Unforgettable Performances That Need to Be Heard on Great Speakers
These legendary performances from Prince, Amy Winehouse, Miles Davis, and Chappell Roan deserve to be heard on hi-fi speakers.
What makes a great record is subjective, but what makes a great record sound outstanding depends entirely on how you listen to it. British premium audio brand Bowers & Wilkins crafts audio products defined by delivering outstanding sound, allowing listeners to hear their music exactly as the artist intended it to be heard.
After incorporating high-performance audio gear like a pair of Bowers & Wilkins 600 Series loudspeakers into your listening routine, the first question is always the same: “what record should get the first spin?” Audiophile-grade pressings of albums with exceptional production are a great place to start, but a true test of a new setup can be spinning records that capture the world’s greatest musicians at the height of their powers.
Below are some of the most iconic performances ever committed to tape. With the Bowers & Wilkins 600 Series, listening to these classic recordings for the first or 500th time will sound as fresh and vibrant as the day they were recorded.
Prince’s emotive guitar solo in “Purple Rain”
Prince’s guitar playing has earned him recognition over the years as one of the greatest to ever shred. The guitar solo of “Purple Rain” is a crowning achievement, expressing more emotion with six strings than most artists could with an entire orchestra. This live rendition of “While My Guitar Gently Weeps” is a further testament to the legend’s technical prowess.
Eddie Van Halen’s epic finger tapping in “Eruption”
Eddie Van Halen’s “Eruption” guitar solo is iconic enough to earn its own slot as an instrumental track on Van Halen’s debut album, and it’s often referred to as the greatest of all time. The two-handed tapping technique used in the song has become a go-to move for aspiring rockers everywhere and “Eruption” continues to inspire awe, especially when blasting through a pair of nice speakers.
Angus Young’s intricate riffing in “Thunderstruck”
Praised for his hard rock chops since AC/DC formed in 1973, Angus Young’s jaw-dropping guitar playing at the beginning of “Thunderstruck” proves that these Australian veterans still had plenty to offer in 1990. Young riffs like a one-man guitar symphony playing an electrifying classical number before ultimately building up to AC/DC’s larger-than-life guitar sound.
Lemmy’s bulldozing bass tone in “Ace Of Spades”
There are two major phases in every music lover’s life: life before hearing Motörhead’s “Ace Of Spades” and life after. The song starts with the massive roar of overdriven bass as Lemmy plays a blistering riff that barrels through the skull. As the guitar, drums, and Lemmy’s gravelly vocals kick in, Motörhead jump the gap between rock and roll, punk, and metal as none had done before. Crank this song on a great set of speakers to feel Lemmy’s bass reverberate throughout your listening space.
Cliff Burton’s bass at the beginning of “For Whom The Bell Tolls”
The iconic solo riff that kicks off Metallica’s “For Whom The Bell Tolls” may sound like a guitar, but it’s actually Cliff Burton’s heavily distorted and wah-inflected bass. Burton’s bass playing helped put Metallica on the map, and legendary live footage from 1985 shines a spotlight on his immense talent.
Mike Watt’s funky basslines in “Viet Nam”
There are dozens of Minutemen songs featuring unforgettable bass performances from Mike Watt, but this funky cut from Double Nickels On The Dime packs as much punch as any of them in just under a minute and a half. Watt’s nimble finger picking and smooth slap bass make “Viet Nam” a song best experienced with high-quality audio gear.
Keith Moon’s signature drum fills in “Won’t Get Fooled Again”
The Who’s “Won’t Get Fooled Again” is known for many things: Pete Townshend’s prog rock organ, John Entwistle’s serpentine basslines, and Roger Daltrey’s dynamic vocal performance, but it’s Keith Moon’s propulsive rhythms that hold it all together. Moon’s iconic drum fills keep the eight and a half minute track flying by until its triumphant conclusion.
John Bonham’s innovative drum soloing in “Moby Dick”
Another solo known for being the best of its kind, John Bonham’s mind-bending drum performance on “Moby Dick” is something everyone should hear at least once. The famous live footage featuring Bonham playing a traditional drum kit with his bare hands cements the solo’s status as a groundbreaking approach to literally slapping the skins.
Dave Lombardo’s thrash attack in “Raining Blood”
The drum intro to “Raining Blood” is so simple and effective that anyone who hears Dave Lombardo’s familiar “dun dun dun” can immediately sense the eye of a thrash metal storm. The song’s guitar riffs get the most praise, but it’s Lombardo’s precise drum performance and stylistic flair that elevates every moment of the song. For maximum impact, play this one loud on a great-sounding setup.
Miles Davis’s explosive trumpet in “Miles Runs the Voodoo Down”
Miles Davis boasts more legendary performances in his catalog than most, and the spirited trumpet runs in “Miles Runs the Voodoo Down” are some of his finest moments. The potent mix of electric piano, guitar, and Davis’s avant-garde trumpet take the listener on a mind-altering trip, and the lead-up to the end features some of the most expressive playing of Davis’s career.
André 3000’s meditative flute in “I Swear, I Really Wanted to Make a ‘Rap’ Album but This Is Literally the Way the Wind Blew Me This Time”
André 3000 surprised some fans when his first release in 17 years turned out to be an album full of improvisational flute compositions. Once the shock wore off, fans and critics alike found themselves immersed in the ambient textures of lead single “I Swear, I Really Wanted to Make a ‘Rap’ Album but This Is Literally the Way the Wind Blew Me This Time” and embracing New Blue Sun’s impressive blend of experimentation and soothing beauty.
Chappell Roan’s infectious yodeling in “Guilty Pleasure”
Chappell Roan’s unique tone and penchant for powerful pop hooks helped make her debut album a wild success, but her yodeling on “Guilty Pleasure” adds another dimension to her one-of-a-kind voice. The song’s bridge features a vocal technique that expertly blurs the line between traditional yodeling and pop songcraft in a way that demands to be heard on a high-end stereo system.
Amy Winehouse’s iconic vocals in “Tears Dry On Their Own”
The late Amy Winehouse is widely regarded as one of the best singers of the 21st Century. Fusing soul and jazz with contemporary pop and rock, Winehouse gave her music that timeless feel while catering to the modern music lover. It wasn’t just her technical vocal ability and range that elevated her career; her distinctive voice, beautifully written songs, and the palpable emotions within her records connected her with the world. “Tears Dry On Their Own” is just one sample of this – and it’s pure gold.
Loyle Carner’s ultra-slick flows in “Ottolenghi”
UK rap mainstay Loyle Carner packs his tracks with meaningful lyrics and smooth flows that are always paired with highly infectious beats. “Ottolenghi” appears on the rapper’s album, Not Waving, But Drowning, and was inspired by a train journey where he heard a young girl asking her mother whether the sun would come back again after the rain. And, if you’re wondering about the title, he was reading Yotam Ottolenghi’s book, Jerusalem, on the journey in question – so he had to give the chef a shoutout.
King Krule’s gritty vocal delivery in “Out Getting Ribs”
Back when King Krule was known as Zoo Kid, he fascinated listeners with his track “Out Getting Ribs.” The combination of gritty vocals and bluesy guitar licks was so powerful, that King Krule also included “Out Getting Ribs” on his debut album, 6 Feet Beneath The Moon. Listening to the song on an accurate loudspeaker brings the emotion in his vocals to the surface, providing lifelike detail to each and every playthrough.
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