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Henry Vestine

Michael Ochs Archive/Getty

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.

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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.

76

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.

75

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.

74

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."

73

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.

72

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.

71

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.

70

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.

69

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.

68

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.

67

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.

66

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.