# Guitar Solos

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This article is about the Fred Frith album. For the melodic section or entire piece of music written for guitar, see [Guitar solo](/source/Guitar_solo). For the fiftieth anniversary edition, see [Guitar Solos / Fifty](/source/Guitar_Solos_%2F_Fifty). For the Derek Bailey album, see [Solo Guitar (Derek Bailey album)](/source/Solo_Guitar_(Derek_Bailey_album)).

1974 studio album by Fred Frith

Guitar Solos Studio album by Fred Frith Released October 1974 (1974-10) Recorded 11–13 and 15 July 1974 Studio Kaleidophon Studios, London Genre Free improvisation[1] avant-garde[2] Length 37:17 Label Caroline Producer Fred Frith Fred Frith chronology Guitar Solos (1974) With Friends Like These (1979) Guitar Solos series chronology Guitar Solos (1974) Guitar Solos 2 (1976)

***Guitar Solos*** is the debut [solo album](/source/Solo_album) of English [guitarist](/source/Guitarist), [composer](/source/Composer), and [improviser](/source/Improvisation) [Fred Frith](/source/Fred_Frith). It was recorded while Frith was still a member of the English [experimental rock](/source/Experimental_rock) [group](/source/Musical_ensemble) [Henry Cow](/source/Henry_Cow) and was released in the United Kingdom on [LP record](/source/Gramophone_record) by [Caroline Records](/source/Caroline_Records) in October 1974. The album comprises eight tracks of unaccompanied and [improvised](/source/Musical_improvisation) music played on [prepared guitars](/source/Prepared_guitar) by Frith without any [overdubbing](/source/Overdubbing).

*Guitar Solos* was voted one of the [best albums of 1974](/source/1974_NME_Critics_End_of_Year_Poll) by *[NME](/source/NME)* critics. [AllMusic](/source/AllMusic) called it a landmark album because of its innovative and experimental approach to guitar playing. It also attracted the attention of [Brian Eno](/source/Brian_Eno), resulting in Frith playing guitar on two of Eno's albums, and spawned two follow-up albums, *[Guitar Solos 2](/source/Guitar_Solos_2)* (1976) and *[Guitar Solos 3](/source/Guitar_Solos_3)* (1979).

*Guitar Solos* was [remastered](/source/Remaster) and released on CD on Frith's own record label, [Fred Records](/source/Fred_Records), in 2002. In February 2024, a fiftieth anniversary edition of the album was released on double-LP by Week-End Records entitled *[Guitar Solos / Fifty](/source/Guitar_Solos_%2F_Fifty)*, comprising the original 1974 album, plus a new solo album of 13 previously unreleased tracks.

## Background

Fred Frith was a [classically](/source/Classical_music)-trained [violinist](/source/Violin) who turned to playing [blues](/source/Blues) guitar while still at school.[3] In 1967 he went to [Cambridge University](/source/University_of_Cambridge) where he and fellow student, [Tim Hodgkinson](/source/Tim_Hodgkinson) formed [Henry Cow](/source/Henry_Cow).[4] While at University, Frith read [John Cage](/source/John_Cage)'s *[Silence: Lectures and Writings](/source/Silence%3A_Lectures_and_Writings)*, which changed his attitude to music completely. He realised that "sound, in and of itself, can be as important as ... melody and harmony and rhythm."[3] This changed his approach to the guitar, "just to see what I could get out of it", and initiated a long period of experimentation that continued throughout Frith's musical career.[3]

While the music of Henry Cow was highly orchestrated and structured, Frith also began to experiment with unstructured music, using [prepared instruments](/source/Prepared_guitar#Custom_made_instruments) and [chance composition](/source/Aleatoric_music).[1] In June 1974, after the release of Henry Cow's second album *[Unrest](/source/Unrest_(Henry_Cow_album))*, [Virgin Records](/source/Virgin_Records) (Henry Cow's record label) commissioned a solo record from Frith.[1] They were impressed with his musical ability and gave him free rein to record whatever he wanted.[1] Frith accepted Virgin's challenge, realising that he had "an interesting opportunity to see if I could actually redefine what the instrument was." He decided that the album would consist of a number of "minimally planned improvisation[s]", "a set of [études](/source/%C3%89tude)".[5] Frith spent four days in July 1974 recording at the Kaleidophon Studios in [London](/source/London),[6] and in October that year, Virgin released the album as *Guitar Solos* on their budget label, [Caroline Records](/source/Caroline_Records).

Frith believes that Virgin wanted to transform him into a guitar hero. "[They] were trying to turn me into a star, which is what record companies try to do."[5] Frith had no interest in becoming a "guitar hero", and said "I couldn't do those things, it's not my vocabulary ... I wasn't going to be the next [Jeff Beck](/source/Jeff_Beck).[7] So, rather than produce a "guitar hero record", what Frith made "was almost the antithesis" of what Virgin were expecting.[5] American music academic Benjamin Piekut noted the similarity between *Guitar Solos* and [Derek Bailey](/source/Derek_Bailey_(guitarist))'s 1971 album, *[Solo Guitar](/source/Solo_Guitar_(Derek_Bailey_album))*, but added that while Frith knew Bailey at the time, he had not heard Bailey's solo album.[5]

## Recording

Frith recorded the album at [David Vorhaus](/source/White_Noise_(band))'s Kaleidophon Studios in London on 11–13 and 15 July 1974, where he played a modified 1936 [Gibson K-11](/source/Gibson_Les_Paul). He added an extra [pickup](/source/Pickup_(music_technology)) over the strings at the [nut](/source/Nut_(string_instrument)), enabling him to amplify sound from both sides of the [fretted](/source/Fret) note. He then split the [fretboard](/source/Fingerboard) in two with a [capo](/source/Capo_(musical_device)), effectively giving him two guitars, each amplified separately that he could play independently with each hand. To split the sounds further he attached [alligator clips](/source/Crocodile_clip) at various positions on the strings. The net result was a guitar with multiple sound sources that could be channelled to a [mixer](/source/Mixing_console) and distributed across the [stereo](/source/Stereophonic_sound) [soundscape](/source/Soundscape).[1] A microphone was also positioned on the guitar, on Frith's seat, at his throat to record his breath, and several were placed around the studio.[8]

The album was recorded in four days without any [overdubbing](/source/Overdubbing).[9] All the pieces were improvised, some completely, some to a roughly preconceived idea, and sound as they were played, except for "No Birds", which was recorded in two parts, and "Not Forgotten", from which two notes were removed. The only sounds not produced 'naturally' by guitar are those of a [fuzzbox](/source/Distortion_(music)) used on "Out of Their Heads (On Locoweed)", "Heat c/w Moment" and "No Birds", an [echo delay](/source/Delay_(audio_effect)) used on "No Birds", and ambient noise from Frith's breath and feet on "Heat c/w Moment".[6]

["No Birds"](https://en.wikipedia.org/wiki/File:Fred_Frith_-_No_Birds.ogg)

30 second sample of "No Birds" illustrating Frith's [prepared guitar](/source/Prepared_guitar) with multiple sound sources.[1]

*Problems playing this file? See [media help](https://en.wikipedia.org/wiki/Help:Media).*

On the longest track on the album, "No Birds", Frith played on two prepared guitars simultaneously, creating the [timbre](/source/Timbre) and [range](/source/Range_(music)) of an orchestra. He laid the two guitars flat on a table, [neck](/source/Neck_(music)) to neck with the [bodies](/source/Solid_body) of the guitars at opposite ends and the necks parallel to each other. He tuned the strings on both guitars to one note, and because they were stereo guitars with nut pickups, he had six separate sound sources coming from each guitar. Using [volume pedals](/source/Expression_pedal) on some of the sound sources, he filtered sounds in and out of the mix without doing anything on the guitars.[1]

"No Birds" is the only track on the album recorded with the guitars flat on a table. On all the other tracks the guitars are held in the "conventional position", that is against the player's body.[9] Frith took the title of "No Birds" from the last line of a poem, "One Nest Rolls After Another" by [Captain Beefheart](/source/Captain_Beefheart) that was printed on the back of the LP sleeve of his 1971 album, *[Mirror Man](/source/Mirror_Man_(Captain_Beefheart_album))*. Frith also used the phrase "No Birds" in the Frith/[Cutler](/source/Chris_Cutler) song, "[Beautiful as the Moon – Terrible as an Army with Banners](/source/Beautiful_as_the_Moon_%E2%80%93_Terrible_as_an_Army_with_Banners)", which was released on Henry Cow's 1975 album, *[In Praise of Learning](/source/In_Praise_of_Learning)*.[10]

## Reception and influence

Professional ratings Review scores Source Rating AllMusic [2]

*Guitar Solos* was voted one of the [best albums of 1974](/source/1974_NME_Critics_End_of_Year_Poll) by *[New Musical Express](/source/NME)* critics.[11] In a review in *NME* in November 1974, [Charles Shaar Murray](/source/Charles_Shaar_Murray) described it as "a totally revolutionary album" and "an undeniable landmark in the history of rock guitar".[12] Sean Westergaard of [AllMusic](/source/AllMusic) called *Guitar Solos* a landmark album because of its innovative and experimental approach to guitar playing. He said it seldom sounds like traditional guitar music, "but the pieces have a logic (and beauty, in some cases) all their own."[2] Westergaard described the work as "challenging, avant-garde music, but [not] unapproachable."[2] In the January 1983 edition of *[DownBeat](/source/DownBeat)* magazine, Bill Milkowski wrote that on *Guitar Solos* "Frith unveiled a haunting collection of improvised music on prepared guitar which must have stunned listeners of the day. Even today [1983] that album stands up as uniquely innovative and undeniably daring."[1] Piekut described *Guitar Solos* as "extraordinary not only for the astonishing precision and originally of Frith's technique, but for his *détournement* of an instrument whose entire history had been governed by a simple rule: you pluck it and it goes twang."[13]

Nicole V. Gagné wrote in her 1990 book, *Sonic Transports: New Frontiers in Our Music* that the music on *Guitar Solos* is an "unprecedented ... lexicon of revolutionary sounds" which "leaves you wondering what guitar-playing *is*."[14][italics in the source] She said Frith displays his "astounding technique" of abruptly switching "timbres, multiple rhythmic lines, subtle nuances in volume [and] harmonic densities" within a single piece of music.[14] Gagné commented on some of the tracks:

In "Glass c/w Steel", Frith meticulously fades up, one after the other, four strands of sound, and overlays them into an eerie haze, out of which bounds a rubbery, animal-like line. As this critter bounces and jabbers, the backdrop continues to shift, eventually swelling into loud silvery bells, and then taking a protesting descent back into silence. In "Ghosts", distorted chords expand and collapse with sudden changes of volume. Those ectoplasmic sounds, in a modified form, flit about "Out of Their Heads (On Locoweed)", a track which reworks the formula of "Glass c/w Steel".[14]

Gagné remarked that "the album's biggest surprise" is when it was recorded. She stated that it "is still light years beyond most musicians" and listeners could find themselves "falling out of love with guitarists who haven't grasped the implications of Frith's approach."[15]

*Guitar Solos* attracted the attention of [Brian Eno](/source/Brian_Eno) who was "excited by the timbral possibilities that [Frith had] been discovering."[16][a] Eno asked Frith to record with him, and this resulted in Frith playing guitar on two of Eno's albums, *[Before and After Science](/source/Before_and_After_Science)* (1977) and *[Music for Films](/source/Music_for_Films)* (1978).[16] The table-top guitar setup Frith used on *Guitar Solos* became a standard for many of his subsequent live performances, including those recorded on his 1982 live double album *[Live in Japan](/source/Live_in_Japan_(Fred_Frith_album))*. He later extended his technique to include "[found objects](/source/Found_object_(music))", which he used on his guitars to extract new sounds.[18]

The success of *Guitar Solos* spawned two follow-up albums, *[Guitar Solos 2](/source/Guitar_Solos_2)* (1976) and *[Guitar Solos 3](/source/Guitar_Solos_3)* (1979), which featured Frith and other improvising guitarists, including [Derek Bailey](/source/Derek_Bailey_(guitarist)) and [Hans Reichel](/source/Hans_Reichel).[18] Frith coordinated and produced these albums, and employed many of the same "unorthodox techniques" he had used on *Guitar Solos*.[18] When a [remastered](/source/Remaster) edition of the original *Guitar Solos* was released 28 years later on Frith's own [Fred Records](/source/Fred_Records) label,[19] it attracted further praise from critics. Westergaard wrote that "*Guitar Solos'* lasting legacy is that it radically redefined the way some people think about the guitar."[2]

## Re-issues

In 1991 [RecRec Music](/source/RecRec_Music) (Switzerland) and [East Side Digital Records](/source/East_Side_Digital_Records) (United States) re-issued *Guitar Solos* on CD comprising all the tracks from the original *Guitar Solos* LP, plus the Fred Frith tracks from the follow-up albums, *[Guitar Solos 2](/source/Guitar_Solos_2)* and *[Guitar Solos 3](/source/Guitar_Solos_3)*, along with five previously unreleased tracks by Frith.

In 2002 [Fred Records](/source/Fred_Records) issued a [remastered](/source/Remaster) version of the original *Guitar Solos* LP with no extra tracks.[19]

In February 2024, a fiftieth anniversary edition of *Guitar Solos* was released on double-LP by Week-End Records entitled *[Guitar Solos / Fifty](/source/Guitar_Solos_%2F_Fifty)*. It comprises the original 1974 solo album remastered, plus a new Fred Frith solo album of 13 previously unreleased tracks. Just as the original *Guitar Solos* was recorded without any overdubs, *Fifty* also had no overdubs.[9]

## Track listings

### Original 1974 release

All tracks are written by [Fred Frith](/source/Fred_Frith).

Side one No. Title Length 1. "Hello Music" 1:30 2. "Glass c/w Steel" 5:33 3. "Ghosts" 3:07 4. "Out of Their Heads (On Locoweed)" 8:24 Total length: 18:34

Side two No. Title Length 5. "Not Forgotten" 1:42 6. "Hollow Music" 2:38 7. "Heat c/w Moment" 1:37 8. "No Birds" 12:46 Total length: 18:43

### 1991 CD re-issue bonus tracks

All tracks are written by Fred Frith.

No. Title Length 9. "Only Reflect" 3:58 10. "Water/Struggle/The North" 11:08 11. "Alienated Industrial Seagulls" 3:53 12. "Song of River Nights" 1:23 13. "Should Old Arthur" 1:23 14. "Dependable Phantoms (for Hans)" 4:45 15. "Daria's Regard" 2:10 16. "Throw the Bolt" 2:50 17. "New Shoes (for A.R.)" 3:13 18. "Insomnia" 1:17

#### Track notes

- Tracks 9–10 were recorded on [Tom Newman](/source/Tom_Newman_(musician))'s barge (Argonaut Studio) in January 1976, and were originally released on the second album in the series, *[Guitar Solos 2](/source/Guitar_Solos_2)* (1976).

- Tracks 11–13 were recorded at Briollay, France, in October 1978, and were originally released on the third album in the series, *[Guitar Solos 3](/source/Guitar_Solos_3)* (1979).

- Tracks 14–18 were recorded at Noise, New York City, in September 1988, and were previously unreleased.

### 2024 Double-LP release

All tracks are written by Fred Frith

#### *Guitar Solos* (1974)

Side one No. Title Length 1. "Hello Music" 1:31 2. "Glass c/w Steel" 5:36 3. "Ghosts" 3:11 4. "Out of Their Heads (On Locoweed)" 8:31 Total length: 18:49

Side two No. Title Length 5. "Not Forgotten" 1:55 6. "Hollow Music" 2:44 7. "Heat c/w Moment" 1:42 8. "No Birds" 12:42 Total length: 19:03

#### *Fifty* (2024)

Side one No. Title Length 1. "Dawns" 3:30 2. "Outer Order" 4:28 3. "Tempus Fugit" 2:41 4. "Quicksilver (for Simone)" 2:04 5. "Unterwegs (for Roman)" 3:52 6. "Phalaropes" 1:33 Total length: 18:08

Side two No. Title Length 7. "Jack’s Neap Tide" 2:08 8. "Schlechte Gewissen" 2:24 9. "Move Indigo" 3:54 10. "To Do" 1:39 11. "The Map of Dreams" 3:28 12. "Locomoting" 4:07 13. "Dusks" 1:51 Total length: 19:31

Source: [Bandcamp](/source/Bandcamp)[20]

## Personnel

- [Fred Frith](/source/Fred_Frith) – guitars, [prepared guitars](/source/Prepared_guitar)

### Production

- [David Vorhaus](/source/White_Noise_(band)) – [recording engineer](/source/Audio_engineer)

- [Ray Smith](/source/Ray_Smith_(artist)) – album sleeve photography and design

## See also

- [Fred Frith's equipment](/source/Fred_Frith#Musical_style_and_instruments)

## Footnotes

1. **[^](#cite_ref-18)** Frith's work had been introduced to Eno by [Robert Wyatt](/source/Robert_Wyatt).[17]

## References

1. ^ [***a***](#cite_ref-FOOTNOTEMilkowski198324_1-0) [***b***](#cite_ref-FOOTNOTEMilkowski198324_1-1) [***c***](#cite_ref-FOOTNOTEMilkowski198324_1-2) [***d***](#cite_ref-FOOTNOTEMilkowski198324_1-3) [***e***](#cite_ref-FOOTNOTEMilkowski198324_1-4) [***f***](#cite_ref-FOOTNOTEMilkowski198324_1-5) [***g***](#cite_ref-FOOTNOTEMilkowski198324_1-6) [***h***](#cite_ref-FOOTNOTEMilkowski198324_1-7) [Milkowski 1983](#CITEREFMilkowski1983), p. 24.

1. ^ [***a***](#cite_ref-Westergaard_2-0) [***b***](#cite_ref-Westergaard_2-1) [***c***](#cite_ref-Westergaard_2-2) [***d***](#cite_ref-Westergaard_2-3) [***e***](#cite_ref-Westergaard_2-4) Westergaard, Sean. [Guitar Solos](https://www.allmusic.com/album/guitar-solos-mw0000611989) at [AllMusic](/source/AllMusic_(identifier)). Retrieved 11 November 2019.

1. ^ [***a***](#cite_ref-FOOTNOTEMilkowski198323_3-0) [***b***](#cite_ref-FOOTNOTEMilkowski198323_3-1) [***c***](#cite_ref-FOOTNOTEMilkowski198323_3-2) [Milkowski 1983](#CITEREFMilkowski1983), p. 23.

1. **[^](#cite_ref-4)** ["Henry Cow"](https://www.calyx-canterbury.fr/bands/henrycow.html). *Calyx – The Canterbury Music Website*. Retrieved 13 February 2009.

1. ^ [***a***](#cite_ref-FOOTNOTEPiekut2019144_5-0) [***b***](#cite_ref-FOOTNOTEPiekut2019144_5-1) [***c***](#cite_ref-FOOTNOTEPiekut2019144_5-2) [***d***](#cite_ref-FOOTNOTEPiekut2019144_5-3) [Piekut 2019](#CITEREFPiekut2019), p. 144.

1. ^ [***a***](#cite_ref-sleevenotes_6-0) [***b***](#cite_ref-sleevenotes_6-1) [Frith, Fred](/source/Fred_Frith) (1974). *Guitar Solos* (vinyl). London: [Caroline Records](/source/Caroline_Records). C 1508.

1. **[^](#cite_ref-FOOTNOTEBell202442_7-0)** [Bell 2024](#CITEREFBell2024), p. 42.

1. **[^](#cite_ref-FOOTNOTEBell202438_8-0)** [Bell 2024](#CITEREFBell2024), p. 38.

1. ^ [***a***](#cite_ref-FOOTNOTEBell202441_9-0) [***b***](#cite_ref-FOOTNOTEBell202441_9-1) [***c***](#cite_ref-FOOTNOTEBell202441_9-2) [Bell 2024](#CITEREFBell2024), p. 41.

1. **[^](#cite_ref-FOOTNOTEPiekut2019p._426_(Chapter_3,_footnote_61)_10-0)** [Piekut 2019](#CITEREFPiekut2019), p. 426 (Chapter 3, footnote 61).

1. **[^](#cite_ref-rocklists_11-0)** ["NME Albums 1974"](https://web.archive.org/web/20060629131000/http://rocklistmusic.co.uk/1974.html). *Rocklist.net*. Archived from the original on 29 June 2006. Retrieved 16 February 2009.

1. **[^](#cite_ref-Murray_12-0)** [Murray, Charles Shaar](/source/Charles_Shaar_Murray) (30 November 1974). "Review: *Guitar Solos*". *[New Musical Express](/source/NME)*. [ISSN](/source/ISSN_(identifier)) [0028-6362](https://search.worldcat.org/issn/0028-6362).

1. **[^](#cite_ref-FOOTNOTEPiekut2019146_13-0)** [Piekut 2019](#CITEREFPiekut2019), p. 146.

1. ^ [***a***](#cite_ref-FOOTNOTEGagné1990106_14-0) [***b***](#cite_ref-FOOTNOTEGagné1990106_14-1) [***c***](#cite_ref-FOOTNOTEGagné1990106_14-2) [Gagné 1990](#CITEREFGagné1990), p. 106.

1. **[^](#cite_ref-FOOTNOTEGagné1990107_15-0)** [Gagné 1990](#CITEREFGagné1990), p. 107.

1. ^ [***a***](#cite_ref-Jonsson_16-0) [***b***](#cite_ref-Jonsson_16-1) Jónsson, Darrell (January 2007). ["Fred Frith"](https://web.archive.org/web/20180512171104/http://www.hisvoice.cz/cz/articles/detail/159). *His Voice*. Archived from [the original](http://www.hisvoice.cz/clanek_159_fred-frith.html) on 12 May 2018. Retrieved 4 April 2012..

1. **[^](#cite_ref-Thodoris_17-0)** Thodoris (30 January 2016). ["Interview: Fred Frith (solo, Henry Cow)"](https://hit-channel.com/94049-2-94049/?amp=1). *Hit Channel*. Retrieved 24 July 2025.

1. ^ [***a***](#cite_ref-FOOTNOTEMilkowski198325_19-0) [***b***](#cite_ref-FOOTNOTEMilkowski198325_19-1) [***c***](#cite_ref-FOOTNOTEMilkowski198325_19-2) [Milkowski 1983](#CITEREFMilkowski1983), p. 25.

1. ^ [***a***](#cite_ref-FR-CD-notes_20-0) [***b***](#cite_ref-FR-CD-notes_20-1) [Frith, Fred](/source/Fred_Frith) (2002). *Guitar Solos* (CD). London: [Fred Records](/source/Fred_Records).

1. **[^](#cite_ref-21)** ["Guitar Solos / Fifty by Fred Frith"](https://fredfrith1.bandcamp.com/album/guitar-solos-fifty). *[Bandcamp](/source/Bandcamp)*. Retrieved 19 January 2024.

## Works cited

- Bell, Clive (January–February 2024). "Fred Frith: Take It to the Bridge". *[The Wire](/source/The_Wire_(magazine))* (479+480). London: 38–44. [ISSN](/source/ISSN_(identifier)) [0952-0686](https://search.worldcat.org/issn/0952-0686).

- Gagné, Nicole V. (1990). [*Sonic Transports: New Frontiers in Our Music*](https://books.google.com/books?id=N44YAQAAIAAJ). De Falco Books. [ISBN](/source/ISBN_(identifier)) [978-0-9625145-0-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-9625145-0-0).

- Milkowski, Bill (1983). "The Frith Factor: Exploration in Sound". *[DownBeat](/source/DownBeat)*. Vol. 50, no. 1. [Chicago](/source/Chicago): Maher Publications. pp. 22–25, 61. [ISSN](/source/ISSN_(identifier)) [0012-5768](https://search.worldcat.org/issn/0012-5768).

- Piekut, Benjamin (2019). [*Henry Cow: The World Is a Problem*](/source/Henry_Cow%3A_The_World_Is_a_Problem). [Durham, North Carolina](/source/Durham%2C_North_Carolina): [Duke University Press](/source/Duke_University_Press). [ISBN](/source/ISBN_(identifier)) [978-1-47800-405-9](https://en.wikipedia.org/wiki/Special:BookSources/978-1-47800-405-9).

## External links

- *[Guitar Solos](https://www.discogs.com/master/54796)* at [Discogs](/source/Discogs) (list of releases)

- *[Guitar Solos / Fifty](https://www.discogs.com/release/29503207)* at [Discogs](/source/Discogs)

v t e Fred Frith Studio albums Guitar Solos Gravity Speechless Cheap at Half the Price Quartets Clearing Prints Eleventh Hour To Sail, to Sail Clearing Customs Guitar Solos / Fifty Music for Dance The Technology of Tears Allies The Previous Evening Accidental The Happy End Problem Nowhere, Sideshow, Thin Air Field Days (The Amanda Loops) Propaganda Music for Film The Top of His Head Step Across the Border Middle of the Moment Eye to Ear Rivers and Tides Eye to Ear II Eye to Ear III Composer only Pacifica Freedom in Fragments Back to Life Live albums Live in Japan Stone, Brick, Glass, Wood, Wire Impur II Storytelling All Is Always Now – Live at The Stone Woodwork Composer only Impur Collaborations With Friends Like These (with Henry Kaiser) Voice of America (with Bob Ostertag and Phil Minton) Live in Prague and Washington (with Chris Cutler) French Gigs (with Lol Coxhill) Who Needs Enemies? (with Kaiser) Nous Autres (with René Lussier) Attention Span (with Ostertag and John Zorn) Dropera (with Ferdinand Richard) Live Improvisations (with Tim Hodgkinson) Helter Skelter (with François-Michel Pesenti) Live in Trondheim, Berlin & Limoges, Vol. 2 (with Cutler) The Art of Memory (with Zorn) Traffic Continues (with Ensemble Modern) 2 Gentlemen in Verona (with Cutler) Dalaba Frith Glick Rieman Kihlstedt (with Lesli Dalaba, Eric Glick Rieman and Carla Kihlstedt) What Leave Behind (with Toychestra) 50th Birthday Celebration Volume Five (with Zorn) Touch the Sound (with Evelyn Glennie) The Compass, Log and Lead (with Kihlstedt and Stevie Wishart) Duo (Victoriaville) 2005 (with Anthony Braxton) Ironic Universe (with Janet Feder) The Stone: Issue Two (with Cutler) Cutter Heads (with Chris Brown) The Sugar Factory (with Glennie) The Art of Memory II (with Zorn) Still Urban (with ARTE Quartett) The Big Picture (with ARTE Quartett) Late Works (with Zorn) Angels on the Edge of Time (with Lindsay Cooper, Gianni Gebbia and Lars Hollmer) Cut Up the Border (with Nicolas Humbert and Marc Parisotto) Laying Demons to Rest (with Susana Santos Silva) Compilations Friends & Enemies (with Kaiser) Box sets Fred and Ralph The Fred Records Story 2001–2020 Volume 1: Rocking the Boat The Fred Records Story 2001–2020 Volume 2: Crossing Borders The Fred Records Story 2001–2020 Volume 3: Stepping Out Documentaries Step Across the Border Touch the Sound (with Glennie) Act of God Related Fred Frith discography Fred Records Henry Cow Art Bears Massacre Skeleton Crew Keep the Dog Cosa Brava Fred Frith Trio Henry Now The Orckestra Duck and Cover French Frith Kaiser Thompson Death Ambient Fred Frith Guitar Quartet Maybe Monday Aksak Maboul Material Naked City Category

Authority control databases MusicBrainz release group

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Adapted from the Wikipedia article [Guitar Solos](https://en.wikipedia.org/wiki/Guitar_Solos) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Guitar_Solos?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.