One more category where you don’t immediately think “JEW” is that of rock guitarists. But even though the first names in rock guitar are a bit… goyish, (((we))) exerted our influence regardless, the puppet-masters pulling the strings. Maybe the goyim made (((our))) innovations famous, but the innovations were pure Jew. And as always, the names will not be obvious ones.

First, the guy who really should be remembered as the quintessential British electric blues god, Peter Green. And though Clapton got the glory, Green delivered the goods. After replacing Clapton in John Mayall’s Bluesbreakers (Mayall thought Green was a step up), Green dazzled with amazing songs like The Supernatural. Not just the riffs, but the expression and the tone. Oft imitated, never equalled.

Oh, and while he was kicking sixteen varieties of ass on the fretboard, he also managed to write some rock classics for the band he founded after leaving Mayall. A minor little group called Fleetwood Mac (which was originally Peter Green’s Fleetwood Mac).

Unless you’re old and gray, you may not have realized that Fleetwood Mac once was something better than a generic pop band.

Unfortunately, Green also pioneered the “drug and insanity rock star burnout” legend. Some blame the lack of the same sort of recognition afforded Clapton on Green’s rapid descent into the weeds of schizophrenia, but I know what the truth is: antisemitism. Like Hitler and 42, that’s always the answer.

Next up, the greatest band you’ve never heard of, Pure Food and Drug Act, and it had TWO Jew guitar legends, Harvey Mandel and Randy Resnick, both of whom, in common with Peter Green, came out of the Mayall band. Mandel was most famous, though, for his pioneering work in establishing the American blues-rock sound during his time with Canned Heat. Resnick’s style was a more spare, lean, and focused sound, and what should have made him a household name- the development of the oft-copied two-hand tapping style of playing- made a fortune for others. Maybe in our next IP brouhaha, I’ll bring that one up. PFDA had the talent, they had the sound, but what held them back was having violinist Don “Sugarcane” Harris as their frontman. Not that Sugarcane wasn’t talented- he was and then some- but his goal in life apparently was to be even more erratic than George Jones. So after releasing one lone brilliant album, Choice Cuts, the band broke up and each of the members went on their way to great careers elsewhere. But this album was a flawless gem and an outsized influence throughout rock. And that’s because of two Jew guitarists.

Anyway, here’s a sample of the music you should know but don’t (unless you’re a professional guitarist).

Now, goyish trivia extra: the bass player here was a fellow named Victor Conte. Yes, THAT Victor Conte. I suspect that steroids weren’t involved in his playing on this album.

And finally, though not a guitar legend, there was a (((Jew))) who was a music legend so big, so great, so towering, that he became a libertarian meme unparalleled since Abe Vigoda. Yes, the one and only.

What’s of interest here to aficionados of rock guitar is that sound, the pre-Belew, pre-digital effects animal screaming tone. Reed’s innovation here became known as Ostrich tuning in honor of this song, and involves having all six strings tuned to the same note, albeit across two or three octaves. Also called Trivial tuning, it allowed Reed’s limited technique to achieve a memorable and musically appropriate sound. This was music decades ahead of its time. And that’s why, rumors notwithstanding, Reed still walks this earth.