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Hidden Gems: Underrated Extended Guitar Solos That Deserve Your Ear

by Madonna

While the annals of classic rock history are dominated by legendary guitar solos such as “Free Bird” and “Stairway to Heaven,” there exists a trove of lesser-known guitar masterpieces that warrant attention. These extended guitar solos may not have enjoyed the same level of fanfare, but they certainly deserve a listen, if not several. Let’s turn up the volume and explore these hidden gems.

1. “Time Has Come Today” (1968)

The Chambers Brothers’ “Time Has Come Today” is an 11-minute and three-second sonic journey into mind-mucking, spacey psychedelia. Joseph Chambers’ fuzzy guitar solo weaves through the song, offering a mesmerizing experience with unexpected nods to the Christmas standard “The Little Drummer Boy.”

2. “Can’t You See” (1973)

The Marshall Tucker Band’s “Can’t You See” is a country rock classic featuring four full-force guitar solos by lead guitarist Toy Caldwell. Each burst is infused with inspiration, turning this epic lament on love into a showcase of Caldwell’s exceptional guitar prowess.

3. “Two Tickets to Paradise” (1978)

Eddie Money’s “Two Tickets to Paradise” surprises listeners with an extended electric guitar interlude, a departure from Money’s vocal-centric repertoire. Guitarist Jimmy Lyon takes the spotlight, delivering a rousing ride that adds a powerful punch to the song’s overall impact.

4. “Roller” (1979)

April Wine’s “Roller” introduces listeners to the hard rockin’ Canadians with a glorious display of three guitarists trading amplified licks. The song’s 1 minute and 41 seconds of guitar interplay contribute significantly to its overall hard-hitting appeal.

5. “Face the Fire” (1979)

Known for mellow hits, Dan Fogelberg showcases a different side in “Face the Fire,” an anti-nuclear power diatribe. At the 5:19 mark, Fogelberg surprises with a raw and raging electric guitar riff, revealing a ferocity not commonly associated with the typically chill troubadour.

6. “Midnight at the Oasis” (1974)

The sultry serenade “Midnight at the Oasis” by Maria Muldaur may not be an obvious choice for exceptional fretwork, but Amos Garrett’s jazzy Hawaiian guitar-style interlude proves otherwise. Pleasant and perfectly placed, Garrett’s performance is a pop perfection that doesn’t overstay its welcome.

In a world filled with iconic guitar solos, these underrated gems carve their own space, inviting listeners to appreciate the depth and diversity of musical expression within the realm of extended guitar solos.

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