toymaker, on 19 October 2017 - 07:08 PM, said:
I think Emmett is a great guitarist, and he's written some great riffs and solos. I have no doubt he knows the fretboard like nobody's business and knows every chord. I saw him at a guitar workshop, and he played a jazzy thing where every beat was a different chord. It was cool, but frankly forgettable. He's a great shredder, and his solos (such as in Rock and Roll Machine) can have different facets.
But still . . . I don't think I've really ever heard him do something unique. A lot of his licks seem grabbed from the big cosmic bag o' rock guitar licks. There is occasionally a sloppiness and a strident tone in his playing. I suspect some of that is production and youth.
With respect to Alex, I think of his solo on Working Man, and I think that even though it definitely takes liberally from the blues scales, there are some things that are quite astonishing and unique for such a young player on a first album of boogie-rock. There's a two string climbing thing he does where he seems to stretch his fingers beyond what should be possible. Then you think of the By-Tor solos, the Necromancer solos, Kings and Cygnus - I don't think Emmett ever comes close to such jaw dropping glory - not to mention the brilliance of La Villa, the emotional power of the Jacob's Ladder lead and of course Limelight.
I'm a great admirer of Emmett, and I'm happy to go along with this "same league" thing . . . but Lifeson just as a direct line to something special, a sort of mojo or tap into the collective unconscious, or something.
ok, sure, you had to go and pull the The Necromancer card, didn't you ??
In terms of "special" meaning and playing, the best Alex means more to me than Rik Emmett's best ..