Leslie West once humbly remarked, “I’m no great guitarist technically, but you wanna know why people remember me? If you take a hundred players and put them in a room, 99 of ‘em are gonna sound the same. The one who plays different…that’s the one you’re gonna remember.” West’s impact on rock guitar was undeniable, not because of his technical prowess, but because of the distinct style that set him apart from the crowd. He believed in thinking about the song and the chords behind it, and he created solos that were a reflection of those foundations. His approach, which revolved around playing the notes within the chords, gave his solos a unique, melodic feel that has endured.
Long before Eddie Van Halen, Randy Rhoads, and Michael Schenker redefined guitar playing in the late ’70s, Leslie West’s playing had already caught the attention of these future guitar icons. West, a key figure in early 1970s rock, stood out with his raw, gritty tone and emotive, blues-infused playing. Even Pete Townshend, guitarist for The Who, was a fan of West’s sound, later bringing him in to help with sessions for the iconic album Who’s Next in 1972. West’s style, rooted in the blues but enriched with techniques like pinch harmonics, created unforgettable, powerful guitar lines that added emotion and depth to every track.
West’s career began in 1969 with his solo album Mountain, which laid the groundwork for his band of the same name. Teaming up with bassist and producer Felix Pappalardi, who had previously worked with Cream, West and Pappalardi crafted timeless rock anthems like “Mississippi Queen” and “Nantucket Sleighride.” Mountain’s music combined West’s gritty blues rock with Pappalardi’s prog-inspired melodies, but it was always West’s guitar that dominated the sound, delivering lines full of soul while never overplaying.
What made West’s guitar playing so instantly recognizable was his innovative approach to picking. In a 1972 interview, West explained that his sharp, stinging lead tone came from his unique method of holding the pick. “When I use a pick — and I use one most of the time — I try to bury it between my thumb and my first finger and just let a little bit of the corner stick out,” West said. This technique allowed him to generate harmonics, making each note resonate with more power and richness. He even credited Albert King for mastering a similar effect, using his thumb instead of a pick.
An example of West’s harmonic approach can be heard in the middle section of “Theme for an Imaginary Western,” from Climbing! where the last note of his solo rings out with a piercing harmonic that demonstrates his picking technique. West’s right-hand palm occasionally rested on the bridge or strings to mute unwanted noise, but his hand remained in constant motion, adding a sense of fluidity to his playing. His guitar of choice during this time was a Les Paul Junior, which he favored for its single P90 pickup, ideal for performing his signature pinch harmonics. The Les Paul Junior’s single pickup gave West the freedom to create harmonic tones without interference from additional pickups.
West also customized his string setup, using a .010-gauge banjo A string for the high E, creating a unique feel for his guitar playing. He demonstrated his adaptability by blending various techniques, including hammer-ons and controlled volume adjustments, to produce different textures. One example of this is during the instrumental prelude to Mountain’s “Pride and Passion,” where West used a hammering technique that evoked a “violin sound” — something rare in rock music. He would use the guitar’s volume knob to control the intensity, ensuring that the rattling sounds of the string against the fretboard remained subtle but effective.
Another standout feature of West’s playing was his ability to produce infinite sustain with his “harmonic jump” technique. He described how, when a note “catches,” he could sustain it for an extended period, creating an almost supernatural effect, which he demonstrated during his solo on Flowers of Evil’s “Dream Sequence.” Notably, West had long moved away from using fuzz tones, preferring to rely on his amp’s volume and his touch to achieve the gritty, sustained sound that was his trademark.
Beyond his use of pinch harmonics and sustain, West’s ability to control vibrato made his guitar playing uniquely expressive. He compared vibrato to an opera singer’s control over their voice, noting that some guitarists had fast, uncontrolled vibrato, which could sound “like an opera singer with a bad voice.” In contrast, he admired the vibratos of guitarists like Eric Clapton, Jimi Hendrix, and Mick Taylor for their smooth and controlled execution.
West’s legacy continued long after his passing in December 2020. His influence can still be felt today, with young players like Grace Bowers citing Climbing! as a transformative album in their musical journey. Bowers, a gifted guitarist herself, singled out West’s solo on “Theme for an Imaginary Western” as one of the most perfectly crafted solos, calling his tone distinct and unforgettable. West’s sound — instantly recognizable — continues to inspire guitarists, proving that his influence remains strong, ensuring his place in the pantheon of rock legends.
Leslie West’s guitar playing wasn’t just about technical ability; it was about soul, emotion, and creating a voice through his instrument that was unlike any other. His contribution to rock guitar is timeless, and his innovative techniques continue to resonate with musicians decades later.
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