Billy Gibbons Receives BMI Troubadour Award in Rocking Ceremony
Guitarists Keith Urban, Christone “Kingfish” Ingram, Chris Isaak, Robert Earl Keen, Elle King, Tom Bukovac, and Guthrie Trapp performed in honor of the Rev. BFG in Nashville on Monday night, as his body of work was recognized.
NASHVILLE, TN — From 1967, when he founded Texas psychedelic rock band the Moving Sidewalks, to 2023—a span that includes 15 ZZ Top studio albums and three solo recordings—Billy Gibbons has written songs as indelible as the dirty tones of his revered 1959 Gibson Les Paul, Pearly Gates. Those songs, including “Jesus Just Left Chicago,” “La Grange,” “Tush,” “It’s Only Love,” “Cheap Sunglasses,” nearly every cut on 1983’s Eliminator album, and many more, earned Gibbons BMI’s prestigious Troubadour Award in a ceremony at the performing rights organization’s Music City headquarters on Monday night.
Rising blues star Christone “Kingfish” Ingram digs into his signature Tele as he delivers “Waitin’ for the Bus,” from the 1973 ZZ Top album, Tres Hombres.
The Troubadour Award, which has also been bestowed on John Hiatt, Lucinda Williams, John Prine, and Robert Earl Keen, recognizes songwriters who’ve made a profound impact on the creative community and who are substantially influential. At the private ceremony attended by many notable fellow guitarists, including Steve Cropper, John Oates, and Molly Tuttle, Gibbons was honored by a series of filmed and live testimonials, and, more vividly, by performances with a house band that included Nashville 6-string heroes Tom Bukovac and Guthrie Trapp.
Urban’s nuanced playing on “Rough Boy,” from ZZ Top’s 1986 album Afterburner, was one of the night’s highlights.
Performers included Keith Urban, who delivered a sensitive version of “Rough Boy,” replete with tightly controlled feedback melody lines; rising blues star Christone “Kingfish” Ingram, who tore up “Waitin’ for the Bus” on his signature Fender Tele; Chris Isaak singing “Sharp Dressed Man” while wearing the night’s spangliest Nudie-inspired suit; fellow Troubadour Keen, delivering “La Grange” (with especially ripping turns from Bukovac and Trapp); and Elle King singing “Gimme All Your Lovin’.” In typical Gibbons style, his acceptance speech, which focused on his more than four decades of visiting, playing, and songwriting in Nashville, also included references to gambling debts and sneaking beers while writing a tune for his wife’s teetotaling mother in Music City.
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Metalocalypse creator Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
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The legendary German hard-rock guitarist deconstructs his expressive playing approach and recounts critical moments from his historic career.
This episode has three main ingredients: Shifty, Schenker, and shredding. What more do you need?
Chris Shiflett sits down with Michael Schenker, the German rock-guitar icon who helped launch his older brother Rudolf Schenker’s now-legendary band, Scorpions. Schenker was just 11 when he played his first gig with the band, and recorded on their debut LP, Lonesome Crow, when he was 16. He’s been playing a Gibson Flying V since those early days, so its only natural that both he and Shifty bust out the Vs for this occasion.
While gigging with Scorpions in Germany, Schenker met and was poached by British rockers UFO, with whom he recorded five studio records and one live release. (Schenker’s new record, released on September 20, celebrates this pivotal era with reworkings of the material from these albums with a cavalcade of high-profile guests like Axl Rose, Slash, Dee Snider, Adrian Vandenberg, and more.) On 1978’s Obsession, his last studio full-length with the band, Schenker cut the solo on “Only You Can Rock Me,” which Shifty thinks carries some of the greatest rock guitar tone of all time. Schenker details his approach to his other solos, but note-for-note recall isn’t always in the cards—he plays from a place of deep expression, which he says makes it difficult to replicate his leads.
Tune in to learn how the Flying V impacted Schenker’s vibrato, the German parallel to Page, Beck, and Clapton, and the twists and turns of his career from Scorpions, UFO, and MSG to brushes with the Rolling Stones.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Katana-Mini X is designed to deliver acclaimed Katana tones in a fun and inspiring amp for daily practice and jamming.
Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X also provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboard Bluetooth for streaming music from a smartphone.
While its footprint is small, the Katana-Mini X sound is anything but. The multi-stage analog gain circuit features a sophisticated, detailed design that produces highly expressive tones with immersive depth and dimension, supported by a sturdy wood cabinet and custom 5-inch speaker for a satisfying feel and rich low-end response. The no-compromise BOSS Tube Logic design approach offers full-bodied sounds for every genre, including searing high-gain solo sounds and tight metal rhythm tones dripping with saturation and harmonic complexity.
Katana-Mini X features versatile amp characters derived from the stage-class Katana amp series. Clean, Crunch, and Brown amp types are available, each with a tonal variation accessible with a panel switch. One variation is an uncolored clean sound for using Katana-Mini X with an acoustic-electric guitar or bass. Katana-Mini X comes packed with powerful tools to take music sessions to the next level. The onboard rechargeable battery provides easy mobility, while built-in Bluetooth lets users jam with music from a mobile device and use the amp as a portable speaker for casual music playback.
For quiet playing, it’s possible to plug in headphones and enjoy high-quality tones with built-in cabinet simulation and stereo effects. Katana-Mini X features a traditional analog tone stack for natural sound shaping using familiar bass, mid, and treble controls. MOD/FX and REV/DLY sections are also on hand, each with a diverse range of Boss effects and fast sound tweaks via single-knob controls that adjust multiple parameters at once. Both sections can be used simultaneously, letting players create combinations such as tremolo and spring reverb, phaser and delay, and many others.
Availability & Pricing The new BOSS Katana-Mini X will be available for purchase at authorized U.S. Boss retailers in December for $149.99. For the full press kit, including hi-res images, specs, and more, click here. To learn more about the Katana-Mini X Guitar Amplifier, visit www.boss.info.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.