It occurs to me that from the title of these posts, people might think I don’t like Hendrix or Steve Vai. Far from it. I like Hendrix plenty, and I don’t dislike Steve Vai although I wouldn’t want to listen to the majority of his music. I have less than no time for Clappo though)
2) The Tourist – Radiohead (solo by Jonny Greenwood)
If you played guitar in the late nineties, you worshipped at the altar of Jonny Greenwood. Radiohead were one of those bands that transcended tribal boundaries. Metal kids liked them. Grunge kids liked them. Punkers liked them well enough too. It seemed like everyone who was into rock music, and certainly everyone who played it, liked them.
For guitar players, the interplay between the group’s three guitarists (Greenwood, Ed O’Brien and Thom Yorke) was one of the chief reasons. The other was Greenwood’s furious lead guitar, which was in the tradition of such post-punker players as Keith Levene, John McGeoch, Johnny Marr, J Mascis and Robin Guthrie, and eschewed fast scalar runs and blues licks for textures, noise, dissonance, modal melodies and sheer squonkiness. True, he made use of oblique bends and octave chords – which in lead guitar terms were popularised by Hendrix and Wes Montgomery respectively – so he wasn’t inventing a new grammar of lead guitar out of whole cloth. But he was adventurous, dissonant, unconventional, angular and popular. There are hundreds of thousands of people my age who learned the Complete Works of Greenwood as 16-year-olds. Levene and McGeoch were great players, but in comparison, they are unknowns.
My favourite piece of Greenwood guitar comes at the end of The Tourist, the closing track on OK Computer, when his raging guitar solo shatters the uneasy calm of the song’s previous three and a half minutes. It’s a moment as raw and exciting as his infamous muted grunts just before the chorus of Creep. It’s often said by folks who dislike fast guitar playing that if you can’t sing along to it, then it’s not a good solo. You couldn’t sing along to the solo on The Tourist. It’s not without melody, but the importance it places on tunefulness is way below that which it places on noise, on jaggedness, on impurity of form (remember that The Tourist mixes up bars of 12/8 and 9/8, so the song’s very form resists the deployment of easy riffs and phrases). It’s like some sort of unstoppable eruption.
For a generation of guitar-playing kids, the solo on The Tourist was just the final piece of awe-inspiring guitar playing on an album full of them. And not that Radiohead haven’t made good music since, but the disappearance of Jonny Greenwood the guitar hero is a continuing source of regret to many of us.
Hurray for Jonny!