<?xml version="1.0" encoding="utf-8"?><feed xmlns="http://www.w3.org/2005/Atom"><title>dtg</title><id>https://example.com/feeds/tags/music.xml</id><subtitle>Tag: music</subtitle><updated>2026-06-04T19:13:43Z</updated><link href="https://example.com/feeds/tags/music.xml" rel="self" /><link href="https://example.com" /><entry><title>Top 5 Guitarists of All Time (Or, Just Those I Am Listening to Now)</title><id>https://example.com/top-5-guitarists-of-all-time-or-just-those-i-am-listening-to-now.html</id><author><name>Dylan Gleason</name></author><updated>2026-05-31T21:39:00Z</updated><link href="https://example.com/top-5-guitarists-of-all-time-or-just-those-i-am-listening-to-now.html" rel="alternate" /><content type="html">&lt;p&gt;The other day, a good friend of mine asked me over the group chat who
my &amp;quot;Top 5 Favorite Guitarists of All Time&amp;quot; are. Since answering that
question is impossible, I am instead going to name the first five
guitarists I could think of based on songs I have been listening to
recently. So, keeping that recency bias in mind, here they are (in no
particular order), some of my favorite guitarists:&lt;/p&gt;&lt;h1&gt;George Benson&lt;/h1&gt;&lt;p&gt;Most listeners will recognize George Benson from his 1976 smash hit
&lt;a href=&quot;https://www.youtube.com/watch?v=G1QjyskJ9jw&quot;&gt;&amp;quot;Breezin'&amp;quot;&lt;/a&gt;, which helped
usher in the smooth jazz era and for a time was a fixture of
supermarket background music heard across America (alongside Chuck
Mangione's &lt;a href=&quot;https://www.youtube.com/watch?v=YKp7g0mxHVc&quot;&gt;&amp;quot;Feels So Good&amp;quot;&lt;/a&gt;). But don't get it
twisted—George Benson is a certified guitar hero. I am most familiar
with his output on CTI records, because records released on that label
were very easy to find on the second-hand market back when I was
collecting a lot of vinyl. Here is one such song from his 1976 album,
&lt;a href=&quot;https://www.discogs.com/master/52449-George-Benson-Bad-Benson&quot;&gt;&lt;em&gt;Bad Benson&lt;/em&gt;&lt;/a&gt;,
called &amp;quot;The Changing World&amp;quot; (hip-hop fans may also recognize this
one):&lt;/p&gt;&lt;p&gt;&lt;iframe src=&quot;https://www.youtube.com/embed/FiSeub38_Oc&quot; title=&quot;YouTube Video Player&quot; frameborder=&quot;0&quot; allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;&lt;/p&gt;&lt;h1&gt;Scott Henderson&lt;/h1&gt;&lt;p&gt;I first heard Scott Henderson by way of The Chick Corea Elecktric
Band, specifically their eponymous
&lt;a href=&quot;https://www.discogs.com/master/61748-The-Chick-Corea-Elektric-Band-The-Chick-Corea-Elektric-Band&quot;&gt;debut album&lt;/a&gt;.
And while credit goes to Carlos Rios for the guitar work on my
favorite song on that album, &lt;a href=&quot;https://www.youtube.com/watch?v=gPLH6D9XT_4&quot;&gt;&amp;quot;Cool Weasel Boogie&amp;quot;&lt;/a&gt;,
Henderson contributed some fantastic guitar work on that album as
well. That said, the latter is probably more well known for his output
with his band, Tribal Tech. Their 1987 track &amp;quot;Mr. Hee&amp;quot; is a standout,
with it's mysterious Eastern (albeit somewhat Orientalist—check the album
cover) feel, glassy FM keyboards, and phenomenal lead and rhythm guitar work
by Henderson.&lt;/p&gt;&lt;p&gt;&lt;iframe src=&quot;https://www.youtube.com/embed/W6XVi-o-QCg&quot; title=&quot;YouTube Video Player&quot; frameborder=&quot;0&quot; allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;&lt;/p&gt;&lt;h1&gt;Chuck Schuldiner / Andy LaRocque&lt;/h1&gt;&lt;p&gt;OK, I am kinda cheating on this one because I've listed two guitarists
here. But bear with me, because both are integral to the amazing
guitar work heard on Death's &amp;quot;Trapped In A Corner&amp;quot;, from the 1993
album &lt;a href=&quot;https://www.discogs.com/master/15932-Death-Individual-Thought-Patterns&quot;&gt;&lt;em&gt;Individual Thought Patterns&lt;/em&gt;&lt;/a&gt;.
Death was essentially Schuldiner's project, with various players
drifting in and out of the rotation over the years. King Diamond's
Andy LaRocque makes a guest appearance here, offering a jaw-dropping
solo at the track's midpoint, accompanied by Chuck's potent,
syncopated riffing. Chuck adds his own blistering solo to close out
the proceedings. This really represented the apex of technical death
metal and guitar pyrotechnics at the time, and it remains to this day
a classic of the genre.&lt;/p&gt;&lt;p&gt;&lt;iframe src=&quot;https://www.youtube.com/embed/wH56VOptIDI&quot; title=&quot;YouTube Video Player&quot; frameborder=&quot;0&quot; allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;&lt;/p&gt;&lt;h1&gt;Wes Montgomery&lt;/h1&gt;&lt;p&gt;Arguably the best jazz guitarist of all time, Wes Montgomery's
influence on both jazz and generations of guitarists is undeniable. In
particular, I love his solo on the Gary McFarland penned &amp;quot;13 (Death
March)&amp;quot;, which appears on the 1968 collaborative album
&lt;a href=&quot;https://www.discogs.com/master/33174-Jimmy-Smith-Wes-Montgomery-Jimmy-Wes-The-Dynamic-Duo&quot;&gt;&lt;em&gt;Jimmy &amp;amp; Wes: The Dynamic Duo&lt;/em&gt;&lt;/a&gt;
album, co-starring Hammond B3 virtuoso Jimmy Smith. Wes' guitar solo
is a masterful demonstration of musical restraint and melodic
phrasing, and his octave vamps are instantly recognizable.&lt;/p&gt;&lt;p&gt;&lt;iframe src=&quot;https://www.youtube.com/embed/bLoIMAoFgDw&quot; title=&quot;YouTube Video Player&quot; frameborder=&quot;0&quot; allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;&lt;/p&gt;&lt;h1&gt;Tony MacAlpine&lt;/h1&gt;&lt;p&gt;I listened to a lot of shredders when I was in high school, back when
I was (somewhat) seriously pursuing guitar. Naturally, I listened to
Yngwie Malmsteen, Steve Vai, Joe Satriani, and Tony MacAlpine. And of
course, Eddie Van Halen and Randy Rhoads were both huge influences on
my musical education. That said, outside of Eddie &amp;amp; Randy, I don't
really listen to those guys that much anymore, but I do find myself
going back to Tony MacAlpine regularly. While he can obviously
shred like nobody's business, more importantly, he writes good songs
with interesting melodies. As far as albums go, I think
&lt;a href=&quot;https://www.discogs.com/master/243403-Tony-MacAlpine-Maximum-Security&quot;&gt;&lt;em&gt;Maximum Security&lt;/em&gt;&lt;/a&gt;
is probably his most cohesive and consistent effort from his eighties
hair metal phase. But if I had to name one song, it would be &amp;quot;Stream
Dream&amp;quot;, off of 1992's &lt;a href=&quot;https://www.discogs.com/master/423193-Tony-MacAlpine-Freedom-To-Fly&quot;&gt;&lt;em&gt;Freedom To Fly&lt;/em&gt;&lt;/a&gt;.
It is such a euphoric, energetic, and wonderful song. Also, it totally
reminds me of console games I played growing up in the 90s, imbuing it
with a nostalgic quality that brings me a lot of comfort.&lt;/p&gt;&lt;p&gt;&lt;iframe src=&quot;https://www.youtube.com/embed/F2HFP2aSr7Y&quot; title=&quot;YouTube Video Player&quot; frameborder=&quot;0&quot; allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; allowfullscreen=&quot;&quot;&gt;&lt;/iframe&gt;&lt;/p&gt;</content></entry></feed>