Conference napalm::guitar

    Troublemaker...

   The 400,000 bar "note" that Santana holds in the Moonflower (live) version
   of "Europa", near the end of the song.  Hands down (for me, anyway).

   -- Sam

Sam beat me to it, but I also have to throw in my vote for the live version
of "Europa". Man, that note just sails above all the music, sounds like its
coming directly from heaven! Yow!!!

alan

    I don't know if this qualifies but I'll toss it in anywhey:

    Stevie Ray Vaughn hangs onto a killer for a few bars near the end
    "Crossfire". I'm sure y'all know the one I mean.

    re: .0
    >You guys are gonna think I'm writing this to stir up trouble, but I
    >swear to god I'm not.
    
    >I was thinking about the "one note" solo, and it had occurred to me
    >that there were lots of instances I can think of where someone just
    >played "a" perfect note and held it, and it "spoke to me".

    Stir up trouble, Dave? I can't think why - it's about the most innocuous
    thing you've ever said!

    I can think of loads of one note solos (or specific notes *in* solos)
    that have struck a chord with me (no pun intended!). The one that keeps
    coming back to me, at least in recent weeks, is by Eric
    Clapton...there, that should add some spice to this note ;-)

    It's on a 1966 single by John Mayall's Bluesbreakers called "I'm Your
    Witchdoctor". Actually, it might have been the B-side; I'm sure it
    wasn't a hit! I think it's on the "Crossroads" compilation too. Anyway,
    there's a single sustained note at the end of each verse that'll make
    your eyes water.

    Oh yeah, and then there's this Neil Young song called "Cinnamon Girl"... 

    Dom

    
    
    Leslie West's first harmonic jump in the live version of Nantucket
    Sleighride.  Stopped me in my tracks.
    
    Kevin
    

    There's a great one note solo in "I Wanna Be Sedated" by The Ramones!
    
    Greg

    How about that incredibly long one-note thing that Buck Dharma does
    on the exit from the solo in "Don't Fear the Reaper".  It just hovers
    back there and you sorta forget about it until he bends it up halfway
    through the verse.  Not very emotional, just wicked cool.
    
    /rick

    By the way, I didn't necessarily have in mind that it would be "one
    note solos", but rather a solo that contained one particular note
    that "got to ya".
    
    I mean, if you can find one particular note among the thousands in 
    one of Malsteen or Morse's runs, fine, but the idea is really more
    about one note that just "did it".
    
    However, post anything ya like.  I don't want to limit it to any
    particular thing.  These are all interesting.  In fact, it really
    needn't be a "note" with a defined pitch.  In two of the examples
    I gave (Zappa and Beck) it's more of "one use of the plectrum" - there
    is no defined pitch to those "notes".
    
    I'll add another... the ending pick-scratch to "Cinema" on Yes's
    "90125".
    
    Gee, maybe I should have separate note for "Best guitar noise in a
    solo".  These aren't really "notes"  but just little expresssive kind
    of things that I'm posting here.
    
    	db

    I did a 12 bar "g" that had two guitar gods bowing to me at a hall full
    of musicians........
    
    of course the guys bowing had been drinking, they were waiting *their*
    turn to play and the place only holds 25 people (or 12 guitar
    players).......
    
    sigh......

    Man, so many of these come to mind it's hard to know when to stop.
    These are some of my favorites, from the masters:
    
    Beck - Beck is THE master; it's hard to think of a Beck tune that
    doesn't have something you could mention here.  But if I had to pick
    one, it would be the incredible cat-yowl toward the end of "Ain't
    Superstitious" from Truth.  One thick, dirty, sustained-feedback note
    that he proceeds to carve up (slowly) with the wah.  I half expect my
    speakers to meltdown when this comes on.
    
    Hendrix - again, the guy tossed these off so casually you don't know
    where to begin.  I remember one that really grabbed me though; the
    sound he makes at each break between verses in "Love or Confusion".
    Sounds like he's ripping a hole in the fabric of the universe.
    
    Page - best tonemeister in the business imo.  I just heard this one
    on the lunch car radio today; the Hawaiian guitar choir in the
    middle of "Ramble On".  Gorgeous, pure tone.  Makes me want to go out
    and buy a $50k Les Paul (ok, not really :-)
    
    EVH - the whammy and the speed and the tapping got all the press, but
    what I always liked best about Eddie was the way he created cool sounds
    and then used them in perfect context.  The opening door intro to the
    "Beat It" solo is a classic example, but my favorite is in "Everybody
    Wants Some", right after the line "lost in the jetstream", where Eddie
    hits the fog horn from hell.
    
    /ariel_bender

    btw, cool note.  I never listened to the live version of "Nantucket
    Sleighride"; guess now I have a reason to.

>   -< as beautiful as a foot >-
    
    That song always cracked me up!
    
    		- Seven Screaming Diz Busters

    >  But if I had to pick one, it would be the incredible cat-yowl toward
    > the end of "Ain't Superstitious" from Truth. 
    
    FWIW (probably not much) I once happen to overhear Steve Morse cite
    that as his all-time favorite song and that as his favorite riff.
    
    I'm also inclined to cite the beginning of Eric Johnson's "Cliffs of
    Dover".   That case is  interesting because for that one, it's not the
    note itself really but the music before it that sets it up.

Well, since db opened up the scope of this note, I'll mention my favorite chord:
the one somewhere in the middle of "Endless Enigma/From the Beginning," by
Emerson, Lake and Palmer. Purest tones I've heard.

Bob

    > "Endless Enigma/From the Beginning,"
    
    ????
    
    Those are two different songs: "Endless Enigma" and "From the
    Beginning".
    
    Obviously I'm curious as to what you're referring to.

Re .16:

Well, it's been a while since I spun that particular platter (yes, vinyl). I
thought that I recalled those were the same song. If not, the tune is definitely
"From the Beginning."

Another "great chord" is in Buffalo Springfield's "Bluebird," just before the
banjo kicks in...

Bob

    
    
    >>Another "great chord" is in Buffalo Springfield's "Bluebird," just
    before the banjo kicks in...
    
    I once tossed that little solo guitar bit at the end of Bluebird into a
    tune.  You could tell the guitar players in the crowd because most of
    'em started to smile when they heard it!
    
    
    Kevin
    
    
                      

     David Gilmors song " Blue Light " has a vibratoed(sp?) note at
     the end of it that would make BB King proud . The Guitar player
     from Fleetwood Mac ( Lindsey Buckingham ) also has a great one
     at the end of the song " I'm so afraid " , and who could forget
     Neil Youngs one note solo from Hell at the end of the song 
     " Cinnamon Girl " . Jeff Beck gets his licks in on the song
     " It get us all in the end " Audio outrage at it's best .
      Almost any note from the songs " Since we've ended as lovers
     and " The final peace "  . The Long sustained guitar at the
     beginning of Hearts " Magic man " are intense also .
    
    
     Gonzo
    

    >>  But if I had to pick one, it would be the incredible cat-yowl toward
    >> the end of "Ain't Superstitious" from Truth. 
    
    >FWIW (probably not much) I once happen to overhear Steve Morse cite
    >that as his all-time favorite song and that as his favorite riff.
    
    My regard and respect for Steve Morse has just improved dramatically
    
    only joking :-)

    
    As I recall, there's a bend in the song "Honky Tonk", on the 
    Miles Davis album "Get Up With It" where most
    of the band drops out and its just John McGloughlin
    bending away.  
    
    I used to play that song just to hear that one note! 
    
    Dave 
    

                           "CARLOS IS THE MASTER!"
    
              Well let's get into the technical aspects of SUSTAIN!
              The length of the note is directly proportional to the amount
    of SUSTAIN & COMPRESSION, even if you're playin' slide guitar!
              Just wanted to reemphasize Carlos Santana's lengthy note from
    one of his greatest works, the live version of, "EUROPA".
              I was really gettin' into Stevie Ray Vaughn & Gary Moore for
    about a year. Spent a considerable amount of time learning "Europa" and
    "Still Got The Blues" and came to the quick realization that Gary stole
    everything from Carlos.  Same chord changes; same song, same idea, in
    fact it's Gary Moore doing his Carlos Santana impersonation!
              Then there's Gary's song called "Parisienne Walkways" which
    is EXACTLY like "EUROPA" and EXACTLY like "STILL GOT THE BLUES" but
    this one is even more like Carlos as he does the same one note sustain
    for 1k bars!
              That tells me one thing!  Gary Moore is an excellent song 
    writer and guitarist, great tone, but Carlos is the DADDY!
              We're all thieves, and so was Jimmy Hendrix, which was really
    hard for me to believe but after studying Buddy Guy I know exactly
    where Jimmy got alot of his ideas!
              It's all plagerism, some play it faster, some play it slower,
    some give a different feel to it, or different sound, a little
    different technique, but I'd have to say that Django Rhienhardt was the
    very best I've heard to date especially since most of it was done on an
    accoustic guitar!
              I listen to Stevie and wonder how much of the ounce and a
    half of cocaine, per week, helped achieve the desired affect?
              So, in the Rockworld, in my opinion, there was Jimmy Hendrix,
    & Carlos Santana and Jimmy Page, in his own right, and they opened the
    doors, otherwise none of these other people would even exist, never mind
    sustaining a note for 12 bars!!!!!!
              Have to add Eddie Van Halen but he still wouldn't of even
    gotten off the ground if Hendrix hadn't opened that all important door!
    
                Keep Practicing and who knows, maybe, just maybe?
    
                                                           SKIPP TRACER
                                                                of
                                                              
                                                           "DRIVEN MAD" 
    

    
    I don't know if this is the one .5 is referring to, but Clapton's solo
    in "Double Crossing Time" from the Bluesbreakers "Beano" album has a 
    sustained note in it (actually two, but the second one is much shorter) 
    that I've always thought was absolutely perfect.  And yes, I'm a
    Clapton fan.  That is, I'm a fan of the older Clapton stuff.  I'm not so
    hot on most of his newer material.
    
    
    								John

    
    There's one sustained note towards the end of Beck's version
    of Stevie Wonder's "Cause We've Ended AS Lovers"
    Gets me every time...
    
    /Billy_K

    
     My fave would "Daydream", off of Robin Trower, "Live" , which lasts
    about 30 seconds and has a creeping feedback in and out of it.
     Also, I must agree on "I'm so afraid" by Fleetwood Mac, perhaps one
    of the best fading guitar solos.(Maybe a good idea for another note,
    remember Randy Rhoads' "Tonight"?)
     Or how about "A Piece of tha Action" by the Babys? The last note
    of the solo holds and decays to nothing as the bottom drops out
    with only the drums playing for a half a moment , before the 
    band kicks back in for the last verse. I guess you had to be
    there.
    
                   Clark C.  

     Agreed , Robin Trower's long sustained notes are still intense .
     The long sighing notes of " Bridge of sighs " are stirring in
    their capacity to move the listeners . IMHO
    
    " Carlos is the Daddy "  ??? o.k.... I can see that point of view as
     valid . Carlos always gets killer sustain . BTW  check out a Frank
     Zappa tune from his "Shut up and play your guitar" album . It's
     called Variations of Carlos Santana in the key of C (or something like
     that) , It shows that the late Frank Zappa had Santana's style wired .
    
      Again I believe the true master fo the electric guitar , one note
      stun competion to be none other than .....
    
    
    
    
    
                         --------------
                    *****  JEFF BECK   *****
                         --------------
                                       

    I think the Zappa title is "The Carlos Santana Secret Chord Progression"? 
    Great tune.
    
    							Brian

    The 'one note' which has sent shivers down my spine recently is 
    Clapton's superb climax to the female vocalist's improvisation on the
    live version of 'Wonderful Tonight' on the '24 Nights' double album.
    
    He just bends and holds and it says it all!
    
    (I think what really helps to make it is the brief 2 note
    'introduction' he does to the bend - this seems to set the scene and
    gives the bend more impact)
    
    Don
    

    I'll take a copy if it includes a picture of Dawg's famous daughter.

    >>I'll take a copy if it includes a picture of Dawg's famous daughter
    
    you've had your one and only look at that picture..........however, the
    boot leg copies in circulation may be obtainable........eesh!
    
    >:*(

    I was going to ask the Bulldawg that very question, so I'm glad to see
    Mr. Mod beat me to it.  Hee hee.
    
    Remember, taste is not an issue where Stevo is concerned.  %^)
    
    Dave

    re: deleting allegedly-tasteless replies
    
    Aww, c'mon Greg!

    >>I'll take a copy if it includes a picture of Dawg's famous daughter
    
>    you've had your one and only look at that picture..........however, the
>    boot leg copies in circulation may be obtainable........eesh!
    
    Hey, *I* never got a look at it!
    
    You still owe me a look (or should I call it a "peek").
    
    I'll send you my address, make me... oh... 6 copies.
    
    	db

    Ummm.... just got off the phone with Alan...
    
    Could you make that 7 copies?
    
    ;-)

     >Ummm.... just got off the phone with Alan...
     > Could you make that 7 copies?
    
     I sold Alan the negative so I could buy my strat, won't he make you a
     few?
    
    
    >:*}