It’s probably not a coincidence that effects such as wah pedals and fuzz boxes started appearing en masse about the same time that recreational drugs like marijuana and LSD became popular with rock musicians.
Few musicians in the history of rock have been as beloved—revered, really—as Ozzy Osbourne’s late guitarist and musical soul mate, Randy Rhoads. Only 25 when he was killed in an airplane accident in 1982, Rhoads managed in a few short years to establish himself as one of the most innovative guitar players in the world.
Regarded by many as the three most vital purveyors of pure hard rock/heavy metal sonic evil, AC/DC’s Angus Young, Led Zeppelin’s Jimmy Page and Black Sabbath’s Tony Iommi have each forged a distinct, instantly recognizable guitar style and sound. After more than three decades of dedicated service, all three players continue to influence countless up-and-coming metalheads the world over, and an in-depth study of each guitarist’s distinct musical personality is mandatory for any aspiring hard rock player.
Bass is more than just a guitar with two fewer strings. It has a different tone, scale length, feel and musical role, and in many cases it requires a different conceptual and technical approach. Guitarists who are new to playing bass will often double the guitar part one octave lower. There is certainly a place octave doubling — just listen to Aerosmith's "Sweet Emotion," Led Zeppelin's "The Ocean" and Pantera's "I'm Broken." But there is so much more that can be done with the bass guitar.
In an age where musical tastes are being shaped by technological innovations, where sensibilities are being assaulted by arsenals of Linn drums and Fairlights and Mini Moogs, it's downright refreshing to see someone playing straight from the gut again.
Credit for the guitar majesty of “Hotel California” is often given to Joe Walsh, who toughened up the Eagles’ laid-back California sound when he joined the band just prior to the Hotel California album’s recording. Actually, the primary guitar heard throughout the solo belongs to Don Felder, who wrote the music for the track and actually conceived and played the solo’s intricate harmonies on his initial, instrumental demo.
In 2008, Guitar World asked Rush guitarist Alex Lifeson to dissect several key songs from the band's past. Starting with "Fly By Night" (1975) and ending with "Test for Echo" (1996), he discussed his guitars, amps and effects. Here's how it went.