Right. If a metal band had got to the main riff of "Crazy Horses" first, it would have been a stone cold classic. I mean, it still is, but it's such a heavy sound that it should be delivered by Tony Iommi.
How does the riff in Beat It not belong? It's integral.
And with Baker Street, I presume you are talking about that marvellous guitar solo. If so, you're the first person ever to claim that guitar solos don't have a place in prog rock.
Not a riff as such, but the bit that sounds like it belongs in an episode of Star Trek - or, at the very least, in an album track of an immediately post-Gabriel Genesis long player - in Richard III by Supergrass
Not a riff as such, but the bit that sounds like it belongs in an episode of Star Trek - or, at the very least, in an album track of an immediately post-Gabriel Genesis long player - in Richard III by Supergrass
Theremins are awesome. More songs should have theremins.
Anyway, two fuzz guitar solos that come from left field:
Tony Peloso's solos in the Carpenters' "Goodbye To Love", which I absolutely adore. A superb innovation by Richard C.
Thomas McClary's solo in The Commodores' "Easy", which is also wonderful. Ernie Isley lite.
Goodbye to Love is one of my favourite ever songs, and it must mostly be those solos. Although the big harmony overlaying the solo to fade is pretty darn good too.
Going back to the theme of the original post, Revolution by the Beatles always jumps out at me in a similar vein. It kicks off with such a harsh, fuzzy metallic riff, you'd scarcely imagine it was them even considering what a wide range of stuff they produced in such a short era. It's one of my favourites of theirs, incidentally.
...and I didn't know until I went to find and link this video right now, it's John playing the riff, not George as I'd kind of assumed:
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