Goya was purchased by Avnet in 1966, and continued to import instruments such as the Rangemaster in 1967. By the late 1960′s, electric solidbody guitars and basses were then being built in Italy. The vibrato bar, however, was provided by another Goya supplier, the Hagstrom company of Sweden. It has also been suggested that Italian guitar maker Galanti made the Goya “Panther” models. The Goya Panther and the Galanti guitars look nearly identical.

This cherryburst Rangemaster Model 109R Goya guitar was made by the “Polverini Brothers” of Italy (not by EKO as previously thought) in the late 1960′s. The multi control panels that were common with Italian instruments from that era, include a master volume next to three tone options, low, medium and high. The upper controls are for pickup selection, as the pickups are split into 3+3 x 2. So the controls are: 1+2, 1+4, 2+3, 3+4, off. Pretty cool!

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

Vintage 1967 Goya Rangemaster 109R Electric Guitar

This model is shown on page 12 and 13 of the 1967 Goya Guitar Catalog in a blonde finish.

New Arrivals: Vintage 1967 Goya Rangemaster 109R Electric Guitar from MyRareGuitars.com

10) Felt – Forever Breathes the Lonely Word

Felt - Forever Breathes The Lonely Word

I’ve been a fan of Felt for many years brought on by some early compilation CD’s I picked up in the early 90′s. But last year I went back to fill in the gaps by picking up most of their LP’s in the original format. This 1986 release is one of their best. A great collection of pop nuggets with their trademark shimmering guitars throughout. This is a good place to start if you’re not on the Felt bandwagon, if you like Johnny Marr (The Smiths) and Tom Verlaines Television, you’ll like this.

9) G.Love and Special Sauce – Best of

G Love & Special Sauce - Best Of

Who doesn’t like a Cold Beverage? I know I do and that single off his first release is hard to beat. If you have not grooved down this road yet, here is a great place to start. Sort of a cross between Jack Johnson and The Beastie Boys. With his unique style of Rock & Roll with a hip-hop slant and a chill out funkiness, G’s records are always a party favorite and his live shows are a non-stop romp. I’m not a fan of “best of” records, and this one is certainly NOT a great reflection of the bands capabilities. However, as an introduction to his work, this will ignite your curiosity to delve a little deeper.

The Icarus Line – Penance Soiree

The Icarus Line - Penance Soiree

Lat year I got an email from a guy named Joe Cardamone telling me he recently met Warren Ellis in an LA recording studio. So as I like Nick Cave/Grinderman, he figured I should check out his band, The Icarus Line. His new LP – Wildlife – is the best place to start. But once you get into that one, going back to this 2004 release cranks it up a few notches. Sort of a modern day version of The Stooges, Black Flag and The Birthday Party, not many bands have the guts and raw power to grind out a record like this. Not for the faint of heart, but if you’re in the mood to rock out, why go half way?

7) Can – Ege Bamyasi

Can - Ege Bamyasi

Can were the leading avant-garde rock group of the ’70s. For the uninitiated, this 1972 record is the best place to start. Many of the tracks sound like an unrehearsed jam session and someone accidentally pressed the record button. If that’s the case, someone deserves a big “thank you” for getting the tape rolling. It’s funky, it’s cool and it’s a must have in any record collection.

6) James Hunter – People Gonna Talk / The Hard Way

James Hunter - The Hard Way

James Hunter - People Gonna Talk

I discovered Hunter one night last year watching a rerun of “Later with Jools Holland”. His recordings feature rhythm & blues in the style of the 1950s, pitched between R&B, early rock & roll, and early soul with a twist of the Caribbean – a modern day Sam Cooke? What makes these records better than the rest of this genre is that they sound like they were recorded in the 60′s – I don’t mean poor quality – I mean the arrangements are minimal, crisp, clean, almost MONO without sounding dull. Just makes you want to forget all your daily worries, kick off your shoes and get up and dance. People Gonna Talk (2006) and The Hard Way (2008) are best listened to back to back. Although two years apart they string together like they were recorded the same day. And believe me, you can’t get enough of James Hunter in one CD, so you’ll NEED them both! Speaking of Sam Cooke…

5) Sam Cooke – Night Beat

Sam Cooke - Night Beat

Most music comes to us when referred by friends. I was telling Carl Cook (Eastwood Guitars, UK) about James Hunter, and he told me to check out this record. Unlike the Sam Cooke I was familiar with (You Send Me, Cupid, etc) this 1963 release focuses on the most important part of his genius — his glorious voice. If Sam Cooke had lived longer, there would’ve been several more sessions like this, but Night Beat is an even richer treasure for its rarity. Hard to believe this was recorded almost 50 years ago. What a treat.

4) Bill Callahan – Sometimes I Wish I Were an Eagle

Bill Callahan - Sometimes I Wish I Were An Eagle

I’ve been a fan of Smog (Bill’s earlier stuff) for many years. His dark and moody songs are delivered with a rather soothing baritone voice and minimalist arrangements. This records (2009) opening track – Jim Cain – is one of the best songs I’ve heard in years, and the closing track – Faith / Void – leads right into my next fave, David Bazan.

3) Pedro the Lion – Achilles Heel

Pedro The Lion - Achilles Heel

Prior to David Bazans solo work he recorded under the moniker of Pedro the Lion. This final LP (2004) was essentially Bazan on his own. Sorry I missed this 7 years ago, but glad I’m catching up now. The opening track – Bands with Managers – is a treat. “Bands with managers, are going places. Bands with messy hair and smooth white faces.”

2) David Bazan – Curse Your Branches / Fewer Moving Parts

David Bazan - Curse Your Branches

It was pure coincidence last year that I had just finished reading Dawkins – The God Delusion – when I discovered Bazans’ 2011 release – Strange Negotiations – so it made my top 2011 ten list. Moving backwards from there, every LP seems to get better and better. The music and lyrics from this 2009 release are equally compelling and the opening track – Hard to Be – is a perfect introduction to his work. Also check out the song Bearing Witness with the lyric, “so sick and tired and trying to make the pieces fit, cause it’s not what bearing witness is,”. Off his typical subject matter, the single “Fewer Broken Pieces” is a must listen to anyone who has ever played in a band.

1) Bill Nelson – The Practice of Everyday Life

Bill Nelson - The Practice of Everyday Life

The year 2011 marked the 40th anniversary of BILL NELSON’s recording career and to celebrate Esoteric Recordings released this wonderfully packaged boxed set containing more than 150 tracks over Eight CDs. Beginning with his earliest recordings, the set includes previously unreleased material by Be Bop Deluxe, along with examples from Bill’s extensive solo catalogue and is rounded off with a bonus CD featuring two previously unreleased BBC Radio One sessions from 1981 and 1983. If you are like me, you probably have most of this already. But hey, I’ve got over 50 CD’s from Bill, so it’s unlikely you are anything like me. If you are like most others, you have a Be Bop Deluxe LP and maybe one or two other LP’s from Bill over the years. Here is your chance to get caught up. It’s not cheap, here is a link to the best price I could find, and there is also an interesting video interview posted there.

My Top 10 Albums of 2011 List (Part 2) from MyRareGuitars.com

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood has released its new Phase 4 Hi-Flyer guitar model. The Phase 4 was the last generation UNIVOX Hi-Flier model that were made from 1968 to 1977. The model was used by Kurt Cobain in their Heart Shaped Box video. The song was released as the first single from the group’s third and final studio album, In Utero, in 1993.

The Phase 4 is a dead-on replica of the original slim-line body and neck profile. It is fitted with new Eastwood Phase 4 humbuckers, has a 3-way switch with single volume and tone controls and a fully adjustable wraparound bridge. This was one of the few Hi-Flyer models that had a maple fretboard, and is one of the rarest of the vintage UNIVOX models. Suggested Retail Price: $759.

OUR PRICE: $599

More pics of the Eastwood Phase 4 Guitar:

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

Eastwood Phase 4 Hi-Flyer Electric Guitar (Nirvana Replica)

New Eastwood Hi-Flyer Phase 4 Guitar – Nirvana Replica from MyRareGuitars.com

2) G. Love and Special Sauce – Custom Airline 3P ’59

G Love - Custom Airline 3P '59 Guitar

3) Miss Alex White – White Mystery Band – Classic 6

Miss Alex White (White Mystery Band) - Eastwood Classic 6 Guitar

4) Jay Codina – Blue Tattoo – Classic 6 Lefty

Jay Codina (Blue Tattoo) - Eastwood Classic 6 Lefty Guitar

5) Casey Crescenzo – The Dear Hunter – Coronado ’59 Custom

Casey Crescenzo (The Dear Hunter) - Coronado '59 Custom Guitar

6) Bill Nelson – Airline MAP

Bill Nelson with his Airline Map Guitar

7) Ripley Johnson – The Wooden Shjips – Airline 3P DLX

Ripley Johnson (The Wooden Shjips) - Airline 3P DLX Guitar

Tara Elliott and the Red Velvets – Airline 2P

Tara Elliot (The Red Velvets) - Airline 2P Guitar

9) Simonne Jones – Airline ’59 1P

Simonne Jones - Airline '59 1P Guitar

10) Milos Angelov – Matthew Good – Classic 4 Bass

Milos Angelov (Matthew Good) - Eastwood Classic 4 Bass

11) Abraham Millett – Third Eye Blind – Classic 4 Bass

Abraham Millett (Third Eye Blind) - Eastwood Classic 4 Bass

12) Creepoid – Classic 6

Creepoid - Eastwood Classic 6 Guitar

13) Rico – FOREVER THE SICKEST KIDS – Airline Town & Country

Rico (Forever The Sickest Kids) - Airline Town & Country Guitar

In Studio with Obie O’Brien – Classic 4 Bass

Obie O'Brien in studio with his Eastwood Classic 4 Bass

Eastwood Celebrity Sightings (January 2012) from MyRareGuitars.com

Now don’t be too impressed yet – this wasn’t a “moment of discovery” where record producers and agents saw me and made me an overnight sensation. Tommy was in Toronto doing one of his pre-concert workshops and I was in the audience. He usually ends by asking volunteers to come up and play a song with him. I sat there sweating while friends got up and played, wondering if I would actually have the nerve to do it. Then I impulsively threw up my hand and before I could chicken out I was sitting on stage with one of my greatest guitar heroes.

Dr. Dave Walker on stage with Tommy Emmanuel

This was a moment I had dreamed about for years, and I wasn’t really unprepared. I had been practising one of my favourite Chet Atkins tunes ‘All Thumbs‘ and thought that it would be perfect since Tommy was such a huge Chet fan and knew every one of his songs (or so I thought). So when he asked me what song I wanted to play and I said All Thumbs, imagine my shock when he said: “Oh, I don’t know that one! I’ll have to fake it. You can start.”

Gulp! I took a few deep breaths to calm down before starting, but as I did Tommy addressed the audience. “This one is really hard,” he said to the crowd, “REALLY, REALLY hard!” Just what I didn’t need to hear. Then he turned to me and said: “Go!” One more deep breath and to my amazement my fingers began playing the song, and Tommy joined right in.

It all went well right up to the last few bars. That’s the trickiest part in the song, because Chet plays one of his patented cascades of sixteenth-notes all across the strings, and it had been hit-and-miss almost up to that very day. I was dreading the spot, and sure enough when I got to it, my fingers failed and I stopped. Ouch!

There was a sort of gasp from the audience and Tommy whispered to me: “Keep going! Don’t stop!” But it was too late – I HAD stopped. So I looked up at him with a grin and said: “Wait for it” and to my own (and everyone else’s) amazement I ripped off the cascade perfectly and ended the song. Tommy let out a whoop, jumped up and gave me a huge hug. With his arm still around me he turned to the audience and said: “THAT is how you play All Thumbs!”

I have never been so nervous playing in my life, nor have I been so proud on stage as that day. So do I still dream of doing it again? No way! That one performance was a pinnacle that I doubt I could reach again. And besides, it turns out that it did give me my little niche in posterity after all.

A couple of months later I was at the Chet Atkins Appreciation Society convention in Nashville talking with a group of the guys from Toronto. Tommy recognized us and came over to chat and reminisce about his recent visit. I was to his side and slightly behind him, and was shocked but very pleased to hear him say: “Hey, remember that crazy doctor who got up on stage with me and played All Thumbs? How amazing was that?!”

by “Dr. Dave” Walker
blog.davewalkermusic.com

Dr. Dave Walker is a writer for blog.davewalkermusic.com and for Just Jazz Guitar. A former computer science professor, he has since come to his senses and now teaches music.

Be Careful What You Wish For – You May End Up On Stage With Tommy Emmanuel! from MyRareGuitars.com

Airline '59 2P Electric Guitar (LEFT-HAND) from Eastwood Guitars

The ’59 2P upgrades include: dual VVSC pickups, striped pickgaurd, chrome tone switchplate, rubber body binding and includes the DLX Airline hardshell case. Retail price $1299.

Our Price: $999.00 US

_________________________________________________________________________

The Airline Folkstar is a tone cahmbered mahogany body with a resonator cone adn piezo pickup. It also has a mini humbucker on the neck poistion and a blend knob to blend between the two pickups.

Airline Folkstar Resophonic Guitar (Red, Left-Handed)

Airline Folkstar Resophonic Guitar (Black, Left-Handed)

color

Left-Hand Red Left-Hand Black

Shipping is $49 North America, $149 to Europe.

Two New Left-Hand Models: Folkstar and ’59 2P (February 2012) from MyRareGuitars.com

Vintage 1984 Quest Atak-6 MK II Electric Guitar

I first encountered a Matsumoku guitar (I didn’t know what it was at the time) back in the early 1990s. I was hanging out with Mac and Joe at the Axe Factory in Southwest Philadelphia (long gone) after work one evening. They were just about to close down when a car pulled up to the curb and out came two guitar cases. One was a ‘70s Gibson Les Paul and the boys started to drool over it. The other was the most spectacular flametop guitar I’d ever seen, an Electra Endorser (recently profiled in Vintage Guitar Magazine). Without taking their eyes off the Paul, they sold me the near-mint Endorser for three bills. I walked out like the Chesshire Cat. Later I found out that beauty was made by Matsumoku.

Matsumoku Motto (or the Matsumoku Industrial Co., Ltd.) was founded in 1951 to manufacture sewing machine cabinets. They were located in an area with a long tradition of musical instrument making, so when the demand for guitars heated up in the early 1960s, it wasn’t so big a stretch to apply their woodworking talents to guitars. They began building guitars in around 1963.

Vintage 1984 Quest Atak-6 MK II Electric Guitar

Early Matsumoku guitars display that tentative awkwardness shared by most Japanese guitars of the time, but the workmanship is almost always a notch up compared to, say, Teisco, Kawai, or Zen-On. One of the early brands produced by Matsumoku was Cortez for Westheimer Music, the name that eventually gave us Cort guitars. By the middle ‘60s the factory was producing Arai and later Aria Diamond and Aria guitars. In around 1975 the luthier Nobuaki Hayashi managed guitar production and Arias became Aria Pro II. Meanwhile Matsumoku was producing guitars for St. Louis Music (SLM), including some, if not all, their late ‘60s Apollo line. When SLM changed its brand to Electra in 1970, the better models, at least, came from Matsumoku. Matsmoku also made the first Japanese Epiphones for Gibson beginning about this same time.

Another brand associated with Matsumoku was Univox, promoted heavily from 1968 on by the company known as Merson Musical Products, A Division of Unicord Incorporated, A Gulf+Western Systems Company. In 1975 the Merson part departed and the company became Unicord, Inc. In 1976 Unicord introduced the Westbury line, made by Matsumoku, which replaced Univox in ‘78. In 1979 and 1980 Matsumoku made the Washburn Wing and Stage Series guitars. In 1982 Matsumoku took over production of the D’Agostino Bench Mark series.

Vintage 1984 Quest Atak-6 MK II Electric Guitar

The Merson folks moved to Garden City Park on Long Island, New York, and became Musical Technologies, Inc. (MTI). This company would eventually bring Korg to the U.S. and still exists. In 1981 the Westone brand appeared in the U.S. This may have been a proprietary brand name owned by Matsumoku because, while it was appropriated by SLM as its brand name in 1984, other Westones continued to be sold outside the U.S. until the end. Anyhow, it appears that MTI began to sell Matsumoku-made Vantage guitars in 1982, at least.

Which finally brings us to Quest. With heavy metal riding high, a taste for weird-shaped guitars developed. In 1984 MTI introduced a new line of Matsumoku-made guitars called Quest by Vantage. These were a little more outré than the Westone/Vantage aesthetic, but why they felt they needed a new brand name remains a mystery. But included in the new line was the Quest Atak 6, kind of a take on the Ibanez Destroyer. In the brochure were the A-6 of laminated mahogany and the A-6TX with a bound ash body. This example has “Mark II” on the truss cover and is like the A-6TX but with a bound spruce top over a solid mahogany body. With an SN of C400578 this dates to March of 1894. Controls are volume and two tones, with the volume a push-pull coil tap.

The only brochure seen for Quests is from 1984. I own two and both are from mid-1984. If they lasted beyond that, it’s unknown at this time. In 1987 Matsumoku was purchased by the Singer Sewing Machine Co. and guitars were not in their future. It’s not clear if production ended immediately, or if they limped on until 1989 or even into 1990. At some point in the early 1990s the Vantage brand was transferred to the Samick company in Korea, mainly Gibson and Fender inspirations, sold by Music Industries Corporation of Floral Park, New York. These were certainly produced from 1995-97, and probably before and after.

Active sales of the Vantage brand have since ceased. Music Industries now rents instruments. I love the Quests, and many other Matsumoku guitars, but nothing is as sweet as that first kiss…er, Electra.

Matsumoku’s Atak Gains The Ad-Vantage (Vintage 1984 Quest Atak-6 MK II Electric Guitar) from MyRareGuitars.com

David Anderson

So, it’s cold out side and the snow is falling. You decide to sit by the fire with your favorite hot beverage and your guitar for a little one on one time. You give your prized axe a strum, but it seems someone has replaced your instrument with an imposter. This guitar looks like your old friend in every way, but it’s buzzing and rattling, and the frets are sharp. You ask yourself what is going on.

Humidity is what’s going on, or more accurately, the lack of humidity. Guitars and other stringed instruments require 45 to 55% relative humidity in the environment in order to function properly. If your guitar gets below 45%, it will actually begin to shrink. Your instrument can easily loose 1/8 of an inch of mass from shrinkage due to a dry environment, and that means sharp fret edges, notes that buzz, cracks in the wood, lifting bridges, and even failing neck joints. If your instrument is over-humidified, on the other hand, you will notice an immediate difference in the way it plays due to the neck relief changing and the top rising and bellying up. You may even notice a difference in tone.

But don’t “fret”…it’s not too late! You can reverse the condition of your guitar by simply changing the relative humidity of the environment in which it resides. If you have a hard shell case, you can easily add humidity by purchasing a guitar/case humidifier, but you must be sure to keep the guitar in the case while not in use to allow the case interior to act as the immediate environment for the guitar. If you like to hang your instrument on a wall or display it on a stand, you will need to get a cold mist humidifier for your room (home furnaces with built in humidifiers will not suffice). It’s a good idea to purchase a hydrometer so you can keep track of the relative humidity in your area. Expect it to take a few weeks for your guitar to acclimate to its proper environment. This may seem like a lot of effort, but so is humidifying and repairing a top crack or dressing frets due to dryness, fixes not covered by the manufacturer as warranty work. Prevention is key!

So, if you want to give that special stringed someone the gift that keeps on giving, give the gift of humidity. Your guitar will be happy, and you will too.

Written by: David Anderson

Guitars & Humidity: Taking Care of Your Guitar from MyRareGuitars.com

Wandre Tri-Lam Electric Guitar from Eastwood Guitars (Blue)

Wandre Tri-Lam Electric Guitar from Eastwood Guitars (Red)

Order before the NAMM show (Jan 18th) and get a FREE Custom Hardshell Case.

BUY NOW: $799

Color

Red Blue

Colours: Blue, Red
Body: Full Hollowbody, Maple Top, Back, Sides
Neck: Bound Maple, Set
Fingerboard: Rosewood, Block Markers
Scale Length: 24 3/4″ (628mm)
Width at Nut: 1 5/8″
Pickups: New York MINI Humbucker
Switching: none
Controls: Master Volume
Bridge: Floating Tune-O-Matic, Custom Chrome Tail
Hardware: Grover Style Nickel/Chrome
Strings: D’Addario #10
Case: Extra
Unique Features: Custom Chrome tailpiece, grilled F-holes
Suggested Retail: $1029.00US

* North America shipping $49. Outside north America $149.

More Pictures of the Wandre Tri-Lam:

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar (Blue)

Wandre Tri-Lam Electric Guitar from Eastwood Guitars (Blue)

Wandre Tri-Lam Electric Guitar from Eastwood Guitars (Red)

New Wandre Tri-Lam from Eastwood Guitars from MyRareGuitars.com

10. Fender Showman (Blonde Brownface)

Song: Miserlou
Artist: Dick Dale
The unmistakable sound of surf guitar was created by Dick Dale’s Fender stratocaster and a Fender Showman amp. One of the most important pieces of his signature sound was a custom Fender reverb unit (built by Leo Fender and given to Dick Dale as a prototype) driving a cranked up dual showman into 2 X 15-inch JBL D1 30 speakers. On the opening low E run from Dick Dale’s version of Miserlou you knew surf guitar was born, and that super cool reverb-laden sound would change the history of instrumental guitar music.

Dick Dale's 1965 Fender Showman Amp at the Musical Instrument Museum in Phoenix, AZ

9. Marshall JTM 45 Combo (Series 2, Model #1962)

Song: Hideaway
Artist: Eric Clapton (John Mayall’s Bluesbreakers)
In the mid 60′s – after Eric Clapton left the Yardbirds – he joined with the John Mayall Bluesbreakers. Within one year earned a huge reputation and the nickname “Slowhand”. The Bluesbreakers recorded the Beano album in April 1966 and Clapton used a Marshall Series 2 1962 JTM 45 combo with KT 66 tubes. This amp coupled with the Les Paul guitar created a new kind of sound no one had ever heard before in blues. Some dubbed this the “woman” tone, and players have been chasing it for decades.

The Marshall Bluesbreaker: The Story of Marshall's First Combo

8. Fender Deluxe Reverb

Song: Sweet Dreams
Artist: Roy Buchanan
Roy Buchanan and his trusty, well-weathered 50′s telecaster never abused a finer vintage amp than the Fender Deluxe Reverb. Roy was known for cranking his Fender Deluxe Reverb full blast and facing it toward the back of the stage to cut the stage volume. Roy gave his fans one screaming note after another and some of the sweetest tear-jerking blues you’ve ever heard. If there was ever a player that could wring blood, sweat and tears from a guitar, it was the late, great Roy Buchanan.

1960's Blackface Fender Deluxe Reverb Amp

7. Fender Bassman (Blonde Brownface)

Song: Rock This Town
Artist: Brian Setzer

Brian setzer is the king of cool when it come to rockabilly guitar style. He brought 50′s style blues/jazz guitar back in a time when AOR rock and new wave ruled the airwaves. One of the secret weapons in his tone is a Roland RE-201 Space Echo between his Gretsch guitar and two blonde Fender Bassman amps. That setup creates a great rowdy slap back echo which has become part of his signature tone.

Brian Setzer's Blonde Brownface Fender Bassman 6G6-B Amps setup with Roland Space Echo

6. Fender Tweed Deluxe

Song: Like A Hurricane
Artist: Neil Young
Neil Young is the godfather of grunge. bands like Pearl Jam and Nirvana pay tribute to Neil’s wild, unleashed crunchy chords and ruckus feedback swirls in many of their songs. Neil sports his worn black beauty Les Paul, feeding his 1959 Tweed Deluxe on many of his classic tunes live and in the studio. One amazing part of Neil’s rig is the Whizzer. In order to access the Deluxe’s varying degrees of overdrive and gain, Young uses a custom-made amp-control switching device known simply as “the Whizzer,” which consists of 2 parts: the foot pedal and the mechanical switching device that physically turns the amp’s knobs. The Whizzer allows Young to stomp a footswitch on the floor to command the unit to twist the Deluxe’s volume and tone controls to any of a number of determined preset positions. This allows Neil to run a pure tone set up: guitar-cord-amp. No booster, overdrive, or distortion pedals are needed to achieve his classic agro-tone…just the little 50′s Fender Tweed Deluxe and the Whizzer.

Neil Young's 1959 Fender Tweed Deluxe Amp

5. VOX AC30

Song: Bad
Arist: The Edge (U2)

The Edge is one of my all time favorite guitarists. He created a signature sound early on in his career with a Fender Stratocaster, Electro Harmonix Memory Man delay pedal and a VOX AC30 on albums such as WAR and The Unforgettable Fire. This winning combination has served him well from the early days all the way through recent records and live work. The Edge creates complex echo manipulations coupled with the airy chime of the Vox AC30. The Edge has used a massive catalog of guitars and multi FX units over the years, but the AC30 has remained a staple regardless of the other changes. These gear details coupled with his brilliant parts make U2′s catalog of songs distinguishable with just one note of the Edge’s guitar. Very few guitar players in history have created such a powerful and recognizable signature sound like The Edge.

“]

The Edge's 1964 Vox AC30TB (Top Boost) Amp ['64 chassis in a 70's cabinet

4. Supro Thunderbolt

Song: Communication Breakdown
Artist: Jimmy Page (Led Zeppelin)
There has been a lot of speculation over the years regarding the amps that Jimmy Page used in the studio during the groundbreaking debut release Led Zeppelin. Jimmy will neither confirm nor deny which amp(s) were used in the studio, and there are no known photos in the archives to corroborate my story. But…based on the tones heard on the record, it is entirely possible that the Supro Thunderbolt was used. So in keeping with the mythical ethos of Led Zeppelin, I added it in to the mix.

Supro Thunderbolt Amp (front)

Supro Thunderbolt Amp (back)

Now, just to add to the mystery, here’s the Supro amp that Jimmy page gave to the Rock and Roll Hall of Fame. It’s actually a Supro 1690T Coronado, but the features of the amp do not match up with details Jimmy previously provided when questioned about the Supro amp he used on Led Zeppelin. And the mystery continues…

The Supro 1690T Coronado that Jimmy Page gave to the Rock and Roll Hall of Fame

Supro 1690T Coronado Amp (catalog ad)

3. Marshall Bass 50w #1986 (Head)

Song: Statesboro Blues
Artist: Duane Allman (Allman Brothers Band)
Anyone that loves electric guitar cannot deny the impact Duanne Allman had on the legacy of blues slide guitar. His liquid lines and fluid tone seem to jump from the neck of his Gibson Les Paul without effort. He used a simple rig of two 50 Watt Marshall heads into two 4 x 12-inch cabs. His tone on the legendary Allman Brothers recording Live at the Filmore East is a destination for anyone wanting to capture the ultimate blues tone. Nobody plays it the way Duane did. If you don’t own a copy of this record, I recommend you head to the record store and pick it up immediately because you are missing out on a legendary sound and performance.

Marshall Bass 50w Head Model #1986

Duane Allman's Last Show (Oct. 1971, Los Angeles)

2. Dumble Overdrive Special

Song: Josie
Artist: Larry Carlton (Steely Dan)
During the 1970′s and 80′s Mr. 335 laid down over 500 tracks a year as a session player and on his own records. He is definitely one of LA’s guitar royalty. Armed with his trusty ’68 Gibson ES-335 and two Dumble Overdrive Special amps, his monster jazz fusion guitar line are unmistakable and can be heard all over popular music. Steely Dan’s 6th release, Aja, employed a huge jazz influence and was their most guitar heavy record to date. This was mostly in part to the amazingly tasty tones and licks from Larry Carlton. Aja is one of Steely Dan’s best and most popular records for sure. Mr. 335 obviously helped push that record to the top.

Larry Carlton's Dumble Overdrive Special Amps (2005)

1. Marshall Super Lead #1959 (12,000 Series Metal Panel Plexi 100-Watt)

Song: Running With The Devil
Artist: Eddie Van Halen
With the release of Van Halen I in 1978, the world of rock was changed forever. Edward Van Halen hit the scene with a new guitar sound that was so fast and furious no one had ever heard anything like it before. Eddie was a do-it-yourself kind of guy, always tweaking around with modded guitar pickups, different fx pedals on the floor and different ways to drive his Marshall amplifier into saturated overdrive. In the legend of EVH, many myths about how he created his early guitar tone have run rampant for decades. Speculation about DIY mods like power resistors across the power tubes plates, AC variacs to raise or lower the input voltage of the amp, and large resistant power loads over the speaker out have spawned endless articles and arguments on forums about how the legendary early EVH sound was created. Sketchy details from the era and no solid proof of what was used from EVH or his camp during those days continue to feed the tone chasers fuel tanks. And to this day the holy grail tone from Van Halen 1 has players frothing at the mouth. But you and I know the only real truth: The tone is 95% in the hands, and Eddie’s legendary sound has more to do with the notes he played rather than the tone in which he played it with.

Eddie Van Halen's Marshall Super Lead #1959 100-watt Plexi

Eddie Van Halen's Marshall Super Lead #1959 100-watt Plexi

Eddie Van Halen's Marshall Super Lead #1959 100-watt Plexi

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