10 great alternative guitarists
By Sergio Ariza
We would like to take advantage of Tom Verlaine’s birthday to talk about various
alternative guitarists. Specifically, about those upon whom was constructed the
sound of alternative rock that ended up dominating the charts during the 90s.
For that reason we have made a list with the 10 guitarists (to whom we have
added another 10 below the paragraph, ‘Side B’) who are furthest away from
‘the most classic sound’ or that based on the blues; for which reason we have
not included such great artists like Jack White or Mike McReady.
Tom
Verlaine
Punk emerged in New York in the mid-70s, with
the epicentre being a den known as CBGB. More than just a musical style it was
an ideology that rejected Californian hippie idealism, and backed a ‘do it
yourself’ ideology in reaction to the virtuoso turn that the rock scene was
taking. Among those groups, Tom Verlaine’s band Television stood out, which besides being among the first that
emerged, was among the last that released an album. When they did release an
album, the band knew ‘the repertoire’ like the back of its hand, and was
capable of taking it one step further. Especially outstanding was the
interaction between its guitarists. The guitar battles between Tom Verlaine and
Richard Lloyd are alternative music
equivalent to Clapton and Allman on Layla; if it is clear that up to
this point the instrument had been rooted in the blues Marquee Moon looked designed by a Bauhaus architect. Songs like the
title track See no evil, Elevation or
Prove it are the true start of what
years later Perry Farrell would call
"the alternative nation". The
album only had a continuation, the undervalued Adventure (with Days or Foxhole) but it was sufficient for Verlaine
to be considered the architect of the ‘indie’ sound giving it their most iconic
models, a Fender Jazzmaster and a Fender Jaguar run through Fender and Vox
amplifiers.
Side B: Richard Lloyd
Johnny
Marr
We have already spoken a lot about Johnny Marr here, but we cannot
underestimate his importance in any way as his appearance at the start of the
80s with the Smiths changed the
British musical scene forever. His style carried the band, with his riffs,
arpeggios and way of playing on songs that barely had a place for solos, became
the mirror into which all other new UK guitar bands looked after his arrival.
From the Stone Roses’ John Squire to the Arctic Monkeys’ Alex Turner, via Suede’s Bernard Butler, Oasis’s Noel Gallagher and Radiohead’s
Ed O’Brien. The curious thing is that, on the other side of the Atlantic,
as if he was a soul twin, Peter Buck
appeared to do something similar with R.E.M. The guitar that will forever
be associated with him will be the Rickenbacker, but he has played every
possible model, and in the end he has ended up with his own Fender Jaguar signature
model.
Side B: Peter Buck
Thurston
Moore/Lee Ranaldo
Sonic
Youth was the definitive alternative band: they had
the sound, the concept and the attitude. Besides they were ‘cool’. From Sister onwards they began to define
themselves and find the perfect vehicles to express their whole theory, with
songs that would mark a generation, such as Schizophrenia,
Teen Age Riot, Silver Rocket, 100% and Sister
Kane - on which the great protagonists were the guitars of Thurston Moore and Lee Ranaldo; who were responsible for giving the band its
distinctive sound. Specifically, that was a sound that breathed life into
guitar rock but without sounding like anything - nor anyone – else, but
themselves. It is clear that they liked punk, the Velvet Underground (mainly White
light/White heat) and the Stooges, but all those influences
dissolved into the creation of something new and exciting in which those
guitarists with alternative tunings, dissonant and noisy melodies collided
against each other to create a unique and exciting sound that would become the
cement of alternative music. Both Moore and Ranaldo are loyal to Fender, using
Mustangs, Telecasters and, above all, Jazzmasters, which they abused (even with
drills) in order to achieve the dirtiest and most distorted sounds possible.
Side B: Scott Asheton (The Stooges)
J
Mascis
J
Mascis borrowed the sound of ‘the Sonic Youth’ and
surrounded it with hooky songs, together with a secret weapon, his particular
way of guitar playing - picking - that made him the closest thing that the
independent scene had to a ‘guitar hero’ in the 80s and 90s. The result meant
that Sonic Youth themselves converted the leader of Dinosaur Jr into the ‘president’ of the scene in one of the most
remembered songs from the alternative music scene, Teenage riot. Little Fury
Things, Freak Scene, Feel The Pain, Take A Run at The Sun and Almost Ready (from their 2007 reunion)
are the perfect introductions to this alternative sound. Despite being strongly
linked to the Jazzmaster, of which he has a couple of Signature models, in the
studio he usually chooses a Telecaster and guitars loaded with P90s.
Side B: Nels Cline (Wilco)
Joey
Santiago
Bowie was right, the Pixies were
the great guitar band of the 80s. Black
Francis and Kim Deal were the
visible face of the band but Joey Santiago
and his Les Paul were their secret weapons, which gave them a particular sound
with a lot of vibrato and ‘feedback’. It was incredible that such a classic and
legendary guitar produced sounds that seemed to come from another planet. Santiago
himself has referred to his sound as “angular
and bent”; the same sound that defines some of the best songs of the genre
like Where is my mind?, Gigantic,
Debaser, Monkey Gone To Heaven (“Rock
me Joe”) and Velouria.
Side B: Bob Mould
Kevin
Shields
Kevin
Shields is not - nowhere near - one of the most
technical guitarists that you have ever listened to, but certainly, he is one
of the most original. Shields, leader of My
Bloody Valentine, decided that his guitar was not going to sound like
anybody else’s and he dedicated himself, like an inventor, to search out all
possibilities to make sounds that were distinct to everybody else’s, managing
on his journey to broaden the sonic horizons of the instrument. His albums Isn't Anything (1988) and Loveless (1991) are true cornerstones of
alternative rock. Shields employs alternative and open tunings, with a lot of vibrato
and hundreds of effects, to achieve that ‘ocean of feedback’ upon which his
ethereal melodies fly. His guitars of choice are normally a Jaguar and a
Jazzmaster with personalised tremolo systems, made by himself; which merited
him being chosen as the second best guitarist of all time by Spin magazine.
Side B: Mark Gardener (Ride)
John
Frusciante
When John
Frusciante joined the Red Hot Chili
Peppers it turned a funk rock band that knew how to have a great time in
one of the most important bands of the 90s. The sound of the group went from
being totally put in the rhythm (which it was not surprising having a bass
player as incredible as Flea) to the melody taken a much more prominent role,
giving them their own sound. This could be seen on the album that brought them
fame: Blood Sugar Sex Magik, where
songs like Under The Bridge, Breaking the
Girl, I Could Have Lied and Soul to
Squeeze appear together with funk rock songs like Give It Away and Suck My Kiss.
The huge success of the album was however too much for Frusciante, who left the
band mid-tour and descended into drug hell. The band replaced him temporarily
with another great ‘guitar hero’ of alternative music, Dave Navarro of Jane’s
Addiction, but it didn’t work out and finally Frusciante returned in 1998 to
record the true follow-up to Blood Sugar,
Californication, on which the guitar
again shone. His style was strongly influenced by Hendrix, but he managed to give it
his own unique flavour. His main guitar is a 1962 Fender Stratocaster but he
also played a 66 Fender Jaguar (he doesn’t have any guitar built later than
1970) as can be seen on the video Under
The Bridge.
Side B: Dave Navarro
Kurt
Cobain
Kurt
Cobain is the furthest away possible from being a
guitar virtuoso but, similarly to his facility with melodies, playing guitar
seemed to flow out of him, as if by magic. Each sound he produced emanated
naturally from him, each failure, every wrinkle, seemed to be a natural
extension, from one of the best composers of all times. He knew how to
conjugate the fierceness of punk with those classic melodies to which they were
so related; his Fender Mustang or his Fender Jaguar were sufficient to make rock
and roll something both dangerous and accesible again. He was responsible for
more people picking up a guitar than any virtuoso of the six strings.
Side B: D. Boon (Minutemen)
Billy
Corgan
When at the height of the popularity of
alternative music, Billy Corgan started
to praise bands like ELO, Queen, Black Sabbath and Rush, the ‘intelligentsia’ of the movement
marked his card forever. Corgan didn’t give a shit, he knew the importance of a
good guitar solo and didn’t miss an opportunity to show it. Cherub Rock, Geek USA, Starla, Soma and,
my personal favourite, Here Is No Why,
are marvellous demonstrations of his skill on the six strings. His guitar of
choice on the Smashing Pumpkins early
albums was a 57 Reissue Fender Stratocaster with three Fender Lace Sensor pick
ups.
Side B: Jerry Cantrell (Alice In Chains)
Jonny
Greenwood
Jonny
Greenwood is one of the most important musicians in recent decades. A
multi-instrumentalist with academic training, he plays the piano, the viola, synthesizers,
the organ, banjo, harmonica and glockenspiel - to name but a few - besides the
guitar. But it is clear that is the last that gave Radiohead their distinctive sound
on their early albums. From those guitar strikes that defined Creep to that progressive festival of
riffs and solos that is Paranoid Android,
the first stage of the band is defined by the sound of his Fender Telecaster
Plus and his aggressive way of playing it, as can be heard on the album where
it is most present, The Bends. Later
both he and the band would seek out new directions and sounds in which the
guitar did not play such a prominent role, but that is another story.
Side B: John Squire (The Stone Roses)