• https://www.dead.net/features/blair-jackson/another-guitarist-poll-disses-jerry
    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.

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    gmkogan@gmail.com
    11 months 1 week ago
    why Jerry is underrated

    It takes time and effort to really hear the breadth of Jerry's genius. I suspect that many of the judges barely scratched the surface of the live Dead opus. You can't get a sense oF Jerry's genius from most of the studio recordings and you have to listen to dozens of live recordings, often poor quality, to grasp the breadth. It also takes a certain forgiveness that comes with such endless inventiveness. Many guitarists practice their solos to perfection. Jerry sometimes tried things that were a bit beyond his technique and even an amateur listener like myself can hear the occasional flubbed lick or run.

    He rooted his solos to the lyrics and sang them on his guitar in ways reminiscent of Lester Young and Phil Woods. He was always lyrical and always tried to speak a personal truth through his playing.

    But you can't isolate Jerry's playing from the rest of the band. The ensemble playing is an equal showcase to Jerry's brilliance. I happen to especially love the trio of Jerry, Phil and Bobby that was so prominent in the 70s. But every era has its qualities.

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    Lightningsuppl…
    5 years 10 months ago
    uh, yeah
    There's no in between, you're either aware that the sounds from Jerry's guitar could never be equaled by any musician or artist on any level including raw talent, or you're not. Trying to convince a non deadhead that Jerry is the greatest would be a laughable notion just like trying to convince a deadhead that he's not. Jimi Hendrix is a genius and shreds as we all can agree, but he could never compare to Jerry or even be on the same list as Jerry. Jerry has a separate list and holds all 100 positions. Everyone who's a deadhead knows that like the sun rises and falls.
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    8-13-75
    6 years 4 months ago
    I'm a great a Jerry Garcia
    I'm a great a Jerry Garcia devotee as any you'll ever meet. I never saw anyone play with as much soul as Jerry, and that aspect of his musicianship is too often ignored. He had deep things to say and, often, in highly inventive ways. Once in a while, his licks are even startling, and I don't get startled by much. Jerry knew how to shape a solo brilliantly, and there may be no greater example than the Help>Slip solos from Great American 8/13/75. But awesome Garcia solos weren't just a thing of the seventies (e.g., May, 1977, one of Deadheads' favorite months to talk about.) Check out the Scarlet>Fire at Copps Coliseum 1990 sometime. Jerry had a beautiful, lyrical voice on guitar throughout his career... except, perhaps, at the very end when diabetes and drugs really did him in. However... while I'm not a lover of "greatest" lists, I can't help but put my two cents in. Jerry belongs somewhere in that top 100. I don't know where. But having seen guys like Frank Zappa, Robert Fripp, Jim Hall, Pat Martino, Bill Frisell and plenty of other greats play, Jerry isn't numero uno. I never saw Hendrix, but clearly he was some force of God. Adrian Belew didn't even make this list and, let me tell you, he's a MOTHERFUCKER on guitar, in his own weird way. This is an unpopular opinion, I'd bet, but I'd put the little known Henry Kaiser on here. Most people don't get his trip, but, if you do, it's amazing. At his peak, Trey Anastasio was beyond imagination. I was in the front for many of those shows in the early 90s, so I know from whence I speak. Jerry was wonderful, but he was also sloppy as hell, and he had nights where he was abysmal. He also had nights where you knew that, on that night, he was the greatest guitarist on Earth. All things considered, his technique was OK for a guy who basically taught himself to play the instrument, but it wasn't great. However, there's too much emphasis placed on technique. If technique were the ultimate benchmark, Jerry wouldn't be in the top 1000, let alone top 100. But he belongs in the top 100 because of the profound statements he made on guitar. Part of me wishes that we'd gotten to hear Jerry Garcia with perfect technique, to hear what he was saying crystal clear. However, a bigger part of me is glad that his shows were peppered with clunkers. It made him more human, and that's what made his playing so great. Honestly, I don't think he would've wanted to be first on that kind of list, though he probably would've felt honored to be up there among so many great names... in that kind of rarefied air. I bet that he would've felt that he didn't belong there. He was slightly uncomfortable with his greatness, and that humility was also another defining mark of the man that came through in his music. I always felt I was getting straight talk in his solos... not pyrotechnics designed to impress. Jerry just shared what was going on in his mind, and it was a very beautiful, ample and curious mind.
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16 years 11 months

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.

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they have a major article about the occupy movement and another article about filthy rich republicans in the middle a magazine that celebrates crude entertainers that make more money saying one f word than I do in a year of teaching. lady gaga and little wayne and whoever else > especially the Rolling Stones (RS magazine sucks at THAT teat 24/7)...none of them are the supposed 99%, and they certainly enjoy the materialistic rewards of capitalism. kvetch monster..... i just had to pop that zit. Let It Grow. Jesus loves the little children...
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Zoot Horn Rollo from the Magic Band-also Antennae Jimmy -some great Captain back in the early 1970s with Trout Mask Replica, Clear Spot, Ths Spotlight Kid, etc.
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While I totally get where Blair is coming from, I guarantee that there's a Rush forum somewhere lamenting the fact that Alex Lifeson was rated 50 places below "that guy from the Dead". Or a Phish board freaking out that Trey didn't make the list. Or a Zappa board bemoaning his ranking ... Ultimately, these things are subjective. Even when musicians rank other musicians, it's subjective. There's no objective rating of art. It moves you or it doesn't. Personally, I was wondering why Leo Kottke wasn't on the list ...
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In the early days Rolling Stone was a must read for anyone outside the US who wanted to keep in touch with what was happening musically and politically in the US. When they started with cigarettes and the US Army ads it became a crap magazine. And I still fail to see how beetlejiuce gets nominated !
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(that I saw anyhow) Gabriela Quintero, and personally I find her mind-blowing!
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Funny, I saw it yesterday at the magazine store, and, of course, went to see where Jerry was ranked, and was initially upset, like you, but now am, in a sense glad. It is because of the inventiveness of Jerry that he does not rank highly on many such lists--he never played to rule, was too genre bending, and so on. (I mean, Charlie Christian also is not on the list, and most of the top ten took ALL they licks from him!) Such lists are silly, of course, and many inventive, influential folks are missing or wildly mis-ranked. As you mention, with nothing on methodology it is also very hard to draw any conclusions from the rankings, the statistical spread between 1 and 100 may be very small indeed, but who knows--it is most likely not even actually the results of any sort of analysis of real data in any case, made up I assume almost totally. (I for one have never understood Eric Clapton's reputation, he had a couple of good years stealing old blues licks, and then decades of mediocrity at best, but hey, he is God, right?!). Lets not rank Jerry, lets remember him--the most delicate out solos of Stella Blue, the most driving fury of The Other One, the most exploratory Dark Stars, the most finely etched Bird Songs, the most poignant To Lay Me Downs, they transcend rankings and comparisions, spinning their own complete universes where the whole idea of competition drops away, and language runs out of meaning.....
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sorry dude but your first mistake is having a subscription to rolling stone....
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Hubert Sumlin - November 16, 1931 – December 4, 2011.
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Your favorite guitarist's favorite guitarist. Well, maybe not the ones who voted in this poll.
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First off to say Chuck Berry had one riff is ludicrous. Sure many of his opening riff's where similar but his solos were unique, still difficult to play and he invented a style. I have been playing guitar for many years and still coping and playing Chuck's solos is difficult. While I love Jerry as much as the next Deadhead, his tone was often suspect especially during the 80s with his heavy metal pedal he used. At his prime, he was fantastic. But he also was inconsistent and had many moments of playing with no energy. We have all heard the tapes and have been to those shows. His acoustic tone was also suspect especially in the 80s and beyond. He always sounded like Jerry and was unique and a great player. No question. Sometimes at the end of his solo, he would just throw it away and play drivel. We have all heard that as well. The reason why Billy and Mickey never make the greatest drummers list is because if we were honest with ourselves, they often time did not amount to one great drummer. This always evident when someone like Willie Green would sit in and school them both. Billy in his prime in the early 70s was great. No question. I think he plays great these days as well. But he had many mediocre years. Mickey was never a great drummer. He couldn't even hold his own by himself. What he did with Billy was nice but hardly great. His tone was always suspect. Drummers consider these things when voting. I remember thinking when I went to shows in the 80s, why can't these guys tune their snares to sound good? I went to the shows and had a great time and the Dead were always a unique experience. I was aware of the musical limitations. One could argue that he played more styles than Frank Zappa cause he did motown covers and bluegrass, but no one played more intensley and uniquely than Zappa. Frank never phoned it in and his tone was always great.
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Frickin Randy Rhoads? I can't believe you were dissing Randy Rhoads. An extremely influential player who never phoned it in who also played with intensity.He also delved into classical an area which Jerry never did. That's why he should be on the list. My favorite joke is What did the Deadhead say when the drugs wore off? Answer: This band is boring. Often it was true as much as I love the Dead. Start listening to the new release from the Boston Music Hall from '76 if you don't believe me. Some real sleepy stuff on that. God bless Jerry who once said that Deadheads known when we have had a bad night but they keep coming back hoping for that magical night. At least he was honest enough to admit that unlike many who will lambast me for being a hater and criticizing the Dead and Jerry.
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Thanks for posting about the passing of Hubert Sumlin guys. Those old Howlin' Wolf recordings are amazing and it was a lot of Hubert. I saw him in Milwaukee in the mid-1990s (he was living there at the time and did some shows) and had a heck of a time. He was a funny dude onstage and the guitar world lost another great, influential one this week.
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When I read that list yesterday I couldn't believe it was based on votes by professional guitarists. Dropping Jerry to #46 is absurd for all the reasons Blair states. But leaving Jorma and Warren Haynes off entirely? You've got to be kidding! And listing Joni Mitchell of all people and leaving off folk geniuses like David Bromberg and Leo Kottke? RS should be embarrassed for publishing that list.
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...is actually a really good guitarist who has also invented all sorts of interesting chords that are unique to her, apparently. Speaking of Jorma (whom I also love), I'll be seeing him and Bromberg when Hot Tuna and DB play at the annual Bill Graham Birthday bash at the Fillmore in January. I literally can't remember the last time I saw Tuna play electric, so I'm very psyched!
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that should be a fine guitar evening...
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i absolutely second the Joni Mitchell praise.she is an astonishing guitarist, songwriter, vocalist and artist. totally unique. maybe forever associated with Woodstock and it's happening, but all her albums are essential. i'm really glad she is on the list. totally deserved.
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I couldn't agree more, Blair. I think the Dead's stature and influence will not really be recognized for many years to come. It will take the perspective of time to grasp the breadth of their impact and significance.
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Let alone Jerry, and the boys, played night after day after night without repeating there selfs. I do agree with mighty slim on the off nights and phoning it in but I feel the body of work moves him way up the list. My own favorite for passion of the work, saw her play to a less than sold out show, and was so impressed. Patti Smith.
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This is just like a really good back scratchin'long and just a little harder at times...but yeah! Keep the posts flowing they are symphonic to my eyes. My gratitude for ya'll elates me. Jerry Garica #1 of the Best there Ever Was! If people could only understand that... only his flesh died not his love or our love for him. Love never dies, it cannot. Love is not alive. Love IS and creates and beholds and embodies. Love is the greatest substance on earth and YOU CAN'T KILL IT AND IT DOESN'T DIE. I love Jerry and he loves me just like always. ------------MR.JERRYGARICA----------(-----@
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Be cool Blair. There's no need to justify why Jerry's playing means so much to us. We all understand what a wonderful musician he is. These polls or rankings mean little. The most effective and persistent music and art do just that, persist. The majesty of Jerry's contribution is to riff on that and to suggest that fragility and a knowing vulnerability continue to be persistent and vital for all of us. The passages in his work that you refer to, we all recognise as achieving just that. Big love and thanks to Jimi and the others of course, but Jerry's part is knowing: mature and playful - the old bluegrass triumph over tragedy and loss.
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Of course he'll never make any major Best Of list, but I am surprised that no one has mentioned him yet.
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In a world in which "great guitarists" (obviously talented musicians) typically strut and orate, Jerry played guitar as a consummate conversationalist. He listened to the other musicians with whom he played, and he listened to himself as he played. His guitar didn't just talk to the world, it seemed to speak WITH it. Through its syncopation, emphases, melodic improvisations, changes in cadence, shadings, shouts, etc. at various times his playing expressed playfulness, humor, love, wonder, doubt, anger, determination, grief- and other emotions and states of mind too numerous to list here. Jerry's influences seem to include, as well as the ones commonly mentioned (Coltrane, Reinhardt, Berry, etc.), Art Tatum, Thelonious Monk, and Ornette Coleman (and if you haven't heard their work, you really owe it to yourself to do so)- brilliant melodic and harmonic improvisers. His playing was simply much more emotionally sensitive AND cerebrally sophisticated than the vast bulk of guitarists out there- to my mind any others I've heard (though others have certainly rivaled him in terms of one or the other). He was just incredibly inventive, and most of all, did it moment-to-moment before multitudes of listeners- and not just at home or in the studio. Yes, toward the end of his career and life, with poor health and doubtless a certain degree of emotional pain, a lot of his playing essentially got phoned in, and/or could be sloppy, erratic, or just weak. Obviously, he was just human. And like all musicians, even early on he had weaker nights. But in his long prime, there was so much that was so good, even transcendent. And toward the end, there were still moments of beauty. I think he suffers so much in broad public opinion both because of his "stereotypical image," and much less often noted, because he is not simply a guitarist with a "Hey, me, right now" sound. So many lead guitarists are basically narcissists and it comes through in their art. Jerry, though he certainly had an ego like the rest of us, strikes me as having a great deal of humility, and especially an essentially humble (and therefore keenly curious and truly playful) foundation to the way he created music. And so while at times his guitar is bold, it is so often nuanced and suggestive. I wouldn't expect Rolling Stone, of all sources, to be especially clued into that presentation. Those outlets are mostly about generic PRODUCT. Jerry Garcia's music will never be ready for that world.
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So- since can say I have actually Seen many guitarists on top 20 who are not as good as Garcia--yes I am no spring chicken - SRV live, Neil, Page, Santana a good 20 ( he deserves at least top 5 as well) Derrek Trucks, Jorma ( hes down as well), listened to Jimi forever, seen Buddy Guy, Chuck Berry, David Gilmore ( only one probably where he should be in ranking at 14 or so- amazing man), Stills ( 47? okay), I mean I totally love many of these, but as rxample a top 5 lister- Clapton - I have seen 4 times and not ONCE did he ever pierce my heart and soul like Garcia or Santana or (even Young or Gilmore could)! Let me be elitist ( or call them faux elitists?) if it means elevating a bunch of stoners who seem unlikely intellects sobeit: Jerry may require more intelligent listeners and so a top 100 list can never do him or the Dead justice but at about 50 or more total ptimes seen between Dead and JGB nobody (msybe Hendrix but they are clearly different beasts) could ever take my soul on a journey that was as amazing as Jerry. Cult? Sure maybe count me as member -- but why dont the " groupies" of many of these band leaders have as devoted a following? Well while I Came back to see Clapton a few times (- especially if thinking perhaps my mood had not let me open my chakras -.not even crown chakra?) Nope - no mea culps here! I can claim to be near crazy about Neil Young, Carlos (call me a cult member if it means I consider Santana truly angelic presence) Floyd, - but none of these players- not even Carlos or SRV (sure he might be technically as good or even better than Garcia for pure rock/blues) equal Jerry - Garcia stands alone as my clear winner hands down as the master of his instrument (and maybe it means he was a more Dvanced sould as well as guitarists) - note choices are alchemical mixes not rateable by lists- but surely emotional content plays into guitar ranking! People get Jimi played his heart and soul out but few realize Jerry did too. So while I agree we are all Rodney Dangerfields with the Dead and Jerry -least to journals taking masses pulse- but mainstream Rock and Roll and even less, mainstream journalism will EVER TRULY GET Garcia (or the Grateful Dead) any more than the darn magazine that we let aggravate us does ( that has had Brittany Spears on its cover as it explored __survival__ over soul)! Garcia would eat ketchup soup b4 ever compromising artistic principles ( Ketchup water sakt pepper recipe ala Hunter Garcia Caddy near homeless living) So just let it go? Nope- not until Garcia gets back to his rightful place in at least the top 20 where he many times ranked as high as 14 if I recall correctly.. and sure Weir is better than many placed ahead of Jerry.. certainly this collection of guitarists (and Trey is a Jerryette no? I mran great guitarist on own but no Dead no Phish hey?).. not clear why Trey has no letter of protest or Carlos? He and Jerry were friends as far as one can see but Carlos and Jerry's styles are as far apaet abd incomparable -I would expect Jerry to appreciate most all the guitarists in top 40 while most in top 40 likely could not Appreciate his work fully- it requires an open mind/heart and musical accumen few possess as its not yet understood at all IMHO. Clapton is not fit it to shine his shoes.. okay he can shine Jerry's shoes - but no tip- lol-- a great technician but clueless as to your audiences vibe or unable to feed off its energy- leave many on this list good technicians -as good in studio as live.. ( but not fathoming the total picture).. When one counts the bigger picture of sound Jerry grabbed the brass ring almost nightly that most others can count equivalent shows on one hand over lifetime..X factor . should be renamed G factor (for both Garcia znd the Grateful Dead).. Okay guess rant is over - never Rest in Oeace- Keep on Truckibg!
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...and I hope it's not breaking rules, but there are too many current posts for me to read them all and see if this thought is a repeat. I'd love to see Jerry get his due from the rock/critic scene, but it's never going to happen. What I believe, and tell myself, is this: Jerry often ranks low on guitarist lists because Jerry wasn't truly a guitarist...he was a musician. He didn't "play the guitar" for a living, he made beautiful music for a living. He was like the amplifier that gathered the floating notes and made them audible for the rest of us. The guitar (and voice) just happened to be his "instrument" of choice to accomplish this calling.
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Ok...I swear I thought that was an original idea, but I must have seen this quote sometime in the past. Maybe it sat in my subconscious until the truth of it hit me years later, and by then I'd forgotten reading it: "What advice do you have for aspiring guitarists? [JG]'.....The only danger is falling too much in love with guitar playing. The music is the most important thing, and the guitar is only the instrument.'" I think that's from a Guitar Player magazine where they interviewed Jerry.
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I'm a great a Jerry Garcia devotee as any you'll ever meet. I never saw anyone play with as much soul as Jerry, and that aspect of his musicianship is too often ignored. He had deep things to say and, often, in highly inventive ways. Once in a while, his licks are even startling, and I don't get startled by much. Jerry knew how to shape a solo brilliantly, and there may be no greater example than the Help>Slip solos from Great American 8/13/75. But awesome Garcia solos weren't just a thing of the seventies (e.g., May, 1977, one of Deadheads' favorite months to talk about.) Check out the Scarlet>Fire at Copps Coliseum 1990 sometime. Jerry had a beautiful, lyrical voice on guitar throughout his career... except, perhaps, at the very end when diabetes and drugs really did him in. However... while I'm not a lover of "greatest" lists, I can't help but put my two cents in. Jerry belongs somewhere in that top 100. I don't know where. But having seen guys like Frank Zappa, Robert Fripp, Jim Hall, Pat Martino, Bill Frisell and plenty of other greats play, Jerry isn't numero uno. I never saw Hendrix, but clearly he was some force of God. Adrian Belew didn't even make this list and, let me tell you, he's a MOTHERFUCKER on guitar, in his own weird way. This is an unpopular opinion, I'd bet, but I'd put the little known Henry Kaiser on here. Most people don't get his trip, but, if you do, it's amazing. At his peak, Trey Anastasio was beyond imagination. I was in the front for many of those shows in the early 90s, so I know from whence I speak. Jerry was wonderful, but he was also sloppy as hell, and he had nights where he was abysmal. He also had nights where you knew that, on that night, he was the greatest guitarist on Earth. All things considered, his technique was OK for a guy who basically taught himself to play the instrument, but it wasn't great. However, there's too much emphasis placed on technique. If technique were the ultimate benchmark, Jerry wouldn't be in the top 1000, let alone top 100. But he belongs in the top 100 because of the profound statements he made on guitar. Part of me wishes that we'd gotten to hear Jerry Garcia with perfect technique, to hear what he was saying crystal clear. However, a bigger part of me is glad that his shows were peppered with clunkers. It made him more human, and that's what made his playing so great. Honestly, I don't think he would've wanted to be first on that kind of list, though he probably would've felt honored to be up there among so many great names... in that kind of rarefied air. I bet that he would've felt that he didn't belong there. He was slightly uncomfortable with his greatness, and that humility was also another defining mark of the man that came through in his music. I always felt I was getting straight talk in his solos... not pyrotechnics designed to impress. Jerry just shared what was going on in his mind, and it was a very beautiful, ample and curious mind.
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There's no in between, you're either aware that the sounds from Jerry's guitar could never be equaled by any musician or artist on any level including raw talent, or you're not. Trying to convince a non deadhead that Jerry is the greatest would be a laughable notion just like trying to convince a deadhead that he's not. Jimi Hendrix is a genius and shreds as we all can agree, but he could never compare to Jerry or even be on the same list as Jerry. Jerry has a separate list and holds all 100 positions. Everyone who's a deadhead knows that like the sun rises and falls.
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It takes time and effort to really hear the breadth of Jerry's genius. I suspect that many of the judges barely scratched the surface of the live Dead opus. You can't get a sense oF Jerry's genius from most of the studio recordings and you have to listen to dozens of live recordings, often poor quality, to grasp the breadth. It also takes a certain forgiveness that comes with such endless inventiveness. Many guitarists practice their solos to perfection. Jerry sometimes tried things that were a bit beyond his technique and even an amateur listener like myself can hear the occasional flubbed lick or run.

He rooted his solos to the lyrics and sang them on his guitar in ways reminiscent of Lester Young and Phil Woods. He was always lyrical and always tried to speak a personal truth through his playing.

But you can't isolate Jerry's playing from the rest of the band. The ensemble playing is an equal showcase to Jerry's brilliance. I happen to especially love the trio of Jerry, Phil and Bobby that was so prominent in the 70s. But every era has its qualities.