Podcasts about les pauls

The week of March 26, 2025 on The Metallica Report… Kirk Hammett joins to talk about his brand new book with Gibson Publishing, The Collection: Kirk Hammett, and dives into a series of stories about the guitars within its pages. From Flying Vs to Les Pauls—with plenty of other gems in between—Kirk discusses his relationship with these instruments, what they mean to him spiritually, the influences behind some of the acquisitions, and why this book might only be a chapter in his ongoing guitar-obsessed life! The Metallica Report – your official, weekly guide for all things Metallica, straight from the source. New episode every Wednesday. “The Collection: Kirk Hammett” on Metallica.com: https://metallica.lnk.to/KH-The-Collection  “The Collection: Kirk Hammett” on Gibson.com: https://www.gibson.com/en-US/kirkhammettbook  Kirk Hammett Gibson Greeny: https://www.gibson.com/en-US/page/kirk-hammett-greeny  Kirk Hammett Yellow Jazz III Pick Tin: https://metallica.lnk.to/KH-Yellow-Pick-Tin  Music from The Metallica Report: https://metallica.lnk.to/TMR-music  Wanna be featured on a future episode? Submit your questions or comments: http://metallica.com/podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

The Gibson Les Paul. In Episode 2.9 of "Buy That Guitar," host Ram Tuli is joined by Michael Slubowski, administrator of the Les Paul Forum. Michael has played and collected Les Pauls for most of his life, and together they dive into the beauty and history of Gibson's most-revered guitar. Sponsored By: The VG 2025 Price Guide https://store.vintageguitar.com/price-guide.html Subscribe to our "Overdrive" newsletter for the latest happenings at Vintage Guitar magazine: https://www.vintageguitar.com/overdrive Please feel free to reach out to Ram at Ram@VintageGuitar.com with any questions or comments you may have. Like, comment, and share this podcast!

It's Christmas and Brian, Blake, and Richard are enjoying a well earned break. As a little Christmas Bonus we bring you a show from Blake's other podcast, the Tone Mob, where he interviews Travis Stever from Coheed and Cambria. On this very special episode of The Tone Mob Podcast I sat down with my new buddy Travis Stever of Coheed & Cambria and L.S. Dunes! It turned out absolutely wonderful and Travis even let me share some of his music with you that most people have not heard!We had an absolute blast nerding out on all things music and we covered things like:Travis's deep love for Les Pauls, and the influence of Jimmy Page, Neil Young, Tony Iommi and more.Travis shares his perspective on collaboration and the importance of serving the song. Some Jason Isbell Telecaster loveThe amps used on "Good Apollo"When to "take a knee" as bandmate Frank Iero says.The differences in songwriting approaches between Coheed and L.S. DunesThe debut (sort of) of some NEW MUSIC! (It's on the podcast!)A whole lot more!You are really going to enjoy this episode whether you are a diehard Coheed/Dunes fan or you've never heard of them before. Travis's enthusiasm for music as a whole is absolutely infectious and it will make you want to break out your instrument and get to writing! ?Check out Coheed & Cambria HERE https://www.coheedandcambria.com/Check out L.S. Dunes HERE https://lsdunes.com/We'll have another bonus episode next week then normal service will resume in the new year...thanks for listening to Chasing Tone in 2024 we have huge plans for 2025! We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show

The lost episode 10 arises!

While there are many guitar models out there associated with rock and roll there are two primary models that seem to have been in a foot race for dominance from day one. Since he 1950s The Fender Stratocaster and the Gibson Les Paul have both captured the immaginations of guitarists around the world as well as the hosts of your favorite podcast! On this week's Loudini Rock & Roll Circus we bring you the story of how these two behemouths of rock fought for dominance in the hearts and hands of guitarists for the last 72 years and how they inspired each of us as well!   #lespaul #stratocaster #gibsonguitars #fenderguitars   Topics DIscussed:   What we did this week: Loudini: I saw the TV Glow, Under Paris, Horrorstor, the story of Dire Straits' Money for Nothing, Neal Schon & Jonathan Cain kiss and make up, Brian Jones' release from The Rolling Stones, why smart people believe stupid shit, Solid Gold, why don't marty's parents remember him?, anthony bourdain & robin williams, Loudini's quote of the week, guitar tip Mr. Pittsburgh: Sorcerer, dog bites dog, tiktok   Les Pauls and Strats and our journey with both   Reference: https://medium.com/@richwhite08/fender-stratocaster-vs-gibson-les-paul-an-in-depth-comparison-2abf2d8c35d7   Most famous Stratocaster Players Most Famous Les Paul Players   New & Notable: Loudini: Eve Of Uprise; One Left Standing Mr. Pittsburgh: JD and the RetroRyders; What To Do?

On this episode of the Tone Mob Podcast, Blake and Scott discuss their shared love for Les Paul guitars. We talk about their personal experiences with Les Pauls, including the different models they own and the modifications they've made. We also discuss the ergonomics of Les Pauls and the pros and cons of having a pickguard. The conversation touches on the history of Epiphone and Gibson's acquisition of the brand. In this part of the conversation, Scott and Blake discuss the challenges of creating polished strings and the potential for a new piece of equipment. They also talk about the characteristics of flatwound strings and the differences between orchestral and guitar strings. It's a hyper nerdy conversation and I think you are going to love it! Also, we are GIVING AWAY A LES PAUL CUSTOM! Check it out at Stringjoy.com Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 30% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

On this very special episode of The Tone Mob Podcast I sat down with my new buddy Travis Stever of Coheed & Cambria and L.S. Dunes! It turned out absolutely wonderful and Travis even let me share some of his music with you that most people have not heard! We had an absolute blast nerding out on all things music and we covered things like: Travis's deep love for Les Pauls, and the influence of Jimmy Page, Neil Young, Tony Iommi and more. Travis shares his perspective on collaboration and the importance of serving the song.  Some Jason Isbell Telecaster love The amps used on "Good Apollo" When to "take a knee" as bandmate Frank Iero says. The differences in songwriting approaches between Coheed and L.S. Dunes The debut (sort of) of some NEW MUSIC! (It's on the podcast!) A whole lot more! You are really going to enjoy this episode whether you are a diehard Coheed/Dunes fan or you've never heard of them before. Travis's enthusiasm for music as a whole is absolutely infectious and it will make you want to break out your instrument and get to writing! Check out Coheed & Cambria HERE https://www.coheedandcambria.com/ Check out L.S. Dunes HERE https://lsdunes.com/ Give Travis a follow on Instagram HERE https://www.instagram.com/travstever Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 30% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of DIY Guitar Making, I answer YOUR questions!Questions/Topics:- Do headstock templates include space for the nut?- A jig for profiling necks with a router- An audio example of a student's guitar- Choosing fretwire with the right tang size for your fret slots- Leg tapering jigs for the bandsaw- A case for titebond over hot hide glue- Bevelling fret slots- Why Strats and Les Pauls sound different

If you can't figure out how to play Joe Bonamassa's solo from “Blues Deluxe,” don't worry. It all changes when Shifty sits down with Bonamassa for this special episode of Shred With Shifty. No surprise that both of them reach for their Les Pauls, and Bonamassa even reveals why he switched from Strats to Gibsons in the early 2000s. Bonamassa is known for his dazzling collection of vintage guitars—which he says has become a target for haters—but he explains that you don't need a '58 Les Paul to get the goods. “It's also the mystique,” he says. “If Jimmy Page played a Tokai, everyone would want a Tokai.” A guitar made two weeks ago, he says, is just as good as a classic. Bonamassa's lightning-quick soloing style, which conjures a hurricane of major and minor pentatonic notes with some phrygian flair, is the stuff of legend, and his tricks on “Blues Deluxe” are plenty. Even though he tries to adhere to a “divide by two” rule to simplify his phrasings, he still stumps Shiflett with a volume swell trick he learned from Roy Buchanan and Danny Gatton. This solo is no walk in the park. Any brave takers up for giving it a shot? Share it and tag us so Shifty can have a look! Most importantly, remember to have fun. “Do whatever you want with the damn thing,” says Bonamassa. “It's just a guitar.” Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

When Ovation began making solidbody guitars, just about everything they came up with was full-featured, well-made and very playable. Their designs were perhaps a little forward thinking for most, however, and they didn't fare too well in a market of Teles and Les Pauls. When it came to bass guitars, they fared little better. But the Magnum bass is a beast, and it found its way into the hands and onto the records of many a top-tier player. We thoroughly enjoyed this instrument. Enjoy! Like the show? Follow us at these fine establishments: Patreon || https://www.patreon.com/thehighgain Instagram || @thehighgain Web || https://www.thehighgain.com

The Menzingers' albums are storied time capsules. Starting in 2007 with teen angst and rebellion, they've refined and reshaped their narratives into self-reflective numbers that continue to balance melody and might. Their most-recent installment—2023's Some of It Was True—was their eighth chapter that stares down aging with acceptance rather than anger. But don't get it twisted, these rockers will still charge.“This record just feels different for us,” Barnett explains. “It's a really important one in our catalog, and a pivotal moment in our history. We have the liberty of our fans growing with us now, and after writing these lyrical songs about where we are in life, we decided to take other peoples' stories and make something bigger out of it.” “It brought us back to our energetic side as a band,” May concurs. “We got to let loose, which is what drew us to the energy of being in a band in the first place. This is a live band—why shouldn't we record live songs? As a result, we're back to why we started this band in the first place.”In support of Some of It Was True, the Philly crew toured the States and touched down in Nashville mid-November for a romper at the Marathon Music Works. Before their headlining set in Music City, both singing-guitarists Greg Barnett and Tom May welcomed PG's Perry Bean onstage to converse about their setups. Barnett explained the pros and cons of being a left-handed player, while May divulged the inspiration for his loved Les Pauls. Both detailed why they prefer a two-amp rig, and each demoed the various sounds set off from their respective pedalboards.Brought to you by D'Addario:https://ddar.io/wykyk-rrhttps://www.daddario.com/XPNDRR

Snakes, Les Pauls, Top Hats and more this week as we learn about the history and gear of SLASH!Like, subscribe, share and comment below!YWAG YouTube Channel:https://www.youtube.com/@ywagpodcastYWAG Facebook Group:https://www.facebook.com/groups/702117827925002SAXX Underwear:https://sovrn.co/197dx5jErik Ulven:https://www.instagram.com/erik_ulven/https://www.tiktok.com/@erik_ulven?lang=enhttps://www.youtube.com/@erikguitardesignerSunland Guitars:www.sunlandguitars.comhttps://www.facebook.com/sunlandguitarsDyer Davis:http://dyerdavismusic.com/https://www.instagram.com/dyerdavisofficial/https://www.facebook.com/dyerdavisofficial

Stephen Gibb is a musician and songwriter who has played in some of the heaviest metal bands in the world like Black Label Society and Crowbar-- these days he shreds for one of the greatest songwriters to ever exist, his dad Barry. In this episode we discuss getting gifted a guitar from Ace Frehley, Ratt's Round & Round, gravitating toward Les Pauls, and "not stepping on the voice."Follow Stephen's new band on Instagram:@killtherobotbandFollow Running Out Of Space on Instagram:@RunningOutOfSpacePodcast

This episode starts off with Zach and Rhett catching each other up on their 4th of July festivities. Rhett's was classic: he treated some visiting European friends to fireworks off a dock, barbecue, smoked wings, more fireworks, and a bunch of beer. Zach, meanwhile, was knocking on doors to tell neighbors to knock off the mortar shelling in the middle of the night. To each their own.Then they're joined by Nathaniel Murphy, the Chicago-based guitarist who has racked up nearly 400,000 followers on Instagram with jaw-dropping videos of solo guitar work. Rhett doesn't mince words—he says Murphy is “one of the best players out there.” Murphy's videos break people's brains, they say: no one can work out how he's playing all the parts by himself at the same time. Plus, Murphy works full-time now with Chicago Music Exchange, where he brushed shoulders with Noel Gallagher and Carlos Santana within a few days of one another this summer.Murphy shares how he came to the U.S. to coach soccer for nearly a decade before being hired to do video demos for CME. He was busking downtown Chicago, too, and within a few years, CME brought him on full-time to cut videos. When it came time to join Instagram, he registered with his infamous handle, @ZeppelinBarnatra. Murphy breaks down how the moniker came to be when he entered a contest to win tickets to Led Zeppelin's 2007 reunion concert.Murphy names his favorite all-time guitar—Noel Gallagher's Gibson J-150, which Gallagher recently signed for him—before the crew reflects on how to behave when meeting your guitar heroes. That leads to a discussion of U2's The Edge, whom Rhett and Murphy defend from detractors. They also agree that Teles are the most versatile guitars out there, but Zach, ever the contrarian, dissents: “To me, there's a reason why all the dudes that played Teles back in the day switched to Les Pauls,” he shrugs. Murphy talks about his current favorite players, like Justin Derrico, Stephen Taranto, and Michael Romeo, then the trio dissect different picking techniques and go long on Blue Chip pick manufacturing processes.Rhett, who groans that he has the touch of a blacksmith when it comes to guitar playing, praises Murphy's sensitive playing. But even Murphy, with his prodigious playing, says he gets overwhelmed watching other players' styles. In guitar playing, as in life, the grass is always greener.Big thanks to StewMac for sponsoring this episode. Head to http://stewmac.com/dippedintone to get 10% off!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/

Rob Nobile is one of the founding members of NYC hardcore stalwarts Incendiary. On this episode we talk about how powerful it can be to support yourself OUTSIDE of doing music, while still taking your musical project very seriously. It is a hidden superpower that a lot of musicians sometimes ignore, but should be talked about more often! We also get into his guitar preferences, musical taste, and what it was like getting into the NYC Hardcore scene prior to the internet age. It is a banging episode. Enjoy! Check out the band on their website HERE: https://www.incendiaryhc.com/ You can keep the lights on and get bonus episodes by going to Patreon. You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 30% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we talk about the history of two of the most prolific guitars ever: the Gibson Les Paul and SG. We'll recreate the tone from Monster Magnet's "Space Lord", then move on to using plugins and how they can make your music sound more professional and ready to release.

“I feel like a lot of people, when they see me play, they think, ‘Oh, it's going to be super aggressive, and there's a lot of shades of that,” shares Jared James Nichols. “But I'm so obsessed with the tone, the feel of it…. Growing up listening to Jeff Beck, Albert King, guys like that; the super feel stuff to me is where it's at.”That sentiment is overwhelmingly clear when hearing just a single note of Nichols' playing. And what makes his musicianship that much more compelling is his abandonment of the pick—most of the time, he's not really “fingerpicking,” but he uses his fingers to shred like any picking guitarist. He explains, “I'm a lefty, so that's where it originated. I tried to use a pick, and I was really uncoordinated. I can play a lot of the same riffs that someone could do with a pick, but play 'em and they sound a lot different.”Earlier this year, Nichols came out with his third full-length release, Jared James Nichols, which adds to his catalog 12 more dirt-covered, gritty tunes that dig in with his infectious passion and signature, glistening tone. The album comes on the heels of Nichols' growing success, bolstered by his extensive touring and tens and thousands of new fans.Given his commitment to Les Pauls, it's fitting that Nichols was born in Waukesha, Wisconsin, the birthplace of the guitar's namesake inventor. Now, Nichols is a global ambassador of Gibson Guitars, an honor shared by only four other guitarists. And, since his last Rig Rundown, he was honored with a signature Epiphone guitar. In this new look at his rig, he shares his legion of trusty Les Pauls, as well as why he prefers simplicity when it comes to amps and pedals.Brought to you by https://ddar.io/XSE.RR.

A Boss RE-202 Space Echo … on a vocal mix? A hot pink overdrive, treble boost, and echo in one pedal named SusMaryOsep—a word Filipino mothers shout at troublesome children? An Artificial Blonde—with hat's off to Madison Cunningham—that's a slightly pitched vibrato? Line 6's Catalyst modeling amp—sexy or not? Amp plugins from Neural DSP and Line 6? Tone King's royal-sounding Imperial MkII and Soldano's SLO-30? Metallica in a box (Caroline Guitar Company's Crom)? A Pigtronix Star Eater fuzz that looks like a wild berry Pop Tart? And have you seen the new Empress Para EQ and Origin Effects' M-EQ Driver? Hosts Rhett Shull and Zach Broyles run down their top gear of the year. Plus, dueling Les Pauls and the eternal question: to refret or not to refret. And is a bone nut really better than nylon? And what's a Dutchburst, anyway? Tired of questions? Well, Rhett and Zach also talk post-Thanksgiving turkey. And Zack tells about his 6-string family reunion with his first guitar and flashes the new Mythos Pedals Hephaestus, named for the Greek god of blacksmithing. What else? (Sorry, that's another question!) Rhett opens up a box of spankin' new pickups from Stew-Mac, and they discuss the online screeds and screeches trailing their conversation about tone woods with Paull Reed Smith in the previous episode. And yes, they do dip a rig, submitted for dissection by “Dipped in Tone” listener Kenny, whose '90s rock setup—with stitched-rose guitar straps—sparks yet another argument about the merits of the Tube Screamer and the virtues of the Phase 90 and Phase 45 versus the Small Stone.Big thanks to StewMac for sponsoring this episode. Head to http://stewmac.com/dippedintone to get 10% off!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/

Welcome back to another episode of Guitar Nerds. This week, Matt and I are joined by Adrian Thorpe of Thorpy FX to talk all about his new collaboration with Victory Amps, and his Les Paul collection.AND you get 10% off ALL Izotope suites and plugins with discount code: NERDS10 - visit izotope.com to check out their massive range of mixing, mastering, instruments and effects plugins. Hosted on Acast. See acast.com/privacy for more information.

This week's episode of The Tone That Made Us Podcast we have met our gear soulmate. The mighty Zach Blair from Rise Against. We discuss his years of tone evolution, our shared love of Dan Armstrongs, Les Pauls, modded Marshalls, what is was like playing in Gwar and how he stayed involved after he left and his new Podcast called Anti Heroes where he dives into the careers and gear of some of the most underappreciated and underrecognized guitarists in counter culture music. Please share, rate and subscribe wherever you enjoy your podcasts! Spread the word! https://www.ruinousmedia.com/antiheroes https://riseagainst.com

After moving back to New York City, Joe Bonamassa spent some lockdown time in Germano Studios in Manhattan's NoHo neighborhood, tightly winding the music for his latest album, https://www.premierguitar.com/artists/guitarists/joe-bonamassa (Time Clocks). His longtime producer Joe Shirley had to work with the powerhouse guitarist remotely, from his home in Australia. Yet the result is as seamlessly Bonamassa as ever, with riveting guitar work that has echoes ranging from Africa to Led Zeppelin. “My ADD transcends into my musical life,” the other JB told longtime Premier Guitar contributor Joe Charupakorn in our December feature. “It's a very different record for me. It's not a blues record, for sure. I just try to make records that don't bore me all the way through—we've got this groove covered, we've got that groove covered, let's put a sorbet in, something out of left field.” They don't serve sorbet at Nashville's hallowed Ryman Auditorium music hall—although I'm putting that in their suggestion box. But Bonamassa did dish out plenty of guitar flambé at his August 2 headliner there. And melded the music of Time Clocks with a selection of some of his favorite classic and original blues. PG's JB—that's me—connected with Joe onstage before the show, where I also did a https://www.premierguitar.com/gear/rig-rundown-joe-bonamassa-2018 (Rig Rundown) with that other guy with my initials in 2018. This time, there were some new members of Bonamassa's ever-growing-and-shrinking collection of gear—which he spoke about at length earlier this year with Cory Wong on the rhythm guitar kingpin's https://www.premierguitar.com/podcast/wong-notes/joe-bonamassa-interview-podcast (Wong Notes podcast) for PG—pressed into service, including some recent-arrival Les Pauls, of course, and perhaps the most covetable collection of historic badass amps ever played on the Ryman stage. But rareness, novelty, or familiarity isn't what determines which toys come out to play. Bonamassa starts by building a rough set list, and then chooses the right instrument and amps for each song. So, watch, look, and listen! Brought to you by https://ddar.io/xpnd.rr (D'Addario XPND Pedalboard).

This week's episode of The Tone That Made Us Podcast is with quite possibly the single largest guitar influence in the Hardcore Music scene, Mr. John Porcelly. We had such a great chat with Porcell this is a two part episode. He talks about growing up in suburban NY, how a family member inspired him to play Guitar and how he got started. We discuss the various gear and tones he used on all of the Youth of Today, Judge, Shelter records and more. We touch on his love for Les Pauls and how his YOT Les Paul was not a Les Paul at all. His hatred and now new love affair with Fender guitars and his new projects, clothing line and so much more. Please share, rate and subscribe wherever you enjoy your podcasts! Spread the word!

This week's episode of The Tone That Made Us Podcast is with quite possibly the single largest guitar influence in the Hardcore Music scene, Mr. John Porcelly. We had such a great chat with Porcell this is a two part episode. He talks about growing up in suburban NY, how a family member inspired him to play Guitar and how he got started. We discuss the various gear and tones he used on all of the Youth of Today, Judge, Shelter records and more. We touch on his love for Les Pauls and how his YOT Les Paul was not a Les Paul at all. His hatred and now new love affair with Fender guitars and his new projects, clothing line and so much more. This is a 2 part episode to check out part 2 next week! Please share, rate and subscribe wherever you enjoy your podcasts! Spread the word!

Alejandro Hidalgo y Tony Martínez, nos hablan del fascinante mundo de la guitarra, y sobre todo, del tono, esa incasable búsqueda del tono perfecto que nos atormenta por las noches y nos vacía las cuentas bancarias. Llegó el día en el que hablaremos de nuestra guitarra favorita ( Oh que sorpresa! ) Hablaremos de sus características , modelos e historia ...

This show is sponsored by Patreons If you would like to join and help support this show https://www.patreon.com/phillipmcknightKYG?fan_landing=trueThe podcast rig I usePreSonus PD-70 Dynamic Cardioid Broadcast Microphonehttps://imp.i114863.net/zaR59WPreSonus StudioLive AR8c Mixer and Audio Interfacehttps://imp.i114863.net/Ea2gvQPodcast Mic stand https://imp.i114863.net/7md97diTunes: https://smarturl.it/KYGitunesSpotify: https://smarturl.it/KYG-SpotifyYouTube: https://smarturl.it/KYGyoutubeiHeart Radio: https://smarturl.it/KYGiheartradioAnother way to support the channel is by checking out Blackstock Pickups https://blackstockpickups.com/Support the show

Luke Bentham is a fellow Les Paul Enthusiast, massive rock'n'roll fan, and one of the principal people behind the band The Dirty Nil. On this episode we talk about why Les Pauls are the best, smashing limos, Alpine White Les Paul Customs, playing with The Who, Foo Fighters and a whole lot more!! Check out his band HERE TEXT ME (503) 751-8577 Support the show and get extra episodes over at Patreon.com/tonemob. You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 7% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode, Between Two Amps welcomes Mike Bingham (Spiritual Cramp, Creative Adult, Spice, Smirk) to the show! We talk to Mike about getting exposed to punk through skate mags in the suburbs of Portland, moving to NorCal and building a local scene outside of San Francisco, going from stacks to combos, getting rock 'n roll with Les Pauls, teasing the pedal that gives Spiritual Cramp their signature smooth guitar tone, and lots more! Be sure to catch Spititual Cramp out on tour now with Angel Du$t!!! Between Two Amps is now brought to you by Liquid Death! MURDER YOUR THIRST. Find out where to buy and get some sick merch at https://liquiddeath.com/ ----------------------------- Between Two Amps Intro Music written and performed by godcollider (Available here: https://www.indecisionrecords.com/ban... and on iTunes) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fred-ziomek/support

Rock 'n' roll has a long tradition of building on the work of previous stars and reinterpreting their influences. The Beatles honored the Isley Brothers, Elvis covered Little Richard … up to contemporaries like the https://www.premierguitar.com/artists/the-black-keys (Black Keys) celebrating hill country blues beacons https://www.premierguitar.com/artists/forgotten-heroes-r-l-burnside (R. L. Burnside) and Junior Kimbrough, and Greta Van Fleet echoing Led Zeppelin and Motown. Dirty Honey is reenergizing the hard-rock sound of the 1970s and sleazy Sunset swagger of the 1980s with their amalgamation of heroes that range from Prince and Queen to AC/DC and Guns N' Roses. Before Dirty Honey's headlining show at Nashville's Marathon Music Works, PG's Chris Kies popped onstage to witness the power and might of guitarist John Notto's Appetite-ish assault. Notto shows off a pair of old-soul Les Pauls, explains his intermittent two-amp approach (and where he stole it from), and we enjoy a treat encounter with a very special 'burst. [Brought to you by D'Addario https://ddar.io/XSE.RR (XS Electric Strings)]

This week on Get Offset, Emily and Andrew talk about the Catalinbread Tribute Parametric Overdrive, the Benson Chimera Plugin bundle, a guy who allegedly bought $17,000 worth of Les Pauls with a stolen credit card, and more.  Watch Emily in The Pedal Movie: http://thepedalmovie.com/ Like the podcast? Support us on Patreon for some sweet perks! We have merch, including additions to our For Fuzz Sake lineup! Get some, get SOME. Outro song is “Little Pink Room” by Michelle Sullivan and the All Night Boys (feat. Emily on guitar) Support Get Offset by... Shopping on Reverb.com: https://reverb.grsm.io/getoffset7407 Shopping on Sweetwater: https://imp.i114863.net/GetOffset Shopping at Perfect Circuit: https://link.perfectcircuit.com/t/v1/8-12626-262719-9759  Subscribing on Patreon: https://www.patreon.com/getoffset Shopping our Merch: https://getoffsetpodcast.com/shop/ Saving 7% on Your DistroKid Account for the First Year: http://distrokid.com/vip/getoffset Leaving us a review on iTunes: https://podcasts.apple

As the guitarist on the Voice, extreme versatility is a requirement for Justin Derrico. What sets him apart from other guitarists is the passion, skill, and personal style he brings to whatever he is called on to play. Also, as Pink's main guitarist for years, he has his road credentials as well!  Greg and Justin break it all down in today's episode.1:31 - What's new with Justin - master classes with Fishman, playing guitar, and a whole lot of hanging out3:33 - Jimi Hendrix. Nuff said.7:22 - The blessings of the YouTube-verse, and the ability to deep dive into guitar wormholes 13:28 - A catchup with Greg Koch, Wildwood, and Fishman16:49 - Justin's gig with P!nk and The Voice, and how his personal style carries through30:00 - A day in the life working as a guitar player on The Voice35:22 - What kind of gear does Justin play with on tour versus in the studio51:54 - Self-accompaniment as a guitar player59:08 - Les Pauls, Tele, pickups, and more!Total Length: 67:20Fishman 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.

This week on Between Two Amps, we pick up where we left off in Episode 1 discussing our personal gear journeys. This episode is jam packed with Crate half stacks, a sketchy vintage SG purchase, 90's boutique amps, a botched amp trade, first Les Pauls, and the top 3 pieces of gear we can't live without!! Between Two Amps is now brought to you by Liquid Death! MURDER YOUR THIRST. Find out where to buy and get some sick merch at https://liquiddeath.com/ ----------------------------- Between Two Amps Intro Music written and performed by godcollider (Available here: https://www.indecisionrecords.com/ban... and on iTunes) --- Support this podcast: https://anchor.fm/fred-ziomek/support

I wanna rock! We enjoyed the light music and light plot of K-On, and discuss bands, Les Pauls, a beach episode bingo card and more. Email us whydopeoplelikeanime@gmail.com, follow @whydopeoplelikeanime on Instagram

Here it is friends: The Metallica Episode. Well, sort of. Your bud Hank got to experience a once in a lifetime gig last week, and we spend a bunch of time telling the tales of shredding into your 50s, priceless Les Pauls, and happily waiting in line.In truth there are two main features in this week's episode: Metallica at The Metro, and FINALLY detailing Captain Beefheart's Ten Rules for Guitar as explained by Morris Tepper, something we've been teasing for over a year.Also discussed: Fender's new MoFI turntable and MIJ signature short(ish) scale Katana Bass, making deals and teasing Dave's new old bass, Warm Audio sales, following up on Reverb's My Collection and Preferred Seller program, and Blind Melon and Shannon Hune.Nothing worse than an ill-fitting suit.

Die dreiundzwanzigste Folge deines Lieblings-Guitarcast! Heute ausnahmsweise sogar schon am Mittwoch und in Überlange mit meinem Gast Rouven! Wir beide hatte schon eine Folge aufgenommen, die ich aber dummerweise letzte Woche ausversehen und unwiderruflich gelöscht habe. Deshalb haben wir alles nochmal neu aufgenommen und die Folge gibt es nachträglich für letzten Donnerstag! Anyhow! Rouven ist so ein alter Hardcore Typ, hat in zig Essener Bands gespielt und hat viel zu erzählen. Zakk Wylde war früher definitiv viel cooler und besser und wo sind eigentlich alle originalen 1959 Les Pauls abgeblieben? Und wieviele gabs es eigentlich? Rouven weiß das natürlich! Kennt ihr das erste Lehrvideo von Paul Gilbert? Das solltet ihr euch reinziehen! Muss man Gitarren eigentlich spielen oder klingen die auch gut, wenn man die 40 Jahre nicht anrührt? Wir haben dazu eine Meinung! Neben viel Gitarren und Nerdtalk, quatscht Rouven auch noch über seine Band D.E.E.P. Eigentlich wollten wir dem Thema Corona nicht viel Raum geben, aber weil darüber ja ziemlich wenig geredet wird, gabs dafür auch noch etwas Sendezeit. Super Typ mit ganz viel Nerdtalk! Hörts euch an! https://instagram.com/ross_git21?utm_medium=copy_link https://instagram.com/d.e.e.p_hc?utm_medium=copy_link

Στο σημερινό επεισόδιο του Ask the Guitar Coach, o Ioannis Anastassakis απαντάει την ερώτηση: “Εκτός από Epiphone Les Pauls και SGs, υπάρχουν άλλες καλές κιθάρες με μαόνι στα 500 ευρώ?”

"We've seen the Telecasters, Stratocasters and Les Pauls in an endless variety of reincarnations. We've seen the radical deviations from tradition by Steve Klein, Ned Steinberger, Ulrich Teuffel and their modern day incarnations such as Strandberg and the like. We've seen the beautiful designs by Ritter, Pagelli, Spalt, Ergon and so many more contemporary master guitar makers. But... what is next? Or have we seen it all?"I've flirted with this topic before. A couple of years ago, on my video 'Electric Guitar... Dead?' I mused on the future of electric guitar and guitar driven music in general. On a more recent video 'I have a great idea! But how do I convince the world?' I shared my thoughts on the creative process itself, and the challenges one can face when attempting to break through with a new idea or concept. Let's continue from there, and dive in to the deep end of the world of guitar design!To climatize yourself to the topic, I recommend you to watch the two videos mentioned above!https://youtu.be/1eOcoEjb6bAhttps://youtu.be/BTlZQeCbgB4This broadcast is targeted to all of you who enjoy guitars and basses, be it players, enthusiasts or collectors alike! The program is not about the guitars we make in my company Ruokangas Guitars. I'm doing this for you, who are interested in learning more about your instrument. The brand or monetary value of your guitar makes no difference whatsoever.This podcast was originally published as a live stream on YouTube,  and the imagery of the original video is obviously missing from this audio-only version. Tune in on YouTube and search Weekly Wednesday Live Q&A with Juha, and you'll find the originals!Talk to you soon,Juha

Hope you're in for some chip talk, and we don't mean Cool Ranch.This week our main topic concerns silicon chips - semiconductors, microprocessors, and integrated circuits, their unprecedented shortage in almost every device we use, and (perhaps) the forthcoming analog revolution.Also discussed: a super neat pair of shows with Bethany Thomas, Tawny Newsome, and Ted Leo, positive gear deals, Trent Reznor blasting through Les Pauls, new Focusrite interfaces, the Moog Model 15 app, an updated Klon KTR, Joy Division, Fender Play partnering with Barbie, and Johnny Marr's wild 9-pickup Strat.No chunky flops.

The Mean Beard Boys are back!!! A huge pile of dirty laundry to start with... While falling into a tasty "This Day In"... Jim's Metal Minute is back with a literal knock out... A small news section with some slightly repetitive g.a.s. (Obviously Jonesy wants one of the Epiphone 59 Les Pauls)... Making its return to the show!!!!! The letting it hit hotline! Do we have a shitty situation for you today! WOOOOOOO...... All the fixings and sides are here this episode! For episode 22's main event we discuss the Jared James Nichols "Dorthy" Guitar and how JW restorations saved one of the very first Les Pauls EVER! Does Jim have what it takes to man the ship? Will Jonesy ever get that Les Paul? Have they both lost their minds?Find out this week on the Guitar Pirates Podcast!meanbeard.com                      code: GPP15 save 15%    smoothmyballs.com              code: pirates save 15%Midnights Haberdashery for a sweet custom hat!Donate for a sponsored guitar with Guitars For Glory!!!gofundme.com/f/itchyforpicky@guitarpiratespodcastCall in to the letting it hit hotline 8706823443Tell us your crazy music or concert story!

The Pirates are casually late as always but we are here bringing the loot. With a fun this day in, A wonderful Jim's Metal Min, and our 1st official Mean Beard B.O.W. this week is the ultimate Mark after Dark Mr. Tommy Walter!!! Our podfather and an utmost inspiration to us here on the ship! (sorry for saying Walters) As always we are getting gassy for the good stuff, between the Les Pauls and the Dean Z's its a one way ticket to the Rock n' Roll Express! Our main event is a weird one but kinda cool... Where we break down PSA graded vintage concert tickets... Who woulda thought? ATTN!!!!!!!One last thing: Do you have a fun or embarrassing concert story? Do you wanna share it? If so email a voice memo to joshjones0314@yahoo.com and tell me your story so we can have a laugh or just talk about a crazy time you had at a show, rock star encounter, guitar store folly... Whatever you got send it to me via email or instagram how ever you can and we will break it down on our new segment during the show! Anonymous or Reveal yourself it does not matter lets just make this fun!Huge thanks to our sponsors!@mean_beard            code: GPP15@midnightshaberdashery@smoothmyballs     code: piratesDonate to sponsor a guitar with guitars for glory!gofundme.com/f/itchyforpickyCheck out our pals @jakettopicks for all your boutique pick needs!

Watch & Subscribe here - https://youtu.be/6X7DoEdSBGI

DiMarzio Artist MILES MEAKIN chats with Jon about Racer X, Active vs Passive pickups, Les Pauls vs Strats, JC-120 Roland. 'Give Me Love' https://youtu.be/awJRuLagNDw Find out more about MILES MEAKIN at: https://www.dimarzio.com/artists/miles-meakin -------------------------------------------------------------------------------------------------------------------------- Jon Harris of The Rock Metal Podcast interviews rock and metal bands to get the scoop on their latest two songs and news! Want to be on The Rock Metal Podcast? Email Jon at TheRockMetalPodcast@gmail.com Want to support The Rock Metal Podcast? Donate here: https://www.paypal.me/JonJHarris Want to be on our newsletter list? Provide your email address at https://mailchi.mp/af7a2332e334/therockmetalpodcastnewsletter

A venerable Myrtle Beach gift store turns 75. Isolation tanks. Exploring London in 1980. Concert memories in Los Angeles, wah pedals, regrets and so much more - including a deep dive into the cassette archive. Above: Missy, who was constipated. SHOW NOTES: 0:00 - "Caprice" by Chris Yale - circa 1981 3:50 - Greetings and about the song / Original band, Yale / KROQ / Tascam 144 Portastudio / Eurythmics / Springsteen Nebraska 5:34 - The Gay Dolphin turns 75 / Seashells / Tchotchkes / Shell wholesalers / Beachwear Stores / Hermit crab hermitage / Are crabs still a thing? 7:58 - The crow at our last gig / Chris' spirit animal 9:00 - More Gay Dolphin 9:35 - Hobcaw Barony / Legends in Concert / Brookgreen Gardens / Vereen Memorial Gardens / Wishing Tree / Goat Island / Bird Island 12:08 - Roger's daughter went to Ireland, but her luggage stayed in Amsterdam 12:33 - Isolation tanks / "Altered States" / Sensory deprivation / Ego / Tripping in the tank 15:09 - Tours of the mind 15:22 - Exploring London in 1980 / The White House Hotel / The stolen Gideons Bible / Dad wouldn't let us go to Paris / Gilles and Maryanne Kohler / Our gone-too-soon friend Pascal and his guitar sound 18:14 - Les Pauls versus Strats and Telecasters 19:23 - Roger wanted to hitchhike to NYC at 18 - working odd jobs in towns along the way / Chris' similar plans 20:23 - Losses and regrets / X-Men number 1 and other comics 23:35 - Artists we've seen the most / Springsteen / Elton John 24:10 - Sparks at the Greek / Tears for Fears at the Forum 24:47 - The Roxy / Chris with The Real Impossibles / Marc Platt / Kenny Rankin / Thomas Dolby / Bob Seger / The Rainbow 25:57 - "Hey baby - we have beer and pot." / Guilty by association / Asking for the sale 27:44 - Chris' earbuds / Revolver / Rubber Soul / No music while reading or writing 28:55 - More Beatles talk 29:50 - Crybaby Wah Pedal / Wah Wah Watson / More Beatles 30:52 - COVID-19 is going up again 32:55 - Stupid motivational sayings / Bob Dylan "Man of Peace" / "Curators" / 15 Inside / The hubris of youth / Entitled little pricks / Grownups suck 35:48 - Our gig at North Myrtle Beach RV Resort and Dry Dock Marina / More about the place / What goes on in those campers  37:04 - "If I Had a Rocket Launcher" / Bruce Cockburn's last name is not pronounced like it's spelled, and no wonder / Dick Butkus / Unfortunate last names 39:38 - Missy was constipated / Parting shots / Roger lost a bet / "Life By the Drop" / "Key To the Highway" / James Coburn

Highlighted subjects on this show24:48 Are Gibson Les Pauls Not Staying In Tune Blown Out Of Proportion?34:48 Sharing the things sent to me 43:50 The Pedal Movie is coming!Other subjects on this show00:00 Intro02:10 Good pedal to tighten the amps distortion?05:48 Asking for the deal and why it works09:25 Do mini pedals sound different than their full size version?15:12 Why You Tube is pushing everyone to the more click bait style titles 22:24 Pickup not picking up the D string? 24:48 Are Gibson Les Pauls Not Staying In Tune Blown Out Of Proportion?27:19 Keely Caverns31:12 Is there brands where the honeymoon is over?34:48 Sharing the things sent to me LPD Pedals website mailing list https://www.lpdpedals.com/43:50 The Pedal Movie is coming!49:48 If I could save the life of one musician who died to young who would it be?51:58 Can't afford the Alex Lifeson guitar should I mod one up?55:40 Tips for selling  your first item on Reverb?59:14 Sam Ash stores will defiantly give you deals when talking to them.1:01:40 420 Stoner rig?1:04:02 Baritone guitars?1:09:00 Does Retailers making Deals  mean prices are inflated?1:14:10 Why I have no plans to review a import G&L 1:23:16 Whats the deal with Jazz bass sizings?1:24:50 What is a good tube amp for my first one for under $550?1:28:20 Dirty Shirley, Victory Sheriff, Or Marshall Studio Vintage?1:30:10 Why it is important you understand how the battery is connected in your active guitar1:34:50 Friedman Deluxe BE OD, MXR 5150, and LPD 87 1:40:45 Dents from your fingers in the fingerboard?1:46:38  There is no way I would ever buy a $50,000 guitar. 1:55:54   Kiss, Marry, kill guitar game1:57:40 Rivolta and Rick Beato Gibson1:59:00 Boss Katana 100 Head and why I messed up2:03: 45 What's my dream guitar?2:04:28 Kiesel, PRS, and others2:06:40 Re-fret my MIM Strat or buy new Fender Mim neck?2:13: 55 What Know Your Gear really means???2:20:00 Thank you  and where is the door?New logo merchhttps://teespring.com/stores/know-your-gear-shop-2You can become a Patreon and support more videos like this, Plus see videos before they come out and typically a longer version of that video as wellhttps://www.patreon.com/homeHere are some other products from a dealer I trust and buy from onlinehttps://imp.i114863.net/c/2224555/791999/11319Send 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/Support the show (https://www.patreon.com/phillipmcknightKYG)

On Episode 37 of the Metal From The Inside Podcast, Sydney brings you a brand new interview with the incredible Doug Aldrich, guitarist in The Dead Daisies and formerly of Dio, Whitesnake, Bad Moon Rising, and more. The two sit down to discuss The Dead Daisies' most recent release, ‘Holy Ground' (via Spitfire Music) as well as the addition of legendary vocalist and bassist Glenn Hughes to the band's current line-up, Doug's time working with the band Hurricane and his experience recording the band's underrated 1990 release ‘Slave To The Thrill', the detailed spec's on his current go-to gold top Les Pauls, and what the last year at home has looked like for Doug both personally and musically. Stay up to date with the Metal From The Inside Podcast on all of our socials: Instagram (@metalfromtheinside), Twitter (@MFTIOfficial), Facebook (@metalfromtheinside), YouTube (Metal From The Inside), as well as at www.metalfromtheinside.com! --- Support this podcast: https://anchor.fm/metalfromtheinside/support

They don't make them much cooler than Joe Kiser...my hands are shaking so much right now from music nerd shock. Where should I begin, playing shows with Fugazi, almost having Green Day open for his band Slap of Reality, touring Germany and running into Down By Law, vintage Les Pauls, the finer points of Clair-Mel v. Palm River, training/teaching Judo & BJJ, his rad doom band The Path he started with his son Joey...this one was an embarrassment of riches. Definitely check this one out!

They were the only band that mattered, but by 1985 they were in tatters. The Clash's swan song Cut The Crap is infamous in the music world, regarded by some as the worst album ever made. Having split with co-frontman and primary songwriter Mick Jones, Joe Strummer soldiered on with a few savvy studio musicians and his egomaniacal manager Bernard Rhodes. Together they set out to prove that they didn't need no Mick Jones and they could do it all themselves. Laden with studio trickery, drum machines, and 40 layers of identical sounding buzzsaw Les Pauls, the album is truly a chore to listen to, an all-time misfire from one of the greats. Mike and Heather are joined by Brandon, Meagan and Jack from Time and Place, because we knew they loved The Clash and we wanted to traumatize them. Fingerpop!

They were the only band that mattered, but by 1985 they were in tatters. The Clash's swan song Cut The Crap is infamous in the music world, regarded by some as the worst album ever made. Having split with co-frontman and primary songwriter Mick Jones, Joe Strummer soldiered on with a few savvy studio musicians and his egomaniacal manager Bernard Rhodes. Together they set out to prove that they didn't need no Mick Jones and they could do it all themselves. Laden with studio trickery, drum machines, and 40 layers of identical sounding buzzsaw Les Pauls, the album is truly a chore to listen to, an all-time misfire from one of the greats. Mike and Heather are joined by Brandon, Meagan and Jack from Time and Place, because we knew they loved The Clash and we wanted to traumatize them. Fingerpop!

They were the only band that mattered, but by 1985 they were in tatters. The Clash's swan song Cut The Crap is infamous in the music world, regarded by some as the worst album ever made. Having split with co-frontman and primary songwriter Mick Jones, Joe Strummer soldiered on with a few savvy studio musicians and his egomaniacal manager Bernard Rhodes. Together they set out to prove that they didn't need no Mick Jones and they could do it all themselves. Laden with studio trickery, drum machines, and 40 layers of identical sounding buzzsaw Les Pauls, the album is truly a chore to listen to, an all-time misfire from one of the greats. Mike and Heather are joined by Brandon, Meagan and Jack from Time and Place, because we knew they loved The Clash and we wanted to traumatize them. Fingerpop!

Highlighted question 20:45 Did Every Company Make A Super Start In 2021?Question Index00:00 Intro01:20 Giving a Tune Ninja awayTuninja (Tuner for 6 in line guitars)https://reverb.grsm.io/tuninja9:06 Is stuff on Reverb over priced?9:08 How I find deals on Reverb?11:30 Do You like painted headstocks on Fenders?15:40 The John Mayer Big Dipper pickups. 19:00 The 2021 PRS guitars20:45 Did Every Company Make A Super Start In 2021?26:20 Guitars have souls??30:43 I play guitar for the emotional feeling 33:25 Why I make some tools for working on guitars37:20 Working for the win win in a gear review40:30 Acoustic amp vs electric amp?45:59 PRS Discontinued the Custom 22 and I am not shocked49:50 Guitar companies reading your comments and making guitarshttps://www.youtube.com/watch?v=QohQgD3ZLZ0&feature=youtu.behttps://www.youtube.com/watch?v=QVc9f1qIORs&feature=youtu.be56:45 I had a emotional reaction to the release of the 2021 Dime Razorback1:00:40 Fender Tone Master thoughts?1:03:20 What was the most I ever spent on a guitar?1:10:10 Trading for a Gibson LP when I could not afford it1:18:30 The Jazz bass is the recording standard1:20:20 Narrow field pickups?1:25:40 I should buy a Epiphone, but I want A Dave The Snake Sabo Kramer1:34:00 We sold out the Behringer pedals on Sweetwater. lol 1:38:46 Thoughts on Ultra Strat and pickups1:41:40 What should a professional set up include?1:49:10 Left your tube amp on all night. So did the company who built it. So you should be ok1:50:00 Why do players like Les Pauls?You can support this channel and get a discount on KYG MerchUse Promo Code 2020SUCKS2https://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)

Joe and Greg talk about gear and the guitar life! What more could you ask for? They discuss Joe's new signature Epiphone, Greg's new amp, practicing, Clapton, Les Pauls, Pedals, and more. Greg kicks off Season 2 with Joe Bonamassa!4:53 - The time Greg drooled incessantly over one of Joe’s original Fender Broadcasters, and a discussion about Telecasters in general7:41 - Joe’s first vintage guitar - a Candy Apple Red ’72 Fender Strat14:53 - Joe’s current perspective on vintage gear18:29 - The importance of practice, putting in your 10,000 hours, and removing your ego from your instrument26:43 - Eric Clapton, his diversity of a player, and his undeniable gusto as a player37:45 - When Greg and Joe first met, and how they’re getting through stay-at-home life43:34 - Joe’s new signature Epiphone guitar, Greg’s new tweed amp from Koch amps, and a whole lotta pedal talk56:41 - Joe’s Les Paul journey through his career, and how amps play a very important role in his playing72:01 - If Joe was forced to chose 2 of his guitars….Total Length: 78:49

Hallo zur 2. Folge Gitarrenkram Heute über die Geschichte der E-Gitarre. Wie Leo Fender die E-Gitarre erfand und sogar was es davor schon gab, bis zur Modeling Gitarre Variax. Ausserdem erfahrt ihr wo man unsere Bands und Musik hören und sehen könnt. 00:00:00.000 Intro 00:00:34.000 Nachtrag zu Folge 1: Unsere Bands und wo man uns hören und sehen kann Unsere Bands und wo sie zu finden sind… LexiConFusion (C&G) bei YoutubeConnection Failed (G) bei Bandcamp, FacebookSilent Men (C&G) bei Bandcamp, Youtube, FacebookDrowning Time (G) bei Youtube, Facebook, WebseiteCarGo (C&G)Anavo (C) bei FacebookGonz Guitar (G) Youtube Facebook 00:08:13.000 Die Geschichte der E-Gitarre 00:10:13.000 Erste E-Gitarren 00:14:40.000 Fender Broadcaster/Telecaster 00:18:40.000 Gibson Les Paul & Humbucker 00:21:51.000 Fender Stratocaster 00:25:10.000 PAF, LP Junior, P90 00:29:30.000 Gibson SG, Exlporer, Flying V 00:31:15.000 Fender CBS, Verzerrung 00:33:30.000 Buchtipp: “Du machst die Beatles” 00:34:40.000 Gitarrenbau in Europa und Asien, Superstrat 00:37:43.000 Freddy Mercury Tribute und Double Neck 00:41:08.000 Les Pauls von Carsten und Gonz 00:43:48.000 Vintage, Custom Shop, Aging, Modding 00:52:04.000 Alternative Materialien, Parker, Fishman 00:54:08.000 Coil Splitting und Ergonomie 00:56:26.000 Optimale Gitarren für Carsten & Gonz, Line 6 Variax

Les Pauls, high-headroom British brawlers, and pulverizing pedals push Marcos Garcia into the Masters of Reality Iommi-sphere.

In this episode we celebrate the music of Thin Lizzy! Having just released his new book, Thin Lizzy, Every Album, Every Song I am delighted to be joined by Graeme Stroud. Graeme is a musician and writer and has written on websites and blogs on a number of subjects, both musical and non-musical, for several years. He has also performed interviews and written feature articles, gig reviews and album reviews for the rock website VelvetThunder.   Over the course of 12 studio albums and raucous live sets, and armed with  Les Pauls and Marshalls, Thin Lizzy astounded audiences with blend of twin guitars roaring with harmony and electrifying power.  Fronted by charismatic Phil Lynott from their early years with Eric Bell and later Gary Moore, through the glory days of the Brian Robertson and Scott Gorham line-up, Lizzy scaled heights unimaginable for an Irish band up till then.They mixed hard rock with tender stories of identity and Irish mythology and unlike other rock bands that fell during the rise of Punk, Lizzy bloomed delighting both  Rock and Punk fans.I was fortunate enough to see them play at 18 gigs, (Yes I liked/like them!), from 1975-1983 when they disbanded and their songs became a soundtrack for both myself and group of friends. Their music is loved and appreciated as much today as it was in the 1970s and early '80s.Graeme's links;https://www.velvetthunder.co.uk/https://chalkhillblue.bandcamp.com/to purchase the book  UK https://www.amazon.co.uk/Thin-Lizzy-Every-Album-Track/USA https://www.amazon.com/Thin-Lizzy-every-album-Track/Special thanks to Andy Fox , radio broadcaster, for his kind permission for use of his photos on Undercurrent Stories Facebook and Instagram pages;https://www.facebook.com/undercurrentstories  https://www.instagram.com/undercurrentstories/Andy Fox links;http://www.bcfmradio.com/https://www.gtfm.co.ukhttps://www.rock-radio.co.ukAnd very special thanks to Scott Johnson for his kind permission for use of his  artwork featuring Phil Lynott on Undercurrent Stories Facebook and Instagram pages;https://www.facebook.com/undercurrentstorieshttps://www.instagram.com/undercurrentstories/Scott's link;If any  listeners would like to buy any products with Scott's painting on such as t shirts, mugs, badges, stickers etc. please visit RedBubble  http://tiny.cc/pp26tz

Mark Lettieri is a renowned guitarist and member of Grammy Award-winning band Snarky Puppy. Greg and Mark cover a lot of ground in this episode, covering everything from Mark's early days to the role of musicians in our new, virtual world. For more information, visit marklettieri.com.1:46 - What Mark has been up to recently - writing music, recording, session work, etc4:33 - Mark’s initial foray into the Tech Industry, why he decided to transition into music, and how his PR/Tech background came in handy10:38 - How Mark got linked in with Snarky Puppy in the Dallas-Forth Worth Metroplex, and how the group writes, arranges, and works together in the studio16:11 - Mark’s early influences in 90’s grunge and alternative rock, and branching out into Blues, Jazz, Soul, etc21:48 - Gear! From Grosh Guitars to ash-body Stratocasters, Les Pauls to Ibanez guitars, no stone is left unturned (with a few Vintage pieces scattered throughout)32:01 - Non-traditional ways of making a living as a musician, and the era of the Internet35:18 - Tour life - local, domestic, international, and everywhere in between40:07 - The Instagram algorithm, social media, and how to play them to work in your favor48:30 - Mark’s thoughts on the future of live music and the industry as a whole52:38 - The Fearless FlyersTotal Length: 65:04Fishman 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.

          Michael Staertow joins us to talk about spending seven years on the road with Foreigner vocalist Lou Gramm, essential sideman tips, Les Pauls, paying it forward and even gives us a sneak peak of his much anticipated solo EP.   michaelstaertow.com    Simon Refalo Guitarist YouTube   Guitar Speak Podcast Links PayPal Tip Jar Visit us at guitarspeakpodcast.com Subscribe and find previous episodes at: Apple Podcasts Spotify Stitcher   Follow us on Facebook & Instagram Join our Guitar Speak Forum Buy a T-Shirt! Contact us at guitarspeakpodcast@gmail.com

031 - John NottoThe latest episode of “Have Guitar Will Travel” has host James Patrick Regan speaking with guitarist John Notto from Dirty Honey, a band that harkens to the glory days of ’70s hard rock – think Les Pauls and Marshalls! John talks about the band’s early days and how they’ve since opened for The Who, Guns and Roses, Slash, and AlterBridge. He also details Dirty Honey’s connection with producer Nick DiDia, digs into the guitars he played early in his career, and reveals how he worked with Gibson on his favorite Les Paul.Please like, comment, and share this podcast! Download Link

Todays podcast is me going through some emails and talking about some fun guitar subjects. As always I want to thank you for supporting the Podcast and You Tube channelSupport the show (https://www.patreon.com/phillipmcknightKYG)

In a special post-Thanksgiving session, the buds talk upgrading headphones, Harmonic Energizer jams with a ’59 Burst, tone tubes, and being thankful for all of the different facets of the music world like flatwounds, Les Pauls, and low-key dad straps. Then they talk hanging out with High on Fire, being stoked on Chicago Music Exchange, and our holiday wishlists featuring the Eventide H9, Traynor bass amps, Shure and Aston microphones, Mono Cases, and using a 15” bass cabinet for recording kick drums.

Gab & Jam Episode 84 Tips for Buying Guitars for the D.I.Y. Rock Star Video Description This episode is a part of our Blog-vember 2019 trifecta of three posts a day—a video, a podcast, and a blog post. This year the focus is tips for the D.I.Y. Rock Star. We developed these methods through our own decades worth of experiences. We’re happy to offer some ways that we have dealt with a variety of things and share what has helped us move forward in joy and with peace of mind. If these strategies help you, then we are happy. (Of course, if you prefer to listen to the podcast episode, click this link: ) The BIG Take-aways: Bruce has bought guitars online and he wasn’t crazy about it. Even though, you may have a certain brand or model of guitar, you should play a particular guitar in order to decide if it’s the best fit for you. Each guitar is uniquely crafted, so each one sounds different. There may be tons of Les Pauls out there, but each one is made differently. I bought a Les Paul online and it is okay, and I bought a 1974 re-issue of a Fender Jazz Bass and it never was okay. As opposed to a Fender 1978 Jazz Bass and even though the strings were dead and the action was high, when I tried it, I loved it. That bass is still with me today. (For more tips, click through to the blog post at http://bit.ly/Ep84BV2019blog10 ) Remember, to make time for what you have determined is important in your life. What do you think? What other ways should be added to our next list for tips for the D.I.Y. Rock Star? Please share your thoughts us in the comments below. UPCOMING: • New Newsletter (for PMG Records and PMG Cool+Quirky Custom Music) coming soon! • More London-related posts coming If you like to listen to a variety of musical genres, join our Facebook Group, Funky Happy People (who listen to a variety of musical genres) at http://bit.ly/funkyhappyjoin And if you’d like to partner up with us folks who make music that falls in a wide variety of genres, please join our Facebook Group, Be the Next D.I.Y. Rock Star, where we share strategies, resources, mindset shifts, and growth hacks to help those who are trying to build a creatively prosperous life for themselves. http://bit.ly/diyrockstarjoin If you’d like show notes and to find out about other former and upcoming topics, be sure to go to http://www.bloomingprejippie.com/subscribe , so that you won’t miss anything. Mentioned/seen in video: • Stars in Your Eyes Eyewear (Austin, TX) • Apple Watch • Necklace (Bruce): http://www.Nashvillepicks.com • Hartke Amp (see unboxing at https://youtu.be/QZaDmme2FMQ ) Recorded with:  iPhone 6s:  MacBook Pro  Final Cut Pro X  Canon T6i  Gibson Les Paul  Alesis Speakers:  Logic Pro X:  Canon Powershot G7x Markii Camera: https://youtu.be/hzeY_EjXp54  Zoom H1n audio recorder: https://youtu.be/Fs_kamEueLs MUSIC: “Dragon Stomp,” courtesy of PMG Cool & Quirky Custom Music (available through Songtradr at http://bit.ly/2QGRatf ) *This is an unsponsored post. #makersgonnamake #makegreatshit More Ways to experience B L O O M I N G P R E J I P P I E : • Blog: http://bit.ly/bloomingprejippie • Facebook: http://www.facebook.com/bloomingprejippie • Twitter: http://www.twitter.com/bloomingprejipp • Instagram: http://www.instagram.com/bloomingprejippie • Pinterest: http://www.pinterest.com/bloomingprejippie • YouTube: http://bit.ly/youtubesubprejippie • SoundCloud (Gab & Jam podcast): http://bit.ly/gabandjam • SoundCloud (music): https://soundcloud.com/prejippie • Funky Happy People (Who Listen to a Variety of Genres of Music) Facebook Group: http://bit.ly/funkyhappyjoin • Be the Next D.I.Y. Rock Star Facebook Group: http://bit.ly/diyrockstarjoin Please subscribe. Thanks. http://bit.ly/youtubesubprejippie Until next Monday, here’s wishing love, peace, and chicken grease!

In this duo cast, GH talks: NAMMin all over Anaheim, intentional vaguery, a free gift from Access Analog, getting upset over the lawsuit-era price bubble, bolt-on Les Pauls, RIP Ginger Baker, the Metallica S&M2 premier, the Empty Bottle, Easy Demon at Virgin Hotel, and maybe but not really renaming the podcastThen: Hank’s new/old Rane mixer from NPR studios, Behringer cloning headphones, TechZone Audio Products cloning Neumann, Townsend Labs Sphere L22 cloning all the mics, famous guy eBay buys, visiting the Lakland factory, and Hank’s custom Fender Villager body build

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.  

Sydney based guitarist and songwriter, Mark Tobin, joins us for episode 114. Mark talks us through a rich and ever growing career which started in the early 90s. As a member of the EMI signed band Scarlet, sessions at the legendary 301 studios and tours with Radiohead, Concrete Blonde and World Party among others followed. Mark followed this up with stints in Margot Smith and Flavour. The 2000s would see Mark joining 90s electro-rock pioneers Caligula and founding projects as diverse as Panic Syndrome, The Finalists and Black Halo. Mark recounts working with the late Damien Lovelock, seeing an emerging Radiohead up close on tour, balancing ethereal ambience with rock's directness, his love of Les Pauls and why he is creatively driven to juggle multiple projects.   Episode #114 Links Spotify Playlist - Guitar Speak Podcast Episode #114 Caligula Panic Syndrome The Finalists   Guitar Speak Podcast Links Visit us at guitarspeakpodcast.com Subscribe and find previous episodes at: Apple Podcasts Spotify Stitcher   Follow us on Facebook & Instagram Join our Guitar Speak Forum Buy a T-Shirt! Contact us at guitarspeakpodcast@gmail.com

Zach Broyles started Mythos Pedals after years of working at one of Nashville's best guitar stores, Carter Vintage. We talk all things pedals, amps, les pauls and 3d printers...because we're both nerds. 

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

In the 1960s, rock'n roll's popularity continues to grow. But one of the genre's most popular guitars, the Les Paul, is no longer being made. Now the guitar's namesake must convince an out-of-touch Gibson to put the favorite guitar of Eric Clapton and Keith Richards back into production.Meanwhile, Gibson's rival Fender has a new parent company: CBS. Thanks to their deep corporate pockets, Fender is manufacturing and selling more guitars than ever. To keep pace, Gibson also finds a new corporate owner. But in their race for market dominance, are both guitar companies sacrificing quality for quantity? Support us by supporting our sponsors!

Do you think a Two Notes Capter will help a Fender Superchamp x2?0:00 Intro2:00 Do you think a Two Notes caper will work on Super Champ X2?3:34 What were the 5 hardest repairs you have done?7:56 Thoughts on PRS SE semi hollow guitars10:22 Is the Morley Maverick still my favorite wah?11:22 How much is the Floral Jem in the back ground?12:19 Should you get a Axe FX or Kemper?12:49 The Line 6 Helix got me excited about DR Z amps 16:13 Any advise for guitar players starting to play bass?17:41Will low Cost Gibson Les Pauls Hold Their Value?20:08 Pick up Switch problem on my Epiphone 22:39 4 way mods on Telecaster24:08 How do I like my Vibrolux vs my Princeton?26:05 Lace alumitone pick ups?30:47 Which Ibanez AZ do I want to get?33:03 45 million views!!!!!!!!!!!!!!!33:47 How do I organize my tools?36:38 Their was a video up then back down?39:05 Why is the new PRS CE semi hollow more than the reclaimed?42:13 Will USA Made Peavey Guitars become Valuable?44:22 Mesa recovery head, thoughts?45:56 Do I use different picks for different guitars?https://www.instagram.com/phillip_mcknight/53:04 Have you seen build guilty change in amps the longer they are made?55:32 MIM or USA Butterscotch Telecaster thoughts?57:19 Thank you to the supporters of the show and all of youSupport the show (https://www.patreon.com/phillipmcknightKYG)

This is an epic episode!!! Frank and I talk about white Les Pauls, Epiphone guitars, writing The Black Parade, Tom Waits, guitar pedals, and music in general. So So So much fun. Check out what he is up to at his Website. Don't forget to show our awesome sponsors some love. Sinasoid, and Gunstreet Wiring Shop make this whole thing possible. Last, but not least there is Tonemob.com/reverb for putting some wind in the sails on every purchase you make through Reverb. It costs you nothing extra and helps out tremendously. Listen on iTunes Listen on Spotify Listen on Soundcloud Listen on Stitcher Learn more about your ad choices. Visit megaphone.fm/adchoices

Question Index0:00 Episode 100 and 200,000 subs2:22 Larry Mitchell Clinic Saturday 2/2 4pm at Zimms guitarshttps://www.facebook.com/Knowyourgear/4:54 Why we will never do the 100k t shirt again https://teespring.com/stores/know-your-gear-shop-26:32 What upgrades for $200 would you do to a PRS SE?7:45 What are the pitfalls to smaller gauge strings?9:59 How many time should I wrap the string on the post?https://www.youtube.com/watch?v=ppMTDohJuzA14:50 I played with Larry Mitchell this weekhttps://www.youtube.com/watch?v=Mx7s9mY_mgE16:20 My Dog barks all the time. 16:40 Sharpen My Axe series18:00 Best amp for the John Mayer sound under 1k?20:34 Trusting where guitars are made?23:41 Should you wait for the new 2019 Gibson Les Pauls?26:00 What is the chance of a wiring diagram video?28:58 What is the blue Strat behind me?30:40 Thoughts on CNC vs hand made guitars?33:50 Is it worth it to remove the negative feedback resistor in my Fender custom deluxe36:40 When to change tubes?38:33 Todays Pick Grip Skin Video https://www.youtube.com/watch?v=tjcnyk3Uza041:04 What Danelectro do I recommend?43:10 I went and seen Tony Macalpine https://www.instagram.com/phillip_mcknight/43:59 The Future of Gear series on the web sitehttps://knowyourgear.net45:14 Where would I put Fuzz in my chain?47:38 What Solar guitar would I get?49:36 Opinion on the little 59 for Strat?51:13 What nut is used on the Sterling Majesty? Can't find it on Google52:57 How do you find a good guitar tech?https://knowyourgear.net/pdf-down-loads58:05 Thoughts on Fodera basses? And 4 vs 5 string?1:01:18 Cheddars show.1:02:10 Seymour Jag vs V mod Jag pick ups?Grip Skin Video https://www.youtube.com/watch?v=tjcnyk3Uza0Get your KYG shirt here. https://teespring.com/stores/know-your-gear-shop-2This channel is an independent review and instruction channel. Become a patron and help me make fun family friendly informative entertainment.https://www.patreon.com/phillipmcknightKYGJoin me on Instagram https://www.instagram.com/phillip_mcknight/Support the show (https://www.patreon.com/phillipmcknightKYG)

Have we got a treat for you today! Alex sat down with me and we talked about our mutual love of 80s Les Pauls, his multiamp/multiboard rig, using a guitar to get keyboard sounds, and our mutual distaste for wah pedals. Make sure you give it a listen and then slide over to check out his latest project, Dead Swords. Don't forget to show our awesome sponsors some love. Sinasoid, and Gunstreet Wiring Shop make this whole thing possible. Last, but not least there is Tonemob.com/reverb for putting some wind in the sails on every purchase you make through Reverb. It costs you nothing extra and helps out tremendously. Listen on iTunes Listen on Spotify Listen on Soundcloud Listen on Stitcher Learn more about your ad choices. Visit megaphone.fm/adchoices

Question Index 36:00 Lets pick the guitar giveaway0:00 Hi0:55 No day light savings 2:00 Next weeks live show is at Sweetwater5:36 Why I can work with Sam Ash, Sweetwater , and Guitar Center7:08 Who do you like to buy from?10:21 Sam Ash vs Guitar Center salesmen11:28 What EQ pedals do I use?12:59 Not a fan of Guitar Center Tech (maybe one day)13:58 The guitar that got away?16:00 I think saying your Unbiased is a full of it. 17:19 RNA Music is a great brick and mortar storehttps://www.youtube.com/user/RNAMUSICShortStShred17:20 Mom and pop shops make communities 19:15 Gear Wars. Tube vs Solid State. Who won?20:46 If you get upset about tone wood maybe you need a new hobby22:05 AZ meet and greet? 24:16 My Sweetwater schedule25:44 Beercaster outtakehttps://www.youtube.com/watch?v=7SUtd0xnOm427:30 What would cause a volume swell on a Marshall DSL 40?31:33 Why no Suhr guitar?33:50 Update #40,200,40?35:00 Michael and Matt are amazing and thank you36:00 Lets pick the guitar giveaway45:32 How to make a gloss neck less sticky?46:50 A suggestion for pick ups on HSS?47:57 Fret Sprout on Les Pauls?https://www.youtube.com/watch?v=GeNy4LmrOMs51:30 SG Guitar neck moves?52:50 MIJ vs CIJ Strats?56:00 Christmas T Shirt for year end and discount. https://teespring.com/stores/know-your-gear-shop-257:48 The Know Your Gear Picture contest!1:01:54 Buying a guitar 1:03:27 Why would you buy a guitar because of resale value?1:07:58 Thoughts on Fender Custom 69 pick ups?1:10:12 Ask and Answered on Reddit https://www.reddit.com/r/guitar1:12:50 My favorite delay pedal?1:13:52 Show and tell1:15:30 Any response from Crimson guitars?1:16:00 The picks and my wife1:17:50 The Fender Champion 50XL and all the new social promotion from Fender1:21:10 The big thank you to the Patreons!more information at https://knowyourgear.netWant to support this channel? Check out Know You Gear Merch https://teespring.com/stores/know-your-gear-shop-2Become a patron and help me make fun family friendly informative entertainment.https://www.patreon.com/phillipmcknightKYGSupport the show (https://www.patreon.com/phillipmcknightKYG)

Founding Kiss lead guitarist ACE FREHLEY, aka "the Spaceman," has released a hard-rocking new solo album called just that — SPACEMAN. Plugging in one of his favorite ’59 reissue Les Pauls, Ace sits down with me to jam a little, as well as detail the writing and recording of Spaceman, reflect on reuniting (for two songs) with Gene Simmons, and, of course, look back on his legacy — a wild ride that spanned everything from a youth spent surviving the streets of the Bronx to adult years surviving adventures with the Hall-of-Fame rock band that made him famous. Hope you enjoy it! -- JUDE GOLD, host, No Guitar Is Safe podcast. Presented by Guitar Player magazine and guitarplayer.com.

Premier Guitar is on location in Des Moines, Iowa, where PG's Rebecca Dirks visits with Coheed and Cambria guitarists Claudio Sanchez & Travis Stever who talk about their current live setups including Gibson Explorers, Les Pauls, SGs, Fractal Audio Axe-Fx, and DR Strings.

Eric and Kalen discuss their opinions on Gibson, the manufacturer of Les Pauls, 335's, SG's and other historic guitars and their business choices the past several years. This episode is sponsored by A Red Arrow! Check out their latest single "Where the Sunshine Goes" available on Spotify and iTunes now! iTunes - https://itunes.apple.com/us/album/where-the-sunshine-goes-single/1436899705 Spotify - https://open.spotify.com/album/4DP60eRm9xr5L23Bua6q2Q?si=M2r3fqzHTwCG_SD4y9Xj2A --- Support this podcast: https://anchor.fm/producer-dudes/support

One of blues-rock’s biggest draws walks us through his staggering setup of Dumbles and signature tweed combos, holy grail Les Pauls and Fenders, and just a handful of off-the-rack pedals.

Sean made the trek up from Bend, OR to sit down in the Shred Shed. We discuss a whole range of things from how he thinks about his products, his views on the guitar community, Les Pauls, and a whole lot more. It is a good one. You can check out his work at GunstreetWiringShop.com. They also sponsored the episode, so show them some love! Learn more about your ad choices. Visit megaphone.fm/adchoices

Strats, Explorers, Les Pauls, AC30s, and a healthy amount of delay help form some of the most iconic tones ever recorded. Famed tech Dallas Schoo walks us through the ins and outs of Edge’s expansive setup.

Facebook. Here we go again you say? Not so much this time as it has encouraged discussions of great albums and their influence. Brian and Blake talk about their picks.. There are the classics. Telecaster, Strats, Les Pauls. But there are other intriguing guitar options out there that have caught Blake’s eye. The guys talk about it. Brian has some tips on building a half pipe, keeping G-strings in tune, if that is even possible. And Brian goes all Cornholio on this week’s Chasing Tone Podcast. Find us at:  http://www.WamplerPedals.com http://www.Facebook.com/WamplerPedals http://www.Twitter.com/WamplerPedals http://www.Instagram.com/WamplerPedals http://www.Facebook.com/ChasingTonePodcast http://www.facebook.com/groups/wamplerfanpage/

Question Index0:01 Thank you to everyone who makes this happen!1:46 What Marshall combo do like compared to Fender Blues Jr?3:03 Is the Ibanez AZ guitar really good?4:31 Thoughts on the Satchel Charvel?4:58 a amp between the Egnator Tweeker and backstair Fly6:36 Super ve Fender Princeton 688:16 What is my favorite neck pick up?9:18 Can you plug the Marshall DSL 116ohm into a 8ohm cab?Although not always the case, you can use a 8hm cab according to Marshall on this amp.11:24 Do I still have the PRS 594?12:27 Is it worth spending $300 to mod the Blues JR?14:13 Thinking of the Orange Rocker 1515:13 Thoughts on the new Ibanez Jem jrs17:08 Have you ever messed up on of my own guitars?18:29 Here is the review of the Backstar I used in my hotel roomhttps://www.youtube.com/watch?v=tBRTDdrdMKI20:16 Are orange drop capacitors a upgrade?22:19 A nice compliment. Thank you23:06 Fender Standard or Deluxe?25:12 Someone bought a Guild from me 27:15 Paracho Mexico 27:50 I checked out G&L 28:43 Do you have a couch guitar?29:29 What pedals do I wish they would bring back?32:56 Are Blackstar made by Marshall?35:34 Would I go to another NAMM show?37:30 Are roller nuts a good idea or do they kill tone?40:27 Why do some copy Les Pauls cost more than Les Pauls?42:24 Thoughts on things to do to play better lead?46:18 String Joy Strings46:38 What happened to BC Rich?47:54 Do you prefer Morley or Dunlop was?49:52 What Micro Mesh sheet do I use to polish frets?50:26 Suhr Strat or new John Mayer PRS strat?51:42 How do you put a guitar in for sharpen my axe?53:58 Thought on new Gibson V for $450054:40 Thoughts on new Fender Vintage guitars?55:25 Have I ever player a Start or Tele in Mahogany with hum buckers?56:58 Album plug57:48 Do I have a Low Price guitar that I love?1:00:09 SX guitars are like the Harley Benton guitars1:01:03 I have mostly rosewood neck guitars1:03:30 Is scale length the most important part of tone?1:09:28 Every month there is a different guitar on the shirts so you get the one you want. This months shirt LP stylehttps://teespring.com/know-your-gear-feb-2018#pid=2&cid=2397&sid=frontSupport the show (https://www.patreon.com/phillipmcknightKYG)

  When Brett Williams joined Australian rock band The Choirboys in 1987 his timing couldn't have been better. The band was on the cusp of recording "Big, Bad Noise" which went on to be one of the best selling Australian albums of the 1980s. Brett's trademark melodic style helped propel hits such as "Run to Paradise", "Boys Will Be Boys" and "Struggletown" to the top of Australian charts. We talk through Brett's career; starting in Brisbane, his year in LA as a student at GIT, moving to Sydney to join the Choirboys, making iconic video clips in the 80s, vintage Les Pauls and much more. Thanks to Jay Parrino (Guitar Speak Podcast Episode 20) who set up this interview. Jay also makes a cameo to talk about an upcoming run of shows with Brett.   Jay Parrino Guitar Speak Podcast Episode 20 www.choirboys.net   Guitar Speak Podcast Links Subscribe and find previous episodes at:  iTunes or Stitcher Visit us at www.guitarspeakpodcast.libsyn.com Follow us on Facebook, Instagram or Twitter    

Welcome to Episode 44!  Today we speak to Sydney based guitarist, Joel McDonald. Joel talks us through his early development, right through to his current gig with Rose Tattoo - opening for Guns and Roses on their 2017 reunion tour. Along the way there are magical Les Pauls, a steady diet of Eric Johnson and Steve Vai and a dedication that has led to Joel's ferocious rock chops. And...Frankie's World Famous House Band...   Frankie's World Famous House Band   Guitar Speak Podcast Links   Subscribe and find previous episodes at iTunes, Stitcher or visit us at www.guitarspeakpodcast.libsyn.com Follow us on Facebook, Instagram or Twitter You can support us at Patreon   Thanks for listening in!

This is the first part of episode 6 of Tune in, Tone up! Edited to just contain the advice Dan gives to Gary on buying a new guitar and covering Gibsons, Les Pauls, PRS, Suhr and Charvel among many others.

Travis Feaster visits and we talk about pickups, songwriting, why he's getting more into Les Pauls and Marshalls instead of Fender style amps and strats, and we answer questions from the Wampler Pedals Tone Group on Facebook. http://www.wamplerpedals.com/podcast/ for podcast subscription, or go to http://www.wamplerpedals.com/subscribe to be notified of new podcasts and videos that are uploaded to this channel.  Find us at:  http://www.WamplerPedals.com http://www.Facebook.com/WamplerPedals http://www.Twitter.com/WamplerPedals http://www.Instagram.com/WamplerPedals http://www.Facebook.com/ChasingTonePodcast http://www.Instagram.com/ChasingTonePodcast

On this week's podcast we talk to Walter Carter of Carter Vintage Guitars about one of the store's latest acquisitions, a May 1958 Gibson Les Paul that could safely be called the first ‘Burst. This prototype guitar came from the factory with a three-piece top and a “Special” finish, which just happened to be the same yellow to cherry red sunburst pattern that would be found on all those iconic 1959-1960 Les Pauls. Carter tells us about this unique instrument, how he found it (or it found him) and, yes, the price he's asking. Carter is an invaluable resource when it comes to all things fretted, so we also ask him about some of the recent sales trends he's seen in vintage instruments, what guitar markets seem soft and more. http://www.cartervintage.com https://www.fretboardjournal.com http://www.fretboardsummit.com

Gibson Sprint Run Les Pauls, Danelectro baritones and much more! See acast.com/privacy for privacy and opt-out information.

Greetings and welcome back AaA fans. In this episode of your Amps and Axes Podcast, Jeff and Mick discuss two Les Pauls recently up for auction and how, in Jeff's opinion, the reasons responsible for the pricing just don't seem to make sense. Hmmm... Then it's on to this week's guest, who knows a bit about guitars too. Owner and CEO of Dean Guitars as well as bassist for some pretty cool artists, men and women of the Podcast, please welcome Elliott Rubinson. Enjoy! 

Starring Mary Ellen Mark, Bukowski's LouJon press books, book art, letterpress, getting your hands dirty, kissing the paper, manual typewriters, nostalgia, home tanneries in Brooklyn, synthesizers, late 50s Les Pauls, craftsmanship, Kalamazoo Michigan, robots, green wood, perpetual motion, Detroit steel, making rich people more rich, buying Bukowski's boyhood home, gentrification, turning all of Los Angeles into one big Universal back lot, Giza, slaves, lunch trucks and the Library of Congress.

This week, we talk Les Pauls, budget rigs and bass effects. See acast.com/privacy for privacy and opt-out information.

In 1997, no frills rock was about as unpopular as you can imagine....unless you lived in the midwestern United States. The plains states have long been a hotbed of rock and roll fandom. States such as Kansas, Missouri, and Wisconsin thrived on cranked up Les Pauls through Marshall Stacks and in 1997 one of the midwest's favorite bands was Hair of the Dog. Featuring Ryan Cook, John Sepetys, Mike Dupke, and Brian Saputo, HOTD was a staple across mid-America and drew well while touring with the likes of Cinderella, Skid Row, and Motorhead among others. Hair of the Dog released 3 albums; 1997's self-titled, 2000's 'Rise', and 2001's 'Ignite' before calling it a day with the members moving on to other endeavours. This week Aaron Camaro sits down with Ryan Cook & John Sepetys of Hair of the Dog to discuss the history of the band. In this hour-plus discussion Ryan and John shares stories of the Los Angeles music scene including The Rainbow, experiences with famed rock photog Neil Zlowzower, their rise in the midwestern United States, and what led to the band's demise. Be sure to check out Ryan in his great band The Big Rock Show featuring the talents of Ryan, guitarist Jeremy Asbrock, bassist Deano Workman, drummer Matt Green, and keyboardist Paul Taylor HERE Buy Music! Hair of the Dog Contact Us! Rate, Review, and Subscribe in iTunes Join the Facebook Fan Page Follow on Twitter Follow on Instagram E-mail Us Call us on the Hotline! (540) DBGeek - 1 or (540) 324-3351 Support Us! Shop on Amazon!---------->>>>>>>>> (a percentage of sales from that link to the right goes back to supporting Decibel Geek!) Stream Us! Stitcher Radio Spreaker TuneIn Comment Below

American roots music is currently having a Renaissance of sorts, with bands across the country and across the pond ditching their Les Pauls and Marshall half stacks in favor of acoustic instruments, beards and bowler hats. There are a lot of ways to bring a little bit of yesterday to the new millennium when it comes to music, and Los Angeles' The Walcotts have staked their claim on a rustic mixture of roadhouse blues, Memphis soul, swampy delta jazz and underground Nashville twang. And all of this sounds as if it has been stirred together by a spoon lifted from the kitchen of The Big Pink - the Hudson Valley house where Rick Danko, Richard Manuel and Garth Hudson hung out with Bob Dylan and wrote the bulk of The Band's debut album. Singer and guitarist Tom Cusimano is the master of ceremonies, and the large band he leads isn't limited in the least to folk instrumentation; there are Telecasters and tube amps, piano and Hammond organ, trumpet, trombone, pedal steel guitar, fiddle and a healthy helping of female vocals. But it's the bass and drums that keeps things in The Walcotts grooving and lively, and it's this New Orleans-style focus on booty-shaking rhythms that helps them avoid the more sullen territory mined by some Americana bands. The Walcotts are positively rollicking, and with all the buzz they've generated in a short amount of time, it likely won't be long before they're rollicking in front of bigger and bigger crowds.

American roots music is currently having a Renaissance of sorts, with bands across the country and across the pond ditching their Les Pauls and Marshall half stacks in favor of acoustic instruments, beards and bowler hats. There are a lot of ways to bring a little bit of yesterday to the new millennium when it comes to music, and Los Angeles’ The Walcotts have staked their claim on a rustic mixture of roadhouse blues, Memphis soul, swampy delta jazz and underground Nashville twang. And all of this sounds as if it has been stirred together by a spoon lifted from the kitchen of The Big Pink - the Hudson Valley house where Rick Danko, Richard Manuel and Garth Hudson hung out with Bob Dylan and wrote the bulk of The Band’s debut album. Singer and guitarist Tom Cusimano is the master of ceremonies, and the large band he leads isn’t limited in the least to folk instrumentation; there are Telecasters and tube amps, piano and Hammond organ, trumpet, trombone, pedal steel guitar, fiddle and a healthy helping of female vocals. But it’s the bass and drums that keeps things in The Walcotts grooving and lively, and it’s this New Orleans-style focus on booty-shaking rhythms that helps them avoid the more sullen territory mined by some Americana bands. The Walcotts are positively rollicking, and with all the buzz they’ve generated in a short amount of time, it likely won’t be long before they’re rollicking in front of bigger and bigger crowds.

American roots music is currently having a Renaissance of sorts, with bands across the country and across the pond ditching their Les Pauls and Marshall half stacks in favor of acoustic instruments, beards and bowler hats. There are a lot of ways to bring a little bit of yesterday to the new millennium when it comes to music, and Los Angeles’ The Walcotts have staked their claim on a rustic mixture of roadhouse blues, Memphis soul, swampy delta jazz and underground Nashville twang. And all of this sounds as if it has been stirred together by a spoon lifted from the kitchen of The Big Pink - the Hudson Valley house where Rick Danko, Richard Manuel and Garth Hudson hung out with Bob Dylan and wrote the bulk of The Band’s debut album. Singer and guitarist Tom Cusimano is the master of ceremonies, and the large band he leads isn’t limited in the least to folk instrumentation; there are Telecasters and tube amps, piano and Hammond organ, trumpet, trombone, pedal steel guitar, fiddle and a healthy helping of female vocals. But it’s the bass and drums that keeps things in The Walcotts grooving and lively, and it’s this New Orleans-style focus on booty-shaking rhythms that helps them avoid the more sullen territory mined by some Americana bands. The Walcotts are positively rollicking, and with all the buzz they’ve generated in a short amount of time, it likely won’t be long before they’re rollicking in front of bigger and bigger crowds.

Bad amp repair and fake Gibson Les Pauls