rayc
retroreprobate
Some amazing solos mentioned already. I have to be consistent and say that the solo in Everyday by Slade has always been a fav of mine - much more pop tyhat anything else but that's a good thing in its own way. The solo was played by the bassist - Jim (Whild) Lea.
SLADE-Everyday - YouTube
'Tain't exciting or dexterous - it has always struck me as right for the song & that's the point in the musical sense isn't it.
Others I dig are the solo in Come Up & See Me by Steve Harley & Cockney Rebel because it was so outlandish to throw a melodic classical guitar bit in there as well as how good it sounds in the song.
In the total opposite direction is Jimmy Page's solo in Cocker's version of Bye Bye Blackbird. https://www.youtube.com/watch?v=MSR3lzRj8-c It separates the song: draws a line down the middle like Matisse's Green Line did to the portrait.
Hw about the lead work on January and Magic by Pilot - they really were extraordinary for a pop song - hook & dexterity tied up & probably better than the songs.
ANYTHING on the 1st Richard hell & the Voidoids album, particularly Love Comes in Spurts, would rate as superb to my ears & whilst, at 1st listen, they may seem contrary to my "right for the song" premise, closer listening and familiarity with the songs may suggest that they are, indeed, crucial to the song. Richard Quine put the chaos that was Hell's life into the songs as Hell was too rooted in convention to do it with the writing. (Quine on Matthew Sweet's mid period LPs is an example of beautiful playing that decorates and compliments a song without being essential as the songs are so strong tey could be played on a Uke in a ute & still go over effectively).
Can I really bypass the solo in Don't Fear the Reaper? Or almost anything by Tom Verlain & Richard Lloyd on the 1st Television album.
Then again, closer to home the solo on my song Eyes Wired Open, played by our own Ido1957 is superb.
SLADE-Everyday - YouTube
'Tain't exciting or dexterous - it has always struck me as right for the song & that's the point in the musical sense isn't it.
Others I dig are the solo in Come Up & See Me by Steve Harley & Cockney Rebel because it was so outlandish to throw a melodic classical guitar bit in there as well as how good it sounds in the song.
In the total opposite direction is Jimmy Page's solo in Cocker's version of Bye Bye Blackbird. https://www.youtube.com/watch?v=MSR3lzRj8-c It separates the song: draws a line down the middle like Matisse's Green Line did to the portrait.
Hw about the lead work on January and Magic by Pilot - they really were extraordinary for a pop song - hook & dexterity tied up & probably better than the songs.
ANYTHING on the 1st Richard hell & the Voidoids album, particularly Love Comes in Spurts, would rate as superb to my ears & whilst, at 1st listen, they may seem contrary to my "right for the song" premise, closer listening and familiarity with the songs may suggest that they are, indeed, crucial to the song. Richard Quine put the chaos that was Hell's life into the songs as Hell was too rooted in convention to do it with the writing. (Quine on Matthew Sweet's mid period LPs is an example of beautiful playing that decorates and compliments a song without being essential as the songs are so strong tey could be played on a Uke in a ute & still go over effectively).
Can I really bypass the solo in Don't Fear the Reaper? Or almost anything by Tom Verlain & Richard Lloyd on the 1st Television album.
Then again, closer to home the solo on my song Eyes Wired Open, played by our own Ido1957 is superb.