 The Varney-ites: The
USA
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Whilst The 80s section profiles some of the most inspiring
guitarists and their releases, it does not, unfortunately, allow mention
of the numerous other players who have contributed to the diverse world
of modern guitar music. The following casts an inquiring eye over that most
productive of eras, and examines some of its most eminent protagonists.
The Varney-ites: The USAMike Varney, owner of Shrapnel Records, the label which spawned so many eager guitarists, is a man to be reckoned with. As well as names such as Vinnie Moore and Jason Becker (see elsewhere), the label also launched the blazing careers of many excellent and often original talents. |
For example, there's James Byrd, formerly of Fifth Angel on whose self-titled debut (1986) Byrd played guitar. Byrd's considered playing at times brings to mind Yngwie Malmsteen and John Norum. Several solo CD's to date (including one with his band, Atlantis Rising), most of which are worth a listen, especially Octoglomerate (1994). David T. Chastain was initially featured in Guitar Player's 'Spotlight' section (in November 1982) and has had a particularly prolific career thus far; with his two bands, Chastain and CJSS, he has recorded several studio albums, as well as releasing instrumental records, all of which have allowed him to explore the 'sophisticated heavy guitar', to which he ascribes his style. The best of these include: Chastain: Mystery of Illusion (1985), For Those Who Dare (1990); David T. Chastain: Instrumental Variations (1987).
Shrapnel aren't exactly noted for their subtlety, and the abrasive music of Tony Fredianelli (Apocrypha) and Kurt James (ex-Dr. Mastermind) are both cases in point. Fredianelli, often sounding like a more progressive Marty Friedman (who, incidentally, produced Apocrypha's first two records, The Forgotten Scroll {1987} and The Eyes of Time {1988}), made bold with the complex power metal of 3 Apocrypha albums, as well as recording a solo record released in 1993 (Breakneck Speed); whilst Kurt James, who originally replaced Yngwie Malmsteen in Steeler and undertook a stint with Driver, lent his not inconsiderable neo-classical technique to the bludgeoning, Motorhead-like sound of Dr. Mastermind's self-titled debut (1987).
Joey Tafolla's first album, Out of the Sun (1986), emerged at about the same time as albums by other so-called 'neo-classical' players. Having previously performed with power-combo Jag Panza (Ample Destruction {1984}), Tafolla decided to pursue a solo career, and, having received tuition from no less than Paul Gilbert and Tony MacAlpine, went on to record 2 instrumental albums. The second, Infra Blue (1991), saw Joey turning to the blues for inspiration.
Richie Kotzen (ex-Poison) released his self-titled instrumental debut in 1989; further releases tended toward the same blues-based direction as that taken by Tafolla. His music ranged from the eccentric diversity of Richie Kotzen through a vocal project (Richie Kotzen's Fever Dream {1990}), to the rather innocuous affair of Electric Joy (1991). Since then he has released many more albums (including 2 CD's with Greg Howe) but few capture the energy and passion of those early releases. In possession of an original sound and a highly developed legato technique, he should go far with whatever band next hire him.
The Brits/Eire
The UK and Ireland produced a number of noteworthy talents during the 80s. From Ireland comes Def Leppard guitarist Vivian Campbell. Vivian first made his mark when he became Ronnie James Dio's new guitar player, playing on Dio's three well received studio records -- Holy Diver (1983), The Last in Line (1984) and Sacred Heart (1985). His was a hard-hitting technique that really attacked the strings. Campbell was later replaced by Craig Goldy (who would record the Dio-esque Hidden in Plain Sight {1991} under the band name Ritual) and British youngster Rowan Robertson (a mere 17 when he laid down his parts for Lock Up the Wolves {1990}).
One of the best British players is John Sykes, a guitarist who even today continues to astound with his virtuosity and very individual solo/rhythm work. John earned his reputation as a guitarist with clout after performing with such legendary names as Tygers Of Pan Tang, Thin Lizzy and Whitesnake. His performance on Lizzy's Thunder and Lightning (1983) and 'Snake's 1987 in particular lend authority to his present standing. His most recent recorded efforts have been with his solo band Blue Murder with whom he recorded two excellent releases, Blue Murder (1989) and Nothin' But Trouble (1993); and on projects under his own name like Out of My Tree. John's style is very much his own; he writes songs in the tradition of classic British hard rock/metal and plays guitar in a manner that owes little if anything to the musicianship of his contemporaries. A brilliant performer.
The Europeans
Talent abounds on the continent, with almost every country able to cite at least one articulate guitar player with the ability to upstage their US and UK counterparts. Just such a person is Ronni Le Tekro. Ronni is the guitarist with Norwegian pop metal band TNT, and his pick-heavy style -- one which contrasts some very speedy passages with unique classical phrasing -- has drawn admiration from a number of guitarists, including Zakk Wylde (ex-Ozzy Osbourne band) and George Lynch. He has played on all of TNT's albums, including Knights of the New Thunder (1984) and the classic Tell No Tales (1987).
On the Swedish front we have John Norum, Tony Borg and Kee Marcello. Norum began his rise to fame with the band Europe when they recorded their self-titled debut in 1983. His playing on that record very much reflected his influences, especially that of his hero, Gary Moore; later LP's with the band, and his solo works Total Control (1987) and Face the Truth (1992), showed the influence of Uli Jon Roth and Yngwie Malmsteen. Much admired and respected throughout the guitar-playing community, Norum has gone on to record several releases (including Another Destination {1995} and Worlds Away {1997}) which, though competent, lack the passion of his early work.
Tony Borg (Alien) and Kee Marcello (ex-Easy Action/Europe) are both very melodic, not to mention technically prolific players. Borg's first album with Alien (Alien {1988}) was especially satisfying, whilst Marcello's guitar-work on Europe's 1988 release, Out of this World was a joy to behold.
An exception to the warm/passionate approach is Sweden's Harry K. Cody, a real 'shredder' whose leads on Shotgun Messiah's (originally known as Kingpin) 1989 self-titled debut were redolent of Steve Vai on acid!
From France comes neo-classicist Patrick Rondat, an extremely accomplished player with 4 albums under his belt, including Just For Fun (1989) and Rape of the Earth (1991). Italy too has its champion of 'chops', one Alex Masi; Masi has released a number of very challenging solo albums such as Attack of the Neon Shark (1989) and the wholly instrumental Vertical Invader (1990) on which he lays down some frantic but unusual sweep sequences, along with some very demanding picking patterns. Of especial note is his solo spot on Attack of the Neon Shark which utilises techniques similar to those of speed king Shawn Lane, whom it would appear Alex holds in high regard.
The Far-East
Perhaps the only player from the East who has made a real impact on the scene is Japanese guitarist Akira Takasaki. Akira was principal in forming the seminal 80s heavy rock act, Loudness, having vacated the pop band Lazy; the band, formed with the other ex-Lazy member, drummer Munetaka Higuchi, set about recording albums which appealed to both Japanese and Western palates. They have released many studio records with a more or less stable line-up, the most interesting being Disillusion (1984), Thunder in the East (1985) and Soldier of Fortune (1989). Akira's style, a highly expressive mixture of technical finesse coupled with exquisite phrasing, is easily superior to many modern players who often pay little attention to writing good songs and rely too heavily on technique for its own sake. Akira also possesses a trademark rhythm approach which means that Loudness' songs are always instantly recognisable, even without the vocals. Add to this the intriguing exotic melodies and an excellent rhythm section, and you have one of the most important rock acts of the 80s.
Akira has released several solo albums, the first of which, Tusk of Jaguar (1982), featured everything from straightforward rock tunes to whole orchestral accompaniments, which showed that he wasn't limited to writing the kind of music that has characterised Loudness throughout their career. Considering the fact that Akira Takasaki was playing his advanced lead ideas as early as 1982, this also makes him one of the most historically important 'New Guitarists', a factor which can only increase the appeal of this talented and original player. Amongst those he has influenced are: Paul Gilbert, fellow Japanese guitarist Kuni Takeuchi (Kuni) and UFO's 'Atomik' Tommy McClendon.
Miscellaneous
As well the guitarists who fail to fit into any categories, there are those sub-sets of musicians who represent various stylistic approaches, such as tapping/8-finger tapping, tremolo arm feedback, and players who may be grouped according to their dominance within certain types of music -- for instance, the thrash guitarists. These include:
Doug Aldrich (Lion/Hurricane/House Of Lords/Bad Moon Rising), a fine melodic player with a good ear for solid solo construction; his solos on the two Lion CD's (Dangerous Attraction {1987}, Trouble in Angel City {1989}) perfectly complement Kal Swan's muscular vocals and hint at a vastly underrated all-rounder; Trevor Rabin (ex-Yes), a master of the studio environment, with the ability to play several instruments (and sing some very accomplished leads) (on 4 solo LP's); a more than adequate replacement for Steve Howe (GTR) in Yes who went on to play on a number of their experimental releases, most notably 90125 (1983). Recommended are: Trevor Rabin (1978) and Can't Look Away (1989) (NB: Rabin is now a film music composer of some standing!); Eric Johnson, whose output to date has been a mere 4 albums (Mariani, Tones {1986}, Ah Via Musicom {1990} and Venus Isle {1986}) but whose instrumental voice is almost as widely recognised and respected as such well known players as Joe Satriani (with whom he played -- along with Steve Vai -- on the G3 tour). His sound is anchored to a warm, rich tone, music that is as likely to be that of Jimi Hendrix (see Mariani) as it is the blues rock/psychedelia of Ah Via Musicom. One of the masters of modern guitar playing who uses speed sparingly, and whose trademark is a clear, uncluttered sound augmented by an astonishing technique.
Other important stylists of the 80s include: Steve Morse (Deep Purple), a guitarist whose track record includes stints with rock fusion band Dixie Dregs and AOR giants, Kansas, and whose solo records The Introduction (1984), High Tension Wires (1989) and Southern Steel (1991) have made him one of the most respected players in the business. High Tension Wires, for example, contains everything from Celtic to fusion and blues, with the odd neo-classical line thrown in for good measure. Southern Steel, a much harder-rocking album, proved that Morse could boost the volume switch when he wanted. A very precise (the mainstay of his lead playing is his adept command of alternate picking) and individual-sounding player, proficient in many different types of music.
There are also a number of 'specialists' out there. For instance, the 'tappers', those who have made this technique an important aspect of their style. Notable in this category is Reb Beach (Winger/Dokken); a session player for years (he played on records by, for instance, Twisted Sister and Chaka Khan) prior to joining mega-band, Winger. Beach has a fluid tapping style, somewhat revolutionary due to the fact that he plays ascending patterns as often as the more commonplace descending ones, and that his tapping often takes the form of, what sound like, actual scales. His rhythm-work is just as considered. The debut Winger record (Winger {1988}) features his best guitar playing.
Another player closely associated with the tapping style is Vito Bratta. Bratta's exciting playing can be heard on the four White Lion CD's, and is reminiscent of peak-form Eddie Van Halen. Like the great maestro, Bratta writes solos which are not 'tricks' in themselves but extensions of his style: the correct solo for the song in question. Recommended White Lion releases: Fight to Survive (1985) and Pride (1987).
Let's not forget the advocates of the 8-finger tapping technique. These include: Stanley Jordan, amazing to watch, but not as impressive to listen to on record (see Magic Touch {1985}); Steve Lynch, best known as the guitarist with US rock band Autograph (see Autograph That's the Stuff {1985}); and, better still, Jeff Watson, guitarist with AOR sensation, Night Ranger. Jeff's distinctive technique has, in the last decade or so, commanded the respect of such players as Tony MacAlpine, Steve Morse and Allan Holdsworth. Recommended releases: Night Ranger 7 Wishes (1985) and Jeff Watson Lone Ranger (1992).
And what of the guitar's much abused appendage, the tremolo/vibrato arm (or 'whammy bar')? Several talented musicians have made this part of the guitar's anatomy their foremost tool of recognition. For instance, Brad Gillis (ex-Ozzy Osbourne/Night Ranger) whose careful manipulation of the bar produced a signature sound on the Night Ranger releases. His solo CD, Gilrock Ranch (1993) is also worth tracking down; Steve Stevens (Billy Idol/Steve Stevens/Vince Neil), another weird and wonderful six-stringer, with a whole catalogue of strange effects inherent in his approach (see Steve Stevens Atomic Playboys {1989}, The Vince Neil Band Exposed {1993}); and Lanny Cordola, whose extended use of the bar was apparent in his style as early as his Giuffria days (on 1986's Silk and Steel album) and later with House Of Lords on House of Lords (1988).
Finally, two musical areas in which certain players have made their mark: thrash and progressive. Firstly, thrash. Kirk Hammett's career with thrash giants Metallica has seen him developing his solos from blues-based explorations (Kill 'Em All {1983}/Metallica {1992}) to classically-tinged leads (Ride the Lightning {1984}), ably supported by James Hetfield's brilliant rhythm guitar-work. Then there's Exodus' Gary Holt and Rick Hunolt, guitarists whose solo abilities are matched by their exacting rhythm work; whilst not standing out as individuals in the band, they fit easily and unobtrusively into the music they help shape. And let's not forget Annihilator's Jeff Waters, whose 1989 debut Alice in Hell (plus Annihilator's next two albums, Never, Neverland {1990} and Set the World on Fire {1992}) helped blaze a path for the band in thrash circles. However, quite the best of these is Alex Skolnick* (ex-Testament). In Guitar for the Practicing Musician, November 1990 (P.160), Anthrax's lead guitarist Danny Spitz said of him: 'I think Alex is a really good guitar player; I just don't think his leads fit this (Testament's) music.' A valid observation. Testament's debut album, The Legacy (1987) showcased Skolnick's commanding style, which included individual use of sweep-picking and legato, combined with enigmatic and beautiful harmony lines; this also extended to his rhythm playing whereby he often embellished the songs with distinctive melody ideas. Skolnick frequently increased the strangeness of the band's compositions by teasing the listener with haunting solo prologues which exploded into the explosive thrash that characterises the band (see especially The New Order {1988}).
Often closely linked to thrash music is so-called 'progressive' rock. There are many excellent guitarists playing this kind of music (more so than ever in the 90s); a few of the best include: Josh Christian whose guitar playing on the two Toxic albums, World Circus (1988) and Think This (1989) was truly breathtaking. This talented musician also wrote most of the band's inventive compositions, and it was a blow to see them split-up after only a couple of records. From Watchtower we have Ron Jarzombec, a player who composed parts that twist and turn/stop and start with alarming frequency during Watchtower's 1989 release, Control and Resistance; check out also the wholly instrumental Spastic Ink CD, Ink Complete (1997) which, if anything, is even more complex than Watchtower's aforementioned classic. Finally, two bands with an exciting twin harmony lead sound. These are: Queensryche, featuring guitarists Chris De Garmo and Michael Wilton, and Fates Warning's Jim Matheos and Frank Aresti. The former band have released 6 LP's to date, the most compelling of which are Rage for Order (1986) and Operation Mindcrime (1988). Fates Warning have even more albums to their credit; recommended are: No Exit (1988) and Perfect Symmetry (1989).
*Interestingly, Joe Satriani taught Alex at one point, not to mention Kirk Hammett (Metallica) and Rick Hunolt (Exodus). In years to come, a period of instruction under the man himself often earmarked said guitarist as somebody worthy of hiring.
Taken from The Modern Guitarist: A History of Rock Guitar Since the Seventies, Mad Matt Music Publishing 1995
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