A Viewpoint

The virtuoso super-guitarist is back with a head-banger that mixes both his unique brand of delicious guitar music with a rollicking groove that’s destined to stay in your head for a long, long time. This is grandiose guitar music by a grandiose guitar legend who’s got nothing more to prove to the world anymore. Nineteen Eighty is simply Satch doing what he does best—surfing with music that’s alien in imagination yet talks to you and moves you on your innermost core. Though I have to say that I wasn’t really as euphoric about it on my very first listen, cause how unusually different it first felt from the regular batch of ‘first songs’ that we've heard from Satch’s previous albums—from ‘Shockwave Supernova’ to ‘Energy’. And compared to those, this track felt a little ‘empty’ to me, mainly cause I was eagerly waiting for a scorching guitar solo that’d take me to the upper atmosphere and...that just never arrived. So as you can see, this track actually tip-toes aroun

Whether you like U2 as a band or not, there’s no denying the sheer musical richness that is the Edge’s guitar playing. If Bono’s soaring vocals are the main drivers of their songs, then it’s the Edge’s lyrical playing that serves as the sonic vehicle. It’s not an overstatement to say that his translucent and tasteful guitar playing over Bono’s vocals is what makes up the musical nucleus of their songs. The live versions of their songs are always testaments to this fact, take any live version of ‘Beautiful Day’ for example, where the guitar parts stand out as the melodic elixir of the song. And just like this, most of U2’s songs simply can’t be imagined without the Edge’s sublime guitar playing, be it ‘The Fly’, ‘I Still Haven’t Found What I’m Looking For’, ‘Sunday Bloody Sunday’, ‘Walk On’, ‘Where the Streets have no name’—the symbiotic connection between Bono’s soaring vocals and the Edge’s exotically tasteful guitar lines make up the musical nectar for all of these masterpie