Never one to favor flash over substance, Andy Summers may very well be the most underrated guitarist of the rock era. Summers took a minimalist approach with his work for the juggernaut pop-alternative trio known as The Police, letting atmospherics and not pyrotechnics fuel such indelible hits as “Don’t Stand So Close to Me” and “Every Breath You Take.” His echoing, chorused, chordal-centric technique schooled a generation of players from U2’s The Edge to The Fixx’s Jamie West-Oram. Even a player as accomplished as Rush’s Alex Lifeson added a Summersesque “less is more” dimension to his repertoire during the ’80s.
The bottom end has never been quite the same since Jack Bruce picked up his first bass over 6 decades ago. The vaunted Cream bassist wrote the book on the art of the low-end hook, as his syncopated approach to playing bass helped shift pop music’s bottom-end emphasis away from just laying down root notes and fifths, in turn opening the door to a more adventurous yet melodically inclined style that laid the foundation for the rock explosion of the ’60s. Turns in both Manfred Mann and John Mayall’s bands set the table for Bruce to connect with Eric Clapton and Ginger Baker and forge Cream, wherein the super Scotsman set the heavy-blues power-trio standard with epic runs and full-band interplay in songs like “I Feel Free,” “Spoonful,” “Politician,” and “Sunshine of Your Love.”
Leave it to Dave Edmunds to always want to take things a little bit left of center. “I’ve never liked listening to albums, and I’ve never liked making them,” admits the Welsh-born guitarist and producer known for his modern rockabilly sensibilities (see Rockpile’s Seconds of Pleasure and solo hits like “Slipping Away” and “Girls Talk”). “I’m a singles guy; always have been.” That said, Edmunds agrees he found the right album-length formula for the 15 songs he compiled for 2013’s …Again (RPM), but he decided to shift gears for the just-released all-instrumental On Guitar… Dave Edmunds: Rags & Classics (RPM). “The album tracks are pretty similar to the originals, but you’re shocked when a guitar comes in instead of a vocal,” he explains. I called Edmunds, 71, across the Pond to Wales to discuss the one-man-band approach to Rags & Classics, delve further into his stark view on loving singles vs. LPs, and find out what he thinks the two best-sounding songs of the rock era are. Subtle as a flying mallet, indeed.
“I don’t know why these songs all came out so long. I think we’re going to have to blame Steven Wilson,” laughs Dave Kilminster. The ace guitarist is discussing the impetus behind the extended track lengths on his self-described “prog-tastic” solo record, …and THE TRUTH will set you free… (Killer Guitar Records). Kilminster is known for his six-string pyrotechnics and prowess as an instructor, but you may also recognize him as being the featured lead guitarist in former Pink Floyd bassist/vocalist Roger Waters’ touring band for the past decade. For THE TRUTH, Kilminster believes getting a live feel is key: “It’s so cool to really get into the mood of a track,” he says. “There’s no sampling, there’s no Auto-Tune — just a couple of guys recording together in a room, the way it’s supposed to be.” Here, Kilminster, 53, and I discuss vintage sounds, live quad, and what it’s like to contend with immense pillows of wind while soloing atop a massive wall. That’ll keep you going through the show.
“I didn’t have the courage to go back to any of the masters and try to recreate those beautiful, real echoes,” says Justin Hayward of The Moody Blues about the surround-sound mixes he supervised for six of The Moodies’ “Classic Seven” albums: Days of Future Passed, On the Threshold of a Dream, To Our Children’s Children’s Children, A Question of Balance, Every Good Boy Deserves Favour, and Seventh Sojourn. (In case you were wondering, there weren’t any multitrack masters available for In Search of the Lost Chord.) All six of those 5.1 mixes — done by Paschal Byrne and Mark Powell and built on the original quad mixes supervised by producer Tony Clarke and constructed by engineer Derek Varnals — appear in Timeless Flight (Threshold/UMC), the band’s mighty, 50-year-career-spanning 17-disc box set. Yes, there is a more economical 4-disc version available, but the mondo box is the only way to fly in 5.1 — if you can find one, that is. “I think Universal needs to press a few more copies,” chuckles Hayward.
“Souls, having touched, are forever entwined.” It’s a lyric penned by vocalist Ian Gillan in honor of his dear friend and late bandmate Jon Lord, the original keyboardist for Deep Purple who pioneered merging rock music with classical themes. Jon Lord, Deep Purple & Friends: Celebrating Jon Lord (earMusic/Eagle Rock), recorded at The Royal Albert Hall this past April 4, showcases the breadth of Lord as both composer (“All Those Years Ago,” “Pictured Within”) and rock legend (“Soldier of Fortune,” “Perfect Strangers,” “Hush”). Here, Deep Purple drummer Ian Paice, 66, and I discuss the challenges of getting great sound in such a storied venue, how he adapts to working with different bass players, and what the future might hold for Deep Purple. After listening to and watching all that went into Celebrating Jon Lord, there’s one word in the Purple canon that one absolutely cannot use to describe Paice’s energy and tireless work ethic: “Lazy.”
Who could be more perfect to solicit a pair of Desert Island Disc lists from than the executive producers of Lost, a show where music and locale are so often intertwined? Lost masterminds Damon Lindelof and Carlton Cuse couldn't have agreed more, so here are their respective 10-song lists.