in an outstanding, visceral way. Page wasn't much for the neoclassical style (not even as a prototype for it), but if Gilbert could bring something substantial then the approach would be irrelevant. Both Page and Gilbert use Marshall so there wouldn't be much of a conundrum in the live sound (the guitar has to be massive obviously). * Stuart Hamm - bassist. A capable powerhouse on bass. He has worked with Satriani and Vai in the past. The question is whether he could bring anything noteworthy to the band as an arranger or a songwriter. * Mike Portnoy - drummer. Recently left Dream Theater. Extremely technical player, but he could emulate a Bonham-esque groove if he wanted to. As with Cornell, Portnoy evidently has future projects (still in a prog metal vain), but let's assume he could be brought on board. Now with Gilbert, Hamm, and Portnoy, it looks like a mere display for shredding and virtuosity. That's an asset because it means that the new Led Zeppelin is more skillful technically than the old one, but there needs to be an evocative, heavy feel. So much of this scenario would rely on chemistry (something I could never even approximate really). But anyways, I'd see how the album (tentatively titled The Return) would go, and I'd have them do a world tour hitting America, Canada, Britain, Japan, India, Continental Europe, and Brazil. I could reasonably expect this to make money even if the new music was terrible. Nota bene: This thread is purely hypothetical. No disrespect is intended to the members of Led Zeppelin. Despite its semi-fictitious nature, it is posted in the Led Zeppelin Master Forum, because it is about Led Zeppelin. It is not about another band. If you only intend to complain about the folly of this thread, I implore you not to comment.
  2. I just want to point out that Robert Johnson did not invent blues guitar (although when you add the "as we know it" part you're getting closer). I say this because Johnson had plenty of contemporaries who were just as good, take Blind Lemon Jefferson. They just haven't had the pleasure of being cited by dudes like Eric Clapton as "the most important blues singer who ever lived". I'll say that I also would have put Hendrix somewhere on the list based on the strength of "Red House". As it goes, if one were to make a list of "greatest blues guitarists" and solely used the factor of influence, than you could make a case for just ranking it by earliest to latest (because there really isn't a way to measure influence except by word-of-mouth - which is why doing a list like that is almost impossible). Where is Howlin' Wolf? That's my question. Edit: Also here's the link to the site where the list was taken from: http://www.digitaldreamdoor.com/pages/best_bluesguitar.html.
  3. Here's a medley of Zep material by Dream Theater. http://www.youtube.com/watch?v=ltGZiFNCD_4
  4. I for one am looking forward to the (tentative) 2011 release of Rush's Clockwork Angels. The first and so-far only single, "Caravan" (b-side: "BU2B"), was really interesting. Both songs had a strange but cool style that really grew on me the more I listened to them. Also, the lyrics seem to strike a nice balance between eclectic sci-fi and philosophy. Peart can be a great lyricist but other times his lyrics are just too strange for me. It will be Rush's 19th album. I attempted going through Rush's entire discography, and stopped somewhere at their '80s work. I will resume and finish listening to Rush's studio albums before this is released. They are working with excellent producer Nick Raskulinecz. I can testify that Alice in Chains' Black Gives Way to Blue sounded incredible (although apparently it was extremely loud; I didn't take much notice of that honestly). The album is evidently being given great care: Alex Lifeson has stated that the title track "Clockwork Angels" is an "epic song" and a "multi-parted piece" 1, and Neil Peart said in an interview "I intend it to be my highest achievement lyrically and drumming wise" 2. 1 - http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=145102 2 - http://www.rushisaband.com/blog/2011/05/05/2608/Excerpts-from-Classic-Rocks-Prog-magazine-Rush-feature
  5. It was odd hearing awhile back that Jeff Hanneman (Slayer - guitar) had contracted a flesh-eating virus from a spider. Slayer opted to have Gary Holt (Exodus) tour with them; he played with them for this concert. Exodus is, like Metallica, Slayer, and Megadeth, a Bay Area thrash band, but evidently they don't qualify as one of the Big 4. Holt is at this point essentially the core member of Exodus, and it's still his band: he parted ways with Slayer not too long ago to continue touring with Exodus, and was replaced by Pat O'Brien (lead guitarist of death metal band Cannibal Corpse). Playing with Slayer must be a damn good gig if so many metal players (most of whom already have remarkable niches in metal) are willing to temporarily leave their bands for them.
  6. Pantera does a killer version of "Cat Scratch Fever" by Ted Nugent.
  7. Yeah that's what I did, then I tried to edit it so that just the links appeared. Thanks though. I'm not familiar with any of Page's post-Led Zeppelin work excluding several live guest appearances and his involvement in It Might Get Loud, but I will check out that album. It's about time I start to look at his work beyond Led Zeppelin. How could I forget YouTube guitar sensation Andy McKee? Here's a sample of his composition "Drifting". McKee is one of the acoustic genre dudes in the vain of Michael Hedges.
  8. The first person to come to my mind is Chet Atkins. Just wonderful fingerpicked melodic lines. Steve Morse is unbelievably talented on acoustic. Here's a demonstration of an unplugged Dixie Dregs song (also fingerstyle). Django Reinhardt, the idiosyncratic swing/gypsy-jazz master, was an acoustic player whose work has had a notable impact on electric players. I'm not really familiar with many acoustic-oriented players (e.g. Leo Kottke, Michael Hedges, and Tommy Emmanuel), but that seems worth bringing up in this context. There are countless acoustic players in blues, jazz, classical, flamenco, country, folk, Hawaiian music, and Celtic music who, although not respected as "guitar gods", are masters of their respective style. And acoustic guitar tends to be the instrument of choice for the emerging singer-songwriter, or so I see it. Among rock guitarists, you can find some who are worth listening to on acoustic guitar. Jimmy Page's work in the DADGAD tuning (see "White Summer"/"Black Mountain Side") is awesome. Plenty more great acoustic playing in standard tuning as well, and "Stairway to Heaven" is supplemented by acoustic guitar in the beginning. "Dimebag" Darrell Abbott of Pantera was cool on acoustic (see the beginning of "Cemetery Gates"). Jar of Flies by Alice in Chains is a haunting, mostly acoustic EP with subtle playing by Jerry Cantrell (good examples would be "Rotten Apple" and "Nutshell".
  9. ... Let's try to keep the arguments to a minimum (or at least related to Mastodon). If there's really a problem, please take it up with the admins, I don't want this thread to become some sort of battleground.
  10. Later Beatles. More diversity and experimentation. With this came the "progressive" disasters ("Revolution 9"), but I wouldn't even hesitate to pick their later half.
  11. I'm going through all the songs in my iTunes account (I haven't listened to a lot of the albums I've synced). I've finished listening to an Al Di Meola compilation, and the classic blues album Born Under a Bad Sign. Currently about half way through Alice in Chains' Dirt. "Rooster" - oh yeah.
  12. Mastodon is a recent metal band that I absolutely love. They have four studio albums with another in production, and their work just seems to get better and better with each release. I'd cite Mastodon as the best American metal band since Pantera. Metal has always offered me plenty of interesting listening material, although I'd be hard-pressed to call myself a "metalhead", I would not hesitate to speak about Mastodon's tremendous talent. Mastodon, formed in Atlanta, Georgia in 1999, consists of: * Troy Sanders - vocalist/bassist. The frontman, I suppose (or at least he tends to be in the center at live shows). One of Mastodon's two lead vocalists, usually doing low, harsh vocals. Impressive, primarily fingerstyle and highly technical bass-playing, although between the twin guitar approach and the insane drumming, the bass can seem like sonic filler (what else is new though?). * Brent Hinds - vocalist/guitarist. The band's other primary singer. His voice is a little sharper than Sanders', but like him he does harsh vocals as well as clean ones. Hinds usually does the solos, but he doubles the rhythm guitar when appropriate. His advanced hybrid picking technique lends a more tasteful flavor to the band than a purely alternate picking shredder could. * Bill Kelliher - vocalist/guitarist. Kelliher handles most of the riffs. He is capable of way advanced playing, and it shows, but he always sticks to the rhythm section while still providing killer technical riffing. Also does backing vocals. * Brann Dailor - vocalist/drummer. An excellent, jazzy and (like the rest of the band) highly technical drummer. Always keeps a solid groove even when doing the most technical drumming. Lead vocals on "Oblivion" (from Crack the Skye). Mastodon's had a well-deserved rise to fame. They released their first album, Remission, in 2002. To date, I feel it is their heaviest record, but it's also their least innovative and diverse sonically. It demonstrates their roots: extreme sludge metal with a lot of technical/progressive influence for good measure. It does a fantastic job striking a balance between technicality and syncopation. A lot of killer riffs. My only real complaint would be the vocals: way too harsh. It is loosely based on the element of fire (the elemental theme would be done better in their next three). Their second album, Leviathan (2004), was the perfect follow-up. Like Remission, it was clearly extreme metal, but it was also more creative and somehow more intense. The first of the elemental albums to use a story to map out the music, Leviathan (the "water" album) is based on Moby-Dick. Blood Mountain (2006), their "earth" album, was similar, but with more instrumental experimentation. I consider it equal to Leviathan. But their greatest album is 2009's Crack the Skye (based on air). While still rooted in extreme metal, it takes their experimentation to a level nearing '70s prog rock (except more exciting). Between all this, they've done loads of touring. I couldn't be more excited to hear that they're making a new album. Dailor has stated that what they currently have is a return to their roots with an ultra heavy-Zeppelin groove (http://www.noisecreep.com/2011/04/11/mastodon-brann-dailor-interview-new-album/).
  13. The Black Keys are a good hard/blues rock unit. I'm not a huge fan of the White Stripes, but I love "Seven Nation Army". I'd recommend Steely Dan for anybody trying to broaden their musical horizons, although they're essentially a collective of session musicians in the studio and touring musicians on the road.
  14. I'd recommend Mastodon to anybody. They're sort of an extreme sludge metal band. That's a shitty description, I'll warrant. Anyways, the band is Troy Sanders (vocals/bass), Brent Hinds (vocals/lead guitar), Bill Kelliher (backing vocals/rhythm guitar), and Brann Dailor (occasional vocals/drums). Here's their stylistic evolution traced through studio albums. 1. Remission (2002). Remission's good. Some killer riffs, and good balance between technicality and syncopation of material that isn't achieved by that many bands in extreme metal. Didn't much care for the practically indecipherable vocals though. Still, I'd give it 4/5, and I'd take it over most of the post-hardcore/metalcore type metal (to be fair, I haven't heard much of that). My biggest complaint is that the album comes off sounding rather repetitive. This album is the closest to the "extreme sludge metal" style I mentioned earlier. Dailor establishes himself here as a force to be reckoned with in a genre with increasingly technical drummers. The album is supposed to represent fire, but the concept is pretty loose (as far as I know, the elemental theme was conceived after the album was made). It's heavy though. 2. Leviathan (2004). Just awesome. A concept album based on Moby-Dick, representing water. Same intuitive technical/syncopated feel, except it's more textural here. This is where I got into Mastodon. I did it because the cover looked cool. But the music is just as good. 3. Blood Mountain (2006). Continues the band's sonic evolution. This time the element is earth, and again, more textural playing. Leviathan and Blood Mountain alone rank as great achievements, but Mastodon wasn't/isn't finished making music. 4. Crack the Skye (2009). This is something I feel that somebody who's strictly into classic rock would like. Probably the least heavy album they've made (it has its moments) but it's also their best and most melodic.
  15. Many of my favorite rock bands have four members, that is, a vocalist, a guitarist, a bassist, and a drummer. A lot of newer bands don't follow this formula strictly, but regardless the essential tools of rock-and-roll will always be vocals, guitar, bass, and drums. This thread is for discussion regarding four-piece rock bands (specifically ones with a lead vocalist who doesn't play an instrument, although I will not complain if such bands are brought up). From the Who to Led Zeppelin (as if I even had to bring them up) to Queen to Van Halen, there are plenty of notable bands in this form. There are plenty more worth mentioning that don't use this form, but that's not the point of my thread. There are a couple points I'd like to bring up as discussion topics here. History of the four-piece rock band. Were there any notable bands with this form (vocalist/guitarist/bassist/drummer) before the Who? Also, it'd be cool to trace the band form and its stylistic evolution. The general impact, importance, and influence of these bands. Not every band that was influenced by Led Zeppelin was a four-piece (e.g. Aerosmith), but just look at the band's significance. Catalogue of four-piece rock bands. This is more of a vanity thing, I dig lists... If you remember, I made the "Rank of Electric Guitarists" thread that I gave up on awhile back. I won't make it a point to catalogue every suitable band that is mentioned, but I'll do what I can when I have the time. Just to get it started (and I'll take care of it), here's the many-times-aforementioned home band: 1. Led Zeppelin. * Robert Plant - vocalist. * Jimmy Page - guitarist. * John Paul Jones - bassist. * John Bonham - drummer. Recommendation of newer four-piece rock bands. Like I said, there aren't a whole lot of more recent bands that I can think of that fit in this (a lot of them are close, like vocalist + rhythm guitarist, lead guitarist, bassist, and drummer, or vocalist, rhythm guitarist, lead guitarist, bassist, and drummer), but I'll take a chance and recommend one excellent (albeit not really "new") band that fits the bill: Alice in Chains. Great heavy/hard sort of grunge style. If you haven't heard of them, check them out, and if you have heard of them but still haven't checked them out, then shame on you. I'm hoping most of you are already familiar with them though. Four-piece lineups you'd like to see? Any four musicians that you'd like to see tour as a band come to mind? I, for one, would be intrigued to see a sort-of revamped King Crimson with Adrian Belew on vocals, Robert Fripp on guitar, Tony Levin on bass, and Bill Bruford on drums. Too many problems there, clearly: it would probably limit their range as a progressive entity to just stick to that format. Also, it would be up to Fripp and Belew really. Also, Belew plays lead guitar (which would contradict what I said about the vocalist not playing an instrument), Levin employs the Chapman Stick in addition to bass, and Bruford is retired. A bad example, really, but hopefully you'll get the point. And remember, the point is the music, feel free to say anything as long as it has some sort of relation to the thread.
  16. It's too bad to see that Blackmore is no longer interested in playing rock (or rock in any sense of the term that most of us understand it by) although he's still on guitar (occasionally electric though I could be wrong). I like to see musicians evolve, but I think they should always recognize their roots. Then again, Blackmore might consider renaissance folk music to be his roots (how should we know). Nevertheless everybody remembers him for his work with Deep Purple. I see what she means. Personally, my favorite musician of all time at this point in my life is Jimi Hendrix. He played guitar (no shit), he wrote the music, and he did the vocals. Furthermore I believe him to be among the highest echelon of innovators in 20th century music (including popular, classical, and folk). I like it when a guitarist has the balls to do the vocals him/herself even if his/her voice isn't necessarily great (Hendrix had a decent voice, but it doesn't hold up to the likes of vocalists like Robert Plant and Freddie Mercury). In this vain, I like Eric Clapton, David Gilmour, Jack White, and probably others who aren't coming to mind. The guitar is just the natural rock instrument - it becomes the mode for the guitarist to hold a powerful position in the band. Haha, sorry if I came off as rude. I really didn't know anything about the Firm or Bad Company. I'm a marginal Van Halen fan. They're definitely one of the great hard rock bands of the '80s. I'm not the one to be judging bassists, but I always thought Michael Anthony was pretty good, even if he and Alex were overshadowed by Eddie on guitar and Roth and Hagar on vocals (the line-up with Roth brought rock to the next level). Yeah, jamming is a fair platform for everybody to shine. I suck at it. Thom's definitely an eccentric one... To fuel discussion: what rock artists come to mind when you think of the themes of this thread?
  17. Seems like I'm missing out on something... Can anybody show me a link or a source? Thanks.
  18. Mr. Big has a new album called What If... coming out soon. Mr. Big is a band with extremely talented musicians, but other than "To Be With You" (Mr. Big's only #1 hit - a midtempo acoustic love song) they've only received marginal fame. This is probably because of their songwriting which is a little run-of-the-mill. I looked at the single they released for the album, and it's alright but I'm not convinced the album's going to blow anyone's mind.
  19. I'm glad you understood what I was getting at - I was a bit worried that the message of my original post wasn't going to come through. I have heard that about Ritchie Blackmore, although nowadays he isn't really working in a rock field. You mean to say that those bands are examples of a dominant musician using the rest of the band as a vehicle of sorts for his own music? I haven't heard any music by either of those bands so cut me some slack.
  20. This thread is about how a rock musician should write, perform, and release music. Consider the rock artists you respect: are the majority of them bands or solo artists? Rock as most of us know it is usually marked by vocals, guitar, bass, and drums. The need for these four talents lends itself to the fact that the majority of rock musicians are in bands. That comes to four people if you have one vocalist, one guitarist, one bassist, and one drummer. This is the format that Led Zeppelin took, and Led Zeppelin molded the image of the hard rock band in its own. The four-piece rock band had been around for much longer than Led Zeppelin, and it wasn't set in stone that all rock bands after this had to take this set-up; nevertheless a standard was established. These things obviously change from case to case. There are countless examples of bands where the vocalist also plays one of the instruments. A lot of bands which are clearly in a hard rock mode have two guitarists (one lead, the other rhythm; less often there are two guitarists on co-lead). And there is often a keyboard player as a fifth member (or fourth if the vocalist plays an instrument). Of these various positions, the vocalist is typically the frontman, and usually in that respect the leader, as well as the songwriter. Here's a look at the amount of recognition the band that each type of rock player gets (vocalist, guitarist, bassist, keyboard player, drummer) assuming that there is a band with each type and none of the responsibilites interlap (e.g. vocalist/guitarist): Rock Band #1 * Vocalist - The frontman and probably the songwriter. Easily gets the most direct recognition. * Guitarist - Provides most of the song's arrangement. Gets a lot of prestige as there is a great interest in the guitar. * Bassist - Must provide the song's bassline. Because his instrument's range is lower it is often ignored in favor of what can be heard by the guitar and keyboards. Arguably gets the least recognition. * Keyboard Player - Sometimes provides a fundamental part of the song's arrangement, other times works off of what is being played on guitar. Gets more recognition than the less audible bassist, but not as much as the guitarist. * Drummer - Provides the rhythm that the song works off of. He is always restricted into playing for the benefit of the other instrumentalists. Because there is more interest in drums than there is in bass and keyboards (from a rock perspective), the drummer receives more recognition than the bassist or the keyboard player. I don't have the patience to write everything I have to say right now (there are a lot of things to address), but I'd like to see discussion about how much say a bandmember has in the making of the music he plays.
  21. It's been a while since I was last on this forum. Frankly I had been thinking of deleting this account and making a new one (I have a new email address - same IP address though), but we'll see... Thank you, that was quite informative and well-written. Do you have proof of this, or some sort of source? I really don't mean to be a dick, but that's a little meager. That's plausible enough, I guess, but do you have proof of this? I'd like to thank everybody who has posted in this thread for addressing my question. I'm fairly satisfied that the suits are still under the legal ownership of Jimmy Page, regardless of whether they are on loan or being borrowed or whatever.
  22. Frijid Pink comes to mind. I've mentioned them before on this forum in relation to "House of the Rising Sun", their biggest hit. http://www.youtube.com/watch?v=jS-TmkF_h88 Apparently they were quite popular for awhile, but they never achieved superstardom.
  23. I see that I'm the only person who listed my personal top ten excluding those already on the official top ten. That's alright, it wasn't a big deal: I just had an idea in mind that would help us from having to rearrange the list every ten. I'm still thinking out ideas for managing the list, although I think this new method will be adequate for now. Because I want my list to be compatible with the other personal top tens that I will be tallying in a moment, I'll retcon the standard I suggested and make a top ten including those on the official list (note: it will probably be different from all my previous top tens): 1. Jimi Hendrix. 2. Jimmy Page. 3. Eddie Van Halen. 4. Eric Clapton. 5. Jeff Beck. 6. David Gilmour. 7. Pete Townshend. 8. Duane Allman. 9. Jerry Garcia. 10. Ritchie Blackmore. Your ranks have been accounted for. Averages and other statistical stuff will be listed at the bottom of this post. Your ranks have been accounted for. I list Townshend so high because he was an early player in the tradition of guitarists like Hendrix and Clapton, players whom he wasn't as good as, but some of the things he did predated them, for example the Who's method of amplification, as well as Townshend's use fuzz and feedback, albeit not as prominently as many later would, but my point is that in a rock context, the Who were very influential. But that's just my opinion. Your ranks have been accounted for. Queen was a strange band, and one of the few things that makes me reluctant to put May on my list is that Queen did do a lot of stuff that I really never bothered listening to. May was an influence on Eddie Van Halen and other late '70s, early '80s hard rock guitarists. No argument about Bon Jovi though. Your ranks have been accounted for. Your ranks have been accounted for. He is indeed great, even if he wasn't big on solos. So here are the results. On the whole, six people (including me) gave rearrangements of the top ten and their own top ten. Had I counted people who had previously listed their personal top ten lists, I would have a lot more to consider, and I'd have to think of another way to make it compatible, or wait longer and ask those people to provide rearrangements. It's a confusing piece of work, this thread, but I hope everything turns out for the best. Here is the official list as it currently stands, with the ranks the six recent participants gave them, and the mean of the ranks in bold: #1 - Jimi Hendrix - 1, 1, 1, 1, 1, 2 - 1.2. #2 - Jimmy Page - 2, 2, 6, 2, 2, 1 - 2.5. #3 - Eddie Van Halen - 3, 6, 10, 5, 6, 8 - 6.3. #4 - Jeff Beck - 5, 3, 3, 7, 8, 4 - 5. #5 - Eric Clapton - 4, 4, 4, 3, 3, 3 - 3.5. #6 - David Gilmour - 6, 7, 5, 6, 7, 10 - 6.8. #7 - Duane Allman - 9, 5, 2, 8, 4, 5 - 5.5. #8 - Riley "B.B." King - 10, 8, 8, 10, 10, 7 - 8.8. #9 - Chuck Berry - 8, 10, 7, 4, 5, 6 - 6.7. #10 - Jerry Garcia - 7, 9, 9, 9, 9, 9 - 8.7. The new official top ten: #1 - Jimi Hendrix (1.2). #2 - Jimmy Page (2.5). #3 - Eric Clapton (3.5). #4 - Jeff Beck (5). #5 - Duane Allman (5.5). #6 - Eddie Van Halen (6.3). #7 - Chuck Berry (6.7). #8 - David Gilmour (6.8). #9 - Jerry Garcia (8.7). #10 - Riley "B.B" King (8.8). I'm in favor of this new method because using averages will equalize it, instead of me looking through the half-assed notes I was writing. I said I would also add a new guitarist to the list, but I'm still considering how I'm going to add in a new person while still being in accordance with the new top ten... Basically, where am I going to put new guitarists? Should I keep putting them at the bottom and have a rearrangement for averages every ten weeks or should I find a way to insert the guitarist into an appropriate rank which will hopefully cut down the number of rearrangements (if any)? The first choice sounds like a lot of work, and I have no idea how to pull off the second. I'll be on later.
  24. I'm with you there. I've been meaning to get into musical theory. Anyways, I don't know if that would be considered a Harrison chord. The chord we listed as the Harrison chord was only used in that song as far as I know. But you're right, the Beatles did harmonize between the guitars and bass.
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