I could offer up a lot of reasons why Sleigh Bells’ Crown On The Ground is today’s song of the day.
I could say that it’s because the start of the Holiday Season is upon us and what better time to feature a song performed by Sleigh Bells.
But, ultimately, the main and most important reason is that I just happen to like the song.
Bless both of you, Angelo and Julee.
“Layla” is still one of those solos guitar players treat like a rite of passage. It’s not just the famous riff; the way Clapton and Duane Allman tear into the lead lines makes the whole first half feel like it’s permanently on the edge of falling apart, in the best way. The solo really starts to bloom once the main riff gives way to the verse lead around the 2:20 mark, with the piano-driven section kicking in later at about 3:10 on the original studio version.
A big part of why musicians and fans rate it so highly is the balance between flash and feel. The bends, slides, and quick little runs are impressive, but they always come back to short, singable phrases instead of just running scales. Allman’s slide work, especially those pushed, “beyond the fretboard” high notes, is a huge talking point among players because it sounds wild and emotional while still landing dead-on pitch.
People also love how the solo feels like one long emotional unraveling rather than a neat, contained spotlight moment. The guitar gradually hands things over to the piano section instead of ending on a standard rock climax, so the solo feels like it spills into that second movement of the song. That journey—from searing, tangled guitar lines to that almost resigned, melodic outro—is a big reason “Layla” keeps showing up on “greatest solos” lists and in conversations between working guitarists and casual fans alike.
Layla
What’ll you do when you get lonely
And nobody’s waiting by your side?
You’ve been running and hiding much too long
You know it’s just your foolish pride
Layla
You’ve got me on my knees
Layla
I’m begging, darling, please
Layla
Darling, won’t you ease my worried mind?
I tried to give you consolation
When your old man had let you down
Like a fool, I fell in love with you
You turned my whole world upside down
Layla
You’ve got me on my knees
Layla
I’m begging, darling, please
Layla
Darling, won’t you ease my worried mind?
Let’s make the best of the situation
Before I finally go insane
Please, don’t say we’ll never find a way
And tell me all my love’s in vain
Layla
You’ve got me on my knees
Layla
I’m begging, darling, please
Layla
Darling, won’t you ease my worried mind?
Layla
You’ve got me on my knees
Layla
I’m begging, darling, please
Layla
Darling, won’t you ease my worried mind?
[guitar solo]
Great Guitar Solos Series
The much-missed Gary Loggins always shared this song on Thanksgiving, on both this site and his own personal site. I’m happy to honor his memory by continuing that tradition.
Today’s song of the day comes from the American Anthem soundtrack.
Steve Tevere has thrown a tripus!
I defy anyone to listen to today’s song of the day without dancing.
RIP, Jimmy Cliff.
Today’s song of the day is The Harder They Come, taken from the soundtrack of the 1972 Jamaican film of the same name. This film and Jimmy Cliff’s performance and the soundtrack are all often credited with introducing reggae to the rest of the world.
Well they tell me im a pie up in the sky
Waiting for me when i die
But between the day your been and when you die
They never seem to hear or even cry
So as sure as the sun will shine
im going to get my share now of whats mine
And then the harder they come the harder they’ll fall
One and all
Ooh the harder they come the harder they’ll fall
One and all
Well the oppressors are trying to keep me down
Trying to drive my underground
And they think that they have got the battle won
I say forgive them lord, they know not what they done
Cause as sure as the sun will shine
Im gonna get my share now of whats mine
And the harder they come the harder they fall
One and all
Ooh the harder they come the harder they fall
One and all
And i keep on fighting for the things i want
Though i know when your dead you cant
But id rather be a free man in my grave
Than living as a puppet or a slave
So as sure as the sun will shine
Im going to get my share now whats mine
And then the harder they come the harder they fall
One and all
Ooh the harder they come the harder they fall
One and all
Carlos Santana’s song “Black Magic Woman” is a timeless tune that hooks you right from the start, but it’s that guitar solo that really makes it unforgettable and that is what make it our latest “Song of the Day.” The solo kicks in around 2 minutes and 24 seconds into the track. What’s great about Santana’s solo is how it feels like a conversation rather than just fast playing. His guitar almost sounds like it’s telling a story, with smooth, soulful notes that seem to sing. It’s not about shredding or showing off; it’s about playing each note with feeling and attitude, making you want to listen over and over.
What really stands out in the solo is how Santana uses bends and vibrato — which means he gently raises the pitch of the notes and adds a slight shake. This gives the solo a warm and emotional feel, almost like a human voice expressing deep feelings. The smooth back-and-forth flow between notes keeps it easy to follow, so even if you’re not a guitarist, you can feel the emotion. Plus, the mix of Latin rhythms shines through, giving the solo a unique flavor that sets Santana apart from other guitarists and adds some groove to the song.
The solo in “Black Magic Woman” is what really grabs listeners and keeps them hooked. It’s not about playing a million notes fast, but about making every sound count and really feeling the music. Santana’s guitar almost talks and sings with a warm, inviting voice that pulls you into the mood of the song. His unique blend of smooth, flowing notes with just the right amount of grit and emotion makes the solo stand out as something special and timeless. Instead of flashy showmanship, it’s the deep connection you feel through the guitar that keeps the solo memorable and moving for generations of listeners. This soulful approach is what turns a simple guitar solo into a truly magical moment in the song.
Black Magic Woman
Got a black magic woman
Got a black magic woman
I’ve got a black magic woman
Got me so blind I can’t see
That she’s a black magic woman
She’s tryin’ to make a devil out of me
Don’t turn your back on me, baby
Don’t turn your back on me, baby
Yes, don’t turn your back on me baby
Stop messin’ around with your tricks
Don’t turn your back on me baby
You just might pick up my magic sticks
[guitar solo]
Got your spell on me baby
Got your spell on me baby
Yes you got your spell on me baby
Turning my heart into stone
I need you so bad – magic woman
I can’t leave you alone
Great Guitar Solos Series
Today, we continue to celebrate the birthday of Martin Scorsese with a song that has appeared in countless Scorsese films! When Scorsese made his Rolling Stone documentary, nonetheless than Mick Jagger commented on how odd it was that this was the first Scorsese film to not feature Gimme Shelter.
From the Rolling Stones and Merry Clayton, here is today’s song of the day.
Eric Johnson’s “Cliffs of Dover” is a bright and lively piece that grabs your attention from the beginning. The guitar work is smooth and confident, combining clear melodies with quick, well-executed runs. It feels like Johnson is having fun exploring different sounds, and that sense of ease makes the song enjoyable to listen to whether you’re a musician or not.
What really stands out is the tone of the guitar—clean, crisp, and well-balanced. Johnson shows great control, shifting between fast passages and slower, more expressive bends without losing the smooth flow of the music. The main solo starts about 2 minutes and 45 seconds in, and this is where the balance of technical skill and musicality comes through most clearly.
The track manages to be both intricate and accessible, with memorable themes that stick in your head after just one listen. Its upbeat and positive vibe has helped it remain popular over the years, earning respect from guitar players and fans alike. It strikes a nice balance between being impressive and inviting, which is part of why it’s still well-regarded today.
Great Guitar Solos Series
