guitar

A collection of 30 posts

blues rock

245. LAYLA AND OTHER ASSORTED LOVE SONGS by Derek and the Dominos

This 1970 record by Eric Clapton, Duane Allman (of the Allman Brothers Band) and others, together comprising Derek and the Dominos, is another that had a profound effect on me during my formative years, especially two tracks - 'Bell Bottom Blues' and 'Layla' (more the former rather than the latter)

rock

241. RECKLESS by Bryan Adams

It's hard to believe that this landmark record by Canadian rocker Bryan Adams was released way back in 1984. Every time I hear 'Heaven' I get brought back to junior high and think about that crush I wanted to slow dance with ('Heaven' actually came out a year earlier as

rock

227. DON'T SAY NO by Billy Squier

Rocker Billy Squier had the good fortune of releasing his 2nd record in 1981, a few months prior to MTV debuting on the airwaves. His radio-friendly, guitar-oriented tracks along with accompanying videos getting heavy airplay on MTV turned out to be a combination made in heaven. This album generated no

blues rock

205. YOUNG BLOOD by Marcus King

Don't talk to South Carolina native and blues rock shredder Marcus King about sophomore slumps cuz he ain't got one. Though technically not his second record (he released three and an EP as The Marcus King Band), this 2022 album is his second outing as a solo artist. Growing up

post punk

204. FLOWERS by Echo And The Bunnymen

When one thinks of Echo & the Bunnymen, this 2001 record doesn't immediately come to mind. In fact, it probably doesn't even register on your radar. This is because it was released way past what is considered EATBM's heyday in the early to mid 1980's. It came out after lead singer

garage rock

181. DROPOUT BOOGIE by The Black Keys

The Black Keys go back to the basics on this just released 2022 record - and thank goodness for it. After a brief detour off the beaten path in the form of a couple albums that didn't really do it for me, they're back to what they do best. Crunchy,

garage rock

171. FEAR OF THE DAWN by Jack White

This is the first of two records White has planned for 2022. Today's more avant-garde album will be followed in July by one with slower, acoustic heavy tracks. In terms of Fear Of The Dawn, I don't like it. I don't dislike it either. It's just more of Jack White

soft rock

166. CONTINUUM by John Mayer

This 2006 record by John Mayer tops many lists ranking his albums from worst to best. It reflects somewhat of a shift from his previous two studio records in that the sound is more soul and blues oriented, both in his guitar playing and in his singing. His writing had

power pop

164. GUV III by Young Guv

This just released 2022 record comes to us from Toronto by way of the New Mexico desert. Young Guv is the moniker of Ben Cook who, believe it or not, used to be quite the hardcore rocker before transitioning to his current incarnation as power popper extraordinaire. Being stuck in

rock

162. EXTERNAL COMBUSTION by Mike Campbell and The Dirty Knobs

What continues to amaze me about Mike Campbell's non-Heartbreaker output (his debut with The Dirty Knobs previously covered here [https://www.auditorymusings.net/wreckless-abandon-by-the-dirty-knobs/]) is his voice - I can't help but feel like he's channeling Tom Petty with every song he sings. Either that or I just miss Petty

indie

161. FLOWER OF DEVOTION by Dehd

This 2020 record by Chicago-based trio Dehd was met with critical acclaim, most notably by the notoriously grumpy online publication, Pitchfork, calling it some of the best new music of that year. Mixing elements of surf rock (and all that entails in terms of distinctive guitar playing), shoegaze and straight

garage rock

158. RUBBER FACTORY by The Black Keys

This 2004 record, the third for Ohio's garage-rock-blues outfit The Black Keys, seems to crystallize what they had been working towards on their debut and sophomore efforts. And, in this case, the third time's definitely a charm. The entire album is recorded by two guys in an abandoned tire factory

power pop

156. NEVER GIVE UP by Partner

What do you get when you cross tongue-in-cheek lyrics from a band like, say, They Might Be Giants with riff heavy power pop along the lines of The Pursuit of Happiness (previously covered here [https://www.auditorymusings.net/love-junk-by-the-pursuit-of-happiness/])? Well, this guitar-laden 2020 record of course. This Canadian duo simultaneously

power pop

152. 11 by The Smithereens

Released at the tail end of 1989, this record epitomized early 90's power pop, though with a heavier, crunchier guitar sound than what the band had previously incorporated in their music. You can hear Beatles and Beach Boys influences throughout the tracks, especially in the choruses and harmonies. Heck, there's

indie

144. PROJECTOR by Geese

This just released 2021 debut record by Brooklyn-based quintet Geese is currently getting all the buzz, not because all the members are technically still teenagers but because, well, okay, they’re all technically still teenagers! One listen to this album and you’ll hear why. The influences contained within seem

blues

142. BUFFALO NICHOLS (self-titled)

Houston-born, Milwaukee-raised and, now, Austin-living Buffalo Nichols offers a contemporary take on the blues with this just released 2021 record. Pairing his smokey voice with nimble guitar playing, he covers themes ranging from the overtly political/social commentary on ‘Another Man’ and ‘Living Hell’ to dealing with isolation on album

rock

138. LINDSEY BUCKINGHAM (self-titled)

(Former) Fleetwood Mac frontman (that still just doesn’t sound right) Lindsey Buckingham has a just released 2021 record out which, interestingly enough, is self-titled (not typically the norm for one’s seventh solo album). Perhaps it’s his way of embracing the new found independence forced upon him. That

lo-fi

135. COOL by Colleen Green

By the time you read this, this 2021 record will have been released in full. At my time of writing this, however, only four tracks are out. But, those four tracks have definitely piqued my interest. Fans of guitar-oriented pop or lo-fi will surely find something to like amongst these

indie

132. THE WORLD WE BUILT by The Wild Reeds

Los Angeles based indie folk band The Wild Reeds released this record in 2017. Although the songs are lead by 3 part harmonies, the music is not necessarily subdued - it’s full of crunchy guitars and interesting key changes throughout many of the tracks. This is not your ma

power pop

130. WHAT WERE YOU HOPING TO FIND? by Vistas

I’ve always been a sucker for power pop bands (just enter that phrase in the search box on the website and you’ll see what I mean) and today’s post continues that trend. This just-released 2021 record by Scottish trio Vistas is full of 3 minute nuggets of

shoegaze

123. SOUL VICTIM by Broken Up

This 2020 record first landed on my radar when the initial single (‘Long Long Long’) was released in late 2019. However, it somehow slipped through the cracks until I just happened to stumble upon it again recently. Part of Italy’s own darkwave/shoegaze movement, this guitar and synth heavy

indie

117. ZACH PERSON EP (self-titled)

I never thought I would be mentioning American Idol in this blog but, well, here we are. Houston native (from age 13) and Austin transplant Zach Person was a contestant on the show during the 2016 season. Though he didn’t make it far, he definitely got noticed. Considered a

indie

113. GOING TO HELL by Lande Hekt

This recently released record is by one third of the Exeter, GB-based punk trio Muncie Girls. This guitar-driven album finds Hekt singing and playing all instruments save for percussion. Billed as her ‘coming out’ record, the songs deal with very personal issues while, at the same time, backed up by

american primitive

103. YOU NEVER WERE MUCH OF A DANCER by Gwenifer Raymond

Welsh-born astrophysicist (she has a PhD) and virtuoso instrumentalist has a new album coming out soon, so now is a good time to take a look at her 2018 debut. American primitive is a finger-picking guitar genre credited to American John Fahey. As such, Raymond’s record has no vocals

synth

100. WORKING MEN’S CLUB (self-titled)

This 2020 debut from the UK-based band is heavy on synthpop elements reminiscent of New Order while the pulsating beats would be welcome at any self-respecting rave. That’s not to say, however, that guitars are absent from this record - ‘White Rooms and People’ has the whole Chic/Nile