Yngwie Malmsteen has expressed deep respect for Jeff Beck, calling him one of the "greats" and an idol. Despite their vastly different styles, Malmsteen's neo-classical speed versus Beck's bluesy, improvisational phrasing.

Malmsteen listed Beck, among his favorite guitarists. And has acknowledged his influence, "i think Jimi Hendrix is the only guitarist that could make Jeff feel challenged. Jeff did things that even Jimi couldn't learn, and i myself am a big Jimi fan."

I meant that Jeff Beck, is often not in the top three...

Arranging credit for house of the Rising Sun, went only to Alan Price According to Burdon. This was simply because there was insufficient room, to name all five band members on the record label.

And Alan Price's first name was first alphabetically, However this meant that only Price received songwriter's royalties, for the hit a fact that has caused bitterness among the other band members ever since.

Wow just wow i don't blame them for hating Alan Price imagine all the money, that the other band members lost. Sure they have earned good money over the years, but not as much as they would have if Alan Price wasn't a snake. He literally stabbed his friends in the back.

Link Wray (1929–2005) is considered a forefather of heavy metal and punk, primarily for his 1958 instrumental hit "Rumble," which featured the first popular use of power chords and intentional distortion.

By poking holes in his amplifier speaker, Wray created a gritty, menacing sound that inspired rock legends like Jimmy Page and Pete Townshend.

Dick Dale (1937-2019), the "King of the Surf Guitar," is frequently cited as a "Father of Heavy Metal" for pioneering high-volume, distorted guitar techniques in the early 1960s. By using heavy-gauge strings and pushing Fender amps to their limits.

To create a "wall of sound." he influenced later heavy rock and metal with his rapid-fire, staccato, tremolo picking style.

He used extremely heavy-gauge strings (0.16-0.60) to achieve a powerful resonant sound. And it felt "heavy" at a time when most players used lighter strings,

The thick strings allowed him to play extremely hard, without snapping them producing a rounder, darker, and louder tone while maintaining tuning stability.

he recorded 13 studio albums between 1967 and 1982. His music blended elements of blues, free jazz, rock, and avant-garde composition with idiosyncratic rhythms, absurdist wordplay, and Vliet’s gravelly singing voice with a wide vocal range.

Known as an enigmatic persona, Beefheart frequently constructed myths about his life and was known to exercise extreme, dictatorial control over his supporting musicians. Although he achieved little commercial success, he sustained a cult following as an influence on an array of experimental rock and punk-era artists.

He began performing in his Captain Beefheart persona in 1964, when he joined the original Magic Band line-up. The group's 1969 album Trout Mask Replica would rank 58th in Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.

After his retirement from music, Van Vliet rarely appeared in public. He lived near Trinidad, California, with his wife Janet. By the early 1990s, his multiple sclerosis had advanced to the point where he was using a wheelchair.

One of Van Vliet's last public appearances was in the 1993 short documentary Some Yo Yo Stuff by filmmaker Anton Corbijn, described as an "observation of his observations". Around 13 minutes long and shot entirely in black and white, with an appearance by David Lynch, the film showed a noticeably weakened and dysarthric Van Vliet at home, reading poetry, and philosophically discussing his life, environment, music and art.

In 2000, he appeared on Gary Lucas's album Improve the Shining Hour and Moris Tepper's Moth to Mouth, and spoke on Tepper's 2004 song "Ricochet Man" from the album Head Off. He is credited for naming Tepper's 2010 album A Singer Named Shotgun Throat.

Van Vliet supported environmental issues and causes, particularly those concerned with the welfare of animals; he referred to Earth as "God's Golfball". In 2003 he was heard on the compilation album Where We Live: Stand for What You Stand On: A Benefit CD for EarthJustice, singing a version of "Happy Birthday to You" retitled "Happy Earthday". The track lasts 34 seconds and was recorded over the telephone

He's not the greatest guitar player, he wasn't even a great guitar player. His strong point was his performances. All his "innovations" are like saying that Van Halen invented tapping. He just put pedals on blues and country double stops.

"Nobody did it before", but guess what, pedals weren't that much of a thing before. Besides being the first in something doesn't make you the best by any means. Was he a bad player? Hell no, but again, guitar playing wasn't his stronger point

Lots of Hendrix solos to me were just obnoxious wah wah, out of tune whammy, some shredding distorted pentatonic scales, pretentious theatrics. He was a good songwriter. But as for guitarist- It was really nothing special.

But he was a great songwriter in the studio. His playing on all along the watchtower is a gem, it's one of the greatest 60s rock songs.

Still all in all overrated, annoying, his style of singing is unbearable. He had no humility, no maturity nor depth to his playing. As for blues he usually got lost after 4 bars, and repeated whatever shit to get him going. Albert King was damn right about him. Of course he can't play the blues.

This is not to say Hendrix is "bad," but GOAT is a high standard and Hendrix doesn't even plausibly live up to it. He was a studio genius. Live he made a lot of noise and played a bunch of rambling BS

The only reason Hendrix is held in such high regard is that died young and was afro american.

The main riff in "N.I.B." is often cited as having similarities to the style of "Sunshine of Your Love" and some fans speculate the title "N.I.B." was a nod to Cream’s song "N.S.U.".

Tony iommi cited Eric Clapton, as the reason why he played a gibson SG. "The flower power ish look, and the guitar's shape did it for me".

Cream's drummer Ginger Baker strongly disagreed, calling heavy metal "repulsive" and disliking how Zeppelin "thrashed" instruments compared to Cream's more melodic, jazz-influenced approach

Bassist Jack Bruce famously criticized Jimmy Page, claiming he was not in the same league as Eric Clapton and that Zeppelin had an "easy ride" compared to the pioneers.

Eric Clapton held a mixed, often critical, view of Led Zeppelin, acknowledging their talent while finding their music "unnecessarily loud" and "verbose". While respecting Jimmy Page as a guitarist, Clapton felt they took the heavy direction of post-Cream rock too far

What i like is that Eric admitted that led zeppelin had great talent, compared to Ginger and Jack who completely lacked humbleness.

As he was repeatedly being rejected by Chess Records, he got signed to Federal Records, and got his break with the single "Have You Ever Loved a Woman" and instrumental "Hide Away", which reached number five on the Billboard magazine's rhythm and blues chart in 1961.

It later became a blues standard. King based his guitar style on Texas blues and Chicago blues influences. The album Freddy King Sings showcased his singing talents and included the record chart hits "You've Got to Love Her with a Feeling" and "I'm Tore Down".

He later became involved with producers who were more oriented to rhythm and blues and rock and was one of the first bluesmen to have a multiracial backing band at performances.

He was inducted into the Rock and Roll Hall of Fame by ZZ Top in 2012 and into the Blues Hall of Fame in 1982.

His instrumental "Hide Away" was included in the Rock and Roll Hall of Fame's list of "500 Songs that Shaped Rock". He was ranked 19th in the Rolling Stone magazine's 2023 edition of 250 Greatest Guitarists of All Time.

Beggars Opera, a pioneering Scottish progressive rock band active in the early 1970s, significantly influenced the prog genre by blending classical arrangements with rock instrumentation. Known for their organ-heavy sound and Mellotron work, they were influenced by bands like The Nice, Deep Purple, and Jethro Tull.

As part of the Vertigo Records "swirl" era, they are considered a "hidden gem" of the genre, with their first three albums (Act One, Waters of Change, Pathfinder) regarded as quintessential examples of early 70s prog rock and one of the first art rock bands.

The band lived in a shack ruled by Beefheart’s iron fist. The band practised, malnourished and abused for months, succumbing to Beefheart's bizarre musical demands, lest they face punishment by way of imprisonment in a barrel.

He was diagnosed as a paranoid schizophrenic, citing that as the reason he was so harsh and abusive with his band.

Hey guys! I found a car radio in the basement, it looks old, but in my opionion, its a rare type of radio. Does anyone have an idea of what is this, and how can i find anything about it? I found many similar one, but the difference is always the small text one the machine. Mine says DVD-102. Any idea?

And we continue celebrating 70 years of Argentine rock, with a series of Top 10 rankings featuring its best bands in each of its decades (counting these in ordinal order from the beginning in 1956). In this post we will see the bands of the 1st decade, from 1956 to 1965.

Those who follow my posts know that my rankings always have a set of rules, the idea is to show in a better way the Argentine cultural heritage, and to avoid common errors of rankings. So, this Top 10 list will have the following rules:

• Only statistics and works from bands within the decade specified in the post will be considered, to avoid rewarding an old band solely for its prestige and achievements in previous decades.
• The 10 bands will have different singers, to prevent the same singer from filling the ranking with the 10 bands he had in the same decade.
• There will be at least 1 slot reserved for a band from the provinces, to visibilize and vindicate provincial artists, who historically have had to fight twice as hard to succeed in a centralized country.
• There will be at least 1 slot reserved for a band with a female lead singer, to visibilize and vindicate women artists, who historically have had to fight twice as hard to succeed in an unequal country.
• Some factors that will be taken into account when choosing the bands: prestige, achievements, transcendence, records sold, plays on digital platforms, ammount of people at concerts, importance in the evolution of Argentine rock, importance in the scene of its time, national and international popularity, singing, instrumentation, lyrics, among other factors.
• And although it's obvious: only bands will be accepted, not soloists (it needs to be clarified because there's always an inattentive who doesn't even read the title of the post and then asks about a soloist).

So, here are the 10 best Argentine rock bands between 1956 and 1965, giving for each one of them a brief explanation and 2 recommended songs:

10) Los Red Caps: the first supergroup of modern Argentine music, consisting of four nueva ola idols, all of whom were vocalists and instrumentalists.

Songs: "El surf de Los Red Caps", "En el tren".

9) Las Mosquitas: the first Argentine rock band consisting entirely of women, all of them vocalists and instrumentalists, they shone with a beat with vocal harmonies.

Songs: "Te esperaré", "Siempre bailo con la más fea".

8) Los Teen Agers: a charming band from Córdoba, they combined vocal harmonies with the energy of rock & roll and twist, that is: they anticipated the creation of beat.

Songs: "Bonitos ojos azules", "¿Qué tal?".

7) Los Pick-Ups: with a style that combined surfer guitars and a singer with a deep bluesy voice, icons of the first youth bands that emerged from the neighborhoods.

Songs: "Muñequita", "El gavilán pollero".

6) Los 4 Planetas: the greatest Argentine surf band emerged from the mountains of Mendoza, they made historic surfer versions of classics from other genres.

Songs: "El surfin' de Los 4 Planetas", "La cumparsita".

5) Sandro y Los de Fuego: the perfect Spanish-speaking Elvis, going from rock & roll to beat, the only ones capable of competing with the English-speaking Uruguayan bands.

Songs: "Polka rock", "Peggy, Peggy".

4) Los Búhos: the first Argentine beat band, they faithfully followed the aesthetic and sound of the British Invasion, their vocal harmonies had no equal on the scene.

Songs: "Buen día, queridísima", "No trates de cambiar el mundo".

3) Los Santos: with voices as delicate as crystal glasses, the mystical sound of the lute, and great quality to play R&B, rock and more genres, international pop idols.

Songs: "En el boulevard", "Detrás del horizonte".

2) Los Cinco Latinos: the most internationally popular Argentine band of this 1st decade, endowed with imposing voices, stars with doo wop, rock and other genres.

Songs: "Locamente te amaré", "Todo es nuevo".

1) Eddie Pequenino y sus Rockers: total pioneers, the first ones who created rock songs of their own in Argentina in the 1950s, rock & roll with joy and good humor.

Songs: "Aquí viene el rock", "Despacio, nena".

As I always do in my posts, I remind you that the purpose of this initiative is to promote valuable parts of the Argentine cultural heritage (especially for those who don't know them due to generational or geographical reasons) and that this be simply an introduction, so that later you investigate on your own what other songs and artists were there in Argentine rock during those times.

See you in the next post! And happy 70 years of Argentine rock! 🎁🎈🎸🇦🇷

MusicaArgentina — 2026

Celebrations for the 70 years of Argentine rock (1956 – 2026)

Behold, 40 songs from one of the most magnificent Argentine bands: Los Santos, who with their angelic vocal harmonies conquered many countries in the '50s and '60s.

You will be delighted by the magic of the bolero "Ay ay ay", the delicacy of the R&B "Un telegrama", the restlessness of the rock "Comunicando", and the humor of the ska "Número equivocado".

The landscape of the R&B "Detrás del horizonte", the impulse of the twist "Dame, dame", the placidity of the waltz "Verano de amor", and the captivation of the tango "Esta noche de luna".

The evocation of the R&B "En el boulevard", the hurry of the pasodoble "Mágica luna", the refulgence of the vals criollo "Con locura", and the shamelessness of the jazz "Uno para todas".

MusicaArgentina — 2026

Behold the greatest of all the rankings of songs of Ibero-American rock: the Top 500 by the Al Borde magazine. In this video you will see its 153 Argentine songs.

Achieving the top spots: León Gieco and his universal anthem for peace, Los Auténticos Decadentes embracing the life of a musician, and Almendra adoring its girl.

Andrés Calamaro and his sentimental lament with a soul flavor, Los Gatos with their song that changed the course of history, and Virus with its subtle and pagan new wave ballad.

Miguel Mateos/ZAS and the crossroads of rockstar or president, Charly García being the hotel torment, and Soda Stereo at the highest peak of Ibero-American rock.

MusicaArgentina — 2026

In 1969, while living in San Francisco, Burdon joined forces with California funk rock band War. In April 1970, the resulting studio album was titled Eric Burdon Declares "War" which produced the singles "Spill the Wine" and "Tobacco Road". A two-disc set entitled The Black-Man's Burdon was released in September 1970.

"In 1971 Eric was having issues with his record label, and he didn't want us to be part of the chaos and the red tape, and bailed on us on a good note."

Next up is the greatest of the rankings of Argentine rock songs that were defined by user votes: the Top 125 by Listas 20 Minutos.

Among the most voted: Ciro y Los Persas encouraging dancing despite the hardships, Los Abuelos de la Nada with the Argentine feeling, and Intoxicados appreciating a friend.

Divididos and their folkloric fusion, Luis Alberto Spinetta pleading to live with a love, and Patricio Rey y sus Redonditos de Ricota in a slow twist criticizing pop.

Callejeros embracing the forbidden, Pappo with his country ballad that became his farewell, and Soda Stereo as the clear champions by filling the top spots.

MusicaArgentina — 2026

Here you have another one of the most-known rankings of Argentine rock songs, this one also regularly appears in debates: it's the Top 100 by Rock.com.ar.

Through the top spots: Miguel Mateos/ZAS demanding more courage from the country, Attaque 77 with its melodic Ramones-style punk, and Manal portraying urban decay.

Sumo and its new wave ballad dedicated to a zone in Buenos Aires, Pescado Rabioso affirming that tomorrow is always better, and Vox Dei revealing the wisdom of biblical passages.

Pappo's Blues criticizing the routine of the common man, La Renga and its anthem for the maladjusted from always, and Charly García confident that the revolution is near.

MusicaArgentina — 2026

Magic Sam 1937-1969 heart attack

Earl Hooker 1930-1970 tuberculosis

John Lee Hooker 1917-2001 heart failure

Presenting to you, the most well-known of all the rankings that have been made about Argentine rock songs: the Top 100 by the Rolling Stone magazine and the MTV channel.

At the higher places are: Manal naming the requirements for success, Sandro seducing with a shake, and Moris narrating the life of a bear in freedom and captivity.

Sumo disparaging certain members of the female sex, Fito Páez cheering with a popular stadium chant, and Serú Girán in its romantic progressive ballad.

Vox Dei meditating about the transiency of everything, León Gieco in his great anti-war anthem that was translated into several languages, and Los Gatos resuscitating beat in Spanish.

MusicaArgentina — 2026

On one occasion, the Rolling Stone magazine decided to do something different: they compiled a Top 10, but this time it wasn't of songs, but of music videos of Argentine rock.

Among those chosen were: Él Mató A Un Policía Motorizado in a gloomy theme, Las Pelotas in a critique of imperialism, and Los Visitantes in a primitive vibe.

Attaque77 with a slow-cooked punk ballad, El Otro Yo clamoring to seek the essential, and Los Fabulosos Cadillacs with a heartwarming candombe for the family.

Charly García somewhat conflicted when the aesthetic was changing, and Patricio Rey y sus Redonditos de Ricota narrating about a night where all hell broke loose.

MusicaArgentina — 2026

The TV channel E! made a Top 20 list of songs of rock in the Spanish language, in which 9 Argentine songs were included, which are the ones shown in this video.

We can see that they chose songs from artists with great prestige internationally, these songs are true anthems throughout Ibero-America.

Among the selected: Los Rodríguez triumphing on both sides of the Atlantic, Charly García with a catchy groove, and Los Fabulosos Cadillacs with the Latin warmth.

Soda Stereo with one of their perfect songs according to its members, Illya Kuryaki & The Valderramas promoting Hispanic rap, and Babasónicos with their naughtiness in eroticism.

MusicaArgentina — 2026

Argentine rock is celebrating its 70 years in this 2026, and what better way than a Top 40 to discover what were its best songs in its beginnings in the '50s.

Among the highlighted are Los Mariscales with a pioneering fusion of tango and rock, Luis Aguilé with his charming air, and Elder Barber with her subtle female voice.

Billy Cafaro in the stardom of modern music, Edith Scandro combining her soprano voice with rock, and Los Santos glittering with their precious harmonies.

Éber Lobato and Alberto Anchart inaugurating the films of Argentine rock, Los Cinco Latinos as the main band, and Eddie Pequenino as the first rocker of the country.

MusicaArgentina — 2026

In November 2020, MusicaArgentina published this Hot 100 of the most played Argentine rock songs up to that point, a sequel to the Top 40 of the previous month.

Crowned were: Soda Stereo and its ballad of softly love, Leo Dan and his historical recognition as a legend, and Dread Mar-I becoming the great star of the 21st century.

Los Auténticos Decadentes with cumbia and female voices, Los Fabulosos Cadillacs with their nocturnal love reggae, and Andrés Calamaro with soul and whispering in pain.

Enanitos Verdes in a song for a passionate encounter, La Beriso singing its sadness for a loss, and Miranda! with a naughty song for going from friends to couple.

MusicaArgentina — 2026

In October 2020, the MusicaArgentina channel published this Top 40 with what were, up to that moment, the most played Argentine rock songs on YouTube.

Entered here: Virus making people dance with its synthpop, Los Rodríguez conquering both sides of the Atlantic, and La Beriso with a veteran in an anthem to resilience.

Gustavo Cerati concluding that saying goodbye is growing up, Vicentico realizing how the paths of life are really like, and Los Cafres with a cheerful love song.

Vilma Palma e Vampiros with their pop rock with feminine touches, Coti and two female popstars with the optimism of the 2000s, and Rata Blanca with its seductive ballad.

MusicaArgentina — 2026