The Bigsby vibrato may not be to everyone’s tastes – but we think it looks really good on all kinds of guitars. Here’s our list of Top 7 guitars with Bigsby, as played by famous guitarists. Which one is your favourite? There’s just something so cool about a Bigsby vibrato, doesn’t it? Well, not everyone will agree with this, […]
The first wheel ever invented to be used for transportation would be obsolete by todays standards. It was probably made out of a chunk of heavy stone, and while it may have made life easier thousands of years ago, to use one today would make you that much more thankful for rubber and spokes. Inventions go […]
For this last musing on ugly duckling guitars, let us turn our attention to this example from Japan, this Guyatone LG-160T. The Fenton-Weill Tux-master we contemplated was pretty much unrelentingly ugly, only redeemable if you fondly remember it from your youth. The Burns UK Flyte was more of a space oddity than especially ugly, but it sure didn’t grow on me, at least. However, some unusual guitars do eventually win your heart over the more you stare at them. I think that this is the case here.
Devo have always taken an unconventional approach to their music, videos, and striking fashion sense so it’s no surprise that this attitude would also apply to their choice of guitars. While many think of them as a synthpop band with the occasional guitar thrown in, in their early years they were precisely the opposite – at times featuring three guitarists in their line up (guitarist Bob1 [Mothersbaugh], guitarist/keyboardist Bob2 [Casale], and singer/keyboardist/guitarist Mark Mothersbaugh). By the early 80s, however, Bob1 was the only member with strings on his instrument with Bob2 and bassist Jerry Casale having mostly switched over to playing their parts on synths. They seemed to have not only enjoyed unusual choices in guitars (shying away from the all too common Strats and Les Pauls) but rotating through many different models as well.
“Suppose,” enticed the email message (back when email messages were still something of a novelty), “I could get you into a strip mall that has one music store and the rest of the spaces are FILLED WITH GUITARS?” Thus began a remarkable once-in-a-lifetime adventure that involved packing up my photographic gear into jerry-rigged thrift shop suitcases, hopping onto an airplane to head west, joining Tom, a knife salesman I’d never met except on the internet and at the other end of a telephone line, and driving up to Bob’s House of Music in Wheat Ridge, CO, just north of Denver. Where I would encounter more vintage guitars—including this 1974 Carvin CM95—than anyone could ever conceive! The second Temple of Doom of my life (so far).
Maybe it was punk rock, with its rejection of good guitar playing. You know, any old bloke can bash on a guitar and who cares if it’s in tune. More likely it was punk’s more popified successor New Wave which opted for tasty yet understated guitar textures (in tune), though still without the slashing guitar solos, matching costumes accepted. Think Andy Summers and the Police. Whatever the cause, right at the beginning of the 1980s a new type of guitar appeared on the scene. An understated, minimalist guitar with no head, like this 1986 Ibanez take on the form, the Axstar AX75!
Hello to all out there in guitar dominion, this month’s column will I hope reveal some of the great secrets of some of our favorite guitar players as well as dispel some common misunderstandings. One of the greatest musicians of the 20th century was also a damn good guitar player, he stands alone as a composer, instrumentalist and satirist beyond compare. His name was Frank Zappa. Frank is still IMHO the most underrated musician in the rock and roll era.
Hi everyone I hope you have been enjoying my column, here’s more stuff to ponder. It seems every time you turn around there’s another list, 100 best this, 10 worst that’s. Well here’s another list for ya! But at least this one does not involve Paris Hilton. I now that some of my listings may be a bit controversial (one in particular) as I said before these are my opinions based on my experiences. Like all things in music they are not right or wrong, just some good-natured opinions that will hopefully stimulate your own thoughts on this subject.
Well folks we all know what great guitars have been designed and created over the years, but there were some vessels of musical expression in the guitar world that were, lets say a stroke of mistaken genius. In this column I’ll discuss some of the mistakes that we have more or less taken for granted, and I also give some of my own mistakes that might work out for you.
One thing I have noticed over the thirty years I have been playing guitar is that guitars have their own sound no doubt, but amplifiers do “reproduce” the sound of the electric guitars differently. Case in point, the Les Paul guitar coming out of a vintage Marshall an amp with plenty of treble, sounds fat yet cuts through nicely. I believe the same thing for a Les Paul running through a blackface Super Reverb, it cuts beautifully. Put that same Paul through say a Tweed Pro or a first run Ampeg Reverberocket and it sounds muddy and has trouble cutting through especially using the neck pickup. IMHO a sure test of a good Paul is does the neck pickup have some bite to it.
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