Hard To Handle

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

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

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

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 . . .

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 . . .

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

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.