100 Greatest Guitar Solos: No. 17 "Cliffs of Dover" (Eric Johnson)
“I don’t even know if I can take credit for writing ‘Cliffs of Dover,’ ” says Eric Johnson of his best-known composition. “It was just there for me one day. There are songs I have spent months writing, and I literally wrote this one in five minutes. The melody was there in one minute and the other parts came together in another four. I think a lot of the stuff just comes through us like that. It’s kind of a gift from a higher place that all of us are eligible for. We just have to listen for it and be available to receive it.”
While it is true that he wrote the song in a blessed instant, the fact is that Johnson, a notoriously slow worker, took his time polishing it up to form. “It took me a while to achieve the facility to play it right,” he says. “I was trying to work out the fingerings and how I wanted particular notes to hang over other notes.”
Even allowing for Johnson’s perfectionism, it took an extraordinarily long time for him to record a song that “came to him” in five minutes. That epiphany occurred in 1982, and within two years “Cliffs of Dover” was a popular staple of his live shows. He planned to include the song on his solo debut, Tones (Capitol, 1986), but, ironically, it didn’t make the cut. “It was ousted by the people who were doing the record with me,” Johnson explains. “I think they thought the melody was too straight or something.”
Luckily, wiser heads prevailed on Ah Via Musicom. Though he had been playing “Cliffs of Dover” live for four or five years by then, it still took Johnson multiple takes to nail the song to his satisfaction—and he was never pleased with any version. “The whole solo is actually a composite of many guitar parts,” Johnson says. “I knew exactly how I wanted it to sound—almost regal—and though I had versions that were close, none quite nailed it, so I kept playing around with different permutations of the many versions I had recorded until I got it just right.
“As a result, I actually ended up using two different-sounding guitars. Almost all of the song is a Gibson 335 through a Marshall, with an Echoplex and a tube driver. But in the middle of the solo there’s 20 or 30 seconds played on a Strat. It really does sound different if you listen closely and at first I didn’t think it could work, but I really liked this string of licks so we just decided to keep it. It basically just sounds like I’m hitting a preamp box or switching amps.
“The difficulty on that song was to make the sound as clear as the melody is. It’s just a simple little repeating melody, and for the song to work it had be very upfront and crisp. Unfortunately, the G third on the guitar has a real tendency to waver and not be a smooth, clear note. As a result, I had to finger it just right—like a classical guitarist, using only the very tips of my fingers to achieve the best efficiency of my tonality That’s what took me so long: to be able to play all the fast licks with just the tip of my fingers, with just the right touch and tonality. Without a doubt, the most important thing is the song and melody, which in this case came very easily. But I like to do the best job I can of delivering it to the listener by the best possible way I can play it—and that came hard.”
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