But his effect on country music is enormous. People imitate Stevie Wonder or whomever, but how many people can do Elvis Costello? Vol. As a lyricist, he's one of the best ever. Iggy wanted the Stooges to be what he'd seen in Chicago as a young guy these old bluesmen playing so hard that, as Iggy once said, the music drips off you. I've made the imaginary "Top Ten Keyboard Players" list that RS might print. Backstage, Carl was very nervous about coming out with us. There are a lot of Deadheads who were completely different people before they connected with the Grateful Dead. That kind of storytelling has fallen out of pop music, for the most part. People don't realize how unique that is. At the same time, everything they did was really smart and worked on a few levels; you could love a particular song, then realize a year later that you had totally missed the meaning. Carl was the real deal a true rockabilly cat. There's nothing like it. They were desperately trying to write material that was truly progressive and original. Remain in Light was this combination of ambient music and strong lyrics and incredibly inventive percussion and bass parts. Listening to Radiohead makes me feel like I'm a Salieri to their Mozart. James is so fine. My favorite is "Don't Stand So Close to Me," the one about the teacher and the young girl. Trent Reznor remixed this version of Metal Machine Music as a present.". You try to play this stuff and you'll see they had chops. England and Wales company registration number 2008885. God knows how many [synths] Ive owned over the years," he told MusicRadar in 2020. was totally a going concern. I first saw Clapton with Cream, at the Cafe Au Go Go in New York in 1967 sort of. Contributions from Jenna Scaramanga, Amit Sharma last updated 16 January 2023 A comprehensive rundown of the best guitarists of all time, featuring the trailblazers, the early innovators, the best jazz, rock, indie, blues, metal and acoustic players - and the top guitarists around today. Soon after that, they broke up, which to me marked the end of Seventies rock. When they said Jimmy Iovine, I got Jimmy, because I wanted my solo work to be as much like Tom's as possible. And in that world, people weren't wearing Nehru jackets, smoking pot and jamming for 24 hours a day. But Wolf was not a demanding person. Later, when Holland-Dozier-Holland left, I co-wrote "Still Water (Love)" with Frank Wilson for the Four Tops. The way he would squeeze out a note can't be trained and can't be imitated. Their management changed the lineup in 1958, and that's when the great Ben E. King came into the picture. When Cream came out, everybody started a power trio. Vote up the top pianists below based on their compositions and worldly influence. I'd later become friends with David Ruffin when our bands would play in Detroit, Ruffin would come to every show and we'd sing "(I Know) I'm Losing You," a Temptations cover off my album Every Picture Tells a Story. The Supremes were the epitome of the Motown sound. But he really came into focus in Butler's next big hit, "He Will Break Your Heart," which was written by Mayfield and features his strumming electric guitar to a saucy tango beat that you can hear echoing in Ben E. King's "Spanish Harlem.". But they had 8-tracks. The music is bitchin'! I also saw Zappa at Memorial Auditorium in Burlington, Vermont, on his last tour, in 1988. Robert Fripp. The second is the type who serves the artist; I would be so brash as to include myself in that category, along with John Hammond, Ahmet and Nesuhi Ertegun, and Bob Thiele music fans who try to develop great singers. It was like when the Chicago Bears had that player the Refrigerator. At an early age I looked to music to take me out of my reality, and Sabbath does that better than any hard-rock act I know. I was a kid, but I still thought, "I should have been involved in that record!" When they showed it to me, I was like, "Is this the right thing to do? He wrote those lyrics without any music. When I first heard him, I was blown away that someone could just spit those words out without even hitting the right notes, with no holding back and no shame. They poured their lifeblood into that groove, and they mastered it. The Yardbirds' music is a gold mine waiting to be stumbled upon. When I was 11 or so, my first group was an early version of what would become the Miracles. The Drifters records that we're most associated with, including "There Goes My Baby," come from that era. That's something the average rapper just could not do: build an entire album around that concept, and stay in that negative space. The arrangements are always so unpredictable: high-pitched synthesizer sounds you never heard before, followed by straight-up beautiful music. I said most cities with famous musicians, like Chicago they end up naming a street or something after them. Every rapper who grew up in the Nineties owes something to Tupac. Then, years later, I went to the White House (back when Clinton was in office), and Al was there performing. Back then the Four Tops were called the Four Aims. That would signify for you to show your shit. When I first met him, he was very young, sleeping on the couch at the Atlantic Records offices and using the switchboard after hours. There was nothing else I could do. We used Brian May amps and wrote songs with different movements. I didn't become a big fan until 1989. There's a damaged quality to David Bowie's original mix that is way ahead of its time. He demystified the whole thing for my generation: "Look, these are just instruments. They dug down a little deeper into rock's roots. The title song of Sabbath Bloody Sabbath has all of the stuff I'm talking about: It's rebellious and dark and wicked, but it's also gorgeous. He was not the kind of guy to blow his own horn; he was very humble. I can still listen to two or three Tupac CDs straight. I really related to that, because I never had a big, boisterous, American Idol showstopping voice. But what disappoints me about a lot of current music is that you don't hear any history in it. At that time I was very much into folk music and turning the corner into R&B, and I'll never forget seeing that cover, with all the Tempts dressed as Foreign Legionnaires, sitting in the desert. Al Kooper 10. The Beasties were a punk band listening to hip-hop. With players from each era in the mix, this was a tough one. On The Stooges and Fun House, while his brother Ron, the guitarist, was playing these loud bar-chord progressions, Scott was making the band rev and swing. Dickey was remarkable in his own right. When I'm trying to create something, I always refer to the Sex Pistols, because they show you what the possibilities are in music. They're never going to tell me, "Play it more like Jerry" or "less like Jerry." I became a fan right then. His music is impeccable. His guitar has a very distinctive sound it's like a fingerprint. The Stooges' sound was so evocative yet so simple. And every time, they raise their finger to the press and the critics and say, "Nothing we do is for you!" Everything about her her mannerisms, her look, her aura exuded stardom. His songs about women and girls are devastating, like arrows to the heart. But then it came out and just took hold of the world. I was like, "Man, we don't go there." But you could see them the band was right in the window. Duff McKagan is like the bass player in AC/DC: His parts were fairly simple, but they made the band an unstoppable force. That warmth and wit came through in his music. They're a fucking piece of the mountain coming down behind you, and you can't do anything about it. Later on, they broke ground with the psychedelic soul of "Cloud Nine." The essays on these top 100 artists are by their peers: singers, producers and musicians. Carl was that good. There just aren't many people in the world with balls that big and talent that awesome. It makes you want to get your girlfriend and go to a dance in your lowrider. I couldn't get in. I'm all over the map emotionally and spiritually, like most people are, so different Talking Heads records speak to me at different times, but with Remain in Light and Fear of Music, the grit of modern living is there. They knew he knew. The emotion is all in that groove. What is memorable today is the ease and efficiency with which we three found our harmonies. They weren't the first girl group, but the Shirelles were the first to have many hits. The song was basically their blueprint. He took my hand I guess I led him to her and he said, "Joni, I'd like you to meet Jewel." Otis Redding had his sound, Sam and Dave had theirs, Albert King had his own thing. Their melodies and harmonies have always been instantly familiar. When she did it, it was a fluffy time pretty girls singing about pretty things. Maybe most important of all, he turned the amp up to 11. Billy Preston 6. Jon Lord (Deep Purple) 4. It's all about attitude. But it was organic with Carl. Byrne's lyrics spoke to the artifice of the American landscape. And he would ball that fist up. Atlanta Rhytm . My parents had basically nine vinyl albums, all greatest hits: the Beatles' red/blue albums, Carpenters, Neil Diamond, Elton John, the Beach Boys' Endless Summer, Jim Croce, Gordon Lightfoot and Creedence Gold. I listened to Chronic Town procured on a recent family vacation to Los Angeles on my Walkman backstage during rehearsal for the school production of Guys and Dolls, rehearsing the conversation in my head: "Yeah," I'd reply casually, "I'm not really into that song this is their first EP. He said, "Hello," and I thought, "Uh-oh, this isn't fake. Their thing was "What do we do with these sounds?" And I don't hear that today. And what they wanted was Jackie Wilson. They were obviously so psyched to be doing what they were doing. When I was learning to produce, working in a home studio in my mother's crib, I tried to make beats that sounded exactly like Timbaland's, DJ Premier's, Pete Rock's and, especially, Dr. Dre's. 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He was streamlined in a way that reminded me of Keith Richards, was always wasted and had a careless guitar style that was really cool. Also, he loved to get stoned. I always loved the way the mistakes were kept in on his albums, like the way the band is almost out of sync at the beginning of "Love and Happiness." With Frank, his musicians were pushed to the absolute brink. Never Mind the Bollocks is the root of everything that goes on at modern-rock radio. But it was his voice that reached the higher ground. Future Publishing Limited Quay House, The Ambury, It was on this song that the group combined doo-wop with very accessible pop melodies: It began with the whole group singing, "Doo ron, day ron, day ron day papa, doo ron," then one of them would sing, "Well, I met him on a Sunday." We all used to sing on the corners, at school functions and at house parties. The first time I heard real anger and aggressive sexuality expressed in guitar playing was on that Mayall record. That East Coast/West Coast feud was just personal beef. A wayward fugitive, stumbling through the door of some Provenal cafe, his hat and coat soaking wet from the journey. she sounded like she was begging. Jerry Lee Lewis 2. They were definitely going for a hit single with the song "(Anesthesia) Pulling Teeth." I first saw the band in 1979 I was 19 but my head was somewhere else at the time. He's pretty much a recluse. And that motherfucker could make chicks cry. Parliament and Funkadelic were 30 years ahead of their time. Sometimes I wonder if he watches people on the Strand in London and makes up entire histories for them. Steve Winwood (Traffic) 10. Most guitar players like to go crazy, but Steve picked his spots, and when he spoke, it was profound. A great band like Metallica could play an AC/DC song note for note, and they still wouldn't capture the tension and release that drive the music. There was a synchronicity between the Dead and the crowd, and it was mesmerizing to watch Jerry, in his own understated way, steering that ship knowing it was a big ship that could barely be steered, but if anybody could steer it, it was him. He was a dynamic performer right up until he was disabled in an accident onstage in New York in 1990. It's no accident that the Beatles' Apple Records signed James Taylor at its inception. This was back when a band was a band. went to England in 1985, I drove through Muswell Hill and it certainly wasn't romantic-looking. When I'm with the Allman Brothers, the band always leaves it up to me how much of Duane's influence I should show. The curtain drew back and the three of them started playing "Crossroads." Admittedly, I was reading a lot about peak oil at the time, but c'mon, who else can inspire a crowd of 100,000 to throw their arms in the air while offering each individual brain in that crowd the opportunity to think critically about language and the state of the world today? I remember Ginger Baker was insane back then, and I'm sure he still is. Even when it's just him and a piano onstage, it's powerful. His anger, vulnerability and humor come out. I didn't have anything to say to her. They were called metal at the time, but they weren't: Metal isn't sexy, but rock is. To this day they still have the best album covers I've ever seen; they would sustain you as much as a video would today. They've put out genius records for decades. However inscrutable Michael Stipe's lyrics were, they always gave language to this weird, agonizing metamorphosis taking place in my head. But Zappa was incredibly vital to me, as a composer and guitarist. It was a voice that could play roadhouses without amplification, that could cut through barroom crowds. And when his creativity, passion, frustration and anger all came together, it was frightening. Their songs are universal they're part of all of our lives. Joni Mitchell is a bigger icon than she is a star. Carl was actually there in the studio when the Beatles cut some of them. We're all crammed into our van, with all our equipment. That was her story. When I hear Metallica, I get this feeling that they're doing something that they have to do. It was a thing of beauty. Clapton absorbed that, then introduced the essence of black electric blues: the power and vocabulary of Buddy Guy, Hubert Sumlin and the three Kings B.B., Albert and Freddie to create an attack that defined the fundamentals of rock & roll lead guitar. I only knew that they sounded better than any other band. The Eagles forever changed country and rock, but I just think of what they did as being great American music. I've never said more than a casual hello to Eric, so none of this is inside information. But I still gave him a look like he was bugging. In these fan testimonials, indie rockers pay tribute to world-beating rappers (Vampire Weekend's Ezra. They played like no other band. He stood there, not moving a muscle, while he issued the most savage assault you had ever experienced, unless you were at the debut of Tchaikovsky's "1812 Overture" and your seat was in front of the cannon. The subject of "Tiny Dancer" was long assumed to be lyricist Bernie Taupin's wife Maxine Feibelmann, but Taupin, a Brit, has revealed . But I think "perfect" is the best review. When Muddy died, they interviewed me on television, and they asked me, "What should be done?" It's a great trick it's impossibly catchy, people play it at their weddings, but it's a stalker song. From the start, I have always admired Eminem's thinking. I first met Tom in the studio, and he was pretty much what I expected. I feel like they saw Brian Eno, their producer, as another instrument. The singer was just one tile in this intaglio. Rock music is all about being phony sometimes. People look at Ross and say she had great songs, she was a good-looking girl, behind her she had Berry Gordy who, in my book, is the greatest record man who ever lived she had all these things. I still ask artists in the studio to "sing this like Diana Ross would." They had an eclecticism the Gregorian chant-ness of the vocals, the melodic diversity, the way they used guitar feedback.

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