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I remember being impressed by Prince's jam at the end when I watched this years ago, great showmanship, stage moves and guitar face. No doubt a brilliant musician and band leader. One of the slickest, tightest and in the pocket shows I have ever witnessed was Prince with his band at the Seminole Hard Rock, where he warmed up for his Super Bowl 2007 performance.

But seeing this again and listening critically, I'm feeling his showmanship gets an A and the playing a B, a bunch of wailing on Am pentatonic licks with a lot of gain and some effects...no doubt with great feel, but musically light. But I have noticed in most cases, that's what the crowd wants in rock n' roll.

To me, the EC solo which Jeff Lynne's bandmate plays in the performance is far more compelling and lyrical. Prince steps out of the shadows at the end of the tune and does Prince, the performer in his red hat taking over the stage with a group of kind of stodgy white guys (many of them English, which may be the stodgiest version of white guys) and jams with what are generally believed to be "guitarisms": pull offs, octave bends (stretching one string up a couple of steps to meet the note of the higher string that is held, which gets that kind of screeching sound), big bends, simple but fast repetitive riffs...stuff that guitarists can do easily, but other instruments aren't built for. All to good dramatic effect, but just Am pentatonic "wanking". Understand that Prince's performance was unrehearsed and he surprises the players on the stage with a kind of "Jimi does WMGGW" with the dancing around the stage, back bend, guitar face...it worked and the audience and I loved it when I first heard it, because it was such a contrast to the almost religious homage Petty, Lynne, Dhani and band delivered the tune before Prince steps up to the plate.

As a 40+ year guitar player, one who continues to work on improving (currently studying with two jazz instructors on taking my rock/blues base into a deeper understanding of music), I did what these guys have helped me understand, which is analysis of tunes. Like, what is Coltrane or Monk or Metheny playing? I applied this type of analysis to Prince's solo, which harmonically is pretty simple, unlike say Eric Johnson's attempt at SWTH, which is more complex than Pagey's but less compelling.

I have often been surprised when playing at my regular jam that audiences respond very favorably when I keep solos relatively simple and do not unload musical complexity (the stuff my jazz instructors live for). What I mean is that, say sax player steps up and are jamming on Cissy Strut, a simple vamp in C7. One can play Prince-like Cm pentatonic with bends, fast runs, repeated pull offs... rock guitar hero stuff or do what John Scofield would do, play around the tonal center with tensions like the tritone substitute or insert the altered 5th chord tonality or play diminished riffs and then resolve to C7 (Sco would use them all and more, listen to his stuff with MM&W). The latter is much harder to pull off musically and to some, you can end up with what my wife calls "headache jazz". For rock guitar guys, a comparison would be SRV versus Robben Ford, SRV stayed simple with great feeling and a signature technique that he put together from Albert, BB King & Co. versus Robben who played with Miles and other jazz guys and inserts jazz harmony in his riffs and comping. Neither better, just different like Chianti Classico or Barbaresco, one can like them both, which I do. Have dozens of recording of both and have attended multiple performances of each.

As a 40+ year guitar player, one who continues to work on improving (currently studying with two jazz instructors on taking my rock/blues base into a deeper understanding of music), I did what these guys have helped me understand, which is analysis of tunes. Like, what is Coltrane or Monk or Metheny playing and I applied this type of analysis to Prince's solo, which harmonically is pretty simple, unlike say Eric Johnson's attempt at SWTH, which is more complex than Pagey's but less compelling.

I have often been surprised when playing at my regular jam that audiences respond very favorably when I keep solos relatively simple and do not unload musical complexity (the stuff my jazz instructors live for). What I mean is that, say sax player steps up and are jamming on Cissy Strut, a simple vamp in C7. One can play Prince-like Cm pentatonic with bends, fast runs, repeated pull offs... rock guitar hero stuff or do what John Scofield would do, play around the tonal center with tensions like the tritone substitute or insert the altered 5th chord tonality or play diminished riffs and then resolve to C7 (Scott would use them all). The latter is much harder to pull off musically and to some, you can end up with what my wife calls "headache jazz". For rock guitar guys, a comparison would be SRV versus Robben Ford, SRV stayed simple with great feeling and a signature technique that he put together from Albert, BB King & Co. versus Robben who played with Miles and other jazz guys and inserts jazz harmony in his riffs and comping. Neither better, just different like Chianti Classico or Barbaresco, one can like them both, which I do. Have dozens of recording of both and have attended multiple performances of each.

For example, this track from King Crimson is incredibly boring to me and the opposite of enjoyable. Yet, many guitarists fawn over it. Think about how the Rock and Roll Hall of Fame performance would've been if this track would've been played rather than what was played. The guitarists in the audience would have loved it much more.

Found the King Crimson piece interesting but it wouldn't get played in my music room for enjoyment. There is a lot of room between Prince's solo and the KC performance...like what Eric Johnson might have played or say Satriani in his more lyrical moments, like his 1995 album Satriani, which upon recent re listening is great soulful playing, where technique takes a back seat (one to check out).

Still one of my favorite guitarist, bar none, is Keef. What he does with his chord work and riffs which are the foundation of all great Stones tunes, is harmonically simple but immediately identifiable and kick ass. The guy almost can't play lead parts, but what he does is great. And he surprises you, like with this performance: 0852c4b9a8

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