Separate names with a comma.
Discussion in 'The Sound Hound Lounge' started by Barquentine, Mar 28, 2020.
That said, pretty soon after Bowie grabbed SRV to play all over his album Let’s Dance.
It's kind of funny listening to SRV on Let's dance. There's nothing technically amazing about that track, yet it is so Stevie.
You got a Mongoose?
wonder where Ziggy got the notion.
That was Rick Derringer on guitar right? The thing that makes Beat It such a good solo is Ed's timing. he can swing better than most. I've always though that was the hardest part of his style to copy. It's overlooked a lot and for me, it's what makes him truly unique.
sometimes what is “technically amazing” is subtle. Effortless in appearance, yet beyond the grasp of many. Vibrato, voiced bends, double stops, use of sustain, all as important, if not more important s than speed and chord voicing. Stevie was also practiced in these latter skills.
Cultural impact aside, does anybody love the Beat It solo itself? I went back and listened to it again and thought it kind of dragged the song down. Love early Van Halen though.
I don’t know about that, but what always bugged me was it sounded like it was out-of-tune...
well, he basically phoned it in, so yeah. and it bugged me too
I actually think it's one of EVH's best solos. It's a perfect example of "falling down the stairs and landing on your feet"...
It’s just “so Eddie”. It couldn’t be mistaken for anyone else.
Very insightful on EVH, but I feel like the Weird Al/Derringer solo wasn't a copy. It's night and day to me, which is why I feel it oughta be heard and enjoyed
I also like it a lot more, personally. Those sounds in the middle are otherworldly.
I didn't listen to VH until after I played guitar. This solo helped make me a guitarist.
Not that I can play it....
Cued to solo @ 02:23..... 28 seconds of heaven.
I don't think I made the connection (that it was EVH) until years later, probably upon hearing/reading about in a guitar mag... made sense though, it was either EVH or someone obtained a time machine, grabbed some of Ed's DNA, zapped forward to a future where cloning technology is a thing, made an Ed copy, zapped back, got the solo, then returned the clone to future so that the fabic of space/time was not unduly disrupted... which would probably have blown the session's budget, I'd reckon...
Slightly off topic - This thread made me go back have a listen to the tune. It's a great example of where a solo picks up a song and takes it to another place... The song sounds like it's kinda run out steam by the time the solo comes in (said all it's got to say, chorus/riff/motifs almost worn out their welcome).... the solo takes it up a notch and gives it a way forward .. it's great playing, but it's genius arranging..
And it couldn't have been anything but shred solo, either.... something melodic probably wouldn't have worked (the melody doesn't need to be restated, it doesn't another melody or variation, it's got enough riffs/hooks).... I say that only 'cause shred playing is often criticized for it's lack of melody/musicality... that was a case where it really worked...
I personally don't think it's a very good solo, though to be fair I don't really like VH's soloing style in general.
It just sounds like spastic noodling to me with no clear beginning or end. Obviously many of you would disagree with me, but I definitely would've liked Lukather or Gillis to have taken a shot at it.
...not to mention a .45
what cool folks!!!
If you weren’t of age then, you don’t get it. There could have been no one else. EVH was a couple of years into changing history and there was no one of his stature, and more importantly, of his crossover significance. Luke would have just done it because any other guest “star” would have been a distant #2 and neither Q nor MJ would have settled.
I am pretty sure Ed was invited for commercial reasons rather than artistic. I don't think those three would have brought the crossover appeal that Eddie brought. If Eddie turned it down, they most likely would have just had Luke do it or skipped it altogether.
actually, the beginning and the end are the only parts that make any sense to me. The stuff in the middle sounds like it was all spliced together.
Michael Schenker would have played something nice but less flashy. But no one knew the eff he was, so....
I'm a big VH fan, and don't think it was one of his greatest solo's. But under the circumstances, OK.
Being spliced by someone else (Jones), how much input did he have? Taken out of his comfort zone into the world of session players, something he had not done (and never did) a lot of. Not his song, nothing invested in it, really.
I'm sure if he had told Noel Monk before hand, he would have got his royalties.
But a bigger question for me - would he have pinned that solo (splice or not) on one of his own records? Reason I surmise, is the stuff MJ recorded with Steve Stevens and Slash was pretty average imo. More about the "star power" than the actual product.