Janda and Christian talk about notable guitar solos! (Part 2)

Summary

Podcast Summary: Behind The Song – Episode: Janda and Christian Talk About Notable Guitar Solos! (Part 2)
Release Date: April 9, 2025
Host: Janda Lane
Guest: Christian Lane
Podcast: Behind The Song by The Drive | Hubbard Radio

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Introduction

In the second installment of their series on notable guitar solos, Janda Lane and Christian Lane delve deeper into the artistry behind some of classic rock's most memorable guitar performances. Building upon their previous discussion—which featured legends such as George Harrison, Jimi Hendrix, Neil Young, David Gilmour, and Jimmy Page—the duo expands their exploration to include new voices and perspectives, offering listeners an engaging and insightful analysis of iconic solos and the musicians who crafted them.

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Recap of Part One

Kicking off the episode, Janda briefly recaps the first part of the series, highlighting the guitar maestros covered:

Janda [00:52]: "...we covered off on guitar solos from George Harrison, Jimi Hendrix, Neil Young, David Gilmour, and Jimmy Page. A very respectable list."

Christian adds with enthusiasm:

Christian [01:07]: "I'm just gonna say that's kind of a murderer's row of guitar players, right there."

Recognizing the need to expand the conversation beyond the initial five guitarists, the hosts set the stage for part two, emphasizing their goal to explore a broader spectrum of notable solos without the constraints of time.

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Brian May and "Bohemian Rhapsody"

The episode commences with a deep dive into Brian May's iconic guitar solo in Queen's "Bohemian Rhapsody." Janda and Christian unravel the meticulous craftsmanship behind May's performance and his distinct approach to guitar playing.

Brian May's Unique Guitar:

Christian [02:05]: "He made his own guitar. It's called the Red Special. He made it with his dad."

They discuss the Red Special's unconventional construction, featuring car springs and a bicycle kickstand repurposed for the guitar's functionality:

Christian [02:28]: "...the whammy bar is a kickstand off of a bicycle."

Tone and Technique: Brian May's dedication to achieving a unique tone is highlighted, particularly his use of a coin instead of a traditional pick to strike the strings:

Christian [02:50]: "He plays with a coin... every note that he plays is really cutting through, not necessarily with volume but with the tone."

"Bohemian Rhapsody" Solo Insights: The hosts delve into the solo's composition, describing it as a counterpoint to the main melody—a technique rooted in classical music:

Christian [05:07]: "He's writing a counterpoint which is a classical music thing where you have the main melody and then you write a counterpoint to that."

They also touch upon the rigorous studio processes of the time, noting the extensive use of tape overdubs and the resulting tape wear—a testament to the dedication behind the recording:

Janda [06:00]: "...a single piece of tape. Because this is very expensive stuff back then, and you can't just toss it out and start anew."

Studio as an Instrument: Janda remarks on Queen's ability to utilize the studio as an additional instrument, enhancing the regal and orchestrated sound that defines much of their music:

Janda [07:14]: "...because you had this ability to work the studio like another instrument."

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Jerry Garcia and "China Cat Sunflower"

Transitioning from the meticulous style of Brian May, the discussion shifts to the improvisational genius of Jerry Garcia from the Grateful Dead. Christian emphasizes Garcia's spontaneity and organic approach to soloing.

Improvisational Approach:

Christian [09:06]: "He absolutely doesn't have a plan. Whereas Brian May goes in and orchestrates every note and does counterpoint like we talked about."

Anchoring Solos: Garcia's technique involves anchoring solos to chord changes, ensuring that improvisations remain connected to the song's structure:

Christian [09:24]: "...there is an anchor in his playing, and that's the chords. So he's truly playing for the song."

Evolution Over Time: The hosts explore how Garcia's solos evolved with the Grateful Dead's changing musical styles, from psychedelic beginnings to incorporating elements of country and disco:

Christian [11:22]: "...over time, you've got the sort of psychedelic primal dead in the 60s... by 1975, they're transitioning into disco Dead."

Live Performances: They highlight the band's legendary live performances, where improvisation and real-time interaction with the audience created a dynamic and unpredictable musical experience:

Janda [13:42]: "...they never rehearsed, never had a set list... they just were up there and they would just magically come together."

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Comparative Analysis: Queen vs. Grateful Dead

A central theme of the episode is the juxtaposition of Queen's structured, orchestrated guitar work against the free-flowing improvisations of the Grateful Dead. Janda and Christian underscore how these contrasting approaches define the unique identities of each band.

Contrasting Styles:

Christian [16:00]: "Very thought out and self-controlled. Very not thought out and no control. You know, I mean, they're just absolutely almost polar opposites of what bands can be in a beautiful way."

Band Dynamics: They discuss how the synergy within each band complements the guitarists' styles, making hypothetical collaborations—such as Jerry Garcia joining Queen—unfeasible:

Janda [16:14]: "...no way Brian May would put up with the shenanigans in the Grateful Dead."

Musical Diversity: The hosts celebrate the vast umbrella of music, appreciating that such different styles can coexist and thrive within the classic rock genre:

Christian [17:03]: "...it's such a big umbrella, and there's so much underneath that umbrella that you can discover."

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Conclusion and Looking Ahead

As the episode wraps up, Janda and Christian acknowledge the endless possibilities for exploring notable guitar solos, hinting at future discussions on legendary players like Joe Walsh and Mike Campbell. They express excitement for continuing the series, promising even more in-depth analyses of classic rock's guitar heroes.

Janda [17:22]: "We're gonna definitely have to do at least a part three now and get to some of the other guitar players and guitar solos."

The episode concludes with mutual appreciation between the hosts and a tease for the next installment, ensuring listeners are eager for more musical insights.

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Notable Quotes with Timestamps

• Janda [00:52]: "We covered off on guitar solos from George Harrison, Jimi Hendrix, Neil Young, David Gilmour, and Jimmy Page. A very respectable list."

• Christian [02:05]: "He made his own guitar. It's called the Red Special. He made it with his dad."

• Christian [02:50]: "Every note that he plays is really cutting through, not necessarily with volume but with the tone."

• Christian [09:06]: "He absolutely doesn't have a plan."

• Janda [07:14]: "...because you had this ability to work the studio like another instrument."

• Christian [16:00]: "Very thought out and self-controlled. Very not thought out and no control."

• Janda [16:14]: "No way Brian May would put up with the shenanigans in the Grateful Dead."

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Final Thoughts

This episode of "Behind The Song" masterfully contrasts the disciplined sophistication of Queen's Brian May with the unbridled improvisation of the Grateful Dead's Jerry Garcia. Through detailed discussion and insightful analysis, Janda and Christian illuminate the diverse techniques and philosophies that make these guitar solos not only notable but also enduringly influential in the landscape of classic rock. Listeners gain a deeper appreciation for the artistry and individuality that each guitarist brings to their respective bands, highlighting the rich tapestry of styles that define the genre.

Transcript

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[Christian Lane]

Welcome to the behind the Song podcast.

[Janda]

Taking you deeper into classic rock's most timeless tunes. Here's your host, Janda. I'm Janda, joined today by Christian Lane to talk about part two of Notable guitar Solos. Hi, Christian.

[Christian Lane]

Hello, Janda. It must be done. We must do a part two.

[Janda]

I think. I think that the people would revolt if we didn't. So just to recap on the last one, we covered off on guitar solos from George Harrison, Jimi Hendrix, Neil Young, David Gilmore and Jimmy Page. A very respectable list.

[Christian Lane]

I'm just gonna say that's kind of a murderer's row of guitar players, right there.

[Janda]

It is. But as we discussed, that list has to grow because you can't hold it down to just five players, no way, no how. And we don't have two, three, four hours to just sit around and. And talk about it. So this is part two of Notable Guitar Solos in songs by some of classic rock's very best players.

[Christian Lane]

Yes, notable. Notable is the key. Me personally, I'm not trying to say the best. That's a very subjective thing. But notable kind of takes something unique about them or different or, you know, I'm looking at how they play into the whole song type of thing.

[Janda]

Right, exactly. So first up on your list is a fellow that we all know and love, a fellow that is not only a guitar player, but also an astrophysicist, Brian May.

[Christian Lane]

Brian May, the guitarist of Queen, obviously. It's funny, you know, I was just thinking about Brian this morning when I was thinking about my list and what I was thinking about is the name Queen because their music is regal and his approach to it is very regal and it's very English if you ask me. He made his own guitar. It's called the Red Special.

[Janda]

Oh, right.

[Christian Lane]

He made it with his dad. Honestly, I don't know why he decided to. Again, he is an astrophysicist, so it's probably wasn't that hard of a task. But there are springs from a car for the. For the springs that are on the back of an electric guitar the whammy bar is a kickstand off of a bicycle.

[Janda]

No way.

[Christian Lane]

Pretty interesting. After 1975 he got copies made of the guitar because obviously, well, he had the money at that point. So. But you know, if you've got a one off guitar that you made with your dad, you kind of don't want to be touring the world with it all the time. So the original Red special got to stay at home. But all the guitars are made to the specs that he wants. And he's got very specific ideas about tone. One of them is just that it cut through, which is probably every guitar player thinks about that, especially in a solo. How is it going to cut through? But he didn't necessarily want to do it just with volume, he wanted to do it with tone. And in rock and roll you have to find the different pockets of tone that you can fit in. You know, there's a low end, there's bass, there's treble. I'm just generalizing, but these are things that everybody kind of knows about. And you know, he found a real mid rangy tone. And part of how he gets it is he plays with a coin as well.

[Janda]

I did not know that.

[Christian Lane]

Yeah. And I've tried playing with every.

[Janda]

As opposed to a pick.

[Christian Lane]

A pick, just a little piece of plastic and it's bendy. And I do like to play with a heavier one so it doesn't bend as much. But I can't play with a coin. I've tried it. It's so unforgiving. It's just all attack. So every note that he plays is really cutting through, not necessarily with volume but with the tone. So it's not just that he can solo, it's just that he finds right spot and he, he tries to say that he's not a shredder that he can't shred. You know, he's being very self effacing but he can shred. He just really likes to play for the song and in particular the solo ed shows Bohemian Rhapsody. I'm sure there's, you know, Queen fans will argue and please go ahead in the comments or whatever, but there's tons of solos I could have picked but I really, you know, Bohemian Rhapsody. He's really stated that he was writing a counterpoint which is a classical music thing where you know, you have the main melody and then you write a counterpoint to that. It's not a harmony though, it's its own thing. It's not a call and response, but it's almost like this is My response to the main melody. So the fact that he orchestrated this and arranged it, and he's one of those guys that he will stay after. He'll stay after class and work on his parts. Paul McCartney was known for doing that with his engineer, Jeff Emrick, and working out his bass parts and really thinking about him. And that's how Brian May did it. Stayed after, just played the same part over and over. And back in the day, you had to do that on tape. So you're rewinding and it's, you know, it's not fun. And also you're weari down the tape. And they ran that tape through the machine so many times that you could see through it.

[Janda]

Back then, everything was done on tape. And legend does have it that it was almost like 200 overdubs.

[Christian Lane]

Yeah.

[Janda]

On a single piece of tape. Because this is very expensive stuff back then, and you can't just toss it out and start anew. The legend does say that, you know, you can take this tape, the original tape, and you can see through it. It was almost transparent it had been used so much.

[Christian Lane]

And you really can. This is a very muso thing to say, but there's a thing in the studio called punch ins where it's, you know, you don't have to play the whole part over. The producer, the engineer takes you to the spot that you need to fix and they just hit play and record and drop you in for a second and then pull you out and it's called a punch in. And you can hear the punches. On Bohemian Rhapsody, if you listen really closely, it's. That tape has just been worked to death. But look at the result. And, you know, Brian May very cleverly imitates an orchestra with his guitar. And, you know, that's a tone thing too, but he. He layers guitar parts and does guitarmonies. And, you know, it. It sounds like an orchestra. So sometimes they did use an orchestra, but sometimes it was just Brian May doing it.

[Janda]

Right. And I think that goes back to your. One of your original points on. On Queen's Music at Large is that it does sound regal, even though it was just four guys, because you had this ability to work the studio like another instrument. I think Roy Thomas Baker produced A Night at the Opera, so he knew what he was doing, certainly, but so did the band and their approach to this song that was so special to Freddie Mercury that he started writing it when he was a teenager. And I think all signs point to it was his own internal wrestling with the demons of Freddie Mercury. Song In a very grandiose way, they.

[Christian Lane]

Made it come to life for sure.

[Janda]

I think a lot of times at this point in life, the song has been heard so much that some of that grandiosity gets a little bit lost. But I swear to God, every now and again, I'll be driving around in the car and Bohemian Rhapsody will come on. And it kind of doesn't matter how many times I've heard it. Some part of that song will attach to me, you know, and it might be the guitar solo that Brian May is doing. It might be the acapella harmonies. It might be something else entirely, the weirdness of Freddie's lyrics. But, you know, there's no denying that the guitar solo in Bohemian Rhapsody is notable as played by the very Sir Brian May. There's so many different styles in playing guitar and so many different people that we could talk about Brian May being, you know, definitely one kind of player, one kind of rock guitar player, and there are so many others that you can't paint with the same paintbrush. Right?

[Christian Lane]

For sure. Well, okay, I'll go next with one of my favorite guitar players. But a completely different approach to what Brian May does. That's Jerry Garcia of the Grateful Dead, my favorite American rock band. He absolutely doesn't have a plan. Whereas Brian May goes in and orchestrates every note and does counterpoint like we talked about. Jerry goes in. And now, I hate to say he doesn't have a plan because he knows what he's doing, but he doesn't work out the solo in advance. A lot of these solos, you know, you can sing them, and a part of that is because they're melodic. But the other thing is because we've heard them played the same way every time, either live or just hearing the record over and over again. Every recording of. And I'm picking China Cat Sunflower as my example. It's a. It's one that. It's an early one for them, and it's one that they played throughout their entire career.

[Janda]

Sure. Interesting about China Cat Sunflower. You know, this is one of the famous. The famous sort of segue songs in the Grateful Dead catalog, I think.

[Christian Lane]

I mean, I think it's their first famous segue song. So it's China Cat Sunflower into I know you, Rider. And fans have just shortened it to China Rider. And much like Scarlet, Patagonia's goes into Fire on the Mountain, and now it's just known as Scarlet Fire.

[Janda]

Yeah.

[Christian Lane]

So, yeah, it's. It's. It's one of their early showpieces I would say, in a way. And what's interesting to me as a guitar player player, is listening to the. The way the solos develop over time. He will keep a little motif that he did from the very beginning. It's in there, but it's the jumping off point. You know, it's merely a suggestion. Sometimes he uses it, sometimes he doesn't. The really interesting thing about his playing to me as a guitar player is he does this thing where he lands on the note of the chord. And what that means is, let's say the three chords in the song are G, C, and D. So he starts the solo and he hits the G note. Right. When you hear the G chord somewhere on the fretboard, could be a low G, could be a high G. When it changes into a C, he will be hitting a C note somewhere. So no matter how far out he goes, there is a. An anchor in his playing, and that's the chords. And so in that sense, he is truly playing for the song, because he's even changing with the chord changes of the song. In another, greater sense, he's playing for the. The energy of the crowd. He's playing for the sound in the hall. He's playing for the way his amp sounds that night. You know, it's just any. Anything for Jerry Garcia could have been a jumping off for this is how I'm going to sound tonight. And it just changed. So over time, you know, you've got. You've got the sort of psychedelic primal dead in the 60s. And then by 1972, they've become what fans like to call the Bakersfield Dead, with sort of incorporating that Bakersfield country sound. And then by 1975, they're a little bit more disco, and they're transitioning into disco dead. So, you know, it's. It's really fun to listen to these solos in the different eras because they really, you know, they're always changing, they're always evolving, but they are always anchored in the chord structure of the song.

[Janda]

All right, so let's do this from 1969. Here's China Cat Sunflower, the original recording from Christian. You got to help me with the pronunciation of the album title, Oxamoxoa.

[Christian Lane]

It is a palindrome.

[Janda]

Okay. And it's a mouthful, too. So here's a little bit of China Cat Sunflower, the original. And here is China Cat sunflower from Europe 72.

[Christian Lane]

Yes.

[Janda]

The Europe 72 tour, which many Dead fans will point to as some of their peak moments. Right, Absolutely.

[Christian Lane]

It's my My favorite era. And I'm going to use the show from Lyle France.

[Janda]

And then finally, this is what you're talking about in the evolution of time. As time passed over the. The Grateful Dead's history, from at least the late 60s to the mid 70s, you hear this much difference. This is the. What you call the disco, disco Dead. So, yeah, I mean, it's interesting what you were saying about the three chords, the basis of the song. Jerry's staying with it, but then also being very free. And, you know, this is a band that never rehearsed, never had a set list. I have got no idea how the members of the Grateful Dead ever knew when to start or end a song or any. Anything in between, frankly. I mean, they just were up there and they would just magically come together all at once in some way. That is a complete and utter mystery to me, because I know that they were totally just doing whatever they felt at the moment, you know, which is part of the excitement of the Grateful Dead.

[Christian Lane]

I was going to say, to me, it seems like a magic trick what they do, because they do go so far out. I remember one time you walked in and it sounded like, you know, avant garde, Philip Glass, you know, weird going on in here. And you said, what into? And I said, this is trucking. You know, I mean, literally sounded like noise for a second. And I love that band. All of a sudden, they pulled it back in and they all fell in at the right time. I mean, it's a magic trick. It really is.

[Janda]

Well, it all goes back to. I think it was Harlan Howard that said three chords. And the truth, if you start from there, then you'll end up somewhere. And I guess that was probably something that Jerry could agree to if he was still around today. And. Yeah, vastly different styles of playing, completely different approaches to being a band between Qu and the Grateful Dead in just every way that you can possibly imagine. British, American, four piece, whatever piece.

[Christian Lane]

Yeah. Very thought out and self controlled. Very not thought out and no control. You know, I mean, those are. They're just absolutely almost polar opposites of what bands can be in a beautiful way.

[Janda]

Yeah. And two great guitar players, each in their own right. All of these people can play guitar, right? Like all of these classic guitar masters. Obviously they're very good at playing guitar, but they were also in the right band at the right time for their style, you know, and that is such a. Such a huge, huge thing because, you know, no man is an island or no woman is an island. Can you imagine if, say, Jerry Garcia auditioned to be in Queen. Like, it just. It would not work, you know, just in every single way, and vice versa. There's no way Brian May would put up with the shenanigans in the Grateful Dead. So everything. Everything in its place, I guess, is. Is the moral of that story.

[Christian Lane]

It's one of the magical, great things about music. You know, there's just. It's such a big umbrella, and there's so much underneath that umbrella that you can discover, and you can fully be obsessed with both of these bands, but they're completely opposite, and I think that's wonderful.

[Janda]

Well, and, you know, Christian, this is a topic that we could probably talk about until the end of time, but we kind of got to cut it. So we're going to have to do a part three now and get to some of the other guitar players and guitar solos, notable guitar solos that we want to talk about. So I wonder if this is just.

[Christian Lane]

Becoming a series now.

[Janda]

Well, you know, we'll have to do at least a part because we still haven't talked about Joe Walsh, we still haven't talked about Mike Campbell, and there's still a couple of other people that I can think of, and I'm sure you can, too, who made some of the most notable and unique guitar solos in the genre. So we're gonna. Definitely. We have to. We have to.

[Christian Lane]

I'm in.

[Janda]

All right, cool. I'm Janda, and this has been behind the song. Thank you, Christian, for joining me with your insights on guitar solos and guitar music and any kind of music that you can think of as always, always appre.

[Christian Lane]

Absolutely. My pleasure. See you on part three.

[Janda]

And on the way, much more classic rock and roll.