The Tone Farm

The Last Sting . . .

2010-03-21T08:51:00.000-07:00

The Scorpions, of hord rock's most legendary outfits, will uncoil their final studio effort this coming Tuesday (3/23/10) with the release of "Sting in the Tail".

With a career now spanning four decades, the Scorpions brand of crustacae-infused metal has garnered a large and faithful following - this thanks in part to strong studio efforts and a relentless touring schedule. Early-era albums like "Lovedrive", "Animal Magnetism", and "Blackout" firmly established the band's signature sound amongst hard rock afficianados. Anchored by mega-hits "Rock You Like a Hurricane" and "Still Loving You", 1984's "Love at First Sting" album catapaulted them into the stratosphere. It still stands today as one of their finest recording / touring efforts. Despite a lack of critical acclaim for ensuing album releases, they are still considered amongst the metal genre's most elite, and deservedly so.

As one would expect with a group of this caliber, the new album release will follow with a major, three-year world-wide tour, with many of U.S. dates being supported by none other than RATT. The expected blast radius from those shows will undoubtedly be vast and very highly anticipated. Having had the opportunity to see the band on their mammoth Worldwide / Live tour, I can report to fact that these guys are the REAL deal, and their stage show - absolutely fuckin' SPECTACULAR! I can only imagine what the band has in store for their final go-round.

You can check out more Scorp news at Blabbermouth; as well as at their official website.

While it's sad to see bands this good hang it up, we can do so knowing that they've left us with an incredible catalog of music to remember them by. I would expect that the forthcoming tour will produce a live concert DVD, thus assuring the fact that we will have the opportunity to feel the "sting" time and time again - - in Dolby 7.1 surround! Glorious! - - J.

Back Out Of The Cellar

2010-03-21T08:19:00.000-07:00

80's hair metal mainstays RATT will re-emerge from their eleven year studio hiatus with "Infestation", scheduled for release on April 20th.

Looking to re-create the classic pop-meets-metal sound found on their multi platinum-smashes "Out of the Cellar" and "Invasion of Your Privacy", the band has pulled in former Quiet Riot lead guitarist Carlos Carvazo for six-string duties. The caterwouling Steven Pearcy is once again working his magic at the mic. Rounding out the orignal membership is the shred-tastic Warren DiMartini on lead axe and Bobby "Blotz" Blotzer behind the drum kit.

You can check out the press for the new album at Blabbermouth; listen to the new single "Best of Me" at Road Runner Records; or bask in raunchy Ratt-ness at their official website.

With the core Rattsters in place, and a few new tricks up their sleeve, "Infestation" hopefully will signal a return to prominence for one of L.A.'s premier metal outfits. I'm crossing my fingers for a major U.S. tour and even better - a Fargo date. - - J.

What The Fuzz?

2010-03-21T08:01:00.000-07:00

If you spend any time at all perusing online guitar forums, you may have noticed that the "fuzz" pedal is enjoying a well-deserved resurgence amongst today's players. With original fuzz standards / re-issues now being offered by most of today's major players, along with various boutique off-shoots and clones, it would seem that the effect is also finding a new musical identity well-beyond trippy, psychedelia-infused stoner rock.

One thing I've recently discovered in my own musical pursuits is that a fuzz pedal is very effective when employed as a "colour" effect. Just a touch of fuzz adds some interesting complexity and variance against a clean channel, tones that otherwise would have laid relatively flat in the mix.

Another thing I've found to be useful is using it, more or less, as a distortion pedal - which it technically is. Again, this effect seems to be most useful in tandem with a clean channel, where you can set the effect at the desired top-end level, and then control it in the overall tone by using the guitar's volume knob. That way, you can still use the lovely drive effect for rhythm playing, and then send it to the moon with a slight twist of your volume knob.

Many hi-profile classic rock players used a fuzz spefically for overdrive back "in the day" - chief among them Jimi Hendrix, David Gilmour (Pink Floyd) and Carlos Santana. At that time, there weren't a bazillion different overdrive pedals available, meaning that players were forced to experiment with those that were. The end result was that they often found unique ways to employ effects to get tones that were not commonly associated with it. Another "trick" from this era I found to be interesting was using an wah-wah as a distortion effect. The pedal's treadle produces varying distorted / phased tones by being left engaged at different sweep points. Genius!

Like the overdrive pedal, there are now scads of different types of fuzz effects available. Some use modern silicon transistors, others use vintage-type germanium transistors. Common "tweaks" to the original circuit include Q / phasing controls, introduction of an separate overdrive circuit, and some a clipping control to vary the amount / intensity of the clipping circuit. Depending on you playing style, there's likely a fuzz box that will accomodate it.

The two fuzz pedals I use are the Electro Harmonix Big Muff Pi and the Dunlop Jimi Hendrix JH2S. The Big Muff is a transistor-based unit that provides a fairly agressive distorted fuzz tone. As I'd noted in a previous post, the Muff can be dialed back for some less-pronounced but still very cool tones. Wide open, its a raging, psychedelic colossus of sound. The Dunlop JH2S is a warmer, less agressive fuzz pedal that also works extremely well as a stand-alone distortion. Both pedals product different, unique tones that can be used in all sorts of live and studio applications.

As basic an effect as a fuzz is, its myriad of applications and tones are often overlooked in favor of other function-specific effects. Truth be known, the power of the fuzz box is vast and aurally volitile when properly employed, meaning that daring tonal explorers can reap its ample rewards with a little pocket cash a few well-intended practice / jam sessions. Lava lamp and incense are optional. - - J.

Distant Relatives . . .

2009-11-22T18:05:00.000-08:00

The stagnant, murky green waters of the Tone Farm have once again been coerced into tidal motion by our resident heavy / alt rock guru James Reetz. For his most recent contribution, Mr. Reetz delves deeply into his bag of tricks to procure a true gem: Clutch. If you haven't heard of them, all I can say is that you should. Not since the glory days of Soudgarden and Stone Temple Pilots has a hard rock band left such a vast, highly-radioactive blast radius. Daring, twisted, and unconventional - yet at the same time totally familiar. You might not know what to make of what you hear - though it's all but a given that your musical geiger counter will sustain permanent damage. Lead suits are highly recommended. - - J.

I must first admit that I am a follower when it comes to discovering new music. I didn't know about Motley Crue until Shout at the Devil. I had to be introduced to G n' R by my cousin - months after "Appetite for Destruction" hit the shelves. I'm just now hearing some of the best 70's rock due to the diligence of our most esteemed blog proprietor (THANK YOU MR. NELSON!). Still, when I hear something new (new to me at least) I have an ingrown desire that it be great. I want to know the exhilaration that people experience from seeing a band in it's infancy that eventually sets the rock and roll world on it's ear. Can you imagine what it was like for teenagers to see Motley at the Whiskey in 1980? My 2005 discovery of Clutch mirrors this tale in many ways. I was immediately obsessed. 10001110101 was coming through my stereo (from Robot Hive / Exodus) and I couldn't believe my ears. Was that a Hammond organ I was hearing? Was this the future of rock or the past? One call to the radio station and a trip to the store and my hopes of a fledgling discovery were crushed. Clutch had been at it for (12) years at that point. The good news . . . there was lots of incredible Clutch to catch up on.

Strange Cousins from the West is the next step towards . . . I'm not sure what. Never before have I struggled this much to classify and describe what a band does or where they fit. The album is original and fresh and diverse - - and yet undeniably Clutch. Overall, I find that the album is exactly what I was hoping for - yet at the same time very surprising and rewarding from track to track. The first song, Motherless Child, breaks down your door and announces Clutch's arrival with clean guitar power and angst filled lyrics. After that, you're treated to metal infused, blues tinged punk, funk, and soul - - flavored with tiny little bits of folk and country. Diversity is an album with songs entitled Minotaur and Sleestak Lightning. Neil Fallon, once a gifted lyricist is now a brilliant vocalist who's musings will make you think as well as spark your imagination. Insane or genius, maybe both. In my opinion, Abraham Lincoln is the feature song on the disc (although 50,000 Unstoppable Watts is the first single). I mean - who writes a song about Abraham Lincoln? Clutch does, that's who and probably no one else. The song is haunting and catchy; simple and groovy. Why write a song about this man? Fallon offers up a small window into the psyche that is unique to him in a recent interview: "Writing lyrics can be a whole lot of fun because you're given license to completely lie to everybody. I can imagine myself as someone else and say whatever I want."

Thank the stars that Clutch was crowning from the abused womb of hard rock right about the time Metallica was perfecting the commercialization of metal (read: selling out). A quote from another review of Clutch sums it up best, "Though they don't always hit the mark, that Fallon and company take the risks they do is far more commendable than the endless repetition of so many other bands" (unknown author). The fact that the quote is from 2004 and holds true on a 2009 album and all the others is a testament to the greatness of this group of regular joes. by James Reetz

Old Dogs . . . New Tricks

2009-10-14T11:36:00.000-07:00

Let me first say that it's extremely difficult to write a review about a Black Sabbath-linked band and not be consumed by the desire to fawn endlessly about their "heaviness". Or their sinfully ominous sound. Or their status quo as the godfathers of the metal genre. But this being my first TF review of a band with said credentials, I promised myself that I wouldn't. We'll see how that goes . . .

The Devil You Know is the first studio release by Heaven and Hell, their current name taken from an aptly-named 1980 Black Sabbath-titled studio effort. Unless you've been serving time in a foreign prison, or on the road with Barry Manilow, you should already be fully aware that the band is more or less a reformation of that version of the band - sans oringinal Sabbath drummer Bill Ward. That being said, there should be no surprises as to what's in store on the musical side of things. As regular TF contributor James Reetz so eloquently mused following his first full listen: this is what Death would listen to on his way to work in the morning.

The band itself is a classic four-piece line-up fronted by the spritely, snarling vocal dynamo Ronnie James Dio (RJD). H & H's nether-worldly ties come courtesy of Sabbath legends Geezer Butler and Tony Iommi. Serving up the thump is Vinne Appice, younger sibling of Carmine - who to my recollection has been in just about every band on the planet at some time or another. Together, a solid, zero-fluff line-up that's fully committed to ripping your head off with old school fire and brimstone metal.

The story of how The Devil You Know came into being goes something like this: When the group got together to cut a few new original tracks for the Black Sabbath / The Dio Years project, the band felt that the vibe present during those sessions was too good to just let simmer on a re-released greatest hits comp. Bat-winged serpents were duly summoned, incantations chanted, and powdered elk antler mixed with eye of goat. Lo and behold, The Devil You Know rose from the fiery depths - as if foretold by the ancients.

Culling on their most auspicious talent for the dark and macabre, the new release grinds sinfully through thick, drop-tuned stanzas. RJD's vocals soar effortlessly amidst midieval-themed lyrical fare. Supporting rhythm lines echo with power and ferocity, descending upon the musical arrangements like a full Panzer division on fleeing, rake-wielding French peasants. The overall effect, of course, is extremely satisfying. A wonderfully modern, yet still classically-bound metal album brimming with excellent songs and incredible performances.

The initial salvo of "The Devil You Know" starts of with the deliberate and methodical "Atom and Evil", a song whose curves conjure up images of Butler & Iommi's former musical mistress. The tempo picks up a notch for the second number "Fear", but sticks closely to the same basic formula. "The Bible Black" enters quietly with a lovely acoustic rhythm / electric intro and RJD serenading beautifully. Two measures later, the song explodes into churning, furious metal cacophany. To me, this song is the jeweled chalice of this album, melding together all of the finest points of the band's volumnous talent and classic metal sound. You simply listen in awe and marvel at the incredible artistry that is Heaven and Hell.

"Double The Pain" and "Rock and Roll Angel" capture the band in full gallop. Both are searing mid-tempo concoctions dripping with savage riffery. The latter features an amazing guitar transition part and solo that leaves no doubt that Iommi stands alone on the silver mountain. The often-copied and highly-revered axeman tastefully weaves his magic as only he can do, each breathless note cascading into a molten display of six-stringed mastery. Then, as if in a dream, the song fades into the mist on a lovely acoustic passage.

"The Turn of the Screw" echoes solo-era Dio material; wryly-written lyrics dancing between a crunchy rhythm lines. The pace intensifies with "Eathing the Cannibals", but again - conjures up trademark cues. "Follow The Tears", "Neverwhere", and "Breaking Into Heaven" bring this fantastic release to a satisfying climax. Familiar tempos and grinding guitars paying glorious homage to Dio's incredible vocal prowess.

If you're getting the idea that The Devil You Know isn't "re-inventing the wheel", so to speak, then you've hit your mark. This band isn't giving you anything you wouldn't expect to hear from artists of their caliber. The tricks these old dogs can do are still quite impressive, thank you very much.

As I look this review over, I see I have failed miserably in my efforts to avoid the usual Sabbath superlatives. But who cares? It's hard not to get excited about music this good. For that, Heaven and Hell is rightfully deserving of the Tone Farm's full five star rating for The Devil You Know. Easily, one of 2009's must-have hard rock CD's.

Down on the Muff'n . . .

2009-08-26T17:34:00.000-07:00

The second installment of the Tone Farm's ongoing feature on distortion pedals is now complete. And those that are serious about anything related to guitar distorion had best give a respectful nod and clenched fist power gesture to Electro Harmonix's esteemed ambassador of kick-ass: the Big Muff Pi.

Knowing that players' preference towards pedal effects is often a personal statement towards their approach to tone, I won't wax sentimental about the Electro Harmonix Big Muff Pi. I picked up a newer NYC version awhile back on Ebay, and suffice to say - its been a go-to piece of gear ever since.

Understanding the Big Muff's core tonal characteristics often requires one to float further upstream, to the headwaters - so to speak. When the Muff was developed back in the early 70's, players weren't exactly looking to scale back volume or wet effect. Naturally, I always find it interesting that players will ultimately play the "it doesn't clean-up very well" card. My response to that is simply, "why would you want to clean-up a Muff?"

Defining the Muff's tone also elicits some interesting discussion. Is it a fuzz? Is it an overdrive? Is it both? I guess it would all depend on who you ask. David Gilmour has used it successfully as an overdrive pedal for decades. But he, too, has a trick to get the results he wants, as is described in this article at Gilmourish.com. Hmmm . . . transparent overdrive. ;~)

The thick, warm, delicious fuzz-drive tones produced this giant silver brownie pan with knobs are an instant time trip back to classic rock's glory days. Hendrix, Cream, Sabbath, Santana, Trower, Pink Floyd, and ZZ Top - perhaps not all "official" users, but bands / artists whose core sound employs many of the characteristics found in the Big Muff. "Wha' - ZZ Top??!! There ain't no Muff stuff on that" Think again. Check out this You.Tube demo from Pro Guitar shop - about 5:11 in. The Muff cops that lovely "tube sag" so evident in the Rev's early 70's recordings (*and with the "sustain" turned all the way down I might add.) Mercy sakes!

On the point of versatility, it's really a simple question of what you want combined with how dedicated you are to understanding and using the effect to its best advantage. In the months I've playing a Muff, I can't say that I've ever been at a loss to find all kinds of different tones on tap. The stuff you'd expect to be there is there - in spades. However, a little exploration will yield some unexpected and sometimes very cool tones - esp. in tandem with other pedals (*say a delay or compressor). Lower settings should not be ignored, either - - as some of the pedal's more subtle offerings are equally as tasty.

Make no bones about it. If you're a player who digs vintage tones, the Big Muff Pi is an absolute must-have. Its big, bold, and in-your-face tone rocks like a truckload of bricks. Without question, an uncomprimising piece of musical history whose place in the pantheon of rock music is both fully acknowledged and revered. - - J.

TF Mailbag

2009-08-26T16:48:00.000-07:00

Pleased as pie to introduce to you our latest blog feature - the Tone Farm Mailbag. Got an idea? Got a gripe? Or just want to share something with our vast, influential readership? The 'Bag is here for you!

Jon -
One post since last May!! Really - - I counted. WTF?
Waiting - Forever, IN
　
Waiting -
One word: summer. Winter in my parts lasts 6-7 months, so being an outdoor kind of dude - this time of the year is extremely precious. Meaning: I'd rather not spend them inside pecking away at a keyboard. With fall just around the corner, I should be "back in the saddle" soon. Thanks for being patient. - - J.
　
Hey Jon -
Just wondering what's up with that "Beano Feature" you promised something like a year ago.
E.C. - London, UK
　
E.C. -
Thanks for your e-mail. Funny you should mention that "Beano" feature. Truth is - I'm still kicking around a few of the tracks that'll be featured on the first installment. You should be hearing them soon, as well as enjoying the literary saviour fare' that will coincide. - - J.
　
Jon -
Did you give up on writing CD reviews? I haven't seen anything even remotely new as far as your review material goes. What up, dog?
Anonymous - Tumbling Pebble Magazine
　
Anonymous -
To answer your question, no I did not give up on writing reviews. As James Reetz so eloquently points out in his Metallica review , there are so many other things that can draw time and attention away from freelance writing. For me, a part of it also has to do with insipration, and lately -I've found more of that in my playing than my writing. I'm hoping to get some reviews written for a few of 2009's essential CD's in the coming months, so stay tuned and keep the faith. - - J.
　
Tone Farm -
Seems to me that all I read / hear about at Tone Farm is old / classic / vintage stuff. There's a lot of cool new stuff happening in music these days, so why don't you clear the cobwebs off of your closet full of dusty relics, and get with the program?
Avenged 7X - Tatooville, USA
　
Dear Avenged -
If you've noticed a purposeful "lean" towards classic bands, vintage tones, and retro coolness at the Tone Farm - then you're not as stupid as your letter makes you out to be. We all draw our inspiration from somewhere, and at the 'Farm - those happen to be the things that make our world go 'round. From time to time, we'll hit on a few highlights in regards to music's "newer generation". But for our money - we'll always take Lennon or Jagger over Sinister whateverhisnameis. Good luck with your Hepatitus C. - - J.
　
To Whom It May Concern:
Let me just say that I wasn't very pleased with your review on Tesla's "Reel To Reel" project. Bands doing cover versions of their favorite songs shows an appreciation of the efforts made by rock's most influential bands in making great music. If you missed that, you're a putz.
Nikolai - Sacramento, CA
　
Nik -
I didn't miss anything in regards to that Tesla "Reel To Reel" Project. Covers are for lazy bands who need their meal ticket punched. Period. If I'm going to spend $35 of my hard-earned dollars hearing a band (*and NOT the original band, mind you) weave their own "magic" on songs made famous by some one else, then I'll just go and buy the REAL version - and save myself the hassle. Case and point is Tesla's most recent studio effort "Forever More", which clearly illustrates that they don't need to cover anyone else's material to merit consideration as one of rock's hardest-hitting and best-sounding outfits. - - J.

Well, that's all for this installment. Keep 'em coming. - - J.

Goodbye Mr. Wizard . . .

2009-08-13T18:48:00.000-07:00

Today is a sad day in the world of the guitar. Les Paul, the "Wizard of Waukesha", has passed.

People often use the word "prolific" to describe some of history's greatest guitarists and players. However, when their musical contributions are measured against Les Paul's, they seem all the more mortal - if not average.

A true "player's player", a ground-breaking innovator, and perhaps more than anything - a humble, sincere, and gracious man, Les Paul was a colossal and much-revered figure in the world of guitar.

Be assured that I'll be strumming a few tunes on my Les Paul today in fitting memory.

De-Magnetized

2009-05-05T19:12:00.000-07:00

I am happy to welcome back into the contributor's fold my musical foil and fellow metal-head James Reetz. After considerable prodding, I was finally able to procure a review for Metallica's latest studio effort "Death Magnetic". I'll simply say the it was well worth the wait. - J.

Why haven’t I written a review for Death Magnetic yet? It’s been (8) months since it was released. I’ve listened to it enough times to have a solid opinion. Jon’s been giving me heat about not writing it for about (6) months now - and my last review (Motley Crue’s Saints of Los Angeles) became the most viewed article in Tone Farm history. So why the procrastination?

It would be easy to blame it on my family responsibilities or my increased travel, but I already use those two excuses for why I don’t ride my mountain bike, play my guitar, work out, etc. After some contemplation, however, the answer became clear: the album just isn’t that good. To be fair, it’s not that good for Metallica. I am a Metallica fan. I’ve had to remind myself of that more and more since the St. Anger release which I think was their worst effort since inception. I was excited for St. Anger. Rob Trujillo had joined the band, and he played bass for Suicidal Tendencies - one of my all time favorite bands. My good friend bought St. Anger the day it was released. He gave it a few spins and gave it to me. He didn’t loan it to me. He didn’t burn a copy for me. He gave me the one he bought because he couldn’t stand it. He’s a bigger Metallica fan than me. I listened to it about a dozen times over the next two months - - and then pitched it in a dumpster. I couldn’t find anyone to take it.

When Death Magnetic was being hyped, I tried to be interested. When I heard the fist single, “The Day That Never Comes”, I wrote the album off as St. Anger II. My friend gave them another chance. He bought the album and loaned it to me. That’s a start. He wanted it back at least. I think Death Magnetic is the first baby step in the right direction for Metallica. It’s 100% better than St. Anger, but still a far cry from the Metallica I love.

Speaking of which, I haven’t LOVED a Metallica release since 1988. Has it really been (21) years since they released something that I couldn’t take out of my cd player because it kicked ass that much? You can look at the awards and the charts and the video games and the income since the Black album and conclude that Metallica is as big as ever, but for me, “Justice” was the end of the mind-blowing greatness that was Metallica. Maybe I should have seen it coming. After all, it’s pretty tough to sound like a pissed off kid in his 20's when you’re a multi-millionaire in your 40's.

All things being equal, I don’t think it’s unfair to hold a super group to a higher standard. The Black album signaled the end of an era. James (Hetfield - lead vocalist / guitarist) changed his vocal style. - and he had to if he wanted the chords to last another thirty years. But the change was to the detriment of the sound I had come to love. The songs were more radio-friendly. I won’t go as far as to say they sold out, but they changed enough to be acceptable to mainstream radio, which was moving towards wider acceptance of metal at the same time. I remember hearing James in an interview after “Justice” saying they’d never make an album like that again because it was nearly impossible to memorize and play . . . but that, specifically, was what made it great. No one else would have even attempted an album with that many tempo changes, and tone / riff experiments. Not with songs as long as those anyway. Only the "real" Metallica could pull that stuff off - in the studio and live. Certainly, one would have to expect a drop off of some kind after a ground-breaking album like "Justice For All". Unfortunately, Metallica fell too far.

I remember watching “Some Kind of Monster” while on the road somewhere. The constant bickering while in the studio, seeing the guys sitting around, drinking coffee with their legs crossed; all the side hobbies; Lars constantly telling James that the riffs sounded “stock” but being unable to explain what he meant. For the record, if “stock” means the sound your band defined, why not sound stock?!? You’ve given us three fracken versions of Unforgiven for shitsake . . . and it sucked all three times. Will anybody be disappointed if their next album has the same general sound and feel of "Master of Puppets" or "Ride the Lightning"? For me, that’s when it hit home. The pre-Black Metallica was gone forever. What took me so long to realize that? Hope?

The bottom line, Death Magnetic is a hugely successful commercial album. The songs are solid metal songs that you’ll enjoy. The problem…Death Magnetic has nothing that will make you select it rather than the CD next to it. I shouldn’t have to convince myself that I’m a fan. I shouldn’t procrastinate when asked to write a review. Metallica should be better than that. - - by James Reetz

Now Hear This . . .

2009-05-03T08:30:00.000-07:00

Thought we'd try a little something different this month in regards to the standard Tone Farm gear review. Along with the usual written diatribe, I've put together two additional audio features, both of which can be accessed through the Box.Net links below. The first is a short piece on the pedal itself - narrated by Academy Award winning actor James Earl Jones (*yes, I'm lying about that - - it's just me). Here I'll give you an idea of how the pedal sounds by playing it though an amp; first without the pedal - and then, with it engaged. Some of the chords / riffs I'll use to demonstrate the pedal will transfer over to the second part of the feature - an actual song written / performed using the gear / item being reviewed. I know - what an amazing concept !!

For our initial "test run", I've chosen the BOSS / Fender FDR-1 '65 Deluxe Reverb Pedal. It was a little more work doing the audio part of it, but hopefully, it adds to the fun. Below are the Box.Net links to the .MP3 files, which you can listen to using the resident player; or, download to listen to at your convenience. - - J.

Part 1 - Audio Review - FDR-1
Part 2 - Hearts & Knives - the FDR-1 in action

Paint It Black . . .

2009-05-03T08:24:00.000-07:00

The alliance of music industry giants Roland (parent company of Boss USA) and Fender has produced (2) unique effects pedals - the BOSS '59 Bassman (FBM-1) and BOSS '65 Deluxe Reverb (FDR-1). Both are part of Boss' Legend Series and were introduced at Winter NAMM 2007 to eager players and glowing reviews (*imagine that!) Using Roland's propietary COSM technology (Composite Object Sound Modeling) technology, the FBM-1 and FDR-1 pedals were designed to impart the tonal nuances of Fender's 1959 Fender Bassman and 1965 Deluxe Reverb amplifiers to standard tube and solid state amplifiers.

Given the iconic status of these two amps and the incredibly fickle nature of die-hard Fender fans, one might look at this as an exercise in futility. Certainly, the thought of confining the tonal saviour fare one of these classic rigs into a single pedal is appealing; realistically - the task is nearly impossible, and for a variety of reasons that I need not mention.

I managed to steer myself clear of buying either these pedals for the better part of a year and a half, mostly on the basis of price (*they initially retailed for $149). But when I spied a FDR-1 on the Music Go Round website for $69, I thought, "what the hell". Even if the pedal sucked, I could unload it on Ebay for at least what I paid for it, and be none worse for wear. Ah yes, the sad plight of a sworn gear-hound.

I've been playing my FDR-1 pedal for a couple weeks now, and I must say that it does some things very well. Unfortunately, there are some things about it aren't so great - but nothing that overwhelmingly detracts from the fun of using it. Without further adieu - my tale of the tape:

HITS:
1.) Tone - While the FDR-1 does not have quite the delicious bite or full-fledged auditory swat of the Real McCoy, it works extremely well as a "color" pedal - imparting some of the unique characteristics of a vintage Blackface amp. Chords have a familiar Fender Blackface "kerrang", and single notes slice easily through a mix. Go easy on the gain / reverb / tremolo, though.

2.) Cosmetics - A sleek, black pedal casing, chrome faceplace, and Fender script logo add to the retro Blackface vibe. I know that this doesn't make the pedal sound better - but as someone with a penchant for graphics, BOSS gets style points for cool touches like these.

3.) Accuracy of design - All of the primary features of the '65 Deluxe Reverb are there - from the gain, bass, treble, and reverb - right down to the Fender's inaccurate reference of the on-board tremolo effect as "vibrato". Indeed, it seems that no detail was left unturned.

4.) Tremolo (vibrato) - While not super-great, the tremolo does help the pedal capture a bit of the Deluxe Reverb vibe. As a matter of fact, it apes the effect quite nicely - and even more so with its tap-tempo capabillity (*although a bit cumbersome to use). Best advice I can give here is to use in moderation, as it can get annoying at higher settings.

5.) Durability - BOSS pedals are notoriously over-built. My hope is that the internals are as half as tough as the case and exterior controls.

MISSES:
1.) Reverb - Digital reverb does little justice in approximating the lush, surf-y goodness of a real spring reverb tank (*that is, unless you're the Lexicon-equipped Digitech Hardwire RV-7.) The FDR-1's reverb is horribly fake-sounding and basically unusable beyond the lowest settings. Boo!

2.) Gain - Like the reverb, too much gain (i.e. beyond half-way) results in digital-y blarps and glurgs. As an 80's metal head, I have no problem with extended gain capabilities. What I want, though, is something that sounds decent at these levels. The FDR-1 does not. If it sounds shitty past halfway - what's the point? Hiss!

3.) Battery drain - If you get this little guy cookin' (i.e. maxing out reverb, tremolo, and gain settings), it'll munch through 9V batteries like Kirstie Alley at a KFC buffet. If you're planning on using this pedal regularly, a 9V power supply is a necessity.

BOTTOM LINE:
The FDR-1 is a pretty cool pedal. It'll add a bit of vintage Fender tone to just about any amp - tube or solid state. Its add-on features (gain / reverb / tremolo) are OK if used in moderation. It's real strength lies in its use as a "color" pedal - not an overdrive effect.

Since being introduced in Jan. '07, BOSS has reduced their retail prices on the Legend Series pedals by a whopping $30 - which might give one the indication that the initial hype was a bit heavy on the frosting. If you can find a good used one in the $60 - $70 range, it might be worth checking out - esp. if you have a good tube amp you can run it through. - - J.

Taking Flight

2009-04-26T16:29:00.000-07:00

The following piece is an adaptation of an e-mail between resident Fab Four afficianado Dave Tea and I, in which we discussed one of Aerosmith's early gems: Get Your Wings.

Some of you may be already familiar with the deliciously raunchy grooves found on classic-era Aerosmith albums (*which I term as everything from "Toys" back to their debut). One release that I think is exceptional all across the board is Get Your Wings, 1974 A.D. As a matter of fact, it's a close # 2 of my fave 'smith albums, exceeded only by their incredible self-titled debut (1973). Yes, unbelievably, Toys in the Attic ranks as #3 in my book for overall Aero-quality.

It would not take an expert to deduce that modern day Aerosmith is but a ghost of a once-mighty band. From the sappy, multi-tracked balladry of "I Won't Miss a Thing" to Joe Perry's horrendously awful solo CD (*perhaps the worst vocals I've ever heard on a recorded album), it's been a sad site to witness a once-amazing band's evolution into complete crap. Honestly, Aerosmith hasn't cut a really decent studio album in (30) years (*the last being Toys), although in the modern Aerosmith era, Nine Lives did come fairly close (*to being decent, not great). Their recent blues effort "Honkin' on Bobo" did capture a bit of that old "hutspah" as far as their orignial musical form was concerned; sadly, it was barely a blip on what has now become a somewhat startling collection of flat-line studio efforts and . . . *yawn* . . . greatest hits compilations.

Aerosmith's first three albums (Self-titled, Get Your Wings, Toys) are perhaps the finest three-album run of any American rock band - ever! (*KISS' first three albums are good, but not this good.) Straight-forward, no-bullshit, grab-you-by-the-throat-and-kick-your-ass rock music at its finest. Minimal overdubs gave the music an incredibly live feel, which obviously transcended well to their on-stage performances. Smart arrangements, deft fretwork, hooky tunes, and killer guitar tone were all in abundance, with most (*if not all) being tracked live - meaning that in the studio, everyone was playing the same song at the same time with the red button in the "on" position - not track by track as is now commonplace. Indeed, the good old days.

Although their first album gets my nod as the band's best work, Get Your Wings is a very close second. Besides the fantastic deep cut "Spaced", the album rocks head to toe with killer tracks like S.O.S. (Too Bad), Same Old Song and Dance, the hauntingly beautiful Seasons of Wither, and my personal fave, Lord of the Thighs (*check this cut out on the Live / Bootleg album - fuckin' amazing!) The icing on the cake is their cover of the Tiny Bradshaw classic - Train Kept a' Rollin', which to this day is still a staple of their live show.

"Toys", of course, needs none of my literary embellishment - quite possibly the band's crowning achievement as far as studio work is concerned. Although a bit more polished than their first two releases (*which can be both good or bad, depending on your taste), it's another side-to-side affair jam-packed with killer cuts and bad-ass guitar.

If you haven't re-visited some of your older Aero treasures, now's the perfect time to re-acquaint yourself with some of rock n' roll's finest riffery. - - J.

The Answer Is . . .

2009-04-26T10:39:00.000-07:00

The Answer.

Perhaps you've heard these lads on XM or during non-rotation hours on MTV or VH1. You definitely haven't heard them the radio because, well, the radio doesn't play shit for music these days.

Drawing heavily from Zeppelin's crushing groove from the early 70's, this Irish quartet is poised on the brink of super stardom. So much so that they've even raised the eyebrow of one Mr. Jimmy Page, who effused, "If you want to see what Zeppelin was like in their glory days, go see The Answer." Some hearty praise, indeed.

Combining soaring, bluesy vocals with a classic Marshall guitar sound and a thunderous back-beat, the Answer's latest (5) song EP steamrolls through power cut after power cut, leaving no doubt as to their ability to deliver the groceries. Smart song-writing and an impressive band dynamic lend to an authentic classic rock listening experience.

I grabbed my copy of The Answer's EP off of Amazon.com, and it came with an extremely cool rockumentary DVD that included a video of "Never Too Late", as well as a live cut or two.

I've seen / heard a lot of up-and-coming acts that have been touted as the next coming of Led Zeppelin. Realistically speaking - that ain't never gonna' happen. But believe me - The Answer has come about as close as anybody in the post-Zeppelin era to actually achieving that status. As far as 70's power rock is concerned, present day, this is the top of the misty mountain. - - J.

You can check out The Answer here:
The Answer live on Letterman
My Space

Official Website

Crossing The Road . . .

2009-03-23T19:46:00.000-07:00

What do you get when you cross two parts Van Halen, one Chili Pepper, and an Alien? A rock n' roll molotov cocktail called Chickenfoot.

Uniting the forces of Sammy Hagar, Michael Anthony, Chad Smith, and Joe Satriani, Chickenfoot looks to break some new ground in the arena rock genre with a forthcoming album and summer tour. At long last, a Satriani guitar will finally find itself in the context of a true classic rock quartet.

Rather than bore you with my yammering, I'll direct you to the band's MySpace page to sample two new songs from their debut CD. - - J.

Vox: The Fab Four Years . . .

2009-01-23T14:48:00.000-08:00

Dave Tea joins us once again for another great Beatles piece. - - J.

One of my obsessions and favorite things to do lately is busting Beatle myths, and there are quite a few to conquer. One that sparked my enthusiasm recently is the myth, or myths surrounding the Beatles and Vox amplifiers. There is a lot of information out there on the subject, too much to cover in this posting so I’ll try to provide a few links for you gearheads that need to dig deeper into the details of the Beatle/Vox fascinations.

When the Beatles joined forces with manager Brian Epstein in 1962, they were a scruffy club band in dire need of professional stage amplifiers. Up to that point they had been using whatever modest rigs they could afford, borrow or steal. Lennon had acquired a blonde Vox AC15 somewhere along the line (all Voxes were blonde in those days, black Vox amps would appear later on...due to Beatle demands), and all of the Beatles dug its chimey, harmonic-rich tone. Mr. Epstein decided to try something rather bold, and asked one of the Vox marketing guys if he would trade a backline of Vox amplification for an artist endorsement.

The Beatles were only famous in Liverpool at the time, and it was a bit of agamble for this guy to actually give away amplifiers. This wasn't done. His gut feeling that this would be beneficial to Vox would prove right soon enough, but must have seemed quite foolish at the time. From that point forward until Brian Epstein's death in 1967, Vox would provide the Beatles with their latest and greatest bass and guitar amplifiers, and a keyboard or two under the agreement that whenever they performed anywhere, all amplifiers used onstage were Vox, and nothing but Vox. Posing for print ads was also part of the deal, but the Beatles got what they needed to try to be heard over the ever-increasing wail of ever-increasing, rabid, screaming fans. Demand for little-known Vox amplifiers eventually skyrocketed, as did the demands for Gretsch and Rickenbacker guitars, Hofner basses and Ludwig drums.

The Beatles didn't know that the guitars they banged around, leaned against chairs and dropped on the floor would become Holy Grails to latter-day gear geeks, nor did they really seem to give a lot of thought or concern to these tools of their trade. They were selling records and poking girls left and right, and making great noise with whatever non-pampered instrument might be lying around the studio at the time. The only Beatle that really collected or even seemed to care much about guitars was Harrison, but he gave a lot of them away to friends. I’m guessing that the Beatles probably laugh hysterically when “historians” and other gearheads seem to know and care more about what equipment was used on which track or tour than they did, which is easy because when pressed for information, they often haven’t had the foggiest recollection of such mundane details. However, that's not to say that they didn't have their cherished favorite guitars (*stay tuned).

The Beatles used Vox amplifiers in the studio, sure, but after conquering England and the rest of the world they would be given extraordinary access to the rest of the industry's latest electronic toys, gadgets and amplifiers. This was the time when guitar pedals and gizmos were being introduced as well as the first solid state and solid state/tube hybrid amplifiers. As the Beatles’ ever-increasing demand for higher volume and power grew, Vox amplifiers became quite huge, and more and more transistorized. It’s been said that there was a lot of grumbling about the tone and reliability of the massive “Superbeatle” amplifiers that were provided for their stadium shows.

Always free to use whatever brand of amplifiers they wished making records, a blonde piggyback Fender Bassman was reportedly used more often on more recordings from 1965 forward than any other, recording bass and guitar. They might've actually paid for that fine piece of equipment.

The end of live touring in 1966, and the death of Brian Epstein in 1967 effectively ended the Vox/Beatle "partnership", but Vox amps would continue to be seen in the backline in some later promotional films that the Beatles would send around the world instead of themselves.

Fender began sending gifts to the lads as well, guitars, basses, pianos, public address systems and tube amplifiers. By the time of the Let it Be sessions, or maybe before, Fender ruled the backline of the Beatles....not only because they sounded great, but because they were free. - - by Dave Tea

Some Beatle links:

http://www.beatgearcavern.com/

http://www.voxtalks.com/

http://www.thecanteen.com/fabguitars.html

http://www.voxshowroom.com/northcoast/index.html

Rig O' The Month - Feb. '09

2009-01-23T14:40:00.000-08:00

February's ROTM photo was shot by friend and award-winning photo journalist Darren Gibbins. A guitarist himself, as well as an avid music collector, the skills he uses in capturing the artistry and design of guitar equipment are reflective of his passion for the same. This particular session was a long time in the works, but as you can see, the results were well worth it. Plans are in the works to feature more of Darren's outstanding photography work here at the Tone Farm, as well as a link to his website once its completed.

First, the guitar - a Mexican-made 3TS Classic 60's Fender Stratocaster, purchased at Last Chance Guitars in Des Moines, IA back in 2005. My reasons for stopping in the shop were mostly to quell my nagging urge to play while away from home for two weeks training for my then-new job with CWG (*flying down from Fargo did not provide me with the opportunity to bring a guitar along.) Two weeks of playing it at the shop after work and I knew it had to come home with me.

The guitar itself has remained mostly stock since its purchase, the lone modifications being a better 3-pos. switch, a cream pearloid pickguard, and a set of mojo-riffic, Abigail Ybarra-wound Fender Custom Shop '69 pickups. The CS '69 p'ups provide a super-cool "Texas-meets-psychedelia" tone, allowing one to channel everything from quiet, clean blues to fuzzed-out distortion with equal ease. All-in-all, its a guitar that I am confident will be with me for the duration of my playing days.

And speaking of equipment that will be around for the long haul, the 1968 Fender Silverface Super Reverb pictured along-side the Stratocaster is yet another. A true vintage piece in amazing condition, it produces tone that borders on the religious - or at least in my humble estimation.

Packing 45 watts of big-tube swat, a quad of 10" speakers, factory tremelo, loads of spectacular clean headroom, and the trademark Fender reverb that it draws as its namesake, the Super Reverb brings a bevy of impressive features to a guitar player's arsenal. One of the huge discoveries I've made by playing this rig is how a great "clean" amp can be a fabulous platform for running a good, front-side distortion pedal. To my ears, the distortion produced in this configuration excels not only in note / chord definition, but also seems to be much warmer more harmonically complex than singular distortion alone (i.e. getting distortion from a gain channel.) By no means am I an expert on these kinds of things - but to my ears, that's how it sounds.

Having been personally selected to be the new owner of the amp by its previous sage (*coincidentally, one Mr. Darren Gibbins), the Super Reverb also holds a great deal of personal value. A "gentlemen's agreement" all but ensures that this amp will remain "in the family" . . ;~)

Fender through Fender is one of rock n' roll's elite "go-to" set-ups, and I feel pretty fortunate to be able to tap into that magical combination whenever the mood strikes. - - J.

Gathers Much Moss . . .

2009-01-17T22:08:00.000-08:00

Being that its been awhile since I posted a CD review, I thought I'd pull out a personal favorite from my old forum archives. Enjoy!

Music has gone through some pretty drastic changes in the last half century. From rock-a-billy to folk, from psychedelia to heavy metal, from punk to disco, from glam metal to grunge, bands and music are continually evolving; like a musical carousel that never stops. Every once in a while, it's nice to know that you can get off of that merry-go-round, and settle into something more comfortable, more familiar. You know what I'm talking about. That wonderful feeling of a slow smile spreading across your face as those first enticing chords melt slowly into your ears. Yes indeed, some of the finer things do stay the same.

For over forty years, the Rolling Stones have contributed a staggering amount of legendary material to the rock and roll pantheon, all the while staying true to their one of primary musical influences - the blues. In the case of their 2005 CD release "Rarities" (Virgin), the familiar comes in the form of the band showcasing these blues roots through seldom-heard and previously unreleased material, much of which is live - an even more impressive undertaking.

For the casual Stones listener, "Rarities" offers a glimpse into the diverse musical platforms employed by one of rock n' roll's all-time greatest outfits. From blues-drenched covers of "Mannish Boy" and "I Just Wanna Make Love To You", to the dance-funk inspired "Miss You", to straight-ahead rockers like "Live With Me" (from 1969's "Let It Bleed" album), "Rarities" covers a gambut of Stones material in fine fashion. Die-hard fans, on the other hand, will really enjoy the CD's lean towards traditional blues sound, as it hearkens back to some of the band's early, club-playing days.

In listening to "Rarities", I came to the realization of another very important fact. That is, the sheer volume of material released by the Stones often detracts fans and listeners from the finer points of their music. Their arrangements, while seemingly sparse, allow their songs to "breathe". In other words, when Keith and Mick harmonize, you can hear them harmonize. When Woody weaves a tasty fill on top of one of Keith's groovin' rhythm lines, you can feel their connection. Likewise, the backdrops to many of the the songs included on this collection are interjected with a sassy sax (say that fast seven times!), or a jukey piano - never once does any of it seem lost in the shuffle. By design? Absolutely. The great bands make it seem so effortless.

Another thing that impresses me about the Stones is the "authenticity" of their sound. Whether playing blues, rock, shuffle, pop, or ballads, the Stones always find a way to weave a little of their trademark "mojo" into each song - i.e. that cocky, English swagger that made them one of the very first "bad boy" rock bands way back in the day. Give a listen to the raucous, live cover of Muddy Waters' "Mannish Boy", and you'll know what I mean. Mick's snarling vocal and gritty harp; Keith's raspy, almost transe-like rhythm line; Woody's stinging steel slide fills; Charley & Bill's dark, methodical back beat. The stuff of legends. Most inspiring of all, however, is the band's ability to play together as an effective, coherent unit. Face it - there aren't many bands that can just get down and groove like the Rolling Stones.

If I haven't done enough to convince you to go out and buy this CD, maybe I'll mention a bit about the guitar work. As one would expect, it's absolutely dripping with vintage guitar tone. With a majority of the songs being cut live, one is literally face-to-face with Keith's killer tone - a vintage Tele being driven through a pair of low vin # Fender Twins. Woody's sound is equally amazing - especially when he gets busy with the slide on one of his vintage Strats. Hearing these two legendary players "weaving" their way through a classic Willie Dixon blues number, well that's something that quite simply defies description. You have to hear it to understand it. And if you're a guitar player, trust me . . . you will. - - J.

A Distorted View . . . Pt. 1

2009-01-17T07:44:00.000-08:00

To kick off 2009 in style, the Tone Farm is proud to present the first in a multi-part feature on one of modern guitar's most musically significant benefactors . . . distortion.

Distortion:

Also referred to as clipping, distortion is a change in an audio signal resulting in the appearance of frequencies at the output that were not present in the original waveform.
Changes in a signal that involve the addition of spurious tones at frequencies not present in the original sound.
A process, often found desirable by guitar players, that alters a sound's waveform.

I'd venture to say that there are probably as many stories and theories about how "guitar distortion" was discovered / invented as there are now varieties of devices that produce it. Even more interesting than that is the fact that in the eighty or so years that electrified guitar has been around (*several internet resources indicate 1928) - it took almost thirty of those years, or around late 1950's, for it to come into vogue as an accepted incarnation of guitar tone.

A partial explanation for that might certainly involve the equipment itself, as most of the amplifiers and guitars being used back then were not designed to produce the kind of harmonic distortion today's guitar players seek, much less that of which would might be termed as "desirable". Another may relate to the music that was popular at the time - very little of which required the "over-the-top" volume levels that are associated with the distorted tones common to yesteryear's classic & today's modern rock music.

Most players would agree that distorted guitar traces its roots to the earliest days of a new form of 50's music called - - rock n' roll. Guitarists like Chuck Berry and Link Wray developed unique, agressive styles of playing that took full advantage of distorted guitar - and are commonly looked upon as pioneers of the genre. Wray was rumored to have punched holes into the speaker of his amp with a screwdriver in order to get the "fuzzy" tone found in his trademark song "Rumble".

While it may be one thing to purposely damage a piece of equipment in the pursuit of tone, in other cases, distortion happened purely by accident. Take for example Johnny Burnette's 1956 remake of "Train Kept a Rollin'". Apparently, while playing a show, one of the tubes fell out of his amplifier. When a reviewer raved about how fantastic the song sounded, Burnette decided he'd go into the studio and record it that way. Genius!

Instrumental artists The Ventures could very well have been the very first band to use a purpose-specific device to distort a guitar signal. Inspired by the "fuzz tone" on the Marty Robbins song "Don't Worry 'Bout Me" (*again, created by a faulty amplifier), Ventures' guitarists Nokie Edwards and Bob Bogle asked their friend - an electronics whiz named Red Rhodes, to design a device that would produce a similar "fuzz" tone. A few months later, Rhodes presented them with custom "fuzz box", and the band immediately put it to good use in recording their hit "2,000 Pound Bee". Hence, the concept of a stand-alone guitar distortion device was born.

As guitarists became more "in-tune" with the inner-workings of their equipment, they began to discover didfferent ways by which to "drive" tube amplifiers into their natural state of harmonically-rich distortion. Eric Clapton was one such player. Using a Dallas Rangemaster treble booster, Clapton coaxed his now-legendary "Beano" tone from a 2x12 Marshall JTM-45 combo. Other players like Pete Townshend and Jimi Hendrix would take Clapton's lead even further by using bigger / louder amps to achieve their distinctive saturated tube sound.

The music of the 1960's would put an indelible imprint on distorted guitar - especially in terms of how it was created and recorded. But perhaps more importantly were the musicians and players of the era who aspired to its boldly creative and expressive powers, thereby creating for the listener a window that gazed outward upon a brave, new musical landscape. - - J.

Today its your birthday . . .

2009-01-17T06:59:00.000-08:00

Saturday, December 27th slipped by here at the Tone Farm w/o too much fanfare. Hard to believe that a year has passed since "the seed was planted".

In honor of the 'Farm's first birthday / anniversary, I would like to extend my thanks to those who have contributed, supported, or offered their words of encouragement throughout the past year. Music has always played a significant role in my life - and having a resource like Tone Farm in which to share that love with others has been a most gratifying endeavor.

As guitar players, music fans, and purveyors/seekers of great tone, we all belong to the same tribe. Moving forward, it is my hope that the Tone Farm continues to be a place where we can share those things, as well as develop an appreciation for some that are new to us - whatever they may be. - - J.

The "Naked" Truth

2008-12-20T06:52:00.000-08:00

The Tone Farm would like to welcome back into the contributor's fold our good friend & part-time cosmic traveler Dave Tea. Over the past week or so, he and I have been corresponding in regards to the "original" super group - i.e. the Beatles. One such exchange involved the "Let It Be . . . Naked" album, which Dave has effectively broken down into a great timeline and story. The aforementioned ensues in the following post, graciously re-printed with his kind permission. Enjoy! - - J.

Not long ago, a new album was released by The Beatles called "Let It Be....Naked", which is a remastering and remixing of the original Get Back project. The track list is nearly identical to the original, but the "Spectorization" (*see last paragraph for an explanation of this term) is removed, leaving a raw, punchy feel to it. I'm sure Paul McCartney wanted it this way all along, and finally got the rest of the Beatles to agree.

Let It Be was the follow up to the White Album, which was the most non-Beatle album of all, meaning just about every track on it did not have all four Beatles participating. Many of them had only one Beatle, or one Beatle with various guest musicians sitting in. I could go on and on about the White Album because I think many of the tracks on it are the best the Beatles, or anyone ever produced, regardless of which Beatle wasn't present on game day.

Let it Be was a project that the Beatles unanimously agreed would be sort of a reunion of the core band. Fuck the frills and orchestras, tape-loopings, backward messages, studio trickery and overdubs that were so innovative on Revolver, Pepper, Magical Mystery Tour and The White Album. It was time to GET BACK (which is what the project was titled initially) to the basics and function as a four-piece rock and roll band again.

The idea was that it would be a film of the Beatles rehearsing for some monster gig somewhere, and all of these songs would be performed live in concert at theend of the movie, maybe at Stonehenge or the Roman Colliseum, or maybe the Moon. It was never decided where, because after the hours and hours and days and weeks of filming and recording, The Beatles couldn't stand one another anymore. George Harrison actually quit the band and came back during this project.

The big finale concert of songs would be held on the roof of Apple Studios, none of these takes ended up on any released Beatles record.

What was left behind was many hours of takes, all of them live takes, meaning all musicians (including Billy Preston on the later stuff) played at the same timein the same room, just like the earliest Beatles recordings. No overdubs or added tracks. None of the Beatles or producer George Martin wanted to sift through the 50 takes of "Johnny B. Goode" or whatever and try to make a decent album out of this painful shit, so it was all shelved indefinitely. Shelved, I tell you!

"Get Back" and "Don't Let Me Down" were released on a forty-five, as was "Let it Be" and "You Know My Name (look up the number)" but the rest of it was canned, most of which needed it badly. The Beatles were breaking up and had better things to do than go through these mostly-shit recordings and try to make a decent album out of them.

After some time away from each other, all of the Beatles agreed that they didn't want their legacy of music to end on such a sour note as the Let it Be sessions. They would go back to Abbey Road Studios and record an album with George Martin one more time, and blow everyone away...one more time. The last recordings of The Beatles together were made and released on the album "Abbey Road".

The Let it Be recordings were later gone through (*over-produced, according to G. Martin) by Phil Spector and released on the Let it Be album. John Lennon thought Spector's improvements were a good thing, Paul McCartney was absolutely pissed, particularily about the added orchestra and girl singers on "The Long And Winding Road". Either way, the "Get Back" project ended up being known as the last Beatles album, because it was released last ("Let it Be" won the Grammy for best movie soundtrack). By the time it was released, it was more than a year old, which in Beatle-time was a long, long, long time. - by Dave Tea

Smokin' Band

2008-12-03T19:37:00.000-08:00

Try this one on for size.

A super-group featuring none other than ex-Beatle George Harrison on lead guitar; Billy Preston on organ; Niky Hopkins (Rolling Stones, The Who, The Kinks, Jeff Beck Group, et al) on piano; THE Carole King on electric piano; and backing vocals featuring the trio of Darlene Love, Ronnie Spector, and ex-Mama Michelle Philips. A pretty heavy line-up to say the least.

And what particular song did these folks all collaborate on? None other than Cheech and Chong's "Basketball Jones" (*as featured on their 1973 album Los Cochinos). Lead vocals on the song were, of course, provided by Cheech Marin - - in character as Tyrone Shoelaces.

If you think that's far out - - check out the animated video short on You.Tube. It's like "Schoolhouse Rock" on drugs. Killer.

Ugliest Guitars 2008

2008-11-08T07:27:00.000-08:00

The fine folks over at Guitar Site.com have recently posted their picks for the Ugliest Guitars of 2008.

Personally speaking, the ultra-clunker count is down considerably from previous lists. But there are a few outstandingly twisted examples of musical passion gone awry. My personal favorites are: the Prince & The Revolution Gone Woodshop (#19); the Driftwood Coffee Table w/ Summer Camp Art Custom Pickguard (#10); the religiously-themed "He Made A Guitar out of a Discarded Wine Box" / Floral esprit (#2); and the creme' de le' creme' . . . the "Heel Boy" White Labrador as a Viking Ship Bow monstrosity (#6). BAD DOG!

Like 'em or not, they're always worth a good chuckle. - - J.

Toast of the Tone

2008-11-08T06:48:00.000-08:00

When I see unique gear / equipment, I often find myself asking, "how in the hell did THAT come about." But a vintage toaster . . . as a guitar amplifier??!! Really - I thought I'd seen it all.

The folks at Hottie Guitar Amps apparently saw a need for a toaster-housed guitar amplifier, and by golly, they jumped on that train - - big time! What ensued is something of a novelty, though well-rooted in terms of functionality. All things considered, one might begin to wonder a bit about a person who would drop $200 on a what I would term as conversation piece, more or less.

Hottie starts out with a vintage American toaster housing into which they install solid state amplifier circuitry, a 6" speaker (Jensen MOD), and a line out (*to drive an external cab). If anything, it's an ingenius idea, and most certainly from the aspect of saving those classic American toaster chassis from the landfill. But the real question - - how does an amplifier in a toaster sound? Actually, not as bad as one might think. Here's a You.Tube link to Hottie's Guitar World demo video.

My take: the line-out sound ain't half-bad, in kind of a C.C. DeVille (Poison) meets Joey French (Twisted Sister) kind of way. The toaster-only tone . . . eh, not so good.

Anyway you slice it (*man, I just kill myself), Hottie's toaster amp breaks new ground in the world of appliance-based music gear. One thing's for certain: breakfast will never be the same!! - - J.

Loud Magnetic

2008-11-08T06:41:00.000-08:00

While browsing the 'web the other day, I came across an interesting tidbit Metallica's latest release "Death Magnetic". Seems that fans think the album's "too loud". Yes - you heard me right. Metallica fans saying that something is too loud.

Having developed some understanding of the processes of recording over the past few years, I can relate to the physical aspect of sheer volume gobbling up some of a song's fidelity. Hard rock bands, in general, have been amping up their initial mixes for years - and the results haven't always been pretty. However, when fans of a high profile act like Metallica start meowing their laments about an album's sound mix / fidelity, there may be a reason to take notice. Or better yet . . . post an online petition requesting of the band that they re-mix the album. Statistics indicate over 16,000 fans have now digitally "signed" the petition, meaning that its not just an isolated issue with a handful of fans.

In response, Metallica drummer Lars Ulrich is quick to point out that, "there's nothing wrong with the sound quality". And I think he may have a point. Ultimately, my question is this: just when did Metallica fans decide that their armchair music production abilities actually mattered in the bigger scheme of things? Or better yet - that a musical juggernaut like Metallica actually cared what they thought. Really folks, you don't spend (25) years of your life playing speed-metal (*the first (7) or (8) at shitty, smoky, puke-filled, hole-in-the-wall clubs in Podunk, USA), to have to listen to wanna-be record producers tell you how to mix a fuckin' album.

Although I'm not a staunch Metallica fan, I've always been impressed with their approach to music. As in, "we do it OUR way". In the circle of metal culture, few bands have flown as close to the fire as Metallica has. So much so, that one might go as far as saying that they were/are the Led Zeppelin of their generation. Really. Think about it. In metal, who's bigger?

I don't expect that Metallica will cave into populous demands and re-mix "Death Magnetic". I will, however, enjoy reading about it. - - J.

More on the internet:

Rolling Stone Article

Petition Article at Home Theater Magazine

The Re-Mix Petition at GoPetition.com

Somewhere Over The Rainbow . . .

2008-11-07T17:47:00.000-08:00

There's an old saying about rainbows - - you chase enough of them, eventually you'll come across a pot of gold. For young Dorothy Gale, the "treasure" at the end of her rainbow was returning to her Kansas home. Standing in her way - a wicked witch, a crazy wizard, flying monkeys, and lions, tigers, and bears - - OH NO!

These days, the search for "true" vintage gear is akin to a trip through Oz - wrought with danger at every turn, and usually minus the magical part where you actually find something incredibly cool. Friend and String Bean Music proprietor Phil Feser recently found himself the exception to that rule by his acquisition of two sparkling examples of vintage Fender amplification: a 1953 wide-panel Deluxe and a 1958 Deluxe. The circumstances by which these grizzled, Fullerton-made warriors came back into the fold remain classfied, and respectfully so. However, once you plug plug in - and behold the pristine timbres of fifty years passed - you soon realize that the real story is less about the find, and all about the tone.

Written words do little justice in describing the auditory nirvana of a vintage Fender amp, and most especially when you're standing face to face with it. Besides the thrill of seeing and hearing the genuine article, one is instantly struck with a deep respect for the humble simplicity of the design. Modern-day manufacturers still use the same circuitry for their own products, hoping to capture even a smidge of that elusive vintage mojo.

Driving home the "work horse" persona of these two amps were several make-shift "modifications". The '53 sported a kitschy, but effective floral upholstery grille cover; and the '58 had been spray-painted (*yes, I said spray-painted) gold; its handle - wrapped lovingly with several layers of cloth athletic tape (hopefully I got those mods on the right amps). Looking at the two side-by-side evokes some interesting thoughts, particularly those of modern-day collectors - staring in disbelief at the undoubtedly primitive customization efforts. But there is a certain charm to vintage gear that has met a similar fate - mostly in the fact that they were looked upon as musical "tools", and not as potential museum pieces. And as any good Tin Woodsman will tell you - what really matters is the heart that beats inside of it.

Armed with a sassy new ESP Vintage Plus Strat, Phil brought these gems to life. Running both in stereo with a *new* DigiTech Hardwire Stereo Reverb pedal, the tone hung ever-so-thickly in the air. Tone that only comes as the result of having 50+ years of electricity run through it; of components being exposed to decades of heat, humidity, and gradual wear; and of generations of legendary music being projected through their sturdy chassis. This, my friends, is the true definintion of vintage; the end of the tonal rainbow. Treasure to hear and behold.

I, too, was fortunate enough to savor the pleasure of playing through these two amps (*on the same, buttery-smooth ESP Strat), and I smiled that big, wide Jon Nelson smile as those lovely vintage timbres tickled my ears. Yes indeed, there's no place like tone. - - J.

Hirsute it on the X

2008-11-07T16:39:00.000-08:00

Thought I'd drop this little blurb in behind the ZZ Top concert review.

This past July, that Lil' ol' Band from Texas signed onto American Recordings, most likely with the hope of re-tooling their somewhat stagnant studio presence of the past decade or so. If you are not familiar with American, its headed by none other than uber-producer Rick Rubin - who like the ZZ boys, sports a solid mass of chin shrubbery.

Most recently, Rubin played an integral role in revitalizing the career of 70's pop icon Neil Diamond, and prior to that, produced a legendary trio of releases with the late Johnny Cash. Rubin's production credits have crossed many genres - from rap to alternative, country to metal, and everything in-between.

One of the trademarks of Rubin-produced sound is his innate ability to reduce music to its "purest essence"; to strip down the layers of un-needed production hoodoo - and look directly into the soul of the artist(s) and their music. This, I think, will bide well for ZZ and their forthcoming release, as most of their recent material has lacked some of the bare-knuckled bravado present on classic releases such as "Tres Hombres" and "Deguello".

The Top's most recent studio effort "Mescalero" (2003) isn't totally devoid of an attractive hook or two. But stacked up against their early to mid 70's catalog, it's like a lonely AMC Gremlin sitting in the back of a lot full of '57 Chevys. Easy not to notice.

Some of Rubin's more notable rock production gigs include work with AC~DC (Ballbreaker); Tom Petty & The Heartbreakers (Echo); the Red Hot Chili Peppers (Blood Sugar Sex Majik, Californication, Stadium Arcadium); Audioslave (Audioslave, Out Of Exile); Jakob Dylan (Seeing Things); and last but not least, Metallica (Death Magnetic). Did I mention that he's also worked with that politically-charged trio of country goodness - aka the Dixie Chicks . . . of which his efforts garnered three Grammy Awards. Yeah - didn't impress me either.

Having shot through a circuit of solid summer and fall performances, The Rev. & Co. hopefully have their chops honed to gritty perfection - and are primed and ready to hit the studio with their surfer foot gas pedal to the floorboard. Rumor has it that the upcoming release will meld elements of their classic 70's style / tone with the pop sensibility and hooky-ness of the Eliminator-era material. Which to me sounds like some good, old-fashioned bump n' grind - ZZ style. A how, how, how . . . J.

Blow Your Top . . .

2008-10-21T16:39:00.001-07:00

Tone Farmer Joe Austin recently had the good fortune of catching that 'Little 'Ol Band From Texas live at a standing room only Grand Forks tilt. And not in some boomy, over-sized machine shed, mind you - - but at the acoustically delicious Chester Fritz Auditorium!! My oh my, those tones must've been sweeter n' a heapin' helpin' of smoky, down-home BBQ!! Joe was kind enough to pen a review for us, and it goes sumthin' like this . . .

On Saturday, October 18th, the Chester Fritz Auditorium on the UND Campus had the distinct privilege of having the legendary rock band ZZ TOP entertain the good folks of Grand Forks! When I heard that the Fritz would be the select venue (ZZ TOP is playing smaller, more intimate venue to give the fans an "in your face" feel!) for this concert, I began telling people that they were in for a treat. I also enthusiastically reminded them that a band the caliber of ZZ TOP could easily chose to play the Ralph Englestad Arena, The Alerus, or even the Fargodome. Yet, they graciously chose the 2,000 seat Chester Fritz Auditorium. And for that, we, and especially the town of GF should be extremely grateful!

The show started at 8:00 with an Atlanta Ga band, Blackberry Smoke opening. Out of all the opening acts I have recently seen, this one is one the better ones. A simple four piece band, Blackberry Smoke played a well-received 45 minute set that showcased their unique sound blending several classic rock and country rock bands such as the Black Crowes and Lynyrd Skynyrd, yet forging a style all their own. My favorite part of the set was watching guitarist Paul Jackson play some sweet looking and sounding Les Pauls. In fact, as I watched him closely, I swear he looked more and more like a young Gary Rossington.

After a brief intermission, ZZ TOP took the stage to thundering and deafening applause. The tres Hombres got in their positions and proceeded to rip into "Got Me Under Pressure", followed by "Waiting For the Bus" and "Jesus Just Left Chicago". After this three song opening, Guitarist Billy Gibbons address the crowd telling them how glad they were to be in North Dakota and this tour was designed to be more in your face for them. He also mentioned that they would be playing more bluesier, obscured tunes than the ones that got lots of MTV airplay. They didn't disappoint. Several great album tracks were performed such as "Goin' Down to Mexico" from 1971's First Album, "Just Got Paid" from 1972's Rio Grand Mud, and a great version of "Hey Joe" by the one and only Jimi Hendrix. This part of the show, by far, was my favorite. I've always preferred the material where it's just the power trio w/o the synthesizers and Billy Gibbons can just get down and dirty with his guitar work. Which also explains why I prefer the 1977 release of "The Best of ZZ Top" versus 1992's "Greatest Hits.

Of course, ZZ Top did it's best to please everybody and played their most popular hits towards the middle and end of the set including "Cheap Sunglasses" and the Eliminator trilogy "Gimme All Your Lovin", "Sharp Dressed Man", and "Legs". By this time the crowd was really on it's feet and wanted more. ZZ Top obliged and delivered ass-kicking versions of La Grange and Tush for their encore.

Bottom line, ZZ Top delivered the goods. And I would highly recommend all fans of good quality blues drenched, classic rock, and in your face music to go see ZZ TOP when they come to a small venue near your town. It's not every day, that bands like these decide to go the smaller route. So when they do, be sure to get off your butt and go see them. You'll be glad you did! - - by Joe Austin

Also - be sure to visit the following websites for more band-related information:

http://www.zztop.com/

http://www.blackberrysmoke.com/

Hard To Handle

2008-10-04T08:15:00.000-07:00

As one might imagine, I was excited to see Black Crowes guitarist Rich Robinson and newly minted foil Luther Dickinson on the cover of July's Guitar Player Magazine. Having had a full (3) months to absorb their latest release Warpaint, and digging it quite a bit, I was very interested in what Rich and Luther had to say about the guitars / gear they used.

That is, until I read this: "A good tone will make your whole body tingle with energy," says Rich Robinson, "and I think the way many guitarists are using digital technology has destroyed that."

Wow. Not even a paragraph into the feature, and here comes a well-aimed diss at guitarists using digital technology. Being a player who has readily embraced the idea of 1's and O's in relation to his own pursuits, Rich's somewhat cynical view didn't sit too well with me.

For starters, let us examine Mr. Robinson's current state of affairs in regards to "real" gear: a home studio crammed full of top-shelf vintage equipment; an ever-expanding network of legendary luthiers and analog amp gurus eager to custom build any guitar / amp he so desires; and a nearly unlimited supply of funds to support his tingly, mind-expanding quest for tonal perfection. And lest we forget - access to the finest recording facilities in the world. Yes indeed, as far as tone is concerned, Mr. Robinson hasn't ventured too far out of the "land of milk and honey" - - if at all. Sort of like the Kennedys bitching about the quality of food at McDonald's.

In comparison to the opinionated Mr. Robinson, the common player knows little of such frivolties - - being bound to more responsible pursuits than the "tingling of one's engergy." I can, however, personally attest to experiencing "tingling" sensations when playing through digital equipment - - although I have not compared these sensations to those achieved when using my '68 Super Reverb, Classic 30, or any of my other tube-based amplifiers. Perhaps it might be a good idea for a future Tone Farm feature? No matter how you choose to look at it, I find it a bit jaded for anyone, much less a prominent rock guitarist, to dismiss digital technology as "tone-less" destroyers of musical energy. It's simply not so.

Delving further in, one might also ponder the following questions: "Is the music-making and / or recording process somehow undermined if it's not analog." Or, "is one's playing less inspired because the sound is being created / processed digitally?" I would suppose that certain types of players could be more / less inspired - depending on the type of gear they play. However, this supposition should also reflect the contingent of players who are inspired by, or actually prefer digitally-rendered tone to analog / tube-based tone. To me, what it boils down to is this: if the song is good, and the playing kicks ass, how it came to be is irrelevant.

Here's another small, but tasty morsel of information: ALL of the Black Crowes' new album was recorded using M-Audio's Pro-Tools - a DIGITAL computer recording program!! Imagine that. In a world teeming with vintage Neve and Studer analog consoles - any of which would be at the Black Crowe's instant disposal - - they recorded the album using *ahem* . . . Pro Tools.

Today's gear manufacturers have done a fantastic job of leveling the playing field between preening analog wind-bags and the average joe player - and most especially with digital technology. As I see it, having access to something that tone-wise sounds reasonably close to, or has some of the playing nuances of a decent Fender or Marshall amp - I absolutely can't see anything wrong with that.

So, to all of the tone "purists"- please feel welcome to obsess about crap like amp sag, tube degradation, point-to-point, and cone wear all you want - digital / modeling technology is here to stay. Myself and a gazillion other players will make damn sure of it.

Now that I've ranted to my heart's content, I think I'll saunter into the jam room, crank up my PODxt, dial in a nice over-driven Fender Tweed - and play some Black Crowes. Damn you, digital technology. Damn you! - - J.

Goodbye Mr. Crudfinger

2008-09-20T07:45:00.000-07:00

I honestly don't know how I forgot to include this exceptional product in my "Small Change . . . Big Tone" post - - but I did.

I was introduced to Kyser's Dr. Stringfellow Guitar String Cleaner & Conditioner by Brakin' Records solo recording artist & good friend Craig Schulte. Being a performing musician on budget, and not having the lettuce to re-string his axes with new strings each and every nite, Dr. Stringfellow String Conditioner was Craig's answer to preserving that “freshly re-strung” tone, as well as significantly extending string life.

About the cost of a new set of strings, a bottle of Dr. Stringfellow will last for months – maybe even years (*depending on how many guitars you have.) Applied with a soft, lint-free cloth, it removes all of the tone-robbing oils and skin crud left over from regular playing, leaving in its place a snappy, vibrant, and re-vitalized guitar string. Bravo!

Dr. Stringfellow has been a integral part of my regular guitar maintenance regimen for over (13) years, and thus comes highly recommended. - - J.

Guns n' Delusions

2008-09-20T07:40:00.000-07:00

Some recent web-browsing uncovered another wave of “rumblings” regarding Guns n’ Roses long-fabled studio release Chinese Democracy. Apparently, the album is done (???), and the powers that be are now haggling over royalties, distribution rights, and the omnipresent marketing salvo that is typical to high-profile releases.

Having heard the whole convoluted story line countless times over the past fourteen years (*yes, I said (14) years), I can only imagine what real G n’ R fans are thinking. Will this be “the one”? Will it actually happen? Will they tour behind it? Will Axl be sporting his American flag spandex shorts or his kilt? Better yet - will he self-destruct mid-tour? (*even money says he does!!) And the question of all questions: will it spawn a reunion tour with all of the original members? So many questions . . . so few answers.

Looking back, there’s no getting around the fact that in their heyday, G n’ R was truly a force to be reckoned with. Style-wise - they had it all: the chemical-powered raunchiness of Get Your Wings-era Aerosmith; the punk-ish, shotgun delivery of vintage Ramones; epic, Zeppelin-esque songwriting abilities; the tatoo’ed, bad-boy gaffe; and perhaps best of all, a Les Paul-wielding, Marshall-powered juggernaut of a guitar player who called himself Slash. Stir that drink with an ample dose of hair-trigger egos, add in an insatiable appetite for anarchy – and you have yourself an enticing, but extremely dangerous rock n’ roll cocktail. Indeed, the stuff of legend.

Sadly, the same things that contributed to their success were also harbingers of their eventual demise. Fame often causes individuals to lose touch with reality, and in the case of Axl Rose, it was a very plausible explanation. As put so aptly by fellow Tone Farm contributor James Reetz, “the difference between a great band and a legendary band may be tied to the neurotic nature of the lead singer (VH, Motley Crue, Aerosmith, Pearl Jam, STP / Velvet Revolver, Audioslave / Rage Against The Machine ...) I'm sure it takes an enormous amount of chemistry to make something that really kills, but at the same time - that chemistry is too volatile to control for long. The greatest ones are destined to split.” Rock n’ roll Zen, my friends.

However you choose to view the news, you can color me uninterested. The music industry hype machine has long been a sore spot in my book, and the G n’ R situation only adds fuel to that fire. Having weathered similar disappointment with KISS’ Psycho Circus (*which publicity whore Gene Simmons had the gall to compare to the band's seminal, multi-platinum smash Destroyer), I could really care less as to whether or not the much bally-hoo'd Chinese Democracy ever sees the light of day.

My point of this whole bit: fuck Guns n’ Roses. Go out and support your local music scene. Support independent artists / musicians whenever and however you can. There’s a wealth of amazing talent to be found on online sites like Our Stage, Acid Planet (*linked to the right under Back Forty), or any number of web destinations that feature independent artists. If you know of others, by all means, tell us about them. It's about time we give the music / radio industry the collective finger they so rightfully deserve! - - J.

Undisputed Tone

2008-09-20T06:01:00.000-07:00

The Fender Champ is an amplifier that can trace its roots back to the earliest days of amplified guitar. Legions of aspiring players and guitar greats have employed its no-nonsense Class A tone in everything from garage practice to hi-end studio work. Seeking to capitalize on that formula once again, Fender has re-issued the venerable Champ in the form of the Super Champ XD.

Unlike the Champs of old, the SCXD boasts several new "twists" in the way of (16) digital "voicings" (Channel 2) and (5) digital effects. Oh yes, Fender is proudly waving the “all-tube-powered” flag above their Vintage Modern line - which essentially is true; they are, in fact, all-tube powered. However, Fender does employ some digital sleight of hand in both of their XD models (Super Champ / Vibro Champ), making them "hybrid animals" of sorts (*mainly digital voicing and effects). This is not a bad thing at all - actually quite to the contrary. The nod to digital obviously has some Fender purists growling their obligatory curses (they’re an extremely tough crowd to please) - but budget-conscious bottom-feeders like myself will enjoy the SCXD’s dual channels, wealth of usable tones, and all-around tubey deliciousness (*thanks to two 6V6's and one 12AX7.)

Where the Champ's voicing channel covers a broad spectrum of tones - the amp's first channel is devoted solely to a single elixir: the classic Blackface clean tone. Truth be known, if all the SCXD had was this one channel, it'd still be worth the money. Silky, glass-like timbres purr effortlessly from every nook and cranny of a Stratocaster. The twangly rumble of a driven Tele is but a few quick top-hat knob twists away. Pedals also meld beautifully with Ch. 1, making the SCXD's optional foot-switch all but a necessity. That is - if you can find one to buy.

Channel 2 holds (16) different “voicings” – (6) of which are based on vintage Fender tones (Tweed, Blackface); and another on the Hot Rod series. Other tones include (2) Marshall settings; a Vox; a nicely-done "boutique" (*which I'm guessing is a Mesa-Boogie); and (2) clean Fender amps - a Jazz King and Acoustasonic. The tweakability for each is pretty straight-forward, and all are reasonable incarnations of the real thing. As one would expect, the Fender tones are the best, with the "boutique" not too far behind.

Having owned an all-solid-state Cyber Champ a few years ago, the “voiced” channels held some familiarity in regards to tone and response. The SCXD’s all-tube power section lends a bit more authenticity to them, however, and provides the player with the unmistakable touch and feel found only in the analog realm.

Like the voiced channel, Ch. 1 can be sculpted further with the amp's treble, bass, and onboard effects. Gain on Ch.1 is achieved the old fashioned way - - i.e. cranking it up, and letting the tubes saturate. The resulting effect is lovely, even if a bit "tethered" by the amp’s 10" speaker and smaller cabinet.

Amongst the throngs of vintage, low-watt knock-offs and fluffed-up boutique offerings saturating the gear market these days - the Champ still remains a American rock n' roll original. The SXCD continues this storied tradition with great usable tones all over the dial; a warm, organic tube feel; a retro-cool vintage aesthetic; and a total kick to play. In short - everything you'd expect from a great Fender tube amp. At $299, it’s an extremely hard deal to pass up.

Next – SCXD Pt. II – Tale of the Tape - - J.

Old Is New . . .

2008-08-30T07:20:00.001-07:00

As many of you know, hard rock & metal both are at the headwaters of my own musical style. This past summer, four of my favorite hard rock bands from the 1980's released new albums: Motley Crue; Def Leppard; Whitesnake; and Judas Priest. Having now rocked these CD's through the summer, I thought it'd be fun to kick 'em into the mix here at the Tone Farm, in the hopes that they might also re-charge your engines - as they did mine.

Starting things off is a double-wallop featuring none other than the Kings of 80's glam metal, the one and only Motley Crue. Penning the review for Saints of Los Angeles, his first for the Tone Farm, is my friend and life-long Crue fan James Reetz. Over the past nine or so years, James has introduced me to a number of very "interesting" bands - many of which are in the darker, more industrial vein of hard rock. Let me just say that there are some very cool things happening tone-wise in this somewhat "unchartered" territory of rock music. Seeing also that Mr. Reetz' writing skills may be under-utilized, I may tap him again later this fall for a review of the latest Clutch CD, which in my honest opinion, has some of the most amazingingly creative hard rock guitar work I've heard in years.

In honor of "Public Enemy #1" being the very first song I learned front-to-back on guitar (*sigh* - seems like yesterday), I thought I'd write a bit about the man behind those searing licks - lead guitarist Mick Mars. Say what you want about Mars - if anything, he has endured 20+ years of reckless, rock n' roll abandon very gracefully - and continues to forge his craft in a most convincing fashion. Tone-wise, I don't think I've heard a better live hard rock guitar sound than what he laid down on the Crue's "Carnival of Sins" concert DVD.

So break out the Aqua Net and Schlitz Malt Liquor 16 oz. pounders - - it's time to get CRAAAZZZEEEEE!! - - J.

Say Your Prayers . . .

2008-08-30T07:10:00.000-07:00

So, when word first hit the street that Motley Crue was putting the finishing touches on a new studio album (Saints of Los Angeles), I was psyched to say the least. Then, my buddy, the creator of this blog here, asks me to throw down a review . . . super psyched. I told him right then and there that it would be difficult to write an unbiased review of the new album because Motley has been my favorite band since 1981. He simply replied that he wasn't expecting one.

I decided to wait on the review until I had gone to see them live in Milwaukee, WI. I thought that hearing some of the new tunes live would give the review some added credibility since Motley has always outdone themselves on stage. The Crue played only (2) new songs - the title track and Mutherf***er of the Year. By the time the concert rolled around, I was predictably done with the title track. S.O.L.A. is a good single, but I've always been drawn to Crue's non-radio stuff. I'll give them this though, it was pretty cool having the lead singers from all the opening bands joining Vince for the chorus (et al "Cruefest"). MF'er OTY ripped live. Explosions on stage and a live crowd have a way of doing that to a song.

Enough about the show. What do I think of the Crue's first album of all-new material in (8) years? In a word . . . SOLID! It's everything the die-hard Crue fan wants - with just enough newness to grab the youth of the world by the hair and thrown them into the pit. I hope to God that some of these songs make it to radio so that people will remember what rock is.

I tend to judge Motley albums by the strength of performances by Vince Neil (vocals) and Mick Mars (lead guitar). I do so because I know that Tommy Lee (drums) and Nikki Sixx (bass) are always going to kick major ass. Tommy and Nikki did not disappoint on this record. Nikki proves that the old man can still rock and provide us with world class lyrics (This ain't a love song, it's just a f**k song). That's ROCK! Tommy? Well, Tommy's just Tommy. Back in the sack with Pam Anderson and laying down killer beats. Vince's vocals are as good or better than any since Shout at the Devil. His effort on "Just Another Psycho" may be his best since he got clean. The best part about this record though, is the emergence of Mick Mars. Yes, I said emergence. Everyone knows of Mick's ability to create and lay down tasty, memorable licks for the choruses of Nikki's songs, but what you may not know is how good he can be when he breaks off a solo. And to make things even better, on a few tunes, the boys let Nikki carry the main riff through the 3rd verse so that Mick can freestyle from his solo to the end. Tremendous!

The album starts with a spoken intro, which I think was a mistake. Any Crue fan will inevitably compare it to "In the Beginning" from Shout at the Devil. Tough to beat that. S.O.L.A. has everything from hard rock blues (White Trash Circus) to punk (Welcome to the Machine) to power ballad (The Animal in Me). It's retrospective (Down at the Whiskey) and introspective (What's it Gonna Take). And of course, there are plenty of good old fashioned ass kickers. The best song on the record, IMO, is "Chicks = Trouble". It comes together so well. All-in-all . . . classic Crue! - - by James Reetz

God of War

2008-08-30T07:00:00.000-07:00

Mention the name Mick Mars in a casual discussion about guitars / tone, and you're likely to draw some raised eyebrows. Indeed, the self-proclaimed "extra-terrestrial" guitarst for Motley Crue certainly does not fit the stereotypical role of "guitar god" - - even though his guitar credentials are as lengthy as his drummer's *ahem* - - - well, we won't go there. Unlike many of of the 1980's metal-playing contemporaries whose legacy has been linked mostly to spandex and excessive behaviour, Mars has quietly (*an unlikely metaphor when describing anything Motley Crue) plied his craft for (27) years. Brothers & sisters, let me tell you, you don't get by that long in the rock n' roll biz without being able to throw down some kick-a$$ licks. Or better yet - without killer tone.

When the Crue launched themselves head-first into the 80's music scene, their sound was raw and unpolished. Mars' early 80's guitar sound was equal to task - edgy, surgical, over-driven. As the band began to find its own voice, his tone became more evolved - larger, fuller, more menacing. By the time the Dr. Feelgood album was released, Mars' guitar was the band's calling card - - huge, hooky riffs; giant walls of tube-driven vintage Marshalls; crescendos of dive-bombing whammy-bar madness. Set to Sixx / Lee's howitzer-class rhythm section and Neil's slinking, caterwaul vocals - - the Crue became the shiny, pouncing animal hood ornament on glam metal's speeding sports car. Until, of course, it crashed at high speed into a tree called grunge rock.

I'd be remiss if I didn't mention Mars' "horror-film-meets-voodoo-witchdoctor" persona - something that not only is a perfect fit in the Crue "schtick" - it compliments his playing style perfectly. Eyes peering eerily from under a skull-and-crossbone'd Alice In Wonderland top hat, Mick seems most content to let his bandmates flaunt and flounce about the stage, while his tatooed fingers strangle shrieking notes and chords from the neck of a well-thrashed early 70's Stratocaster. He'll flash the occasional Mona Lisa-like grin - sublime . . . nonchalant. Players who kick-ass know it - and most definitely, Mars knows it.

Unfortunately, over the last decade or so, in addition to various chemical afflictions, a degenerative bone disease has begun to take its cruel toll upon Mars' already road-worn body - - something which he refers to as an "inconvenience". But fate often works in strange ways, as his slight gait and hunched posture lend a somewhat creepy authenticity to the Crue's "carnival-gone-awry" imagery.

From the raucous, train-wreck of mayhem called Too Fast For Love, to the blunt-edged weaponry of 2008's Saints of Los Angeles, Mars' skull-crushing licks have always remained front-and-center in the band's overall sound. I was trying to think of another 80's metal band whose sound / tone so beautifully encompassed their genre, and I was left with only Whitesnake, Judas Priest and the Scorpions. Heavy-hitters, indeed.

Fast forward to 2008. A re-united Crue is once again pillaging its way across the U.S. / Canada - celebrating two decades of rock n' roll excess with thousands upon thousands of their die-hard fans. Touring in support of their phenomenal Saints of Los Angeles, Mars & Co. have once again reclaimed their thrones atop the hard rock heap. Louder. Hotter. Heavier. More irreverent.

Whatever it is Mick and Co. are on these days - it's working. My only hope is that they'll send some if it Aerosmith's way. Bottom's up! - - J.

Science Meets Tone . . .

2008-07-20T07:04:00.000-07:00

I'm constantly amazed at the variety of guitar / guitar-related items on Ebay. About a month or so ago, I was perusing the site for a pair of replacement tubes for my newly-acquired Fender Super Champ XD. While the stock valves sounded pretty good, overall, I couldn't help but think that a better set would improve things in the tone dept. Call it a hunch. Anyways . . .

During my search for a set of 6V6 tubes, I came across a rather interesting listing from a company called Cryoset. If the para-scientific company name doesn't arouse your curiosity, then maybe this idea will: frozen vacuum tubes. Yup. You heard me correctly.

Through a highly specialized process, the tubes are cryogenically treated, which apparently, improves both the strength and sonic capabilities of the tube. While the whole idea is very plausible, and certainly, rooted firmly in its scientific claims - - it seems just a bit on the Dr. Frankenstein line of thinking - or at least to me it is. I can just picture it now - some guy in a white lab coat, pulling a tray of treated tubes out of the cryo-freezer. As a light, misty fog waftes above his creation, he grins, and then erupts in an evil, maniacal laugh, "from the icy caverns of Siberia, I give you - TONE! Ha ha hahahahhahahahaaaaa!!!"

One might think that all of this whiz-bang technology would cost an arm and a leg - - but in fact, it doesn't. After checking Ebay, as well as a few other sites for the same tubes (Electro-Harmonix 6V6GT), the Cryoset tubes were very competitively priced - and in some cases, cheaper than non-treated tubes.

Eventually, I couldn't help but succumb to the icy temptation of "grail tone", and purchased a pair of the Cryoset tubes to try out myself. Once my new Eminence Ragin' Cajun speaker arrives, I plan on doing a bit of mod work to my Super Champ, with a full-on A/B review to follow. - - J.

Rollin' with the Devil . . .

2008-07-20T06:54:00.001-07:00

Apparently, the dubious title of "Arena Rock Gods" does not necessarily disqualify any band from participating in sappy publicity schtick. This snap of the original Van Halen line-up in full disco-era roller garb drew a healthy chuckle from me, and most certainly the obligatory, "what WERE they thinking?" - - J.

Brother Mule

2008-07-04T09:01:00.000-07:00

I remember a number of years ago when people would ask me who my favorite new guitar player was, and telling them, "that's easy - Warren Haynes." That was the early / mid 90's, when he was mostly known as "the other guitarist in the Allman Brothers Band", or as the frontman of the "up-and-coming" power trio called Gov't Mule. My, how times have changed.

As one might expect, a wide smile spread across my face when I read Guitar Player's May 2007 issue, and saw that Warren had garnered a lion's share of the hardware in ther annual Reader's Choice Awards survey. Indeed, a most deserving tribute to a fine guitarist, musician, and vocalist. I might also add that it's quite refreshing to see a player of Haynes' style /caliber achieving success the old-fashioned way - by letting his music do the talking. Certainly, it's not the norm amidst the image-conscious, mass-marketed, genre-based pablum the recording industry has been spoon-feeding us for the last twenty years or so (*thank heavens for XM!)

Although the "secret" might now just be fully surfacing, fans and players "in the know" have reveled in Haynes' creative genius for many years. From the searing slidework / solos that are a mainstay of the Allman Brothers' timeless sound, to the incendiary playing and vocal work in Gov't Mule, to the occasional sideman jaunts with The Dead, Phil Lesch & Friends, and the Derek Trucks Band (to name just a few), to writing / playing on a myriad of albums for high profile artists of all musical genres - Warren completely exemplifies the "workhorse" attitude of his band's own namesake. Incessant touring, an honest, blue-collar style; stop-you-in-your-tracks guitar tone; and a reputation as a generous and highly-capable collaborator have made him one of most widely respected and sought-after guitarists in today's music scene. Personally, I couldn't be happier, because as fans - we are truly the beneficiaries.

I've had the good fortune of seeing Warren perform many times, and can only say that his playing and singing have left the hairs on the back of my neck standing straight on end on more than one occasion. If you haven't seen Mr. Haynes live - well, brothers and sisters, now is the time. This is what kick-ass guitar playing / music is all about. - - J.

The Tao of Dave . . .

2008-07-04T07:03:00.001-07:00

I came across this little bit while sorting through my old issues of Esquire, and thought it was worth including on Tone Farm. TIP: Double-click the photo, and it will enlarge in a separate window. - J

Marshall Law . . .

2008-07-04T06:20:00.000-07:00

Let's face it - when it comes to kick-ass rock n' roll tone, a Marshall tube amplifier is hard to beat. Combos, stacks - whatever. From the day I held my very first guitar in my hands, my dream of a owning a Marshall amp has never really subsided. Unfortunately, that dream is quickly dashed by the cost / practicality of owning one - two giant hurdles that I can't ever seem to get over (*married Tone Farmers - interpret that however you like.) Thanks the advent of modern modeling technology, recreational players like myself are able to enjoy a little "taste" of the Marshall elixir via a number of avenues. One of the best that I've found, so far, is the Tech 21 British Character pedal.

Having played a number of modelers over the past 4-5 years (Fender Cyber Twin, Vox Valvetronix, L6 PODxt), I can definitely say that Marshall amplifiers are the hardest amps to model accurately. The complex order of harmonics, throaty timbre, and high-gain capabilities seem to leave most emulations somewhere between barely marginal and moderately usable. Those familiar with the amplifier's lineage also know that finding the "sweet spot" of a Marshall amp often requires face-melting volume levels - - and digital modelers, traditionally, aren't the most capable in that sonic territory. Tech 21's analog-based modeling circuitry, however, seems to be much more adept at capturing the nuances and overdrive characteristics of Marshall amplifiers vs. what I've used in the digital realm. To my ear, it's a rounder, fuller, and more organic tonal interpretation. Understandably, there are traits of Marshall amplifiers that can only be achieved via fire-spitting tubes and sheer, physical volume levels - so trying to compare a $149 modeling pedal to an actual Marshall combo / stack is more or less an exercise in futility. This ain't the real thing, folks. However, I will say with a fair amount of confidence that in the modeling arena, you probably won't find a better, more "authentic" Marshall tone than the Brit.

There are plenty of reviews to be found on the internet, so, rather than bore you with all of the details, I'll cut right to the chase. T21 advertises that this pedal can cop the tonal guise of three primary amps: 1.) a Marshall Bluesbreaker combo (JTM-45); 2.) vintage JCM / Plexi series amps; and 3.) Modern Metalface / high-gain amps. The bottom line: this pedal does what it says it'll do - from the gutteral, bluesy grind of a JTM-45 combo, to the volumptuous, mid-range thunk of a JCM-800, to the searing, high-gain wallop of a modern-era Metalface - what's here smells and tastes like the real thing. The primary amp tones are accessed via the sweep of the pedal's rotary "character" knob, and can be further adjusted using the EQ (3) and gain (1) knobs. The sample settings T21 includes in the package provide an excellent base to work from, so right out of the box, you'll have a few "bullets" in your holster. Stops in-between the primary tone ranges can yield some interesting "hybrid" tones - so by all means, tweak & experiment. As an example, I was goofing around with the Brit one night using my 3TS Strat. To my surprise, I dialed in a very tasty, Bassman-esque Texas boogie tone in-between the Bluesbreaker and JCM ranges. Not quite as spanky as the classic SRV flavor - but every bit as tight and punchy, with a tad more growl. I wrote those settings down on the spot.

I would also mention that the character knob is extremely sensitive, meaning that minute adjustments have a fairly significant effect on the tone (*T21 states this same fact in the owners pamplet). This trait also holds true for the EQ, level, and gain controls - most especially the gain. Two o' clock is about as far as I'd want to take the gain for any of the amp models; from there on it's all but unusable (*at least for an old-school chap like myself).

Another great feature of the Character Series pedals is that each comes with a built-in speaker emulation, tailored to capture the "essence" of each model. For instance, on my T21 British pedal, the speaker emulation has been modeled after a Celestion Greenback. The only drawback here is that the speaker sim can't be turned off - it's on all the time. For me, this is not a big issue - - but for the Steely Dan studio-set, it may present a work-around situation. At any rate - - the speaker simulation adds yet another dimension to the each pedal's signature tones, and to my ears - a very good one.

Over the past two months, I've had ample opportunity to play the pedal in all of its primary use configurations: 1.) A stand-alone pre-amp - here I'm running the pedal directly into a Tech 21 Power Engine (*basically a powered, flat-response monitor housed in a guitar cabinet; a highly-effective tool for modelers); 2.) A front-end pedal - While it can be used like a traditional pedal, it's most effective running through an effects loop, where its tone won't be "colored" by pre-amp processing; and 3.) A line-direct pre-amp / recording device. The pedal performed admirably in all configurations, though its line-direct feature has proven to be the most useful in my own recording / playing activities. A few of you might remember the tone sample I sent out a month or so ago for "Valley of the Kings" - one of my own originals. That was recorded line-direct, with nothing more than a light EQ and a bit of reverb added.

Overall, the Brit's "Marshall-ness" is quite impressive - a nice, fat bottom end; crunchy, agressive mid-order harmonics; and soaring high's for lead work. Everything you'd expect in a Marshall - - but without the mortgage. Bravo Tech 21!

If you'd like to hear some samples of the pedal in action, here's a few Box.Net links with clips. All were recorded direct through a Zoom MRS-8, with only light EQ'ing and reverb added. Samples #1 & #2 are a old jam favorites of mine; #3 & #4 are JN originals - in case you were wondering. Crank 'em up. - J.

Sample #1 - Greazy Texas groove (Plexi)
Sample #2 - Crunchy Aero riffage (JCM-800)
Sample #3 - Lynch / Satriani-inspired intrumental (Metalface - rhythm; Plexi - lead)
Sample #4 - Big hair; big tone (Metalface)

Rig O' The Month - June 2008

2008-06-12T17:42:00.000-07:00

June's Rig O' The Months come to us from the Eastern Canadian province of Newfoundland. Over the past few years, I've had the pleasure of corresponding to Mike O'Reilly, an acquaintance whom I became associated with a couple years back via The Fret.Net. If my memory serves me correctly, I believe I was name-dropping some of my favorite Canadian musical artists in a post reply, and Kim Mitchell and the Tragically Hip happened to come into the dialogue. An avid Canadian rock fan himself, Mike took a shine to that, and we soon exchanged several e-mails - each time finding out we had more and more in common: music, muscle cars, hockey, and of course, the social arts. As far as guitar playing is concerned, Mike's passion rests firmly in the Fender Camp, though when we'd exchanged e-mails late last fall, he was actively pursuing a vintage Marshall via a U.K. connection.

Last week, I received an e-mail from Mike, along with pics of some very delectible Fender thoroughbreds. In his own words:

"Thought I'd send this along ... a pic of the rig I'm currently gigging and using in the studio .. a 1964 Fender Bassman AA864, 1966 Fender Bassman cab loaded with original Jensen C12-NS, 1966 Fender VibroChamp. I run these through a Boss ME-10 digital multiple effects board in stereo. When mic'd either through the PA in stereo or in the studio this combonation is nothing short of aural masturbation. The Boss lets me also run either of the amps alone like an a-b box or in the aforementioned stereo. The digital reverb is very good and the chorus is the standard Boss . . . killer. Anyway - - maybe a candidate for "Reader's Rig of the Month" on TONE FARM."

No matter how you slice it, sixties-era anything from Fender rates very highly, esp. steeds of the Blackface bloodline. And yes, perhaps even as highly as the art of auditory self-pleasure . . . ;~) Thanks for sharing, Mike - and congratulations on being the Tone Farm's Rig O' The Month!! J.

P.S. - Be sure and "double-click" the photo for the full-sized, Fender-licious version!

The hotter . . . the better!

2008-06-12T17:25:00.000-07:00

Every once in awhile, something comes at you from out of nowhere. Unexpectedly; and without explanation. Kind of like a long throw from the outfield - only, in this particular instance, it lacked the typically arcing trajectory that makes up for gravity’s pull. It was a laser shot - on a rope and deadly accurate. Such was my introduction to the music of the late Rory Gallagher

My typical workday always involves music, and in most cases, it’s the sublime drone of an XM Radio station in the background. On this particular day, the dial was set to the "Deep Tracks" station, which pulls heavily from the late 60’s classic / early 70’s power rock / avant garde catalog. Seemingly, in the middle of a rather "typical" set list, I hear the sound of an edgy, overdriven Stratocaster. Not "edgy" in terms of the tone being overly bright - - but in the sense of it being on the "edge" of an emotion. A raw, jagged nerve. Kind of like that feeling you get when you’re watching a scary movie . . . that split-second before a super-scary part. Anxious. Unnerving. That kind of edgy. I rose from my chair to inspect the XM display dial, curious as to the origin of this fantastic Fender sound.

The salvo of Stratocaster power chords at the beginning of "Walk on Hot Coals" relays immediate notice as to what will immediately transpire. This is no-holds-barred, full-tilt blues rock, delivered by players who understand the meaning and purpose of doing it well.

Another thing that struck me immediately about the mood of "Walk on Hot Coals" is its fusion of energy – a singular, allied, contiguous flow of musical passion. Certainly, Gallagher’s masterful Stratocaster work is at the striking point of the formation, and his playing blends a style that's borderline hard rock - yet with a respectful nod to both ethnic and blues roots. The arsenal of amazing tones that accompany his music serve faithfully and obediently - benchmarks of a highly-skilled player. But like any great guitarist, the end effect is indeed dependent on the sum of its parts. The powerful, decisive guitar chords of this song contrast beautifully against the Doors’ish bounce of Lou Martin’s electric piano. Gerry McAvoy (bass) and Ron D’ath (drums) are beautifully efficient as the band’s rhythm foundation, fully understanding their roles in the context of the song.

As the number unfolds, the band soon finds itself feeding its guitar player ample leash from which to explore. A glorious extended solo soon unfolds, and I find myself entranced; held captive to each note. Using a variety of masterfully executed techniques (string bends, staccato picking, on-the-fly p'up position changes), Gallagher weaves and winds the listener through the song – never stopping at one point long enough for you to catch your breath. Through this extended improv, I am struck by how Rory "feels" his way into a run or passage. Not as if he’s playing it, but almost like he’s following a path - - provided by the music itself - - though never quite sure where it’s going to go. Some might think that this is something that can be learned or practiced; to be turned on and off on a whim. Not so. This is a gift, and an extraordinary one at that. In simple terms, this is a guitarist searching for . . . and then . . . finding the very soul of a song. What he finds he communicates with you through his guitar. You, the listener - are left to bask warmly in the glow of its omnipresent emotion.

A crescendo of crunchy power chords soon alerts me to my work-bound reality, and it seemed to me as if I had been lost in a swirling array of Strat-o-luscious-ness for hours. I grin slyly, fully aware of the experience that just transpired. My only thought at that point: "Where do I get more of this?"

My collection of Rory Gallagher CD's has expanded considerably in the short period of two years, and includes the following releases: Rory Gallagher (1971); Deuce (1971); Live In Europe (1972); Irish Tour (1974); Against The Grain (1975); Calling Card (1976); and BBC Sessions (1999). I wouldn't hesitate to recommend any to guitarists and music fans alike, though I am a bit partial to the (2) 1971 studio releases from the standpoint of variety and performance. It goes without saying that both of Rory's live albums are essential listening - esp. for the guitar set.

VITAL STATS:
GUITARIST: Rory Gallagher (all guitars, vocals)
BAND: Lou Martin (piano); Ron D'ath (drums); Gerry McAvoy (bass)
SONG: "Walk on Hot Coals"
ALBUM: Irish Tour

HIGHLIGHTS: Gallagher presents the listener with a stunning array of guitar techniques and tones – from roaring, overdriven Stratocaster; to beautiful acoustic balladry; to stinging steel guitar slide. Raw, gritty vocals narrate mile-deep, soulful renditions of original songs, blues standards, and an amazing cover of Tony Joe White’s "As A Crow Flies".

Tube be . . . or not tube be?

2008-04-07T17:24:00.000-07:00

You may or may not know who Andrew Barta is . . . but as a guitar player, you probably should. Long before Line 6 entered the world of modeled, solid-state amplification - (7) years to be exact, Tech 21, Barta's NY-based company, introduced the SansAmp, which literally set the music and recording worlds on their collective ear.

Back in 1989, amp-modeling was pretty much undiscovered country. Yes, there were many companies designing / manufacturing effects - but none that could emulate the tonal characteristis of (3) highly sought-after tube amplifiers - - all packed snugly into a foot pedal! As if this wasn't a feat in and of itself, the SansAmp also pioneered the idea of line-direct recording - i.e. electronically facilitating the "effect" of microphone proximity in relation to the sound of the amplifier. In 1989, these were incredibly broad and defined strokes on a very large, but completely blank canvas. And the only artist holding a brush - Andrew Barta.

Nearly (20) years later, it's hard to name a major player in the burgeoning guitar retail market that doesn't have some type of modeling offering. The surprising thing here is that amongst all the Flash Gordon, whiz-bang techno candy currently out there - the Tech 21 SansAmp (*now marketed as that SansAmp GT-2) is still one of the best and the most reasonably priced.

While browsing the Sound OnS ound website, I came across an interesting 1996 interview with the Tech 21 founder. In the article, Mr. Barta spoke about some of the intricacies of the solid-state tube-emulating concept, as well as the physical and technical theories that came into play during the design process. One thing I found particularly interesting was that many of of the key tonal elements were rooted in very basic sound & electronic principles - things such as decay, clipping, phase inversion, and reverb.

So how does an article like this equate to the everyday player? Very simply - when applied to your own tone, having a basic understanding of key sound and electronic principles can lead to some pretty big things. Whether it be live sound, recorded sound, gear choices - whatever; knowing how things work, and how sound behaves has benefits all across the board.

If one were to judge by recent trends, it would appear that vintage tube technology has made a prolific return to prominence. In fact, so much so, that many high-profile players have all but written the epitaph for the solid-state amplifier. But the bell tolls not for ye', o' venerable purveyor of guitar tone. Solid state amplification is alive and well, and sounding better than ever. As a matter of fact, Andrew Barta & Tech 21 have a few new tricks up their sleeve. More on that one later. J.

Finishing School

2008-04-07T16:44:00.000-07:00

I've always had an interest in the science of vintage guitars and gear, as many of those things often transcend themselves to other areas that can be vitally useful to my own playing, or gear.

I'd recently read an article in which Billy Gibbons (ZZ Top) was trying to explain why his # 1 Les Paul (which he dubiously dubbed "Pearly Gates" ) has that sound. One of the things he'd mentioned in that particular article was the finish - which was something I hadn't heard mentioned before. Sure, I've heard / read other stories about some of the other things that vintage gear afficianados have claimed as the "magical element", including: the wood (old stand vs. new growth); vintage hardware (metallurgy anyone?); and some old-school wiring / electrical (different types of bobbins, cloth-insulated wiring, certain waxes, vintage pots / capacitors, etc.) Yes indeed - the pursuit of the "grail tone" leaves no stone unturned.

As I was exploring this very topic on the internet, I came actoss the following article, in which the author determined that the lacquer used on vintage guitars (i.e. non-synthetic, non-polyurethane) was a key element of its sound / tone. To further bolster his claim, he actually stripped down, and refinished a new guitar with an older type of lacquer finish. You can check this story out for yourself at the BYOB (Bring Your Own Battery) Website: The Effect Of Lacquer

This is but one of the tons of cool topics about vintage guitars / amps. If anyone else has links or resources to other vintage gear-related topics - let me know. J.

*NOTE: If you double-click on the photo of Billy G., it will enlarge. Then you can get a good look at the Rev's custom Rio Grande stack in the background! ;~)

Skin Deep

2008-04-07T16:34:00.000-07:00

Fact: The world is filled with some incredibly UGLY guitars. Along with some incredibly lame, horribly designed, and and fantastically hilarious ones, too. Ladies & Gentlemen, I present to you:

The Guitar Site's Ugliest Guitars II

(*scroll down to the post, and click on the individual headers)

The Name Game

2008-04-07T16:22:00.001-07:00

I used to think that my friend Darren had the market cornered on great band names. For the record, he has now been "officially" de-throned. Check out the links and see why:

Random Band Name Generator #1
Random Band Name Generator #2

To all the guys in "Orphan Clown Train" - maybe you should have waited for this post . . . ??!!! J.

Small change . . . BIG tone

2008-04-02T18:21:00.000-07:00

Everyone is probably familiar with the saying, "you get what you pay for" (*and in the case of REO Speedwagon, "you get what you play for.") While that statement may hold true for a lot of things, budget-minded tone connoisseurs can still find a lot of great, incredibly affordable gear goodies & tweaks. Using $30 as a spending cap (*which if you think about it, isn't really all that much) - I came up with (6) items that will provide any player with immediate, tone-worthy benefits:

1.) Picks - Yeah, the good ol' plectrum. Ranging in cost from *free* to several dollars (fancy ones are probably more) - a pick can offer a player a number of different benefits. For example - softer picks can be used for a percussive strumming effect; harder picks help notes / chords ring true. Some picks even have special gripping material on them. Whatever and however you play - there's a pick made just for you. Try a bunch out, and see what you like - and still have plenty left-over for wings and beer.

2.) Strings - Like picks, they're a necessity. Most players stick with the same brands all the time - - you know, for "consistency" sake - rarely venturing outside the box. Earth to Mr. / Ms. Guitar Player - at $5 or less a pop, why not try out some different gauges & brands out. I recently picked up a set of Fender Pure Nickel 150L strings for my cream Strat, and was literally floored with their fat, juicy sound. The cost for that huge improvement in tone - $3.99 + tax.

3.) Set-up / intonation - For the gifted, do-it-yourself player - which most of us are not, a fresh set-up will provide an immediately noticeable tonal improvement, not to mention that your guitar will play like "buttah". Think of a set-up / intonation as the guitar equivalent of a trip to the chiropractor. Damage - $10 - $15; more if your axe is severely out of whack.

4.) Dont' get "floored" - While there's nothing wrong with setting your amp on the floor, getting it up off of the floor can do a number of things. Using a stand, with your amp properly angled, the "window" of sound can be directed at an optimum angle to your ear - thus enhancing what you're hearing from your amp (*not to mention your audience and / or band-mates.) It's certainly not rocket science by any means. Musician's Friend has a nice, combo-sized floor stand for right around $20 + shipping. A larger, more elaborate unit will, of course, run you a bit (or a LOT) more - depending on the bells and whistles.

5.) Plug-n-play - Take it from someone who has spent the better part of my playing career using cheap, crappy cables - a good cord makes a HUGE difference. Let me repeat that - a HUGE difference. A cleaner signal going to your amp = less hum / distortion. And that, my friends, equates to better tone. Cables come in all price ranges, with all kinds of features - and $25 - $30 should get you a pretty decent one.

6.) Tube into tone - Got yourself a tube amp, do ya'? Well, if you can plug in a blender to make a margarita, then you can swap out a vacuum tube. Easy as pie. Depending on what the tonal endeavors are for your amp, individual tubes can run you as little as $12 - $15 apiece. Although you might have to stretch your $30 budget out over a few months to get a full set (*some amps require (7) or (8) tubes), you can score a couple tubes here and there, and drop 'em all in when your collection is complete. After your swap is done, plug in, and savor all of the delicious, analog, fire-spitting* goodness.

So there you have it - (6) easy, cost-effective ways to tastier tone. Bon apetit'! J.

( * ) "Of Mice & Modelers" post - 1/11/08.

What was good then . . .

2008-04-02T17:29:00.000-07:00

Ah yes . . . the good ol' days. Back in 1959, when this ad came out, it was OK for kids to snuggle up to Dad's Fender Twin, and enjoy enjoy some smooth, tweed guitar stylings at point-blank range. And lucky for Dad - the American Auditory Society was still (15) years from forming.

As you can about imagine - things like this have a tremendous influence on youngsters. Around '68, Little Suzie became Moonbeam, the Grateful Dead groupie, and lost what was left of her hearing attending shows over the course of the next 5-6 years. She's now a counselor at a homeless shelter, drawing from her experiences on the road. In her spare time, she tends to her organic garden, and weaves on her homemade loom.

Dad sold his Twin in the mid 70's to some British guy named Keith, who was in town for some sort of special event. Appartently, he'd shown up at the house in a stretch limo, and walked out of the car with a bottle of scotch in his hand. Now Dad wasn't one to be impressed with this sort of thing, and decided to teach the young man a lesson. Knowing that his prospective customer was fairly wealthy, he said he woudn't take a penny less than $150 for the amplifier. This Keith guy then hands him three crisp $100 bills, and says, "keep the change, mate."

Dad still has that bottle of scotch in the liquor cabinet, too. J.

NOTE: If you enjoy vintage guitar / gear ads, you can check out a few more of the Fender variety at this link.

Launch sequence . . . engaged

2008-03-29T11:38:00.000-07:00

Tuesday, March 11, 2008. The members of KISS are doing press appearances for a string of sold-out stadium dates in Australia, which kick off with a mega show in Melbourne later on that week. That same night, one of the men largely responsible for catapaulting the band into super-stardom - and now ex-lead guitarist, Ace Frehley, is roughly half-way through a string of concerts dotting various 'burgs and towns throughout the upper northern plains. To put it into yet another perspective - thousands upon thousands will be seeing KISS perform compared to the 750 or so (estimated) that will attend Frehley's Fargo show. Indeed, rock n' roll sometimes has a twisted way of extracting its dues, but though through the eyes of Ace Frehley - a small-venue show like this has the rosy glow of success. He's back - playing live to appreciative fans, and doing what he loves to do.

After saying a final (?) good-bye to his KISS bandmates in 2002, Frehely has largely been out of the spotlight. True, one might see this as a well-deserved rest, having toured the globe relentlessly with KISS for six consecutive years. A few select side projects popped up here and there between '02 and '06, though none would provide the notariety that the KISS reunion had. For a musician, four years is an eternity, and as one might expect - the extended hiatus had Frehley itching to get back. After spending the bulk of the last year and a half writing / recording, Frehley decided that the time was right to hit the road again - solo - for the first time in nearly two decades. For fans like myself, this was welcome news - not only from the opportunity to see Ace perform - but also that there was a forthcoming solo album in the works. So, when the date and venue (Fargo Theater) for the show were announced, there was absolutely no question that I would be in attendance.

Now the Fargo Theater is by no means a large facility. Or even a moderately-sized facility. It's small. Cozy, as a matter of fact. Wheras KISS' Aussie dates would provide most fans with a view of ant-sized blips on a stage in the distant horizon, or images on a pair of jumbo-trons - the Ace experience would be a full-throttle affair at gunpoint - the honest-to-goodness genuine article, front and center - delivering raunchy power chords that we could see, hear . . . and feel. Awwwwwwrrriiiiggghhhhttt! Onto the show . . . .

After obligatory pre-concert libations at the Empire Tavern, my posse' and I trekked down the block to the theater. The pre-concert "vibe" hung thickly in the air, and greeted us as soon as we set foot inside. As long as I've been going to shows, those first few minutes inside a venue are always some of the most exciting. You're getting amped up for the show, as are your fellow concert-goers. Everyone's in a great mood, talking about music, past shows, what's going to be the opening number, etc. Sort of like foreplay - but in a musical sense. Anyways - after grabbing a beer, we found our seats - which were off to the right of the stage (Ace's left) about ten rows back. The stage set is all business - a drum riser between two stacks of guitar / bass amps, and a simple-but-effective backdrop donned the Ace tour logo (*a sultry vixen straddling a rocket). The stage set-up strikes a chord with me - mostly because it's a far cry from the the mountains of gear being employed by Gene, Paul, and the two imposters "Down Under". As long as Ace was a part of KISS, he was their "rock n' roll conscience" - the voice of reason (or what could be constituted as "reason") in a sea of mass-marketed hype. "We're a rock n' roll band, and rock n' roll bands make music," he would say - indifferent to having his image on everything from lunch-boxes to bubble gum cards. Obviously, these days - things are a lot different in Ace Frehley's world, but I've always liked the fact that for him - it was about the music.

The up / down light cue from the light / sound crew soon had the crowd buzzing, and shortly thereafter, the opening band The Trews took the stage. I was immediately impressed by the substance of their groove - tight, crunchy, and very classic-rock. For those familiar with the now-defunct band Cry of Love, it's somewhat similiar - hooky, riffy guitar assemblages punctuated with a Bad Co. meets the Black Crowes style lyrical delivery, great vocals & harmonies, and a solid, no-nonsense backbeat. Listening to the first couple of songs, I immediately realize why the state of modern music is so fucked-up, and it's largely because radio stations won't play great new music from real rock n' roll bands like The Trews. Instead, we're either stuck with this American Idol bullshit, or the wearisome, format-based programming that rarely deviates from entirely-too-predictable "greatest hits" catalogs. Anyway - The Trews played confidently throughout their entire hour-long set, and by the end, have the audience in a rocking mood. They've done their job, and have landed a bunch of new fans to boot - including myself. Be sure and check out their MySpace page.

Sneaking out shortly before the break allowed me to beat the troops to the men's room, grab another brew, and find a prime "observation point" to people watch - another one of my favorite things to do at a show. Concerts seem to bring the best out in people, and tonight, that point is on full display. People are snapping up shirts, fans are talking & visiting, the beer is cold, and Ace is in the house. In short, the concert scene at the Fargo Theater is as it should be. I return to my seat refreshed, and ready for a solid set of rock.

The crowd roars (or as much of a roar as 750 people can make!) its approval when the lights go down, and Ace and his band are introduced. Seconds later, the chunky chords of the opening number Rip It Out (off the '78 solo album) greet anxious ears; fists are thrust in the air. The nervous energy that preceded the show is replaced by the static electricity of a live rock show, and Frehely and Co. christen the event in warp-drive fashion. The band wastes no time digging into the KISS catalog, scorching into Hard Times, followed by the ALIVE-era guitar tour de' force Parasite. Ace's playing through the first stanza of the show is impressive - clean, on-cue, and well-rehearsed. Frehely's band, sporting snazzy one-piece flight suits, is also impressive. Derrek Hawkins (guitar), Anthony Esposito (bass), and Scot Coogan (drums) are all excellent players - and appear to savor their roles playing alongside Ace. Rock-solid and sticky-tight all night long, the band matches his energy note-for-note, feeding the Spaceman plenty of tether to do what he does best - namely burn licks up and down the neck of his triple humbucker Gibson Les Paul. Sound-wise, the mix was perhaps the weak link in the chain to an otherwise fantastic show. Part of that may have been due to the theater's balcony extension. From what I've heard, it has a tendency to "trap" sound underneath it, so when it reverberates forward, it creates a bit of "muddiness". Nothing that I couldn't live with, though.

As for the set list - chock-full of tried-and-true Ace / KISS standards, as well as several diamonds in the rough. Colossal hits like New York Groove and Shock Me (*complete with smoking guitar solo) are expected cornerstones of any Ace Frehley performance, and both were played with conviction - much to the delight of the crowd. Lesser-known gems like Snowblind (solo LP), Rock Soldiers (Frehley's Comet), and Love Her All I Can were dusted-off for the tour. All shone brightly as interesting additions to the show. Surprisingly, the Frehley Band proved to be more than up to the task on vocal duties for the KISS numbers, which again underlined their talent as musicians. As the evening wound down, Ace pulled out the big guns - blasting through ground-shaking versions of Love Gun, Deuce, and Rocket Ride. A wide smile spread across my as the ever-familiar chords of Cold Gin rang throughout the theater - an authoritative "stamp of approval" to Ace's return to the live stage. The ALIVE-era guitar outro on Black Diamond was deftly tacked on at the end of Cold Gin, thus ending the night's musical selections in memorable fashion. From the standpoint of rock n' roll shows, this one covered all of the bases, and then some - a great opening act; Ace, of course, live onstage - playing with an excellent band; a killer set list; intimate venue; great sight-lines; a receptive crowd; and hanging out with good friends. Really, I couldn't ask for anything more.

Superlatives were abound in many a post-concert discussion, and from my perspective, those in attendance were treated to great night of music. For me personally, it was a chance to see my favorite guitar player of all time live and in person - in MY hometown - kicking out some heavy licks. I probably speak for legions of players world-wide when I say that Ace Frehley was the reason why I decided to pick up the electric guitar in the first place. While he may not enjoy the reverent adoration and critical acclaim of a Hendrix, Clapton, or Townshend - his playing style & panache', to me, are still the epitome of rock n' roll coolness. And his definitive live solo work - not only the standard of the 70's era - but the benchmark by which every hard rock guitar god was to be judged - even to present day. As a member of KISS - he was the the gasoline on the fire; his playing - the musical catalyst from which their songs attained such dazzling trajectory. The classic KISS catalog stacks up against the best of the rock genre - and largely because of Ace Frehley's contributions.

With a new, soon-to-be-released solo album in the can, an ally in sobriety, and a renewed focus on playing / performing, one could easily surmise that Ace Frehley is clearing the launch site for what might be his most successful rock n' roll mission ever. Ladies & gentlemen - we are clear for lift-off. J.

I'm baaaccckk . . . .

2008-03-01T16:13:00.000-08:00

Greetings fellow 'Farmers. Gettin' back in the posting groove again after a short hiatus. Several items of interest to report.

First, I am happy to have recently connected with friend and long-time musical collaborator Craig Schulte, who stopped over last weekend to jam a few licks off of (2) new tracks that will be featured on his upcoming CD. As good fortune would have it, Craig has asked me to contribute solos for these two songs, as well as lend my hand to the artwork & design for the CD jacket / insert. Being that it's been over (12) years since we last collaborated (*on 1996's Drive To Perfection), it'll be especially exciting to see how things come together.

During our session last week, I also had a chance to play Craig some of my own original material, and as I might have predicted - he was already thinking up accompanying parts for some of the songs. Sensing the energy that was present, it would seem that there are great things on tap in 2008 for the Schulte / Nelson creative team. Stay tuned @ Tone Farm for all of the "insider" details.

Another "toneful" event that occured during the early part of February was dropping some *NEW* custom pick-ups in my #1 Les Paul and Cream Squier Stratocaster (thanks to Phil @ String Bean for the install.) Both sets came via friend / resident tone freak / Bent guitarist Dan Benz though two of his Seattle-based connections (again, props for the sweet hook-up!) This, of course, has had me playing like a man possessed, and in turn, tracking some pretty cool original material. One of the newest JN originals Can't See Straight will feature the crunchy goodness of my #1 Les Paul through its new Fenris humbucker set. The Lynn Collins vintage winds in my Cream Strat ("Angie") will highlight a Dire Straits-esque original called Friendly Skies - another song that's currently "in the works".

Planning a Bismarck run next week for work, with anticipated stops at both the String Bean and Turner camps. Also looking forward to picking up my *NEW* Homebrew Germania pedal @ the 'Bean, and the vintage 60's mojo that I'll soon be conjuring up with it. More on that later.

Lastly, T-minus (9) days 'til the Ace Frehley show! J.

Two Sides of If . . .

2008-03-01T15:33:00.001-08:00

Here's another review from my old guitar forum days. A couple of years later - yes . . . but the CD is still one of my favorite listens.

I was at my local used CD shop (Retro Disc - Moorhead, MN) the other day, browsing through their always fine selection, and what do I come across but a recent solo effort from one of my 80's metal guitar heroes Vivian Campbell. Looking very business-like in a suit on the back cover, and holding what looks to be a vintage Gibson hollow body with one of his very large hands (man, you gotta' check out the size of this dude's mitts), Two Sides of If immediately caught my interest. As I looked over the song list, and saw songs like Messin' With The Kid, I'm Ready, I Aint' Superstitious, The Hunter, and the Rory Gallagher classic Calling Card, a shiver of excitement ran down my spine. "Viv's playin' the blues!" I thought, and immediately added it to my growing handful of "must-have's".

For those of you not in the know about Vivian Campbell, it was his incendiary playing that electrified Ronnie James Dio's first three post-Sabbath solo efforts, Holy Diver, Last In Line, and Sacred Heart - all frequent listens during my first formative years of guitar playing.

Rather than go home and dial up the official website, or pore through the CD booklet, I decided to let the music do the talking. Since it was a nice sunny afternoon, I thought that a nice drive around town would be just the activity by which to enjoy it. After a quick stop at Atomic Coffee for a solid cup o' joe, I was ready to enjoy one of my all-time favorite things to do: cruise around aimlessly while jamming to a good CD.

The album starts out with the Melvin London classic Messin' With The Kid. Indeed, just about everybody and their dog has covered this song, most with varying degrees of success. Fortunately, Campbell leaves his metal pyrotechnics back in his Def Leppard locker, and instead fills the number seductively with a myriad of choice licks. It comes across very nicely, yet in a way that showcases his exemplary fretboard talents. Vivian is also in charge of vocal duties throughout the album (with the exception of Spoonful, which is sung by guest vocalist Joan Osborne.) Campbell has a inflective voice - almost Bon Jovi-ish, but still very unique. Overall, it works well with the numbers he chose for his first solo release.

I'm Ready by the legendary Willie Dixon is another fantastic blues standard that Campbell covers, and like the opening number, it's played in traditional fashion. While the first two numbers were excellent, it was the third song that sucked me in like a whirling vortex - Calling Card from the late Rory Gallagher. On this song, Campbell pays tribute to one of his heroes with a steamy version of the Gallagher classic, and even goes as far as to mimick Rory's trademark staccato picking technique in the one section of the song. I liked Campbell's rendition so much that I had to hit the back button on my CD player, and listen to it a second time. Awesome! As the CD played on, each song extracted the obligatory "oh yeah!" and a resulting smile. In fact, I soon lost track of time cruising around in my "mobile listening lab".

As the song Like It This Way came on, I noted a strange familiarity on the second guitar. While I couldn't place it at that moment, something struck a familiar nerve. The remainder of the CD soon slipped effortlessly by, at which time I noted that I was on song 12 - the last number. Shortly after the band busted into the intro section of the song, there was a volley of fills that didn't sound anything like Campbell. Then it hit me, "Man, that's gotta' be the Reverend Billy G.!" Had to be. Willin' For Satisfaction continued in a sublime groove, Campbell's vocals providing a jagged counterpoint to the Rev's tasty, blues-infused licks. Like the Gallagher number earlier in the disc, I ended up re-playing this one again, mostly to confirm my premonition.

It was about this time I pulled in front of Casa del Nelskie, and dying in suspense, pulled out the booklet. I smiled a big, wide Texas-sized smile when I saw a photo of the Rev and Viv talking, and of course, the Rev gesturing to Campbell in very animated form. I thought to myself how cool that must've been for a great player like Vivian having the legendary Billy Gibbons playing on and contributing to his album. Campbell also gives a nod of respect to the fellow gear-heads like myself by listing all of the guitars, amps, effects, and other gear that he used in recording the album, something that I thought was really cool. If you sit and think about it, it's something that only a guitar-player's guitar player might think of doing. And probably best of all - the dumb luck of finding another one of my favorite players on the CD! Really, I had absolutely no idea when I bought it that the Rev was on it. I sat in my truck for what seemed like a few minutes, but was actually like ten + some change.

When I walked into the house, my wife inquired on why I didn't come in right away. Producing a fist-full of new CD's, she flashed me a smile, and said, "Aaaaah, you went to Retro Disc, didn't you?" She smiled again when I handed her a CD from one of her favorite bands, 10,000 Maniacs (featuring the sultry Natalie Merchant on vocals.) "Neat" she said, walking towards the stereo, ready to put it on. Gotta' keep momma happy, ya' know.

Anyways, if you dig good blues songs, and good blues playing, Two Sides Of If is a treat for the senses. There's even a few secrets about it that I'm not telling, so you'll have to go find out for yourself. J.

Rig O' The Month

2008-02-24T18:19:00.000-08:00

I've always been fascinated by stories about other players' gear. Whether it be the unique combination of events that led them to a particular guitar / amp, the end of an exhausting search for "just the right one", years of faithful service jamming in friends' garages / smoky clubs, or perhaps underneath more than its fair share of spilled beers - the tales of how things "came to be" are the stuff of legend. Every rig has its own special "mojo", and I thought it would be a fun idea for an ongoing Tone Farm monthly article to feature a few cool snaps & a short story about the instruments & rigs of our fellow Tone Farmers.

The criteria for being featured in "Rig of the Month" aren't lofty, by any means. A couple of digital snaps and 2-3 short paragraphs about what made it "happen" - and there you have it. You can send more pix if you like, or write a bit more - whatever. Collectible or cast-off, high-dollar or low-buck, vintage or new, thrashed or pristine, domestic or from another side of the world - it's a "come one, come all" show here at The Tone Farm. What matters most is that you make music with it - because after all - that's really what makes any piece of gear cool.

To get the ball rolling, I thought I'd put forth a short bit about the rig that most of you have come to know me by - my #1 Epiphone Les Paul Suburst and Peavey Classic 30. Both of these pieces of gear have each been with me for 10+ years - the Epi since 1991, and the Classic 30 since 1995.

The Les Paul was purchased from Gary Emerson Music in East Grand Forks in the fall of 1991 (*sadly, a victim of the 1997 Flood. Emerson Music is no more.) Weighing heavily on that choice was the then-new, completely re-mastered studio catalog of Led Zeppelin, and legendary Les Paul sorcerer Jimmy Page. I mean, really, how can one not be affected by such an amazing tone? Anyway - not having the major lettuce for an authentic Gibson instrument, the Epiphone seemed like the next best thing. Sixteen and some years later, it has proven to be a wise choice. "Ruby" has been a mainstay of my own personal tone, and continues to inspire me to this very day.

My Peavey Classic 30 purchase came quite by accident, the result of a casual afternoon of "browsing" at Marguerite's Music in Moorhead, MN. At that time, I'd been looking to get into a tube amp for a couple of years, but was still indecisive as to what I wanted. As luck would have it, my Les Paul was in their shop for some new pots / caps, so my first session on that amp was with my own guitar. Magic must've been in the air at the moment I plugged into the Classic, because as soon as the tone hit my ears - my brain was spinning like a slot machine. I dropped Kenny Rardin the idea of a trade-in on my current amp at that time - a Yamaha 112II, and before I knew it, I'd wheeled & dealed myself into a new tube amp. The rest is history.

At this point of my playing "career", I have a lot of cool gear that I can play - perhaps more than I even need to have (*yikes* - did I just say that?!!) But I still play my Epi & Classic frequently - and always marvel at how good that combo still sounds. Perhaps the coolest thing of all with that rig, for me, is the look I see on the faces of my friends when I tote those two in for a jam session - as in, "now we're ready to rock!" J.

Beano Re-visited . . .

2008-02-10T13:09:00.000-08:00

About a month or so ago, I'd posted a feature on Eric Clapton, and the omnipresent guitar tone he employed on John Mayall & The Bluesbreakers' landmark '65 release. I've dug up a few additional resources on that very same tone that I thought might interest fellow guitar players.

The first link is an excellent piece written by John Wiley, and featured on Premier Guitar's online site. In the article, Wiley goes into fantastic detail on upgrading a newer Marshall 1962 Bluesbreaker re-issue to Clapton-era vintage spec. I'd touched on that a bit in my initial post - and here, Wiley takes it to a major-league level. While I don't think that most of us are of the mind-set to undertake such a daunting (*and gloriously expensive) task, it does present one with an interesting base from which to consider modifying one's own gear. In many cases, getting the absolute best tone from your amp / guitar may only be a few inexpensive mods away - i.e. new tubes; a bigger output transformer; maybe a better capacitor here and there.

The second item is a link to some excellent photos of two early 60's JTM-45 amplifiers - very similar to what Clapton would have been playing at that time (*the 2x12 model). Being that the production details for some of Marshall's early amplifier runs are pretty sketchy, the legend of the actual amp EC used during this session continues to grow to this very day.

The last article deals exclusively with the Les Paul guitar that Eric used during the Bluesbreaker sessions. Like the JTM-45 amp, details regarding this particular guitar are also inconclusive. Of particular interest to me was the bit towards the end of the article that highlighted Clapton's guitar successor in the Bluesbreakers - Peter Green. Peter would break shortly after his stint with Mayall to form another British blues powerhouse - Fleetwood Mac.

Anyways - more food for thought. I am still hoping to follow-though with my EC / Bluesbreakers tone-farming project at some point here in the very near future. While it may seem like over-kill to keep exhuming this one tone as a viable discussion / posting topic, its supreme relevance to all that is considered "modern rock" is immeasurable. Quite simply, this tone is the blueprint from which bands like Zeppelin, the Yardbirds, the Stones, The Who, and those that followed in their wake, would build - and eventually, refine further. - J.

Peter Frampton - "Fingerprints"

2008-02-10T07:24:00.000-08:00

From my days as a youngster listening to KFYR AM radio, to present-day music afficianado, it seems like Peter Frampton's music has always stayed pretty close to home for me. A skilled player, excellent writer / arranger, and capable vocalist - Frampton's artistry has been a staple of rock music for over (30) years. His latest CD offering Fingerprints, showcases many of the finer attributes of his musical style - not to mention his surprising depth as player. Being that it is an all-instrumental effort, the guitar takes its rightful place front and center, and I must say that the effect is a most pleasing one.

Joined by a cast of all-star players, Frampton explores a variety of musical styles throughout the (14) song set. From a trippy, voice-box'ed cover of power-grunge standard "Black Hole Sun" (*which coincidentally features both Mike McCready and Matt Cameron of Seattle-based rockers Pearl Jam), to the soulful duet "Blooze" with Gov't Mule / Allman Bros. guitarist par excellence' Warren Haynes, to the campy, Django Reinhardt-influenced "Souvenirs De Nos Peres" with guitar virtuoso John Jorgenson (Desert Rose Band, The Hellecasters), there's an abundance of incredible tone & technique on full display throughout Fingerprints.

Perhaps the thing that stands out the most in Frampton's latest release is the absolute joy I hear in his playing. You can tell that it is continually evolving, yet in many ways, still the same. A fluid, jazzy feel permeates a lot of the material, as does an innate knack for the sweet hook / fill. Deep down, though, Pete's always been a rock player at heart. And that being the case, he certainly isn't afraid to crank up his rig, and grind out some heavy riffs with his signature triple humbucker Les Paul Black Beauty and Marshall amp stack.

While it's hard to ignore Frampton Comes Alive as a high water mark in his career (and realistically, how could you?), there's so much more to Pete's playing than made-for-airplay stadium anthems. For example, check out his early work with Steve Mariott and Humble Pie, as well as his second solo album Frampton's Camel (*which features the original studio version of "Do You Feel Like We Do.) Stellar stuff!

I might also mention that Fingerprints took home a 2007 Grammy for "Best Pop Instrumental" album - a very deserving award to a musician who continues to employ his skillful craft in the modern day musical arena. Amongst the dry heave-inducing pop & rap offerings currently littering today's music industry landscape, Fingerprints is an island of refreshing change - real music crafted by real musicians.

If you're looking for a CD loaded with incredible guitar playing, lots of different styles of songs, and a mind-numbing array of tasty guitar tones (both acoustic & electric), I'd highly suggest that you check this CD out. - J.

The Who - "Endless Wire"

2008-02-09T15:36:00.000-08:00

A year or so ago, I was active in an internet guitar forum. During my time there, I'd written a number of CD / album reviews, a few of which I though were very good. In an effort to bring our Tone Farm readership the best of music past and present, I thought I would post a few of them. Knowing fully that these were written in "present tense" back then, I will do my best to bring them into current day. Of course, there is the very real possibility that something might "slip through the cracks" from the standpoint of time relevancy, so I apologize in advance if this should happen. My only hope is that these reviews might entice you to explore some new listening material. Cheers - - J.

Hard to believe that (24) years had passed between The Who's last studio album (1982's It's Hard), and their most recent release Endless Wire. Certainly, a lot of history has passed since the band exploded onto the UK music scene back in the early 60's - and in many ways, their music provided a soundtrack to the turbulent times that changed the course of musical history. Yet, there is a note of irony in the fact that we are not too far removed from those same kinds of things here in present day. That very point is something that has always stood firm with me about The Who's music - it's relevance to to the time in which it was created. They are a band that that is cognizant of the world around them, and through their music, they offer solace, perspective, and hope. Their most recent release Endless Wire works along those same lines - only through a wiser, and more interpretive view. No longer do guitars need to be smashed, or revolutions stirred, to offer the listener a reason to listen. Call it street cred, or whatever you like. The Who are a force to be reckoned with, and should you seek to channel yourself inside their musical world, chances are good that you will emerge . . . wholly enlightened.

The new release is divided into two segments, the first being (9) songs that comprise Endless Wire. The second stanza is a mini-opera entitled "Wire & Glass", and I will offer no other insights to it other than to mention one word - Tommy. By mentioning that, I only imply that W & G has been created by the same basic nucleus that pushed outward the boundaries of the musical landscape with the "rock opera" concept. In short - The Who deliver the goods. They wrote the book. Everyone else is an imitator.

Included with the solid (21) song line-up is a DVD of a recent live performance (recorded in July 2006), featuring one of the new songs, and (4) all-time classics. For long-time fans who've pined to hear the band go into the studio to record some new material, it's an extra reward . All-in-all - a lot of music for $15. And it's The Who - - 'nuff said.

As I see it, the album is a refreshing, if somewhat economical performance from one of rock music's most legendary outfits. Caveats of brilliance are to be found amongst the songs featured Endless Wire, both in the now-grizzled glory of Daltrey's vocals, and shimmery brilliance of Townshend's electric and acoustic riffs. Overall, it's a rewarding listen for fans of all ages, although some of the material may be geared towards the more experienced Who listener.

The sands of time may have taken some of that original, chest-beating glory away from The Who . . . and begrudgingly I might add. But it brings a smile to my face to know that the fire still burns brightly inside of them.

Long live rock. - J.

Finding Keys . . .

2008-02-03T07:04:00.000-08:00

Being fully aware of the knowledge and skill already present amongst the "All-Star Cast" that frequents our blog, I though it might be fun to tap into that deep, insightful well for an upcoming feature about "keys" to guitar playing. What spurred this on? Very simply - - talking / e-mailing with you - my fellow axe-slinging compadres. Whether its sitting down and sessioning some killer boutique amps, talking about Winter NAMM, discussing the benefits of NOS tubes, or sharing a few comical observations about gigging live - as players & musicians, these tributaries all flow into the same ocean.

An astounding player / musician I am not - but the desire to be one burns inside of me like a trio of fire-red 6L6's. To get the ball rolling on this feature , I though I'd pass along some things that have helped me to get where I am today. Either via e-mail, written contribution, or comments - it'd be fun to find out about some of those all-important "keys" that have opened doors to your own playing. Yes - this might take some thought. But think of it as time well-spent. Like enjoying a great cup of coffee, or listening to one of your favorite songs (*which does not include You.Tube!)

Believe me, culling (20) years of "lessons learned" down to (5) wasn't easy - - but I think the crux of the endeavor is pretty self-explanatory. Here are my own "keys" to guitar-playing success:

1.) Go your own way - Finding your own personal guitar "place" is where it's at. Rule your own musical universe, and reap its benefits.
2.) Listen! - i.e. are you really hearing it? Become acutely attuned to what you hear musically. Dissect it. Understand it. Know it.
3.) Inspiration is everywhere - All music presents potential inspiration for your own playing. Leave no stone unturned.
4.) Regular & Inventive Practice - Find ways to infuse practice into your daily routine through traditional & inspirational methods.
5.) Look outside the box - Don't play it safe. Continually challenge yourself by exploring new technical styles and musical theories.

What's that I hear . . . the sound of keys . . . jingling? J.

Architect of Heaviness

2008-02-01T06:15:00.000-08:00

There is probably little that I could say about Jimmy Page that hasn't been said a million times before. The dark genius behind the rock n' roll colossus known as Led Zeppelin, Page's sonic blueprint spreads across the modern rock landscape like a solar eclispe. I'd venture to say that there's very little that exists in any of today's hard rock genres that wasn't propogated, or at least enhanced by something that Page / Zeppelin did during their storied reign as the biggest band on the planet.

I recently came across a couple of interesting web articles that might be of interest to fellow 'Farmers. The first one highlights a 1977 Steve Rosen interview with Page, and comes courtesy of Modern Guitar's online site. Jimmy was always quite wary of the press, and especially at that point of his career. All of which makes this interview somewhat unique, as he appears to be quite accomodating to Rosen's inquiries on various topics. There's some excellent historical information on Page's pre-Zeppelin days, as well as snippets here and there about the gear used to create some of Zeppelin's masterpieces. A very good read. Should you prefer, there's also an audio format you can listen to.

The second article comes courtesy of Guitar Player Magazine's online site, and gets into a bit of detail on a few of Page's recording and production strategies. Fully realizing that you could fill a large volume with some of the intricate details of Page's / Zeppelin's recording prowess, this should be looked at as an abbreviated take on a mere handful of highlights. Personally, I find these little snapshots very useful in my own recording endeavors, as it gets me thinking about other ways to arrange / develop songs, as well as techniques that I can use improve their overall tone / sound.

Lastly, it should come as no surprise to anyone that creating a catalog of music as tonally / dynamically diverse as Zeppelin's requires an amazing arsenal of killer gear. I'd featured a link to the Complete Jimmy Page Gear Guide on the Back Forty section a month or so ago, and will also include it in this post due to its relevancy. One of the most interesting things that I've come across in regards to Page's gear involves Zeppelin's juggernaut 1968 debut - most, if not all tracks, were recorded with a Fender Telecaster! Yes, that guitar and a little Supro amp (*which uses a coaxial 6" x 9" speaker - like the ones I used to have in my car!!) were vital elements in shaping some of the heaviest rock tones this planet has ever heard! Anyways - the article is loaded with great information, some of which might surprise even the savviest of gear-hounds. Bon apetit' - J.

Rocket Ride . . .

2008-01-30T17:34:00.001-08:00

With the last KISS-related sighting in ND being almost (8) years ago, the announcement of Ace Frehley's upcoming March 11th Fargo performance was truly exciting news for local guitarists and music fans. My lovely wife excitedly delivered the news to me a week or so ago, after reading about it on the In-Forum website. As if she wasn't already perfect in every way, she scored (2) nice floor seats for my sister and I to attend the show.

A notorious prankster and died-in-the-wool rocker, Ace has never been one to jump the train to notariety - a far cry from the paths chosen by his KISS counterparts Gene Simmons and Paul Stanley. Simmons, the quintessential media whore, acts as the "fall guy" in his own family-based reality show (*which is actually very funny, by the way). And Stanley, vain as ever, preens and poses for his line of signature model guitars. Other than an occasional call-in to friend Eddie Trunk's NY-based radio show, and appearances at select events and shows - the Spaceman remains largely out of the public eye. Such may bide well to his renewed musical efforts, which include a bevy of spring dates, as well as a rumored - but seemingly eminent 2008 release.

Pandering the historical significance of a theatrical-based rock guitarist like Frehley might come easy for casual fans, especially in light of the Simmons-led mega-marketing campaign of the past decade (KISS condoms, anyone?!!) However, those "in-the-know" are well aware of Ace's penchant for the glorious rock hook and trademark Les Paul-wielding saviour fare'. Costumes and gimmickry aside, Ace has paid his rock n' roll dues, and has a vast catalog of heavyweight material to prove it. From the gut-wrenching, power-chorded magnificence of ALIVE's 100,000 Years, to Love Gun's stadium rock standard Shock Me, to the pop-rock genius of New York Groove, Mr. Frehley has given us more than an ample dose of rocket-propelled guitar bravado.

The build-up for Ace's present tour and album release has been rather hush-hush, but my guess is that this isn't going to be the case when the lights go down at the Fargo Theater on March 11th. Not only does Frehley have a lot to draw from in the KISS catalog, his Frehley's Comet-era material features a lot of solid, kick-ass power rock. Throw in the possibility of a vintage cover or two (perhaps the Stones' "2000 Man"), and we could be talking about a really awesome show from start to finish.

However you choose to look at KISS, or their individual members, know for a fact that I'll be in the seats - grinning from ear-to-ear - when one of my favorite players of all time takes the stage in my hometown.

Really - does it get any better than that? J.

Power Snake . . .

2008-01-26T05:16:00.000-08:00

The Tone Farm would like to welcome friend and fellow player Joe Austin to the contributor's fold. In a recent e-mail, he highlighted (2) newer releases that had been seeing frequent rotation at his secret lair in Grand Forks, ND. Thinking that there'd be a few 'Farmers that would appreciate the low-down, he has graciously offered to share with us his informative takes on Gary Moore's latest - Power of the Blues, as well as "Live: Still of the Night" from 80's metal icons Whitesnake. So, without further adieu . . .

Amidst my busy schedule, I always find time for my favorite hobby: music. I recently picked up Gary Moore's Power of the Blues. Now critics have always denigrated the lyrical content of Moore's projects, preferring instead, to focus on his six-string heroics. However, w/Power of the Blues, I have to disagree with the critics - it may possibly be the best Moore CD he has put out since the Black Rose project w/Thin Lizzy.

Moore's singing and playing are top-notch. What I love about Power of the Blues is the overall sonic tone. The mix is well done. Sure, Gary's guitar is up in the mix, but the rest of the band is heard at just the right level as well. And to top it all off, Gary's tone is about the best I've ever heard. Plenty of double-up notes and dizzying vibrato (wait a minute....are we sure we not talking about Mr. Frehley? lol) make this a 5 star (*****) CD and a absolute must for every blues guitar fan!

On the DVD side, the 2004 Whitesnake release "Live: In the Still of the Night" has been getting a lot of airplay. After watching it several times, I must say that the current lineup may be the best ever. David Coverdale and Tommy Aldrich remain from the 1987 tour. New players include keyboardist Timothy Drury, bassist Marco Mendoza, guitarist Reb Beach, and one of my new favorites, guitarist Doug Aldrich.

This DVD was shot in London in 2004. The material focuses mainly on the 1987 blockbuster self-titled release, but does throw in a few gems from previous endeavors. Highlights include "Ain't No Love in the Heart of the City" and "Burn/Stormbringer" from Mr. Coverdale's days in Deep Purple. The band is super-tight and it shows. Doug Aldrich's guitar is way up in the mix and being a huge fan of the Les Paul/Marshall tone, I absolutely love it. However, at times, you can hardly hear Reb's guitar when he solos - which leads to a slightly uneven overall mix. It's likely that Reb's fans would have appreciated a more level playing field. Never-the-less, as a buddy of mine once told me, "This whole video is BAD-ASS" - and I couldn't agree more. I give it 4 1/2 stars (****1/2).

You can find these gems at www.cduniverse.com. The Whitesnake release also comes in a DVD/CD combo for a little extra $$$.

Personally, I'd hoped for a few revealing back stage shots of Tawny Kitaen (Dave Coverdale's squeeze). ;~) But alas . . . no dice.

Nice reviews, Joe. Keep 'em comin. J.

Run for cover . . .

2008-01-18T05:12:00.000-08:00

I was recently introduced to "Real to Reel" - the latest CD offering by 80's metal darlings Tesla. If you have any familiarity with the band, you might remember heavy airplay, made-for-MTV hits like "Love Song", "The Way It Is", and "What You Give". Enter modern day. The once lush paradise of Hair Metal Cove has now turned into the barren, cracked earth of "Ain't Had a Hit in Twenty Years". In the majority of cases, it's all but killed bands of that genre. Those more vigilant have since found new avenues to pursue, to include the boys from Tesla - who have re-invented themselves as a professional cover band - - and are now touring in support of it. *insert sound of pin dropping*. Um . . . yeah.

Material-wise, Real to Reel consists of not one, but two volumes of classic rock power standards from 70's heavyweights like Alice Cooper, Bad Co., Montrose, Aerosmith, UFO, Thin Lizzy, Lynyrd Skynyrd - just to name a few. If you're savvy enough to have caught the intended play on words with "real" and "reel", then you're also clued into the other gratuitous quirk that this double set offers: all of the tracks were recorded using a vintage Neve console, and then mastered directly to Ampex 456 analog tape (i.e."reel-to-reel" tape). If your name isn't Donald Fagen, this probably won't mean a whole lot to you, But don't feel bad - it certainly won't ring a bell with any of the raccoon-eyed, ripped-jean-wearing thirty-something moms wearing that'll be lining the first six rows of the small-to-medium-sized clubs Tesla will be playing on tour. All of whom will be secretly praying that the band will deviate from their cover-heavy set list . . . to play "Love Song" - - just for them - - perhaps twice!

Now before you get the wrong idea about these two CD's, let me tell you that I'm a big Tesla fan. Always have been. I have fond memories of tossing around the 'ol 165g "frizz" down at Sertoma park (*back in the day when you could actually drive through the park), a pair of Pioneer home stereo speakers (*that I'd ingeniously wired to work into my car stereo) setting atop my Mach 1, while Mechanical Resonance blasted for all to hear. The only thing cooler than that was the fact that we were sucking down Schlitz Malt Liquor with these clever soda can decals wrapped around them, so no one knew we were drinking illegally. Yeah, I know. Total coolness.

Perhaps the most enticing thing about "Real to Reel", at least for me, was the guitar work. Side-to-side, it's all incredibly well done. I've always been impressed with players that appreciate and / or revere the guitar tones achieved using vintage gear, and original band guitarist Frankie Hannon, along with sideman Dave Rude, weave some incredibly lush classic rock tones throughout both CD's. For a gear junkie like myself, that alone was worth the price of admission. While Hannon and Rude's playing rarely strays outside the lines - they do occasionally work in a tasteful original run, slide progression, or lick now and then. Toss in the fact that the tracks were recorded and mixed using vintage studio gear - and hey, break out the bell-bottoms and Keep On' Truckin tees! Overall, the guitar playing is technically very strong, and really fun to listen to - if you're into that sort of thing. I'm thinking that these CD's will get a lot of use as jam / practice tools.

Amongst the bevy of classic tracks, there were two songs that did stand out for me. The first was Grand Funk's Stealin', and the other was Aerosmith's Seasons of Wither. Both are under-appreciated gems from two of the biggest bands of the 70's. What makes Stealin' work particularly well is that Jeff Keith's voice matches nicely to the original sound and vibe of the song. In other words, you still get feel of Jeff's vocal style, blended with a bit of that magical mojo from past. Seasons of Wither - a dusty jewel off of Aerosmith's Get Your Wings album (1974), impressed for the same reasons as noted previously. While it's not on par with the original delivery, courtesy of a young, pre-chemically-dependent Steven Tyler - the song does have its moments . . . and especially on guitar.

My friend James, who sent me the CD's, made mention of the fact that in his opinion, the Tesla version of Saturday Night Special was perhaps the best he'd ever heard - - cover or original. Indeed, bold words coming from someone who does not own a single piece of Skynyrd on vinyl - - or a Skynyrd release devoid of the words Greatest Hits (*I make light of this only because I can). Me - I've been listening to Saturday Night Special longer than I care to admit publicly, so my take on the Tesla version of SNS is a well-earned "C" - with most of this grade being given on the strength of the guitar work. The vocals, IMHO, are a bit "light", and the delivery less vengeful / toxic than the original album version. When you listen to Ronnie Van Zant's vocals on SNS, you don't have a hard time imagining him getting liquored up on cheap whiskey at a dingy local watering hole - - and then jumping in his rusty old pickup, hell-bent to fill his wife's adulterous lover full of cheap lead slugs. I don't hear that desperate, twisted vibe in Jeff Keith's rendition, and hence, it just kind of lies there - - like a prom date who's had one-too-many chugs on a bottle of T.J. Swan. Bottom line - if you wanna' run with the big dogs, you'd better be able to bring it. Tesla's version remains content to stay on the porch, though quite honestly, most bands would be happy with that.

As I see it, the big fall on "Real to Reel" is pretty simple - Jeff Keith's voice sounds great on Tesla records, but not that spectacular singing other bands' material. Add to that the fact that there's very little in the way of production done on his vocal parts, which leaves his singing sounding like it's "forced", or even worse, unnatural. Although I can tip my hat to the effort put forth on this project, it's hard to really appreciate anything that is not at least equal to, or better than the original. Most of the songs featured on "Real to Reel", sadly, are not. There's a gem or two here and there, but quite honestly, I'd have have been more impressed with the band releasing a single CD's worth of decent new originals, spiced with a strong cover or two as bonus tracks. But then again, what the hell do I know.

I know a lot of people dig Tesla's music, including myself - and for that reason, I'm really at a loss as to why they'd fill up two entire albums with other bands' tunes. Especially when they're perfectly capable of kicking ass on their own stuff. Give me some new tunes, and I'll be more than happy to come and see you on tour, drink a few brews, and we'll all have a good time. J.

Of Mice and Modelers . . .

2008-01-11T19:08:00.000-08:00

Via recent e-mails, my good friend (*and sparkly-blue, vintage Les Paul-wielding axeman) Dave Tea and I had an interesting exchange regarding tube amps vs. modeling amps. I asked if he would consent to having his reparte' posted on Tone Farm. Having his permission, I offer you a most generous slice of wry wit:

"I've been a frequent lurker and occasional participant for years at an online site called voxtalks.com. If you're not familiar, it's pretty much a place where Beatle People have much discussion regarding Beatle Gear, Beatle Songs, Beatle Chords and of course, Vox amplifiers. Many of the participants are Beatle impersonators (aren't we all?) and/or gigging musicians. Non-Beatle issues are occasionally raised, but detailed theories on the opening chord smash on "A Hard Day's Night" get a lot of discussion. I love the Beatles music as much as anyone, but some of these guys are pretty intense. (Of course, Kiss Kooks are a lot scarier than these guys, but that's whole different can of worms.)

Whatever the deal is, the subject of transistors and modeling amplifiers comes up and I've been quite generous with my true feelings regarding non-tube and/or hybrid guitar rigs. Maybe I'm still cranky over getting swindled years ago, you see, I traded off a 50 watt Marshall Master Volume from the 70s for the allure of a channel switching hybrid (tube pre-amp) Valvestate. Sounded great in the showroom, sucked ass on the stage with pounding bass and drums. It had all the warmth and character of a White House press secretary.

Anyway, my anti-transistor opinions really got some of the geekier members of the board a little hot under the collar, I think the term 'wanker' was used more than once, so you can imagine how offended these proud owners of modeling junk could be. I was challenged to put my money where my mouth was, one member didn't think I should be spouting such ignorance without having tried out the then-new Vox Valvetronics modeling amplifier. I live in a small city in the middle of nowhere, so Vox dealers aren't that easy to find.

While on vacation later that year, I popped into a guitar store in a bigger city that had been a Vox dealer before. I asked the salesman about the Valvetronics amps, but they had given up their Vox dealership, and besides, the Line Six was way better anyway. I thought it was a coincidence that they happened to sell Line Six as well. Go figure. I plugged into the Starship Enterprise and asked for a basic dry crunch, nice and loud. I was genuinely surprised at the thickness of the tone, and was very impressed with the sound quality of this Line Six 2x12 combo. Excellent.

But here's the rub: touch sensitivity. Tube amps have it, hot, glowing glass reactors that spit fire when provoked. I don't know how else to put it than this: I've never had sex with a blow-up doll, but now I think I know what that must be like.

Glowing glass reactors that spit fire when provoked. Classic. Thanks Dave - - J.

Winter Blues . . .

2008-01-11T15:16:00.000-08:00

Right after I moved to Fargo, I discovered an excellent used vinyl store off of 1st Ave. N called the Vinyl Connection (sadly, now defunct). I happened to be browsing the store one Saturday afternoon, after a nice bloody mary at the OB, when the owner of the store slipped on Second Winter by Johnny Winter. "Mind if I crank this up?", he asked, noticing that I had been grooving to the opening track Memory Pain. "Not at all - let 'er buck," I replied, and went about my business carousing the $1.99 section.

About three songs into the operation, I went up to the counter and asked to buy the copy that was playing on the turntable. "Good stuff, ain't it," the owner said, pleased with his salesmanship. I think I flipped $5.99 for the album, which was a total steal at that price - the vinyl was pristine, and the jacket near mint. I brought it home, and proceeded to have my mind blown by Johnny's searing slide guitar and electrifying blues-rock licks. Having been an SRV fan for a much longer time, the similarity of styles was all too obvious. There was no question in my mind that a young Stevie Ray had spun this very album back in the day, perhaps marveling at the primal guitar savagery that was, and still is, Johnny Winter's calling card.

I was recently sorting through my vinyl, and once again came across this LP. Reading the liner notes, Johnny explains how the album came to be a (3-sided) double album - a rather unique feat in the day. "We had enough stuff for one album, and planned to edit out what we didn't like. As it turned out, we liked everything, and didn't want to cut any material - so here it is . . . all three sides." And interestingly enough, the fourth side of the LP is totally blank. Knowing what little I know about record companies, I don't anticipate that many artists were good enough to slide one like this through the corporate wickets. So, one must assume that there was, in fact, a person with a brain at the record label; someone who thankfully realized, "You're right Johnny - all of this stuff kicks ass; let's release everything." Divine intervention . . . perhaps.

Now on the subject of Winter's playing, I'd originally planned on writing a few lines myself on what I thought his music represented. Then I came across a short piece that was so eloquently written, so absolutely on-the-money, that anything I could say could only be construed as walking in the shadows. So, courtesy of of the late Mr. Buddy Blue, as written in his San Diego Union-Tribune column Blue Notes, I give you his take on the guitar stylings of "Whitest Black Man" ever . . . Mr. Johnny Winter:

"The deal with Winter's guitarsmanship is that on top of his dazzling speed, soulfulness and technical wizardry, his sound is so demonic, so malevolent that you imagine it emanates from the death-stinking talons of Satan himself. Winter's riffs twist and coil their way into your orifices like venomous serpents seeking shelter from the light; they bite and slash and constrict your innards; they defile your bloodstream and mesmerize your brain with a noxious brew of seconal, strychnine and cheap whiskey, ultimately leaving one an exhausted husk from the effects of some dark, unspeakable power. In this regard, I liken Winter to a modern incarnation of Robert Johnson, the only other guitar player whose work sounds similarly haunted, hell-spawned."

Pure poetry. Anyway, enough of my ramblings. Here's a link to a You.Tube clip that features Johnny doing a face-melting, slide-infused version of Bob Dylan's hit Highway 61. And if that doesn't impress, how about a jaw-dropping, nine minute guitar tour de force featuring the Clapton / Bluesbreaker's standard Hideaway ? WARNING: You may want to have a fire extinguisher nearby in case your computer spontaneously bursts into flames. Enjoy - - J.

Clipping - 15 yards . . .

2008-01-10T09:37:00.000-08:00

Avast, ye' Farmers of Tone. My guess is that a few of you are wondering where all of these guitar "tone clips" are? Well, fret not fellow fretters (try saying that fast (10) times!) - I have my ace IT guy Chris on it.

In the coming weeks, my goal is to have a fully- functional audio / .MP3 player permanently installed on the site. Such will allow us to post clips of various guitar tones - recorded originals, along with those available via the vast KJON rock library. At some point down the road, I also hope to feature original music - my own, as well as that of other blog contributors / participants.

Anyway - posting clips will soon be a reality. Penalty is declined. J.

Great technique = great tone

2008-01-09T20:07:00.000-08:00

A friend & I had a discussion about this the other day, and I thought it would be fun to share with the rest of the 'Farm faithful - mostly because it applies to all of us as players, and to some more than others. That topic: the long, lost art of . . . technique.

Each of us approaches their own technique in different ways, depending on style, preference of music, and frequency of playing. Inevitably, the headwaters for all guitar styles is one and the same. Playing the guitar demands many things, among them: dexterity, focus, knowledge, rhythm, and perhaps the most important of them all - - passion. The great players have these skills interspersed with their own styles / ideas, and it's no surprise that developing them takes many years of practice, along with a healthy dose of commitment. Once a player develops these skills, they require regular practice to maintain peak form. Indeed, this sounds a bit "old school" - but the truth is often times the most obvious: there are no shortcuts to becoming, or continuing on as a capable, well-rounded player.

One of the things I find most intriguing about playing is the constant ebb and flow of development. I'll get to a point where I'm really feeling like I'm getting better, and then . . . without warning, I'm back to the same old tricks. Vamping the same scales & progressions. Running multiple pedal effects. Using tons of distortion. Playing too many power chords. From the playing standpoint - there's actually nothing wrong with this. In an "executional" sense, however, what it ends up doing is getting you to think of easier ways around some of the more important aspects of playing technique.

Even experienced players hit ruts - points where our playing isn't on the upward curve. It's at those times that I find myself going back to the basics, and re-visiting some of the things that I think many players occasionally take for granted, or don't think about enough - things like fingering notes / chords cleanly, running though all of the different scales, and picking / strumming dynamics. These are things that you need to do all the time when you play, and staying sharp on these things pays big dividends for any style of playing that you do. Other things that I like to implement into my basic regimen include reviewing my notes on different sound settings (I have several stenographer's notebooks full of notes / settings for various guitars, amps, and other pieces of gear); playing different songs in different styles (ever tried Deep Purple's Smoke on the Water with major chords on an acoustic?); and playing different songs on a clean channel, so that I can fully understand, and appreciate, how they were constructed from a note / arrangement / chord standpoint. A lot of times, these sessions lead me into other discoveries - - which again, is the big reward for regular, focused, and enthusiastic practice.

The other day, I spent about (30) minutes running through an album I consider to be a benchmark for fantastic guitar technique - The Allman Brothers' At Fillmore East. Duane & Dickey both exhibit flawless command of so many basic playing principles on that set list. Along with that, they're both well-versed in many different musical generes - jazz, blues, country & rock - something which always played into their unique collaborative style. Anyway, I always feel rejuvenated when I get done playing along with the Fillmore set. It's hard to explain, but I'd equate it to the feeling you get when you have a nice visit with an old friend. It puts things into proper perspective.

However you decide to do it, make sure that part of your regular practice regimen involves something that focuses on your playing technique, for it is truly one of the foundation blocks of successful guitar playing. Great technique = great tone. Rock on - J.

Wolfetone "Flashback" Strat P'ups

2008-01-09T18:52:00.000-08:00

Any Stratocaster player worth his weight in synchronized tremelos and moto pickguards will tell you that there are about as many flavors of "vintage" single coil pick-ups as there are manufacturers. I’ve certainly read more than my share of ad copy touting the "vintage" Fender sound. So many, in fact, that I’m convinced that trying to actually define a "vintage" Strat tone would lead one on a futile, never-ending quest. Simply put, different ears hear different things.

As both a writer and a player, I am more than happy to tout my lack of qualifications when it comes to the technical aspects of the "vintage" Fender sound. However, as my voluminous album & CD collection will attest to, I am no stranger to the skilled purveyors of the Stratocaster, as well as their tones of choice. Such are the benchmarks which I use to equate the terms "vintage" and "classic" – esp. in the realm of the "Fender Sound".

My first experience with Wolfetone pick-ups was during summer ’06, while on holiday in the fair city of Seattle. My friend Dan had a set of "Flashbacks" installed in a newer model Strat, which I had the luxury of running through a trio of thoroughbred amps – a Fender DeVille; a Marshall DSL / 4x12; and an Orange AD series 50W 2x12 (*DB, I hope I got those right). As expected, the pick-ups through the higher gain amps produced some very impressive rock tones; but those through the Fender DeVille - - wow - - nothing short of astounding. Clean and over-driven tones both had a round, articulate quality to them – two features that I’ve found usually contend with each other in regards to single-coil pick-ups. A long weekend of playing that particular guitar and amp (*very loudly I might add) all but sold me on the "Flashbacks". Unfortunately, for me, it would be nearly a year later before I actually had a set in my possession. But good things do come to those who wait . . .

When my new set of Wolfetone "Flashbacks" finally arrived this past May, I decided to drop them in one of my favorite guitars – a 1987 MIJ Squier Stratocaster. My primary intentions on doing the swap were to turn the Strat into more of a rock n' roll player. Something with attitude. And that, my friends, is what the Wolfetones do in spades.

I chose my 1968 Fender Super Reverb for the first official test-drive of the "Flashbacks". During an evening jam session, I covered the gamut of my favorite Fender tones - - with neck hairs standing straight at attention. Sultry, Knopfler-esque tones shimmered from the "2" position with unimaginable clarity, as well as a touch of that bluesy sqawk that instantly brings you "Down to the Waterline".

The bridge position was where I was the most impressed. Running a Marshall Bluesbreaker II pedal in front of the Super, I was able to push the amp into a fat, glorious overdrive that echoed Marc Ford-era Black Crowes. Unlike a lot of *ahem* "vintage" single coils I’ve played, the voicing of "Flashbacks" appears to be well-suited to hard, driving tones. Strat afficianados also know that definition up top often equates to "ice-pickyness". Not so with the Wolfetones. The entire volume sweep was filled with rich, complex harmonics - and most impressively at the bottom end, where Strat players who like to rock need it the most

Later on, I plugged the Strat into a 5W Epiphone Valve Jr. head, and ran that through a 12" cab loaded with a Celestion Vintage 30. Running the amp at near full volume produced a delicious Class "A" grind reminiscent of Live at Leeds-era Who. Backing off the amp’s master volume, along with some deft tone / volume adjustments yielded several nifty Beck-era Yardbirds flavors. All of which were coaxed without a single OD pedal or attenuator. Nice.

Many Strat players look towards the neck position for the bulk of their live blues tones, and in this capacity, the "Flashbacks" did not disappoint. Aplomb with Texas-bred boogie, the gritty grind of these pick-ups will curl your boot-tips at full roar, yet still provide you with the tonal definition you need make those quiet blues numbers really sing. To test this out, I ramped up my Super to (4), and backed off the volume and tone a bit. I was rewarded with a clean Fender tone that bordered on the religious.

Since my initial bench test, I've put my Flashback-loaded MIJ Squier into use in a variety of situations - live playing; amps mic'ed & direct; with / without pedals; and general practice. All with different different settings and volumes. No matter what musical territory I've chosen to explore, the Wolftones have rewarded me with a fantastically expressive Fender tone. Bottom-line: a great Strat pick-up set with all the vintage savoir fare' you crave, plus a dirty little sister who will - - if you ask her . . . ;~) I'm a such a bad boy. J.

Robben Ford - "Truth"

2008-01-09T16:12:00.000-08:00

As much as I enjoy classic rock and vintage-style blues music, I often feel that there is always a need to stretch those boundaries a little bit further into other musical realms. While I can credit SRV and the Rev. Billy G. for fueling my interest in blues-based music, there’s been one player who has filled the void nicely between contemporary and traditional blues music: Robben Ford.

My friend Darren introduced to Robben Ford a short time after Stevie Ray’s passing, and without question – it was just what the doctor ordered. Combining a jazz-fusion feel with fluid, modern blues improvisation, Ford’s list of admirers is many, to include Larry Carlton and Carlos Santana. And me, of course.

Robben’s latest offering, "Truth" finds him conjuring up yet another collection of memorable tunes, one of which features a duet with modern-day blues maven Susan Tedeschi (aka Mrs. Derek Trucks). As well, former Late Night with David Letterman bassist Will Lee lends his talents to a number of songs. "Riley B. King" is one of the release’s best numbers, where Ford pays tribute to one of his peers (*can you guess who it is?).

You won’t have to listen to this CD very long to realize that Ford is a master at work. Tight, tasty fills and fluid rhythm playing are some of his trademarks, both of which are punctuated with a guitar tone slightly left of divine, though still in the heavenly zip code.

The music featured throughout "Truth" is both intricate, and well thought out – yet still has an improvisational feel to it. This dichotomy is part of my attraction to his music, as it showcases the versatility of his playing, as well as the wealth of exploratory avenues blues music presents to a highly capable guitarist.

Bean-o Farmer . . .

2008-01-03T18:49:00.000-08:00

The sound of an over-driven Marshall amp has long been one of the staple tones in rock n' roll music. From humble beginnings, Marshall amplifiers soon rose to prominence through the combined efforts of some of Britain's most prolific players, including Eric Clapton (*then of John Mayall's Bluesbreakers) and Pete Townshend and John Entwistle of The Who. While The Who's tandem is largely responsible for the modern day "stack", it was Clapton's use of a Mashall JTM-45 combo model that would set the guitar-playing universe on its ear.

Known by guitar afficianados simply as "the Beano album", Clapton's de rigueur blues stylings, combined with the amazing tone of the over-driven Marshall combo, would send players everywhere scrambling for "that tone". What few knew at the time was that there was another key ingredient to pushing the amp into its natural over-drive state. That little piece of analog electronic magic: the Dallas Rangemaster Treble booster. There are many theories as to why Clapton chose to use the Rangemaster, and most seem to point to the rather "dark" voicing of the Marshall amplfiers of that period. Employing the booster before the amp resulted in not only a "brighter" tone, but also a faster saturation of the tubes. Lo and behold - - the cream-iest of distortions. The technical specifications of the Rangemaster treble booster are incredibly simple, and the 10db of boost it provided was more than ample to coax the much-desired effect. Bearing in mind the near-obsessive conditions this single tone created amongst guitarists - even today, the scarcity of original Rangemaster adds yet another mystical element to this legendary guitar sound.

Another key ingredient in Eric's "Beano Tone" was the use of his 1959 Gibson Les Paul (*some sources indicate that it was a 1960 model) equipped with dual P.A.F. (*patent applied for) humbucking pickups. Gibson had already discontinued the Les Paul model in 1960, long before the Bluesbreakers recorded their masterpiece (April 1966). Due to the fervid interest in Clapton's playing (*along with that of other notable rock and blues artists of the day), they would eventually re-introduce the instrument in 1968. It's been the company's top-selling model ever since.

Today, guitarists seeking the elusive "Beano Tone" can expect to shell out a fat wad of dough - and even then, may not be able to duplicate Clapton's exact Bluesbreaker-era sound. A re-issue 1962 Marshall "Bluesbreaker" combo amp will run you rougly $2,200 - but unfortunately only carries a single Celestion 12" "Greenback" speaker (*whereas Clapton's original JTM45 had two). If you're a fussy bloke, you might shell out some extra ching to mod out your amp with NOS tubes, an original-type Drake transformer (*or a solid Mercury Magnetics repro unit), and various caps & resistors. Gibson has a re-issue of their famous '59 Les Paul Standard model, which will run you a cool six grand (*though it does include a custom hard case - nice.) And again, you could go the extra mile and swap out the stock p'ups with repro P.A.F. units, change out the stock pots, caps, and wiring with NOS stuff, and replace the stock tuning machines with period-correct Kluson units. The Dallas Rangemaster treble booster is more scarce than decent rap album (*maybe non-existent is a better term), so expect to pay several hundered, if not more, should a good working example turn up on Ebay. There are, however, numerous Rangemaster "clones" readily available, ranging in price from $100 - $300 - and most likely all will impart a reasonable facsimilie of the original effect. All of which brings us within stone's throw of $9,000. Indeed, a pretty penny for a major-league guitar tone.

Having an admittedly serious affliction for this particular guitar sound, I thought it would be fun to go through the "tone farming" process to see just how close I could get with the gear in my own arsenal. True, there will be some creative license here and there - but all in good fun. So, armed with a reasonably impressive line-up of "Average Joe" gear, along with a couple of ringers, I am off to see the Wizard. Provided that I don't get whisked off by flying monkeys, I shall report my findings via a series of upcoming posts, and perhaps even a few clips. Because I am certain that there are other "elusive" tones amongst those in our "tone farming" community, please - feel welcome to join in the fray with your own mad tone scientist experiments. Cheerio - J.

In fact it's a gas . . .

2007-12-31T09:22:00.000-08:00

There aren't many guitarists still out there today with a catalog of music as impressive as Keith Richards' is. It reads like a rock history exam: Beggar's Banquet. Exile On Main Street. Sticky Fingers. It's Only Rock n' Roll. Every song so beautifilly executed in its Tele & Fender-ness - pure emotion dripping from every note & chord.

It'd be easy to go on and on about Keef's impeccable style and idyllic tone. For brevity's sake, though, I'll just post this great interview I found on the Sabella Recording Studio's website awhile back. I couldn't find a date on it, but from the material being discussed, I'm thinking it's late 90's, perhaps early 00's.

Read carefully, young grasshoppers - there's a lot of good info there.

More About Tubes . . .

2007-12-30T08:45:00.000-08:00

If you haven't already deduced, my 12/29/07 post on vacuum tubes was purposely ambiguous in regards to their actual functionality. This was due largely to the fact that I've only become familiar with their importance in the tonal equation over the past few years. Having done a fair amount of reading on the subject, however, I thought it might be good idea to offer a few resources in regards to their inner workings.

The Tube Store has an excellent page with all sorts of information pertinent to vacuum tube applications as they apply to guitar amplifiers. Rock n' Roll Vintage.com also has a nice page with lots of good info. At the very least, these two links should provide you with a good base of knowledge in regards to the inner workings of tubes, recommended usage, model cross-referencing, etc. There are tons of great sites on the internet where you can find information about tubes - most are just a Google search away.

Another outlet I've used in the past is Eurotubes, suppliers of J & J brand tubes. Their staff is both knowledgable and friendly in regards to information and recommendations, and their service is top-notch. Most of my tube amps have run J & J tubes at one time or another, and I can say first-hand that they are toneful and incredibly consistent. Very reasonably priced, too.

Even with all of the information and resources available the internet, your own ears are still the best judge when it comes to your tone. Learn to trust those instincts, and the rewards will be many - J.

She's The One . . .

2007-12-29T09:05:00.000-08:00

I recently purchased a gorgeous red mahogany PRS SE One from Stringbean Music in Bismarck, ND (*see link under Back Forty). As you can see from the photo, it's pretty much a meat-and-potatoes guitar - a single P-90 soap bar pickup, one volume knob, and wrap-around bridge. Some people might look at it as being "stripped down", though personally, I tend to find beauty in simplicity . In other words - nothing to get in the way of your tone.

Other things that impressed me about the SE One were the exquisite build quality of the instrument, along with an amazing tonal projection. Initially, I was a bit skeptical about the wrap-around tail piece, but as I played the guitar, I could almost "feel" it resonating; as if it were alive right there in my hands. Of all the guitars I've played over the years, none have resulted in playing experience quite like that. Tone-wise, the stock P-90 has plenty of that growly, low-end bite that I like - perfect for crunchy leads and punchy rhythm work. The p'up is also very articulate using cleaner timbres, adding another element of versatility.

I'm planning on picking her up next weekend, and hope to have a few clips posted at some point later on. Getting a new guitar is always exciting - J.

Tube-a-licious . . .

2007-12-29T06:53:00.000-08:00

"I'll take a decent amplifier with the finest tubes any day over the finest amplifier with mediocre tubes." - Zen Guitarist

Over the past ten years or so (*perhaps its been longer), guitar amplifier manufacturers have seen a huge resurgence in the demand for tube-powered amps with vintage-based circuit designs. To meet that demand, leading manufacturers have introduced new models that pull into cue vintage circuitry, tone, and styling. Today's players, perhaps now more than ever, are savoring the harmonically complex, organic tones delivered by traditional tube circuits. Ladies and geltlemen of the congregation - can I get an amen?!!

A high water mark in this trend would certainly have to include the tube-powered gems at the lower end of the feeder chain. Models like the Epiphone Valve Junior, Peavey Classic / Valve King lines, and Crate V-Series are generating a lot of fanfare, not only for their great tone, but also for their affordability. All of which hearkens back to simpler times, where players and bands made due with what they had, because they didn't have the lettuce to blow on high-end gear.

Now as we all know, vacuum tubes don't last forever. Over time, and through general use, tubes lose their fidelity. In other instances, they can develop a microphonic condition, which also results in a less-than-desirable tone. Long story short: replacing tubes is part of owning a tube amp. And just like anything in the Great Gear/Tone equation, what tubes you put in will have a lot to do with how good your amp will sound.

One company that appears to be on the forward line of thinking in regards to the vintage / tube trend is New Sensor, manufacturers of Electro Harmonix tubes and effects. After acquiring the name-brands of a several vintage-era tube companies, they have responded by introducing a number of reasonably-priced re-issue tubes from these legendary tube lines for use in both new and vintage amplifiers. The design elements of these tubes focus closely on that of their classic predacessors. New Sensor's attention to detail has resulted in a new production tube with many the desirable tonal qualities found in the originals. And compared to NOS tubes - a mere fraction of the cost!! Tube amp players everywhere are rejoicing in the fact that they don't have to take out a second mortgage to get great, consistent tone.

Over the last year or so, I've re-tubed several of my amplifiers with Mullard and Tung-Sol re-issue tubes, and would rate them very highly for harmonic complexity, balance, musicality, and overall tone. For lower-watt amplifies, such as the Epiphone Valve Jr., the Electro Haromix EL84 EH is an excellent power tube replacement that provides immediately noticeable tonal benefits. At some point in the near future, I hope to have a few sound clips posted on Tone Farm of the aforementioned tubes for all to hear. Otherwise, if you're looking to score some new tubes, check out the Classic Clones link under the Back Forty header on the right. Tell Ed I sent you.

New tubes are an incredibly easy and cost-effective way to change / affect your amplifier's tone. A little online research may indeed provide a player with big dividends, perhaps even the chance to stand face-to-face with their own personal "Grail Tone". So, to surmise - tubes can be the difference between good tone - - and great tone. May your own search be fruitful - J.

Tasty Vintage Tones . . .

2007-12-28T06:56:00.000-08:00

When players are talking tone, vintage gear will undoubtedly work its way into the conversation at some point. True, that which is vintage is certainly not the "end-all" to god-like tone - - but I'd have to say its damn close.

There are a bunch of cool tone clips featuring killer vintage gear at Cam's Riffs. Cam's gear arsenal is a veritable treasure trove of highly sought-after gems, as you will see when you check out his site. One item of note - - you'll need to have an Apple Quicktime player installed to listen to the clips. A link to a freeware version of Quicktime is provided on the website. Sorry for the name drop - hopefully the clips are worth it.

If you're into the Marshall thing, David Bray Amps has a bunch of killer clips, too. Check out the 1959HW 100-watt Plexi w/ custom EVH p'ups about 1/3 of the way down the page. Nasty, nasty tone.

The clip / sample page for the Time Machine Boost is another great source for vintage Marshall, Fender, and Vox tones. The Fender amp featured on this site is a 1967 "Blackface" Super Reverb - guaranteed to put a smile on any tone-lover's face.

ClassicAmplifie rs.com has several pages of excellent color photos (*and a few schematics) featuring a number of 60's era vintage amplifiers, as well as several mid-70's models. I like the fact that several Fender "Silverface" amps are featured in this collection, as I feel that they are often overlooked in lieu of the more popular "Blackface" models. I have a '68 Silverface Super Reverb myself, and totally dig it!

Also - be sure to check out the vintage Fender Instrument catalogs at the bottom of the Classic Amplifiers page. I browsed through the '69 version, and noted their featured artists section: Sonny & Cher; The 5th Dimension; The Union Gap; Charley Pride; Faron Young; Paul Butterfield; etc. Conspicuously missing is perhaps one of the greatest Fender guitar players ever: Jimi Hendrix. Somebody at Fender Corporate HQ must've missed the goings on at the Monterey Pop Festival back in '67? Lighter fluid, anyone . . . ?

The Seed is planted . . .

2007-12-27T08:53:00.000-08:00

"The ground is rich from tender care, repay . . . do not forget" - Battle of Evermore by Led Zeppelin

Being somewhat of a wordsmith, I was hoping to come up with something very literary for my initial entry on the Tone Farm blog. As I sorted through the various ideas I'd come up with, however, it seemed less important for me to coax into words something that quite often defies description. Many things dictate the perception(s) of what constitutes the ultimate guitar tone, each being unique in the way it has guided, or shaped one's playing. Bearing that thought in mind, I will simply plant the seed, and do my best to nurture it along. Where it goes from here is anyone's guess, and hopefully, there will others who contribute to its growth.

May your playing always be accompanied with a smile - - J.