The Beatles http://www.guitarworld.com/taxonomy/term/269/all en Fingerpicking Beatles: Learn Solo Guitar Arrangements for 30 Beatles Songs http://www.guitarworld.com/fingerpicking-beatles-learn-solo-guitar-arrangements-30-beatles-songs <!--paging_filter--><p><em><a href="http://guitarworld.myshopify.com/products/fingerpicking-beatles-revised-expanded-edition/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FingerpickingBeatles">Fingerpicking Beatles: Revised &amp; Expanded Edition</a></em> features 30 Beatles songs arranged for solo guitar in standard notation and tab. </p> <p>The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. The book also includes an easy introduction to basic fingerstyle guitar. </p> <p>The 30 songs include "Across the Universe," "All You Need Is Love," "Can't Buy Me Love," "Hey Jude," "In My Life," "Let It Be," "Michelle," "The Long and Winding Road," "Something," "Yellow Submarine," "Yesterday" and more.</p> <p><a href="http://guitarworld.myshopify.com/products/fingerpicking-beatles-revised-expanded-edition/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=FingerpickingBeatles">The book is available now for $19.99 at the Guitar World Online Store.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Ms65JQTBCcQ" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fingerpicking-beatles-learn-solo-guitar-arrangements-30-beatles-songs#comments The Beatles News Features Fri, 31 Jul 2015 14:29:34 +0000 Guitar World Staff 17202 at http://www.guitarworld.com George Harrison, Eric Clapton and Ringo Starr Reunite to Play The Beatles' "While My Guitar Gently Weeps" in 1987 — Video http://www.guitarworld.com/george-harrison-and-eric-clapton-play-while-my-guitar-gently-weeps-1987-video/25111 <!--paging_filter--><p>As any rock fan knows, the Beatles never got back together.</p> <p>What you might not know is that even partial Beatles reunions and "near misses" were frustratingly rare back when such things mattered (prior to George Harrison's death in 2001).</p> <p>Which is why the video below is so enjoyable.</p> <p>On June 5, 1987, three of the five original musicians who appeared on the classic Beatles White Album track "While My Guitar Gently Weeps" reunited to perform the song live at the <a href="http://www.princes-trust.org.uk/">Prince's Trust</a> Rock Gala at London's Wembley Arena.</p> <p>George Harrison, Ringo Starr and Eric Clapton were joined by an all-star U.K. band, including Elton John, Phil Collins, Jeff Lynne, Ray Cooper and ... well, if you're wondering who that understandably happy bassist is, it's Mark King of <a href="http://www.level42.com/">Level 42.</a> </p> <p>What's most interesting about this performance is the fact that <strong>A.,</strong> the normally Strat-happy Clapton is playing a beautiful Gibson Les Paul, just as he did on the original 1968 recording, and <strong>B.,</strong> the also-Strat-happy Harrison joins Clapton in the extended guitar solo at the end of the song (He does not solo on the original studio version). The two guitarists trade solos and feed off each other's energy, and their intertwining lines are often pretty damn cool.</p> <p>Paul McCartney, another one of the five original musicians who appeared on the original Beatles recording (John Lennon is the fifth), would go on to perform "While My Guitar Gently Weeps" <a href="https://www.youtube.com/watch?v=rj4J6i_vw0w">with Clapton and Starr in November 2002 at the Concert for George.</a> Harrison, Starr and Clapton also <a href="https://www.youtube.com/watch?v=A8CivPhu0fw">performed the song live in 1971 at the Concert for Bangladesh.</a></p> <p>Of course, for the closest thing to a full-on Beatles reunion, there's nothing quite like the mid-Nineties footage of McCartney, Harrison and Starr hanging out together during the making of <em>Anthology</em> (bottom video). </p> <p>For studio recordings that come close to full reunions, check out Starr's <a href="https://www.youtube.com/watch?v=l_vKu2xoJaM">"I'm the Greatest"</a> from 1973 (written by Lennon and featuring Lennon, Harrison, Starr and <em>Let It Be</em> keyboardist Billy Preston) and Harrison's <a href="https://www.youtube.com/watch?v=lqNLL3-CToE">"All Those Years Ago"</a> from 1981 (featuring McCartney, Harrison and Starr).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/oDs2Bkq6UU4" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ESv8e3Anjg8" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-comanchero-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://www.facebook.com/pages/The-Blue-Meanies/226938220688464?fref=ts">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> also <a href="https://www.youtube.com/watch?v=NsQ9pIkLXiA">composes</a> and <a href="https://www.youtube.com/watch?v=w7ICimc774Y">records film soundtracks.</a> He writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend</a> column, which is dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="http://www.amazon.com/The-Complete-Epic-Recordings-Collection/dp/B00MJFQ24W">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damianfanelligw/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/george-harrison-and-eric-clapton-play-while-my-guitar-gently-weeps-1987-video/25111#comments Damian Fanelli Eric Clapton George Harrison Ringo Starr The Beatles Videos Blogs News Features Wed, 29 Jul 2015 13:44:44 +0000 Damian Fanelli 25111 at http://www.guitarworld.com Andy Babiuk Announces 'Beatles Gear: The Ultimate Edition' Book http://www.guitarworld.com/andy-babiuk-announces-beatles-gear-ultimate-edition/25107 <!--paging_filter--><p>Andy Babiuk has announced <em>Beatles Gear: The Ultimate Edition</em>, an updated version of his classic 2001 study, <em>Beatles Gear</em>. </p> <p>The new edition is twice the size of the original tome and features 625 additional photographs. </p> <p>It is set for a November 10 release via Backbeat Books. </p> <p>Among the new photographs in <em>Beatles Gear: The Ultimate Edition</em> are pics of John Lennon’s original 1962 J-160E Gibson acoustic guitar. Babiuk was instrumental in authenticating the guitar, which was lost for more than 50 years. The Gibson will be sold at auction in Beverly Hills, California, in early November.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/andy-babiuk-announces-beatles-gear-ultimate-edition/25107#comments Andy Babiuk The Beatles News Tue, 28 Jul 2015 21:22:30 +0000 Guitar World Staff 25107 at http://www.guitarworld.com The Top 30 12-String Guitar Songs of All Time http://www.guitarworld.com/top-30-12-string-guitar-songs-all-time <!--paging_filter--><p>When considering the choices for this list, we realized it wasn't as easy a task as we first thought. </p> <p>What makes for a great 12-string guitar song as opposed to a great song that just happens to have a 12-string guitar somewhere on it? Let's face it, if Led Zeppelin's "Stairway to Heaven" had a ukulele on it, it would immediately be in the running for Greatest Ukulele Song of All Time. </p> <p>That being said, we looked at not only the legacy of the song but how prevalent 12-string guitar is in the song and how influential the song would be in inspiring others to pick up their 12-strings. </p> <p>Without the 1964 Beatles film <em>A Hard Day's Night</em>, the Byrds might not have existed as you now know them (assuming you know them—and you should know them), and without "Stairway to Heaven," the doubleneck guitar might be sitting in a museum as a one-time oddity produced by Gibson. </p> <p>So what song will we crown as the Greatest 12-String Guitar Song of All Time? </p> <p>Read on ... (And yes, we threw in an extra song; our math isn't too good. Enjoy our top 31!).<br /> <br /><br /> <strong>31. Pantera, "Suicide Note, Part 1"<br /> <em>The Great Southern Trendkill</em> (1996)</strong> </p> <p>This song marked one of the most experimental moments in Pantera's catalog, with Dimebag Darrell's dark 12-string guitar part perfectly echoing the song's somber subject matter. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/LliBvurRIB4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>30. John Butler Trio, "Ocean"<br /> <em>John Butler</em> (1998)</strong> </p> <p>The newest song to make the cut, John Butler's instrumental masterpiece "Ocean" stands as a fine example of the timeless sound of the 12-string. Keep an ear out for Butler's use of two-hand tapping ala Satriani in "Midnight."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ja9UeCypJNw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>29. America, "A Horse with No Name"<br /> <em>America</em> (1971)</strong> </p> <p>Although the 12-string acoustic guitar plays only a supporting role in this ubiquitous folk-rock tune about a nameless equine, it actually plays a major part in its overall sound. When "A Horse With No Name" was released, a lot of people thought it was a Neil Young song, which is ironic because it replaced Young's “Heart of Gold” at the Number 1 spot on the U.S. pop chart. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Tm4BrZjY_Sg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>28. Bob Dylan, "Hurricane"<br /> <em>Desire</em> (1976)</strong> </p> <p>Most assume it was Dylan himself who played the 12-string here, but it was actually session guitarist Vinnie Bell manning the Danelectro Bellzouki 12-string guitar on this classic cut. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/FvI6ZX0yNjM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>27. Gordon Lightfoot, "Early Morning Rain"<br /> <em>Gord's Gold</em> (1975)</strong> </p> <p>Gordon Lightfoot re-recorded this old Gordon Lightfoot tune for his 1975 compilation album, <em>Gord's Gold,</em> and it's this lush, radio-friendly version that became the hit. While 12-string electric guitars were all the rage in the Sixties, 12-string acoustics had taken their place in the Seventies; this song is a prime example of that shift. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/KP_MDIYhPH0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>26. Alice In Chains, "I Stay Away"<br /> <em>Jar of Flies</em> (1994)</strong></p> <p> If ever there was a rock band who had an equally strong handle on menacing drop-D riffs and menacing, introspective acoustic music, it was most certainly Alice In Chains. "I Stay Away" from <em>Jar of Flies</em> is not only the band's best 12-string moment, but it marks the first track Jerry Cantrell wrote with then-new Alice in Chains bassist Mike Inez. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ODTv9Lt5WYs?list=RDODTv9Lt5WYs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>25. The Hollies, "Look Through Any Window"<br /> <em>Hollies</em> (1965)</strong> </p> <p>As you'll see, 1965 was a huge year for the electric 12-string guitar. It was big like synthesizers and skinny black ties were big in 1982. You had your Byrds, of course, your Beatles—and your Hollies, who rode the 12-string bandwagon to great heights with this song written by Graham Gouldman and Charles Silverman. That's Tony Hicks on the 12-string, by the way. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F1E-9ZwoKnA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>24. Queen, "39"<br /> <em>A Night at the Opera</em> (1975)</strong> </p> <p>Brian May's massive-sounding 12-string acoustic is an integral part of this sci-fi masterpiece, the B-side of "You're My Best Friend." It's about a group of astronauts who set out on what they think is a one-year journey, but when they get back, they realize they've been gone for 100 years. They simply don't write Einstein allusions like this anymore. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pAnpGXPYAIQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>23. Mahavishnu Orchestra, "You Know You Know"<br /> <em>The Inner Mounting Flame</em> (1971)</strong> </p> <p>It's undeniable that Mahavishnu Orchestra had many fine 12-string moments in their career, but "You Know You Know" off their first album, <em>The Inner Mounting Flame</em>, stands out as guitarist John McLaughlin's shining moment with the instrument. Fun fact: This song was later sampled by both Mos Def and Massive Attack. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/LcQKjffxIOY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>22. Red Hot Chili Peppers, "Breaking the Girl"<br /> <em>Blood Sugar Sex Magik</em> (1991)</strong></p> <p> One of only two Chili Peppers songs in 3/4 time, John Frusciante's main 12-string riff in this song was inspired by none other than Jimmy Page. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iyu04pqC8lE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;"><a href="http://www.guitarworld.com/top-30-12-string-guitar-songs-all-time?page=0,1">CLICK HERE TO SEE SONGS 21 THROUGH 12.</a></span><br /> <br /></p> <hr /> <p><strong>21. Jimi Hendrix, "Hear My Train a-Comin'"<br /> <em>Blues</em> (1969)</strong> </p> <p>Jimi Hendrix sitting alone playing blues on a 12-string acoustic guitar is a reminder that, despite all of his distortion and psychedelia, he always felt a strong connection to his roots, including Delta blues. Although he performed and recorded electric, full-band versions of this song (as heard on the <em>Valleys of Neptune</em> album), this version is more stark and disarming. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CzL7G0jItzU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>20. Supertramp, "Give a Little Bit"<br /> <em>Even in the Quietest Moments....</em> (1977)</strong> </p> <p>This international hit for Supertramp is a pop masterpiece in the key of D, which, as the Byrds proved a decade-plus earlier, is the 12-stringiest of all the keys. It was written by Roger Hodgson, and a solo Hodgson performance is featured in the video below. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CdTrqV6dt3o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>19. David Bowie, "Space Oddity"<br /> <em>David Bowie/Space Oddity</em> (1969)</strong> </p> <p>Long before working with the likes of Adrian Belew, Carlos Alomar, Robert Fripp and Stevie Ray Vaughan, Bowie himself manned the 12-string for his 1969 ballad of Maj. Tom. The song was so well-received, the album it appeared on, <em>David Bowie</em>, was renamed after the song before its 1972 reissue. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/D67kmFzSh_o" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>18. The Who, "Substitute" (1966)</strong> </p> <p>When Pete Townshend wanted a riff to one-up the Rolling Stones' "(I Can't Get No) Satisfaction," he reached for his 12-string. "Substitute" was a top ten hit twice in the U.K., once in 1966 when it was originally released an again 10 years later when it was re-issued. The track found unlikely supporters in the punk rock movement, being covered by both the Sex Pistols and the Ramones. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eswQl-hcvU0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. The Beatles, "A Hard Day's Night"<br /> <em>A Hard Day's Night</em> (1964)</strong> </p> <p>Although the Byrds were the band that was most associated with the 12-string Rickenbacker in the Sixties, their inspiration came from the Beatles. "We went as a group to see <em>A Hard Day’s Night</em> multiple times and were totally taken with the Beatles," said Roger (formerly Jim) McGuinn. "I liked George Harrison’s Rickenbacker 12, but I couldn’t find one that looked like his with the pointy cutaways, so I bought the blonde 360 model." For a clear, crisp example of the beauty of the guitar's sound, check out the 12-string riff as the song fades. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/rqbXyJ0Jctk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. Rod Stewart, "Maggie May"<br /> <em>Every Picture Tells a Story"</em> (1971)</strong> </p> <p>"Maggie May," Rod's Stewart's first hit as a solo performer, starred a striking combination of 12-string acoustic guitar and mandolin. In 2004, <em>Rolling Stone</em> ranked the song at No. 130 on its list of The 500 Greatest Songs of All Time. We like it too. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/fD_6KqP7K0g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>15. Bon Jovi, "Wanted Dead or Alive"<br /> <em>Slippery When Wet</em> (1986)</strong> </p> <p>Half-inspired by Old West Outlaws and half by Bob Seger's "Turn the Page," Jon Bon Jovi and Richie Sambora managed to craft arguably the most recognizable acoustic guitar riff of a ballad-heavy era in rock music. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Mqyrt7RCgsg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>14. The Rolling Stones, "As Tears Go By"<br /> <em>December's Children (And Everybody's)</em> (1965)</strong> </p> <p>This was one of the first Jagger/Richards compositions—although producer Andrew Loog Oldham is also credited as a writer. Legend has it that ol' Loog Locked Mick and Keith in a room and told them to come out with an original song, period. This is what they came up with, and they gave it to Marianne Faithfull in 1964 before taking a stab at it a year later. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/h6sfPhYwyAU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. The Byrds, "Mr. Tambourine Man"<br /> <em>Mr. Tambourine Man</em> (1965)</strong> </p> <p>Even though George Harrison had been recording with his 12-string Rickenbacker for a while, with this song, Jim (later Roger) McGuinn showed the world exactly how cool a 12-string guitar could be. Its jangly sound was the perfect partner to Bob Dylan's ethereal lyrics. The 12-string Rick would be an integral part of the Byrds' sound until they disbanded in 1973. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/pJO4KAv-GiY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>12. Led Zeppelin, "Stairway to Heaven"<br /> <em>Led Zeppelin IV</em> (1971)</strong></p> <p>With this song, Jimmy Page did for the doubleneck guitar what Roger McGuinn of the Byrds did for the 12-string electric. Or perhaps more fitting, Page did for the doubleneck what Henry Ford did for the horseless carriage. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/9Q7Vr3yQYWQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;"><a href="http://www.guitarworld.com/top-30-12-string-guitar-songs-all-time?page=0,2">CLICK HERE TO SEE SONGS 11 THROUGH 1.</a></span><br /> <br /></p> <hr /> <p><strong>11. Rush, "Closer to the Heart"<br /> <em>A Farewell to Kings</em> (1977)</strong> </p> <p>Taken from Rush's 1977 album <em>A Farewell to Kings</em>, "Closer to the Heart" begins with a majestic-sounding arpeggio picking pattern played by guitarist Alex Lifeson on a 12-string guitar. This song was also Rush's first hit in the U.K. and has been a staple of their live show ever since. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kyhW2v0NDM0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>10. Ozzy Osbourne, "Mama I’m Coming Home"<br /> <em>No More Tears</em> (1991)</strong> </p> <p>Zakk Wylde's obvious Southern-rock homage in the opening bar gives way to beautiful, descending riff, which anchored Ozzy Osbourne's only solo Top 40 hit. Rest assured there are plenty of Zakk's patented pinch harmonics to go around, but the sound of the 12-string intro is what makes this song instantly recognizable. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/K0siYUjV9UM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. Boston, "More Than a Feeling"<br /> <em>Boston</em> (1976)</strong> </p> <p>A classic rock radio mainstay and one of the most recognizable 12-string guitar intros in all of rock, "More Than a Feeling" reportedly took Tom Sholz five years to write. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/fT6yVgcewk4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. Tom Petty, "Free Falling"<br /> <em>Full Moon Fever</em> (1989)</strong> </p> <p>Back when the Traveling Wilburys ruled the airwaves, Tom Petty, a Wilbury himself, adopted the band's thick, acoustic sound for <em>Full Moon Fever,</em> his first solo outing. He also took fellow Wilbury Jeff Lynne along for the ride as co-producer. This one features 12-string acoustic on the rhythm and a touch of 12-string Rickenbacker on the mini-solo. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1lWJXDG2i0A" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. The Byrds, "Turn! Turn! Turn!"<br /> <em>Turn! Turn! Turn!</em> (1965)</strong> </p> <p>Yes, it's the Byrds again. This song is higher up on the list than "Mr. Tambourine Man" because of its beautiful 12-string Rickenbacker solo and the fact that the Byrds are actually playing on it (which is not entirely true for "Mr. Tambourine Man"). </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/W4ga_M5Zdn4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. The Beatles, "Ticket to Ride"<br /> <em>Help!</em> (1965)</strong> </p> <p>Yet another one from '65. This tune, with its crisp 12-string Rickenbacker intro, is one of the many highlights from the Beatles' second feature film, <em>Help!</em> Just play an A on the G string, an open E string, a C sharp on the B string, that A again and then an open B string, and you're on your way. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/I62ozmyl2JM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. Stevie Ray Vaughan, "Rude Mood"<br /> <em>Stevie Ray Vaughan and Double Trouble (Box Set)</em> (1990)</strong> </p> <p>It was a little surprising when SRV turned up on MTV's <em>Unplugged</em> in 1990 with a Guild 12-string, tearing through a slew of <em>Texas Flood</em> tunes, including "Pride and Joy," "Testify" and "Rude Mood." Then again, that's also the year he recorded "Life by the Drop" on a 12-string. Perhaps he'd stumbled upon something new that he could've put to greater use in the future. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/IYSoJmSMctU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Pink Floyd, "Wish You Were Here"<br /> <em>Wish You Were Here</em> (1975)</strong> </p> <p>Recorded to sound like it was being played through an old transistor radio, the 12-string intro of Pink Floyd's "Wish You Were Here" never fails to evoke a sense of nostalgia. When David Gilmour plays the overdubbed six-string solo, sounding like a lonely old man playing along with the radio, you get one of the most timeless songs in the back catalog of one of the most timeless bands of all time. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/DPL_SV3n7IU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Led Zeppelin, "Over the Hills and Far Away"<br /> <em>Houses of the Holy</em> (1973)</strong> </p> <p>"Stairway" may be the most revered song on this list, but there's no denying "Over The Hills and Far Away" as the quintessential 12-string guitar song in Led Zeppelin's catalog. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/6bD9t44JUD4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. The Byrds, "Eight Miles High"<br /> <em>Fifth Dimension</em> (1966)</strong> </p> <p>Hey, we love big, sloppy guitar solos played on Rickenbacker 360s. This is Jim (later Roger) McGuinn at his, well, 12-stringiest.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/e8QypoBpQqI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. The Eagles, "Hotel California"<br /> <em>Hotel California</em> (1976)</strong> </p> <p>Yes, it's "Hotel California." What a nice surprise! Admit it: Don Felder's 12-string acoustic guitar intro (and every other note and chord he plays on this song) is, at this point, a part of our collective consciousness. This song, the ubiquitous soundtrack to 37 trillion barbecues, elevator rides and long trips through the desert at 3 a.m., has never gone away—and probably never will.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/puHoadtIivc" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/top-30-12-string-guitar-songs-all-time#comments 10 Best Songs Alice in Chains Beatles Bon Jovi Led Zeppelin Rolling Stones The Beatles The Byrds The Eagles The Who Tom Petty top 30 Guitar World Lists News Features Thu, 16 Jul 2015 20:30:07 +0000 Josh Hart, Damian Fanelli 11735 at http://www.guitarworld.com 50 Classic Acoustic Rock Songs http://www.guitarworld.com/acoustic-nation-photo-gallery-50-classic-acoustic-rock-songs <!--paging_filter--><p>Whether you began on an electric or an acoustic guitar, there's no doubt the latter will eventually find its way into your hands at some point. </p> <p>The nature of the acoustic guitar's efficiency (no amp!) makes it a commonality among players, collectors and dorm-room guys looking to impress girls. Even the most devout shredder will be tempted to noodle on a dreadnought—particularly in front of the aforementioned girls. </p> <p>Despite the advent of the electric guitar in the early fifties, the acoustic guitar has remained a prominent force in rock and roll. If there were any doubt, check out the 50 classic acoustic rockers listed below. These are tried-and-true numbers all anchored around the acoustic guitar.</p> <p>Some are radio staples, some are wedding fixtures and all are just good fun to play. So if you haven't dusted off that sprucetop in a while, give a few of these tunes a listen. You'll be strumming—and probably crooning—along in no time.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/bob-dylan">Bob Dylan</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-photo-gallery-50-classic-acoustic-rock-songs#comments Acoustic Nation Bob Dylan Nirvana The Beatles The Who Guitar World Lists Blogs Photos Galleries Features Wed, 15 Jul 2015 16:32:49 +0000 Guitar World Staff 10983 at http://www.guitarworld.com Lesson: The Acoustic Artistry of The Beatles' George Harrison http://www.guitarworld.com/acoustic-nation-lesson-acoustic-artistry-beatles-george-harrison <!--paging_filter--><p>Of the four Beatles, George Harrison brought to the group an assortment of electric and acoustic guitar approaches, flavors influenced by everyone from Chet Atkins and Carl Perkins to the Byrds and Bob Dylan. </p> <p>Harrison’s pioneering use of the Rickenbacker 360/12 electric 12-string on songs like “A Hard Day’s Night” and “Ticket to Ride” added another dimension to the sound of Beatles music and left an imprint on Sixties-era rock: soon after, the Byrds, Beach Boys and Rolling Stones began to use 12-string guitars. </p> <p>In the mid Sixties, influenced by Indian culture and Hinduism, Harrison introduced the sitar and exotic scales into the Beatles’ catalog on songs like “Norwegian Wood” and “Within You Without You.” In essence, he played a huge role in stylizing the Beatles’ music. </p> <p>But Harrison also contributed a wealth of guitar-centric hits to the band’s repertoire, many of which center around an acoustic guitar (his Gibson J-200). In this lesson, we’ll look at musical examples inspired by Harrison-penned Beatles classics like “Here Comes the Sun,” “While My Guitar Gently Weeps” and “Something.” </p> <p><img src="http://dl.guitarworld.com/tabs/holenotes1010_1.jpg" /></p> <p>“While My Guitar Gently Weeps” revolves around strummed versions of the chords in FIGURE 1. Much of this song’s emotional power stems from its mostly chromatic (notes one half step apart, the distance of one fret) descending A–G–Fs–F bass line. The song also features a famous, inspired solo by Eric Clapton. </p> <p><img src="http://dl.guitarworld.com/tabs/holenotes1010_2.jpg" /></p> <p>Chromatic movement is a characteristic common to many of Harrison’s popular Beatles tracks, among them, “Something,” which informs FIGURE 2. </p> <p>While the original Abbey Road version is played on electric guitars (in the key of C), the original demo (key of A) on The Beatles: Anthology 3 is a solo performance by Harrison, who plays a hollowbody electric, warranting its relevance here. Use the picking pattern in bar 1 for the A, Amaj7 and A7 chords, and note the descending chromatic line on the G string. Similar chromaticism is also encountered in a later Fsm–Fsm(maj7)–Fsm7 change. </p> <p><img src="http://dl.guitarworld.com/tabs/holenotes1010_3.jpg" /></p> <p><img src="http://dl.guitarworld.com/tabs/holenotes1010_4.jpg" /></p> <p>Hands down, the most popular acoustic guitar “picking” riff in the Beatles oeuvre is the passage that opens Harrison’s “Here Comes the Sun,” which gets its sparkling quality from the fact that it is capoed at the seventh fret. </p> <p>FIGURE 3 is a passage inspired by the song’s main riff, containing mostly D, A7 and G chords (use alternate picking throughout, beginning with a downstroke). FIGURE 4 features a variation on the chords used in the song’s bridge.</p> <p><strong>Part 1</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1783830205001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="1783830205001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p> <strong>Part 2</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1783799364001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="1783799364001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p> <strong>Part 3</strong></p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1783804763001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="1783804763001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item even"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-lesson-acoustic-artistry-beatles-george-harrison#comments Acoustic Nation George Harrison October 2012 The Beatles Lessons Blogs Wed, 08 Jul 2015 11:30:41 +0000 Dale Turner 20468 at http://www.guitarworld.com The Fab 50: The Beatles' 50 Greatest Guitar Moments http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments <!--paging_filter--><p>In 2014, on the 50th anniversary of the Beatles' arrival in the United States (and legendary February 1964 appearance on the <em>Ed Sullivan Show</em>), <em>Guitar World</em> celebrated the 50 best guitar moments from the band's hit-making history.</p> <p>The Beatles were such talented songwriters that it’s easy to overlook the fact that their music has some great—and occasionally groundbreaking—guitar work. </p> <p>In assembling this list, we looked beyond our personal favorite songs and reflected on where John Lennon, George Harrison and Paul McCartney showed their talents as guitarists, whether in a solo, a riff, a technique or by their astute selection of instrument and arrangement. </p> <p>For some songs, we’ve gone a step further and analyzed the guitar work to give you insights into the magic that makes these moments so special. Enjoy! And be sure to share your thoughts in the comments below or on Facebook!<br /> <br /><br /> <strong>50. Across the Universe</strong><br /> <strong><em>Let It Be… Naked</em> (2003)</strong></p> <p>John Lennon considered the Beatles’ recording of this 1967 composition “a lousy track of a great song,” dismissing even his own work on it. </p> <p>He was too hard on himself: his imperfect acoustic guitar work and vocal delivery effectively work in service of the song’s sincere devotional message, though overdubs of strings, background vocals and electric guitar obscured the delicacy and intimacy of his performance. </p> <p>The release of <em>Let It Be… Naked</em> in 2003 set the record straight, offering a bare-bones acoustic mix of the track that even Lennon might have approved of. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/eOfRD8zO2MQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>49. Flying</strong><br /> <strong><em>Magical Mystery Tour</em> (1967)</strong></p> <p>The strongly pulsing tremolo on the rhythm guitar makes the instrument sound as if it’s riding slightly behind the beat, giving the song a druggy languor appropriate to its title. (In the film <em>Magical Mystery Tour</em>, “Flying” accompanies scenes shot high above the clouds). </p> <p>The crystalline acoustic guitar that appears about 13 seconds in lends the song a country vibe, culminating in a tasty double-stop lick that lazily meanders down the fretboard. Heavenly.<br /> <br /><br /> <strong>48. Helter Skelter</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>It’s not a stretch to say the Beatles prefigured heavy metal’s doomier side with this 1968 Paul McCartney track. </p> <p>For this recording, McCartney set aside his bass duties and strapped on his Fender Esquire to deliver the track’s brash rhythm work, while Harrison performed the searing leads on Lucy, the 1957 Les Paul Standard gifted to him by Eric Clapton. </p> <p>But the best work here is performed by Lennon on, of all things, a bass (either a Fender Bass VI). His sloppy but inspired playing propels the song along and provides its main rhythmic interest.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QWuXmfgXVxY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>47. Yesterday</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>McCartney’s melancholy, acoustic guitar–driven ballad marked a symbolic, pivotal point in the Beatles’ career as a band in that it was their first song in which any of the members—three in this case—did not participate in the performance. </p> <p>McCartney tuned his guitar down one whole step for this song (low to high, D G C F A D) and performed it as if it were in the key of G, with the detuning transposing it down to the concert key of F. </p> <p>This may have been made for the sake of putting the vocal melody in a more optimal key for McCartney; it certainly made the bass notes sound deeper and richer, while the slackened string tension contributed to the thicker texture of the chord voicings.<br /> <br /><br /> <strong>46. For You Blue</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>Written by Harrison, this seemingly straightforward blues workout in D stands out as a bouncy oddball in the Beatles’ catalog. </p> <p>Not only is it one of the band’s few forays into 12-bar-blues territory; it also finds Lennon stepping into the uncommon role of lead guitarist, supplying a spirited solo and fills on a Hofner Hawaiian Standard lap-steel guitar in open D tuning. </p> <p>To make things even weirder, he uses a shotgun shell as a slide. In addition, there’s no bass on the recording; McCartney performed on piano and the song received no overdubs.<br /> <br /><br /> <strong>45. Free As a Bird</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>Released in 1995 as a post-mortem Beatles track built upon a John Lennon home demo, “Free As a Bird” makes a valiant attempt to resurrect the spirit of the group’s glory days. </p> <p>While some will quibble about the lackluster songwriting, it’s hard to find fault with Harrison’s stinging slide work. Starting off with a few restrained lines, Harrison lets his playing soar on the solo, the one moment in which the song truly takes flight. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/J4PGoJuKvTM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>44. Sgt. Pepper’s Lonely Hearts Club Band (Reprise)</strong><br /> <Strong><em>Sgt. Pepper’s Lonely Hearts Club Band</em> (1967)</strong></p> <p>Recorded quickly in a single session, this rocking reprise of the album’s opening track features some fiery lead guitar work from Harrison. </p> <p>Written as a bookend to the album-opening title track, the reprise is both faster and a whole step lower than the original, although halfway through it modulates up a whole step. (Modulation is a technique rarely found in the Beatles compositions, “And I Love Her” being another example from the group’s catalog [see entry 30].)<br /> <br /><br /> <strong>43. I Will</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>This quiet love song, written by McCartney, features only him on lead and harmony vocals, two acoustic guitars and scat-sung “vocal bass,” with Lennon and Starr providing percussion. </p> <p>McCartney overdubbed, on top of his main, strummed guitar part, a second, melodic part played in a rockabilly lead style reminiscent of Elvis Presley’s lead guitarist Scotty Moore, picking out syncopated, ringing melodies built around a first-position F6 chord shape with decorative, bluesy hammer-ons from the minor third to the major third. </p> <p>Years later, Cars guitarist Elliot Easton played a similar line on the chorus tags to “My Best Friend’s Girlfriend.”<br /> <br /><br /> <strong>42. The Ballad of John and Yoko</strong><br /> <strong><em>1967–1970</em> (1973)</strong></p> <p>In this 1969 musical telling of Lennon and Yoko Ono’s wedding and honeymoon, Lennon’s acoustic strumming sets up the song’s infectious rhythm, while his electric guitar fills play call-and-response with his vocals. </p> <p>The track was written and recorded in April of that year, fresh off the sessions for <em>Let It Be</em>, in which the group attempted to get back to their rock and roll roots. That might have inspired Lennon’s musical direction with this track, which he closes with an electric guitar riff reminiscent of Dorsey Burnett’s “Lonesome Tears in My Eyes,” which the Beatles covered early in their career. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QY-ftTvsC7M" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>41. Yer Blues</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Lennon wrote this 1968 song as a rude sendup of the electric blues boom that had taken London by storm, but the suicidal feelings he expresses were a sincere articulation of how he felt trapped both in his unhappy first marriage and in the Beatles. </p> <p>Likewise, his primitive two-note solo could be regarded as mocking disdain for the genre’s slick white imitators, but he plays the riff until it’s as raw as his emotions. He would pursue this protopunk style of guitar playing further on his 1970 solo debut, <em>John Lennon/Plastic Ono Band.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6dDw_3H0XKg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>40. Help!</strong><br /> <strong><em>Help!</em></strong> </p> <p>The Beatles’ mix of acoustic rhythms and electric guitar leads from 1964 through the end of 1965 helped greatly to define the sound of folk-rock. </p> <p>Written in the midst of his “Bob Dylan phase,” “Help!” shows Lennon continuing to divulge the vulnerability express on previous songs like “No Reply” and “I’m a Loser,” with the acoustic guitar providing the requisite balladeer instrumentation. </p> <p>Here, Lennon robustly strums out the rhythm on his 1964 Framus Hootenanny 5/024 acoustic 12-string, with Harrison contributing jangly lead lines and three-note descending passages on the choruses with his Gretsch Tennessean.<br /> <br /><br /> <strong>39. Dear Prudence</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>This 1968 composition is arguably one of Lennon’s greatest achievements as a guitarist and demonstrates his development at the time into a bona fide acoustic fingerpicker. </p> <p>Having recently learned a basic eighth-note Travis-picking-like pattern from British pop star Donovan, Lennon put the newly learned pattern to great use in compositions like “Julia,” “Happiness Is a Warm Gun” and, most brilliantly, “Dear Prudence,” applying it to an ethereal modal chord progression he invented, which he performed in drop-D tuning (low to high, D A D G B E), using the two open D strings (the fourth and sixth) as ringing drones, or pedal tones throughout the majority of the song. </p> <p>The thumb-picking pattern goes fifth string, fourth string, sixth string, fourth string and repeats consistently through the changing chords, interrupted briefly at the end of each verse.<br /> <br /><br /> <strong>38. If I Needed Someone</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Although the Beatles were rock’s foremost trendsetters, they still were influenced by other artists. </p> <p>Case in point: George Harrison’s 12-string riff on “If I Needed Someone.” Played in a second-position D-chord shape with a capo on the seventh fret, the line was based on Jim McGuinn’s chiming guitar work in the Byrds’ mesmerizing 1965 track “The Bells of Rhymney.” </p> <p>In the mid Sixties, Harrison and McGuinn had formed a mutual-admiration society: “If I Needed Someone” featured Harrison’s second Rickenbacker 360/12, a rounded-off 1965 model that resembled McGuinn’s 1964 Rickenbacker 360/12, which McGuinn bought after seeing Harrison’s first Rick in the film <em>A Hard Day’s Night.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jjm28jTZDw8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>37. Day Tripper</strong><br /> <strong><em>1962–1966</em> (1973)</strong></p> <p>Lennon and McCartney’s hip-shaking 1965 hit is a thinly veiled ode to “weekend hippies” who embrace the drug counterculture when they’re not pursuing their careers. </p> <p>McCartney referred to this song and “Drive My Car” (recorded just days earlier) as “songs with jokes in” them, but there’s nothing laughable about this track’s swaggering guitar riff, borrowed from the Temptations’ 1964 hit “My Girl” and given a liberal dose of self-assured attitude. </p> <p>Lennon reportedly plays the solo, most likely using his Sonic Blue Fender Strat, while Harrison’s guitar parts were probably recorded with his Gretsch Tennessean.<br /> <br /><br /> <strong>36. Think for Yourself</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>The Beatles had been interested in creating distorted guitar tones since at least 1964, when they attempted unsuccessfully to use a Gibson Maestro Fuzz-Tone on “She Loves You” and “Don’t Bother Me” (see entry 23). </p> <p>They were more successful with Harrison’s excellent 1965 composition “Think for Yourself,” for which McCartney plugged his Hofner bass into an early version of the Tone Bender fuzz pedal, created by electronics designer Gary Hurst and eventually marketed by Vox. The result is the harsh-sounding “lead bass” tone that bobs menacingly—and memorably—alongside Harrison’s lead vocal. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/L0Rd1KVfdEc" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>35. Mother Nature’s Son</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Throughout this song’s verses, McCartney fools you into thinking that he’s playing more than he actually is by filling out the harmony with his vocal melody. </p> <p>For example, while the ear hears a very strong D-to-G movement in the first two bars of the verse, all McCartney is actually playing is D to Dsus4; his vocal melody intimates the G chord by moving to B, that chord’s third. The verse also features, in the third and fourth bars, brilliant oblique motion—where one voice moves up or down while one or more other voices remain stationary. </p> <p>By moving the root of a B minor chord, B, down to the minor seventh, A, and then down to the sixth, Gs, while keeping the notes D and F# constant above this descending line, McCartney implies a slick progression of Bm D (or Bm7) E9. He does the same thing at the very beginning of the song.<br /> <br /><br /> <strong>34. Girl</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Lennon conjures up this song’s dreamy, Gypsy-like reverie by capoing his Gibson J-160E at the eighth fret, making the guitar sound similar to a mandola. </p> <p>Harrison furthers the vibe on the third verse, playing a mandolin-like melody on Lennon’s Framus Hootenanny 12-string acoustic. But the crowning touch comes at the coda, when a third acoustic guitar enters, playing a Greek-style melody that’s plucked at the bridge with sharp strokes, making it sound like a bouzouki and further emphasizing the song’s smoky, old-world aura. </p> <p>The British group the Hollies would copy the effect on their hit “Bus Stop,” recorded at Abbey Road some six months later. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GlcuRGXiwNw" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>33. Birthday</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>Like “I Feel Fine” and “Day Tripper” (see entries 12 and 37), “Birthday” delivers a classic and memorable guitar riff. Whereas those previous two songs veered from the traditional 12-bar blues formula, “Birthday” hews closely to it during its verses. </p> <p>McCartney and Lennon wrote the song in the studio during an evening session, which included a recess during which the band went back to McCartney’s house to watch a TV broadcast of the 1956 teen film <em>The Girl Can’t Help It</em>. The soundtrack—which included performances by Little Richard, Gene Vincent and other Beatles’ favorites—undoubtedly contributed to the song’s raucous vintage rock-and-roll vibe.<br /> <br /><br /> <strong>32. One After 909</strong><br /> <strong><em>Let It Be</em> (1969)</strong></p> <p>This tune had been in the Beatles’ song bag for years, surfacing first as a rickety blues-style shuffle at a March 1963 recording session.</p> <p>By the time they tackled it again during their January 1969 rooftop performance at Apple, the Beatles were nearly finished as a group, but they were at long last able to breathe life into the tune, revving it up with a rock and roll beat and laying into it like the seasoned performers they were. Harrison delivers a stellar country-rock solo, using his rosewood Telecaster. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/IVN9ROEZIkE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>31. Norwegian Wood</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>This acoustic-rock masterpiece, written by Lennon, is not unlike “Here Comes the Sun,” in that it’s a folky chord-melody type of accompaniment that could easily stand on its own as a solo instrumental, with the vocal melody conveniently woven into the chords.</p> <p>However, unlike “Here Comes the Sun” (see entry 4), the melody sits in the middle, rather than on top, of the chord voicings, and is performed with more full strumming in a flowing 6/8 meter. Lennon performed “Norwegian Wood” as if the song were in the key of D, the verses being in D major and the bridge sections switching the parallel minor key of D minor, and used a capo at the second fret to transpose everything up a whole step, to E major and E minor, respectively.</p> <hr /> <p><strong>30. And I Love Her</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It’s overshadowed by the Beatles’ more innovative songs, but “And I Love Her” demonstrates a leap in the group’s harmonic sophistication and musical arrangement skills. </p> <p>Harrison performs delicate arpeggiations on his 1964 Ramírez nylon-string classical acoustic, while McCartney subtly propels the song along with his soul-inflected bass work. A modulation from the key of E to F on the solo ramps up the drama and keeps the song from flagging. The final chord, D major—the relative minor of F—delivers surprise and emotional uplift that allows the song to end hopefully, in keeping with the optimism of the lyrics.<br /> <br /><br /> <strong>29. Not Guilty</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>Recorded for 1968’s White Album but unissued until the release of <em>Anthology 1</em> in 1995, this Harrison track was a lyrical response to his fellow Beatles, who felt that their trip to India at his urging to study transcendental meditation had been a waste of time. </p> <p>It’s hard to understand why this track was abandoned, especially after the group devoted more than 100 attempts to the rhythm track. Harrison’s guitar work is especially superb, from his sinewy lead lines to his sizzling tone, achieved by placing his amp in one of Abbey Road’s echo chambers and cranking it up for maximum effect, while he performed, safe from the volume, in the studio control room. </p> <p>Harrison eventually re-recorded this song for his self-titled 1979 album.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bwLk6xLCzio" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>28. Old Brown Shoe</strong><br /> <strong><em>1967–1970</em> (1973)</strong></p> <p>Dishonorably relegated to the B-side of the single “The Ballad of John and Yoko” (see entry 42), this 1969 Harrison composition is one of his best. His stinging guitar work is at times reminiscent of Clapton, especially on the solo, where he plays his rosewood Telecaster through a Leslie cabinet, his preferred effect of the period. </p> <p>In addition to guitar, Harrison plays organ and, by his own account, the buoyant bass line. “That was me going nuts,” he said of the bass work in a 1987 interview. “I’m doing exactly what I do on the guitar.”<br /> <br /><br /> <strong>27. Michelle</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Another great example of McCartney’s innate gift for songwriting/composing, “Michelle” features, in its intro and elsewhere throughout the song, the previously mentioned standard “minor-drop” progression heard in “And Your Bird Can Sing” and “All My Loving” (see entries 7 and 16). </p> <p>The song also includes some rather clever and original harmonic twists and turns, such as the use of, in the second bar of the verse progression, the dominant-seven-sharp-nine (7#9) chord pointed out earlier in regard to Harrison’s “Till There Was You” solo, which, in both songs, is voiced “widely,” low to high: 1(root)-5-3(10)-b7-#9. Lennon, by the way, would later also employ this same chord voicing in “Sexy Sadie,” a chord that he, McCartney and Harrison all learned early on from a friend and local guitar-hero in Liverpool named Jim Gretty and dubbed “the Gretty chord.”<br /> <br /><br /> <strong>26. Cry for a Shadow</strong><br /> <strong><em>Anthology 1</em> (1995)</strong></p> <p>In 1961, unknown and looking for a break, the Beatles supported British rock and roll singer Tony Sheridan on a recording date in Hamburg. While there, they recorded two tracks of their own, including this Harrison-Lennon guitar-instrumental written in the style of U.K. pop group the Shadows (hence, the title). </p> <p>The recording provides early evidence of Lennon’s steady and dynamic rhythm guitar work, as well as McCartney’s melodic skills on the bass, which he had just begun playing. But it’s Harrison who shines, making the most of the trite melody with double-stop licks and generous use of the whammy bar on his Strat-style Futurama electric guitar. </p> <p>He ends the song with a major sixth—C6, specifically—a voicing that would become a signature Beatles coda on songs like “She Loves You,” “No Reply” and “Help!” (see entry 40).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/m1VMr29eUeo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>25. Hey Bulldog</strong><br /> <strong><em>Yellow Submarine</em> (1968)</strong></p> <p>McCartney’s lead guitar work had characterized most of the great solo guitar moments on the Beatles’ records during 1966 and 1967. But with “Hey Bulldog,” recorded in February 1968, Harrison came charging back with a guitar solo that’s heavier and hairier than just about anything in the group’s catalog. </p> <p>For the song, he played his red 1964 SG Standard, using a fuzz box (most likely his Tone Bender) to give his sound a snarl befitting the song’s title. Recalls engineer Geoff Emerick, “His amp was turned up really loud, and he used one of his new fuzz boxes, which made his guitar absolutely scream." Equally outstanding is Paul McCartney’s buoyant bass work, which is practically a lead instrument on its own.<br /> <br /><br /> <strong>24. I’ve Just Seen a Face</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>Written by McCartney and musically inspired by the skiffle movement that was popular in the U.K. in the late Fifties and early Sixties, this up-tempo knee-slapper features Lennon, Harrison and McCartney all playing acoustic guitars, with Ringo Starr providing percussion (brushed snare drum and overdubbed maracas). </p> <p>The lyrical instrumental intro features a bass-line chord-melody, played (most likely by Harrison) on a 12-string, which serves to octave-double the bass-line melody, over which McCartney and Lennon flatpick a single-note melody based on double-stops, mostly sixth intervals, played up and down the G and high E strings in a quick, unbroken triplet rhythm, beautifully outlining the underlying chords with ascending and descending note pairs.<br /> <br /><br /> <strong>23. Don’t Bother Me</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>Harrison’s first solo songwriting effort for the Beatles sounds like nothing else in the group’s catalog. With its moody minor chords, propulsive drum beat and tremolo guitar, this 1964 track has more in common with California surf music than it does the American rock and soul that inspired the Beatles’ music at the time. </p> <p>The tremolo—provided by Harrison’s Vox AC30—gives the song an air of menace appropriate to the song’s title, and its use here marks the first time the group used an electronic effect on a finished recording.<br /> <br /><br /> <strong>22. Octopus’s Garden</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>By 1969, George Harrison had put down his sitar to focus on his first love, the guitar. The results are apparent on <em>Abbey Road</em>, which features his most fluid and confident playing to date. </p> <p>On “Octopus’s Garden,” one of Ringo Starr’s rare Beatles-era tunes, Harrison calls on his country/rockabilly influences for the first time since the band’s pre-psychedelic days. The intro is a slick masterpiece in the major pentatonic scale, the same territory Dickey Betts would later visit on “Blue Sky.” The song’s fun, twangy solo could sit snugly among James Burton’s work on Merle Haggard’s late-Sixties albums.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CUFcfXgW_dQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>21. Till There Was You</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>With this charming early cover of a love song from the popular 1957 Broadway musical play and 1962 feature film <em>The Music Man</em>, the Beatles demonstrated their stylistic versatility as they authoritatively breeze through the song’s harmonically sophisticated, jazz-like chord progression. </p> <p>Harrison’s solo break conveys a musical savvy on par with that of a veteran jazz improviser, as he strongly outlines the underlying chord progression, producing a perfect melodic counterpoint with the bass line by using arpeggios and targeting non-root chord tones, such as the third or ninth, on each chord change. </p> <p>Also impressive is his incorporation of two-, three- and four-note chords into what would otherwise be a predominantly single-note solo to create jazz-guitar-style chord-melody phrases, as well as his superimposition over the five chord, C7, of a daringly dissonant Gb7#9 chord (voiced, low to high, Gb Db Bb E A), a trick known in the language of jazz as a tritone substitution. </p> <hr /> <p><strong>20. Good Morning Good Morning</strong><br /> <strong><em>Sgt. Pepper’s Lonely Hearts Club Band</em> (1967)</strong></p> <p>Let’s face it: There aren’t many ferocious, brash and screaming guitar solos in the Beatles’ catalog. That said, Paul McCartney’s razor-sharp solo on “Good Morning Good Morning” is all that and a bag of chips. </p> <p>The 13-second-long treble fest, played on a Fender Esquire through a Selmer amp, features a strong East Indian vibe, perhaps a nod to George Harrison’s burgeoning fascination with Indian religion and music. </p> <p>Like its stylistic predecessor, McCartney’s “Taxman” guitar solo (see entry 3), “Good Morning Good Morning” incorporates open-string drone notes and rapid-fire descending hammer-pull slides, mostly along one string, in this case, the B string.<br /> <br /><br /> <strong>19. I Need You</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>By 1965, the Beatles were making noticeable strides in their arrangements and instrumentation. A prime example is “I Need You,” one of two George Harrison compositions to appear on <em>Help!</em> </p> <p>The recording represents Harrison’s first use of a volume pedal. The guitar’s dramatic, almost pedal-steel-like volume swells—which frame Harrison’s curt, suspended chords—only add to the song’s wistful lyrical content. </p> <p>The volume pedal was a step up for the band; the guitar swells heard on “Baby’s in Black,” which was tracked the previous summer, were the result of John Lennon turning the volume knob on Harrison’s 1963 Gretsch Tennessean as Harrison played it.<br /> <br /><br /> <strong>18. You Can’t Do That</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>On February 25, 1964, the Beatles entered the studio with an exciting new piece of gear: a Fireglo 1963 Rickenbacker 360/12. George Harrison had received the guitar only 17 days earlier when the band was in New York shooting its initial Ed Sullivan Show appearance.</p> <p>The song’s chiming intro riff, with its middle-finger hammer-ons from a minor third to a major third within the chord, offered a taste of what lay ahead for the guitar, which would see heavy action onstage and in the studio through 1965. John Lennon performed the guitar solo on his new Jetglo 1964 Rickenbacker.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/0EYa5YkJu4Q" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>17. Let It Be</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>As Beatles obsessives know, there are three versions of George Harrison’s solo for this track: the original, recorded in January 1969 with his rosewood Telecaster (available on 2003’s <em>Let It Be… Naked</em>); the second, recorded the following April with his Tele through a Leslie rotary speaker (released on the single “Let It Be” in 1970); and a third version recorded in January 1970 using his “Lucy” Gibson Les Paul through a Tone Bender (released on <em>Let It Be</em>). </p> <p>Nice as the first two are, they have nothing on the third, a blistering performance that raises the song’s drama to a higher level of emotion.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Izts5y5Fw8Y" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>16. All My Loving</strong><br /> <strong><em>With the Beatles</em> (1963)</strong></p> <p>For this pop song’s thumping, quasi–jump blues, rockabilly-style groove, Harrison crafted a convincingly authentic Chet Atkins/Carl Perkins–like solo break that clearly demonstrates his familiarity with that Fifties Nashville style of electric guitar soloing. </p> <p>Employing hybrid picking (pick-and-fingers technique), the guitarist acknowledges and gravitates toward the underlying chords in his melodic phrases, employing country-style “walk-ups” and “walk-downs” and plucking double-stops (pairs of notes) to sweetly and effectively outline the chord changes with a pleasing thematic continuity. </p> <p>Lennon contributed an energetic rhythm guitar part, one that he later expressed being rather proud of, which propels the groove with tireless waves of triplet chord strums, similar to those heard in the Crystals’ song “Da Doo Ron Ron.”<br /> <br /><br /> <strong>15. Ticket to Ride</strong><br /> <strong><em>Help!</em> (1965)</strong></p> <p>This proto-heavy-metal track was the first Beatles recording to feature McCartney on lead guitar and the last on which George Harrison used his Rickenbacker 12-string. McCartney plays the note-bending fills at the end of the bridges and on the outro, while Harrison plays the song’s arpeggiated riff and Lennon handles rhythm guitar. </p> <p>But the heaviest part might just be the droning open-string A notes that Harrison overdubbed on the verses, suggestive of the classical Indian music he would begin to explore later that year.<br /> <br /><br /> <strong>14. Dig a Pony</strong><br /> <strong><em>Let It Be</em> (1970)</strong></p> <p>The song’s driving, bluesy riff is as durable as any that Muddy Waters ever wrote, but the 1969 recording is also notable for Harrison’s smoky guitar work on his rosewood Telecaster—from the double-stop licks on the verses to his confident and impeccably developed solo. </p> <p>You can hear Harrison’s signature style beginning to develop here, with the smoothness of his lines pointing toward the fluid slide style he would develop over the following year. His guitar tone is also very similar to that of “Octopus’ Garden” (see entry 22) recorded later that year, for which he may have also used the rosewood Tele.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kkzKSORYtVk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>13. Nowhere Man</strong><br /> <strong><em>Rubber Soul</em> (1965)</strong></p> <p>According to Harrison, he and Lennon perform the song’s bright, chiming solo together in unison, using their matching Sonic Blue Fender Stratocasters. </p> <p>Lennon also revealed to guitarist Earl Slick, during the making of Lennon’s 1980 album <em>Double Fantasy</em>, that the solo was recorded through a pair of small amps with a single microphone positioned between them. The Strats’ trebly nature was further accentuated on “Nowhere Man” by boosting the high frequencies via the mixing console. </p> <p>“We wanted very trebly guitars,” McCartney says. “They’re among the most trebly guitars I’ve ever heard on record.”<br /> <br /><br /> <strong>12. I Feel Fine</strong><br /> <strong><em>1962–1966</em> (1973)</strong></p> <p>Audio feedback was just an annoying electronic phenomenon until the Beatles used it as an attention-getting way to start “I Feel Fine.” The song itself is a rather standard riff rocker inspired by Bobby Parker’s 1961 R&amp;B hit, “Watch Your Step,” but its distinctive intro came about by accident when McCartney played a low A note on his bass as Lennon was leaning his Gibson J-160E acoustic-electric against his amp. </p> <p>The note set Lennon’s guitar vibrating, and its proximity to the amp caused the sound to feed back. “We went, ‘What’s that? Voodoo!’ ” McCartney recalls. Yes, that too. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/fZUb_NJZ4To" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>11. Blackbird</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>McCartney recorded this beautiful song’s gentle, fingerstyle acoustic accompaniment on his Martin D-28. </p> <p>He creates an elegant, classical-guitar-style chord movement by using two-finger chord shapes exclusively, most of which form 10th intervals on the A and B strings, in conjunction with the open G-string note, which he picks in opposition to the chord shapes and employs as a droning common tone. </p> <p>His unique fingerpicking technique relies largely on his thumb, which he uses to pick bass notes, and index finger, which he uses for pretty much everything else, employing brushed downstrokes and upstrokes and often brushing across two or more strings. </p> <p>This often results in notes that are “ghosted,” or barely articulated, a “flaw” that is a testament to his innate musicality—McCartney’s touch is charming and greatly contributes to the overall feel of the song. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6c2kJrWqZqc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. “Something”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Ironically, while the Beatles were breaking apart in 1969, George Harrison was coming into his own as a songwriter and guitarist. </p> <p>His <em>Abbey Road</em> contribution “Something” is among his finest songs, and his guitar playing here and throughout the album is masterful. Harrison’s mellifluous lead lines, in particular, are more expressive than anything he’d done before, demonstrating his newfound confidence and evolving connection to his instrument and creative muse. </p> <p>Performed with his “Lucy” 1957 Gibson Les Paul played through a Leslie speaker, the solo simmers as Harrison turns up the heat on his melody and dynamics, then cools it down with bluesy restraint. </p> <p>“George came into his own on <em>Abbey Road</em>,” says Geoff Emerick, who engineered this and other <em>Abbey Road</em> sessions. “For the first time he was speaking out and doing exactly what he wanted to do. And of course he wrote these beautiful songs and we got a great new guitar sound.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mBjt7EsWbWE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. I Want You (She’s So Heavy)</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>John Lennon was composing some of the heaviest rock and roll in the Beatles’ catalog in 1969, and this song—true to its title—is among the most crushing, thanks to an abundance of doubled and overdubbed guitar lines that give it some serious sonic heft. </p> <p>Lennon wrote the song for Yoko Ono, with whom he was newly in love, and the result is a spellbinding exercise in obsessive repetition, from its lyrics—consisting almost entirely of the title and roughly five other words—to the ominous guitar lines that recur throughout it. </p> <p>Clocking in at 7:47, the song is also one of the Beatles’ longest. </p> <p>And although it consists of nothing more than a verse and a chorus repeated several times, it is rhythmically one of their most intricate tunes, switching between 12/8 meter and 4/4 rhythms alternately played bluesy and with a double-time rock beat. Few other artists could have made so much with so little. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uo1i9uTaCFQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. I’m Only Sleeping</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Harrison’s startling backward guitar solo on this Lennon-penned song is one of his greatest guitar moments on 1966’s <em>Revolver</em>.</p> <p>Over the previous year, he had used an expression pedal to create a volume-swelling sound, similar to a reverse-tape effect, on several tracks, including “Yes It Is” and “I Need You” (see entry 19). </p> <p>But for “I’m Only Sleeping,” Harrison wanted to hear his guitar truly in reverse, a decision undoubtedly inspired by Lennon’s own retrograde vocals on “Rain,” recorded earlier the same month, April 1966.</p> <p>Rather than simply improvising guitar lines while the track was played backward, he prepared lead lines and a five-bar solo for the song and had George Martin transcribe them for him in reverse. Harrison then performed the lines while the tape was running back to front.</p> <p>The result is a solo that surges up from the song’s murky depths, suffusing it with a smeared, surreal, dreamlike ambience. Within a year, Harrison’s idea would be copied by such psychedelic rock acts of the day as the Electric Prunes, who employed it on their 1966 hit “I Had Too Much to Dream (Last Night),” and Jimi Hendrix, who used it to great effect on “Castles Made of Sand.” </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/1MMDugt8ZRk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. And Your Bird Can Sing</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>This middle-period Beatles gem, written primarily by Lennon, features Harrison and McCartney on impeccably crafted and performed harmony-lead guitar melodies, a pop-rock arranging approach that was still in its infancy in 1966. (It would later be employed extensively in the southern rock genre by bands such as the Allman Brothers and Lynyrd Skynyrd as well as hard rock and metal acts like Thin Lizzy, Boston and Iron Maiden.) </p> <p>Together, Harrison and McCartney’s individual single-note harmony lead guitar parts form, for the most part, diatonic (scale-based) third intervals in the key of E. (Lennon performed his rhythm guitar part as if the song were in the key of D, using a capo at the second fret to transpose it up a whole step, as he did on “Norwegian Wood,” “Nowhere Man” and “Julia.”) </p> <p>The quick half-step and whole-step bends that Harrison and McCartney incorporate into their parts here and there in lock-step fashion are particularly sweet sounding. Heard together, they have the precise intonation of a country pedal-steel part performed by a seasoned Nashville pro. </p> <p>The harmonized lines that the two guitarists play over the “minor-drop” progression during the song’s bridge section, beginning at 1:05, reveal their musical depth and sophistication and command over harmony beyond the basic “I-IV-V” pop songwriting fodder.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/f_P71QAEZKs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. A Hard Day’s Night</strong><br /> <strong><em>A Hard Day’s Night</em> (1964)</strong></p> <p>It lasts all of roughly three seconds, but the sustained opening chord to this classic Beatlemania track is one of rock and roll’s greatest and most recognizable musical moments. </p> <p>Bright and bold as a tolling bell, it loudly announced in 1964 not just the start of the Beatles’ latest album but also the dawning of a cultural transformation that owed nearly everything to the group’s influence. </p> <p>The song was written to order for the Beatles’ feature-length film debut, <em>A Hard Day’s Night</em>. According to George Martin, “We knew it would open both the film and the soundtrack LP, so we wanted a particularly strong and effective beginning.” </p> <p>The dense harmonic cluster that Martin and the group created is the result of four instruments sounding simultaneously: Harrison on his 12-string Rickenbacker and Lennon on his Gibson J-160E acoustic, both strumming an Fadd9 chord (with a G on the high E); McCartney on his Hofner 500/1 bass, plucking a D note (probably at the 12th fret of his D string); and Martin on grand piano, playing low D and G notes. </p> <p>The resulting chord has been described as, technically, G7add9sus4, but to millions of eager listeners in 1964, it was simply the sound of an electrifying new era.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/70QfHtKdh_0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. Revolution</strong><br /> <strong><em>1966–1970</em> (1973)</strong></p> <p>At the time that this 1968 track was recorded, distortion was well established as an electronic effect for guitarists, but no one had ever used it to the extreme that the Beatles did here. </p> <p>According to Geoff Emerick, Lennon had been attempting to create distortion by cranking up his amp during sessions for “Revolution 1,” the slower version of the song, which the Beatles recorded in May and June of 1968. </p> <p>Emerick had abetted his efforts by overloading the preamp on the microphone used to record Lennon’s guitar, but even this wasn’t enough for Lennon, who told the engineer, “ ‘No, no, I want that guitar to sound dirtier!” </p> <p>By the July recording of “Revolution,” Emerick determined that he could distort the signal even more by patching Lennon and Harrison’s guitars directly into the mixing console via direct boxes, overloading the input preamp and sending the signal into a second overloaded preamp. </p> <p>“I remember walking into the control room when they were cutting that,” recalls Abbey Road engineer Ken Scott, “and there was John, Paul and George, all in the control room, all plugged in—just playing straight through the board. All of the guitar distortion was gotten just by overloading the mic amps in the desk.” </p> <p>As Emerick himself notes in his 2006 memoir <em>Here, There and Everywhere</em>, it was no mean feat: the overloaded preamps could have caused the studio’s tube-powered mixer to overheat. “I couldn’t help but think: If I was the studio manager and saw this going on, I’d fire myself.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kk6BAIy1MeU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. Here Comes the Sun</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>Harrison’s jangly chord-melody playing on this song is exemplary. Using first- and second-position “cowboy” chords with a capo at the seventh fret, the guitarist loosely doubles and supports his catchy, syncopated vocal melody by working it into the top part of his acoustic-guitar accompaniment. </p> <p>He does this by using a “picky-strummy” technique (similar to what Neil Young would later employ in his song “The Needle and the Damage Done”), in which the pick hand gently swings back and forth over the strings in an unbroken down-up-down-up movement, like a pendulum viewed sideways. </p> <p>In doing so, Harrison selectively grazes certain strings on various downbeats and eighth-note upbeats, resulting in a seemingly casual mix of full-chord strums, single notes and two-note clusters that form a pleasing stand-alone guitar part that could easily appeal as a solo instrumental performance. </p> <p>The high register achieved by using the capo so far up the neck—the song is played as if it were in the key of D but sounds in A, a perfect fifth higher—makes the guitar sound almost like a mandolin, an effect similar to that achieved by Bob Dylan on “Blowin’ in the Wind” (also performed capo-7).</p> <p>Also noteworthy are the ringing and musically compelling arpeggio breaks that punctuate the song in various spots, such as after the first verse (immediately following the lyric “It’s all right”) and during the bridge/interlude section, behind the words “sun, sun, sun, here it comes.” </p> <p>Harrison employs a highly syncopated “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2, 1-2” phrasing scheme in the first instance and “1-2-3, 1-2-3, 1-2-3, 1-2-3, 1-2” in the latter, creating a rhythmic “hiccup” that resets the song’s eighth-note pulse. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n6j4TGqVl5g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. Taxman</strong><br /> <strong><em>Revolver</em> (1966)</strong></p> <p>Bassist Paul McCartney had first demonstrated his six-string talents on 1965’s <em>Help!,</em> where he played lead guitar on several tracks and performed on acoustic guitar for his song “Yesterday.” </p> <p>But McCartney would truly come into his own as a guitarist with this cut from 1966’s <em>Revolver</em>. His stinging solo, performed on his 1962 Epiphone Casino through his cream-colored 1964 Bassman amp, is a stunningly sophisticated creation, drawn from an Indian-derived Dorian mode and featuring descending pull-offs that recall Jeff Beck’s work on the Yardbirds’ “Shapes of Things,” released earlier that year. </p> <p>How the solo came to be played by McCartney—and not Harrison, who wrote the song and was the Beatles’ lead guitarist—is a story in itself. </p> <p>According to Geoff Emerick, Harrison struggled for two hours to craft a solo before producer George Martin suggested he let McCartney give it a try. McCartney’s solo, Emerick says, “was so good that George Martin had me fly it in again during the song’s fadeout.” Portions of it, played backward, were also applied to the Revolver track “Tomorrow Never Knows.” </p> <p>Apparently, Harrison didn’t feel slighted. At the time of making <em>Revolver</em>, he was ambivalent about his musical ambitions and pondering Indian mysticism, to which he would eventually convert. </p> <p>“In those days,” he said, “for me to be allowed to do my one song on the album, it was like, ‘Great. I don’t care who plays what. This is my big chance.’ I was pleased to have him play that bit on ‘Taxman.’ If you notice, he did like a little Indian bit on it for me.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/YtksJEj2Keg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. While My Guitar Gently Weeps</strong><br /> <strong><em>The Beatles</em> (1968)</strong></p> <p>“While My Guitar Gently Weeps” has become one of George Harrison’s signature tunes, but when he wrote the song in 1968, he couldn’t get his band mates to take an interest in it. </p> <p>Frustrated, he asked his pal Eric Clapton to sit in on the recording session for the track, hoping his presence would put the group on its best behavior. Clapton accepted the invitation and delivered a performance that remains a high point in the Beatles’ catalog. </p> <p>For the session, Clapton played a 1957 Les Paul “Goldtop” that had been refinished in red. He’d purchased the guitar in New York City sometime in the Sixties and in 1968 gifted it to Harrison, who nicknamed it Lucy. </p> <p>The guitar was already in Harrison’s possession at the time of this recording. When he picked up Clapton to take him to the studio for the Beatles session, the famous guitarist was empty handed. “I didn’t have a guitar,” Clapton recalls. “I just got into the car with him. So he gave me [Lucy] to play.”</p> <p>Harrison was concerned that Clapton’s solo was “not Beatley enough,” as the group was by the time of this recording well known for its sonic innovation. </p> <p>During the song’s mixing stage, the group had engineer Chris Thomas send Clapton’s signal through Abbey Road’s ADT—Automatic Double Tracking—tape-delay system and manually alter the speed of the delay throughout Clapton’s performance, making the pitch sound chorused. (The effect is especially noticeable in the final measure of the second middle-eight, after the line “no one alerted you.”) Ironically, while the solo is one of Clapton’s most famous, he was never credited on the recording. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/F3RYvO2X0Oo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “The End”</strong><br /> <strong><em>Abbey Road</em> (1969)</strong></p> <p>A song called “The End” might seem an ironic place to start a list of the Beatles’ 50 greatest guitar moments. But the round-robin solos that bring the track to its exhilarating peak are without question the group’s most powerful statement expressed through the guitar.</p> <p>Here, for a mere 35 seconds, three childhood friends and longtime band mates—Paul McCartney, George Harrison and John Lennon—trade licks on a song that represents, musically and literally, the Beatles’ last stand as a rock group before they broke up the following year. “The End” is the grand finale in the medley of tunes that make up much of <em>Abbey Road</em>’s second side. </p> <p>As such, it’s designed to deliver maximum emotional punch, and it succeeds completely, thanks in great part to the sound of McCartney, Harrison and Lennon rocking out on their guitars, as they did in their first, embryonic attempts to make rock and roll some 12 years earlier. </p> <p>“They knew they had to finish the album up with something big,” recalls Geoff Emerick, the famed Abbey Road engineer who worked on the 1969 album. </p> <p>“Originally, they couldn’t decide if John or George would do the solo, and eventually they said, ‘Well, let’s have the three of us do the solo.’ It was Paul’s song, so Paul was gonna go first, followed by George and John. It was unbelievable. And it was all done live and in one take.”</p> <p>Much of the song’s power comes from the sense that the Beatles are making up their solos spontaneously, playing off one another in the heat of the moment. As it turns out, that’s partly accurate. </p> <p>“They’d worked out roughly what they were going to do for the solos,” Emerick says, “but the execution of it was just superb. It sounds spontaneous. When they were done, everyone beamed. I think in their minds they went back to their youths and those great memories of working together.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5bcxHlMxnSY" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/fab-50-beatles-50-greatest-guitar-moments#comments Articles Damian Fanelli George Harrison GW Archive GWLinotte January 2014 John Lennon Paul McCartney The Beatles Guitar World Lists News Features Magazine Mon, 06 Jul 2015 14:03:43 +0000 Christopher Scapelliti, Damian Fanelli, Jimmy Brown 20443 at http://www.guitarworld.com Paul McCartney's Top Six Guitar Solos with The Beatles http://www.guitarworld.com/top-five-beatles-guitar-solos-paul-mccartney <!--paging_filter--><p>As a musician, Paul McCartney is probably best known for his creative, melodic Beatles and Wings bass lines. But he's always been a guitarist at heart. </p> <p>The guitar was, after all, his first instrument (if you ignore the trumpet his father gave him for his 14th birthday), and it's always been his main songwriting tool.</p> <p>And while George Harrison played the bulk of the Fab Four's lead guitar parts (especially in the band's early years), McCartney occasionally—and understandably—claimed the lead-guitar spotlight, as did rhythm guitarist John Lennon (<a href="http://www.guitarworld.com/video-eric-claptons-isolated-guitar-track-beatles-while-my-guitar-gently-weeps">and Cream's Eric Clapton, on one famous occasion</a>). </p> <p>On that note, here are McCartney's top six (yes, six) electric guitar solos as a member of the Beatles. Enjoy!</p> <p>06. <strong>"Back in the USSR," <em>The Beatles</em>, aka the White Album (1968)</strong></p> <p>By the White Album era, the days of the Beatles sticking to their traditional roles were very much over. In this case, McCartney wrote the song, sang it and played drums on it. Why not play lead guitar, too? </p> <p>The solo, which follows the melody line, is simple but effective—and don't forget his fine, fast, alternate picking during the last verse. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/kHD5nd3QLTg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 05. <strong>"Another Girl," <em>Help!</em> (1965)</strong></p> <p>This "solo" is more of a collection of creative, bouncy fills and bends by McCartney—more than enough to make it obvious that he started out as a guitarist. </p> <p>Check out this scene from <em>Help!,</em> below, where Harrison, playing Lennon's black Rickenbacker 325, mimes McCartney's lead parts while McCartney plays bass. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YKeSY5gas5k" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 04. <strong>"Tomorrow Never Knows," <em>Revolver</em> (1966)</strong></p> <p>"People tend to credit John with the backwards recordings, the loops and the weird sound effects, but the tape loops were my thing," McCartney says in Barry Miles' <em><a href="http://www.amazon.com/Paul-McCartney-Many-Years-From/dp/0805052496">Many Years From Now.</a></em> "The only thing I ever used them on was 'Tomorrow Never Knows.' It was nice for this to leak into the Beatle stuff as it did.</p> <p>"We ran the loops and then we ran the track of 'Tomorrow Never Knows' and we played the faders, and just before you could tell it was a loop, before it began to repeat a lot, I'd pull in one of the other faders, and so, using the other people, 'You pull that in there,' 'You pull that in,' we did a half random, half orchestrated playing of the things and recorded that to a track on the actual master tape, so that if we got a good one, that would be the solo. We played it through a few times and changed some of the tapes till we got what we thought was a real good one. I think it is a great solo."</p> <p>Rumor has it that McCartney's "Tomorrow Never Knows" guitar parts are actually transplants from "Taxman."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/zd61M256RfM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 03. <strong>"The End," <em>Abbey Road</em> (1969)</strong></p> <p>The extended guitar jam on "The End," the <em>Abbey Road</em> finale (unless you count "Her Majesty"), also could make the list of the best Beatles guitar solos by Harrison and/or Lennon, since all three guitarists take turns soloing for two bars each. </p> <p>McCartney starts it off, followed by Harrison, followed by Lennon—around and around until "the end." And speaking of solos, it's also the only Beatles song to include a Ringo Starr drum solo. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/YH9P_vwpLXk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 02. <strong>"Good Morning Good Morning," <em>Sgt. Pepper's Lonely Hearts Club Band</em> (1967)</strong></p> <p>Young, guitar-playing Beatles fans are often disappointed when they find out Harrison didn't play this very 1967-sounding, brash, psychedelic, distorted, raga-inspired gem of a guitar solo from <em>Sgt. Pepper's Lonely Hearts Club Band.</em> It was, in fact, played by McCartney.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/lzhSbBftWtk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 01. <strong>"Taxman," <em>Revolver</em> (1966)</strong></p> <p>On what is clearly one of the most powerful guitar solos to be found on a Beatles song, McCartney channels a bit of Jeff Beck (with descending pull-offs a la "Shapes of Things") and gives a nod to Harrison's current, Indian-inspired frame of mind. </p> <p>"I was pleased to have Paul play that bit on 'Taxman'," Harrison said in 1987. "If you notice, he did like a little Indian bit on it for me."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Oyu5sFzWLk8" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend,</a> a column dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-benders.</a> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damian_fanelli/">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/paul-mccartney">Paul McCartney</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-five-beatles-guitar-solos-paul-mccartney#comments Damian Fanelli George Harrison John Lennon Paul McCartney Ringo Starr The Beatles Blogs News Features Fri, 19 Jun 2015 11:43:04 +0000 Damian Fanelli 11294 at http://www.guitarworld.com While My Chapman Stick Gently Weeps — Video http://www.guitarworld.com/while-my-chapman-stick-gently-weeps-video <!--paging_filter--><p>Recently, while searching for something else far less interesting, I came across this 2011 video of Bob Culbertson playing the Beatles' "While My Guitar Gently Weeps" on the Chapman Stick.</p> <p>As always, I figured I'd send it your way.</p> <p>Culbertson's performance, which includes various expression techniques and a generous amount of improvisation, is mesmerizing, to say the least. </p> <p>According to <a href="http://www.stick.com/">stick.com,</a> "the home of the Chapman Stick," the design of the instrument is inspired by the "Free Hands" two-handed tapping method discovered by Emmett Chapman in 1969.</p> <p>"With Emmett's method, both of your hands are equal partners," the site says. "As they approach the fretboard from opposite sides, your fingers line up parallel to the frets and a powerful new musical language emerges—bass lines, lead melodies, chords, and rhythm, simultaneously, and in any combination you desire."</p> <p>For more about the Chapman Stick, visit <a href="http://www.stick.com/">stick.com.</a> For more about Culbertson, check out his other (much more recent) Chapman Stick videos on <a href="https://www.youtube.com/channel/UCLDRHrmFbPFStjjeMFwaINg">his YouTube channel.</a></p> <p>If, by any chance, you want to find out how the Chapman Stick is tuned, <a href="http://www.stick.com/articles/poorman_tunings/">step right this way.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/dYKB6Lag-wg" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/while-my-chapman-stick-gently-weeps-video#comments Bob Culbertson Chapman Stick George Harrison The Beatles Videos News Thu, 18 Jun 2015 15:59:01 +0000 Damian Fanelli 24749 at http://www.guitarworld.com 10 Underappreciated Solo Paul McCartney Songs http://www.guitarworld.com/10-underappreciated-paul-mccartney-songs <!--paging_filter--><p>"When I'm Sixty-Four"? That's so nine years ago. Paul McCartney turns 73 today, June 18.</p> <p>With that in mind, you'll probably come across a host of online tributes that laud the former Beatle's longevity, countless achievements and best-loved songs. </p> <p>But while the masses will most likely praise "Band on the Run," "Maybe I'm Amazed," "Live and Let Die" and "Silly Love Songs" (well, maybe not "Silly Love Songs"), I'd like to draw attention to 10 tracks from McCartney's solo career—a career that started 45 years ago, by the way—that just don't get the love and attention they deserve in 2015.</p> <p>They are presented in chronological order, according to their official release dates.</p> <p><strong>"Oh Woman, Oh Why," B-side of "Another Day" (Paul McCartney, 1971)</strong></p> <p>In February 1971, McCartney released "Another Day," his first single as a solo artist. It was a mostly acoustic, observational, "Eleanor Rigby"-style affair—just light and fluffy enough for John Lennon to take a swing at in "How Do You Sleep?" from <em>Imagine</em>. </p> <p>On its flip-side, however, was "Oh Woman, Oh Why," a fun yet lonely-sounding bluesy rocker in A. McCartney's gritty, screaming vocal, which is right up there with his work on "Oh! Darling," adds a healthy dose of authenticity to the track. The fake gunshot sounds have the opposite effect.</p> <p>The song is the first in a long line of non-album McCartney B-sides that includes "The Mess," "I'll Give You a Ring," "Sally G," "Flying to My Home," "I Lie Around" and "Rainclouds." It has been included on several CD incarnations of <em>Ram</em>, including the 2012 <em>Ram</em> Special Edition.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZzU-iqRHubM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Eat At Home" from <em>Ram</em> (Paul and Linda McCartney, 1971)</strong></p> <p>John Lennon wasn't too crazy about McCartney's supposedly lightweight early Seventies output, but he did like "Eat At Home," calling it his favorite track on <em>Ram</em>.</p> <p>The song, with its twangy riff and bountiful guitar parts, could've been a hit single for McCartney; instead, it'll go down in history as merely another album track. And while McCartney and his band have <a href="http://www.youtube.com/watch?v=UxpHxGVTqg0">dug up and dusted off the album's opener, "Too Many People,"</a> on recent tours, the equally deserving "Eat At Home" is still waiting for its moment in the spotlight.</p> <p>By the way, a previously unreleased live version of "Eat At Home/Smile Away" from Wings' 1972 tour is available on the <a href="http://itunes.apple.com/us/album/ram/id524432328">iTunes version</a> of the recently released <em>Ram</em> Special Edition.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/cTKwulGyj9Q" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"The Mess," B-side of "My Love" (Wings, 1973) </strong></p> <p>Excluding unreleased material, it doesn't get much more obscure than "The Mess," a live track recorded in 1972 and released as the B-side to "My Love" in March 1973. </p> <p>It's a danceable ode (as the video below proves) that probably started out as several different song ideas that got grafted together in typical McCartney fashion ("The Pound Is Sinking" from <em>Tug of War</em> is another example of the McCartney patchwork method).</p> <p>"The Mess" was originally meant to be included on Wings' <em>Red Rose Speedway</em> album (It was supposed to be a double album at one point), and there's even a studio version of the song out there somewhere.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/3cmNNEENYp8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Big Barn Bed" from <em>Red Rose Speedway</em> (Wings, 1973)</strong></p> <p>Speaking of <em>Red Rose Speedway</em>, here's that album's opening track, "Big Barn Bed." </p> <p>Like several of McCartney's much more successful tunes, "Big Barn Bed's" simplicity is its strong point, right down to Henry McCullough's basic guitar riff in the song's intro. The soaring harmonies, shimmering acoustic guitars and weird but fun lyrics about big barn beds (huh?) and leaping armadillos don't hurt, either.</p> <p>As a side note, McCullough, Wings' original lead guitarist, recorded a new version of "Big Barn Bed" for his 2011 solo album, <em>Unfinished Business.</em> But, um, you should probably start (and stick) with the Wings version.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/1b8jM9RUXr0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Famous Groupies" from <em>London Town</em> (Wings, 1978)</strong></p> <p>On 1978's "Famous Groupies," McCartney goes into semi-comedic storytelling mode to recount the tale of a fictional pair of notorious groupies who do some pretty horrible things to the music-biz gents they supposedly adore:</p> <p>"There was a classic story of a roadie named Rory / who used to practice voodoo on the side / when the famous twosome suggested something gruesome / All that they found was a crater two miles wide / Which left the music business absolutely horrified."</p> <p>"Famous Groupies" is joined by other gems on <em>London Town</em>, including the forgotten single, "I've Had Enough"; the Elvis-inspired "Name and Address"; and the deep, dark and awesome "Morse Moose and the Grey Goose."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/nrrpYfs3ifo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Spin It On" from <em>Back to the Egg</em> (Wings, 1979)</strong></p> <p>Although the <em>Back to the Egg</em> album cracked <em>Billboard's</em> Top 10 in 1979, it took a beating from critics, something McCartney <em>still</em> mentions in interviews. Big-shot reviewer Robert Christgau gave it a "C," and <a href="http://www.allmusic.com/album/back-to-the-egg-mw0000198282">Allmusic won't budge on its tepid two-star rating.</a> </p> <p>It's all a bit incongruous, really, since many McCartney fans (myself included) consider it their favorite McCartney album. If nothing else, it is Wings' most rocking album, with heavy tracks like "Old Siam, Sir," "So Glad to See You Here" and "Getting Closer" setting the tight, overdriven, solid tone. </p> <p>"Getting Closer" and "Arrow Through Me" got some FM airplay, and "Rockestra Theme," a thunderous instrumental featuring John Bonham, John Paul Jones, Pete Townshend and David Gilmour, earned a Grammy for Best Rock Instrumental Performance. But "Spin It On," an unassuming little album track that clocks in at 2:13, is one of the album's hidden highlights. </p> <p>It features some superlative playing by Wings' two newest members, drummer Steve Holly/Holley (I wish Steve would contact me and finally solve the Holly/Holley mystery) and the immensely gifted lead guitarist <a href="http://www.guitarworld.com/outside-box-exploring-acoustic-guitar-lj-whats-score">Laurence Juber</a>, who's now considered a fingerstyle master. In fact, its too-brief guitar solo represents Juber's shreddingest moment as a member of Wings.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CDorpyJjfcw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"On the Way" from <em>McCartney II</em> (Paul McCartney, 1980)</strong></p> <p>McCartney briefly topped the <em>Billboard</em> Hot 100 in the spring of 1980 with "Coming Up," a song that battled it out with Lipps Inc.'s "Funkytown." (Why do I know this stuff?)</p> <p>But besides "Coming Up" and, to some degree, the album's second single, "Waterfalls," the rest of <em>McCartney II</em> has faded into the land of early Eighties obscurity. Which is a shame, particularly in the case of "On the Way," a stark, blues-based number that features McCartney on heavily delayed vocals, bass, drums and lead guitar. </p> <p>And while no one is implying that the former Beatle is some great, unheralded bluesman, he does a pretty nice job on this track, especially in the terms of the guitar work. </p> <p>For more examples of McCartney's lead guitar playing, check out <a href="http://www.guitaraficionado.com/5463.html">this story about his top five guitar solos on Beatles songs.</a></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/AK9tVSXnY-s" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Souvenir" from <em>Flaming Pie</em> (Paul McCartney, 1997)</strong></p> <p>McCartney has released several "return to form" and/or "comeback" albums during his solo career, including 1982's <em>Tug of War,</em> 1989's <em>Flowers In the Dirt,</em> 1997's <em>Flaming Pie</em> and 2005's <em>Chaos and Creation In the Backyard</em>.</p> <p><em>Flaming Pie</em>, in particular, was lauded for its near-Beatles-level of quality (It even features Ringo Starr on several tracks and non-album B-sides). And while the album's title track and singles ("The World Tonight" and "Young Boy") enjoyed a good share of the spotlight, stronger tracks like "Souvenir" were generally overlooked. </p> <p>This classy ode to Motown singles of a bygone era sports some gritty vocals and a meaty guitar riff during the choruses.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/t5B5EMS8SUE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"A Love for You" from <em>The In-Laws: Music from the Motion Picture</em> (Paul and Linda McCartney, 2003)</strong></p> <p>The catchy "A Love for You" was recorded during the <em>Ram</em> sessions in 1971 but didn't make it onto the album, proof that McCartney throws away more decent songs than most artists write. </p> <p>Fans discovered the song in the Eighties when <em>Cold Cuts</em>, an official collection of unreleased McCartney songs recorded from 1971 to 1980, was leaked, bootlegged and finally abandoned by McCartney. The song didn't get its first proper release until 2003, when it appeared on the soundtrack album for <em>The In-Laws</em>, the so-so Michael Douglas/Albert Brooks comedy.</p> <p>A different mix of the song turned up in 2012 as part of the <em>Ram</em> Special Edition release.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9BK6SZlWVTs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"That Was Me" from <em>Memory Almost Full</em> (Paul McCartney, 2007)</strong></p> <p>While Ringo Starr can't keep from making inane Beatles and Liverpool references on his last few solo albums, McCartney rarely looks back, lyrically, at least. </p> <p>But in "That Was Me," a song from his critically acclaimed 2007 album, <em>Memory Almost Full,</em> the former Beatle recalls his early, sweaty days on the way up, basically saying, "You know that young mop-topped Beatle guy in those ol' B/W videos? That was me, this older guy you're looking at now. All that stuff actually happened, and sometimes I have a hard believing it myself." </p> <p>But besides the fun blast from the past, the song has an ultra-cool bass line, a serious groove and a catchy, scat-style chorus reminiscent of "Heart of the Country." </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/v4WcHxIawmk" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-super-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://soundcloud.com/damian-fanelli/the-blue-meanies-heart-full-of">the Blue Meanies,</a> plays "Eat At Home," "The Mess" and other forgotten stuff.</em> He's a former member of <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron.</a></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item even"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-underappreciated-paul-mccartney-songs#comments Damian Fanelli David Gilmour Henry McCullough Laurence Juber Paul McCartney The Beatles Blogs News Features Thu, 18 Jun 2015 12:12:09 +0000 Damian Fanelli 16037 at http://www.guitarworld.com 'Beatles Gear' Tracks the Fab Four's Instruments from Stage to Studio http://www.guitarworld.com/beatles-gear-tracks-fab-fours-instruments-stage-studio <!--paging_filter--><p><em>Beatles Gear</em> is a landmark book that details exactly which guitars, drums, amplifiers and keyboards The Beatles used at key points during their career. </p> <p>The book was even used as the official technical reference book for <em>Beatles Rock Band</em>, and its author, musician Andy Babiuk, was the official technical consultant to the game. </p> <p>The book follows the band, from a gear perspective, from the formation of the Quarry Men in the 1950s to the dissolution of the Beatles in 1970. It provides a fresh insight into Beatles history from a new viewpoint. Along the way, many myths are exploded and dozens of stories told for the first time. </p> <p>It discusses — in great detail — the band's guitars, basses, drums, amps and keyboards, including models by Fender, Gibson, Rickenbacker, Gretsch, Hofner, Ludwig, Vox — and everything else.</p> <p><strong>The book, which is published by Backbeat Books, is <a href="http://store.guitarworld.com/collections/mix-books/products/beatles-gear/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BeatlesGear">available at the Guitar World Online Store for $40</a>.</strong></p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/KrkwgTBrW78" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/beatles-gear-tracks-fab-fours-instruments-stage-studio#comments The Beatles News Features Mon, 08 Jun 2015 14:18:34 +0000 Guitar World Staff 16489 at http://www.guitarworld.com Man Plays Guitar While Undergoing Brain Surgery — Video http://www.guitarworld.com/acoustic-nation-man-plays-guitar-while-undergoing-brain-surgery-video <!--paging_filter--><p>Here's an interesting one.</p> <p>It's a video of Brazilian bank worker Anthony Kulkamp Dias playing guitar while undergoing brain surgery. </p> <p>Doctors were able to keep Dias, 33, awake during the surgery, the goal of which was to remove a brain tumor. </p> <p>Did Dias sit around and stress out during his awake time? Nope. He merely considered it a chance to play Beatles and Brazilian folk tunes on his guitar! Besides "Yesterday" (which can be heard in the clip below), he played a song he wrote for his newborn son, who was born a mere 15 days after Dias discovered the tumor.</p> <p>Dias played six songs during the nine-hour procedure as surgeons, hidden behind a blue sheet, operated on him. “The doctors asked me to repeat one of the country songs, so I even had an encore,” Dias told Brazilian news site G1.</p> <p>Dias, who had been a pro guitarist for 20 years, first noticed something was wrong when he started stuttering and wasn't able to repeat the make of his car. He was encouraged to play during surgery so doctors could monitor the areas of the brain relating to speech and motor coordination and ensure they weren't damaged when the tumor was removed.</p> <p>Dias was due to be discharged today after 90 percent of the tumor was removed. If we get any updates, we'll let you know!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2fIXNA_lT30" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-man-plays-guitar-while-undergoing-brain-surgery-video#comments Acoustic Nation News The Beatles Videos Blogs Videos News Thu, 04 Jun 2015 16:37:46 +0000 Damian Fanelli 24628 at http://www.guitarworld.com George Harrison's 1963 Maton Guitar Sells for $485,000 at Auction http://www.guitarworld.com/george-harrisons-1963-maton-sells-485000-auction <!--paging_filter--><p>A Maton Mastersound MS-500 that George Harrison played during the Beatles' live performances in the summer of 1963 sold for $485,000 at Julien’s Auctions on Friday in New York City. </p> <p>Harrison never actually owned the Maton, but he borrowed it from a music store in Manchester, England, as a temporary replacement for his Gretsch Country Gentleman, which was being repaired. </p> <p>Though the Gretsch, a trademark of Harrison's early days with the Beatles, was quickly repaired and returned to him, Harrison asked to borrow the Maton for a few more weeks. Harrison then used the guitar for the Beatles' performances throughout the U.K. in July and August 1963. </p> <p>You can see a brief video that summarizes the guitar's history below. </p> <p><iframe frameborder="0" width="620" height="365" scrolling="no" id="molvideoplayer" title="MailOnline Embed Player" src="http://www.dailymail.co.uk/embed/video/1184331.html" ></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item even"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/george-harrisons-1963-maton-sells-485000-auction#comments George Harrison Maton The Beatles News Mon, 18 May 2015 20:38:00 +0000 Guitar World Staff 24500 at http://www.guitarworld.com Shred Guitar Version of The Beatles' "I Want You (She's So Heavy)" — Video http://www.guitarworld.com/shred-guitar-version-beatles-i-want-you-shes-so-heavy-video <!--paging_filter--><p>While the Beatles' 1969 track "I Want You (She's So Heavy)" is, indeed, "heavy," it's not exactly a shred masterpiece. </p> <p>There <em>is</em> a guitar solo on the Beatles' recording, but it's a simple (but heart-felt and effective) pentatonic take on the song's melody line, as played by John Lennon, who wrote the song.</p> <p>That said, I've always felt that the song's eerie end section—the part that builds and builds into something a twisted DJ would play as the pillars of the earth are tumbling down around him—has screamed out for a touch of shred guitar.</p> <p>Along comes guitarist Juliette Valduriez and her Parker guitar. Check out her version of the last part of the song below—and let us know what you think.</p> <p><strong>For more about Valduriez, follow her on <a href="https://www.youtube.com/channel/UC-MkY-TsU-RoxVoHXxnbonA">Facebook.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/QR8EQIusnnE?list=RDILbharIiEig" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/shred-guitar-version-beatles-i-want-you-shes-so-heavy-video#comments Juliette Valduriez The Beatles Videos News Tue, 28 Apr 2015 15:51:48 +0000 Guitar World Staff 24401 at http://www.guitarworld.com Guest Starrs: The Top Five Guitar Solos on Ringo Starr Songs http://www.guitarworld.com/guest-starrs-top-5-guitar-solos-ringo-starr-songs <!--paging_filter--><p>Former Beatle Ringo Starr will be inducted into the Rock and Roll Hall of fame this weekend.</p> <p>I figured I'd celebrate this most joyous of occasions by gathering up five songs that feature some of the best guitar work to be found on Ringo's solo albums.</p> <p>After all, from 1970's <em>Sentimental Journey</em> through 2015's <em>Postcards from Paradise</em>, Ringo's albums have featured guest appearances by several talented guitarists, including George Harrison, Eric Clapton, David Gilmour, Joe Walsh, Stephen Stills, John Lennon, Robert Randolph, Jeff Lynne, Paul McCartney, Peter Frampton and former GuitarWorld.com blogger <a href="http://www.guitarworld.com/outside-box-exploring-acoustic-guitar-lj-whats-score">Laurence Juber.</a></p> <p>So, as promised, here are five solo Ringo Starr songs with guitar work that really stands out. </p> <p>05. <strong>PRIVATE PROPERTY,</strong> from <em>Stop and Smell the Roses</em> (1981)<br /> <strong>Guitarist:</strong> Laurence Juber</p> <p>This tune, which was written by Paul McCartney, is one of three songs McCartney and his crew (including his wife Linda, Wings guitarist Laurence Juber and pedal steel guitarist Lloyd Green) contributed to Ringo's <em>Stop and Smell the Roses</em> sessions. </p> <p>Juber's brief but brilliant solo is near the end of the song. NOTE: The song itself doesn't start until 1:04 in the video below.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/kBdUWRrpokQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 04. <strong>A DOSE OF ROCK 'N' ROLL,</strong> from <em>Ringo's Rotogravure</em> (1976)<br /> <strong>Guitarists:</strong> Peter Frampton, Jesse Ed Davis, Danny Kortchmar</p> <p>There's not much to say about the two-part guitar solo on this song (most likely played by Jesse Ed Davis and Peter Frampton), except that it's dang perfect, although a little too brief. Listen to how it starts off all friendly and happy and then heads off into a menacing place as it follows the solo's unique chord changes.</p> <p>I recently spoke to Frampton about this song, and here's how it went:</p> <p><strong>ME: You’re credited with playing guitar on a Ringo Starr single from 1976, “A Dose of Rock ’N’ Roll,” from <em>Ringo’s Rotogravure</em>. But is that you playing the actual guitar solo?</strong></p> <p><strong>PETER FRAMPTON</strong>: I can't remember [laughs]. It was the Seventies, and I know I was sober for the session, but I'm not sure about right after. I'd have to listen to it again and see. People keep coming up to me, saying, "Is this you on this?" And I have to go listen to it to find out. I did more sessions than I remember doing. There were a lot of things in the Seventies that I played on that people keep reminding me about.</p> <p>[I play the song to him.]</p> <p>Yeah, the first part is me. I forgot all about that! That's me. And then, I forget who it is that comes in there, but that sounds like I'm playing my Gibson and then a Telecaster or a Strat comes in.</p> <p><strong>ME: Well, Jesse Ed Davis is one of the other guitarists who plays on that track. [NOTE: Guitarist Danny Kortchmar also plays on the song.]</strong></p> <p>Oh, yeah, Jesse Ed Davis. That's probably who it is.</p> <p><em>To read the rest of my conversation with Frampton, <a href="http://www.guitarworld.com/interview-peter-frampton-talks-talk-boxes-and-recording-george-harrison-all-things-must-pass">head here.</a></em></p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/V_oYIlTw3mo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 03. <strong>NEVER WITHOUT YOU,</strong> from <em>Ringo Rama</em> (2003)<br /> <strong>Guitarist:</strong> Eric Clapton</p> <p>This song, a bright spot from Ringo's way-too-freaking-long Mark Hudson era (Hudson was Ringo's not-so-great producer), is Ringo's tribute to George Harrison, who had died of cancer only two years earlier. </p> <p>It features some great Eric Clapton riffs, from the solo through to the end of the song. That dude playing the Strat and miming the solo in the video is not Clapton, by the way. You might want to close your eyes during the solo to avoid distraction.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/9PjnOdHq-T8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 02. <strong>$15 DRAW,</strong> from <em>Beaucoups of Blues</em> (1970)<br /> <strong>Guitarist:</strong> Jerry Reed</p> <p>This is one of the killer songs from Ringo's second solo album, 1970's <em>Beaucoups of Blues,</em> which he recorded in Nashville with some of the city's best studio musicians. Charlie Daniels is on this album, as are D.J. Fontana, Pete Drake and Sorrells Pickard, who wrote this song. </p> <p>Anyway, "$15 Draw" sums up Jerry Reed's playing style to a T. You can hear Reed explore this same sort of picking in his song "Guitar Man." He plays on his own version of the song and on Elvis Presley's version. </p> <p>I've always thought this song could be a hit for someone. It tells a great story, it takes you on an emotional roller coaster and it has a super-catchy guitar riff. It might be cool if a young female country artist were to record it. (Please credit me with the idea!) </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/2-RuDWaRhxM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> 01. <strong>BACK OFF BOOGALOO,</strong> A-side of a 1972 Apple Records single; available on <em>Photograph: The Very Best of Ringo Starr</em><br /> <strong>Guitarist:</strong> George Harrison</p> <p>George Harrison's slide guitar playing is all over this Richard Starkey (Ringo Starr) composition, the 1972 follow-up to Ringo's first hit single, "It Don't Come Easy," which also features a great solo by Harrison. </p> <p>The song also features some fine drumming by Ringo, bass playing by <a href="http://www.guitarworld.com/interview-klaus-voormann">Klaus Voormann</a> and piano tinkling by Gary Wright.</p> <p>Harrison played several great guitar solos on Ringo's records throughout the years, including "Early 1970," "Down and Out," "Wrack My Brain" and "King of Broken Hearts." </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/BXg1AxBXN5g" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. He performs every year at Abbey Road on the River, he's played on sessions and soundtracks in New York and Los Angeles, and he's tired of eating apples.</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> <div class="field-item odd"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/peter-frampton">Peter Frampton</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guest-starrs-top-5-guitar-solos-ringo-starr-songs#comments Eric Clapton George Harrison Jerry Reed Laurence Juber Peter Frampton Ringo Starr The Beatles Blogs News Features Fri, 17 Apr 2015 19:13:02 +0000 Damian Fanelli 24320 at http://www.guitarworld.com