Podcast appearances and mentions of gibson es

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/kaleoSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeIcelandic blues rockers Kaleo released their fourth full-length LP, Mixed Emotions, on May 9 via Elektra. To celebrate the album in their adopted hometown, they threw a party at American Legion Post 82 in East Nashville.Some of the band's gear had already been shipped to Red Rocks Amphitheatre, where the official release show took place on May 10, but “Kentucky Fried Scandinavian” lead guitarist Rubin Pollock gave PG's Chris Kies a look at the must-haves loaded in for the legion gig. Shop Kaleo's Gear:Strymon El Capistan - https://sweetwater.sjv.io/k0MG20Strymon Flint - https://sweetwater.sjv.io/QyAKk9JHS Colour Box - https://sweetwater.sjv.io/MmeQkMDigiTech Whammy Ricochet - https://sweetwater.sjv.io/ZQMj91Boss TU-3 - https://sweetwater.sjv.io/jryA4MFulltone Octafuzz - https://sweetwater.sjv.io/9Lr2k3Gibson ES-335 - https://sweetwater.sjv.io/NkaNeqRadial Stage Bug - https://sweetwater.sjv.io/jeBVb0MXR Ten Band EQ - https://sweetwater.sjv.io/21oDPAOrange AD30 - https://sweetwater.sjv.io/POWBxQOrange 1x12 - https://sweetwater.sjv.io/kONV6dFender Mustang - http://sweetwater.sjv.io/3eOoWKFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/kaleoSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPGDon't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - XPND Pedal Power Battery Kit0:15 - Rubin Pollock Intro0:51 - Subscribe to Rig Rundowns!0:58 - Chris Kies Intro @ American Legion Post 82 in East Nashville1:50 - Kaleo Performing in a Volcano & on an Iceberg3:07 - New Album Mixed Emotions Recorded in Nashville4:36 - Rubin Pollock's 1960s Gibson ES-3458:45 - Rubin Pollock's 1970s Kustom K20012:56 - Rubin Pollock's 1960s Fender Mustang15:24 - Rubin Pollock's Guitar Influences16:33 - Rubin Pollock's Tunings & Strings18:14 - Rubin Pollock's Austen Hooks-built projector Amp19:28 - Guitar Market in Iceland20:28 - John Bohlinger & XPND Pedalboard21:19 - Rubin Pollock's Pedalboard30:51 - Jökull Júlíusson's Rig33:27 - Kentucky Fried Scandanivian?35:43 - D'Addario[Brought to you by D'Addario: https://ddar.io/wykyk-rr & XPND Pedalboard: https://ddari.io/xpnd.rr]© Copyright Gearhead Communications LLC, 2025#guitar #rigrundown #kaleo #guitarist #guitarplayer #guitargear

Grandpa Bill's Grunts & Groans,Grandpa Bill: You see, when you're starting from scratch, especially without knowing how to read traditional music notation, the sheer amount of information can be overwhelming. Chords, scales, string names, fret numbers—it's a lot! So, I immediately thought of my mnemonics, my trusty PAO, and of course, our beloved Memory Palaces.I started with a simple, tangible object: a baseball bat. Yes, a baseball bat! I used it to represent the neck of a guitar. Then, I grabbed some Post-it Notes and cut them into strips, making 15 "frets" along the bat. For the strings, I used more Post-it Notes, labeling them with a classic mnemonic: E-very G-ood B-oy D-oes F-ine (or F-udge, if you prefer a sweeter ending!). This physical representation, even just with a bat, immediately made the abstract concept of a guitar more concrete.Building Your Guitar Memory PalaceGrandpa Bill: Now, the real magic happens when we bring in the Memory Palace. For those new to the concept, a Memory Palace is simply a familiar location—your home, your garden, a favorite walking path—where you systematically place information you want to remember.Here's how I'm expanding on my "baseball bat guitar" idea to create a robust Memory Palace for learning rock guitarists and their signature instruments, integrating PAO (Person, Action, Object) associations.First, identify your Memory Palace. For me, it's my living room. Each "fret" on my imaginary guitar, from the open strings to the 15th fret, becomes a station in my Memory Palace.Let's take the open strings as our first station. This is where we'll place our legendary guitarists.E (low E string): I'm picturing Eric Clapton (Person) majestically strumming (Action) his iconic Gibson ES-335 (Object). I can see him sitting right there on my favorite armchair, filling the room with the bluesy sound of "Layla."A string: For the A string, I see the legendary Angus Young (Person) from AC/DC, wildly duck-walking (Action) across my rug with his Gibson SG (Object), plugged into an imaginary Marshall stack in the corner. You can almost feel the energy!D string: Here comes David Gilmour (Person) of Pink Floyd, calmly bending a note (Action) on his Fender Stratocaster (Object) near the fireplace, creating those ethereal, soaring sounds.G string: I envision Jimmy Page (Person) from Led Zeppelin, with his double-necked Gibson EDS-1275 (Object), dramatically playing a bow (Action) across the strings in the center of the room.B string: For the B string, I'm placing B.B. King (Person) gently cradling (Action) his beloved Lucille (Object), his black Gibson ES-335, on the coffee table, letting out a soulful vibrato.E (high E string): And finally, for the high E, I'm seeing Eddie Van Halen (Person) exuberantly tapping (Action) on his custom-designed Frankenstrat (Object) near the window, a whirlwind of sound.https://www.buzzsprout.com/2222759/episodes/17324485

(Airdate: 6.5.25) Michael J. Fox and most of the stars of the Back To The Future trilogy are making a very now appeal to find a missing prop from the movies--the Gibson ES-345 that Marty McFly shredded on during the "Enchantment Under the Seas" scenes.  Seems the guitar grew feet at the end of production and hasn't been seen nor heard from in the past 4 decades. Now they are asking the public to look into their closets and storage bins in case, you know, you forgot you had a priceless piece of movie history. Jeopardy! and Wheel of Fortune are finally getting their rightul place on next day streamers. Who knew that you had to watch them on linear TV? Bobby Flay comes clean about his favorite "perfect" fast food sandwich. And @HalleBerry Listen to the daily Van Camp and Morgan radio show at: https://vancampandmorgan.com/stations buy us a coffee    

MUSIC311 will release an EP of vintage live recordings, ‘90s Throwback EP: Volume 2, on June 27th. Various sets from the Washington, D.C. stop of the Warped Tour on June 14th and 15th will stream on Prime Video and Amazon Music's Twitch channel. All Time Low, Sublime and MGK will all be part of the livestream. Collective Soul are the latest band to get their own feature-length documentary: Give Me a Word: The Collective Soul Story will be out July 8th on Blu-ray and DVD. It'll also be available on demand that day, and will be released to streaming services later in the year. The 'Bon Jovi: Forever' anthology book, authored and narrated by frontman Jon Bon Jovi, will arrive in hardback on September 23rd. It's concert season, and Pitchfork.com put together a list of the 35 most anticipated tours of the summer. Here are 10 highlights: 1. Beyoncé: The Cowboy Carter Tour – NO STL DATE2. Billy Corgan and the Machines of God: The Return to Zero Tour – NO STL DATE3. Cyndi Lauper: The Girls Just Wanna Have Fun Farewell Tour – NO STL DATE4. The Flaming Lips and Modest Mouse: The Good Times are Killing Me Tour – NO STL DATE5. Haim: The I Quit Tour – NO STL DATE6. Kendrick Lamar and SZA: The Grand National Tour – TONIGHT @ THE DOME7. Lady Gaga: The Mayhem Ball Tour – NO STL DATE8. Lorde: The Ultrasound World Tour – OCTOBER 9TH @ CHAIFETZ ARENA9. Nine Inch Nails: The Peel it Back Tour – NO STL DATE10. The Weeknd: The After Hours Til Dawn Tour – NO STL DATE TV Kylie Jenner is being hailed as a "girl's girl" for divulging the exact details of her bob job. Haley Joel Osment‘s was arrested at a ski resort in California for public intoxication back in April, and he has since been charged with multiple misdemeanors, including drug possession. Jeopardy! and Wheel of Fortune fans will now be able to watch the latest episodes on streaming platforms! MOVING ON INTO MOVIE NEWS: John Krasinski gives his mother 10% of his earnings, because she encouraged him not to quit when the acting thing wasn't working out.· 40 years after actor Michael J. Fox became a legend playing it while jamming "Johnny B. Goode" with Chuck Berry during the "Enchantment Under The Sea" high school dance scene, guitar maker Gibson is on a search for the cherry red Gibson ES-345 guitar from the 1985 movie 'Back To The Future'. Would every movie be better with Mrs. Doubtfire in it? According to this video, the answer is yes. The Bell Brothers, who create mindblowing mashups, quite hilariously and seamlessly inserted a happily vacuuming Mrs. Doubtfire (Robin Williams) cleaning up around highly recognizable scenes from other movies and TV shows, while occasionally checking back into her own movie MISCMrBeast has an estimated net worth of $1 billion, but he claims that he has “very little money” available to use right now. AND FINALLYUltimateClassicRock.com ranked the 50 Greatest Power Ballads in Rock History. Spoiler alert: Most of them are from the '80s!Here are the Top 10: AND THAT IS YOUR CRAP ON CELEBRITIES!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gibson Launches a Search for The Iconic “Marty McFly” Guitar From ‘Back to the Future’ Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive --- Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Gibson Launches a Search for The Iconic “Marty McFly” Guitar From ‘Back to the Future’ Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive --- Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/charlie-worshamSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeThe country artist and session weapon packed a range of acoustics for some recent studio time.Charlie Worsham was just wrapping up some tracking down at Sony Studios in Nashville when PG's John Bohlinger caught up with him for a look at what tools he packs for a recording gig. Worsham had with him some of his most treasured acoustics, electrics, mandolins, banjos, and more, plus a collection of primo picks for all applications. Check out the highlights below.Shop Charlie Worsham's Gear:Gibson ES-335 - https://sweetwater.sjv.io/ZQJLaWMartin D-28 - https://sweetwater.sjv.io/092A9VD'Addario Bluegrass Strings .012-.056 - https://sweetwater.sjv.io/yqW9r2Fender '68 Custom Princeton Reverb - https://sweetwater.sjv.io/vNXN1AStrymon El Capistan - https://sweetwater.sjv.io/k0MG20Electro-Harmonix Canyon Delay & Looper - https://sweetwater.sjv.io/xLOQJ5Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/charlie-worshamSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPGDon't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - Joe Glaser & D'Addario0:15 - Charlie Worsham Playing Intro1:09 - John Bohlinger Intro1:33 - 1963 Martin D-286:30 - Pedalboard12:54 - 1954 Gibson J-5013:43 - Guitar Picks18:11 - Live Rig vs Studio Gear20:18 - Recording Eric Church's "Like Jesus Does"24:53 - Recording Dierks Bentley's "High Note"26:04 - Recording Dierks Bentley's "Drunk on a Plane"28:32 - Rig Rundown & D'Addario29:04 - Parker Mandolin31:25 - Burkett Terz33:23 - Ome 5-String Banjo35:34 - 1960s Gibson EM-150 Mandolin41:17 - 1970s Fender Stratocaster & Recording Eric Church's "Keep On"45:33 - 1960 Gibson ES-335 Gifted from Vince Gill52:38 - Fender '68 Custom Princeton Reverb & Nashville Amp Works 5E354:09 - Nashville Session Guitarist55:04 - Importance of Rig Rundowns56:17 - D'Addario[Brought to you by D'Addario: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2025#guitar #rigrundown #guitarist #guitarplayer #guitargear #charlieworsham #bluegrass

171 - Jock Bartley (Firefall) In episode 171 of Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with the original guitarist and leader of the band Firefall, Jock Bartley. In their conversation Jock discusses briefly what living in Colorado is like both now and early on… and why he never made the move to LA. Jock tells us about the two most recent Firefall releases both concept albums focusing on the songs of Firefall's contemporary bands that the original members were at times members of. Jock talks about his early musical experiences studying with guitarist Johnny Smith in Colorado Springs on a Gibson ES-140 he bought from Johnny's shop. Jock describes being hired by Gram Parsons and Emmylou Harris and touring with them. Jock tells us about his guitars: his 1958 Gibson sunburst Les Paul and his 1959 Fender Telecaster as well as a custom Paul Reed Smith that he plays through a Fender Super. Jock then explains the formation of Firefall which was a type of super group for the era and then after the heyday for the band how he kept the band alive to this point. Finally Jock tells us why he's considering selling his ‘58 Les Paul. To find out more about what Jock and Firefall are up too you can go to their website: FirefallOfficial.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #JockBartley #Firefall #GibsonGuitar #GramParsons #EmmylouHarris #VintageGuitar #Zephyr #Burst #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

In deze aflevering van Gitaarmannen, de podcast, gaat Ed Struijlaart in gesprek met jazz- en popgitarist Toine Scholten. Een muzikant met een bijzondere achtergrond: van zijn jeugd in Leidschendam tot het spelen op internationale podia. Toine deelt zijn verhaal over hoe hij de gitaar ontdekte, zijn invloeden zoals Jimi Hendrix en Robin Ford, en hoe hij zijn muzikale stem heeft gevonden. We bespreken zijn favoriete gitaren, waaronder zijn geliefde Gibson ES-335, zijn kijk op songwriting, en hoe hij een balans vindt tussen live-optredens en muziek uitbrengen. Ook hebben we het over zijn plannen om internationaal door te breken, met name in Duitsland. Beluister deze aflevering om te ontdekken:

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/rob-mcnelleySubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeRob McNelley spends a lot of time at Sound Stage Studios in Nashville. When he says, “I live here,” he's only half kidding. McNelley has recorded with country superstars like Carrie Underwood, Dierks Bentley, Miranda Lambert, Luke Bryan, Kenny Chesney, Eric Church, Luke Combs, and more, and he's performed with Wynonna Judd, Delbert McClinton, Bob Seger, and Lee Ann Womack—and that's on top of his own solo releases. He's probably listened to his rig with headphones more than without.McNelley ditches the headphones when PG's John Bohlinger pays him a visit at Sound Stage for this Rig Rundown. Check out McNelley's choice gear below.Shop Rob McNelley's Gear:1953 Gibson Les Paul goldtop - https://tidd.ly/49mBVvN1955 Fender Telecaster - https://tidd.ly/4ikCkmj1963 Fender Stratocaster - https://tidd.ly/4fUmIVaMule Resophonic Guitars Mulecaster - https://tidd.ly/41cUUXxGibson Rick Nielsen “Collector's Choice” Les Paul - https://tidd.ly/3CZzp2nFX engineering RAF Mirage Compressor - https://tidd.ly/41Avd3tDiamond Memory Lane - https://tidd.ly/3Vp1E0zStrymon Mobius - https://sweetwater.sjv.io/WyyDPAStrymon TimeLine - https://sweetwater.sjv.io/Xmmx5XAnalog Man King of Tone - https://tidd.ly/3OKCZQhBoss VB-2w - https://www.sweetwater.com/store/detail/VB2W--boss-vb-2w-waza-craft-vibrato-pedalStrymon Flint - https://sweetwater.sjv.io/GKKjYmMission Engineering Expressionator - https://www.sweetwater.com/store/detail/ExpMini--mission-engineering-inc-mexp-mini-expressionator-multi-expression-controllerEHX POG2 - https://sweetwater.sjv.io/e114jOIbanez MT10 Mostortion - https://tidd.ly/41hbJjRXotic Effects RC Booster - https://sweetwater.sjv.io/DyyVa2Basic Audio Scarab Deluxe - https://tidd.ly/3ZC7A9dDunlop Volume X pedal - https://sweetwater.sjv.io/N99KEVARC Effects Klone - https://tidd.ly/3OFmvJwApollo Approved Audio Devices Sawdust - https://tidd.ly/49jILluAmpRx BrownBox - https://sweetwater.sjv.io/2aarJQFender Bassman - https://sweetwater.sjv.io/6yybDGMarshall SV20H MK II - https://sweetwater.sjv.io/EEEaWKFender Deluxe Reverb - http://sweetwater.sjv.io/POO0kQWarehouse ET 65 speakers - https://stewmac.sjv.io/mOOgkMFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/rob-mcnelleySubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - Joe Glaser & D'Addario0:15 - Rob McNelley Playing Intro0:54 - John Bohlinger Intro1:41 - 1953 Gibson Les Paul8:16 - 1963 Fender Stratocaster12:09 - Mule Resophonic Baritone StratoMule16:26 - 1960s Fender Telecaster22:43 - 1959 Gibson ES-355 Mono27:20 - Gibson Rick Nielsen “Collector's Choice” Les Paul30:56 - Silvertone Acoustic with Rubber Bridge35:44 - Rig Rundown & D'Addario Artists36:15 - Rob McNelley's Studio Amps54:08 - Rob McNelley's Studio Pedalboard1:29:47 - Rob McNelley's Solo Record1:33:29 - D'Addario[Brought to you by D'Addario: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2024#guitar #rigrundown #guitarist #guitarplayer #guitargear #nashville #countrymusic...

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/sturgill-simpsonYou might think alt-country veteran Sturgill Simpson would need no introduction by this point in his career, but this year, he set out to reintroduce himself to the world—as Johnny Blue Skies. That's the moniker he created for his new record, Passage du Desir, which was released in July on High Top Mountain. Simpson promised that the album was the first step in a new phase of his creative life; the next was the subsequent tour. Simpson, looking his Waylon Jennings best, met up with Premier Guitar's John Bohlinger before his headlining gig at Nashville's Bridgestone Arena. Sporting a new-to-him Gibson ES-335 and an army-camo jacket, he told Bohlinger he's not trying to be a star guitarist: “I'm trying to be a much less educated version of Bob Weir,” he grins. The star turn is for the Estonian guitarist Laur Joamets, who handles plenty of leads along with pedal steel. The guitar duo took us through their Blue Skies-era gear, featuring an array of Magnatone amplifiers, guitars old and new, and the simplest pedalboard you'll ever see on an arena stage.Shop Sturgill Simpson's Gear:Dunlop EP103 Echoplex - https://sweetwater.sjv.io/LX7gb0Fender Esquire - https://sweetwater.sjv.io/Y9XVBRFender Stratocaster - https://sweetwater.sjv.io/Py1vBYMagnatone Panoramic Stereo - https://sweetwater.sjv.io/y2jrVyMagnatone Varsity Reverb - https://sweetwater.sjv.io/yqRmvbMXR Booster - https://sweetwater.sjv.io/K0eZGyMXR Tap - https://sweetwater.sjv.io/7amJVdPeterson Stomp Classic - https://sweetwater.sjv.io/rQLdLjPeterson StroboStomp - https://sweetwater.sjv.io/rQLdLjSource Audio True Spring Reverb - https://sweetwater.sjv.io/mOg2vaT-Rex Replica - https://sweetwater.sjv.io/NkM3MqFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/sturgill-simpsonSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - Molly Tuttle & D'Addario0:15 - Sturgill Simpson Playing Intro0:55 - John Bohlinger Intro1:13 - Sturgill Simpson's 1962 Gibson ES-3354:13 - 1962 Gibson ES-335 Custom Wiring6:41 - Sturgill Simpson's 1956 Fender Esquire11:17 - Sturgill Simpson's Pedalboard13:09 - Sturgill Simpson's Magnatone Panoramic Stereo Combos16:09 - Rig Rundown & D'Addario16:34 - Laur Joamets' 1974 Fender Telecaster21:34 - Laur Joamets' Fano Guitars PX624:26 - Laur Joamets' Fender Stratocaster26:49 - Laur Joamets' Amps29:28 - Laur Joamets' Pedalboard34:39 - Laur Joamets' Pedal-Steel Guitar[Brought to you by D'Addario: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2024#guitar #rigrundown #sturgillsimpson #guitarist #guitarplayer #telecaster #music

135 - Elgin Park (Michael Andrews) the Greyboy Allstars In episode 135 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with Elgin Park (aka Michael Andrews) guitarist with the Greyboy Allstars, he's also a producer, television and film score composer. In their conversation Elgin covers what the Greyboy Allstars music is and describes a couple new releases in the works. Elgin tells us about the formation of the Greyboy Allstars as a band behind DJ Greyboy and his beginnings as a guitarist. Elgin describes his first guitars a Harmony Rocket and his local music store Freedom Music in downtown San Diego where he bought a ‘58 sunburst Fender Music Master and then a Gibson SG jr and describes his amp a Fender Harvard tweed that his sister's boyfriend left at the family's home. Elgin also describes his current guitars that he uses with the Greyboy Allstars, a mid 60's Gibson ES 175 that he got from a show guitarist in Las Vegas and an early 50's Guild T 100. Elgin takes us through the rest of his guitars in his studio and some special amps including Carol Kaye's bass amp he bought from her and an amp he got from Ry Cooder. Elgin (Michael Andrews) then tells us about his scoring work which began in earnest with the TV show Freaks and Geeks, and his work with Judd Apatow including “Bridesmaids” and quite a few documentaries including “20 Feet from Stardom”. Elgin also highlights a guitar he bought from the want ads of Vintage Guitar Magazine in the 1990's sight unseen from Florida. . You can find all you want about Elgin at the Greyboy Allstars website: greyboyallstars.com . Please subscribe, like, comment, share and review this podcast! . #VintageGuitarMagazine #ElginPark #theGreyboyAllstars #JuddApatow #ExoticGuitars #FreeksandGeeks #guitar #Guitar #Bridesmaids #20feetfromstardom #GuitarHero #theDeadlies #haveguitarwilltravelpodcast #HGWT . . Please like, comment, and share this podcast! Download Link

With an orange mustache, golden voice, and cherry red Gibson ES-335, Appalachian Space Funk artist Jeremy Short has quickly risen to the top shelf of must-hear players on the scene.  Having garnered significant recognition for his masterful, yet seemingly effortless guitar playing “Kentucky's Jeremy Short is one of the top 30 blues guitar players in the world. Don't take it from me — take it from the judges at Memphis's International Blues Challenge, where Short semi-finaled in 2016 and 2017. Short is known for his guitar pyrotechnics and commitment to groove” (No Depression). On this special return to the show for Jeremy, we talk about doing things his own way, the art of being a 'guest' musician, finding his unique look, the new EP Live From Healing Appalachia and more. For additional information and tour dates visit www.jeremyshortmusic.com/ _________ This episode is brought to you by Magic Mind. Magic Mind is a “mental performance shot”, an addition to your daily routine, that gets you focused, mentally clear, motivated, and productive while reducing stress, with mushroom nootropics and adaptogens plus over 100% of your daily vitamin C and D per bottle! It is 100% Safe- all ingredients are third-party tested, sourced from the best suppliers You have a limited offer you can use now, that gets you up to 48% off your first subscription or 20% off one time purchases with code JRODCONCERTS20 at checkout You can claim it at: https://www.magicmind.com/JRODCONCERTS20 Learn more about your ad choices. Visit megaphone.fm/adchoices

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/chris-shiflett-2024Subscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeThe last time PG caught up with Chris Shiflett, Chris Kies paid a visit to Foo Fighters headquarters at Studio 606. This time, he meets Shiflett in Cincinnati, onstage at Great American Ballpark ahead of the Foos' July 25 headlining date at the stadium. It was a hot one out there, but that didn't stop our jeans-wearing Kies and towel-drying Shifty from tackling the guitarist's new and improved 2024 tour rig. You'll see some familiar faces, but some new ones too, including a sharp '80s shredder and a pink partscaster. The biggest change of all comes in the form of a Dave Friedman-designed pedalboard, an impressive rackmount setup with a massive RJM switcher to hit all the set pieces. Plus, Shifty gives some juicy teasers on future signature gear collabs and talks about how hosting Shred With Shifty has impacted his own playing.Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/chris-shiflett-2024Subscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar[Brought to you by D'Addario: https://ddar.io/wykyk-rr]0:00 - Nita Strauss & D'Addario0:15 - Chris Shiflett Playing Intro1:39 - Chris Kies Intro2:46 - Comments Inspired Shifty to Upgrade Rig3:43 - Shred with Shifty Podcast Experience4:50 - Favorite Shred with Shifty Guests5:51 - SWS Season 2 Guests??6:29 - SWS Guests Influence Playing or Gear?8:28 - Dream Interview for Shred With Shifty?8:58 - Fender Custom Shop CS "Cleaver" Telecaster10:54 - 1983 B.C. Rich Mockingbird13:08 - 80s-inspired Shreddy Partscaster17:34 - Gibson Korina Explorer reissue20:01 - Fender Chris Shiflett Telecaster Deluxe21:43 - Rig Rundown & D'Addario22:16 - Gibson ES-33523:53 - 1957 Gibson Les Paul Goldtop25:31 - Friedman BE-100s & Vox AC30s26:39 - Chris Shiflett's Pedalboard37:24 - Kies & Shifty Final Thoughts38:10 - D'Addario Strings© Copyright Gearhead Communications LLC, 2024#guitar #rigrundown #foofighters #guitarist

We just premiered Mikkel Ploug's beautiful arrangement of Bach's Art of the Fugue for guitar on our YouTube channel. Today, we hear all about it.  Ploug talks to us about how he turned to a Gibson ES-330 and an Estey-era Magnatone M-14 for this recording, his arrangement process on the Bach piece, and so much more. We talk gear, European jazz, and the experience of commissioning a guitar-themed piece from composer Bent Sørensen.  Watch Ploug play the Art of the Fugue here: https://youtu.be/5Sl1mQB9HR4 Follow Mikkel here: https://www.instagram.com/plougmikkel/ https://www.mikkelploug.com We're throwing a guitar festival this August in Chicago. Read 'A First Timer's Guide to the Fretboard Summit':  https://www.fretboardjournal.com/columns/a-first-timers-guide-to-the-fretboard-summit/ Subscribe to the Fretboard Journal print edition and reserve your copy of Fretboard Journal 54: https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription This week's show is sponsored by: StewMac: https://stewmac.sjv.io/R5jvRR (Affiliate link) Stringjoy Strings: https://stringjoy.com (Use the code FRETBOARD to save 10% off your first order) Mike & Mike's Guitar Bar: https://mmguitarbar.com Peghead Nation: https://www.pegheadnation.com (Get your first month free or $20 off any annual subscription with the promo code FRETBOARD at checkout). Love the podcast and want to support it? We have a Patreon page just for Fretboard Journal fans and loaded with bonus content. https://www.patreon.com/Fretboard_Journal  

TRINI LOPEZ (May 15, 1937 – August 11, 2020) ‘THE LOST INTERVIEWS' WITH RAY SHASHO EPISODE 12 Interviewed November 28th 2014 Trini Lopez is an international music legend best known for recording classic covers and converting them into danceable songs by adding his own special spin and flavor. Lopez not only makes those notable tunes danceable, but he usually outsells all other artists who have also covered those songs including the recordings by the original songwriters.     Born in Dallas, Texas, his Father Trinidad Lopez II was a singer, dancer, actor, and musician in Mexico. Trini's parents moved to Dallas when his dad was eighteen seeking a better life. Trini learned to play guitar from his father and played for money on street corners. He eventually began performing in clubs around the affluent parts of Dallas. Lopez even performed at a club owned by the notorious Jack Ruby. A true rock and roll visionary … Lopez uncannily wrote and recorded a song called “The Right to Rock” released on a small label called Volk Records in 1958. After hearing the single, King Records offered Trini a three-year contract. The only chart hit for Lopez on the King Records label was a Skyliners cover called “Since I Don't Have You,” Trini's rendition reached #10 on the Cashbox and Billboard charts. After one of Trini's performances Lopez met with another Texan, rock and roll pioneer Buddy Holly. Holly tried to help Trini by inviting him to meet with his record producer in Clovis, New Mexico. Lopez became great friends with Buddy Holly and The Crickets. Holly was killed in a plane crash along with Richie Valens and The Big Bopper on February 3rd 1959. Several months after the crash, Lopez received a phone call to come out to Hollywood, California to become the new lead singer of The Crickets. The Crickets plans never materialized and Lopez took a job at the Ye Little Club in Beverly Hills. The one-year run led to a historic engagement at the famous PJ'S nightclub. It was at PJ'S where Lopez landed his big break. Frank Sinatra took notice of Trini's one-man act and had Don Costaoffer him an eight-year recording contract on Sinatra's label Reprise Records.  Trini's first two albums were recorded live at PJ'S and successfully launched an incredible music and acting career for the impending international superstar. Trini's most recognizable Hit Singles … “If I Had a Hammer” (#3 Billboard U.S. Hit-1963 -Reached #1 in 36 countries), “I'm Coming Home Cindy” (#39 Billboard Hit-1966), “Michael, (#42 Billboard Hit-1964), “Lemon Tree” (#20 Billboard Hit-1965) “Kansas City” (#23 Billboard Hit-1963), “America,” “La Bamba”(1966) “Gonna Get Along With Out Ya' Now” (1967),  and The Bramble Bush (1967) to name just a few. (Trini's music was also spotlighted on various soundtracks including... Apollo 13, Born on the Fourth of July and numerous others). Trini Lopez acting career … Marriage on the Rocks (1965), The Dirty Dozen (1967), The Phynx (1970), The Reluctant Heroes (TV Movie -1971), Adam-12 (TV Series 1971-1972), Antonio (1973), The Mystery of the Silent Scream (1977), The Hardy Boys/Nancy Drew Mysteries (TV Series 1977).   Trini Lopez incredible string of TV appearances … The Greatest Ever War Films (TV Movie documentary) 2014, Trini Lopez Presents Latin Music Legends (TV Movie) 2009, American High School (Video) 2009, Armed and Deadly: The Making of 'The Dirty Dozen' (Video documentary short) 2006, The Best of Music Flashback Television Shows: Featuring Music Scene and Hullabaloo (Video documentary short) 2001, Refrescante 95 (TV Series) 1995, Prima Donnas  1995, Querida Concha (TV Series) 1993, ,Musikladen (TV Series) 1981, A Gift of Music (TV Movie) 1981, Sha Na Na (TV Series) 1978, 1971-1976 The Mike Douglas Show (TV Series), 1976 Celebration: The American Spirit (TV Movie), 1975 Rock on with 45 (TV Series), 1970-1974 The Merv Griffin Show (TV Series), Caesar's Palace Week from Las Vegas (1974), 1972-1974 Stand Up and Cheer (TV Series) 1965-1973 The Tonight Show Starring Johnny Carson (TV Series), 1971-1972 The David Frost Show (TV Series),1970 The Dick Cavett Show (TV Series), 1970 Playboy After Dark (TV Series), 1968-1970 The Carol Burnett Show (TV Series),1967-1969 The Joey Bishop Show (TV Series),1968 The Song Is You (TV Movie), 1967 Operation Dirty Dozen (Short documentary),1967 Spotlight (TV Series),1967 The London Palladium Show (TV Series),1967 The Dean Martin Show (TV Series),1966-1967 The Andy Williams Show (TV Series),1967 Gypsy (TV Series),1966The Jack Benny Hour (TV Movie),1966 Hippodrome (TV Series) Host 1966 Danger Grows Wild, 1966 The Sammy Davis, Jr. Show (TV Series),1965-1966 Hullabaloo (TV Series) (Host), 1965 Marriage on the Rocks, 1965 What's My Line? (TV Series) - Mystery Guest, 1964-1965 The Ed Sullivan Show (TV Series), 1964-1965 The Hollywood Palace (TV Series), 1964 The Bob Hope Show (TV Series),1964 The Bob Hope Thanksgiving Special (TV Special), 1963 Celebrity Party (TV Movie) The Gibson guitar company asked Trini Lopez to design a guitar for them in 1964. The Trini Lopez Standard, a rock and roll model based on the Gibson ES-335 semi-hollow body, and the Lopez Deluxe, a variation of a Gibson jazz guitar designed by Barney Kessel. Both were in production from 1964 until 1971 and are highly sought out collector items. Some owners of the guitar include Dave Grohl of Foo Fighters and Noel Gallagher of Oasis. Trini's last few albums … (2008) ‘Ramblin' Man' and (2011) ‘Into the Future' have been critically acclaimed. ‘Into the Future' was Trini's 65th celebrated album of his illustrious musical career. Here's my latest interview with the legendary singer, musician, songwriter, actor, and one of the most exciting and recognized entertainers worldwide …TRINI LOPEZ Support us on PayPal!

#GrandesLigas #JoshuaGibson #wnba Joshua Gibson pasó a ser el máximo bateador en las Grandes Ligas, rebasando a jugadores como Ty Cobb, Babe Ruth y Barry Bonds | Carlos Correa y Christian Vázquez producen en la victoria de los Mellizos | Aumento considerable en las asistencias y audiencias en la WNBA | Los Timerwolves de Minnesota defendieron un poco y derrotaron a los Mavericks de Dallas para provocar un 5to juego de la Serie Final de la Conferencia del Oeste de la NBA | Super jornada de juegos en el BSN esta noche | Angel Llanos de acerca a la clasificación olímpica en boxeo, mientras que Stephanie Piñeiro cayó en la primera ronda | Segunda victoria para la Selección Femenina de Voleibol U17 en Guatemala ¡Sintoniza y comparte! #VamoArriba #AlmuerzoDeportivo #BonitaDeportes #TiempoDeDeportes #DeporteEsMásQueJuego #Anótalo #MásDeUnaMilla

#GrandesLigas #JoshuaGibson #wnba Joshua Gibson pasó a ser el máximo bateador en las Grandes Ligas, rebasando a jugadores como Ty Cobb, Babe Ruth y Barry Bonds | Carlos Correa y Christian Vázquez producen en la victoria de los Mellizos | Aumento considerable en las asistencias y audiencias en la WNBA | Los Timerwolves de Minnesota defendieron un poco y derrotaron a los Mavericks de Dallas para provocar un 5to juego de la Serie Final de la Conferencia del Oeste de la NBA | Super jornada de juegos en el BSN esta noche | Angel Llanos de acerca a la clasificación olímpica en boxeo, mientras que Stephanie Piñeiro cayó en la primera ronda | Segunda victoria para la Selección Femenina de Voleibol U17 en Guatemala ¡Sintoniza y comparte! #VamoArriba #AlmuerzoDeportivo #BonitaDeportes #TiempoDeDeportes #DeporteEsMásQueJuego #Anótalo #MásDeUnaMilla

Pacers lose - Coach Carlisle "Small Market Teams Need a Fair Shot" regarding the officiating. Indiana Republican governor nominee Mike Braun makes lieutenant governor endorsement. Biden halting ammunition shipments to Israel 6:36:  Today on the Marketplace: the Gibson ES-320. Survivor of Hamas attack shares story with Indianapolis audience 7:06: Indy Eleven. Biden Economic Team. Traffic Jam.  Biden sides with Tlaib. Biden siding with terrorists 818: When it comes to temperature it turns out the genders have some things in common 8:36: Thursday music moment A halt on new Sriracha See omnystudio.com/listener for privacy information.

Follow Grace Bowers: https://lnk.to/tellmewhyudothatFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/grace-bowersGuitarist Grace Bowers is a 17-year old California transplant tearing it up in Nashville. Currently working on her first album with producer John Osborne of the Brothers Osborne, Bowers invited John Bohlinger and the PG team to walk through her studio and live rig.Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/grace-bowersSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar[Brought to you by D'Addario.Molly Tuttle Knows: https://ddar.io/tuttle-rrXPND Pedalboard: https://ddar.io/xpnd_rrD'Addario WYKYK: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 20240:00 - D'Addario & Molly Tuttle0:15 - John Bohlinger Intro0:51 - Grace Bowers Intro1:44 - 1961 Gibson SG Special5:01 - John Osborne's 1960 Gibson ES-3359:25 - Cesar Gueikian's 1959 Gibson Les Paul "Gemini"11:58 - 1968 Gibson B-25-1213:03 - Fender '68 Custom Deluxe Reverb13:35 - Grace Bowers' Pedalboard#guitar #guitarist #rigrundown #guitarplayer #guitargear #gracebowers

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/black-pumasSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeIn just seven years since meeting based on a recommendation, Eric Burton and Adrian Quesada formed the Black Pumas, released two albums, and have already been nominated for seven Grammys. However, this fruitful friendship was almost never developed.Quesada was enrolled at the University of Texas but flunking out due to his dedication to guitar over textbooks. His parents gave him a proposition: Either stay home in Laredo, or return to Austin without a guitar in hand to focus on studying. He went with option B and headed back for school in Austin—or so his parents thought. Quesada took his remaining book money (about $200) and headed to Ray Hennig's Heart of Texas, where he snagged a Squier Telecaster Thinline. His parents eventually figured out the switcheroo, but Quesada was determined and hasn't looked back. (Side note: The family obviously sees and supports his musical talents, and attended Black Pumas' Ryman show the night before the filming of this Rig Rundown.) That matador move pulled off by Quesada allowed him to become a longtime fixture in the Austin music scene with bands Brownout, Ocote Soul Sound, Spanish Gold, Echocentrics, and Grupo Fantasma (with whom he played for over 15 years, earning a 2011 Grammy for Best Latin Rock or Alternative Album). He started to explore new ideas that didn't fit the mold for Grupo, and needed someone to narrate his musical vistas. A friend recommended he link up with Austin newcomer Eric Burton, who traded his busking spot on the Santa Monica pier for the bright lights of Sixth Street. The duo met up, and as the results prove, the rest is history. Before the Black Pumas' second headlining show at the Ryman Auditorium in downtown Nashville, bandleader Adrian Quesada, bassist Brendan Bond, and band tech Bryan Wilkinson invited PG's Chris Kies into the hallowed grounds for a chill conversation about their tonal tools. During our time with the Black Pumas, we learned about Quesada's love for tremolo (he even included it as a secret weapon in a semi-hollow Jazzmaster), Bond's fateful trip to the Wilco Loft in Chicago, and why a '59 ES-125 is Wilkinson's perfect pairing with Burton's expressive and emotive voice.Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/black-pumasSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar[Brought to you by D'Addario: https://ddar.io/wykyk-rr & https://ddari.io/xpnd.rr]© Copyright Gearhead Communications LLC, 20240:00 - D'Addario XPND Pedalboard0:15 - Chris Kies Intro1:57 - Adrian Quesada Intro3:15 - Touring with Vintage Gear4:02 - Adrian Quesada's Fender Custom Shop Telecaster6:13 - Playing with Fingers or Pick8:03 - College or Guitar?9:14 - Adrian Quesada's Strings10:00 - Adrian Quesada's Gibson ES-34511:53 - Playing ES-345 with DI Fuzz13:11 - Adrian Quesada's Fender Custom Shop Jazzmaster Thinline14:27 - Built-in Tremolo17:33 - Adrian Quesada's Fender Limited Edition '68 Custom Deluxe Reverb18:36 - Adrian Quesada's Pedalboard30:05 - D'Addario XPND & John Bohlinger30:55 - Brendan Bond Intro31:49 - Brendan Bond's 1974 Fender P Bass36:15 - Brendan Bond Fingerstyle & Bass...

On this episode of Our American Stories, Neil Young has "Old Black", Willie Nelson plays "Trigger", and Elvis worked with "The Dove", but perhaps the most famous nickname for a guitar is what B.B. King named his Gibson ES-355...Lucille. Here to tell the fiery story of how she got her name is B.B. King's longtime friend, Myron Johnson, and Daniel de Vice, author of King of The Blues. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

On this week's Dipped In Tone, Rhett and Zack are joined by contemporary jazz guitar legend Adam Levy, the thoughtful, soft-spoken accompanist known for his work with Norah Jones and his own jazz trios. Levy's new book, String Theories, which he co-authored with fellow sideman-to-the-stars Ethan Sherman, collects a series of tips, challenges, and reflections for guitarists to deepen their playing.“I need it to sound like Solomon Burke is singing,” Levy says of his style and philosophy, centered on leads and mid-register tones. His formative playing experiences were on a Gibson ES-335, and Zack and Rhett wonder why the semi-hollow remains Levy's go-to over, say, a Les Paul or T-style guitar. “[We] kind of put guitars in buckets: ‘This guitar does this, this guitar does that,'” says Levy. “But a lot of it is just what you do with your hands anyway. I feel like the instrument itself is maybe just a third of all that stuff.”Levy says that as the years go on, he gets “more like myself” when playing. A piece of that, he says, is stepping back from guitar music altogether. “Go on a guitar fast for a month,” he says. Levy says that removing the distractions of analyzing for specific tones and gear can create a clearer relationship to music. “All you can really notice is, ‘What's the mood? How does it make me feel?'” Similarly, Levy warns of the dangers of overanalyzing your playing: “A little bit of reflection can go a long way,” he says, but “you don't want to get so reflective that you shut yourself down.”Finally, the trio dips a high-class vintage rig complete with a Gibson ES-125 with a floating wooden bridge—which shocks a sense-memory out of Levy. “It's beyond, ‘I can hear that guitar,'” laughs Levy. “I can smell that guitar.”Subscribe, like, and leave us a comment!Big thanks to Sweetwater for sponsoring this episode. Head to http://sweetwater.com for all your musical gear needs. Subscribe, like, and leave us a commentSign up on our mailing list: http://eepurl.com/iaCee5Support us on Patreon for access to our discord server and other perks! https://www.patreon.com/dippedintoneMERCH: https://teespring.com/stores/dipped-in-toneFollow us on Instagram: https://instagram.com/dippedintone Dipped in Tone is:Rhett Shull https://www.rhettshull.com/Zach Broyles / Mythos Pedals https://mythospedals.comPremier Guitar https://www.premierguitar.com/

To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - https://my-store-be0243.creator-spring.com/Adam Levy has an established guitar voice that we first heard on Tracy Chapman's "Give Me One Reason," then on albums and tours with Norah Jones, and sharpened to a fine point on his latest release, Spry. Besides his work as a guitarist, Levy has also devoted himself to being an educator through his Guitar Tips channel, Truefire instructional courses, and time spent as the Guitar Dept. Chair at the Los Angeles College of Music. Additionally, Adam made great contributions to the world of guitar journalism as a staff writer for Guitar Player Magazine in the 90s. Today Adam shares his musical adventures, expresses his love for his 1964 Gibson ES-335, and his excitement in releasing the "jazz album of his dreams," Spry.#askzac #adamlevySupport the show

Adam Levy has an established guitar voice that we first heard on Tracy Chapman's "Give Me One Reason," then on albums and tours with Norah Jones, and sharpened to a fine point on his latest release, Spry. Besides his work as a guitarist, Levy has also devoted himself to being an educator through his Guitar Tips channel, Truefire instructional courses, and time spent as the Guitar Dept. Chair at the Los Angeles College of Music. Additionally, Adam made great contributions to the world of guitar journalism as a staff writer for Guitar Player Magazine in the 90s. Today Adam shares his musical adventures, expresses his love for his 1964 Gibson ES-335, and his excitement in releasing the "jazz album of his dreams," Spry.

SONG LIST* M1 Bright Size Life (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (4:55) M2 Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27) M3 Unity Village (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:38) M4 Unquity Road (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:36) M5 So May It Secretly Begin (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (6:24) M6 Last Train Home (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (5:38) Pat Metheny is an American guitarist and composer. He has worked as a soloist, in duets and small jazz ensembles, and, for decades, with the Pat Metheny Group. His musical styles include Jazz Fusion, Jazz (both progressive and contemporary jazz) …..and also Latin Jazz. He was born in Lee's Summit, Missouri in 1954. Lee's Summit is a suburb on the southeast side of Kansas City. His main influences have been other musicians, his musical family and the British Invasion. Musicians influencing Metheny include trumpeter Miles Davis, Gary Burton on vibes, jazz guitarists Jim Hall and Wes Montgomery and Jazz Sax players John Coltrane and Ornette Coleman. PAUSE A major foundational influence for Metheny is his musical family. His father played trumpet, his brother Mike Metheny plays jazz trumpet, and Pat's maternal grandfather was a professional trumpeter. Brother Mike taught Pat how to play the trumpet, and so trumpet is actually Pat Metheny's first Musicians in the family. Metheny attributes his early success to the local musical environment he was brought up in – the years 1964-1972, in Kansas City. Much of this is described in his biography titled BENEATH MISSOURI SKIES. Seems like Metheny is destined to become a great trumpeter, with all that musical environment…. PAUSE .. there was a bump in the road at age 10. The BRITISH INVASION was in full force. Metheny saw the Beatles perform on TV in 1964, probably the Ed Sullivan Show, because that year the Beatles appeared. The Beatles are what inspired Metheny to defect from Trumpet to Guitar. Metheny persuaded his father to buy him a guitar for his 12th birthday. That first guitar was a Gibson ES-140. PAUSE That's a hollow-body guitar, built in ¾ scale for young players and small hands. It's a scale model of the Gibson ES-175 hollow body. Metheny soon got bigger hands and acquired a Gibson ES-175 …and that guitar is featured on his early albums like those in this podcast episode… Metheny started playing in pizza parlors at age fourteen (that's 1968). At age 15, Metheny won a scholarship from Down Beat Magazine to attend a jazz camp (1969). That camp led to a meeting with Jazz guitarist Jim Hall, and bassist Ron Carter. So, by the time he graduated from high school (1972) he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Metheny had A LOT of support from his musical environment. Even though he switched from trumpet to guitar.   Metheny briefly attended college at U of Miami in Florida, but quickly realized after practicing on guitar for years all day long… he was unprepared for a college program … He realized then he was first and foremost, a serious guitarist and composer.   Metheny moved to Boston to teach at Berklee College of Music at the age of 19, where he met Jazz Vibraphonist Gary Burton. Teaching Jazz Theory and Performance was in demand.   BIT BUCKET and for those not familiar, the ES-175 is sought-after by jazz country and rock guitarists - - - these vintage guitars today sell for $3,000 to $25,000. Back in the day, made in Kalamazoo MI. How about that for your first guitar? I am jealous, my first guitar was a Kay (named after John Kay) and it was … a very basic and cheap and crude electric starter guitar. Metheny, on the other hand, got a wonderful instrument, because

This is the unlikely musical tale of a 1950's Italian kid from New York City not named Dion DiMucci.We're talking about John Henry Ramistella.This artist has been inducted into the Louisiana Music Hall of Fame but the big door prize still eludes him. It's possibly the contention that a career delivering mostly vivid, colorful cover versions of brilliant material makes him a melodic figure of less import.I vigorously disagree.He was a different kind of pioneer and If anyone belongs in The Rock and Roll Hall of Fame, it's Johnny Rivers.The omission is glaring.- Rich Buckland"The Whisky was a smash from opening night," Rivers says. I brought my following from Gazzari's." Rivers and his famous red Gibson ES-335 guitar symbolized the Strip's new youth-oriented atmosphere. They weren't at the Whisky long when he and Adler thought of cutting a live album. Another L.A. club owner loaned Rivers and Adler money to hire Wally Heider's remote recording unit. "We recorded this album two nights in a row and took it to every record company in town. None of them wanted it," Johnny recalls.Liberty Records executive Bob Skaff liked the tape and convinced reluctant Liberty President Al Bennett to release it on Imperial Records. Bennett had purchased Imperial from founder Lew Chudd, and ran it as a small, semi-independent label. To release Rivers' recordings, he and Adler formed Dunhill Productions with Bobby Roberts (an ex-member of The Dunhills, a tap dancing group that inspired the name) and Pierre Cossette (now producer of the Grammy Awards show). This eventually evolved into Dunhill Records, home to L.A rock legends The Mamas & The Papas, The Grass Roots and Steppenwolf.Adler and company were disappointed that the album would appear on what they considered a secondary label. But not Johnny. "When they said 'Imperial Records.' I just jumped up and went 'YEAH! YEAH!' Because I grew up with nothing but Imperial Records, Bobby Mitchell, Fats Domino, and Ricky Nelson, and I thought 'What a cool label!'" Both Rivers and Adler came to see Imperial's smallness as a plus. "it gave Lou and me the autonomy to pick our own singles and work closely with the promotion men and marketing people," Rivers says. "I think that had a lot to do with why we had so much success, because we had a real good handle on it.".-Johnny Rivers

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087 - Rhys Lewis and Chase Mitchell HGWT episode 87 has host James Patrick Regan speaking with singer/songwriters Rhys Lewis and Chase Mitchell. Rhys grew up in England and studied at the London Center of Contemporary Music. He talks about touring and performing as a solo artist and with a band. One of his favorite places is Denmark Street, where he loves gazing at old guitars like his '68 Gibson ES-150. Chase is a native of West Virginia and joined a band when he was nine years old. He “retired” from band life at 13 to launch a solo career. A fan of cool old guitars, he looks forward to one day scoring a '68 Pink Paisley Telecaster. Please like, comment, and share this podcast! Download Link

Fredrik och Ulf gräver djupare i ämnet ES-gitarrer från Gibson. Fölster pratar om en UGG-favorit; vibratokretsen från Boss VB-2. I veckans pryl pratar vi om en ny pedal från Nordland; ODR-CS. I detta avsnitt: Gibson, Bigsby, Nordin, Collings, Ibanez, TLL, Heritage, Eastman, Behringer, Boss, Magnatone, Chase Bliss, Fender, Diamond, Mr Black, Moollon. Nordland, Nobels.

On this episode of Our American Stories, Neil Young has "Old Black", Willie Nelson plays "Trigger", and Elvis worked with "The Dove", but perhaps the most famous nickname for a guitar is what B.B. King named his Gibson ES-355...Lucille. Here to tell the fiery story of how she got her name is B.B. King's longtime friend, Myron Johnson, and Daniel de Vicé, author of King of The Blues. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

Wondering how to join a band and get some sweet gigs? Then this ep's for you. Rhett and Zach share their advice, from how to get in front of audiences and make more connections—if it's all about who you know, how do you get to know the right people? And how do you impress them enough to hire you?—to the skills you'll need to hone to get the job done. Sure, knowing your way around your instrument is really important, but it's not just about scales, arpeggios, and chord voicings. And different gigs—cover bands, wedding bands, singer/songwriters—require different skills. (Hint: Know how to get a good sound out of the gear you already have!) Bad gig stories—from unappreciative wedding guests, to festivals who serve all beer and no water, to playing in the rain and getting all your stuff covered in mud—are just part of the fun, because all experience is valuable, at least in the beginning, and Rhett tells the story of how a single bad gig led to a wealth of connections and opportunity that landed him here today.Along the way, the duo dip Patreon supporter Ryan Paterson's vintage plus Strymon rig—dig that 1959 Gibson ES-345—and they pay their respects to the recently departed Jeff Beck and David Crosby. Plus, Rhett shows off the mystery amp (“a tweed amp on steroids”) he just bought, but he needs your help to figure out where it came from. Who built this thing? If you know, drop him a line!Thanks to Sweetwater for sponsoring this video. Click this link to head to the Guitar Gallery: https://imp.i114863.net/QOB7Z9Subscribe, like, and leave us a commentSign up on our mailing list: http://eepurl.com/iaCee5Support us on Patreon for access to our discord server and other perks! https://www.patreon.com/dippedintone Follow us on Instagram: https://instagram.com/dippedintoneProduced by Jason ShadrickDipped in Tone is:Rhett Shull https://www.rhettshull.com/Zach Broyles / Mythos Pedals https://mythospedals.comPremier Guitar https://www.premierguitar.com/#guitarpodcast #dippedintone #electricguitar

Harvey Brownstone conducts an in-depth interview with Larry Carlton, Multi-Grammy Award Winning Guitarist About Harvey's guest: Today's special guest, Larry Carlton, is a legendary, 4-time Grammy award winning guitarist whose brilliant musicianship can be heard on thousands of recordings, and on over 100 gold records recorded by the greatest stars of all time, including Barbra Streisand, Peggy Lee, Sammy Davis Jr., Quincy Jones, Michael Jackson, Diana Ross, Olivia Newton-John, Dolly Parton, and dozens more.   His list of milestones in a career spanning over 50 years is staggering.  For over 3 decades, before transitioning completely to a solo artist,  he was one of the most sought-after studio musicians in the recording industry, because he's equally adept on the electric and acoustic guitar, in every musical genre including pop, jazz, rock, R&B, blues, soul and country. He's renowned for his unmistakable and often-imitated "sweet" sound, created on his famous Gibson ES-335 electric guitar.   He created his trademark volume pedal technique, prominently featured in his recordings with Joni Mitchell, and with the legendary jazz/rock group “The Crusaders”, with whom he toured until 1976, and performed on 13 of their albums. He was a member of the iconic jazz band, “Four Play”, and recorded 8 albums with them.  His performance on the "Theme from Hill Street Blues" won him a Grammy award.  And he co-wrote the theme for the hit TV sitcom “Who's the Boss”, and the movie soundtrack for “Against All Odds”.   His guitar work on Steely Dan's classic song, "Kid Charlemagne", was ranked by Rolling Stone magazine as one of the greatest guitar licks of all time.  His solo career has been hugely successful, with over 30 albums and 14 video concerts produced so far.  The National Academy of Recording Arts and Sciences voted him their most valuable player for 3 consecutive years, and then he was given their highest honour; he was named “player emeritus”.    For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ https://www.larrycarlton335.com/https://www.facebook.com/LarryCarlton335/https://www.instagram.com/larrycarlton335/ #LarryCarlton    #harveybrownstoneinterviews

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Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

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In this week's show Rich and Vlad check out (and get to hear) the REVV Tilt Shawn Tubbs signature overdrive pedal, check out the new Ernie Ball Music Man Jason Richardson guitars and DarkRay basses, Blackstar St James hybrding amps, Noel Gallagher teasing a new Gibson ES-355, Meris LVX stereo modular delay and SOLIDGOLDFX Surf Rider IV Reverb, answer your questions and comments and check out how the new Meris pedal sounds with The Pedal Zone's fantastic video. CatPick Fridays can be found both on YouTube and Apple Podcasts and Spotify. CatPick Studios Merch (use the code 'PODCAST' for -20% off of any purchace): https://catpick-studios-store.creator-spring.com/ Rich. Words. Music: https://www.youtube.com/channel/UCbNnXraM9oHWWBACNS07DMw Weekend watch: https://www.youtube.com/watch?v=4wq2q3l0ppM 00:00 Intro & Eurovision Discussion 05:56 REVV Tilt - The Shawn Tubbs Signature Overdrive Pedal 22:09 New Ernie Ball Music Man Jason Richardson guitars and DarkRay basses 26:06 Blackstar St James hybrding amps 32:23 New Noel Gallagher ES-355 from Gibson coming 34:41 Meris LVX stereo modular delay 38:05 SOLIDGOLDFX Surf Rider IV Reverb 41:04 Answering Questions & Comments 57:29 New Seyour Duncan pickups CatPick Studios Jam Tracks: http://bit.ly/32bElcB CatPick Studios Merch: http://bit.ly/2PJQ9iQ My Thomann Store: https://www.thomann.de/fi/thlpg_to75kzs7bv.html

This one very easily could have been named What Dreams Are Made Of, because today we're talking about a dream guitar.Spoiler alert: your buds were all over the place this episode, giddy with excitement over Hank's new vintage ES-330. Huge and massive thank you to our friends at Chicago Music Exchange for making this happen.Also discussed: how slinky is too slinky? (featuring Ernie Ball), Soundwide collecting Native Instruments, Isotope, Brainworx and more, Boston pipe organs with Stephen Shirk, Isolates and harmonic percolators, cranky Craigslister is back!, Guitar Center's new logo, Mike Campbell's Collection, and Presidents of the United States of America.*Delighted squeal*

Para ponernos en situación; 25 de mayo de 1990, prisión estatal de San Quintín, condado de Marin, California, sobre un escenario improvisado la mejor banda de blues que podía reunirse en ese momento y parapetado tras una Gibson ES-355 apodada Lucille… B.B.King. Live at San Quentin Todas las canciones del disco por separado, canciones tocadas y retocadas por B.B. King cientos o miles de veces a lo largo de su exitosa carrera, no son lo extraordinario del disco. Las habíamos oído antes y las seguiremos escuchando siempre con la misma satisfacción. El verdadero sentido de este álbum es la complicidad y la interactuación que el Rey de Blues consigue con hombres de todos los colores y credos que, por el motivo que sea, están prisioneros entre cuatro paredes. Personas marginadas y apartadas de la sociedad que hablan con B.B. King como si fueran amigos de toda la vida, familiares o vecinos. De hecho, cuando el artista presentaba su canción Sweet sixteen, dos reclusos subieron al escenario para pedirle que no se olvidara de sus duras condiciones de vida. Vamos a escuchar ese momento. Sweet sixteen Hubo un momento durante el concierto que causó un cierto estupor entre la audiencia. B.B. King pidió, en un momento determinado, un aplauso para los guardias que custodiaban la prisión , con ese buenismo tan característico del artista. Y es que todavía se recordaba en la prisión la visita de otro ilustre músico, Johnny Cash, y el desdén con el que miraba a los guardias, solo comparable con el de los propios reclusos. Una de las canciones que King interpretó en este concierto fue Let the good times roll, “Dejemos que los buenos tiempos pasen”, un título que, francamente, no se si era muy apropiado en este contexto. B.B. King lo grabó en 1999 en un álbum dedicado a la música de Louis Jordan. Let the good times holl La música de B.B. King tiene tantos matices como su propia vida. Es inconfundible su manera de tocar la guitarra, con esa especial manera de hacer vibrar las cuerdas con la mano izquierda y su voz, que parece diseñada para el blues. Pero no lo tuvo nada fácil. Nació en condiciones de esclavitud, la separación de sus padres hizo que tuviera que vivir con su abuela. Con 18 años abandonó su pueblo y se fue a trabajar de tractorista, actividad que simultaneó con la música, tocando en la iglesia y en locales de mala muerte. Cuando terminó la Segunda Guerra Mundial, en la que luchó enrolado en el Ejercito de los EEUU, volvió a Memphis para, ahora en serio, retomar su carrera musical. King hizo su primera grabación en 1949 y entonces empezó todo. Desde este momento sus éxitos se sucedieron ininterrumpidamente. Éxitos como este Every day i have the blues, incontestable. Every day i have the blues Si la fama le sonrió a B.B. King no fue por generación espontánea. El tipo era un trabajador incansable, llegando a promediar entre 250 y 300 conciertos al año. Además siempre supo rodearse los mejores músicos, los propios de su banda y de las más brillantes estrellas del mundo del rock: Eric Clapton, Elton John, Sheryl Crow, Van Morrison o Bonnie Raitt. Igualmente, toda su vida reconoció que había tomado “prestadas” algunas virtudes de otros grandes guitarristas: Blind Lemon Jefferson o T-Bone Walker, entre otros. Lo cierto es que él supo aglutinar todas estas virtudes y conseguir un estilo sin parangón en la música popular. Todos su esfuerzos fueron recompensados con numerosos premios: inclusión en el Salón de la Fama del Rock and Roll, 15 premios Grammy y la Medalla Presidencial de la Libertad. No está mal para un pobre negro del delta. Vamos a escuchar ahora Ain’t nobody’s bizness, un viejo blues de la década de 1920 que puede considerarse como uno de los primeros estándares del género. Ain’t nobody’s business B.B. King nunca fue muy ortodoxo y, según su propias palabras, él creía más en la música que en un estilo. Decía “Yo me eduqué en el delta del Missisipi y lo que escuchaba era blues, gospel o country. Así que yo he tocado eso, y también algo de rock, pop...Y mi interés se centra, exclusivamente, en tocar. Lo he hecho con grandes bandas como las de Count Basie, Duke Ellington o Tommy Dorsey, he tocado con músicos de rock y con orquestas sinfónicas. Pero, al final… La música es solo eso, música.” Ahora escucharemos el mismo tema que cerró el concierto que B.B.King dio en la cárcel de San Quentin en 1990, Rock my baby, una canción del propio B.B. King basada en otra de Lil’ Son Jackson, Rockin’ and Rollin, de 1951. La de B.B. King se ha convertido en otro estándar de blues y una de las canciones de este género más grabadas de todos los tiempos. Rock my baby El año 1970, B.B. King visitó también la cárcel del condado de Cook, en Chicago, un hecho que no era en absoluto algo especial ya que el bluesman lo hizo, a lo largo de su vida, en más de cincuenta centros penitenciarios. Y también en esta ocasión dejó constancia de su paso por el recinto en su álbum Live in Cook County Jail, grabado el 10 de septiembre de 1970 y correspondiendo a una invitación del alcaide. King y su banda actuaron para una audiencia de 2.117 personas, la mayoría de ellos jóvenes negros. Un repertorio de éxitos, interpretados y grabados en directo fue suficiente para el disco llegara y se mantuviera un buen tiempo en el número 1 de la lista Top R&B, por cierto, el único álbum de King que lo ha conseguido. La grabación no estuvo exenta de tensión. El alcaide, como atención a los músicos, les hizo una visita guiada por el comedor y los corredores de las celdas. Que los músicos se sintieron un “poquito” incómodos es quedarse cortos. Tocaron en un pequeño escenario en el patio y el público debía de permanecer sentado en unas sillas dispuestas al efecto. Los funcionarios de la prisión contaron con seguridad adicional para el evento, principalmente boxeadores retirados. Pero, bueno, a pesar de todo, B.B. King y su banda hicieron un concierto inolvidable. The Thrill Is Gone, una de las canciones interpretas. Sonido directo de la cárcel. The Thrill Is Gone Bueno, la versión de ese día duraba unos 13’ por lo que, en contra de nuestra costumbre, hemos decidido cortarla un poquito. Esta actuación en la cárcel de condado de Cook produjo en el artista un profundo impacto. Entristecido por las condiciones racistas hacia algunos de los prisioneros negros, King ofreció sus servicios de forma gratuita, no solo en este establecimiento sino también a cualquier otro que quisiera contar con él. Y es que, el hombre, fue una persona muy religiosa y espiritual. De su visita en 1977 a Pablo VI, con motivo de su participación en un concierto de Navidad organizado por el Vaticano, dijo: “Ha significado mucho para mi la audiencia que tuve con el Santo Padre. Tal como amo a Dios, amo al Papa. Le he regalado una guitarra, y el me dio un rosario que va siempre conmigo”. Bueno pues… hay que reconocer que el papa se tiró largo, un rosario por una Gibson. No está mal. Three o clock blues, también interpretada en la cárcel pero esta grabación es de estudio. Three O Clock Blues Bueno amigos, nada más por hoy. Os espero a todos el próximo programa para escuchar más música, conocer a más músicos y recordar viejas historias. Hasta entonces... ¡¡¡buenas vibraciones!!!

The Deep Purple Podcast Show Notes Episode #135 November 15, 2021 Ritchie Blackmore's Gibson ES-335 Subscribe at Apple Podcasts, Stitcher, Google Podcasts, Overcast, Pocket Casts, Anchor.fm, Breaker, PodBean, RadioPublic, Amazon Music, or search in your favorite podcatcher! How To Support Our Show: Leave us a 5-Star Review on Apple Podcasts Buy Merch at Our Etsy Store! Become a Patron on Patreon Donate on Paypal (Donate one time or click “make this a monthly donation” box) Welcoming Our Newest Patron(s): At the $1 Silly Made Up Name Tier . . . Private Eyes! Thanks to Our Executive Level Patrons: Patron Updates: Peter Gardow takes a detour to check out a certain pizza establishment in Maine! Social Media Update: Deep Dive Podcast Network Apple Podcasts Reviews Boudiccax - from the UK - 5 Stars! History of The Gibson ES-335: Background on the Guitar: History of Ritchie's Gibson ES-335: Top Ritchie Gibson Moments: The Outlaws - Law & Order (1963) (Ritchie Blackmore, Mick Underwood) Screaming Lord Sutch & The Savages (Joe Meek) - The Train Kept A'Rollin' - 1965 45rpm Deep Purple - Hush (TV, 1968) “April” from “Deep Purple” Ending at 11:00 mark with sweep arpeggios. Ritchie Blackmore w/ Deep Purple live in Bilzen '69 (Belgium) - Wring that Neck live in Belgium - sweep arpeggios at 3:00 Thanks to Our Core Level Patrons: Interview with Ilhan Akbil More Top Ritchie Gibson Moments: Concerto For Group and Orchestra 7:00 when band comes in Ritchie's solo at 14:20 Deep Purple - Child In Time - Live (1970) - August of 1970 live in front of audience in Granada TV Studio 3:15 mark into solos, 3:55 from organ solo into Ritchie's solo Deep Purple In Rock album Deep Purple - Wring That Neck (Live 1970 UK) HD 1:30 into Ritchie crazy solo - 2:30 mark extended solo into “Made in Japan” bit with audience reaction. DEEP PURPLE - Wring That Neck (Live in Paris 1970) 2:00 solo trading off with Jon and sweep arpeggios Thanks To Our Foundation Level Patrons: $3 “Nobody's Perfect” Tier Peter Gardow Ian Desrosiers Mark Roback Duncan Leask Stuart McCord Flight of the Rat Bat Blue Light $1 Made Up Name Tier The “Secret of the Ooze” Leaky Mausoleum Stephen Sommerville The Concerto 1999 Fanatic Raphael Choury (Raff Kaff) Spike, The Rock Cat JJ Stannard Hank the Tank Private Eyes Where is the guitar now? Listener Mail/Comments Comments about the show? Things you'd like us to cover? We'd love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.

In a career that's spanned more than 50 years, Larry Carlton has been involved with thousands of projects that span a wide variety of musical styles. From solo projects, to countless studio sessions with some of the biggest names in the music industry, to performing on one of the most popular television theme songs, Larry's work has garnered multiple Grammy awards and worldwide notoriety for his unique sound and his immense talent. He earned the name “Mr. 335”, as for decades Larry's guitar of choice was a 1969 Gibson ES-335. He's now teamed-up with Sire to create his own, signature guitar - the Larry Carlton S7, which he plays exclusively on his brand new album from Shanachie Records titled “Soul Searchin'”, a duo with fellow guitarist Paul Brown. Here to talk to us about this brand new record and so much more is Larry Carlton.

In a career that's spanned more than 50 years, Larry Carlton has been involved with thousands of projects that span a wide variety of musical styles. From solo projects, to countless studio sessions with some of the biggest names in the music industry, to performing on one of the most popular television theme songs, Larry's work has garnered multiple Grammy awards and worldwide notoriety for his unique sound and his immense talent. He earned the name “Mr. 335”, as for decades Larry's guitar of choice was a 1969 Gibson ES-335. He's now teamed-up with Sire to create his own, signature guitar - the Larry Carlton S7, which he plays exclusively on his brand new album from Shanachie Records titled “Soul Searchin'”, a duo with fellow guitarist Paul Brown. Here to talk to us about this brand new record and so much more is Larry Carlton.

In this episode of Plus One, Kraz welcomes one of the most proficient guitarists of all time, Leo Nocentelli of The Meters, onto the show. Leo and Kraz discuss everything from Leo's thoughts on super-star artists sampling Meters songs, to his unconventional methods of gaining the confidence to play in front of crowds at an early age. The two also talk about Leo's signature sound that he gets out of the Gibson ES-175, and he sheds light on the incredible rhythmic connection between drummer Zigaboo Modeliste and bassist George Porter Jr. You'll also hear Leo talk about why The Meters split up in the late 70's, the messiness of the business side of music, and why Leo enjoys being an essential contributor to the band from the background, and never the spotlight. This is a must-hear conversation between two masters of the guitar, and one of the most monumental musicians that funk has ever heard.Leo Nocentelli is a founding member and the lead guitarist for The Meters, a band that is often credited alongside all-time greats like James Brown as being one of the sole originators of funk music. He's written classic songs including “Hey Pocky A-Way,” and "Cissy Strut," which he and Kraz discuss in-depth in the conversation. On top of his work with The Meters, he boasts an incredible musical resume as a session player, having recorded with legends such as Etta James, Temptations, Dr. John, and Robert Palmer. He's a recipient of the Grammy Lifetime Achievement Award as a member of The Meters, but his playing and the band's incredible discography speak for themselves, needing no official recognition. In this episode he details how he developed his one of a kind style that fuses funk, rock n' roll, and jazz like no guitarist has ever done before.This podcast is available on Apple Podcasts, Spotify, or wherever you get your podcasts. Please leave us a rating or review on iTunes!Eric Krasno Plus One is presented by Osiris Media. All original music by Eric Krasno. Executive Producers are RJ Bee and Christina Collins. Audio Production by Matt Dwyer. Produced by Ben Baruch of 11E1even Group.Visit Melophy.com and use the promo code TIME to get 20% off your first lesson with top touring and studio musicians See acast.com/privacy for privacy and opt-out information.

In this episode, I spend some time exploring the Gibson ES-330, it's cousins- the 335/345/355, the evolution of the guitar, it's most prominent players, and how it ultimately came to an end. I hope you enjoy!Merch store: https://teespring.com/stores/gibsundays-tone-shopCome join my Facebook group: https://www.facebook.com/groups/468718693905514/https://www.facebook.com/gibsundayhttps://twitter.com/gibsundayhttps://www.instagram.com/gibsunday Contact: rock@gibsunday.com

One of YouTube's most popular guitar heroes, Chris is known for his stellar guitar playing (Guitarist Magazine's 2020 Best Blues Guitarist) along with the wit and insight he brings to his weekly, self-produced "Friday Fretwork" series. Greg and Chris dive into a little of everything: influences, tone, fatherhood, vintage pickups - P-90s, and vintage guitars!1:30 - Cardinal Black, the coming together and working into the studio with Steve Winwood4:59 - Life during lockdown: how Chris spends his time (Friday Fretwork on YouTube, band rehearsals, brand endorsements, and anything to avoid getting a proper job)7:32 - Touring, and how it fits in the mind of a new dad11:49 - How would the younger version of Chris look at Chris now?16:47 - Influences - from guitar players and bands to the inspiration of Chris' father24:41 - Tone - the early days, and how it's evolved over time32:26 - The playing of Eric Clapton, its power, inspiration, and growth over time44:53 - The importance of being flexible in the ability to play different types of guitars, from Fender to Rickenbacker53:48 - The allure and beauty of P-90 pickups63:27 - Gibson ES-335's, an undeniably delicious morsel with a diverse historyTotal Length: 73:52Fishman Dedicated to helping musicians achieve the truest sound possible whenever they plug-in. Wildwood Guitars One of the world's premier retailers of exceptional electric and acoustic guitars.

Wonder Where I Even Start: an interview with Detroit musician Eddie BaranekThe Scrappers: https://www.thescrappersband.com/Eddie with Scott Morgan: https://www.theoaklandpress.com/entertainment/scott-morgan-at-the-loving-touch-5-things-to-know/article_6339abf6-3b3c-5ae5-8844-08cb7977058a.html The French Method (Eddie’s band with his wife Nicole): https://frenchmethod.bandcamp.com/ The Sights: https://www.facebook.com/The-Sights-107861969235602/?ref=page_internalhttps://www.journeyofafrontman.com/2013/10/31/detroit-sights-city/KO and the Knockouts: https://koandtheknockouts.bandcamp.com/album/ko-and-the-knockoutsKO MELINA: SiriusXM Underground Garage: https://www.siriusxm.ca/hosts/ko-melina/The Come Ons: https://www.allmusic.com/artist/the-come-ons-mn0000077748The Dirtbombs: https://intheredrecords.com/collections/the-dirtbombs Today’s guest is Detroit musician Eddie Baranek. Some of you may know him from his band, The Sights. He’s also played with KO and the Knockouts, The Come Ons, The Detroit Cobras, Scott Morgan, and others. Eddie is an accomplished musician and songwriter, who has toured all over the US and Europe. He was also nominated for an Emmy in 2011 as songwriter for the theme of PBS’s Under The Radar Michigan and was also the Michigan Notable Book Award recipient in 2014 for, Taken Alive: The Sights’ Rock and Roll Tour Diary, all about their tour with Jack Black’s band Tenacious D. Eddie’s latest band is The Scrappers. The song in the background is Feel Love off of their self titled album. This is taken from The Scrapper’s About page: The Scrappers are a rock'n'roll quartet from Detroit, sweetening their ragged-but-right roots with echoes of pedal steel from Laurel Canyon and harmonies that stick like the brotherly honey of the Everlys or the Burritos. Hooks that beg, borrow and steal. The Scrappers feature Eddie on vocals, guitar, and piano; plus Dave Lawson on vocals/bass, Ben Luckett on drums, and Pete Ballard on pedal steel. Eddie and I chatted about how he started his first band in high school and what it was like playing clubs when most of the kids his age were wondering about who they were taking to the prom. If you’ve never seen Eddie on stage he’s larger than life and full of joy, always smiling and putting everything into his performance. He’s usually playing his trusty ‘65 Gibson ES-330 Hollow Body guitar and surrounded by some of the best musicians in the business. If you don’t know Eddie’s music, I suggest you give yourself a treat and pick up his new self titled album he put out with The Scrappers. Eddie’s book, “Taken Alive: The Sights’ Rock and Roll Tour Diary” is out of print, but Eddie has some copies available for anyone who would like to purchase a copy. It’s a tour diary that spans The Sights’ tour of the U.S. and Europe with Tenacious D. There are some great stories of what it’s like to be backstage at legendary venues like The Red Rocks Amphitheatre and how glamorous it really is living on the road. Fast food anyone? Eddie is slowly sorting through The Sights archives from 1998 on and is toying around with the idea of releasing some of the live recordings at some point. Yes, there are a few familiar faces in his new band who performed and toured with Eddie in The Sights, but you have to remember that Eddie started The Sights when he was in high school and maybe he just needed a break from those songs for a bit. If you miss The Sights move on over to The Scrappers and give them a listen. You’ll hear bits of Big Star, The Flying Burrito Brothers, and killer pedal steel guitar, thanks to Pete Ballard. Glom onto the sweet vocals and bass from Dave Lawson and the killer drumming from Ben Luckett. Dave and Ben create a tight rhythm section and the band seems to breathe like they are one person. I always joke with Eddie about our mutual love of The Band. We took Eddie to see Big Pink last time he was in the area with his wonderful wife Nicole. “Feel Love”, off of The Scrapper’s debut album was written for Nicole and you can see her in the video for the song. I do hear some of the Americana roots and attention to melody and storytelling in a lot of this record. Take a listen to the song, “Feel Love”, the opening track on the record, and you’ll hear the groove, genuineness, and love that I’m talking about. Great guitar licks, melodies, and harmonies, with a beat you can dance to...I can’t wait for the world to open up again to see Eddie and The Scrappers perform and you should head out and see them too. https://www.youtube.com/watch?v=rZ5Ms1X5N8YIn the meantime, pick up a copy of The Scrappers debut album: https://www.thescrappersband.com/shop/the-scrappers-self-titled-album

Hoy vamos a escuchar blues, que viene a significar, más o menos, melancolía, tristeza, bueno, que no es la alegría de la huerta. El blues, tiene, musicalmente hablando, un patrón repetitivo que suele seguir una estructura de 12 compases y utiliza acordes específicos de este género. El blues ha ido evolucionando desde la música vocal, sin acompañamiento, interpretada por trabajadores negros y pobres, a una gran variedad de subgéneros y estilos y su popularidad ha saltado las fronteras que le eran propias en el sur de los Estados Unidos para extenderse por todo el mundo. Hoy, y en días sucesivos, vamos a recordar a un grupo de músicos de blues que dejaron su huella en la historia de la música. Y nos encontramos en primer lugar con uno de los más conocidos, John Lee Hocker, cantante y guitarrista de blues, que nació, como no, en el estado de Misisipi, uno de los 50 estados de los EEUU, que está considerado como el más pobre de la unión, con altas tasas de desempleo y la menor renta per cápita del país. Paradójicamente, es la más religioso, el más conservador y el que tiene leyes más restrictivas con el juego y el alcohol. Bueno, pues aquí nació John Lee Hocker. Vamos a escucharle en su conocido Boom Boom. Chester Arthur Burnett, o lo que es lo mismo y para entendernos, Howlin Wolf (lobo aullador), fue un músico afroamericano, cantante de blues, guitarrista y armonicista que nació, como no, en Misisipi. Con una voz y una presencia física características, Burnett se colocó entre los principales artistas del blues eléctrico; el músico y crítico musical Cub Koda declaró, “nadie puede igualar a Howlin Wolf en su singular capacidad para el rock.” El tipo medía 1,98 m de estatura y pesaba cerca de 136 kg, cosa que hizo de él un músico “imponente”. Su voz ha sido comparada con “el sonido de las máquinas pesadas que operan en un camino de grava”. Junto con su contemporáneo y rival profesional Muddy Waters, formaron los dos pilares del Memphis blues. Lo oímos ahora interpretando Litle red rooster. Y aquí tenemos al contrincante del lobo aullador, Muddy Waters, otro vecino de Mississippi; un músico de blues estadounidense, generalmente considerado como el padre del Chicago blues. Su figura y su sonido fueron, del mismo modo, una de las máximas inspiraciones para la escena del blues británico, que comenzó a despuntar en el Reino Unido hacia principios de la década de 1960. Sus giras por Inglaterra a principios de esta década marcaron, posiblemente, el primer antecedente de una banda amplificada haciendo algo cercano al hard rock. Entre sus admiradores prominentes en la escena rhythm & blues inglesa de los años 60 sobresalen los Rolling Stones, quienes se bautizaron con ese nombre por la canción de Waters de 1948 “Rollin’ Stone”. Eric Clapton es un gran admirador de Waters, de hecho, Cream grabaría una versión de “Rolling and Tumbling” en su álbum debut Fresh Cream, de 1966. El gran éxito de Led Zeppelin “Whole Lotta Love” está basado en la canción de Muddy Waters “You Need Love”. Y, en fin, Jimi Hendrix, que versionaría la mencionada “Rollin’ Stone”, citó a Waters como “el primer guitarrista que le llamó la atención y le impresionó de joven”. Angus Young, de AC/DC, Led Zeppelin, bueno, un largo etcétera. Muddy Waters: Hoochie Coochie Men. Por cierto, su última aparición en vivo fue durante un concierto de Eric Clapton en Florida, en el otoño de 1982. 4-Bo Diddley Si en el rock and roll Elvis Presley es el rey y Chuck Berry su poeta, Bo Diddley, nuestro siguiente invitado, fue su arquitecto. Su estilo personal ha influido y sigue influyendo de tal modo que según pasa el tiempo su figura se agranda en el panorama de la música rock. Por otro lado, su fama no fue premiada en el aspecto económico como cabría haber esperado. La crudeza de su estilo le cerró las puertas a ventas millonarias, puertas que sí se abrirían de par en par para muchos músicos y bandas en los que influyó. Su instrumento, con marca registrada, es la guitarra square-bodied que él mismo desarrolló y con la que tocó en miles de conciertos; desde sudorosos clubes de Chicago a giras con viejas glorias del rock and roll, pasando por actuaciones como telonero para The Clash o de artista invitado por los míticos Rolling Stones. Su entusiasmo por este instrumento le hizo poseer una espectacular colección de guitarras. La recordareis, es una guitarra con caja rectangular. El era un gran músico, pero la guitarra era más fea que yo. Le escuchamos ahora interpretando su Diddy Wah. 5-Albert King Albert King fue un influyente guitarrista y cantante de blues. Está considerado como uno de los TRES REYES DEL BLUES a la guitarra junto con B.B. King y Freddie King. Albert King nació en el seno de una humilde familia de Indianola, Misisipi, en una plantación de algodón, donde trabajó sus primeros años. La primera influencia musical la recibió de su propio padre, Will Nelson, que tocaba también la guitarra habitualmente El tipo era otro tiarron, por lo que, sus más de 1’90 metros y sus 118 kilos de peso le valieron el sobrenombre de The Velvet Bulldozer (la apisonadora de terciopelo). El sello característico de Albert King fue, a parte de su calidad artística, su forma de coger la guitarra: como intérprete zurdo la usaba invertida, pero a diferencia de otros guitarristas zurdos como, por ejemplo, Jimi Hendrix, King jamás invirtió el orden de las cuerdas, de modo que para él las cuerdas más agudas permanecen arriba. Gente como Jimi Hendrix, Eric Clapton, Mike Bloomfield, Gary Moore, y Stevie Ray Vaughanle tuvieron presente en sus oraciones durante toda su vidapara agradecerle todo lo que les había enseñado. Para los curiosos, el solo de guitarra de Eric Clapton en el éxito de Cream, Strange Brew es una emulación del solo de King en su éxito con Stax, Oh, Pretty Woman. Le escuchamos interpretando Born Under a bad sing. 6-Sonny Boy Williamson Aleck Ford, que más tarde se haría llamar Rice Miller, pero que realmente fue conocido como Sonny Boy Williamson, fue un poeta, músico, cantante y compositor estadounidense, que ha sido considerado como la leyenda definitiva del blues. Sonny Boy nació en la plantación de Sara Jones, en el estado de Misisipi y, aunque no es seguro, parece que nació alrededor de 1912. Vivió y trabajó en la plantación hasta 1930, fecha en la que decidió dedicarse profesionalmente a la música y empezó a trabajar con grandes artistas como Big Joe Williams, Elmore James y Robert Lockwood, Jr. Fue durante esta época cuando Miller desarrollaría su estilo y personalidad. Al comienzo de los años sesenta permaneció algún tiempo en Inglaterra, donde grabó con numerosos grupos y artistas, como The Animals y Jimmy Page. Que el estado de Misisipi es la cuna de los mejores bluesman de la historia ya no lo duda nadie. Nuestro siguiente invitado, Elmore James también nació en el Condado de Holmes, Misisipi y fue un guitarrista de blues considerado el padre de laslide guitar. Comenzó su carrera musical en Misisipi junto a nuestro viejo amigo Rice Miller (más conocido como Sonny Boy Williamson II), con el que permaneció varios años hasta que consiguió su primer contrato de grabación en 1951. Fue entonces cuando se trasladó a Chicago, donde inició su carrera solista acompañado del grupo “The Broomdusters”. Su estilo sin trabas y apasionado se distinguía por el sonido característico del slide blues, que puede apreciarse en canciones como “Dust my broom”. 7-Elmore James Nos despediremos por hoy del blues con, casi, el mejor, con B.B. King. Este músico es ampliamente considerado uno de los músicosde blues más influyentes de todos los tiempos, recibiendo el apodo de «Rey del Blues» y el sobrenombre de «uno de los tres reyes de la guitarra blues» junto, como ya hemos comentado, a Albert King y Freddie King. Según Edward M. Komara, King «introdujo un sofisticado estilo de solos basados cuerdasdobladas y en sus brillantes vibratos que influirían prácticamente en todos los guitarristas de blues eléctrico que le siguieron». B.B. King Con los años, King desarrolló un estilo de guitarra identificable gracias al uso su guitarra eléctrica Gibson ES-335, a la que llamaba “lucille”, y que dio nombre a una línea de guitarras creada por la compañía en 1980. King es también reconocido por su gran cantidad de actuaciones en directo, con un promedio de 250 o 300 conciertos anuales durante la década de 1970. Alguna de ellas, aquí, en Zaragoza. Volveremos con el rey, ahora le escuchamos interpretar “Sweet Sixteen”

Highlighted Question of the week15:58 What I learned At the 2021 Virtual NAMM23:00 We Might Be Seeing The End Of Cheap Guitars? Question Index00:00 intro 01:10 Are the Squiers made in Indonesia worse than China?03:50 Muddy pickups in the Squier HH Mustang?05:00 How much difference do rolled fingerboard edges make?06:30 Buying a $3600 PRS for $2999, is that a deal?08:29 Is there a problem with buying a guitar knowing you are going to return it. 12:00 Should compensated nuts be standard on new guitars?15:50 What I learned at the 2021 virtual NAMM (Cheap Guitars are Dead?)31:40 Is the Josh Smith Ibanez worth $2500?Check out Josh Smith's channel and Musichttps://www.youtube.com/user/JoshSmithGuitar36:05 Can you mess up your frets with Micro Mesh?Micro Mesh pack https://amzn.to/32SXSkU38:00 A Cheap Mans ES335?42:20 Thoughts on Signature Gibson guitars vs Fender for 2021?49:00 Press Fit bushing tuners vs regular tuners?51:25 Upgrades for a Glarry P bass?https://www.youtube.com/watch?v=tYnUgOoZRgU53:00 My love of the Gibson ES guitars and I was late to the game56:00 How I would review a wireless system?57:50 The PRS SE 245 and the Zach Myers guitar 1:00:15 Best bass amp for at home practice?1:02:00 How do you pre order a guitar that isn't out yet?1:04:59 Ibanez Power series bass and my love of the Afirma basshttps://www.youtube.com/watch?v=SnOKuzbohLU1:07:45 Johnny Silver hands guitar from Cyber Punk 2077 . I have home work1:09:20 Don't forget my shoes again to the NAMM show 1:11:00 Replacing the PRS SE Pauls guitar tuners1:14:52 Why Ibanez doesn't feel necks???? 1:19:50 Have you ever bought a guitar then wanted to buy that same guitar over and over?1:22:55 Thoughts on the Fender Boxer Strat MIJ for 2021?1:26:10 The issue with putting stickers on your guitar especially Liquor finish1:28:30 Is they a way to change your neck shape? Taylor T5Z?1:30:02 Are Seymour Duncan Black Winter pick ups versatile? 1:32:40 The owner of Tuninja is all class. Thank you guys Tuninja (Tuner for 6 in line guitars)https://reverb.grsm.io/tuninja1:34:38 I never talk about EVH amps?1:36:48 A $400 guitar that has MOJO?1:40:00 How do you get a review on my channel?1:41:40 What parts you should switch on your Epiphone?1:43:20 My favorite reverb pedal? NUX Atlantic1:44:06 Do I have any guitar playing quirks? What I wish I worked on1:47:03 The Peavey Delta Blues or Fender Blues JR?1:48:30 What is my favorite 12 inch speaker foe low wattage amps?1:53:00 Show and tell for KYG Live show. You guys are awesome and kind1:54:40 Leland Sklar and why you should know him!!!!! Thank you Gary!Trust me watch his channel!!! https://www.youtube.com/channel/UCs5yDeiOgkyRZGZGphlSbIw/videos2:00:00 Thank you You can support this channel and get a discount on KYG MerchUse Promo Code ALMOST300https://know-your-gear-shop-2.myteespring.coHere are some other products from a dealer I trust and buy from onlinehttps://imp.i114863.net/c/2224555/791999/11319You can become a Patreon and support more videos like this https://www.patreon.com/homeSend photos of you in your shirt here or ask questionsaskknowyourgear@gmail.comPODCASThttps://knowyourgear.buzzsprout.comFacebookhttps://www.facebook.com/Knowyourgear/Instagramhttps://www.instagram.com/phillip_mcknight/Know Your Gear T shirts https://teespring.com/stores/know-your-gear-shop-2Support the show (https://www.patreon.com/phillipmcknightKYG)

Wir gucken uns einige Gitarren Neuheiten an und sagen auch unsere ehrliche Meinung dazu. Diesmal auch als Video zum Verfolgen worüber wir reden https://www.youtube.com/watch?v=_dD5Sm17J6Y 0:00:00.000 Intro und Begrüssung 00:01:24.000 Epiphone Slash Collection 00:05:00.000 Ibanez 00:18:47.000 Sterling by Music Man 00:25:27.000 Music Man 00:28:20.000 Fender 00:36:18.000 Boss 00:42:17.000 Paul Reed Smith 00:48:00.000 Martin Guitars 00:49:50.000 Charvel 00:51:18.000 Walrus Audio Mako R1 00:52:39.000 D'Addario beschichtete Saiten 00:53:00.000 Sans Amp Classic 00:55:38.000 Pigtronix Pedale 00:57:55.000 Charvel Teil 2 00:58:40.000 Fender Amps 00:59:37.000 Gibson ES 01:01:22.000 Way Huge Atreides 01:02:45.000 Ibanez Mini Booster und Mini Phaser 01:04:35.000 Verabschiedung und Outro Diese Folge auf Youtube gucken? Lari Basilio und ihr neues Ibanez Signature Model Way Huge Atreides von Josh JHS Pedals vorgestellt

THE HIGH GAIN PODCASTWEBSITEwww.thehighgain.comPATREONBecome a SubscriberDISCORDhttps://discord.gg/XUMEzkjYOUTUBEhttps://www.youtube.com/thehighgainTHE SOCIALSInstagramFacebookTwitterPinterestLinkedInEMAILthehighgainpod@gmail.comPRODUCED BYVerkstad - Seattle, WA

Guthrie Trapp is one of the finest guitarists in Nashville, TN, a town known for its amazing musicians. In Part 2 our Truetone Lounge interview, we learn about his Country Guitar ArtistWorks lesson series, and how his students all over the world are able to share their videos with him and get personalized help with their playing. We also dive headfirst into gear talk, with Trapp sharing some of his tone concepts. These concepts include how he dials in his amps, and how he uses pedals to enhance an already great-sounding amp tone. Guthrie also showcases 3 of his favorite instruments, a 1969 Gibson ES-335, Russ Pahl Jr Tele-style, and his Danocaster Double-Cut Strat-style.

Tom Hemby is a highly respected touring and studio guitarist based in Nashville, TN. His hard work, talent, and versatility equipped him to work with Amy Grant, Vince Gill and Wynonna on the road, and musical icons Michael McDonald, Cliff Richard, Glen Campbell, Kenny Loggins, Peter Cetera, and many others in the studio. In our Truetone Lounge interview, we tell his story from rural Missouri to stages and studios across the globe. Additionally, Tom graciously shares some golden advice for the aspiring musician and talks about his jazz/fusion band that includes drumming legend Keith Carlock. Hemby also talks gear and demonstrates his pedalboard and his two favorite guitars, a 90's Custom Shop Fender Stratocaster, and a vintage 1959 Gibson ES-355.

We’re in week two of our month-long reassessment of the life and career of Mel Gibson, ‘The Resurrection of Mel Gibson,’ which brings us to the second big action movie he starred in post drunken, antisemitic tirade, GET THE GRINGO (2012). Seeing as this is Gibson, and we’re dealing with a movie set in Mexico, you might think that there’s going to be some racial landmines we have to try to avoid while talking about this one, but it turns out he was still on his best behavior here. He even pairs up with a fast-talking little kid to try and convince you that he’s not a monster. Are we buying it? You’ll have to listen to find out!

This is the audio from our video here: https://youtu.be/AgOz-ItG5TA We demo the Keeley Echoes Tape Echo, Vemuram Shanks ODS-1 overdrive, Source Audio Spectrum Intelligent Filter and Neo Instruments Micro Vent guitar effects pedals. Welcome to Pedal Jams, where we feature four guitar effects pedals that are new (to us anyway). Our agenda is purely to plug them in, see what cool sounds and features we find, and combine them in whatever way inspires… and have a little jam to put them in context. Life too short for long YouTube videos? Please see the ‘Interesting bits and go-to sections’ information below. Enjoy the episode! Pedals & stuff in this episode… • TheGigRig Three2Onehttps://www.thegigrig.com/three2one • Source Audio Spectrum Intelligent FilterUK & Europe: http://bit.ly/30Br91fUSA: http://bit.ly/36b7RkcAustralia: http://bit.ly/2G8NDgs • Vemuram Shanks ODS-1UK & Europe: http://bit.ly/2Rx1ItA • Keeley ECCOS Neo-Vintage Tape DelayUK & Europe: http://bit.ly/36b9nmoUSA: http://bit.ly/2Rcd1IsAustralia: http://bit.ly/3aqBaTp • Neo Instruments Micro Vent 16USA: http://bit.ly/2NFc0GH • Neo Instruments micro Vent 122USA: http://bit.ly/3atjVAM • Peterson StroboStomp HD TunerUK & Europe: http://bit.ly/2Ozf60oUSA: http://bit.ly/2pHMvvYAustralia: http://bit.ly/2lM39so • TheGigRig G2https://www.thegigrig.com/g2 * Why do we have preferred retailer links? Find out here: http://www.thatpedalshow.com/partners Interesting bits and go-to sections…- Intro playing: 0:00- What pedals do we have today?: 02:20- Lets start with the Spectrum..: 03:01- Tron sounds to start!: 04:22 - It also works on bass: 05:25- And it has octave fuzz: 06:50- Back to the Tele: 07:50- More tweakbility in the Neuro app: 09:45- Vemuram ODS-1: 10:16- Strat sounds: 12:06- With Dan’s Tele:12:48- Amps today 15:19- Gibson ES-335 and Shanks… 15:40- …Les Paul: 20:35- Keeley Eccos: 21:48- Running through the controls: 24:50- It also does tape flanging…: 28:00- …and chorus: 30:20- The Mini Vent 122… but Micro!: 34:10- The new Vent 16: 38:40- Note on Fender Vibratone vs Leslie: 41:14- Jaaaammmage!: 42:34 Guitars in this episode:• Fender American Vintage ’62 Stratocaster – Mick’s video at http://bit.ly/2cQv3yT • Collings 290 DC S - Mick’s video at http://bit.ly/2dDG96k• Fender Player Precision Bass - No video yet• Gibson Memphis 1958 ES-335 - Mick’s video at http://bit.ly/2mpJA8X• 1965 Fender Telecaster - no video yet• Gibson Custom 1958 Les Paul Standard – Dan’s video at http://bit.ly/2dbwbvS• Fender Custom Shop ’52 Telecaster – Dan’s video at http://bit.ly/2Hlpy5Y Amps in this episode • Matchless HC-30 with Hughes & Kettner Vintage 212 / Celestion G12M Greenback• Victory V40 The Duchess and custom Zilla 212 / Celestion Ruby Speakers We hope you enjoy this episode. Please subscribe to our channel. You can buy TPS merch to support our efforts https://www.thatpedalshowstore.com We are on Patreon – crowdfunding for creativeshttps://www.patreon.com/ThatPedalShow Please visit our preferred retailers!UK & Europe: Andertons Music http://bit.ly/2cRvIvtAustralia: Pedal Empire http://bit.ly/2mWmJQf

The highlight of this Podcast is Christy's performance at the end. She plays an Gibson ES 135 into a tube amp, and sings her heart out in one live take. She's true blue...

This week's episode of A History of Rock Music in Five Hundred Songs is the second of two bonus episodes answering listener questions at the end of the first year of the podcast. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus podcast, answering even more questions. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one also includes the songs from the Patreon bonus episode, as that's even more questions and answers. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the second and final part of this year's question and answer bonus podcasts. This week I'm actually going to do two of these. The one that's going on the main podcast is going to consist of those questions that my backers asked that have to do primarily with the podcast and the music, while the one that's going only to backers consists mostly of questions that have been asked about me and my life and so forth -- stuff that might be less interesting to the casual listener, but that clearly someone is interested in. Next week I get back to the main story, with an episode about Carl Perkins, but right now we're going to jump straight into the questions.   Matthew Elmslie asks:   "It's not an issue you've had to confront yet, as you navigate the mid-'50s, but eventually you're going to come up against the clash between the concept of popular music where the basic unit is the song or single, and the one where the basic unit is the album. What are your thoughts on that and how do you plan to deal with it?" This is a question I had to give some consideration to when I was writing my book California Dreaming, which in many ways was sort of a trial run for the podcast, and which like the podcast told its story by looking at individual tracks. I think it can be a problem, but probably not in the way it first appears.   First, the period where the album was dominant was a fairly short one -- it's only roughly from 1967 through about 1974 that the bands who were getting the most critical respect were primarily thinking in terms of albums rather than singles. After that, once punk starts, the pendulum swings back again, so it's not a long period of time that I have to think of in those terms. But it is something that has to be considered during that period. On the other hand, even during that period, there were many acts who were still primarily singles acts -- the Monkees, Slade, the Move, T-Rex... many of whom, arguably, had more long-term influence than many of the album acts of the time.   I think for the most part, though, even the big album acts were still working mostly in ways that allow themselves to be looked at through the lens of single tracks. Like even on something like Dark Side of the Moon, which is about as concept-albumy as it gets, there's still "Money" and "Great Gig in the Sky" which are individual tracks people know even if they don't necessarily know the album, and which could be used as the focus of an episode on the album. Even with Led Zeppelin, who never released singles at all, there are tracks that might as well have been singles, like "Whole Lotta Love" or "Stairway to Heaven". So for the most part it's fairly easy to find a single track I can focus on.   The real problem only comes in for a handful of albums -- records, mostly from that period in the late sixties and early seventies, which absolutely deserve to be considered as part of the podcast, but which don't have standout tracks. It's hard to pick one track from, say, Trout Mask Replica by Captain Beefheart or Astral Weeks by Van Morrison -- those two albums really do need considering as albums rather than as individual tracks -- there's no reason to choose, say, "Frownland" over "The Dust Blows Forward 'n' the Dust Blows Back" or vice versa, or "Madame George" over "Slim Slow Slider".   What I'll do in those cases will probably vary from case to case. So with Trout Mask Replica I'd probably just pick one song as the title song for the episode but still talk about the whole album, while with Astral Weeks the most likely thing is for me to focus the episode on "Brown-Eyed Girl", which isn't on the album, but talk about the making of Astral Weeks after "Brown-Eyed Girl" was a success. That's assuming I cover both those albums at all, but I named them because I'm more likely to than not.   [Excerpt: Van Morrison, “Brown-Eyed Girl”]   Russell Stallings asks: "Andrew, in [the] 60s it seems rock guitar was dominated by Stratocasters and Les Pauls, what was the guitar of choice in the period we are currently covering (1957) ?"   Well, 1957 is just about the point where this becomes an interesting question. Before this point the guitar hasn't played much of a part in the proceedings -- we've seen guitarists, but there've been more piano players -- 1957 is really the point where the guitar becomes the primary rock and roll instrument.   Before I go any further, I just want to say that I've never been a particular gearhead. There are people out there who can tell the difference instantly between different types of guitars based on a note or two. I'm not one of them -- I can sort of make out the difference between a Fendery sound and a Gibsony one and a Rickenbackery one, but not at a tremendous level of precision. I tend to care more about the technique of the player than the sound of the instrument, so this isn't my area of expertise. But I'll give this a go.   Now, there wasn't a straightforward single most popular guitar at this point. It's true that from the late sixties on rock pretty much standardised around the Les Paul and the Stratocaster -- though it was from the late sixties, and you get a lot of people playing different guitars in the early and mid sixties -- but in the fifties people were still figuring things out as individuals. But at the same time, there is, sort of, an answer to this.   The Strat wasn't particularly popular in the 50s. The only first-rank 50s rocker who played a Strat was Buddy Holly, who always played one on stage, though he varied his guitars in the studio from what I've read. Buddy Holly is indirectly the reason the Strat later became so popular -- he inspired Hank Marvin of the Shadows to get one, and Marvin inspired pretty much every guitarist in Britain to copy him. But other than in surf music, the Strat wasn't really popular until around 1967. You'd occasionally get a Telecaster player in the 50s -- Buck Owens, who played on quite a few rockabilly sessions for people like Gene Vincent and Wanda Jackson before he became one of the greats of country music, played a Telecaster. And James Burton, who played in the fifties with Ricky Nelson and Dale Hawkins, among others, was another Telecaster player. But in general there weren't a lot of Fender players.   [Excerpt: Ricky Nelson, “Hello, Mary Lou”, James Burton guitar solo]   Some people did play Gibsons -- most of the Chicago electric blues people seem to have been Gibson people, and so was Chuck Berry. Scotty Moore also played a Gibson. But rather than go for the Les Paul, they'd mostly go for hollow-body models like the L5, which could be played as either electric or acoustic. Scotty Moore also used a custom-built Echosonic amp, so he could get a similar guitar sound on stage to the one he'd got in the studio with Sam Phillips, and he used the L5 and Echosonic combination on all the Elvis hits of the fifties. Carl Perkins did play a Les Paul at first, including on "Blue Suede Shoes", but he switched to a Gibson ES-5 (and got himself an Echosonic from the same person who made Scotty Moore's) after that.   [Excerpt: Carl Perkins, “Matchbox”]   For acoustic guitar, people generally either used a Martin, like Elvis Presley or Ray Edenton, who was the session rhythm player who doubled Don Everly's guitar in the studio (Phil Everly would double it live, but he didn't play on the records), or they'd play a Gibson acoustic, as Don Everly and Buddy Holly did. But overwhelmingly the most popular guitar on rockabilly sessions -- which means in rock and roll for these purposes, since with the exception of Chuck Berry the R&B side of rock and roll remained dominated by piano and sax -- the most popular rockabilly guitar was a Gretsch. There were various popular models of Gretsch guitar, like the Duo Jet, but the most popular were the 6120, the Country Gentleman, and the Tennessean, all of which were variants on the same basic design, and all of which were endorsed by Chet Atkins, which is why they became the pre-eminent guitars among rockabilly musicians, all of whom idolised Atkins. You can hear how that guitar sounds when Atkins plays it here…   [Excerpt: Chet Atkins, “Mr. Sandman”]   Atkins himself played these guitars on sessions for Elvis (where he just played rhythm) and the Everly Brothers (for whom he played lead in the studio). Duane Eddy, Cliff Gallup of the Blue Caps, Eddie Cochran, and many more played Gretsch guitars in imitation of Atkins. Bo Diddley also played a Gretsch before he started playing his own custom-built guitar.   There was no default guitar choice in the 50s the way there was later, but the Gretsch seemed to be the choice of the guitarists who were most admired at the time, and so it also became the choice for anyone else who wanted that clean, country-style, rockabilly lead guitar sound. That sound went out of fashion in the later sixties, but George Harrison used a Gretsch for most of his early leads, and Michael Nesmith of the Monkees always played a Gretsch -- when they started doing twelve-strings, in 1966, they initially only made three, one for Chet Atkins, one for George Harrison, and one for Nesmith, though they later mass-produced them.   But anyway, yeah. No single answer, but Gretsch Country Gentleman, with a hollow-bodied Gibson in close second, is the closest you'll get.   William Maybury asks "About when does the History of Soul divorce from the History of Rock, in your eyes?" That's a difficult question, and it's something I'll be dealing with in a lot more detail when we get to the 1970s, over a whole series of episodes. This is the grotesquely oversimplified version. The short answer is -- when "soul" stopped being the label that was applied to cutting-edge black music that white people could rip off. The history of rock is, at least in part, a history of white musicians incorporating innovations that first appeared in black musicians' work. It's not *just* that, of course, but that's a big part of it.   Now, around 1970 or so, "rock" gets redefined specifically as music that is made by white men with guitars, and other people making identical music were something else. Like there's literally no difference, stylistically, between "Maggot Brain" by Funkadelic and things like Peter Green era Fleetwood Mac or "Watermelon in Easter Hay" by Frank Zappa, but people talk about P-Funk as a funk group rather than a rock group – I know the question was about soul, rather than funk, but in the early seventies there was a huge overlap between the two.   [Excerpt: Funkadelic, “Maggot Brain”]   But as long as soul music remained at the forefront of musical innovations, those innovations were incorporated by white "rock" acts, and any attempt to tell the story of rock music which ignores George Clinton or Stevie Wonder or Sly Stone or Marvin Gaye would be a fundamentally dishonest one.   But some time around the mid-seventies, "soul" stops being a label that's applied to innovative new music, and becomes a label for music that's consciously retro or conservative, people like, say, Luther Vandross. Not that there's anything wrong with retro music -- and there's some great soul music made in the 80s and 90s -- but the music that was at the cutting edge was first disco and then hip-hop, and that's the music that was spawning the innovations that the rock musicians would incorporate into their work.   And, indeed, after around 1980 rock itself becomes more consciously retro and less experimental, and so the rate of incorporation of new musical ideas slows down too, though never completely stops.   But there's always some fuzziness around genre labels. For example, if you consider Prince to be a soul musician, then obviously he's still part of the story. Same goes for Michael Jackson. I don't know if I'd consider either of them to be soul per se, but I could make a case for it, and obviously it's impossible to tell the story of rock in the eighties without those two, any more than you could tell it without, say, Bruce Springsteen.   So, really, there's a slow separation between the two genres over about a twenty-year period, starting in the mid-sixties and finishing in the mid-eighties. I *imagine* that Prince is probably the last new musician who might be described as soul who will be appearing in the podcast, but it really depends on where you draw the boundaries of what counts as soul. There'll be a few disco and hip-hop acts appearing over the last half of the series, and some of them might be considered soul by some people.   That's the best I can do at answering the question right now, but it's a vastly oversimplified version of the real answer, which is "listen to all the podcasts for the seventies when I get to them".   One from Jeff Stanzler:   "For me, the most surprising inclusion so far was the Janis Martin record. You did speak some about why you felt it warranted inclusion, but I'd love to hear more of your thinking on this, and maybe also on the larger philosophical question of including records that were more like significant signposts than records that had huge impact at the time."   [Excerpt: Janis Martin, “Drugstore Rock & Roll”]   Some of this goes back to some of the stuff I was talking about last week, about how there are multiple factors at play when it comes to any song I'm choosing, but the Janis Martin one makes a good example of how those factors play into each other.   First, everything I said in that episode is true -- it *is* an important signpost in the transition of rock and roll into a music specifically aimed at white teenagers, and it is the first record I've come across that deals with the 1950s of Happy Days and American Graffiti rather than the other things that were going on in the culture. Even though "Drugstore Rock and Roll" wasn't a massively successful record, I think that makes it worth including.   But there were other factors that warranted its inclusion too. The first of these was simply that I wanted to include at least one song by a woman at that point. If you don't count the Platters, who had one female member, it had been three months since the last song by a woman. I knew I was going to be doing Wanda Jackson a few weeks later, but it's important to me that I show how women were always part of the story of rock and roll. The podcast is going to be biased towards men, because it's telling the story of an industry that was massively biased towards men, but where women did have the opportunity to break through I want to give them credit. This is not including "token women" or anything like that -- rather it's saying "women have always been part of the story, their part of the story has been ignored, I want to do what I can to redress the balance a bit, so long as I don't move into actively misrepresenting history".   Then there's the fact that Janis Martin had what to my mind was a fascinating story, and one that allowed me to talk about a lot of social issues of the time, at least in brief.   And finally there's the way that her story ties in with those of other people I've covered. Her admiration of Ruth Brown allowed me to tie the story in with the episode on "Mama, He Treats Your Daughter Mean", and also gave me a way to neatly bookend the story, while showing the influence of one of the songs I'd already covered. Her working for RCA and with the same musicians as Elvis meant that I could talk a bit more about those musicians, and her being marketed as "the Female Elvis" meant that I could talk about Elvis' larger cultural impact on the world in 1956, something that needed to be discussed in the series, but which I hadn't found space for in an episode on Elvis himself at that point. (And in talking about the various Elvis-based novelty records I was also able to mention a few figures who will turn up in future episodes, planting seeds for later).   [Excerpt: Eddie Cochran and the Holly Twins, “I Want Elvis For Christmas”]   So that's the thinking there. Every episode has to serve a bunch of different purposes if I'm going to tell this story in only five hundred episodes, and the Janis Martin one, I think, did that better than many. As to the larger question of signposts versus impact at the time -- I am trying, for the most part, to tell the story from the point of view of the time we're looking at, and look at what mattered to listeners and other musicians at the time. But you also have to fill in the details of stuff that's going to affect things in the future. So for example you can't talk about REM without first having covered people like Big Star, so even though Big Star weren't huge at the time, they'll definitely be covered. On the other hand someone like, say, Nick Drake, who had little influence until he was rediscovered decades later, won't be covered, except maybe in passing when talking about other artists Joe Boyd produced, because he didn't really have an effect on the wider story.   In general, the prime consideration for any song that I include is -- does it advance the overall story I'm telling? There'll be stuff left out that would be in if the only criterion was how people reacted to it at the time, and there'll be stuff included which, on its own merits, just wouldn't make the list at all. There's one Adam Faith album track, for example, that I'm going to talk about in roughly nine months, which I think is almost certainly not even the best track that Adam Faith recorded that day, which is about as low a bar as it gets. But it'll be in there because it's an important link in a larger story, even though it's not a song that mattered at all at the time.   And a final question from Daniel Helton on whether I considered doing an episode on "Ain't Got No Home" by Clarence "Frogman" Henry.   [Excerpt: Clarence “Frogman” Henry, “Ain't Got No Home”]   It's a great record, but much of what I'd have to say about it would be stuff about the New Orleans scene and Cosimo Matassa's studio and so forth -- stuff that I'd probably already covered in the episodes on Fats Domino and Lloyd Price (including the episode on Price that's coming up later), so it'd be covering too much of the same ground for me to devote a full episode to it.   If I was going to cover Frogman in the main podcast, it would *probably* be with "I Don't Know Why (But I Do)" because that came out at a time when there were far fewer interesting records being made, and I'd then cover his history including "Ain't Got No Home" as part of that, but I don't think that's likely.   In fact, yeah, I'll pencil in "Ain't Got No Home" for next week's Patreon episode. Don't expect much, because those are only ten-minute ones, but it came out at around the same time as next week's proper episode was recorded, and it *is* a great record. I'll see what I can do for that one.   Anyway, between this and the Patreon bonus episode, I think that's all the questions covered. Thanks to everyone who asked one, and if I haven't answered your questions fully, please let me know and I'll try and reply in the comments to the Patreon post. We'll be doing this again next year, so sign up for the Patreon now if you want that. Next week we're back to the regular podcasts, with an episode on "Matchbox" by Carl Perkins. Also, I'm *hoping* -- though not completely guaranteeing yet -- that I'll have the book based on the first fifty episodes done and out by this time next week. These things always take longer than I expect, but here's hoping there'll be an announcement next week. See you then.  

This week’s episode of A History of Rock Music in Five Hundred Songs is the second of two bonus episodes answering listener questions at the end of the first year of the podcast. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus podcast, answering even more questions. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one also includes the songs from the Patreon bonus episode, as that’s even more questions and answers. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the second and final part of this year’s question and answer bonus podcasts. This week I’m actually going to do two of these. The one that’s going on the main podcast is going to consist of those questions that my backers asked that have to do primarily with the podcast and the music, while the one that’s going only to backers consists mostly of questions that have been asked about me and my life and so forth — stuff that might be less interesting to the casual listener, but that clearly someone is interested in. Next week I get back to the main story, with an episode about Carl Perkins, but right now we’re going to jump straight into the questions.   Matthew Elmslie asks:   “It’s not an issue you’ve had to confront yet, as you navigate the mid-’50s, but eventually you’re going to come up against the clash between the concept of popular music where the basic unit is the song or single, and the one where the basic unit is the album. What are your thoughts on that and how do you plan to deal with it?” This is a question I had to give some consideration to when I was writing my book California Dreaming, which in many ways was sort of a trial run for the podcast, and which like the podcast told its story by looking at individual tracks. I think it can be a problem, but probably not in the way it first appears.   First, the period where the album was dominant was a fairly short one — it’s only roughly from 1967 through about 1974 that the bands who were getting the most critical respect were primarily thinking in terms of albums rather than singles. After that, once punk starts, the pendulum swings back again, so it’s not a long period of time that I have to think of in those terms. But it is something that has to be considered during that period. On the other hand, even during that period, there were many acts who were still primarily singles acts — the Monkees, Slade, the Move, T-Rex… many of whom, arguably, had more long-term influence than many of the album acts of the time.   I think for the most part, though, even the big album acts were still working mostly in ways that allow themselves to be looked at through the lens of single tracks. Like even on something like Dark Side of the Moon, which is about as concept-albumy as it gets, there’s still “Money” and “Great Gig in the Sky” which are individual tracks people know even if they don’t necessarily know the album, and which could be used as the focus of an episode on the album. Even with Led Zeppelin, who never released singles at all, there are tracks that might as well have been singles, like “Whole Lotta Love” or “Stairway to Heaven”. So for the most part it’s fairly easy to find a single track I can focus on.   The real problem only comes in for a handful of albums — records, mostly from that period in the late sixties and early seventies, which absolutely deserve to be considered as part of the podcast, but which don’t have standout tracks. It’s hard to pick one track from, say, Trout Mask Replica by Captain Beefheart or Astral Weeks by Van Morrison — those two albums really do need considering as albums rather than as individual tracks — there’s no reason to choose, say, “Frownland” over “The Dust Blows Forward ‘n’ the Dust Blows Back” or vice versa, or “Madame George” over “Slim Slow Slider”.   What I’ll do in those cases will probably vary from case to case. So with Trout Mask Replica I’d probably just pick one song as the title song for the episode but still talk about the whole album, while with Astral Weeks the most likely thing is for me to focus the episode on “Brown-Eyed Girl”, which isn’t on the album, but talk about the making of Astral Weeks after “Brown-Eyed Girl” was a success. That’s assuming I cover both those albums at all, but I named them because I’m more likely to than not.   [Excerpt: Van Morrison, “Brown-Eyed Girl”]   Russell Stallings asks: “Andrew, in [the] 60s it seems rock guitar was dominated by Stratocasters and Les Pauls, what was the guitar of choice in the period we are currently covering (1957) ?”   Well, 1957 is just about the point where this becomes an interesting question. Before this point the guitar hasn’t played much of a part in the proceedings — we’ve seen guitarists, but there’ve been more piano players — 1957 is really the point where the guitar becomes the primary rock and roll instrument.   Before I go any further, I just want to say that I’ve never been a particular gearhead. There are people out there who can tell the difference instantly between different types of guitars based on a note or two. I’m not one of them — I can sort of make out the difference between a Fendery sound and a Gibsony one and a Rickenbackery one, but not at a tremendous level of precision. I tend to care more about the technique of the player than the sound of the instrument, so this isn’t my area of expertise. But I’ll give this a go.   Now, there wasn’t a straightforward single most popular guitar at this point. It’s true that from the late sixties on rock pretty much standardised around the Les Paul and the Stratocaster — though it was from the late sixties, and you get a lot of people playing different guitars in the early and mid sixties — but in the fifties people were still figuring things out as individuals. But at the same time, there is, sort of, an answer to this.   The Strat wasn’t particularly popular in the 50s. The only first-rank 50s rocker who played a Strat was Buddy Holly, who always played one on stage, though he varied his guitars in the studio from what I’ve read. Buddy Holly is indirectly the reason the Strat later became so popular — he inspired Hank Marvin of the Shadows to get one, and Marvin inspired pretty much every guitarist in Britain to copy him. But other than in surf music, the Strat wasn’t really popular until around 1967. You’d occasionally get a Telecaster player in the 50s — Buck Owens, who played on quite a few rockabilly sessions for people like Gene Vincent and Wanda Jackson before he became one of the greats of country music, played a Telecaster. And James Burton, who played in the fifties with Ricky Nelson and Dale Hawkins, among others, was another Telecaster player. But in general there weren’t a lot of Fender players.   [Excerpt: Ricky Nelson, “Hello, Mary Lou”, James Burton guitar solo]   Some people did play Gibsons — most of the Chicago electric blues people seem to have been Gibson people, and so was Chuck Berry. Scotty Moore also played a Gibson. But rather than go for the Les Paul, they’d mostly go for hollow-body models like the L5, which could be played as either electric or acoustic. Scotty Moore also used a custom-built Echosonic amp, so he could get a similar guitar sound on stage to the one he’d got in the studio with Sam Phillips, and he used the L5 and Echosonic combination on all the Elvis hits of the fifties. Carl Perkins did play a Les Paul at first, including on “Blue Suede Shoes”, but he switched to a Gibson ES-5 (and got himself an Echosonic from the same person who made Scotty Moore’s) after that.   [Excerpt: Carl Perkins, “Matchbox”]   For acoustic guitar, people generally either used a Martin, like Elvis Presley or Ray Edenton, who was the session rhythm player who doubled Don Everly’s guitar in the studio (Phil Everly would double it live, but he didn’t play on the records), or they’d play a Gibson acoustic, as Don Everly and Buddy Holly did. But overwhelmingly the most popular guitar on rockabilly sessions — which means in rock and roll for these purposes, since with the exception of Chuck Berry the R&B side of rock and roll remained dominated by piano and sax — the most popular rockabilly guitar was a Gretsch. There were various popular models of Gretsch guitar, like the Duo Jet, but the most popular were the 6120, the Country Gentleman, and the Tennessean, all of which were variants on the same basic design, and all of which were endorsed by Chet Atkins, which is why they became the pre-eminent guitars among rockabilly musicians, all of whom idolised Atkins. You can hear how that guitar sounds when Atkins plays it here…   [Excerpt: Chet Atkins, “Mr. Sandman”]   Atkins himself played these guitars on sessions for Elvis (where he just played rhythm) and the Everly Brothers (for whom he played lead in the studio). Duane Eddy, Cliff Gallup of the Blue Caps, Eddie Cochran, and many more played Gretsch guitars in imitation of Atkins. Bo Diddley also played a Gretsch before he started playing his own custom-built guitar.   There was no default guitar choice in the 50s the way there was later, but the Gretsch seemed to be the choice of the guitarists who were most admired at the time, and so it also became the choice for anyone else who wanted that clean, country-style, rockabilly lead guitar sound. That sound went out of fashion in the later sixties, but George Harrison used a Gretsch for most of his early leads, and Michael Nesmith of the Monkees always played a Gretsch — when they started doing twelve-strings, in 1966, they initially only made three, one for Chet Atkins, one for George Harrison, and one for Nesmith, though they later mass-produced them.   But anyway, yeah. No single answer, but Gretsch Country Gentleman, with a hollow-bodied Gibson in close second, is the closest you’ll get.   William Maybury asks “About when does the History of Soul divorce from the History of Rock, in your eyes?” That’s a difficult question, and it’s something I’ll be dealing with in a lot more detail when we get to the 1970s, over a whole series of episodes. This is the grotesquely oversimplified version. The short answer is — when “soul” stopped being the label that was applied to cutting-edge black music that white people could rip off. The history of rock is, at least in part, a history of white musicians incorporating innovations that first appeared in black musicians’ work. It’s not *just* that, of course, but that’s a big part of it.   Now, around 1970 or so, “rock” gets redefined specifically as music that is made by white men with guitars, and other people making identical music were something else. Like there’s literally no difference, stylistically, between “Maggot Brain” by Funkadelic and things like Peter Green era Fleetwood Mac or “Watermelon in Easter Hay” by Frank Zappa, but people talk about P-Funk as a funk group rather than a rock group – I know the question was about soul, rather than funk, but in the early seventies there was a huge overlap between the two.   [Excerpt: Funkadelic, “Maggot Brain”]   But as long as soul music remained at the forefront of musical innovations, those innovations were incorporated by white “rock” acts, and any attempt to tell the story of rock music which ignores George Clinton or Stevie Wonder or Sly Stone or Marvin Gaye would be a fundamentally dishonest one.   But some time around the mid-seventies, “soul” stops being a label that’s applied to innovative new music, and becomes a label for music that’s consciously retro or conservative, people like, say, Luther Vandross. Not that there’s anything wrong with retro music — and there’s some great soul music made in the 80s and 90s — but the music that was at the cutting edge was first disco and then hip-hop, and that’s the music that was spawning the innovations that the rock musicians would incorporate into their work.   And, indeed, after around 1980 rock itself becomes more consciously retro and less experimental, and so the rate of incorporation of new musical ideas slows down too, though never completely stops.   But there’s always some fuzziness around genre labels. For example, if you consider Prince to be a soul musician, then obviously he’s still part of the story. Same goes for Michael Jackson. I don’t know if I’d consider either of them to be soul per se, but I could make a case for it, and obviously it’s impossible to tell the story of rock in the eighties without those two, any more than you could tell it without, say, Bruce Springsteen.   So, really, there’s a slow separation between the two genres over about a twenty-year period, starting in the mid-sixties and finishing in the mid-eighties. I *imagine* that Prince is probably the last new musician who might be described as soul who will be appearing in the podcast, but it really depends on where you draw the boundaries of what counts as soul. There’ll be a few disco and hip-hop acts appearing over the last half of the series, and some of them might be considered soul by some people.   That’s the best I can do at answering the question right now, but it’s a vastly oversimplified version of the real answer, which is “listen to all the podcasts for the seventies when I get to them”.   One from Jeff Stanzler:   “For me, the most surprising inclusion so far was the Janis Martin record. You did speak some about why you felt it warranted inclusion, but I’d love to hear more of your thinking on this, and maybe also on the larger philosophical question of including records that were more like significant signposts than records that had huge impact at the time.”   [Excerpt: Janis Martin, “Drugstore Rock & Roll”]   Some of this goes back to some of the stuff I was talking about last week, about how there are multiple factors at play when it comes to any song I’m choosing, but the Janis Martin one makes a good example of how those factors play into each other.   First, everything I said in that episode is true — it *is* an important signpost in the transition of rock and roll into a music specifically aimed at white teenagers, and it is the first record I’ve come across that deals with the 1950s of Happy Days and American Graffiti rather than the other things that were going on in the culture. Even though “Drugstore Rock and Roll” wasn’t a massively successful record, I think that makes it worth including.   But there were other factors that warranted its inclusion too. The first of these was simply that I wanted to include at least one song by a woman at that point. If you don’t count the Platters, who had one female member, it had been three months since the last song by a woman. I knew I was going to be doing Wanda Jackson a few weeks later, but it’s important to me that I show how women were always part of the story of rock and roll. The podcast is going to be biased towards men, because it’s telling the story of an industry that was massively biased towards men, but where women did have the opportunity to break through I want to give them credit. This is not including “token women” or anything like that — rather it’s saying “women have always been part of the story, their part of the story has been ignored, I want to do what I can to redress the balance a bit, so long as I don’t move into actively misrepresenting history”.   Then there’s the fact that Janis Martin had what to my mind was a fascinating story, and one that allowed me to talk about a lot of social issues of the time, at least in brief.   And finally there’s the way that her story ties in with those of other people I’ve covered. Her admiration of Ruth Brown allowed me to tie the story in with the episode on “Mama, He Treats Your Daughter Mean”, and also gave me a way to neatly bookend the story, while showing the influence of one of the songs I’d already covered. Her working for RCA and with the same musicians as Elvis meant that I could talk a bit more about those musicians, and her being marketed as “the Female Elvis” meant that I could talk about Elvis’ larger cultural impact on the world in 1956, something that needed to be discussed in the series, but which I hadn’t found space for in an episode on Elvis himself at that point. (And in talking about the various Elvis-based novelty records I was also able to mention a few figures who will turn up in future episodes, planting seeds for later).   [Excerpt: Eddie Cochran and the Holly Twins, “I Want Elvis For Christmas”]   So that’s the thinking there. Every episode has to serve a bunch of different purposes if I’m going to tell this story in only five hundred episodes, and the Janis Martin one, I think, did that better than many. As to the larger question of signposts versus impact at the time — I am trying, for the most part, to tell the story from the point of view of the time we’re looking at, and look at what mattered to listeners and other musicians at the time. But you also have to fill in the details of stuff that’s going to affect things in the future. So for example you can’t talk about REM without first having covered people like Big Star, so even though Big Star weren’t huge at the time, they’ll definitely be covered. On the other hand someone like, say, Nick Drake, who had little influence until he was rediscovered decades later, won’t be covered, except maybe in passing when talking about other artists Joe Boyd produced, because he didn’t really have an effect on the wider story.   In general, the prime consideration for any song that I include is — does it advance the overall story I’m telling? There’ll be stuff left out that would be in if the only criterion was how people reacted to it at the time, and there’ll be stuff included which, on its own merits, just wouldn’t make the list at all. There’s one Adam Faith album track, for example, that I’m going to talk about in roughly nine months, which I think is almost certainly not even the best track that Adam Faith recorded that day, which is about as low a bar as it gets. But it’ll be in there because it’s an important link in a larger story, even though it’s not a song that mattered at all at the time.   And a final question from Daniel Helton on whether I considered doing an episode on “Ain’t Got No Home” by Clarence “Frogman” Henry.   [Excerpt: Clarence “Frogman” Henry, “Ain’t Got No Home”]   It’s a great record, but much of what I’d have to say about it would be stuff about the New Orleans scene and Cosimo Matassa’s studio and so forth — stuff that I’d probably already covered in the episodes on Fats Domino and Lloyd Price (including the episode on Price that’s coming up later), so it’d be covering too much of the same ground for me to devote a full episode to it.   If I was going to cover Frogman in the main podcast, it would *probably* be with “I Don’t Know Why (But I Do)” because that came out at a time when there were far fewer interesting records being made, and I’d then cover his history including “Ain’t Got No Home” as part of that, but I don’t think that’s likely.   In fact, yeah, I’ll pencil in “Ain’t Got No Home” for next week’s Patreon episode. Don’t expect much, because those are only ten-minute ones, but it came out at around the same time as next week’s proper episode was recorded, and it *is* a great record. I’ll see what I can do for that one.   Anyway, between this and the Patreon bonus episode, I think that’s all the questions covered. Thanks to everyone who asked one, and if I haven’t answered your questions fully, please let me know and I’ll try and reply in the comments to the Patreon post. We’ll be doing this again next year, so sign up for the Patreon now if you want that. Next week we’re back to the regular podcasts, with an episode on “Matchbox” by Carl Perkins. Also, I’m *hoping* — though not completely guaranteeing yet — that I’ll have the book based on the first fifty episodes done and out by this time next week. These things always take longer than I expect, but here’s hoping there’ll be an announcement next week. See you then.  

This week’s episode of A History of Rock Music in Five Hundred Songs is the second of two bonus episodes answering listener questions at the end of the first year of the podcast. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a bonus podcast, answering even more questions. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. This one also includes the songs from the Patreon bonus episode, as that’s even more questions and answers. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the second and final part of this year’s question and answer bonus podcasts. This week I’m actually going to do two of these. The one that’s going on the main podcast is going to consist of those questions that my backers asked that have to do primarily with the podcast and the music, while the one that’s going only to backers consists mostly of questions that have been asked about me and my life and so forth — stuff that might be less interesting to the casual listener, but that clearly someone is interested in. Next week I get back to the main story, with an episode about Carl Perkins, but right now we’re going to jump straight into the questions.   Matthew Elmslie asks:   “It’s not an issue you’ve had to confront yet, as you navigate the mid-’50s, but eventually you’re going to come up against the clash between the concept of popular music where the basic unit is the song or single, and the one where the basic unit is the album. What are your thoughts on that and how do you plan to deal with it?” This is a question I had to give some consideration to when I was writing my book California Dreaming, which in many ways was sort of a trial run for the podcast, and which like the podcast told its story by looking at individual tracks. I think it can be a problem, but probably not in the way it first appears.   First, the period where the album was dominant was a fairly short one — it’s only roughly from 1967 through about 1974 that the bands who were getting the most critical respect were primarily thinking in terms of albums rather than singles. After that, once punk starts, the pendulum swings back again, so it’s not a long period of time that I have to think of in those terms. But it is something that has to be considered during that period. On the other hand, even during that period, there were many acts who were still primarily singles acts — the Monkees, Slade, the Move, T-Rex… many of whom, arguably, had more long-term influence than many of the album acts of the time.   I think for the most part, though, even the big album acts were still working mostly in ways that allow themselves to be looked at through the lens of single tracks. Like even on something like Dark Side of the Moon, which is about as concept-albumy as it gets, there’s still “Money” and “Great Gig in the Sky” which are individual tracks people know even if they don’t necessarily know the album, and which could be used as the focus of an episode on the album. Even with Led Zeppelin, who never released singles at all, there are tracks that might as well have been singles, like “Whole Lotta Love” or “Stairway to Heaven”. So for the most part it’s fairly easy to find a single track I can focus on.   The real problem only comes in for a handful of albums — records, mostly from that period in the late sixties and early seventies, which absolutely deserve to be considered as part of the podcast, but which don’t have standout tracks. It’s hard to pick one track from, say, Trout Mask Replica by Captain Beefheart or Astral Weeks by Van Morrison — those two albums really do need considering as albums rather than as individual tracks — there’s no reason to choose, say, “Frownland” over “The Dust Blows Forward ‘n’ the Dust Blows Back” or vice versa, or “Madame George” over “Slim Slow Slider”.   What I’ll do in those cases will probably vary from case to case. So with Trout Mask Replica I’d probably just pick one song as the title song for the episode but still talk about the whole album, while with Astral Weeks the most likely thing is for me to focus the episode on “Brown-Eyed Girl”, which isn’t on the album, but talk about the making of Astral Weeks after “Brown-Eyed Girl” was a success. That’s assuming I cover both those albums at all, but I named them because I’m more likely to than not.   [Excerpt: Van Morrison, “Brown-Eyed Girl”]   Russell Stallings asks: “Andrew, in [the] 60s it seems rock guitar was dominated by Stratocasters and Les Pauls, what was the guitar of choice in the period we are currently covering (1957) ?”   Well, 1957 is just about the point where this becomes an interesting question. Before this point the guitar hasn’t played much of a part in the proceedings — we’ve seen guitarists, but there’ve been more piano players — 1957 is really the point where the guitar becomes the primary rock and roll instrument.   Before I go any further, I just want to say that I’ve never been a particular gearhead. There are people out there who can tell the difference instantly between different types of guitars based on a note or two. I’m not one of them — I can sort of make out the difference between a Fendery sound and a Gibsony one and a Rickenbackery one, but not at a tremendous level of precision. I tend to care more about the technique of the player than the sound of the instrument, so this isn’t my area of expertise. But I’ll give this a go.   Now, there wasn’t a straightforward single most popular guitar at this point. It’s true that from the late sixties on rock pretty much standardised around the Les Paul and the Stratocaster — though it was from the late sixties, and you get a lot of people playing different guitars in the early and mid sixties — but in the fifties people were still figuring things out as individuals. But at the same time, there is, sort of, an answer to this.   The Strat wasn’t particularly popular in the 50s. The only first-rank 50s rocker who played a Strat was Buddy Holly, who always played one on stage, though he varied his guitars in the studio from what I’ve read. Buddy Holly is indirectly the reason the Strat later became so popular — he inspired Hank Marvin of the Shadows to get one, and Marvin inspired pretty much every guitarist in Britain to copy him. But other than in surf music, the Strat wasn’t really popular until around 1967. You’d occasionally get a Telecaster player in the 50s — Buck Owens, who played on quite a few rockabilly sessions for people like Gene Vincent and Wanda Jackson before he became one of the greats of country music, played a Telecaster. And James Burton, who played in the fifties with Ricky Nelson and Dale Hawkins, among others, was another Telecaster player. But in general there weren’t a lot of Fender players.   [Excerpt: Ricky Nelson, “Hello, Mary Lou”, James Burton guitar solo]   Some people did play Gibsons — most of the Chicago electric blues people seem to have been Gibson people, and so was Chuck Berry. Scotty Moore also played a Gibson. But rather than go for the Les Paul, they’d mostly go for hollow-body models like the L5, which could be played as either electric or acoustic. Scotty Moore also used a custom-built Echosonic amp, so he could get a similar guitar sound on stage to the one he’d got in the studio with Sam Phillips, and he used the L5 and Echosonic combination on all the Elvis hits of the fifties. Carl Perkins did play a Les Paul at first, including on “Blue Suede Shoes”, but he switched to a Gibson ES-5 (and got himself an Echosonic from the same person who made Scotty Moore’s) after that.   [Excerpt: Carl Perkins, “Matchbox”]   For acoustic guitar, people generally either used a Martin, like Elvis Presley or Ray Edenton, who was the session rhythm player who doubled Don Everly’s guitar in the studio (Phil Everly would double it live, but he didn’t play on the records), or they’d play a Gibson acoustic, as Don Everly and Buddy Holly did. But overwhelmingly the most popular guitar on rockabilly sessions — which means in rock and roll for these purposes, since with the exception of Chuck Berry the R&B side of rock and roll remained dominated by piano and sax — the most popular rockabilly guitar was a Gretsch. There were various popular models of Gretsch guitar, like the Duo Jet, but the most popular were the 6120, the Country Gentleman, and the Tennessean, all of which were variants on the same basic design, and all of which were endorsed by Chet Atkins, which is why they became the pre-eminent guitars among rockabilly musicians, all of whom idolised Atkins. You can hear how that guitar sounds when Atkins plays it here…   [Excerpt: Chet Atkins, “Mr. Sandman”]   Atkins himself played these guitars on sessions for Elvis (where he just played rhythm) and the Everly Brothers (for whom he played lead in the studio). Duane Eddy, Cliff Gallup of the Blue Caps, Eddie Cochran, and many more played Gretsch guitars in imitation of Atkins. Bo Diddley also played a Gretsch before he started playing his own custom-built guitar.   There was no default guitar choice in the 50s the way there was later, but the Gretsch seemed to be the choice of the guitarists who were most admired at the time, and so it also became the choice for anyone else who wanted that clean, country-style, rockabilly lead guitar sound. That sound went out of fashion in the later sixties, but George Harrison used a Gretsch for most of his early leads, and Michael Nesmith of the Monkees always played a Gretsch — when they started doing twelve-strings, in 1966, they initially only made three, one for Chet Atkins, one for George Harrison, and one for Nesmith, though they later mass-produced them.   But anyway, yeah. No single answer, but Gretsch Country Gentleman, with a hollow-bodied Gibson in close second, is the closest you’ll get.   William Maybury asks “About when does the History of Soul divorce from the History of Rock, in your eyes?” That’s a difficult question, and it’s something I’ll be dealing with in a lot more detail when we get to the 1970s, over a whole series of episodes. This is the grotesquely oversimplified version. The short answer is — when “soul” stopped being the label that was applied to cutting-edge black music that white people could rip off. The history of rock is, at least in part, a history of white musicians incorporating innovations that first appeared in black musicians’ work. It’s not *just* that, of course, but that’s a big part of it.   Now, around 1970 or so, “rock” gets redefined specifically as music that is made by white men with guitars, and other people making identical music were something else. Like there’s literally no difference, stylistically, between “Maggot Brain” by Funkadelic and things like Peter Green era Fleetwood Mac or “Watermelon in Easter Hay” by Frank Zappa, but people talk about P-Funk as a funk group rather than a rock group – I know the question was about soul, rather than funk, but in the early seventies there was a huge overlap between the two.   [Excerpt: Funkadelic, “Maggot Brain”]   But as long as soul music remained at the forefront of musical innovations, those innovations were incorporated by white “rock” acts, and any attempt to tell the story of rock music which ignores George Clinton or Stevie Wonder or Sly Stone or Marvin Gaye would be a fundamentally dishonest one.   But some time around the mid-seventies, “soul” stops being a label that’s applied to innovative new music, and becomes a label for music that’s consciously retro or conservative, people like, say, Luther Vandross. Not that there’s anything wrong with retro music — and there’s some great soul music made in the 80s and 90s — but the music that was at the cutting edge was first disco and then hip-hop, and that’s the music that was spawning the innovations that the rock musicians would incorporate into their work.   And, indeed, after around 1980 rock itself becomes more consciously retro and less experimental, and so the rate of incorporation of new musical ideas slows down too, though never completely stops.   But there’s always some fuzziness around genre labels. For example, if you consider Prince to be a soul musician, then obviously he’s still part of the story. Same goes for Michael Jackson. I don’t know if I’d consider either of them to be soul per se, but I could make a case for it, and obviously it’s impossible to tell the story of rock in the eighties without those two, any more than you could tell it without, say, Bruce Springsteen.   So, really, there’s a slow separation between the two genres over about a twenty-year period, starting in the mid-sixties and finishing in the mid-eighties. I *imagine* that Prince is probably the last new musician who might be described as soul who will be appearing in the podcast, but it really depends on where you draw the boundaries of what counts as soul. There’ll be a few disco and hip-hop acts appearing over the last half of the series, and some of them might be considered soul by some people.   That’s the best I can do at answering the question right now, but it’s a vastly oversimplified version of the real answer, which is “listen to all the podcasts for the seventies when I get to them”.   One from Jeff Stanzler:   “For me, the most surprising inclusion so far was the Janis Martin record. You did speak some about why you felt it warranted inclusion, but I’d love to hear more of your thinking on this, and maybe also on the larger philosophical question of including records that were more like significant signposts than records that had huge impact at the time.”   [Excerpt: Janis Martin, “Drugstore Rock & Roll”]   Some of this goes back to some of the stuff I was talking about last week, about how there are multiple factors at play when it comes to any song I’m choosing, but the Janis Martin one makes a good example of how those factors play into each other.   First, everything I said in that episode is true — it *is* an important signpost in the transition of rock and roll into a music specifically aimed at white teenagers, and it is the first record I’ve come across that deals with the 1950s of Happy Days and American Graffiti rather than the other things that were going on in the culture. Even though “Drugstore Rock and Roll” wasn’t a massively successful record, I think that makes it worth including.   But there were other factors that warranted its inclusion too. The first of these was simply that I wanted to include at least one song by a woman at that point. If you don’t count the Platters, who had one female member, it had been three months since the last song by a woman. I knew I was going to be doing Wanda Jackson a few weeks later, but it’s important to me that I show how women were always part of the story of rock and roll. The podcast is going to be biased towards men, because it’s telling the story of an industry that was massively biased towards men, but where women did have the opportunity to break through I want to give them credit. This is not including “token women” or anything like that — rather it’s saying “women have always been part of the story, their part of the story has been ignored, I want to do what I can to redress the balance a bit, so long as I don’t move into actively misrepresenting history”.   Then there’s the fact that Janis Martin had what to my mind was a fascinating story, and one that allowed me to talk about a lot of social issues of the time, at least in brief.   And finally there’s the way that her story ties in with those of other people I’ve covered. Her admiration of Ruth Brown allowed me to tie the story in with the episode on “Mama, He Treats Your Daughter Mean”, and also gave me a way to neatly bookend the story, while showing the influence of one of the songs I’d already covered. Her working for RCA and with the same musicians as Elvis meant that I could talk a bit more about those musicians, and her being marketed as “the Female Elvis” meant that I could talk about Elvis’ larger cultural impact on the world in 1956, something that needed to be discussed in the series, but which I hadn’t found space for in an episode on Elvis himself at that point. (And in talking about the various Elvis-based novelty records I was also able to mention a few figures who will turn up in future episodes, planting seeds for later).   [Excerpt: Eddie Cochran and the Holly Twins, “I Want Elvis For Christmas”]   So that’s the thinking there. Every episode has to serve a bunch of different purposes if I’m going to tell this story in only five hundred episodes, and the Janis Martin one, I think, did that better than many. As to the larger question of signposts versus impact at the time — I am trying, for the most part, to tell the story from the point of view of the time we’re looking at, and look at what mattered to listeners and other musicians at the time. But you also have to fill in the details of stuff that’s going to affect things in the future. So for example you can’t talk about REM without first having covered people like Big Star, so even though Big Star weren’t huge at the time, they’ll definitely be covered. On the other hand someone like, say, Nick Drake, who had little influence until he was rediscovered decades later, won’t be covered, except maybe in passing when talking about other artists Joe Boyd produced, because he didn’t really have an effect on the wider story.   In general, the prime consideration for any song that I include is — does it advance the overall story I’m telling? There’ll be stuff left out that would be in if the only criterion was how people reacted to it at the time, and there’ll be stuff included which, on its own merits, just wouldn’t make the list at all. There’s one Adam Faith album track, for example, that I’m going to talk about in roughly nine months, which I think is almost certainly not even the best track that Adam Faith recorded that day, which is about as low a bar as it gets. But it’ll be in there because it’s an important link in a larger story, even though it’s not a song that mattered at all at the time.   And a final question from Daniel Helton on whether I considered doing an episode on “Ain’t Got No Home” by Clarence “Frogman” Henry.   [Excerpt: Clarence “Frogman” Henry, “Ain’t Got No Home”]   It’s a great record, but much of what I’d have to say about it would be stuff about the New Orleans scene and Cosimo Matassa’s studio and so forth — stuff that I’d probably already covered in the episodes on Fats Domino and Lloyd Price (including the episode on Price that’s coming up later), so it’d be covering too much of the same ground for me to devote a full episode to it.   If I was going to cover Frogman in the main podcast, it would *probably* be with “I Don’t Know Why (But I Do)” because that came out at a time when there were far fewer interesting records being made, and I’d then cover his history including “Ain’t Got No Home” as part of that, but I don’t think that’s likely.   In fact, yeah, I’ll pencil in “Ain’t Got No Home” for next week’s Patreon episode. Don’t expect much, because those are only ten-minute ones, but it came out at around the same time as next week’s proper episode was recorded, and it *is* a great record. I’ll see what I can do for that one.   Anyway, between this and the Patreon bonus episode, I think that’s all the questions covered. Thanks to everyone who asked one, and if I haven’t answered your questions fully, please let me know and I’ll try and reply in the comments to the Patreon post. We’ll be doing this again next year, so sign up for the Patreon now if you want that. Next week we’re back to the regular podcasts, with an episode on “Matchbox” by Carl Perkins. Also, I’m *hoping* — though not completely guaranteeing yet — that I’ll have the book based on the first fifty episodes done and out by this time next week. These things always take longer than I expect, but here’s hoping there’ll be an announcement next week. See you then.  

This episode was brought to you by: D'Addario Universal Straplocks Chase Bliss Audio  Izotope RX 7 Ryan and Steve do a quick recap of Summer NAMM. Ryan talks about getting gear from Spiral Electric FX and Nutter Guitars. Steve got a couple pieces from Noatronic and Spruce Effects Pictures! 1. Ritter Style Bass 2. A brief history of the Fender Starcaster 3. Gibson ES-369 4. What does Etsy buying Reverb mean for the end user? 5. Thiccc Takamine This week's song was sent by Kyle Saloka of Public Persona and is called "Resonate" Support this channel: https://www.patreon.com/60CycleHumcast Connect with us:Facebook: https://www.facebook.com/groups/60cyclehum/Instagram and Twitter @60cyclehum  Want to demo with us? https://60cyclehumcast.com/marketing-packages/Cables by Sinasoid: http://www.sinasoid.com

This is the audio from our video here: https://youtu.be/GpJJkSBP-YQ   They say “never start with an apology”, so we won’t. Not everyone loves vintage guitars – in fact many people think it’s all a load of pish. Dan and I are not such people and so we took this opportunity to visit ATB Guitars in Cheltenham, UK and fill our boots with an afternoon of complete and utter kids-in-a-sweetshop indulgence.  There is no real point to this video, other than to remind ourselves that it’s only this very moment that ever matters; simply to do and to experience. MASSIVE thanks to Mike and David at ATB for making us so welcome and letting us have the run of the store! https://www.atbguitars.com/ Instagram @atbguitars Questions arising…Q: Are vintage guitars really ‘better’? A: No. Modern guitars aren’t better either. Q: You couldn’t tell in a blind test though, could you?A: Maybe, but if your brain is trying to tell, you’re not doing anything relating to actual music. Q: That’s every guitar gear video ever, isn’t it?A: Touché. Probably! The bit after the video in the venue or studio is Q: Did Mick buy that Strat?A: Not today. But one day when the day is right I will. Q: Why didn’t you play the //insert any guitar we didn’t play here//?A: We chose the ones that interested us the most. We’ll answer everything else we can in Monday’s VCQ. Enjoy the episode! Pedals & stuff in this episode… • Keeley D&M DriveUK & Europe: http://bit.ly/2oTblU1Australia: http://bit.ly/2pUDUAEhttps://www.thatpedalshowstore.com/collections/pedals-1/products/d-m-drive-pedal • DanDrive Austin PrideFind Dan on Instagram @dandrivepedal • Catalinbread EchorecUK & Europe: http://bit.ly/2mORqULAustralia: http://bit.ly/2BWjXTM • Catalinbread Belle Epoch DeluxeUK & Europe: http://bit.ly/2RVldeSAustralia: http://bit.ly/2Ovelqa • Supro Tremolo UK & Europe: http://bit.ly/2pZrAkZ * Why do we have preferred retailer links? Find out here: http://www.thatpedalshow.com/partners Interesting bits and go-to sections…- Here we come, walking down the… 0:00- 1957 Gibson ES-5 Switchmaster: 02:30- 1959 Gibson ES-335 and more old hollowbodies… 04:45- Plug in the Switchmaster and ’59 ES-335: 12:40- Mick reflects on his reissue 335 and the real ’59: 17:10- Amps today? 18:35- Plug in the ’59 355 and ’66 Casino: 19:20- Effects today?: 23:02- 1955 Gibson Les Paul Custom: 25:25- A gilding of Goldtops: 27:40- A look at some Les Paul Juniors: 35:25- Gibson SGs: 36:45- Plug in the ’55 Goldtop & ’64 SG: 39:05- Plug in the ’53 & ’57 Les Pauls: 48:40- Dan reflects on the ’57 Les Paul compared to his ’58 Reissue: 54:40- Fender corner! 58:20- Strat heaven: 1:04:43- 1963 Korina Body Fender Stratocaster: 01:14:49- L Series Fender serial numbers?: 01:17:07- The only bases anyone ever needs: 01:18:30- A note on Fender headstocks: 01:19:00- 1974 Fender Hardtail Stratocaster: 01:20:00- The only reissue in the shop! 1:20:40- A brief look at the amps: 01:21:30- Plug in the ’58 Strat & Tele: 01:22:16- Plug in the ’61 and ’63 Strats: 01:31:30- Plug in the ’58 Jazzmaster: 01:37:20- Plug in the ’62 Stratocaster: 01:42:48- A note on old guitars: 01:50:02- Thank you! 01:51:00 Guitars in this episode - check https://www.atbguitars.com/ to see what’s still there!• 1957 Gibson ES-5 Switchmaster• 1959 Gibson ES-335• 1959 Gibson ES-355• 1955 Gibson Les Paul Custom• 1957 Gibson Les Paul• 1953 Gibson Les Paul• 1955 Gibson Les Paul• 1964 Gibson Firebird VII• 1961 Gibson SG (Les Paul) Junior TV Yellow• 1955 Gibson Les Paul Junior TV Yellow Maple Body• 1965 Gibson SG Standard• 1964 Gibson SG Standard• 1958 Fender Telecaster Custom - Prototype/Catalogue• 1958 Fender Jazzmaster• 1966 Fender Jazzmaster• 1963 Fender Esquire• 1957 Fender Stratocaster• 1958 Fender Stratocaster• 1959 Fender Stratocaster• 1961 Fender Stratocaster• 1962 Fender Stratocaster• 1963 Fender Stratocaster (Korina body)• 1974 Fender Hardtail Stratocaster• 1982 Fender Stratocaster Amps in this episode• 1955 Fender Deluxe (5E3 narrow panel)• 1959 Magnatone 280A We hope you enjoy this episode. Please subscribe to our channel. Please buy TPS merch to support our efforts https://www.thatpedalshowstore.com We are on Patreon – crowdfunding for creativeshttps://www.patreon.com/ThatPedalShow Please visit our preferred retailers!UK & Europe: Andertons Music http://bit.ly/2cRvIvtAustralia: Pedal Empire http://bit.ly/2mWmJQf

Sharon & Gregg De Lorto return to All About Guitar as we continue with our series of shows on Gibson Guitars! Tonight we talk about the ES Series of guitars, including the B.B. King's "Lucille," the ES-347, dot neck ES-335 and more! Joining Sharon & Gregg are Wolf Marshall, guitarist, historian, journalist and educator at UCLA, and Glenn Kishi, guitarist and collector, recently performing with singer Claudia Lennear. Gregg De Lorto is an accomplished guitarist and expert on both Gibson and Heritage guitars, and Sharon De Lorto, Gibson historian, writer, and producer on an upcoming documentary on the life of Orville Gibson. Gibson guitars: gibson.com Gregg De Lorto: greggdelorto.com Wolf Marshall: wolfmarshall.com Sharon De Lorto: Linkedin.com/in/sharon-de-lorto-b5722490/

Sharon & Gregg De Lorto return to All About Guitar as we continue with our series of shows on Gibson Guitars! Tonight we talk about the ES Series of guitars, including the B.B. King's "Lucille," the ES-347, dot neck ES-335 and more! Joining Sharon & Gregg are Wolf Marshall, guitarist, historian, journalist and educator at UCLA, and Glenn Kishi, guitarist and collector, recently performing with singer Claudia Lennear. Gregg De Lorto is an accomplished guitarist and expert on both Gibson and Heritage guitars, and Sharon De Lorto, Gibson historian, writer, and producer on an upcoming documentary on the life of Orville Gibson. Gibson guitars: gibson.com Gregg De Lorto: greggdelorto.com Wolf Marshall: wolfmarshall.com Sharon De Lorto: Linkedin.com/in/sharon-de-lorto-b5722490/

To see photos if this week's guitar, visit us on Instagram @thehighgainGot questions, comments or concerns? Want to recommend a guitar, or be a guest? Contact us at thehighgainpod@gmail.com or visit us on the web at www.thehighgain.com

To see photos if this week's guitar, visit us on Instagram @thehighgainGot questions, comments or concerns? Want to recommend a guitar, or be a guest? Contact us at thehighgainpod@gmail.com or visit us on the web at www.thehighgain.com

This week Joe, Matt and Jay catch up following Matt's hectic fortnight of opening brand new BOSS UK Artist Centres and buying loads of new gear in Japan. Jay learns all about Earthquaker Devices at a GAK shop event, and Joe wants to buy a Gibson ES-330! See acast.com/privacy for privacy and opt-out information.

From Shake Your Money Maker to Before the Frost...Until the Freeze, through hiatuses and break-ups, VJ’s hung in there. Now he joins the Shoe to describe what it’s been like flying the freak flag as a fan of the Black Crowes. He also takes us through other Robinson brother activity, such as the Chris Robinson Brotherhood and the Magpie Salute. Then there’s the Gibson ES-335... Our discussion includes Radiohead touring in a tent, Powderfinger abandoning a song, Van Halen responding to David Lee Roth’s choice of album title, why they change track ordering on vinyl and why Lemmy from Motorhead is remembered as a top bloke. We also recommend checking out Adelaide band the Wanderers, Blackberry Smoke and Leon Bridges. We briefly mention the Allman Brothers Band, the Rolling Stones, Metallica and heaps more. Other than that, it’s all about the Black Crowes...

Guthrie Trapp is one of the finest guitarists in Nashville, TN, a town known for its amazing musicians. In Part 2 our Truetone Lounge interview, we learn about his Country Guitar ArtistWorks lesson series, and how his students all over the world are able to share their videos with him and get personalized help with their playing. We also dive head first into gear talk, with Trapp sharing some of his tone concepts. These concepts include how he dials in his amps, and how he uses pedals to enhance an already great sounding amp tone. Guthrie also showcases 3 of his favorite instruments, a 1969 Gibson ES-335, Russ Pahl Jr Tele-style, and his Danocaster Double-Cut Strat-style.

OTIS is one of the most popular up and coming American blues rock bands around right now. Today, we got to sit down with founding member, Boone Froggett. Boone revealed that all the band members are concerned with, is “serving the song,” and how this is allowing them to prosper and gain so much popularity, so quickly… Why Boone only plays vintage gear, a cool story about how he found his 1968 Gibson ES-345 in Muscle Shoals, what makes their newest album “Eyes Of The Sun,” so different, and much more… Subscribe https://www.EveryoneLovesGuitar.com Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar

Episode 30 - The guys are back with a music talk in this episode. In the Eddie Belfour episode, the guys discuss the Foo Fighters newest album Concrete and Gold. Next the boys run down each of their musical gear bucket lists, which is why they are not allowed to go to Guitar Center alone (they are required to be on the buddy system). Lastly, we explore the musical and entertainment tour de force that is Dave Grohl and take a look at some of his other amazing projects he is involved in. The beer of the week for the episode is the Vallejo India Pale Ale from Half Acre Beer Company in Chicago, IL. Foo Fighters - Concrete and Gold Steve's Music List Guitars Gibson 1959 Les Paul Reissue - Gibson Custom Shop LPR94LHVOWCNH1 1959 Les Paul Reissue VOS-LH Solid-Body Electric Guitar, Washed Cherry Gibson ES-355 - Gibson ES-355 VOS Bigsby Semi Hollow Electric Guitar Classic White Fender 1970s Jaguar - Fender Custom Shop 1970 Jaguar Journeyman Relic MN 3-Color Sunburst w/Lollar Pickups Amps Fender Twin Reverb - Fender George Benson Signature Series Twin Reverb Amplifier Marshall 1959SLP - Marshall 1959SLP Super Lead 100W Tube Head Effects Electro Harmonix Big Muff - Electro-Harmonix Big Muff Pi Guitar Effects Pedal Pro Co Sound RAT 2 - Pro Co RAT2 Distortion Pedal Ibanez TS808 - Ibanez TS808 Overdrive Pedal Electro Harmonix Polychorus - Electro-Harmonix Stereo Polychorus XO Dunlop 535Q Wah - Dunlop 535Q Cry Baby Multi-Wah, Black Patrick's Music List Guitars Fender Stratocaster - Fender(Open Box(R) 011-1800-854 American Vintage 65 Stratocaster(R) - Dakota Red Fender Telecaster - Fender American Special Telecaster MN Black Limited Edition w/1-Ply Black Pickguard Gibson Firebird - Fender American Special Telecaster MN Black Limited Edition w/1-Ply Black Pickguard Amps VOX AC30 - VOX AC30HW2X Hand-Wired VOX Combo Amplifier, 30W, 12" VOX AC30CH Guitar Amplifier Head Effects Pedals Line 6 Helix - Line 6 Helix Guitar Multi-effects Floor Processor Dunlop Crybaby Wah - Dunlop JH1D Jimi Hendrix Signature Wah Boss Blues Driver - Boss BD-2W Blues Driver Waza Craft Distortion Pedal with 1 Year Free Extended Warranty Line 6 DL4 Delay - Line 6 DL4 Stompbox Delay Modeler Ibanez TS808 - Ibanez TS808 Overdrive Pedal *BOSS GT-001 - Boss GT-001 Table Top Guitar Effects Processor Microphones Shure SM7B - Shure SM7B Vocal Dynamic Microphone, Cardioid Links to Amazon Affiliates 

L.A. Music Powerhouse, Fernando Perdomo, releases “The Golden Hour”, the perfect culmination of an amazing musical journey, evoking the past and inspiring the future. FOR RELEASE July 18, 2017 LOS ANGELES, CA - One of the most accomplished musicians on the LA scene, Fernando Perdomo has created an album that echoes the sound and feel of classic 70s singer-songwriter records. Recorded at Ardent Studios with Big Star archivist and engineer Adam Hill, “The Golden Hour” has captured the atmosphere, energy and melancholy mood of the classic Big Star albums recorded within those walls. The sound of "The Golden Hour" features the instruments and gear heard on classic albums by the iconic power pop group. The main electric guitar employed on the album is a vintage Gibson ES-330 that was owned by late Big Star founding member, Chris Bell. Perdomo also was afforded access to the original Mellotron used by Big Star, which is heard on every song on the record. From the opening piano-instrumental, "Sunset" to the inspirational closer, "Gold," vast emotional ground is covered on “The Golden Hour.” Many of the songs on the record clock in at less than 3 minutes long, wielding a measured sonic economy in a world full of overcooked pop. Only 36, Perdomo is a veteran sideman having backed up a who’s who of musical talent numbering Todd Rundgren, Jakob Dylan, Fiona Apple, Beck, Emitt Rhodes, Linda Perhacs, Cristian Castro, and more. Tallying years of experience has honed his consummate ability and robust creativity on a variety of instruments. In fact, Perdomo is a virtual one-man band on “The Golden Hour” providing all the vocals and instrumentation. Lyrically, Perdomo’s exquisitely crafted songs are infused with a finely nuanced mix of honesty and vulnerability. On "I Feel (Therefore I Am)", Perdomo sings "I've made mistakes; it can be great" which is quite the admission from a musician who sounds like a true perfectionist. On "Love Loss Repeat," he intones, "Nothing lasts forever…especially love”. Perdomo wrote every song on the record independently, save for "Look At The Moon," which is a co-write between Perdomo and Jordan Zevon, son of Warren Zevon, who was inspired to write the instrumental for a bridge while watching Perdomo play his original version of the song on Facebook Live. While in Memphis, Perdomo wrote the lyrics for the bridge resulting in the final version of “Look At The Moon”, an honest love song about venturing out with the one you love on a moonlit night. Laying down the foundation of the record at Ardent Studios, Perdomo put the finishing touches on the record at his own Reseda Ranch Studios. The album was mixed and mastered by Grammy-award-winning engineer, Zach Ziskin. “The Golden Hour” features a gorgeous album cover image by Derek Cintron. Shot before the first note of the album was recorded, the evocative cover inspired the tone for the music that followed, and the visuals truly have captured the feel of the record. The Golden Hour is here…Perfect Light, Perfect Love…Enjoy!

L.A. Music Powerhouse, Fernando Perdomo, releases “The Golden Hour”, the perfect culmination of an amazing musical journey, evoking the past and inspiring the future. FOR RELEASE July 18, 2017 LOS ANGELES, CA - One of the most accomplished musicians on the LA scene, Fernando Perdomo has created an album that echoes the sound and feel of classic 70s singer-songwriter records. Recorded at Ardent Studios with Big Star archivist and engineer Adam Hill, “The Golden Hour” has captured the atmosphere, energy and melancholy mood of the classic Big Star albums recorded within those walls. The sound of "The Golden Hour" features the instruments and gear heard on classic albums by the iconic power pop group. The main electric guitar employed on the album is a vintage Gibson ES-330 that was owned by late Big Star founding member, Chris Bell. Perdomo also was afforded access to the original Mellotron used by Big Star, which is heard on every song on the record. From the opening piano-instrumental, "Sunset" to the inspirational closer, "Gold," vast emotional ground is covered on “The Golden Hour.” Many of the songs on the record clock in at less than 3 minutes long, wielding a measured sonic economy in a world full of overcooked pop. Only 36, Perdomo is a veteran sideman having backed up a who’s who of musical talent numbering Todd Rundgren, Jakob Dylan, Fiona Apple, Beck, Emitt Rhodes, Linda Perhacs, Cristian Castro, and more. Tallying years of experience has honed his consummate ability and robust creativity on a variety of instruments. In fact, Perdomo is a virtual one-man band on “The Golden Hour” providing all the vocals and instrumentation. Lyrically, Perdomo’s exquisitely crafted songs are infused with a finely nuanced mix of honesty and vulnerability. On "I Feel (Therefore I Am)", Perdomo sings "I've made mistakes; it can be great" which is quite the admission from a musician who sounds like a true perfectionist. On "Love Loss Repeat," he intones, "Nothing lasts forever…especially love”. Perdomo wrote every song on the record independently, save for "Look At The Moon," which is a co-write between Perdomo and Jordan Zevon, son of Warren Zevon, who was inspired to write the instrumental for a bridge while watching Perdomo play his original version of the song on Facebook Live. While in Memphis, Perdomo wrote the lyrics for the bridge resulting in the final version of “Look At The Moon”, an honest love song about venturing out with the one you love on a moonlit night. Laying down the foundation of the record at Ardent Studios, Perdomo put the finishing touches on the record at his own Reseda Ranch Studios. The album was mixed and mastered by Grammy-award-winning engineer, Zach Ziskin. “The Golden Hour” features a gorgeous album cover image by Derek Cintron. Shot before the first note of the album was recorded, the evocative cover inspired the tone for the music that followed, and the visuals truly have captured the feel of the record. The Golden Hour is here…Perfect Light, Perfect Love…Enjoy!

BLUES王国的主宰B.B.King，于北京时间2015年5月15日，在美国拉斯维加斯去世，享年八十九岁。 B.B.King，原名RileyB.King。作为一位BLUES王国的主宰，传奇人物 B.B.King 无疑是过去半个多世纪中最重要的电声吉他演奏大师。他一直有着无上的自信，能够从任何抒情诗中挤榨所有微妙的语感；他那独特的小颤音足以将他与后来人远远分开。同时，他亦是一位表现力丰富的超级歌手，善于使用不同的曲调演唱同一句歌词，而且经常变化唱法，颤声、假声或是真假声轮唱。不过，最重要的一点是：B.B.KING一直是位谦逊的superstar，而且永远面带笑容。 1949年冬天，B.B.King在演出的时候，台下因两名男子产生争执打翻煤油灯突然失火，B.B.King逃出后，想起自己的爱琴还在火海里，于是奋不顾身地跑回去将那把30美元的琴从火中救了出来。这场大火最终导致两人身亡，他后来得知起火原因则是因为两个人为了一个名叫Lucille的女人打起来，B.B.King觉得这事实在太蠢，于是就将自己所使用的琴都以这个女人的名字命名，以此提醒自己以后别为了女人犯傻，也不能再干为了一把琴就闯入火海的危险事情。他还以此写了一首歌《Lucille》，讲述爱琴的故事。 B.B.King使用过各类吉他，但最出名的一把就是著名吉他制造商Gibson的那把ES-355——也是他从火里救出的那把Lucille 歌单： B.B. King - Why I Sing the Blues B.B. King - Everyday I Have The Blues B.B. King - Lucille Little Richard - Lucille

primo live dell'anno con Rodrigo Amaral voce e chitarra e Pietro Bonelli con la sua mitica GIbson ES 175 presentando il loro progetto QUARTETTO BRASIL Playlist: 1..Se va, Luis Salinas live in studio ..2. Encontro das águas, Jorge Vercillo live in studio 3. Samba pra Nena, Pietro Bonelli, Shag's Airport, 2013 4. Shag's Airport, Pietro Bonelli live in studio..5. Espelhos d'água, Emilio Santiago..6. Al Giandriale, Pietro Bonelli, Shag's Airport, 2013..7. Damien Rice, versao Seu Jorge e Ana Carolina (E' isso aì)

primo live dell'anno con Rodrigo Amaral voce e chitarra e Pietro Bonelli con la sua mitica GIbson ES 175 presentando il loro progetto QUARTETTO BRASIL Playlist: 1..Se va, Luis Salinas live in studio ..2. Encontro das águas, Jorge Vercillo live in studio 3. Samba pra Nena, Pietro Bonelli, Shag's Airport, 2013 4. Shag's Airport, Pietro Bonelli live in studio..5. Espelhos d'água, Emilio Santiago..6. Al Giandriale, Pietro Bonelli, Shag's Airport, 2013..7. Damien Rice, versao Seu Jorge e Ana Carolina (E' isso aì)

primo live dell'anno con Rodrigo Amaral voce e chitarra e Pietro Bonelli con la sua mitica GIbson ES 175 presentando il loro progetto QUARTETTO BRASIL Playlist: 1..Se va, Luis Salinas live in studio ..2. Encontro das águas, Jorge Vercillo live in studio 3. Samba pra Nena, Pietro Bonelli, Shag's Airport, 2013 4. Shag's Airport, Pietro Bonelli live in studio..5. Espelhos d'água, Emilio Santiago..6. Al Giandriale, Pietro Bonelli, Shag's Airport, 2013..7. Damien Rice, versao Seu Jorge e Ana Carolina (E' isso aì)

Die Gibson ES-335 ist eine Kultgitarre und Russ Ballard einer der musikalischen Helden meiner Kindheit. Grund genug, beides zusammen in einer Episode zu verarbeiten.

Tom Hemby is a highly respected touring and studio guitarist based in Nashville, TN. His hard work, talent, and versatility equipped him to work with Amy Grant, Vince Gill and Wynonna on the road, and musical icons Michael McDonald, Cliff Richard, Glen Campbell, Kenny Loggins, Peter Cetera, and many others in the studio. In our Truetone Lounge interview, we tell his story from rural Missouri to stages and studios across the globe. Additionally, Tom graciously shares some golden advice for the aspiring musician, and talks about his jazz/fusion band that includes drumming legend Keith Carlock. Hemby also talks gear, and demonstrates his pedal board and his two favorite guitars, a 90's Custom Shop Fender Stratocaster, and a vintage 1959 Gibson ES-355.

Das ist die gesprochene Version des Artikels Gibson ES-150.Diesen Artikel herunterladen (Hilfe)Dauer: 15:31Sprecher: Daniel L.F.Geschlecht: männlichDialekt: Deutsch (Hochdeutsch)Version: 26. September 2014Autoren: Siehe Autoren-Aufschlüsselung oder Versionen/AutorenSiehe auch: WikiProjekt gesprochene Wikipediamp3-Datei herunterladen

More of the best jazz coming from the Sunshine State, including a jazz harp quintet (with viola!) from Marathon, an all-star Latin jazz line-up in Miami, a daring jazz trio from Tampa, a legendary pianist in St. Petersburg & more. Lovely & vibrant music to accompany the loveliest month of Spring! Hosts: Allison Paris & Kenny MacKenzie  pictured: Kenny Drew Jr.photograph by Ken FrancklingKen's jazz blogKen's photo gallerygive us a 'like' on Facebook!Kenny host "Jazz Greats" on WFCF Saint Augustine - every Tuesday from 3-7pm EST. Listen online here!Kenny's Twitter - @DJKendo11. Introduction - Allison & Kenny (download our theme song "In Control" on iTunes!)2. "Days of Grace" - Michael Leasure (Melbourne, FL)     websiteMichael Leasure - acoustic guitar (left channel), classical guitar (right channel) & 1953 Gibson ES 295 (center)from the album "Collection No 1"purchase album at Michael's website store!3. "Arguable Promise" - Gabriel Vivas (Miami, FL)     websiteGabriel Vivas - bassSilvano Monasterios - pianoCisco Dimas - trumpetTroy Roberts - saxSammy Figueroa - congasDaniel Susnjar - drumsFreddie Burgos - drumsfrom the album "Ninth Life". Purchase at Amazon, CD Baby or iTunes.4. Announcements - Kenny(background music from the album "Sid's Blast From the Past" by Sid Blair)5. "This One's for Bill" - Kenny Drew Jr.  (St. Petersberg, FL)      websiteKenny Drew Jr. - pianoJon Burr - bassMarty Morrell - drumsFrom the album "Coral Sea" - courtesy of Random Act Records.Purchase album at Amazon, iTunes or the Random Act store. 6. "The Crosby Twins" - Rich Walker (Orlando, FL)     websiteRich Walker - guitar, Rex Wertz - tenor sax, Mark McKee - piano, Mark Neuenschwander - bass,Walt Hubbard - drums, carlos Fernandez - congasFrom the album "Lazybird Revisited".Purchase album at Amazon or CD Baby.7. Announcements - Allison(background music from the album KMT I by Kenny MacKenzie Trio)8. "P.L." - La Lucha (Tampa, FL)     websiteJohn O'Leary - pianoAlejandro Arenas - bassMark Feinman - drumsfrom the album "A Cup of Fuzzy Water". Purchase cd at Amazon, CD Baby or iTunes.9. "The Kite" - Scott Marischen (Marathon, FL)     websiteScott Marischen - harp, Debbie Spring - viola,Ed Maina - flute, Jose Garcia or Rusty Heck - bass,Tony Verdejo - percussionfrom the album "Alligator Alley".Purchase cd at CD Baby or iTunes.10. Announcements - Kenny(background music from the album "Live in the City" by Jack Pierson)11. Closing Announcements - Allison Palm Coast Jazz closing theme by Seven Octaves.produced by Kenny MacKenzie If you are a jazz musician residing in Florida with quality recordings of your original music (new or old) and would like to submit for future podcasts, please contact us at palmcoastjazz@gmail.com All recordings and compositions are the property of their respective performers and composers, all rights reserved. This podcast copyright 2013 Kenny MacKenzie. All rights reserved.

In this podcast we compare two Gibson guitar designs. A 1960 VOS Les Paul and a 1961 VOS “Warren Haynes” ES-335. Both guitars are 100% stock and have the same pickups; Burstbucker 1 at the Bridge and a Burstbucker 2 at the neck. Also in this podcast we have GTN News and Listener Feedback.

ライヴ音源は昨年11月名古屋のライブから「Helpin’Hand」を。ヴィンテージギターは ’52年製Gibson ES-175と’55年製Gibson J-160Eの音をお聴かせします。急なお知らせですが、1年間お送りしたSwampTune、次回でお休みを頂きます。これまで有り難うございました。再開をお楽しみに！

ライヴ音源は昨年11月名古屋のライブから「Helpin’Hand」を。ヴィンテージギターは ’52年製Gibson ES-175と’55年製Gibson J-160Eの音をお聴かせします。急なお知らせですが、1年間お送りしたSwampTune、次回でお休みを頂きます。これまで有り難うございました。再開をお楽しみに！

今年最後のONAIR。1年間有り難うございました。ライブ音源は今夏のテキサカーナ?ブルースフェスから「Bloom Field’s Shuffle」を。ヴィンテージギターは ’56年製Gibson ES-295の音を御聴かせします。来年もよろしく！

今年最後のONAIR。1年間有り難うございました。ライブ音源は今夏のテキサカーナ?ブルースフェスから「Bloom Field’s Shuffle」を。ヴィンテージギターは ’56年製Gibson ES-295の音を御聴かせします。来年もよろしく！

USAでのライヴを終え帰国したばかり！お土産話が満載です。ライヴ音源は今回出演したテキサカーナ・ブルースフェスの演奏からAlabama Boyを、ヴィンテージギターは ’61年製Gibson ES-335 DOTの音を御聴かせします。

USAでのライヴを終え帰国したばかり！お土産話が満載です。ライヴ音源は今回出演したテキサカーナ・ブルースフェスの演奏からAlabama Boyを、ヴィンテージギターは ’61年製Gibson ES-335 DOTの音を御聴かせします。