Matt Schofield (VG, March ’12) was recently selected British Blues Awards “Guitarist of the Year” for the third consecutive year, and has been inducted to the British Blues Awards Hall of Fame. He joins bass player Andy Graham, British harmonica player Paul Jones, and American guitarist Joe Bonamassa (“Overseas Artist”) as this year’s inductees. Schofield’s sound channels British soul, Albert Collins blues, and New Orleans funk. His 2011 release, Anything But Time, was named Blues Pick of 2011 by BBC R2 National Radio. Read more at mattschofield.com.
Guitar/motorcycle builder Nick Perri recently completed a custom instrument that honors David Mann, a graphic artist renowned in the biker community for his murals and well as his work in Easyriders magazine and on custom motorcycles. Perri’s Chopper Fest guitar was built, finished, and equipped with help from Nash Motorcycle Company, SpaGetty’s Garage, TV Jones pickups, and GHS Strings. It will be sold through a $5-per-ticket online raffle , with the winner announced from stage at the 9th Annual David Mann Chopper Fest, slated or December in Ventura, California. All proceeds from the raffle will help defray expenses relating to the event. The guitar has an alder body, one-piece maple neck, TV Jones PowerTron neck pickup and PowerTron Plus bridge pickup, Hipshot Hardtail bridge, and a hand-lathed strap lock and volume knob. Learn more at perriinkguitars.myshopify.com/collections/guitar/products/custom_guitar_promotion.
The TC Electronic Flashback X4 Delay and Looper has 12 delay types and four TonePrint slots. Other features include a 40-second loop, TonePrint functionality, three pre-sets, a dedicated tap-tempo, and expression pedal input. Read about it at tcelectronic.com/x4.
The Line 6 Relay G55 guitar wireless has a receiver housed in aluminum and uses the company’s fourth-generation digital wireless platform. With 12 channels of 24-bit audio, 10Hz–20kHz frequency response and 117dB dynamic range (A weighted), the company claims its signal is indistinguishable from a high-quality guitar cable up to 300 feet. Check it out at line6.com/relay-G55.
For such a guitar-driven genre, reggae doesn’t get many props from the six-string community, though its offbeat-chord trademark is as much a part of the rock lexicon as anything. For proof, check out this two-disc set from Bob Marley. This long-bootlegged album is Marley’s last live recording prior to his death in 1981, and it’s a keeper.
Terminally ill with brain cancer at the time, Marley is in remarkably good form here, as is his smokin’ band, the Wailers. Guitarists Junior Marvin and Al Anderson supplement Marley’s rhythm work with intricate grooves, but the axemen let loose on some rock solos, too – witness Marvin’s fat, overdriven solos on “The Heathen” and check out the Claptonesque lead to “No Woman, No Cry.” And a Santana influence appears in the solo to “Is This Love?,” one of Marley’s most beautiful songs. And again, every track has wonderful rhythm work from all three guitarists. In all, Live in Pittsburgh is a joyous, groove-filled legacy for Marley and his band. Granted, the occasional presence of synthesizers dates it a bit, but overall, an exuberant final performance that’s worth your listening time.
This article originally appeared in VG‘sJune ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Kiss and Motley Crue recently wrapped up a 41-city co-headlining tour. THE TOUR raised more than $450,000 for charities including Hiring Our Heroes, Aurora Victim’s Relief Fund, Operation Homefront, Skylar Neil Foundation, Spondylitis Association of America and the Augusta Warrior Project.
For more, visit uschamber.com/hiringourheroes, operationhomefront.net, augustawarriorproject.org, and spondylitis.org/.
Rotosound is reissuing its Vintage Fuzz Pedal using the same circuit configuration as the ’60s original, but with modern resistors and capacitors. The pedal uses a Darlington Pair for high-gain input, which drives a temperature-compensated “fuzz” transistor; the Fuzz control can govern changes in the amount of drive from a soft crunch to a gruff growl whilst retaining the germanium roundness. The Treble control varies ratio of bass to treble, allowing a range from muddy to crisp. The Volume control alters the output level and to maintain cleanliness of sound, the pedal is switched on using dedicated contacts on the ‘instrument’ input jack. Learn more at rotosound.com.
The Radial PZ-DI direct box is designed to work with all types of acoustic and orchestral instruments. Its three-position impedance-selector switch lets the player match load with the pickup and includes a 220k-ohm setting to warm up magnetic pickups, a 1 meg-ohm setting to replicate a classic DI, and a 10 meg-ohm setting to eliminate the squawk and peaks common with piezo transducers. A variable Lo-Cut filter helps dial out unwanted low-frequency sounds, while its Hi-Cut filter smoothes out the overly aggressive top-end produced by many active instruments. The PZ-DI works as a standard DI, with front panel ¼” input and thru connectors to interface with an electric bass and the stage amplifier plus XLR out to feed the PA. It runs on 48-volt phantom power with an internal switching supply that elevates rail voltage while reducing distortion. Its housing is 14-gauge steel. For more, go to PZ-DI.
Ian Moore and his gang make such a grand noise it’s hard to believe they’re only a trio. Moore and bass player Matt Harris wrote this disc full of high-quality pop music that has a welcome dose of swagger.
All three players, including drummer Kyle Schneider, carry their share of musical weight, but Moore stands out as singer and guitarist responsible for carrying the melody. Resisting the urge to simply crunch through power chords or disconnected showy solos, he stays within the character of the song, whether it’s a Thin Lizzy-styled rocker like “Secondhand Store” or the ’70s Brit-pop of “Tap The Till.”
Though he follows glam rock bands like Roxy Music and their present day brethren like the Killers, Moore lands between the two, as though he were one of the better, more substantial musicians who had remained undiscovered until now.
This article originally appeared in VG‘sJune ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
A television show that focuses on the music scene in Santa Barbara, California, was recently awarded an Emmy for an episode featuring pickup maker Seymour Duncan and his company. “BackBeat” is a monthly show broadcast by a local cable-television company and looks at the local music community, highlighting organizations that support music programs and education. It won an Emmy in the Arts and Entertainment category. Check it out at http://www.keyt.com/news/local/Locally-Produced-Television-Show-Wins-Emmy-170925711.html.