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Very Interesting Music Comments, Gentlemen!
About an hour ago I came online for the first time since yesterday afternoon, so I belatedly saw the really interesting responses to my Great Guitar Solos (in a song) thread for the first time. In order to avoid the confusion of making individual responses in separate posts all over the previous thread, I’m placing my responses in a new thread. Hopefully, this new thread will encourage the continuation of the fruitful discussion promised as a result of yesterday’s several replies.
This particular solo should have been on my list, Gamma, but I completely forgot about it!! Thanks for mentioning that live Peter Tosh performance!
The guitar solo on the live tour rendition of Tosh’s “Rastafari Is” was played by an American blues guitarist, Donald Kinsey (the guy in the afro on the videos of that tour). In fact, Kinsey was the guitarist who also played that delightful solo on Tosh’s studio recording of “Johnny B Goode.”
That move to include rock-influenced guitar solos on Peter Tosh’s recordings and live performances was an attempt at capturing a wider international market (and, hopefully, rival the success of Bob Marley, I might add).
Chris Blackwell at Island Records had made a similar move in the early to mid-1970s at making reggae more “acceptable” to a wider American and European market, which is why he remixed Bob Marley’s “Catch A Fire” album. Blackwell added two American studio musicians on keyboards and lead guitar. The next time you listen to that screaming, extended rock guitar solo on “Concrete Jungle” (from the remixed “Catch A Fire” album), that is American rock guitarist Wayne Perkins.
I always found it interesting that both Bob Marley and Peter Tosh had American lead guitarists (Al Anderson and Donald Kinsey) who had a decidedly blues-rock feel as a part of their groups. Also, one of the ironies of reggae, in my opinion, is that BOTH Anderson and Kinsey, at different times, were members of Bob Marley and the Wailers AND Peter Tosh’s Word, Sound and Power!!
By the way, Gamma, in my opinion, that particular live concert which included “Rastafari Is” featured one of the greatest aggregation of reggae musicians (band) ever formed!! Included in this stellar version of Word, Sound and Power were Donald Kinsey (lead guitar), George “Fully” Fullwood (bass), Carlton “Santa” Davis (drums), Steve Golding (rhythm guitar), and others. I think Robbie Lyn was a keyboardist in that particular group.
Tilla, this is bringing memories, as Neal Schon’s “Who’s Crying Now” was one of the few rock ballads that was given prominence on Jamaican radio. This recording by Journey was played quite often in Jamaica back in the 1980s, to my immense pleasure, I might add.
It is indeed a very tasteful, well-executed solo by this great rock guitarist! Schon’s talent, by the way, was recognized from he was a youth, which led to him becoming a member of the super rock-Latin group Santana while he was still a mere youngster (he was not yet even sixteen)! Can you imagine being asked by Carlos Santana to join his super-group at such a young age?
But back in the 1980s, the guitarists who captured my imagination most included Neal Schon, Steve Lukather (Toto as well as the studios), Al Dimeola (jazz), Dean Parks and Larry Carlton (studios), etc.
X, thanks for asking this question. I made a slight error in my initial post (which started that other thread yesterday). Instead of simply identifying the album “Catch A Fire,” I should have been more specific and stated that Wayne Perkins was the studio guitarist who played the blazing solo on the Island Records remixed version of “Concrete Jungle.” This impressive performance, of course, was part of Marley’s remixed album, “Catch a Fire.”
I’m not sure about your BBC studio reference though. I know that the lead guitarist on Marley’s performance at the Lyceum in London was his regular lead guitarist at the time, Al Anderson. To this day Anderson’s solo on that live version of “No Woman No Cry” remains one of my all-time solos (regardless of instrument) on a Jamaican recording!
Incidentally, I am not a fan of Bob Marley’s other lead guitarist, that charismatic, animated musician Junior Marvin. I have never had reason to regard Marvin’s talents as being anywhere near to those of either Al Anderson or Donald Kinsey. Ironically, when videos of Bob Marley’s “No Woman No Cry” are played today on television, it is always the version featuring Junior Marvin’s decidedly uninspiring playing!
By the way, X, I’m still playing that YouTube video you posted of the New York Ska Jazz Ensemble playing Dave Brubeck’s “Take 5”!!
I was initially amazed that anyone would want to change the beat of that classic recording from 5/4 to a regular 4/4, and I recall thinking to myself the first time I played that YouTube video, “What the hell!!” (lol). However, those guys in the New York Ska Jazz Ensemble can play, and everyone in that group, including the drummer, is clearly an accomplished soloist. Overall, that is a really outstanding group of guys and their reggae interpretation of that jazz classic is just beautiful. I love it!
Interestingly, the only conflict we have in our music discussion is on the issue of the popularity of ska when compared with jazz. There is nothing else that, as far as I’m aware, we disagree on.
Islandman, you know me too well (lol). And you are correct in everything you said in your final sentence!
I watched that very good documentary on two occasions. The Funk Brothers was indeed among the cream of the crop of studio musicians back in the 1960s and 1970s, and it’s sad that in those days Motown did not give album credits to the individual musicians. My favorite member of that super studio group, of course, was the late, great James Jamerson, who remains today one of the most influential bass players in history!
I was never particularly impressed with Motown’s guitar solos, however, as that was apparently never a priority with Berry Gordy and his producers. In fact, R&B and soul music during the 1960s, 1970s and 1980s featured very little in the way of guitar solos that were in any way remarkable. A similar trend developed in reggae throughout its history as well.
X, I honestly cannot recall any outstanding solo by the Trini-turned-Jamaican guitarist Lyn Tait! Maybe he was a good soloist, but this was never apparent in any of his playing that I heard, either in the studio or with his band the Jets. Lyn Tait was certainly no Ernest Ranglin or Eugene Grey or Rupert Bent, that is for sure!
In addition, I think I should point out that the ska era didn’t exactly encourage guitar or keyboard solos. Emphasis back then was almost always on horn players.
Lyn Tait reminds me of another outstanding rock steady and reggae studio guitarist, Hux Brown. Despite his importance in the development of our music, I have never been able to figure out if Brown can take lengthy, interpretive solos.
Rupert Bent, Sr’s really beautiful, uncomplicated guitar solo on Toots and the Maytals’ “Never You Change” is one of very few attention-grabbing guitar solos from the ska era.
TDowl, 
I mentioned James Jamerson among the Top 10 Greatest Bass Players (see other thread). I honestly feel that, aside from Larry Graham, Jamerson has probably influenced more bass players today than any other bass player in history! I did not mention the great man here because I focused on guitar solos in this thread.
I did not include Jimi Hendrix because I was focusing only on solo breaks within a song. Hendrix’s playing is more of a complete guitar performance, almost like an instrumental solo with voice on top (lol) as opposed to short solo breaks in someone’s song (I hope you get my point here).
Originally posted by Gamma
This particular solo should have been on my list, Gamma, but I completely forgot about it!! Thanks for mentioning that live Peter Tosh performance!
The guitar solo on the live tour rendition of Tosh’s “Rastafari Is” was played by an American blues guitarist, Donald Kinsey (the guy in the afro on the videos of that tour). In fact, Kinsey was the guitarist who also played that delightful solo on Tosh’s studio recording of “Johnny B Goode.”
That move to include rock-influenced guitar solos on Peter Tosh’s recordings and live performances was an attempt at capturing a wider international market (and, hopefully, rival the success of Bob Marley, I might add).
Chris Blackwell at Island Records had made a similar move in the early to mid-1970s at making reggae more “acceptable” to a wider American and European market, which is why he remixed Bob Marley’s “Catch A Fire” album. Blackwell added two American studio musicians on keyboards and lead guitar. The next time you listen to that screaming, extended rock guitar solo on “Concrete Jungle” (from the remixed “Catch A Fire” album), that is American rock guitarist Wayne Perkins.
I always found it interesting that both Bob Marley and Peter Tosh had American lead guitarists (Al Anderson and Donald Kinsey) who had a decidedly blues-rock feel as a part of their groups. Also, one of the ironies of reggae, in my opinion, is that BOTH Anderson and Kinsey, at different times, were members of Bob Marley and the Wailers AND Peter Tosh’s Word, Sound and Power!!
By the way, Gamma, in my opinion, that particular live concert which included “Rastafari Is” featured one of the greatest aggregation of reggae musicians (band) ever formed!! Included in this stellar version of Word, Sound and Power were Donald Kinsey (lead guitar), George “Fully” Fullwood (bass), Carlton “Santa” Davis (drums), Steve Golding (rhythm guitar), and others. I think Robbie Lyn was a keyboardist in that particular group.
Originally posted by Tilla
It is indeed a very tasteful, well-executed solo by this great rock guitarist! Schon’s talent, by the way, was recognized from he was a youth, which led to him becoming a member of the super rock-Latin group Santana while he was still a mere youngster (he was not yet even sixteen)! Can you imagine being asked by Carlos Santana to join his super-group at such a young age?
But back in the 1980s, the guitarists who captured my imagination most included Neal Schon, Steve Lukather (Toto as well as the studios), Al Dimeola (jazz), Dean Parks and Larry Carlton (studios), etc.
Originally posted by X
I’m not sure about your BBC studio reference though. I know that the lead guitarist on Marley’s performance at the Lyceum in London was his regular lead guitarist at the time, Al Anderson. To this day Anderson’s solo on that live version of “No Woman No Cry” remains one of my all-time solos (regardless of instrument) on a Jamaican recording!
Incidentally, I am not a fan of Bob Marley’s other lead guitarist, that charismatic, animated musician Junior Marvin. I have never had reason to regard Marvin’s talents as being anywhere near to those of either Al Anderson or Donald Kinsey. Ironically, when videos of Bob Marley’s “No Woman No Cry” are played today on television, it is always the version featuring Junior Marvin’s decidedly uninspiring playing!
By the way, X, I’m still playing that YouTube video you posted of the New York Ska Jazz Ensemble playing Dave Brubeck’s “Take 5”!!
I was initially amazed that anyone would want to change the beat of that classic recording from 5/4 to a regular 4/4, and I recall thinking to myself the first time I played that YouTube video, “What the hell!!” (lol). However, those guys in the New York Ska Jazz Ensemble can play, and everyone in that group, including the drummer, is clearly an accomplished soloist. Overall, that is a really outstanding group of guys and their reggae interpretation of that jazz classic is just beautiful. I love it!
Interestingly, the only conflict we have in our music discussion is on the issue of the popularity of ska when compared with jazz. There is nothing else that, as far as I’m aware, we disagree on.
Originally posted by Islandman
I watched that very good documentary on two occasions. The Funk Brothers was indeed among the cream of the crop of studio musicians back in the 1960s and 1970s, and it’s sad that in those days Motown did not give album credits to the individual musicians. My favorite member of that super studio group, of course, was the late, great James Jamerson, who remains today one of the most influential bass players in history!
I was never particularly impressed with Motown’s guitar solos, however, as that was apparently never a priority with Berry Gordy and his producers. In fact, R&B and soul music during the 1960s, 1970s and 1980s featured very little in the way of guitar solos that were in any way remarkable. A similar trend developed in reggae throughout its history as well.
Originally posted by X
In addition, I think I should point out that the ska era didn’t exactly encourage guitar or keyboard solos. Emphasis back then was almost always on horn players.
Lyn Tait reminds me of another outstanding rock steady and reggae studio guitarist, Hux Brown. Despite his importance in the development of our music, I have never been able to figure out if Brown can take lengthy, interpretive solos.
Rupert Bent, Sr’s really beautiful, uncomplicated guitar solo on Toots and the Maytals’ “Never You Change” is one of very few attention-grabbing guitar solos from the ska era.
Originally posted by TDowl
I mentioned James Jamerson among the Top 10 Greatest Bass Players (see other thread). I honestly feel that, aside from Larry Graham, Jamerson has probably influenced more bass players today than any other bass player in history! I did not mention the great man here because I focused on guitar solos in this thread. I did not include Jimi Hendrix because I was focusing only on solo breaks within a song. Hendrix’s playing is more of a complete guitar performance, almost like an instrumental solo with voice on top (lol) as opposed to short solo breaks in someone’s song (I hope you get my point here).
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