“I'm sick to death of people saying we've made 11 albums that sound exactly the same, In fact, we've made 12 albums that sound exactly the same.”
“I honestly believe that you have to be able to play the guitar hard if you want to be able to get the whole spectrum of tones out of it. Since I normally play so hard, when I start picking a bit softer my tone changes completely, and that's really useful sometimes for creating a more laid-back feel.”
As a young guitarist, I completely rejected any notion that music theory would help me in my journey. At the time, I justified this as a “punk rock/music is freedom” attitude to playing. If I learned my theory, I told myself, I’m just putting myself in a box. “[Insert guitar hero of the week] didn’t need theory, and they were a genius. Why do I?”
The Allmans’ recorded output went practically unnoticed. However, their reputation as a live act grew, thanks in no small part to their relentless touring schedule. In 1970 alone, the band played over 300 shows, honing their chops and building an underground following. Given the band’s prowess as a live act, talk inevitably turned to capturing the band in concert for a future release. As Duane Allman told DJ Ed Shane that year: "You know, we get kind of frustrated doing the [studio] records, and I think, consequently, our next album will be ... a live recording, to get some of that natural fire on it."
“If you want to be a rock star or just be famous, then run down the street naked, you'll make the news or something. But if you want music to be your livelihood, then play, play, play and play! And eventually you'll get to where you want to be.”
“I'm not a rock star. Sure I am, to a certain extent because of the situation, but when kids ask me how it feels to be a rock star, I say leave me alone, I'm not a rock star. I'm not in it for the fame, I'm in it because I like to play.”
The revolutionary impact of his playing reverberated pretty much from the get-go. Legend has it that when Van Halen supported Black Sabbath at London’s Hammersmith in 1978, half of the crowd vanished after Eddie and co. finished their set; decamping to nearby pubs to try and make sense of what they’d just witnessed. In the face of the literal Eruption that Edward brought to the stage, the lumbering, power chord chug of Iron Man was positively Jurassic.
“I never played one live! They were horrible," Stanley told Vintage Guitar in 1997. He was perhaps being uncharitable with that comment. Anyone who’s played a Marauder will likely tell you that they’re a fine – if unconventional – instrument. But you can see why Stanley, in a quest for KISS’s hard rock thunder, didn’t get on with the Fender-like axe. In the end, Stanley did find a purpose for the Marauder during KISS’s live shows...
The Gibson logo is iconic. It’s made its way from guitar headstocks to just about everything; t-shirts, coffee mugs, beanie hats and keychains. But, the Gibson logo didn’t just magically appear. It originally looked very different, evolving over decades into the version we recognize today. In this article, I’m taking a dive into the history of the Gibson logo and the many revisions it went through.
Cal Jam doesn’t get the same love as festivals like Monterey Pop or Woodstock. Maybe it’s because it doesn’t have the late ‘60s countercultural cred, happening a full five years after the summer of love reached its peak. Maybe it’s because it was staged to be filmed for television (as part of ABC’s legendary “In Concert” series). Why do I love California Jam so much? It is because it established the record for the largest concert sound system ever assembled? Was it because it featured the first ever appearance of the Good Year blimp at a music festival?
Guitar lessons eventually followed. But, classical guitar didn’t grab me in the same way that my own freeform compositions had. Firstly, I didn’t know any of the songs I was supposed to be learning. Secondly, it required the kind of co-ordination and finger dexterity that I was – at that time at least – far too impatient to master. “I read somewhere that there are these things you can use to hit the strings so you don’t have to use your fingers. I think they began with a P,” I once told my guitar teacher. “The thing that begins with a P is called practice,” he replied. He was right, of course, but that didn’t mean I wanted to hear it.
This week, to satisfy my yearning for live music, I’ve taken a deep dive into my record collection and rediscovered some live favourites. Given how much joy I’ve got out of these records, I thought I’d share them with you today. Putting together this list, I’ve tried to take the road less travelled. I didn’t want to put together a list of classic live albums that everyone already knows like the back of their hand. Instead, my three picks serve as alternatives to some of those classic albums, offering a new look at some legendary bands.
The Fab Four didn’t just revolutionize popular music; they changed the way we thought about musicians as personalities. The way they interacted with the press – their presence humour – ripped up the rulebook and set a precedent for generations of musicians to come. Needless to say, Messrs Lennon, McCartney, Harrison and Starr’s correspondences with reporters have resulted in many a memorable quip over the years. And for this post, I thought it’d be fun to collect some of the best quotes – everything from zingers to profound words of wisdom – uttered by the Beatles.
Earlier this week, we lost one of the greatest rock producers of all time. You’ve only got to look at the list of bands Martin Birch worked with to recognize his impact on rock n’ roll. He cut his teeth engineering for Fleetwood Mac and Wishbone Ash before moving on to producing such legends as Black Sabbath, Deep Purple, Rainbow and Iron Maiden. Today, in honor of the late, great production wizard, we’re taking a run through five classic Martin Birch-produced tracks and talking about what makes them so great.
When it comes to breakout singles, they don’t get much better than “You Really Got Me.” The 1964 track didn’t just put the Kinks on the map; it changed the rock n’ roll landscape with its incendiary guitar tone. “You Really Got Me” brought distorted guitar to the masses. It’s the genesis of all things hard and heavy in rock. And, as the legend goes, it was an act of aggression from Kinks guitarist Dave Davis that created the sound and started an amplifier revolution in the process.