Dead On
Premier Guitar,
Thanks for the nice story on Keith
Olson [“Studio Legends, December
2012], including all the little tech
intricacies. Here is another interesting
tidbit about Keith Olson: He is
responsible for the best year of the
Grateful Dead. Most Deadheads will
know of Keith Olson as the producer
of the album Terrapin Station, which came out in 1977. Up to
that point, the Dead had produced most of their own albums
with rather, shall we say, mixed results. But Terrapin Station was
quite polished, to the point that some Deadheads thought it
was “overproduced.” I love it, but that’s not the reason for this
letter. The reason is that, if we examine the Grateful Dead’s
touring history—arguably one of the most extensive in all of
rock ’n’ roll—which stretched from 1966 to 1995, or about 30
years, can we identify the best year? Among serious Deadheads,
I would argue that 1977 is a real contender. After all, many feel
that Barton Hall at Cornell in May 1977 is clearly one of their
best live performances. I was lucky enough to see Dead that
year in Santa Barbara in February of 1977, the second show
(after San Bernardino) of that wonderful Spring 1977 outing.
Best version of “Scarlet,” ever. Clearly my favorite show over the
entire period 1974-1995 when I was fortunate enough to see
them live. So why was 1977 so special? In my humble opinion,
much credit is due to Keith Olson. This is because he made the
Dead really bear down and practice, and polish their music to a
degree they never thought possible. You may disagree about the
merits of the album. But what it did to the Dead as a live performing
unit was fabulous—and I’ve still got old soundboards
and auds to prove it. So from an old Deadhead, thanks to Keith
Olson for one of the best years the Dead ever hit the road.
Keep up the good work,
—Chris Francklyn
Burlington, Vermont
Chris,
Thank you for the kind words. I have so many fond memories
of Jerry [Garcia] in the studio, outside the studio, what a loss.
Just think how cool it would be if he were around today. Doing
Terrapin was a labor of love with the band, some days it was difficult,
but other days it was magical. Overall I hoped that they
would take this discipline and apply it moving forward. As you
say, they did.
I went from this album directly into a Bob Weir project, then
on to project after project after project, and I’m sorry to say, never
saw the band play again. I was lucky enough to have had months
of creative time with Jerry. Live on in our hearts!!!!!
Cheers,
KO
Dream Guitars
I don’t have the vocabulary
to adequately express how I
feel after this first exposure to
such sublime beauty [“Builder
Profile: John Monteleone,”
December 2012]. Contrast
guitars like these with the pitiful
money-grubbing big name
custom shop schlock and you
see real art worthy of substantial
investment.
—Dazed & Amazed,
via premierguitar.com
It would be nice to hear a guitar
with soundholes in the rim.
That particular design innovation
has shown up in a few
maker’s instruments. The Monteleone
guitars have interested
me for a long time, but these
new designs are like something
out of an incredible dream.
—Steve Haynie,
via premierguitar.com
Bravo for Bombino
I really enjoy reading your
magazine. And I especially like
that, unlike some other guitar
magazines, you give the full gear
information on whoever is being
featured. I personally like to
know what guitar is being played,
what effects are used, amps,
picks, etc. But the first thing that
I always search for is the Opening
Notes section. Bravo! You never
know who is going to be there
... I’ve never heard of Bombino,
but after seeing the great photo
[Opening Notes, December ’12],
I YouTubed the man, and then
bought his CD, Agadez.
Thanks a million!
—Cindy Carr
For Her
Attached is a photo of the Tele I
made for my wife for Christmas
a few years back. She doesn’t play,
but loves emeralds ... LOL. The
body is 100 percent homemade:
solid pecan, topped in 1/4" AAAA
quilted maple, double bound in
white/black/white binding, chambered
in the lower bout (under
your strumming arm) with a
POD-shaped chamber to sweeten
the tone (aftermarket neck bought
for the inlay since she doesn’t play).
The red tuner buttons match her
hair—14 coats of clear nitro, over
aniline green stain, over black stain
(applied then sanded, to heighten
the 3D effect). Thought I’d show
you something you might enjoy
instead of whining.
Thanks,
—Benny D. Holbrook,
Lt. Col (Ret.), USAF