I Came To Play The Science Of Rhythm Guitar Player

Discover the best guitarists in the world. We’ve put together a list of our favourite 50. Keith is the greatest rhythm guitar player I have ever watch or heard. He’s an excellent. Cause rhythm guitar is easy. Example - James Hetfield, John Lennon, Ray Davies etc. Some singers have both great vocals and guitar skills. They play lead guitar.

Brian Setzer - Struttin' with Stray Cats Sporting leathers, tattoos, and a greasy bleached coif. Brian Setzer looks like he should be riding shotgun for James Dean, circa ’57.

He smiles boyishly, dips his low-slung Gretsch towards screaming fans, and fuses country, jazz, and Chuck Berry licks into a sparkling lead. It’s a risky business fronting a bare-bones trio, since so much of the sonic spectrum depends on guitar. Brian handles the role with self-assurance, remaining true to the raw-edged aesthetics of rockabilly while increasing its vocabulary with his daring sophistication and refined technique. The guitarist’s pals—upright bassist Lee Rocker, stand-up drummer Slim Jim Phantom—could pass for expellees from The Blackboard Jungle. Their performances are about as timid as their appearance. Beneath the exaggerated ducktails and hip-twitching poses, the Stray Cats are masterful rockers.

Their lyrics may be updated and their volume louder, but these young cats have captured-and capitalized upon-the spirit and look of ‘50s rockabilly. Thanks to the Stray Cats, rockabilly has steamed back to the top of the charts. Their first American album, Built For Speed, reached #2. “Rock This Town” became a #9 single.

In some neighborhoods, the band has ushered in a dress code that hasn’t been around since Elvis Presley went Hollywood. Girls show up at concerts in bouffants or ponytails; saddle shoes, bobby sox, puff skirts, and sweaters are back. Prom dresses and pumps accepted. Guys with hair slicked into shiny pompadours don bowling shirts, sleeveless sweaters, or rolled-up T-shirts above baggy cuffed slacks and loafers.

Their faces shine clean-cut optimism. Even parents nod approval towards these Long Island rockers who seem like a deja-vu. People are bopping all over again to that Memphis-bred mixture of black R&B and hillbilly music first heard some 30 years ago. If rockabilly cool could only be inherited, Setzer would have nothing to worry about.

His parents were ’50s rockers in the baggy suit, hoop skirt tradition. His construction worker dad was partial to Hank Williams; his mom was a devoted Elvis fan. Brian was born in Massapequa, New York, on April 10, 1959.

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By the time he was old enough to toddle, the first wave of rockabilly had ended: Buddy Holly and Eddie Cochran were dead, Gene Vincent was past his prime, and Elvis would never recapture the spirit of his first Sun sessions. Inspired by the Beatles, six-year-old Brian decided to become a guitarist. Years of lessons followed, with time on the side spent copping Chuck Berry and rockabilly licks off records. A loner, Brian made few friends at school. At 14 he bypassed all current fads to model himself after an old photograph of Eddie Cochran.

A couple of years later he dropped out of school and started gigging around Long Island as the Rockabilly Rebel. Eventually he acquired one of rockabilly’s legendary combinations: a vintage Gretsch 6120 and a Fender Bassman amp. Brian’s bar-band rhythm lineup kept shifting until a couple of younger greasers started showing up in ’50s regalia. The tall one, Jim McDonnel, pounded drums. Lee Drucker was a trained cellist who could slap upright bass. Using bare-bones equipment, the trio created an authentic rockabilly sound. They named themselves Tom Cats.

About once a month Setzer would drive an hour west to Manhattan to play guitar for the Bloodless Pharaohs, a new wave lineup. The Tom Cats increased their following through New York shows at Max’s and Hurrah’s, but record companies showed little interest in them. Encouraged by reports that rockabilly was still fashionable overseas, the Tom Cats sold their belongings for one-way tickets to London in the summer of 1980. For three months they took their demo tape around to clubs and slept in offices, all-night movie theaters, or Hyde Park.