Month: November 2010

  • Crooked Still – Still Crooked

    When a founding member of a band departs, the other members face a difficult choice. Do they find someone who merely “fits in,” or do they add personnel who might change the ensemble’s fundamental sound?

    When cello virtuoso Rashad Eggleston left after five years, Crooked Still founding members Aoife O’Donovan, Greg Liszt, and Corey DiMario were in that situation. They added Tristan Clarridge on cello so they could retain their energy while expanding their musical horizons with Brittany Haas on five-string fiddle.

    The new members have enlarged the bands textural and dynamic palette. Their signature pulsating rhythms now have an extra level of complexity and contrapuntal dash. Aoife O’Donovan’s arresting vocals soar over the instrumental backing like a flying fish over the ocean’s wind-driven chop. Whether it’s a 400-year-old tune such as “Captain, Captain,” or a brand new song like “Did You Sleep Well,” Crooked Still pushes the beat, staying true to tradition while bringing a song into the 21st century.

    To capture the band’s new synergistic sound they decided to record the album “live.” The band played together in a large room instead of in a regular studio laying down individual tracks. The effect is not unlike a good concert recording except the sound has better depth and definition than most live albums. After three days of rehearsal, the entire album was recorded in one day.

    Still Crooked captures the spark of discovery that occurs when great players explore new possibilities. Fans of the original band will soon discover this new group preserves Crooked Still’s pioneering spirit by further expanding their musical horizons.


    This article originally appeared in VG’s Aug. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.


  • Roy Clark Joins Paisley Onstage

    Roy Clark surprised fans last Saturday night when he joined Brad Paisley onstage as the country superstar wrapped up his H2O Tour with a stop at the BOK Center in Tulsa, where local resident and guitar legend Roy Clark made a guest appearance to play an instrumental version of "Ghost Riders in the Sky" alongside Paisley.

    "I learned to play guitar with a Roy Clark songbook, so I blame all of this on him!" Paisley told the sold out crowd.

    "Brad’s show and guitar playing really inspired me!" Clark confessed after feeling the excitement and energy of Paisley’s show. "I’m going on tour!"

    It was the first time the two CMA Entertainer of the Year award winners have ever played together. Clark received the top CMA honor in 1973, while Paisley won the title this year.

  • Anthology Intros Straight Up Strap

    Anthology Gear Wear’s new Straight Up strap uses a classic design with the company’s Carbon Black tip and Aged Steel body. It’s also available with a Dark Coffee tip with a Black Whiskey body.

    “We’ve been asked when we’ll come out with something plain,” said Anthology’s Brian Griffith. “The short answer is ‘never.’ Design is too much a part of who I am to put out a piece of leather with no detailing. That said, I think the Straight Up strap is just the ticket for those musicians who want something a bit more understated.”

    Learn more at anthologygearwear.com.

  • Albert Collins – Live at Montreux 1992

    The justifiably nicknamed “Master Of The Telecaster” was one of the great blues guitarists of all time. By the time of his death in 1994, at age 61, he had exerted a major influence on players such as Jimi Hendrix, Robben Ford, Savoy Brown’s Kim Simmonds, Stevie Ray Vaughan, David Grissom, and Robert Cray. And his legacy continues via younger devotees like Jonny Lang.

    In the late 1950s and early ’60s, Collins cut singles on small Texas labels (mostly instrumentals) that would later comprise his debut LP, <I>The Cool Sound Of Albert Collins</I> – exhibiting the biting tone he got from picking with his bare fingers and capoing far up the neck of his minor-tuned Tele. Although he reached his widest audience thanks to his association with Alligator Records, beginning in the late ’70s, there was a samey-ness to the albums – none of which rivaled the <I>Cool Sound</I> blueprint let alone his incendiary live shows.

    Collins wasn’t the greatest singer and his originals often relied on blues-funk grooves, as evidenced by the first two songs of this collection, which feature almost identical backgrounds. The live collection is available on CD (entirely recorded in 1992) and DVD (featuring four bonus cuts from an earlier Montreux appearance, in ’79). Do yourself a favor and opt for the DVD. The ’92 set is solid, and the camera work offers a close-up glimpse at his unorthodox technique, but the ’79 show is gutsier, more fierce.

    Both years close strong with his classic “Frosty.” On the ’79 version, Collins is joined by Gatemouth Brown. It’s far from a super-jam, with things bogging down while Brown tries to get plugged in and tuned up as the band vamps. Ultimately the mentor’s thin tone is no match for disciple Collins’ sonic blasts – but, then, few could go toe-to-toe with Collins and come out ahead.


    This article originally appeared in VG’s Jun. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.


  • Jayhawks to Tour

    The Jayhawks have announced they will play five major cities in January, in support of their the reissue of the band’s
    first two classic albums for American Recordings – <em>Hollywood Town Hall</em> (1992) and <em>Tomorrow The Green Grass</em> (1995) – now expanded with a wealth of rare bonus tracks. In New York and Chicago the Jayhawks are playing two nights; the first night the band will play <em>Hollywood Town Hall</em> in its entirety, the second night will be devoted to <em>Tomorrow The Green Grass</em>. Additional fan favorites will be played each night.

    The band’s lineup will include Gary Louris
    (guitar, vocals), Mark Olson (guitar, vocals), Marc Perlman (bass), Karen Grotberg (keyboards), and Tim O’Reagan (drums).

    "I’m very excited about the reissue of Hollywood Town Hall
    and Tomorrow the Green Grass," says Olson. "It’s great that our fans will get a chance to hear some of our earliest songwriting through the bonus tracks."

    "These tour dates will also be an opportunity
    for fans who didn’t catch us early in our career, to hear these songs played again," added Louris. "The Jayhawks are re-energized and our next chapter starts with these shows in January." For more, go to jayhawksofficial.com.

  • Clapton Announces Additional Dates on 2011 Tour

    Eric Clapton has announced initial dates for his 2011 tour that will encompass the West Coast of the U.S. in the Spring to be followed by shows in Ireland and the U.K. in May.

    Clapton’s latest album was co-produced by guitarist and long-time collaborator Doyle Bramhall II, and features an all star cast of musical collaborations starting with the legendary JJ Cale, drummer Jim Keltner, bassist Willie Weeks, and keyboardist Walt Richmond-and the sessions later added guests including Steve Winwood, Wynton Marsalis, Sheryl Crow, Allen Toussaint, and Derek Trucks. Clapton created a collection that touches on everything from century-old traditional brass bands to little-known country blues to brand-new originals.

    Clapton has assembled an impressive band for the tour, which will consist of long-time touring partners Steve Gadd (drums), Willie Weeks (bass), Chris Stainton (keyboards) along with Michelle John and Sharon White as backing vocalists.

  • Pallo to Join Rundgren Onstage at Iridium

    Lou Pallo, long-time friend of Les Paul and leader of the Les Paul Trio, will perform with Todd Rundgren December 6 at New York’s Iridium Jazz Club in a tribute to Paul, who passed away in August, 2009.

    Singer, songwriter and producer Todd Rundgren is one of the most recognized and respected musicians, having produced a diverse range of music throughout his career including when he was with the band Utopia in the 1970s and ’80s. His best known songs include "Hello It’s Me" and "I Saw the Light." He has remained very active as a producer and engineer on the recorded work of other musicians and continues to tour and record. One of his other hits, "Bang the Drum All Day," continues to be featured in many sports arenas, commercials and movie trailers amongst other musical arrangements.

    To learn more, go to iridiumjazzclub.com.

  • Mark Farner Guitar Stolen

    A one-of-a-kind Parker Fly guitar owned by Mark Farner was stolen November 21 from the House of Blues, Chicago. The instrument has a custom red and black tiger stripe finish, and its serial number, 170081BP USA, is found on the lower edge of the headstock, along with the signature of builder Ken Parker.

    Any information regarding the recovery of this instrument may be directed to the e-mail of Farner’s guitar tech, Andrew Ladner, at aladner37@yahoo.com.

  • Vintage Guitar mag Lists 10 Most Valuable Guitars

    <em>Vintage Guitar</em> magazine has released a list of the 10 most valuable production-model electric and acoustic guitars. Using data accumulated in the research for <em>The Official Vintage Guitar Price Guide 2011</em>, the list includes only guitars that were offered in manufacturer product lines – <em>not</em> custom-made and/or celebrity-owned instruments.

    "Guitars are an American pop-culture icon," said Alan Greenwood, publisher of both the magazine and the <em>Price Guide</em>. "Through the years, certain guitars have, thanks in part to players, songs, and the laws of supply and demand, become exceedingly valuable to collectors.

    "There are few collectibles as cool as guitars," Greenwood added. "They’re functional, tactile art that inspires players and music fans alike."

    The 10 most valuable guitars are:

    <strong>1) The 1936-’39 Martin D-45 ($320,000 to $400,000)</strong> Vintage Martin dreadnoughts are considered the pinnacle of steel-string acoustics, and those given the Style 45 dress – Brazilian-rosewood back and sides, ivory-bound body and neck, and fancy fretboard inlays – were priced beyond the reach of all but a few Depression-era players. While the D-45 stands as the most valuable, Martin 000-45 (pronounced "triple oh") and OM-45 models from the ’30s are also highly soughtafter.

    <strong>2) The 1958-’60 Gibson Les Paul Standard ($300,000 to $375,000)</strong> Though Gibson tried to make a splash in the market by giving its Les Paul model a fancy maple top and sunburst finish, the guitar failed to truly catch on. Its status changed dramatically, though, with the 1966 release of <em>John Mayall’s Blues Breakers featuring Eric Clapton</em>. Then Michael Bloomfield started playing one, which further influenced top-tier guitarists of the late ’60s; the list of players who picked up a "’Burst" afterward includes names like Page, Allman, Kossoff, Gibbons, and Beck. Today, it’s not only the preeminent collectible solidbody, but some would say the reason solidbodies are collectible, period.

    <strong>3) The 1958-’59 Gibson Explorer ($250,000 to $310,000)</strong> Part of an attempt to market "modernistic" guitars in the burgeoning "space age," when it hit stores the Explorer got little attention from buyers. Orders were scarce, so production numbers stayed very low. Eric Clapton played one in the ’70s, and since then, collectors have become fond of the color and sound of its body, made of African limba – which Gibson re-named "Korina" for the sake of marketing.

    <strong>4) The 1958-’59 Gibson Flying V ($200,000 to $250,000)</strong> Another of Gibson’s "modernistic" Korina-bodied guitars, it was offered for only two years (1959 and ’60). Its unusual V-shaped body was eye-catching, but again, not popular. So, only 98 were made. It was most famously used by blues legend Albert King. Reintroduced in the ’70s with a more traditional mahogany body, it then became popular amongst rock players.

    <strong>5) The 1931-’36 Martin D-28 ($140,000 to $170,000)</strong> Though not as fancy as the D-45, its $100 price tag still put it mostly out of reach in the midst of the Great Depression. Thus, production stayed low.

    <strong>6) The 1938-’42 Gibson Super Jumbo/SJ-200 ($90,000 to $120,000)</strong> Gibson’s answer to Martin’s D line, it was larger, showier with its sunburst finish and "moustache" bridge, and wound up in the hands of many a big-screen singing cowboy.

    <strong>7) The ’57 Gibson Les Paul model ($86,000 to $106,000)</strong> Gibson’s original Les Paul, the "goldtop" was refined through the early/mid ’50s until it peaked in ’57, when it was used to launch the company’s new "humbucking" pickups.

    <strong>8) D’Aquisto archtops ($75,000 to $100,000)</strong> Luthier James D’Aquisto (d. 1995) apprenticed under the famed John D’Angelico. D’Aquisto mostly built to order, and his rarest models bring a premium.

    <strong>9) 1950 Fender Broadcaster ($68,000 to $86,000)</strong> Leo Fender’s first Spanish-style guitar was also the first to incorporate a "bolt-on" neck, which lent well to mass-production. Its single-cutaway design is simple, and its workingman’s appeal never waned. Known today as the Telecaster, it’s one of the "big three" collectible electrics, along with the Fender Stratocaster and Gibson Les Paul.

    <strong>10) 1957-’60 Gibson Les Paul Custom ($66,000 to $81,000)</strong> The fanciest version of the original Les Paul, it was given a black finish (Les’ first preference!), binding on its body, neck, and headstock, gold-colored hardware, and block inlays on its fretboard.

  • T-Rex Introduces Reptile 2 Pedal

    T-Rex Effects new Reptile 2 delay pedal has the same functionality as the original Reptile pedal, with the same set of controls, but with the addition of a tap tempo and an enhanced Flutter section with a new Tone control that adds a touch of random-sounding "warble" to the delay, for a retro tape-effect sound. The Tone control allows the user to roll off high-end response from the delayed repeats. Learn more at t-rex-effects.com.