Month: November 2013

  • Chicago Music Exchange Opens The Bassment

    CME opens The BassmentChicago MI retailer Chicago Music Exchange recently opened The Bassment, a section of the store staffed by specialists and dedicated to basses, amps, bass pedals, mods, and bass accessories.

    “From James Jamerson to Paul McCartney to Bootsy Collins to Flea, bass players have been the foundation for many of the world’s most successful musical groups,” said Marc Najjar, manager of the Bassment.  “As such, we decided it was about time for bassists to receive the same quality selection and dedicated service that guitarists have enjoyed forever.”

    The Bassment, he adds, has something for every player, no matter if they prefer old or new.

    “Vintage basses are special for various reasons,” he said. “Whether it’s the musicians who played them, the artistry-meets-craftsmenship of the era, or the quality of a handmade innovation. As a bassist, identifying the sounds that have inspired me, then being able to play the same year/make/model of instruments on those recordings is inspiring in its own way. It’s truly remarkable.”

    bassment2Asked to pick a personal favorite, he defaults to the grandfather of all electric solidbodies.

    “It’s impossible to ignore the impact the Fender Precision has had on music,” he said. “Appearing on more recordings than any electric bass, P-Basses are often coveted for their sound, playability, and vibe, and we’ve had a few gems come through our doors –  a ’59 slab-board in sunburst, a ’66 in Sonic Blue, a ’58 sunburst with maple board, and countless pre-CBS custom-color models. But regardless of finish, they’re all special.”

    For more, visit chicagomusicexchange.com.

  • NYC’s GTR Store Opens New Showroom

    GTR Acoustic wallNew York City retailer GTR Store has opened a rock-and-roll-themed showroom in the middle of Manhattan, at 141 West 28th Street. Decorated with leather couches, Oriental rugs, a Marshall-themed bar, and guitar-lined walls, it also boasts a performance space that seats 150 people and has a backline with a gig-ready sound system and lights. Adjacent to the space is an acoustic room stocked with guitars, ukuleles, and banjos.

    stage“[This] is a home for artists, as well as band representatives, to present their talents and gear in the heart of New York City,” said Steve Pisani, President of GTR Store.

    The store originated as a guitar-based brand, and has evolved into a company that offers an array of musical instruments and related merchandise. It plans to host events to celebrate the opening of the showroom, beginning with a series of 0pen-mic nights Mondays and Tuesdays Marshall barbeginning November 11; Monday nights will focus on jazz, Tuesdays on acoustic music. To learn more, go to www.gtrstore.com/.

  • NYC’s GTR Store Opens New Showroom

    New York City retailer GTR Store has opened a rock-and-roll-themed showroom in the middle of Manhattan, at 141 West 28th Street. Decorated with leather couches, Oriental rugs, a Marshall-themed bar, and guitar-lined walls, it also boasts a performance space that seats 150 people and has a backline with a gig-ready sound system and lights. Adjacent to the space is an acoustic room stocked with guitars, ukuleles, and banjos.

    “[This] is a home for artists, as well as band representatives, to present their talents and gear in the heart of New York City,” said Steve Pisani, President of GTR Store.

    The store originated as a guitar-based brand, and has evolved into a company that offers an array of musical instruments and related merchandise. It plans to host events to celebrate the opening of the showroom, beginning with a series of 0pen-mic nights Mondays and Tuesdays beginning November 11; Monday nights will focus on jazz, Tuesdays on acoustic music. To learn more, go to www.gtrstore.com/.

  • Ronnie Earl

    Ronnie Earl

    Ronnie Earl

    For someone who has been a professional musician for more than 30 years, Ronnie Earl is going through a remarkable production period in his career. In just the last three years, he released his first live DVD and companion CD, 2008’s Hope Radio, followed by the CD Living in the Light in ’09 and now, a little more than a year later, comes Spread the Love – an encyclopedia of the many ways musical power can be built with tone, taste and restraint.

    What was the spark that ignited the new CD?
    We had made an album with vocals and I just felt it was time to make one without vocals. Once we were in the studio, it took just two days, and we did no more than two takes for each of the cuts.

    Did you have everything charted before you went in?
    No, it’s a band effort. I was in another room at the studio and heard this beautiful keyboard music. It turned out it was our drummer, Lorne Entress, and he came up with all the complicated chord changes that became the song “Patience.” I love playing rhythm and letting the other musicians stretch out.

    They’re also reissuing some of your older albums.
    Without talking to me about it (laughs)! Nobody’s going to get rich on any of it, anyway.

    Have you ever thought of singing on your CDs?
    Oh, God… Then you wouldn’t be talking to me right now! For me, there really aren’t that many great blues singers – Bobby Bland, Kim Wilson, Muddy Waters, B.B. and Freddie King, Otis Rush, and John Lee Hooker. I let the guitar be my voice – it’s so easy to do for me.

    In the interview on the DVD you talk about developing your style because you had trouble emulating your heroes.
    It’s definitely true. That’s part of the miracle for me. I just started out and all of the sudden I was backing up Otis Rush and Big Walter Horton all over the country. I still can’t believe it except that my Higher Power has this path worked out for me. When people started accepting my music for what it was, I found that being me was everything.

    Are there any touring plans coming up?
    We just got with a very well-known international agency and are going to play live more. Over the last 10 years, I’ve probably only played live once a month, but I really love playing more than ever. We’ve been playing small theatres and art centers in the Northeast. Maybe we’ll even come to California. Who knows?

    What guitars and amps do you use?
    I’m not much of a gear guy, and I believe strongly that the music comes from your soul. But I have four old Stratocasters, and they’re my babies. I got one at a pawn shop in Houston for $150. I went in and the guy said, “It’s old, but it still works.” I have a blond ’57 and a ’60 sunburst and my sponsor gave me a Fiesta Red ’62, and that’s my favorite. I’ve used it on almost every album.

    I’ve always used Super Reverb amps, but I’m going to be playing Juke amps. And I’ve been playing Nash guitars because I get nervous taking the old ones out. I use whatever guitar is clean and the strings aren’t rusted, and I buy whatever strings are on sale.

    Are there any guitarists that you really like to listen to?
    Chris Cain and Dave Gonzalez. And I love Lurie Bell, whom I played with one night in Rhode Island. I’ve always liked Anson Funderburgh, and, of course, Jimmie Vaughan. In Boston, there’s a man named Frankie Blandino. And also, Jason James who plays on Living in the Light.

    At this point, do you feel the young Ronnie Horvath playing at The Speakeasy achieved his musical goals?
    When I was that person, my goal was to play with Big Walter Horton, and I got that very early on. All I ever wanted to do was play with my mentors, and I got to do that, and everything else has been gravy. Making a living playing music wasn’t easy, but I’m glad I did.

    Is there anything you would tell that young man about life?
    I would tell him to be humble, that talent is a gift from God. I would tell him that his greatest accomplishments in life will be sobriety, being married and having a family life.


    This article originally appeared in VG December 2010 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.


  • The Carper Family

    The Carper Family

    The Carper FamilyOld-fashioned gals they may well be, but the Carper Family trio injects their traditional country and bluegrass music with some tasty modern vibes on their third disc.

    The Austin, Texas-based band comprises bassist and band namesake Melissa Carper, guitarist Beth Chrisman, and the brilliant fiddle and rhythm guitar player Jenn Miori. On this new album, co-producer Cindy Cashdollar plays pedal steel, National resophonic, and baritone Tricone. Telecaster authority Bill Kirchen spices the rockabilly “Foolish Ramblin’ Man” and adds baritone Tele on “Ooh Baby,” an original from Carper. Cashdollar and Kirchen are spectacular – of course.

    But this album belongs to Carper, Chrisman, and Miori. Each also has at least one show-stopping lead vocal – Carper on the romantic slow-dance “Ooh Baby” while Miori breaks your heart singing Floyd Tillman’s “I Gotta Have My Baby Back.” Miori also dispels the misbegotten notion that rhythm guitar is less important or requires less dedication than great lead playing; it’s about being a guitar player. She and Carper are the obvious reasons this band lives so deep in the groove, but Chrisman is an equal, if a more subtle one.

    If the Gibson Brothers and Cherryholmes ring your bell, then this record is for you. If otherwise, the Carper Family should put you on the proper side of things as Mother Nature intended.

    This article originally appeared in VG‘s November. ’13 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • The Grateful Dead

    The Grateful Dead

    Grateful DeadEvery true Deadhead had the bootleg tape: a cassette too many generations removed from the original recording, notated innocently enough as “Kesey’s Ranch ’72.” That show – played as a benefit for author and lead Merry Prankster Ken Kesey at the Oregon County Fairgrounds in Veneta, Oregon, on August 27, 1972, to be exact – may be the most famous and all-around “best” show the Dead ever played. Or at least it’s the most quintessential.

    Now, at long last, Deadheads can ditch that old cassette. Sunshine Daydream presents the concert for the last of the Merry Prankster’s acid tests in all its glory on three CDs mastered from the original 16-track tapes.

    The Dead were fresh from their ’72 European tour, made famous by the three-LP set of the same name. Their musicianship was at an early peak. A lean, mean Garcia – playing a ’50s sunburst Stratocaster – offered inspired and charged guitar work, with a fresh-faced Bob Weir proving himself a stellar rhythm-groove man. They blast through many of the songs from the tour set list, along with rollicking versions of other band standards. These include a legendary version of “Sugar Magnolia” and a 30-minute jam on “Dark Star.”

    But along with the music and the typically stylish packaging comes a single DVD, capturing the original – and long-lost – Grateful Dead Movie. Shot on 16-mm film, it focuses on the concert and counterculture surrounding the band and Pranksters. From scenes of naked, sunburnt hippies playing blissed-out air guitar along with “China Cat Sunflower” to an “interview” of sorts with Kesey, it’s one true trip.

    This article originally appeared in VG‘s January ’14 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Hill and Mellencamp Among Musicians Helping Veterans Matter

    Veterans MatterJohn Mellencamp, ZZ Top bassist Dusty Hill, and singer/songwriter Kix Brooks have added their voices to a campaign to find permanent housing for homeless military veterans. The campaign is sponsored by Veterans Matter, a 501(c) 3 non-profit that partners with the Departments of Veterans Affairs (VA) and Housing and Urban Development (HUD) to help homeless veterans who have been approved for voucher-assisted housing but are unable to pay rental deposits. The organization was founded in 2012 by Ken Leslie, who was homeless for a time before he kicked drugs and alcohol in 1990. He is now the CEO of an executive search firm in Ohio.

    “There are over 60,000 homeless veterans on the streets of America,” said Mellencamp, “Streets where they have been beaten, robbed, even killed.  If this happened between enemy lines, we would be outraged. We must take care of our own.”

    “The public would rather not know it exists, but it does, it matters. How do you get 60,000 unhoused veterans off the streets? One at a time,” added Hill.

    Learn more at VeteransMatter.org.

  • Mike Lipe Virtuoso

    Mike Lipe Virtuoso

    Lipe Virtuoso

    Mike Lipe Virtuoso
    Price: $4,000
    Contact: lipeguitars.com
    ; phone (818) 352-6212

    Mike Lipe has built guitars for top players and guitar companies (notably heading up the Ibanez Custom Shop in the ’90s). In 2000, he struck out on his own. His Virtuoso model is a solidbody that takes a familiar theme but lifts it up to custom, handmade heights.

    In essence, Lipe’s Virtuoso is an upscale refinement of the classic “superstrat” configuration. The figured top of the guitar is made from mango wood, which lays upon a korina body. The 251/2″ neck is constructed of quartersawn korina (quarter sawing gives a piece of wood greater stability and often, distinct figure) with an Indian rosewood fingerboard, abalone inlays, and a mango headstock overlay. The Virtuoso is outfitted with Hipshot locking tuners and vibrato bridge, Graphtech nut, Dunlop strap locks, 6155 fret wire, and powered by two single-coils and a humbucker wound by Amalfitano Pickups, mounted directly into the mango top. Some builders feel direct mounting derives a more powerful, immediate tone from the pickups. Control of them comes from a single Tone and Volume and a five-position pickup selector.

    From the moment you pick it up, it’s clear the Virtuoso is a superbly crafted instrument. Lead guitarists will enjoy the fast feel of the neck – its slim profile is built for speed and the satin finish feels natural to the touch. Fretboard action on our test guitar was swift and buzz-free, thanks to a 12″ radius and an immaculate setup. The body of the Virtuoso is surprisingly light, as well as attractive, while the headstock has a shape vaguely reminiscent of a Telecaster but with a mango overlay that matches the guitar’s top. Other touches include a smooth neck heel that facilitates upper-string bends.

    Through various tube and digital modeling amps first set to clean, the Virtuoso supplied punchy tones in the bridge position, while the neck pickup displayed dark, jazzy tones. It sounded especially excellent on ringing arpeggios and open chords. The Virtuoso really takes off when played with distortion, where it offers immense power and depth. It sounds great with palm-muted chugging and rocking riffs, bringing every line and chord tone to life. It’s equally impressive for lead tones, maintaining fullness even into the upper register, without becoming screechy. Blues and shred tones are easy to coax; the neck and middle pickups have warm, fat tones that ably cover the Hendrix/SRV/Clapton spectrum. And the low fretboard action allows for easy tap/sweep combinations and all other types of shred lickology. One improvement compared to a vintage shredder axe is the lack of a locking nut, thanks to excellent hardware (most notably, locking tuners) and construction that bypasses the need for the cumbersome devices of yesteryear.

    So, who’s going to want a Lipe Virtuoso? Presumably, it’ll end up in the hands of a player raised on the stun-guitar heroics of the ’80s and ’90s, but two decades later has acquired a taste for excellent materials and workmanship. It might have been fun to whiz around back then in a red Pontiac Fiero or Dodge Viper, but today’s more-mature rocker wants a Porsche or Audi with the same sexy vibe, but immensely better workmanship. That’s where Mike Lipe steps in – the Virtuoso acknowledges the slinky guitars, tones, and lines of the past, but combines it with upscale materials and quality build you associate with the fine guitars in life. And in that respect, Lipe nails it with the Virtuoso. This is a handsome guitar that gets it right in every way.


    This article originally appeared in VG July 2013 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.



  • Seymour Duncan Releases Dirty Deed Distortion Pedal

    Seymour Duncan Dirty DeedSeymour Duncan’s Dirty Deed Distortion is an all-analog/true-bypass pedal that incorporates an active EQ for 12dB of treble and bass boost/cut. Its pair of MOSFET transistors are designed to emulate the tube-like harmonics and sustain of a pushed amplifier. It runs on DC power supplies at 9 to 18 volts; at 18, the pedal enhances overall saturation and compression. For more information, visit: http://www.seymourduncan.com.

  • Fender Acoustics Offers Avril Lavigne Newporter

    Fender Acoustics Avril Lavigne NewporterFender Acoustics’ Avril Lavigne Newporter acoustic guitar is based on her signature Squier Telecaster. It has a concert-size body with laminate mahogany top, back, and sides, a black finish, black binding, black tuners, a specially designed star rosette, 12th-fret skull-and-crossbones inlay, Lavigne’s signature on the headstock, black-bound mahogany neck with C-shaped profile, a 19-fret rosewood fingerboard, Fender Viking-style rosewood bridge with white pins, three-ply black pickguard, and a Fishman preamp. For more, visit www.fender.com.