Revista Guitarrista Nov 2014.pdf

THE GUITAR MAGAZINE 387

GEAR REVIEWS | INTERVIEWS | GUITAR ESSONS | TIP & ADVICE

5 | November 20 4

YardbirdsZeppelin

Semi Shootout!Gibson Group Tes& much ore!

PageE X C L U S I V E I N T E R V I E W

+King CrimsonInterview + Fripps Rig!

NOVEMBER 2014 PR NTED N THE UK 5.75

November 2014 Guitarist 3

Future Publishing Limited 2014. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. The registered office of Future Publishing Limited is at Quay House, The Ambury, Bath, BA1 1UA. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.

Full competition Terms & Conditions can be found at: www.futurenet.com/futureonline/competitionrules.asp

We are committed to only using magazine paper which is derived fromwell managed, certified forestry and chlorine-free manufacture. FuturePublishing and its paper suppliers have been independently certified inaccordance with the rules of the FSC (Forest Stewardship Council).

Jamie Dickson EditorPrint: 20,931Digital: 4,116The ABC combined print and digital circulation for Jan-Dec 2013 is:

Future produces high-quality multimedia products which reach our audiences online, on mobile and in print. Future attracts over 50 million consumers to its brands every month across three core sectors: Technology, Entertainment and Music. We export and license our publications to 89 countries around the world.

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR).www.futureplc.com

25,047A member of the Audited Bureau of Circulations

Future Publishing LimitedQuay House, The Ambury, Bath, BA1 1UA Phone 01225 442244 Fax 01225 732353

Email [email protected] Web www.guitarist.co.uk

Turning A Page

Weve had the pleasure of featuring Jimmy Page in the mag again this month, an article prompted by the publication of his new autobiography, in which much of the story is told through powerfully evocative photos of Jimmys rise from

fresh-faced teen to session professional and finally guitar god in Led Zeppelin. As you turn the pages, the hair gets longer, while the guitars pass through the germinal stages of embargo-era Graziosos to proper Les Paul Customs and finally the famous instruments that Jimmy used to etch the melody of Stairway To Heaven into the collective imagination. But its pleasing to note that he reserves special affection for those first guitars: the awkward, difficult-to-play beginners instruments that he first performed with. When you think about that, you realise that its because you discover music on such instruments. The first thrill of conjuring melody from thin air belongs to those humble guitars in the face of all their flaws, theyre still the most important instruments we ever play. Its a timely reminder that its the music that makes guitars magical, not however desirable they may be the guitars as objects themselves. A stairway to heaven indeed

Chief executive Zillah Byng-MaddickNon-executive chairman Peter AllenChief financial officer Richard HaleyTel +44 (0)207 042 4000 (London)

Tel +44 (0)1225 442 244 (Bath)

EditorialEditor Jamie Dickson [email protected]

Content editor Chris Vinnicombe [email protected] reviews editor Dave Burrluck [email protected]

Deputy gear reviews editor Michael Brown [email protected] editor Josh Gardner [email protected] editor Gary Walker [email protected]

Art editor Rob Antonello [email protected] music editor Jason Sidwell [email protected]

Music engraver Chris FrancisAV content produced by Martin Holmes

Contributors Tony Bacon, Owen Bailey, Chris Bird, Darran Charles, Trevor Curwen, Matt Frost, Nick Guppy, Rob Laing,

Neville Marten, Kerry Moyle, Roger Newell, Matt Parker, Mick Taylor

In-House PhotographyJoseph Branston, Dave Caudrey, Adam Gasson, Neil Godwin, Will Ireland, Simon Lees,

James Looker, Joby Sessions, Philip Sowels, Jesse Wild

AdvertisingPhone 01225 442244 Fax 01225 732285

Advertising sales director Clare Coleman-Straw [email protected] Advertising sales manager Richard Hemmings [email protected]

Account sales manager Alison Watson [email protected] Advertising sales executive Simon Rawle [email protected]

MarketingGroup marketing manager Laura Driffield [email protected]

Marketing executive Richard Stephens [email protected]

CirculationHead of trade marketing James Whitaker [email protected]

Trade marketing manager Dan Foley [email protected]

Print & ProductionProduction manager Mark Constance [email protected]

Production controller Frances Twentyman [email protected] production coordinator Nathan Drewett [email protected]

LicensingLicensing and syndication director Regina Erak [email protected]

Phone + 44 (0)1225 442244 Fax + 44 (0)1225 732275

Future Publishing LimitedManaging director, Future UK Nial Ferguson [email protected]

Head of Music Rob Last [email protected] art editor Rodney Dive [email protected]

Creative director Robin Abbott [email protected] executive Zillah Byng-Maddick [email protected]

Next issue on sale 14 November 2014

Printed in the UK by William Gibbons on behalf of Future.Distributed in the UK by Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT Tel 0207 429 4000

To buy images featured in this publication visit www.futuremediastore.com or email [email protected]

Customer servicesSubscriptions and back issues 0844 848 2852 [email protected]

Subscribe online at www.myfavouritemagazines.co.uk

COVER PHOTOGRAPHY BY JESSE WILD

42

Contents The Guitar Magazine

6 Guitarist November 2014

People & PlayingSlash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Reeves Gabrels . . . . . . . . . . . . . . . . . . . . . .42J Mascis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Jakko Jakszyk. . . . . . . . . . . . . . . . . . . . . . . . 52Jimmy Page. . . . . . . . . . . . . . . . . . . . . . . . . . .62Pete Kennedy . . . . . . . . . . . . . . . . . . . . . . . .74Rich Robinson . . . . . . . . . . . . . . . . . . . . . . .82

62 Jimmy PageOn the eve of the launch

of Jimmy Page, the fascinating new photographic

autobiography, Guitarist is granted an exclusive interview with the man

himself to talk about the bond he still has with his early guitars, highlights from his session career, and to discuss his gear

during the Zeppelin years

RegularsWelcome From The Editor. . . . . . .3Front End. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Readers Letters. . . . . . . . . . . . . . . . . . . . .34New Music . . . . . . . . . . . . . . . . . . . . . . . . . . . .41Subscribe . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Longterm Test. . . . . . . . . . . . . . . . . . . . .134Gear Q&A. . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Readers Ads . . . . . . . . . . . . . . . . . . . . . . . . 156

74

52

3242

ISSUE 387 NOVEMBER 2014


86

1418

94

New gear this monthVigier Excalibur Thirteen. . . . . . . . . . . . . . . . . . . . . 8PRS Archon 100-watt head . . . . . . . . . . . . . . . . . 14Peerless Jezebel & Retromatic 131 . . . . . . . 18Gibson Billy F Gibbons Goldtop . . . . . . . . . . 36Gibson Memphis Round-up . . . . . . . . . . . . . . . 86Martin Retro & Aura acoustics . . . . . . . . . . . .94Godin Multiac Nylon SA . . . . . . . . . . . . . . . . . . . 106 Boutique Fuzz Pedals Round-up . . . . . . . .114What You Need To Know About Wah 118Roland Cube Street EX. . . . . . . . . . . . . . . . . . . . . .125NSF Controls Free-Way Switch. . . . . . . . . .125EHX B9 Organ Machine & Deluxe Big Muff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126SiB! Mr Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127Zoom H5 Handy Recorder . . . . . . . . . . . . . . . .127Vox AC4C1-12 Combo. . . . . . . . . . . . . . . . . . . . . . . 128Tech21 Fly Rig5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Rode NT-USB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132Fender Rumble 200 Bass Combo . . . . . . .132

How to watch From now on, youll be able to

stream all of the accompanying video content from a YouTube playlist, accessible via the short

web link below. Simply type it into your PC, tablet or mobile devices web browser and watch it all from

there. In the case of audio-only files, we will publish a separate

download link on the page. And fear not, all back-issue Vault content remains available online

at vault.guitarist.co.uk.

S T E P 1

Go to: http://bit.ly/guitarist387

S T E P 2 Play and enjoy. Simple!

Follow the link above to get your

video content

http://bit.ly/guitarist387

VIDEOS


F I R S T P L A Y

VIGIER EXCALIBUR THIRTEEN2,229

WHAT IS IT? Hi-tech solidbody bolt-on


F I R S T P L A YVigier Excalibur Thirteen

F R E N C H P E R F E C T I O N

What is the definition of the modern electric solidbody guitar?

Youre looking at it

WORDS D AV E B U R R L U C KPHOTOGRAPHY S I M O N L E E S

The long-running Excalibur, introduced in 1991, is a much more mainstream vision than many of Vigiers earlier designs, but its the guitar that has put the brand on the international map: a complete redesign of the double-cutaway bolt-on.

The Thirteen (introduced in 2013 and retained for this year) came from a desire, says Vigiers UK distributor Ben Whatsley, to develop an Excalibur that is very versatile and would be an ideal choice for players of any style or genre, providing an extremely stable and easy-to-use-guitar. It may sit in the higher levels of the Excalibur range, which starts with the Indus at 1,459, but the Thirteen is honed to perfection, not a hair out of place, reflecting


VIDEO DEMO


F I R S T P L A Y

Vigiers long-standing obsession with ultimate quality and performance.

The body is two-piece centre-joined French alder, slimmer in depth than the Fender blueprint at 41mm. Its skinnier horns provide maximum access to the upper frets all 24 of them: medium gauge, mirror-polished stainless steel on the 300mm radiusd maple fingerboard. The slightly flat-backed, slim depth D profile neck (19.5mm at the 1st fret, 22.8mm at the 12th), combined with very vintage-like rounded edges and a satin finish, feels exceptional. Very few makers go for a graphite-reinforced neck without a truss rod, but Vigier believes in its 10/90 neck construction its not a gimmick and was introduced back in 1988. For me, the graphite [reinforced] neck is better, says Patrice. It is very stable. I dont say we dont have any problems, but theyre very few. Its interesting, too, that the graphite centre spine is installed from the back; the fingerboard, like an old Telecaster, is simply the face of the neck.

Attention to the smallest detail is everywhere. There are the knurled oversized locking wheels on the Schaller dual-height tuners; those ball-end string retainers; the Teflon string guide (not glued, so changing to a bigger string gauge involves just swapping it for one with wider grooves). Then theres the hardened steel zero fret (again, easily replaced if any wear creates slight grooves); the direct-mount humbuckers with factory set pole-piece adjustments; the bolted-into-metal-insert strap buttons; the micro-sized kill switch. And thats not to mention the needle point ball-

1 One of the numerous Vigier innovations is to use a chromed ball end, which you thread the string through, for a string tree

2 Standard strap buttons just screw into the body wood. Not Vigiers: they bolt into a threaded metal body insert

3 These Alnico II loaded Amber humbuckers came out tops in a huge pickup test that Patrice Vigier carried out a couple of years ago. Headed by Wolfgang Damm, these pickups are made in Germany

4 Control of the dual humbuckers is via a five-way lever switch that offers full humbucking and split coil sounds. You also get a micro kill switch

1


F I R S T P L A Y

bearing pivot of the adapted Schaller vibrato with lockdown and height-adjustable saddles. Even the side-placed jack output is recessed in a hole thats angled towards the base strap button, for those of us who secure our lead under the strap. Feel & SoundsTo coin a clich, heres a guitar that virtually plays itself. Set up with 0.009 to 0.042 gauge strings and a string height below the factory specs, youll be racing all over the board in a nanosecond. Some players may need a little more fight, but adjustments are easy via the vibratos two height-adjustable pivots. The vibrato is very stable unless you go completely nuts, and even then only the low strings pitch wobbled a bit. Overall, intonation is scarily good and theres a superb, balanced ring and bright acoustic resonance and sustain. There is a slightly audible ping on low-fret, plain string bends, where we suspect theres a slight groove in that zero fret, but it certainly doesnt amplify when plugged in.

The five-way switch selects bridge humbucker, screw-coil of the bridge, slug-coil of bridge with screw-coil of neck (hum-cancelling), screw-coil of the neck, and neck humbucker. With the volume and tone and a

Attention to the smallest detail is everywhere This is a thoroughly professional workhorse that is genre- and style-spanning

2

3

4


VIDEO DEMO


F I R S T P L A Y Vigier Excalibur Thirteen

G U I T A R I S T R A T I N GBuild qualityPlayabilitySoundValue for money

Guitarist says: State-of-the-art solidbody with impeccable build, playability and versatile sounds

Vigier Excalibur Thirteen

PRICE: 2,229 (inc case)ORIGIN: FranceTYPE: Solidbody electricBODY: 2-piece alderNECK: Vigier 10/90 system (10% carbon, 90% maple), bolt-onSCALE LENGTH: 650mm (25.6)NUT/WIDTH: Teflon with hardened zero fret/43.1mmFINGERBOARD: Maple, black dot inlays, 300mm (11.81) radiusFRETS: 24 (plus zero fret), medium stainless steelHARDWARE: Schaller/Vigier 2011 vibrato with ball-bearing pivot; locking tuners with over-sized rear locking wheels chrome-platedSTRING SPACING, BRIDGE: 53mmELECTRICS: 2 Amber Rock humbuckers, 5-way lever pickup selector switch, master volume and master tone, micro kill switchWEIGHT (KG/LB): 3.4/7.5OPTIONS: Rosewood board (n/c), black hardware (119), push/pull to split the pickups (93)RANGE OPTIONS: The Excalibur range starts at 1,459 with the IndusLEFT-HANDERS: Excalibur Special (2,329), Indus (1,599)FINISHES: 10 colours inc Monarchy Gold (as reviewed) High Tech Distribution01722 41000www.vigier.co.uk

versatile amp and pedalboard, it gives you immense choice. The fact that theres a kill switch onboard leads you to believe its a modern rock/shred dream, and we doubt too many of you playing in that style would be disappointed but theres a lot more here than that pigeon-hole.

Certainly, the bridge is ballsy and crisp, but it suits big, bold cleans right though to meltdown distortion. The more vintage-output neck pickup has an older, woodier voice and its a good contrast, while the pickup mix is seemingly that modern generic Strat, which never quite sounds like the real thing but is great for modern chord voicings and lashings of modulation and delay. However, the volume control here is crucial to unleashing some much older traditional sounds. Stick to the middle three positions and back off the tone control and it actually sounds way more, well, vintage-y. In fact, the more time we spend with this guitar the more sounds we find the mark of a good instrument? We think so.

VerdictIf you see your instrument as a tool to do a professional job, and not a too-cool-for-school accessory, Vigier will probably already be on your radar. This model is a stupidly well made and thoroughly professional workhorse that by design is genre- and style-spanning. If you havent tried one, we suggest you do.

5 Vigiers 10/90 carbon and maple neck construction doesnt feature an adjustable truss rod but is renowned for its stability

5


VIDEO DEMO


TA K E M E T O Y O U R L E A D E R

With massive gain, the Archon seems aimed exclusively at the aggressive metallers out there. But theres plenty more under

the hood

WORDS N I C K G U P P YPHOTOGRAPHY S I M O N L E E S

PRS has flirted with amplifiers several times over the last three decades, but its backline designs have never taken off in the same way as the companys guitars. However, that bogeyman might finally be laid to rest with the arrival of a new range called Archon. Coming from the ancient Greek for leader or master, the Archon collection is a competitively priced (by PRS standards) range of amps aimed squarely at the modern metal player, but with enough sonic flexibility to cross over into other styles of music. With other Archon products due to arrive in the UK over the next year, here were taking a look at the range-topping 100-watt head.

The Archons no-frills design is pure PRS, with a large gold badge sat on a charcoal-burst flamed maple fascia trim. Above this, theres a

F I R S T P L A Y

PRS ARCHON 100-WATT HEAD1,999

WHAT IS IT? Hand-wired, boutique, USA-made valve head

from one of the worlds top guitar brands


F I R S T P L A YPRS Archon 100-watt head


VIDEO DEMO


F I R S T P L A Y PRS Archon 100-watt head

front-panel rotary controls are all heavily damped, high-quality Alpha pots, a relatively small detail that makes a significant contribution to the Archons luxury boutique vibe. Theyre also quite practical, as you can make precise setting adjustments and feel certain that the pointer knobs will stay where you left them.

SoundsThe Archon is aimed at the modern metal player, combining a big, open clean channel with a very high-gain lead channel. There are no less than five gain stages in the preamp; most modern rock amps have three, giving the Archon the equivalent of a built-in overdrive pedal in front of an already high-gain front end. Despite this, the amp is well behaved, with minimal hum and acceptable hiss, even at higher-gain settings. One of the Archons secret weapons is the flexibility of the lead channel gain control. At lower settings, its bright, punchy and very usable, with a sweet hot-rodded Plexi growl. Classic rock players will probably never need to turn the gain control beyond 10 oclock; however, as you push things around to two oclock the Archons colossal overdrive takes over, with a searing harmonic-laden sustain and powerful midrange, which stays warm without being

simple perforated steel grille, with another to the rear aiding ventilation. The woodwork is very clean, with big radiusd edges that echo classic Plexi designs. Its compact but quite a heavy beast thanks to two massive transformers. The robust chassis has a black powder coat finish and clean white lettering, making front- and rear-panel controls easy to read. The Archon is largely hand-wired; the small preamp components are arranged on a heavy-duty PCB strip configured in a standard turret board layout, with a separate board for the output stage components and diodes, and a third board supporting an impressively large bank of capacitors. All front- and rear-panel components, along with the valve bases, are mounted direct to the chassis, with wires leading to the boards. This traditional construction method separates PCBs from the heat generated by the valves, adding significant long-term reliability. Theres a lot of wire inside, which is neatly routed and tied, with clean soldering. The overall impression is of a busy but well-sorted design, built to take the punishment of continuous touring in its stride.

The Archons control panel is easily understood, with two sets of gain, EQ and master volumes, with global presence and depth controls. Both channels have a small bright switch, and the power and standby functions have been combined on a single three-position toggle switch. A similar switch is used on the rear panel for impedance changing wed prefer to see a recessed type here, to properly protect that expensive output transformer. Other features include a footswitchable series effects loop and comprehensive bias test points for the output valves, along with a half-power switch. The

1 The Archons controls are straightforward, easy to read and deceptively flexible, with no frills

2 Power and standby functions are handled by one three-position switch

3 The lead channel gain control covers a huge range of overdrive effects

4 Easy-access bias test points make it simple to keep the Archon running in peak condition

The Archon is aimed at the modern metal player, combining a big, open clean channel with a very high-gain lead channel

1

2


F I R S T P L A YPRS Archon 100-watt head

overly peaky. The treble is edgy but sweet, while the fast, tight bass response is perfect for metal and detuned instruments. The clean channel swaps huge overdrive for huge headroom, with massive clarity and a subtle edge at higher-gain settings that reminds us of the original hand-wired Hiwatts. Add the lightning-fast dynamic response of that supersized power supply, and its not surprising that the Archon has also found favour with many of Nashvilles elite country pickers.

VerdictIts about time PRS had a hit with one of its amps, and we reckon the Archon is right on the money, with good looks, great tone, plenty of flexibility from a simple control panel and, most importantly, a relatively affordable price. With the 100-watt head selling for around 1,650 on the street, the established names in this genre are about to be given a hard time. With many top players already on board, and more affordable amps on the way, we reckon the Archon range could easily turn out to be a major success for PRS.

G U I T A R I S T R A T I N G Build qualityFeaturesSoundValue for money

Guitarist says: A great head from PRS that hits the bullseye and will give the established competition a tough time

PRS Archon 100-watt head

PRICE: 1,999ORIGIN: Assembled in USATYPE: All-valve preamp and power amp, with solid-state rectifier OUTPUT: 100 watts RMS, switchable to 50 watts VALVES: 6x 12AX7, 4x 6L6DIMENSIONS: 500 (h) x 550 (w) x 270mm (d)WEIGHT (KG/LB): 20/42CABINET: PlyCHANNELS: 2, footswitchableCONTROLS: Bass, middle, treble, volume and master volume x2. Bright switch x2. Master depth and presenceFOOTSWITCH: 2-button switch, supplied, changes channels and toggles loop ADDITIONAL FEATURES: Series effects loop, external bias test points, half-power switch. Can be used with EL34sOPTIONS: Various custom colours will be available, contact dealer for more detailsRANGE OPTIONS: Also available as a 50-watt head for 1,799. A USA-built 4x12 cab loaded with Celestion V30s is 1,100, theres also a 50-watt 1x12 combo on the way, price TBAPRS Europe01223 874301www.prsguitars.com

3

4


VIDEO DEMO


C L O C K R O C KDistinctly retro-looking rock n rollers that would slot right into plenty of contemporary genres: back to the future?

WORDS: M I C K TAY L O RPHOTOGRAPHY: S I M O N L E E S

The Peerless company of Korea is proud of its 45-year heritage, with roots in third-party manufacturing for many more famous marques. According to company literature, peak output per month has been as high as 30,000 instruments, but in more recent times, Peerless has become increasingly focused on its own brand, scaling back production to less than 5 of that formidable former number. These days, in addition to a range of flat-top steel-string acoustics, youll find the Peerless name atop a wide range of broadly Gibson- and Gretsch-inspired archtops and semis, evoking plenty of jazz and rock n roll nostalgia in the mid-price ranges, not least with these two new models.

The reasonably understated Jezebel and more flamboyant Retromatic 131 share the same 330mm (13-inch) lower bout width and 15th-fret neck-to-body join, and are fully hollow with additional, so-say mahogany support/sustain posts beneath their roller bridges, more of which presently. The shorter-

F I R S T P L A Y

PEERLESS JEZEBEL STANDARD799

WHAT IS IT? Small and slim hollowbody with arched spruce

top for old-school cool

PEERLESS RETROMATIC 131899

WHAT IS IT? Small yet deep-bodied hollowbody archtop

with funky Art Deco styling


F I R S T P L A YPeerless Jezebel Standard & Retromatic 131


VIDEO DEMO


F I R S T P L A Y Peerless Jezebel Standard & Retromatic 131

scale-length Jezebel is the thinner of the two, measuring 44mm at the rim, with the gently arched top and back adding approximately 20mm depth around the bridge area. The longer-scale Retromatic 131, by contrast, is much deeper; 74mm at the rim, again bulging at the bridge both top and back. Both guitars bodies are made from pressed laminates; all maple with a parallel braced top for the Retromatic and maple body with whats specced as an X-braced spruce top for the Jezebel.

What weve learned so far is that Peerlesss published specs are not exactly consistent, so whatever you read elsewhere, this 131 has a Fender-like 648mm scale (not 628mm), the bridge block is maple (not mahogany), and theres no sustain post that we can find. Meanwhile, whipping both pickups out of the Jezebel and getting in there with the dentists mirror returns no sight of any X-brace as we know it, just a slightly thicker piece of spruce through the centre section, and a distinctly non-mahogany sustain block: it looks more like maple. It does run top-to-back here, however. While were in there, we can at least have a look at the ply end block for the set necks: maple neck for the Retromatic 131, mahogany for the Jezebel, both of which are concealed beneath a black finish on the outside, with a thick gloss coat.

Both guitars have visual niceties, including multi-ply body binding and black neck binding, but its the 131 that will turn heads, starting with those blinging mother-of-pearl fingerboard inlays. Weve got this far before mentioning Art Deco, so now it comes with the inevitable reference to Germanys Duesenberg, which leads the pack in that world. Its very much a matter of taste, of course, but we really like the sort of kitsch uptown razzmatazztic feeling of opulence that goes with it except that compromises in build reveal some dirt beneath both guitars gloss-painted nails. Untidy insides, plenty of finish build-up around the neck/body union and plasticky pickup surrounds have a sort of Danelectro/Hagstrm charm, perhaps, and while more important areas such as fret-end finishing and nut cut are fine, the former could do with a polish to finish them off, the latter with the sharp edge taking off the bass side.

Both guitars have visual niceties, but dont expect much fun up the dusty end, for dusty it will remain thanks to 15th-fret neck joins and vintage-style cutaways

1

2

3


F I R S T P L A YPeerless Jezebel Standard & Retromatic 131

Peerless has enlisted the help of Matt Gleeson, from Montys Guitars of London, in its pickup designs; two low-output humbuckers in the Jezebel that look very Gretsch-smart with their parallel cutouts, and a P-90/humbucker combo in the Retromatic, again of modest/vintage-type output. Just for the record, all four of these pickups are made in the Far East, which is to say designed by Matt Gleeson, not necessarily made by him. Lets plug em in. Feel & SoundsWhen we reviewed the Retromatic P3 (issue 376), we commented on its almost too slinky setup. Theres no such danger here, as with plenty of relief in both necks and the bridges set to fighting height, the action of both guitars will be unacceptably high for most tastes. As it happens, this reviewer quite likes it, as it demands you get in there and engage with the thing the extra string vibration doing good things to get what top there is moving, even though theyre laminated. The necks are full in the hand, giving you something meaty and vintage-like to hold on to both are 22mm deep at the first fret with a big-feeling, rounded profile all the way up. Dont expect much fun up the dusty end, however, for dusty it will remain thanks to 15th-fret neck joins and vintage-style cutaways [theres no money up there anyway Ed].

Its also worth saying that the Jezebel is a physically light guitar, which will definitely appeal to anyone who either dislikes, or physically cant manage, a heavy instrument for whatever reason. The Retromatic is no heavyweight either, with only half a pound or so of extra heft: most of it is air, of course!

The smart roller bridges are fully adjustable, which is good news as both guitars needed

1 Bearing the BHK brand (OEM fitters to Epiphone, Washburn and more), the Jezebels pickups are designed by Matt Gleeson of Montys Guitars, wound to around 8.2k ohms

2 Arguably far more classy than the 131s Art Deco steps, the Jezebels peghead should offend nobody. They are both nicely pitched back to ensure good string pressure over the bone nut

3 The Retromatics pickups are also designed by Gleeson and bear the Peerless name on their stickers. The humbucker is said to be around 7.8k ohms for the bridge and 7.1 for the neck

4 Hmm. Fun is probably the best word at this juncture. Actually, we really like it, even if a certain German brand starting with D and ending in eusenberg might feel somewhat put out


VIDEO DEMO

4


F I R S T P L A Y Peerless Jezebel Standard & Retromatic 131


Guitarist says: Loads of kitsch, Art Deco fun for jazz, rock n roll, blues, or for exploring more evocative tonal textures

Peerless Retromatic 131PRICE: 899 (inc case)ORIGIN: KoreaTYPE: Single-cutaway archtop hollowbody semi-acousticBODY: Laminated maple top, laminated maple back and sidesNECK: Maple, setSCALE LENGTH: 648mm (25.5)NUT/WIDTH: Bone, 43.3mmFINGERBOARD: Rosewood, approx 305mm (12) radiusFRETS: 22, mediumHARDWARE: Grover GH-102 nickel kidney-button enclosed tuners, Peerless roller bridge with floating trapeze tailpieceSTRING SPACING, BRIDGE: 50.4mmELECTRICS: 1x Montys humbucker, 1x Montys P-90-style single coil, master volume, master tone, three-way pickup selectorWEIGHT (KG/LB): 2.9/6.4OPTIONS: NoneRANGE OPTIONS: P1, P2 and P3 are thinner-depth, wider-bout 628mm-scale models with single- (P1) and dual-pickup (P2) configurations. The P3 has two pickups, Varitone control and Stetsbar vibrato. There are also B1 and B2 bassesLEFT HANDERS: Yes, to orderFINISHES: Ivory (as reviewed), Black, Gloss Polyester


Guitarist says: A capable small jazzer or vintage rock n roll belter for anyone who doesnt want a huge box

Peerless JezebelPRICE: 799 (inc case)ORIGIN: KoreaTYPE: Single-cutaway archtop hollowbody electricBODY: Laminated spruce top, laminated maple back and sidesNECK: Mahogany, setSCALE LENGTH: 628mm (24.72)NUT/WIDTH: Bone/43.3mmFINGERBOARD: Rosewood, approx 305mm (12) radiusFRETS: 22, mediumHARDWARE: Nickel-plated kidney-button enclosed tuners, Peerless roller bridge with floating trapeze tailpieceSTRING SPACING, BRIDGE: 50.4mmELECTRICS: 2x Peerless Gleeson Dual-Pole humbuckers, master volume, master tone, three-way pickup selectorWEIGHT (KG/LB): 2.7/5.9OPTIONS: Jezebel Deluxe has gold tuners and Midnight Wine finish (899)RANGE OPTIONS: See aboveLEFT HANDERS: Yes, to orderFINISHES: Midnight Blue (as reviewed), Midnight Wine (Deluxe model with gold hardware, 899), Gloss PolyesterPeerless [email protected]

some set-up tweaks our samples were hastily requested, so we should bear that in mind, and our prior experience with Peerless in the set-up department has been nothing short of excellent.

The tones bring more than their fair share of smiles. Unplugged, the Retromatic is obviously the louder, more full-sounding of the pair, but when plugged in, the Jezebel has the softer attack and paradoxically more traditional archtop response: that spruce top would seem to be doing its thing. Laid bare through a clean-ish amp, there are old jazz tones aplenty; the Jezebel pushing the front end just that bit harder for some extra edge up top, thanks to its more powerful pickups. The shorter scale might make the midrange a little more chewy, too, certainly compared with the Retromatic, which twangs just a soupon more, with a little more clarity from the slightly weaker pickups the neck P-90 especially. Add a little vintage amp overdrive, tremolo and reverb and youre banging out evocative, movie-soundtrack sounds that would sit in so many contemporary genres.

Neither guitar could be accused of being bright-sounding; instead, you get more fundamental in the note, that seems to suit all manner of rock n roll, jazz and vintage blues tones; theres so much more air around the tone than you could expect from a fully solid or chambered-body guitar. The trapeze tailpieces contribute to that general picture, too, offering resonances and vibrations that are absent from a more solidly fixed bridge.

VerdictDespite their overt vintage styling, these guitars remain entirely relevant because the tonal and stylistic influences of late-50s/early-60s music in contemporary culture are as strong as theyve ever been. You could easily imagine anyone from Dan Auerbach to JD McPherson to Jake Bugg to Anna Calvi with one of these slung round their shoulders. The Retromatic is marginally the more rock n roll of the two, the Jezebel more jazzy, perhaps, though both guitars could do either, no problem, as long as you dont want searing treble and tight, solidbody-like bass.

Sure, there are aspects of these guitars that are a long way from perfect. Indeed, Peerlesss own marketing sets you up for a champagne experience, leaving you slightly deflated when the guitars deliver a beer reality. Nevertheless, theres undoubted charm and likeability on offer, not to mention seriously usable, engaging sounds. Well turn to the mythical Jezebel herself immortalised in song by all manner of artists for help with a conclusion. She was pretty untidy around the edges, and encouraged poor old Ahab to do all sorts of naughty things. But boy, was she a lot of fun by the sound of it a lot like these guitars.


VIDEO DEMO


Frontend

The Seven Decades: Zebra Stripes, Flames & Killer Tops show is a fascinating stage and multimedia performance that tells the story of the Big Four electric guitars the Tele, Strat, Les Paul and ES-335 by using them to play the music that made them famous. The 90-minute show features a six-piece band playing around 40 guitars on 40 songs. Historical authenticity is paramount, and organiser/performer Michael John Ross tells us: The guitars are the real stars of the show and all of them are completely original. We use the right guitar for the right guitar hero We play Buddy Holly on an early Strat, SRV on a 63, Peter Green and Jimmy Page on a 59 Les Paul Burst The Holy Grail! For ticket info and to find out more, see www.sevendecades.com.

Dont miss it! Must-see guitar goings-on for the coming weeks

The Holy Grail Guitar Show15-16 Nov 2014, BerlinThe Holy Grail Guitar Show is the perfect excuse for a winter break. Over 100 top independent guitar makers will be exhibiting instruments ranging from hand-crafted traditional creations to avant-garde designs. See holygrailguitarshow.com for more info.

Matt Schofield13-30 Nov 2014Various UK venuesBritains premier bluesman last toured the country with Joe Satriani, and he returns in November for a headline tour of the UK with his trio; theres support from The Ben Poole Band. See www.mattschofield.com for the dates and ticket info.

Martin Harley Band tour13 Nov-12 Dec 2014, various UK venuesGuitarists favourite Weissenborn-wielding acoustic troubadour returns to the UK for a 20-date tour in support of his latest album, Mojo Fix. If youre a fan of slide, and youve never seem him play live, you owe it to yourself. See www.martinharley.com.

Merseyside Guitar Show23 Nov 2014, OrmskirkNow in its 12th year, the Merseyside Guitar Show is one of the UKs biggest regional guitar shows. The line-up features more than 80 exhibitors, dealers and collectors, with new, second-hand and vintage instruments to trade and try out. See www.guitarshows.co.uk.

Seven Decades: Zebra Stripes, Flames & Killer Tops

4 - 8 N o v , W i l t o n s M u s i c H a l l , L o n d o n

S

AM

HA

RE


Frontend

If youre feeling flush, and want to treat yourself to a modern, high-end rock guitar, check out this bevy of beauties weve recently reviewed

Roundup: Dream rock machines

1 Ibanez FR6UC-BKF Prestige1,589www.ibanez.com

This up-to-date, no-nonsense rock machine is fitted with Bare Knuckle Aftermath Pickups for king-size, articulate rock sounds, but its five-way selector offers tonal variation. We said: A solid, ferocious-sounding guitar with a stripped-down charm, thats just begging to be taken on the road

2 Manson MA-2 EVO1,864www.mansonguitarworks.com

This futuristic, yet still somehow traditional design from the company that supplies Matt Bellamy of Muse with his sci-fi weapons is fitted with an (optional) onboard Fernandes

Sustainer unit, and a Manson MBK-2 humbucker made by Bare Knuckle. We said: An excellent, modern-rock-intended instrument, superbly made with a Telecaster-meets-Les Paul-on-steroids voicing

3 ESP E-II ST-2 Rosewood1,529www.espguitars.com

The ST-2 is the closest ESP has come to producing the stripped-down, no-nonsense 1980s-rock vibe in quite a long time, and its custom-wound DiMarzios, excellent neck and flamy glamour will surely tempt many a shredder to upgrade.We said: A great high-end rock guitar: with impressive spec and performance, its up there with the best

4 Schecter USA Production Hollywood Classic2,499www.schecterguitars.com

A Custom Shop-grade set-neck doublecut with powerful SuperRock humbuckers, this Schecter is no one-trick pony, and has surprising tonal versatility: its also available with a Floyd Rose. We said: Great build, resonance, playability and rock tones a posh guitar that would be a fine stage/recording buddy

5 Jackson 30th Anniversary Soloist3,622www.jacksonguitars.com

Jackson returns to the roots of the Superstrat phenomenon with this limited-to-30 edition

30th Anniversary Soloist. It replaces the 1984 originals active pickups with EMGs, and produces as fine a tone as any modern rock guitar weve played.We said: An authentic recreation of a classic not even the SL-1 is as desirable a Soloist as this!

6 Gibson Les Paul Classic 20141,499www.gibson.com

With its skinny neck profile and punchy pickups, the Seafoam Green (!) Les Paul Classic has strengths that any tone lover with an eye on modern, powerful soloing will love and its excellent value, too.We said: For a great-value, fully realised modern Les Paul, look no further a modern titan of the breed

1 62 543

And also

And Finally

Substitute Tired of using the same old chord shapes? These substitutions will freshen up your playing in seconds.

Picks Highlights from last issue


Frontend

Heres a little thought experiment. Great rhythm players (especially in jazz) cover complex chord progressions easily, because they know LOADS of shapes. Can we work with this approach? Lets try a little blues in A, starting with this A9 shape.

Having set a precedent there, lets try to find the other chords on the middle four strings, around the 5th fret. Its not too much of a challenge to find the D9

So we now need the V chord, and itd be a shame to cop out by simply moving the previous chord up two frets to create E9. Be strict! Heres an E7 with the 7th at the bottom

Theres room for one more, so when youve played through 11 of the 12 bars, how about using this E7#5 for a bit of spice on the turnaround?

ElectricsFender Modern Player Short Scale Telecaster394

We said: Super-light, super-resonant, super-priced A beginners dream

AcousticsAvian Skylar Demi Cutaway899

We said: The soundhole placement is a revelation. A great guitar for modern fingerstyle players

AmpsSupro 1690T Coronado1,049

We said: Not just an amp for retro tone lovers a great centrepiece for a modern rig

EffectsKorg Nu vibe479

We said: The Uni-Vibe and beyond a fine modulation pedal with the ability to dial in familiar sounds but go further

MiscEventide MixingLink259

We said: A clever, feature- packed device that could become a gigbag essential

This Issue: Compact Blues

TWO-TONE TEMPTRESSGretsch continues to roll out more Center Block Series guitars with its latest addition, the G6112TCB JR 2 Tone model. A thinline Nashville Junior in two -tone Jaguar Tan and Copper Metallic, the Two Tone has a pair of FilterTrons and a Bigsby B 3C. See www.gretschguitars.com for more information.

RIP JOHN GUSTAFSONBassist and vocalist John Gus Gustafson died in September, aged 72. Born in Liverpool, he was a member of early rock n roll trio The Big 3 and the Merseybeats before joining Quatermass in 1970 and Roxy Music in 1973. He went on to work with Ian Gillan and Gordon Giltrap, and as a session player. He released a solo album, Goose Grease, in 1997.

RIP ROBERT YOUNGFormer Primal Scream bassist turned guitarist Robert Throb Young died in September, at the age of 49. He was a member of the band from early on in their career until 2006, and played on many of their most influential albums, including Screamadelica, Vanishing Point and Give Out But Dont Give Up.

In a sad but touching moment during Septembers Bestival Festival on the Isle Of Wight, Nile Rodgers broke down in tears and dedicated his set to the memory of his close friend and guitar tech, Terry Brauer, who passed away shortly before the performance. This is a very tough night for me, Rodgers told the 55,000 -strong crowd. My guitar tech of 18 or 19 years passed away, and it was very hard for me to do this tonight. The Chic star then had the crowd chant Brauers name and hold their phones up in tribute. The set was also notable for breaking the record for hosting the worlds largest mirror ball, which was more than 10 metres in diameter and was lit up, suspended from a crane and rotated during the concert. R

ICH

AR

D IS

AAC

/LN

P/R

EX


Perfect 10

10 Questions We Ask Everyone

We catch up with Slash around the release of his new album, World On Fire. So how does the man whos seen and done it all handle the...

Slash

1 WHAT WAS YOUR FIRST GUITAR AND WHEN DID YOU GET IT?It was a one-string Spanish-style acoustic and I got it right before my 15th birthday. My grandmother gave it to me. My uncle, my moms brother, had a couple of guitars and one of them was this beat-up old hollowbody electric with a fake Bigsby, and it just never appealed to me, but the acoustic with the one string for some reason, it was like, Thats what I need.

2 THE BUILDINGS BURNING DOWN WHAT GUITAR WOULD YOU SAVE?I would still go with my [Kris] Derrig 59 copy that Ive been using forever [the Appetite For Destruction guitar Ed]. Its just such a great-sounding guitar, but its old now. It was built in probably 85 or 86. Its very temperamental, so were like an old married couple. I have to treat her a certain

way and she gives back a little, so theres a lot of nuances in how we work together. At the end of the day, tonally, thats my guitar.

3 WHATS THE OLDEST GUITAR YOU HAVE?Probably a 52 Tele, which I think I bought in the 90s during the Use Your Illusion period. I bought a lot of vintage stuff when we were doing that album, but I havent really bought since. One of the things Ive grown out of is thinking you need to have a certain guitar for a certain sound, but back in the day I bought a lot of vintage guitars looking for different tones.

4 AND THE NEXT PIECE OF GEAR YOUD LIKE TO ACQUIRE?I pick up stuff as I need it. Im really not a gear head or a technician that loves gadgets. I just go for what I need and I try and keep it as basic as possible. I stumble on

stuff or, if I hear a sound, Ill ask a couple of people if theres anything that does this and if there isnt, how could we make it?

5 IS THERE A GUITAR YOU REGRET LETTING GO?I miss my BC Rich Mockingbird, which was my first good name-brand electric guitar. I had that for a long time, but a lot of equipment got hocked for cash because of more important, erm necessities you know what thats about! I sold it to Guitars R Us on Sunset for some quick money and it was never seen again. The other guitar that I miss but I dont have any regrets is the 59 in Tobacco Sunburst that I gave back to Joe Perry.

6 IF YOU COULD CHANGE ONE THING ABOUT A RECORDING YOU'VE BEEN ON, WHAT WOULD IT BE AND WHY?I just dont believe in that because its sort of like blowing our past up! Usually, I know what Im doing at the time when Im recording. If something comes to me later on, I might just throw it in live or whatever, but I dont find myself really stressed by that at all.

7 WHAT ARE YOU DOING FIVE MINUTES BEFORE YOU GO ON STAGEMost of the time, I just stay in the dressing room after soundcheck and play my guitar until show time. Sometimes depending on how hard were touring you can get really fatigued 5-Hour Energy drink works!

8 AND FIVE MINUTES AFTER?I just want to decompress. I think my heart rate goes up about 10 notches when I play, so I just want quiet and I dont want to deal with anybody or to sign anything. I dont want to have to do anything til Ive gotten out of my clothes into something else and wound down.

9 WHATS THE WORST THING THATS EVER HAPPENED TO YOU ON STAGE?When theres an irretrievable train wreck that the band cant recover from. Those are my worst memories, and that used to happen a lot back in the 80s and maybe in the early-90s.

10 WHAT SONG WOULD YOU PLAY ON ACOUSTIC ROUND THE CAMPFIRE?Thats an interesting question. Probably Let It Loose from The Stones, but theres lots of different Stones songs that would sound great. Or I might play some old Bob Dylan songs anything that lends itself to that kind of thing!

Frontend


FeedbackYour letters to the Guitarist editor. Drop us a line at [email protected] you might even win a prize!

THE GUITARISTDear Guitarist, thought Id compose this poem about guitars for your consideration

When lifes not very rock n rollAnd even eBay cant sell your soul

Now youve settled into your accountants roleYoull always have guitars.

A lump of wood with wiry stringsKnobs and electronic thingsStardom waiting in the wings

For you and your guitar.

Flying V, SG The riff to (Cor Baby Thats) Really Free

Blackmore, Slash and Bo DiddleyLearn licks on their guitars.

That Petrucci solo left you out of breathEvery note in the treble clef

Should have stuck to Napalm DeathYour guitar gently sleeps.

When you were a lad you didnt visit the parkPlayed your guitar till it was darkLike a young Fast Eddie ClarkeAnd you kept your first guitar.

You can afford a big amp on an accountants wageAt the golf club they call you Jimmy PageAnd youve got a girlfriend half your age

But youre in love with your guitar.Nigel Loyd, via email

Bravo, Nigel! We crown you the Poet Laureate of the Les Paul

MAKING ITDear Guitarist, thanks for two super articles in issue 386, the Brian May special and the Dave Burrluck piece on building a guitar with his father. Though hard to credit now, back in the 60s and early-70s the items needed for guitar building were extremely hard to find.

As a 14-year-old in 1960, my first effort at a Strat copy taught me a lot: mainly what not to do! Two years later, I tried again and this time I found an electric guitar circuit in a book called Electronic Music And Musique Concrete by FC Judd. Circuits were still a mystery to me, so I took the drawing to my uncle, who in the 1950s had made his own television. This time, it was a success, but I actually found that the building process was more satisfying than playing. In 1972, after fixing a friends Strat, I took all the measurements and built my own. I went to the Sydney Evans violin shop in Birmingham, and purchased a rough-cut, Fender-style neck, and built the body from a tabletop and some block-wood. As the neck was mahogany, I wanted a contrasting fingerboard, but where was one to find maple? Instead, I used a piece of Japanese oak, finished with a two-pack epoxy lacquer. Job done, and it still works today.

I have gone on to build quite a few guitars, and I am currently working on a Tele-style guitar for someone in South Korea. Coals to Newcastle anyone? Keep up the good work.John Ibbotson, via email

WEARING THINDoes Dominic Mason [see Feedback, issue 385] think the guitars of Rory Gallagher or

Stevie Ray Vaughan got that way because those instruments were abused or because they were loved and enjoyed for every second their owners had them? Its odd he mentions he has a Rickenbacker 381. So do I, the John Kay model. When I got it, it was second-hand and now its a very heavy relic. Abuse? Or constant use and lots of love? My belief is a guitar is a tool, nothing more. With someone like Rory, the guitar was the tool, he was the instrument, and the art was in the music he created and the concerts he performed. This playable work of art idea is a sop to the worst sort of wannabe, who never took a chance.Victoria Sutton, via email

Hi Victoria, we heartily agree that guitars which acquire heavy wear through playing symbolise sincere devotion to making music, not abuse of the instrument. But does that make Dominic and others like him a wannabe because they prefer to take care of their instruments? Were not sure that follows. For example, one of our favourite players, Adam Goldsmith, guitarist on The Voice, plays thousands of gigs a year but keeps his instruments in immaculate fettle. All the same, we salute your love of performing live its the soul of guitar music and everyone should try it.

Star letter

Each issues Star Letter wins a Korg Pandora Stomp an ingenious compact multi-effects with a wealth of options thats worth 119! www.korg.co.uk


Gibson Custom Billy F Gibbons Goldtop 4,099

H eres something rather special. Keen-eyed readers will recognise this guitar as one of a limited run of 300 modified Les Paul Goldtops made to ZZ Top guitarist Billy F Gibbons personal specification. Unusually, theres no pickup selector meaning the bridge/neck pickup balance must be dialled in using the volume controls alone, while a single, master tone control governs both pickups. Its also very lightweight for a Les Paul, thanks to extensive chambering of the single-piece mahogany body.

This particular guitar differs in one important detail from the other goldtops in the run the striking, chrome-finish humbuckers. Wound by Thomas Nilsen of Cream T Pickups, these Tele-inspired units were originally designed for Keith Richards. After a 20-year search for a set of pickups that combined the sweet voice of a Telecasters neck pickup with the tonal girth of a PAF, Keef approached Thomas, who made a prototype bucker

that had barely been wound before Stones tech Pierre de Beauport took it away to be fitted to Keiths Gloria Tele. Keef knew about Cream Ts work on Billys innovative Banger pickup, and so jokingly suggested a matching name for the new design: the Mash humbucker.

Billy then returned the favour by equipping this Les Paul, his personal instrument, with a gleaming set of Mashers. As for the sounds, think vintage PAF with a touch of funky hollowness and brightness borrowed from a Tele neck pickup.

There are only three sets of these hybrid pups in existence, although Cream T intends to put them into production soon. Deep-pocketed readers can console themselves with the stock Billy F Gibbons Goldtop, fitted with Seymour Duncan Pearly Gates humbuckers, at 4,099 for the V.O.S. model, or 6,599 for the aged version. Cream T07810 032715www.creamtpickups.co.uk

Photography by Neil Godwin


VIDEO DEMO

1


1. This instrument has a subtly aged V.O.S. finish, although afully aged versionwith the amusing addition of belt-buckle wear in the shape of Texas is also available

2. The flowing pinstripe motif that adorns the Goldtop was designed by Billy Gibbons and US hotrod-styling artist, Rick Harris

3. The Goldtop comes strung, in authentic Billy Gibbons style, with a set of super-light .008-gauge strings, though the instrument Guitarist tested was restrung by Cream T with a heavier set, wrapped over the stopbar for a

less acute break-angle over the saddles

4. As fitted to Keith Richards Gloria Tele, Cream TsMash humbucker iscoil-tapped, but the examples on Gibbons Goldtop are full-blown humbuckers

5. The Goldtops fulsome neck profile was based on measurements taken from an original 50s Goldtop in Billys own collection

6. The guitars unorthodox control layout features a single master tone control but no pickup selector, with twin volume controls used for pickup blend

5

2

3

6

4


H

AR

RY B

OR

DEN


Music

Pink Floyd The Endless River

Parlophone

A new Pink Floyd album? Well, not quiteGuitarist was recently invited to

listen to Pink Floyds new album The Endless River aboard David Gilmours Astoria houseboat studio. An amazing experience for sure, but a challenging review scenario being as it was just one play-through of an album that comprises 17 ambient instrumental tracks (plus one with vocals), most with barely discernible start or end points. The tracklisting was also

unavailable during the playback session.

Nevertheless, the album is based on revisited tracks from 1994s The Division Bell sessions, with new material recorded by Gilmour and drummer Nick Mason this year. Perhaps unsurprisingly, Roger Waters does not appear. Given that The Division Bell met with poor reviews in 1994, we were unsure whether the Waters-less The Endless River would be a worthy offering or if Floyds revisited tracks would be mere scrapings from the bottom of a rather dry barrel.

Happily, The Division Bell sessions yielded a surfeit of

decent recorded material that didnt make the album, with the band jamming around unfinished song ideas. This is The Endless Rivers trump

card, because you hear Floyd at their best, experimenting, stretching out and playing freely without the confines of a verse/chorus/verse format.

Peripheral they may be, but gathered together, the result is an album that recalls the experimentalism of tracks such as One Of These Days and Echoes from Meddle-era Floyd. Synth pads, swells, electric pianos and organs, courtesy of the late Rick Wright, provide a backdrop for

Gilmours guitars, which range from folksy acoustic picking and heavily delayed electric grooves, to dark, intense but typically melodic solos.

The pace of The Endless River ebbs and flows throughout, and Gilmours solos, all recorded this year, find him in fine form. With only one vocal track, this is not an album for fairweather fans, but Floyd devotees hungry for new material may even regard the jigsaw puzzle of component parts that forms The Endless River to be something close to a masterpiece. [CB]Standout track: Louder Than WordsFor fans of: Radiohead, Frank Zappa

Music

Music


Martin Barre Order of PlayEdifying Records

Tull hero takes classics on the volleyMartins band revisit milestone Tull tracks in an impromptu small-hours session after an ecstatic festival

gig last year. Barres tone is full of muscular Marshall grunt and his blend of blues and folk phrasing is broadsword-sharp. Its gutsy, but we cant help missing some of Tulls olde-world charm. [JD]For fans of: Jethro Tull, Steeleye Span, Fairport ConventionDownload: Thick As A Brick

Djessou Mory Kante River Strings Maninka Guitar

SternsmusicWant to expand your horizons? Start here To listen to the agile, virtuosic performances on this album is to glimpse an alternative vision of what the

guitar can do. Rooted in the rich traditions of Malian music, like Ali Farka Tour before him, Kante pulls off dazzling flourishes of single-note melody that dart and weave with quicksilver grace. [JD]For fans of: Ali Farka Tour, Fela KutiDownload: Laban

Johnny Marr PlaylandNew Voodoo

Former Smith follows up his 2013 solo debutPlayland buzzes with the energy of the city and is the taut product of a band who have clocked up thousands

of road miles. Marrs playing is, of course, a masterclass in post-punk, pop and indie-rock, ranging from artful rhythm work to biting lead, all performed with intelligence and effortless precision. [CV]For fans of: The Smiths, Electronic, Noel GallagherDownload: Easy Money

U2 Songs Of InnocenceIsland

Youve got it, whether you like it or not!U2s 13th studio album is surprisingly light on Edge-isms, but theres at least a consistency that was lacking on

2009s No Line On The Horizon. Iris (Hold Me Close) shimmers with measured delay, and there are angular flourishes elsewhere, but these are mainly songs of restraint. [DH]For fans of: The Killers, Coldplay, U2(!)Download: Every Breaking Wave

Ryan Adams Ryan AdamsPAX AM

14th studio album in as many yearsThough his unbelievable work-rate sometimes compromises quality control, when Ryan Adams is good,

hes very good indeed. Here, inspired by the rock music of his youth, a focused Adams hits on an anthemic, mainstream radio groove driven by moody Princeton Reverb tones. [CV]For fans of: Bruce Springsteen, Tom PettyDownload: Gimme Something Good

Ben Howard I Forget Where We WereIsland

Nu-folk troubadour goes electricHowards second LP could only have come from a songwriter who trusts both his instincts and the

chemistry hes honed with the musicians around him. The result is a denser yet wider sound, mixing layers of electric delay with a less folky acoustic fingerstyle, confirming him as one of the most talented British solo artists to emerge in years. [RL]For fans of: John Martyn, Portishead, Jeff BuckleyDownload: She Treats Me Well

Keys Ring The Changes See Monkey Do Monkey

Love letter to American music from psych-poppersThe Welsh music scenes best-kept secrets return with a third album proper. In their most direct incarnation yet,

10 reverb and fuzz-drenched cuts channel Spector, The Velvets, 60s psych and American lo-fi. Great songs, killer musicians and an eight-track tape machine; sometimes it really is that easy [CV]For fans of: The Velvet Underground, Jonathan RichmanDownload: Bad Girls

Status Quo Aquostic (Stripped Bare)Rhino

Quo in the buff have nothing to be ashamed ofIts easy to knock Quo yet theyre as comfortingly familiar as beans on toast, and this acoustic romp

through their back catalogue has unexpected charm. The famous three-chord boogies sound sweetly bluesy, while Rossi and Parfitts close-harmony singing is spot on. [JD]For fans of: Andy Fairweather Low, Eric ClaptonDownload: And Its Better Now

Virgil &The Accelerators Army of ThreeMystic Records

Blues-rock firebrand gets nastyVirgils no stranger to these pages and, as the title suggests, the talented young South African guitarist has

embarked on darker, grungier flights of power-trio rock. Nuanced blues is set aside for full-tilt contemporary riffage, but Virgils fluent, ballsy style of soloing is still much in evidence. [JD]For fans of: Airbourne, Tracer, Philip SayceDownload: Stand Up

Our pick of the finest fretwork committed to wax this month

Albums

Virgil And The Accelerators get revved up for Army Of Three

W

ILL

IREL

AN

D


InterviewJ Mascis

Warm & FuzzyThe prolific, louder-than-hell alt-rock guitar legend that is J Mascis puts down his Jazzmaster and makes his finest acoustic album yet. And all without leaving the house...

Words Matt Parker Portraits Joby Sessions

Dinosaur Jrs enigmatic guitarist/vocalist, J Mascis, is a man who doesnt know the meaning of downtime. Since releasing debut album

Dinosaur in 1985, there have been some 21 albums and a wide variety of bands, projects and musical styles; from his signature fuzz-powered stoner-pop to doom metal drumming and whispered acoustic paeans. Masciss latest record, Tied To A Star bears more relation to the latter form of melody-making and works as a thematic follow-up to 2011s tender solo album, Several Shades Of Why.

Its the same label and concept, confirms J when Guitarist meets him at his London hotel. Megan at Sub Pop wanted me to do an acoustic record. Thats what Id signed on for, so its an extension of that.

The album certainly shares the bare intimacy that its predecessor possessed in spades, a sense no doubt aided by the fact that both records were made at Js home studio in Amherst, Massachusetts nicknamed Bobs Place, after a beloved bulldog.

Its on the third floor of the house. The attic, I guess, explains J. Theres a skylight, its an old house. The bedrooms up theretheres one that I played the guitar in, then in the other room, I put the drums in there, and thats also the room that I sing in. Then theres a big control room the big room, with the skylight. I knew that was the control room, because thats where you hang out the most.

He speaks modestly about the space, but it turns out that, much like its namesake, Bobs Place has quite the pedigree.

All of the new Dino ones [were recorded there], says J. Then my last solo one, so those five. Then Thurston Moore did one record there and Kurt Viles recorded there. Ive done some Witch records in there. Sonic Youth recorded one there

As with all of his productions, this new record has Js DIY imprint all over it, and it sounds incredibly warm. Its a world away from the twanging snap and crispness of most acoustic recordings.

I usually use two Coles ribbon mics on different parts of the guitar, says J, when we ask about his technique. Sometimes, I put some condenser in there also, but I usually dont like it. Its always too trebly. Thats my main problem: trying to get the acoustic not trebly. The anti-Ovation sound! Although there are few more iconic Jazzmaster players than J in the world,


Interview J Mascis

Z.Vex Fuzz Factory 7 and into a 59 Vox AC15, before being mixed underneath the original sound. The effect on the listener is one of a background transistor fuzz, like radio static. Its unusual, but it works brilliantly, which is in essence Js whole schtick.

Richards GearIve also got this weird Epiphone acoustic that I used a little, too, adds the guitarist. Someone told me it was some kind of electric. Its like a DAngelico archtop, but somebody put a flat top on it. Supposedly, it used to be owned by Richard Gere. Its a bizarre guitar, but something about it spoke to me when I picked it up...

Guitarist wonders whether the Dino-man has managed to cultivate a similar loyalty to a particular acoustic model?

I have been playing a Gibson CF-100 or CF-100E a lot of the time live, explains J. I had started doing fuzz and leads on an acoustic, so I was looking for a cutaway that didnt look really stupid. That one was built so early on, so it somehow looks better than a newer cutaway to me.

Also used on the record are a bevy of Martins, including a 000-18, and some rare custom slot-headed Brazilian rosewood models.

Ones like an experimental model, he says. I was told Martin would let the builders build a few guitars however they wanted and market it as an experiment. That was the first Martin I got. Its small and it looks like a classical, but its not. Its got X-bracing.

Js acoustic recordings were often then redirected through one or more fuzzes usually either a D*A*M* Dopefiend or

Its clear that its found the right home, not least because Tied To A Star represents Js finest acoustic work to date. The clean fingerpicking on Wide Awake is particularly accomplished. Not that youll get him to admit it I really like Richard Thompson, Nick Drake, Bert Jansch and that sort of stuff, says J. So I try to develop it. Its really hard, I find, because I dont practise that much. On this album, I seldom would pick up a pick to play the guitar, but then when I start playing electric again it feels weird!

Lets hope that he gets it nailed before the next project inevitably comes a knocking.

Tied To A Star is out now on Sub Pop Records.

I really like Richard Thompson, Nick Drake, Bert Jansch On this album, I seldom would pick up a pick, but when I start playing electric it feels weird

J is in fine form on Tied To A Star, an album that showcases impressive fingerpicking

ROYAL BLOODLINEFour decades after Jakko Jakszyk first saw King Crimson live, he was invited to join. Being tasked with fronting your favourite band would daunt most players, but Jakko has really put in the hours...

WORDS MATT PARKER PHOTOGRAPHY ADAM GASSON

It is rare that youre given the chance to join not just an established band, but the one you hold dearest. Guitarist Jakko Jakszyk first witnessed King Crimson at a concert when he was just 13 and spent

the following years forging a career as a songwriter, session maestro and a front-rank prog guitarist. Both by accident and design, he found himself working with a sizeable chunk of the ever-changing bands 21-member alumni, before getting drafted in by lynchpin and leader Robert Fripp in 2013. Now, as Jakko prepares for his live debut in the US, he talks to Guitarist about his lifelong audition, the playing challenges and working with the venal leader.

How did you come to join King Crimson? When Robert Fripp asked if I wanted to be in the new King Crimson line-up, one of the first people I called was the bass player, Nick Beggs. Nicks response was: Thats the longest audition in rock history! Because I

was a King Crimson fanboy. I saw them in Watford Town Hall in 1971 and it blew my head off. I had a romanticised idea that this one event had changed my life on some enormous level.

Then, in the 80s, I met and worked with [original lyricist] Pete Sinfield, and when [in 2002] he picked up the idea of playing the early stuff with ex-Crimson members, he asked me if Id be the guitarist/vocalist, because he knew what a fan I was. That culminated in the 21st Century Schizoid Band, where everyone in the band, apart from me, had been in King Crimson.

Then Ian Wallace [former King Crimson drummer and Schizoid member] tragically died, and after his funeral Robert Fripp invited me for lunch and asked me to improvise with him. We recorded all this stuff and [eventually] created the record A Scarcity Of Miracles, which came out as a King Crimson ProjeKCt [a Crimson-endorsed side-project].


My first thought [when choosing gear] was Lets keep this simple, because frankly Ive got enough to concentrate on just playing the sodding notes


Interview Jakko Jakszyk

So there was this whole background, but even when Robert eventually phoned and asked would I like to be in the new King Crimson, I was surprised because he had announced his retirement from the music industry. It came out of the blue.

How did you find taking on that mantle? Presumably, youre not handling any of Roberts duties this time...I am actually! Because Robert reappraised how he was playing the guitar in the 1980s and developed his Guitar Craft approach and what he calls New Standard Tuning, which is C G D A E G and significantly different to normal tuning. So when it came to older material, Robert said to me, Youre playing in the old tuning, why dont you play it? There was a moments silence where I was looking at him, thinking, Is this a joke? So I then had to learn how to play these fiendishly difficult cross-picked parts!

Has the bands long history of reinvention made it easier for you?I think so. One of the questions Ive been asked is, How does it feel to replace Adrian Belew? And I think, Well... Im not! In the same way that Adrian Belew didnt feel like he was replacing [vocalist/bassist, 1972-74] John Wetton. You dont feel, Im stepping into this blokes shoes. I dont know if it makes it easier, but it allows you to go into it with a different mindset. Also, the bands been going since 1969, so while theres a recognisable harmonic and rhythmic centre that makes it King Crimson, a lot of the music sounds very different.

What is it like working with Robert Fripp?I can only speak of this version of the band, and this version of Robert Fripp. Ive read all the books, Ive read all the reports of his daunting personality, and he often refers to himself self-deprecatingly as the venal leader, but I havent seen that. I hate to smash a perception that I know hes quite keen on perpetuating, but hes been incredibly supportive and hes very encouraging of you being you. He will tell you what he doesnt like, but hes not dictatorial, or like I imagine Frank Zappa was, whom hes often compared to.

Has it changed your perspective on any of the material?Its interesting, because sometimes when you dismantle something, you think, Blimey! Is that it? But there is something

about this music that, even when you completely pull it apart, there is still something magical about it.

What were your thoughts when choosing the gear to use in this role?My first thought was, Lets keep this simple, because quite frankly Ive got enough to concentrate on just playing the sodding notes. There were other concerns, too. Robert has decided to have three drummers on the floor, while were on risers above them, so I cant have a 50-watt valve head turned up full, because the first thing thats going to hit will be three sets of overhead mics.

At the second lot of rehearsals, Tony Levin was using a Kemper Profiling Amp

because he could profile his bass rig and get the sound on top of these risers. He knows Christoph Kemper, so they very kindly sent me one. Right now, Im using that with a Line 6 POD HD500 as a controller on the floor. Then Im putting the Kemper through a PRS 2x12 cab, just to get a bit of air.

And we hear youve also got a custom PRS on the way?Yeah, its based on a P22 Custom, but weve made a version of the screaming face from the first King Crimson album [In The Court Of The Crimson King]. Its an extraordinary-looking thing. The piezo helps with more acoustic-sounding things. It gives you an attack, which is great on arpeggiated stuff.

How much consideration have you given to emulating tones from the bands past?There are certain tunes where Im trying to emulate them as authentically as possible and times where Im not. For instance, Sailors Tale, the original has two guitars,

Jakko Jakszyk says Robert Fripp has really encouraged him to be his own player



F E R N A N D E S C U S T O M G O L D

Robert seems to favour this Fernandes Goldtop Custom, which was built for him in Japan in about 1995. Most of his guitars have generally got the same system: a built-in MIDI pickup, a humbucker and a sustainer. The toggle switches mean theyre totally flexible, so he can switch everything in and out.

R O L A N D U S 2 0 S P L I T T E R / G R - 1 G U I T A R S Y N T H

A 13-pin cable comes out of the guitar and goes into this [AB/Y] splitter, which goes to the Roland GR-1 Guitar Synth and to the Axon AX100 [rack-mounted guitar-to-MIDI

controller]. A standard jack then runs out of the back of the GR-1 to the Axe-FX II XLs at the top of the rack.

A X E - F X I I X L

Generally, were setting it up with a Hiwatt-style Hi-Power head, through a 4x12 cab setting and a Master Fuzz [based on the Maestro FZ-1 Fuzztone], which seems to be one of the favourites as a basic signal chain. The top one is the backup.

S O U N D S C U L P T U R E S W I T C H B L A D E

All of the outputs from the Axe-Fx, the Axon and the GR-1 go into this Switchblade, which

is essentially like a patch bay. Youve got two stereo signals running from here into the Eventide H8000 and H3500 effects units and then a third stereo signal going to the Eventide Eclipse, all of which are then sent back into the Switchblade [and then out to the final mix].

E V E N T I D E H 8 0 0 0 & H 3 0 0 0 / 3 5 0 0

The 8000s [only one pictured, due to repairs] are generally what Robert uses to create those massive loops that go on for days. Hell play things and 40 seconds later theyll appear in the surround speakers. The 3000s are used for other effects, such as the tap delay.

E V E N T I D E E C L I P S E

The Eclipse is used mainly for additional effects on his standard guitar sounds for things that are not going through the other Eventides.

B O S S E X P R E S S I O N P E D A L # 1 & 2 F I N A L O U T P U T L E V E L S

These control the [final] output levels [sent from the Switchblade], and this can be used in stereo or quad or even a six-channel mix so Roberts got total control over where he sends everything.

R O C K T R O N M I D I R A I D E R

This is the heart of the whole system. Everythings got a MIDI address, so Robert can tell the MIDI Raider all the parameters that he wants which units in, which units out, which presets on the Axe-FX and program it so that when he clicks on that patch, the whole system will go into the mode required.

The bottom 10 switches on the right [numbers 1-10] are all assigned to certain

ROBERTS RIGMr Fripps guitar tech Trev Wilkins talks us through the Crimson kings weird and wonderful live rig

The Axe-Fx II XLs sit at the top of the rack, while the Eventide for Fripps massive loops sits at the bottom

Robert Fripp favours his 95 Fernandes Goldtop Custom


songs. On the top row, 11 is what we call the lead channel, or Scene 2 on the Axe-FX, and 12 has got Scene 3. Number 13 switches the Eclipse in and out, and 14 and 15, labelled bottom and top, are the Eventide H8000 and 3000s.

B O S S E X P R E S S I O N P E D A L # 3 S W I T C H B L A D E I N P U T L E V E L

The Switchblade sends a stereo mix [from the Axe-Fx, the Axon and the GR-1] to this volume pedal and, depending whats switched in and out, this pedal controls the signal within the system [before its sent to the Eventide units].

B O S S E X P R E S S I O N P E D A L # 4 E C L I P S E P A R A M E T E R C O N T R O L

B O S S E X P R E S S I O N P E D A L # 5 & 6 A X E - F X P A R A M E T E R C O N T R O L S

Were using the two pedal outputs from the Axe-Fx, so weve got two continuous control pedals and we can then assign those to anything, mainly the dry/wet mix for the effects within the unit.

L A P T O P

The laptop is also Roberts, and thats connected to the Axe-Fx over USB, so we can tweak things. Robert doesnt get somebody else to handle effects for him, hes very hands-on. Its a complete holistic approach.

K O R G T A K T I L E & I P A D

Its just a keyboard controller. The sound is from an iPad app called ThumbJam, which reacts to MIDI messages, and then Ive got an IK Multimedia iRig MIDI connecting it, so that Robert can call up Mellotron strings, brass, choir and flute on the Taktile pads and play them live on the keyboard. The iPad signal goes then to the effects return on the Axe-Fx, so you can call it up on the MIDI Raider and use the effects in the Axe-Fx and Eventides.

M O N I T O R M I X E R

Each member of the band has a monitor mixer so that they can set what theyre hearing on the headphones. A lot of the songs also have clicks going on, so they can access them through the mixer, too.

Boss Expression pedals control the signals from the Axe-Fx II XL

A Korg Taktile acts as a keyboard controller, while the sound emanates from an iPad app called ThumbJam

EVENTIDE H3500

EVENTIDE H8000

EVENTIDE H3500

EVENTIDE H8000

6 (OR 4) CHANNEL MIXSTEREO

VO LU M E I NB O S S E P ( # 3 )

SOUND SCULPTURE SWITCHBLADE

SOUND SCULPTURE SWITCHBLADE

SOUND SCULPTURE SWITCHBLADEV I A B O S S E X P R E S S I O N P E D A L S ( # 1 & 2 )

AXON ROL AND GR 1 AXE-FX II ULTRAB O S S E P ( # 4 & 5 )

LOOP 2 SOLOLOOP 1

R O L A N D U S 2 0

G U I TA R I N

ECLIPSEB O S S E P ( # 4 )

The Roland GR-1 Guitar Synth is an integral part of Fripps rig



because Roberts tracked them both, so Im trying to make that sound like Robert back then so that those parts become a section.

At one point, much to Roberts amusement, I was playing about with the modeller and he said, Thats a good sound! Whats that? I said, Its a preset I found on the Kemper. Its called Early Fripp! He thought that was very funny.

Are there any tracks that youre worried about playing live?There are some recent things that require an enormous amount of concentration. Its not just you, its the complete interaction of everybody. Then theres the earlier stuff, like Larks Tongues In Aspic, which I loved as a kid and Im excited to be playing it, but reasonably daunted at being the bloke doing

it. Im practising constantly. You cant think, Oh yeah, I know that and then turn up to rehearsal. You need to be on top of it.

What other material has made the setlist for the forthcoming tour?Its ever-evolving. Some stuff has been added, other stuff has been dropped and there are whole areas of improvisation. Theres one tune which is based on a selection of notes, and an assigned band member dictates how and when they are being played. Its that improvisational element of the early Crimson, which kind of disappeared, so were allowing space to accommodate that. Then theres talk of a future where there might be brand-new material. Some of that has been recorded in a form and other stuff has been presented.

Certainly, it does not feel like reforming for a one-off tour and then disappearing.

Whats the atmosphere like in the band ahead of your return?Its been a joy. Its a really nice group of personalities as well as musicians. Robert said in a recent interview that hes looking forward to this in a way that hes never looked forward to touring, because this is the first line-up of King Crimson where there isnt someone in the group that resents him. It does feel like that. Were all very excited about doing this. If I might quote another member of King Crimson, Bill Bruford, who said, King Crimson: the only band where you can regularly play in 15/8 and still stay in nice hotels. Thats a pretty privileged place to be!

Im practising constantly. You cant think, Oh yeah, I know that and then turn up to rehearsal. You really need to be on top of it

Jakko uses a Kemper Profiling Amp with a Line 6 POD HD500 as a controller on the floor


K

ATE SIMO

N


In The Days Of My Youth

Jimmy Pages autobiography is a labour of love that charts the Led Zeppelin icons musical journey through over 600 photographs, including many from his private archive. Here, in an exclusive new interview, one of rock guitars true giants talks about the instruments that shaped his early path from teenage pretender to star of the London

session scene, Yardbird and beyond

W O R D S

T O N Y B A C O N


immy Page is sitting in a London hotel talking about the book that tells the story of his musical life. He leafs through the copy on the table in front of us and points to one of the many photographs. Hes about 20 years old, frozen in black and white while recording one of the innumerable studio sessions he took part in back in the 1960s.

Do you know whats really interesting? he asks. Theres all these

pictures in here of me in the studio doing sessions with various people, and yet when it

comes to Led Zeppelin, the only time that were in the studio being photographed is across the second album. Isnt that interesting? So, pro rata, theres more of me at those studio sessions, when you wouldnt think thered be anything. I just find it ironic. But it was interesting, sieving for gold

The 70-year-old Page looks dapper all in black, silver-haired in a wafer-thin, ageing gracefully, rock star kind of way. Hes very enthusiastic about his book, very proud, and hes intrigued by the idea that its procession of pictures can also tell the story of his guitar life. Thats what weve got to do, he says with a grin as he turns more pages and reveals the sequence from Grazioso to Les Paul to Telecaster. Weve got to try and explain what it is and why it is.

The early material in Jimmys book is especially interesting. There are fascinating connections and links during the decisive years from the period in which he acquires his first guitars, through the studio sessions, and on to The Yardbirds and the first months of Led Zeppelin. Page turns to a picture of himself playing live with Neil Christian & The Crusaders, supporting Cliff Richard, probably in 1960. Hes got his Grazioso electric and hes on his knees with it at the front of the stage. The interesting thing here, he says, is that my body language is exactly the same as something from 1977 in the white poppy suit, pictured later in the book. And we had a superb drummer in that band, a drum major in the army. He had a load of swing, he loved all the big-bands. Look at the size of that bass drum! So I got used to big bass drums before hearing John Bonham someone else who had an amazing swing to his playing.

Theres a lovely picture in the book of you as a teenager in front of someones fireplace with a Grazioso or FuturamaIsnt that great? Thats the first electric guitar I got. The one before it, a Hofner, my dad bought, but maybe he was psychic, and he knew what was coming.

Because theres a whole procession of guitars that come into my life over the next few years. Im either 14 or 15 in that picture, its 1958, or probably 1959, and thats the first one, the Grazioso. It looked and felt like an electric guitar, even though it wasnt a Fender. In fact, it had a tremolo arm on it, and Ive got recordings of me playing on this thing, but youd think this arm would break, actually. I heard somebody, a sort-of record collector, he told me, Youve got to hear this Carl Perkins stuff and its terrific guitar playing, hes a real stylist.

Were you thinking, Actually, I really want an American guitar?Oh, this is a result of seeing and drooling over Gene Vincent & His Blue Caps, by the time theyre doing Hot Rod Gang [1958 movie] and theyve got all those Fenders. It was oh my god. Ive seen Bruce Welch talk about when he saw the Fender with Buddy Holly on The Chirping Crickets album, and he describes it exactly the same way as I felt, too, which is: that thing looks like its from outer space! What is it?! So, you find out, and then you see them, and theyve been sprayed in almost hot-rod colours, and theyre all matching. It just looked so damn sexy! The Fenders were sexy to begin with, just beautiful, sculptural designs. Then when you saw a whole nest of them, with the bass and the guitars and Gene Vincent standing there, well

What was the first American guitar you got your hands on?I did get a Strat along the way. But guitars in those days, they werent all user-friendly, you know? Just because it was a Strat, didnt mean to say it was like a Strat we know now. Then it goes from that to one of those orange Chet Atkins Gretsches, and then pretty much from there through to the Les Paul Custom. In [2008 documentary film] It Might Get Loud, that was nothing to do with me whatsoever where theyve got [the caption] Jimmy Pages first electric guitar and they show a picture of a Strat. I dont know whose Strat it is. The reality of it is, that Grazioso was the first electric guitar. Here I am with these guys, but up in Liverpool, theres pictures of George Harrison playing one, too. So, that guitar was as good as you were going to get around that point of time.

Theres a picture with you posing with your Les Paul Custom and some Selmer and Fender ampsNone of it was mine apart from the Les Paul Custom and Im wearing clothes from John Stephen inCarnaby Street. Anyway, I went in this shop, and they

It looked so damned sexy! The Fenders were sexy to begin with, just beautiful, sculptural designs. Then when you saw a whole nest of them, with the bass and the guitars, and Gene Vincent standing there, well

I N T E R V I E W

J I M M Y P A G E

C U S T O M S H O P P I N GJimmy says he bought his black Les Paul Custom in a London music shop in the early-60s. Was it the famous Selmer shop? No, he says, there was Selmer, and then there was an affiliated shop further along Charing Cross Road. Its called Rock Stop now, but it was something else back then. I bought the Custom in there, when it was called something else. Two brothers ran Selmer, Ben and Lew Davis: Ben had the Selmer shop and Lew Davis had a shop in his own name. Youve got it, Lew Davis: that was it,

Documents

Revista Guitarrista Nov 2014.pdf