David Gilmour


Roger Waters gave Floyd conceptual weight and lyrical depth, but
Gilmour brought drama. His solos exuded a slow-burn stateliness
that could be soulful ("Comfortably Numb") or evoke sci-fi
dreamscapes ("Echoes") first glimpsed by the man he succeeded, acid
casualty Syd Barrett.


David Gilmour

Roger Waters gave Floyd conceptual weight and lyrical depth, but
Gilmour brought drama. His solos exuded a slow-burn stateliness
that could be soulful ("Comfortably Numb") or evoke sci-fi
dreamscapes ("Echoes") first glimpsed by the man he succeeded, acid
casualty Syd Barrett.


Derek Trucks

Trucks hit the road with his first band at age twelve. Now
twenty-four, he does double duty as guitarist with the Allman
Brothers Band and leader of the jazz-tinged Derek Trucks Band. He's
a fluid slide guitarist who moves easily between Southern rock,
reggae, gospel, jazz and African music.


Robert Quine

With a guitar style that owed as much to free jazz as it did to
blues and rock, Quine was the perfect choice to complement Richard
Hell's intuitive street poetry in the New York punk band the
Voidoids. Quine went on to make vital contributions to Lou Reed's
solo masterpiece The Blue Mask and Matthew Sweet's Girlfriend.

cliff gallup

Cliff Gallup

In the few months he spent as lead guitarist for Gene Vincent's Blue Caps in 1956, Gallup introduced the stylistic swagger that every rock guitarist now takes for granted. His slashing, razor-blade-in-the-ducktail assaults pushed the instrument one big step away from country picking and down the mean streets that rock & roll guitar has traversed ever since. "Race With the Devil," The Screaming End: The Best of Gene Vincent (1997)


Robbie Robertson

Robertson's songwriting laid the foundation for the Band's rustic
soul, but his terse, poignant guitar playing was the group's most
underrated weapon. The Canada-born Robertson and the rest of the
Band — then still called the Hawks — backed Bob Dylan
on his first electric tour, in 1966, during which Dylan proclaimed
him a "mathematical guitar genius."


Henry Vestine

Vestine's interplay with Alan Wilson's slide in Canned Heat sparked
hits including "On the Road Again" and "Going Up the Country."
"Sunflower," as he was called, was an early member of Zappa's
Mothers and played with free-jazzman Albert Ayler.


Ali Farka Toure

The Malian singer and guitarist is often compared to John Lee
Hooker, though that's too easy. He has clearly been influenced by
rural blues, but Toure is a technical marvel, and his delicately
plucked clusters and blindingly fast runs gather influences from
African hymns to folk songs.


Adam Jones

In high school, Tool's Adam Jones played bass in a band with future
Rage Against the Machine guitarist Tom Morello. In Tool, he
combines the tuned-down chug of death metal with ominous
atmospherics influenced by Rush and King Crimson. Rarely letting
loose with a conventional solo, Jones prefers riffing in 15/8 time.


Johnny Winter

In the early Seventies, Winter took the blues into hard-rock
territory with his overdrive takes on anthems such as "Johnny B.
Goode"and "Jumpin' Jack Flash." He produced a string of solid
albums for his hero Muddy Waters in the late Seventies. "It's a
living music," Winter has said. "For me, blues is a necessity."


Trey Anastasio

Anastasio can play anything he hears. Phish's guitar anti-hero has
Pat Metheny's cinematic sense of pacing and Frank Zappa's impish
inclination toward noise. His epic solos balance technical
finger-work against screaming climaxes, and they're exciting even
when he's sloppy. Especially when he's sloppy.


Joni Mitchell

The secret to Mitchell's daring guitar work is that she uses more
than fifty different tunings. Mitchell devised the alternate
tunings to compensate for a left hand weakened by childhood polio.
In time she used them as a tool to break free of standard
approaches to harmony and structure.


Lightnin’ Hopkins

Sam "Lightnin'" Hopkins learned the blues from Blind Lemon
Jefferson in the Twenties. He was a ferocious electric stylist in
the Fifties, though he's perhaps best known for his nimble acoustic
fingerpicking during the Sixties folk-blues revival. As
unpredictable as John Lee Hooker, he seemed to be making it up as
he went along, and often was.


Eddie Van Halen

The sound-obsessed Van Halen makes even simple lines sound like
towering chorales and pioneered all kinds of tricks, such as
fingers hammering the fretboard. Van Halen sought something
different from his rock peers: music that was defiantly arty, but
never so much so that it lost touch with devastating hooks.


Steve Howe

During an era when everyone wanted to be a bluesman, Howe brought
jazz, country, flamenco, ragtime and psychedelia into the mix for
prog — rockers Yes. The ringing harmonics that open
"Roundabout" may be Howe's best-known moment but Close to the Edge
shows his range, from acoustic delicacy to high-octane riffs.


Jerry Miller

Miller was tightly tempered on the Pacific Northwest R&B bar
scene before joining the San Francisco ballroom band Moby Grape.
His playing was never self-indulgent, and his soloing was
propulsive, always aware of where the song was headed.


Link Wray

Wray is the man behind the most important D chord in history. You
can hear that chord in all its raunchy magnificence on the epochal
1958 instrumental "Rumble." By stabbing his amplifier's speaker
cone with a pencil, Wray created the overdriven rock-guitar sound
taken up by Townshend, Hendrix and others.


Vernon Reid

Reid reinvigorated hard rock with shots of soul, jazz and hip-hop.
Reid's solos embraced the free-form abstraction of his early days
as a jazz player, but they flexed enough muscle to bowl over any
Metallica fan.