Martin 000-15sm

Martin makes some really nice guitars and they also make some that just don't make me very enthusiastic but this little Martin 000-15SM is a nice guitar.

Premier guitar and  Charles Saufley wrote the following review about this instrument.

Believe it or not, there are days as a gear reviewer where you’ll scream if you have to tweak another knob, dial in another tone, split another coil, troubleshoot mystery hiss, or fret over some immaculate nitrocellulose finish that dinged when you looked at it wrong. These are the days when a guitar like the Martin 000-15SM looks like a pearl from the heavens.

The Mahogany 000-15, and its almost equally spartan cousin the 000-17, have been fixtures in the Martin lineup off and on since the Great Depression. At the time of their birth they were exercises in minimalism designed to address the realities of an austere age. The thing is, they sounded great—and often amazing. And in the years since, Martin’s all-mahogany 000s and 00s became one of the flattops for folkies, fingerstylists, country blues pickers, and studio pros who savor this model’s sonic warmth and balance.

The 000-15SM isn’t a forward-looking interpretation of Martin’s mid-sized, all mahogany marvel. In fact, it differentiates itself from the standard 000-15 by gazing backward—incorporating a 12-fret, slotted headstock design that’s not only a staple of early 20th century Martin design, but which sonically transforms the 000-15 voice in some very cool ways.

Steady as an Old Tree
With a design that dates to the dawn of the 20th century, the Martin 000 is about as venerable as a guitar gets. And the 000- 15SM in particular looks as natural and timeless as a centuries-old evergreen. Apart from five diamond inlays at the 5th, 7th, and 9th frets, a pinstripe rosette, and a dark tortoise pickguard that blends beautifully into the chocolate-colored mahogany top, the SM is gorgeously free of adornment. And with the exception of the hardware, ebony bridge pins, and East Indian rosewood fretboard, bridge, and headstock veneer, the guitar’s exterior is entirely mahogany. The visual simplicity highlights the just-about-perfect proportions of the 000 silhouette. But even casual Martin spotters may notice the body’s elongation that results from joining to the neck at the 12th fret. This design gives the guitar an almost Spanish classical profile.

The 000-15SM is flawlessly built inside and out. The spruce bracing and kerfing are super tidy and precise. And no matter how deep you look into the recesses of the body, you won’t find a hint of cutting corners.

The most significant visual difference between the 000-15SM and a standard 000 (apart from the elongated body) is the slotted headstock, which adds another touch of European classicism, while evoking the earliest incarnations of the 000. It’s a feature that many flattop connoisseurs consider the ticket to optimum resonance. It also accounts for perhaps the only elements of glitz on the guitar—polished nickel open-gear tuners, that for all their shining elegance are practically invisible as you view the guitar from the front.

Cultured and Down Home
Few guitars can simultaneously conjure airs of refined civility and down-home simplicity quite like a mahogany Martin 000. This version is no different. The overall sense of balance in this instrument begins with how it feels—compact, yet substantial enough to respond to a dynamic touch and a little neck-flexing body language. With 1 3/4" string spacing at the nut and 2 1/4" string spacing at the bridge, the neck feels more spacious than a standard 000—which will please hardcore fingerstylists and OM players looking for those shadier mahogany tones. But the neck also feels a little slimmer and flatter than most contemporary Martin 000s and 00s. It’s a great feel for bend- and hammer on-heavy country blues picking and fingerstyle moves in the Graham/Renbourn/Jansch vein, but a little less comfortable and quick for flatpicked Byrds/R.E.M.-style arpeggios.

Sonically speaking, the 000-15SM seems born for fingerstyle too, whether you play with or without fingerpicks. Exhibiting a glow and detail that’s typical of mahogany, as well as sweet touch sensitivity, the 000- 15SM is an able vehicle for fingerstyle explorations. It also has an unmistakable low-end richness and resonance that you can chalk up in some percentage to the 12-fret design, which moves the bridge closer to the center of the soundboard, drives the top more efficiently, and makes you feel like you did some overnight refinement to your thumb technique.

The additional bass resonance does not necessarily translate to volume. This is still a small-bodied guitar when stacked up against a dreadnought or jumbo, and you won’t be overpowering any D-28s around the campfire. But you do get enhanced sustain that actually works better for being quieter and lends a lot of expressive potential without sacrificing balance. That recipe is ideal for dropped tunings and compositions that rely on drones and ringing doubles and octaves. And when you apply the darker mahogany voice to Celtic and Eastern tunings and styles, the 000-15SM takes on a smoky, mysterious character that you won’t hear from a livelier spruce top or a more booming dread.

Those same dark and husky qualities and enhanced bass resonance make the 000-15SM a country blues picker’s dream. Picking a I-IV-V progression in standard tuning will transport you right to the cabin porch, and the concise, even tones of the Martin are a perfect match for alternating bass and percussive right-hand work. Open G’s stew of doubles, octaves, and harmonic interplay suits the 000-15SM sonorous American accent even better and betrays the 000-15SM’s secret strength as a slide guitar. And the combination of midrange bark, the flatter fretboard radius, and wider string spacing make this little Martin a blast to attack with a bottleneck.



The Verdict
Timeless design and a truly vocal character make the 000-15SM feel like an old friend. If you’re accustomed to 14-fret necks and the narrower, more electric guitar-like string spacing of most modern acoustics, you may need a few sessions to acclimate yourself to the 000-15SM’s more fingerstyle-friendly feel. But once you do, you’ll find that the extra acreage opens up opportunities to explore more dramatic hammer-ons, pull-offs, slide work, and other elements of fingerstyle and country blues picking.

The mellow but present mahogany tones respond beautifully to both delicate fingerstyle and more percussive variations on the form. And this Martin’s hearty and rugged-but-civilized personality makes it a perfect recording guitar too. On top of everything else, it has an air of subdued artistry and rigorous craft that inspires. That’s something Martin has been doing for nearly 180 years, and in its own understated but colorful way, the 000-15SM carries the torch with élan.


Buy if...
you’re a fingerstylist, country blues picker, or studio player who savors the subdued, but rich tone of mahogany.

Skip if...
you’re mostly a flatpicker, need the brawn and bellow of a sprucetopped dread, or need brighter tones for your fingerstyle work.

Rating...

Specification: 000 12-fret size body. Body and neck are all solid mahogany, neck meets body at 12th fret. Slotted peghead, Modified Low Oval neck shape, rosewood fretboard (25.4" scale) short pattern diamond and square fretboard inlays, bone nut & saddle, a thin inlaid rosette, old-style peghead decal, rosewood bridge, satin finish. Martin wooden flattop hardshell case included.

• MODEL 000-15SM
• CONSTRUCTION: Mortise/Tenon Neck Joint
• BODY SIZE: 000 12-Fret
• TOP: Solid Genuine Mahogany
• ROSETTE: Single Ring
• TOP BRACING PATTERN: A-Frame ''X''
• TOP BRACES: Solid Sitka Spruce 5/16''
• BACK MATERIAL: Solid Genuine Mahogany
• BACK PURFLING: none
• SIDE MATERIAL: Solid Genuine Mahogany
• ENDPIECE: none
• ENDPIECE INLAY: none
• BINDING: none
• TOP INLAY STYLE: none
• SIDE INLAY: none
• BACK INLAY: none
• NECK MATERIAL: Solid Genuine Mahogany
• NECK SHAPE: Modified Low Oval
• NUT MATERIAL: Bone
• HEADSTOCK: Slotted/Square Taper
• HEADPLATE: Solid East Indian Rosewood
• HEELCAP: none
• FINGERBOARD MATERIAL: Solid East Indian Rosewood
• SCALE LENGTH: 25.4''
• # OF FRETS CLEAR: 12
• # OF FRETS TOTAL: 20
• FINGERBOARD WIDTH AT NUT: 1-3/4''
• FINGERBOARD WIDTH AT 12TH FRET: 2-1/4''
• FINGERBOARD POSITION INLAYS: Diamonds & Squares - Short Pattern
• FINGERBOARD BINDING: none
• FINISH BACK & SIDES: Satin
• FINISH TOP: Satin
• FINISH NECK: Satin
• BRIDGE MATERIAL: Solid East Indian Rosewood
• BRIDGE STYLE: Belly
• BRIDGE STRING SPACING: 2-1/4''
• SADDLE: 16'' Radius/Compensated/Bone
• TUNING MACHINES: Nickel Open-Geared w/ Ivoroid Buttons
• RECOMMENDED STRINGS: Martin SP Lifespan Phosphor Bronze Light Gauge (MSP7100)
• BRIDGE & END PINS: Solid Black Ebony
• PICKGUARD: Delmar Tortoise Color
• CASE: 331 Hardshell
• INTERIOR LABEL: none
• ELECTRONICS: optional
• OTHER OPTIONS: Available left-handed at no additional charge
• OTHER COMMENTS: All prices & specifications are subject to change without notice.

David Gilmour Gear

Honestly, this link to Gilmourish.com is a fountain of thorough information regarding the trappings of David Gilmour and all things Gilmour. Including Gilmour backing tracks created by some very talented people.

Playing his Gibson Gold top with P-90's

David Gilmour's Recording studio

Who is David Gilmour?
This is an astonishing bit on David's fantastic studio where most Pink Floyd albums where recorded.
Which one is Pink?

more...


...and even more - Wish you were here!


The Wall.

Oz Noy - check him out playing Cissy strut!

Running low on bandwidth today. I'll write more as time permits but couldn't resist posting this video from Oz's Youtube channel. I love this version of Cissy Strut a song originally written and performed by THE METERS. This song is a great jam tune - a standard. This song has been covered by many and some contemporary artists include John Mayer. Oz Noy's version of this song seems to put new legs on this old standard.


Check out Oz live and in person!

String durability and other stuff...

I am embarrassed to admit that I have a set of strings on one of my "go to" guitars that must be 6 months old. Daddario EXL 110's to be exact. No, there aren't bright any more. Yes, they are goober'd up with flat spots from the frets. But they just keep taking a beating as I stretch them and use my tremolo with reckless abandon. They are mounted to a Fender 50th Anniversary Deluxe Stratocaster.

I guess I'll change them but sometime soon. I swear that when you get a set that is robust and being the lazy person I can be, I leave them on and wait for a string to break then change the entire set. However, this set just loves my guitar and will not give up. I wonder if there is a market for distressed strings.

However, I generally change my strings before every gig. There after, if I am just practicing the guitar, I gauge my consumption based on hours on the string. If I am practicing a hour or more a day then I change electric guitar strings twice a month. Acoustics string definitely are replaced when they tarnish but generally I apply the same rule as my electric guitars. Never gig with old strings!

Always use a string winder.
Stretch your strings! Try this product - Stringstretcha (review) [purchase direct]

Install properly - Instructions link. Wear EYE PROTECTION!!
Beware that string gauge change will effect your intonation,neck bow, and pickup output at the least.

I usually buy my strings from Just strings.com but I will buy my strings and various assundries from Guitar Center or Musiciansfriend if they have a great deal.

Now it's time for me to change those old strings before one snaps and cuts me!

Hot damn! Reverend Horton Heat - Gas Money and more!

That's right, I said it. Hot damn the Reverend Horton Heat will be a touring pert near my house! There are few bands out there that can be sitting in the diner at noon with all the plain folk then at 9:00 pm they are hitting the pig skins and hammerin' the cat guts with the ferocity of a group of raptors who just ate some habanero peppers and drank several growlers. The Reverend uses Gretsch guitars and Fender amplifiers.

With gasoline prices going up quicker than a North Korean missile, one might need some GAS MONEY. I've heard some of their early releases to GAS MONEY's new album. I listened to one song, "Yo Elvis," over and over. It rocks! I am certain that once again the Gretsch 6120 is (or a Tele would be my second guess) featured in a lot of Gas Money recordings. These guys always have great tone!

I am sort of partial to Gretsch 6120 guitars because they have that chrome dinette sound.

If you want a to hurt yourself looking at some fine guitar that no doubt play well - click here!

Talking Guitars - Informative book!

I just picked up a book that is very interesting and I thought some of you might like it. It is called, Talking Guitars! Once reading it I discovered that the author also has his own blog page. You can get to David Meads page by clicking on this link. I saw many quotable meandering while reading this book, one such quote was as simple as it is complex. "How we do one small thing, like hold a pick, is how we do all the small things that we do, because our approach to that small thing is the approach to another small thing. And all those small things taken together is how we live our life. If someone comes to you or me, or someone else for guitar lessons and they say, 'come on then, show me how to hold a pick,' what they are actually saying is, 'show me how to lead my life,' But, that's often not what they believe is the question that is being asked..." Robert Fripp. Taken from Talking Guitars by David Mead., published by Sanctuary, ISBN:1-8600620-9, $14.99 USA.

The book goes into detail what it's like to try to write about guitarists, the musicians frustrations and rewards. There is a lot of background information about how many great players like David Gilmour, Frank Zappa, Eddie Van Halen, Hank Marvin, Robert Fripp, and more got started playing. My one complaint, where is Brian Setzer? That was a big oversight but I guess the book is focused on "rock guitarist," maybe there will be a revision!? The book simple is a nice collection of interesting interviews of some of the finest players we've been lucky enough to hear. Amazon link!

See David Mead's other books to help you become a better musician.

Classical Elements of music

Let me tell you are story. When I was younger (few years ago) I had many friends and as so often with friends, we had similar taste in music. We as individuals thought we were unique, but in our effort to be unique, we actually were just like each other, and not unique at all. We all wanted to stand out for our individuality but not be recognized as a freak. We wanted to be who we are caring not what others think but all the while wanting everyone to like us (vanity?). I was wiser then and I am less smarter now.

We played our music that we thought was the cutting edge and unlike anything anyone had ever done. Then we discovered that sometimes, nobody wants to hear something experimental and unlike anything that preceded our music. Never once thinking that our experimental new sound might just simply be horrible to listen to if you are not whacked out on a a vat of beer and surrounded by social misfits. Some of us resolved to continue this thing of ours even if it meant, YIKES, going to college to learn some skills and culture. We thought we were cultured after all, we were fungi's (ha ha fun guys get it?) .......... Back to reality. Low and behold, the clouds parted and angels sang. We learned that music is acutely very similar to vocal communication. There were (oh god) rules! Rules and methods that (constrict creativity?) allow us to interact musically. These rules of order would help us talk and think through our music instruments. Give us order so we would all talk at once and be rude. This new found new thing called an education would allow us to possible play something that we liked and also those listening would like to hear.

Finding out that people liked to hear us opened the door to this age old exchange - Money. But wait, we are young, unique and well, very piss poor. Things aren't free? That's right, we had to buy strings, fix amps, get new public address systems, and buy blank....wait for it.... yes! Blank cassettes for recording our songs and distributing the songs to the local college campus news paper bins. Yes, we put them in there for free! We thought stubbornly that people would now come to our shows, love us, and give us money to do it all over again. Right, some capitalist snapped up the tapes and used them to record their own favorites songs from their favorite artist. We effectively helped the competition. So we learned another difficult lesson, that we were horrible business people! However, during this time we were still attending classes and learning about music. Taking advanced theory meant we would have to learn to sing solfeggio aloud! What the hell? Hey man, I'm a musician, not a singer! Wham! My Teacher, a tiny firecracker with eye's befit that of an eagle, would slam her seemingly 1000 pound book on the lectern and yell, "Come on class - STUDY YOUR LESSONS!." Mrs Dougherty would insist we learn our programs even if it killed us and her. She scared me so much that I I knew my only means of doing well was to meet the monster face to face and by that I mean, signing up for tutoring with Mrs. Dougherty. And learn I did.

So far you have read that I have had my head handed to me several times. First, I am unique, just like everyone else in this world. But rather, not so unique unless I applied myself. Second, I had to learn that I knew nothing about music and would not learn much by hanging out with my friends mindlessly hammering on our musical instruments. The third lesson was that I to put my "nose to the grindstone," and learn the classical elements of music well enough that once I was good enough - I could forget about them and jam along with my friends and enemies alike. Probably less with my enemies....

Have I made music my career? Well, my life isn't over so we will see. I do not regret learning as I did nor will I ever stop seeking more in-depth knowledge of music. I feel that every musician has something to offer but as I grow older I must admit that I will not sit still for musical tripe. My focus is more acute and there has to be something there, sometimes intangible, often adept. As the sands of time grow lighter, pyrotechnics are much less appealing, I am less apt to listen to cacophony. And let me get this straight - I don't like smooth jazz. I'd rather listen to the Ramones than Kenny G. But when I do make such assertions, I do so now with more culture, more acumen. That is why I am a snob.

The classical elements of music:

Dynamics - Dynamics refer to the volume or loudness of a tone. Dynamics range from very soft (pianissimo), to very loud (fortissimo). Crescendo means gradually becoming louder. Decrescendo means gradually becoming softer.


Melody - Melody is the part of music that we can sing. It is a series of notes arranged in a particular rhythmic pattern and divided up into smaller units called phrases. Melody is the horizontal structure of music.


Tempo - tempo comes from the Italian word meaning time, and refers to the pace of the piece of music. Tempo markings are in Italian and range from very slow (adagio), to very fast (presto).


Rhythm - Rhythm is the heartbeat of music. As music passes in time, it is divided into perceptible sections, and each section subdivided further.


Harmony - Harmony is the combination of two or more notes to produce new sounds called chords. We can say that harmony is the vertical structure of music. It adds depth and texture to the piece.


Fugue - In the organization of a fugue, several parts (or voices) enter successively in imitation of each other. The opening is called the subject, the imitations are called the answer, and the sections in between are called episodes.


Rondo - The last movement of a symphony or sonata is often in the Rondo form. The term rondo comes from the French “rondeau” meaning round. The rondo is a lively movement with a recurring theme. Its form is A-B-A-C-A-D-A. The listener becomes more familiar and comfortable with the theme each time it returns.


Motif - A motif is a short musical idea, usually a subdivision of a theme or a phrase characterized by its rhythm, melody or harmony.


Coda - Coda, or “tail” in Italian, is the very last part of the music. This small section brings a large work of several movements such as a sonata, or a symphony, to a satisfying conclusion.


Sonata form - the rules of sonata form apply to the first movement of a sonata or a symphony. The movement is divided into three main sections, the exposition, the development and the recapitulation. The exposition states the primary theme in the home key of the piece and then transitions to the secondary theme in a new key. The development is a “working out” of these two themes reaching a climax before returning to the primary and secondary themes in the recapitulation. This time both themes are in the home key.


Timbre - Timbre is musical color. Each instrument has its own color and produces its own mood or emotion. Varying combinations of instruments produce different textures and distinctive colors.


Measure - A "measure" in music is the term for the "box" of musical text in between two consecutive bar lines. A measure contains a particular number of beats, as noted in the time signature. For example a measure in 3/4 time will contain three quarter note beats. A measure in 4/4 time will contain four quarter note beats.


Theme and Variation - the theme is the melody that forms the building block on which each variation is based. Variations are permutations of the theme. One example of Theme and Variations is Mozart's Variations on the familiar melody, “Twinkle, Twinkle, Little Star.”


Concerto - A term applied to any ensemble for voices and instruments. Now it is used to describe a work for solo instrument(s) with orchestra.


Phrase - Usually a melody will divide itself up into two halves called phrases. Two phrases form a musical period. Each phrase ends with a cadence, a 'resting' place in the music. The first phrase of a musical sentence generally ends with a cadence that is incomplete, or feels as if it is left dangling. The second phrase ends with a cadence that gives a sense of finality.

Syncopation - The displacement of the accent in syncopation drives a piece of music forward. While syncopation is common in ragtime and jazz, it provides an element of surprise in classical music. Syncopation comes from the Greek word meaning “cutting short.”

A Minuet - A minuet is a dance which originated in France and became popular in the European courts of the 18th century. The minuet is in triple meter and its form is A-A-B-A: a first section which is repeated, a contrasting Trio section, and a return to the original material of the first section.


Symphony - A symphony is a large work for orchestra usually consisting of four movements.


Orchestra - An orchestra is a large instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments.


Meter - Meter, as in poetry, depends on the placement of the accent. You can feel the meter of a piece by tapping with your hand with the pulse. A Triple or Waltz meter is STRONG-weak-weak, or ONE-two-three. Duple meter is a steady ONE-two, ONE-two. Quadruple meter, common time, is ONE-two-THREE- four, with the ONE being the strongest, the THREE being the second strongest, and the two and four being the weak beats.


Scherzo - The word scherzo means “joke” in Italian. Beethoven preferred using the vigorous scherzo, rather than the more reserved minuet, as the third movement in his symphonies, sonatas, and chamber works. Later composers wrote scherzos as independent pieces. Examples include Chopin's Sherzos for piano, and the Sorcerer's Apprentice of Paul Dukas, a symphonic scherzo.


Sonata - The classical sonatas of Haydn and Mozart were composed for solo instrumentalist, or solo with piano accompaniment and were generally written in three movements. The first movement, sonata-form; the second movement, slow and introspective; and the final movement, a rondo to bring the piece to a lively conclusion. 

Esperanza Spalding - Great music!

I have played in big bands and small bands. I've listened and watched soloists, combos, duets, and quartets ad nausea, yet I've rarely see or heard someone as talented and vivacious as Esperanza Spalding. Her sound is difficult to pin down because it encompasses most of the classic elements of music. Her expression is seemingly effortless but it is the effortless you witness that is the essence of her natural talent effecting a Jedi reality distortion field. Mindlessly, one can listen or listen with acute focus to detail but regardless of your mindset during this experience, your experience will be enriched and you will become enlightened. If this music bring you to a state of boredom then you might just be a sub-mental inchworm. The band is superb, (Chamber music Society) take time to listen. Her tour link is here. It's going to be fun to listen to her music evolve! Esperanza Spalding rocks!!







Esperanza Spalding site link!

GuitarPlayer: Ronnie Montrose Death Ruled a Suicide

GuitarPlayer: Ronnie Montrose Death Ruled a Suicide

This news is really a bummer. Ronnie beat prostate cancer only to succumb to depression and addiction. Addiction isn't simple and nor is depression. It's real. People care more than you might think so if you are in need of help - reach out! That is what friends are there for - help!

A Roadies View with Josh Homme and Boots Electric

Get the roadies perspective as outlined by Boots Electric (Jesse Hughes) and Josh Homme!
Also, Tim Head interviews Ben Dorcy III the worlds most traveled roadie! ....and as an added bonus. Rancho Del Luna brought to you by Jesse Hughes...

The Musical Mojo and Voodoo of the San Francisco Bay Area

Here at the guitar snobs den of ill repute we often get into long discussions about who's got "it" and what "it" is...
Some people have "it," and some people would like to have "it," but not everyone is - It. Just because you are popular, well, those here at guitar snob den might not think you are, uh  - it! Ya'll might be popular because one person with a lot influence thinks you are it and does their best to impress the masses that their interpretation of -it, is the ultimate testament of good taste. Do you follow me here? See, what we call "it" goes to the core of the being, to the heart of the matter, to the center of their soul. One example; BB King can play one note in one moment of time that tells the story of the creation of the cosmos. Safe to say, if Sheldon Cooper could draw the mathematical equation detailing the subtleties of one note played by BB King, he would need to account for the stratospheric ambiance and esoteric existence of BB King in time and space. The task would be insurmountable in terms of existential time and formulaic data would span the distance between the earth and moon.

Therefore, having it or not, can be as little as the difference between 0 and 1, or be so great to mean the difference between non-existence to existence. IT, that is............

The San Francisco Bay area has the thing we call - IT. This Mojo or power can be acquired by those who are susceptible and impressionable. The evidence is capacious.

Not in order of importance:
Jerry Garcia
Carlos Santana
Chris Cain
Michael Hedges
Tommy Castro
Mimi Fox
Vince Guaraldi
Tuck Andress
Bruce Foremam
Mike Davis - who is Joe Davis's son - Joe Davis was one of my favorite Professors!
Steve Miller
Huey Lewis
Johnny Mathis
Neal Shon
Jello Biafra
John Raymond Pepperell - East Bay Ray!
Nikki Sixx
Greg Camp - Smash Mouth
Steve Hartwell - Smash Mouth
Doobie Brothers
Lindsey Buckingham

That is just a small sample.





Could there be paranormal phenomena here, Jedi mind trick, or is it simply a statistic based on the artistic outpouring born by contempt, then cross pollinated by the intimacy of the human condition? You decide!

Brian Setzer and his Rockabilly Riot Rocket Through Australia

Brian Setzer and his Rockabilly Riot Rocket Through Australia and rock the socks all the dudes and chicks that get in their way.With swagger and American Bravado, Brian is killing the crowds leaving them only with lust in their hearts for more rockabilly. The bands quiver of songs is immense, original hits from the Stray Cats, Brian's originals, covers of Elvis and others, and Slim Jim Phantom backing him up is simply an over the top raucous Rockabilly  Riot! If you want a might fine night of song and dance - gitty up to see Brian Setzer in concert!

Jim Marshall Passes - The Lord of Loud RIP

Almost iconic as Gibson guitars, Apple Computers, and Rock and roll, Marshall amplification is a huge name in the music industry. Jim Marshall founded Marshall Amps which are widely used by many guitarists and musicians alike. An integral member of a quartet of inventors during the infancy of Rock and Roll, along with such luminaries as Leo Fender , Seth Lover, and Les Paul, these men helped shape the sound music as we know it today. Musicians from Jimmy Hendrix to Zakk Wylde openly adored the Marshall amp and lord it for its distinct timbre and panache. Edward Van Halen created his secret brown sound by simply modifying Marshall amp, went on to build his own amp based on the foundation laid by Leo Fender and Jim Marshall.

Jim Marshall, born in Londan in 1923, Marshall was a drummer, drum teacher, owner of a music instrument store specializing in drums. He also carried guitars and amps. He carried Fender guitars and amps but most players found those to be extremely expensive and of unfavorable tone. Jim said that musicians described to him the tone they where looking for and Jim set about building an amp that would be cheaper than the Fender series and have the tone desired by his patrons. His first iteration was the JTM 45, the rest is history. The Guv'nor (as Jim Marshall was affectionately called) was a generous and humble man helped change rock and roll forever. Jim is gone but his amps live on! RIP Guv'nor!

Jeff Beck plays with Lady Gaga

... could the suits be any stiffer? Jeff Beck's rendition of Lady Gaga's "Bad Romance."

The audience looks perplexed or the effects of Ritalin haven't worn off? By the expression on their faces, I would think that the audience was watching a demonstration of paint evaporation.

Tony Iommi Receives "Last Dose" of Chemotherapy

The well known and revered guitarist Tony Iommi announced last year that he had to post-pone participating in the Black Sabbath reunion. In December of 2011, Tony started chemotherapy treatment. Recently, Tony announced on his webpage the following decree.

Hiya,

A little update on how it's all going:

Well, I've had the last dose of chemotherapy so hopefully my body will start to get back to normal soon, the steroids were the worst. I've now got three weeks of radiotherapy coming up which I'm told can be very tiring so we'll see.

A big thanks to Ozzy and Geezer for coming over to England, it was a big incentive for me, we managed to work most days and have some great new tracks.

And, importantly thanks again for your kind messages, hope to be seeing you soon.

- Tony

Black Sabbath information! 

We want to send good vibes and well wishes out to Tony! 

Angus Young

10 years and one day after Eric Clapton was born into this world, Angus Young arrived to one day be the one of the riffn'est guitarists around. HAPPY BIRTHDAY ANGUS YOUNG - (born 31 March 1955)!



The first time I saw AC/DC was when Bon Scott was still alive. They rocked it hard. Angus actually helped a few people climb up on stage! As any 15 year old kid at the time, AC/DC made an incalculable impression on me and lit a fire that still burns white hot. If you cannot name 10 AC/DC songs in a moments notice then you must not be a rock and roll fan! Get with the program!

AC/DC holds the secret to success but it really isn't a secret - Keep it simple. The memorable riffs the static theme of the band, and signature tone are as fresh sounding today as the day the broke on to the music scene.



Happy Birthday Angus Young!

Eric Clapton - Happy Birthday!

Happy Birthday to Eric Clapton!

MARCH 30TH, 2012

In celebration of Eric's Birthday 3 new T-Shirts have launched in Eric Clapton's Official Online Store.

These designs were exclusively made by Firehouse Kustom Rockart for Eric's 2011 World Tour and were originally produced as hand printed silk screens. They are NOW available to you as a T-Shirt exclusively sold from Eric Clapton's Official Online Store.

Eric Clapton's web page !

Revolver Golden Gods - Show info

See the Golden Gods show - click here!