Let There Be Guitar: Rhythm Techniques in the Music of Malcolm Young, Maybelle Carter, and Bob Marley

Abstract

ABSTRACT By closely analyzing the work of three musicians, this article considers rhythm guitar techniques, a much-neglected aspect of artistic expression. Malcolm Young of AC/DC provided the underappreciated riff-based foundation for his more famous brother Angus’s soloing, but overall the group’s output still came with the baggage of rock music’s inherent sexism. Disregarding strict genre classifications and turning to folk or early country (exemplified by Maybelle Carter) and reggae (exemplified by Bob Marley), one can see parallels in rhythmic accompaniment with a slightly more egalitarian bent. All three guitarists offer a glimpse into an under-researched and diverse arena of musical practice.