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VG Q&A: A Gilded ’63 Jazz Bass

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I am the third owner of a 1963 Jazz Bass with a neck stamp “7Jan63A,” pots dated that May, and serial number from that...

The Guitars of Ernst Heinrich Roth

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Now just a sleepy town in Germany, over the last 200 years, Markneukirchen has been home to countless luthiers ranging from brilliant to brutish,...

Teisco Checkmate 30

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In a world where the best riffs often come when one is lounging in the family room, sipping espresso and noodling on a favorite...

Gibson Copper Iridescent Les Pauls

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Like large celestial bodies, some guitar collectors have a gravity that draws objects to them. In 2016, rare custom-color Les Pauls began entering Joe...

Elite Acoustics EAE D6-8 Pro

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A knee-jerk first impression of the Elite Acoustics D6-8 Pro might be, “Dang, that is small.” But its one-foot cube packs serious effects and...

1939-’42 Gibson SJ-100

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Through the 1910s and early ’20s, Gibson catalogs denigrated flat-top guitars as inferior, unworthy of the company name. But that tune changed in 1926,...

Penco A-15-JD

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The 1970s is often called "the Copy Era" for the dominating presence and spectacular success of Japanese "copies" of popular American guitars, most notably...

Ewan Currie

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There are a lot of retro bands, but few get the sonics correct. Hailing from central Canada, The Sheepdogs conjure an authentic vintage sound...

Vox Symphonic Bass

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Despite the way collectors and dealers freely apply the term “lawsuit guitars,” documented examples are few. One time it did happen was triggered by...

Jul-21

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Lauding the musical heritage and traditions of its home state, Blackberry Smoke’s new album, You Hear Georgia, is a rootsy, thematic effort. We speak to Charlie Starr to learn how it was made. We also chat with guitar/violin/mandolin master Mark O’Connor about his ’45 Martin D-28 herringbone and new album. Others talking about their latest work are Steve Cropper, Ian Crichton, Jane Getter, Jesse Aycock, Ally Venable, and Al Stewart. Plus, Wolf Marshall tells us why Pat Martino is a redefined jazzman.

As always, VG delivers the best guitar stories, like the one about why Gretsch moved quickly to launch the 6128 Duo Jet in 1953, or the truth behind the Marshall Major. And few know about the “Hawaiian Gibson,” which had a nut and bridge set for “Spanish” play. But that wasn’t its most-curious element!

Wolf Marshall’s “Fretprints” looks back at the jazzy side of Stevie Ray Vaughan, while “Pop ’N Hiss” flashes back to the underappreciated brilliance of Brian Setzer’s The Knife Feels Like Justice. In “Check This Action,” Dan Forte reminds us why John Mayall is a blues god in the guitar universe.

Because your ears are itchin’ for new guitar tunes, you’ll definitely dig this month’s “Hit List” and our thoughts on the latest by Cheap Trick, Blackberry Smoke, Tony Joe White, Black Sabbath, Jorma Kaukonen, Southern Culture on the Skids, and many others.

Our “Approved Gear” review staff give you information you can use; read their thoughts on DryBell’s The Engine, the Tech 21 SansAmp Classic, the Strymon Iridium, KW Cabs ST-220 SSB, Logan’s Telemaster, the Ramble FX Twin Bender, D’Angelico’s Excel 59, and the Martin D-13E Ziricote. 

It’s all in the July issue of Vintage Guitar!

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