Is this the new Golden Age?

Ugh…

For the electric guitar, I mean. There seems to be a real renaissance among guitar manufacturers and distributors these days. Thinking back to the decade when the Deacons were formed, there were some awful things happening. People were pulling mellow, fat-sounding pick-ups like P-90’s and HiLoTrons out of classic guitars and replacing them with gawdawful high-output noise boxes. The first generation of digital processors were drowning us in effects, making your average guitar sound like it was being played through a dishwasher. Classic manufacturers were making terrible, terrible mistakes like the Fender Katana. It just makes you shudder.

However, these days, it seems like a week doesn’t go by when I find a new (to me, anyway) company doing exciting things along more traditional lines.

Eastwood Airline

There’s Eastwood Guitars, in Georgetown, Ontario, who are endorsed by everybody from Pete Shelley (Buzzcocks), to Stan Ridgeway (Wall of Voodoo), to Robyn Hitchcock, to Chris Difford (Squeeze), to Earl Slick (David Bowie), to Deacon buddy Alfie Smith. They make repros of 60’s guitars in factories in Korea and China, specializing in oddball American and European makes like VALCO, Messenger, Mosrite, Kay, Univox, Wandre, Hopf, Hofner, Eko, and the like. They change their lineup regularly, so visting their website is always a treat.

There’s St. Blues Guitars, which started as an outgrowth of the custom shop at Strings & Things, the legendary Memphis music retailer. Their current models are designed in America and made in Korea. If your idea of an ideal guitar is a semi-acoustic cross between a Les Paul and a Telecaster with a bolt-on neck, you’ll love their stuff.

You all know how much I looove P-90’s – Reverend Guitars has a couple of models that sport three of them. They’re also manufactured in Korea, which means almost all their models are under a thousand bucks. Their lineup includes signature models for the late Ron Asheton (Stooges) and Pete Anderson, Dwight Yoakam‘s guitarist.

Top-of-the-line Japanese maker Greco is making licensed guitars based on the designs of the late Tony Zemaitis, probably best known for the custom axes he built for Ron Wood. They ain’t cheap, but they are beautiful.

Duesenberg Guitars are a comparatively new make from Germany, which are both absolutely gorgeous and appear to hold true to the tradition of German craftsmanship. Just the hardware on these babies is enough to bring tears to your eyes. They offer signature models for Ron Wood and Mike Campbell (Tom Petty). Again, they ain’t cheap.

Lastly, let’s not forget that the traditional companies have come a long way, too. Fender, who were the initial subjects of my ranting here, are now making reasonably-priced offshore models that would probably challenge any of their mid-70’s (or later) American output for quality and playability. The Baja Telecaster is a perfect example of that. The Squier Telecaster Custom II that I bought almost a year ago is a fabulous axe, especially since it was priced under 300.00. Let’s hope it continues.

Happy Birthday, Chuck!

“Can I interest you in a Cadillac? One owner, low mileage…”

Saturday was the 82nd birthday of one Charles Edward Anderson Berry. If you play guitar, and were born after World War II, his playing has affected you in some way.

In many ways, Chuck is the single most influential musician in my life. From Keith’s total obsession with him on the early Stones records, through Aerosmith, The Dolls and lesser lights like The INMaTES, The Flamin’ Groovies and The Count Bishops, every act I love has been influenced by him in some way. Now, largely because of Chuck, my current influences are his – T-Bone Walker, Charlie Christian and Carl Hogan, Louis Jordan’s phenomenal guitar player.

Anyhoo, I don’t need to tell Chuck’s story, because it’s already been told – twice. First in Hail, Hail Rock’n’Roll, the movie that Keith essentially commissioned about him in 1987. Second, in his own autobiography, published around the same time, which I still regard as one of the most honest reads about rock’n’roll, by a rock’n’roller.

In a similiar vein, I would like to take this opportunity to wish my parents a happy anniversary.

Alfie Smith Benefit

Hamilton blues guitarist and Deacon pal Alfie Smith suffered one of the ultimate misfortunes this summer – his house burned to the ground while he was out gigging. Fortunately, no-one (not even the dog) was home at the time.

Aside from the losses of all worldy goods, and all those things for which you hold sentimental attachment, Alfie also had to deal with the immediate practical problems of a person who’s self-employed; the loss of a significant number of his tools of the trade.

The other musicians in the Hammer have quickly rallied ’round in an effort to help out. There’s a benefit tonight (09/07) at the Fenian Films studio at 211 Locke Street South, featuring such Hamilton luminaries as Tom Wilson, Dave Rave and Harrison Kennedy.  Tickets $10.00 at the door.

Unfortunately, the lovely and talented Mrs. Crossley is a bit under the weather, so I’m afraid we won’t be able to make it. However, the Deacons will be well represented by Mr. & Mrs. Thorpe. Dan has, of course, offered to repair any guitar damage gratis for his old pal Alfie, but thankfully, most of Alfie’s axes were travelling with him at the time.

If you want to read the complete story, here’s the Hamilton Spectator piece. If you’re unfamiliar with Alfie’s music, here’s a piece he recorded for the Spec’s video archive.

They just keep comin’…

Finally found confirmation today that one of my dad’s faves, Jerry Reed, passed away August 31, from complications related to emphysema.  This had been in the wind for a few days, but like most things on the ‘net, you don’t believe it until you’ve seen it from a reputable source. Here’s the CBC obit.

Though he was known mostly as Burt Reynolds’ sidekick in the “Smokey and the Bandit” movies, Reed was a very accomplished guitarist and songwriter. He wrote “Guitar Man”, the centrepiece of Elvis‘ ’68 Comeback Special, and wrote “Thing Called Love” for Johnny Cash. He also had hits of his own, like “East Bound & Down” and “When You’re Hot, You’re Hot”.

But he saved his best playing for his guitar duet albums with Chet Atkins. Dad had two of these from the 70’s (I remember Chet saying in the liner notes – “Jerry’s the most dangerous kind of guitar player around. He doesn’t steal your licks – he just sits around and makes up his own!”), and apparently they recorded a third very recently – have to find a copy of that.  The playing on those records is exactly as you would expect – two guys who love to pick, doing it for the sheer joy of doing it.

Dad met Jerry in a coffee shop at the airport in Toronto in the late 70’s. He told me Jerry was completely true to character – very down-to-earth, and eager to talk to a fan – especially about his guitar records.  He also kicked the straw Stetson back on his head with an expert flip of the thumb to whistle at a pretty girl walking by! Dad got his autograph that day, and dad wasn’t much for autographs. I wonder if he still has that napkin?

Always the Fashion plate

Mr. Thorpe is seen here modelling the latest in guitar accessories – the Guitar Utility Belt. I strongly suspect it was designed with other purposes in mind, but you gotta admit, it seems to work –

Old friends

You’ll notice that I added Mr. Conrad and the Excellos to the links list. Good to see that Conrad’s back and rockin’ Western New York.

On vacation this week….

But people keep sending me these photos, so I gotta post some of them. First and foremost, old pal Dan Thorpe used his Canada Day BBQ as a forum to renounce his factory gig and go back to being a guitar tech, full time. He figures the monetary payoff may be a little ways down the road, but the payoff to his sanity will be immediate.  Here’s a visible manifestation of Dan’s severing ties – sitting around the ol’ campfire, burning his old work clothes. Dan was aided in his efforts with the addition of a little non-dairy coffee creamer (don’t try this at home, kids!).

Anyway, the upshot of all of this is that in the next couple of weeks, I should have information for you on the grand opening of Triffidbait Guitar Repair – watch this space.

Father’s Day in Japan

You just can’t help but brag about your kids, especially when the apple doesn’t fall far from the tree. When they discover their own passions, it’s a proud moment, indeed.

Most of you are aware of my daughter’s passion for Japanese music, a fact I harp on with just about everybody I come into contact with. Largely as a result of this, both Rick and Bill Wood have posted the Youtube clip of the intro to Miyavi‘s “Selfish Love” video on their Facebook sites.

While Miyavi’s an exceptional player, I got curious about where his unique acoustic style came from. That’s when I (eventually) discovered Masa Sumide. A lot of Miyavi’s style is informed, I think, by Masa.

To compare, here’s the full video for Miyavi’s “Selfish Love” (I love the fingerpop in the middle of the intro)…

   

…and here’s Masa Sumide’s “Kamikaze”…

   

Happy Father’s Day to all the dads out there.

EDIT 06/17 – I should probably point out that the Japanese didn’t invent using the hollow body of the acoustic guitar as a percussion instrument. I remember seeing Los Indios Tabajaras at Hamilton Place in the late 70’s, two brothers from the tribal country of northern Brazil. They maintained that when they got their first instruments, they had never seen anyone actually play a guitar, so they assumed that you were supposed to slap the strings and body of the guitar with both hands (in order to do this, you’d have to tune the guitar to a chord – standard tuning wouldn’t work). I couldn’t find a clip of them doing that, but here’s a clip of them (in what looks like “traditional dress” they bought at K-Mart) playing a traditional Brazilian folksong with some of those percussive elements. The Tabajaras came to international prominence in the early 60’s, and with the strong cultural ties between Japan and South America (notably Peru) would have undoubtably been very popular in Japan around the time that Masa Sumide would have been developing his own style.

JESUS H. CHRIST!!

First, Bigs passes. Then, less than a week after I do a post about how great it is that so many of the original rockers are still with us, we lose Bo Diddley.

To be fair, Bo had been ailing for some time. It’s just that nobody in North America gave a rat’s ass (see my post from last year). Over the next couple of days, you’ll here all sorts of bullshit from all sorts of supposed “experts” about what an innovator and stylemaker Bo was during his life. Where in fuck were all these people when he was actually alive?

You wanna know how important Bo was? Guys like Skunk Baxter and Ron Wood put their careers on hold to go on tour with him…as sidemen. Keith Richards would’ve never left Ealing without Bo and Chuck Berry. The Yardbirds‘ first single? “I’m a Man” – a Bo Diddley track. Yeah, those Yardbirds – the ones with Clapton, Beck and Page. Buddy Holly? The Who? George Thorogood? The list is endless.

Bo was also one of the original rockers who pioneered another music biz tradition – getting ripped off. “I am owed. I’ve never got paid,” he once said. “A dude with a pencil is worse than a cat with a machine gun.” He was paid a flat fee for recording at the time of the session, and never saw royalties thereafter.

In addtion to his own great catalogue (“Bo Diddley”, “Before You Accuse Me”, “Mona”, “Who Do You Love”, “Pretty Thing”, my own personal favourite, “Pills”, etc., etc., etc), he also co-wrote “Love is Strange” for Mickey and Sylvia.

He did well and truly deserve his handle – The Originator.

BTW, sorry about the outburst. It’s been an emotional week. I’m going back to bed and pulling the covers over my head.

Rock Therapy

With Biggles’ passing, I wasn’t really fit company for man nor beast this past weekend, so when Kim asked if I wanted to get out of the house for a while Saturday night, I quickly said “yes”.

We went to Rick’s gig in Burlington and, once they had heard what had happened, the guys were very empathetic. Bill, who does some cat rescue work of his own, recognized that I could use a little “rock therapy” and graciously gave up his bass seat for almost half a set so I could try to play out some of my emotional baggage.

Here’s a shot of me, Rick and Mad that Kim took. You may be able to tell that I’m not my usual exuberant self.