Would you consider The Edge (from U2) a GREAT guitarist?

[tangy]

yes. love u2 up to achtung

 

his thing iirc is to find a guitar effect and tinker? not a player myself so take that for whats it worth

 

hard to explain but his playing is energetic and emotional to me

 

lets put it this way, i rate him second to bono in the group but above adam and larry

 

When I bought Achtung I couldn't believe my ears. I took out that cd and used it as a frisbee on my street.

 

i can only assume that the street had no name?

 

even better than the EARL thing...........

[JohnnyBlaze]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

The question was do YOU think The Edge is a great guitarist, not does Alex Lifeson think The Edge is a great guitarist.

 

Yeah I know. And yet Lifeson has mentioned.....

[RushFanForever]

On a side note, when I listen to the Tom Cochrane & Red Rider song 'Ocean Blues (Emotion Blue)' from 1986, in the chorus and bridge I can hear an Edge guitar influence from U2's War album.

 

http://www.youtube.com/watch?v=Xzs9w2UP3SY

Edited March 15, 2020 by RushFanForever

[78jazz]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

 

I would credit more of that to Andy Summers than the Edge, but I think that the Edge isn't doing anything Andy Summers wasn't.

 

I wouldn't say the Edge is bad and he is excellent for U2, but I wouldn't call him a guitar great in a broader sense.

 

U2 is a band that none of the individuals are particularly excellent (the jury is out on Bono), but as a unit they function very well.

[treeduck]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

 

I would credit more of that to Andy Summers than the Edge, but I think that the Edge isn't doing anything Andy Summers wasn't.

 

I wouldn't say the Edge is bad and he is excellent for U2, but I wouldn't call him a guitar great in a broader sense.

 

U2 is a band that none of the individuals are particularly excellent (the jury is out on Bono), but as a unit they function very well.

Yes in the early 80's Alex was influenced most by Andy Summers and Allan Holdsworth rather than The Edge.

[JohnnyBlaze]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

 

I would credit more of that to Andy Summers than the Edge, but I think that the Edge isn't doing anything Andy Summers wasn't.

 

I wouldn't say the Edge is bad and he is excellent for U2, but I wouldn't call him a guitar great in a broader sense.

 

U2 is a band that none of the individuals are particularly excellent (the jury is out on Bono), but as a unit they function very well.

Yes in the early 80's Alex was influenced most by Andy Summers and Allan Holdsworth rather than The Edge.

 

I’m going by 80s and 90s guitar mag interviews of Lifeson in which he directly mentions The Edge

[RUSHHEAD666]

yes. love u2 up to achtung

 

his thing iirc is to find a guitar effect and tinker? not a player myself so take that for whats it worth

 

hard to explain but his playing is energetic and emotional to me

 

lets put it this way, i rate him second to bono in the group but above adam and larry

 

When I bought Achtung I couldn't believe my ears. I took out that cd and used it as a frisbee on my street.

 

i can only assume that the street had no name?

 

even better than the EARL thing...........

 

HAHAHAHAHA! Tangy!!! You nailed it. CLASSIC PUNS!!!!

 

 

"Earls Just Wanna Have Puns"

 

 

Cyndi Lauper

[treeduck]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

 

I would credit more of that to Andy Summers than the Edge, but I think that the Edge isn't doing anything Andy Summers wasn't.

 

I wouldn't say the Edge is bad and he is excellent for U2, but I wouldn't call him a guitar great in a broader sense.

 

U2 is a band that none of the individuals are particularly excellent (the jury is out on Bono), but as a unit they function very well.

Yes in the early 80's Alex was influenced most by Andy Summers and Allan Holdsworth rather than The Edge.

 

I’m going by 80s and 90s guitar mag interviews of Lifeson in which he directly mentions The Edge

 

 

[Were you ever influenced by jazz?

 

Allan Holdsworth really touched me. The playing he did with U.K. and Bill Bruford was so incredibly fluid, more like a sax or violin than a guitar. His solo on U.K.'s "In the Dead of Night" influenced my whammy bar playing tremendously.

 

“IN THE DEAD OF NIGHT” U.K., U.K. (1978)

Allan Holdsworth has an amazing, out-of-this-world liquidity. What a genius! His fingers are constantly moving. Pulls make up the bulk of his playing; I don’t think he does much picking.

 

I was listening to Holdsworth around the time of Moving Pictures [1981], and you can indirectly hear his influence on my playing on ‘YYZ.’

 

https://web.archive....-rush?page=0,10

 

http://www.2112.net/...00guitarone.htm

 

How did you develop the textural side of your rhythm playing?

 

It probably began with my use of effects. I've always been one to use effects quite a bit. When BOSS came out with the original chorus back in the 70s - the big gray-green metal units - I latched onto it right away and it became a distinctive part of my sound, along with the use of echo and delay. Texturally, I like to create those dreamy sort of soundscapes. I've been doing those probably as far back as "Xanadu." The thing grew when we added keyboards in the 80s, which gave me more room to play those spacious parts. The idea always was get a broader sound than what is traditionally heard with a three-piece rock band. I think Andy Summers developed his textural playing in the Police - which was also a trio - for similar reasons.

[JohnnyBlaze]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

 

I would credit more of that to Andy Summers than the Edge, but I think that the Edge isn't doing anything Andy Summers wasn't.

 

I wouldn't say the Edge is bad and he is excellent for U2, but I wouldn't call him a guitar great in a broader sense.

 

U2 is a band that none of the individuals are particularly excellent (the jury is out on Bono), but as a unit they function very well.

Yes in the early 80's Alex was influenced most by Andy Summers and Allan Holdsworth rather than The Edge.

 

I’m going by 80s and 90s guitar mag interviews of Lifeson in which he directly mentions The Edge

 

 

[Were you ever influenced by jazz?

 

Allan Holdsworth really touched me. The playing he did with U.K. and Bill Bruford was so incredibly fluid, more like a sax or violin than a guitar. His solo on U.K.'s "In the Dead of Night" influenced my whammy bar playing tremendously.

 

“IN THE DEAD OF NIGHT” U.K., U.K. (1978)

Allan Holdsworth has an amazing, out-of-this-world liquidity. What a genius! His fingers are constantly moving. Pulls make up the bulk of his playing; I don’t think he does much picking.

 

I was listening to Holdsworth around the time of Moving Pictures [1981], and you can indirectly hear his influence on my playing on ‘YYZ.’

 

https://web.archive....-rush?page=0,10

 

http://www.2112.net/...00guitarone.htm

 

How did you develop the textural side of your rhythm playing?

 

It probably began with my use of effects. I've always been one to use effects quite a bit. When BOSS came out with the original chorus back in the 70s - the big gray-green metal units - I latched onto it right away and it became a distinctive part of my sound, along with the use of echo and delay. Texturally, I like to create those dreamy sort of soundscapes. I've been doing those probably as far back as "Xanadu." The thing grew when we added keyboards in the 80s, which gave me more room to play those spacious parts. The idea always was get a broader sound than what is traditionally heard with a three-piece rock band. I think Andy Summers developed his textural playing in the Police - which was also a trio - for similar reasons.

 

Yes yes I know of those. Now I’m too lazy to look for the references he has of The Edge but they exist

[HemiBeers]

The Edge pioneered the 'less is more' approach. But after a while it became 'less is not enough'. Early in U2, his playing is more up front in the mix. Later it gets buried..probably because it just isn't as interesting.

[Entre_Perpetuo]

The Edge pioneered the 'less is more' approach. But after a while it became 'less is not enough'. Early in U2, his playing is more up front in the mix. Later it gets buried..probably because it just isn't as interesting.

 

You can ditch the word probably. Band hasn't had a great song since Beautiful Day, and that felt like a bit of a cop out to my ears.

[78jazz]

http://www.cygnus-x1.net/links/rush/free-music-06.1984.php

 

While the Edge is mentioned, Andy Summers gets more discussion here.

 

If there is some work the Edge has done that is not Summers derived, I would listen to it.

[treeduck]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

 

I would credit more of that to Andy Summers than the Edge, but I think that the Edge isn't doing anything Andy Summers wasn't.

 

I wouldn't say the Edge is bad and he is excellent for U2, but I wouldn't call him a guitar great in a broader sense.

 

U2 is a band that none of the individuals are particularly excellent (the jury is out on Bono), but as a unit they function very well.

Yes in the early 80's Alex was influenced most by Andy Summers and Allan Holdsworth rather than The Edge.

 

I’m going by 80s and 90s guitar mag interviews of Lifeson in which he directly mentions The Edge

 

 

[Were you ever influenced by jazz?

 

Allan Holdsworth really touched me. The playing he did with U.K. and Bill Bruford was so incredibly fluid, more like a sax or violin than a guitar. His solo on U.K.'s "In the Dead of Night" influenced my whammy bar playing tremendously.

 

“IN THE DEAD OF NIGHT” U.K., U.K. (1978)

Allan Holdsworth has an amazing, out-of-this-world liquidity. What a genius! His fingers are constantly moving. Pulls make up the bulk of his playing; I don’t think he does much picking.

 

I was listening to Holdsworth around the time of Moving Pictures [1981], and you can indirectly hear his influence on my playing on ‘YYZ.’

 

https://web.archive....-rush?page=0,10

 

http://www.2112.net/...00guitarone.htm

 

How did you develop the textural side of your rhythm playing?

 

It probably began with my use of effects. I've always been one to use effects quite a bit. When BOSS came out with the original chorus back in the 70s - the big gray-green metal units - I latched onto it right away and it became a distinctive part of my sound, along with the use of echo and delay. Texturally, I like to create those dreamy sort of soundscapes. I've been doing those probably as far back as "Xanadu." The thing grew when we added keyboards in the 80s, which gave me more room to play those spacious parts. The idea always was get a broader sound than what is traditionally heard with a three-piece rock band. I think Andy Summers developed his textural playing in the Police - which was also a trio - for similar reasons.

 

Yes yes I know of those. Now I’m too lazy to look for the references he has of The Edge but they exist

You need snack fuel!

[goose]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

Edge's phrasing is fantastic.

[treeduck]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

Edge's phrasing is fantastic.

[goose]

While Andy Summers is mentioned, Robert Fripp gets more discussion here.

 

If there is some work that Summers has done that is not Fripp derived, I would listen to it.

[goose]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

Edge's phrasing is fantastic.

http://www.youtube.com/watch?v=H8dZwXnMrRU

I've seen that. I think it's pretty funny, too. Doesn't discount what the Edge does musically, though.

[treeduck]

The Edge just has that delay thing he does and that's it.

 

And yet Lifeson has mentioned him several times as being a big influence and being innovative. I think it’s not too hard to hear The Edge’s influence on Lifeson on various mid-80s Rush tunes

Edge's phrasing is fantastic.

http://www.youtube.com/watch?v=H8dZwXnMrRU

I've seen that. I think it's pretty funny, too. Doesn't discount what the Edge does musically, though.

I don't like U2, and I don't like The Edge. :boo hiss: :nya nya:

[thesweetscience]

A good riff writer and I like his style but a virtuoso he is not. At least I have never seen any evidence of it. Edited March 15, 2020 by thesweetscience

[Lorraine]

I think his little solo in the song Pride (In The Name of Love) is exceptional, but I can't think of anything else he did that I would call exceptional. So I voted .

 

:7up:

[Entre_Perpetuo]

I think his little solo in the song Pride (In The Name of Love) is exceptional, but I can't think of anything else he did that I would call exceptional. So I voted .

 

:7up:

 

He doesn't do many exceptional solos, although I quite like the one in New Years Day!

[Lorraine]

I think his little solo in the song Pride (In The Name of Love) is exceptional, but I can't think of anything else he did that I would call exceptional. So I voted .

 

:7up:

 

He doesn't do many exceptional solos, although I quite like the one in New Years Day!

That's another good one. Forgot about that. Thanks for reminding me.

[goose]

I think his little solo in the song Pride (In The Name of Love) is exceptional, but I can't think of anything else he did that I would call exceptional. So I voted .

 

:7up:

 

He doesn't do many exceptional solos, although I quite like the one in New Years Day!

That's another good one. Forgot about that. Thanks for reminding me.

The tone is amazing on that. The intro to Where The Streets Have No Name is pretty nifty, and there's lots of great guitar work on Achtung Baby.

[Three Eyes]

Andy's sound was the most influential guitar sound of the 80s (outside of metal I guess) but this really shouldn't be an Andy Summers vs The Edge thing. They're both great and both brought innovations to rock guitar even if Andy did arrive at the table first with that sound we all know. The two are really only similar on the surface, imo. The Edge's sound might actually be more of an expansion on Television's brittle minimalism than Andy's chorus laden spaciness. In any event, The Edge's sound is tougher, bigger and more percussive than Andy's. He took that sound to places no other guitarist did in the 80s, creating aural dreamscapes that found a natural home in stadiums while at the same time retaining a certain minimalistic quality. Andy used modulating effects and delay for atmosphere and color in a way no one else was doing in the 70s. The Edge on the other hand didn't use modulation but interacted with his delay like it was another instrument, using string droning, textural playing and other techniques to create a wide open, emotional sound that was perfect for U2's 80s material. In the RS article, Edge mentions that Brian Eno helped him by "adding new sorts of treatments to my repertoire." Doesn't surprise me at all. Eno has a great musical mind and the Edge probably needed guidance at that young age. Anyway, I think both guitarists deserve a lot of credit for their contributions. Sorry about the wordiness.

[Fridge]

I can't understand why people wouldn't think The Edge is a great guitarist...on their earlier albums he is much more interesting to listen to than yet another shredder.