In Los Angeles, the surf music scene with its sunny optimism and energy was the matrix from which emerged a group that was to become one of the major forces in popular music. The Beach Boys were formed in 1961 by the three Wilson Brothers — Brian, Carl and Dennis — together with Mike Love and Al Jardine. The group were shaped musically by the prodigious talent of Brian Wilson (b. 1942), who sang and played bass. His major contribution was writing, arranging and producing. Carl Wilson (1946-98) sang and played guitar, but a large part of the group's music was played by session musicians, with guitar parts by a host of studio players. In the early days, the guitar sound was often highly derivative. The breakthrough second single "Surfin' Safari" (1962) has a dry, muted rock 'n' roll rhythm and a twangy chordal solo. "Surfin' USA" (1963), based on the Chuck Berry number "Sweet Little Sixteen," reveals a Beach Boys' arrangement, yet the guitar parts mirror Chuck Berry's guitar style, a homage also evident on the "Johnny B. Goode"-style intro to "Fun Fun Fun" (1964). Nevertheless, the group often used guitar very effectively, as on the chordal parts that offset the beautiful harmony vocals on "In My Room" (1963).

PET SOUNDS

Late in 196S, Brian Wilson started putting together tracks for what would become one of the great albums in pop music, Pet Sounds (1966). Virtually all the guitar parts are by experienced studio players, including Barney Kessel, Glen Campbell, and others. On some of the most effective tracks, the guitar is almost invisible, woven into a collage of sound, yet it has an essential role in the creation of textures within innovative arrangements. Apart from some strummed chordal rhythms, the guitar is treated as part of a plucked string ensemble with various combinations of harpsichord, mandolin, and even ukelele on "Wouldn't It Be Nice," "Caroline No," and "Sloop John B."

ROGER McGUINN

One of the first influential pop groups with a distinctive guitar sound to emerge from Los Angeles in the 1960s was the Byrds. Members of the group had a pronounced leaning toward folk and, with the style revolution taking place in pop music, they started creating their own synthesis of folk and pop, which has affinities with the work of Bob Dylan, The Searchers, and The Beatles. The major figure in the group is Roger McGuinn (b. 1942), whose playing shows harmonic sensibilities and takes strands from folk as well as jazz. With David Crosby, he created a chiming sound with jangling, sonorous chords that became one of the hallmarks of 1960s pop. The Byrds' captivating version of Dylan's "Mr. Tambourine Man" (196S), with its bright, swirling opening of two guitars playing melodies and chords and a hypnotic mixture of rolling and staccato rhythm figures under the vocal, became a major hit in 1965. One of their most interesting arrangements is Pete Seeger's folk song "Turn, Turn, Turn" (1966), which opens with a simple melodic theme and features arpeggiated figures and a 1 2-string solo that progresses to state the melody. With guitar lines inspired by John Coltrane,The Byrds' composition "Eight Miles High" (1966) opens with a bass riff and the guitar vibrates a note before playing a short theme and taking off into a passage of tangled improvisation with unusual lines using unfamiliar intervals. This returns for a solo interlude and is reintroduced at the end. With such approaches, The Byrds' music became an important part of the foundation of the "West Coast sound" in the 1960s.

SOUL & FUNK

During the 1950s, pioneers such as Lowman Pauling with The 5 Royales paved the way for a style of soul music that was based on R & B and Gospel. A fresh sound was created in the context of strong vocal arrangements in which guitar combined with other instruments to form a backdrop. In 1959, Berry Gordy founded the important studio and recording company that came to be known as Tamla Motown. During the 1960s, a large body of great pop songs was produced there with the help of a group of session guitarists, including Robert White, Joe Messina, and Larry Veeder. Their work can be heard on tracks by many artists: Barrett Strong's "Money (That's What 1 Want)" (1960) sees distorted guitar playing riffs with saxophone. A seductive riff opens the Temptations' sublime "My Girl" (1964) and "I'm Losing You" (1966) has clipped rhythm parts. Stevie Wonder's "For Once In My Life" (1968) opens with two funky cross-rhythm patterns joined by a melody part. One of the most attractive additions was the contribution of Mary Tarplin on Smokey Robinson's "The Tracks Of My Tears" (1969), where the guitar plays melodic chords.

At the Stax studios in Memphis, Steve Cropper worked as the main house session guitarist and as a producer; he also co-wrote material for recordings such as Wilson Pickett's "Midnight Hour" (196S) and Otis Redding's "Dock of the Bay" (1968). One of his most well-known guitar parts is that for Sam and Dave's "Soul Man" (1967), on which he plays a distinctive melodic part that opens the tune and contributes features made up of two- and three-note chords throughout the song.

A funkier, choppy rhythm that provided an insistent edge was developed by Jimmy Nolen (1934—83), who worked with James Brown from 1965. His funky parts are often based on holding down simple harmonies. Nolen plays bright chips and dry, strummed fills on "Papa's got A Brand New Bag" (1965) and "I Got You (I Feel Good)" (1965). One of his classic and instantly identifiable chordal motifs is heard on "Get Up" (1970).

Another individual key to the creation of a funky, rhythmic soul style at this time was Leo Nocentelli (b. 1946), recording with The Meters.

THE LOS ANGELES SCENE

The Doors were formed in 1965, with Jim Morrison on vocals, Ray Manzarek on keyboards, John Densmore on drums, and Robbie Krieger (b. 1946) on guitar. The band has a sound and identity its own, with the keyboards allowing Krieger the space to fill a thoughtful, original-sounding entire role. His playing is a complete departure from that of his contemporaries, drawing directly on classical and flamenco influences in addition to American popular music, and he often adds quite novel elements and melodic solos that have an almost compositional flavor. On The Doors (1967), the long version of "Light My Fire" moves towards jazz, with Krieger taking a solo with an altered scale. "The End" has an atmospheric setting with an Indian classical-music flavor, building to a chaotic climax. Krieger further developed his instrumental voice on the album waiting For the Sun (1968).

Other Los Angeles groups explored progressive avenues. Love, formed in 196S with Arthur Lee (b. 1945) on guitar, put together an intricate, more blues-influenced sound that can be heard on Forever Changes (1968). In the same year, Spirit, with the young guitarist Randy California (see page 198), brought out their debut album Spirit, setting psychedelic folk, pop harmony, and blues-rock guitar in adventurous compositional settings.

SAN FRANCISCO

The vibrant, multifaceted, and experimental music scene that grew up in 1960s San Francisco made the city a mecca for musicians and attracted guitar players from all over the Americas. One of the first groups to gain prominence was Jefferson Airplane, formed in 1965 with Jorma Kaukonen (b. 1940) playing lead guitar and Paul Kantner (b. 1942) on rhythm. Their first album, Jefferson Airplane Takes Off, was released in 1966 and a series of popular albums followed, including Surrealistic Pillow (1967). With their fusion of different strands of music and a distinctive sound, they became part of the psychedelic movement and one of the groups who created the "San Francisco sound." Kaukonen and Kantner play in a sonorous, chordal folk-pop style with attractive voicings. At their most effective, the guitar parts mesh to create a dancing interplay. An early acoustic instrumental highlight is Kaukonen's composition, "Embryonic Journey" (1967). On the group's stronger material, the lead guitar is often used simply for touches and additions. A feeling of mystery pervades the opening short guitar lines on the unusual "White Rabbit," for instance, and the rockier, driving "Somebody To Love" ends with a solo shrouded in background reverb and echo.
Kaukonen used blues and country music in his playing, and as Jefferson Airplane developed, he moved toward a heavier rock style using distortion and effects such as wah-wah.The soloing sometimes meanders, but shorter passages and fills, and the acoustic playing, are highly effective. One of the group's finest pieces, "Wooden Ships" (1969), uses a muffled, sustained sound on acoustic and electric guitar parts to conjure the sound of the sea.

JERRY GARCIA

Contemporary with Jefferson Airplane were The Grateful Dead, formed in 1965 with Jerry Garcia (1942—95), on lead guitar and Bob Weir (b. 1947) on rhythm guitar. On their first album, The Grateful Dead (1967), Garcia shows the direction he is taking on "Viola Lee Blues," where he explores linear possibilities in an extended piece. One of the group's most famous albums, Live/Dead (1969), is compiled from different performances and demonstrates their jam-session approach on tracks such as "Dark Star," the rhythmic "Turn On Your Love Light," and "Eleven" with its long passages of improvisation. "Feedback" shows an avant-garde side, with free-form excursions, volume-level fluctuation and pitch effects. On the album Workingman's Dead (1970), there is a shift toward concise songwriting and pronounced country-guitar styles. "Uncle John's Band" shows acoustic rhythm and soloing; "High Time" is characterized by country-style electric soloing with effects; and "New Speedway Boogie" and Cumberland Blues" have dry, twangy rock and country-guitar playing.

The Grateful Dead built a core of material which was performed with a concentrated power that held audiences. Garcia's ability to project a positive feeling earned the group a huge following who stayed loyal through years of live concerts in America.

The style of playing long instrumental jam sessions was also developed by Quicksilver Messenger Service, formed in 1965 by John Cipollina (1943—89) and Gary Duncan. Happy Trails (1969) has a 2 5-minute version of Bo Diddley's "Who Do You Love?" with a long, intense solo using effects and tremolo.

In a burgeoning Bay Area scene, other guitarists appeared, including Steve Miller and Carlos Santana {seepage 198). Creedence Clearwater Revival, formed in 1967 with John Fogerty (b. 1945), played music utterly unlike the other mainstream groups, based partly on 1950s rock 'n' roll, with Fogertv taking short, punchy solos with a sharp tone and attack.

THE EAST COAST

Away from the West Coast, in music centers such as New York, guitarists were adding parts to singles and albums with very different musical identities. The addition of electric guitar to Bob Dylan's album Bringing It All Back Home (1965) and the move to a full group sound proved to be a historic turning point. Mike Bloomfield (see page 59) plays electric guitar on the subsequent Highway 61 Revisited (196S). His electric rhythm, fragments of arpeggios, and fills with the organ layer on "Like A Rolling Stone" (196S) gave it the edge that helped produce Dylan's first major hit.

The Lovin' Spoonful's ZalYanovsky (b. 1944) created a variety of melodic touches, tone colors, and inventive rhythms. "Do You Believe In Magic?" (1965) has a full, yet light rhythm sound and relaxed, twangy, country-style fills. On "YouDidn’t Have to Be So Nice" (1965), the electric guitar plays chiming chords and a countermelody. "Daydream" (1966) features staccato electric and acoustic chords, muted lines with echo and volume pedal fade-ups, and "Summer in the City" (1966) sparkles and thrums with crunchy, bright strummed chords

EXPERIMENTALISM

THE VELVET UNDERGROUND
On the landmark album The Velvet Underground and Nico (1967), Lou Reed (Louis Firbank, b. 1942) and Sterling Morrison (1941—95) used the guitar in differing contexts, ranging from vacuous arpeggiated chords through to a more nihilistic, bleak feeling with rough execution and a flat, driving rhythm on tracks such as "I'm Waiting For The Man," and the monotone drone of "Venus In Furs."The solo on "Run Run Run" has an edgy tension, and "The Black Angel's Death Song" has a strange and appealing repetitive dark rumble. The frenetic free-form passage on "European Son" sees the movements up and down the fretboard as it is furiously strummed. The overall effect is interesting and original, combining folk, pop, and rock approaches with a conceptual sophistication that attempts to avoid cliche, although the guitar has an inescapable earthy authenticity. On their second album, White Light/White Heat (1967), the Velvets further develop their avant-garde drone and feedback style before moving on to the more melodic approach they were pursuing at the end of the 1960s.

CAPTAIN BEEFHEART
 
Some of the strangest and most bizarre guitar music in the 1960s came from Captain Beefheart (Don Van Vliet, b. 1941) whose first album Safe as Milk (1967) introduced an irreverent and experimental approach to blues. The second album Trout Mask Replica (1969) was produced by Frank Zappa and featured guitarists Jeff Cotton and Bill Harkleroad (Zoot Horn Rollo).This is a shattering type of irregular, avant-garde blues rock, with atonal sheets of sound and playing across the beat. It has a raucous intensity and, in spite of the clashing parts and dramatic madness, the music works as it rolls forward in a tangle of bizarre development. Inspired by experimental art, the jagged compositions sound shambolic but were, in fact, carefully structured and rehearsed.