AGN Pro Files With Tim Pierce: Tim's Pro Files guest this week is Chicago based Blues master, Guy King.
AGN Pro Files With Tim Pierce: Guy King is regarded as one of the best Blues guitar players of the modern era.
AGN Pro Files
True RnR Stories: Andrew Kastner; In 1970 Peter Green (and his '59 Burst) moved into my home
Guitarist and founding member of great LA band, Jack Mac & The Heart Attack tells the amazing story of how he met Peter Green. The Act formed in 1969 in Boston Massachusetts. They were Andrew Kastner on guitar, Steve Aiello on Hammond B3 Organ, Frank Welch on Bass and Richard Ponte on drums. In September 1970, Andrew called ex-Fleetwood Mac guitarist Peter Green and asked him if he wanted to come over and have a play with his band. Andrew had met Peter in 1968 when Fleetwood Mac first performed in Boston. Peter said yes to the offer and soon flew over and lived in their band house in the woods in South Berwick Maine for about a month. During that time, they just got up every day and jammed. After a few weeks they ventured out and played three gigs. One at the Cambridge YMCA, one at Goddard College and the third on Oct 12, 1970, at the Boston Tea Party. This album is that performance. The Band isn’t playing Blues here. It is pure improvisation, letting the music go where it wanted to go. Peter’s playing is not reliant on tricks or pre-conceived licks, it just pure Peter, straight from his heart and deeply connected to his inner self. His playing is lyrical, dynamic, sensitive and on fire. This recording was lost for 5 decades. It wonderful to see it released 50 years to the day that it was originally recorded. Andrew Kastner’s memories: “I always thought that Fleetwood Mac was one of the best bands I have ever saw. I grew up in Boston in the late 60’s. Music was everywhere back then. Between the Unicorn Coffee House, The Boston Tea Party, where my brother worked, and the Psychedelic Supermarket, where we both worked, I saw almost all the greats - BB King, Freddy King, Albert King, Buddy Guy, Led Zeppelin and almost every other touring band at the time. But Fleetwood Mac was special. They were authentic and intense with a great feel and amazing dynamics. And with a touch of humor as well. Fleetwood Mac had all that and more. They had Peter Green. It was December 1968 when Fleetwood Mac first played the Boston Tea Party. I remember how great they were and especially Peter’s tone. He played with just the right amount of space, fire and dynamics. I could feel all my favorite blues players like BB King and the others in him. So many guitarists I had heard at the time over played or use licks they had practiced. Peter wasn’t like that. Everything he played seemed to come directly from his soul, almost as if he was singing or speaking. After a couple of Fleetwood Mac’s sets, my brother, Stanley, and I were walking through the club looking for the exit when Peter walked right by us. Stanley bravely said to Peter, “Hey, my brother has a Les Paul, too.” I had a 1952 gold Les Paul at the time. Peter turned around and said something like, “Oh, that’s cool, do you wanna come to the hotel and hang out”? Hell yes we did! I remember pretty vividly sitting in his hotel room with my brother and a few other people. He was so easy going, witty and funny. We became friends, so every time he came to Boston to play with The Mac, we would go hang out with him. One time he and I went to see BB King play. Backstage BB told me that Peter played his style better than anyone he had ever heard. The Act was formed in 1969. I played lead guitar and was joined by Steve Aiello on Hammond B3 organ, Frank Welch on bass and Richard Ponte (aka Richard Dapont) on drums. Richard was a great drummer and without a doubt one of the best in Boston at the time. This was the 60’s. Drug and alcohol use were excessive and seemingly everywhere. As I recall Richard was a heavy drinker of usually hard alcohol of some sort. I remember him always holding his side, which he later found out was his liver. Regretfully Richard died at a very early age from cirrhosis of the liver. I think he was in his mid-twenties. It saddened us all that we lost such a talented musician and dear friend. Steve was an amazing B3 player and wise beyond his years and sort of an old soul. Frankie was a mild-mannered guy – a great bass player, simple and in the pocket. I was nineteen when we started the band. I was a burgeoning guitarist, but I was so lucky to be playing with these great players who really helped me to improve. I had to step up, or they would have fired me. On this recording I’m pretty much trying to stay out of Peter’s way while just listening and learning from a master. The Act played mostly blues as I recall. We didn’t have a singer, so we were just jamming and not gigging that much. Steve Aiello’s parents had a summer house in South Berwick, Maine. It was tucked way back into the woods, and the entire band took it over and stayed there at the end of the summer of 1970. At that time I heard that Peter quit Fleetwood Mac. Soon after that I called him in London and on a fluke asked him if he would fancy coming to Maine to play with my band. To my surprise he said sure. So, a few weeks later on Sept 16, 1970 I drove to Boston’s Logan Airport and there he was with his suitcase, sunburst Les Paul and six string Fender bass in hand. We drove a couple hours to the house in Maine, and he stayed for about a month. We mostly played these long, one-chord jams where Peter would lead the way. He took us on a musical journey, and we were quite happy to just follow along. I would say Peter’s mood was reflective, sometimes melancholy but at other times joyful and peaceful. He would sit around deep in thought and daydreamed a lot. But Peter also had a great sense of humor. I remember him once sitting on a stoop playing his Les Paul unplugged and looking up into the trees. I asked him what he was doing. He said he was jamming with the birds. They would sing something, and he would play them back a lick on guitar. From that is where the song Songbird got its title. One time Peter and I went into the town of South Berwick and saw a headline on the local newspaper that read - “Jimi Hendrix Dead!” Peter was shocked and deeply saddened. He told me he was just hanging out with Jimi a couple of weeks before in London. The news of his death hit him really hard. In the month we were there in Maine, we ventured out three times to play gigs. Once on Oct 12th at the Boston Tea Party, which is this recording. Another time at the Cambridge Massachusetts YMCA, and then at Goddard College in Vermont, where Peter headed up to after he left us in Maine. He went to spend some time with a girl he met on the road. The Boston Tea Party recording, in my opinion, has some of Peter’s best free form playing I have ever heard. I didn’t see Peter again until 1997 when he came to LA on tour with Nigel Watson. I was so happy that he remembered me. Nigel lived with me in Boston for one year in 1972, but that’s a whole different story. Over the course of my life I have saved hundreds of old tapes and videos from my career as a musician. Mostly they have been gathering dust in my closet and storage sheds. Last year I got a call from film director Clint Eastwood’s producer. They were looking for video from my band, Jack Mack and the Heart Attack. We were playing on the stage in Centennial Park in Atlanta during the 1996 Olympic Games when a pipe bomb went off. Clint when on to make the film “Richard Jewel” and used our footage and songs from the night the bomb exploded. Twenty years ago, I found an old reel-to-reel tape of the legendary blues pianist, Otis Spann. It was his last ever live performance that was recorded in April 1970 at the old Boston Tea Party. The tape belonged to my friend Peter Malick, who was a good friend of Otis Spann and played guitar with him that night. Peter Malick released the tape as an Otis Spann album entitled, “Last Call.” This album was recorded only three weeks before the pianist's death from liver cancer This classic Chicago blues man’s work is revered and studied by almost every blues pianist who followed in his wake. The album went on to win best traditional album of the year at the Blues Handy Awards. So here, in 2020, 50 years later, I find a tape recording of my band playing live at The Boston Tea Party on Oct 12, 1970 with Peter Green. I didn’t even remember that we had recorded that night. It is such a good representation of Peter’s playing, I felt I had a responsibility to release it. Peter sounds so great that I am happy to offer it as a tribute to the late great Peter Green. It was an amazing experience not only to play with Peter but also to get to know him as a person and a friend, beyond his professional persona as a touring musician. Peter was a sweet man and an unbelievable musician. He was my idol. How lucky was I to have known him”. Andrew Kastner Oct 6, 2020 Stephan Aiello’s recollections As for my recollections of Peter Green. They all surround the times we played together, which was three gigs plus rehearsals as I recall. I remember when we first played with him at the mountain house in Maine. I think back – what balls we had to think we could play with him. But that is youth. Ten years later I would have been too nervous to move. I remember his starting to play. What did we expect? Songs. I figured some blues of course. But no, Peter launched into this free form jam without a word, and I think we were all a bit shocked. After a while we got it and never really questioned why he wanted to play that way but that is what he did. I remember he would start with a lick or chord pattern in some rhythm and we would just go it with it. In Peter’s way he let us all solo and back us up…to think…Peter Green backing us up. Anyway, then he would alter the lick or chords and change mood and we would follow and then again and we would follow and we all took solos and that was it. And that is what we did at gigs…again we never asked why…it was what he wanted…he never sang a word. I remember too he had this weird Fender bass with six strings; the strings looked thinner than those on a regular bass. I remember Peter playing it very rhythmically / percussively with it although he chorded as well. I remember up there in Maine introducing Peter to my wife Laurel who was quite pregnant. In his way Peter said nothing; he just looked at us both and smiled. I can’t remember the order of the gigs we played with him. I do remember the Cambridge YMCA which was a round room. I would say there were 300 to 500 people there. We went on stage. Peter started to play. I remember that in all our gigs people were kind of dumbstruck when we started to play. Maybe they were expecting Black Magic Woman. They listened and listened and we never knew how it was being accepted. I do remember feeling we played great and the audience erupted at the end. I remember going to Godard College; I was smoking a lot of pot so the memories are dim. I remember looking at all the crowd – all major hippies – men and women wearing jean overalls and shit kicker boots and flannel shirts and long hair. It was a completely androgynous crowd. We were in a large barn…I remember that brought my PA system with us and ran my Leslie speaker through that for the gig, no wonder I wear hearing aids now. I remember the Tea Party gig fairly well. I remember being in the dressing room waiting to play; I was very high and very nervous…my legs were shaking. I had the same thought before each time we played with Peter. WE KNEW NO SONGS! No wonder I was nervous. As I recall Carlos Santana and band came into the dressing room to say hi to Peter….amazing to think. Again, when we got on stage the audience reaction was the same…”what the fuck is this? No Black Magic Woman!!!” When I think about it now what a jazz-like form it was that Peter wanted….we knew it by then…we really played great. I remember, maybe this is a dream, but I remember Santana and we all stayed after. Frankie and I went up on the stage and started to play a Booker T and the MG’s song. Santana came up on the stage and joined…he knew the song perfectly. Anyway, I remember Peter walking by me and looking up at me…he gave me a big wink and smile, as if to say, “having fun?.” Such a sweet and gentle person he was. This is all I remember… I am remembering it all as the truth but again, it all happened with altered states of consciousness. Steve Aiello Oct 7, 2020 The Act, Featuring Peter Green, Live at the Boston Tea Party 1970 Greeny's Mood (feat. Peter Green) 4:36 Back to the Woods (feat. Peter Green) 4:12 Green Fire (feat. Peter Green) 3:16 Songbird (feat. Peter Green) 3:20 Six String Bass Man (feat. Peter Green) 5:15 Ponte's Obsession (feat. Richard Ponte) 2:20 Troubled World (part 1.) (feat. Peter Green) 4:20 Troubled World (part 2.) (feat. Peter Green) 2:54 THE ACT Peter Green, Guitar, Six String Bass Andrew Kastner, Guitar Steve Aiello, Hammond B3 organ Frank Welch, Bass Richard Grossman Additional Bass (tracks 1 – 3) Produced by Andrew Kastner Mastered by Chas Sandford, Secret Sound Franklin, Tennessee Graphic design by Andrew Kastner & Emmet Aiello Publishing Administered by Drewness Music ASCAP Recorded October 12, 1970 at the Boston Tea Party Released October 12, 2020 © MIDDLE SUN MEDIA
AGN Pro Files
Norman's Rare GuitarsVintageTips, Tech & RepairsMichael LemmoGuitar Of The DayRockRecording
Dweezil Zappa and Eddie Van Halen's famous 'Rasta' guitar
The guitar world is in mourning right now with the death yesterday of Eddie Van Halen, one of the greatest of all time. Eddie was a true innovator and not only changed the way the guitar was played but how they were designed and built. A while back, Dweezil Zappa dropped by the AGN studio with Eddie Van Halen's famous 'Rasta' guitar. Gibson's Mark Agnesi and self-confessed Eddie Van Halen freak, Michael Lemmo were on hand to check it out, touch it, feel it and plug it in.
AGN Pro Files
Supertramp's Carl Verheyen
In this episode, Tim talks to longtime Supertramp guitar player, Carl Verheyen. Carl is one of the most knowledgable, well rounded players you'll ever meet and his command of the instrument is second to none.
AGN Pro Files
Bowie's Basslines - An Interview with bass player, Carmine Rojas. - from Bowie to Bonamassa
Bowie's Basslines - An Interview With Carmine Rojas. Carmine Rojas played bass for David Bowie through the defining 'Let's Dance' period and his basslines are now a big part of Rock history. He then went on to work with Rod Stewart, Julian Lennon and in recent years, Joe Bonamassa. Carmine shows us the inspitation behind his iconic bass line on 'China Girl'.
New Releases - Players
John Hahn - "Fuel Injection"..... from Guitar Virtuoso John Hahn's latest album, “Undiscovered World”. click the INFO button for more details
Undiscovered World Release: 28 November 2020 Instrumental Guitar Virtuoso John Hahn Releases “Undiscovered World” Featuring “Headbanger” Drummer Carl Canedy of The Rods, and Canedy. Fantastic guitar centric album with so much emotion and virtuosity. A stunning record, more like a work of art. Not too over the top but technically amazing, not too cliched but able to draw real emotion from the humble electric guitar. The arrangement of guitar melodies and riffs will tingle and tickle the ears all the while blowing your mind. John Hahn is excited to announce the completion and release of his new John Hahn instrumental release, “Undiscovered World” Featuring Carl Canedy on drums. "Another impressive Cd from John Hahn. Progressive hard rock/metal melodic instrumentals with just the right amount of shred. Fans of earlier Dream Theater should appreciate the complexity of some of the tracks. A must for fans of guitar instrumentals." ~David T. Chastain – Guitarist, GM Leviathan Records Early influences - John started developing his ear at an early age as his influences evolved drawing inspiration from “old school” guitar greats like, Ritchie Blackmore, Neil Schon, Michael Schenker and Steve Morse, and innovators like Eddie Van Halen, next wave players like George Lynch, Steve Vai and Joe Satriani who were blazing up the scene at the time. In later years, heavy influences included the likes of Paul Gilbert, Vinnie Moore, Greg Howe, John Petrucci, etc. "Hey John, I bought the album on itunes, and I have to tell you that it’s absolutely amazing! The astounding technique, great song craft, and outstanding production make this album a joy and inspiration to listen to from front to back! Congratulations John Hahn!" ~Paul Lidel – Guitarist, Dirty Looks, Dangerous Toys, 99 Crimes Live Playing Experience - John gained very valuable performing experience touring the US and Canada where the band headlined packed venues as well as supporting such national acts as Ted Nugent, Foghat, Night Ranger and Winger, playing an average of 4 nights per week for 8 years…THAT’S OVER 1600 SHOWS! In his own words… “Over these many years through my musical journey - playing, touring (estimated over 1600 shows), writing and recording, I have had the pleasure of meeting and making friends with so many people and have shared a lifetime of incredible memories! Guitar is my passion, and this new release is a snapshot of where I am at this point in time as a player and writer. It is my hope that as my style evolves, current friends and fans will enjoy the material as well as introducing a new audience to my music. I feel as though I have captured my best writing and playing in this release. Please spread the word…for many, my music is still an “Undiscovered World”.” Into the Spotlight - While John Hahn had the club scene abuzz with his guitar wizardry, it was Shrapnel Records head Mike Varney who catapulted John to the national spotlight when he was featured in Mike’s Spotlight column in Guitar Player Magazine. Additional notable national press would include John being featured in a “Guitar School Magazine” article where he was named as one of the “Next generation of guitar heroes”, “the Vai’s and Satriani’s of tomorrow”. John Hahn “Out of the Shadows” - John’s instrumental debut release "Out of the Shadows" on Leviathan Records in the US, Zero Records (Japan), Killerwatt(Europe) shot him into the limelight gaining much international praise and recognition in such publications as Guitar World, Guitar School, Rip, Guitar Player and Guitar for the Practicing Musician. John Hahn “Darkness Falls” - Energized to create another instrumental CD, John then turned back to his studio, composing musical pieces complete with solid foundation songs laden with his signature guitar work of melody, technique, emotion, dynamics, feel, flash and fury! “John and I have been friends for a long time, I played drums on his first album and he played guitars on my “Headbanger” album. I’ve always loved his playing, but I also loved his writing. On this album (Undiscovered World) his playing has improved greatly which is hard to believe because he had very little room to improve. The song writing is just fantastic on this release. I love every cut, and it was an honor to contribute to this album.” ~Carl Canedy – Drummer, Producer, The Rods, Canedy Canedy “Headbanger” - John's next musical endeavor again had him cross paths with The Rods drummer Carl Canedy who approached him to play guitars on Carl's solo project "Headbanger". On this release you can hear John's signature style throughout this very powerful offering. John covered all rhythm and lead guitars, bass on one track and on two occasions traded guitar solos with Trans-Siberian Orchestra's Chris Caffery!! In addition to Carl, John had the privilege of sharing sonic space with amazing vocalists including Mark Tornillo (Accept), Joe Comeau (Annihilator, Liege Lord and Overkill) and none other than the greatest metal voice of all time, Ronnie James Dio (vocal tracks pulled from previously recorded version of The Code)! "A pleasant musical journey that does not tire even for a minute… His influences by guitarists like R.Blackmore, N.Schon, S.Morse, E.Van Halen, J.Satriani, S.Vai & J.Tafolla appear within his compositions. I choose tracks “Fuel Injection”, “Heaven’s Fury”, “Thrill Of The Chase” & “Close To The Edge”. Check this release… worth it!" ~ Harry Norumaniac - ALBUM REVIEWZ
Update: Dec 4th, 2020: Epiphone: Inspired By Gibson Unveils new ES and Acoustic Collections Designed from Original Gibson Blueprints
NASHVILLE, TN: The leading innovator in designing affordable professional instruments, Epiphone is proud to premiere Epiphone’s Inspired by Gibson™ collection which offers fans classic Gibson acoustic and electric guitars at an accessible price. Designed from the original Gibson blueprints, Epiphone’s Inspired by Gibson Collection has unveiled the new Original ES and Acoustic Collections, now available worldwide. “The Epiphone Inspired by Gibson Collection consists of some of the most iconic guitar designs ever created,” says Krista Gilley, Brand Director of Epiphone. “Playing off our Gibson counterpart, we are providing players a high-quality, notable guitar at an accessible price. This robust collection, now consists of these legendary acoustic and ES models, including guitars ideal for every player, at every stage.” Epiphone Inspired by Gibson Original ES-335, Figured ES-335, and ES-339: Epiphone Inspired by Gibson Original ES photos: Here. All spec sheets: Here. The full-size Epiphone Inspired by Gibson ES-335--one of the most versatile guitars in the world--is favored by icons of rock, blues, and jazz. From its inaugural appearance in 1958, the sweet and soulful semi-hollow ES-335 has been invigorating players all over the world for six decades. For guitar players who want the classic sound of an ES-335 at an accessible price, it is simply one of the best deals today. The ES-335--is available in Cherry and Vintage Sunburst, as well as a ES-335 Figured version with a top and back layer veneer of flamed maple in a stunning Raspberry Tea Burst and Blueberry Burst. Each ES-335 is crafted with a layered maple top, back, and sides coupled with a solid maple tone block to create the amazing sustain, warmth, and resonant tone that players crave in a semi-hollow instrument. Epiphone's Alnico Classic PRO™ Humbuckers deliver a wide range of vintage sounds while the rounded C neck profile is extremely comfortable and easy to play, and the headstock features the 60s style Kalamazoo shape. the tone and look of an ES-335, but in a slightly smaller, lighter instrument. The hand-rolled C-shaped mahogany neck reminds players where it all started. A pair of Epiphone Alnico Classic PRO™ humbuckers showcase the versatile Gibson ES™ tone that players have craved for over 60 years. Tuning stability and precise intonation are provided by the Graph Tech® NuBone® nut, Grover® Rotomatic® tuners, and Epiphone's exclusive LockTone™ bridge and tailpiece, which also add more sustain to your tone. The ES-339 impressive gloss finishes are offered in the most popular and requested colors including Cherry, Pelham Blue, Vintage Sunburst, and Natural. Epiphone Original Acoustics have been at the forefront of the folk, country and rock 'n’ roll revolutions.The Epiphone Inspired by Gibson Acoustic Collection are created directly from the original blueprints for Gibson’s most popular acoustics and in the most desired finishes across the world. The J-45, known as The Workhorse, is Gibson’s most famous and popular acoustic guitar. The choice of legendary musicians since it was first introduced in 1942, Epiphone’s Inspired by Gibson J-45 and the J-45 EC Cutaway have everything players want. The Epiphone J-45 features all solid wood construction, a comfortable rounded C neck profile, 20 medium jumbo frets, and the 60s style Kalamazoo headstock shape all in a gorgeous Aged Vintage Sunburst finish. The Fishman® Sonicore under-saddle pickup and Sonitone preamp make this Workhorse stage-ready out of the box. The Epiphone Inspired by Gibson J-45 EC Cutaway gives players improved access to the upper frets while retaining all of the features that make the J-45 special to begin with, including the Sloped Shoulder body with a solid Sitka spruce top and solid mahogany back and sides, a comfortable rounded C neck profile, Fishman® Sonicore under-saddle pickup and Fishman Presys II preamp with volume and tone controls, all in a beautiful Aged Vintage Sunburst finish. The Hummingbird™ is one of Gibson’s most instantly recognizable and remarkable acoustic guitars ever built. The new Epiphone Inspired by Gibson™ Hummingbird and the rarely offered, iconic Hummingbird 12-String guitars take flight with solid woods, vintage appointments, and a Fishman® Sonicore under-saddle pickup and Sonitone preamp. Outfitted with gold Epiphone Deluxe tuners, top and back multi-ply binding, Kalamazoo style headstock, and a bone nut and saddle, it's available in Aged Antique Natural Gloss and Aged Heritage Cherry Sunburst Gloss finishes. The Epiphone Inspired by Gibson Hummingbird™ 12-String Acoustic produces a clear, bright tone with a beautifully balanced sonic range and comes equipped with a unique Hummingbird pickguard. The Epiphone Inspired by Gibson Hummingbird 12-String has a solid spruce top, solid mahogany back and sides, dovetail neck joint, bone nut and saddle, Fishman® Sonitone pickup system, and an Aged Vintage gloss finish. The Epiphone Inspired by Gibson™ J-200™ is a stunning homage to the King of the Flat-Tops - the world-famous Gibson™ SJ-200. Since its introduction in 1937, the J-200 has been the choice of "singing cowboys" like Tex Ritter and Gene Autry, as well as folk, rock and country royalty, including Emmylou Harris, Elvis, Jimmy Page, Bob Dylan, George Harrison, The Edge, and more. Featuring a Super Jumbo non-cutaway solid figured maple body, solid Sitka spruce top, and two-piece maple neck with a mahogany center strip, the Epiphone J-200 is built with all solid woods for outstanding tone. The visual elements have always been a big part of the J-200's appeal, and the Epiphone Inspired by Gibson J-200 includes a Moustache™ bridge with curved block inlays, Crown headstock inlay and Graduated Crown mother-of-pearl fingerboard inlays, and a J-200 style pickguard with two-color graphics. The Epiphone Inspired by Gibson J-200 is available in Aged Antique Natural Gloss and Aged Vintage Sunburst Gloss color finishes. Epiphone’s Inspired by Gibson Collection features new and classic electric and acoustics including the Les Paul, SG, Flying V, Explorer, Firebird and the ES-335, ES-339, as well as, the J-45, Hummingbird, and J-200. The Epiphone Inspired by Gibson instruments offer fans classic Gibson models and colors, built from the original guitar blueprints, at an accessible price. For all things Epiphone, visit: www.epiphone.com. About Epiphone: For over 140 years, Epiphone has been a leading innovator in instrument design with models like the Casino, the Texan, and Masterbilt Century Archtop Collection. Epiphone began as the "House of Stathopoulo" family business in Sparta in the 1870s and rose to fame during the jazz age in Manhattan before joining Gibson brands in 1957. Today, Epiphone continues to make history from its headquarters in Nashville, TN. Epiphones have powered classic recordings by Les Paul, The Beatles, and The Rolling Stones along with today's top artists like Peter Frampton, Gary Clark Jr., Tommy Thayer of KISS, and Lzzy Hale. Epiphone offers innovation, history, and a lifetime guarantee. Whether you are learning your first song in your bedroom, or rocking an arena, Epiphone has always been there, for everyone, for every generation, for every stage. For more information, visit: Epiphone.com and follow us on Twitter, Facebook, YouTube, and Instagram. for more, click the INFO button
Guitar Of The Day
Guitar of the Day: 1964 Gibson Firebird I Sunburst Norman's Rare Guitars.
Introducing "Spec Check"......today it's a 1964 Gibson Firebird I Sunburst Norman's Rare Guitars.
Alamo Music Center
Holiday Gift Guide 6 Great Electric Guitars Under $600
It's that time of year! So many lucky people will be giving or receiving guitars for their holiday gifts this year, and we would love to contribute some great options at a great price! Here are our choices for 6 quality electric guitars under $600-- we feature some great guitars from Gretsch, Epiphone, Fender, Squier, and Ibanez; something for every style, whether you're into blues, rock, country, pop, jazz, metal, or any combination, there's a guitar here for you (or a loved one)! Take a look at our choices, listen to some clean playing demos on each, and let us know what you would pick! If you have another recommendation for a great guitar under $600, let us know in the comments!
UPDATE: DEC 3RD, 2020: Dean Guitars Amps Up Attack with Cadi Select 3 Pickup Classic Black
TAMPA, FL — Dean Guitars amps up its Select Series with the introduction of the Cadi Select 3 Pickup Classic Black. Featuring the addition of a third Seymour Duncan pickup in the middle position, the Cadi Select 3 is built for excellent attack and tone, offering all the appointments of a beloved classic model at an affordable price point that won’t break the bank. A guitar that focuses on excellent tone should also focus on playability, and that’s exactly what Dean delivers with the Cadi Select 3. It all starts with high-quality materials and thoughtful design, including Dean’s Cadillac-style, all-mahogany body with a classic flat top. The iconic cutaway provides easy access to the 3-piece mahogany neck, supported by the highly resonant set-thru neck construction and reliably sturdy dual-action truss rod. To top it off, 5-ply W/B/W/B/W body and headstock binding, along with single-ply neck binding, add an extra splash of class, while black hardware pushes the edge. Like other Select Series models, the Cadi Select 3 offers a satin neck for ease of playing and endurance. The V-shaped neck has a 22 jumbo fret ebony fingerboard with pearloid block inlays and a 12” radius. The Cadi Select 3 measures in at 24 3/4-inch scale length with a standard 1 11/16-inch nut width. The Tune-O-Matic bridge on Dean’s exclusive, high-mass Cadi hardtail provides for easy intonation and sustain. Grover tuners on the eye-catching, V-shaped headstock assist with precise and consistent tuning. The included D'Addario EXL120 nickel wound strings provide a super light gauge set with maximum flexibility and biting tone. When it’s time to rock, players have all the control they need with the Cadi Select 3’s Seymour Duncan pickups, all black with sandblasted pole pieces. The SH-5 Custom at the bridge delivers bigger, beefier P.A.F. (Patent Applied For) tone for searing leads and huge chords. The pure attack is ideally complemented by matching APH-1 Custom pickups in the middle and neck positions. These pickups provide endless tones for any style, from clean to aggressive rock and everything in between. Audio taper pots activated with the 5-way rotary knob provide for smooth roll without destroying tone. Speed black volume and tone knobs round out the controls. The legendary Cadi Select 3 Pickup Classic Black is designed for professional musicians who love classic guitars without the vintage price tag. Dean packages up the high-end appointments at an affordable MSRP $1429/street $949. Learn more and get a closer look at www.deanguitars.com. About Dean Guitars Led by CEO Evan Rubinson, Dean Guitars is a musician-run enterprise, having worked with some of the biggest names in the industry on the biggest stages and in the best studios all over the world. Since 1977, Dean Guitars has catered to musicians in all genres, at all skill levels, and has the most recognizable headstock profile in the industry. www.deanguitars.com
Guitar Of The Day
Guitar of the Day 2011 Fender Telecaster Cabronita Norman's Rare Guitars
Featuring: Norm's New Tune: "The Year That Never Was" Engineer: Josh Smith Vocals: Norman Harris Guitars: Joe Bonamassa, Grant Geissman, Michael Lemmo, Nick Dias Drums: Lemar Carter Bass: Travis Carlton Harmonica: Stan Behrens Percussion: Lenny Castro Background Vocals: Brandon Soriano, Nick Dias, Grant Geissman, Norman Harris, Bobby Mandal, King Cotton If you'd like to buy the entire tune, its available at the links below. A portion of the money raised will go to the Midnight Mission to help the homeless.
Alamo Music Center
The Boss & JHS Angry Driver A Match Made in Tone Heaven
Boss and JHS are two consistent pedal manufacturers with wide ranges of tonal colors. The "Angry Driver" collaboration combines two classics, the Boss Blues Driver and the JHS Angry Charlie, to achieve a wide spectrum of overdrive and distortion tones. With its mode knob, you can utilize each of these pedals individually, in series, or in parallel. Its dual-concentric knobs allow you to shape the level, tone, and drive of both pedals individually. Take a listen to some basic examples of these tones in our demo, and see why Cooper lovingly says this pedal is like a bag of explosively flavorful artisan kettle chips.
Update: Dec 2nd, 2020: Slash “Victoria” Les Paul Standard Goldtop Joins the Gibson "Slash Collection"
NASHVILLE, TN: The Gibson Slash Collection crosses three decades of partnership between Gibson and Slash, and in a history-making move for the brand, is the first evergreen artist collection made by Gibson. Slash and Gibson worked in close collaboration and the collection features multiple acoustic and electric guitars. The Slash Collection represents the influential Gibson guitars Slash has used throughout his career, inspiring multiple generations of players around the world. Today, December 1 marks the release of the new Gibson Slash “Victoria” Les Paul Standard Goldtop; available worldwide. The Gibson Slash Collection Gibson “Victoria” Les Paul Standard in Goldtop finish features a maple top, a solid mahogany body, a dark back finish and Slash’s personal touches including a C-shaped neck profile, uncovered Gibson Custom BurstBucker Alnico 2 pickups, color coordinated hardware appointments, hand-wired electronics with Orange Drop® capacitors and a vintage style brown hardshell case. Exclusive to the Slash Collection are Slash’s “Skully” signature drawing on the back of the headstock, Slash’s signature on the truss rod cover, a blank truss rod cover in the case, Slash’s new Ernie Ball® strings, and four Slash Jim Dunlop Tortex® picks. The new Goldtop joins the previously announced four Les Paul Standard electric guitars and two J-45 Standard acoustic guitars. Each Slash Collection Les Paul Standard features a AAA maple top, a solid mahogany body and Slash’s personal touches including a C-shaped neck profile, Gibson Custom BurstBucker™ Alnico 2 pickups, color coordinated hardware appointments, hand-wired electronics with Orange Drop® capacitors and a vintage style brown hardshell case. Exclusive to the Slash Collection are Slash’s “Skully” signature drawing on the back of the headstock, Slash’s signature on the truss rod cover, a blank truss rod cover in the case, Slash’s new Ernie Ball® strings , and four Slash Jim Dunlop Tortex® picks. The Slash Collection Les Paul Standard is available in November Burst, Appetite Burst, Vermillion Burst and Anaconda Burst. Each Slash Collection Gibson J-45 Standard features a blend of traditional appointments and modern features including a custom Slash rounded C-shaped neck profile, a fatter and more modern 16'' fingerboard radius and a versatile LR Baggs TM VTC pickup for natural acoustic sound. Exclusive to the Slash Collection are Slash’s “Skully” signature drawing on the back of the headstock, Slash’s signature on the truss rod cover with a blank truss rod cover in the case and four Slash Jim Dunlop Tortex® picks. The Slash Collection J-45 Standard is available in November Burst and Vermillion Burst. "Developing my new Collection with the new team at Gibson has been really exciting,” says Slash. “The quality and attention to detail is next level, and these guitars truly reflect what I play live and in the studio. I think guitarists will be inspired by what we've put together.” “Developing Slash’s Collection with him has been an amazing experience” says Cesar Gueikian of Gibson. “The fact that Slash is intimately involved in this journey makes it special and a true representation of him and his sound. I am excited to formally announce the addition of the Victoria Goldtop to the Collection and I am looking forward to reading fan and media theories about why we chose to call it Victoria. Plus, stay tuned for more to come in the future with Slash.” Headquartered in the heart of downtown Nashville, the iconic, American-made instrument brand, Gibson has been creating, inspiring, and contributing to the ‘share of sound’ for 126 years. Across all of Gibson’s brands and collections, the story continues to be told with iconic and emerging artists that inspire the now and nurture the next generation of Gibson, Epiphone and Kramer fans. For more information on Slash, visit: SLASHONLINE.COM | FACEBOOK | TWITTER | SPOTIFY | INSTAGRAM | YOUTUBE For all things Gibson, visit: GIBSON.COM | TWITTER | INSTAGRAM | FACEBOOK | GIBSON TV About Slash: Slash--the iconic, GRAMMY-winning , American rock guitarist , songwriter and film producer --has amassed album sales of over 100 million copies , garnered a GRAMMY Award and seven GRAMMY nominations and was inducted into the Rock and Roll Hall of Fame . Slash landed on the top of the charts with his first solo album, Slash (2010) which featured Ozzy Osbourne, Fergie, Myles Kennedy and more. Shortly after, he formed his current band Slash Ft. Myles Kennedy And The Conspirators--which features Myles Kennedy (lead vocals), Brent Fitz (drums), Todd Kerns (bass/vocals) and Frank Sidoris (rhythm guitar)--who’ve been touring worldwide and making music for over five years. The group released the critically acclaimed Apocalyptic Love (2012) which stormed the Billboard Top 200 Albums Chart debuting at #4 as the top rock album and spawned Slash’s first-ever #1 solo radio hits “You’re A Lie” and “Standing In The Sun.” Slash released Nothing Left To Fear (2013) the soundtrack to the first theatrical film co-produced with SLASHfiction, his film/TV production company specializing in the horror genre. The band’s second album, World On Fire debuted to global praise and the album’s title track, “World On Fire” ascended to #1 at U.S. Rock Radio. In 2016, Guns N’ Roses re-united and Slash joined Axl Rose and Duff McKagan for the ongoing “Not In This Lifetime Tour” which Billboard now ranks as the third highest grossing tour of all time. Slash and his band’s most recent release is their critically-acclaimed third album Living The Dream (2018) which Rolling Stone declared “ a biting blues filigree at the end of a riff, weeping solos full of long notes and boogie-woogie riffs” and the Los Angeles Times added is full of “unexpected funk, boogie, blues and garage rock influences.” Fueled by the Top 5 song “Driving Rain,” and the single “Mind Your Manners” as well as, the best critical praise of their career, Living The Dream debuted with 10, Top 10 chart placements worldwide and by the end of their world tour in 2019, the group had achieved seven consecutive, Top 10 Hit singles at radio. About Gibson: Gibson, the world’s most iconic guitar brand, has shaped the sounds of generations of musicians and music lovers across genres for more than 100 years. Founded in 1894 and headquartered in Nashville, TN, with a premiere acoustic facility in Bozeman, MT, Gibson Brands has a legacy of world-class craftsmanship, legendary music partnerships, and progressive product evolution that is unrivaled among musical instrument companies. The Gibson Brands portfolio includes Gibson, the number one guitar brand, as well as many of the most beloved and recognizable music brands, including Epiphone, Kramer, Steinberger, and the Gibson Pro Audio Division, KRK Music. Gibson Brands is dedicated to quality, innovation, and sound excellence so that music lovers for generations to come will continue to experience music shaped by Gibson Brands. Learn more at Gibson.com and follow us on Twitter, Facebook, Gibson TV, and Instagram.
Stevie Ray Vaughan’s 1964 Fender Vibroverb, used on David Bowie’s "Let’s Dance", up for sale
Nashville vintage guitar store, Rumble Seat Music has acquired the 1964 Fender Vibroverb guitar amp that Vaughan owned and played on David Bowie’s 1983 album, Let’s Dance. Rumble Seat posted photos of the amp, which is accompanied by a poster promoting Double Trouble, a handwritten note, photos and other documentation on Instagram. For more, click the INFO button...(or just call, Rumble Seat Music in Nashville)
Fender Custom Shop Masterbuilt Wildwood 10 1955 Telecaster by Greg Fessler SN R100828.mp4
THE GUITAR IN THIS VIDEO HAS SOLD! Sonic Evaluation From Greg Koch......Greg Fessler has done it again! This Wildwood 10 '55 Tele is a truly magnificent beast. It has the same snappy response time you'd expect from a Masterbuitl Tele, but it sounds uncommonly huge and sonorous. In the bridge position, the midrange is quite rich with overtones, and so are the trebles, but the lows are nice and tight. In other words, it's the perfect sound for chunking away on chords! Bright, sizzling lead lines also have more depth than normal. The neck pickup is also a delight. It has fat, round lows to go with broad, vocal midrange and lively, open highs. Expressive lead lines and fat rhythm tones for days! This fearsome Fessler would make an excellent addition to the quiver of any player seeking a beefy-sounding Tele! Site: https://wildwoodguitars.com/product-c... Facebook: http://on.fb.me/11aLDN5 Amp: The Greg Koch Signature Combo from Koch Amps Serial Number: R100828 Brand Fender Custom Shop Model Masterbuilt Dealer Select Wildwood "10" '55 Telecaster Finish Color Faded Shoreline Gold Aging Heavy Relic Finish Type Nitrocellulose Lacquer Master Builder Greg Fessler Weight 7.13 lbs. Body Wood Ash Neck Wood Quarter Sawn Maple Neck Shape '54 U Neck Dimensions .890 1st - .960 12th Fingerboard Maple Fingerboard Radius Exclusive Wildwood Custom 10" Radius Inlays Black Dots Scale Length 25.5" Width at Nut 1.650" Nut Material Bone Frets 21 6105 Narrow-Tall Pickups Josefina Handwound Twisted Tele wound to Wildwood Specification Controls Volume, Tone, 3-Position Switch Hardware Chrome/Nickel Tuners Vintage Style with Nickel Buttons Pickguard 1-Ply White Case Limited Edition Hardshell Case with Embroidered Custom Shop Logo
New Releases - Players
Return of the Dragon: Oz Noy Brings Live Fire to Sweetwater Studios with Snapdragon
November 20, 2020, Fort Wayne, IN – Oz Noy has created a singular discography of virtuoso instrumental recordings that has won him accolades throughout the guitar community for his deft sense of touch and fearless genre-bending compositions. Always looking for the best way to capture the unique alchemy of his live performances in the studio ultimately led Noy to Sweetwater Studios where he laid down the tracks that ultimately became his Booga Looga Loo album. Eager to recreate the energy of these sessions, the guitarist/composer returned to Sweetwater to record his latest collection, Snapdragon. Out now on Abstract Logix, the album continues Noy’s signature explorations through jazz, blues, and rock with an all-star cast of rhythm sections that were captured live in the studio during a series of Sweetwater Studios Master Class sessions The right room One of Noy’s ongoing challenges has been capturing the improvisational ensemble feel of his live performances in his studio recordings. Eschewing the typical practice of recording in separate rooms with headphones, he prefers a setup that allows him to feed off the energy of his fellow musicians. Not only does this allow him to tap into the creativity of the group, but it gives him total control of the guitar. “If you record guitar and you aren’t in the room with the amp to feel the air moving, it’s very difficult to play,” he explained. “You can’t feel that interaction between the guitar and the amplifier in headphones and it makes things really hard.” When Noy first visited Sweetwater Studios in 2017, he immediately knew that it would work for his methods. The large live room of Sweetwater Studios’ Studio A and its flexible isolation booths gave him the ability to play together in the room with his ensemble while having total quality control of the sound in the room and on record. “The guys at Sweetwater totally understood what I was going for and they had all the right equipment to make my ideal setup work,” he said. “It was such a simple process, all we had to do was plug in and play!” A different class In an added twist to the live sessions, Noy also scheduled them during Sweetwater Studios’ ongoing Recording Master Classes, which allowed both fans of his music and budding engineers to sit in on the tracking and learn the art of recording under real working conditions. Sweetwater Studios Producer/Engineer Bobby Dellarocco remarked that the addition of the built-in audience gave another angle to the performances that helped the album take shape. “With Oz’s style it’s always a performance whether there is an audience or not,” he said. “Doing it this way though, you’re really ensuring that you capture that kind of energy on a track, and it gives the attendees something really special while they are experiencing how a real session comes together.” Part of what made each session was special was that Noy brought different rhythm sections each time he came to record. The players, which included drummers Dennis Chambers, Vinnie Colaiuta, and Dave Weckl, bass players Will Lee, James Genus, and John Patitucci, allowed him to capture different shades and feels of his signature style across the selection of tracks and give each its own sonic identity. “It gave a lot of variety from session to session,” said Dellarocco. “It was really cool to hear the differences, and at the same time once we put it all together it’s all immediately identifiable as Oz.” “I look at all of my records as jazz records in a way, because in the end it’s all about getting different players in the room and just seeing what happens,” said Noy. “When you can get comfortable in an environment like this, it’s effortless to get takes and get some really good music happening.” To hear Snapdragon and for more information about Oz Noy, please visit: http://www.oznoy.com/ For more information about Sweetwater Studios, please visit: http://www.sweetwaterstudios.com/ About Sweetwater Studios Sweetwater Studios is a wholly owned subsidiary of Sweetwater Sound, Inc., the largest online music instrument retailer in the country. With three world-class studios designed by Russ Berger and access to a greater diversity of musical equipment and professional audio gear than any other recording studio in the world, Sweetwater Studios is able to accommodate just about any recording, mixing or mastering project, no matter how simple or complex. Sweetwater Studios also has an exceptional staff of producers, engineers, session musicians and studio technicians to ensure that any artist will get personalized, first-class treatment from start to finish. click the INFO button for more....