i live for that look, hey is that all it took?

fire and tent in theemily.'s bmore apt.  glorious.  camp (18k image)I originally posted this weeks ago, but it crashed on me, and it was gone forever. I am attempting to regroup it. Of course this will change in my head at many times throughout the day, but here is where it is as of today. Below is a list of my Top 10 sections of songs with my favorite guitar part. Hopefully this will be an ongoing list. I will eventually do other sections as well.

  • The BeatlesYellow Submarine “It’s All Too Much” :: @00.01, Any song that begins with feedback is good in my book. George Harrison crafted a wonderful and typically overlooked masterpiece. When it was uncool to have an 8 minute pop song, he did it. You got to love that.
  • God Speed You Black EmpororLift yr. skinny fists like antennas to heaven! “#1” :: 10:14, Once that kicks in, it takes you over the plane of insanity. The build up is tremendous too. It’s a push that makes you feel overwhelmed with something that is unexplainable. Or ever could be. That is a feeling I get everytime I hear this song and specifically that section. That incomprehensible state is perhaps what makes it so beautiful.
  • RadioheadPablo Honey “I Can’t” :: 03.46, Often a rather overlooked Radiohead record. This is prolly the least listened to record by fans of this band. I think it’s the best. This was a great song back in the day. It had great meaning to me. The guitar Johnny played, however had more. It’s a motif that gets fully realized at this point. Listen to it and then go back to the begining, you’ll hear it all over the place in the middle of the song, just quieter throughout the track. Again the buildup is key.
  • Sonic YouthConfusion is Sex “The World Looks Red” :: 00.11, I never could believe that this was a guitar. Always reminded me of chimes detuned or something. But of course it was. Lee Ranaldo reinvented guitar playing. Thurston helped too. Raw power. A great extention of Iggy Pop. Somewhere in there.
  • SuperchunkHere’s Where the Strings Come In “Yeah, it’s Beautiful Here” :: 03.01, Guitar volume swells are amazing. It is very dramatic here which leads to a great segue to the guitar solo. Go Jon. Segues and bridges can be very subtle yet so effective sometimes.
  • Trans AmSurrender to the Night “Motr” :: 2.36, This lead made me cry the first time I heard it. It still makes me a little teary eyed. Oozes emotion and sadness like no other. Totally unsure if this was intended. I hope it wasnt.
  • U2Rattle and Hum “All I Want Is You” :: 3.48, Perfect guitar solo with a mega uplifting emotional middle and great release ending with feedback. Great ride. Complete angular and wide spectrum orgasm of intensity. The Edge really knew what to play and when.
  • Sinead O’ConnorI Do Not Want What I Haven’t Got “Last Day of Our Acquantance” :: 3.22, I feel her pain in her strumming. It’s a harsh reality. But that volnerable acoustic guitar shows it all. Breathtaking. I will always remember her playing this on SNL years ago. It looked like her arm would have snapped from stumming so hard. It’s a slow galloping horse.
  • FugaziIn on the Killtaker “Facet Squared” :: 00.49, More rawness. Complete DC rawness. Competely exemplifies the feel and taste and sound of DC. Dark and raunchy yet clean and refined. Completely DC. Completely.
  • Dinosaur JrGreen Mind “Green Mind” :: 01.02, No one ever said you had to put sounds where you were supposed to. Here J. Mascis puts acoustic guitars stummed ever so fast like Robert Smith in the chorus. They just magically appear and help move the song along. Not really any emotional ground broken here. I just thought the placement was not cliche yet very effective for a song and always stuck in my head. J. also isnt afraid to put a little low end in an acoustic guitar. You got to respect that.
  • Like i’ve stated before time and time again, people spend too much time listening to the lyrics, when in fact most of the emotions come from the other sounds in music and what not. Sometimes the guitarist chose a strat vs. an SG for a reason, or the drummer used a Ludwig 5″ maple snare vs. a DW 8″ steel snare. Or the engineer used a Shenheiser 421 on the vox. Or ran the bass through a chimney. No lyrics or words could ever display more emotion on the above parts. It’s just not possible. People should take more notice to the aesthetics of music rather than what is right in their face. But then, I guess, that would be too easy. hang the dj

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