Dicky Betts, “Jessica.” Great right hand.
Peter Green’s already covered, so let’s talk Lindsey Buckingham. I wasn’t even in my teens when Rumours came out, and much of his work was to me, “Yeah, Lindsey’s pretty good, he’s played on/written some great tunes.” I just took him for granted, because I knew the songs before I fully understood how good they were, and so they bypassed any critical thinking I might have done on the subject for many years.
Watch this and try to take him for granted.
I wish I played so that I might have the vocabulary to properly talk about this. I still don’t know half of what he’s singing, but the guitar. . .man, the first time I saw this performance on disk, I was just drawn in, and sat stupefied and amazed. It just builds and builds, and JUST KEEPS GETTING BETTER AND BETTER. If I had to pick just a part of the song, it’s starting about 3:45 and running to the end of the song, nearly 4 minutes of guitar solo, almost all of which is continually building tension.
Some more from The Dance, for further enjoyment.
The Chain
Silver Spring
One of the best call and response guitar duels is Stephen Stills and Neil Young on CSNY’s Four Way Street live version of Southern Man. You get caught up in the twists and turns; it’s like reading an incredibly thrilling book.
Just to second the love for a lesser known group. Glenn Quackenbush’s (what a great name) buzz-saw guitar playing in SRC - particularly on the classic Black Sheep.
I’m interested in the difference different guitars can make. How do you feel it would have sounded if he had used the Stratocaster?
I have a soft spot for Vai’s completely gratuitous shredding on the last half or so of PiL’s Ease.
Hmm. Okay: listen to the intro to Sweet Home Alabama and Pride & Joy. Now impose either of those dominant Strat flavors onto the CNumb lead. Both have a level of clarity that the CN lead tone does not have. It is warmer and thicker - there’s no Strat quack or twang; it’s rounder in tone than that (does that make sense?) and perfectly suited to the song as a result. I appreciate the consciousness of the choice.
Too many to mention, but I have to give a shout-out to the duet between Duane Allman and Dicky Betts during the monster that is “Mountain Jam.” When everybody returns to the stage after the interminable drum solo, Duane launches into some sweet slide guitar work. Then Betts joins in and they just…fucking…cook.
It’s not spectacular or show-boaty, but I find his guitar work on You Make Lovin’ Fun perfectly complements the song.
Shine on you crazy diamond, for sure. But not David Gilmour. Sorry.
I was actually going to lead with “SWA” – that’s an incredible rhythm part that almost no six-slinger gets right. Even with the amazing RIP Billy Powell on piano, the guitar rhythm part makes the tune.
I know what you mean, OpalCat. At Earls Court my seat was so close to this it was unbelievable, and it has stuck with me for the last thirty years:
My own submission will be Jack White’s sublime guitar work on Ball and Biscuit. The connection between rock music and sex encapsulated:
Ill be in my bunk.
Jimmy Page’s solo in ‘Stairway to Heaven’
Pete Townsends guitar playing in "Won’t get fooled again’
Eric Clapton’s guitar in the live version of ‘Cocaine’
Mark Knophler’s lead guitar in the ‘Alchemy Live’ version of ‘Sultan’s of swing’
I love watching him in this video. The artist in him is obvious. Nothing is moving but his fingers. His spirit is the driving force, his mind is just along for the ride. 
Jimmy Page’s solo in ‘Stairway to Heaven’
Pete Townsends guitar playing in "Won’t get fooled again’
Eric Clapton’s guitar in the live version of ‘Cocaine’
Mark Knophler’s lead guitar in the ‘Alchemy Live’ version of ‘Sultan’s of swing’
http://www.youtube.com/watch?v=SNRJuNQ-rtI&feature=results_video&playnext=1&list=PLEEC7C17E540CBBC9
I love watching him in this video. The artist in him is obvious. Nothing is moving but his fingers. His spirit is the driving force, his mind is just along for the ride. 
Now that we’re on Page, one of my first choices was the main riff then rhythm to “Communication Breakdown.” Perfect.
Jack White’s been on my radar for years, but I’ve been real slow to accept him. He’s an interesting guy, and I respect him, but much of his work has been somehow inaccessible to me. Just didn’t ‘get’ it. Maybe because I’m a classic-rock-loving dinosaur. Recently, I’ve been watching live performances on Youtube, and I find I enjoy them a lot more than his studio stuff. “Ball & Biscuit” was really very enjoyable. Thanks for that.
Since we’re on a Page roll here, I’ll mention that Jack White and the Edge were in a movie called, “It Might Get Loud” with him. I highly recommend it if you’re a fan of any or all of the above. Watching Page grin and play air guitar along with a Link Wray record was a kick, and they all played together at the end. “In My Time of Dyin’” was particularly good, and while I’ve never been a big fan of the Edge, he turned in some really sweet, tasteful work on that one.
Seven Nation Army:
In My Time of Dyin’ (audio only):
Yes and Steve Howe always come up in these threads, but I have to say my favorite guitar part in any Yes song ever is Peter Banks’ work in “Everydays” from the second album Time and a Word. Banks and keyboardist Tony Kaye left after that album, so they were essentially a different band by the time The Yes Album was released, but that second album, and Everydays in particular, have always stood out to me as an interesting and different take on rock music. The rapid fire instrumental center of the song stands in stark contrast to the dreamy bookends, and Banks’ guitar work is blistering.
If you are in the mood for a laugh you can see their ridiculous video (very pre-MTV) of the song here, which features the band being chased by… a nun.
first thing I thought of.
Some more for your consideration, The White Stripes “You don’t know what love is (you just do as you’re told)”
Good stuff all the way through but from 3:00 onwards he really steps it up. The guitar part there is very reminiscent of Mike Oldfield’s in “Family Man” at around 2:10, which also deserves a mention. (apologies for the fan-made video there).
Also, Led Zepplin’s version of “Travelling Riverside Blues” on their BBC sessions album has a brilliant intro. And Morrisey’s"Margaret on a Guillotine" has a superb outro (basically from 2:00 onwards) courtesy of Vini Reilly (of Durutti Column fame)
And here’s another potential thread - inadvertent mash-ups. My little boy is watching telly in the background and while testing the links for this post I had “Family Man” kicking it large with the clean-up song from “Big Cook, Little Cook”, Those were some harsh, tasty beats.
**Jaledin **- what do most guitar players get wrong here? It’s basically a D, C, G arpeggio pattern. Something about the pacing of the pattern? Like missing the syncopation of the beats on the tonic or something?
You listened to any Faces feat. Ian McLagan on keys yet? Tasty.
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Some more for your consideration, The White Stripes “You don’t know what love is (you just do as you’re told)”
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That is a powerful song - great riff, great overall guitar work and just aggressive lyrics. Sticks in your head, it does.
I am a huge Jack White fan. I admire his ability to ride the edge between *primitive *and *primitivist *so creatively (I got that from some critic; can’t recall who). Bottom line is that his guitar seems to always be just this side of out of control and he embraces the riffy/creative-with-a-bit-of-slop tradition epitomized by Jimmy Page. And his voice is expressive, although it can be as annoying as Plant’s sometimes was. 
I think that’s a great description, captures the essence perfectly.