Breaking Down the Numbers
The commercial success of the 70s guitarists who weren’t underrated is well-documented: Hendrix’s Electric Ladyland sold millions, Clapton’s 461 Ocean Boulevard became a blues-rock standard, and Page’s Led Zeppelin IV remains one of the best-selling albums ever. But the numbers for the underrated guitarists of the 70s tell a different story. Their albums often sold modestly by comparison—think of Robin Trower’s For Earth Below (reportedly around 50,000 copies in its initial run) or Allan Holdsworth’s None Too Soon (estimated at under 30,000). Yet, their impact on the instrument’s evolution was disproportionate. A 2019 study by Guitar World found that 68% of professional guitarists in the UK and US cited at least one "obscure" 70s guitarist as a primary influence—names like Larry Coryell, Tony Iommi, or Mick Taylor rarely get the same credit as their contemporaries. The discrepancy isn’t just about sales figures. Streaming data from platforms like Spotify and YouTube reveals a similar pattern: while Hendrix’s "Purple Haze" has over 500 million streams, Duane Allman’s "In Memory of Elizabeth Reed" sits at around 12 million—yet the latter’s use of open-G tuning and hybrid picking techniques is taught in guitar schools worldwide. The issue isn’t just obscurity; it’s curatorial neglect. Playlists, documentaries, and "best of" lists from the 80s onward often excluded these players, reinforcing the myth that rock guitar in the 70s was the sole domain of a handful of superstars. Even today, when you dig into the credits of classic albums, you’ll find session musicians—like Al Kooper, Barry Beckett, or Steve Cropper—who contributed riffs and solos that became anthems, yet are rarely acknowledged as composers.The Verified Baseline
There are three undeniable truths about the underrated guitarists of the 70s: 1. Technical Innovation: Duane Allman’s work with the Allman Brothers Band introduced the world to the open-G tuning and hammer-on/pull-off techniques that would become staples of rock and blues. His solo on "In Memory of Elizabeth Reed" is a case study in emotional phrasing, using vibrato and dynamics to convey grief—something rarely seen in the era’s more aggressive styles. 2. Genre-Blending: Allan Holdsworth, though primarily a jazz-fusion guitarist, developed a harmonic language that predated the modal jazz revival of the 80s. His use of artificial harmonics and chromatic runs on Penetration (1975) influenced players like Frank Zappa and later, metal shredders like Jason Becker. 3. Session Legacy: Mick Taylor, before joining the Rolling Stones, played on John Mayall’s Bluesbreakers albums, where his tremolo-picked blues licks and whammy bar experimentation set the template for hard rock. His work on A Hard Rain’s a-Gonna Fall (with Bob Dylan) is a masterclass in dynamic control—something that went unnoticed at the time but is now studied in guitar pedagogy. These contributions aren’t speculative; they’re documented in interviews, studio recordings, and the testimony of peers. What’s speculative is the scale of their influence. For example, while it’s verified that Tony Iommi’s down-tuned, palm-muted riffs on Black Sabbath’s Paranoid (1970) became the blueprint for doom metal, the exact number of artists who cite him as inspiration remains unquantified. What isn’t speculative is that his techniques are now standard in heavy music.What the Estimates Suggest
Industry estimates paint a picture of underrated guitarists of the 70s whose careers were stunted by timing, label politics, or sheer bad luck. For instance, Larry Coryell’s Sparks (1972) is now considered a jazz-fusion classic, but at release, it sold poorly—figures around the 20,000–30,000 range have been suggested—because critics dismissed it as "too experimental." Yet, Coryell’s use of synth-guitar hybrid tones on tracks like "The Eleventh House" foreshadowed the sound of bands like Rush and Yes. Similarly, Robin Trower’s solo career took off in the 80s after his 70s work was rediscovered, suggesting that market timing played a role in their obscurity. Another factor is the fragmented nature of the 70s music scene. Unlike today’s globalized industry, labels in the 70s often operated in silos. A guitarist like Steve Howe (Yes) was celebrated in prog circles but overlooked in mainstream rock radio. His tapping techniques on Close to the Edge (1972) weren’t just innovative—they were revolutionary, yet they didn’t gain traction until Eddie Van Halen popularized them a decade later. Estimates suggest that Howe’s influence on later shredders like Yngwie Malmsteen is significantly higher than his commercial success would indicate. The same goes for Ralph McTell, whose fingerstyle blues-rock on Rumour and Sigh (1974) was ahead of its time but failed to cross over into the mainstream.
Case Study: A Closer Look
Few underrated guitarists of the 70s embody the era’s contradictions better than Barry Beckett. A session legend who played on hits like "Sweet Home Alabama" (Lynyrd Skynyrd) and "Free Bird" (Allman Brothers), Beckett’s own solo work—like Beckett (1975)—was overshadowed by his session credits. His playing was technically flawless, blending Southern rock’s grit with a jazz-infused melodicism that set him apart. Yet, his name remains largely unknown outside of deep-cut rock circles. What’s striking about Beckett’s story is how his session work outshined his solo career. While he didn’t write the riffs for "Sweet Home Alabama," his harmonic fills and rhythm guitar phrasing were integral to the track’s success. Industry estimates suggest that his contributions to over 1,000 recording sessions in the 70s were worth reportedly millions in royalties, yet he never achieved the same level of recognition as his bandmates. His solo album Beckett (1975), a masterpiece of blues-rock fusion, sold modestly—figures around 25,000–40,000 have been cited—because it didn’t fit neatly into any genre. Today, it’s a cult classic, but in the 70s, it was a commercial misfire."Barry Beckett was the ultimate session man—he could play anything, but he never got the credit for it. He’d come into the studio, lay down a part, and it’d sound like magic. But magic doesn’t always pay the bills." — Butch Trucks, Allman Brothers Band
| Factor | Estimated Impact |
|---|---|
| Session Work vs. Solo Sales | Beckett’s session earnings (reportedly in the high six figures by 1975) far outpaced his solo album sales, yet his name remains tied to Lynyrd Skynyrd and the Allmans. |
| Genre Fluidity | His ability to blend Southern rock, blues, and jazz made him indispensable in the studio but alienated genre-specific audiences. |
| Label Support | Capricorn Records (Allman Brothers’ label) promoted his solo work minimally, focusing instead on their flagship acts. |
| Critical Reception | Beckett (1975) received mixed reviews—praised for his playing but criticized for "not being commercial enough." |
| Legacy Today | Modern guitarists (e.g., Gary Clark Jr.) cite him as a primary influence, but his influence remains undocumented in mainstream histories. |
What This Means Going Forward
The story of the underrated guitarists of the 70s isn’t just about correcting historical oversights—it’s about understanding how innovation thrives in the margins. These players didn’t just play guitar; they redefined its language. Duane Allman’s slide work, Allan Holdsworth’s harmonic explorations, and Mick Taylor’s blues phrasing were all ahead of their time, yet they were sidelined by industry trends. Today, as streaming platforms and algorithms reshape music discovery, there’s a risk of repeating the same mistakes—prioritizing virality over substance. What’s encouraging is the retrospective revival of these artists. Platforms like Spotify’s "Discover Weekly" and YouTube’s "Underrated Gems" playlists have begun highlighting deep cuts from the 70s. Bands like The Black Crowes and The War on Drugs openly cite these guitarists as influences, proving that obscurity doesn’t equal irrelevance. The challenge now is to preserve their legacies before the last generation of musicians who remember them firsthand retires. Archives like the Rock and Roll Hall of Fame’s guitar collection are starting to include these players, but more needs to be done—interviews, remastered recordings, and educational resources—to ensure their contributions aren’t lost to time.
Conclusion
The 70s wasn’t just the decade of Hendrix, Clapton, and Page—it was the decade when guitarists like Duane Allman, Robin Trower, and Allan Holdsworth quietly rewrote the instrument’s rulebook. Their stories reveal a music industry that often rewards volume over depth, commercial success over artistic merit. Yet, their influence is everywhere: in the tapping techniques of modern shredders, the harmonic complexity of prog metal, and the blues-rooted riffs of indie rock. The underrated guitarists of the 70s didn’t just play guitar; they expanded what it could be. The lesson here isn’t just about correcting history—it’s about recognizing that true innovation often happens in the shadows. The next time you hear a guitarist bending a note with Allman’s expressiveness or weaving a solo with Holdsworth’s harmonic sophistication, remember: you’re hearing the ghost of a player who was ahead of his time—and still isn’t getting enough credit.Comprehensive FAQs
Q: Who is the most technically skilled underrated guitarist of the 70s?
A: Allan Holdsworth is often cited as the most technically advanced. His harmonic language, use of artificial harmonics, and chromatic runs on albums like Penetration (1975) were decades ahead of their time. Many modern jazz-fusion and metal guitarists—including Frank Zappa and Jason Becker—have pointed to him as a primary influence.
Q: Why didn’t underrated guitarists of the 70s get the same recognition as Hendrix or Clapton?
A: Several factors played a role: market timing (many of their albums were released when experimental music wasn’t commercially viable), label politics (some were signed to smaller labels with limited promotion), and critical bias (the era’s music press often favored "mainstream" rock over genre-blending or jazz-influenced work). Additionally, many were session musicians whose contributions were credited to the bands they played with.
Q: Are there any underrated guitarists of the 70s who later became famous?
A: Yes. Mick Taylor (who played with the Rolling Stones and John Mayall) became a blues legend in his later years. Steve Howe (Yes) gained more recognition as prog rock’s influence grew in the 80s. Even Tony Iommi (Black Sabbath) became iconic, though his early work was initially dismissed as "too heavy" for mainstream radio.
Q: What’s the best way to explore underrated guitarists of the 70s today?
A: Start with compilation albums like The Best of Robin Trower or Duane Allman: An Anthology. Streaming platforms like Spotify have curated playlists (e.g., "Lost Classics of 70s Rock") that highlight deep cuts. For a deeper dive, books like Guitar Player’s History of Rock and documentaries like The Guitar That Changed the World (on Les Paul) often feature these players.
Q: Did any underrated guitarists of the 70s influence modern metal or shred guitar?
A: Absolutely. Allan Holdsworth’s harmonic complexity influenced Yngwie Malmsteen and Steve Vai. Tony Iommi’s down-tuned riffs are the foundation of doom metal. Even Randy Rhoads’ use of tapping and legato traces back to Steve Howe’s work with Yes. Many 80s shredders (e.g., Eddie Van Halen, Kirk Hammett) have cited Duane Allman and Mick Taylor as key influences.
Q: Are there any underrated guitarists of the 70s who are still active today?
A: A few. Robin Trower has been performing sporadically since the 80s, and Allan Holdsworth (though he passed in 2003) had a late-career resurgence in the 90s. Barry Beckett remained active in session work until his death in 2007. Others, like Larry Coryell, continued to tour and record well into the 2000s.
Q: Where can I find rare recordings by these guitarists?
A: Archive.org and Discogs often have out-of-print albums. Bandcamp features remastered editions of deep-cut records. For live performances, YouTube hosts rare footage—search for "Robin Trower live 1976" or "Allan Holdsworth at Montreux." Some labels (like Shout! Factory) have reissued classic albums with bonus tracks.
Q: Is there a risk of these guitarists being forgotten entirely?
A: Yes, if their work isn’t preserved and promoted. Unlike the "big three" of rock guitar, many underrated guitarists of the 70s lack official biographies, documentaries, or museum exhibits. However, bootleg recordings, oral histories, and modern tributes (e.g., covers by younger artists) are helping keep their legacies alive. The key is active discovery—listening beyond the canon.
