BAT WINGS & DEVIL HORNS: 50 Years of the Gibson SG
A '64 SG Custom
by Pete Prown
Believe it or not, the Gibson SG has now been around for half a century, first arriving in 1961 as the redesigned Les Paul. Gradually, the name morphed into SG, which stood for "solid guitar" (though some erroneously maintain it means "Spanish guitar" or "Standard Gibson"). No matter the rumors, the SG has become a true rock 'n' roll icon over the decades.
From the outset, Gibson issued a variety of models, from the high-end Les Paul/SG Custom with three humbuckers and sometimes a big, honkin' vibrato, to various SG Specials and Juniors with one or two P-90 pickups. Gibson also used the SG shape for the EB-series of basses and the EDS-1275 doubleneck made popular by Led Zeppelin's Jimmy Page.
The SG was slow to catch on with guitarists, but Eric Clapton opened the floodgates with his prodigious use of a '64 SG Standard in Cream, and he was soon followed by classic-rock heroes like Pete Townshend, Robby Krieger, Jerry Garcia and both Duane Allman and Dickey Betts. And Carlos Santana gave the SG even greater visibility by playing the bejesus out of one at Woodstock in 1969, later immortalized in the hit concert film.
SG-inspired doublenecks appeared in the hands of Jimmy Page, Steve Howe and Alex Lifeson
An SG in the collectible color of Pelham Blue, also revealing the "bat wing" pickguard
In the '70s, Black Sabbath's Tony Iommi put the SG on the heavy metal map, as did other rockers like Frank Zappa, Mick Box, Buck Dharma, Frank Marino and AC/DC's Angus Young. Later, you could find SGs in the hands of metalers like Glenn Tipton of Judas Priest and a vast army of Seattle grungers.
Today, the SG is pretty much everywhere, in players as far-flung as Rivers Cuomo of Weezer and the Jonas Brothers. Not to be outdone, metal hero Zakk Wylde even had Gibson build him a hybrid SG/Flying V.
Design-wise, the SG is often described as sleek, it's nearly symmetrical body featuring aerodynamic curves and its trademark double-cutaway "devil horns" (not to mention the bat-wing pickguard that came on some models). The axe also offers amazing access to its 22 frets, allowing for upper string bends in a way that can't be duplicated on a Gibson Les Paul. Conversely, SGs can be neck heavy, which means its headstock sometimes dips to the floor, much to dismay of the guitarist who's holding it. Still, it's hard to argue with the SG's sexy, ergonomic looks.
The Guild S-100
The SG has also inspired a host of variants, such as the rather dorky looking Guild S-100, made popular in the '90s by Soundgarden's Kim Thayil. And the ESP Viper is a sexy solidbody that takes the SG's devil-horn cutaways and arranges them in an offset, non-symmetrical design. And don't forget Epiphone, which does a brisk business selling high-quality, but lower-priced imports of their Gibson SG brethren. Epi's SG Special and G-400 are both tremendous value for guitarists who want some SG love without dropping a grand or two.
The curvacious ESP Viper
Indeed, whether you go for a Gibson, Epiphone or any of the guitars inspired by the beloved "solid guitar," there's pretty much an SG for everyone--for serious rockers, it's almost standard equipment. Happy birthday, old friend.
Learn more about the history of the SG here.
Do you remember your first guitar?
This Gibson ad from 1977 featured Paul Stanley playing a Gibson Marauder. Other endorsers of Norlin-era Gibson included Carlos Santana (the L6-S), Ronnie Wood (the S-1), and John Sebastian (hawking the notoriously bad Gibson Mark acoustic)
A blond, white-pickguard Gibson Marauder just like the author's first guitar.
by Pete Prown
Do you remember your first guitar? Technically, my first guitar was a hand-me-down Yamaha acoustic, but the first axe that was really mine was a mid '70s Gibson Marauder. I bought it for $200 in the summer of 1977 and was pretty jazzed that I had a "Gibson," since I knew that some top players used that brand.
Of course, I soon learned what many guitarists back then already knew--that Norlin-era Gibsons often weren't very good. The Marauder may have been shaped like a Les Paul, but it had an uninspiring bolt-on neck and a severely underpowered bridge pickup. As a result, I always left the toggle on the neck pickup, which, combined with a taste for Al Di Meola and Carlos Santana, may have inspired me to become the "woman tone" guitarist I am today.
I sold the Marauder three years later for the staggering price of...200 bucks...to a guitarist named Lou from Bridgeport, Connecticut, but it still remains in my psyche as my "first real guitar." Looking back, probably the coolest thing about it was the Paul Stanley ad on the top left. And if I'm perfectly honest, it was a perfectly serviceable guitar for an aspiring 14-year-old rocker.
Now visit the National Guitar Museum's facebook page and tell us about your first guitar. Was it a keeper? Was it a dud? Do you still have it? And, most of all, was it better than a crummy Gibson Marauder?
RAINBOW: Ritchie Blackmore Rising
By Pete Prown
By 1975, Deep Purple guitarist Ritchie Blackmore was an icon of '70s metal, a guitar hero of the first order. But the Man in Black was not done and, in fact, was about to launch the second chapter of his career--Rainbow.
After quitting Purple that year over the vaunted "musical differences," he hijacked a New York-area band named Elf and released the first Rainbow album, which contained the minor hit "Man on the Silver Mountain." In characteristic Blackmore style, he subsequently fired the group, except for the lead singer--a diminutive belter named Ronnie James Dio, who would become pivotal in sustaining Blackmore's post-Purp career.
Blackmore's Rainbow really hit its stride on 1976's Rainbow Rising and 1978's Long Live Rock and Roll. Unlike Deep Purple, the new band was solely driven by Blackmore's creative vision and included a stronger influence from baroque classical music. This helped pioneer a fresh hard-rock style that would become known as Euro-metal, inspiring everyone from Judas Priest to Iron Maiden to Whitesnake. (Indeed, one could proffer the argument that Rainbow was more influential on the coming sound of '80s metal than the vastly more-popular Deep Purple. At one point in the 1980s, just about every top metal band sounded a bit like Rainbow.)
From the middle '70s to the early '80s, Rainbow was a popular touring and recording act, achieving some sizable radio hits ("Since You've Been Gone," "Stone Cold"), and solidifying Blackmore as the creative force behind Deep Purple. For our money, however, Rainbow was best onstage, where you could see Ritchie Blackmore pummeling his CBS-era Strats (with those mega headstocks) and Marshall-powered wall of amps. His lead work was sublime, too, a mix of classical and blues improvisational ideas that was his own unique invention. As has been documented before, everyone from Michael Schenker to Randy Rhoads to Yngwie Malmsteen owes a mighty debt to Blackmore.
Now, check out this smokin' Rainbow clip from 1976. Then click here to visit the National Guitar Museum's Facebook page and tell us what your favorite Ritchie Blackmore solo is.
Young Fusion Masters, Yesterday and Today
Holdsworth
There are few things more exciting in the guitar universe than a young guitar wizard rippin' for glory. In this bit of "comparative guitarature," let's look at two ferocious fusion heroes, the great Allan Holdsworth and modern master Alex Machacek.
In this first clip, we'll see the remarkably young Holdsworth in 1974, tearin' the bejesus out of a white SG while playing with Soft Machine, the venerable Canterbury jazz-rock outfit. While the guitarist wouldn't find international fame for another few years (via UK, Bruford, and Jean-Luc Ponty), this seminal gig shows how advanced he was much earlier. As you'll surely agree, this as clear a portrait of an artist as you'll ever see.
Allan Holdsworth with Soft Machine, c. 1974
Alex Machacek, meanwhile, is the Austrian fusion sensation that has heads turning everywhere. Playing with instrumental outfits like Planet X and UKZ, the super picker displays a range of depth and knowledge rarely heard in rock anymore. He's also released a number of solo albums that further display his amazing chops and, certainly, a strong influence from Holdsworth.
Alex Machacek with bassist Matthew Garrison and drummer Jeff Sipe
UNSUNG HERO: Mick Box of Uriah Heep
Mick Box jamming on his trademark black Les Paul Custom, though he frequently used Gibson SG's, too
by Pete Prown
Few rock fans under the age of 40 have any clue who or what Uriah Heep is (aside from a character in that Charles Dickens novel they had to read in 10th grade). But for admirers of classic British hard rock and metal, Heep was a pivotal band of the early '70s, and regularly featured the knuckle-bruising riffs and solos of Mick Box, who still leads the band today.
In the clip below, we get ample opportunity to enjoy Box's metal riffery in the extended suite, "The Magician's Birthday," which appeared on the 1972 album of the same name. Stylistically, Uriah Heep straddled the line between metal and progressive rock, which is its own rock sub-genre, including everyone from Led Zep to Queen and Boston to Dream Theater. On occasion, Heep was derided as a poor man's Deep Purple, but any retrospective of the band reveals them as a serious and potent contributor the the UK metal genre. In short, they rocked.
Better still, "The Magician's Birthday" featured a long Mick Box solo in the middle, one which betrays substantial influences from Jeff Beck and Black Sabbath's Tony Iommi, though there were also side references to Hendrix, Page and Blackmore. No question, this is hard-rock heaven for fans of the '70s school. The Magician's Birthday album also featured cover art from the great Roger Dean, who designed many of the classic Yes albums of the same period.
For guitars, Mick has long been associated with Gibson Les Paul Custom and SG models, but he's now developing a signature model with the Canadian company, Dot on Shaft. You can view some photos of the prototype here.
A frequent blogger, you can keep up with Mick and his current Uriah Heep activities here.
GOOD VIBRATIONS: The ToneRite 3G
by Pete Prown
The ToneRite device easily fits on your guitar using rubber "feet" that are inserted between the strings
The ToneRite Guitar 3G is a interesting device that employs simple physics to solve a complex problem. The musical riddle ToneRite attempts to unravel is that of guitar resonance and vibration.
As you probably know, vintage guitars can sometimes have a huge tone and that is often the result of years of playing and, more precisely, years of vibration. Vibration can subtly open up an instrument's wood grain and allow for that bigger, airier tone. Many of us might describe this phenomenon as a well “played in” guitar. For example, I once played a '59 Stratocaster owned by a Nashville session musician that sounded amazing both plugged in and unplugged. Again, it was an instrument that had been played for decades, allowing wood grain to open and allow for a stunning, resonant tone.
The ToneRite 3G attempts to do this in a matter of days or weeks, instead of years or decades. Again, the concept is simple. The 3G is a wall-wart sized unit with three rubber feet that you insert between the strings, preferably near the bridge. You then plug in the unit and adjust the level of vibration with the Power Harmonics thumb-dial on the AC cable. Then, just walk away. ToneRite recommends an initial break-in period of three days, letting the 3G do its thing.
I put the unit on an Ibanez archtop that was demonstrably quieter unplugged than another archtop I own. After a few days of “the ToneRite treatment,” I was pleased to hear the guitar deliver a slightly louder tone than it had a week earlier. Again, the constant vibration mirrors the effect of constant playing, which breaks in the guitar's top, making it slightly more flexible and therefore better able to deliver a louder, more resonant tone.
Suffice to say, the ToneRite 3G is a clever and useful tool. You might leave it on your guitars regularly or give different guitars treatments as needed. The only negative I can think of is the noise of the unit when you crank it to full vibration—it made me keep thinking there was a loose connection in my studio. However, company CEO Augi Lye noted, “if you want silent operation, you can turn down the Power Harmonics controller to a lower setting. In fact, the lower setting creates a sweeter and more lush tone.” In any case, I think the 3G is a neat device and look forward to using it to “open up” more of the guitars in my collection.
The ToneRite 3G lists for $149. Click here to learn more.
IRON MAIDEN and the New Wave of British Heavy Metal
For a certain generation, Iron Maiden was a defining voice of heavy metal. Riding a metal resurgence called the New Wave of British Heavy Metal, bands like Maiden, Judas Priest, Saxon and Diamond Head burst into the rock consciousness with a brutish new sound. The recipe behind this modern style was equal parts Black Sabbath (notably for its dark-themed lyrics), Deep Purple and especially Thin Lizzy, a band which had become highly influential among young metalers of the late '70s. That Sab-Purp-Lizzy formula is pretty much everywhere in '80s British metal, though you can also see important influences from Uriah Heep, Led Zep, Alice Cooper, Slade and T. Rex.
Dave Murray on his modified Strat and Adrian Smith using a Les Paul
Iron Maiden finally found their voice on The Number of the Beast, the 1982 album whose title track remains one of their signature anthems. The video clip above from that year shows the band in prime form, featuring axemen Dave Murray playing his trademark modified-black Stratocaster and Adrian Smith sawing away on an Ibanez Destroyer.
Today, Iron Maiden is still going strong, having just released The Final Frontier, which charted all over the world. And adding to the inferno is Janick Gers, who joined in 1990 (to replace Smith who eventually returned), turning the band into a formidable triple-guitar army.
Now tell us about your favorite British metal band of the '80s. Was it Rainbow? Def Leppard? Saxon? Whitesnake? Visit the National Guitar Museum's Facebook page and let us know!
How Important is Your Guitar Cable?
by Pete Prown
You may think “a guitar cable is a guitar cable,” but like any piece of gear, materials can make a huge difference. One analogy of good cables vs. cheap ones might be an Internet connection: a cheap cable is equivalent to a slow, 57k modem connection, while the better cable offers true “broadband.” Basically, it's a bigger pipe for sound (i.e., your musical data) to travel through.
I tested cables from Asterope, Lava, and Planet Waves against one generic instrument cable, all using a PRS Starla solidbody with one tone and pickup setting, and feeling the signal into a Line 6 amp set clean. Quickly, it became apparent that all three “high-end” cables blew the generic one away. The sound for these cables were clearly louder, clearer, and fatter.
I've had some conversations with top guitarists about cables, too, and they all said, “Don't skimp on your cords,” including those on your pedalboard. It makes sense, too—your guitar tone is passing through these cables, so why take the cheap route? Of course, these are by no means the only good higher-end instrument cables on the market; you can also find great-sounding cables from Monster, George L's, Gretsch Gear, and other manufacturers. But at the end of the day, a better cable will better be able to transmit your tone from guitar to amp to your audience's ears. And that's what it's all about, right?
Info: Lava Soar, $79.95; Planet Waves, $39-$59; Asterope, starting at $59;
JEFF BECK GROUP: A Classic Version of “Definitely Maybe”
by Pete Prown
Sit back and enjoy this seminal clip of the Jeff Beck Group playing a live-in-the-studio version of "Definitely Maybe," the defining track from their eponymous 1972 album. One facet that is particularly clever is the way the the videomaker overdubbed a second Beck guitar part on top of the first, oddly enough, using the kind of "blue screen" technology that would fuel Star Wars a half decade later (and is the basis for so much CGI moviemaking today).
Another point to savor is how much Jeff Beck's lead playing had evolved since the late '60s when he was pioneering hard rock with the first Jeff Beck Group. Compare this track to anything on 1969's Beck-Ola album and you'll hear how much Beck had grown as an improviser, melodist and slide player. The subtlety of his phrasing, technique and tone is world's away from the metalish riffing on that earlier classic album. You can also hear the seeds of the guitar hero's fusion work that would debut three years later on Blow By Blow. Ultimately, what this video of "Definitely Maybe" illustrates is the concept of a musician beginning to find his voice. In that light, it's an important document.
Lastly, dig Beck's stripped-down, pre-CBS Strat, the stompbox he tweaks off-camera halfway through the song, and a bevy of good 'ol Sunn amps in the backline. No matter how you slice it, this special take of "Definitely Maybe" is absolute premium Jeff Beck.
Meet Classical Guitarist Sharon Isbin
by Pete Prown
Sharon Isbin is regarded as one of the premier classical guitarists of her generation, regularly playing 60 to 100 concerts a season and even earning a Grammy earlier in this decade. Among her teachers was the venerable Andrès Segovia, while guitar collaborators have included rock and jazz aces like Steve Vai and Larry Coryell.
Tell us about your early guitar studies.
I started playing at age nine when my family lived in Italy for a year. My older brother asked for guitar lessons and my parents found a teacher who had studied with Andrès Segovia. But my brother’s fantasy was to be the next Elvis Presley, so he bowed out, and I volunteered to take his place. After taking lessons in Italy and Minneapolis, I later studied classical with Oscar Ghiglia, Latin-American music with Alirio Diaz, and had private lessons with Segovia and [classical guitarist and lutist] Julian Bream.
Segovia had a reputation as a formidable teacher. Can you describe your experiences?
I was 14 when I first played for him, and my heart was beating so hard that the guitar bounced back and forth on my chest. But he was very kind and I felt much more relaxed in subsequent lessons. The most memorable part was hearing his gem-like tone when he demonstrated passages. That was inspiring.
You’ve had a large range of collaborators over the years, such as Steve Vai. Where did you find the musical bridge between Vai’s electric guitar playing and your nylon-string approach?
Steve and I first played together at events for the Recording Academy and I was drawn to his creativity, musical expertise and delightful personality. When the Theatre du Chatelet in Paris asked me to give a series of concerts in 2005 and offered to commission a composer of my choice, I asked Steve to write a duet for us to premiere. His wonderful “Blossom Suite” was the result. Ever since my work in the ’80s with Larry Coryell and Laurindo Almeida, I’ve loved the combined sonorities of electric and classical guitar.
Who built your main nylon-string guitar?
I recorded Journey to the New World using a guitar built by the late Thomas Humphrey in 2007. It has a cedar top, Brazilian rosewood back and sides, and two beautiful muses painted on the back with flowing hair elegantly styled by the grain of the wood. It has a warm, chocolate sound, and trebles that ring like bells. I’m also now playing a cedar guitar by the new Irish maker, Michael O’Leary—a wonderful instrument that projects with clarity, warmth and resonance, and has excellent contrasts in sonority.
Do you have any older guitars?
I still have the guitar built for me in Italy when I began playing, as well as the pint-size guitar my parents brought back from Mexico when I was three! I have several other Humphrey guitars, and a guitar Japanese maker Kohno gave me in 1975 when I won the Toronto competition.
What other pieces of “gear” does a classical guitarist have, aside from the guitar itself?
I always carry a footstool, metronome, a Korg AW1 Tuner, and fleece handwarmers with “Hothands” inserts from Wristies.com. I also have whiteout for fret dots, a nail-repair kit, nail file, 2000-grade sandpaper, a capo, pick, and strings.
In your opinion, what is the state of classical guitar in the 21st century?
It’s an ideal instrument to explore contemporary classical and other styles, especial since jazz, bluegrass, folk, country, rock, pop, and Latin American music have long figured prominently in the world of guitar. Audiences also welcome diversity, so artists who discover new modes of expression and fresh collaborations have the opportunity to create something exciting no one has ever heard before. I think it's a great time to play classical guitar.