Music » Rock Guitarist Music

Third solo album from the acclaimed leader of Dire Straits, Mark Knopfler, a rootsy American-leaning epic about the working man. 2002. Warner.

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Media Type: CD
Artist: WRAY,LINK
Title: RUMBLE! BEST OF
Street Release Date: 05/18/1993
Domestic
Genre: ROCK/POP

After a brief excursion into techno with 2000's Engines of Creation, Joe Satriani returns to rock with a vengeance. He sets the tone by looking to Led Zeppelin's Physical Graffiti for inspiration, coming up with the lyrical "Oriental Melody" and the sensuous "Belly Dancer." "Starry Night" is a rhythmic romp across the cosmos that recalls the restrained yet breezy jazz of early Traffic laced with the lyricism of Jimi Hendrix. "Chords of Life" is marked by its clean, uncluttered bass line that surrenders to a tumultuous psychedelic free fall. Satriani pulls the song back just before it disintegrates into chaos, guiding it along with a deftness and economy. Often criticized for overplaying, the former guitar teacher has reined in his technique and let his heart lead. Strange Beautiful Music is one of Satriani's best efforts. --Jaan Uhelszki

It's been decades since Jimi Hendrix advised the world that they'd "never hear surf music again." But the Mermen (who take their name from a Hendrix song) not only prove the venerable guitar god wrong, but make a compelling musical argument here that if Hendrix were alive today he might well be sitting in with them on these moody, musically expansive tracks. Just as Jimi was reinventing himself at the time of his death, the Mermen tweak surf-instrumental clich?s beyond recognition--that is, when they're not trashing them altogether. Guitarist Jim Thomas's influences range from (of course) Hendrix to Dick Dale, Django Reinhardt, Ravi Shankar, Neil Young, Clarence White, and his own hometown heroes, the Dead Kennedys. Listen closely and you'll hear them all (and more) in a progressive collection that offers a surprise at nearly every turn, whether it's the soaring steel guitar flourishes of "Unto the Resplendent," the sitar colorings of "White Trash Raga," or the spacey Floyd-isms of the 13-minute-plus noise-symphony, "Burn." Like his heroes, Thomas never lets flash block the path of illumination, delivering his rich palette of tones and influences with an ocean-bred sense of grace and destiny. --Jerry McCulley

If there's irony in the fact that the founding fathers of surf rock the Ventures hail from quarters not exactly renowned as bastions of sun-drenched wave-riding (Portland, Oregon, and Tacoma, Washington), it only stands to reason that their inspirations weren't exactly baggy-clad and bushy-blond-coiffed, either (Les Paul, Chet Atkins, Duane Eddy). But those unlikely roots did indeed spawn a 40-year career for the band as international stars and, more important, instrumental rock's first and foremost preservationists. This album replicates much of the Ventures' longtime tour repertoire, drawing on their own considerable hits ("Walk, Don't Run," "Perfidia," "Hawaii Five-O") as well as covers that range from Richard Rodgers ("Slaughter on 10th Ave.") to prime '60s bands like the Surfaris ("Wipe Out"), Marketts ("Out of Limits"), and Astronauts ("Baja"). All are performed with the verve and solid craftsmanship that has long characterized the band. Longtime fans should note the presence of guitarist Nokie Edwards (the band's most fabled soloist from their heyday) on most of the tracks, as well as Leon Taylor, who ably fills the drum throne of his late father, Mel. Later guitarist Gerry McGee's Nashville-influenced licks are featured on "Five-O" and "Bambora," with former Steely Dan-Doobies fretman Jeff "Skunk" Baxter also taking a solo turn on the latter. While some can't quite measure up to the originals, this collection often succeeds on the band's still-driving momentum and the obvious joy they continue to find in the material. --Jerry McCulley

Release Date: 2003-04-01, Audio CD, EMI Special Products

Ori Release '03 Debut album from George Lynch & Jeff Pilson ( Both Dokken's )

There's something about Carl Perkins's original version of "Blue Suede Shoes" that's wilder than Elvis's less popular, though today better known, cover of the song. It's not that Perkins is in your face; his version is remarkably restrained. But that restraint hides a real sense of hillbilly threat--Elvis is playing, but Carl sounds like he'd kick your teeth in. That vocal edge, along with his influential lead guitar, is what makes Perkins' sides such as "Honey Don't" and "Everybody's Trying to Be My Baby" the very definition of rockabilly's darker edge--all of which becomes perfectly clear when he finally cuts loose and gets "Dixie Fried." --David Cantwell

This collection rightly concentrates on Dale's instrumental exploits as the Jimi Hendrix of surf music. Nineteen sixty-one's "Let's Go Trippin'" was the first real surf instrumental, although the pyrotechnic fretwork of later Dale records is largely absent. Those divebomb runs, reverb drenchings, and impossibly quick picking displays materialize on the next single, "Shake & Stomp," then bloom on the revved-up Middle-Eastern standard "Misirlou." Dale's instrumentals generally fell into two camps: standard-progression frat blasts ("Take It Off," "Night Rider," "Mr. Eliminator") and minor-key Middle-Eastern excursions ("The Wedge," the "Pipeline"-esque "Banzai Wipeout," "The Victor," even "Hava Nagila"--which Jewish purists must have regarded as a hora of Babylon), on which his blistering technique was more likely to find its spotlight Some of his best work is found on "King of the Surf Guitar," a Duane Eddy knockoff with great vocals by the Blossoms garnished by lightning flashes of boss guitar. With all the dazzling axe-work on display (also including a beautiful 1987 duet with Stevie Ray Vaughan on the Chantays' unearthly "Pipeline"), the coolest cut here may be the sole vocal, "Mr. Peppermint Man," on which Dale's rasp oozes a concupiscent slime over the murky tale of a lollipop Lothario who "carries a little sign that says, Have some dessert." Frat rock godhead. --Ken Barnes

No Description Available
No Track Information Available
Media Type: CD
Artist: LINDLEY,DAVID & EL RAYO-X
Title: VERY GREASY
Street Release Date: 08/23/1988
Domestic
Genre: ROCK/POP