After years working with top names such as Eric Clapton, Roger Waters and Sheryl Crow, as well as innumerable studio sessions for other musical legends, Doyle is currently re-launching himself as a solo artist, promoting his latest album, the excellent ‘Rich Man’.

Few people have worked for so long with Eric Clapton, and Doyle Bramhall II is one of them. So, how did he become such an important part of Clapton’s band for so long? Doyle says:

“I’ve always liked making music with other people, I love collaboration, I love playing off other people, because I get inspired by what other people do, too. I like throwing ideas back and forth, I love improvisation… so I’ve always felt like I’m a counter-puncher, so when I hear something I immediately play something to counter that, like a counter melody or a counter rhythm. And I think that’s why I actually had a career with Eric [Clapton] for that long, because I countered everything that he did, and sort of accented what he did.”

Of working with Roger Waters, Doyle explained:

“I think all the experiences are meaningful to me. But playing with Clapton is very different than with Roger Waters, and playing with Sheryl Crow is different than that. With Eric you play the songs he wants to play and it’s his music, but he still wants you to be yourself. With Roger it was similar, he still wanted me to play like me, even though I had parts I was stuck to. But for instance, in ‘Mother’ I wouldn’t think of going away from that solo because its melody is as part of the song as the rest of the song. With Roger it was a much more structured experience.”

In the interview, Doyle talks about growing up u a very musical family in Texas, how he became a guitarist, and much more.

READ FULL INTERVIEW

Eric Clapton’s Collaborator Doyle Bramhall II Opens Up from MyRareGuitars.com

Vintage 1983 Jolana Diamant I Electric Guitar

The short story, of course, is that Russia became Communist after the Russian Revolution of 1917. Fast forward to 1941 and the German Nazi army invades Russia, get’s stalled at Leningrad (St. Petersburg), and the Russian counter-assault commences. The Allies invade Sicily and Normandy. In 1945 everyone meets up in Berlin and Hitler eats a bullet. The victors divide the spoils, with Russia getting control of the Eastern half of Germany (and Berlin), as well as pretty much everything to the east of that. The Soviet Union, the Eastern Bloc, and the Iron Curtain are created and more than 30 years of Communist rule ensues in those areas. Can you say “Cold War?”

Now, you could probably construct an argument about how the Cold War ultimately affected American popular music, but I won’t try. What I find more interesting is that a whole bunch of traditionally guitar-making regions in Europe ended up under Communist rule. Markneukirchen, probably the greatest center of German lutherie, ended up just a few miles over the border in East Germany. Similar areas in nearby Czechoslovakia also ended up in Communist hands, including that where the Jolana company that made the Diamant I seen here was located.

I don’t know about you but I didn’t grow up withCommunist Guitars on my mind. I just knew they wanted to drop an A-bomb on us. As with all of history, reality and geo-politics operate in totally separate realms! Thank goodness.

Vintage 1983 Jolana Diamant I Electric Guitar

Definitive information on Jolana guitars is hard to obtain, even though the brand was one of the most successful in the Eastern Bloc. If you search online, you will actually learn that Jolana guitars represent a pretty heroic story of a man, Josef Ruzicka (1928-2004), who bucked the official Communist dictum that electric guitars represented rock and roll and the decadent Capitalism that music stood for. In around 1953 Ruzicka built his first electric Hawaiian guitar (about as decadent a Capitalistic rock and roll tool as I can imagine, eh?). Thereafter followed some Strat-style guitars, eventually leading to a guitar factory which ended up in Horavice and guitars named for—if Google Translate can be properly translated!—Josef’s daughter Jolana.

Just when the Diamant Les Paul version appeared is a bit murky. If you asked me, I’d say around 1972, but other sources online claim that the Diamant appeared in 1979, with the upscale Diamant I, as seen here, debuting in 1983. This may be true. One curious phenomenon you’ll encounter in online accounts of Jolana and other Soviet-era guitars is a profound inferiority complex that disparages the quality of these instruments. Indeed, as someone with no youthful experience (and an awful lot of aged experience!) with these guitar, I find this surprising. I have not found Eastern European guitars to be particularly different from guitars produced in Western Europe, and the workmanship is generally speaking quite good. Would this hold its own head-to-head with a Gibson Les Paul? No. But neither would a Crucianelli or a Framus or a Hagstrom.

That said, I have noticed that I consistently date Eastern Bloc guitars as being much earlier than they actually were. I’ll eye-ball a guitar and say “1968” when it turns out to be 1979. What appears to be the situation is that Soviet-era guitars aren’t so much badly made as they are really out of date, anachronisms! As if the makers are all at least 10 years behind their Western counterparts! Anachronism shouldn’t be confused with shoddy quality. But then again, if you’re 15 and those were the only guitars you could get, you might see “old fashioned” as a “quality” issue.

Vintage 1983 Jolana Diamant I Electric Guitar

In any case, this is a well made little Les Paul copy. The body is maple with a thick, about ¾” thick carved European spruce top. There’s binding and the fit and finish aren’t bad. These humbuckers ain’t DiMarzios, but they’re serviceable. If online sources are to be believed, this particular guitar is quite rare based on the finish. The vast majority (“90%”) are supposed to have been black, with the rest finished in red, and only a very few done in sunburst, as seen here. It would be hard to judge here in the Western Hemisphere because as far as I know none were ever exported to these parts and you almost never see any—black, red, or sunburst—on vintage guitar dealer lists.

According to some online sources, the Jolana factory produced some guitars branded as Futurama and exported to the UK, where they were played by the likes of George Harrison, Jimmy Page, and Eric Clapton, presumably before they could afford more expensive guitars. Most sources have Jolana shutting down in 1989, about the time that the Iron Curtain came crashing down to end the Cold War, though one source claims to have a 1991 Jolana.

But just when you think the Cold War and Jolana guitars are gone for good, Vladimir Putin chomps off a bit of Ukraine and the NBE Corp. in the Czech Republic announced the return of Jolana guitars. I don’t know if the Cold War has returned (I hope not), and I haven’t seen any new Jolana guitars, but these old ones, Communist overtones and anachronisms included, are pretty interesting artifacts of a time when a guitar like this Diamant I was unknown to those of us raised under Capitalistic Decadance!

Communist Guitars (Vintage 1983 Jolana Diamant I Electric Guitar) from MyRareGuitars.com

Vintage 1972 Veleno Standard Electric Guitar

I kind of missed contemporary pop music during the 1970s, with my eyes glued to classical guitar books and my stereo playing old 78 rpm records I found in thrift shops. So, I also missed Veleno guitars, although I did read Guitar Player magazine and thus had a kind of literary idea of what was going on. I probably first learned about Velenos in those pages and, later, when I started building a collection, a Veleno went on my wish list.

I finally located a pair for sale listed in the “want ads” of Vintage Guitar Magazine. I was on the phone two minutes later. A minty gold one was already gone, but this chrome beauty was still available, so I paid what was back then a lot of money to get it.

Vintage 1972 Veleno Standard Electric Guitar

The fellow who sold it to me knew where John Veleno was living and I was able to track him down in Florida. That resulted in some interviews that yielded an article in Vintage Guitar Magazine, the chapter in my book Guitar Stories Vol. 2 and subsequent entry in Electric Guitars, The Illustrated Encyclopedia.

John was an amiable fellow who gave me a bunch of great anecdotes. These days I might be a little more critical of some of the facts, but it’s pretty hard to get corroborating data on a small guitar-maker from Florida!

Vintage 1972 Veleno Standard Electric Guitar

John Veleno (b. 1934) was a machinist who grew up in Massachusetts. He started taking guitar lessons in around 1958 and by 1961 he’d become a teacher. If you’ve ever taught guitar, you know it ain’t exactly the most dependable living. Married with children, he became a machinist and relocated to St. Petersburg, Florida, in 1963 and got a job in a machine shop that made aluminum parts for use by NASA at then Cape Canaveral. Veleno augmented his day-job income by giving guitar lessons at home after work. You see where this is going!

Actually, the Veleno guitar originated from some advertising for his teaching sideline. To attract attention to his lessons, John fashioned a guitar-shaped aluminum mailbox for his house. Intrigued by the design, friends urged him to build a real guitar out of aluminum. John bit and Veleno guitars were born.

Using the technology with which he was familiar, Veleno guitars were carved out of aluminum, which was either chromed or anodized—I’m not sure I understand the difference. Most were chrome, but a few were gold, and fewer yet were done in red or blue. Or at least those were offered.

Vintage 1972 Veleno Standard Electric Guitar

If you read my accounts, you’ll find an estimate of around 185 Veleno Originals being made, plus another 10 or so other odd models. That was based on Veleno’s recollection. You’ll find other numbers on the Internet, but they’re all in the same ball-park. Apparently there were some forgeries made, but it’s not clear when that happened; it seems like there was an issue with eBay in the early 2000s. At this writing Veleno was still offering to make you an upgraded version for around $8,000, but, by his own accounting, he’s only made around 10, if that, so Veleno guitars are still relatively rare.

Truth about Velenos is sometimes elusive. Plus John’s accounts were not always crystal clear. He has a massive, rambling “autobiography” you can find with a little searching on the Web. He talks about me in it, accusing me of claiming that he made 3 guitars with bird-shaped heads, wondering where I got that wrong information. Well, guess what? That’s what he told me. He forgot to mention that they were just necks and after Jorge Santana bought a guitar with one, he cut those other heads off. He also claims I got “fired” from my job around 2002, implying some connection that questions my credibility. Actually, I have been fired a couple of times during my advertising career! But, for the record I was laid off at that time and started a very successful agency shortly thereafter which I ran for more than a decade. In any case, it’s all very amusing!

Vintage 1972 Veleno Standard Electric Guitar

This guitar is #90 and features the original Guild humbuckers. The fellow who sold it claimed it had formerly belonged to Frank Hannon of the band Tesla, but there’s no way to verify that. Hannon is on the list of Veleno owners. This guitar was part of the Dangerous Curves exhibition at the Museum of Fine Arts in Boston and it’s in Acoustic Guitars and a host of other books because the photos were subsequently licensed to other publishers (not by me).

Veleno Originals are actually pretty good guitars. They’re light-weight and easy to play. And, if you have one, you’re part of a fairly exclusive club. Like I said, cult objects!

Great Shiny Birds (Vintage 1972 Veleno Standard Electric Guitar) from MyRareGuitars.com

Hey everyone! Ben Fargen here from Fargen Custom Amps & Mods. I was asked to write a post for MyRareGuitars.com, so I thought I’d write about some famous songs and amplifiers. I’m really looking forward to your comments, so let me know which songs and amps you would include in this list. Thanks!

10. Fender Showman (Blonde Brownface)

Song: Miserlou
Artist: Dick Dale
The unmistakable sound of surf guitar was created by Dick Dale’s Fender stratocaster and a Fender Showman amp. One of the most important pieces of his signature sound was a custom Fender reverb unit (built by Leo Fender and given to Dick Dale as a prototype) driving a cranked up dual showman into 2 X 15-inch JBL D1 30 speakers. On the opening low E run from Dick Dale’s version of Miserlou you knew surf guitar was born, and that super cool reverb-laden sound would change the history of instrumental guitar music.

Dick Dale’s 1965 Fender Showman Amp at the Musical Instrument Museum in Phoenix, AZ

9. Marshall JTM 45 Combo (Series 2, Model #1962)

Song: Hideaway
Artist: Eric Clapton (John Mayall’s Bluesbreakers)
In the mid 60’s – after Eric Clapton left the Yardbirds – he joined with the John Mayall Bluesbreakers. Within one year earned a huge reputation and the nickname “Slowhand”. The Bluesbreakers recorded the Beano album in April 1966 and Clapton used a Marshall Series 2 1962 JTM 45 combo with KT 66 tubes. This amp coupled with the Les Paul guitar created a new kind of sound no one had ever heard before in blues. Some dubbed this the “woman” tone, and players have been chasing it for decades.

The Marshall Bluesbreaker: The Story of Marshall’s First Combo

8. Fender Deluxe Reverb

Song: Sweet Dreams
Artist: Roy Buchanan
Roy Buchanan and his trusty, well-weathered 50’s telecaster never abused a finer vintage amp than the Fender Deluxe Reverb. Roy was known for cranking his Fender Deluxe Reverb full blast and facing it toward the back of the stage to cut the stage volume. Roy gave his fans one screaming note after another and some of the sweetest tear-jerking blues you’ve ever heard. If there was ever a player that could wring blood, sweat and tears from a guitar, it was the late, great Roy Buchanan.

1960’s Blackface Fender Deluxe Reverb Amp

7. Fender Bassman (Blonde Brownface)

Song: Rock This Town
Artist: Brian Setzer

Brian setzer is the king of cool when it come to rockabilly guitar style. He brought 50’s style blues/jazz guitar back in a time when AOR rock and new wave ruled the airwaves. One of the secret weapons in his tone is a Roland RE-201 Space Echo between his Gretsch guitar and two blonde Fender Bassman amps. That setup creates a great rowdy slap back echo which has become part of his signature tone.

Brian Setzer’s Blonde Brownface Fender Bassman 6G6-B Amps setup with Roland Space Echo

6. Fender Tweed Deluxe

Song: Like A Hurricane
Artist: Neil Young
Neil Young is the godfather of grunge. bands like Pearl Jam and Nirvana pay tribute to Neil’s wild, unleashed crunchy chords and ruckus feedback swirls in many of their songs. Neil sports his worn black beauty Les Paul, feeding his 1959 Tweed Deluxe on many of his classic tunes live and in the studio. One amazing part of Neil’s rig is the Whizzer. In order to access the Deluxe’s varying degrees of overdrive and gain, Young uses a custom-made amp-control switching device known simply as “the Whizzer,” which consists of 2 parts: the foot pedal and the mechanical switching device that physically turns the amp’s knobs. The Whizzer allows Young to stomp a footswitch on the floor to command the unit to twist the Deluxe’s volume and tone controls to any of a number of determined preset positions. This allows Neil to run a pure tone set up: guitar-cord-amp. No booster, overdrive, or distortion pedals are needed to achieve his classic agro-tone…just the little 50’s Fender Tweed Deluxe and the Whizzer.

Neil Young’s 1959 Fender Tweed Deluxe Amp

5. VOX AC30

Song: Bad
Arist: The Edge (U2)

The Edge is one of my all time favorite guitarists. He created a signature sound early on in his career with a Fender Stratocaster, Electro Harmonix Memory Man delay pedal and a VOX AC30 on albums such as WAR and The Unforgettable Fire. This winning combination has served him well from the early days all the way through recent records and live work. The Edge creates complex echo manipulations coupled with the airy chime of the Vox AC30. The Edge has used a massive catalog of guitars and multi FX units over the years, but the AC30 has remained a staple regardless of the other changes. These gear details coupled with his brilliant parts make U2’s catalog of songs distinguishable with just one note of the Edge’s guitar. Very few guitar players in history have created such a powerful and recognizable signature sound like The Edge.

The Edge’s 1964 Vox AC30TB (Top Boost) Amp [’64 chassis in a 70’s cabinet

4. Supro Thunderbolt

Song: Communication Breakdown
Artist: Jimmy Page (Led Zeppelin)
There has been a lot of speculation over the years regarding the amps that Jimmy Page used in the studio during the groundbreaking debut release Led Zeppelin. Jimmy will neither confirm nor deny which amp(s) were used in the studio, and there are no known photos in the archives to corroborate my story. But…based on the tones heard on the record, it is entirely possible that the Supro Thunderbolt was used. So in keeping with the mythical ethos of Led Zeppelin, I added it in to the mix.

Supro Thunderbolt Amp (front)

Supro Thunderbolt Amp (back)

Now, just to add to the mystery, here’s the Supro amp that Jimmy page gave to the Rock and Roll Hall of Fame. It’s actually a Supro 1690T Coronado, but the features of the amp do not match up with details Jimmy previously provided when questioned about the Supro amp he used on Led Zeppelin. And the mystery continues…

The Supro 1690T Coronado that Jimmy Page gave to the Rock and Roll Hall of Fame

Supro 1690T Coronado Amp (catalog ad)

3. Marshall Bass 50w #1986 (Head)

Song: Statesboro Blues
Artist: Duane Allman (Allman Brothers Band)
Anyone that loves electric guitar cannot deny the impact Duanne Allman had on the legacy of blues slide guitar. His liquid lines and fluid tone seem to jump from the neck of his Gibson Les Paul without effort. He used a simple rig of two 50 Watt Marshall heads into two 4 x 12-inch cabs. His tone on the legendary Allman Brothers recording Live at the Filmore East is a destination for anyone wanting to capture the ultimate blues tone. Nobody plays it the way Duane did. If you don’t own a copy of this record, I recommend you head to the record store and pick it up immediately because you are missing out on a legendary sound and performance.

Marshall Bass 50w Head Model #1986

Duane Allman’s Last Show (Oct. 1971, Los Angeles)

2. Dumble Overdrive Special

Song: Josie
Artist: Larry Carlton (Steely Dan)
During the 1970’s and 80’s Mr. 335 laid down over 500 tracks a year as a session player and on his own records. He is definitely one of LA’s guitar royalty. Armed with his trusty ’68 Gibson ES-335 and two Dumble Overdrive Special amps, his monster jazz fusion guitar line are unmistakable and can be heard all over popular music. Steely Dan’s 6th release, Aja, employed a huge jazz influence and was their most guitar heavy record to date. This was mostly in part to the amazingly tasty tones and licks from Larry Carlton. Aja is one of Steely Dan’s best and most popular records for sure. Mr. 335 obviously helped push that record to the top.

Larry Carlton’s Dumble Overdrive Special Amps (2005)

1. Marshall Super Lead #1959 (12,000 Series Metal Panel Plexi 100-Watt)

Song: Running With The Devil
Artist: Eddie Van Halen
With the release of Van Halen I in 1978, the world of rock was changed forever. Edward Van Halen hit the scene with a new guitar sound that was so fast and furious no one had ever heard anything like it before. Eddie was a do-it-yourself kind of guy, always tweaking around with modded guitar pickups, different fx pedals on the floor and different ways to drive his Marshall amplifier into saturated overdrive. In the legend of EVH, many myths about how he created his early guitar tone have run rampant for decades. Speculation about DIY mods like power resistors across the power tubes plates, AC variacs to raise or lower the input voltage of the amp, and large resistant power loads over the speaker out have spawned endless articles and arguments on forums about how the legendary early EVH sound was created. Sketchy details from the era and no solid proof of what was used from EVH or his camp during those days continue to feed the tone chasers fuel tanks. And to this day the holy grail tone from Van Halen 1 has players frothing at the mouth. But you and I know the only real truth: The tone is 95% in the hands, and Eddie’s legendary sound has more to do with the notes he played rather than the tone in which he played it with.

Eddie Van Halen’s Marshall Super Lead #1959 100-watt Plexi

Eddie Van Halen’s Marshall Super Lead #1959 100-watt Plexi

Eddie Van Halen’s Marshall Super Lead #1959 100-watt Plexi

10 Classic Guitar Amps & The Songs That Made Them Famous from MyRareGuitars.com

This will explain to some why I had never listened to Roy Buchanan till recently.

Roy Buchanan: Blues Guitar Legend

When you read as much about music, guitars, guitarists and guitar playing as I do there are certain names that continue to pop up as major players in the guitar world. People like Jimi Hendrix, Eric Clapton, Jimmy Page, Jeff Beck, Billy Gibbons, Stevie Ray Vaughan, Peter Greene etc. Most of these people I had heard of and typically I’ve listened to their music for years as have many people. Probably everyone familiar with rock and roll has heard of Eric Clapton and Jimi Hendrix and people who know classic rock can easily recognize Jimmy Page from Led Zeppelin. One name though, Roy Buchanan, kept popping up, and I could never pinpoint his music, or why some of the people I consider guitar legends, referred to him as one of their influences.

That is until recently…

While I was reading about rock and roll and preparing for the launch of The Soul of Rock ‘n’ Roll, I happened across a video of none other than Roy Buchanan playing “Hey Joe,” a song that was more well known because of the Jimi Hendrix version. I knew and loved the Hendrix version and having remembered hearing about Roy Buchanan so much I was intrigued. I watched the video and suddenly I had a new guitar idol.

This blues guitarist so expertly wrenched notes from his guitar that it sent shivers up my spine. Using a volume knob technique to create an almost violin like effect along with typical blues guitar techniques, and a whole lot of emotion, Mr. Roy Buchanan took the song I had only known because of Hendrix and created a slow blues, absolutely heart wrenching version unlike anything I had ever heard. It was raw, real and authentic that I was immediately blown away. I watched every video of Roy Buchanan I could find that night.

Roy’s playing seemed to come primarily out of emotion like blues, but with a noticeable technical expertise that was exciting but not showy. Plus, when he would work the volume knob on his guitar, he could actually make it sound like the guitar was crying. Well this works as an exciting technique, but it also allowed him to create very vocal sounding solos that had swells, dynamics and emphasis, just like a vocal soloist would use and that added so much soul to the solo.

When it comes to music, I’m impressed not so much by technical expertise on an instrument (although that can impress me too), but more so how well that musician can convey the emotions of the song, add to them and enhance the overall mood. Anyone can learn to play blindingly fast with a million notes, but when someone can make their soul speak through the instrument, thats what it is really all about. With his crying guitar and tonal range from smooth, round and transparent to bitingly sharp and gritty, Roy took these songs from slow and sad to hard edged an soulful at will. Truly a master of expression on guitar.

As I read more about Roy Buchanan I discovered that except amongst guitarists, specifically blues guitarists, his music is generally overlooked. That seems like such a shame. For me, music is about emotion, what it makes me feel and how well I can related to those feelings. This is why I gravitated towards blues as I grew older. Blues is probably the most emotion based genre of music there is as it’s primary focus is often heartbreak, a very emotional subject. The best musicians in any genre can convey their feelings and their soul through their music. Roy Buchanan was definitely one of the best at this in my book. His playing has had such an impact on how I play guitar that I only wish I could have found his music sooner. It has really inspired me to try and put every ounce of myself and my soul into my playing.

Maybe the music of Roy Buchanan is not for everyone as not everyone is into blues or guitar playing but for those of you who are into both and haven’t yet checked out the work of Roy Buchanan, you should. His blues is more earthy, and rustic that some of the famous Chicago blues players (B.B. King, Buddy Guy) and has a hint of jazz, but his passion is just as evident and the guitar playing is magical.

Some artists never received the recognition they truly deserve but if an artist can inspire others, than they are successful and because of how he has inspired other musicians, myself included, I think Roy Buchanan deserves a little more recognition. I hope more people are as inspired by Roy Buchanan’s music as I am.

Post by: Dave Nuzzo
D.A.N (Dave Nuzzo), is the Owner/Editor of The Soul of Rock ‘n’ Roll a music and rock ‘n’ roll oriented blog. The Soul of Rock ‘n’ Roll was design to promote the music that he likes, listens to and is passionate about. He discusses everything from Folk to Heavy Metal with the emphasis on Classic Rock, but also talks about the impact rock ‘n’ roll has on society, unknown bands, and playing music. If you’re interested in reading more rock ‘n’ roll articles from D.A.N., check out The Soul of Rock ‘n’ Roll.

Rediscovering Roy Buchanan: Blues Guitar Legend from MyRareGuitars.com

Johnny Winter: Guitar God, Rock & Roll Legend

When you talk about great authentic white blues guitar players, you are surely talking about some rarified company. The key word being authentic, and in my estimation authentic white blues guitar player means that when you listen to this person playing you think it’s a black man playing. Stevie Ray Vaughn a great blues guitar player always tried to get that real blues sound. When I saw Stevie Ray for the last time a few months before his death we spoke backstage at one of his shows and I told him “man you sounded like Albert King”, Stevie smiled and said that was the biggest compliment I could have ever given him. That is what we who strum the strings in the blues strive for, to sound like our idols, the great bluesmen. Johnny Winter did this as well as anyone, and proof of this is that he was accepted amongst the great bluesman as an equal, and shared the stage with many of them with great dignity and restraint.

Johnny was born John Dawson Winter in Beaumont Texas on February 23rd 1944. Johnny (as well as his brother Edgar) were born with albinism, and being an albino made Johnny stand out, but that did not stop him from playing music with his brother Edgar. His first record was recorded when Johnny was only 15 with his band Johnny and the Jammers, but it was Johnny’s self-titled first album on Columbia that established Johnny Winter as an A-List 60’s rock icon. His second album titled Second Winter was a three sided album (a double album with a blank forth side) that further marked Johnny as a guitar hero right up there with Jimi Hendrix, Eric Clapton, and Mike Bloomfield.

Johnny Winter: Guitar God, Rock & Roll Legend

Johnny’s next few albums were also fantastic albums, Johnny Winter And (1970), and Johnny Winter And Live (1971) were big sellers and were just ass-kickin’ rock and roll records. Those two albums contained great tunes such as “Rock and Roll HootchieKoo” (penned by Johnny Winter And guitarist Rick Derringer) and “Mean Town Blues”.

Johnny Winter: Guitar God, Rock & Roll Legend

Johnny Winter’s years of drug addiction caught up to him in 1972 and after a hospital stay (no ‘rehab in the pre Betty Ford era) he released “Still Alive and Well” in 1973, this was to be Johnny’s last decent selling release.

Even though Johnny’s days of gold records were behind him his name alone could sell out any club, or 3000 seat venue. Johnny always delivered at a live show; his fiery approach to guitar playing was eaten up by audiences all over the world.

Johnny Winter: Guitar God, Rock & Roll Legend

As a slide guitar player (playing guitar using a glass bottle-neck or copper tube) Johnny was unparalleled in his day, just check his slide work on Bob Dylan’s “Highway 61 Revisited” from Johnny’s album “Second Winter”. And when you talk about sheer rock and roll guitar, Johnny Winter can stand up with any rock guitarist. His vibrato (the bending of notes on the guitar) which is the signature of any rock and blues guitarist is unmistakable.

Johnny Winter: Guitar God, Rock & Roll Legend

Johnny kept it real for the blues crowd as well, and in 1983 he produced a great record for blues legend Muddy Waters called “Hard Again”. Reticent of Muddy’s age Johnny laid back on his playing on the record and let Muddy control the dynamic range of the record, a great tribute to Muddy and Johnny as well.

To this day Johnny still can bring it live, even though he sometimes has to be led to the bandstand, which is no surprise when you understand that his lifestyle over the past 40 years makes Keith Richards look like Bruce Jenner.

Johnny Winter Guitar God, Rock and Roll Survivor, and most importantly, Legend of Rock and Roll.

Legends of Rock & Roll: Guitarist Johnny Winter from MyRareGuitars.com

This past month or so I found myself having the same conversation several different times with several different people. That conversation centered around the question, “what were the greatest guitar solos on record”? I tend to go for the usual ones, but there are some great guitar sounds, not necessarily just solos, that are also worth mentioning. So folks here are my thoughts on the ten “Greatest guitar songs”. My list is a list not in any particular order, so here we go.

Mike Bloomfield (Super Session): Albert's Shuffle

#1. Mike Bloomfield [Super Session]: Albert’s Shuffle

This is the most flawless 5 minutes of solo guitar I have ever heard. Mike’s tone and note selection here are perfect. Period. I marveled over this song at 13 years old and still do. A 59 “Burst” through a blackface Twin Reverb, if not for this record you could probably still buy a ‘Burst” for $500 (not really).

Frank Zappa (One Size Fits All): Po-Jama People

#2. Frank Zappa [One Size Fits All]: Po-Jama People

Frank’s tone on this cut is similar to his tone on many of his 70’s era tunes like Inca Roads, Punky’s Whips and cuts from the Apostrophe album, but this solo in particular is so chock full of nuts I can’t say enough about it.

The SG sound here sounds like he’s choking the guitar to death. What a solo! There was magic in the studio that day, for sure.

Jimi Hendrix (Band of Gypsies): Machine Gun

#3. Jimi Hendrix [Band of Gypsies]: Machine Gun

Not much to say here aside from the fact that this is the greatest guitar solo every printed on tape! Unlike the Bloomfield cut I referred to earlier, this is not a seamless, flawless solo; it’s just the most riveting, gut wrenching piece of guitar work I have ever heard. I turn people onto it who are not fans of Jimi, rock, or guitar in general and they are stunned. Jimi, Jimi, Jimi.

Link Wray: Rumble

#4. Link Wray: Rumble

This song actually made me shiver when I was a kid hearing it for the first time. It’s what rock and roll guitar should be, raw, slightly out of tune and showing very little dexterity (off handed compliment if I ever heard one). The guitar Link is using on this cut is a Danelectro Guitarlin set in the middle position, with the pickups in series.

There are several versions of this song available. I like two of the earlier ones, one of which is the version where Link switches on the tremolo in the fade. Cool! The other version, which is my favorite, appears on a Link Wray compilation, on the Edsel label.

Eric Clapton (Fresh Cream): Sweet Wine

#5. Eric Clapton [Fresh Cream]: Sweet Wine

EC at his best. His entrance on this cut is what a solo should start like. Bang! Here I am. Eric’s tone is big yet cuts through. To my ear, it sounds like Eric is playing an SG. Clapton’s work on this whole album is unparalleled (see NSU and Dreaming) but this is “the” one. His enharmonic approach is refreshing and different. Most of his work in the future was mostly root or relative minor based. You’ll know what I mean when you listen to his solos on “While my guitar gently weeps” and “Something”. I have always felt that Clapton’s best work was when he was around musicians he did not tower over like Bruce, Baker, The Beatles and Duane Allman.

Johnny Marr (The Smiths): How Soon is Now?

#6. Johnny Marr [The Smiths]: How Soon is Now?

Rarely do you find a song with a great guitar hook in it, a song in which the guitar sound defines any sound you hear afterwards that, even remotely sounds the same. This song has two of them. I don’t know much about Mr. Mars or the Smiths, all I know is that when I heard this song I stood with my mouth open thinking “my God that is a sound I will remember for the rest of my life.”

The first one is a rhythmic heavily tremoloed effect while he’s playing a chord. His strumming is in sync with the trem, where as, you don’t hear his attack, only the chord. A very powerful sound indeed. The second is when he slides back a half step using a fragmented voiced chord up an octave or so from the first hook, also breathtaking. BTW Morrisey’s vocal on this tune is also spectacular.

Roy Buchanan: The Messiah Will Come Again.

#7. Roy Buchanan: The Messiah Will Come Again.

Even without knowing Roy’s story and subsequent fate, if this tune does not bring you to tears or at least give you a case of “chicken skin” you are dead already!!!

Hearing this song on Roy’s 1972 PBS TV special was a defining moment in this mans life. I could not believe anyone could put so much emotion into a song. To this day for me the actual playing of this tune has to be done at the right time in the right place among the right people. The Telecaster at its greatest moment is when it’s in Roy’s hands. The simple act of switching pickups in this song is earth shattering. This is more a spiritual experience than a musical one on my opinion.

Mark Knophler: Sultans of Swing

#8. Mark Knophler: Sultans of Swing

I knew that this song would be a hit based solely on the guitar playing. When was the last time you heard that statement? It was the 70’s for Chrissakes, and here comes this upstart Brit playing a Strat so clean you could actually hear his technique. And it was good, very very good!

I love this song for the sheer reason that it gives every guitar player the hope that if you play good enough you can play yourself into a hit record. His tasty playing during the song is so restrained and tempered that when in the last part of the song he goes into that famous triplet riff it sounds like the world is coming to an end.

Jerry Reed: The Claw

#9. Jerry Reed: The Claw

That’s his name and that’s his nickname. If I could play like any guitar player in the world it would be Jerry Reed. This guy is a monster picker, for sure, as well as, a talented songwriter and a not half bad screen personality (the Snowman in “Smokey and the Bandit”). Check out Jerry’s chops on this particular tune, he’s finger picking a gut string and it sounds like a multitracked guitar part being played by several great guitarists, but its not. It’s just Jerry being Jerry.

Freddy King: Going Down

#10. Freddy King: Going Down

The first time I heard this song as I am sure I am not alone was by Jeff Beck on the second Jeff Beck Group album. Upon hearing Freddy’s version, a few years later, I initially still had Beck’s version in my mind as the reference. As time went on and I listened to King’s version more, eventually I fell in love with the simplicity in his approach. The stunning fact is, that like many of Freddy’s solos, he never moves from the one position he starts in. This was to me. to become a very important lesson on how to play the blues authentically. We sometimes get caught up in moving around and that movement becomes the idea, not the bending and squeezing of the few notes. Larry Londin’s simplified drumming also lends a hand to the tasty feel set up in the recording as well as Leon Russell’s signature piano sound, all simple and all tasty. Yummy!!!

Well boys and girls that’s it for now. Please contact me with your comments criticisms and suggestions I love ‘em!

10 Greatest Guitar Songs from MyRareGuitars.com

Now the next question you may ask is, “are there any guitars that will cut through coming from one of these Tweed amps?” I say yes, plug a Strat in that same Pro and see how awesome it sounds, thick yet trebly.

So the point of this column is, the choice of guitars is a primary decision – I don’t think there are many players out there saying “I wanna play a Twin Reverb what guitar should I get?” – and the amplifier choice is key in getting the sound you want. I am sure that there are some guitar strummers out there who would embrace the potential “mismatch” in guitar and amp symmetry, to assist in them finding there own voice. To this I say Cheerio! Always seek your own sound. Sometimes I believe that playing a Tele through a Twin Reverb can be a potentially intimidating experience as so many great guitar players have that combo as part of their signature sound.

So here are a few suggestions that seem to work for me.

Fender Vibrolux Amp (Blackface)

#1: Fender Blackface Vibrolux amp and most Gibson equipped guitars especially a Les Paul, an SG, or any ES series guitar.

This is a great combo for rock, blues, country, pop and even jazz at a low volume. This was originally brought to my attention by my friend and fellow Vermonter John Sprung (knower of all Fender amplifier lore, etc). And as always he was right, this combo sound great!

#2: Fender Brownface tremolo-equipped amp and a Stratocaster. This is a sound from the gods, an incredibly thick, full, hypnotic sound, not too dissimilar to Jimi’s sound using the Uni-Vibe but, I feel a more organic sound than even that striking sound. I do believe that when you start to overdrive this set-up from the front end with a pedal you do lose some of the clarity and basic integrity of this sound. If you don’t have a Brownface Fender and don’t want to change your primary amp you are now using just to get this sound, you might want to check out the Victoria Tremverb, it’s a tweed free standing unit ala the Fender Reverb unit but has the Brownface tremolo circuit also.

1974 Marshall 18-watt combo amp

#3: Marshall 18-watt combo amp and a Les Paul. Not much else to say here really, this sound will absolutely blow you away, it’s the sound we all marveled at on those early Clapton/ Peter Green recordings. I know a lot of you are saying that’s the “Bluesbreaker” sound and yes you are right it is but, I believe you can only get that sound from a hand-wired Bluesbreaker combo.

The new Reissue Marshall 1974x HW is the absolute balls! I own three of these and cannot tell you how happy I am with them. Get one!

Fender Twin Reverb Amp (Blackface)

#4: Fender Blackface Twin Reverb amp and a Fender Telecaster. Clean, toppy and true, baby. Your technique will show through with this set-up like no other. If you are confident and want to be heard this is true test. And please don’t fool yourself into thinking that this is a country exclusive combination, because it is not, ask Mike Bloomfield. Those of you familiar with his guitar lineage will know that before the great Bloomfield went to the “Burst” he played a Tele through a Twin for years. Again I will tell you that this set-up will work for blues, rock, country and yes, even jazz.

If you are looking for this sound in a more manageable context try the “Baby Twin” the BF Pro Reverb instead. It will sound similar but break up a bit easier, and a bit more “club owner friendly.”

Vox AC-30 Guitar Amp

#5: Vox AC-30 amp and the Rickenbacker 12-string and the Gretsch Chet Atkins Models. Yeah I know another no-brainer, but how could I speak on the guitar-amp relationship without discussing the perfect one. As a foolish young man I was heard to say on occasion “imagine if the Beatles had used Fender amps and Gibson guitars instead of those god awful sounding Gretsch’s.” Oh boy was that a moment of genius, heh?

The AC-30 and its Top Boost circuit helped the Gretsch cut through so well on those recordings while still remaining full and complete sounding across the frequency range of the guitar (a reoccurring theme in this column I’d say).

Now onto the Rick 12 and the ¾ scale 325 model that John Lennon favored in the early Beatle days. Both of these guitars were equipped with what has been called the “toaster pickups”, These pickups did not have a lot of output which only enhanced the “jangly” sound we all came to love back then. The AC-30 embraced this aspect and produced a clean but yet again strong sound with not much in the bass end but with plenty of treble and mids. Another seldom ignored aspect of this sound was the fact that the Ricks came with flatwound strings and were smart enough to supply the Lads with replacements.

Just a couple of quickies for you.

• Polytone Mini-Brute and a Gibson ES 175 (Joe Pass sound, but you can’t buy his technique, sorry!)
• Magnatone tremolo amp with a Stratocaster (if it’s good enough for Buddy Holly its good enough for me)
• Any cheapo hand wired amp from the early 60’s (Valco, Supro, Kalamazoo, take your pick) with a Danelectro lipstick pickup outfitted solid body guitar.
• And last but not least, a Tweed Fender Champ and any quality solid body guitar, cranked up to 10 baby!!!!

Feel free to email me some of your faves and I will include thrm in future columns.

Amplifiers: The Real Voice of the Electric Guitar from MyRareGuitars.com

Mark Knopfler (Dire Straits)

There are many fine guitarists out there, but if you think about it, the ones that stand out are the ones with their own sound. Mark Knopfler, Eric Clapton, JJ Cale, James Taylor, Robbie Robertson, Ry Cooder, Keith Richards… What do they all have in common apart from being great players? They’ve all got their own distinctive sound. You can recognize them instantly.

On the other hand, I know many many great guitarists down here in Australia who have got wonderful technique, great chops and musical knowledge, but who are indistinguishable from each other. Nothing in their playing makes them stand out. This can also be a plus. Often, these are the players who become quite busy in the session scene. Producers sometimes prefer for the guitar part to be anonymous with no personality showing through. It’s less distracting to the star.

David Lindley has worked with Jackson Browne & Warren Zevon

In the long run, I think having your own sound and being recognizable is the way to go if you aspire to being a professional. How to go about getting your own sound? Play, play, play and play some more, never learn someone else’s licks exactly and explore the fret board as much as you can. When you practice, concentrate on making the sounds you like and trust your ears. There are only twelve notes to play with, but an infinite number of combinations. All those great guitarists I mentioned before had confidence that the direction they were choosing was the right one for them. It obviously paid off for them. They’re all household names. Naturally, your fingers and your gear will contribute to your sound, but I think it’s more note choice and phrasing that distinguishes each player from the other, a way of thinking about music that comes out in the playing. Until next time, and as my ol’ pal David Lindley (another great player with his own sound) says,”Keep on Twangin’“.

Getting Your Own Sound from MyRareGuitars.com