Fender Champion 600 Guitar Amplifier Review

Howdy

Today we are looking at a super-fun Fender Champion 600 guitar amplifier. This is a re-issue of the original amplifiers that were built between 1949 and 1953. This is a pretty faithful reproduction of the original, although Fender said they have added a higher-gain pre-amp circuit to get more overdrive. I have never seen (let alone played) an original, so I will have to go along with them on this one.

>The Champion 600 is a neat amplifier, and very light weight. It weighs in at around 15 pounds, and measures about 12 inches wide by 11 inches high by 8 inches deep. The 50s groove is going ON with the two-tone Tolex.

The electronics are 1950s simple. This is an all-tube amp, with a 12AX7 pre-amp tube and a 6V6 output tube. The output is pretty low, putting out 5 watts at 4 ohms through the built-in 6-inch speaker. You can hook up a larger external speaker, should you wish. The controls are basic: 2 inputs (high and low gain), and a volume control. That is it -- you will have to do all of your EQ with the guitar or your pedal board.

There is not much more to describe, other than the tone. This amp sounds great! It does not hiss or hum excessively, and it puts out enough volume for home practice or recording. It overdrives fairly quickly, which is great if you want some old-style blues or rock and roll at reasonable volume levels. It sounds equally fabulous with my Strat or my Les Paul, and it is a bluesy little amp.

Looking this one over, I would have to say the craftsmanship is pretty good. The Tolex is even, and the electronics are tidy. And, yes, these are built in China, so they do not have any “Fullerton” magic, but that does make them more affordable.

Of course, it does not hurt that the Champion 600 is very affordable. It looks like it has been discontinued, and they now sell for more than they did when they were new, with prices starting around $200. But be careful, as these are popular amps to mod, and you might not know exactly what you are getting into.

Mahalo!

Blues Blast Magazine Album Review: Cliff Stevens – Grass Won’t Grow

Good day!

This CD review was originally published in the April 13, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Cliff Stevens – Grass Won’t Grow

Self Release

www.cliffstevens.com

11 tracks / 45:12

Looking at the cover of Cliff Stevens’ second solo disc, Grass Won't Grow, you might think he looks a bit like Eric Clapton, but with a Cherryburst Les Paul instead of the signature black Stratocaster. Of course there is only one Slow Hand, but this Montreal native is actually one of the world’s foremost Clapton impersonators (www.EricClaptonTribute.com)! But besides being able to play “Layla” in his sleep, he can also crank out his own brand of righteous blues-rock, as evidenced by this new album. Other folks have faith in his abilities too, as he was able to successfully use a crowdfunding campaign to help finance this project.

Stevens is a product of the late sixties music scene where he got to see icons like Clapton and Johnny Winter, and he took further inspiration from icons such as Albert Collins, Albert King, and Otis Rush. What better role models could a young guitarist ask for? He took his job seriously, and has toured for decades around North America and Europe, flirting with jazz and earning a master’s degree in music and education along the way. His eponymous first album was released in 2009, and this mix of original and cover tunes was well received, earning him critical praise and plenty of award nominations.

Grass Won't Grow is a worthy follow-up, and it features Cliff on guitar and vocals, Eric Suavé on the keys, Alec Mc Elcheran on bass, and Sam Harrisson behind the drum kit. Stevens was the producer for this project, and it was laid down on tape (analog!) at Studio Mega-Rex in Montreal, and the result is a decidedly live sound. This 45-minute set is made up of eleven songs, all of them originals, and it turns out that his man has a lot of cool stuff to say.

The set kicks off with “Don’t You Say,” which has a funky jazz feel thanks to a sweet walking bass line, plenty of ride cymbal and hi-hat, and Stevens’ ultra smooth guitar touch. Rest assured that Cliff has his own voice, and his laidback vocals and guitar chops are not a re-hash of Clapton’s style. Next up is “Price You Pay,” a fun piece of blues that describes the relationship difficulties that a touring musician has to deal with. The guitar leads on this track have an excellent clean tone, and Suavé’s keyboards subtly set the mood without distracting the listener. Then the upbeat title track follows with country-style leads and a pop feel courtesy of backing vocals from Kim Feeney. ”Grass Won't Grow” is fun, and a neat reminder of the joy that musicians can express; the blues does not have to always be a stone-cold bummer.

As you can see, these songs are not exactly straight-up blues, but they are all still closely related to the genre and they all work well with each other. The songs are all well written and performed, but there are a few that stand out from the rest. “Running” is a radio-friendly rocker with an easy-going feel, a catchy chorus, and a heavily processed guitar break. There is also a sentimental bluesy ballad, “Crying My Heart Out,” which clicks on all levels with its Hammond B-3 and a dramatic mood that builds throughout. And if you like drama, the spooky feel of “All Through the Night” will be right up your alley. Stevens’ guitar work shows variety on this last one, as throws down some cool arpeggios and then lets it rips with and extended dirty solo that is one of the highlights of the entire disc.

Cliff Stevens has put together a solid album with Grass Won't Grow, and this cool set of modern blues-rock is catchy and well crafted. He just finished up supporting its release with his fourth European tour in the past three years, and hopefully he will add some North American dates soon. Keep an eye on his website for updates, and you can also follow him on Bandsintown.com for automatic notifications if he adds shows in your area. He is quite the showman, and you will like what he has to offer!

2008 Epiphone Les Paul Custom Guitar Review

Howdy!

Today we are looking at an Epiphone limited edition Silverburst Les Paul Custom guitar that was only sold for a brief time in 2008, though they must have made o ton of them because I see them pretty often. It is a fine looking instrument and is well built, but the electronics have not held up too well over the years.

The Custom has always been the top of the Les Paul line-up, and this one is a tribute to the original Silverburst instruments that were made from 1979 to 1985. The vintage Silverburst Les Pauls have been the go-to axe for Adam Jones from Tool, so they have developed a cult following and they are stupidly expensive now.

Les Paul Customs are set apart from the Standard models by more intricate inlays, as well as multi-ply body binding. This Epiphone got these adornments, but not the usual gold-plated hardware (thankfully).

Other than the color, the specs are fairly standard for an imported Les Paul. It has a mahogany body with a carved alder top, which is surprising considering that these usually have maple tops. The 24.75-inch scale set neck is mahogany, which is normal, but differs from the maple necks on the original Silverburst Les Pauls. The whole thing has a coat of thick poly and the Silverburst fade is only on the front. The back is glossy black, while the originals were Silverburst back there instead.

The neck has a 1 11/16-inch wide nut, and a fairly fat profile. The rosewood fretboard has trapezoid pearl inlays, and it has an evenly applied cream binding. The headstock carries the 5-ply binding over from the body, and it is equipped with chrome Grover sealed-back tuners. In case you care, there is a diamond mother of pearl inlay on the front of the headstock, and an Epiphone Custom Shop Logo on the back. I would be curious to see their Custom Shop…

The rest of the hardware is standard fare, with a chrome Tune-o-matic bridge with a stopbar tail piece and a multi-ply black pickguard. And the electronics are just about what you would expect on an Epiphone. These Customs come with plain-Jane Alnico humbucker with the usual Les Paul 2 volume / 2 tone knobs set-up.

In the end, this turns out to be a good collection of parts, and Epiphone’s Chinese (factory did a fab job of sticking them together. I am continually astonished that the public continues real-deal Gibson Les Pauls with terrible necks and frets when there are much better alternatives out there for less money.

This Silverburst Les Paul Custom has a nice neck with perfect frets and a pretty low action with no fiddling around or modifications. It has a C profile and its thickness is right in the middle between the 50’s and 60’s neck profiles that are so popular. This translates into a lot smoother playing experience for me, which is worth a bunch because I do not have much talent.

Unfortunately, the years have not been kind to the electronics on this one, as one of the pickups has dies and the other has a whacky tone that is super muddy. It certainly could benefit from new pickups and wiring, and I think a set of Burstbuckers (maybe out of phase) would be magical in this guitar. If you are going for the full Tool mod, Jones says he uses a Seymour Duncan JB at the bridge, though I have my doubts that he is being truthful, and without a maple neck and ebony fretboard it just will not sound the same anyway…

When this run of Epiphone Silverburst Les Paul Customs was originally on sale their street price was around $600 (with no case), which is pricy for an Epiphone Les Paul. But nowadays they go for around $300 to $400, which is a good price for a nice guitar. But, make sure you plug it in before you buy…

Mahalo!

2004 Fender Stratocaster XII 12-String Guitar Review

Aloha!

Today we are looking at something a little different – an early 2000s Fender Stratocaster XII that is a pretty neat piece of work. These guitars are somewhat based on the Electirc XII that was built back in 1965 to 1969 era and are very collectible, even in today’s slower market. Fortunately for us Fender Japan reproduced this version from 1985 to 1995 and 2004-2009 so we can achieve a similar sound and feel for a lot less cash.

This one has a Crafted in Japan Q-prefix serial number, so it was built in 2004. It has a pretty sunburst finish over its alder body, and a rosewood fretboard on its maple neck. It got a white pickguard, pickup covers and knobs, and they have a nicely aged vintage cream look to them.

The neck has a 25 ½-inch scale length with a 7.25-inch fretboard radius. There are 21 vintage style frets set into it. The profile is not much different than a 6-strint Strat, and there is a comfy C profile to the back of the neck. The headstock is quite a deviation from the usual Fender shape, so that it can accommodate those 12 tuners.

The tuners are Ping style finished in chrome, as is the hardtail bridge. The bridge is set up so the primary strings feed through the back of the body and the secondary strings are loaded from the top of the body. The electronics are standard Stratocaster fare, including 3 single coil pickups, a 5 5-way selector switch, a volume control , and two tone controls.

The guitar we are looking at here is in excellent original condition, with no repairs or modifications. It is very well built, with gorgeous paintwork and fabulous fretwork. It is a tad heavy, coming in at just under 8 pounds, but it is still 3 or 4 pounds less than my Les Paul. It is one of the easiest playing 12-strings I have ever run into, as it does not feel very lot different than the 6-string version.

Sound-wise, it is (of course) more full than a regular Strat, and probably a bit janglier than a Rickenbacker 12-string. Don't take that the wrong way – it does have a very lovely and useable tone. Pretty much, it is a winner for not a lot of dough. If you ever have the chance to try one of these out you should give it a go. See what you think!

Mahalo!

1985 Fender Squier Stratocaster ST-331 Guitar Review

Aloha!

Most of the 1980s JV and A-series made in Japan Fender guitars stayed fairly close to vintage specifications, though there were a few locking tremolos and nuts to be found. Squier instruments from the same time period had a few models that were more way out there, including the ST-331 Stratocaster that we are looking at today.

This Squier by Fender Stratocaster was built at the revered Fujigen factory on January 24, 1985, and it caries an A-prefix serial number. Deviations from the vintage norm include a sinister black appearance, complete with a matching headstock, a single humbucking pickup and a lone control knob. Metal!

The neck has a nice chunk of rosewood for the fretboard, and there are 21 frets and a plastic nut set into it. The frets show a little wear, but are in amazingly good shape for a 33-year-old guitar. As mentioned earlier, the headstock is painted black and there are 1970s style closed-back tuners installed. The back of the neck has a comfy oval profile to it and it feels just a little different than other Strats because this instrument has a shorter scale than normal: 24.75” instead of 25.5”.

The body has the traditional Stratocaster shape with a nice thick coat of poly finish. Hardware includes a classic tremolo with bent steel saddles, and a single-ply pickguard that looks dreadfully cheap. There is supposed to be a matching cover for the cavity on the back, but it has gone missing over the years. By the way, it is pretty light too, weighing in at under 7 pounds.

Last in the description is the electronics package, which is about as simple as it gets. There is a single Dragster humbucker pickup (7.61 Ohm) at the bridge, and a single volume control. And nothing else: no capacitors, circuit boards, or switches. So, it does just about exactly what you think it would, and that is provide a crunchy rock experience when driven hard. It is refreshing to play, as the tone is all about gain and whatever talent you have in your fingers.

This Strat is a good player and it sounds good, and I think it looks nice too. It has been played out so there are some dings and scratches, as well as some rust on the hardware, but it appears ready to go for another 33 years with a minimum of maintenance. I’m not sure where this fits in with collection, but I could definitely see unloading my LTD George Lynch Kamikaze and keeping this Squier instead. Hmmm.

Mahalo!

Blues Blast Magazine DVD Review: Women of the Country Blues Guitar

Hello!

This CD review was originally published in the February 2, 2017 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

Women of the Country Blues Guitar

Stan Grossman’s Guitar Workshop

www.guitarvideos.com

One DVD / 124 Minutes

If you are looking for a good value in guitar instruction it would be a fine idea to head on over to Stefan Grossman’s Guitar Workshop website and see what they have to offer for you. For less than the price of one in-person lesson you can pick up a DVD or two that will get you a good head start towards your guitar playing goals.

Stefan Grossman is a music publisher AND a serious guitar slinger. He hails from Brooklyn, and was taught by the esteemed Reverend Gary Davis as well as other legends that include Son House, Skip James, and Mississippi John Hurt. After endless touring, in the late 1960s he started to produce instructional albums with play-along tablature, including his famous 1967 LP, How to Play Blues Guitar. As time went on the catalog grew and these titles became available on CDs, VHS tapes, and DVDs; now there are downloadable lessons too!

There are dozens of titles available from Stefan Grossman’s Guitar Workshop, and there is a diverse collection of artists that provide the instruction. One of these fine instructors is Erin Harpe, talented guitarist and vocalist with serious on-stage experience. Her contribution to the catalog is a two-hour lesson, Women of the Country Blues Guitar. This is a not only a cool opportunity to learn some classic tunes, but it is also an important history lesson for the learner. The subjects of this lesson include artists that you probably have heard of, such as Memphis Minnie, but there may be a few surprises for you too.

Memphis Minnie is one of the best known women of blues guitar, having recorded over 200 songs between 1929 and 1959. Erin Harpe guides the student through seven of Minnie’s tunes, and after playing through a song (and singing it too!), Erin provides a little history and a description of how to play the song along with split screen examples. Where necessary, Harpe goes through solos in more detail too. Each of these is broken up neatly into chapters so the learner can jump back and forth to the parts they need more help with. Memphis Minnie songs in this lesson include, “I’m a Bad Luck Woman,” “Nothing in Rambling,” “Can I do it for You,” “ Where is My Good Man At,” “What’s the Matter with the Mill,” and “When the Levee Breaks.”

A similar learning strategy is used with the other four songs, each of which was originally performed by artists with fascinating backstories. Geeshie Wiley and L.V. ”Elvie” Thomas made their way from Houston, Texas to Grafton, Wisconsin, to record country blues for Paramount Records, and you will find “Pick Poor Robin Clean” and “Motherless Chile” included in the lessons. There is also “I’m So Glad” from Mississippi’s Jessie Mae Hemphill. Jessie started playing guitar in 1930, but never was in the limelight, and did not start releasing albums until the 1980s. Lastly, there is the mystery of Mattie Delaney from Mississippi, who recorded only two songs in 1930 for Vocalion Records. There is nothing written about her after this, and it is beyond cool that her version of “Down The Big Road Blues” has not been forgotten.

As some of these songs were originally recorded in open G tuning (also know as Spanish tuning), Erin demonstrates tuning the guitar in this manner as well as some common chords that are used with this tuning. This is a handy reference and it is nice that Harpe guides the learner through this before teaching the songs that use this tuning.

There are a few bonus features on the Women of the Country Blues Guitar DVD. For starters, there is a .pdf booklet on the disc that includes tablature and lyrics for each song. This document does not come up on the DVD menu, but you can find it with Internet Explorer (PC) or Finder (Mac). Also, there are audio tracks by the original artists for each of the ten songs in the lesson; this provides a nice comparison to see how close the student is to achieving competency with the source material.

This DVD is a professional project with good lighting, clean editing, plenty of camera angles, and crystal clear sound. The guitar cuts through nicely, both through headphones and laptop speakers, but it would be nice to play it through a quality pair of speakers if you have the opportunity. It is helpful that the learner can move along at their own pace, though these lessons would probably be most appropriate for intermediate and higher level students. There are plenty of other blues DVDs available from guitarvideos.com that would be more appropriate for beginners.

Women of the Country Blues Guitar from Stefan Grossman’s Guitar Workshop has a lot going for it, as Erin Harpe is an outstanding teacher, and this is a well-made DVD with compelling subject matter. Better yet, it is also a great value, as the learner only has to pay $29.95 for a two-hour lesson. Even if you are not a guitar player, it is fascinating to see how the songs are constructed, as well as the effort that goes into learning and playing these tunes!

1982 Greco SS-600 Electric Guitar Review

Aloha!

I hope you are all doing well today! Today we are looking at a super-nice SG knockoff, an early 80s Greco SS-600. These guitars were not imported to the U.S., so this is the only one I have ever actually seen in person on this side of the pond. This thing just screams lawsuit, doesn’t it?

This Greco was built in Japan by Fujigen in August of 1982, and it is closer to a real Gibson SG than a lot of the Japanese copies I have run into over the years. It is a set-neck guitar with a mahogany body and neck that are finished in the classic Wine Red. Also in the looks department, this instrument got MOP block fretboard inlays, neck binding, and a nice 3-ply pickguard.

The neck is beefier than I thought it would be, but would still be an easy player for those with smaller hands. I like that they did inlays in the rosewood fretboard, but they are a little on the small side and are not trapezoidal, so this kills a bit of the Gibson vibe. The headstock has an inlay that kind looks like a flowerpot if you are not paying attention, and the Greco logo is kind of Gibson-like too. The tulip tuners are sealed-back unit that have Greco logos on them. The neck is in good shape, with little fret wear and so a few bumps and bruises on the back.

The electronics are solid, with a pair of humbuckers with typical Gibson wiring and controls. The hardware is a bit odd, but appears to be original to the instrument. There are two things (besides the inlays) that just do not look right on this guitar: it came with speed knobs and the bridge is a weird big rectangular thing. Looking through the old Greco catalogs, these are what they came from, but they just do not work aesthetically. If I was going to keep it, both of these things would be changed out in a heartbeat…

The overall condition is very good with just a few dings and scratches, and no unseemly modifications (even though it could use a few). This SS-600 sounds authentic and it plays well too, which is surprising because this was a fairly cheap instrument at the time. The “600” in the model name means that this guitar originally coset 60,000 Yen, which worked out to around $250 at the time. That was a heck of a deal for a sharp-looking guitar that played well and sounded good too. Not to mention that the quality is also top notch, even though it is not a upmarket instrument.

Anyway, I think this 1982 Greco SS-600 is really cool, and if I did not have so many other guitars I would keep it. But I do have those other guitars, including a very good Gibson SG, so this is the one that will have to go. Drop me a line if you are interested in purchasing it.

Mahalo!

Blues Blast Magazine Album Review: John Long – Stand Your Ground

Hello!

This CD review was originally published in the November 10, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

John Long – Stand Your Ground

Delta Groove Music

www.johnlongblues.com

www.deltagroovemusic.com

13 tracks / 52:54

John Long is a fine bluesman, and the path he took to where he is today was not the easy one, but he ended up in the right place. Growing up in St. Louis, he sought out the blues at a young age, and it certainly did not hurt that his mom was a guitar teacher or that his brother, Claude, was also a bluesman. By his teens, John was playing out and started exploring the intricacies of pre-war blues. In the early 1970s, Long moved to Chicago where he mentored under a new father figure, Homesick James Williamson, who was a protégé of none other than Elmore James.

In the forty years since then, John has continued his journey, honing his craft and writing solid material, earning a BMA nomination for his debut album, and eventually moving back to Springfield, Missouri. His new Delta Groove Music album, Stand Your Ground, is a really cool collection of original and classic acoustic blues. Long did most of the heavy lifting here, writing eight of the thirteen tracks, singing all of the vocals, and taking on all of the harp and guitar parts. He was joined on a few of the tracks by a handful of tight and very experienced musicians from Southern California, including Fred Kaplan on piano, Bill Stuve on upright bass, and Washington Rucker behind the drum kit.

This disc was cut in only two days at Audiogrand in North Hollywood, California, and the resulting music has a very natural and live feel. First up is a tribute to Long’s mentor, and the message of James Williamson’s “Baby Please Set a Date” is the timeless story of a man who does not want to wait another day to be with his lady. Long’s voice is perfectly worn, and his inflection and tone hearken back to the early days of blues music. Fred Kaplan’s piano work fits in wonderfully on this track, as he carries over his years of experience from Hollywood Fats’ band.

The remaining cover tunes are sequenced near the end of Stand Your Ground, and Long does not screw around at all with Blind Willie Johnson’s 1920s gospel blues song, “I Know His Blood Can Make Me Whole.” John takes this one on as a solo effort with his jangly slide acoustic, and he displays a lot of vocal versatility, adding in a wicked warble that is to die for. There is also a slow-tempo version of Thomas Dorsey’s “Precious Lord, Take My Hand,” with a neat drum accompaniment from Rucker, and harp-heavy take on Blind Willie McTell’s “Climbing High Mountains” (big time falsetto here!).

But this is not a cover album, and Long’s originals are well written and stand up well to the blues masters’ songs that he chose for the mix. His guitar playing on these songs is fascinating, as he is innovative and goes far beyond what pre-war players did with their instruments, but he never loses the vintage vibe. “Red Hawk” is a prime example of this, as he uses a lot of double stops, harmonics, and descending patterns that sound amazing on his resonator guitar. Long also covers subjects that were not song-worthy back in the 1920s or 1930s, and he can write a tune about living with Parkinson’s disease (“No Flowers For Me”), and have it fit in perfectly with the classic material. The same can be said for “One Earth, Many Colors,” which carries a beautiful message of inclusion.

The originals are righteous enough that the title track turns out to be one of the standout songs on the album. “Stand Your Ground” brings Stuve and Rucker back on stage and these two fellows really click, contributing a fat and woody bass tone, as well as lovely rhythms on the drums. The melody is very catchy, and the lyrics are about a father’s advice to his son, not the controversial Florida law.

John ends his set with his original “Suitcase Stomp,” and as it is only two minutes long it is a neat coda to this project. This is a fun and rowdy song, and Long get the chance to shine on his harp and guitar one last time before he leaves the stage.

John Long has the pre-war blues sound and feel nailed down tight, and he is able to carry this mood over to more modern lyrics with no awkwardness or feeling that things are contrived. Stand Your Ground works on a lot of levels, including its content, musicianship, and production. If you dig classic blues and want to hear something fresh, Stand Your Ground would definitely be a wise purchase.

Press Release: New Effect Pedal - Cinnamon Drive from Aclam Guitars

Aloha!

I know there are a million pedal makers out there, but I dig Aclam, a Spanish company that is run by music fans and professional musicians. Their new Cinnamon Drive pedal is set-up for Smart Track pedalboards, and I look forward to trying one out in person.

www.cinnamondrive.com

“Barcelona -

After a few years being an innovative pedalboard manufacturer, Aclam has started to expand its catalogue with a pedal line. This first unit named Cinnamon Drive is a dual stage overdrive pedal, inspired by the tones of the greatest 60’s and 70’s guitar players like Jimmy Page, Eric Clapton, Jimi Hendrix and Jeff Beck. Created to have the tube saturation characteristics inside its DNA, it is highly dynamic and touch responsive, you can play it like your favorite vintage tube amp. It features a custom enclosure designed to fit Aclam Smart Track pedalboards and other major brands. Available worldwide from our website and authorized dealers this summer.

‘Our goal was to make the ultimate riff machine. With an amazing tone and offering new possibilities with an enclosure designed to take the most advantage of the Smart Track pedalboard, and making it easy to place onto all other boards.’

The Cinnamon Drive has a dual stage engine, featuring both soft and hard clipping circuits, starts from a clean preamp to a light overdrive, leading to a highly saturated distortion to cover a wide range of tones. Its simple controls let you dial two completely different tones thanks to the “Boost” section, which gets activated via footswitch. It also features a gain knob and independent volume control. It has internal fine-tuning controls for the most demanding players.

Take advantage of the patented enclosure using the two side thumbscrews on Smart Track pedalboards or attaching it to your pedalboard through the holes using standard screws or zip ties. It also comes with a super-strong Velcro® pad for classic boards.

Assembled and tested with care, one by one in Barcelona with the best components available.”

Mahalo!

1986 Yamaha LP-400 Lord Player Electric Guitar Review

Hi there!

I am glad to be getting a break so I can write about a few of the vintage guitars that made their way into my shop. Today we are looking at a nice Les Paul copy guitar, a late 1980s Yamaha Lord Player Les Paul copy.

In the late 1970s and early 1980s, Japanese guitar companies used classic guitar and bass designs from Fender, Gibson, Hofner, Martin and Rickenbacker, and made killer knock-offs. The 70s and 80s were not exactly the best years for quality for any of these companies, and consumers really ate up these good quality copies. Eventually, Fender and the gang caught on eventually and upped their game. Some of these very playable guitars are now collectible.

A fine specimen of these is this late 1980s Yamaha Lord Player model LP-400. In traditional Japanese manufacturing-ese, the 400 in the model name relates to the instrument’s original list price, in this case it was 40,000 yen. This was around $250 back then, if I did the math right. I have never seen another one in the US. I picked this one for a few hundred bucks on a business trip overseas.

This Lord Player is finished in a classy tobacco burst, with a little more yellow thrown in. The body is mahogany, with an agathis back, maybe. It is not unduly heavy for a Les Paul, coming in at a bit under 10 pounds.

It has a set neck with a rosewood fretboard. The neck is nicely rounded, is between the 50s and 60s style Les Pauls as far as feel. It is straight with plenty of life left in the frets. It has a medium action and it plays like a dream. There are a few small marks on the back of the neck, but nothing that bothers me when I play it, because I am a rock star. Note that this guitar has 1959 Les Paul style headstock.

Everything appears to be original on this guitar. The wiring is tidy with no terrible circuit board and the pickups and knobs appear to be OEM. The pickups measure 7.23k ohm for the bridge and 7.20k ohm for the neck, in case you really need this information. The tailpiece shows some pitting and the tuning pegs have a few signs of oxidization but those things are not a big deal. As this is a 30-year-old guitar, there are some small blemishes and the typical soft markings on the rear of the guitar. But overall it is in very respectable condition.

It plays very well with a set of Ernie Ball 0.010s on it. The pickups are sweet at normal levels, and are super crunchy with an overdriven amp. The action and feel is awesome. The neck is not chubby and not thin…in between. All electronics work as they should, though god only know why a previous owner drilled some holes in the cover.

If you are considering a new Gibson Les Paul, think twice. Their necks and frets are a crapshoot in a losing game. Find an older guitar from Yamaha, Tokai or Greco, and you will spend a lot less coin and get a better playing guitar.

Thanks for stopping by today!

Blues Blast Magazine Album Review: AC Steel and the Galvanizers – Now or Never

Hello!

This CD review was originally published in the December 1, 2016 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at www.bluesblastmagazine.com

AC Steel and the Galvanizers – Now or Never

Self Release

www.acsteelblues.com

11 tracks / 48:24

Philadelphia’s AC Steel and the Galvanizers is a slick band and their new disc, Now or Never, is perfect for listeners who want plenty of guitar with their blues. You may never heard of their frontman, Stephen Solotist, but he took an interesting path to get to this point in his music career.

An awesome guitarist, Solotist and his band flirted with the big time back in the 1970s, opening for big name acts such as the Allman Brothers and Pink Floyd. After shipping off to England for a while and turning down a slot with UFO, he eventually came back to the States and entered the world of day jobs and daily commutes. But he also stayed in the music game, playing gigs with the Jukerockers and the Dukes of Destiny.

Stephen is joined on Now or Never by the Galvanizers, whose members include “Chicago” Carl Snyder on the keys, Rich Curtis on the bass, Bud Manton on the skins, and Arlyn Wolters with the backing vocals (most of these folks are also members of the Dukes of Destiny). The disc was cut at Buckeye Studios in the City of Brotherly Love by co-producer Peter Richan. Ten of the eleven tracks on this album are originals that were written by Solotist, and apparently he is a capable singer and songwriter, in addition to his prodigious guitar skills.

The disc starts off with a taste of edgy blues-rock, “Can’t Keep the Big Man Down,” and this tune is the story of Kevin McCann (the singer and guitarist for the Little Red Rooster Blues Band), who is recovering from Guillain-Barre syndrome. Joining into the fray with his harmonica is another Rooster member, Dave Holtzman, and he has a sweet tone!

The mood changes dramatically for the next song as a pair of locals join in: Wanamaker Lewis on banjo, and Larry Feldman on fiddle and mandolin. This instrumentation gives “What Would Muddy Say” more of a roots feel, as Stephen ponders how historical figures such as Muddy Waters, Robert Johnson, and Frederick Douglass would interpret the state of society today. The vocal harmonies between Wolters and Solotist really make this song special. Lewis and Feldman also help out on the lone cover on this disc, an acoustic and folksy take on Robert Johnson’s “Come On in My Kitchen,” featuring harp from John Colgan Davis (another member of the Dukes).

The band also lays down a few tracks that are more whimsical, and some listeners may find the funky “Little Cat Purr” to be adults-only material. There is also a slow-burning ode to the misuse of alcohol, “Tequila Seals the Deal,” and the mother of all stalking songs, “Love Hate Letters.” And finally, the album finishes up with “Too Many Guitar Slingers,” an uptempo blues piece where Stephen bemoans the surplus of guitarists on the market, and he warns “if you want to get paid and have it made in the shade, don't become a become a guitar slinger.” Snyder throws down a nice piano solo here and Curtis also get the chance for a bass solo, driving home the point of this song. For a change of pace, there is also a cool instrumental featuring AC’s guitar, and “Steelman’s Stroll” is a fun two and a half minute romp, just in case anybody doubted Solotist’s guitar slinger qualifications.

Now or Never is a neat album from AC Steel and the Galvanizers, and their particular brand of guitar-driven blues is fresh and fun. Please note that should you happen to purchase a copy of this CD, a third of the funds will be donated to Kevin McCann to help defray the expenses for his medical care. And, if you get a chance, head over to the band’s website and check out their gig schedule. They have some dates coming up, and if you are anywhere around Philadelphia area you should make the time to see one of their shows. There is a lot of experience in this group, which should translate well to the stage!

1981 Greco Flying V MSV850 Guitar Review

Hi there!

Today we are looking at something completely different: a wonderfully gaudy vintage Gibson copy from Greco of Japan. This is a 1981 MSV850 that is obviously a Flying V copy, and if you look at the color scheme and the model number you might be able to figure out the story behind it. It is a peach, and I have never seen one in the US before.

Obviously it does not have a conventional paint scheme, with a striking black and white split down the middle, and even the pickguard and headstock get the dual finish. Of course, this thing is getting close to 40 years old, so the white has turned pretty darned yellow. And if you look at the model number, the MS indicates that this is the Michael Schenker model (that guy from the Scorpions). The V means it is a Flying V, and 850 would be the price in Yen (85,000 Yen was around $420 in 1981).

This guitar was made at the Fujigen factory in December 1981, and it appears to have survived without the indignities of modifications or shoddy repairs for the past 37 years. Apart from the finish, this appears to be equipped with fairly standard fare for a Greco electric. I am not completely sure what it is made from, but looking at the pickup cavities I think the used mahogany, so the neck probably has the same wood. The fretboard is a nicely aged chunk of rosewood, and there are 22 frets set into it, as well as small plastic dot markers.

The hardware is chrome and included Greco-branded sealed tuners, and the expected stop-bar tailpiece and tune-O-matic style bridge. There is also a brass nut, which is how these instruments shipped from the factory.

Some of these guitars came from the factory with the legendary Dry Z pickups, but this one did not. The humbuckers are what are to be expected, and they measure out at 8.01k ohm for the neck and 8.05k ohm for the bridge. The pots are also original, and they look to be a little on the cheap side.

Condition-wise, this thing looks awesome for a 37-year-old metal guitar. The truss rod works fine and the frets are a little worn, but it still plays fine. It has a comfy neck and it is actually pretty easy to play, and it actually stays in tune really well. But the best part is the tone, and even though this did not come with Dry Z pickups, it has an exceptionally sweet tone and it sounds tremendous when overdriven. It is an awesome guitar for pretty much whatever you would want to do with it. Oh, and di I mention it comes with the original hard case? Those are pretty hard to come by…

I never knew I waned one of these Greco Michael Schenker signature model guitars, but now that I have one I am super happy with it. I hope you get to try one out some day!

Mahalo!