
With their new record, Playing Favorites, Sheer Mag pays homage the best parts of ’70s and ’80s disco and funk, set in the band’s usual streetscape of classic hard rock and power pop.
The Philadelphia band looked back to classic disco and funk grooves to create Playing Favorites, the year’s dirtiest and most danceable power-pop record.
“There are two wolves inside me,” says Kyle Seely. “One of them wants to just bring the JCM800 and a distortion pedal, and the other one’s like, ‘I’m bringing the Helix and I’m making a different patch for every song.’”
Seely, who plays lead guitar in Philadelphia band Sheer Mag, is the designer and engineer behind the guitar sounds for the arena-gone-garage-rock outfit. Matt Palmer, his rhythm guitar counterpart, smirks. “Every single tour, Kyle is like, ‘I’ve finally figured it out, I’m going to simplify it.’ It’s never simpler,” he chuckles.
Seely’s self-described “endless tone quest” and the tight, gritty weave of his and Palmer’s guitars have helped grow Sheer Mag into one of the most beloved independent American guitar bands of the past decade. The core quartet, with vocalist Tina Halladay and bassist and producer Hart Seely, Kyle’s brother, emerged from Philly’s punk scene in 2014 with a string of bare-knuckled EPs. Their first full-length, 2017’s Need to Feel Your Love, scored spots on plenty of reputable year-end lists, and the track “Expect the Bayonet” was featured at one of Bernie Sanders’ 2019 rallies. That year, the band released A Distant Call, another fan and critic favorite, via their Wilsuns label.
Sheer Mag signed to Jack White’s Third Man Records for their new release, but they still did things their way, recording in an industrial warehouse jam space on the edge of Philadelphia.
Now 10 years in, they launched their third LP, Playing Favorites, in March with Third Man Records—their first step into “the proper label world,” says Seely. The record is a lo-fi riot, a hyper, tireless romp through the gasoline-slicked back alleys of disco, punk rock, glam, and metal.
But on Playing Favorites, more than any of their other records, the band is open about their compositional ambition and commitment to making songs that are just a blast to listen to. (The record’s title winks at this.) The thrifted and dirtied-up disco of “All Lined Up” is one of the band’s most impressive compositions to date, topped only by the Boston-ish funk-rock odyssey of “Mechanical Garden.” After a vintage metal intro, the track warps into a string section that slows and then, thanks to some careful tape trickery from Hart Seely, gradually melts upward to a new key and swaggering groove. Later, a scorching, treble-blasted solo from Tuareg guitar hero Mdou Moctar streaks across the stars. But the record’s highlight has to be the delicious strut of “Moonstruck,” which might have the best chorus of the year, and sports some of Kyle Seely’s most exciting lead work yet. (Seely’s Southern rock tendencies and the round, percussive tone of his Nashville Tele are virtually calling cards for the band at this point. “I can’t not add a ton of vibrato,” he says. “I love the Allman Brothers, Marshall Tucker Band, a lot of the major, mixolydian kind of soloing.”)
Kyle Seely's Gear
Kyle Seely handles the bulk of the band’s tone-sculpting, digging for sounds between his JCM800 and his brother Hart’s effects units.
Photo by Joanna Roselli
Pedals
- TC Electronic Mimiq
- Ensoniq DP/4
Strings & Picks
- D’Addario XL Pure Nickel strings
- Dunlop Jazz III nylon picks
Despite the label association, the band recorded Playing Favorites in true Sheer Mag style, in a warehouse in Philly that doubles as a practice space for a bunch of bands. The space’s wiring produces an audible hum on any amp that plugs in there, a stamp that Kyle says can be heard at the very start of “Moonstruck.” Hart engineered the sessions using a 16-channel mixer to a Tascam tape machine—another piece of Sheer Mag’s rough-edged charm. And Hart’s bass lines, which often form a unique melody on their own, cement the band’s signature dual-guitar growl. Though they haven’t been quite as audible until now, disco and funk have always been cornerstones of the Mag sound, alongside classic rock and power-pop. Kyle and Palmer agree that the give-and-take of Chic’s Nile Rodgers and Bernard Edwards was particularly instructive. “They would do this stuff where they were just filling in the space between each other, so they weren’t all just playing the same riff, but there’d be a groove,” says Seely.
“We’re almost like a mashup band, where it’s original content, but we’re essentially mashing up different philosophies of rock.” —Kyle Seely
Those influences are especially present this time out—Playing Favorites is certainly the band’s most danceable record yet. But it’s still a hard-rockin’ power-pop record, and Sheer Mag are still jacking the best vibes from Duke Jupiter, Stampeders, the Records, Neil Diamond, Quiet Riot, Badfinger, and other oddities from the borders of ’70s and ’80s guitar music. Somehow, those sounds haven’t lost their luster. When Palmer returned to Philadelphia from a stint living in Australia, he started playing old Thin Lizzy, Bee Gees, and Twisted Sister records to prepare for making the new album. He was pleasantly surprised to find those classics still moved him. “It was a really special feeling to be as excited about the original influences of the band 10 years later,” says Palmer. “The initial Mag feeling was still there.”
Matt Palmer's Gear
Palmer, seen here with his Peavey T-60, revisited the band’s original influences to prepare for Playing Favorites. They hadn’t lost any of their magic.
Photo by Joanna Roselli
Guitars
- Peavey T-60
Amps
- Fender Hot Rod DeVille III 410
But unlike some of the big-budget, one-note arena- and glam-rock records of the ’80s—which has become one of the most passé and snickered-about genres of the past 100 years—Sheer Mag bookend their hooks with production flourishes that deepen their impact: a weirdo delay here, a doubled vocal there, a grimy sonic palette flickering in the background, all rendered with delicious imagination and precision.
“You do want to punch them in the face with something memorable, but also, I think the record is built to reward repeat listening, and you can dig into the deeper textures and complexity the more you listen to it,” says Kyle Seely. “We’re almost like a mashup band, where it’s original content, but we’re essentially mashing up different philosophies of rock. I get excited when people are like, ‘That sounds like Jackson 5 meets Aerosmith.’”
Sheer Mag - Expect the Bayonet [Live at Urban Lounge]
Sheer Mag rip through their Bernie Sanders-approved warning cry, “Expect the Bayonet,” in Salt Lake City in 2022.
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In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
An easy guide to re-anchoring a loose tuning machine, restoring a “lost” input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
This collaborative effort between Japanese and American guitar builders aimed for old-school quality without breaking the bank.
I recently called a rideshare to pick me up from the airport and was surprised when the driver pulled up in a Jaguar. I’d never been in one and was stunned at how quiet it was, and how the backseat was as comfortable as a living room couch, but retained a refined look. This 1998 Masterbilt prototype reminds me of that airport ride.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.