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Favorite musician(s)

I am first and foremost a song lover. Chords (the importance of which is not taken seriously enough by many songwriters imo. Listen to the changes in "God Only Knows" by Brian Wilson, and "What Becomes Of The Broken Hearted" by William Weatherspoon, Paul Riser, and James Dean. Glorious!), a melody (or three, if it's a fugue), harmonies, counterpoint if you're really good. For a song to be heard, you usually need some instruments to play it, A cappella being the exception. Different musicians approach the playing of a song in different ways; some view the song as merely the platform from which they express themselves via their particular instrument. Others play their instrument in service to the song itself (and/or the singer and other musicans), their talent at that assessed by how much the song benefits from their playing of it. I am a fan of the latter approach.

The players I like most can be described as "lyrical"---their parts sound like an integral element of the song---it would not be the same song without them. These type players are highly valued by the best songwriters, producers, and singers, and by other musicians who also play via that approach. Rick Hall, owner of the infamous Muscle Shoals Sound Studios, said the members of the studio's house band---The Swampers---all thought like and played as if they were producers. Exactly! When a great song is played by these type musicians, backing a good singer, the results are magical.

My favorite players are guys like Jerry Douglas (dobro), a member of Alison Krauss' Union Station and a first-call Nashville studio player. Ry Cooder and Richard Thompson, master guitarists of course. There are plenty of others, but that's enough outta me. Anyone who wants to add to my short list, may I request we keep it to lyrical/musical players, not "hotshots"? They already get all the attention (and chicks ;-) .

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djones51
4,947 posts
 
In the vein of backing musicians, Nils Lofgren with Crazy Horse and E Street Band comes to mind. 
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bdp24 OP
9,788 posts
 
Some great musical artists nominated. Marty, we’re musical brothers! George Harrison is SO under-rated. When the style of guitar playing considered hip by musicians became pretty-much purely blues-based (the Yardbirds For Your Love album being a prime reason, but also Mike Bloomfield in The Paul Butterfield Blues Band, Clapton in first---after his time in The Yardbirds, though we didn’t know it then; he was not credited on the For You Love album cover---John Mayall’s band and then Cream, and finally Hendrix, who really put the nails in the coffin. Marty, I don’t care for his playing either, or his tone), George’s style of musical accompaniment became passe’. Players were now judged on their abilities at playing a solo, not playing a song. But George’s part in the middle of "Nowhere Man" is exquisite! Fantastic tone (dig the compression!), too. (it’s very reminiscent of James Burton’s solo in Ricky Nelson’s "Young World", which I bought on a 7" 45 in 1962). It’s my all-time favorite guitar "break"---not a solo separate from the song, but a guitar part that is a musical line in the song, replacing the lead vocal heard in the verses and choruses. THAT’S the kind of playing I’m talking about. Robbie Robertson plays that way in The Band; musical lines played on guitar (or piano; The Band’s Richard Manuel plays that way as well. And Garth Hudson’s organ playing is utterly unique---NO ONE else plays like him!) that are part of the song itself. Though more of a true solo than a guitar "break", Ry Cooder’s playing between verses in John Hiatt’s "Lipstick Sunset" is unbelievably great---a masterpiece!---Eric.
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bdp24 OP
9,788 posts
 

One thing about the influences musicians bring to the music they make is that, if a player and the band he is in (assuming he's not a solo artist) becomes very popular, he can actually change the course, the direction, that Popular music takes. When the more Blues-based bands of the mid-60's began their ascent, they did just that. Rock 'n' Roll music had become very devoid of much of a Blues influence by the time The Yardbirds and their ilk reintroduced it in 1964-5 and onward. It was putting hardcore Blues into Rock 'n' Roll that turned it into the Rock music we have known ever since.

Clapton was at the forefront of that change in the direction the music took, so it was really significant that when George Harrison played him The Band's Music From Big Pink in the middle of 1968, the rug was pulled out from under him. In The Last Waltz, Eric says: "Music had been moving in the wrong direction for a long time. When I heard Music From Big Pink I thought, someone has finally gotten it right" (I'm paraphrasing). He immediately disbanded Cream (the biggest band in the world!) and went to West Saugerties, NY to, he intended, join The Band. That of course didn't happen, but he did take their cue and started making a different kind of music. 

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