Bradley Hall Offers Counterpoint to Kirk Hammett’s Unfavorable Stance on Solos, Labels His ’72 Seasons’ Solo as Lacking Substance

In response to Kirk Hammett’s recent controversial remarks downplaying the significance of guitar solos, Bradley Hall has stepped forward to challenge the Metallica guitarist’s perspective. Disputing Hammett’s assertion that general audiences don’t truly appreciate solos, Hall argues that Hammett’s latest musical endeavors cannot be compared favorably to his earlier works in terms of quality.

Earlier this year, Kirk Hammett sparked considerable attention within the global guitar community by claiming that solos are not crucial to the broader audience. Despite being an influential figure whose solos inspired countless individuals to pick up the guitar, Hammett stated that non-musicians, constituting the majority of the listener base, are unlikely to remember guitar solos, emphasizing the memorability of melody for casual fans.

Angel Vivaldi, a self-proclaimed guitar virtuoso influenced by Hammett’s solos, expressed concern over such statements, arguing that Hammett played a pivotal role in shaping aspiring guitarists. Vivaldi contended that Hammett’s recent musical choices, particularly on the album ’72 Seasons,’ have contributed to the diminishing importance of guitar solos.

Joining the discourse, YouTube sensation Bradley Hall, known for reinterpreting Kirk’s solos on “72 Seasons,” concurred with Vivaldi’s assessment in a new video. Hall asserted that while Hammett advocates for improvised and spontaneous solos, proficiency in improvisation is essential, and unfortunately, Hammett falls short in comparison to accomplished guitarists like Guthrie Govan.

Hall acknowledged that guitarists may pay more attention to solos, but he maintained that solos can capture the wider audience’s attention if well-arranged, citing examples from songs like Europe’s “Final Countdown,” Pink Floyd’s “Another Brick in the Wall,” and Nuno Bettencourt’s solo from “Rise.” However, Hall suggested that Hammett’s dismissal of solos may stem from his awareness that the solos on ’72 Seasons’ lacked substance.

Despite his criticism, Hall acknowledged that Hammett’s early work on Metallica’s early albums was “legendary,” highlighting a balance between composition and improvisation that seemed to be absent in his recent efforts. Hall expressed disappointment in Hammett’s apparent shift in attitude, describing it as elitist and contradictory to his previous stance.

Furthermore, Hall critiqued a specific solo from ’72 Seasons,’ comparing it unfavorably to Hammett’s earlier exemplary work. Describing the solo as sounding amateurish and detached from the accompanying music, Hall questioned Hammett’s approach, particularly his sudden aversion to solos.

In conclusion, Hall urged Hammett to adopt a more positive and encouraging stance, emphasizing the guitarist’s influential role and the responsibility to inspire aspiring musicians positively. Hall encouraged musicians to create quality solos, expressing a need for Hammett to embrace a more uplifting message in line with his previous impact on the guitar community.