Norse Guitar Feeds



For episode 113 of Luthier on Luthier, I’m joined by guitarist and educator Sean McGowan.

We focus on his recent Archtop Foundation recording project, featuring 20 tracks across nine exceptional Blue series archtop guitars, and dig into his detailed approach to capturing their unique voices in the studio. Sean also shares highlights from his musical journey, his work as an educator at the University of Colorado in Denver, and the realities of making a living as a modern musician.

Link: https://seanmcgowanguitar.com/

Luthier on Luthier is hosted by Michael Bashkin of Bashkin Guitars and brought to you by the Fretboard Journal. This episode is sponsored by the Looth Group, Dream Guitars and StewMac.

Michael Bashkin’s Hub of Acoustics 2026 US Academy: https://hubofacoustics.com/en/#Colorado_Academy

Want to support Luthier on Luthier? Join our Patreon to get access to exclusive photos and content from Michael and his builds.

The post Luthier on Luthier: Sean McGowan first appeared on Fretboard Journal.

Issue 59 of the Fretboard Journal is an instrument lover’s dream. Legends, some fresh faces, historic guitars, interviews with songwriting heroes, and even a philosophy lesson.

Here are some highlights found in this issue’s 128 keepsake pages.

Nearly every guitar fanatic has thought about building their own instrument. The Fretboard Journal‘s Mike Buchman flies to Colorado to make his dream come true under the watchful eye of luthier Robbie O’Brien. He documents the process…and the finished product.

The word troubadour is tossed around far too often these days, but what else can we call songwriter Jesse Welles? Musician Bob Minner talks to Welles about small-town living, small-bodied guitars, and the power of social media to spread a song far and wide.

Tube amps don’t have to look like old Fenders. Case in point: Vancouver, British Columbia’s Gary Economy, who creatively repurposes old radios and telecommunication relics to house his guitar amplifier builds. Writer Brian Lynch pays a visit to Economy’s studio to hear all about his latest upcycling adventures.

Frequent contributor and The Luthier’s Tool Box author Jamie Etherington talks to Welsh primitive guitarist Gwenifer Raymond. How does a young guitarist from a small village in the UK become enamored in the music of John Fahey? Etherington finds out…and so much more…while acclaimed guitar photographer Eleanor Jane takes the pics.

Ella Feingold has taken the record industry (and Instagram) by storm. The guitarist, who has performed with Charlie Hunter, Bruno Mars, Silk Sonic, and Erykah Badu – has a knack for rhythm guitar and demystifying the playing of Jeff Buckley, Prince and others like no one else. It’s no wonder that everyone from Johnny Marr to Bill Frisell now follows her. David Von Bader talks to Ella about her background, her mentors, playing funk authentically, and more.

Can the right guitar calm the nerves? Writer Noah Lekas delves into the zen of music as a discovery journey and what Krishnamurti calls a “conclusion mindset” through the lens of guitar. Art by Donald Groscost.

Michael Watts accompanies guitar wizard Alan Gogoll into Hansa Studios, the famed recording studio where Bowie, U2, Iggy Pop, Lou Reed, and Depeche Mode all re-invented themselves.

Jeff Tweedy is in the midst of a creative streak like few others. Fretboard Journal publisher Jason Verlinde talks to the Wilco frontman about Twilight Override, his triple-solo album; the joys of working with your kids; and his ever-growing guitar collection.

Remember Ann Brashares 2001 book, Sisterhood of the Traveling Pants? Twenty-five years later, musician Daniel Marcus Clark writes about an archtop guitar that – like those jeans – seems to fit just about everybody. The instrument, a 1942 D’Angelico New Yorker, was originally built for a jazz hero, but ended up in the hands of Leo Kottke. Clark documents its history and its many travels.

To celebrate our 59th issue, we take a peek at the mystique of the 1959 sunburst Les Paul with help from the experts from Emerald City Guitars. ECG’s Trevor Boone and Tyler Geske have seen and authenticated dozens of these coveted instruments. What do they look for when they pop open a Lifton case? You may just be surprised…

Want this issue? Subscribe today and we’ll send it to you.

The post What’s Inside: Fretboard Journal 59 first appeared on Fretboard Journal.

John Mayer has reflected on his 2003 track Daughters, saying he wrote it from a “selfish” place, and questioning whether he had the authority at the time to convey the message he intended to.

During a recent appearance at HISTORYTalks – a live speaker series in which prominent figures give public talks – the guitar legend recounted his inspiration behind the track, which featured on his 2003 album, Heavier Things.

• READ MORE: Slipknot x Gucci: the wildest crossover of the year so far?

The song itself sees Mayer giving fathers advice on how to raise their daughters, and more specifically how raising them right affects how they’re able to experience love in a healthy way. Mayer was 25 when the album was released, and currently has no children.

“What was a 24-year-old boy doing, telling fathers,” Mayer said during the event before breaking into laughter [via People].

Beyond the surface of what the song was about, Mayer revealed he had something of a personal agenda while writing it, explaining he was unable to be with a woman he loved.

“I was thinking in very circuitous and clever ways that it was really about me, a young guy, so selfishly upset that he couldn’t be with the woman he loved, because he thought that her father must have had something to do with it,” he continued.

“When you’re young… that’s young logic, and it plays really well in songs. It just does. ‘Come over. I know [we’re] horrible for each other, come over,’ [type of] young.”

He added that “older logic” doesn’t necessarily make for great songs: “Had a tough day, coped with it.’ It’s a tough song to write. ‘Had a rough morning, took a look at the bright side, got a good phone call later, reminded myself, ‘What was I doing worrying?’ It’s not a chorus!”

Listen to Daughters below:

Elsewhere, John Mayer recently reflected on his nerves before performing with Dead & Company for the first time. Explaining how he was desperate to prove himself to the band’s fans and to late Grateful Dead legend Bob Weir – who died earlier this year – he said: “I couldn’t help overplaying in some of those first few tours. You just do. 

“Even if I knew not to overplay, I’m still going to overplay. It’s going to be wordy. I have to adjust my way into the 10-ring on the target.”

The post “What was a 24-year-old boy doing telling fathers?” John Mayer admits one of his biggest hits was “very selfish” and written with “young logic” appeared first on Guitar.com | All Things Guitar.

In one of the more left-field crossovers of the year so far, Gucci has used Slipknot’s debut album opener (sic) in its latest – rather bizarre – advert.

The dark, moody ad sees a number of models waking up in a motel room under spotlights, and features a rather strange turn as two models sit in an old American car with the top down, floating around unpredictably under a full moon, soundtracked by Slipknot’s landmark track (sic). No, you didn’t just hallucinate that sentence.

• READ MORE: Answered: more technical guitar questions you were too afraid to ask

The “short film” also features two other songs perhaps more in keeping with the Italian luxury fashion brand: Mina’s Un bacio è troppo poco and Charles Aznavour’s Hier encore.

The clip serves as a promotional video for the brand’s upcoming Generation Gucci collection. Check it out below:

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While never released as a single, (sic) opens Slipknot’s ground-shifting self-titled debut album, which arrived to change the metal landscape in 1999. With its rapid tempo and crushing drop B guitar riffs, the track has become a fan favourite, and according to Setlist.fm [via Louder], it’s the third most-played song in their catalogue at live shows.

Elsewhere in Slipknot World, guitarist Jim Root recently explained to Fender his love of the Telecaster. A flagbearer for Fender in the world of metal – in which players often reach for more conventionally ‘metal-friendly’ brands like Jackson, Charvel, or ESP, for example – Slipknot’s #4 has a number of signature Fender models under his name, including a Stratocaster, Telecaster and Jazzmaster.

“That’s kind of the whole metal, punk rock, rock and roll attitude,” he said. “It’s anti, and going against the grain. And if somebody tells you to do something, you’re gonna do the opposite.

“Everybody thought I should be coming out with some pointy metal guitar that’s got 12 points or whatever. No, how about we just do a classic slab iconic guitar? Guitars, in my opinion, are like sunglasses. The classics never go out of style. They’ll always be there. People will make their version of it, but there’s only one Fender Telecaster.”

The post Slipknot x Gucci: the wildest crossover of the year so far? appeared first on Guitar.com | All Things Guitar.

Fender has partnered with Brian Fallon – frontman of longstanding New Jersey rockers The Gaslight Anthem – on a new signature custom Telecaster.

A faithful recreation of the ‘59 Telecaster Fallon toured and recorded with during the early days of the band, the new Limited Edition Brian Fallon ‘59 Telecaster Custom is said to reflect the “sheer versatility of his playing style”, delivering the “perfect tonal balance between raw, powerful resonance and sweet, delicate chime”.

Staying true to Fallon’s original instrument, the guitar’s spec sheet includes a double-bound two-piece alder body finished in a sleek Journeyman Relic black lacquer, paired with a ‘60s-style Oval “C” maple neck and flat-laminated dark AAA 9.5”-radius rosewood fingerboard.

• READ MORE: Fender’s Vintera III Series has landed, with “a targeted focus on iconic moments in Fender history”

Tones come by way of Righteous Sound “Fourth Man” pickups with Dual Stack HS Tele wiring, with the bridge pickup delivering a “mid-range snarl” and the split-coil neck pickup offering up warm, clear note definition”.

Further specs include 21 vintage frets, a three-way selector switch, a ‘63 Telecaster bridge with RSD brass saddles, vintage-style tuning machines, and a bone nut.

“Brian’s honest and raw songwriting places him in an incredible group of influential voices from the last few decades,” says Chase Paul, Director of Product Development at the Fender Custom Shop.

“Working together with him on recreating every detail of his favourite Tele, we’re able to give his fans hands-on access to a guitar that helps drive him night in and night out.”

“There’s only the switches, and the volume and the tone, and that’s really all you got so you better figure it out,” adds Brian Fallon.

“It’s about taking what you can do and making the best of that, and I think this is the guitar for that. If you need a hammer, that’s a hammer, and everyone needs a hammer. You cannot build a house without it.”

“Growing up idolising both Bruce Springsteen and Joe Strummer, Brian’s love for this ‘working man’s’ instrument was undeniable,” Fender adds. “In his mind, a Telecaster matches his style – it not only represents his heroes but symbolises the same no-nonsense approach to songwriting and performing he admires.”

The Limited Edition Brian Fallon ‘59 Telecaster Custom is available now, priced at £6,199 / $6,825. Learn more at Fender.

The post “It’s a hammer, and everyone needs a hammer”: Brian Fallon unveils no-nonsense “working man’s” signature ‘59 Telecaster appeared first on Guitar.com | All Things Guitar.