Tag: features

  • The Carr Artemus

    The Carr Artemus

    Steve Carr made a name for himself building fine amplifiers such as the Slant 6V and the Rambler. His Artemus model used four EL84 tubes, but was not a subtle variation on a classic design, but rather offered a powerful blend of Dick Denney, Leo Fender, and Steve Carr.

    Though the term “American meets British” is overused in the amp biz, the Artemus was essentially an AC30-flavored design with a touch of blackface Fender. Its EL84 power section is accompanied by two 12AX7 tubes in preamp, a 5AR4 rectifier, and an Eminence driver.

    Top-mounted knobs control Volume, Bass, and Treble and rest on the panel alongside switches labeled Edge (bright and upper-mid boost), Mid (midrange), a selector that changes the amp’s output from 15 watts to 30, as well as switches for Standby and On/Off. A bias pot is mounted to the underside of the chassis.

    The Artemus’ chassis is hand-wired, and its cabinet is pine finished in black Tolex or one of 10 other coverings. The amp is available as a head or in 1×12″, 1×15″, 2×12″, or 2×10″ combo configurations.

    We tested the amp with a recent Gibson ES-335 and a reissue Fender Telecaster. With both, the amp’s tone controls had a very useful range; the Edge and Mid switches worked very well for tweaking tone depending on each guitar’s pickups. With the Tele, we switched off the Edge, turned on the Mid, dialed in a bit of Bass, cut the Treble, and set the Volume halfway. The result was an outstanding, modern Tele tone in the 15-watt setting that simply begged to play Mike Campbell/Heartbreakers-style licks. Attack was snappy, with plenty of growl. At lower volume, the Artemus cleaned up well.

    Plugging in the 335, we flipped the Edge switch on and turned off the Mid. We also lowered the Bass and switched the wattage to 30. With the guitar’s Volume control turned up all the way, it was easy to get grit from the amp, even at lower volume. For most, this is a plus, but a jazzer might need a bit more true clean tone. Turning up brought more dirt and sustain to the fore, but engaging the Mid and switching the output back to 15 watts took the Carr to all-out dirtfest with the 335’s humbuckers; power chords, double-stops and single-note lines produced smiles all around. One especially notable aspect of the Artemus’ tone is its acoustical spread – sound from the cab was less directional than we typically hear from a 1×12″, due to its larger size, material, and engineering. No matter the setting or guitar, the amp filled the room with stellar tones.

    Unlike most EL84-powered combos, the Artemus is very humbucker friendly – deliciously gritty. For the rock-and-roll Tele player, it’s hard to beat. The amp is well-conceived, highlighted by its cab design, and everything about it, including fit and finish, say “quality.”

    Carr Artemus (discontinued) 

    Price: $2,090 (1×12″ with custom covering).

    Contact: carramps.com

    This article originally appeared in VG July 2011 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • The Martin 000-18HS

    The Martin 000-18HS

    Martin 000-18HS
    This ’37 Martin 000-18HS bears serial number 67196. Photos: William Ritter. Instrument courtesy of George Gruhn.
    According to Martin company records and research by late Martin Historian Mike Longworth, Cable Piano Company, in Atlanta, special-ordered at least three Martin 000-18HS guitars in 1937. Two others have previously emerged – serial numbers 67197 and 67198 – and this one recently found its way to Nashville for a Martin event featuring company historian Dick Boak.

    Boak had heard about this guitar in the early ’90s, when it wound up in the shop of luthier John Arnold, in Knoxville, and it does not conform to standard catalog specifications. In fact, it’s befuddling why Martin specified it as a 000-18HS; it was seemingly designated a style 18 as it is constructed of ’30s-era style 18 woods (Adirondack spruce top, mahogany neck, back, and sides). However, it has style 28 ornamentation, including herringbone edge trim, white ivoroid bindings on the top and back of the body, zigzag back stripe, and slotted-diamond fingerboard inlays. It lacks the carved volute on the back of the peghead, and in that respect is like a style 18; in every other, however, including ornamentation and structural features, it’s typical of the style 28, with the obvious exception of the mahogany back and sides.

    Unlike the other two 000-18HS models, this example has a sunburst top finish, which Martin began offering as an option on flat-tops when archtops with standard sunburst were introduced in the early 1930s. The finish on the back does not match the neck and sides, indicating the back was refinished at some time in the relatively distant past.

    The H in the model name indicates the guitar was originally set up Hawaiian-style, which was the popular musical style prior to World War II. Martin began building guitars and ukuleles fairly early during the Hawaiian-music craze, which was a strong impetus for Martin to design steel-string guitars. Unlike heavy steel strings, gut strings do not respond when sliding a steel bar across them. In addition, several tunings for Hawaiian-style music feature so-called “high bass” tunings. As a result, Martin modified bracing and top thickness to accommodate steel strings and the tension required for higher tunings. Once Hawaiian guitars were in production, the company continued with additional steel-string models.

    All three of the 000-18HS examples encountered have been converted from Hawaiian-style, with flush frets and high nut, to Spanish-style with standard frets, lower nut, and a replacement bridge. Unlike other Martins, which have a radiused fingerboard, Hawaiian guitars by Martin have a flat/non-radiused fingerboard and bar frets tha t are ground flush and can be difficult to remove. Many Hawaiian-style Martins have been converted by filling and re-cutting the fret slots or replacing the fingerboard; the ideal way to convert them is to pull the flush frets, radius the fingerboard, and install bar frets. Typically, the flat/level neck-set angle on a Hawaiian style guitar is not well-suited for standard conversions, so it is also necessary to reset the neck. Hawaiian style guitars have a straight bridge saddle similar to a classical guitar so to accommodate standard style playing with steel strings, the saddle slot must be recut in a slanted position in order for the guitar to intonate well. While it can be fairly easy to convert a Hawaiian-style guitar to a semi-playable standard style, it requires expert repair (which can be expensive).

    This 000-18HS has a 12-fret mahogany neck and a slotted headstock, typical of Hawaiian-style guitars. Today, Martin uses S to designate a 12-fret neck, but until the ’60s, S indicated “Special” which could mean any deviation from standard spec. The first time Martin used S to describe a 12-fret model was most likely a special order (possibly by Wurlitzer) for D-28S and 000-28S guitars with 12-fret necks. Since that time, the S designation has been reserved for 12-fret models, and Martin has used “Custom” for special orders.

    The back strip is stamped “Made Especially for Cable Piano Co.,” which was an early Martin dealer, well-known among guitar collectors and enthusiasts as a result of employee Perry Bechtel’s request for a 14-fret version of the 000-28 he had been borrowing from his employer. After visiting the Martin factory, Bechtel ordered and received his “000-28 Special” in 1929, and the design of his special order yielded a new body shape in the Martin line in 1930 – the OM (Orchestra Model). Unlike Bechtel’s special order, the reasoning behind Cable Piano Company’s order for these three 000-18HS models is unknown. Regardless, it’s interesting to reflect on the impact musicians and dealers made on the history of the Martin company.

    This article originally appeared in VG‘s December 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • The Luker Chameleon Combo

    The Luker Chameleon Combo

    Luker Chameleon ComboThe Luker Chameleon Combo
    Price: $1,850 (list)
    Contact: www.lukeramps.com

    Considering the state of modern vacuum tubes, a surprising number of great tube amps are currently being built. And of those, every once in a while a truly exceptional amp that is also an astonishing value finds its way through the front door. The Luker Chameleon is one of those amps.

    A Class A/AB Fender-based 20-watter with two 6V6 power tubes driving a choice of 12″ or 15″ Eminence Legend 75-watt speaker, the Chameleon is all-tube and hand-wired. Even the rectifier is a tube (GZ34). For preamp tubes it has a pair of 12AX7s, while the reverb runs off one 12AT7 and one 12AU7. The power transformer is a high-efficiency toroidal unit designed in-house, while the reverb is a long-spring Accutronics unit that also offers a Dark-to-Bright knob – very useful for getting just the right amount of atmosphere for the room.

    The Chameleon’s hand-built cabinet is a work of art in itself, with dovetailed clear pine panels, a Baltic birch speaker baffle and backs, and hickory hardwood bracing. The front panel is powder-coated and the lettering is enamel screen-printed, all for increased durability. The back panel of the chassis is stainless steel polished to a mirror finish. The panel has a circuit breaker, a speaker impedance selector for 4, 8, and 16 ohms, and two speaker-out jacks. Three tolex colors are currently available (wine, black, and cream) and the grillecloth is also available in a variety of colors (wheat, white, oxblood, and silver-and-black). And at just 19.625″ x 20″ x 10″ and 41 pounds, the Chameleon is very compact considering what it offers.

    And it offers a lot. There are the usual Volume, Treble, Mid, Bass, and Reverb controls, with both power and standby switches. There are also knobs for Presence and Hi Cut, as well as not one but two Gain controls. The most interesting switch on the faceplate, however, is labeled “PF.” More on that later.

    The Chameleon’s three-band passive EQ knobs do enough without doing too much. The Bass control is great for tightening or loosening the bottom end, the Treble smoothens the highs without going “duh,” and the Mid might soon become your Strat’s best friend. Turned counterclockwise, it produces that highly sought-after scooped tone, and pushed to the right, it pumps up the upper mids, getting close to the tone circuit on a Clapton Strat.

    As for the Hi Cut, who needs it when there’s already an effective Treble control? Well, while the Treble controls a wider spectrum of the highs, the Hi Cut takes off just the uppermost part of that range and is great for rolling off just the prickly tip of a driven Strat or Tele pickup, and it nicely notches back the sizzle of a pushed P-90.

    One of the chameleon-like characteristics of the Chameleon is its two Gain controls. Gain 1 increases the American grit of the 6V6 power tubes. Once that’s dialed in to taste, the Gain 2 brings in a smooth, singing EL84-type sustain, but with more, well, balls. For someone addicted to P-90s, this amp is a godsend. Even driven, the Luker Chameleon is very quiet, indicating quality components competently connected.

    The amp’s other chameleon-like trait is provided by the previously mentioned four-way PF switch. “PF” in this case stands for picofarads, and the switch allows the use of four separate capacitors for the Treble control, with values from 120 to 1,000 picofarads (pF). The 120 pF setting is the brightest, 250 pF is standard Fender issue, 500 pF gets Vox-y, and 1,000 pF is on the warmer side of Marshall.

    The Luker Chameleon’s highs, even when cut, have an openness and airiness to them. The cut mids make it sound like a Strat has older and better pickups than it probably does, and not like someone is holding a pillow over the speaker cloth. The bass, even when extended, never goes “boom,” and rolled off, maintains its depth and just gets tighter. Whatever the tone, with the Chameleon, there’s a feeling that it came out easily and naturally without being forced.

    This article originally appeared in VG December 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Dave Specter

    Dave Specter

    Dave SpecterDave Specter’s Message In Blue is chock full of imaginative instrumentals, great guest vocals, and blistering guitar work from Specter. But that’s not what he likes most about it.

    As with all his records, Message covers a lot of ground. Still, Specter sees himself as a blues guitarist. “People don’t realize how much the blues encompasses. I have a lot of influences, but they’re all blues-based. My favorite jazz is very greasy, bluesy jazz. My favorite soul has a lot of blues feeling. My favorite rock and roll is very bluesy.”

    The record mixes instrumentals and vocal tunes; in the past, Specter has been a Strat player who on occasion would play a semi-hollowbody.

    “Lately, though, I’ve become a huge fan of Jazzmasters. I play one on 11 of the 13 tunes. I played a couple tracks for a local guitar builder and he was sure I was playing an ES-175 or similar guitar. I discovered the Jazzmaster Classic Player model, and it sounds and feels like a jumbo-fret Strat. I’m 6’4″ and the Jazzmaster suits me; physically, it feels bigg er than a Strat, with a neck that feels just right. And it has pickups that definitely sound hotter than a Strat’s – almost like P-90s.”

    He also uses a Gibson ES-137 that is heard on two tracks on the new record. “I go through periods every four or five years where I stick with one model of guitar. My early years were a longer period where I pretty much used Strats. Then I had a 1955 ES-175 that I used quite a bit. Then it was five years of Epiphone Rivieras.”

    Cutting the new album, he used a Victoria Golden Melody 2×12 and a blackface ’66 Super Reverb, “both turned up pretty loud.” He doesn’t use two amps live, saying the Golden Melody is his number one choice for bigger clubs and gigs where he has to be a little louder. He has a nice collection of Fenders that still see regular use, including a ’66 Deluxe Reverb, two custom Vibrolux reissues, a reissue Princeton Reverb, and the blackface Super.

    In a world of blues guitarists, Specter has a tone and style that’s recognizable after hearing only a few bars, and he says that is something he has long hoped to accomplish.

    “I think it’s important for an artist – and a guitarist, specifically – to develop their own voice and sound. To do that, I take breaks, even long breaks, from listening to the players I love so I can focus on my own sound and style. I know from experience I spent so much time playing along to Albert Collins, Jimmy Vaughan, T-Bone Walker, Buddy Guy, Steve Freund, who was one of my early mentors, as well as others, that I got to a point, early on, where I thought I was sounding too much like other people. That’s not what I wanted to be. So, I’ll go for a while without listening to any blues guitar; I’ll listen to Los Lobos or Richard Thompson, or the Meters, just to kind of clear the air from my blues.”

    This article originally appeared in VG‘s December 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • The Paul Hartmann Custom Manhattan

    The Paul Hartmann Custom Manhattan

    Paul Hartmann Custom ManhattanThe Paul Hartmann Custom Manhattan
    Price: $3,895 as tested
    Contact: www.phguitars.com

    Luthier Paul Hartmann’s Custom Manhattan is a classic semi-hollowbody, but one that displays a growing industry trend – replacing the traditional thin, laminated top with solid figured maple. The results are stunning in several respects.

    Upon opening the case, one can’t be faulted for gasping at the array of rich figured wood Hartmann uses on the Custom Manhattan. The top, sides, and back are carved from solid, orchestral-grade maple. The flame figuring on the top and back are superlative and all the more attractive because the top and masked “binding” are left natural blonde while the back is stained a caramel tint that brings out the tiger striping. The finish is thin-bodied polyurethane for both durability and resonance (Hartmann uses Gerhard Guitar Works to apply the finish). The top also has stylized f-shaped sound holes that jibe with the Custom Manhattan’s modern sensibility.

    As in typical semi-hollowbody construction, the Custom Manhattan offers a solid center core that runs under the top from the neck joint to the bridge. Currently, the Custom Manhattan has a maple core with an attractive Hipshot Baby Grand bridge/tailpiece assembly. The neck is bolted onto the body via four bolts and features a softened heel for access. It has a cool 25″ scale, and the neck and headstock are made from a three-piece bird’s-eye-maple-and-mahogany sandwich. The headstock overlay and 22-fret fingerboard are made from ebony with pearl inlays and a nice “PH” logo on top. Its tuners are sleek Grover Mini Rotomatics. And because this is a custom guitar, the buyer can pick his or her favorite neck profile; the test axe had a “soft vee” that was very comfortable.

    For electronics, the Custom Manhattan sports Seymour Duncan P-Rails (with crème rings) that combine the characteristics of a humbucker, single-coil, and a P-90 in one housing. Instead of a normal three-way switch, a chicken-head pan knob with center détente is used for pickup selection, allowing the player to sweep between each pickup and find the sweet spot for their playing situation. The plus is that it’s more accurate than a clunky three-way toggle, but it does require more time onstage to find the sweet spot – a minor tradeoff. Each P-Rail also has three choices of coil combination (single-coil, P-90, and humbucker) that is activated with a mini-toggle switch. There are also passive master Volume and Tone controls with vintage-styled knobs.

    Plugged into a tube, solid-state, or virtual amp, the Paul Hartmann Custom Manhattan is a joy to play. The neck is slim and has an immaculate setup, and the carved top and back are comfortable. Tone-wise, there are plenty of sounds in here – anyone playing blues, rock, country, jazz, or fusion will be more than happy. The cleans and the warm overdrive tones from all three amps were big and complex, with lots of room for experimentation. The increased rigidity of the maple top, however, also meant the gain could be cranked up with less fear of feedback. Even with the dirt laid on, the Custom Manhattan sang joyously.

    Overall, this Paul Hartmann build features impeccable construction and tone. Its only debit is that, with its solid maple top and core, its weight is more comparable to a Les Paul than an ES-335 (though, again, the heavier top provides more feedback protection). Most importantly, compare the Custom Manhattan’s price to that of many mass-produced semi-hollowbodies. You can go for the brand you know and get the same guitar as everyone else, or pay roughly the same amount and get one perfectly customized to your own wishes. In the case of the Paul Hartmann Custom Manhattan, it seems like a no-brainer.

    This article originally appeared in VG December 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Michael Wilton

    Michael Wilton

    Michael Wilbon: “Iron” Mike Savoia.
    Michael Wilbon: “Iron” Mike Savoia.

    The highly publicized firing of singer Geoff Tate from the band Queensrÿche has divided fans and spawned two touring bands using the name; Tate assembled a group of well-known sidemen, while the remaining members recruited frontman Todd La Torre.

    Guitarist Michael Wilton’s version of Queensrÿche recently released a self-titled album that marks a return to it classic sound. VG spoke with him to discuss his mission to rebuild the brand.

    Are you happy with the way Queensrÿche turned out?
    Yes of course (laughs)! We got to use producer James Barton again. I did most of the solos, but [second guitarist Parker Lundgren’s] input was great. He supplemented a lot of the parts, wrote “Where Dreams Go To Die,” did a few solos, and of course doubled solo parts.

    Was it a democratic decision to return to your classic sound?
    Three of the founding members are proven assets, and what you hear is ingrained in our past. We tried to use a modern approach because we’ve evolved, but naturally, it’s going to have elements of the first five records.

    You’ve done so much since those records. Was it difficult to write and return to that style?
    Not really. You want to keep a thread to the past, but five musicians putting their creative elements into a package gave it a special sound.

    The record sounds like the band Queensrÿche always wanted to be without Geoff Tate.
    You don’t want to make the same record every time. You want to stretch the boundaries within reason, but you have to keep a thread to what your roots are. Otherwise you start losing fans. We listen to our fans and the people who have supported the band for years. You gotta keep in touch with them to a certain aspect, and also you gotta have the integrity of an artist to be able to work with other people in your group. You have to stay current as much as you can, but you also have to stick to what works.

    How was working with vocalist Todd La Torre?
    Todd is a great asset. He seamlessly came into this situation and really won fans over. He’s growing, learning the ways of the ’rÿche and the demands of touring. He’s easygoing and there’s no ego. Everything is about consideration. It’s a real band effort, and it’s just a joy again, like in the ’80s. He’s an amazing singer, and he’s so glad to be there. He’s a drummer first, so he loves Scott Rockenfield’s drumming. He also plays guitar; Parker sent him a version of “Where Dreams Go To Die” without drums, and Todd put the drums to it. Scott put his touch to it using his drums as a blueprint. On “The Open Road” he added a melodic line which was great for guitar. I built something off of it.

    The band sounds really energized.
    The fans have been wanting this for so long and it’s great to see the appreciation. It’s proof the songs on the first five albums work for a reason. A lot of it was great chemistry at the time and the creative elements firing on all cylinders. Now, it’s like a second chapter and a rebirth for Queensrÿche, and we’re really excited. Everybody’s collaborating, writing, and creating. That’s the art and that’s what’s fun about it. Everybody’s in tune with each other and we’re excited to write the next record.

    Was Geoff taking the band in the wrong direction?
    Yeah. As bands grow, everybody changes and goes in different ways. The last few Queensrÿche records weren’t the direction we wanted to go. That naturally happens – things get stale and new blood is needed.

    In November, a judge will decide who gets the rights to the band name.
    It’s a scary prospect to have 30 years of your career being judged by a person in a black robe who doesn’t know who you are.

    Talk about your ESP signature guitar.
    It’s really just a simple alder body with a figured maple neck. I’ve always been a fan of the Floyd Rose, and it has upgrades now. The guitar that came out this year has a Duncan Distortion and a Duncan ’59. It gives the alder a little honk with the upper midrange. It’s a guitar you want to cut through the mix. It’s got a five-way switch – just a workhorse. ESP is renowned for their necks. They’re just solid. I’ve never had an ESP neck warp.

    What’s next for the band?
    We’re touring the U.S. and Europe. We’ll leave November open, but in December we write the next record and tour again. After all these years, our fans still have such passion. It’s such a joy to play.

    This article originally appeared in VG October 2013 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Musicvox Space Cadet and MVX-15 Studio Custom

    Musicvox Space Cadet and MVX-15 Studio Custom

    Musicvox Space Cadet and MVX-15 Studio Custom

    Musicvox Space Cadet and MVX-15 Studio CustomMusicvox Space Cadet and MVX-15 Studio Custom
    Price: $999 (Space Cadet)/$699 (MVX-15)
    Contact: www.musicvox.com

    For nearly two decades, Musicvox’s designs have captivated players and fans, appearing in Austin Powers and in the hands of serious players and bands like Keith Urban, Allen Woody, Polyphonic Spree, and Redd Kross. The company’s latest super-retro entries are the limited-edition Space Cadet guitar and the MVX-15 Studio Custom amp.

    The Space Cadet is a solid piece of luthiery. Its 25.5″-scale bolt-on maple neck features a 22-fret rosewood fingerboard with block pearloid inlays. Hardware includes two special-design humbuckers (P-90s are also available), master Volume and Tone knobs, a three-way switch, and chrome tune-o-matic bridge and tailpiece. The tuners and full string tree (to increase the string angle over the nut for better intonation) are also chrome. The finish on the triple-bound mahogany body is pretty swank – deep blue with a white wedge and white neck. The wedge theme is repeated on the headstock for an overall art deco effect.

    In our first test run, the Space Cadet delivered a lot of muscle and precision. The fast neck featured a beefy, but easy-to-grab profile, and the guitar came with an excellent setup, allowing us to rip up and down the fingerboard to at least the 20th fret. The frets, for their part, were excellent, while the body weight was somewhere between a Les Paul and a Strat and hung comfortably on a strap. Plugged into a variety of amps, the Space Cadet proved a workhorse, covering the rock/blues/country spectrum. And don’t be fooled by the vintage, Gretsch-styled covers on the humbuckers – these pickups can play crunchy rock and metal just as well as blues or retro rock and roll.

    The new Musicvox MVX-15 amp, meanwhile, packs some cool features of its own. Sporting a Class A, all-tube design, the MVX-15 exudes an old-school Vox vibe in either blue or black tolex. Two EL84 power tubes produce a very loud 15 watts of power, while a pair of 12AX7 preamp tubes shape the tone. The cabinet contains a 10″ Eminence or Celestion speaker (our tester had the latter). The control panel has a pair of inputs, on/off switch, plus Volume, Tone, Reverb knobs, as well as Speed and Intensity controls for the tremolo circuit.

    Being Class A, the MVX-15 is a crank-it amplifier – the more gain you give it, the more ballsy overdrive it delivers. Conversely, to clean it up, back off the volume on amp or guitar or simply pick softer. With the Space Cadet plugged into it, the spring reverb was silky and clean, and the tremolo added to the fun factor, from slow for a Robin Trower-like modulation to moderate levels for ’60s surf sounds. Crank it up all the way to produce an extreme effect for modern rock or syncing with the rhythm section.

    In terms of overdrive capability, the amp’s overall gain depends on the guitar and its pickups. The Space Cadet’s humbuckers are on the hot side, pumping up the drive to AC/DC, Black Crowes, and Aerosmith levels, while a Les Paul with lower-output humbuckers yield sweet, smoky blues tones and more British Invasion sounds. A favorite overdrive and distortion pedal in front of the preamp (between the guitar and the amp’s input) provides as much silky, hard-rock crunch as you want. We further tested the MVX-15 with a very transparent (lower output) overdrive pedal and the results were spectacular, bringing in powerhouse chords with clear definition like Angus Young, as well as leads with tons of sustain, like Slash.

    Musicvox threads the needle between vintage cool and modern playability, turning out gear that looks right and sounds on the money. Overall, it’s tough not to be impressed with this twosome; the Space Cadet has killer looks, playability, and tone, while the MVX-15 rocks the house. Plus the amplifier is highly portable – another feather in its tubular hat.

    This article originally appeared in VG December 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Shuggie Otis

    Shuggie Otis

    Shuggie Otis: Courtesy of Sony/Legacy.
    Shuggie Otis: Courtesy of Sony/Legacy.

    The son of bluesman Johnny Otis, Shuggie Otis was born into a world of blues, R&B, nightclubs, and stages. As a guitar prodigy, he played in his father’s band, and as a teen was signed to Epic Records. The albums Here Comes Shuggie Otis, Freedom Flight, and Inspiration Information made him the most talked about artist of the early ’70s. With B.B. King singing his praises and the hit single “Strawberry Letter 23” flooding the airwaves, it seemed Otis was on a rocket to stardom. But, after being branded “difficult” by record labels, he kept a low profile for nearly 40 years.

    Today, he’s back touring with the re-release of Inspiration Information, along with a companion record of unreleased songs, Wings Of Love.

    How did the re-release come about?
    I was getting ready to do a record with an independent label called Wax Poetics [when] Sony U.K. called. They wanted the album but didn’t want to put it out by itself. Their plan was to make a companion to the re-release of Inspiration Information with four bonus cuts. Combined with Wings Of Love, the public would get 17 songs they never heard before.

    There’s a lot of mythology associated with you. It’s been said that you’ve been out of the picture for 40 years, but you were actually gigging.
    It’s true. I was married and raising my youngest son, who’s in my band. I was pitching albums and sending tapes on a consistent basis, but knew I’d be out for a while. Still, I had the best times of my life during those 40 years, and now I’m having the best time of my life with this tour. If I didn’t have such a great band and the support from Sony, I wouldn’t feel that way.

    Did The Rolling Stones ask you to replace Mick Taylor?
    That’s true and that’s all I want to say about it.

    Did you say no to Blood, Sweat & Tears?
    That’s true, too. I knew I wasn’t going to be in that band. I just did it because I didn’t have anything better to do.

    Spirit?
    I said “No”; I jammed with them in my dad’s studio.

    David Bowie?
    I said “No.”

    Buddy Miles?
    I said “No” to all these people because I was too interested in my own music.

    Quincy Jones?
    He wanted to produce me, but that fizzled out. We’re still friends.

    Did you play bass on Frank Zappa’s Hot Rats album?
    Yes. Frank Zappa called my father, needing an R&B rhythm section.

    Do you have any regrets?
    No. I did it my way. If I can’t do it my way, I won’t be in music.

    What’s your number one guitar right now?
    I don’t have one. I’m very close to the Gibson 335, and I love the Gibson SG and the Fender Stratocaster equally. As odd as that sounds, I love a lot of guitars. I just love the guitar! I really fell in love with a new one, the Godin Passion.

    You’ll be hearing more guitar than ever. I’m able to play whatever I want. It’s my group and I can play the solos longer (laughs)!

    This article originally appeared in VG October 2013 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Steve Howe

    Steve Howe

    STEVE-HOWE
    Photo: Glenn Gottlieb.

    Progressive-rock icons Yes are still going strong after more than 40 years of recording and performing. Throughout their reign as one of the most influential rock bands of all time, having sold more than 50 million albums worldwide, they’ve endured personnel changes as well as stylistic changes.

    The current incarnation includes Benoit David on vocals, Steve Howe on guitar, Chris Squire on bass, Alan White on drums, and Oliver Wakeman on keyboards. Their latest studio album, Fly From Here, was released in 2011, while In The Present – Live From Lyon documents their current live set. VG caught up with Howe to talk guitars, and find out how that new singer is working out.

    Are you happy with the way Live From Lyon turned out?
    I’m pretty happy. We found Karl Groom to mix it for us, and he did a great job. We went through his mixes, made some comments, then I popped in and did the mastering for about four hours with the mastering people. It sounded good and we pretty much kept the set as is. It nicely sums up a whole era. That was at the end of two years with that lineup. Live From Lyon helps justify and explain where we’ve been, and it was great.

    Did you do anything different with your guitar sound compared to previous tours?
    Not really. In 2007 I started using Line 6 amps, and I’m playing a Gibson ES-175 and a Gibson Stereo for the Close To The Edge material. The only time I play a Line 6 guitar is when I’m playing an acoustic or sitar part within a song. When I play an acoustic solo piece, it’s always on a Martin.

    Which Line 6 amp are you currently using?
    I’m using the Line 6 Bogner with the Pod HD500. It’s a hell of a thing. It does everything and more that the old Vetta II amp was doing. All the programming is in the pedalboard and I’ve got two of them. I can plug it into an amp and not change anything except the volume. When I play into a Bogner I’m only using the amp section, not the preamp, because all the sounds are in the pedalboard.

    There are things that are better and things that aren’t really as good. I think it takes awhile because I’m pretty fussy and have good ears, and I know what I hear is actually what I’m hearing. When I programmed it, I was really happy. I think I was in a nice environment. It was adding some of the warmth that I like.

    What is your #1 guitar?
    The ’64 Gibson 175D I bought in ’64 is my best guitar. There’s no doubt about that. That’s going to mainly stay in the U.K. I’ll use it onstage in the U.K., but when I leave the country, there’s so many hassles with it staying with me permanently, because it has to. Then I use a 175D Steve Howe Model. It’s customized with a third pickup in the middle to simulate the Switchmaster guitar. I really like that guitar, and I’m pretty much using it all the time when I’m abroad.

    Which one sounds better?
    When you play a guitar for 45 years, it’s going to sound better (laughs)!

    Over the last few years, Benoit David has made a seemingly seamless transition as your vocalist.
    That’s right. The recordings are a very good example of really how far we’ve gotten going with this. He’s been absolutely amazing. He does some rhythm guitar and some percussion, and he’s a good all-arounder.

    Originally, he was brought in because Jon Anderson had respiratory problems and couldn’t tour. Since then, he’s recovered. Do you see a time when Jon Anderson will return to the band?
    Jon and Rick (Wakeman) don’t want to tour in the way that we do. It’s too strenuous, too intense, and a lot to do. Also, Jon wanted to change the keys in most of the songs and we don’t want to do that. There are quite a few other issues, as well. So when he got ill, we got Benoit in to start a new era of Yes. We were going to be assertive and move forward, and as it happened, the band and Jon accepted that there was a split. This was a change in direction. We were going off here, and he was going to go off there, and we would get on with our lives.

    That does happen sometimes, and it has. Each of us wishes we can all do well in this world. I wouldn’t like to be quoted as saying that we won’t get together again, but we all have to move on. That doesn’t mean to say that I’m going to be playing in Yes when I’m 70 (laughs)! There are other musical ventures I know I’m destined for, but Yes is still very important.

    Are there any new projects in the future with Asia?
    Yes. We’re starting a third reunion. We may return to the stage and do some work on an album, and we’ll be celebrating the 30th anniversary of the fourth album.

    On January 21, I’m releasing my solo album, Time, on Warner Classic. It’s pretty exciting because it’s been a team project with writers and orchestrators and getting different ideas. It has taken four years and it’s a bit of a milestone because there are no drums. I play a mixture of traditional classical pieces with some interesting interpretations. It’s got a nice continuity and I’m really excited about it.

    This article originally appeared in VG July 2012 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Michael Kelly 1957

    Michael Kelly 1957

    Michael Kelly 1957Michael Kelly 1957
    Price: $875 (list)
    Contact: www.michaelkellyguitars.com

    Michael Kelly Guitars has steadily gained a reputation for offering big bang for the buck. The Michael Kelly 1957 model solidbody extends this continuum, representing that meeting point between thoughtful design and quality execution, where modern guitar-manufacturing techniques deliver on their promise.

    The 1957 abounds with design details, including a bookmatched quilted maple top veneer with flamed maple binding, highlighted by a pearloid pickguard and an attractive amber finish. The 1957’s body is swamp ash, like many of the original ’57 classics that inspired its moniker, and a slim bolt-on maple neck with a bone nut, a 10.5″ radius, and 25.5″ scale length is topped with a maple fingerboard with 22 medium-jumbo frets and black dot inlays. The headstock is faced with a birdseye maple veneer, capping off the picturesque presentation.

    The fit and finish matches the aesthetic, with a flawless glossy body and a tight neck joint. Hardware includes a fully adjustable six-saddle bridge, Grover tuners, push/pull potentiometers, and a Rockfield SWV humbucker complemented by a Seymour Duncan Little ’59.

    But does the Michael Kelly 1957 deliver the goods suggested by its upscale appearance? Even before plugging into a Fender Blues Junior, the guitar exhibited a present, ringing acoustic tone. Setup was on the money, with good intonation and no buzz issues from the lightly polished frets.

    Plugged in, the volume, tone, and selector switch arrangement was familiar, but the push/pull, coil-splitting pots were secret weapons, offering a tasty sonic versatility via eight pickup combinations. Selecting the skinnier sounds by pulling up the pots produced good choices for rhythm playing that were also capable of overdriving the Blues Junior when cranked. The crystalline sound of the single-coils alone or in combination was particularly audible through a solidstate acoustic amp kicked in with an A/B box.

    The guitar’s versatility became apparent as soon as the full-strength humbuckers were brought into play. The neck-position Rockfield helped channel our inner Ed Bickert – and if the chops were there to channel an inner Danny Gatton, we could have it in any position, humbucking or single-coil.

    The Michael Kelly 1957 is just plain fun to work out on and fun to look at, too, but that wouldn’t mean a thing if it didn’t play well and sound good!

    This article originally appeared in VG October 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.