- Advertisement -
Eric C. Shoaf | Vintage Guitar® magazine - Part 7

Author: Eric C. Shoaf

  • Compiled by Ben Valkoff – Eyewitness: The Illustrated Jimi Hendrix Concerts

    Compiled by Ben Valkoff

    The second volume reviewing Hendrix concerts, this one covering the tumultuous period of ’68, when Hendrix worked through a relentless schedule of touring and recording. As noted in our review of the first volume (VG, February ’98), this self-published work is a major historical documentation of Hendrix concerts as recalled through the eyes and ears of attendees. There are reviews of both good and mediocre shows, with a focus on factual honesty that is refreshing in an age where history is often revised to sugarcoat the truth after enough time has passed. This book is quite a feast for the Hendrix enthusiast, as it features many unpublished concert photos, newspaper and magazine reviews, advertisements, posters, even ticket stubs!

    Besides playing a number of different Stratocasters, Hendrix is also photographed with an SG copy, Flying V, and Jazzmaster. His Marshall stacks appear tattered and torn, no doubt from loading at venues, not to mention the abuse heap-ed on them by Hendrix the showman. Perhaps the best part of the book comes in a description of Hendrix’s show on July 31, 1968 in Shreveport, Lousiana.

    “Uh, yeah dig,” Hendrix is quoted as saying. “Right now, Mitch and Noel are gonna do somethin’, a jam kind of thing, for a few minutes; I gotta go to the bathroom!”

    The book is every bit as honest as Hendrix was. The author plans to continue the Eyewitness series with a book on the 1967 concerts. Copies are only available from Syncoop Productions Slot, Assumburgpad 54, 3123 RR Schiedam, The Netherlands. For more information, see http://home.kabelfoon.nl/~ben/Pages/eyewitness.html.


    Nijmegen, The Netherlands: Up From the Skies Unlimited 2000, hardbound 144 pages, ISBN 90-73235-78-2, $40.


    This article originally appeared in VG‘s Oct. ’00 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Fender Bass VI

    Rare Miss Proves Leo Was Ahead of His Time

    Fender broke new musical ground in late 1951 with the introduction of the Precision Bass. This archetype of amplified music’s bottom-end set the stage for rock and roll, and transformed everything from recording to concert performance. The Jazz Bass of 1960 was an important next step in moving the electric bass into an even more “guitar-like” direction.

    And then there was the Fender Bass VI.

    Introduced in ’61, it completed the transformation. With its 30″ scale (rather than the longer 34″ of the Precision and Jazz), Strat-like pickups and adjustable bridge saddles, thin neck, and Jazzmaster-like body shape and switching setup, the Bass VI seemed almost as much a long-scale guitar as it was short-scale six-string bass.

    And it was. It even had a tremolo bar!
    Standard finish for the Bass VI was sunburst, and fingerboards were rosewood. The headstock logo actually read “Fender VI” in large cursive script with a smaller “Electric Bass Guitar” in block print. The new model was developed for evolving musical tastes and the changing needs of performing musicians.

    In an unusual fumbling, however, Leo Fender failed to reach his intended bass-playing audience. He had hoped to offer them a guitar-like alternative, but most bassists found the neck – already crowded with two extra strings – much too thin for comfort. And the short scale length may have reminded others of a student-grade instrument. One prominent user was Jack Bruce, who played in Eric Clapton’s supergroup, Cream, and it did seem to serve the music of that band. But Bruce played bass more like a solo instrument, and his busy excursions up and down the neck (not to mention the over-boosted fuzztone he favored) didn’t inspire imitators to adopt the Bass VI in any appreciable number.

    In retrospect, the decision to market the instrument as a short-scale six-string bass rather than a long-scale electric guitar may have severely limited its appeal.

    Leo tinkered with the design, adding different pickups in ’63, but that didn’t increase sales to any extent. In ’65, the Bass VI received white binding on its neck (as did the Precision and Jazz basses and the Jaguar and Jazzmaster). Block position markers replaced dots in ’66.

    Alas, timing is crucial to the potential success of any product, and the simple fact is that Fender was ahead of demand for an instrument like the Bass VI. Only about 100 per year were shipped before the company was sold to CBS in ’65. It remained in production until ’75 but never received credit for being such an innovative design.

    Early examples are scarce today, but demand is low except among Fender “completeists” whose collections require one of everything the company made.

    In the ’90s, almost anything and everything guitar-related was being reissued, including the Bass VI. Fender of Japan produced a fine reissue which sold fairly well and this time most users played it like a baritone guitar rather than a bass. While it didn’t break new musical ground, it certainly added another color in the guitarist’s palette of tones.


    This article originally appeared in VG‘s Feb. ’02 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Fender Bass VI

    Rare Miss Proves Leo Was Ahead of His Time

    Fender broke new musical ground in late 1951 with the introduction of the Precision Bass. This archetype of amplified music’s bottom-end set the stage for rock and roll, and transformed everything from recording to concert performance. The Jazz Bass of 1960 was an important next step in moving the electric bass into an even more “guitar-like” direction.

    And then there was the Fender Bass VI.

    Introduced in ’61, it completed the transformation. With its 30″ scale (rather than the longer 34″ of the Precision and Jazz), Strat-like pickups and adjustable bridge saddles, thin neck, and Jazzmaster-like body shape and switching setup, the Bass VI seemed almost as much a long-scale guitar as it was short-scale six-string bass.

    And it was. It even had a tremolo bar!
    Standard finish for the Bass VI was sunburst, and fingerboards were rosewood. The headstock logo actually read “Fender VI” in large cursive script with a smaller “Electric Bass Guitar” in block print. The new model was developed for evolving musical tastes and the changing needs of performing musicians.

    In an unusual fumbling, however, Leo Fender failed to reach his intended bass-playing audience. He had hoped to offer them a guitar-like alternative, but most bassists found the neck – already crowded with two extra strings – much too thin for comfort. And the short scale length may have reminded others of a student-grade instrument. One prominent user was Jack Bruce, who played in Eric Clapton’s supergroup, Cream, and it did seem to serve the music of that band. But Bruce played bass more like a solo instrument, and his busy excursions up and down the neck (not to mention the over-boosted fuzztone he favored) didn’t inspire imitators to adopt the Bass VI in any appreciable number.

    In retrospect, the decision to market the instrument as a short-scale six-string bass rather than a long-scale electric guitar may have severely limited its appeal.

    Leo tinkered with the design, adding different pickups in ’63, but that didn’t increase sales to any extent. In ’65, the Bass VI received white binding on its neck (as did the Precision and Jazz basses and the Jaguar and Jazzmaster). Block position markers replaced dots in ’66.

    Alas, timing is crucial to the potential success of any product, and the simple fact is that Fender was ahead of demand for an instrument like the Bass VI. Only about 100 per year were shipped before the company was sold to CBS in ’65. It remained in production until ’75 but never received credit for being such an innovative design.

    Early examples are scarce today, but demand is low except among Fender “completeists” whose collections require one of everything the company made.

    In the ’90s, almost anything and everything guitar-related was being reissued, including the Bass VI. Fender of Japan produced a fine reissue which sold fairly well and this time most users played it like a baritone guitar rather than a bass. While it didn’t break new musical ground, it certainly added another color in the guitarist’s palette of tones.


    This article originally appeared in VG‘s Feb. ’02 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • J.W. Black and Albert Molinaro – The Fender Bass: An Illustrated History

    J.W. Black and Albert Molinaro

    Bass players have always been somewhat taken for granted. It’s almost as if they didn’t have to be good, merely profi-cient, for the music of the band to come across.

    Of course, anybody who has been in a band knows that’s not true; a great band has a bassist and drummer who can forge a cohesive groove, staying in the pocket and keeping time. And the best bassists aren’t necessarily showmen (although there have been a few), but rather masters of keeping up the bottom end without undue flash: these are the Bill Wymans and Duck Dunns of the music world.

    As a collectible instrument, the bass lags well behind the guitar among many collectors. A simple reason is that there are fewer bass players, but more to the point is that most basses were used as intended – “run hard and put away wet,” as the saying goes. There aren’t nearly as many collector-grade basses as there are guitars. Few seem to have been forgotten under the bed without first being heavily played.

    Fortunately, this state of affairs does not extend to books on bass guitars. There have been a number over the years, and this newest from Hal Leonard may be the best. Researched with care and attention to detail, the book is full of facts about the Fender bass, arguably the best-known and most influential electric bass of all time.

    Leo Fender began work on an electric bass not long after finishing the production model Telecaster. The “Precision Bass,” as this new instrument was called, was officially introduced in ’52, although the authors have photographed an excellent example from late ’51. This was followed by the Jazz Bass in ’60, Mustang Bass in ’66, and Telecaster Bass in ’68, as well as the Bass VI in ’61.

    Perhaps the best part is that this book is chock full of photos, photos, and more photos, including many early and original instruments, catalogs and advertisements, diagrams, paint chips, tuners, electronics, and various other parts important in identifying originality. Also included is a decade-by-decade history of changes in the lines, custom color availability, serial numbering system, and more. Paper quality and binding are first-rate. Highly recommended to all guitar collectors.

    Hal Leonard 2001, Softbound 128 pages, ISBN 0-634-02640-2, $24.95.


    This article originally appeared in VG‘s April ’02 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • The Roger McGuinn – 12-String Guitar of Roger McGuinn

    The 12-String Guitar of Roger McGuinn

    Who better to teach the Roger McGuinn style than the original Byrd himself? Using his signature Rickenbacker 360-12, McGuinn details the characteristic opening of “Mr. Tambourine Man,” highlighting the way he achieves ringing sustain with the use of fingerpicks and flatpicks. Those up-picking fingers, third through fifth, are the key to the sound and McGuinn also demonstrates the banjo-like rolls, double-time picking and other techniques on classics like “Turn, Turn, Turn” and “Eight Miles High.” Switching to an acoustic Martin 12-string (a somewhat surprising choice), he explores Ledbelly’s “On Easter Morn’ He Rose” and shows other examples of bass lines and picking patterns that make the 12-string guitar such a vehicle for any sort of music. Throughout the video, McGuinn is relaxed and comfortable as he offers insight into not only his music, but also maintenance and repair tips (who do you think strings all those guitars, anyway?), recording preferences and more. One caveat; if you want to play along with the video, you will need to re-tune your guitar down a half step, as McGuinn has always done.


    This article originally appeared in VG‘s August ’97 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Steve Waksman – Instruments of Desire

    Steve Waksman

    This is a work of scholarly intent in which the author presents a treatise on the history and development of the electric guitar and how its subsequent use shaped the course of popular music. Beginning with the first electrified instruments of the 1930s, the book traces two competing ideals for the sound of the instrument: one with a focus on tonal purity that has been favored by artists such as Les Paul, Chet Atkins, and Wes Montgomery; the other centering in a more distorted sound used by Jimi Hendrix, Jimmy Page, and others, to challenge popular notions of acceptable and unacceptable “noise.”

    In comparing these divergent sound ideals, the author notes that approaches to these ideals also entail different ideas about the place of the body in musical performance, ways in which music articulates racial and gender identities, and the position of popular music in American social and political life.

    Well-written and with extensive footnotes, the book’s only apparent drawback is that it ends with music produced up to the mid ’70s. In that sense, it is less than complete, and perhaps a second volume will bring the work up to date. Still, an excellent analysis on the growth and impact of the electric guitar on popular music and culture. Not required reading, but of interest to those who see the instrument as iconic for its broad musical and cultural impact.


    Instruments of Desire: The Electric Guitar and the Shaping of the Musical Experience
    Steve Waksman
    Cambridge: Harvard University Press 2000, Hardbound 320 pages, ISBN 0-674-00065-X, $27.95


    This review originally appeared in VG‘s April ’00 issue.

  • Norm Harris with David Swartz – Norman’s Rare Guitars

    Norm Harris with David Swartz

    What is it about a “coffee table” book? Is it that they are wonderful objects as well as colorful books? They cover virtually all subjects from cars to architecture, furniture to boats. There’s something engaging about looking at wonderful photos; freed from the constraints of narrative, the reader can gaze at photos without distraction and ferret out minute details.

    The acoustic and electric guitars gathered here from the collection of Norm Harris will require quite a bit of gazing and ferreting. Over 700 instruments are pictured and each is a fine an example of its type. We’re talking mint condition, collector-grade. And boy do they look good!

    Harris started collecting in the mid-’60s, according to the sparse-but-revealing narrative. He was fortunate to start early while prices were low, but he was also blessed with an orientation toward acquiring only the finest-condition instruments. Hanging out his shingle as a guitar dealer provided an outlet and created a flow of instruments. As a result, Harris has become a nationally known vintage dealer.

    Several things are striking about the presentation of instruments in the book, besides their obvious beauty and condition. The photography is uniformly excellent and truly shows the importance of proper lighting in capturing the complex curves and angles of a guitar.

    There are no shadows hiding details here, no flashy reflections from nickel or chrome, no fuzzy woodgrain or bleeding colors. This is almost like having the guitars right in front of you! In many of the Gibson acoustic photos, one can clearly see the label inside the soundhole.

    Sunbursts are vibrant and custom colors striking. Details are clear enough to make out small differences in control knobs, bridges, and inlay, which makes this a fine reference volume to compare instruments you might be thinking of purchasing.

    Sections are divided by make with Fender leading off, and within each section the guitars are shown chronologically by model. For example, early Broadcasters begin the Fender section which moves through black-guard Teles, white-guard Teles, and through to ’60s models. Strats then begin with early ’54s and so on. It’s an excellent system that allows for comparison of individual instruments and also shows how the models evolved. In the Gibson section, for instance, the evolution of the classic sunburst finish is evident. Another feature that makes this browser-friendly is that backgrounds are rotated so each new guitar model receives a lighter or darker shading. It’s a subtle signal that there is a shift in make or model.

    For the instruments, all that can be said is there is a clean example of nearly all collectible guitars. Not every one, of course, but the authors make it clear this isn’t meant to be a complete catalog. There’s an emphasis on electric guitars, which make up roughly two-thirds of the book.

    Major manufacturers are well-represented, but there are also numerous instruments from lesser-known makers as well as custom guitars. Basses are also pictured. The guitars are photographed only from the front, although many have smaller detail shots. The lack of back photos is not an oversight, according to the editor. Rather than cut the total number of guitars in the book to show backs, they decided to show fronts only. Think of it as getting more for your money.

    If you enjoy looking at photos of fine guitars, this is for you. There’s simply no other place you can view over 700 high-quality collectible instruments. It’s like walking around with a guitar show tucked under your arm! Two thumbs up. Now in softcover and a limited hardbound. To order direct call 800-962-1058. Or you can get a preview on the Internet at www.normsbook.com.


    Norman’s Rare Guitars
    By Norm Harris with David Swartz; foreword by Tom Petty
    Swartz Inc. 1999, Softbound 279 pages, ISBN 0-9669219-1-7, $60.


    This review originally appeared in VG‘s June ’99 issue.

  • Christopher Hjort and Doug Hinman – Jeff’s Book: A Chronology of Jeff Beck’s Career

    Christopher Hjort and Doug Hinman

    It would be accurate to condense this review into one simple sentence: here’s everything you could possibly want to know about Jeff Beck, and then some. To take the example further, if one had to use but one word to describe the book, it would be “dense.” But because the book deserves more, we’ll add that even reclusive Jeff himself would be proud.

    This is an amazing work covering every facet of Beck’s musical journey from the beginning to 1980, when his output curtailed considerably, by his own choosing. Among the highlights are a complete day-by-day listing and documentation of more than 1,000 live appearances, including comprehensive coverage of The Yardbirds U.S. tours, extensive excerpts of press coverage, recording session information, commentaries on songs performed in concert, along with U.S. and U.K. sales and chart information. And it’s heavily illustrated with a 16-page color section with previously unpublished photos, separate appendices on TV and radio appearances, and a guitar “axeology” with listings of all identifiable instruments used by Beck during this period. Vintage junkies will be interested in the latter, and all will marvel at the amount of information packed into these pages.

    If ever a model existed for documenting the work of modern rock performers, this is it. Astounding in both scope and factual data, this book is both a history of Beck and his bands, and a history of rock music in the ’60s and ’70s. This book presents an astounding amount of researched material.


    Jeff’s Book: A Chronology of Jeff Beck’s Career, 1965-1980
    Rumford RI: Rock ‘n’ Roll Research Press 2000, Softbound 240 pages, ISBN 0-9641005-3-3, $29.95.


    This review originally appeared in VG‘s June ’01 issue.

  • Peter Blake and Commentary Derek Taylor – 24 Nights

    Peter Blake and Commentary Derek Taylor

    Perhaps you were let down by the high prices for the Eric Clapton guitars at the recent Christies auction. But don’t despair! You can still get a limited edition book, music, and memorabilia set, autographed by Clapton himself, for less than half the price of a Fender Eric Clapton Signature Stratocaster.

    24 Nights is a unique collaboration between Eric Clapton, Peter Blake, Derek Taylor and fine press publisher Genesis Publications commemorating Eric Clapton’s record 24-night performance at the Royal Albert Hall in 1991.

    Peter Blake’s scrapbook is a collection of pencil sketches, charcoal drawings and montages showing Eric and the band during rehearsals and performances. Blake is probably best known for his graphic cover of The Beatles’ Sergeant Pepper album cover. A vast selection of original memorabilia from the concert tour including back stage passes, hotel room lists, polaroid photographs, seating plans, set lists, laminates and sheet music are featured in the scrapbook. These are not mere photos, but are the actual items hand-pasted into each book.

    The scrapbook is accompanied by a commentary book by Derek Taylor. Taylor attended rehearsals in Dublin, performances at the Royal Albert Hall and the after-show party. His account provides a unique insight into the backstage and on-the-road world of Eric Clapton and his band. The commentary offers the reader a rare opportunity to experience an insider’s perspective on the man universally recognized as the world’s greatest blues guitarist.

    The set also includes a two-CD set of live recordings from these performances featuring tracks not available on the commercial release. Additional memorabilia including four of Clapton’s guitar picks, a backstage pass, button badge, and a guitar string. It’s an impressive package for a reasonable amount of money, considering the prices bid at the auction.

    24 Nights is limited to 3,500 copies, each signed by Clapton and individually numbered. For information contact Genesis Publications, 2 Jenner Road, Guildford GU1 3PL, UK. Tel: +44 (0)1 483 540 970. Fax: +44 (0)1 483 304 709. E-mail mail@genesis-publications.com or go to www.genesis-publications.com.


    24 Nights: Sketchbook by Peter Blake and Commentary Derek Taylor
    Guildford UK: Genesis Publications 1991, Two volumes Hardbound in custom box with two CDs, ISBN, $450.


    This review originally appeared in VG‘s Jan. ’00 issue.

  • Dan Erlewine – How to Make Your Electric Guitar Play Great

    Dan Erlewine

    Dan Erlewine has been a Guitar Player magazine columnist since 1985 and is a well-known guitar builder and repairman. His book The Guitar Player Repair Guide has sold nearly 100,000 copies and his videos on guitar repair are strong sellers. In short, Erlewine knows guitars, and in this new publication he focuses specifically on electric instruments.

    This is a true hands-on guide to guitar setup and adjustment techniques, and includes a number of trade secrets Erlewine has acquired over many years. In addition, there are sections on evaluating a used guitar, finding and using the right tools, personalizing action and intonation, overall guitar maintenance, basic guitar electronics, and troubleshooting.

    While some of the information is duplicative of his other books, Erlewine keeps the specifics to electric instruments and their idiosyncrasies. The text is illustrated with over 200 closeup photos and easy-to-follow directions, plus charts and examples of setups used by some of today’s best-known guitarists.

    There’s a special bonus at the back of the book, and it’s a first for a publication of this kind: a plastic tool sheet of punch-out radius gauges and action-setting rulers that allow readers to get to work without having to purchase specialized tools. It’s an interesting feature, and a real plus at this price point.

    As in his other publications, Erlewine presents information in a straightforward manner that’s easy to understand. With his help, you won’t have to be a rocket scientist to do basic work on your electric guitar.

    Backbeat Books is the new imprint for musical publications from Miller/Freeman, and it has many new titles planned for the coming year.


    San Francisco: Backbeat Books 2001, Softbound 160 Pages, ISBN 0-87930-601-7, $17.95.


    This review originally appeared in VG‘s June ’01 issue.