Another Guitarist Poll Disses Jerry!
I should be used to this by now and have a tougher skin. But I can't help myself. I was outraged when the latest issue of Rolling Stone arrived a few days ago with its cover story on the “100 Greatest Guitarists of All Time.” The list was compiled from picks by a truly diverse group of guitarists young and old— including Trey Anastasio, Ritchie Blackmore, Tom Morello, Robbie Krieger, the Black Keys' Dan Auerbach, Scotty Moore, Andy Summers and Carlos Santana, to name just a few of the more than 50—plus a handful of rock journalists and music industry folks. The article reveals nothing about the poll's methodology—how many guitarists the respondents could list, what criteria should be considered, etc. Are these “favorites”? “The best”? “Most influential”? Probably all those things, to varying degrees.
The #1 choice was no surprise—Jimi Hendrix, of course. And most of the other members of the Top Ten are names that have always placed high on these sorts of lists—and there have been a million of 'em—through the years: Eric Clapton, Jimmy Page, Keith Richards, Jeff Beck, B.B. King, Chuck Berry, Eddie Van Halen, Duane Allman and Pete Townshend. All fine guitarists. OK, Chuck Berry is on there for essentially inventing one riff (and several variations thereof)… but what a great and important riff it was!
Yet the glaring injustice in this top 100 is ranking Jerry Garcia as #46. Really? Below Johnny Ramone (#28)? Curtis Mayfield (#34)? Frickin' Randy Rhoads (#36; tragic death—always a good career move)? Bo Diddley (#27)? Cat had one riff he stole from Johnny Otis, and was not a good guitarist. But, yeah, influential for sure. Still, I'm not here to criticize other guitarists (though it sure is fun). I'm just sayin'…
Alas, Jerry is never going to get his props in these sorts of polls, just as Phil never fares well in Greatest Bassists surveys (how absurd!), nor Mickey and Bill in Greatest Drummers lists. (I would also argue that Weir is a better and more inventive player than most in Rolling Stone's 100, too, but I guess it's too much to expect people to appreciate the subtleties and intricacies of his playing. After all, he's “just” a rhythm guitarist, right? Wrong!) The sad fact is that all the members of the Grateful Dead—and the group itself—will always be underrated by people unable to look beyond the surface cliché: an acid-rock band that noodled endlessly and aimlessly during their five-hour concerts for an audience of stoned hippies. This common misconception can be the only reason why the Dead didn't make it into the Rock and Roll Hall of Fame during their first year of eligibility back in 1993. Can you imagine?
To enumerate Jerry's gifts as a guitarist here is preaching to the choir, I suppose. But let me just tick off a few salient points. No major rock guitarist ever traversed as many different styles and idioms as Garcia (no, not even Frank Zappa). He was comfortable playing blues, folk, jazz, country, free-form avant-garde, standards, bluegrass, Motown, Latin; you name it. Not only could he navigate through all those genres, he always sounded like himself when he did—the Garcia style is instantly recognizable and unique. He was a master improviser who, rather than automatically accepting conventional ideas about form and structure, constantly looked for opportunities to extend or escape those limitations. He took chances: His intoxicating spirit of adventure and musical fearlessness led him places that were often unexpected, weird, wonderful, beautiful, scary and just about any other adjective you can conjure. The landscape (and spacescape) he covered was unimaginably immense. He was the consummate ensemble player, sensitive to the musicians around him, but also not afraid to take charge and lead. At his best, his solos were masterful melodic constructions with brilliantly conceived tonal shadings and an indefinable—but clear—rhythmic logic that rivaled some of the greatest jazz musicians, from Django to Coltrane (both of whom he admired and studied). And the breadth and depth of his own songwriting and choices of songs to cover brought out so many emotions in his playing, that we, as fans, were privileged to accompany him on his remarkable musical journey that was at once intensely personal (for him and for us) yet somehow also drew us all together.
Do I have to disqualify myself from this argument because I'm a Dead Head? To the contrary, I'm a Dead Head in large part because of Garcia's guitar playing. I've always been a guitar guy. I worshipped at the altar of Hendrix and Clapton in the '60s, but also dug Cipollina, Jorma and Barry Melton. John McLaughlin and Duane Allman blew my mind in the early '70s, and my life was enriched by Neil Young, Ry Cooder, James Burton and so many others later in that decade. I've seen Lindsey Buckingham be God-for-a-night with Fleetwood Mac, and Bruce Springsteen tear it up like no one else can. I've been transported by The Edge, dug the primal growl of John Lee Hooker's axe and enjoyed the fluid perfection of Mike Campbell. No one riffs better than Keith Richards, and in his prime Stevie Ray was just about untouchable. Bonnie Raitt is still killing it on slide and Bill Frisell exudes an elegant simplicity I find very appealing. Is there anything Los Lobos' David Hidalgo can't do? Flashy or tasteful, electric or acoustic—I just love guitar.
But something about Garcia's playing spoke to me on a level that no other player ever has. Call it a soul connection, maybe. It's hard to communicate what that's like to others, but chances are you know what I'm talking about. Think about the opening of “Birdsong,” the quietest parts of “Stella Blue,” the roar of the climax of “Morning Dew,” the breezy lilt of a great “Eyes” solo, the dramatic ascension towards the end of “Slipknot!” or any number of other passages that sweep us up and carry us away. Perhaps he wasn't as influential as some other guitarists, but that's in part because he was a singular talent in what always was (and will be) a cult band.
That's why Jerry's not #46 on my list. I can honestly say he's #1, and no else is even close.
Jerry and his “Wolf” guitar, 1974.
I like what I like what I like; you like what you like what you like.
Jerry should have been way up there, but RS is all crap anyway. Pure unadulterated crap.
those of us who know, KNOW.
Weir never shows up on these lists, but we all know how amazing he is on rhythm.
Who cares who is "best", anyway? Sometimes I am in the mood for the Ramones, or Black Sabbath, or AC/DC, or Simon and Garfunkel, or the GD.
To quote Joe Perry (from somewhere back in the 1970s): Let the music do the talking. End of story. Use RS for bird cage lining.
...the previous Rolling Stone list was David Fricke's specifically, I believe. Smart guy, good writer, likes the Dead.
I do give RS some credit for at least making Jerry one of their call-out artists in the list--worthy of a paragraph written by a fellow guitarist (Carlos Santana) and a big photo of Jerry with his Travis Bean.
The other thing I wanted to mention is RS's choice of "Key Tracks" (like suggested listening) for Jerry: "Dark Star," "Sugaree," "Casey Jones." Yes to the first; I think we could do better for the second and third...
That was one of my questions - in the last poll, Jerry came in at #13 - I could live with that. But I simply cannot understand how RS could drop him 33 places - it doesn't make any sense at all.
And the players listed ahead of him, many of them pointed out in your post - just crazy. There was a time a few years back when I was feeling the Dead were getting their due. Even RS was covering them favorably, including good reviews of a number of live releases, and some good PR about Furthur over the last couple of years. But this has to make you wonder.
I was going to write to RS to kvetch a bit, but you are the better spokesperson - go for it Blair - you can sign all of our names!
thanks for the post
His talent as a visual artist and a champion banjo player seemed to have given Jerry a huge edge over the rest of the rock guitarists past and present. The way he would effortlessly switch from finger-picking to flat-picking was amazing. His ability to add those little nuances as if they were brushstrokes blending beautifully on a canvas. Even down to the way his guitar was wired (see;Jer's rig @ Dozin.com) shows how on top of things he really was. It's that "cosmic banjo" that I had mentioned in a previous posting that is at the root of his unique sound.
I would always look forward to the next tour to see how he would re-interpret either the sound or subtle stucture changes of the music being played. He was constantly improving his ability as a guitarist.
I can't comprehend how some Dead-Heads can claim that "whats his name" sounds just like Jerry when he's really just running along side the bus hoping for a seat.
Oh I could go on.........
...a few times in the '60s and '70s. A one-trick pony as a guitarist. Don't get me wrong, I like him as a singer and songwriter and entertainer. But as a guitarist? I don't think so... Just my .02.
if it's any consolation, David Fricke listed him at a very-respectable #13 back in 2003 (http://www.rollingstone.com/music/lists/100-greatest-guitarists-of-all-t...).
Such as the fact that at least one dead guitarist has climbed above another in the list. How does that work?
I must say I was disappointed that Jerry only came in at 46. He should be in the top five by my reckoning, but I'm biased of course - no point in posting this on a Bo Diddley website, after all.
Agree wholeheartedly with Blair. Maybe not as extreme (#1 and nobody even close) but for sure #1.
The point about Phil was unknown to me but not surprising. This fact again shows that the Grateful Dead were better together than any of it's individual parts, even allowing as Garcia is the best lead guitar.
I guess things like this poll is why I put down Rolling Stone for good 30 years ago. Oh yeah, and I don't believe Jerry cared a whit where he stood in the rankings.
Curtis Mayfield (and Pop Staples) were hugely influential in establishing a melodic gospel soul style. A lot of Hendrix's less frenetic soloing derives directly from Mayfield. And Bo Diddley a one riff clown? I don't think so. Nobody at the time exceeded his range in exploring rhythm, tone, song styles and production. Like Cipollina's playing on Mona? It started with Bo. Give a listen. Hip-O Select has done three brilliant sets of his seminal work; the old Chess box is pretty satisfying too. I didn't see Richard Thompson on your list - from the late sixties on, he's produced a magnificent body of guitar work, rooted in the song structures and melodies but extending into weird and wonderful places.
thanks blair!!! i just saw that list this past weekend also. if i remember, a few years ago there was another best guitar list from RS and jerry was top 10 or at least close. this list also had richard thompson in the 60's i think. whatever... you said what i wanted to very well. i'll chime in more...later...