5312a G W J 2016

GUITAR & BASS
T R A N SC RIP TIONS
PHISH
Down with Disease
EUROPE
The Final Countdown
GHOST
From the Pinnacle

to the Pit
JOHN LEE HOOKER

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CON T EN TS
VOL. 38 |
Trey Anastasio in Brooklyn, NY,

October 14, 2015
NO. 1 |
JANUARY 2016
FEATURES
36 BARONESS
Three years after a nearly career-ending
bus crash, Baroness return with the epic
soundscapes of Purple, proving they have
come through it all stronger than ever.
44 GRATEFUL DEAD
Jerry Garcia, Phil Lesh, Bob Weir and
other principal players discuss how
they all joined forces to become the
godfathers of the American jam-band
movement.
56
TREY ANASTASIO
Leader of the jam-band world Trey
Anastasio rings in the new year with
Paper Wheels, the latest feel-good blast
of musical expression from his solo band.
68 JOHN LENNONS
LOST GIBSON J-160E
The complete and controversial story of

John Lennons 1962 Gibson J-160E, which
went missing more than 50 years ago and
was recently auctioned for $2.4 million.
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CON T EN TS
VOL. 38 |
NO. 1 |
JANUARY 2016
DEPARTM ENT S
Brad Shultz at Guitar World HQ, NYC
12 WOODSHED
14 SOUNDING BOARD
Letters, reader art and Defenders of the Faith
17 TUNE-UPS
Killswitch Engage, TesseracT, Gus G., Cage the

Elephant, Dear Guitar Hero with Lemmy, St.
Vincent, and more!
91 SOUNDCHECK
91. Gretsch G6136T-LTV White Falcon electric

93. Orange Micro Dark mini-amp
94. Taylor 612E 12-Fret acoustic
96. Electro-Harmonix Pitch Fork pedal
98. Relish Walnut Jane electric
100. IK Multimedia iRig UA audio interface
100. SalemFuzz Pink Beard pedal
102 COLUMNS
102. Emmanuel Dexterity

by Tommy Emmanuel
104. Holcomb Mania
by Peripherys Mark Holcomb
106. String Theory
by Jimmy Brown
108. Shredding with the Alien
by Joe Satriani
110. Acoustic Nation
by Dale Turner
112. In Deep
by Andy Aledort
22
146 IT MIGHT GET WEIRD

The Gibner GuiTardis
Cage the
Elephant
From the Pinnacle to

the Pit
The Final Countdown
Down with Disease
Boom Boom
by Europe
by Phish
by John Lee Hooker
PAGE
PAGE
by Ghost
PAGE
114
10
122
128
PAGE
134
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WOODSHED
VOL. 38 |
NO. 1 |
JANUARY 2016
EDITORIAL
EXECUTIVE CONTENT DIRECTOR Jeff Kitts
EXECUTIVE EDITOR Brad Angle
TECH EDITOR Paul Riario
ASSOCIATE EDITORS Andy Aledort, Richard Bienstock,
Alan di Perna, Chris Gill
CONTRIBUTING WRITERS Joe Bosso, Tommy Emmanuel,
Dan Epstein, Greg Evans, Randy Har ward, Peter Hodgson,
Mark Holcomb, Joe Satriani, Dale Turner, Jon Wiederhorn
SENIOR VIDEO PRODUCER Mark Nuez
GIVE IT UP
FOR GHOST
IF YOU KNOW me at all, what I am about to say
will come as no surprise: I am a metalhead. Ever since
I was around nine years old and got my hands on a
vinyl copy of Kiss Love Gun album, my puny brain being immediately pulverized
by the roaring opening riff of I Stole Your Love as soon as the needle dropped, I
was hooked on loud, screaming guitars, piledriving drums, aggro vocals and lyrics
that tapped into the darker side of life. Sure, I listen to all kinds of music when the
mood strikes, and we all have our guilty pleasuresI happily went by myself to
see Madonna at Madison Square Garden back in Septemberbut metal is what I
bleed, for better or worse.
So as we look back on the year that was, its only natural for me to survey the
hard rock and metal landscape of the past 12 months, and give a nod to what I
thought was the best album of 2015.
Overall Id say it was a good year for metal: despite there being no new offerings
from Metallica, Megadeth or Anthrax, headbangers had plenty to keep their necks
nice and sore, with solid comeback efforts from elder statesmen like Iron Maiden,
Venom, Motrhead, Clutch and Armored Saint, and a healthy set of releases from
the younger generation including Periphery, Between the Buried and Me, Lamb of
God, Trivium and Act of Defiance.
But no discussion of heavy music in 2015 would be complete without mentioning
Slayer, who came back with a vengeance with Repentless, their first album since the
2013 death of guitarist Jeff Hanneman. We should consider ourselves lucky that,
even after more than 30 years, Slayer continue producing music at such a high level.
I would take great pride in tipping my hat to Repentless as the best metal record of
2015, but that honorsubjective as it isgoes to another: Meliora by Ghost. The third
album by the faceless, nameless members of this Swedish ensemble is, in a word, a
masterpiece. From start to finish its an epic work of art, with thoughtful song construction and sonic orchestration rarely found in todays hard music, and a majestic, praisebe quality that just makes you want to throw your hands up to the sky and worship.
The year is just about over, but dont let it end without giving Meliora 41 minutes of your timediscovering all that this album has to offer is letting me end
my 2015 in glorious fashion.
And whether you agree or disagree with my assessment of Meliora, be sure to
head over to GuitarWorld.com and vote for your favorite guitarists and records of
the year in our 2015 Readers Poll. Look for the results in the February issue!
MUSIC
SENIOR MUSIC EDITOR Jimmy Brown
MUSIC TRANSCRIPTIONIST Jeff Perrin
MUSIC ENGRAVER Patricia Corcoran
ART
DESIGN DIRECTOR Stephen Goggi
ASSOCIATE ART DIRECTOR Ben Avny
ASSISTANT ART DIRECTOR Natalie Skopelja
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EDITORS Brad Angle, Jeff Kitts
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SOUNDI NG BOARD
Got something you want to say? EMAIL US AT: Soundingboard@GuitarWorld.com
Gilmour Guy
Thanks for putting a true artist
like David Gilmour on the cover
of the December issue. After tearing off last months Slayer cover
and throwing it in the trash, I
wasnt sure I would continue my
subscription. Now I might.
Jon Melsness
Your current David Gilmour
cover hails the return of the
king. However, you previously
crowned Eddie Van Halen in
March of 1988 when you claimed
the king is back! And in September of 86 when you declared
Edward, still the king of rock
guitar. Come on people, there
can only be one king. Havent you
seen Game of Thrones?
Pete Beck
any guitarist could learn and stick

in their back pocket for future
use. Bends, pre-bends, bend and
release, pull-offs, hammer-ons,
slides, vibratos, double stops,
partial chord movements, trills
and harmonic fret tapping. Any
part or phrase is an entire lesson
in itself. From the bottom of my
heart, thank you, Guitar World.
Now, if you dont mind, I have a
lot of woodshedding to do.
Mark Manzano
was more about the little things

that made the issue great. The
Inquirer with Bill Steer from Carcass, the Dear Guitar Hero with
Coheed and Cambria, and the
back page featuring a militarythemed World War II guitar were
all interesting to me for various
reasons and just reinforced why I
continue subscribing to GW year
after year. Oh, and it took balls
balls!to transcribe Im a King
Beekudos to you all for that.
Derek Lutz
Ive been a subscriber since the

late Eighties and have had five
songs on my bucket list for tabs:
Starship Trooper (Yes), Cant
You Hear Me Knocking (Rolling
Stones) and Im Going Home
(Ten Years After) were the first
three, which you finally tabbed
out at different times. Ive been
waiting quite a while for that second to last one, Im a King Bee
(Frank Marino & Mahogany
Rush), and you finally tabbed it
in the December issue! Its like I
died and went to heaven. Thank
you for this! Now Ill just have to
wait for that last one
Jared Wolfsen
Pledge
Allegiance
Variety Show
Love the variety in the December issue. Its always good to see
David Gilmour back on the cover
of the magazine, but for me it
King Speech
I want to thank you with every
fiber of my being for transcribing Im a King Bee in the
December issue. I have on occasion requested this song for the
last 20 years, so you can imagine my incredible surprise when
I received this issue in the mail.
For those unfamiliar with the
live recording, the transcription
is almost nine minutes of music
complete with every type of lick
band after reading the interview with Zach Myers in the

December issue. I found him
to be refreshingly honest about
things hes gone through, as well
as about the fact that his band
seems to be a bit of a punching
bag for music snobs. Hes right
when he says that Shinedown
have done pretty well for themselves these past few years, and
that they shouldnt be knocked
all the time for the type of music
they play. You tell em, Zach, and
keep doing your thing.
Lou
Ink Spot
Its great to see Alex Skolnick

and Dave Ellefson joining forces
for the Metal Allegiance projectTestament and Megadeth are such huge parts of my
metal upbringing, so Ill always
pay attention to whatever those
guys are up to. Thank you for
the roundtable interview with
those two legends in the December issuekeep flying the heavy
metal flag, I say.
Jason Melon
Down
with Zach
I dont claim to be a Shinedown
fan, but I definitely came away
with a new appreciation for the
This is my tribute to Stevie Ray

Vaughan. The tattoo is the Lenny
SRV guitar. I purchased a replica
from Guitar Center and took pictures of it and went to Pirate Tattoo in Reno, NV. There, artist Jason
Dugan worked his magic to recreate the SRV Lenny. Now, not only
can I say I own a piece of history, I
can also carry it with me for life.
Rick Barmore
GOT A TATTOO of your
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photo of your ink to soundingboard@guitarworld.com and
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14
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BONNIE RAITT BY M A R G I E G R E V E
DEFENDERS
NIKKI SIXX BY J E S S E S A L A Z A R
of the Faith
Bobby Davis
Robby Greicar
Jacob Cotner
AGE 41
HOMETOWN Chandler, AZ
GUITARS Ibanez RG1527, Ibanez
AGE 16
HOMETOWN Fargo, ND
GUITARS Ibanez RG450DX,
AGE N/A
HOMETOWN Fort Smith, AR
GUITARS 1979 Gibson Les Paul Custom,
RG2027X, Ibanez RG8527VV J-Custom

SONGS IVE BEEN PLAYING Dream
Theater On the Backs of Angels and
Pull Me Under, Periphery MK Ultra,
Andy James The Wind that Shakes
the Heart
GEAR I MOST WANT EVH 5150IIIS
2000 Fender Stratocaster, Ibanez

AEF30E acoustic
SONGS IVE BEEN PLAYING Metallica
Fade to Black and Enter Sandman,
Led Zeppelin Over the Hills and Far
Away, Styx Man in the Wilderness
GEAR I MOST WANT A Gibson
Les Paul or SG
2007 Gibson SG 61 Reissue, 2002

Gibson ES-135, 2006 Fender Highway 1
Strat, 2001 Gibson CL Special acoustic
SONGS IVE BEEN PLAYING Originals
from my bands Anything or Everything,
Mainframe Zero and Deprivation
GEAR I MOST WANT A vintage Gibson RD
Are you a Defender of the Faith? Send a photo, along with your answers to the questions above,
to defendersofthefaith@guitarworld.com. And pray!
guitarworld.com
15
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The distinctive headstock found hereon is a registered trademark of Fender Musical Instruments Corporation. All rights reserved.
TUNE-UPS
GUS G.
20
CAGE THE ELEPHANT
22
"It felt like we

were back in our
young twenties,
playing house
parties."
LEMMY
KILMISTER
24
ST. VINCENT
26
BROKEN
HOPE
TRACII GUNS
34
32
tktktktkt
Killswitch Engage (from

left) Joel Stroetzel,
Adam Dutkiewicz, Jesse
Leach, Justin Foley and
Mike D'Antonio
Keeping
It Real
MOVING CROSS-COUNTRY,
DEALING WITH WRITERS
BLOCK AND TENDING TO
NEEDY MOTHERS: KILLSWITCH
ENGAGE DEAL WITH SOME
VERY REAL ISSUES AS THEY
READY THEIR UPCOMING
SEVENTH ALBUM, INCARNATE.
By Jon Wiederhorn
C A G E T H E E L E P H A N T: J I M M Y H U B B A R D
AS ONE OF the forefathers

of Western Massachusetts
metalcore, Killswitch Engage
guitarist and producer Adam
Dutkiewicz has spent almost 20
years representing his scene. So
whats he doing putting his house
up for sale and moving to San
Diego, California?
The past two winters have
taught me I dont like the freezing
temperatures and mass quantities of snow Massachusetts has to
offer, he says. San Diego is beautiful. My girlfriend and I love it. So
were getting out.
Before he leaves the East Coast,
Dutkiewicz plans to finish the
final edits and mixes for Killswitch
Engages seventh album Incarnate,
which is tentatively due for release
in March 2016. The record will be
the second to feature vocalist Jesse
Leach, who replaced Howard Jones
in January 2012. Perhaps driven by
the drama and emotional instability
that precedes relocation, Incarnate
is a more emotionally expressive
album than the bands thrashy 2013
record Disarm the Dissent.
P H OTO S BY T R AV I S S H I N N
guitarworld.com
17
NEWS + NOTES
What's on My iPod?
PLAYLIST
JAMES MONTEITH
OF TESSERACT
times you make turds.

We wanted this
No one can write quality
album to have a different
I wouldnt say its product all the time. And
weight to it and be more
melodic, but still heavy,
the happiest record if Im not happy with it
theres no way anyone
Dutkiewicz says. I
weve ever made. else is going to hear it.
wouldnt say its the hapA DA M D U T K I E W I C Z
The heaviest song on
piest record weve ever
Incarnate is the leadoff
made, thats for sure.
track Alone I Stand,
In addition to dealing
which Dutkiewicz wrote
with the stress of a cross10 years ago, and which everyone liked but
country move, Dutkiewicz has been tendwas unable to translate to an album. While
ing to his mother, who is recovering from
Killswitch worked in Dutkiewiczs home
complex back surgery. At the same time,
studio, they pulled the song off the shelf,
he wasnt happy with many of the songs he
dusted it off and asked Leach if he could
was writing, guitarist Joel Stroetzel was
wrap his head around it.
suffering writers block, and vocalist Jesse
Its fast and aggressive with a lot of
Leach took a while to get inspired.
double-bass and its in a really odd time
This record should have been tracked
signature, Dutkiewicz says. But Jesse figin late summer, Dutkiewicz said. Not
ured out what to do with it and nailed it.
to rat him out, but Jesse seriously ran out
Upon its release in March, Incarnate
of ideas and was writing in circles. To his
will fulfill Killswitch Engages contract
credit, he didnt want to slap something
with Roadrunner Records, so now the band
together that he wasnt really into. And
members are debating whether to renegothe record feels a lot more heartfelt now
tiate with the company, sign to a different
because he spent the time to make sure
label or release their own albums.
everything was meaningful to him.
Some people think doing it yourself is
Killswitch Engage started writing for
a really good idea, but weve always liked
Incarnate in January 2015. When they were
the comfort of having a record label to
done demoing the band had 17 songs to work
promote us, Dutkiewicz says. So well
with. They would have had more, but it took
consider our options. But first I have to
Dutkiewicz a while to hit full creative stride.
find someone to buy my house before the
I finished a bunch of demos and then
winter blizzards kick in.
threw them all out, he says. Hey, some-
18
Daddy, Brother, Lover, Little Boy

(The Electric Drill Song)
Mr. Big
Not content with being one of the
fastest and slickest speed pickers out
there, Paul Gilbert utilizes a power drill
to supercharge his shreda wonderful
example of the ridiculousness of the
late Eighties/early Nineties. I wonder
how many guitarists have accidently
destroyed their favorite guitars while
attempting to play this!
2
The Ruckus
Technical Itch
Without a doubt one of the heaviest
tracks ever made. Everything from the
bone-shaking sub bass to the distorted
cymbals is an aural assault akin to a battering to the head with a sledgehammer.
3
Laments of An Icarus
Textures
Ive been a huge fan of Textures from
the first listentheir masterful construction of songs with an intelligent yet
accessible foundation is unparalleled by
most, and they have some serious riffs.
The main riff in this song is one of my favorites; clever cross-rhythms, great tight
tone and tons of headbangability!
4
Officer Down
Stampin Ground
A perfect mix of hardcore punk and
thrashsuperfast driving-drum punk
rhythms mixed with Discharge meets
neo-Slayer riffing and huge breakdowns.
After 15 years this still sounds heavy as
ever. A great song to drive really fast to!
TesseracT's latest record, Polaris, is out now.
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NEWS + NOTES
INQUIRER
GUS G
What originally inspired

you to pick up a guitar?
When I heard Peter Frampton
do the talk box on Do You
Feel Like We Do on Frampton Comes Alive! My dad had
that record at home and
when I heard that, I was like,
Whoa! For some reason,
right there and then, I wanted
to be a guitar player.
What was your first

guitar?
My dad bought me a cheap
classical guitar. I dont know
what it was, but I still have
it. But my first electric guitar
I didnt get until much later,
when I was 14. It was a Fender Stratocaster, classic Floyd
Rose series model, which
wasremember those Richie
Sambora models in the

Nineties? It was kind of like
that, with a humbucker and
a Floyd Rose, but it was
a sunburst.
What was the first song
you learned?
Some Black Sabbath song.
Paranoid or Sweet Leaf
or something.
What do you recall about

playing your first gig?
It was a high school thing. I
was 14it was just months after I got my first electric guitar.
I didnt even dare to look at the
crowd. I wore this yellow shirt
my dad had that went all the
way down to my knees. The
worst part of all is I have that
on video. I dont know why my
family members did that to me.
Ever had an embarrassing moment onstage, or a
nightmare gig?
Yeah. Everybody has their good
nights and bad nights, but one
of the ones I remember was
one tour in Germany in 2003. I
used to play with this Swedish
band called Dream Evil. It was
before I could afford to buy a
wireless. So I tried to do the
good old Yngwie trick, where
I throw the guitar way, way
up in the air. I was playing a
Washburn Culprit, this big-ass
shaped guitar. So I threw the
guitar up in the air and it came
right back down and hit me
in the face. Id stepped on the
cable, so my guitar didnt go
that far away. We were opening
for a big band, so I could hear
a thousand people in the room
just laughing. I fell on the floor
and almost passed out. I saw
fucking stars all night.
Do you have any advice

for young players?
When youre younger, youre
impatient. Im impatient myself. So practice and believe in
your music. Remember, there
are no shortcuts in the music
business. If you wanna make
it, you have to put in the time.
Be patient and persistent.
RANDY HARWARD
20
JOE LESTER
What is your favorite

guitar?
I have a few favorite guitars.
The new one Ive been playing
onstage the last couple of years
is this matte black [ESP Gus
G. RS NT-III] guitar with white
pickups and 24 frets. Usually I
only do 22 frets, but Im really
liking this one a lot lately.
NEWS + NOTES
Cage the Elephant
Daniel Tichenor (left)

and Brad Shultz
WITH HELP FROM THE BLACK KEYS DAN AUERBACH, CAGE THE
ELEPHANT PUT A NEW SPIN ON RAUNCHY SIXTIES SOUNDS.
by Alan di Perna
TELL ME IM PRETTY, the new album by Cage

the Elephant, is a tough and tight set of retro
Sixties pop and garage rock fuzz. Its their fourth
album to date and their first with Dan Auerbach of the
Black Keys in the production helm. The disc is also the
bands first recording without their longtime lead
guitarist Lincoln Parish, who left the band shortly
after the making of Cage the Elephants Grammynominated 2013 album Melophobia. That was a
hellacious record to make, reveals guitarist Brad
Shultz. I was happy with the end product, but the
process was difficult. But once we got through all that,
I felt I hit a real creative streak. Ive never stopped
writing songs.
Many of which ended up on Tell Me Im Pretty.
The bands vision for the record, Shultz says, was to
take it back to a lot of the bands that we cut our teeth
on, but with a different production approach. We
grew up on bands like Tommy James and the Shondells, a lot of Beatles, the Zombies and stuff like that.
I could see a band like the Turtles doing some
songs from our new album, like Sweet Little Jean,
adds bassist Daniel Tichenor. That Sixties stuff was
definitely an influence.
To foster this musical direction, the band enlisted
the production aid of Auerbach, a frequent touring mate and fellow retro aficionado. Dan is such a
record junkie, says Shultz. His musical references
are very broad. Wed play him a demo of one of our
songs and hed say, Oh cool, man, that reminds me a
little of this And hed pull out some Seventies garage band from South Americasomeone wed never
heard of, but just the most amazing music. That
helped us take it to the next level.
Working at Auerbachs Easy Eye studio in Nashville, Cage the Elephant were able to draw from the
producers legendary stockpile of retro guitar and
recording gear. Shultz borrowed an old Kay electric,
a Fender Mustang guitar and a Gretsch Country Gentleman, while Tichenor played Auerbachs Fender
Mustang Pawnshop Series bass for most of the album.
Shultz and Tichenor also recorded all their tracks
direct-injected into the console.
We cranked different preamps to get the fuzztones, Schulz elaborates, or wed keep it clean. I
beat the shit out of the guitar anyway, so even with a
clean sound its still very visceral.
Guitarist Nick Bockrath and keyboardist Matthan
Minster filled the vacancy left by Parishs departure.
It was refreshing having them around. They were so
excited. says Shultz. It felt like we were back in our
young twenties, playing house parties. I think that
vibe comes through on the album.
22
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DEAR GUITAR HERO
LEMMY KILMISTER
Motrheads hard partying, slot-loving, muttonchop-whiskered,

Rickenbacker-wielding frontman has lived as wild a life as just
about any rock star in history, but what Guitar World readers
really want to know is Interview by Brad Angle
You worked as a roadie

for the Jimi Hendrix
Experience when they toured
England in the Sixties. How
crazy was that? And did you
ever party with Jimi?
Rich Greczi
Oh yeah I partied with Jimi a lot.
I used to score acid for him. Id
bring him ten. Hed give me three
and hed take seven. [laughs] He
was a good guy, man. Theres a
lot of people that should have
gone before him.
In the Lemmy movie
I saw you playing a
Gibson SG on your tour bus.
It said you were a rhythm
guitarist before you took up
bass. Can you talk about why
you switched?
AK
I went for the job with Hawkwind as a guitar player, but they
decided they werent going to
get another guitar player, and
Dave Brock was gonna play lead.
So the bass player hadnt shown
up, because it was a free gig.
But he left his bass and his gear
there like a twat. So somebody
said, Who plays bass? And
[keyboardist] Dik Mik said, He
does, and pointed at me. And Id
never picked up a bass in my life.
[laughs] But I got onstage with
it around my neck. I guess I did it
all right because I was with them
for five years.
I first saw Motrhead
open for Ozzy Osbourne
during the 1981 Blizzard of
Ozz stop at Detroits Masonic
Temple theater. It was also
my first time seeing Randy
Rhoads. What was your
impression of Randy? Did you
think that he would become a
guitar god someday?
George
Randy was great. He was so
little, you know? Youd see
his clothes on a hanger and
it looked like a dolls outfit.
[laughs] But he was such a
good guitar player. Considering
the small hands he had, he
still got around it all right. But
he couldnt play Asteroids for
shit. [laughs] I beat him all
across America.
24
PHOTO BY ROBERT JOHN
Randy Rhoads
was so little. Youd
see his clothes
on a hanger and
it looked like a
dolls outfit.
Longtime fan, and I love
the new record, Bad
Magic. Motrhead is known for
endlessly touring, but Im
wondering, do you also like the
atmosphere of recording in the
studio? Or do you prefer to be
out there on the road?
Chuck Small
I like recording a lot better now
that I know a few of the tricks. I
used to hate it. But the last five
albums Im a lot more into it.
I think your cover of
Sympathy for the Devil
[on Bad Magic] is amazing! The
Rolling Stones have a massive
catalog. What specifically
about that song inspired you
to cover it?
Tommy Dean
Triple H, the [WWE] wrestler. He
wanted us to record it for his intro
[walk-out music]. Then after we
recorded it we liked it so much we
pinched it and put it on our album.
Its well known that you
love to play the slot
machines. What is the most you
ever won from slots? Peter
Fifteen-thousand bucks. In Vegas. No shit.
Youve had one of most
epic careers in rock and
roll. Based on your experience,
what advice would you give to
a 17-year-old trying to make it
in rock?
Randy Fitz
Read all the contracts very
carefully with a solicitor that you
hired. Not one that works for the
record company, because thats
kinda like sticking your head up
your ass. Just read the contracts
before you sign them. Because
you can change them. You dont
have to go with the set contract
that they send you.
Motrhead (from left) Mikkey Dee, Lemmy and Phil Campbell
HOW DO
YOU GET
THROUGH
HARD TIMES?
HEARTBREAK,
DEPRESSION,
WHATEVER.
I LISTEN TO
MOTRHEAD,
BUT WHAT
DO YOU DO?
NIKOLAJ
I disregard it and
move on. You gotta
get through it whatever it takes. For
you its Motrhead. I
dont know what it is
for me. You just find
somethinglike a new
girlfriend! [laughs]
Motrhead is known for

being one of the loudest
live bands ever. Has your
hearing been affected at all
from that?
Mack Anthony
What? [laughs] Nah, I can hear
all right. One ear better than the
other, which faces [guitarist] Phil
Campbell, whos very loud!
Im wondering about
the design process for
your Rickenbacker 4004LK
signature bass. How did you
come up with the carved oak
leaves in the body? James M.
I just told them to do oak leaves.
They were supposed to be on
the outside, but they got it
wrong. But it turned out all right.
Its a beautiful bass.
Youre a big collector of
historical memorabilia.
Jeff Hanneman from Slayer
was also into the WWII stuff.
Did you ever get a chance to
check out his collection?
Ellis Tufts
Yeah, I talked to him about it. But
I never saw his collection. You
meet a lot of people who are collectors that youd never expect.
Like John Sykes, who used to be
in Thin Lizzy, and Nikki Sixx also
collects a bit.
You had some health

issues that made you
cancel a few shows. But I was
at your recent show in New
York [Jones Beach] and it was
amazing. What keeps you
going? Could you stop if you
wanted to?
Steven
Obviously anybody can stop. But
what am I gonna do if I stop?
[laughs] I aint got no grandchildren, you know.
Your mic placement
seems very high. Did you
start doing that because of
neck pain?
Ben
No, its because the voice comes
straight up from the esophagus.
I do it that way so nothings in
the way.
You have played
countless shows. But
what was the first live show
you ever saw that inspired
you to do this for a living?
Jose DeJesus
Billy Fury, the British rock star.
He had a silver lam suite, which
I thought looked pretty good in
those days, which were the early
Sixties. And all these chicks were
offering themselves to him. And
I thought, That looks like a job
for me! [laughs] And, as it turned
out, it was!
guitarworld.com
25
DEAR GUITAR HERO
26
I L L U S T R AT I O N B Y J A C K H U G H E S
Sonic Architecture
EXPERIMENTAL ROCK REVIVALIST ANNIE CLARK, OTHERWISE KNOWN

AS ST. VINCENT, REVEALS HOW POSTMODERN DESIGN AESTHETICS AND
NEW WAVE GERMAN POP STARS INSPIRED HER STRIKING NEW ERNIE BALL
MUSIC MAN SIGNATURE GUITAR.
by Corbin Reiff
N MARCH 2016, Annie Clark, a.k.a. St. Vincent, will join the likes of Albert Lee, John
Petrucci and Steve Morse as the next in a line
of genre-defining artists to release their own
signature guitars with Ernie Ball Music Man. Made
with a body of African mahogany and a rosewood
neck, the St. Vincent signature guitar will debut in one
of two colors, either black or Vincent Bluea shade
that was hand-mixed by Clark herselfand comes fully
equipped with three mini-humbuckers and a custom
Music Man tremolo system. With its slim and tapered
waist, stylishly retro design and instantly playable feel,
the Ernie Ball Music Man St. Vincent model is a thoroughly unique instrument.
Its a big win for Ernie Ball and an even

bigger win for Clarkes many fans and acolytes. From her humble beginnings playing
around Dallas, Texas, as a young girl, in
the past five years shes really etched out a
name for herself playing her own instantly
identifiable jagged, new-wave revivalist
sound and paved the way for so many individually minded artists following in her
wake. By critical consensus, her self-titled
record was one of the most lauded and
celebrated releases of 2014.
Beyond the Grammy nominations and
critics best-of lists, however, for Clarke,
the opportunity to create a guitar with

her name on it based off of some of her
favorite designers and design movements
from the Eighties was a real dream come
true. Of course, instruments are about
far more than aesthetics and Clark made
it her mission to create something that
would elevate both her own playing and
the playing of anyone who picks it up
and plugs it in. If you have a great instrument youre going to play better, she says.
Youre going to play up to the level of
the instrument because it makes it easier
for you to succeed.
guitarworld.com
27
NEWS + NOTES
Clark at the Ernie Ball Music Man factory in
San Luis Obispo, California, in April 2015
At what point were you approached

by Ernie Ball Music Man about creating your own signature instrument?
It was in the early spring of 2015 that they

reached out about it and the second I found
out about Ernie Ball potentially making a
signature guitar I jumped at the chance. I
was so excited.
What was the first step for you?
Im glad that another

guitar exists that
is sympathetic to the
female form.
I went to the factory, got a tour, saw

how everything was made, saw the working
conditions, which were quite goodits a
living wage company. I saw that if I was
going to do business with them I would
not have to hold my nose in any way, shape
or form. They do good business and treat
people well, which is very important to me
as a small business owner.
an [Eighties] Italian design movement, those

Sixties and Seventies Japanese designed
guitars like the Tescos and then I went for
classic car colors. I really like cars so I went
for a 67 Corvette with the color scheme.
From the beginning, was it made

clear how much freedom you would
be afforded in the design process?
For me a guitar that is not too heavy is really important because Im not a very big
person. I cant even play a Sixties Strat or
Seventies Les Paul. I would need to travel
with a chiropractor on tour in order to
play those guitars. Its not that those arent
great guitars, but they render themselves
impractical and unfunctional for a person
like me because of their weight. Theyre
prohibitive, so this is a very light guitar
I really had total free reign. I could have

revamped one of their existing models or
started from scratch and done my own. I
ended up just starting from scratch. My particular guitar is based a lot on [Eighties German synthpop artist] Klaus Nomis aesthetic,
the Memphis design movement, which was
28
At a little over seven pounds, this

isnt a very heavy guitar. How
important was it for you to create an
instrument that is on the lighter side?
and the weight is redistributed so that

it has a thin waist. I was always finding
when I was playing onstage and wearing various stage outfits the guitar would
cut across one of the best features of the
female body, which is your waist. I carry
my guitar pretty high so I had to make all
of these costumes based on the fact that
you wouldnt be able to see if I had a waist
or not. I wanted to make something that
looked good and not just on a woman, but
any person. And again, I consulted Klaus
Nomi and some of my favorite Eighties
designs to accommodate that.
Theres a real minimalist vibe with
this guitar. Its got three mini-humbuckers, a tremolo system, and only two
knobs and a selector switch. Was it your
goal to try and pare things down?
Yeah. It was partially visual design and

partly just simply what I use. I wanted it to
remain fairly chopped. You have one tone
knob, you have one volume knob, you have
three mini-humbuckers so you get five different configurations of sound and it really
has a whole lot of tone flexibility as a result.
Its sort of wired in a counterintuitive way,
but I think its the best use of those particular pickup configurations.
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NEWS + NOTES
Do you generally play more in the
neck, middle or bridge position?
I usually play in the middle position.
Was there a specific designer that

you were working with at Ernie
Ball or was it more of a team effort?
How did it feel when you finally

got the finished product in your
hands, knowing your name would be on
it and it would go into the hands of
other people to create their own music?
The feeling of when youre a kid and walking into a guitar store and seeing all of those
shapes and models and colors, its better
than a candy store. You feel the possibility,
you feel the excitement, you superimpose
your feelings onto every guitar. and not just,
What will I sound like with this guitar?
What song will I write with this guitar?
But, How will I look onstage with that
guitar? Its just so magic and it never gets
old to me. That I have a guitar designed for
my needs, but that my needs are transferrable and other people will get to enjoy it
and have the same kind of connection with
it that I do is just a dream come true.
Its an unfortunate reality that

many women don't have their own
signature instruments. Nancy Wilson of
Heart comes to mind, as does Joan Jett,
but youre one of the first women to
design your guitar from the ground up.
Well Im certainly glad to be a beacon for

women and for anybody who likes music
and my music. Im glad that another guitar
exists that is sympathetic to the female
form. Im glad that exists and I hope people,
men and women, will enjoy the ergonomics.
But smaller people and women especially.
Is it true your guitars public debut
was at a Taylor Swift concert?
Yeah, that was really fun and wild because

Im used to playing for crowds, and I think
Ive maxed out at a festival crowd of about
20,000, maybe? But to walk onstage and be
in front of 35,000 screaming fans, most of
them girls, and her fans are so generous and
so up for anything. If Taylor says Jump,
theyll say, How high? Shes got a really
rabid and awesome fan base.
WILLIAM HAMES
I definitely got some input from [senior

engineer] Drew Montell and Sterling Ball.
I would send them an idea and they would
go, Okay, heres an option, heres an option,
heres an option. Heres how we can make
it three percent bigger. And then theres
so much beta testing involved to make sure
that once we get it to market that its the
best possible tool and the most flexible tool.
Things like, because the shape is slightly
unorthodox, making sure that the weight
distribution between the neck and the body
is just right and the most comfortable, so
we messed with different kinds of tuning
knobs to get the weight down even further.
We talked about the particular hardware on
it and the materials we could use with both
design and weight and functionality all in
mind. Its been a very intensive process. So

far weve easily gone through nine, 10, 11,
12 prototypes just to make sure we end up
with the best thing possible.
30
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NEWS + NOTES
Jeff Hannemans Guitars

Get New Life
BROKEN HOPE GUITARIST PURCHASES PRIVATE COLLECTION,

PLANS TO USE THEM ON NEW ALBUM. By Richard Bienstock
SCORES OF EXTREME metal

bands have been influenced by
Slayer over the years, but Jeremy
Wagner, guitarist for death metal outfit
Broken Hope, has taken his love and
reverence for the bandand, in particular, guitarist Jeff Hannemanto new
heights. The guitarist and songwriter is
currently composing music for a new
Broken Hope record, their second since
reuniting a few years back, and hes doing
it using only guitars that were previously
owned and played by Hanneman himself.
How did these instruments come
into Wagners possession? Following
Hannemans death in 2013 from liver failure, his widow, Kathryn, put several of
his guitars up for auction, with proceeds
benefitting one of Hannemans favorite
charities, the Wounded Warriors Project.
After hearing of the auction, Wagner
got in touch with Kathryn and the two
hit it off. She told me, Jeff would have
32
wanted these guitars to be used, not just

sit in a vault, he says.
Kathryn wound up selling four guitars
directly to Wagner, with the proceeds still
going to charity ($12,000 was the original
asking price for each guitar in the auction; Wagner paid an undisclosed sum).
The oldest and most iconic of these is
Hannemans punk rock Jackson, a 1988
Soloist model that he covered with stickers from punk bands. Jeff used it on the
South of Heaven album and tour, on Season
in the Abyss, and on the Clash of the Titans
tour, Wagner says. Its in the War Ensemble video, its on the cover of Decade
of Aggressionwhen I was a teenager, that
was such a legendary guitar.
Two of the instruments Wagner
acquired are more recent
models: a 1998 ESP
Custom Shop model
Hanneman used during
the recording of
Diabolus in Musica and in the video for

the God Hates Us All track Bloodline,
and a Raiders logo ESP that, Wagner
says, was probably one of the last custom guitars he got from them.
But the guitar that Wagner has been
using the most for composing the new
Broken Hope songs is one known as
Killer. Its another ESP custom model,
also done up with Jeffs personally
applied stickers, Wagner says. It was
built in 2005 and played in the studio for
Christ Illusion. And I just love this thing.
Ive been riffing out on it, and the riffs are
just flowing out of me.
Wagner, who also owns one of
Hannemans classic amps, a 1986 Marshall JCM800 2203, confirms that the
new Broken Hope record will feature
him playing 100 percent Hanneman
guitars, he says. I feel a real responsibility to Jeff and to Kathryn to use these
guitars in a way that honors him."
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SETLIST
TRACII GUNS OF GUNZO

VENUE: Buffalo Rose Saloon DATE: June 17, 2015 LOCATION: Golden, CO
Interview by RICHARD BIENSTOCK
BAD MOTOR SCOOTER

RIP AND TEAR
Rudy [Sarzo, bassist] and I did a Randy Rhoads

tribute show together, and then I asked him to
come play some shows with me. But I said, I
dont want to write any new music right now
lets just go out and jam on some hit songs. And
thats how Gunzo came to be. Weve been opening
our shows with this one, which is an L.A. Guns
tune. Its a good, mid-tempo rocker that shreds a
little bit at the end.
I DONT KNOW
Randy Rhoads is probably my second biggest

influence after Jimmy Page. And I have the dude
who played in Ozzys band with Randy right next
to me when we do this! Thats very validating as
a guitarist. My adrenaline goes insane when we
do the Ozzy stuff.
I wanted to do some Montrose in the set,

and Rudy loves the Seventies stuff. He
does an insane bass solo on this one.
OVER THE EDGE
Another L.A. Guns song. I drag this one

through every band I play with. It has a
character of its own. The framework is
simpleits basically a minor-six progression most of the time, so depending on
whos playing it, it always has a new life.
Theres a lot of vocals, a lot of soloing,
a lot of feel. This band does the song
particularly well. It offers a different vibe.
CRAZY TRAIN
ROCK CANDY
Another Montrose tune.

Thats where our jam is. We
stretch it out, and my solo
goes from Ronnie [Montrose] to Hendrix real fast.
NEVER ENOUGH
One of the biggest L.A. Guns songs, and its been

a good closer. The crowd goes nuts. But I gotta
say, doing this set, it doesnt matter what you put
where, because every song is a hit. Now the trick
is for us to write some songs as good as these!
34
R O N LYO N P H OTO.C O M
I get this one right about 99

percent of the time. [laughs]
It just depends from night
to night which Ozzy bootleg
Im going to pull the licks
from. Ill do the harmonics
from one Randy show, the
pickup selector switch trick
from anotherIve lived and
breathed Randys stuff since
I was 17 years old. If I was
doing a folk album with a
woman singer Id still be like,
What would Randy do?
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36
GW
36
2016
More than three years after a

nearly career-ending bus crash,
art-metal outfit BARONESS return
with the epic soundscapes of
PURPLE, proving they have come
through it all stronger than ever.
By Dan Epstein
Photography by Jimmy Hubbard
guitarworld.com
37
John Baizley
N AUGUST 15, 2012, THE BRILLIANT CAREER OF
progressive sludge-metal purveyors

Baroness almost came to a sudden and
tragic end when the bands tour bus fell
30 feet from a viaduct near Bath, England.
No one died, miraculously, but the crash
severely injured three of the bands four
membersincluding singer/guitarist John
Baizley, whose left arm was crushed almost
to the point of requiring amputation.
Three years, several operations, and

countless hours of grueling physical therapy later, Baizley and Baronesswhose
lineup currently includes longtime guitarist Pete Adams and the new rhythm section
of drummer Sebastian Thomson and bassist Nick Josthave finally returned with
38
Purple, their fourth studio album. While the

life-jarring circumstances preceding the
records creation might cause one to expect
a downbeat, introspective effort along the
lines of the quieter moments of their previous album, 2012s Yellow and Green, Purple is actually filled from front to back with
roaring, muscular exultations like Shock

Me, Kerosene and the lead single, Chlorine & Wine, all of which make it beautifully clear that Baroness is back and ready to
kick some serious ass.
We thought about doing a dark, somber record, says Adams, but I really just
didnt want that to happen. I really felt like
it needed to be heavy; we needed for it to be
like, Hey, this is what this band does!
For Pete and I, especially, making this
record has been a very, very cathartic experience, says Baizley. But at the same time,
because the music had that energy, vitality, ferocity and immediacy, I felt more comfortable reaching deeper levels of introspection, lyrically. To me, its a good balance.
Most importantly, that energys there
thats what we needed, thats what we were
going for.
Still, Baizley says, Purple was a really
difficult record to write. There was the
rehab aspect of it, of course, and then the
new membership aspect; there were a lot
of moving pieces, any of which could have
derailed the quality or the experience of
writing it. At the beginning of the process, I
WE THOUGHT ABOUT DOING A

DARK, SOMBER RECORD, BUT
I REALLY JUST DIDNT WANT
THAT TO HAPPEN.
Pete Adams
Pete Adams
believe we were all a little nervous because

we had no foundation on which to base any
presumptions. It was like, All rightlets
turn everything on and see what happens.
The first song to emerge from the writing sessions was the straightforward rocker
The Iron Bell, an atypical composition
from a band renowned for its challenging time signatures and interlocking downtuned riffs. Wed never written a song in
four with a four-on-the-floor kick drum
and a back beat, says Baizley, and its only
our second-ever song in standard tuning;
40
we usually tune a whole step down. But

we tried that out and it seemed to work,
and then we had a couple of old parts kicking around that became Chlorine & Wine,
and all of a sudden our confidence level was
boosted. We felt from a very early point that
the music we were making was good. So
then it was like, Okay, what do we need to
do to make this great?
After an intense period of writing songs
and making demos, Baroness recorded the
albums 10 tracks with producer Dave Fridmann at his Tarbox Road Studios in Cas-
sadaga, New York. Fridmann, best known

for his work with Flaming Lips, MGMT
and Mercury Rev, was more than happy
to encourage Baizleys experimental bent
when it came to crafting guitar tones.
With this material, I thought it was
important that we didnt get locked into
one particular soundthat we really kept
the palette broad, says Baizley. Different amps, different effects, different miking
techniques, whatever; youre in the studio,
so youre only limited by your imagination.
Johns got about 15 or 20 shelves in his
basement that are completely loaded with
effects pedals, laughs Adams. Its kind of
insane. We went into the studio and laid em
all out in categoriesfuzz pedals here, filters thereand then we just dug through
em. Every song that you hear on Purples
got a whole new slew of effects on it. I think
we used a different fuzz for every solo!
We recorded a lot of parts with a
very pronounced stereo image, Baizley
explains. The Strymon Timeline delay
is a big favorite of mineI think I got one
the week it came out, because I was so
excited about itand the Strymon Mobius,
for whatever weird modulation effects I
needed. Baizley says the tons of fuzzes
and distortions on the album included a
MXR Custom Badass Distortion, a selfbuilt Klon Centaur clone, several Death
By Audio effects, and some pedals from a
small company called Philly Fuzz that Baizley has an ownership stake in. Anything
that made it sound weird was awesome,
he laughs. I couldnt even begin to remember which one was used where!
The album also makes the most of Adams
and Baizleys different-yet-complimentary
mix of styles and sounds. Pete likes to keep
ML
CH
T
I
SW
E
D
A
B
Hum/Single/hum pickup configuration
floyd rose 1000 tremolo system
5 Way blade pickup switch/push-pull knobs
NEW FOR
2016
Baroness (from left)

Sebastian Thomson,
Adams, Nick Jost
and Baizley
things very consistent and predictable, while

Im inclined to take a more alternate path,
Baizley explains. As weve aged and developed new skills, weve become more flexible
with what were doing. We still maintain the
twin guitar thing, but we separate the two
instruments in very distinctive ways, so that
theyre fulfilling different roles in different
harmonic registers and frequencies. Its not
just two Les Pauls and Marshalls.
Thanks to Adams, however, theres
always one Les Paul in the mix. I love Les
Pauls, he says. I think they record well, and
I think they play live well. Ones a 1960 reissue Classic with the slim neck; I took the
496s out of it and put a pair of 57s in it, and
that thing sounds great now. And Ive got an
08 Silverburst Standard with a slim neck
and an ebony fretboard, and I really love it
I like being as comfortable as possible in
the studio, Adams continues, so I record
through pretty much what I play through
live, which is a Budda 45-watt Superdrive. I
also used my Matamp GTO 120, which has
a big, booming clean sound that I love, and
which I piled up the effects on.
Baizley, on the other hand, prefers a stereo rig that uses two very dissimilar sound-
42
GU I TA R WOR L D
ing amps, like a Fender Twin and a Vox

AC30, with two dissimilar mics onstage or
in the studio to create the blend that works
for me and complements Pete. A longtime
fan of G&L guitars, Baizley used a brandnew G&L Classic S Alnico for much of
Purple, along with a 1962 Gibson ES-335 for
when I needed something a little warmer,
or with more of a classic feel.
It took a lot of painstaking work to get
Purple on tapeto say nothing of rebounding from the bus accidentbut the band
is incredibly pleased with the results. Ill
go on record as saying that this is the first
record that were all unanimously excited
about, says Baizley. Theres nothing on
there that anybody in the band is questioning. And thats atypical; usually theres
some moment where somebodys like, Uh,
Im not so sure about that But this one,
we just love it.
This has been a really positive new
chapter for the band, and we needed it to
be. And its been good therapy for me, you
know? I personally needed something to
go rightand this really did. Whatever
happens with Purple, its already been a
successful record.
In this exclusive excerpt

from This Is All a Dream We
Dreamed, Jerry Garcia, Phil
Lesh, Bob Weir and other
principal players discuss the
earliest days of the Grateful
Dead and how they all
joined forces to become the
godfathers of the American
jam-band movement.
FROM THIS IS ALL A DREAM WE
DREAMED BY BLAIR JACKSON AND
DAVID GANS. COPYRIGHT 2015
BY THE AUTHOR AND REPRINTED
BY PERMISSION OF FLATIRON
BOOKS, A DIVISION OF MACMILLAN
PUBLISHERS LTD.
(from left) Phil Lesh, Bob Weir, Bill Kreutzmann,
Jerry Garcia and Ron Pigpen McKernan
perform as the Warlocks, circa 1965
or our purposes, this story

starts on New Years Eve,
1963, in Palo Alto, California,
south of San Francisco, part of
a web of small cities known as
the Peninsula.
TWENTY-ONE-YEAR-OLD JERRY
Garcia had lived in the area since his release
from the Army near the end of 1960, and
also had some roots therehe had spent a
few years of his adolescence living in Menlo
Park. A native San Franciscan, he took up
the electric guitar in his mid-teens, learning Chuck Berry songs and other early
46
rock and roll tunes, but during his brief

Army stint (Pvt. Garcia had some problems with authority) he learned the rudiments of nger-picking guitar from another
soldier, and when he returned to civilian life, it was acoustic music, exclusively,
that he wanted to pursue. Living in poverty on the Peninsula, he devoted most of
his waking hours to mastering the guitar so

he could dabble in old-time country music
with friends (including future Grateful Dead
lyricist Robert Hunter), then threw himself wholeheartedly into the banjo in order
to play bluegrass. Through the early Sixties he played in a succession of old-time
and bluegrass groups that are known today
only because they were part of the musical
apprenticeship of future rock star Jerry Garcia. Talk to serious Deadheads and theyll
reel off names such as the Thunder Mountain Tub Thumpers, the Wildwood Boys, the
Hart Valley Drifters, the Black Mountain
Boysbands that lasted a few weeks to a few
months and rarely played outside the Peninsula. To earn a little money to help support
his wife, Sara (a ne singer herself) and baby
daughter, Heather, Garcia got a job teaching
guitar and banjo at a Palo Alto music store
called Dana Morgan Music.
One of Garcias musical mates on the
Peninsula, Ron McKernannicknamed Pigpen, after the unkempt Peanuts character
created by cartoonist Charles Schulzwas
a blues and R&B kid through and through.
His father was an R&B DJ, and he grew up
listening to black music. School was never
his thing; he was more interested in becoming the next T-Bone Walker or Lightnin
Hopkins. He played serviceable blues guitar, strong harmonica and some piano. Pigpen and Garcia played a few gigs together
in a rock/R&B cover band called the Zodiacs, headed by a local guitarist named Troy
Weidenheimer, but mostly stuck to acoustic
performances at coffeehouses and clubs.
Boyish Bob Weir had bounced around
various schools in Northern California
and Colorado but never quite found his
niche. He took up the acoustic guitar in his
early teens and learned the basics, copying
records by Joan Baez and other popular artists and aping the technique of local pickers
such as Garcia and the hot blues player on
the Peninsula in this era, Jorma Kaukonen
(later lead guitarist of Jefferson Airplane).
Though Weir was briey in a group called
the Uncalled Four, he was still very green
when he wandered into Dana Morgan
Music one fateful night
P R E V I O U S S P R E A D A N D T H I S PA G E : PA U L RYA N / M I C H A E L
O C H S A R C H I V E S/ G E T T Y I M A G E S
Jerry Garcia onstage with

the Warlocks, circa 1965
CAST CHARACTERS
OF
CLIFFORD
TIFF GARCIA
JERRY
GARCIA
Jerry Garcias
older brother
Grateful Dead
singer/guitarist
BILL KREUTZMANN CONNIE BONNER SUE SWANSON

Grateful Dead drummer
High-school
MOSLEY
classmate of Bob
Early Grateful Dead
family member
Weir, later Grateful

Dead employee
ROBERT HUNTER
DAVID NELSON
BOB WEIR
Early musical
partner of Jerry
Garcia et al., lyricist for
the Grateful Dead
New Riders of the

Purple Sage and
Jerry Garcia Acoustic
Band guitarist
Grateful Dead
singer/guitarist
PHIL LESH
Grateful Dead bassist
CAROLYN
MOUNTAIN
GIRL GARCIA
Merry Prankster,
2nd wife of Jerry Garcia
BOB WEIR
I was with a couple of
friends walking the back
streets of Palo Alto on New Years Eve at
about 7:30, headed to a coffeehouse to get
some music and celebrate. We heard banjo
music coming out of the back of a local
music store and just knocked on the door
and got invited in. We knew who it was;
we knew it was Jerry. He was waiting for
his banjo students, and I said, Jerry, listen, its 7:30 on New Years Eve, and I dont
think youre going to be seeing your students
tonight. He agreed and asked if we played
instruments. We all eagerly nodded yes and
broke into the front of the store to grab some
instruments. We played all night and had a
wonderful time. We decided at that point
BOB MATTHEWS
Grateful Dead recording engineer/producer
we had enough amateur talent to start a jug

band; they were popular at the time. We
started practicing that week and got a gig
shortly thereafter. Off it went from there.
BOB MATTHEWS
It goes back to [TVs] The
Beverly Hillbillies. In 1960,
people were just transitioning out of being
beatniks into what they didnt know until
a few years later was being hippies. Folk
music was a key issue. Everybody was buying guitars and getting guitar lessons. I
heard Flatt and Scruggs playing the theme
song to The Beverly Hillbillies and fell in
love with that hard-as-nails banjo sound.
There were lots of guitar teachers
around. I was trying to nd a banjo teacher.
My mother, who was teaching rst-graders

to read at a local progressive private school
called Peninsula School, had a Stanford lm
undergraduate doing a documentary on
her unique teaching, and when my mother
articulated her difculty [in nding me a
banjo teacher], Sara Garcia turned around
and said, My husband teaches banjo.
Thats how I met Jerry.
Bob Weir and I were really into the jug
bands. We liked Gus Cannon [of Cannons
Jug Stompers, a black, Memphis-based jug
band in the late Twenties] and Jim Kweskin. The Jim Kweskin Jug Band was playing at the Cabale [in Berkeley]. You had to be
at least 18, if not 21, to get in. We snuck in,
and we were up in the front row. The next
day, Bob and I cut class and hitchhiked into
Palo Alto to Dana Morgan Music, where
Jerry was teaching banjo. As we walked
guitarworld.com
47
The Grateful Dead perform at West

Park in Ann Arbor, Michigan, on
August 13, 1967. (from left) Ron
Pigpen McKernan, Bill Kreutzmann,
Jerry Garcia, Phil Lesh and Bob Weir
HOW THE WORLDS GREATEST JAM BAND CHOSE THEIR NAME.

During the summer of 1965, a San
Francisco band called the Charlatans traveled up to Virginia City,
Nevada, a true old West town, and
transformed the Red Dog Saloon
into a psychedelic rock and roll
venue. The band and their friends,
who loved to dress in Edwardian/
Western garb, were heavily into
LSD, and played ear-splitting rock
and country-avored music at
the Red Dog in front of a primitive light show for several weeks
before the authorities essentially
drove them out of town. By the
time they returned to San Francisco, psychedelics had taken hold in
several bands there, too, including
Jeerson Airplane, who debuted
at the Matrix club in August, and
the Great Society (featuring Grace
Slick), who turned up a short time
later. That fall, some of the folks
who had been involved with the
Red Dog and who were now living
in a commune in San Francisco
started putting on dances in the
city as the Family Dog.
48
Meanwhile, the Warlocks, who

were getting more and more into
acid themselves, and increasingly
enjoying the colorful psychedelic
scene that was fast evolving in
San Francisco, were looking for a
new name. Apparently, Warlocks was already taken by some
other band somewhere. When the
group went to record their rst
demo tape at Golden State Studios on November 3, 1965, they
called themselves the Emergency
Crew, but that didnt cut it.
JERRY GARCIA We were trying to
think of a name for the band. Our
name was originally the Warlocks.
We discovered that there was a
band back East or something like
that recording under that name,
and we decided, Oh, no, we cant
have that. We cant be confused
with somebody else. So we were
trying to think up names, and for
about two or three weeks we
went on the usual thing of coming
up with thousands and thousands
of very funny names, none of

which we could use, like Skinny
Minnie and the Vivisectionists.
We were standing around in utter
desperation at Phils house in Palo
Alto. There was a huge Websters
New World Dictionary, I believe
big monolithic thingand I just
opened it up, and there in huge
black letters was Grateful Dead.
It canceled my mind out, kind
of, and I thought, Well So we
decided to have it, but it was
funny, cause we really didnt
like it too much at rst, and it
kinda made us shudder. We were
worried that nobody was gonna
go for it, its too weird, and whatever. But nally, enough people
called us that, and we called
ourselves that enough times, that
thats who we are now.
BOB MATTHEWS It was time
to change the name. Bazillions
of names, all on pieces of paper,
and everybody kept throwing
them back and forth, and nothing
JERRY GARCIA Its a genre ballad,

like there are murdered girl ballads. Well, there are grateful dead
ballads. So it tied in nicely in a way.
Plus the fact that a lot of people
have mentioned the Tibetan Book
of the Dead in connection with it,
although I dont know whether that
particular phrase ever appears in it.
I dont think it does. Its also like a
very brief phrase you could describe
as being the psychedelic condition.
LENI SINCLAIR/GETTY IMAGES
Better Off Dead
was making it. There was so much

dissension, and nothing coming out
of it, that Phil stood up and said,
Enough is enough.
Phil is a very intellectual person
and always had sources of knowledge around him. One of the things
he had was an Oxford Unabridged,
on a dictionary stand. [Jerry] said,
Its gonna come to us. He put his
hands over his eyes, went over to
the dictionary, opened the dictionary, and still with his hands over
his eyes, moved his nger down,
and stopped in an arbitrary place.
We were there, and watching, and
it was totally arbitrary. He opened
his eyes and said, grateful dead?!
And he read the denition. The rst
denition was, ethnomusicological
term dealing with ballads of unrequited love. Its a very old term.
into his little cement cubicle, he was playing banjonoodling, as he always did. I
think I said, We went to see the Kweskin
Jug Band last night, and were starting a jug
band. Jerry looked up, didnt drop a beat,
and said, Good. Im in it. I know a great
harp player, this guy named Pigpen.
ROBERT HUNTER
I was offered the position of
jug player, but I didnt have
the embouchure. So I dropped out and didnt
pick up performing again for about 10 years.
Its just a
loaded phrase.
It looks good in
print, it sounds
goodits
got a sort of
euphonic thing
going for it.
JERRY GARCIA
If you wanted to talk about it like
that. Its any number of things. Its
just a loaded phrase. It looks good
in print, it sounds goodits got a
sort of euphonic thing going for it.
DAVID NELSON Jerry takes me
and Sara into my room and says,
Youve got to hear this. Im really wondering what the general
reaction is going to be, and I just
want to have an idea. I remember
his big eyes lookin at me. I said,
Whats the idea? and he said,
Grateful Dead.
I said, Let me think about it. I
was lookin at the straight world
the lamebrains and the dodos,
you know. Those people just react
instantly, and they think theyre
right and all that.
But I said, Its a fantastic
name, and thats what Sara said,
too. They went with it and it
turned out to be the best band
name ever. Didnt it? Did it not?
Rock and roll was supposed to
say, Hey, I dont care about your
fuckin straight music and all your
namby-pamby rules. Were just
playin this for fun, period, and
thats all it is.
SUE SWANSON Everybodys mom
hated it, so we knew we loved it!
BOB MATTHEWS
I got to be in Mother
McCrees Uptown Jug
Champions. First I was washboard player,
and then I was kazoo player, then I was the
second kazoo player. Bobby loved to hyperventilate himself blowing on the jug. He also
played one-string washtub basswent out
and got a zinc washtub, a broomstick, and a
piece of twine. That was what he didand
sang and looked pretty. Jerry was playing
the banjo [and guitar] and leading the band.
He was playing the ve-string banjo. Its a
different genre of music, but he was playing Jerry Garcia banjo. We were playing
a tuneWashington at Valley Forge, or
somethingand Jerry leaned over and said,
Hey, why dont you take a break? What
he meant was, Take a solo. I thought he
meant take a break, so I left the stage.
CONNIE
BONNER MOSLEY
I remember in high school, the hallways
would clear when Pigpen walked down
the hallwayswith a woman on each arm,
maybe. I remember his last days at Palo Alto
High School, before he was expelled, and
then running into him a few months later at
the guitar store.
BOB MATTHEWS
He was so mean-lookin. He
was the same age we were,
barely 18, but we could run over to East Palo
Alto, to Maroneys liquor store, send him in
with money, and hed come out with whatever you asked for. Weir and I used to drink
Green DeathRainier Ale. Wed pay for
Pigs Thunderbird, and hed buy us two or
three big bottles of Green Death.
CLIFFORD
TIFF GARCIA
Weir and Jerry were both working at the
music store. Weir was giving lessons, Jerry
was giving lessons and trying to repair
instruments but he wasnt very mechanically inclined. But anything to make ends
meet[Jerry and Sara] had a baby on the
way. I remember seeing Bob there and
hearing him play and listening to him give
lessons. He was just a kid but he was pretty
good. He was still going to school at the
time; Jerry was older and out of school.
Anyway, when I rst heard Jerry had gotten together with Weir and Pigpen, I knew
it would be a good nucleus for a group.
JERRY GARCIA
I think there are about four
major categories of music
that we actually play, and we boil it down
under the name of jug band music. Actual
jug band music is a sort of early bluesband music that was recorded during the
Twenties and Thirties, not sophisticated
music; it might feature guitar and harmonica played blues-style, kazoo, possibly
a ve-string banjo, possibly a jug, which
acts as a tuba does in an old-time Dixieland band. That is one of our major areas
of material, one of our sources. Another
is early Dixieland; New Orleans jazz.
We get some Twenties, Thirties popular music, and a certain amount of more
recent blues, from within the last 10 or
15 years, that includes some very recent
within the last three or four years
rhythm and blues songs. So we have quite
a large area, and it makes it more fun for
us, and certainly more satisfying, because
it doesnt restrict us to one particular
idea or one particular style, and the result
I think is pretty interesting, and
its greatjust a gas.
I think well play the music probably as
long as were together; we all live in the
same area. Like I say, its fun, its rewarding, its great to get together. We dont
expect to make a fortune at it, or ever be
popular or famous or worshipped, or hit
The Ed Sullivan Show, or anything like
that, or the circuses or the big top, or whatever. Anyway, we play at a few places in
the area; I think that we may be restricted
to that, just because its impractical to
travel too long a distance. But as long as we
can play, well play, regardless of what its
for, who its for, or anything. Its fun for us,
thats the important thing.
guitarworld.com
49
Bob Weir playing with the

Warlocks, circa 1965
had been involved in secret governmentsponsored tests on the effects of psychedelics, but by 1964, the genie was out of the bottle and LSD was nding its way to receptive
groups of people in the Bay Area, Los Angeles, New York and a few other places.
Kesey moved from Palo Alto to La Honda,
deep in the forest southwest of Palo Alto, and
many of the Pranksters followed him. In the
summer of 1964, he took some of the money
hed earned from the publication of his bestselling rst novel, One Flew Over the Cuckoos Nest, and bought a 1939 International
Harvester school bus. He gutted it, replacing the seats with mattresses and sound and
lm equipment, had an acid-fueled DayGlo
painting party to create the wildest and most
colorful bus anyone had ever seen on Planet
Earth, and christened it Further. Kesey and
the Prankstersincluding Ken Babbs and
Neal Cassadyanti-hero of some of Jack
Kerouacs best known books, including On
the Road and The Dharma Bumsembarked
on a legendary LSD-soaked trip across
America in the bus, an epic voyage immortalized (among other episodes) in the Tom
Wolfe book The Electric Kool-Aid Acid Test.
The Peninsula buzzed with tales of Furthers travels for months afterward, but the
bus trip turned out to be just a warmup for
the psychedelic evangelism Kesey and the
Pranksters would unleash during 1965 and
1966. Sometime in early 1965, acid found its
way to Garcias circle of friends.
The jug band was fantastic; God, they were

good! They rotated people in and out of
there so you never knew who was going to
do what. It seemed like every song they did
would have a different set of musicians.
But it was great, great fun. Their gigs were
packed and fun and really upbeat.
BILL KREUTZMANN
I saw Jerry play with
Mother McCrees Uptown
Jug Champions at the Tangent in Palo Alto.
I sat right in front of him and watched him
playing, and man, he had the whole place in
50
the palm of his hand. Everybody was watching him and he was giving off this incredibly
beautiful energy. I said, Man, Im gonna
follow that guy forever! I never said that to
anyone; I just said it to myself.
About three weeks later, I got a phone
call. It was Jerry, saying, Do you want to be
in a band?
WHILE MOTHER McCREES
Uptown Jug Champions were playing the
local clubs on the Peninsula, writer Ken
Kesey, who had been at the center of a libertine, Bohemian scene at his house on Perry
Lane in Palo Alto, near Stanford University
(where he had studied writing with Wallace
Stegner), was increasingly dabbling in psychedelics and hanging out with a bunch of
like-minded inner-space adventurers who
became known as the Merry Pranksters.
Keseyand Garcias friend Robert Hunter
DAVID NELSON
I think it was Rick Shubb
[Nelsons bandmate in the
Pine Valley Boys bluegrass band] who found
this house on Gilman Street [in Palo Alto].
It was the most wonderful place. It had a
porch with brick steps. You could come
out and just sit in the afternoon. Theres
nothing like the afternoon in Palo Alto. Its
really amazing.
Thats the rst place that we took acid.
And it was cause of Rick Shubb. He had
a contact in Berkeley and he said, I can
get some hits of acid. Everybody was like,
Okay, I want to do it, I want to do it! And
Hunters back there shaking his head,
because he had been through this two
years before that. He said, You guys are
nuts. You dont realize what youre in for.
PA U L RYA N / M I C H A E L O C H S A R C H I V E S/ G E T T Y I M A G E S
CAROLYN MOUNTAIN
GIRL GARCIA
Ron Pigpen McKernan
So Shubb comes over on that day. I think

it was 13 people that all took acid at the
same time for their rst time. It was Jerry
and Sara, me, Eric Thompson, David and
Bonnie [Parker], Rick Shubb and some
more. We said, What if there are dangerous pitfalls and things to watch out for? We
gotta go ask Hunter! Hes done it before.
And so we all run down over to Ramona
Street and knock on his door and he looks
at us and he goes, Do you always jump out
of planes without a parachute? We said,
Please, please, Mr. Man, will you please
help us here? So he says, Okay, just a minute, and he set these chairs up facing him.
I remember him talking and it sounding
really profound, but I remember he made a
gesture [with his hand] and I saw brrd, brrd,
brrd, brrrrrrrrrrrdthe ngers fan. The
visual stuff was just fantastic!
Anyway, so that started the thing of, I
think were going to go electric [with the
band]. I remember right after [the rst trip]
that there was a lot of buzz about it. There
was a lot of talk on what we called the trips
couch about going electric.
PHIL LESH
I couldnt believe that was
Bob Dylan on AM radio,
with an electric band [on Subterranean
Homesick Blues in mid-1965]. It changed
my whole consciousness: if something like
that could happen, the sky was the limit.
Dylan and the blues, and some folk music,
were the foundation of our repertoire in
the year or so before we started touring and
going outbefore the Trips Festival, say.
That was a paradigm for us. That was how
we, in a way, learned to interpret songs.
You can add or extend or elaborate on very
simple tunes, very simple stuff, like blues
songs or folk songs, which have two chords
or three chords.
MOTHER McCREES HEYDAY,
such as it was, coincided with the rise of
the Beatles and, shortly after, the Rolling
Stones in America. Bob Weir once commented that the Beatles made being in a
rock band look impossibly attractive,
and in their early days, the Stones were

driving crowds wild playing rock and
roll, blues, and R&Ball of which Mother
McCrees dabbled in. So in early 1965,
Garcia, Weir and Pigpen decided to start
an electric band, the Warlocks. Dana Morgan, Jr., son of the music store owner, was
the original bassist, and 18-year-old Bill
Kreutzmann, already a well-established
rock/R&B drummer in the area, was
enlisted to be the skinsman.
JERRY GARCIA
Our earliest incarnation
was kind of a blues band in
a way. We were kind of patterned after the
Rolling Stones. This was during the British Invasion. Everybody went and saw [the
Beatles] A Hard Days NightYeah, that
looks like fun! Lets go play rock and roll!
Me and Pigpen both had that background
in the old Chess Records stuffChicago blues like Howlin Wolf and Muddy
Waters, and people like Jimmy Reed,
guitarworld.com
51
When I rst heard

Jerry had gotten
together with Weir
and Pigpen, I knew
it would be a good
nucleus for a group.
CLIFFORD GARCIA
Chuck Berry. It was real natural for us,

and we even did those kinds of tunes in the
jug band. So it was an easy step to make it
into sort of a proto-blues band. The Stones
were already doing all the old Muddy
Waters stuff.
Remember that old Junior Walker
and the All-Stars instrumental, Cleos
Back? That was also real inuential on the
Grateful Deadour whole style of playing. There was something about the way
the instruments entered into it in a kind of
free-for-all way, and there were little holes
and neat details in itwe studied that
motherfucker! We might have even played
it for a while, but thats not the pointit
was the conversational approach, the way
the band worked, that really inuenced us.
When we rst started the Warlocks,
I thought, Wow, Pigpen is this guy who
can play some keyboards, some harmonica, and hes a powerhouse singer. He was
the perfect frontman, except that he hated
it; getting him to do it was really a bitch. I
think he was just a shy person.
SUE SWANSON
It was always Jerrys band.
But Pigpen was the only
one who was really a showman. Hed get
out there and work the audience and the
band would be behind him. They would let
him take the reins and back him up. But by
no means were they a backup band for him
nor did he ever really lead them. I guess he
had a lot of inuence on the type of music
they played, but they all had that bent, too.
The rst fans were Connie [Bonner]
and me and Bob Matthews, Barney [Laird
52
Grant] and Bobby Petersen. Connie and I

were pretty wild. We used to do all kinds
of crazy things, and we were up for it all.
We were not exactly the kind of girls who
stayed home and behaved. We were gone,
we were history. One of the things we used
to do was practice getting into hotelsany
band that came around we would [sneak
into their hotels] for practice so when
the Beatles came to town wed be ready!
We always got in, tooEric Burdon and
the Animals, the Dave Clark Five, Chad
and Jeremy, Sonny and Cher, the Rolling
Stones. I asked Keith Richards, I know
these guys who have a bandwhat can you
tell them? Whats your advice? He said,
Write your own songs. So I passed along
that information to Jerry.
We told [the Warlocks], Well make you
famous, but we want to meet the Beatles!
BILL KREUTZMANN
We used to rehearse at
Dana Morgans Music
store in Palo Alto, and we practiced there
mostly because we got the instruments
for free, because the bass players father
owned the music store. So after hours Pigpen used to [take] instruments off the wall
when the shop was closed and wed start a
jam session. Those were our rst rehearsals, in this little music store. I had a little drum set out there and theyd take guitars off the wall to play. And Dana, God
bless him, wasnt the best bass player, but
really generoushe gave us all the instruments and never asked for them back; it
was very kind.
BOB MATTHEWS
Their rst gig was at
Magoos Pizza, on the main
drag of Menlo Park, California. It was in
May of 1965, about a month before I graduated high schoolBob Weir, by that time,
had determined that high school wasnt for
himand a whole bunch of people from
my high school would come down on Friday nights to hear this band, because they
were a good dance band.
JERRY GARCIA
We didwe stole a lot of
well, at the time, the Kinks
and the Rolling Stones King Bee, Red
Rooster, Walkin the Dog, and all that
shit. We were just doing hard, simple rock
and roll stuff, old Chuck Berry stuff

Promised Land, Johnny B. Goode
[and] a couple of songs I sort of adapted
from jug band material. Stealin was
one of those, and that tune Dont Ease Me
Init was our rst single, an old ragtime
pop Texas song.
The rst night at the pizza place,
nobody was there. The next week,
when we played there again, it was on a
Wednesday night, there were a lot of kids
there, and then the third night there was
three, four hundred people, all up from
the high schools We were playing, people were freaking out.
ONCE THE BAND got rolling, it
became clear that Dana Morgan, Jr., was
too busy working at the music store to give
his all to the Warlocks, and he was only
a serviceable bass player to begin with.
Something had to give.
Then along came Phil Lesh. He was a
couple of years older than Garcia and had
traveled a very different path from the
other guys in the Warlocks. As a kid growing up in the East Bay cities of El Cerrito
and Berkeley, he initially studied classical violin but later switched to trumpet;
he played in the school marching band but
soon gravitated toward jazz. After graduating from Berkeley High, he was part of the
jazz band at the College of San Mateo, but
found himself increasingly drawn to composing and electronic music. He briey
enrolled in UC Berkeleys music program
(meeting future Grateful Dead keyboardist Tom Constanten along the way), but,
intimidated by the academic requirements,
quickly dropped out. Instead, he audited a
course at Oaklands Mills College taught by
the brilliant avant-garde composer Luciano Berio, and for a while immersed himself in the world of modern music. That
wasnt paying the bills, though, so he took a
series of dead-end odd jobs (in a Las Vegas
casino, the San Francisco post ofce, etc.),
and spent his spare time writing esoteric
music. He also grew his hair, tried LSD and
speed, and got into listening to rock and
roll for the rst time.
PHIL LESH
I met Jerry when I worked
briey for KPFA. I was an
engineer for The Midnight Special. I went
to a party in Palo Alto and Jerry was there
singing and playing his guitar. I just had
this ashThis guy sounds really good;
he makes the music live. I had always
been impressed by somebody who could
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sing and play, and Joan Baez was big-time.

That quickened my interest in that kind
of music, and so I listened to it closer and
found that there were things to enjoy in it,
things to listen to that were not so much
alien to classical music but just part of
music as a wholejust like classical is part
of music as a whole.
I was at the party and Jerry was playing and singing and I asked if I could make
a tape of him to play for Gert Chiarito, who
was the host of The Midnight Special. He
said okay, so we got in a car and went to
Berkeley to get the tape recorderthis is

when we had all the time in the universe
and he sang and played five or six songs. I
played the tape for Gert and asked her if
she thought he was good enough to play
on The Midnight Special. She said this guy
could have a show all to himself. They did
an hour show of Garcia on KPFA, and after
that he was almost a regular.
PHIL LATER TOOK acid with some
friends and went to see Garcias new electric band, the Warlocks.
PHIL LESH
Good God, it sure was a
great scene! Wed just been
to see the Rolling Stones, and the Byrds had
been in townthis was 65, their first gigs
everand I just happened to mention it to
Garciahe was at the party, too; we were
both stoned out of our minds. Weir came
along with some grass and we went to the
car and got high, and I happened to mention
sometime during that evening to Garcia, I
think Ill take up the electric bass and join a
band. The next month, we go down to hear
the band and Garcia takes me aside and puts
a beer in my hand and says, Listen, man,
youre gonna play bass in my band. But
Ierwho, me? Well, Jesus, that might be
possible. Actually, it excited the shit out of
me because it was something to do. And the
flash was, Oh, shit, you mean I can get paid
for having fun? Of course it was so ironic
because before, Id gotten to the point
where I just wanted to quit music entirely.
I thought rock and roll music was so lame. I
said, What can you do with three chords?
JERRY GARCIA
[Phil] decided he wanted to
do something that was happening right now; he didnt want to wait to
hear his music performed, so in two weeks
he learned how to play the bass. The guy is
really gifted. I showed him a few things
the sense of the bassfor each tune, and the
rest he figured out for himself.
PHIL LESH
[I learned in] two weeks
before the first gig, yeah.
I didnt play too good, man; it was a real
wooden sound, real stiff. But we actually
did play a gig two weeks afterward. And for
three or four years after that when I would
tell people how long I had been playing
bass, they would say, Amazing!
JERRY GARCIA
We played in clubs, mostly,
and barsthe Fireside, the
In Room, [places] like thatfor about three
or four months, six nights a week, and thats
where we really learned how to play. Five
sets a night, you really get hot by the third
or fourth set, and you can start playing some
really insane stuff.
54
GU I TA R WOR L D
54
by
ALAN PAUL
photos by
JIMMY HUBBARD
GUITAR WORLD JAN 2016
56
L e a d e r o f th e
ja m -b a n d w o rl
d
T R E Y A N A ST
ASIO
ri n g
s in th e n e w ye
a r w it h P A P E
W H E E L S , th e
R
la te st fe e l- g o
o d b la st o f
m u si ca l e xp re
ss io n fr o m h is
so lo b a n d .
guitarworld.com
57
REY ANASTASIO
cant contain his enthusiasm.

Check it out, man! A giant grin splits his
light-red beard, eyes twinkling behind his
glasses. Anastasio jumps out of his seat,
with his custom, unmistakable Languedoc
guitar around his neck and plays a gorgeous glissando run. Listen to this.
58
He glances down, taps his left foot on a

Tru Tron envelope filter and his lightning
run takes on a funky vintage vibe. Were in a
small New York rehearsal space and Anastasio is showing off his newly tweaked stage
rig, the pedals arrayed in a semi circle in
front of him, a rack of gear, amp heads and
speakers behind him.
Ive been geeking out in this room for
six months and Ive been so excited to talk
to Guitar World because most peoples
eyes glaze over when I get going on this
topic. But whats gone on in this room has
been so important to everything Ive done
over the last year.
Its been quite a year for Anastasio. After
ringing in the 2015 New Year with Phish in
Miami, he was ready to take a short vacation and release a great recording, Paper
Wheels, with his Trey Anastasio Band. But
a letter from Grateful Dead bassist Phil
Lesh changed his plans. It said that the
core four surviving members of the Dead
Lesh, guitarist Bob Weir and drummers Bill
Kreutzmann and Mickey Hartwanted to
get together for one last run of shows and
they wanted Trey to play guitar and sing. It
was a tremendous honor but also a daunting
challenge; anyone playing lead guitar and
singing with the surviving members of the
Grateful Dead is going to be compared to
Jerry Garcia, who died in 1995.
Anastasio embraced the trial, renting
this little rehearsal room near his Manhattan apartment and setting out to master
the 100 Dead songs suggested by Lesh and
Weir. He also decided to revisit and reassess the components of his stage rig for
the first time since 1986. All the work paid
off with five triumphant shows with the
Deadtwo in Santa Clara, California, and
three at Chicagos Soldier Fieldin front
of packed houses totaling over 330,000
and a live video feed of untold more. Anastasio started strong and grew ever more
comfortable steering the good ship Grateful Dead, in the process cementing his status as jam rocks top dog.
Some people thought that all the charting might make things stiff, but once we
stepped across the stage it didnt matter and
we were loose in a Grateful Dead way, says
Anastasio. But the difference is, they had
played those songs together 400 times. We
had never played them together, so I needed
all the help I could get. And after all the
work, I walked out onstage and got to board
the Universal Studios Grateful Dead ride!
Two weeks after the last firework
exploded over Soldier Field, Anastasio was
back on the road with Phish for an epic summer tour, which many fans considered the
bands greatest run since they reformed in
J AY B L A K E S B U R G
TREY ANASTASIO
2009 after five years apart. In October, the guitarist returned to the Trey Anastasio Band,
a seven-piece ensemble featuring at its core
longtime members Tony Markellis (bass), Russ
Lawton (drums), Jennifer Hartswick (trumpet, vocals) and Ray Packowski (keyboards).
Paper Wheels, Anastasios eleventh solo
studio album, is a 12-song collection of largely
optimistic lyrics bouncing along on sunny
grooves and crisp horn arrangements. The
music is both more delicate and harder grooving than Phish. With the larger ensemble,
Anastasios guitar is a bit less prominent, but
it remains at the center, the clean tone vibrant
and cutting. On Liquid Time, he displays a
cutting, Mark Knopfleresque Strat sound,
while on Flying Machines his guitar lines
take a languid stroll through well-orchestrated background vocals reminiscent of
Steely Dan. Its all part of Anastasios neverending musical quest, a journey which only
seems to be gathering steam as he gets older.
Theres no off switch on Trey! says
Markellis, who has known Anastasio since
1983 and played with him since 1999. He
comes up with more ideas in a day than most
people do in a year; a very high percentage of
them are even good ideas!
Trey Anastasio (left) jams with the Grateful

Deads Phil Lesh and Bob Weir during the
Deads Fare Thee Well show on July 3, 2015
at Chicagos Soldier Field.
The Dead shows seemed to really energize your guitar playing. How much of
that was simply being pushed out of your
comfort zone?
That had a lot to do with it. I had to learn

100 songs. What could be better for your
playing than learning a large collection
of great material? I got together with Jeff
Tanski, who I worked with on the Broadway play Hands on a Hard Body and he
wrote charts for every single song and I had
this bulging three-ring binder. Every song
had at least two surprises: Oh, thats supposed to be a C9!
And I developed a deeper appreciation
of the lyrics; they are even better than you
think they are. Upon further examination,
there are different layers that keep unfolding on a song like Althea. It sent me off
learning a lot of old folk songs from people
like the Carter Family and Woody Guthrie.
Because I wanted to know where this came

from. I had to know.
I thought that it really clicked during the
second set of the first night in Chicago
and that you seemed to get more confident about stepping forward and taking
charge in a way that Im sure was hard but
was really necessary.
Absolutely. Bill Walton, the basketball great

[and famous Deadhead] was backstage every
show giving me pep talks. He kept saying,
Youre on a team and everyone is not even.
He was telling you to step forward
and bringing the philosophy of legendary UCLA coach John Wooden to the
Grateful Dead!
Yes and I heard the same thing from

Kreutzmann and Robbie Taylor [longtime
GD crew member]. They were all saying:
these guys can cut loose when someone is
up there just going for it.
You mentioned Althea, which I thought

was a real highlight.
Thanks. I felt really, really good about that.

During soundcheck there were questions
guitarworld.com
59
The best players
PLAY ALL THE TIME

because it goes away so fast.
I dont want to take long
breaks from playing.
about who was going to count it off. Phil preferred it a little faster, Bobby a little slower.
After listening to the Go! message from
so many people, I just counted it off! And I
immediately felt this cool strong feeling from
everyone. I heard Bobby digging inhis guitar sounded huge!and I remembered Walton saying, If Michael Jordan doesnt dunk,
Scottie Pippen cant be in the Hall of Fame.
Its a funny thing because I have to take the
lead but its not about me at all!
You had to strike a very difficult balance;
if you step forward too much, people will
criticize and if you lay back too much, the
whole thing wont work.
Right! Its like a battleship where one guys

job is to steer it and one guys job is to tell
that guy which way to turn and another
guys job is to aim the gun. You cant be asking everyone, Hey, you want me to steer
now? Just do it! By the way, I couldnt have
done all this without what I learned doing
Hands on A Hard Body.
Thats the 2011 Broadway musical you
wrote the music for. Why did it have such
a big impact?
It was a huge learning experience about

process. Broadway shows are very expensive; a small show like ours takes $12-13 million just to get onstage once. People have
risked a lot of money, and the actors and
musicians are all union so rehearsals are
crazy. When the clock dings you dont go
over one secondpeople will walk away in
the middle of a phraseso you have to do
massive preparation.
How specifically did that come into play?
In so many ways. Heres one that even
60
TREY ANASTASIO
Jake Cinninger
of Umphreys McGee
The EX-SS packs a lot of punch in its 15-inch body, the smallest of
Jake Cinninger
and Ryan
Stasik
of Umphreys
McGee
on across
stage w
all the DAngelico
archtops.
Warm,
resonant, and
versatile
its EX-Bass.
pickups, the SS is a lightweight hollowbody perfectly suited for
SS and
rock, blues, jazz, and all the nameless places in between.
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The only thing you

can possibly learn about
music is theres
MORE TO
LEARN.
Bobby and Phil dont know. The three of
us sat down to discuss what to play and
Phil said, All I know is, I want to end with
Attics of My Life. Im like, Great, Im
crying already, but when are we gonna learn
the harmonies? Because that song modulates and its a capella three-part harmony!
I offered to write a chart and they were like,
Thats kind of geeky. Well figure it out.
We sat down at a piano and it was cool but I
knew everyone would forget his parts and,
lo and behold, we tried it again and nobody
was taking Jerrys melody.
These guys dont rehearse much because
they dont really hang out, so we had
five days for five shows and never got to
Attics. Phil said Well sing it in soundcheck every day. Soundchecks came and
went, and we still didnt know it. So I called
Jeff and said, I need an exact transcription
of the album version. I didnt even tell the
guys. I just handed a copy to Bruce [Hornsby]: This is your part and this is my part.
Ill hit the highs and the other guys will fill
in the notes. I was reading off the chart
because someone had to sing the melody!
Has the same diligent approach to process transferred to TAB [Trey Anastasio
Band] and Phish?
Do you play differently in TAB and Phish?
Do you write the horn and vocal

charts in TAB?
Is there a different dynamic in a band

named after you as opposed to a band of
four equals?
Oh yeah. Its changed my approach to

everything. One simple example; before we
went into the studio to record Paper Wheels,
we had rehearsed enough to nail everything
down really quickly. It made the recording
so much more efficient.
Some of them I write by singing them directly

to the sectionwho are just fantasticand
some Ive had other people score. Its so much
fun for me to play with this horn section.
62
I think so because playing music is listening to music and reacting and those guys
play differently than Phish does. Russ [Lawton, drums] and Tony [Markellis, bass] are
deep, solid groove and Mike [Gordon] and
Fish [Phish drummer Jon Fishman] are more
watery, fluid and ever-shifting. Fish is also a
little more full in his measures of music.
Its not as different as you may think. Ive

always wanted to create the ultimate band
of what I sound like, and I want it to be that
way for everyone. When theyre on their

deathbed, I want the guys in TAB to be able
to say, If you want to hear the best playing
I ever did, listen to this band. The goal of
putting a band together is to celebrate everyones personalityto discover and celebrate
each individuals talents and end up with
something greater than the sum of its parts.
None of us in Phish are that great individually but we bring it all together. Its the same
with TAB. If Tony likes to play slow and
funky thats what were going to do.
Do you write specifically for TAB or Phish?
Or just write and see what goes where?
I am constantly writing. Traditionally, theyre
TREY ANASTASIO
all just songs and Phish is allowed to grab the

best ones because thats the way it is. Some of
them I try to switch over and they dont work;
they just want to be where they want to be.
A lot of people thought that you would
let TAB slide when Phish got active again,
but that has not happened. What do you
get out of it?
A lot. Its a learning process and its a very

healthy thing as a musician and a person to
not put all your eggs in one basket. It only
makes Phish better for me to work with
other musicians and the more you play
the better you are. I played so much better
on the Phish summer tour because I had
played so much getting ready for the Dead
shows. The best players play all the time
because it goes away so fast. I dont want to
take long breaks from playing.
And TAB gives me a different perspective on Phish. For instance, I couldnt stand
the way Sand sounded with Phish; it
gave me the willies. The groove was just so
not right. Finally, last summer I sat down
with Jon Fishman and said, Can we examine how were doing this song? So he listened to Russ playing it and said, Oh my
God, Im playing the groove all wrong. Its
too straight. So he swung and it just got
incredible.
Has the honesty gotten easier? Could you
have told Fish 15 years ago that you hated
a groove?
Whoa. Let me be very clear about something: Fish is the greatest drummer going
and he can play anything, so I would never
say I hate the groove. I said, Something is
out of whack on this song. Would you mind
if we referred to the original? And hes
happy to do that, because hes like a happy
learning machine. That guy just eats music.
You are always questing for more in your

music, which makes it really surprising
that you went decades without messing
with your rig.
I know. I set it up in 86 and got used to it.

And a lot of my gear is still from then.
What finally prompted you to get in there

and go to work?
Ive been happy with my overdrive but I was

never fully satisfied with my clean sound.
Suddenly I had a gig in place of Jerry Garcia,
who had the greatest, most iconic clean tone
ever. I just had to work on it, so I rented this
room, set up all my gear just like onstage and
decided to reconsider everything.
I used the same Mesa/Boogie Mark III
head since 86 and I never opened it or
really understood it. The amp guru Matt
64
Wells came in and gave me a tutorial and

explained that the Boogie was like a Fender
circuit and when the volume gets past eight
you need to roll the bass off. I like warm
sounds so I always had my bass and midrange heavy and the master volume low and
the distortion front-loaded. Matt showed
me how to adapt to get a crystalline sound.
And then I happened to play a Bogner Shiva
head in a music store and fell in love with it.
They are known as screaming metal amps,
but the clean channel is incredible and you
can disconnect the reverb, so its completely
clean. So I did that and finally started doing
After all the work, when you walked

onstage did it work?
It so worked! And I kept refining during

soundchecks, working with the front-ofhouse guy and the live feed guy and I realized that their music is midrange heavy,
which is one reason Jerry and Bob had thinner sounds. There are 16 tom toms, two pianos and two guitars all playing in the same
frequency! I tried different pickup settings and the sound guys said it was easier to place my guitar with a thinner sound,
so I locked on the middle single coil and
didnt change once the whole five nights. I
thought, Im not thinking about my sound.
Im just playing music. That was a learning
experience in itself! I used to break toggles
because I toggled so much.
You have the same energy and sense of
optimism about the power of music that
you had when we first talked 20 years ago.
Its hard to have a
BROMANCE
that deepbut in
music you can do it
and it just keeps
getting deeper.
what people like Derek Trucks have been

doing forever: turn the damn thing up until
its distorting, then turn it down a half step.
All I have is a treble, bass and volume knob
on my amp and its much cleaner.
You have a profound awareness of what
your guitar should sound like in Phish or
TAB but had to figure out how it should
sound in the Dead.
Yes! I had to rethink it. And I took it

very seriously. I wrote John Cutler, who
designed Jerrys rig, and talked to the guy
who repaired his amps and the guy who
repaired his guitars. And I learned that Jerrys Tiger guitar was basically a Strat and he
hung out a lot on the middle single coil, so
I had one installed in my maple Languedoc
and then I found that he used Seymour
Duncan SH3s, and I put them in all my guitars. They can be humbuckers or split into
actual single coilsnot just tapped, which
isnt the same.
I believe it more than ever! Its more mysterious than ever. The only thing you can possibly learn about music is theres more to
learn. You can never even get close; its just
a series of false peaks where you climb one
and see more in the distance.
The thing thats amazing to me is how
all these years of playing together in Phish
would lead to such a depth in our musical and personal relationships, especially
this summer. Everyone cares about each
other so much now. Id be shocked if people werent noticing this. The way we play is
a language that allows you to safely express
deep love and caring in a way that I would
be too embarrassed to do in words. Its hard
to have a bromance that deepbut in music
you can do it and it just keeps getting deeper.
Thats amazing and not something anyone would really have predicted when
you got back together in 2009.
Up until 97 the four of us spent a lot of time

alone and there was this incredible chemistry even during dinner. There was a balance. Then it became 300400 people backstage and that screwed it up.
Youre talking to a guy whos been sober
for eight and a half years now. Thats all
way behind us. I know that stuff was a problem, but I always thought it was intimately
linked to the fact that we had this nave outof-control concept of the way we organized
our lives around Phish. And things went
from good to out of control very quickly.
We made it to Big Cypress [the bands New
Years 1999-2000 millennium celebration
on a Florida Indian reservation] in a pretty
healthy way. There were a lot of people
backstage and we were partying, but we
were young and it was still fun. Then we
TREY ANASTASIO
took that big break and when we came back

it was less than a year before we had to go
on hiatus. That year was like Caligula. It
was fucking crazy. What can I say?
Given that, its impressive you have such
great relationships now.
When I stopped all that nonsense, everyone

would ask, How are you going to get back
to a different relationship with the guys in
Phish? But we didnt do any of that stuff
from 198396! We were playing Tetris and
practicing 15 hours a day and doing listening exercises. It was pure musical geekery.
It all started up during the recording of
[1996s] Billy Breathes. We started partying
in a different way and that brings a certain
type of character around.
After Big Cypress, all four of us and a
gaggle of pals went to see CSNY at Brendan Byrne Arena [in East Rutherford, NJ].
We pulled up in a big stretch limo and
8,000 people came pouring out with bass
thumpingjust ridiculous. We went backstage and said hi to Neil [Young], which
was a big thrill, and met [David] Crosby
and Steve Stills, which was great. Then
Graham Nash, whom I had never met and
long admired, came up to me. I was no
doubt standing there grinding my teeth or
something. He was so nice and we shook
hands. And he goes, Nice to meet you.
Congratulations on all your success. Then
he grabbed my shirt and a fist full of chest
hair, yanked my face right up to his and
screamed at the top of his lungs, NOW
DONT FUCK IT UP! Then he threw me
backward and walked away. And a month
later, we came back on the 2000 tour and
we fucked it up! We fucked it up!
It was too late to heed such advice.
Rightbut it was just a few months after

Big Cypress and Im haunted by the memory of Fish saying to me there, We really
should stop this now. I feel like the wave
just crashed into the shore. We should
go home and chill and wait for the next
wave. I dont think we should paddle back
out. That was a natural break point, but
we went back on tour and quickly had to
go on hiatus. We came back after almost
two years and it only took a year to end
again. We just werent ready. But when we
came back in 2009 it was definitely time.
It felt perfect from the first note at Hampton [Coliseum in Hampton, Virginia]. Even
before the first notejust being together
backstage. We reorganized management and its a very different atmosphere
now which has resulted in seven years of
increasing goodness, which I believe has
spread to everything we do.
66
TREY ANASTASIO AXOLOGY

TREY ANASTASIO USED
the same rig for almost 30
years. He set it up in 1986
and never really altered it
until last winter. As Phish
grew from a club band to
one of rocks top-grossing
outfits, as they took
hiatuses, broke up and
re-grouped, as he formed
different groups and toured
extensively with the Trey
Anastasio Band, the rig remained the same. His stage
setup remained in storage,
brought out when he
performed and otherwise
never tampered with.
Then, last January,
Anastasio accepted the gig
to play with the core four
surviving members of the
Grateful Dead for five final
shows and he knew it was
time to tackle his rig.
So Anastasio rented a
New York rehearsal room
and set up his stage gear.
Then he began to isolate
and play through every item
individually to see what he
thought. He played for hours
a day for months on end.
The reason it took so
long is to make any change
I had to record and listen
back, because I didnt trust
the volume, Anastasio

says. I recorded each step:
new cable, record; new
switch, record; turn down
half a step, record. I would
take a 16-foot and 12-foot
cable and play for half
an hour with each, then
leave, wait until my ears
cleared out and then walk
with headphones on and
compare. I did that with
settings too. For instance,
I still have the compressor
but its way backed down.
I changed from Vintage
30s to Tone Tubby hemp

cone speakers and discovered they have a sweeter
midrange. I switched pickups to Seymour Duncan
SH3s and cables to George
L. I switched from the Mesa
Mark III head to a Bogner
Shiva head. I got rid of all
those Keeley foot switch
things and took everything
out of the signal chain, on
a loop run by these old
Bradshaw systems. And I
love how it all sounds and
how easy it is to use.
A L A N PA U L
GUITAR Languedoc G2, with Seymour Duncan SH3
pickups and DR Tite-Fit strings; George L cables
EFFECTS Korg DTR2 tuner; Custom Audio Electronics
RS-10 midi controller; DigiTech Whammy II; Boss OC-2

octave pedal; Beigel Sound Tru-Tron 3X envelope filter;
Dunlop CB95 wah wah; Boomerang Phrase Sampler;
Shin-Ei Uni-Vibe chorus; Hughes & Kettner Tube Factor
distortion; (2) Ibanez TS9 distortion (Analogman mod);
Custom Audio Electronics Super Tremolo; Alesis MicroVerb reverb; Ibanez DM-2000 digital delay; TC Electronics
D-Two Tap digital delay; Victoria Reverbrato tremolo;
MXR MC-401 line driver; (2) Custom Audio Electronics
4X4 signal loops; Ross Compressor
AMP Bogner Shiva 60-watt amp head

CABINET Tone Tubby Purple Haze 12-inch speakers
TREY ANASTASIO
OUT OF YOUR ELECTRIC GUITAR
LET THE
TC
WA H
electric
acoustic
Demo Video
g r a p h t e c h . c o m /g h o s t
MODULAR PICKUPS & PREAMPS
GUITAR WORLD
JANUARY 2016
69
THE COMPLETE AND

CONTROVERSIAL STORY
OF JOHN LENNONS
1962 GIBSON J-160E,
WHICH WENT MISSING
MORE THAN 50
YEARS AGO AND WAS
RECENTLY AUCTIONED
FOR $2,400,000.
By Greg Evans
P HOT OS B Y
K EVIN S C A NLON
N A PUBLICITY PHOTO STAGED

at Liverpools Rushworths
Music House probably
during October 1962
for the English music publication Mersey
Beat, a just-about-famous John Lennon
and George Harrison, their recent moptop hairstyles more planned than realized,
are handed the first of what would be
untold new bounty headed their way: Two
gorgeous, seemingly identical Gibson
J-160E acoustic-electric guitars, Sunburst
spruce finishes, P-90 single-coil pickups.
Engineers at EMIs Abbey Road studios
had complained about the Beatles cheap,
buzzing, ramshackle gear, and here were
the upgrades, each priced at 161.05 (a
big $450 in 1962 money, $4,600 today),
specially (if mistakenly) ordered by the boys
four months earlier, and shipped by Gibson
Guitars in Chicago across the Atlantic.
George Harrison looks delighted, a little shy, a little embarrassed. John, not at
all. Unsmiling but not dour, his eyes in that
nearsighted, middle-distance gaze, he grips
the guitar with both hands, covering fully
half of the rosewood fingerboard, while
slightly positioning the instruments face
away from the photographer. This is mine,
he seems to be thinking. By the time of the
Mersey Beat photo, John would have been
playing the guitar for a month or so, and
though you cant tell by the photo, his hardstrumming rhythm might have already
started leaving the odd up/down scratches
on either side of the instruments sound
hole, tell-tale marks in the laminated finish that might as well have been one of Lennons signature caricatures.
The scratches are what piqued John
McCaws attention last year. The San Diego
contractor and determinedly amateur gui-
70
tarist had often wondered about the origins

of the Gibson J-160E he bought used from a
friend back in 1969. What you see today,
says McCaw, just-about-famous himself and
soon to be richer than hed ever imagined,
is exactly the way it looked the day I bought
it 46 years ago. All the little dents and nicks
and dings that you see were all there.
We can skip to the storys $2.4 million
payoff. From 1969 to 2015, John McCaw
owned the guitar that is without doubt the
Gibson that made its first appearance at
Abbey Road on September 11, 1962, just in
time for the Beatles seminal, postPete
Best recording session that produced Love
Me Do and PS I Love You, the guitar
on which Lennon would have composed,
with Paul McCartney, I Saw Her Standing
There, She Loves You, I Want to Hold
Your Hand and All My Loving, the guitar that was played by Lennon, strapped
high on his chest, throughout the first year

or so of Englands peak Beatlemania and
believed lost when roadie Mal Evans left
it behind after one of the bands legendary
1963 Christmas shows at the Finsbury Park
Astoria theater in London.
The guitar went up for auction in Beverly Hills on November 7, the centerpiece
of Juliens Auctions Icons and Idols: Rock
N Roll, sharing gavel time with the handpainted bass drumhead used during the
Beatles first Ed Sullivan Show appearance
($1.7 million), a pair of Lennons granny
glasses ($20,000) and the cardigan sweater
worn by Kurt Cobain for MTVs Unplugged
($110,000). The auction house estimated a
$600,000 to $800,000 sale for the guitar,
but a minute into the action one of the six or
seven serious bidders had taken the price to
$1 million, passing the 2013 $965,000 auction price of Bob Dylans Newport Stratocaster. By Minute 4, Lennons old guitar hit the $2 million mark, matching the
estimated amount Microsoft cofounder
Paul Allen paid for Jimi Hendrixs Woodstock Strat. Eighty-three seconds later the
deal was done, with the guitars anonymous new owner, known only as Bidder
#809, purchasing the J-160E for $2 million
and an additional $410,000 buyers premium, which goes to the auction house. The
Jumbo Gibson became the most expensive
guitar ever owned by a recording artist, and
fell just short of the $2.7 million raised in
2004 for victims of the Indian Ocean tsunami through the sale of a Strat signed by
16 rock stars including Jimmy Page, Keith
Richards, Mick Jagger, Jeff Beck, Eric Clapton and, of course, McCartney.
McCaw, a teenager when he saw 1964s
A Hard Days Night on the big screen, is
fully aware of the impact hes now made
on Beatles lore. He kept mostly quiet after
news of the auction broke early last summer. Some Beatles devotees, accustomed to
taking all things Fab very personally indeed,
had immediate and strong opinions about
the treasure. It was stolen! and Give it
to Sean or Julian! were mild versions of
the internet darts aimed McCaws way. I
always knew there would be people that
would have a bone to pick, he tells Guitar
World, but what Ive seen I was not prepared for. It just kind of floored me.
Soon enough, McCaw shied away from
answering reporters questions about the
guitar, the auction and particularly any
dealings hed had with Lennons widow
Yoko Ono. In October, he confirmed to Guitar World that Ono would, indeed, share
roughly half the profits from the sale, with
the entirety of her take going to the Spirit
Foundation, the charity she and Lennon
founded and known primarily for build-
John Lennons
original 1962
Gibson J-160E
guitarworld.com
71
ing schools in Africa and Asia. How Ono got

involved in the guitars history is being told
here for the first time.
cCAWS CHAPTER IN THE BIOGRAPHY OF

Lennons guitar is about to end,
closing a half-century on the
instruments transcontinental
rock and roll adventure that links
the heady nights of Londons Merseybeat
era with the pre-psychedelic country-rock
of Southern California. The sound of this
particular Gibson J-160E, serial number
73157, has been heard, its safe to assume, by
72
every reader of this article, and the instrument came within strumming distance of
British Invasion types like Billy J. Kramer
and the Dakotas, Tommy Quickly and the
Fourmost. Riding the wave of the British
Invasion it helped shape, the guitar crossed
the Atlanticagainbefore settling in the
welcoming environs that would soon give
rise to the Byrds, the Eagles and the Flying
Burrito Brothers.
There are still big, exasperating chunks
missing from the tale of the Gibson J-160E,
particularly the four-year span that, when
uncoveredand I believe when is more
likely than ifwill complete the history of

one of the most significant instruments in
Beatles history and, so, pop history, a guitar
that wouldnt have survived without every
caretaker who owned it, gifted it, lifted it
and made it sing. And it wouldnt have survived without San Diegos Blue Guitar Store.
San Diego was a very musical town, and
still is, says Mason Williams, the guitarist whose great hit, 1969s now-standard
Classical Gas, was only the visible tip of a
career that began in pre-Beatles Southern
California. When folk music hit, it became
a very big deal in San Diego, and every-
The Beatles circa 1963 (from left)

George Harrison, Paul McCartney
and John Lennon
(left) John McCaw with

John Lennons Gibson
J-160E; (right) Lennon
and Harrison receiving
their Gibson J-160E
acoustics at Rushworths
Music House in
Liverpool, circa 1962
body interested in folk, or any type of music

really, was coming to the Blue Guitar.
A stringed instrument store and repair
shop with a smallish performance space, the
Blue Guitar in the early Sixties catered to
bluegrass and flamenco enthusiasts devoted
to the care and preservation of all things
wood and string. Founded after the wife of
a furniture store owner kicked out the freeloading pickers whod begun congregating around that stores small selection of
imported Mexican acoustics, the Blue Guitar on Midway Drive in San Diegos funky
Old Town warehouse district became home
to the motley assortment of buddies whod

jam well past midnight. We didnt know
anything about business, says Ed Douglas, an ex-cop, bluegrass bass player and a
founding co-owner of the Blue Guitar. Now
85, Douglas remembers the lean early days,
after the shop opened in 1961. We only
opened the place so we could buy guitar
strings cheap. We picked most of the time,
and didnt really care about selling stuff.
Douglas and his two business partners
Yuris Zeltins, a 19-year-old Latvian refugee
whod built his first guitar at 16 and remains
one of San Diegos premiere luthiers today,
and Larry Murray, an Army man turned
dobro-playerturned a rundown baitand-tackle shop into the Blue Guitar, Old
Towns makeshift musical headquarters.
They seem to recall a fourth partner who
didnt stick around long, a would-be Kingston Trio guy, sniffs Zeltins, he himself handling repairs while Douglas watched over
the small retail stock of new and used gui-
tars and Murray joined everyone in the

stores never-ending bluegrass breakdowns.
In 1962, the gang, calling itself the Scottsville Squirrel BarkersDouglas, Murray,
a young guitarist named Gary Carr and his
banjo-playing pal Kenny Wertzrecorded a
low-budget bluegrass album for the Crown
label that would be released, renamed and
resold throughout the decade in supermarkets and drug-store bins, including a hilariously misleading repackaging by Crown in
a cash-in attempt during the Bonnie and
Clyde fad of the late Sixties.
The Barkers never saw a penny of it, of
course, and broke up inside a year or so. By
then, the Blue Guitars cliquish vibe had
changed, as the folk music boom hit San
Diegos coffeehouse circuit like a bomb. All
of a sudden, says Douglas, all these kids
in town are playing folk music, and theyre
all filtering into the Blue Guitar. The owners moved the shop to a larger, saloontype space down the road, a free-standing building with a parking lot to the left, an
apartment building on the right, and probably a few hookers in front, says Steve Neal,
then a young surfer and Blue Guitar regular whod bicycle every day from the beach
to the shop. Years later hed become a coowner, but then he was just a kid looking to
learn flamenco, and Zeltins was the man.
I was teaching flamenco, says Zeltins, still making repairs in his Seventies at
the San Diego guitar shop thats survived
decades and locations. We were kids, so a
lesson could last five hours.
In addition to his knowledge of flamenconone of his partners bluegrass and
guitarworld.com
73
country leanings for himZeltins handicraft was gaining the Blue Guitar a solid
West Coast reputation for first-rate repairs,
matched only by Lundbergs Fretted Instruments nine hours north in Berkeley. Acoustic players with serious ambitions were
arriving along with the neophyte coffeehouse folkies. Hoyt Axton, whose mom
wrote Heartbreak Hotel, was a Blue Guitar regular, having passed through San
Diegos Navy base before beginning his
own singer-songwriter career with 1963s
Greenback Dollar. So was Mason Williams, whod write Classical Gas after
moving to L.A. and writing music and comedy for TVs Glen Campbell and the Smothers Brothers. Campbell himself would drop
by from time to time, as did, within a few
years, Jackson Browne and David Lindley.
And before the Barkers broke up for
good in 63, they recruited two teenagers
whod begun hanging out at the Blue Guitar, a young mandolin player named Chris
Hillman and his buddy, a banjo picker and
guitarist named Bernie Leadon. Hillman, a
San Diego native, would soon light out for
Los Angeles, picking up the bass guitar as a
founding member of the Byrds before joining his friend Gram Parsons to form the Flying Burrito Brothers. Eventually the Burritos snapped up ex-Barkers Wertz and
Leadon, the latter lending musical support
for his pal Linda Ronstadt before teaming
up with Glenn Frey, Don Henley and Randy
Meisner as the Eagles.
The kids that were really quite good and
wanted to make a life out of music all went to
Los Angeles, says Douglas, who would head
to L.A. himself by decades end, doing a stint
in music management. Theyve all had their
fame, and they all came out of San Diego.
AL EVANS, THE BEATLES ROADIE, PAL,

occasional anvil player (Maxwells Silver Hammer) and procurer of all things licit and not,
would remember some rough
times during his early, lesson-learning years
on the road. Evans, shot to death by Los
Angeles police in 1976, is quoted in The Beatles Anthology about a particular low point
from the Christmas holidays of 1963: The
worst of all was at the Finsbury Empire in
London, he said, when I lost Johns guitar. Lennon would later tease Evans mercilessly about the Jumbo that the roadie had
left behind at Finsbury. Mal, you can have
your job back as soon as you find my guitar.
Though Lennon and Harrison increasingly used the Jumbos as backup stage guitars, their affection for the instruments
hadnt really dwindled since theyd taken
a liking to singer Tony Sheridans similar
Gibson during their Hamburg days. In fact,
74
as outlined in Andy Babiuks essential Beatles Gear, first published in 2002, Lennon
and Harrison had always mistakenly called
Sheridans big, archtop guitar a jumbo,
and so thats what they ordered at Rushworths in 62, picturing Sheridans Gibson ES-175. The boys were surprised four
months later when Rushworths handed
over two flattops that Gibson called Jumbo
electricsthe J and the E in J-160E.
At some point, quite possibly the day
they took possession of the guitars and most
likely inadvertently, Lennon and Harrison
swapped the instruments that Gibson had
assigned them. The guitar makers original shipping records, uncovered by Babiuk,
indicate that Lennon was sent (via Rush-
worths) the guitar bearing serial number

73161, while Harrison was assigned guitar
73157. The boys probably paid no notice, and
certainly wouldnt have stood in Rushworths
quibbling over digits while two new Gibsons
sat waiting. But however it happened, Lennon took the J-160E with the serial number
73157. Harrison grabbed 73161, later modifying its pickup placement and leaving eight
small holes near the bridge. It remains with
the Harrison Estate today.
After his Jumbo was left behind at the
Finsbury Park gig, Lennon would often
borrow Harrisons JumboJohns playing
it in the movie A Hard Days Nightmaybe
accounting for the up/down scratches
that mirror Johns instrument. But after
inspecting wood grains and pick-guard

patterns in old photos, Babiuk is convinced
that number 73157 is the guitar Lennon
used in the studio and in live performances
beginning with the September 11, 1962,
Love Me Do sessions.
This is the guitar, Babiuk says, that
really starts the whole Beatles thing as we
know it today. This is the guitar that John
Lennon personally took home, and there
are pictures of him and Paul at Pauls house
writing songs, and hes using this guitar. I
Saw Her Standing There, She Loves You,
I Want to Hold Your Hand, All My Loving, they were all written on this guitar.
Other songs written or recorded during this
period: Please Please Me, From Me to
You, P.S. I Love You and This Boy.

If you listen to the Beatles later stuff,
they use Martins and Gibsons with bigger
acoustic tones, explains Babiuk, who says
he had no financial stake in the recent auction. The earlier stuff has a more, for lack
of a better word, nasally sound. Mid-range,
very percussive and brightthe Beatles
sound we grew up with. The perfect way
to hear this guitar is just pop on This Boy.
Those first couple of chords you hear, thats
this guitar. Lennon liked the J-160Es
sound so much hed soon order a replacement, a 1964 sunburst model that hed later
have painted in psychedelic blue waves,
then sanded to a natural finish on which
hed draw the John & Yoko caricatures that
remain to this day, with Ono.

It was hanging on the wall at the Blue
Guitar and they said that it had been taken
in on a trade-in, says Tommy Pressley,
who in 1967 was a 21-year-old carpenters
apprentice from a guitar-playing family
that had fled the Oklahoma Dust Bowl for
the welcoming climes of San Diego. Pressley, a bluegrass picker himself, found a special haven in the Blue Guitar, working there
part-time building walls for lesson rooms,
workbenches for the repair area, and forging friendships with owners and coworkers
alike. Wed all just chip in as friends, creating this new place to hang out, says Pressley from his Bakersfield, California, home.
At 69, hes long since retired from carpentrya 1995 fall from a roof saw to thatbut
he still plays bluegrass when he can.
Back then, there were about five of
us, pickers that could build stuff, he says.
Craftsmen. Sometimes wed watch the
place if the owner was out of town. We all
trusted each other. Other Blue Guitar regulars, if they remember at all, seem to think
the Gibson J-160E came and went within a
day or two, but Pressley distinctly remembers the scratched-up acoustic-electric
hanging unsold on the repair-shop wall for
a few months. People would pick it up and
the sound was more thuddy than it should
have been, Pressley says. It wasnt very
loud because of the two-piece top, spruce
but with a plywood bottom layer that dulled
the resonance. And it was electric, which
the traditionalists just wouldnt have.
Ignored by a clientele that generally preferred the bigger acoustic sound of, say, a
Gibson J-50, the J-160E, with a thin tone
best suited for soundboards, tube amps and
car radios, found a buyer. I was just getting into electric guitars then, says Pressley, and I wanted it. It was banged up a bit
and they were going to fix it up, but I said
Id buy it just as it was. I dont try to make
things look new. I like old stuff.
He paid $175, a fair price in 67 for a
used 1962 Gibson with serious scratches
and a quarter-sized spot where a heavy
thumb or palm had worn through the
necks mahogany finish.
Pressley didnt keep the guitar for long.
In 1969, with a wife and young son to care
for, he moved his family to Lake Tahoe, and
needed some cash. Hed been teaching guitar to a childhood buddy, and offered to sell
his old pal the Gibson. Johnny McCaw
said, Ill buy it for the same price you paid
for it and you can buy it back anytime for
the same price, Pressley laughs. When he
first told me about John Lennon, I said, hey,
you remember our deal? We both started
laughing. Weve been friends way too long
to hold him to something like that.
guitarworld.com
75
76
John Lennon
rehearsing in 1963
P O P P E R F OTO/ G E T T Y I M A G E S
OHN MCCAW WAS DRAFTED INTO THE ARMY

in 1966, served a year in Vietnam
and, when discharged in 68,
returned home to San Diego, settling
onto his parents horse farm. I just
chilled out there for a bit, says McCaw
today, keeping his post-war state of mind to
himself. A good friend of mine named
Tommy Pressley got me into playing the
guitar and gave me a few lessons. I had a
cheap Yamaha Id been playing, but then I
bought the Gibson from Tommy.
Ive been an amateur guitar player for
47 years now, says McCaw, who has made
his living as a general contractor. Ive
never been in a band, I dont spend a lot of
time in guitar stores or anything like that.
The guitar he bought from Pressley in 1969
for $175 hung on the wall of every house
Ive lived in since I bought it. As the years
went by and I had kids, Id put the guitar
away for a while, maybe 15 years would go
by. There were more than a few years when
I played it very seldom.
The guitars story was blessedly uneventful during those years on a wall or under
a bed. Aside from an occasional polish
and new strings, the Gibson went unmolested, no new dents or dings, no additional
scratches, no electronic modifications.
About 20 years go, McCaw says, I took
it in for a set-up, and when I picked it up I
really noticed that the tuners were old, not
shiny anymore, a little rusty. I asked the guy
if there were any new tuners on the market and he said, I wouldnt touch this thing
for nothing. Leave it the way it is. That was
very good advice.
By 2003, McCaws son had taken an
interest in guitar lessons, putting McCaw
in touch with Marc Intravaia, a professional musician and instructor who owns
the nearby Sanctuary Art and Music Studio. Intravaia would drop by the McCaws
rural homestead, whether for a lesson or
one of the outdoor neighborhood concerts
that McCaw and his wife Cathy frequently
hosted, and his eyes would usually drift to
the vintage Gibson. This guitar would be
hanging on the wall, says Intravaia, and
Id go, Hey, can I strum that?
McCaw, too, had became increasingly
aware that his Gibson had long since passed
from merely old to vintage, and a web
search suggested he had maybe $5,000 or
$6,000 hanging on that wall. Other than
that, he knew nothing beyond the meager details that his lifelong chum Pressley
had shared back in 69. I saw A Hard Days
Night when I was a teenager, McCaw says,
so I always knew I had a Beatles-era guitar,
but in 2008 I really started doing my homework. I went on a quest to find out the exact
year the darn guitar was made. Emails to
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Gibson got him no closer than 196264.

They said their serial numbers were out of
whack in those days.
Valuable if not yet outrageously so, the
guitar occasionally subbed for the modest
Ibanez Artwood that typically accompanied McCaw to Intravaias friendly Tuesday-night jams of six or seven buddies.
I got up the nerve to do that, McCaw
says, still a little proud of besting the jitters common to amateurs young or otherwise. Wed pick an artist, Neil Young, Tom
Petty, and do four weeks of their songs.
When he wanted to treat his fellow Pot
Luck Players, hed bring the old Gibson
and pass it around for a few strums.
Last yearApril 15, Tax Day, to be exact
McCaw was at Intravaias studio when he
noticed a spring 2012 copy of Guitar Aficionado magazine with George Harrisons son
Dhani on the cover. Inside was a photo of
Georges 1962 Gibson J-160E. McCaw, figuring he might have found a key to dating
his own Jumbo, noticed the Harrison guitars serial number, 73161. I went, Holy
cow, mine is 73157. After all these years I
finally know that my guitar is a 1962.
Four months later, on August 21, 2014,
McCaw booked a private lesson with Intravaia. He came into my office with his old
Gibson and had a very serious look on his
face, wrote Intravaia in a journal he composed later. I asked him what he wanted to
work on and he said he didnt want a lesson.
He told me he had a hunch
After briefing Intravaia on his recent Beatles research, McCaw presented his evidence. Magazine photos of Harrisons guitar showed scratch patterns nearly identical to those on Lennons guitar, indicative,
McCaw wondered, of Lennons frequent
borrowing? Intravaia turned to his computer, logged onto YouTube and typed Beatles 1963. Up came a classic performance of
I Want to Hold Your Hand, Lennon and
Harrison both playing their Jumbos, Lennons strapped high on his chest as his right
hand scrapes up and down with precision.
At 30 seconds, Intravaia writes, I
noted that the studio lights are highlighting
one particular one-inch fishhook scratch
at around 11 oclock on the (face of the) guitar. McCaw also noticed the fishhook scar.
Whoa, he said. Ive got the same one.
The similarities mounted: dark triangular
marks near the sound hole, those up/down
scratches. Stoked, Intravaia and McCaw
dashed down the studio hall, sharing their
discovery with Intravaias business partner, a vocal coach named Eve Selis and her
visiting husband, who works for the video
archive company Reelin in the Years.
We were high-fiving and were very

excited, McCaw says. We brought Eve
and her husband to the computer and they
had the same feeling, like, Holy cow, it
looks like you got John Lennons guitar.
That kind of thing.
ROM THERE, THINGS HAPPENED QUICKLY.

A guitarist friend steered Intravaia
and McCaw to Beatles Gear author
and collector Babiuk, who examined the guitarwoodgrain,
scratches, the fingerprint-unique markings of the tortoiseshell pickguard and, of
course, the serial number (Babiuk owns
the actual 1962 Rushworths sales slip).
Within a couple of weeks, Babiuk had
authenticated McCaws J-160E as Lennons, and gained permission to include it
on the cover of an updated Beatles Gear
The Ultimate Edition, available now. The
revised cover puts the Jumbo in iconic
company: Harrisons fireglo 1963 Rickenbacker 12-string, McCartneys Hofner violin-shaped bass and Starrs Ludwig black
pearl drum kit.
Babiuk, whod recently authenticated
the Stratocaster played by Bob Dylan when
he went electric at the 1965 Newport Folk
Festival, provided McCaw with more than
just technical expertise. Andy told me
T E R RY O N E I L L / G E T T Y I M A G E S
The Beatles in the

early Sixties
78
there would be a lot of publicity, McCaw

says, and to be prepared for all that goes
along with that. Wary of random theft and
the Southern California wildfires that had
twice forced him and his wife to evacuate
their home (Grab the Gibson, hed told
her both times), McCaw placed the guitar
into a rented storage vault. It was at that
point that I realized I cant keep the guitar, he says. Its too big for me. Its not
going to fit in my house anymore.
Through Babiuk, McCaw contacted
Darren Julien, owner of Juliens Auctions
in Beverly Hills, who in turn introduced
McCaw to executives at the Grammy
Museum in Los Angeles. McCaw says
he wanted to give Beatles fans a chance
to see the guitar before he relinquished
his 46-year control at Novembers auction. After a going-away party for the guitar at Intravaias studio, McCaw sent the
Jumbo off for a brief early-summer visit to
a Grammy-curated Beatles exhibit at the
LBJ Presidential Library in Austin, and
then to the Los Angeles Grammy Museum,
where John Lennons guitar was displayed
alongside a black Fender Stratocaster
played (but not burned) by Jimi Hendrix at
the 1967 Monterey Pop Festival.
Before the museum tour, the Gibson
Jumbo made one more stop in its long
journey. In May, McCaw took the guitar
to the Carmel Del Mar Elementary School
in Carmel Valley, California, where Intravaias wife Paula teaches fourth grade.
Each student was allowed a strum and a
photo, and McCaw and Intravaia led the
class in a sing-along of Imagine.
UCTION HOUSE OWNER DARREN JULIEN

made one further, and significant,
introduction. Hed had prior professional dealings with Yoko Ono,
and he and McCaw were in agreement that a go-ahead from Ono would be
crucial to the smooth sale of Lennons old
Gibson. Its far more important for
Juliens Auctions to preserve relationships
in the industry than to sacrifice them for
financial gain, Julien says.
McCaw concurred. I felt that it would
be a good idea to contact her and let her
know that the guitar had been found,
rather than having her hear about it from
a third party or through the press or internet. Over a period of months last spring,
in discussions that McCaw and Julien say
were never less than amicable, McCaw
and Onos legal teamMcCaw never spoke
to Ono personallyarrived at an arrangement that calls for an approximate 50/50
split, with the exact percentages varying
slightly based on the final sale price.
While McCaw sees the arrangement
80
IT WAS
AT THAT
POINT THAT
I REALIZED
I CANT KEEP
THE GUITAR.
ITS TOO
BIG FOR ME.
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with the Spirit Foundation as a way of honoring Lennon and giving something back
to Beatles fansa wish and responsibility he says he hasnt taken lightly since
the earliest hours of his discoveryhes
not a nave man. A legal battle and endless
parsing of ownership issues (stolen property or finders keepers? Had all pertinent
statutes of limitations, either in London,
San Diego or both, expired?) would benefit no one but the lawyers, and Ono apparently agreed. If there are lawsuits, Julien
says, nobody wins. (Jonas Herbsman,
an attorney for Ono, referred all questions
about the guitar to Darren Julien.)
With the sale, McCaw exits the guitars
life. While Beatles fans might have preferred a museum or Hall of Fame for the
instruments new home, such a development was unlikely from the outset. Robert Santelli, the executive director of the
Grammy Museum in Los Angeles, where
the guitar was on display from July through
October, says, Music museums today simply dont have that kind of cash, that kind of
financial outlay to purchase these guitars.
Certainly the Grammy Museum doesnt
have an acquisition budget that could handle it. The hope is that someone who would
purchase a guitar like this and understand
its historic significance would share it with
the public, at least for a limited time.
While the guitars future is unknowable, perhaps its past isnt. How did John
Lennons Gibson J-160E, serial number
73157, make the trip from London 1963 to
San Diego 1967? Lets take Mal Evans at
his wordhe left the guitar behind at the
Finsbury Astoria in London, a venue that
hosted every British Invasion band (and
many others) throughout the decade. One
guitarist after another would have passed
through that backstage area in the days
and weeks after the Beatles played 1963 to
a close and welcomed 64. Billy J. Kramer
and the Dakotas shared the bill that holiday season, as did Tommy Quickly,
the Fourmost, Rolf Harris, the Barron
Knights, the late Cilla Black. Its hard to
imagine the guitar sitting around long
enough to see the Stones, the Beach Boys,
the Animals or the Dave Clarke Five come
through, but who knows?
Whoever picked it up might or might not
have known its origins, might or might not
have recognized the scratches or connected
the pickguards dots. Someone found a
banged-up Gibson, and treated it well for
four years, adding a new chapter but no significant scars. By the time the lucky or conniving guy passed through Southern California four years later, ready for an upgrade
or a make-over, hed know to head for that
store in San Diego that took trade-ins, did
PROUDLY MADE IN ENGLAND
82
expert repairs, and offered a decent collection of acoustic instruments. Theyd have
contacted Ed Douglas, says Mason Williams about the Blue Guitars cofounder, or
been referred to him.
It makes perfect sense to me, says Deke
Dickerson, vintage guitar chronicler and
author of the book series The Strat in the
Attic. The person who brought it to California probably knew it was Lennons,
but didnt know that all these years later it
would be so valuable. Or he had a theft to
influence his anonymity. Either through
ignorance or fear, whoever dropped off the
Gibson at the Blue Guitar walked away only
with what he thought was a better guitar.
Any money that exchanged hands, in either
direction, would have been minimal, certainly less than the $175 resale price that Ed
Douglas asked of his friend, the young carpenter Tommy Pressley.
That guitar didnt walk in here on its
own two legs, says Zeltins now, alternately
frustrated, bemused and resigned over a
mystery he cant solve. Talk to Ed, he says
finally, reminding that Ed Douglas typically
handled the shops retail and trade-in business while Zeltins was the repair guy. Ed
would be the key element.
But Douglas, now 84, doesnt remember either. I was in the guitar business a
long time, he says. Guitars got swapped,
stolen, other artists took them. They got
smashed up, broken up in car wrecks, lost
on airplanes. I probably had a lot of them
come through that I had no concept or idea
of who owned them or where they came
from. And if someone offered him John
Lennons guitar? I wouldnt remember,
he says, because I would have figured
they were just lying.
Who wouldnt? A guitar shipped from
Chicago to Liverpool, intended for one
Beatle but grabbed by another? Lost during one countrys Beatlemania only to surface during anothers newfound embrace of
an acoustic sound that would soon replace
rock on the national charts? A guitar that
landed in the hands of two men who, like
John Lennon and George Harrison, had
forged a school-days friendship in part over
a shared love of the instrument, but who,
unlike the Beatles, resisted psychedelic
make-overs and gear tinkering?
The guitar held by John Lennon as he
and Paul McCartney strummed the chords
that would become She Loves You and
I Want to Hold Your Hand has at least
one more tale to tell, and it might begin
with an email like the one Marc Intravaia
sent Andy Babiuk on August 22, 2014, that
began: Hi Andythis is a shot in the dark,
but a friend of mine owns a Gibson 160E
that he bought in 1969
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84
03
04
06
GUITAR WORLD ROUNDS UP

SIXTEEN OF THE HOTTEST ARTIST ERNIE BALL MUSIC MAN
MODEL GUITARS ON THE MARKET. ST. VINCENT SIGNATURE 06
Designed in close collaboration with Annie
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story), this guitar features an African mahogany body, full rosewood neck with St. Vincent inlays, three custom mini-humbucking pickups and five-way switch with custom
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07
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MSRP $1,899; MUSIC-MAN.COM

ESP GUITARS
GARY HOLT GH-600 07

The ESP LTD Guitars Signature Gary Holt
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the Slayer/Exodus guitarist and ESP Guitars.
The GH-600 features a mahogany body, setthru-neck construction, three-piece mahogany neck, 24 3/4-inch scale, ebony fingerboard with 22 extra jumbo frets, Grover Tuners, Floyd Rose tremolo, EMG 89R RED
(neck) and EMG 81 RED (bridge) pickups.
08
STREET PRICE $999; ESPGUITARS.COM

FENDER
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BONAMASSA LES PAUL
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JIMI HENDRIX
STRATOCASTER 08
The third Epiphone Signature Model from

modern blues legend and Grammy nominee, Joe Bonamassa, this guitar features a
one-of-a-kind Inverness green finish, Gibson
Burstbucker humbucker pickups, and a classic Bigsby B70 vibrato along with a Les Paulclassic Lifton style hard case.
With an otherworldly black-and-white

crop circles graphic gloss finish, the EVH
Circles model is one of the most distinctively eye-catching guitars in Edward Van
Halens Stripe Series. The guitar features a
sleek Strat-like basswood body, rock-solid
quartersawn maple neck with oiled finish, compound-radius maple fingerboard,
EVH direct-mount pickup, EVH Floyd Rose
bridge and locking nut and EVH tuners.
The Fender Jimi Hendrix Stratocaster offers

signature touches based on the legendary
guitarists distinctive flipped-over guitars. The guitar features a large Seventies
style reverse headstock, American Vintage
65 single-coil pickups including a reverseslant bridge pickup, 9 1/2-inch radius and
C-shaped maple neck with medium jumbo
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STREET PRICE $799; EPIPHONE.COM
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guitarworld.com
85
GRETSCH GUITARS
PATRICK STUMP SIGNATURE

STUMP-O-MATIC 09
Built to the exacting specs of the Fall Out Boy
singer/guitarist Patrick Stump, this guitar is
a tonally versatile solidbody model featuring
a set neck and string-through-body design,
three MegaTron humbucking pickups, TV
Jones-designed circuitry with two-position rotary switch for activating the middle
pickup, three-position pickup selector toggle
switch and two position pickup kill switch.
09
MSRP $999; GRETSCHGUITARS.COM
10
11
12
IBANEZ
JACKSON GUITARS
This Ibanez was designed in collaboration

with the Between the Buried and Me lead
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extreme down tuning and heavy, aggressive
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frets and the Prestige fret edge treatment to
ensure a smooth, professional feel.
Misha Mansoor of Peripherys Juggernaut

HT7 guitar is crafted with a distinctive body
shape inspired by the Jackson Dinky. The
guitar features a AAA quilt maple top on
trans-finish models, bolt-on quartersawn
maple neck, ebony fingerboard, 24 stainless
steel jumbo frets, Hipshot locking tuners
and hard-tail bridge, Bare Knuckle Juggernaut humbucking pickups and more.
The signature guitar of Born of Osiris guitarist Lee McKinney, the LPM7 features a
hard rock maple neck, ebony fingerboard,
mahogany body, 25.5-inch scale length neck
through construction, Kiesel Lithium humbuckers, a Hipshot bridge with acoustic saddles (with an optional Floyd Rose), and 19:1
ratio locking tuners.
LIST PRICE $3,599.99; IBANEZ.CO.JP
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86
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88
WASHBURN
N4 VINTAGE 16
The Washburn N4 Vintage is a faithful recreation of Nuno Bettencourts guitar of 25
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MAXWELL
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the gear
in review
GUITAR
WORLD
PLATINUM
AWARD
Great White
93
OR A N G E
Mi c ro D a rk
mi n i -a mp
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T A YLOR
6 1 2 E 1 2 -Fret
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E LE C T R OH A R MON I X
P it c h F o rk peda l
98
R E LI SH
Wa l n u t J a n e
el ec t ri c
100
IK MU LT I ME DI A
iRi g U A
a u dio in t erfa c e
100
SA LE MF U Z Z
P in k B ea rd peda l
EX
CELLENCE
GRETSCH G6136T-LTV WHITE FALCON

By Chris Gill
THE GRETSCH WHITE Falcon was designed primarily
by Jimmie Webster, a jazz guitarist who worked closely

with Gretsch during the Fifties. Introduced in 1954, the
guitar was initially supposed to be a concept model that
was described as a dream guitar of the future. However,
dealer demand for the model was so high that the White
Falcon went into production a few months later in 1955.
Originally designed to appease the sophisticated
tastes of jazz players and promoted as the Cadillac
of guitars, the White Falcon also attracted a small
but dedicated legion of hillbilly hipsters and country cool cats during the Fifties. However, a number of high-profile rockers like Neil Young, Stephen Stills, Sylvain Sylvain (with the New York
Dolls), Billy Duffy, and James Hetfield made
the White Falcon into a lusted-after rock and
roll machine during the Seventies and beyond.
I even fondly remember seeing Malcolm Young
grappling with a huge White Falcon during a lateSeventies AC/DC concert.
Today Gretsch offers a dozen Falcon models,
including versions with black or green finishes. Each is
cool in its own way, but my personal favorite is the new
G6136T-LTV White Falcon. Based upon the late Fifties
version, the G6136T-LTV includes a few modern updates that
makes it possibly the best White Falcon ever.
guitarworld.com
91
SOUNDCHECK
For video of this review, go to

GuitarWorld.com/Jan2016
CHEAT
SHEET
LIST PRICE $5,399
MANUFACTURER Gretsch
Guitars, gretschguitars.com
FEATURES The White Falcon has always been a

big, bruising beast of a guitar, and the G6136T-LTV
is no exception. It has the same classic design featuresa massive 17-inch body, 2 3/4inch body
depth, 25 1/2inch scale, maple neck, and laminated body construction that make it both big and
somewhat heavy. The cosmetics come from the
coveted 195860 era and include an ebony fingerboard with Neo-Classic thumbnail inlays, gold
sparkle and multi-layer black and white binding, a
square model ID plate on the headstock, horizontal gold sparkle Gretsch headstock logo, jeweled
arrow control knobs, oversized bound f-holes, a
V-cutout gold-plated Bigsby B6G vibrato, floating
gold plexi pickguard with engraved falcon (actually an eagle) motif, aged white nitrocellulose lacquer finish, and gold-plated Grover Imperial tuners with stairstep buttons.
New improvements include an Adjusto-Matic
bridge that is pinned into place and a pair of TV
Jones TV Classic humbucking pickups, which are
based on the highly desirable PAF FilterTron pickups of the late Fifties. While the G6136T-LTV provides the same three-position pickup selector
switch, individual volume controls for each pickup,
and master volume control, the circuitry of the threeposition tone switch is a little more user friendly
than the vintage version, which basically offered
one usable setting and two settings of ponderous
mud. The 22 medium-jumbo frets are also a better
match for the preferences of modern guitarists.
92
PERFORMANCE With the exception of the
Duo-Jet, I think that the White Falcon is

Gretschs most rocking guitar designnot just
for how it looks but, more importantly, for how
it sounds. With a longer scale than other Gretsch
models, the White Falcon delivers much tighter
bass and a distinctive percussive twang that
transforms into a delicious crunch with overdrive and distortion. The TV Classic pickups
have a tasty midrange honk and relatively low
output, which maintains clarity, attack, and
note-to-note definition now matter how high
the gain. The end result is one of the best rock
rhythm guitar sounds youll ever hearno wonder Malcolm Young rocked the White Falcon as
well as his trusty Jet Firebird. This bird growls
more than it twangs, and the harder you push it
the sharper its teeth and bite become.
Most Gretsch production models, including this one, are made in Japan, and frankly the
construction and attention to detail puts even
the most beloved original vintage examples to
shame. The guitar feels very solid in the hands,
and the playability is simply sublime thanks to
the shallow C-shaped profile. The nitrocellulose lacquer finish is lightly applied so the top
vibrates responsively, but not too much, which
helps keep feedback under control when amplified. Its unplugged tone is already bold and
assertive, and those qualities only get better
when you plug it in and let er rip.
A pair of TV Jones TV Classic humbucking pickups

provides the coveted tones
and performance of lateFifties PAF FilterTrons.
Modern upgrades include
a pinned Adjusto-Matic
bridge that stays in place
when the strings are
removed and mediumjumbo frets.
The 25 1/2inch scale
delivers tighter bass and
more aggressive twang
than other Gretsch hollowbody models.
Cosmetics come from the
195860 era White Falcon and include Neo Classic
thumbnail inlays, jeweled
arrow controls knobs, and
oversized bound f-holes.
THE BOTTOM LINE

With its just-right balance of
classic aesthetics and modern upgrades, the Gretsch
G6136T-LTV is by far the
best White Falcon model
that the company currently
offers, particularly for rockminded players.

Giant Killer
GUITAR
WORLD
GOLD
AWARD
P
ER
FORMANC
ORANGE MICRO DARK By Ch ris G ill
ORANGE BECAME A leading force in
the mini amp phenomenon when they

introduced the worlds first lunchbox amp, the Tiny Terror head, about
nine years ago. Since then Orange has
introduced a wide range of similarsized Terror amps as well as the even
smaller Micro Terror head, which made
its debut about three years ago. Now
Orange has expanded its Micro series as
well with the intro of the Micro Dark,
which has the same diminutive snackbox dimensions of the Micro Terror but
is voiced with a different EQ circuit and
even higher amounts of gain for richly
saturated distortion thats perfect for
modern metal tones.
FEATURES The Micro Dark quite pos-
sibly is the worlds only bona fide metal

amp that can fit inside a guitar case.
CHEAT
SHEET
LIST PRICE $199

MANUFACTURER
Orange Amplification,
orangeamps.com
But although its outrageously tiny, its

packed with features that include volume, gain, and shape controls, a 1/4-inch
headphone output, speaker output (minimum 8-ohm load), and, most surprising
of all, an effect loop. Like its predecessor, the Micro Dark has a preamp driven
by a single 12AX7 tube and a 20-watt
solid-state power amplifier that pumps
out impressively loud volume levels. The
amp is very light (perhaps two pounds
max) but it is very solidly built, housed in
a metal enclosure that can probably take
more abuse than your dad during an IRS
audit conducted by Whitey Bulger.
PERFORMANCE When you plug into
the Micro Dark and behold its absolutely

mammoth bass thump and harmonically
rich grind, its nearly impossible to believe
your eyes and ears. Many amps much big-
A 20-watt solidstate power amp and

12AX7-driven preamp
delivers massive
amounts of gain at
surprisingly loud
volume levels.
ger than the Micro Dark only wish they

could sound as heavy and menacing. The
shape control produces a variety of tones
by sweeping across a wide midrange sweet
spot that can also enhance treble and bass
as desired. While the amp is capable of
producing clean tones that are quite sweet,
its real strength lies in generating hotrodded classic rock distortion and facemelting modern metal grind. It may only
be able to produce one tone at a time, but
a surprisingly wide variety of awesome
tones can be summoned with a few tweaks
of the gain and shape controls. The effect
loop enables guitarists to patch a studio
multi-effects unit, reverb, delay, or modulation pedal in between the preamp and
power amp sections to produce truly professional-quality tones with low noise and
impressive definition and articulation that
sound particularly huge when recorded.
An effect loop allows

guitarists to patch a studio
multi-effects rack, reverb
unit, or delay or modulation pedals between the
amps preamp and power
amp sections.
THE BOTTOM LINE

The Orange Micro Dark is
a surprisingly versatile and
powerful secret weapon
for metal guitarists who
love highly saturated grind
but are tired of grinding
their spinal discs lifting
heavy equipment.
guitarworld.com
93
SOUNDCHECK
Short and Sweet
GUITAR
WORLD
PLATINUM
AWARD
EX
CELLENC
TAYLOR 612E 12-FRET By Ch ris G ill
THE GREAT MASTER pin-up artist Alberto Vargas allegedly preferred to work with models of short
and small stature, as he thought that their proportions
looked more voluptuous, full, and balanced than those
of bigger, taller women. I happen to feel the same way,
not just when it comes to pin-up girls, but also guitars.
My favorite guitars for playing fingerstyle, or anytime
when I want full, balanced, andyesvoluptuous tone,
are small-body instruments with 12-fret necks.
Taylors Grand Concert models are their
smallest full-size guitars, and it just so happens that a few Grand Concert models are
also the only Taylor guitars that the company builds with 12-fret necks. The new Taylor 612e 12-Fret model benefits from design
details that master luthier Andy Powers
developed when he recently revoiced Taylors entire 600 Series and dramatically
changed the way guitarists view maplebody acoustic guitars. Powers made so many
refinements to the 600 Series and this new
12-fret version of the 612 that it could be con-
94
sidered an entirely different instrument than

any previous Taylor 612 guitar model.
FEATURES The Taylor 612e 12-Fret provides a nice balance of classic and modern features. The slotted headstock, large
round soundhole centered just above the
slimmest curves of the guitars waist, 24
7/8inch scale length, and bridge placement near the center of the lower bout
section are all characteristics common to
many classic 12-fret flattop guitars. Taylor
also adds modern flourishes with the
built-in Expression System 2 pickup and

electronics. I also cant think of many
12-fret small-body guitars with maple
back and sides, which puts the 612e into
a class all its own.
The materials used for the construction
are stunning. The Sitka spruce top is torrefied (a heat treatment that essentially
pre-ages the top) to provide optimum resonance and stable performance from day
one. The back and sides are gorgeously figured maple that is given a rich, brown luster thanks to its Brown Sugar stain, and
the neck is made from hard rock maple to
provide enhanced strength and stability.
The body has Taylors ultra-thin 3.5-mil
gloss finish, which provides responsiveness similar to raw wood while still protecting the wood. The fretboard and headstock backstrap are ebony, and both feature
Taylors ivoroid wing inlays.
PERFORMANCE While the Taylor 612e
12-Fret delivers all of the tonal benefits of a

small-body, 12-fret flattop, such as exceptional balance across its entire frequency
range, crisp note-to-note definition, and
sweet upper-midrange harmonic resonance,

Ernie Ball
POLYLOCK STRAP
CHEAT
SHEET
it also offers a few benefits that you wont
find anywhere else. The maple body, bridge
placement, and advanced performance bracing with relief rout allow this guitar to project with volume output comparable to much
larger guitars, and its midrange is surprisingly full and robust, with an assertive voice
that is perfect for recording as well as solo
fingerstyle performers who want their melodies to remain prominent. This is the most
sweet and melodious Taylor guitar Ive ever
played, and thanks to its absolutely perfect fretwork, medium-low action, and comfortable string tension it was a joy to play for
hours at a time.
Generally when a guitars natural acoustic tone is this sublime, its amplified tone
pales in comparison, but that is not the case
here thanks to the Expression System 2.
The pickups behind-the-saddle sensors are
more dynamically responsive than typical
under-saddle piezo pickups, providing natural warmth and attack with no harsh overtones. I kept the tone controls dialed to the
center (flat) setting as the pickup and preamp
did such a good job of capturing the 612es
natural acoustic tone that further adjustment
really wasnt necessary.
The Ernie Ball PolyLock Strap Locking

strap features a patent pending design
that makes it easy to securely attach
the strap to your electric guitar or bass,
without the need for modification or bulky
hardware. The PolyLock Strap simply
fastens to the existing strap buttons on
virtually any electric guitar or bass.
MSRP $24.99
ernieball.com
LIST PRICE $4,398

MANUFACTURER
Taylor Guitars,
taylorguitars.com
The 12-fret neck, bridge placement, slotted headstock, large
soundhole, and advanced performance bracing deliver balanced response across the
entire frequency range.
The built-in Expression
System 2 pickup and electronics produce warm, naturalsounding tone.
THE BOTTOM LINE

Offering the perfect balance of
classic tone and modern performance, the Taylor 612e
12-Fret offers discriminating fingerstyle players a highly
refined instrument that performs equally well in the studio
and on stage.
EVH
5150III 15W LBX

The EVH 5150III 15W LBX is an easy-tocarry lunchbox head packaged with
tons of massive tone and crunch. The
LBX features five JJ ECC83S (12AX7)
and two JJ EL84 tubes, two flexible and
footswitchable channels; the famous
EVH Blue Crunch and Red Full Burn,
combined with low/mid/high/presence
tone controls, a global resonance knob
and a 1/4-inch power switch that make
it easy to dial-in everything from subtle
overdrive tones to the roaring Variacless brown sound.
MSRP $965.50
evhgear.com
guitarworld.com
95
SOUNDCHECK

Pitch Perfect
GUITAR
WORLD
GOLD
AWARD
P
ER
FORMANC
ELECTRO-HARMONIX PITCH FORK By Ch ris G ill
THE NAME PITCH FORK suggests that

this new Electro-Harmonix pedal is a tuner,
but EHX fans who prefer the companys
more creative creations over their more
functional accessories will be happy to
know that the Pitch Fork is actually a very
versatile polyphonic pitch shifter/harmony
pedal. Although the Pitch Fork has an almost minimalist designits the same compact size as a Phase 90 and its control panel
has only two knobs and two switchesthe
pedal delivers a wide variety of sophisticated effects. With its ability to transpose pitch
over a three-octave up and down range, the
Pitch Fork can generate effects that include
subtle detuned chorus, tasteful harmonies,
bass and 12-string emulations, and mutant
textures from outer space.
FEATURES Controls consist of a Blend

knob for adjusting the mix of the effect any-
CHEAT
SHEET
96
LIST PRICE $211

MANUFACTURER
Electro-Harmonix,
ehx.com
where between 100 percent dry and 100

percent wet and a Shift knob with 11 settings: detune, minor 2nd, major 2nd, major
3rd, perfect 4th, perfect 5th, major 6th,
minor 7th, 1 octave, 2 octave, and 3 octave.
A mini Mode toggle switch provides pitch
shift up only, pitch shift down only, or a
dual setting the combines pitch shift up
and down simultaneously. A Latch button
affects how the footswitch and an optional
expression pedal connected to the pedals Exp jack perform. When Latch is on,
the pitch shifting effect stays on when the
footswitch is engaged and released and
the expression pedal continuously varies pitch. When Latch is off, the footswitch
only engages the pitch shifting effect as
long as the footswitch is held down and the
expression pedal can the glissando rate (the
amount of time to go from normal pitch to
the selected pitch) from 4ms to 2 seconds.
The Shift knobs 11 settings provide everything

from detuned chorus
effects to three-octave
up and down polyphonic
pitch shifting with synthlike textures.
The Pitch Fork has a high-quality buffered

bypass circuit and operates with a 9-volt battery or the included 9.6-volt/200mA
DC adaptor.
PERFORMANCE The two most important
features of a pitch shift effect are how well it

tracks and how good the pitch shifted signals
sound. The Pitch Forks performance for
both is stellar, delivering perfect, glitch-free
tracking with instant, latency-free attack and
pitch shifting effects that sound like natural
guitar tone instead of electronic processing
except at the most extreme octave settings
where the processed sound exhibits a synthlike quality. Even complex, unusual chords
dont trip up the pitch shifter. To get the
most out of the 2- and 3-octave down effects
youll need to plug into a bass amp or use a
full-range sound system as most guitar amps
and speakers just cant go that low.
An optional expression
pedal can be connected
to the Pitch Fork to
continuously vary pitch or
the effects glissando time.
THE BOTTOM LINE

Discriminating pros will love the
Electro-Harmonix Pitch Forks versatile pitch shift/harmony pedal
effects, stellar sound quality and
instant, accurate tracking, but
thanks to its compact size, easy-touse operation, and affordable price
its ideal for anyone.
AND
THE BFGs
PERFECTAMUNDO
The debut album from the
famed ZZ TOP frontman and
Rock and Roll Hall of Fame inductee.
Includes the new single
Treat Her Right
NOW ON TOUR!
billygibbons.com
SOUNDCHECK

Not-So-Plain Jane
RELISH WALNUT JANE By Chris Gill
ORE THAN SEVEN decades

ago when inventors were developing the first solidbody electric guitar designs, the goal was to isolate
the vibrating string as the sole source of
tone. Over the years, guitarists and builders
soon realized that great tone was influenced by numerous other elements such
as body and neck resonance. The Relish
Jane is an innovative new design that combines the best features of solidbody, hollowbody, semi-hollow, and chambered
guitars to provide an ideal combination
of resonance, sustain, attack, feedback
resistance, dynamic responsiveness, and
aggressive tone. Instead of rehashing old
ideas, the Relish Jane offers guitarists a
totally new and revolutionary design.
FEATURES The Relish Walnut Jane
is a hybrid instrument in every sense

of the word. The body is comprised
of an arched top and back made
from pressed-walnut veneer, held
together by a continuous band of
aluminum thats just less than oneinch wide and about 1/4-inch thick.
As a result, the body is completely
hollow, but the neck and bridge are
held in place by a semi-hollow-style
aluminum block that runs down the
center of the body. The center block and
body edges are made from a single, contin-
CHEAT
SHEET
98
LIST PRICE $5,243

MANUFACTURER
Relish Guitars,
relishguitars.com
An aluminum core
surrounds the outer edges
and provides a continuous
center block to provide
exceptional resonance,
sustain, and responsive
dynamics.
uous piece of aluminum to form the guitars tonal core. The maple neck is bolted
to the aluminum center block and features
a bamboo fretboard with 24 medium frets
and a 25.6-inch (650mm) scale.
Electronics consist of a Good Tone Mr.
Brown (bridge) and Classic PAF (neck)
humbuckers, master volume and tone
controls, and a pair of illuminated touch
switches for engaging the pickups individually. The back cover is held in place by powerful magnets but pops off easily when a
pick is inserted in the access groove, providing unrestricted access to the electronics
and nine-volt battery for the switching system. Hardware includes Schaller M6 Mini
tuners and a Hipshot Hardtail bridge.
PERFORMANCE The Relish Walnut Jane
has its own distinctive voice that, like its

design, combines the best attributes of solidbody, semi-hollow, and hollowbody electrics. The guitar responds impressively to
playing dynamics. I could go from Tele-like
twang to fat jazzbox honk just by varying
how I attacked the strings. The treble is brilliant but not harsh, particularly when using
the Mr. Brown bridge pickup (which lives
up to the tone its name suggests). The Janes
design may seem simple, but a rainbow of
tones is readily accessible. The guitars ergonomic design and light weight also make it
enticingly comfortable to play.
The Good Tone

pickups are wired using
RAF connectors, which
allows users to swap
pickups in minutes
without soldering or
removing the strings.
THE BOTTOM LINE

The Relish Walnut Jane may have
very plain and simple-looking
aesthetics, but its revolutionary
design provides a satisfying rainbow of tones that combines the
best of hollow, semi-hollow, and
solid body guitars.
SOUNDCHECK

Buzz Bin
SalemFuzz
Pink Beard
One For All
GUITAR
WORLD
GOLD
AWARD
P
ER
FORMANC
IK MULTIMEDIA IRIG UA By Chris Gill
THE FACT THAT Android smart phones

and tablets arent limited to just one manufacturer like Apple iOS devices are has been
both a blessing and a curse. The good aspect
is that Android devices offer consumers a
wider variety of products to choose from;
the bad part is that many Android apps and
accessories arent always compatible with
all Android devices. IK Multimedias new
iRig UA solves that dilemma once and literally for all by offering Android-based mobile
musicians an audio interface and digital
guitar effects processor that works with any
smart phone or tablet with Android 4.2 or
higher and host mode/USB OTG.
FEATURES Besides its compatibility with

any Android device, what sets apart iRig
UA from previous iRig products is its builtin digital signal processor, which eliminates the latency problems previously associated with Android devices. The built-in
32-bit DSP powers the included companion
app, AmpliTube UA, to provide near-zero
latency effects processing and professional-
CHEAT
SHEET
100
LIST PRICE $99.99

MANUFACTURER
IK Multimedia,
ikmultimedia.com
quality effects thanks to its 24-bit converter

and 44.1/48kHz sample rates. The interface
also includes a high-definition, low-noise
preamp, 1/4-inch guitar input, 1/8-inch aux
input, 1/8-inch headphone output (with volume control), and a micro-USB output for
the included micro-USB to OTG cable or an
optional micro-USB to USB cable (for connecting the Android device to a Mac or PC).
PERFORMANCE AmpliTube UA is a
full-featured version of IK Multimedias

acclaimed AmpliTube mobile app, providing nine stomp box effects, five amplifiers,
five speaker cabinets, and two microphones
for creating entire virtual guitar or bass rigs.
As always, the sound quality and realism
of the virtual rigs is impressive, but equally
cool is how responsive and dynamic it feels
to play through AmpliTube UA due to its
exceptionally low latency time. Users can
also download additional amps, effects, and
cabs from the AmpliTube Custom Shop (25
gear credits are included with the package
but are for Mac/PC only).
THE BOTTOM LINE

Now users of any Android smart phone or
tablet can enjoy the full sonic performance and
portable virtual guitar rig benefits of IK
Multimedias acclaimed iRig interface and
AmpliTube app.
If you dig all things fuzzy, then

youre going to love the highly
collectible SalemFuzz Pink Beard.
The pedal is part of the SalemFuzz
Project, which is an inspired
collaboration between Rick Sell of
PureSalem Guitars and Brian Nelson of
323 Effects, where the pair will release
limited runs of stylish and unique fuzz
stompboxes. The Pink Beard is one of
two fuzz pedals in the series (the other is
the Honey Bunny) and comes in pink
powder-coated aluminum housing and
features premium components, true
bypass switching, white fluted knobs and
is limited to just 25 fuzz boxes.
The stylish Pink Beard is a highgain, growling fuzz with controls for
volume, tone, starve and fuzz, and a
three-position voice switch. The pedal is
smoothly voiced and very loud with the
toggle switch set dead center. Here, the
fuzz is beautifully round and harmonically
saturated, making notes sound bigger.
Setting the toggle to the right decreases
the volume but unleashes a furry upper
octave effect that is tempered by the
starve control, which cleverly affects
the voltage supplied to the fuzz circuit
and enhances the effect. With the toggle
switched to the left, the Pink Beard
starts to get gnarly by deftly sputtering
and stabbing notes towards the edge of
total breakup, which seriously makes this
pedal a whole lot of fun. Paul Riario
STREET PRICE $174
MANUFACTURER PureSalem Guitars,
puresalemguitars.com

JOIN THE MEISTER FAMILY
A NEW STANDARD IN LIVE AMPLIFICATION

Become one of more than 50,000 Meisters rocking stages all over the world!
After six years with

Hughes & Kettner, it came
as no surprise to me that
the TubeMeister would pack
such an amazing variety of
tonal possibilities in such
a lightweight, compact
model. It uses very little
space, but when in use,
its presence is definitely
known.
JEFF WATERS
JOSH RAND
Stone Sour
Annihilator
The GrandMeister 36 is the perfect amp for the

bedroom, the basement, the jam room, the club, the
theater, the hall, the arena and even the stadium.
The Hughes & Kettner TubeMeister 36 blew my mind when

I first heard it. It gives me all the tones I need to play with Alan
Parsons. From pristine clean to fat overdriven crunch, I can get any
sound at any volume. Its truly amazing!
ALASTAIR GREENE
Alan Parsons Live Project
PEREDUR AP GWYNEDD
Pendulum | Faithless | Anastacia
There is only one reason I play Hughes & Kettner. They

are the best. I dont think Ive ever played a better amp than the
GrandMeister 36.
TubeMeister 18
Hughes & Kettner is proudly distributed in the USA & Canada by Yorkville Sound.
www.yorkville.com
Hughes & Kettner Headquarters P.O. Box 1509 66595 St. Wendel, Germany
www.hughes-and-kettner.com
TubeMeister 36
GrandMeister 36
facebook.com/hughesandkettner
For video of this lesson, go to

by Tommy Emmanuel
SYNCHRONICITY
FIG.
1 1
FIGURE
Developing hand
independence, and more
on El Vaquero
LAST MONTH, I kicked off this series of

columns with a look at the Chet Atkins/
Wayne Moss masterpiece, El Vaquero,
which I covered on my latest release, Its
Never Too Late. Chet and Wayne cut it as
a two-guitar piece, but Ive arranged it for
one guitar, and it can be a bit of a tricky
challenge to cover both the melody line and
rhythm accompaniment simultaneously.
My arrangement, however, offers an effective study in left-/right-hand independence
and is fun to play too, so Id like to continue
sharing it with you in this months column.
Throughout the piece, I utilize standard Merle Travisstyle fingerpicking
technique: the bass notes, sounded on the
bottom three strings, are picked with the
thumb (I use a thumb pick), usually in an
alternating-bass fashion, and the notes
on the top three strings are picked with
either the index finger, middle finger or
both together. The general fingerpicking
approach, which I apply throughout 95
percent of the tune, is that the thumbpicked bass notes fall in a steady eighthnote rhythm (1 and 2 and 3 and 4 and),
while the melody line and chordal accents, sounded with the index and middle
fingers, fall on the eighth- and 16th-note
upbeats between the downbeats. Youll
find that many of the bars include 16th
notes, and in these instances the indexand middle-finger movement falls in the
spaces between the eighth notes.
Last month, we took a look at the verse
section of El Vaquero, so this month Id
like to explore the bridge. FIGURE 1 starts
off with the last two bars of the verse, to
serve as a point of reference; the bridge
itself begins at bar 3. Right here, the song
modulates from the key of A minor to A
major, and I begin the section by playing
alternating bars of A and E7. I embellish the
A chord by simply sliding down one fret to
Gs and then back to A; in the subsequent
bar, I play a chromatically ascending series
of 10th intervals, or 10ths, sounded on the G
and low E strings. The harmony of a 10th is
the same as that of a third, except the higher note is moved up one octave. I use 10ths
102
Am
0 1 0
3 1 0
1 0
0
E7
3
1
2
2
F 7
3
2
7
5
2 3 4
1
0
2 3 2
2
2
2
3 2
1 (1)
4 2
1 (1)
2
0
0
Bm
5
(2)
3 (3)
4
2
2
E6
1
1
E9
9
9
9
7 (7)
7 (7)
0
3
2
4
2
14
14
0
3
4
3
1
2
2
2 7
7
8
7
12
9
10
9
(12)
(9)
(10)
(9)
E( 9)
12
12
13
2
2
2
0
2
1
2
2
0
(0)
B7
3
4
C/G
13
2 1 2 3 2 1 2
2 1 2 4 2 1 2
2
2
2
2
0
0
0
0
E7
2
2
2
0 2 3 4
5 (5)
4 (4)
7 6 (6) 6
0
Am6
10
2
2
9 7
7
Am
9 (9) 8
7
E/G#
1
1
2
2
2
2
0
0
11
0
1
2
0
4
Am
1
2
0
3
0
4
0
2
1
4
here to reference E/Gs, which serves as a

good way to move back into the A chord.
In bar 5 of the bridge (bar 7 of FIGURE 1),
a relatively complex melody is played
over the Fs7 chord: keep your fret-hand
index finger barred across all six strings
throughout this bar, as doing so will facilitate moving between the melodic line and
the moving bass, all the while allowing
the notes to sustain into one another. This
is followed by a straight Bm chord at the
second fret, with the open high E string
allowed to ring on top of the chord (no
barring here).
Bm is followed by a transition to B7
(the two major chord, which may also
(1)
1
0
2
0
be thought of as the five of five), and

once again the index finger barres across
all six strings to facilitate the added melodic line. Notice the cool and somewhat
unusual E(f9) voicing in measure 11, fretted with a barre across the top four strings
at the ninth fret. In the last two bars of the
section, I play a chromatically descending
bass line that moves from A to Gs to G and
then back up, referencing the chord progression Am E/Gs C/G.
As you can see, there are many complex
areas of this tune, in terms of the melody
and required picking pattern, so study the
piece one bar at a time and slowly build up
the tempo.
Australian-born virtuoso fingerstyle guitarist Tommy Emmanuel is world

renowned for his brilliant acoustic performances, arrangements and
compositions. His latest studio album, Its Never Too Late, is available
through his website, tommyemmanuel.com, and iTunes.
A D A M G A S S O N / G U I TA R I S T
MAGAZINE VIA GETTY IMAGES
COLUMNS
EMMANUEL
DEXTERITY
HEA R MISHA MANSOOR ON

PERIPHERYS LAT EST RELE ASE ,
JUGGERNAUT ALPHA/OMEGA
jacksonguitars.com
Photo: Alex Wohleber
2015 JCMI. Jackson and the distinctive headstock designs commonly found on Jackson guitars are
registered trademarks of Jackson/Charvel Manufacturing, Inc. (JCMI). All rights reserved.
JUGGERNAUT HT6, LAGUNA BURST
JUGGERNAUT HT6, AMBER TIGER EYE
BULB HT7, MATTE BLACK
BULB HT7, MATTE BLUE FROST
Misha Mansoor, Periphery
GRAB THE NEW MISHA MANSOOR

SIGNAT URE
MODEL S AT AN AUTHORIZED JACKSO
N RETAILER OR
CHECK EM OUT ONL INE AT JACKSO
NGUITARS.COM
COLUMNS
HOLCOMB-MANIA

by Mark Holcomb
of Periphery
PERPETUAL
CHANGE
How to craft a long riff

with no repetition
FIG. 1
FIGURE
FIGURE 11
Drop-B
down
FIGURE
1 tuning,
Drop-B
down one
one whole
whole step
step (low
(low to
to high,
high, A
AG
GC
C FF A
A D)
D)
FIGURE
1musictuning,
All
soundsdown
one whole
step lower
than to
written.
Drop-B
tuning,
one whole
step (low
high, A G C F A D)
All
musictuning,
sounds one whole
step lower
than to
written.
N.C.
(B7add4)
Drop-B
one whole
step (low
high, A G C F A D)
All
music soundsdown
one whole
step lower
than written.
All (B7add4)
music sounds one whole step lower than written.
1N.C.
0
All (B7add4)
music sounds one whole step lower than written.
1N.C.
0 4
1N.C. (B7add4)
0
4 0 4
0
4
4 7
1
0 4
0
0
0
0
ONE SONGWRITING APPROACH we
occasionally take in Periphery is to come

up with long phrasessay, 16 bars long
in which nothing repeats. We refer to
these as run-on-sentence riffs. The idea
is to give the impression of repetitionI
would say 98 percent of all metal riffs are
built from repetitive figuresbut without
there actually being any repetition at all.
Writing this way is challenging, but it is
also a fun approach that offers a lot of
room for creativity.
A great example of a passage that demonstrates this concept is the second verse
of our song Graveless (Juggernaut:
Omega). Normally, we tune to drop-D
down a whole step (low to high: C G C F
A D), but for this song we use drop-B tuning down a whole step, what I call dropA tuning, for which the sixth string is
tuned down an additional step and a half,
to A, resulting in a tuning of, low to high,
A G C F A D. FIGURE 1 illustrates the
above mentioned riff, which ends in bar
17 on an E7no3 chord.
One of the hallmarks of our music is
that it sounds very angular and jagged,
which keeps things interesting for us
as musicians. We like those qualities in
other bands and players music, as that
jarring quality is something that appeals
to us. In addition to the fact that none
of the riffs in FIGURE 1 repeat, many of
the phrasing ideas go over the bar line,
meaning they resolve rhythmically in unusual and unexpected places.
Another element here is a technique I
described in previous columns, wherein
sections of the riff are based on chord
patterns that are broken down into individual notes. Across bars 1 and 2, I
outline a B7add4 chord by sounding both
the major third, Ds, and the fourth, E,
simultaneously. Two hits on the bottom
open two strings are followed by a slide
up the sixth string to Bf at the 13th fret,
after which I play Bf an octave higher followed by A on the sixth strings 12th fret.
Thats followed by a technique that I use
in many of my riffs, wherein I slide back
104
4
4
4
4
(7)
(7)
(7)
(7)
8
8
8
8
X
X
X
X
0
0
0
0
12
12
10
10
12
10
12
10
3
3
3
3
(12)
(12)
(10)
(10)
(12)
(10)
(12)
(10)
0
0
0
0
4
4
4
4
6
6
6
6
4 7 4
4 7 4
4 7
0
0
4
4
4
4
0
0
0
0
4 00
0
00
0
0
0
0
0
0
0
0
0
6
46
46
46
4
6
46
46
46
4
0
0
0
0
0
0
0
00
0
0
0
0
0
0
0
0
0
(0)
(0)
(0)
(0)
(0)
(0)
1
1
1
1
10
10
10 12 (12)
12 (12)
10 12 (12)
12 (12)
13
13
13
13
0
0
0
0
0
0
0
0
3
3
3
3
4
4
4
4
6
46
46
46
4
6
46
46
46
4
6
46
46
46
4
3
3
3
3
0
0
0
0
7
7
7
7
0
0 10
0 0 10 9
0
10 9
0 0 10 9
0
9
0
0 4 7
0 4 7
0 4 7
4 7
7
7 8 (8)
8
(8)
7
8 (8)
8 (8)
0
0
0
0
0 4
0 4 66
0 4 6
4
6
866
86
6
(10)
(10)
(10)
(10)
12
12
12
12
13
13
13
13
(13)
(13)
(13)
(13)
6
46
46
46
4
6
46
46
46
4
full
full
full
full
10
10
10
10 0
14
14
14 8
14 8
10
10
10
10
6
6
6
6
7
7
7
7
(6)
(6)
(6)
(6)
4
4
4
4
4 (4)(4)
4 (4)(4)
4 (4)(4)
4 (4)(4)
5
5
5
5
0
0
0
0
1
1
1
1
4
4
4
4
0
0
0
0
1
1
1
1
1
1
1
1
3
3
3
3
8 7
8 7 10
9 8 7 10
9
10
9 8 7 10
9
8
8
86
6
86
6
79
7
79
7
7
7
7
7 9 7
9
7
7
7 9
9
Gmaj7
Gmaj7
Gmaj7
9 (9) 11Gmaj7
11
9 (9) 11 11
0
down from high on the neck to where the

riff started, as I do in bar 4, after which
I continue on a similar but twisted path,
with different notes and harmonic relationships referenced.
One of the things I like about this tuning is that you can get octaves by simply
playing what would ordinarily be a rootfifth power-chord shape on the bottom
two strings in standard tuning: in bar 8, I
sound a Ds octave by fretting the fourth
(7)
(9)
(7)
(9)
(7)
(7)
9
11
9
11
9
9
09
11
098
11
89
08
9
8
0
0
8 0 10
8 10
8
8 0 10
8
8 10
8
8
(11) 11
(11)
(0) 11
0
(0)
09
(9) 11
(11)
(9)
(8) 11
(0)
098
(11)
(8)
(9) 809
(0)
(8)
(9) 89
(8) 8
3
3
3
3
0
0
0
0
11
11
0
09
11
098
11
89
08
9
8
3
3
3
3
0
0
0
0
0
0
0
0
3
3
3
3
3
3
3
3
4
4
42
2
42
2
0
0
0
0
5
5
5
5
1
4 1
4 1
4 1
4
(4)
(4)
(2)
(4)
(2)
(4)
(2)
(2)
5
5
53
3
53
3
5
5
53
3
53
3
E7no3
E7no3
E7no3
E7no3
7
70
7705
7705
0
75
5
fret on the sixth string in conjunction with

the sixth fret on the fifth string. Octaves
come back into play in bars 1215, fretted
this time in a conventional manner on the
fifth and third strings.
The phrase wraps up with a pair of
four-note chords, both of which include
the open fourth string: for Gmaj7, a high
major seventh, Fs, is sounded on the third
string, and for E7no3, the dominant seventh, D is fretted on the third string.
Mark Holcomb plays guitar in Periphery, whose latest pair of albums

Juggernaut: Alpha and Omega is out now.
F m
25
COLUMNS
6
4
STRING THEORY
5
6
5
4
11
CLASSIC
PIANO, PART 2
The remaining
hypnotic arpeggios in
Moonlight Sonata.
PICKING UP WHERE we left off last

month, heres the second half of my arrangement of Ludwig van Beethovens
Moonlight Sonata, specifically the first
movements left-hand piano part, beginning at bar 36. We continue with the quiet,
haunting interlude section that features a
chain of cascading diminished-seven and
minor arpeggios played over a low, ominous
pedal tone (a sustained or recurring note,
typically a bass note), followed by a modified restatement of the movements dramatic main theme and conclusion.
Again, the biggest challenge here, along
with not fudging any notes, is to try and allow
each arpeggio to ring as much as possible, as
if you were using a pianos sustain pedal. As
I mentioned previously, that goal is not 100
percent achievable, as you will, in a few spots,
need to let go of certain bass or arpeggio
notes in order to sound those that immediately follow, such as in bars 36, 38, 39, 47, 49,
50, 58, 63 and 64. Thats where using a rich
hall-reverb effect helps create some overlap.
And the added bass guitar, which youll hear
online, essentially doubles the built-in bass
line an octave lower and holds those notes
throughout, effectively covering the occasional bass-note dropouts in the guitar part.
Some important performance tips:

You can use either hybrid picking (pickand-fingers technique), which is my personal preference here because of the brighter
note attack, or straight fingerpicking, which
gives you a softer attack and also makes it
easier to not accidentally miss any notes, due
to the decreased movement and closer physical connection to the strings. Fingerpicking
also allows you to anchor your pinkie to the
pick guard more easily, which gives your
fingers a more stable base.
Use your left pinkie to play the first two
high notes in bar 36, hopping from the
high E strings eighth fret over to the seventh fret on the B string. This will enable
you to more easily continue holding the low
6
4
7 9
C m
7 9
11
11
11
4
11
7 9
C m/ G#
33
106
7 9
12
C m/ G#
29
By Jimmy Brown
D dim7F m/ C# G 7/ B#
6
C m/ G#
9
C dim7/ G#
9
11
11
12
14
11
12 9
F dim7 Gdim7 G 7 9
14 11 17 14
12
15
2 5
4
4
4 7
G 7 9
5
8
For6video of this
lesson,
4
7 4 go
7 to
5
5
6
6
7 4
7
7 GuitarWorld.com/Jan2016
7
6
4
G 7 9
18
17
6
5
4
4
7 4 10 7
10
11
FIG. 11 "Moonlight Sonata," 1st movement, accompaniment, bar 36 to the end

FIGURE
G 7 9
36 8
F m/ G#
4 7
G 7 9
4
1 21
G 7/ B#
43
1
3
B7(no3)
47
4
2
25
C m
51
6
4
55
6
4
2 5
2 5
C
6
4 7
F m6/ A
58
4
0
4 7
4 7
1
4
4
7
F m
6
4
6
4
6
8
C m
11
5
6
6
7
6
4
6
4
6
4
11
9
11
11
11
E/ B
1
2
7 9
6
4
1
4
E
5
4
7
G 7
6
4
4
4 7
Gs pedal tone and allow the notes that follow to ring together more.
Barre any notes falling at the same fret
within a chord, except for the following: the
Fsm6 in bar 41, the Gs7/Bs in bar 49, the Cs
in bars 51, 53 and 55, the Gssus4 in bar 58 and
the Csm in bar 64. These five chords are best
fretted with individual fingertips.
Be careful when making the quick changes
6
0
2 5
2 5
4 7
1
4
F m
G 7
D/ F#
6
4
F m
/A
6
7
6
4
Amaj7/ C# D dim7 G 7/ B# C m
2
4
2
6
1
3
1
4
C m
4
12 9
6
4
G 7 9
9
11
13
11
11
C m/ G#
6
4 7
E
4
C m
C m
1
B7
7
7
7 9
2 1
3
4
D dim/ G# F m/ G#
G
2
G 7 9
4 7
G 7/ B#
C m/ G#
2 4
1
2
F m
/A
4
6
C m
11
C m
8
64
B7/ D#
G 7/ B#
61
4
5
G 7/ D#C m
G sus4 F m6
6
F m6
F m
4 7
1 21
C m
25
F m
6
4
3
4
D/ G# F m/ G# G 7 9
39
3
4
14
13
11 14
13
11
12
10
12 9
C 5/ G#
6
7 4
4 0 4
4
4
6
6
4
4
6
6
4
4
in bar 57! The second chord, Dsdim7, requires

a stretch and an index-finger barre, so practice it enough times that youll see the notes
coming and physically anticipate the fingering. As a drill, loop bars 5658 repeatedly.
Next month, Ill present the arrangements wailing, David Gilmouresque lead
melody, which features big, soulful bends
and glorious, classic rockstyle vibratos.
To download Jimmy Browns Mastering Arpeggios 3 DVD and

othersas individual chapters or the complete discvisit
guitarworldlessons.com or download the official Guitar World
Lessons app in iTunes.
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for those about to...
COLUMNS
SHREDDING
WITH THE ALIEN

by Joe Satriani
FOUR DEGREES
OF SEPARATION
FIG. 1FIGURE 1
Building chords from

stacked fourths
IF SOMEONE HAD mentioned the term
stacked fourths to me years ago, I would

have had no idea what they were talking
about. But I later learned that it is really
quite simple and represents a cool approach
to constructing chords. In this lesson, Id
like to show you some interesting things you
can do with stacked fourths.
In music theory, every note in a chord
can be assigned an intervallic number.
Typically, were dealing with scales built
from five to eight notes, and each note is
given a number to represent its placement
within the given scale. For example, the
notes B, E and Gs create the sound of an E
major chord when played over an E bass
note, as shown in bar 1 of FIGURE 1. Now,
if I change the bass note to C, as in bar 2,
a very different chord results: Cmaj7s5.
Building chords that will stay within the
specific keyremaining diatonic to itis
just a matter of picking the notes from that
keys scale or mode and only using them as
chord tones. This is the manner by which a
harmonized scale can be built, as shown in
FIGURE 2, wherein I use only notes from
the E major scale (E Fs Gs A B Cs Ds) to
form a series of chords that are constructed
using stacks of thirds, fourths and fifths.
One can alternatively build, or voice,
chords from notes that are all four scale
degrees apart from one another, what are
known as fourths. Lets look at an example.
In FIGURE 3, the first chord is built from
the notes E, A, D and G, yielding Em7add4.
In this case, each note is a perfect fourth
above the one below it, meaning two and
one half steps, or semitones. If I stack perfect fourths across all six strings, starting
on the low E strings sixth fret, the result
is Efm7s5add4/Bf. Sounds like something
from the music of The Twilight Zone, right?
A cool way to explore this stackedfourths approach to voicing chords is to only
use notes from a specific mode, such as E
Dorian mode (E Fs G A B Cs D). In FIGURE
4, I ascend through stacked-fourths voicings on the top four strings while sustaining
the low E string as a pedal tone, for reference. Notice that, for the sake of staying
108
FIG. 2 2
FIGURE
Cmaj7 # 5
E
9
9
9
7
9
9
9
FIG.
4 4
FIGURE
FIG. 3 3
FIGURE
E F mG m A
0
0
1
2
2
0
7
7
8
9
9
7
2
2
2
4
4
2
4
4
4
6
6
4
5
5
6
7
7
5
Em7add4
3
E m7 # 5add4/ Bb
3
6
Em7add4
Esus2
Em6/ 9
Em13sus4
E7sus4
E6/ 9
3
3
2
2
0
5
5
4
4
7
7
6
5
9
8
7
7
10
10
9
9
12
12
11
11
Em 9/ 13 Em7add4
14
14
12
12
15
15
14
14
FIG.
5 5
FIGURE
(Em7)
17
17
16
16
15
15
14
14
12
12
11
11
10
10
9
9
14
14
12
12
9
8
7
7
7
7
6
5
5
5
4
4
3
3
2
2
(3)
(3)
(2)
(2)
FIG.
6
FIGURE
6
(Em7)
1
12 10
7
7
6
6
10
10
9
9
12
12
11
11
10
10
9
9
FIG.
7
FIGURE 7
1
4 (17)18
(17)16
(16)15
(16)15
(Em7)
3
3
2
2
5
5
4
4
17
17
16
16
15
15
14
14
9
8
7
7
14
14
12
12
12
12
11
11
(10)
(10)
(9)
(9)
10
10
10
9
9
12 10
12 10
11 9
11 9
8
9
8
7
7
within the confines of E Dorian, not all of

the fourths are perfect, with a couple of
them, namely G-Cs and Cs-G being whats
called an augmented fourth, also known as a
tritone, which is equal to three whole steps.
Within the scope of rock music, you might
need a wide artistic highway to incorporate these kinds of chords, but if the music
youre playing is experimental and open to
jazz influences, stacked fourths are great
to use when, for instance, youre playing a
7
7
7
6
5
6
5
5
4
4
4
(5)
(5)
(4)
(4)
0 5
12
12
11
11
14
14
12
12
15
15
14
14
17
17
16
16
3
3
2
2
rhythmic accompaniment over a static Em

vamp for 16 bars.
FIGURE 5 presents an improvised approach to using stacked-fourths voicings,
which would sound good over a jazz-bluesstyle bass line, like the one in FIGURE 6. In
FIGURE 7, I intertwine chords and bass line
to further illustrate this approach.
Once you get the hang of creating stackedfourths voicings, try doing the same thing with
other modes, such as Aeolian or Mixolydian.
Legendary guitarist and longtime Guitar World contributing columnist Joe

Satrianis latest album is Shockwave Supernova.
ad_replicator_7.25x4.875_GW_Layout 1 2015-09-10 3:48 PM Page 1
COLUMNS
ACOUSTIC
NATION

by Dale Turner
PIEDMONT
POWERHOUSE
FIG. 1 1
FIGURE
G(7)
The Ragtime-influenced
fingerpicking
of Rev. Gary Davis
AMERICAN ROOTS GUITAR master
(and blind Baptist preacher) Rev. Gary Davis (18961972) made his first recording in
1935 while living in the Piedmont region of
Durham, North Carolina; along with Blind
Boy Fuller and Bull City Red, their flavor
of ragtime infused bluesmixed with
country and popular song stylingsbecame
known as Piedmont Blues. Davis guitar
style in particular (influenced by Blind
Blake, Lonnie Johnson and Blind Willie
Johnson, along with jazz and gospel music) was characterized by an alternating
thumbed bass and high-string melody, both
parts picked simultaneously, a style resulting from trying to adapt piano-based ragtime music to guitar.
Davis moved to New York City in the
1940s, where he regularly played and sang
on the streets of Harlem (his Harlem Street
Singer album was released in 1960), and
eventually caught the attention of NYCs
burgeoning folk scene, alongside such artists as Woody Guthrie and Pete Seeger.
Davis became a huge influence on the early
Sixties folk revival, and many artists from
that scene, such as Peter, Paul and Mary,
Joan Baez and Bob Dylan, recorded his song
renditions (Samson and Delilah, Cocaine
Blues). Davis riveting guitar-vocal versions of Candy Man and Crucifixion, as
well as instrumentals like Soldiers Drill
and Slow Drag (Cincinnati Slow Drag),
inspired legions of fingerpickers, including
Ry Cooder, Jorma Kaukonen, Donovan, Taj
Mahal and Stefan Grossman. Lets examine
Davis showstopper Slow Drag (Cincinnati
Flow Rag), from his 1964 album The Guitar
& Banjo of Reverend Gary Davis.
Slow Drag is picked with the thumb
and index finger exclusively (Davis used
a thumbpick and fingerpick). FIGURE 1
illustrates a simplified version of Davis
main picking pattern, where the D and G
strings are alternately thumbpicked while
the index finger picks the top two strings,
simultaneously using an upward flicking
motion. FIGURE 2 shows Davis authentic
(more complex) pattern, which requires
110
All examples performed fingerstyle, w/thumb and index finger.

C
3
0
0
1
0
0
0
0
1
0
0
0
0
8
5
5
7
5
5
5
5
7
5
5
5
5
FIG. 2 2
FIGURE
G(7)
C
3
0
0
1
0
0
1
0
0 0
0
0 0
0
0
0
0
8
5 5
5
7
5
5
5
7
5 5
5
5 5
5
5
5
5
FIG. 3 3
FIGURE
G(7)
D7/ A
3
0
0
2
1
fret w/thumb
G7
1
0 0
0
0
0
0
FIGURE
FIG. 4 4
F
F dim7
3
2
1
1
3
0
3
2
1
0
2
3
fret w/thumb
A
C
5
4
8
5
X
5
6
7
0 2
D7
5
5 X
Gm/ Bb
2
0
1
1
1
Fm/ Ab
F/ A
3
3
3
0
1
1 1
8
7
an extra index-finger move; immediately

after each double-stop, pick upward on the
B string (on most upbeats) to dramatically
enhance the groove. In FIGURE 3, this
picking pattern is applied to open-position
G, D7, G7 and C shapes, similar to the songs
main theme. (Note the required thumb
fretting of G7 at the end of bar 2.) Jazzinfluenced single-note lines (picked with
the thumb and index finger in alternation)
punctuate the passage.
Throughout Slow Drag, Davis uses
many turnaroundsintricate riffs customarily played at the end of a repeating blues
form, signaling a return back to its begin-
2 3
0
1 1
3
1
0
2
3
C
7
6
8
5
fret w/thumb
G7
C
C/ G
1
1 1
0 1
G7
FIGURE
FIG. 5 5
C
3
0
3
1
0
2
3
C
1
0
2
3
ning. FIGURE 4 is modeled after one such

riff, comprising F, Fsdim7, C, A, D7 and G7
chords, requiring a new picking patterna
four-note motif wherein two thumbpicked
notes are followed by a pair of quick
index-finger flicks.
Well close this lesson with a tag (repeated ending), like Davis uses to bring
Slow Drag to a closea rag tag, if you
will. FIGURE 5 shows a new mix of openposition chords (C, Gm/Bf, F/A, Fm/Af,
C/G, G7 and C) supported by bass notes
moving mainly in half steps, the result of using inversions (chords with their third, fifth
or seventh in the bass).
To download Dale Turners Secrets of the Great Acoustic

Songwriters DVDas individual chapters or the complete
discvisit guitarworldlessons.com or download the official
Guitar World Lessons app in iTunes.
LESSONS
HAVING
ACOUSTIC ISSUES?
DONT FRET.
Theres a capo for that.
The Kyser Quick-Change.
Guaranteed for life.

www.kysermusical.com
KYSER MUSICAL PRODUCTS
MADE IN USA
COLUMNS

IN DEEP
by Andy Aledort
MAGIC HANDS
FIGURE
FIG. 1 1
fingerstyle
A (7)
Exploring the incredible

style of Chicago blues guitar
legend Magic Sam
MAGIC SAM MAGHETT was one of
the most talented and distinctive musicians
included in the pantheon of Chicago blues
guitar greats. He possessed a phenomenal
singing voice, wrote timeless blues classics
and was also a brilliant and much underappreciated guitarist. His 1967 release, West
Side Soul, is one of the most essential blues
recordings of all time, which was followed
by the equally impressive Black Magic.
Tragically, Sam would pass away just two
years later of a heart attack at the young age
of 32, not long after his breakthrough performance at the 1969 Ann Arbor Blues Festival (check online for some truly astounding
film footage from his performance).
The highlight of Magic Sams Ann Arbor
blues festival performance is his rendition of
Sams Boogie, a fast tune in A that features
a deceptive and wholly original main figure
that requires a very specific and somewhat
difficult-to-master pick-hand technique.
The song is played in a cut time (2/2) feel,
meaning that the most natural way to feel
the beat is as two half notes per bar, with
an implied, fast four-quarter-notes-per-bar
rhythm. The tune also has an underlying
eighth-note triplet feel, meaning that each
pair of eighth notes is played as if it were the
first and third notes of an eighth-note triplet.
For much of the main figure, Sam keeps
his index finger barred across the D, G and
B strings at the second fret, holding an A
triad shape, while both adding and subtracting other notes and infusing little melodic
patterns. In this way, the part emulates the
sound of an open tuning, and may in fact
have been influenced by the open-tuned
boogie music of John Lee Hooker.
Also essential to the proper performance
of the guitar parts is the use of fingerpicking. FIGURE 1 represents a line similar
to the opening melodic pattern, with the
open A string sounded by the pick-hand
thumb and the notes on the top three strings
sounded by the index finger.
FIGURE 2 brings to mind the tunes main
riff and is performed by quickly alternating
between the pick hands thumb and index
finger throughout. For much of the pattern,
the open A string alternates with the C note
112
(5)
7x
5 (5) 2
(5) 3
2
3
2
FIG.
2 2
FIGURE
fingerstyle
A (7)
2
0
2
0
2
0
5 (5) 2
2
0
2
0
2
0
2
0
1.
2
2
0
2
3
2
0
5 (5) 2
2
0
2.
2
0
5 (5) 2
2
0
(0)
(0)
FIG.
3 3
FIGURE
D7
8 5
7
0
8
7
0
(8) 5
(0) 0
A (7)
4x
7
2
0
2
0
2
0
2
3
2
0
5 (5) 2
2
0
2
3
2
0
2
0
2
3
2
2
0
2
2
0
FIG. 4 3
FIGURE
A (7)
1.
5 5
3 3
5
3
5
3
5
3
(5)
(3)
0 3
5 5
3 3
7
5
5
3
2
2
0
2.
(2)
(2)
(0)
0 3
(2)
(2)
(0)
5 3
3
2
(0)
(0)
FIG.
5 5
FIGURE
A (7)
2
0
2
3
2
0
1-2.
7
2
0
2
3
2
0
2
0
3.
A5
5 (5) 2
2
2
0
at the third fret, with the G note on the low E

strings third fret occasionally substituted for
the C note. A major factor in capturing the
desired sound and feel here is to palm mute
the strings throughout, with the goal of creating a washboard-like percussive sound.
In FIGURE 3, the part moves up to the
2
0
A7
3
2
2
2
0
5(5)2
2
0
D
2
3
2
0
2
3
2
0
A7 D A
3
2
2
2
0
2
3
2
0
2
2
2
0
15
four chord in the key of A, D7, before reverting back to the main figure. In FIGURE
4, a brief melodic interlude is performed
with octaves. The progression then wraps
up with FIGURE 5, a restatement of
FIGURE 2 that includes a dramatic I-IV-I
(one-four-one) ending.
To download instructional guitar DVDs by Andy Aledort

as individual chapters or complete discsvisit
guitarworldlessons.com or download the official Guitar
World Lessons app in iTunes.
LESSONS
Jon Foreman | Switchfoot
LIVE LOUD
ALl-new PRO center-block guitars
VISIT US AT gretschguitars.com for details

Photo: Jenna Garza
2015 Fender Musical Instruments Corporation. Gretsch and Bigsby are trademarks of Fred W. Gretsch Enterprises, Ltd. and used herein under license. All rights reserved.
TRANSCRIPTIONS
FROM THE PINNACLE TO THE PIT

Ghost
As heard on MELIORA
Words and Music by A GHOUL WRITER, INDIO MARCATO and KLAS AHLUND Transcribed by JEFF PERRIN
Gtrs. 1 and 3 are tuned down one whole step (low to high, D G C F A D), as is the Bass (low to high, D G C F).
Gtr. 2 is in drop-D standard tuning (low to high, D A D G B E).
Gtrs. 1 and 3 and the Bass sound one whole step lower than written. Gtr. 2 sounds as written.
Chords for Gtr. 1
A5
E5
A#5
Chords for Gtr. 2 (drop-D tuning)

G#5
E5
G5
D5
5fr
B5
14
14
12fr
114
A#5
C#5
D5
9fr
11
9fr
14
6fr
F#5
B5
5fr
14
D#5
F#5
D5
6fr
11fr
C5
A5
8fr
C5
7fr
11
E5
10fr
14fr
14
Intro (0:00)
Moderately q = 90
N.C.
Gtr. 1 (elec. w/dist., tuned down one whole step)

1
(play 3 times)
Gtr. 3
4
Gtr. 1
N.C.
Gtr. 2 (elec. w/dist., drop-D tuning)
Bass (w/overdriven tone, tuned down one whole step)

Bass Fig. 1
(0:10)
Gtr. 3 (elec. w/dist., tuned down one whole step)

3
19
18
18 17 17
16
19
Gtr. 1
17
18
17
19
E5
G#5
2
2
19
5
5
2
2
5
5
5
5
6
6
D5 G#5 D5 D#5 E5
19 16
19 19
20
20
20
14
6
6
6
6
0
0
1
1
2
2
G5 E5 G5
Rhy. Fig. 1a
2
2
12
15
14
15
G5 E5 G5
14
Rhy. Fig. 1
Gtr. 2
14
2
2
5
5
2
2
5
5
G#5
5
5
6
6
D5 G#5 D5 D#5
6
6
6
6
0
0
1
1
Bass plays Bass Fig. 1 four times (see bar 1)
114

WORDS AND MUSIC BY A GHOUL WRITER, INDIO MARCATO AND KLAS AHLUND
COPYRIGHT (C) 2015 BMG GOLD SONGS, PAPASTRELLO SONGS, KLAS AHLUND PUBLISHING
AB AND LATERAL MGMT. LONDON STOCKHOLM AB . ALL RIGHTS FOR BMG GOLD SONGS AND
PAPASTRELLO SONGS ADMINISTERED BY BMG RIGHTS MANAGEMENT (US) LLC . ALL RIGHTS
FOR KLAS AHLUND PUBLISHING AB AND LATERAL MGMT. LONDON STOCKHOLM AB ADMINISTERED BY KOBALT SONGS. MUSIC PUBLISHING . ALL RIGHTS RESERVED USED BY PERMISSION
REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION
Gtr. 1 plays Rhy. Fig. 1 (see bar 3)

Gtr. 2 plays Rhy. Fig. 1a (see bar 3)
Gtr. 3
5
16
16
19
18
19
18
17
17
17
18
17
N.C.
Gtr. 3
( 10)
( 10)
19
19
19
16
19
19
( 10)
10
1/2
10
20
G5
B5
5
5
9
9
Gtr. 2
Rhy. Fig. 2a
Bass
D5
C#5
B5
A#5
15
9
9
12
12
11
11
9
9
8
8
8
8
8
8
8
8
15
(pick scrape)
2
0
2
0
2
0
G5
9
9
14
E5
2
0
14
D5
5
5
5
5
5
5
0
0
Bass Fig. 2
0
20
A5
Gtr. 1
Rhy. Fig. 2
20
1st, 2nd and 3rd Verses (0:24, 0:50, 1:17)

have
1. You
wield
2. You
your
3. In
N.C.
Gtr. 2 plays Rhy Fig. 1a twice (see bar 3)
Gtr. 3 plays Fill 2 on 3rd Verse (see below)
the
the
empire
power
scepter
Gtr. 1

Substitute Bass Fill 1 on 3rd Verse (see below)
You
You
They
wear
wear
stare
the crown
the gown
and frown
from the pinnacle

from the pinnacle
from the pinnacle
1/2
10 10
2
0
2
0
2
0
2
0
Bass plays Bass Fig. 2 (see bar 7)
Fill 2 (1:17)
Gtr. 3
A5
Gtr. 2 plays Rhy Fig. 2a (see bar 7)
10 (repeat previous bar)
to the
to the
to the
E5
!
10
!
10
Bass Fill 1 (1:17, 2:48)
(play 4 times)
4 4 4 2 4 4 4 4 4 4 4
0 6 0 1
guitarworld.com
115
TRANSCRIPTIONS
1st, 2nd and 3rd Pre-choruses (0:37, 1:04, 1:30)

pit
It
N.C.
Gtr. 1
Rhy. Fig. 3
P.M.
13
P.M.
P.M.
4
0
P.M.
5
0
N.C.
P.M.
P.M.
2
0
8
6
8
6
G#5
Gtr. 2
Rhy. Fig. 3a
P.M.
P.M.
3
0
P.M.
4
0
P.M.
5
0
P.M.
5
0
8
6
P.M.
P.M.
6
6
6
6
P.M.
3
0
P.M.
2
0
3
0
6
6
Bass
4
15
E5
B5
9
9
9
9
2nd time, skip ahead to E Interlude (bar 18)

3rd time, skip ahead to F Chorus (bar 20)
down
N.C.
Gtr. 3 plays Fill 1, 2nd time (see bar 2)
G#5
P.M.
3
0
P.M.
A#5
N.C.
P.M.
2
0
way
P.M.
long
N.C.
P.M.
a
A#5
is
A5
D5
C#5
B5
A#5
9
9
12
12
11
11
9
9
8
8
8
8
8
8
8
8
E5
2
0
2
0
2
0
2
0
G5
D5
5
5
5
5
5
5
0
0
N.C.
Go back to
2nd Verse (bar 8)
Go back to
3rd Verse (bar 8)
Gtr. 1
16
Interlude (1:12)
N.C.
19
16
Gtr. 3
18
18
19
18
17
17
116
17
18
17
19
19
19
16
19
19
20
20
20
14
15
14
15
Chorus (1:38, 3:24)

You are
You are
D5
F#5
*Gtr. 3
Riff A
20
cast out from the heavens to the ground

cast out from the heavens to the ground
E5
B5
A5
9 5 2 9 5 2 9 5 2 9 5 2 9 5 2 9
5 0 9 5 0 9 5 0 7 5 0 7 5 0 7 5
Blackened
Blackened
D5
T
2 10 7 2 10 7 2 9
5 2 9 5 2 9 5 0
4 4 4 4 4 4 4 7
2 2 2 2 2 2 2 5
7
5
*Doubled by keyboard throughout.
Gtr. 1
C5
G5
P.M.
D5
A5
P.M.
5 5 5 5 5 5 5
3 3 3 3 3 3 3 2 2
2 2
2 2 2 2 2 2 2
0 0 0 0 0 0 0 2 2
0 0
E5
Gtr. 2
7 7 7 7 7 7 7
5 5 5 5 5 5 5 4 4
2 2
C5
P.M.
5 5 5 5 5 5 5 0 0
5 5 5 5 5 5 5 0 0
7 7 7 7 7 7 7 10 10
7 7 7 7 7 7 7 10 10
Bass
5 5 5 5 5 5 5
feathers
feathers
F#5
23
falling
falling
T
2 2
14
5 5 5 5 5 5 5 0 0
4 4 4 4 4
2 2 2 2 2
E5
P.M.
2 2 2 2 2
0 0 0 0 0
G5
(2:02, 3:48)
You
E5
T
9 5 2 9 5 2 9 5 0 9 5 0 9 5 0 7
P.M.
17
7 7 7 7 7 7 7 10 10
down
down
A5
12
2 2 2 2 2
2 2 2 2 2
5 5 5 5 5
5 5 5 5 5
2 2 2 2 2
5 5 5 5 5
5 0 7 5 0 7 5 0
2 2 2 2 2
0 0 0 0 0
D5
end Riff A
T
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
B5
T
4
2
4
7
2 0 2 5
2 9 5 2 9 5 2 9
P.M.
A5
10 7 2 10 7 2 10 7
4
2
will
D5
7
5
G5 A5 C5
7
7
7
7
7 5 7 10 10
7 5 7 10 10
7 5 7 10 10
10
guitarworld.com
117
TRANSCRIPTIONS
wear your independence

F#5
26
like a
T
crown
E5
5 2 9 5 2 9 5 2 9 5 2 9 5 0 9 5
P.M.
2 2 2 2 2
0 0 0 0 0
D5
P.M.
2 2 2 2 2
2 2 2 2 2
0 0 0 0 0
0 0 0 0 0
2 2 2 2 2
0 0 0 0 0
H
F#5
0 7 5 0 7 5 0 7 5 0 7 5 0 7 5 0
P.M.
P.M.
4 4 4 4 4
2 2 2 2 2
E5
Song ends here 2nd time through.
4
2
4
2
32
34
17

14 11
14 11
14 13
19
18
16
18
14 13
16
14
14 13
19
A5
E5
14 11 11
14 13
14 11
14
14 13
14 11
14 13
14 13 13
13 13

14
13
14 11
14 13
13
14
13 14 13 13
13
13
14 11
14 13
14 13
Gtr. 1
E5
2
2
2
2
14
13
14
16
14
16
Rhy. Fill 1 (2:13)
14 14 13
1/2
14
118
16
!
N.C.
1/2
14
18
14 13
14 13
A#5
14 13
14
17
17
!
N.C.
Bass plays Bass Fig. 2 (see bar 7) 3
36
14
16
!
16
14
Guitar Solo (2:16)
Gtr. 2 plays Rhy. Fill 1 (see below)

Gtr. 1
Gtr. 3
29
7 3 0 7 3 0 7 3 0 7 3 0
N.C.
Gtr. 1 plays Rhy. Fig. 1 twice (see bar 3)
Gtr. 2 plays Rhy. Fig. 1a twice (see bar 3)
14
16
16
14
14 13
4th Verse (2:37)

Cruciger
The
orbus
N.C.
Gtr. 3 plays Rhy Fig. 1a twice (see bar 3)
globus
figure
Gtr. 1
38

Bass substitutes Bass Fill 1 second time (see page 2)
You
Whats
stand
flat
your ground
looks round
from the
pinnacle
to the
E5
A5
P.M.
P.M.
a
A#5
long
N.C.
P.M.
is
P.M.
It
P.M.
4
0
2
0
2
0
2
0
2
0
4th Pre-chorus (3:01)

pit
N.C.
43
40
A#5
P.M.
5
0
way
8
6
P.M.
P.M.
8
6
P.M.
5
0
P.M.
4
0
5
0
9
6
down
N.C.
45
A5
Gtr. 1
2
0
2
0
2
0
E5
N.C.
2
0
Gtr. 2
12 11
11
Bass
0
K
47
11 11 11 11 14 13 11 10 10 10 10
(3:12)
F#5
N.C.
Gtr. 3 plays Riff A (see bar 20)
11
11
9
11
11
9
P.M.
E5
14
14
14
!
14
14
14
14
4 4 4 4 4
2 2 2 2 2
12
14
2 2 2 2 2
2 2 2 2 2
17
2 2 2 2 2
A5
2 2 2 2 2
0 0 0 0 0
G5
Go back to
E5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
12 12 12
12
Chorus (bar 20)
2 2 2 2 2
0 0 0 0 0
D5
0 0 0 0 0
0 0 0 0 0
0 0 0 0 0
guitarworld.com
119
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TRANSCRIPTIONS
THE FINAL COUNTDOWN

Europe
As heard on THE FINAL COUNTDOWN

Words and music by JOEY TEMPEST Transcribed by JEFF PERRIN
Optional keyboard chords for intro (arr. for clean elec. gtr.)
F#m
Bm
9fr
13421
Gtr. chords
F#5
7fr
134211
134111
B5
E5
D5
Fdim7
10fr
7fr
1333
14
14
14
A
Moderately q = 117
(synth intro)
9fr
3111
4312
A5
C#5
4fr
14
144411
9fr
134211
A5
G5
4fr
14
C#
9fr
14
D/F#
5fr
14
14
14
Intro (0:13)
* F#m
Bm
Gtr. 3 (keyboard arr. for elec. w/dist.)

Riff A
1 **
14 12 14
14
11
15 14 15 14 12
15 14 15
Fdim7
11
12
14
12
14 13
12
*Optional: on repeat, Gtr. 1 (w/clean tone) strums chords to emulate keyboard pads
(see chord frames at beginning of transcription).
**Note in parenthesis played 2nd time only.
Bass (synth bass arr. for bass gtr.)

Bass Fig. 1
Gtr. 3
14
14 12 14
11
2
!
5
!
F#m
E/G#
7fr
C#sus4
A
9fr
2314
E5 VII
5fr
E/G#
7fr
0
!
(Ten
E
Bm
15 14 15 14 12
1
!
15 14 15
11
nine
Fdim7
12
14
12
14 13
12
eight
F#m
seven
E/G#
14
12
Gtr. 3
9
13 14
six
A
14
12
14
five
D
12
14
13
11
four
C#sus4
15
14
!
two
C#
three
14
one)
end Riff A
15 15
14 12
14
!
Bass
2
!
122
4
!
5
!
5
!
4
!
4
!
FINAL COUNTDOWN
WORDS AND MUSIC BY JOEY TEMPEST. COPYRIGHT (C) 1986 EMI MUSIC PUBLISHING LTD.
ALL RIGHTS ADMINISTERED BY SONY/ATV MUSIC PUBLISHING LLC, 424 CHURCH STREET, SUITE
1200, NASHVILLE,. TN 37219. INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED
REPRINTED BY PERMISSION OF HAL LEONARD CORPORATION
THE FINAL COUNTDOWN
(0:53)
F#5
D5
P.M.
Gtrs. 1 and 2 (elec. w/dist.)
13
Bass
Bass Fig. 2
E/G#
A5
2
0
7
2
D5
Bass Fig. 3
2 2 2 2 2 2 4 4 4 4 4 4
21
4 2 0
5 4 2 0
25
7 7 7
5 5 5
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
5 5 5 5 5
0
6
4
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2
2 2 2
2 2 2
Verses (1:26, 2:15)

1. Were leaving
2. Were heading
F#5
14
!
4 4 4 4 4 4 4 4 4 4 4 4
0
2 2
2 2 2
2 2 2
2 2 2
but still its farewell

and still we stand
B5
2 2 2 2 2 2 2 2 2 2 2 2
4
2
(repeat previous two bars)
(Venus)
"42
(Gtrs. 1 and 2)
4
2
(pick scrape)
4
2
together
Venus
for
Gtr. 3 (2nd Verse only)
Bass
(pick scrape)
4
2
Gtrs. 1 and 2
0 0 0 0 0 0 0 0 0 0 0 0
6
4
*Gtr. 2 play E5 VII (see chord frames)
2 2 2 2 2 2 2 2 2 2 2
F#5
Rhy. Fill 1
4
2
E5
C#5
Gtr. 3 substitutes Fill 2 (see below)
7
5
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
17
4
2
P.M.
5 5 5 5 5 5 5 5 5 5 5 5
2 2 2 2 2 2 2 2 2 2 2
F#5
7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
B5
4
2
2 2 2 2 2 2 2 2 2 2 0
4 0
2
2 2 2 2 2 2 2 2 2 2

12
tall
0
4
2
0 0
0 0
4
2
2 2 2 2 2 2 2 2 2 2
Fill 2 (1:14, 3:08)
Gtr. 3
(Keyboard arr. for elec. gtr. w/dist.)
14
!
(C#5)
14 15 14 12
guitarworld.com
123
TRANSCRIPTIONS
well come back

seen
theyve
And maybe
And maybe
F#5
29
0
4
2
I
guess there is
With so
many
D5
37
P.M.
5 5 5 5 5 5 5 5 5 5 5
7 7 7 7 7
ground)
found)
D5
wed
Will things ever

Im sure that
7
5
7 7 7
5 5 5
7 7 7
5 5 5
7 7 7
5 5 5
P.M.
5 5 5
5 5 5
7 7
5 5
A5
P.M.
5 5 5 5 5 5 5 5 5 5
ground
found
F#5
be
2 2 2 2 2 2 0 0 0 0 0 0 0
6
4
6 6 6
4 4 4
6 6 6
4 4 4
6 6 6
4 4 4
E5
6 6
4 4
4 4 4
Its the final

Its the final
9
7
9
7
9
7
9
7
9
7
9
7
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
* E5
B5
P.M.
7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
countdown (The final

F#5
E/G#
coutdown)
A5
0
7
4
2
0
124
The final
(1st Chorus)
Oh
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
*Gtr. 2 plays E5 VII
Oh
oh
C#5
Gtr. 3 substitutes Fill 2
(see previous page)
D5
45
The final
D5
4
2
again
so
2 2
0 0
2nd time on 1st Chorus,

go back to C 2nd Verse (bar 25)
F#5
4 4 4
(2nd Chorus)
P.M.
4 4
countdown
countdown
41
(Leaving
be
(To
E5
5 5 5 5 5 5
Chorus (1:59, 2:47)
Gtrs. 1 and 2
4 4 4 4 4 4 2 2 2 2
2 2 2 2 2 2 0 0 0 0
4 4 4
7
5
7 7 7 7
4 4 4 4
the same
miss her
4 4 4
7 7
4 4
yeah
7 7 7 7 7 7
5 5 5 5 5 5
7 7 7 7 7 7
be
all
C#5
A5
Were leaving
and things to
E/G#
tell
can
all
E/G#
7
4
Who
us
2 2 2 2 2 2 4 4 4 4 4 4
no one
to blame
light years to go
E5
4
2
2 2 2 2 2 2 2 2 2 2 0
9 9 9 9 9 9 9 9 9 9
7 7 7 7 7 7 7 7 7 7
4 2
2 2
7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
0
4
2
2 2 2 2 2 2 2 2 2 2 2 2
33
to Earth
and welcome
us
7
5
7
5
0
6
4
0
6
4
(pick scrape)
THE FINAL COUNTDOWN
Bass
49
F#5
Gtrs. 1 and 2 play Rhy. Fill 1 (see bar 21)
2
!
2
!
Guitar Solo (3:16)

B5
A5
Gtr. 3 (elec. w/dist.)

51
10 14 10
10 14 10
10 14 10
10 14 10
10 14 10
12
12
12
12
12
12
14
Gtr. 4 (elec. w/dist.)

14 17 14
14 17 14
14 17 14
14 17 14
14 17 14
15
15
15
15
15
15
17
12 15 12
15 19 15
14
17
12 15 12
15 19 15
14
17
12 15 12
15 19 15
14
17
12 15 12
15 19 15
14
17
12 15 12
14
15 19 15
17
Gtrs. 1 and 2
P.M.
4
2
Bass
4
2
4 4
2 2
4 4 4
2 2 2
2 2
4 4
2 2
2 2 2
4
2
4
2
2 2
4
2
2
0
2
0
15
2 2 2
0 0 0
D5
53
2 2
0 0
0 0
2 2
0 0
0 0 0
2
0
0 0 0
2
0
2
0
E5
D/F#
Gtr. 3 substitutes Fill 1, second time (see below)
14 17 14
15
14 17 14
15
14 17 14
15
14 17 14
15
14 17
7 10 7
7 10 7
8 10
10 8
7 14 8
Gtr. 4 substitutes Fill 1a, second time (see below)

19
17 21 17
19
17 21 17
19
17 21 17
19
17 21 17
19
17 21
12
10 14 10
12
10 14 10
12 14
10
14 12 10 14 12 10
11
P.M.
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
Fill 1 (3:38)
Gtr. 3
7
5
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
2
Fill 1a (3:38)
(E5)
7 10 7
7
5
(D/F#)
8
7 10 7
8 10
10 8 7 10 10 8 7
Gtr. 4
(E5)
12
10 14 10
(D/F#)
12
10 14 10
12 14
10
14 12 10 14 14 12 10
guitarworld.com
125
TRANSCRIPTIONS
1.
E5
55
A5
Gtr. 3
0 8 8
7 8 7
dip w/bar
-1/2
-1/2
B5
1
10
7 10
7
9 9
10 7 9
7 7
10
12
!
Gtr. 4
2
0
2 2 2
0 0 0
2 2 2
0 0 0
2
0
2
0
2
0
(Gtrs. 1 and 2)
P.M.
2 2
0 0
2
0
2 2 2
0 0 0
2 2 2
0 0 0
2 2 2
0 0 0
2 2
0 0
4
2
4 4 4
2 2 2
4 4 4
2 2 2
4 4 4
2 2 2
4 4
2 2
P.M.
Gtrs. 1 and 2
Bass
0 0 0
0 0 0
10 9 7
A5
58
9
9 13
7 9 9
P.M.
4
2
4 4 4
2 2 2
4 4 4
2 2 2
4 4 4
2 2 2
2 2 2
2 2 2
0 0 0
0 0 0
4
2
10
B5
10
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0
0 0 0 0 0
7
9
2 2 2
D5
2 2 2
C#5
vib.
w/bar
7
7
9 "
9
0
9
11
6
4
2 2 2
dive
w/bar
12
11
11
4
2
B5
D5
6 6
4 4
2 2 2 2 2 2 2 2 2 2
Breakdown (3:49)
F#5
62
0 0 0
2.
F#5
0 0
4 4 4 4 4 4 4 4 4 4 4
(on repeat) The final
E5
Gtrs. 1 and 2
4
2
Bass
2
126
6
4
7
5
4
2
7
5
9
7
17
*Note played
second time only.
THE FINAL COUNTDOWN
countdown
oh
Its the final
F#5
E/G#
A5
D5
C#5
2
0
7
5
7
5
6
4
4
!
4
!
66
4
2
7
4
0 2 4
2 4
Outro (4:13)
countdown
countdown
F#5
Gtrs. 1 and 2
70
P.M.
Were leaving
together
B5
D5
7 7 7 7 7 7 7 7 7 7 7 7
5 5 5 5 5 5 5 5 5 5 5 5
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
D5

F#5
E/G#
countdown)
countdown)
A5
Gtrs. 1 and 2
78
Bass
2
0
7
4
2 2 2
4 4 4
Fill 3 (4:09)
Gtr. 3
4 4 4 4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 0 0 0 0
The final
Its the final
so
B5
E5
Oh
Oh
C#5
D5
7
5
7
5
5 5 5
7
5
6
4
5 5
4 4 4
4 4 4
Its
Its
the
the
final
final
(play 2 times and fade out)
6
4
6
4
6
4
4 4

6
4
Fill 4 (4:34, 4:58)

Gtr. 3
(C#5)
14
!
E5
74 (repeat previous four bars)
4
2
The final
The final
*Gtr. 2 plays E5 VII
Well all miss her
17
Bass plays Bass Fig. 2 twice (see bar 13)
countdown
countdown
F#5
6
4
14
!
(C#5)
14
!
14
14
14
guitarworld.com
127
TRANSCRIPTIONS
DOWN WITH DISEASE

Phish
As heard on HOIST
Words and Music by TREY ANASTASIO and TOM MARSHALL Transcribed by JEFF PERRIN
D7#9
F5
G5
A5
2134
C#7
D7
4fr
5fr
134
134
134
Moderately Fast q = 123
C7
213
213
213
111
132
0
0
0
32 1
(F)
Bass Fig. 1
5
3
P.M.
X
X
P.M.
6
5
4
5
X
X
F5
*Gtr. 1 (elec. w/dist.)
32 1
(G)
D7#9
213
Intro (0:08)
N.C.(D)
(fade in w/flanger-effected
string noise for approx. 7 sec.)
Dadd4
6fr
5-string Bass (w/flanger effect)
E7
4fr
6
5
4
5
P.M.
X
X
6
5
4
5
X
X
6
5
4
5
6
5
4
5
6
5
4
5
3
3
G5
P.M.
5
5
5
5
*doubled simile throughout
Bass
6
N.C.(D)
(F)
5
3
(G)
D7#9
Gtr. 1
P.M.
8
5
F5
P.M.
6
5
4
5
6
5
4
5
X
X
X
X
X
X
6
5
4
5
6
5
4
5
G5
P.M.
6
5
4
5
6
5
4
5
3
3
5
5
5
5
Verses (0:31, 1:34)

1. Down with disease
2. Down with disease and the
A5
Gtr. 1
10
three weeks in my bed

Tryin to stop these demons that keep
dancin in my head
jungles in my mind
Theyre climbin up my waterfalls and
swingin on my vines
Gtr. 1 substitutes Rhy. Fill 1 on
2nd Verse (see bottom of next page)
w/slight fdbk.
7
7
7
7
0
7
7
w/fdbk.
0
7
7
7
7
pitch: E
Bass Fill 1
Bass (flanger off)

5
128
5 5
5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5
(flanger on)
1 2
DOWN WITH DISEASE
D7#9
Gtr. 3 plays Fill 1 twice on 2nd Verse (see below)
Gtr. 1
14 P.M.
5
F5
P.M.
6
5
X 4
5
6
5
4
5
6
X X X X 5
X X X X X 4
5
6
5
4
5
G5
(repeat previous two bars)
P.M.
6
X X 5
X X 4
5
6
5
4
5
3
3
(2nd time) So I
D7#9
5
5
5
5
F5
G5
Bass plays Bass Fig. 1 twice (see bar 2)
Down with disease and Im up before the dawn

try to hear the music but Im always losin time
A5
18 Gtr. 1
A thousand barefoot children outside

cause theyre steppin on my rhythm and theyre
7
7
7
7
5
5
12
w/fdbk.
7
7
5
7
7
5
dancin on my lawn
stealin all my lines
7
7
5
pitch: A
Substitute Bass Fill 1

2nd time (see bar 13)
Bass (flanger off)

5
22
5 5
P.M.
6
5
4
5
5 5 5
5 5 5 5 5 5
F5
6
X 5
X 4
5
X X
X X X
3 5
6
5
4
5
3 5 5
3
2
2
2 X X X 2
2 X X X 2
0
0
2
2
2
0
6
5
4
5
X
X
2
2 2
2 X X X 2 2
2 X X X 2 2
0
0 0
2
2
2
0
0
0
Bass (flanger off)

Bass Fig. 2
5
X 5 X 5 7
Gtr. 2 (acous.)
Rhy. Fig. 1
2
2
2
0
3
0
0
0
Rhy. Fill 1 (1:40)

7
7
pitch: A
2
3
2
0
3
0
0
0
2
3
2
0
2
3
2
0
2
3
2
0
5 5 5
5 5 5 5 5 5
3
3
5
5
1 1
6
X X 5
X
4
5
5
5
5
3 X
6
5
4
5
3 5
6
X 5
4
5
X
X X
5 5 5
15 15
Dancin on my lawn and I keep

Stealin all my lines and I keep
D7
C#7 C7
P.M.
5
4
5
3 5 5
3
4
3
2
3
2
2
2
3
2
3
4
3
X X
X X
now Im on my way
This has all been wonderful but
I try to find a way
to but theres nothin I can say to make it stop
C
G
G
D
2
3
2
0
2
3
2
0
0
0
0
0
3
0
0
0
3
0
0
0
3
0
0
0
3
0
0
0
2
3
2
0
2
3
2
0

23
20
2
3
2
0
2
3
2
0
2
3
2
0
3
0
0
0
0 0
0 0
0 0
3
0
1
0 X X 2
0 X X 2
3
3
3
0
0
0
3
0
0
0
4 4 5
0
1
0
2
3
2 2 3
0
1
0
2
3
1
X 2
X 2
3
X
X
0
1
0
2
3
Fill 1 (1:42, 1:57)
Gtr. 1 (A5)
w/fdbk.
3
0
0
0
D7#9
P.M.
6
5
X 4
5
3
0
0
0
G5
Chorus (1:03, 2:05, 2:51)

Waitin for the time when I can finally say
But when I think its time to leave it all behind
G
D
A
Gtr. 1
26
2
2
2
0
P.M.
6
5
X 4
5
(flanger on)
D7#9
Gtr. 3 plays Fill 1 twice on 2nd Verse (see below)
Gtr. 3 (elec. w/dist. and slap-back delay)

(pick scrape)
X
!
13
12
13
12
13
12
13
12
13
10
10
10
10
10
*Notes created by delay effect.
guitarworld.com
129
TRANSCRIPTIONS
(Stop
stop
2
2
2
0
2
2
2
0
2
3
2
0
X
X
2
2
2
0
2
X X 2
X X 2
0
stop stop
stop stop
stop
stop
G
A
D
Gtr. 1 substitutes Rhy. Fill 3 on
2nd and 3rd Choruses (see below)
stop
A
30
on 2nd Chorus, skip ahead to

on 3rd Chorus, skip ahead to
9
10
X 9
X
2
2
2
0
2
2
2
0
3 3
8
7
8
7
X X X
X X X
3
0
0
0
3
0
0
0
3
0
0
0
3 3
3
0
0
0
2
3
2
0
2
3
2
0
2
3
2
0
10
X 10
X 11
9
10
9
2
2
2
2
2
2
0
0
0
2
2
2
0
X
X
2
5
stop
(bar 38)
(bar 50)
E
G
stop
X
X
2
X 2
X 2
0
X
X
X
X
9
10
9
2
2
2
0
stop
G
8
7
X X
X X
stop
(1:26)
10 10
Go back to
D7#9
F5
Gtr. 1
34
G5
D7#9
5
5
6
5
4
5
8
7
6
5
4
5
6
5
4
5
6
5
4
5
6
5
4
5
3
0
0
0
10
10
11
2
3
2
0
9 11 12
2nd Verse (bar 10)
F5
P.M.
6
5
4
5
3
0
0
0
3
0
0
0
stop)
D
G5
P.M.
3
3
5
5
6
X X 5
X
4
5
6
5
4
5
6
X 5
X 4
5
X
X X
6
5
4
5
X
X
6
5
4
5
6
5
4
5
3
3
5
5
5
5
(2:26)
(Stop
G
Gtr. 1
38
8
7
Gtr. 2
3
0
0
0
3
stop
8
7
11
stop stop)
D
10
12
11
3
0
0
0
2
3
2
0
14
2
3
2
0
1st Guitar Solo (2:24)

Dadd4
5
5
5
5
5
7
7
7
X X
X X
10 10
11
12
12
0
1
0
2
3
0
1
0
2
3
7 7 5
3
X
0
X X 4
X 5
3
0
4
5
0
1
0
2
3
(G)
8
7
77 77
7 7
Gtr. 1
8
7
X
X
Rhy. Fill 3 (2:23, 3:09)
130
Dadd4
Rhy. Fig. 2
Bass
Bass Fill 2
let ring
(D)
X
8
7
11
10
10
10
10
X 11
0
1
0
2
3
0
1
0
2
3
0
1
0
2
3
3
0
4
5
3
0
4
5
7
7
7
2
X
3
0
4
5
DOWN WITH DISEASE
C
41
let ring
8
10
11
10
11
0
1
0
0
3
10
Dadd4
0
1
0
2
3
1
0
2
3
10
12
3
0
4
5
3
0
4
5
12
12
12
10
C
Dadd4
C
Gtr. 2 repeats Rhy. Fig. 2 simile (see bar 38)
Gtr. 1
43
5
5
5
5
5

7
7
7 4
7
7
1
E
46
8
9
12
8
8
9
14
10
13
10
13
13
12
5 7
5 7 7
5
2
2
555
(3:13)
Gtr. 1
50
3 3
(Stop stop
stop
stop)
C
D
Gtr. 2 plays Rhy. Fill 2 (see below)
3
3
3
3
11

10
10
10 10
10 10
11
13
2
2 X
X
10
10
10
5 7
5 7 7
7
6
7
7
!
7
6
7
7
6
7
Gtrs. 1 and 2
X
X
Chorus (bar 26)
E7
12
Outro/2nd Guitar Solo (3:15)
16
Bass plays Bass Fill 2 (see bar 38)
10
7
7
7
Go back to
5
5
5
(Stop
stop stop
stop stop
stop
A
G
Gtr. 2 plays Rhy. Fig. 1 five times simile (see bar 26)
12
10
8
5
5
Dadd4
12
C
1
15
15
15
!
!
!
(flanger on)
12
15
end Rhy. Fig. 2
Dadd4
12
15
0
0
12
15
0
0
1
2
2
0
Bass
3
0
12
15
14
14
14
14
14
14
14
14
17 17 17
16 16 16
17
16
16 14
stop
D
stop)
let ring
15
15
16
Bass plays Bass Fig. 2 three times simile (see bar 26)
Rhy. Fill 2 (3:13)

Gtr. 2
(acous.) C
0
1
0
2
3
D
0
1
0
2
3
0
1
0
2
3
0
1
0
2
3
0
1
0
2
3
2
3
2
0
2
3
2
0
2
3
2
0
2
3
2
0
0
0
guitarworld.com
131
TRANSCRIPTIONS
(Stop
G
53
15
stop
D
stop
15 15
15
15 15 15 14
la
stop stop
G
la
17
16
16 14
15
15
10 15
stop
stop
D
15 12
15
Gtr. 1
14 14
14 14
14 14
2 22
2 22
2 22
0 00
5 5 5 7
132
stop
G
14 14
14 14
14 14
17
16
14
14
14 16
stop
15 10
15
15
stop
C
stop)
end Riff A
15 15 15 15 15 15 15 15 14
14 16
XX X
XX X
14
14
2
2
2
0
17
16
17
15
16 14
3
0
0
0
333
000
000
000
3 333
X5 X 5 7
way
stop
C
3 3
16
3
0
0
0
15 15 13 15
32
03
02
00
2
3
2
0
0
0
0
3 3
0
0
0
5 5
3 5
but now Im on my way

stop
stop)
G
D
15 15 15 15 15 15 15 15 15 14
15
3
0
0
0
3
0
0
0
3
0
0
0
2
3
2
0
2
3
2
0
15 15 13 15
2
3
2
0
2
3
2
0
15 15 15 15 15
3
0
0
0
3
0
0
0
3
0
0 00
0 00
0
7
7
7
0
2
3
2
0
(trem.
pick)
stop)
this has all been wonderful

stop
stop
stop
stop
G
D
(repeat previous bar)
stop)
let ring
17
16
2
2 00
2 00
0
but now Im on my
stop
stop
G
This has all been wonderful

stop
stop
stop
stop
G
D
Gtr. 2
Bass
15
17
la
stop
can finally say

that this has all been wonderful but now Im on my way
stop
stop
stop
stop
stop
stop
stop
stop
stop
stop
G
G
C
D
D
17
17
la
stop
(Stop stop
A
Riff A
16
Waitin for the time when I can finally say

(Stopstop
stop stop
stop
stop
stop stop
A
G
D
67
2nd time: La
stop
15 15 15 15 15 15 15 15 14
Waitin for the time when I

(Stop stop
stop
stop
stop
A
G
stop)
La
la
la
la
la
la
(Stop stop
stop stop
stop stop stop stop
G
A
D
Gtr. 1 plays Riff A twice simile (see bar 55)
Bass
59
stop
C
stop
15 15 15 15 15 15 15 15 14
15
stop
G
15
stop
G
stop
la
stop stop
D
56
63
DOWN WITH DISEASE
2 4
Hand Made Effects Pedals from Akron, Ohio USA
Reverberation Machine
Mini-Ultimate Overdrive
Analog Octave Up
Dual Resonant Filter
TRANSCRIPTIONS
BOOM BOOM
John Lee Hooker
As heard on BURNIN
Words and music by JOHN LEE HOOKER Transcribed by ADAM PERLMUTTER Bass transcription by JIMMY BROWN
Guitar part is performed with a capo at the first fret and sounds in the key of F, one half step higher than written.
All guitar tablature is relative to the capo (capoed fret is 0).
Bass plays the song in the concert key of F.
(F7)
(F)
E
2314
231
** E7
Intro (0:01)
Moderately Fast Shuffle q = 160
N.C.
(C7)
E7
1. Boom boom boom
B7
(B7)
(F7)
0
2
E7
134
A7
0
1
**Chord names in parentheses reflect concert-key harmony (key of F).
10
213
Bass Fig. 1
** (F7)
*Two gtrs. arranged for one.
Bass
(C7)
B7
E7
*Gtr. 1 (clean elec. w/spring reverb)

1
3
2 4
4 2
0
(B7)
A7
(F7)
0
0
1
0
0
1
(F)
3
end Bass Fig. 1
BOOM BOOM
WORDS AND MUSIC BY JOHN LEE HOOKER. COPYRIGHT (C) 1962 (RENEWED) BY CONRAD MUSIC
ALL RIGHTS ADMINISTERED BY BMG RIGHTS MANAGEMENT (US) LLC
INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED
REPRINTED WITH PERMISSION OF HAL LEONARD CORPORATION
BOOM BOOM
1st and 2nd Verses (0:20, 0:39)

boom
(2.) how
(F7)
E7
Gonna
Mm
Gtr. 1
14
shoot you right down

mm
mm
Bass repeats Bass Fig. 1 (see bar 2)
Right off of your

Mm
hm hm
17
2
1.
Go back to
2. How
Gtr. 1
25
2
28
2
2nd Verse (bar 14)
how
boom
(F7)
E7
2.
how
that
like it
like
Boom boom boom

when you talkin to me
Put you in my
house
up and down the floor
(C7)
B7
21
Bass
Take you home with me

I
love to see you strut
(F7)
E7
feet
hm
(B7)
A7
baby
talk
that
Whoa
yeah
guitarworld.com
135
TRANSCRIPTIONS
Guitar Solo (1:02)

E7
31
1/4
1/4
A7
35
1/2
(B7)
1/2
E7
E7
1/4
1/4
1/4
(F7)
1/4
1/4
(C7)
1/4
1/2
1/4
(F7)
B7
39
(F7)
Bass Fig. 2
end Bass Fig. 2

0
(1:20)
(F7)
E7
Gtr. 1
43
2
Bass repeats Bass Fig. 2 simile (see bar 31)
47
51
(B7)
A7
(C7)
B7
2
(F7)
E7
(F7)
E7
0
136
BOOM BOOM
(1:38)
E7
Gtr. 1
55
2
(F7)
Bass
59
2
!
A7
(B7)
1 0 1
3
2
(F7)
E7
3
2
3. Would you walk that
63
B7
2
!
(C7)
3
E7
0
!
(F7)
3rd Verse (1:53)

walk
(F7)
E7
and
Gtr. 1
67
talk
2
!
that
talk
and
70
2
whisper in my
ear
(B7)
A7
Tell
me you got your
guitarworld.com
137
TRANSCRIPTIONS
BOOM BOOM
longin
(F7)
E7
73
When you talked like

76
Bass
Outro (2:19)
ho
of my
42
and
(F7)
ho
walk
that
1/2
Begin fade
138
Whoa
yeah
Whoa
1/4
1/4
Fade out
walk
87
knocked me out
Whoa ho
talk
1/2
feet
Well
E7
83
you
right off
2
that talk
(C7)
B7
that
(F7)
E7
Gtr. 1
79
love
1/4
yeah
Talk that talk
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Have you created a custom work of guitar art suitable for It Might Get Weird? Email us at soundingboard@guitarworld.com!
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