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[b]Adolfo wrote: [/b]
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[b]Brangwen Rocker wrote: [/b]
SlipKnot, Metallica, Children of Bodom, Machine Head etc, etc, and various Finish metal bands, I think is saying something!
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I can assure you all of those guitarists would say Brian is awesome, if not an inspiration of them
[/QUOTE]
Not really a fan of Children of Bodom or Machine Head, but I like Slipknot and am a big Metallica fan... does that mean fans of the above bands have a lesser musical opinion in some way? :o)
...but, Jim Root is a top guitar player, James Hetfield can right one hell of a riff, and Kirk Hammett is a pretty damn fine player too (check out the solo on The Unforgiven III on Death Magnetic, awesome). I know for fact that all three of them respect Brian highly, and Hetfield has mentioned previously how [during the recordings of Load and Reload etc] how he was looking to get in some Brian May orchestrations to his playing etc.
Thread
Posts in chronological order
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[b]GreatKingSam wrote: [/b]
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[b]Adolfo wrote: [/b]
[QUOTE]
[b]Brangwen Rocker wrote: [/b]
SlipKnot, Metallica, Children of Bodom, Machine Head etc, etc, and various Finish metal bands, I think is saying something!
[/QUOTE]
I can assure you all of those guitarists would say Brian is awesome, if not an inspiration of them
[/QUOTE]
Not really a fan of Children of Bodom or Machine Head, but I like Slipknot and am a big Metallica fan... does that mean fans of the above bands have a lesser musical opinion in some way? :o)
...but, Jim Root is a top guitar player, James Hetfield can right one hell of a riff, and Kirk Hammett is a pretty damn fine player too (check out the solo on The Unforgiven III on Death Magnetic, awesome). I know for fact that all three of them respect Brian highly, and Hetfield has mentioned previously how [during the recordings of Load and Reload etc] how he was looking to get in some Brian May orchestrations to his playing etc.[/QUOTE]
I too am a fan of Metallica, and echo your comments re Hetfield/Hammett. I think fans of the heavier genres of "metal" perhaps favour the rich power chord/thrash style of playing, and to a degree I include myself in that thought process. Indeed, if you "ignore" (for the want of a better word) the growling vocal so prevelent with some of todays metal bands, the guitar work is at times brilliant.
As a kid, I was listening to Deep Purple, Sabbath, Floyd etc, and brought up with Blackmore, Gilmore et al, including of course Tony Iommi, who perhaps "invented" the heavy power chord riff. When I discovered Queen in 1970, and first listened to QI & QII was blown away by BM's fantastic new sound. In many ways I suppose he is in a league of his own, because whereas the likes of Hetfield/Hammett etc have taken the Iommi power chord style to a different level, nobody has been able to better the distinctive BM sound, which perhaps is a contributory factor as to why he is so respected?
[b]GreatKingSam wrote: [/b]
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[b]Adolfo wrote: [/b]
[QUOTE]
[b]Brangwen Rocker wrote: [/b]
SlipKnot, Metallica, Children of Bodom, Machine Head etc, etc, and various Finish metal bands, I think is saying something!
[/QUOTE]
I can assure you all of those guitarists would say Brian is awesome, if not an inspiration of them
[/QUOTE]
Not really a fan of Children of Bodom or Machine Head, but I like Slipknot and am a big Metallica fan... does that mean fans of the above bands have a lesser musical opinion in some way? :o)
...but, Jim Root is a top guitar player, James Hetfield can right one hell of a riff, and Kirk Hammett is a pretty damn fine player too (check out the solo on The Unforgiven III on Death Magnetic, awesome). I know for fact that all three of them respect Brian highly, and Hetfield has mentioned previously how [during the recordings of Load and Reload etc] how he was looking to get in some Brian May orchestrations to his playing etc.[/QUOTE]
I too am a fan of Metallica, and echo your comments re Hetfield/Hammett. I think fans of the heavier genres of "metal" perhaps favour the rich power chord/thrash style of playing, and to a degree I include myself in that thought process. Indeed, if you "ignore" (for the want of a better word) the growling vocal so prevelent with some of todays metal bands, the guitar work is at times brilliant.
As a kid, I was listening to Deep Purple, Sabbath, Floyd etc, and brought up with Blackmore, Gilmore et al, including of course Tony Iommi, who perhaps "invented" the heavy power chord riff. When I discovered Queen in 1970, and first listened to QI & QII was blown away by BM's fantastic new sound. In many ways I suppose he is in a league of his own, because whereas the likes of Hetfield/Hammett etc have taken the Iommi power chord style to a different level, nobody has been able to better the distinctive BM sound, which perhaps is a contributory factor as to why he is so respected?
Brian is the thinking man's guitar god.Ok he's not as fast as EVH or Vai or the like.His solos are more thoughful,melodic and tuneful.And in the past he had more orchestrations than you could twang a power chord at.
Here's where I make an ass of myself.
What attracted me to Brian May is that his guitar solos are almost little songs in themselves. They exist seperately from the main body of the song. For example, compare the Killer Queen solo to the solo from (say) Nirvana's Nevermind. In the latter, the solo is basically the same rhythm and melody as the song itself. It just follows the chord progression. Not very difficult and i.m.o. the mark of a guitarist with limited imagination. However, the Killer Queen solo is like a seperate creation from the rest of the song. It's much more interesting creating solos that way. Also, as mentioned by everyone else, Brian's orchestration is unique -- you always know it's him. And when he gets it right, which is more often than not, it sounds amazing. Finally, brian was never a speed merchant. Sometimes those guitarists who are really fast rely on that attribute as a kind of end in itself. While Brian can play fast at times, he never seems that comfortable with it. He therefore takes the time to think about the structure of his solos instead of just shredding. Lastly, in the studio he can make even a simple chord progression sound like something handed down from Olympus.
What attracted me to Brian May is that his guitar solos are almost little songs in themselves. They exist seperately from the main body of the song. For example, compare the Killer Queen solo to the solo from (say) Nirvana's Nevermind. In the latter, the solo is basically the same rhythm and melody as the song itself. It just follows the chord progression. Not very difficult and i.m.o. the mark of a guitarist with limited imagination. However, the Killer Queen solo is like a seperate creation from the rest of the song. It's much more interesting creating solos that way. Also, as mentioned by everyone else, Brian's orchestration is unique -- you always know it's him. And when he gets it right, which is more often than not, it sounds amazing. Finally, brian was never a speed merchant. Sometimes those guitarists who are really fast rely on that attribute as a kind of end in itself. While Brian can play fast at times, he never seems that comfortable with it. He therefore takes the time to think about the structure of his solos instead of just shredding. Lastly, in the studio he can make even a simple chord progression sound like something handed down from Olympus.
Bugger it! I can say it with certainty. In my books he's the best!
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[b]teleman wrote: [/b]
Brian is a better musician than he is a guitarist.(which is a good thing)
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Yes, and he's a bloody good guitarist!!!
[b]teleman wrote: [/b]
Brian is a better musician than he is a guitarist.(which is a good thing)
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Yes, and he's a bloody good guitarist!!!
One of the best and a survivor and a scholar!
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[b]Holly2003 wrote: [/b]
Here's where I make an ass of myself.
What attracted me to Brian May is that his guitar solos are almost little songs in themselves. They exist seperately from the main body of the song. For example, compare the Killer Queen solo to the solo from (say) Nirvana's Nevermind. In the latter, the solo is basically the same rhythm and melody as the song itself. It just follows the chord progression. Not very difficult and i.m.o. the mark of a guitarist with limited imagination. However, the Killer Queen solo is like a seperate creation from the rest of the song. It's much more interesting creating solos that way. Also, as mentioned by everyone else, Brian's orchestration is unique -- you always know it's him. And when he gets it right, which is more often than not, it sounds amazing. Finally, brian was never a speed merchant. Sometimes those guitarists who are really fast rely on that attribute as a kind of end in itself. While Brian can play fast at times, he never seems that comfortable with it. He therefore takes the time to think about the structure of his solos instead of just shredding. Lastly, in the studio he can make even a simple chord progression sound like something handed down from Olympus.
[/QUOTE]
I agree, Brian is not a speed merchant as you put it. I like that by the way. But he can shred w/ the best of them. My friend Art & I refer to him as the Master of the Understatement. He can squeeze more emotion & attitude out of one bent note held for several measures then most can get in a flurry of notes rattled off in a matter of seconds. And then there is his tone. Unmatched, completely unique & instantly recognizable.
[b]Holly2003 wrote: [/b]
Here's where I make an ass of myself.
What attracted me to Brian May is that his guitar solos are almost little songs in themselves. They exist seperately from the main body of the song. For example, compare the Killer Queen solo to the solo from (say) Nirvana's Nevermind. In the latter, the solo is basically the same rhythm and melody as the song itself. It just follows the chord progression. Not very difficult and i.m.o. the mark of a guitarist with limited imagination. However, the Killer Queen solo is like a seperate creation from the rest of the song. It's much more interesting creating solos that way. Also, as mentioned by everyone else, Brian's orchestration is unique -- you always know it's him. And when he gets it right, which is more often than not, it sounds amazing. Finally, brian was never a speed merchant. Sometimes those guitarists who are really fast rely on that attribute as a kind of end in itself. While Brian can play fast at times, he never seems that comfortable with it. He therefore takes the time to think about the structure of his solos instead of just shredding. Lastly, in the studio he can make even a simple chord progression sound like something handed down from Olympus.
[/QUOTE]
I agree, Brian is not a speed merchant as you put it. I like that by the way. But he can shred w/ the best of them. My friend Art & I refer to him as the Master of the Understatement. He can squeeze more emotion & attitude out of one bent note held for several measures then most can get in a flurry of notes rattled off in a matter of seconds. And then there is his tone. Unmatched, completely unique & instantly recognizable.
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[b]MercuryArts wrote: [/b]
[QUOTE]
[b]Holly2003 wrote: [/b]
Here's where I make an ass of myself.
What attracted me to Brian May is that his guitar solos are almost little songs in themselves. They exist seperately from the main body of the song. For example, compare the Killer Queen solo to the solo from (say) Nirvana's Nevermind. In the latter, the solo is basically the same rhythm and melody as the song itself. It just follows the chord progression. Not very difficult and i.m.o. the mark of a guitarist with limited imagination. However, the Killer Queen solo is like a seperate creation from the rest of the song. It's much more interesting creating solos that way. Also, as mentioned by everyone else, Brian's orchestration is unique -- you always know it's him. And when he gets it right, which is more often than not, it sounds amazing. Finally, brian was never a speed merchant. Sometimes those guitarists who are really fast rely on that attribute as a kind of end in itself. While Brian can play fast at times, he never seems that comfortable with it. He therefore takes the time to think about the structure of his solos instead of just shredding. Lastly, in the studio he can make even a simple chord progression sound like something handed down from Olympus.
[/QUOTE]
I agree, Brian is not a speed merchant as you put it. I like that by the way. But he can shred w/ the best of them. My friend Art & I refer to him as the Master of the Understatement. He can squeeze more emotion & attitude out of one bent note held for several measures then most can get in a flurry of notes rattled off in a matter of seconds. And then there is his tone. Unmatched, completely unique & instantly recognizable.
[/QUOTE]
Hi MercuryArts,
I happen to agree with you thoughts, however.....I would like to throw in a curve ball, and mention a guitarist that I had completely overlooked and that is Boston's Tom Scholz. Boston like Queen have a very distinct sound, which owes so much to Scholzs' guitar sound. Unlike BM however, Scholz experimented extensively to create his distinct and Bostons signature sound. I believe he created or developed a device called a Rockman in this regard.Though I stand to be corrected on that point. There are similarities here with BM, Scholz is in his own way unmatched, completely unique, instantly recognisable and also a fantastic musician, however whereas his sound was "manufactured" the Queen sound is very much attributed to a direct byproduct of BM's natural guitar tone.
Have a great day.
[b]MercuryArts wrote: [/b]
[QUOTE]
[b]Holly2003 wrote: [/b]
Here's where I make an ass of myself.
What attracted me to Brian May is that his guitar solos are almost little songs in themselves. They exist seperately from the main body of the song. For example, compare the Killer Queen solo to the solo from (say) Nirvana's Nevermind. In the latter, the solo is basically the same rhythm and melody as the song itself. It just follows the chord progression. Not very difficult and i.m.o. the mark of a guitarist with limited imagination. However, the Killer Queen solo is like a seperate creation from the rest of the song. It's much more interesting creating solos that way. Also, as mentioned by everyone else, Brian's orchestration is unique -- you always know it's him. And when he gets it right, which is more often than not, it sounds amazing. Finally, brian was never a speed merchant. Sometimes those guitarists who are really fast rely on that attribute as a kind of end in itself. While Brian can play fast at times, he never seems that comfortable with it. He therefore takes the time to think about the structure of his solos instead of just shredding. Lastly, in the studio he can make even a simple chord progression sound like something handed down from Olympus.
[/QUOTE]
I agree, Brian is not a speed merchant as you put it. I like that by the way. But he can shred w/ the best of them. My friend Art & I refer to him as the Master of the Understatement. He can squeeze more emotion & attitude out of one bent note held for several measures then most can get in a flurry of notes rattled off in a matter of seconds. And then there is his tone. Unmatched, completely unique & instantly recognizable.
[/QUOTE]
Hi MercuryArts,
I happen to agree with you thoughts, however.....I would like to throw in a curve ball, and mention a guitarist that I had completely overlooked and that is Boston's Tom Scholz. Boston like Queen have a very distinct sound, which owes so much to Scholzs' guitar sound. Unlike BM however, Scholz experimented extensively to create his distinct and Bostons signature sound. I believe he created or developed a device called a Rockman in this regard.Though I stand to be corrected on that point. There are similarities here with BM, Scholz is in his own way unmatched, completely unique, instantly recognisable and also a fantastic musician, however whereas his sound was "manufactured" the Queen sound is very much attributed to a direct byproduct of BM's natural guitar tone.
Have a great day.