“I hope people listen to these albums and think, ‘Oh, this is where that legendary American rock guitar archetype comes from’”: This overlooked guitar legend’s band was dubbed the American Led Zeppelin, and his virtuosic playing paved the way for artists like Van Halen and Satriani.
With this powerful rallying cry, Mr. Big vocalist Eric Martin opens Heavy Traffic, the lead track of 10×10, the recently released final album by the late Bay Area–bred guitar legend Ronnie Montrose. It’s an appropriate battle cry that seamlessly transitions into a signature, heavy riff, signaling that Montrose is in the room, shredding his fretboard, and ready to take names.
The driving, relentless rhythm of Heavy Traffic sets the tone for a project Ronnie had been working on for years, starting with his early 2000s power trio alongside bassist Ricky Phillips (Styx, the Babys, Bad English) and drummer Eric Singer (Kiss, Alice Cooper). Nearly a decade before his passing in early 2012, Montrose laid the groundwork for this album.
With the full support of Ronnie’s widow, Leighsa Montrose, Phillips took on the role of executive producer, dedicating five more years to completing 10×10. He enlisted 10 different guitarists, including Rick Derringer (Love Is an Art), Brad Whitford (One Good Reason), and Joe Bonamassa (The Kingdom’s Come Undone), as well as 10 vocalists like Sammy Hagar (Color Blind), Gamma’s Davey Pattison (Head on Straight), Tommy Shaw (Strong Enough), and Glenn Hughes (Still Singin’ with the Band).
The result is a collaborative effort that brings Ronnie’s sharp vision to life through a spirit of teamwork.
“I had to make some tough calls to finish the album, but I always asked myself, ‘What would Ronnie do?’ He was there with me, guiding me spiritually,” says Phillips.
10×10 reflects the distinct mix of harmony, tone, and groove that made Ronnie’s 1973 debut with Montrose so influential.
When Ronnie teamed up with then-unknown vocalist Sammy Hagar, bassist Bill Church, and drummer Denny Carmassi, the Montrose sound was born. Ronnie had already left his mark through stints with Van Morrison (driving the melody on 1971’s Wild Night) and the Edgar Winter Group (where his signature runs on 1972’s Frankenstein and Free Ride are unforgettable).
Across the self-titled Montrose and its 1974 follow-up Paper Money, Ronnie created an electrifying groove that resonated worldwide, particularly with American listeners who saw Montrose as a bold response to the British Invasion. Songs like Rock Candy, Rock the Nation, Space Station #5, and I Got the Fire were regarded as the American answer to the likes of Led Zeppelin, Deep Purple, and Black Sabbath.
“I do remember people calling Montrose our answer to Led Zeppelin, which was a bold statement,” recalls Phillips, who spent his early years gigging in the Bay Area. “We were all influenced by what was happening in England, but there were few American bands responding. Ronnie, Sammy, Denny, and Bill were definitely answering that call.”
Marc Bonilla, a fellow Bay Area guitarist who worked with Ronnie on several of his early ‘90s solo albums, says, “What stood out about Ronnie was his deliberate approach to guitar playing. He was a carpenter by trade, so he knew how to build things. That’s exactly how he crafted his solos—starting low on his Les Paul and gradually building toward a climactic moment.”
Even British players recognized Montrose’s uniqueness.
“I was a huge fan,” says Def Leppard’s Phil Collen. “My cousin introduced me to Montrose when the first album dropped in England. I thought we were the only ones who had it. Years later, when I met Joe Elliott of Def Leppard, he told me, ‘I thought I was the only one with that record!’”
“My wish is for people to hear 10×10 and the two Montrose reissues and realize, ‘Oh, this is where that legendary American rock guitar archetype came from!’ That’s my hope.”
Ronnie was the kind of artist who followed his own muse, disregarding commercial success or sales. Always chasing the next challenge, he never rested on his past achievements.
Phillips reflects, “Artists who want to break new ground don’t just repeat themselves for success. Ronnie reminds me of Jeff Beck in that sense.”
Steve Lukather adds, “Artists like Ronnie never stop pushing themselves to learn new things that inspire fresh ideas. That’s how Ronnie approached music.”
In his later years, Ronnie kept switching styles—moving from challenging solo work like 1978’s Open Fire (which included the instrumental gem Town Without Pity) to the more structured four-piece band format (like his work with Gamma). But like many sensitive artists, Montrose battled depression, which tragically led to his death by suicide at age 64 in March 2012.
With the buzz surrounding 10×10 and the Montrose reissues, the conversation about Ronnie’s legacy has come into the spotlight for a timely reassessment.
Echoing Collen’s sentiment, Bonilla speculates, “It might take something like 10×10 to get people asking, ‘Who is this Ronnie Montrose guy?’ It’ll all unfold when the time is right.”
And now, it seems that time has arrived. With that in mind, Guitar World reached out to many of Ronnie’s peers to share their personal stories about the highs and lows of the man who shaped the world of rock guitar.
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