August 25, 2010 by JP - 38 Comments

THE ROLLING STONES | ROAD WORN, FORLORN & ALMIGHTY GUITAR PORN

When I’m feeling roadworn, forlorn, or the subject of scorn– nothing takes me to my happy place faster than great old pics of guitar porn. I came across the below Stones’ porn pic sifting through the internets and became mesmerized by the artfully haphazard array of axes. You can almost smell the sweat, smoke and stale beer as you gaze at the overturned cans, ash, and listing guitars.

The late ’60s – early ’70s was an epic time for the Rolling Stones, and Rock & Roll as a whole. It was a time I largely missed (being born in 1970), but feel like I experienced, partially at least, vicariously through my mom. She was a music junkie, went to Woodstock, worshipped Janis Joplin.

Because of her we had stacks of records, taller than me as a kid, right at my fingertips. Aside from the epic music itself that I soaked-up, the album artwork and liner notes were pure magic, and heavily influential to this day– forever etched into my psyche. I remember hearing “Paint it Black” crackling on the turntable– the sound of Brian Jones on the sitar lulling me into a sedated state of wonder. Today I appreciate the Stones more than ever– as through the decades they’ve proven again and again that a band like that only comes around once or twice a generation in terms of musicianship, influence, and longevity. And the icing on the cake is the epic tales of their early days and ways of excess.

1969 pic of the Rolling Stones’ guitar/bass lineup– appears they were hard on everything then.

Brian Jones (on his Fender Telecaster) throwin’ some heavy, funk vibe — way pre-Lenny Kravitz. There’d be no Rolling Stones without Jones, who was undoubtedly the most versatile musician ever to bless the band, and easily rivaled Mick Jagger for sex symbol status. Jones also had a very eclectic taste in guitars– amassing a very enviable collection.

“YOU’RE WELCOME TO SWIM” #1 — Keith Richards and Brian Jones together in happier times– poolside at the Jack Tar Harrison Hotel in Clearwater, Florida on the day that Keith and Mick wrote “(I Can’t Get No) Satisfaction.” Today this hotel is the headquarters of The Church of Scientology. Later Keith would “rescue” or “steal” Anita Pallenburg from under Jones’ nose, depending on how you look at it– and added insult to injury when both he and Anita (as well as Mick Jagger) were noticeably absent at his funeral. — image by Bob Bonis

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July 15, 2010 by JP - 44 Comments

THE ROLLING STONES’ OTHER MICK | MICK TAYLOR’S SUBSTANCE OVER STYLE

The epic pic, “Flapjacks and a Fag.” — The Rolling Stones’ Mick Taylor and Keith Richards, Hotel Manchester, September, 1973 — Photo by Laurens Van Houten

At the wee age of 20 years old, guitarist Mick Taylor (of John Mayall’s Bluesbreakers fame) replaced Brian Jones, in what as that time the greatest rock and roll band in the world– the Rolling Stones. Well the best was yet to come, as they went on to record the epic musical masterpieces– Let It Bleed, Sticky Fingers and Exile On Main Street.

Then suddenly in ’74, Mick dropped out. Some say he was kicked out– but Taylor simply had enough of the chaos, drugs, and strain that came with being in the Stones. Had he stayed, Taylor adamantly believes that the Stones’ life of debauchery would have killed him.

Mick Taylor of the Rolling Stones

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January 24, 2010 by JP - 21 Comments

EPIC 1965 NEWPORT FOLK FESTIVAL | BOB DYLAN PLUGS IN– FANS TUNE OUT?

Before he went electric in 1965 — and drew jeers from legions of (arguably small-minded) fans in the process — Bob Dylan epitomized the hard-traveling folk troubadour, and he established this image largely on a vintage Gibson “Nick Lucas” model flat-top guitar. The young Dylan had played other Martin and Gibson models in the late ’50s and early ’60s, but in those final years of his acoustic era, before a “blonde on blonde” Fender Telecaster ushered in a whole new folk-rock sound, the “Nick Lucas” was his instrument of choice. He played this guitar in the studio and on tour from 1963 to ’66, and used it for the legendary albums Another Side of Bob Dylan and Bringing it All Back Home. And, although it didn’t appear on the covers of either of these, it is frequently seen in the many live performance tapes from the day, including broadcasts of the Newport Folk Festival in 1964 and ’65, and Dylan’s famous appearances on BBC TV in England in 1965. While, in hindsight, this Gibson “Nick Lucas” seems “just right” for the young Dylan, and has become an iconic folk guitar as a result, the model’s origins show that it is perhaps an unlikely choice for a scruffy young folky. Via

Back in 1963, Bob Dylan was the new darling and outspoken voice of political protest in America, performing songs seeking truth and justice– “Only a Pawn in Their Game”,“Who Killed Davey Moore?”, and most notably, “Blowin’ in the Wind”— backed by the Folk movement’s super-establishment including Pete Seeger, Joan Baez, the Freedom Singers, and Peter, Paul & Mary. But Dylan’s talent quickly proved too big to be boxed in by the narrow and idealistic parameters of Folk purists. By 1964 he’d already moved on musically– “Mr. Tambourine Man”, and “It Ain’t Me, Babe” showcased the emerging depth of his songwriting skills outside of protests and politics. Dylan’s fans worship him with a god-like fervor and frenzy. At the 1964 Newport Folk Festival, the enthusiastic crowd woos Dylan– cheering, chanting, and roaring for him to return to the stage at the end of his acoustic set. When he reappears on stage, it’s a love-fest. “I wanna say thank you, I love you”, says Dylan to the crowd. He can seemingly do no wrong.

Bob Dylan At Piano During Recording Session, 1965. Bob Dylan in a contemplative mood, lost in thought behind his Ray-Bans, pausing for a break between takes at the upright piano at Studio A, Columbia Recording Studios in New York City during the sessions for “Highway 61 Revisited” in June 1965, a mere month before his electric set at the Newport Folk Festival would send Folk and Rock and Pop music into a whole new direction. –Photo by Jerry Schatzberg, Via

By the summer of ’65, Dylan’s stardom surpassed that of the Folk traditionalists at the Newport Folk Festival. Hundreds of adoring fans overwhelm Dylan’s car, as he basks in the attention, smiling and stating, “They’re all my friends.” But there is wave of rebellion beginning to well-up against Dylan among the so-called Folk purist fans. They see him as already being a sell-out, having moved over to the side of the establishment. In their eyes, Dylan is now just another cog in the wheel. The stage is now set for the epic event that will forever be remembered as– When Dylan Went Electric. So what inspired Dylan to go electric in the first place? Some say Dylan was inspired (or challenged perhaps) by an exchange he had with John Lennon. Dylan slammed Lennon, essentially dismissing The Beatles lyrically– “you guys have nothing to say”, was the message. Lennon’s counter was to enlighten Dylan of the fact that– he had no sound, man. Whether or not it resulted in Dylan going electric, or The Beatles writing more introspective lyrics, who knows– but it’s a helluva story.

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January 13, 2010 by JP - 26 Comments

HAMMER OF THE GODS | JIMMY PAGE’S EPIC DOUBLE NECK GIBSON GUITAR

Jimmy Page playing the epic Gibson EDS-1275 Double Neck guitar that he made famous the world over. In fact, the two are so intimately connected in the annals of Rock ‘n Roll history– it would take more balls than I could ever muster to even think of picking one up.

From the desk of Contributing Editor, Eli M. Getson–

I had a history teacher back in high school that was kind of a crazy cross between Fred Rogers and Gandhi– Gene Beringer. Gene’s probably the most mild-mannered cat I have ever come across. I mean nothing– not even smart-ass 15 year olds who constantly screwed around in class (yep, yours truly), could get this guy riled up. I had the dubious distinction of spending many a detention with Gene mano y mano. Like I said, Gene was pretty laid back, and so he’d often let me read and listen to my Walkman to pass the time, while he caught-up on grading papers. One day Gene casually asked, “So what are you listening to?” My answer forever changed our relationship– Led Zeppelin. He went deep into a 1,000 yard stare, and then finally uttered– “Ya know, I saw Zeppelin about 30 times between ’74 and ‘78”, as a smile slowly warmed his stoic face.

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November 12, 2009 by JP - 4 Comments

THE PSYCHEDELIC SG “FOOL GUITAR” | ERIC CLAPTON’S EPIC GIBSON GROWLER

Eric Clapton of Cream and Producer Felix Pappalardi during a recording session for the album Disraeli Gears at Atlantic Studios — Image by © Michael Ochs Archives

I’ll never forget the first time I saw a picture of Todd Rundgren holding what I immediately deemed to be the coolest guitar in the world. I’m a bit of a guitar nut– I’ve got a nice little stable of beauties currently, and I tell myself that I’d play more if it weren’t for TSY and a few other distractions– another thing on the list of things I’d love to do more frequently. Anyway, the image of that majestic hand-painted Gibson SG was forever seared on my mind’s eye. Later, I learned more about the coveted guitar– it’s creation by the hands of a 1960s Dutch design duo called the Fool, the mysterious changing of hands among notable guitarists over the years, and the recent sale to a collector who paid in the neighborhood of $500,000 for the legendary axe. It’s amazing what a little paint can do…

Eric Clapton of Cream, one of the hottest trios (along with the Jimi Hedrix Experience) on the 1960s.

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November 11, 2009 by JP - 25 Comments

GUITAR GOD DUANE ALLMAN | BEHIND THE ALLMAN BROTHERS’ SOUND

October 16th, 1971, inside of two weeks before Duane’s death on Oct. 29th. Gregg Allman, Duane Allman, & Berry Oakley above. Duane and Berry died in separate motorcycle accidents– Duane in 1971 and Berry in 1972.

There’s an overwhelming feeling of worldly injustice and “what could’ve been”, when someone so gifted and young is taken from us like Duane Allman was. The only consolation we have (and a sweet one it is), are the incredible tracks he laid down with The Allman Brothers Band, Derek and the Dominoes, and his session works in the studio with great artists like Aretha Franklin, King Curtis, B.B. King, and Clarence Carter. And if you think he was just a great slide player and string bender– check out the blistering lead work on You Don’t Love Me.

I can’t believe that 38 years have already passed since the day Duane Allman hopped on his Harley after a party in Macon, Georgia– not knowing it would be for the last time. He only got a few miles down the road, when a truck turned in front of him and Duane clipped it’s back end. Allman lost control, and the Harley landed on top of him, sustaining injuries that would take his life within a few short hours. The lead guitarist of the Allman Brothers Band, who was gaining huge acclaim for his exciting and innovative sound and style, was dead at age 24.

Jerry Wexler’s eulogy for Duane sums it up best: “This young and beautiful man who we love so dearly but who is not lost to us, because we have his music, and the music is imperishable.”

Amen, brother. Amen.