Todd Rundgren argues that guitarists in the 1960s broadly divided into two distinct camps, reflecting different approaches to playing and musical identity. The observation matters because it presents the decade’s guitar culture as shaped by contrasting priorities rather than a single dominant style.

The supplied article text does not identify the two camps or provide Rundgren’s detailed explanation, examples or supporting context. It attributes the claim to Rundgren and frames it as a retrospective view of the era’s musicians.