“Like a lot of guitar players of my generation, my first exposure to Allan Holdsworth came through Eddie Van Halen. Back in the late 70s and early 80s, Eddie completely changed the guitar world, and we were hanging on every word he said.
When he talked about how much he loved Allan – especially Hell’s Bells from Bruford’s One Of A Kind – I paid attention. I went straight out and bought the album. Putting it on felt like crossing a line: this wasn’t party rock any more; it was fusion and progressive music, and I absolutely loved it.
What really set Allan apart for me was his touch. While other prog players like Steve Howe and Steve Hackett came from a classical guitar background, Allan didn't feel connected to classical guitar at all. He almost had a blues feel, but he applied it to a harmonic language and a technique that were completely his own. Even now, it's still astounding to me.
In the late 80s I tried very consciously to sound like him. I haven’t played like that since, but it was an important step for me.
The solo that still stops me in my tracks is at the end of UK’s Nevermore. It brings tears to my eyes every time. There’s nothing fast about it, even though Allan is famous for his legato.
When he plays a melody, it's on another level. Compositionally, it’s incredible – you could play that solo on a toy piano and it would still work.
I never found his playing intimidating, just mind-expanding. As a kid I sat down and figured out One Of A Kind, not just the solos but the chords, which I loved. He had a compositional approach that no one else came close to.
Even now, there’s a mystery to his music for me. I can’t visualise what’s happening harmonically, and I like that – it hits me emotionally, not analytically.
If you’re new to Allan, I’d start with UK, One Of A Kind and then three of his solo records: I.O.U, the Road Games EP and Metal Fatigue. But if you want one song, start with Nevermore. Everything you need to know is right there.”
Paul Gilbert’s latest solo album WROC is out now.
