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The Cynics Interview

Guitar Vibe - Mon, 09/01/2014 - 18:11
It's been a few months since I saw legendary garage rock band The Cynics in Cleveland and I was reminded that I still had an interview with lead singer and songwriter Michael Kastelic in the can. So apologies for the... Zack Urlocker
Categories: General Interest

BOSS Unveils RC-1 Loop Station

I Heart Guitar - Mon, 09/01/2014 - 17:35

PRESS RELEASE: BOSS is proud to announce the RC-1 Loop Station, the new entry-level model in the company’s acclaimed lineup of dedicated loop recording devices. Battery-powered and affordable, the RC-1’s straightforward operation makes it easier than ever for guitarists, bassists, and other musicians to incorporate the fun of looping into their live performances and practice sessions. For well over a decade, BOSS has led the industry in loop recording technology. Five current Loop Station products serve the needs of all types of musicians, and looping functions are integrated into many other BOSS products as well. Designed with guitarists and bassists in mind, the RC-1 sheds the more sophisticated features found in other Loop Stations, offering a streamlined approach that will appeal to both beginning players and advanced musicians who like to keep things simple.
rc-1_angle_galBuilt to record loops and nothing else, the RC-1 is all about instant musical satisfaction and creative enjoyment. Housed in the famous, ultra-durable BOSS compact pedal case, the stripped-down RC-1 lets players experience the fun of spontaneous loop creation with no complicated controls or features to get in the way.

Loop recording has never been more intuitive and hassle-free than it is with the RC-1. Record, overdub, play/stop, undo/redo, and clear operations are all accomplished with one integrated pedal, while the loop level is controlled with the panel’s single knob. The unique circular loop indicator features 24 multi-colored LEDs, providing instant feedback on the operation mode and cycle status of the current loop.

The RC-1 offers high-quality sound with up to 12 full minutes of stereo recording time. The last loop session is stored in memory even when the power is turned off, so players can preserve their performances for the next practice session or gig. The pedal can be powered with an optional PSA-series AC adapter or a single 9-volt battery. Up to 4.5 hours of battery operation provides great convenience for busking, street performing, open-mic nights, and other mobile playing situations.

Just like other BOSS compact pedals, the RC-1 integrates easily onto a pedalboard loaded with other stomps. Dual inputs and outputs let guitarists and bassists with sophisticated effects setups loop in true stereo. By using just one input and one output, the RC-1 can be used in a standard mono rig as well. Stereo operation also allows synth players to loop without sacrificing the rich, full stereo sound of their instruments.

Users can connect an optional external pedal to the RC-1 to expand their real-time control options if desired. The new FS-7 Dual Footswitch is an ideal companion, offering control of the looper’s stop, clear, and undo/redo functions in an extremely compact footprint. The FS-7 includes status LEDs, and comes with a DC splitter cable to allow a single PSA adapter to provide power to both the RC-1 and FS-7.

For more information, visit www.BossUS.com.

Categories: General Interest

REVIEW: TC Electronic Alter Ego Vintage Echo X4

I Heart Guitar - Mon, 09/01/2014 - 16:44

alter-ego-vintage-echo-x4

TC Electronic’s TonePrint line of pedals is a great innovation: when it was first launched, various rock stars and industry pros were handed the keys to a special program which allowed them to design custom effects which could then be loaded into the pedal by everybody (via USB or a handy mobile app). But then the program was made available for everyone, and now anybody who wants to tweak their tone and then share it with the world can do so. The Alter Ego Vintage Echo X4 Delay is related to the smaller Alter Ego delay, which was born when Andy and Aaron of ProGuitarShop got their paws on the TonePrint software for the Flashback Delay and created two exclusive new delay modes worthy of their own pedal. Now the Alter Ego X4 Vintage Echo takes this pedal and blows it out, in a similar way to the awesome Flashback X4 Delay.

ProGuitarShop’s influence doesn’t stop at the tones; the graphics of this pedal are also designed by them, with an elegant script logo and baby blue accents based on the Tel Ray Super Organ Tone unit (more on that later). But where the compact Alter Ego pedal has two ProGuitarShop sounds, the X4 version blows it out to a whopping twelve exclusive, hand-selected sounds ranging from a tribute to the classic Binson Echorec to a salute to the sweet Roland Space Echo, the venerable Echoplex and – naturally – a custom version of TC Electronic’s own 2290. The sounds are accessed via a 16-position dial, where four positions are reserved for the TonePrints of your choice. The stock sounds include a few variations on particular modes (two Echorec-inspired and two Echoplex-based settings, for instance).

There are pots for Time, subdivision (quarter notes, dotted eighths or a mixture of both), feedback, delay level and looper level (with a looper/delay switch). The looper gives you up to 40 seconds of playback with an undo function; the four footswitches double as looper switches for record, play, once and undo. In delay mode those switches let you select three presets, while the fourth switch is tap tempo, for synching your delay times up using your foot. As for the connections, there are stereo inputs and outputs (left jack is mono), an expression pedal jack, 9V DC power jack, USB port, and MIDI In and Thru so you can synch the delay times or change presets.

alter-ego-vintage-echo-x4

The sounds are heavily focused on vintage echo tones, going much deeper into ‘old-tone’ than the Flashback X4 does. The Echorec modes in particular are beautifully dirty, funky and expressive like the real thing; the first mode is the same one found in the original Alter Ego while the second adds a twist. In the case of the second Echoplex mode, the repeats get brighter – the opposite of an analog delay, really – as they fade out. It’s a very cool sound that works great with ringing chords. The Space Echo nails the classic chorus shimmer of that legendary unit. The Memory Man-inspired unit has updated chorus and vibrato modes and more of an 80s Andy Summers feel than the vintage weirdness of the Echorec and Echoplex. The Copykat mode is great for short, slapback delays as well as adding a little grit to the input signal. But the real surprise here is the brilliant TR Organ setting, which mimics an oil can delay (these use an actual can of oil in combination with a motor for an electrostatic recording process. It creates a distant, murky, part-reverb/part-delay sound unlike anything else, great for rockabilly and blues, and especially awesome for organ-type likes. There’s also a model inspired by the BOSS DM-2 analog delay, with short delay lengths and darker repeats. It sounds so much like my childhood guitar teacher’s DM-2 that it’s kinda eerie! There’s also a great Echo Flange mode which brings out the weird (based on the Electro-Harmonix Echoflanger). And the Reverse mode from the Flashback is featured here with the addition of modulation for freaky psychedelic tones.

This is an incredibly nuanced pedal which doesn’t just mimic classic delay tones; it full-on reproduces them. It creates many truly beautiful sounds and quite a lot of ‘ugly but beautiful’ ones too. And if you love the vintage vibe but you wish you had access to some modern sounds too, FlashBack TonePrints work in this pedal, so you could have a whole four presets of whatever modern sounds you like, in addition to all of these world-class vintage recreations.

Categories: General Interest

TC Electronic Announces PolyTune 2 Mini

I Heart Guitar - Mon, 09/01/2014 - 16:42

Untitled-1.121508PRESS RELEASE: PolyTune 2 Mini takes everything that’s great about TC Electronic’s innovative polyphonic tuning technology, and crams it into an unfathomably small enclosure that willl fit on basically any pedalboard out there. On top of that, the new PolyTune 2 Mini features an upgraded display with 109 ultra-bright LEDs, which ensures that no matter where you play, you will always get a fast and clear read on whether you’re in tune or not. Finally, a new super-precise strobe tuner mode has been added. With its 0.1 cent accuracy, PolyTune 2 Mini is the perfect tool for setting up your instrument with dead-on precision.

PolyTune 2 Mini still features the original Chromatic Tuning Mode, TC Electronic’s ingenious MonoPoly technology which automatically detects if you’re tuning one-string or several strings at the same time, Drop-D and Capo tunings, flat tunings, and True Bypass.

PolyTune 2 Noir* has all of the functions of PolyTune 2 Mini, but instead it comes in the most rock n roll color of all: Black! Tuning has simply never looked this good!

*Polytune 2 Noir is available exclusively at Guitar Center, Musicians Friend and Long & McQuade in North America.

Untitled-1.121508

Categories: General Interest

Nashville’s Vinyl Boom

Guitar Lifestyle - Mon, 09/01/2014 - 15:13

Nashville is currently experiencing its largest growth period since I moved here about 15 years ago. One of the areas in which Nashville is growing quietly is in vinyl record production. Local business United Record Pressing is the largest vinyl producer in the U.S. and next year will increase capacity to 60,000 records per day.

The Guardian recently wrote an article about Nashville’s vinyl boom titled Nostalgia pays in Nashville as rocketing record sales make it the capital of vinyl. I found this part of the article fairly interesting:

It’s understandable that Nashville analogue audiophiles such as Jack White or Black Keys would want their music pressed but now even mainstream pop artists such as Taylor Swift and Beyoncé want their music available in LP format. Demand is so great that production time has doubled to 12 weeks, and record companies now won’t schedule a release date until they know they can get the vinyl.

Who would have thought vinyl would be one of the biggest growth areas of the music industry circa 2014? As someone who enjoys the experience of music, I’m finding it fun to get into vinyl again after so many years of CDs and digital music.

Categories: General Interest

Atlansia Solitaire single-string fretless bass guitar

Guitarz - Mon, 09/01/2014 - 14:09
guitarz.blogspot.com:
I'm trying to figure out if I could get through an entire gig on bass using a single-stringed bass such as this Japanese-made Atlansia Solitaire currently listed on eBay UK. I suppose it depends on the gig and what songs were required. It could certainly work in some scenarios I can think of, although I think that if I had to keep it minimalistic I'd be a lot happier with one of Atlansia's two-string basses such as this or this.

Currently listed on eBay UK with a starting price of £499. (I believe the seller is a long-time Guitarz reader, by the way, so I'll try not to say anything rude about the bass!) You might think that's quite a lot of money for a single string but these pictures should illustrate that this bass is a quality product and quite rare outside of Japan.

G L Wilson

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Categories: General Interest

Joe Robinson using the new Boss RC-1 Looper pedal

Guitar Noize - Mon, 09/01/2014 - 14:00


This is a nice demonstration from Aussie guitarist & singer Joe Robinson of the new Boss RC-1 Looper pedal, looks nice and simple to use!

“The BOSS RC-1 is our simplest and most user friendly Loop Station ever, and it’s a ton of fun!

On the top panel, there is a new and innovative loop indicator which consists of a 24-segment LED laid out in a circular pattern. You can quickly and easily determine the current status of the Rec/Overdub/Play modes. With a maximum 12 minutes of stereo recording time, the RC-1 is capable of capturing any extended performance that you can create or imagine! The stereo in/out jacks can be used with stereo effects and amplifiers. Additionally, they allow you to connect stereo instruments like synthesizers. Other convenient features include battery and AC power, as well as flexible external footswitching capabilities. The RC-1 is an especially great partner to start enjoying looping!”

The post Joe Robinson using the new Boss RC-1 Looper pedal appeared first on Guitar Noize.

Categories: General Interest

Devin Townsend Australian Clinic Tour!

I Heart Guitar - Mon, 09/01/2014 - 08:06

Prepare yourselves for the subjugation! Devin Townsend is heading to Australia for a series of exclusive guitar masterclasses in Brisbane, Sydney, Melbourne, Adelaide and Perth, right ahead of the release of his next opus, Z2, which comprises two discs: Dark Matters (Ziltoid) and Sky Blue (Devin Townsend Project). There will be two levels of ticket pricing: a standard general admission ticket and a limited VIP package which will include exclusives such as a meet-and-greet with Devy and a seat in the first three rows. And during the clinics there will be a Q&A session so you’ll have plenty of opportunity to pick Devin’s seemingly massive brain. Merchandise and music will be available on the day too (cash sales only). Tickets available now here! Here’s the press release, including tour dates:

Devin Townsend / Thump Music Announce Australian Guitar Clinics

The eccentric and musical mastermind that is Devin Townsend will be making his way to Australia this October to take part in a series of Guitar Clinics in association with Thump Music.

Devin Townsend, now 30 records into an astonishing career has just raised the stakes, in the form of a new double album, Z2, to be released worldwide in the week of October 27th this year. The two discs will be individually titled ‘Sky Blue’ (DTP) and ‘Dark Matters’ (Ziltoid).

Devin TownsendReflecting on the upcoming release Devin states: “I really enjoy my job and I really want to continue being able to be creative. This project offers me an opportunity to present myself in ways that I haven’t before: as a writer, as an orchestrator, as somebody who’s able to provide soundtrack stuff, as a puppeteer, as a multimedia artist, dubious comedy, all these things. I’m hoping that ‘Z2’ really provides an outlet for people to see that I’m capable of a lot of things, but even more so, I hope it will inspire other artists to reach for things that maybe seem a bit out of reach.”

In light of wanting to inspire other artists and preceding the highly anticipated release of Z2, Devin will head to Australia to offer guitar fanatics from across the country the opportunity to learn from an artist who has built a successful career on musical diversity.

There will be two bands of ticket pricing available for those guitarists looking to pick up some essential guitar knowledge straight from Devin himself; general admission and a limited number of VIP packages, which will include exclusives such as a meet and greet plus a guaranteed seat in the first three rows.

The clinics will offer guitar enthusiasts the opportunity to learn the techniques and styles Devin has developed throughout his varied career. Alongside this, there will be plenty of opportunity for fans to ask any questions they have, as each clinic will end with a Q&A session. There will also be the chance to buy Devin Townsend music and merchandise at each clinic (please bring cash as this will be cash sales only).

Thump Music will be hosting these clinics in the following states:

Brisbane – 20th October – evening clinic 7pm for a 7:30pm start
Venue: Princess Theatre – 8 Annerley Road, Woolloongabba, Queensland

Sydney – 21st October – evening clinic 7pm for a 7:30pm start
Venue: Paddington Town Hall – 249 Oxford Street, Paddington, New South Wales

Melbourne – 22nd October – evening clinic 7pm for a 7:30pm start
Venue: St Kilda Town Hall – 99a Carlisle Street, St Kilda, Victoria

Adelaide – 23rd October – evening clinic 7pm for a 7:30pm start
Venue: The Governor Hindmarsh Hotel “The Gov” – 59 Port Road, Hindmarsh, South Australia

Perth – 25th October – midday clinic 11:30am for a 12:00pm start
Venue: John Inverarity Music & Drama Theatre, Hale School – 160 Hale Road, Wembley Downs, Western Australia

Tickets available from http://thumpmusic.com.au/

www.hevydevy.com www.facebook.com/dvntownsend www.omerch.com

Categories: General Interest

New Soulbender Album On The Way!

I Heart Guitar - Mon, 09/01/2014 - 05:22
SoulbenderCool! I liked the first one. And any day you get to hear Michael Wilton riffin’ is a good day.
PRESS RELEASE: Formed over a decade ago in Seattle, Washington, “Soulbender” is comprised of Queensrÿche guitarist Michael Wilton, vocalist Nick Pollock (My Sister’s Machine), guitarist Dave Groves (ex-Tin Pan/Fallen Angel) and drummer Wes Hallam (ex-Assault/Fallen Angel). SOULBENDER II contains four all new songs (Turn Anger up, Shoal, Slave To Reality, Seraphim) as well as the ten original tracks (remastered) from the first album (Fix Me, Clockwork and Compass, Rabbit Hole, The American Dream, Samsara, Prime Time, Shoot Poem, This Ocean, Hunger, Three Towers). Michael Wilton describes Soulbender as “a very progressive, hard rock band with very intense musicians and a couple of the members are prodigies”. Official release date for Soulbender is September 30, 2014. Pre-Order Now At: www.ratpakrecords.com/michaelwilton

Categories: General Interest

Emil Werstler Quits Chimaira

I Heart Guitar - Mon, 09/01/2014 - 04:57

emil werstlerEmil Werstler has left Chimaira after two years. He first joined as bass player, switching to guitar after the departure of Rob Arnold and Matt DeVries. In a statement, Emil says: “My time in Chimaira has, unfortunately, come to an end. It is time for me to move on as I continue to focus on harvesting my abilities as a musician. I’m very fond of everyone in the band and wish them all the best in the future. Although this was a difficult choice to make, I feel it was necessary in order to take the next step in my career. The best is still yet to come and I’m very excited for the multiple projects I am working on. I would like to thank the band, management, and, most importantly, all the fans for the endless support and understanding.”

Categories: General Interest

Five Finger Death Punch – Heroes Helping Heroes!

Guitar International - Mon, 09/01/2014 - 02:47

By: Robert Cavuoto

5fdpCD-smaller83-2Five Finger Death Punch have a huge following in the military and the group has been paying it forward by helping our heroes suffering with Post-traumatic Stress Disorder [PTSD].

The band has partnered with a multitude of national and local veterans help organizations, started a public awareness campaign, and are raising money for these organizations by selling collectable jerseys online.

They even created a video that is intended to increase knowledge about the plight of veterans suffering from PTSD and its larger repercussions, affecting their mental and physical health, family life,  as well as their assimilation back home after service.

People can go to the Five Finger Death Punch site to learn more about PTSD and see how they can help our troops.

I had the chance to speak with guitarist, Zoltan, to discuss the group’s passion for helping our military brethren who need our support, once they are home.

******

Robert Cavuoto: How did you get involved raising awareness about PTSD?

Zoltan: Much of our fan base consists of veterans, active military members and soldiers, so we are very close with these people. We also visit a lot of military bases around the world, like in Germany, Japan, and the Middle East.

Lyrically our songs are about standing up and fighting for yourself and I think it has built a contention between us and the soldiers. A lot of them have become our personal friends and we are always looking to hire veterans when going out on tour.

We have forged these relationship and we have seen some of them going through hard times with the PTSD.

As we are now part of this community, we too are learning more about PTSD and the numbers of people affected by PTSD is just astonishing.

We knew it was bad, but didn’t know it was this bad. On average 22 veterans take their lives each day. That’s one every 65 minutes. These are the strongest guys of society, the guys that do a job that none of want to do.

You and I don’t go to work wondering if we will might night make it back. They are bred and trained to survive and how bad can it be that they are taking their own lives?

On any given day, there are 300,000 veterans homeless on the streets in the U.S. How can that happen in the most developed counties in the world?

We realized if this is going to change, it has to change with public awareness. The same way that we were shocked by these numbers, the general public also will be equally shocked.

Robert: Are service men and woman reluctant to come forward about this disorder and seek treatment?

Zoltan: Absolutely, there are many problems how and why this happens. Soldiers are bred to survive, they have to be tough, both mentally and physically.

It’s not in their nature to come forward and say, “I’m depressed or experiencing issues”. They feel it’s not honorable and ashamed to get help.

I hope, with this campaign, they can realize that they are not alone. For example, if they get shot they will call a medic for help. They should treat PTSD the same way, as the brain is an organ that can be damaged.

We are hoping to shed light on the organizations that are out there to help them. They don’t want to talk to civilians because they can’t relate. We have organizations that can speak with veterans to make the connection. They can talk to people like themselves. Another aspect of this campaign is not just to educate the general public, but [to inform] where soldiers can seek help.

5fdpgroupshot

Robert: You created site, www.5fdp4vets.com  that provides resources to serviceman and woman?

Zoltan: We asked ourselves what else can we do, so we built a website that lists 40 organizations that can offer help.

We looked to provide all the possible resources on one website and included a music video to help portray the issues and facts about PTSD.

We didn’t want a video of us on a mountain top with our hair blowing in the wind [Laughing]. We wanted it to hit the mark. To hit America in the chest with this and portray what happens on an emotional level, by including stats on the situation, so people can read what’s happen. We had a bunch of veterans helping with the video too.

We also have a campaign where fans can purchase a special jersey to help the cause. Any profits coming from these donations go to the organizations that truly make a difference in veterans’ lives.

We put aside a modest goal of $50,000 for the campaign. We could have donated the money, but it doesn’t raise public awareness. It’s about getting the community involved. We reached our goal in 5 hours and right now it’s up to $140, 000.

These organizations can make a difference, if we give them some money.

Robert: You recently did a press conference at Nellis Air Force Base, how did that go?

Zoltan: There were about 400 to 500 soldiers that came and we showed them the video then had a meet and greet. It seems like we are making a dent, as the video already has 800,000 views in 48 hours. It’s really taking off and will make a difference.

The VA is trying but they don’t have the budget or the infrastructure to help all these people.

Keep in mind that there are over 4 million solders who served in the last two conflicts.

Click here to view the embedded video.

Robert: How are you affected when a solider comes up to you to tell you what they have been through or how the band has helped them get you through a difficult time in their life.

Zoltan: It validates what we do! At the end of the day we are a band that makes music and entertains on stage. We take our job seriously, but it’s not as serious as being a solider and risking your live. Everybody has a calling or talent, ours is being musicians.

When one single person comes up to you and tells you that you did something that helped save their life or made a huge impact in their life, it validates what you do. You are no longer a guy jumping around entertaining, you are making a difference.

So many times these stories are heart wrenching, you have to put on your sunglasses because your eyes tear up from the stories. They are so astonishing.

Robert: After the press conference you went right into the studio to record some songs. What can you tell us about them?

Zoltan: So far, we have four songs recorded and they are slamming. We are trying to get a head start on the next CD for 2015. We never really have time off [Laughing]

If you look at our schedule, we are either on the road touring or performing at private military shows.

We don’t have time off. It’s not really work, you wanted this your whole life. It’s a  and one in a million shot to get successful, so creating music is important.

Hopefully, we find more studio time so we can release another CD in 2015.

 

 

 

Categories: Classical

Gear Demo: ENO Trouble Overdrive

Guitar Noize - Sun, 08/31/2014 - 14:18

ENO Trouble Overdrive
When Spartan Music in the UK contacted me about the range of mini pedals by ENO (also known as Ex-Amp) that they sell for a smidgen under £30 each, I couldn’t resist the challenge of recording a demo of one of these super cheap Chinese mini effects pedals and making it sound good.

The pedal that Spartan Music sent me is a clone of the famous Fulltone OCD overdrive called the ENO Trouble Overdrive which is true bypass, despite its budget price, and is housed in a mini enclosure with no room for batteries so 9v DC only. Spartan Music say the Trouble Overdrive will make you sound like you’re playing through a Marshall stack, well I guess it depends on your guitar and amp but you can definitely tweak this pedal to get a very usable overdrive tone. The pedal has two modes, HP & LP which I assume stands for low pass and high pass? Basically it adjusts the voicing for either a dark sounding overdrive or as I used for my demo a brighter tone which has slightly more gain on tap.

I should explain my recording chain, I used my Cilia CGA7 guitar with a Seymour Duncan SH-16 Humbucker in the bridge position into a Ceriatone Chupacabra 50 amp in Plexi mode and set quite bright but very clean. I set the Trouble Overdrive with the gain and tone dimed and the volume set to around 1 o’clock. To be honest I expected more gain and it is a tad fuzzy but I tweaked the EQ and presence on my amp and got a rhythm and lead tone I was happy with. For the solo I added an Empress Vintage Modified Superdelay into the effects loop of my amp. The rhythm parts are double tracked as you will hear but I think it sounds pretty good. Check out my demo below:

I have never tried a real OCD pedal so this review is based off the many OD pedals I have demo’d in the past. While it clearly isn’t in the same category as my favourite OD pedals from MI Audio, Mad Professor and Suhr, for 30 quid in the UK including free delivery from Spartan Music ENO pedals are a bargain. One specific audience that should look into these pedals are young players with very little cash who want a myriad of sounds, ENO also make a Flanger, Chorus and various overdrive, fuzz and distortion pedals.

The post Gear Demo: ENO Trouble Overdrive appeared first on Guitar Noize.

Categories: General Interest

The Many Guitars of Jimi Hendrix

The Unique Guitar Blog - Sun, 08/31/2014 - 11:37

I got to see Jimi Hendrix perform at the old Xavier University Field house in Cincinnati, Ohio back in March of 1968. Jimi did two shows that evening. I attended the late show and had to sit through some boring hippie light show production for about 45 minutes. Finally Jimi came on stage from the left, while Noel Redding and and Mitch Mitchell came on from the other direction.

That night Jimi was playing through two Marshall double stacks. I was too young at the time to distinguish if the heads were 50 or 100 watt plexis. Jimi hooked up his coil cord to one of the Marshalls, while a roadie was placing the foot pedals. Little did I know the ‘roadie’ was Roger Mayer, the electronic wizard who created Jimi’s effects.

Hendrix started out on a white Fender Stratocaster and played a couple of songs; then a string broke. In this era a guitar tech would run up on stage and hand the star another perfectly tuned guitar.


However in 1968 when the string broke, the show was stopped while Hendrix took off the old string and put on a new string. He played a few more songs and the string broke again.

Seymour Duncan with Hendrix
The show was once more interrupted, but this time someone from back stage brought him out a white Fender Jazzmaster. Jimi hooked it up and wailed through several more songs and the show closed. At the time, I had no idea who the tech was that brought Jimi the Jazzmaster, but it turns out the guy that brought Jimi the Jazzmaster was Seymour Duncan.

I learned this from an article in Vintage Guitar Magazine that I read years later. Ever since that night I was fascinated with the guitars that Hendrix used. I assumed he only liked Stratocasters, but here he was playing a Fender Jazzmaster. And it turns out that Hendrix had a bevy of other guitars that he used throughout his career.





Jimi with his Supro
His first electric guitar was an inexpensive Supro Ozark model that his father gave him back in 1959. Supro was the brand name used by the Valco company to sell their guitars and amplifiers. They also produced products for the Montgomery Ward Company under the Airline brand and Sears under the Silvertone brand.

When Jimi’s Supro guitar was stolen, he purchased a red single pickup Silvertone/Danelectro guitar, model 3021. He named the guitar Betty Jean, after his current girlfriend. Hendrix played this guitar through his time in the Army.

After finishing a stint in the United States Army he saved up enough money to trade his Dano in for a brand new Ephiphone Wilshire. This guitar had twin P-90 pickups, a solid mahogany body and a glued in neck.

Jimi got a gig playing guitar in the Isley Brother’s band. During this 9 month period he purchased his first Fender guitar; a brand new blonde 1959 Duo-Sonic. Sometime in 2010 this guitar was auctioned off for $246,000. In 1959 the Duo-Sonic sold for not much more that $100.

After leaving the Isely’s, in 1964 Hendrix got job as the guitarist in Little Richard’s band. For this job Jimi purchased a sunburst Fender Jazzmaster.

Just before Jimi became famous he used this Gretsch Corvette at the 1967 Curtis Knight recording session. He also owned 1960’s model Gretsch Anniversary guitar.

When Jimi arrived in the U.K. word got around about his talent. Well known band members told each other, “you have got to go see this guy.” It was around this time that Brian Jones of the Rolling Stones gave Hendrix a dark coloured Fender Jaguar with dot inlays. Jimi also owned another Fender Jaguar that had block inlays. This block inlay guitar was auctioned off in 2011 for $25,000.

A white Mosrite Joe Maphis Double neck guitar caught Jimi’s eye at Manny’s Music in NYC. He purchased it and was rumored to have used it on the recording of Spanish Castle Magic.

This guitar was featured at Seattle’s EMP and has since turned to a cream colour due to age and the type of lacquer that was used.

It was not until 1966 that Jimi Hendrix got around to purchasing a Fender Stratocaster. This first one was purchased, with the help of his girlfriend, from Manny’s Music. It was a white 1964 model with a rosewood fretboard. And this became one of the many Stratocasters that he would use in The Jimi Hendrix Experience.

Most of his Strats were purchased new and his preference was black or white bodies with a maple fretboard. Hendrix could have purchased a “lefty” Stratocaster, but he preferred to flip the guitar over so the controls and tremolo bar would be on the top.

During this era, musicians were trashing their guitars, amps and drums as an added effect for the show. During the March 1968 show I went to, Jimi bashed his guitars headstock into the Marshall, but apparently was saving more serious guitar damage for a larger show.

The first time he became known for setting a guitar on fire on stage in March of 1967. This was at the Astoria Theater in London. Hendrix burned up beautiful 1965 Fender Stratocaster. Tony Garland, Hendrix’s press agent scooped up the remains and placed them in the garage of his southern U.K. home.



Garland's Hendrix Strat

Garland’s nephew found them and the burnt guitar was auctioned off in 2007 for $575,000.




There was another instance of Hendrix setting fire to a guitar. This occurred at the 1968 Miami Pop Festival. Once again this was a mid 1960’s Stratocaster. The remains of this instrument were given to Frank Zappa by Hendrix roadie, Howard Parker. Frank kept it as a decoration on his studio wall for a long time and then had it restored. 

In the early 1990’s his son, Dweezil took possession of the guitar. Probably the most well know instance of Hendrix setting fire to his Stratocaster was at the Monterey Pop Festival.



Some people in attendance claim that Hendrix changed guitars and used a much cheaper guitar as the burnt offering. Tony Garland claims that burning the guitar was an idea hatched by Hendrix’s manager, Chas Chandler. The Monterey guitar sold at auction for 237,000 pounds in London in 2012.

According to Jimi’s last girlfriend, Monika Dannerman, Jimi’s favorite guitar was a black 1968 Fender Stratocaster with a white pickguard. After he died the guitar she kept the guitar secure at her home until her death in 1996.

Danneman revealed afterwards that Hendrix had played this guitar on the night of his death. The guitar is now either with the Danneman family or in the possession of Scorpions guitarist Uli Jon Roth, a long-time friend of Monika. It was last seen in public on the December 3rd 1995 in London.

A 1966 Fender Stratocaster guitar was given to Jimi’s record company Anim Limited.

Somehow, one of Jimi’s roadies, James ‘Tappy’ Wright took possession of this guitar and eventually sold it at auction for $360,000.





The provenance of this guitar is interesting, since it is said this was the Stratocaster Jimi played it at Monterrey International Pop Festival in 1967 before switching to a different less valuable guitar to which he set on fire.

The guitar that is said he set fire to, during the Monterey performance was a 1964/65 white Fender Stratocaster. Jimi hand painted designs on the body, in the style of his friends, The Beatles. We are told this is the guitar that he ignited.

There are claims that this 1966 Stratocaster was Hendrix’s favorite guitar. It is obvious though that this is a different Strat, featuring rosewood neck instead of maple which was on the Black Beauty.

Possibly the most viewed and memorable guitar Jimi played was the 1968 Fender Stratocaster he used at Woodstock in 1969. This guitar had the larger head stock design. It was completely stock and is said to be one of Jimi’s favorite instruments.

He practiced on this guitar in hotel rooms and played it on many occasions. The guitar is currently owned by Paul Allen of Microsoft and can be seen at the EMP Museum in Seattle Washington.

After Hendrix became famous he purchased other guitars that were not Fender Stratocasters. Perhaps the most well known is the 1967 Gibson Flying Vee guitar was originally plain black. The psychedelic body paint job was done by Jimi himself. He played it on the concert in Paris during his 67/68 tour – among others.

It was also featured on a few of his songs including All Along The Watchtower and Little Miss Strange. Jimi gave this guitar to his friend Mick Cox in 1969, and it later ended up with David Brewis of Rock Stars Guitars.


At that point, the guitar lost its original paintwork done by Hendrix, but it was successfully restored/replicated in 1999.

Check out the WEM amps
There was a 1969 Gibson Flying Vee that was custom built by Gibson specially for Jimi in 1969. All of the hardware is gold plated, and this guitar is left-handed and equipped with a tremolo bridge. Jimi played it during the Isle of Wright concert on the song Red House.






Hendrix '55 Les Paul
He owned a 1955 Gibson Les Paul Custom that was purchased in Nashville in 1962 by Hendrix and his friend Larry Lee. This was long before he became famous. Hendrix played it for some time in 1968 and 1969 usually only for the song “Red House”. A week before his Woodstock performance Hendrix invited Lee, who had just returned from an Army tour in Vietnam, to play at the festival with his new band Gypsy Sun and Rainbows.



Larry Lee with 55 Les Paul
At that time Lee didn’t have a guitar so Hendrix gave him back the Les Paul, which Lee played during the Woodstock set. This guitar is now at EMP museum in Seattle.





Jimi also owned a 1956 Les Paul Custom that he played during a May 1968 performance at the Fillmore East Theater in New York City. This guitar is owned by the Hard Rock Café in Chicago.







Hendrix owned a mid 1950’s Gibson Les Paul Special painted TV yellow. Jimi was seen using it backstage at Madison Square Garden while hanging out with the Rolling Stones.








His 1967 Gibson Les Paul/SG Custom guitar is recognizable as he played it on the Dick Cavett Show in 1969. Jimi also played this guitar in Stockholm, Sweden during that same year.




Hendrix ES 345 at EMP
This beautiful white guitar has three Gibson humbucking pick-ups, instead of two seen on the most of the SG models. Hendrix was also seen playing a 1960’s Gibson ES-345 with a Bigsby.






Jimi also owned a 12 string Zematis acoustic guitar that he used on “Hear My Train A Comin’” was a part of the film recorded in 1967 called “See My Music Talking”.

In 1969, Jimi bought a 1968 Martin D-45 guitar from Manny’s Music shop in New York, and composed on it in his apartment in New York. The guitar was bequeathed to Experience drummer Mitch Mitchell after Hendrix’s death. It was then sold in 1992 to guitar collector Dave Brewis, who later sold it to Experience Music Project.

Jimi owned another Martin D-45 ended up with Noel Redding, who kept it in his house in Ireland until his passing in 2003. Chris Dair was at his house around 1998/1999, when he had the opportunity to play Jimi’s D-45. Noel kept it at his mother’s home for years. The whereabouts of this instrument are unknown.

Epi at Bonham auctions
In 1967 Hendrix purchased an Epiphone FT79 for $25 USD. He brought this guitar with him on his first trip to London. His girlfriend, Kathy, says that he would sit on the toilet and play this old Epiphone. He used it to compose songs. Like many of us, he liked the echo one can only get in a tiled bathroom. She goes on to say that when Jimi was working on a song, he would pick up this guitar and then get a Stratocaster to work out the riffs and arrangements for the song.


This is how he came up with his version of All Along the Watchtower. This twenty-five dollar guitar was sold in 2001 for $77,000. There are a couple other guitars that Jimi owned, but were rarely used.

The first is an Acoustic Black Widow guitar. These were made by The Acoustic Company to go along with their amplifiers. His was probably made by Bartell of California.

The other guitar is actually a bass guitar made by Hagstrom Guitars. This is an eight string Hagstrom bass that Jimi used on a King Curtis recording session.

It was later used by Noel Redding. Redding was seen in Hagstrom guitar advertisements with the eight string bass.

Prior to using Marshall amps, he used Fenders. From 1965 to 1966 he was using a Fender Twin Reverb.







In 1967 Hendrix was becoming the next big thing and s
subsequently signed a contract with Sunn Amplification and used their their 100S Coliseum amplifier with Sunn 100F cabinets that contained one 15” JBL D-130 and a JBL L-E 100=S driver horn.

This powered 4 speaker cabinets. Sunn gave him whatever he needed, but Hendrix ended the contract.

He went on the first Experience tour using Fender Dual Showman amps with all the settings at 10, so the amps burnt out, due to the stress and had to be replaced.








Then he discovered Marshall amps, which he used until his death. He usually linked three 100 watt Marshall heads with six double speaker cabinets.




Marshal 100JH
Marshall built a signature hand-wired Super 100JH amplifier that was based on one of the amplifiers that belonged to Hendrix. Estimates say he probably went through at least 100 Marshall amplifiers.

Jimi Hendrix’s effects were designed by Roger Mayer. He began using the Octavia Fuzz around 1967 when it was still a prototype. He used this on his first big hit; Purple Haze.



Jimi also used a Univox Uni-Vibe pedal which had two built-in effects; vibrato and chorus. It came with a separate pedal to control the speed of the rotating speaker effect.





Vox Wah - Octavia- Fuzz Face
He also made use of the V848 Vox Clyde McCoy wah-wah pedal. The Dallas Arbiter Fuzz Face was probably the effect that we most associate with Jimi Hendrix. He used this at every venue he played and on all of his recordings.





Categories: General Interest

Jeff LaBar Interview – One For The Road

Guitar International - Sun, 08/31/2014 - 08:58

Cinderella guitarist Jeff LaBar will be releasing his first solo, entitled One For The Road on August 26th.

It not only showcases his classic rock roots but his singing and songwriting. After decades of threatening to put out a solo CD, the time was right with Cinderella on temporary hiatus.

With the support of his wife and manager, he finally lived up to the task. After testing the waters with some demos, he signed with Rat Pak Records to give the fans what they want.

He approached the CD with the same sense of spirit, determination, and humor that drove Cinderella to success.

Tracks on the CD range from classic, early Cinderella-style hard rock, to groove-laden blues rock and really captures the magic and spirit of the genre that Jeff helped create!

I spoke with Jeff about the CD and what inspired him to finally get it done, what’s behind the sinister lyrics, and the status of Cinderella.

 

JL_01

 

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Robert Cavuoto: What drove you to record your solo CD, One For The Road?

Jeff LaBar: I’ve been threatening to do one for a long time but a Cinderella tour or side project with Eric Brittingham would always come up and I would end up putting it off. The timing was never right.

When Tom Keifer put out a solo record, my wife and manager told me it’s now or never. I said, “Stop annoying me, I’ll do it!”

So my wife kicked my ass all the way to the studio and my manager had a connection with Rat Pak Records. I wanted to throw down a song or two in the studio prior to signing anything.

Troy Luccketta from Tesla threw down some drum tracks for me at Ronnie Honeycutt’s studio, where I do all my recordings, and then I started overdubbing bass, guitars, keyboards and vocals. I did it all myself.

I got three songs down by the end of the summer 2012 and then Fred Coury [drummer for Cinderella] mixed it for me and made it sound brilliant. I signed with Rat Pak Records in the beginning of 2013.

It took me longer to do the rest of the CD because I got involved in another band project with Eric. My idle threats have all been warranted.

Robert: I wasn’t surprised by the great guitar playing on the CD, but I was surprised by the dark lyrics. Were you in dark part of your life when you wrote them?

Jeff LaBar: [Laughing] Some of these lyrics were written in the ‘90s post Cinderella’s heyday while listening to Alice in Chains and similar kind of music. Some of it was also written in the 2000’s as well.

I think the dark lyrics are tongue and cheek. Like “Nightmare on my Street” is about a fictitious serial killer, similar to what Alice Cooper does.

There were some lyrics about bad relationships where I wasn’t happy. The CD allowed me to get it all out. Songs like “Hello or Goodbye” is about whether your loved one will be there when you get home from being on the road.

“One for the Road” is pretty much about the guy who won’t leave the bar… if his life depended on it. I guess now that you mention it, the lyrics are from a dark time in my life. [Laughing]

Things are no longer dark. I think it’s almost cathartic for me to get it out and share with my fans. Once you get it all out, “I’m hunkie dorie” [Laughing]

Robert: When it comes to writing is it difficult do you separate yourself from working on Cinderella songs?

Jeff LaBar: Not really. With Cinderella, Tom writes most of the songs and it’s a whole different process.  When we go into preproduction, Eric and I will hash out Tom’s songs and arrange most of the parts.

All four of us will come up with a bridge, solo section or a break down section. We’ve got used to working like that.

As far as my writing style I come up with most of my songs at sound check, just jamming with Fred. I know for a fact the riff for “Asking for a Beating” was created at a sound check when Fred came up with a beat.

That’s the best place for me to write, just having a drummer through down a beat and coming up with riffs. There is nothing better than doing it on a big stage with three Marshall stacks [Laughing]

 

DSC_0025B

 

Robert: Who influenced you the most growing up and learning how to play guitar?

Jeff LaBar: When I was in the 4th or the 5th grade I started playing drums. I thought it was boring. My older brother who is 5 and a half years older than me was playing guitar. When he was out at work at an afterschool job, I would take his guitar put it on and jump around in front of the mirror to Alice Cooper records.

One day he caught me and said “Do you want to learn how to play that thing or do you just want to dance with it in front of the mirror?”

With that I said I wanted to learn and he taught me three open chords and put a “folkie” songbook in front of me with a “Peaceful Easy Feeling” by the Eagles and other songs by America and Crosby Stills & Nash.

I took it from there and learned how to play by ear to records and started singing the songs. From there I got into Yes, Pink Floyd, Genesis and the classic rock of the ‘70s.

When I was a teenage I got into Sabbath, Zeppelin, Cooper, Maiden, Priest, Anthrax, and Metallica. Before I got in Cinderella I was in a cover band doing all heavy metal covers.

Robert: Is there something you want Cinderella fans to take away from your CD?

Jeff LaBar: I hope they take away that I’m not just a guitar player from an ‘80s band that used to be famous, but viewed as a new artist who is a singer and songwriter.

Robert: Did you have hesitations about singing on the CD?

Jeff LaBar: I’ve been signing all my live and sing all the time. I sing to my cats all day long. I sang in bands growing up but once I got into Cinderella, we had a pretty good singer so I was glad to be the guy on the left. [Laughing].

Robert: Do you think we will see a solo tour?

Jeff LaBar: I just might. I don’t have a band together but in the video, my son Sebastian is playing guitar. He’s in a great band called Mach 22 and I produced their last CD.

Jasmine Cane is on bass – a great singer and performer. The drummer is Matt Horn who is in the best Rockabilly band ever. If I can get them to leave their night jobs, I would do it.

I can make my son do it but I need the other members too. [Laughing] Living in Nashville there are a lot of great musicians to tap into.

 

JL_02

 

Robert: What guitars did you use to record the CD – its rich in guitar tones?

Jeff LaBar: What you hear on the CD is what comes out of my amp. I work out of a studio call Studio Dragon that Ronnie Honeycutt has, he has been my engineer for years. He always says that if it sounds good coming out of your amp it will sound good when people listen to it.

I have been using the same Marshall heads and cabinets for over 30 years now – my whole career. I’ve replaced parts here and there as well as the speaker but other than that. It’s been the same.

The different tones come from the different guitars. The heavy tones come from Les Paul – a 1980 custom shop. When I want a clean tone I use my old Strat, with the pick-up cracked between the bridge and center.

You can hear the distinction of the strings with the plucking chords, which is my Strat and power chords, which is my Les Paul. I also used a Telecaster on “Hello or Goodbye” for the clean tones.

For acoustics I used Eric’s 12-string Alverez, I’ve offered to buy it from him but he refuses so we just keep it at my house [Laughing]. I also used a 6-string Epiphone Heritage acoustic on the interlude for “Muse.”

Robert: What is the status of Cinderella?

Jeff LaBar: Tom is still touring his solo CD and I have mine coming out, Fred is doing a ton of commercial work as he has a studio out in LA. He was scoring the new NBC medical drama, Night Shift, which just got picked up for a second season and he will be busier than any of us.

Eric is out in LA with Rikki Rockett and Tracii Guns working on a new project band called Devil City Angels. We are all busy and haven’t broken up, were just doing our own things. With that said our status is up in the air.

We could or could not tour next summer [Laughing]. We’ll see what the offers are like and if anybody wants to see us. If they do, we’ll go out!

Categories: Classical

New Stevie Ray Vaughan Box Set

I Heart Guitar - Sat, 08/30/2014 - 20:24

Stevie Ray VaughanIf you’ve never delved into the world of Stevie Ray Vaughan before, or if you’ve only heard a few tracks here and there and you figure that the best way to rectify that is to go totally overboard, or if you’re just a completist, dagnabbit, Sony/Legacy will release a comprehensive box set bringing together all of SRV’s recordings for Epic Records in October. All of the studio albums are represented (not counting stuff like the posthumous The Sky Is Crying or Family Style by The Vaughan Brothers) and there’s plenty of live material too, including the first-ever commercial release of 1983′s A Legend In The Making – Live at the El Mocambo Toronto Concert. Here’s the press release…

PRESS RELEASE: Legacy Recordings, the catalog division of Sony Music Entertainment, and Epic Records celebrate electric blues guitarist Stevie Ray Vaughan with the release of Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection on Tuesday, October 28, 2014.

“Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection” to be released on Tuesday, October 28, 2014.
A definitive career-encompassing 12 disc library, The Complete Epic Recordings Collection brings together, for the first time, the entirety of Stevie Ray Vaughan and Double Trouble’s official studio and live album canon including the inaugural commercial release of A Legend In The Making, a highly collectible (formerly) promotional only recording of SRV & DT’s incendiary performance at Toronto’s El Mocambo club in 1983.

In addition, The Complete Epic Recordings Collection features two discs compiling rare and hard-to-find archival tracks.

On April 26, 2014, Stevie Ray Vaughan and Double Trouble among the artists to be inducted into the newly created Austin City Limits Hall of Fame, launched in celebration of the 40th anniversary of the PBS televised concert series. The Austin City Limits Hall of Fame induction ceremony will air on PBS in October 2014.

Stephen Ray Vaughan was born in Dallas, Texas on October 3, 1954, the same year the Fender Stratocaster went into production. Stevie Ray picked up his first six-string at the age of 7, dropped out of high school in 1971 and moved to Austin in ’72, going on to become one of the most influential and electrifying blues guitarists ever. After honing his chops in a variety of bands throughout the ’70s, Stevie Ray formed his own group, SRV & Double Trouble, in 1978. Hellbent and intent on revitalizing the blues for contemporary audiences, Stevie Ray served as the power trio’s charismatic frontman and evangelical electric guitarist, driven and underscored by drummer Chris Layton and bassist Tommy Shannon.

Stevie Ray VaughanStevie Ray and Double Trouble’s reputation as a transcendent live experience gained considerable traction following a watershed performance at the Montreux International Jazz Festival in 1982 (included in The Complete Epic Recordings Collection). Recommended to the label by A&R giant John Hammond, Stevie Ray Vaughan and Double Trouble recorded the band’s studio debut, Texas Flood, for Epic Records in 1983. Going on to achieve RIAA double platinum status, Texas Flood opened the gates for a flow of gold, platinum and multiplatinum albums for Stevie Ray Vaughan and Double Trouble, an unprecedented achievement for any blues act.

Stevie Ray Vaughan died in a helicopter crash on August 27, 1990, following an awe-inspiring performance with Double Trouble and Eric Clapton at the Alpine Valley Resort in Wisconsin. Though his mainstream career lasted a mere seven years, Stevie Ray Vaughan’s enduring contribution to the blues can be heard in the work of younger players including John Mayer, Derek Trucks and Mike McCready of Pearl Jam.

Stevie Ray Vaughan was the recipient of numerous musical awards, during his lifetime and posthumously. In 1983, readers of Guitar Player voted him as Best New Talent and Best Electric Blues Guitar Player. In 1984, the Blues Foundation named him Entertainer of the Year and Blues Instrumentalist of the Year, and in 1987 Performance Magazine honored him with Rhythm and Blues Act of the Year. Earning six Grammy Awards and ten Austin Music Awards, he was inducted into the Blues Hall of Fame in 2000 and the Musicians Hall of Fame in 2014. Rolling Stone ranked Vaughan as the twelfth greatest guitarist of all time.

Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection

Disc 1: In The Beginning (KLBJ-FM radio broadcast produced by Wayne Bell
Recorded April 1, 1980; Austin, Texas)
In The Open
Slide Thing
They Call Me Guitar Hurricane
All Your Love I Miss Loving
Tin Pan Alley (aka Roughest Place In Town)
Love Struck Baby
Tell Me
Shake For Me
Live Another Day

Stevie Ray Vaughan–guitar, vocals; Jackie Newhouse–bass; Chris Layton–drums

Originally released as Epic 53168, 1992
Peak chart position: #58

Disc 2: Live At Montreux 1982 (July 17, 1982; Montreux International Jazz Festival)
Hide Away
Rude Mood
Pride And Joy
Texas Flood
Love Struck Baby
Dirty Pool
Give Me Back My Wig
Collins Shuffle

Originally released as Epic/Legacy 86151, 2001
Peak chart position: #178

Disc 3: Live At Montreux 1985 (July 15, 1985; Montreux International Jazz Festival)
Scuttle Buttin’
Say What!
Ain’t Gone ‘N’ Give Up On Love
Pride And Joy
Mary Had A Little Lamb
Tin Pan Alley (aka Roughest Place In Town)
Voodoo Child (Slight Return)
Texas Flood
Life Without You
Gone Home
Couldn’t Stand The Weather

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris Layton–drums; Reese Wynans–organ; Johnny Copeland –vocals, guitar (Track 6)

Originally released as Epic/Legacy 86151, 2001
Peak chart position: #178

Disc 4: Texas Flood
Love Struck Baby
Pride And Joy
Texas Flood
Tell Me
Testify
Rude Mood
Mary Had A Little Lamb
Dirty Pool
I’m Cryin’
Lenny

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris “Whipper” Layton–drums

Produced by Stevie Ray Vaughan, Richard Mullen and Double Trouble
Executive Producer: John Hammond

Originally released as Epic 38734, 1983
Peak chart position: #38

Disc 5: A Legend In The Making—Live At The El Mocambo (recorded Toronto, Canada, July 20, 1983, originally released for radio broadcast only)
Testify
So Excited
Voodoo Child (Slight Return)
Pride And Joy
Tell Me
Mary Had A Little Lamb
Texas Flood
Love Struck Baby
You’ll Be Mine
Hug You, Squeeze You
Little Wing/Third Stone From The Sun
Lenny
Wham!
Rude Mood

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris Layton–drums

Disc 6: Couldn’t Stand The Weather (1984)
Scuttle Buttin’
Couldn’t Stand The Weather
The Things (That) I Used To Do
Voodoo Child (Slight Return)
Cold Shot
Tin Pan Alley (aka Roughest Place In Town)
Honey Bee
Stang’s Swang

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris “Whipper” Layton–drums; Jimmie Vaughan–guitar (Tracks 2, 3); Fran Christina–drums Track 8); Stan Harrison–tenor saxophone (Track 8)

Produced by Stevie Ray Vaughan, Chris Layton, Tommy Shannon, Richard Mullen, and Jim Capfer
Executive Producer: John Hammond

Originally released as Epic 39304, 1984
Peak chart position: #31

Disc 7: Live At Carnegie Hall (Recorded October 4, 1984; New York City)

Intro–Ken Dashow/John Hammond
Scuttle Buttin’
Testify
Love Struck Baby
Honey Bee
Cold Shot
Letter To My Girlfriend
Dirty Pool
Pride And Joy
The Things That I Used To Do
C.O.D.
Iced Over
Lenny
Rude Mood

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris Layton–drums; Jimmie Vaughan–guitar; Dr. John–keyboards; George Rains–drums; The Roomful Of Blues Horn Section: Bob Enos–trumpet; Porky Cohen–trombone; Rich Lataille–alto saxophone; Greg Piccolo–tenor saxophone; Doug James–baritone saxophone; and Angela Strehli–vocals (Track 11)

Produced by Stevie Ray Vaughan

Originally released as Epic 68163, 1997
Peak chart position: #40

Disc 8: Soul To Soul (1985)

Say What!
Lookin’ Out The Window
Look At Little Sister
Ain’t Gone ‘N’ Give Up On Love
Gone Home
Change It
You’ll Be Mine
Empty Arms
Come On (Part III)
Life Without You

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris “Whipper” Layton–drums; Reese Wynans–keyboards; Joe Sublett–saxophone

Produced by Stevie Ray Vaughan, Double Trouble and Richard Mullen
Executive Producer: John Hammond

Originally released as Epic 40036, 1985
Peak chart position: #34

Disc 9: Live Alive (Recorded July 16, 1985, Montreux International Jazz Festival; July 17-18, 1986, Austin, Texas; July 19, 1986, Dallas, Texas)

Say What!
Ain’t Gone ‘N’ Give Up On Love
Pride And Joy
Mary Had A Little Lamb
Superstition
I’m Leaving You (Commit A Crime)
Cold Shot
Willie The Wimp
Look At Little Sister
Texas Flood
Voodoo Child (Slight Return)
Love Struck Baby
Change It
Life Without You

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris “Whipper” Layton–drums; Reese Wynans–keyboards; Jimmie Vaughan–guitar or six string bass (Tracks 8, 9, 12, 13)

Produced by Stevie Ray Vaughan and Double Trouble

Originally released as Epic 40511, 1986
Peak chart position: #52

Disc 10: In Step (1989)

The House Is Rockin’
Crossfire
Tightrope
Let Me Love You Baby
Leave My Girl Alone
Travis Walk
Wall Of Denial
Scratch-N-Sniff
Love Me Darlin’
Riviera Paradise

Stevie Ray Vaughan–guitar, vocals; Tommy Shannon–bass; Chris Layton–drums; Reese Wynans–keyboards; Joe Sublett, Darrell Leonard–horns (Tracks 2, 9)

Produced by Jim Gaines & Stevie Ray Vaughan and Double Trouble
Recorded in Memphis, Tennessee and Los Angeles, California

Originally released as Epic 45024, 1989
Peak chart position: #33

Disc 11: Archives/Disc One

Tin Pan Alley (aka Roughest Place In Town)
Empty Arms
Come On (Part III)
Look At Little Sister
The Sky Is Crying
Hide Away
Give Me Back My Wig
Boot Hill
Wham!
Close To You
Little Wing
Stang’s Swang

Disc 12: Archives/Disc Two

May I Have A Talk With You
Boilermaker
The Sky Is Crying
Shake And Bake
So Excited
Slip Slidin’ Slim
Chitlins Con Carne
Little Wing/Third Stone From The Sun
Boot Hill
Life By The Drop

Archives/Disc One, Track 1 produced by Stevie Ray Vaughan, Richard Mullen and Double Trouble; Executive Producer: John Hammond
Archives/Disc One, Tracks 2-12 produced by Stevie Ray Vaughan, Chris Layton, Tommy Shannon, Richard Mullen, and Jim Capfer; Executive Producer: John Hammond
Archives/Disc Two, Tracks 1-8 produced by Stevie Ray Vaughan, Double Trouble and Richard Mullen; Executive Producer: John Hammond
Archives/Disc Two, Track 9 produced by Jim Gaines & Stevie Ray Vaughan and Double Trouble
Archives/Disc Two, Track 10 produced by Stevie Ray Vaughan and Jim Gaines

Categories: General Interest

Watch Young Guns Live at Reading Festival

Charvel Guitars - Fri, 08/29/2014 - 15:29


Young Guns have a new album coming out in early 2015, but the U.K. hard rock band is already building buzz for the release with the bombastic new single “I Want Out.”

Footage of Young Guns performing that song at last weekend’s Reading Festival recently hit the Interwebs, too!

Check out Young Guns in action after the jump and click here for more information.  

Categories: Manufacturers

Totally Guitars Weekly Wrap Up August 29th, 2014

On The Beat with Totally Guitars - Fri, 08/29/2014 - 14:46
Learn to Play Guitar Online with Totally Guitars Totally Guitars Podcast Well one might think that after not doing an update last week that this week’s would be extra long. It didn’t quite turn out that way, fortunately. I did resurrect bits and pieces of some originals that had ties to Hawaii, staying with the [...]
Categories: Learning and Lessons

New Song: Prima Luce

Guitar Gear - Fri, 08/29/2014 - 13:08
Prima Luce is Latin for “first light,” or dawn. The melody of the song was inspired by my thinking about a cross-country trip I made with my family last summer, and driving through the Nevada desert at the sun was coming up. It was absolutely moving. To be perfectly honest though, making another instrumental was […]
Categories: General Interest

The importance of repertoire

Cape Cod Acoustics - Fri, 08/29/2014 - 08:28
On my recent vacation to the Southwest I had the opportunity to hear some live music in a couple places. At a nice restaurant in Sedona, Arizona I heard a young woman guitarist/singer who reminded me of the importance of careful selection of repertoire. She was a pretty decent guitar player and her singing was pleasant in a Nora Jones kind of way – mellow and certainly not offensive but she fell into the trap that many single performers do: “sameness” of song selection.

I confess to being the same way early on in my musical career. When we begin performing it’s natural to develop our repertoire around music and artists we like. This is the way it’s probably always been for budding musicians. But the danger is not realizing those artists have the luxury of playing pretty much whatever they want; they’re famous already, right?! In the real world of work-a-day, gigging musicians we must keep the audience interested.

If we’re lucky we play at places with enthusiastic or at least sympathetic audiences. Remember – the owner of the establishment wants his or her customers to have an enjoyable experience and (sad to say!) often the music is not nearly as big a priority in their mind as the quality of the food and drink. So as performers we have to make ourselves as integral to the overall experience as we can. So, here are a few ways I think we can make that happen.

First and foremost: mix it up! Don’t play every song at the same tempo. And for goodness sake, don’t start the evening with a slow, minor key song. As my mother told me when I was young, “You only have one chance to make a first impression!” If you act like you’re happy to be there and enjoy playing and performing a good vibe will be set from the get-go.

Mix up covers with original material (if you have some). In some instances like open mics or showcases where original material is the norm it’s fine to try out your own songs on an audience but even then, leave the songs of heartbreak and angst for later in the set. Putting your own spin on a cover is fine as long as it’s at least marginally recognizable and perhaps even preferable to trying to sound exactly like a well known recording, which for most of us is impossible anyway!

Build a repertoire that takes into account the type and age group of the audience you’re likely to encounter. This takes time but is well worth the effort. It may require putting aside some of your opinions about certain artists or types of music but performers who understand this work at lot more than those that don’t, believe me.

Build momentum. Don’t play your best or fanciest tune right away. Some of the best performances I’ve ever heard started with moderate tempo, major key songs in the beginning (with a more up-tempo tune thrown in occasionally), followed by a few slower tunes in the middle of the show, followed by more energetic playing and singing building up to a enthusiastic finish. Depending on the type of venue, this game plan is a great way to produce that positive reaction to your music, and maybe even an encore or two!

Very few of us are natural born performers and the best of the best learned their craft by trial and error. I guess all I’m really saying is (and I know the hip musician types might disagree): we’re there but for the grace of the audience. Otherwise, why the heck are we doing it in the first place? Give your repertoire some serious thought and planning, regardless of your level of experience. Good times for both you and listener will be the result.

Peace & good music,

Gene

Categories: Acoustics

Ninebuzz Modal Buddy Guitar App

Guitar Noize - Thu, 08/28/2014 - 16:05

Ninebuzz are a software company that make mobile apps specifically for guitarists. Their latest app is called ‘Modal Buddy’ and as you can probably guess is designed to be a complete tutorial on learning and using the diatonic Modes.

There are two parts to this app labelled ‘Learn’ and ‘Practice’. Learn is divided up into 6 sections, one of those is just a quiz so you can make sure you have fully understood the other sections. The main sections explain and demonstrate how the modes are constructed using box and interval diagrams and with audio examples so that you can hear how each mode sounds which is a very important part of learning about Modes.

The Practice section is a quick and easy way to see each mode in the 5 different fretboard box positions, simply swipe left and right to see them all. Also in the center of the screen is the interval explanation for the mode which looks like RHWWWHWW (R=Root, H=Half Tone, W=Whole Tone), this is Phyrgian for example. Also there is a play button which gives you an instant backing track loop that you can practice the Mode over.

Modes are often a confusing subject, I know when I was doing my music degree the only people that fully understood Modes where the guitar players, the lecturers would just say “Dorian is just the major scale starting on the second note” which made everyone think “huh?! that’s the same scale?”. Never once did I see anyone demonstrate the different distinct sounds and feels that you get from the various Modes. Modal Buddy covers all of the theory you need to start learning and applying modes to your improvising and composition but with plenty of audio references and jam tracks to help you memories how each mode sounds.

For more info or to download Modal Buddy check out the Ninebuzz website.

The post Ninebuzz Modal Buddy Guitar App appeared first on Guitar Noize.

Categories: General Interest

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by Dr. Radut