
Premier Guitar talks to certified music therapists across the U.S. about their specialized approaches to using guitar as an instrument of healing.
Over the course of just two months, guitarist Tom Peterson from Cincinnati, Ohio, was diagnosed with testicular cancer and lost both his job and the unborn child that he and his wife had been expectingātheir first. The one bright spot that year came at Christmastime, when Peterson received a special gift from his family: a PRS Mira that has since become the prize of his guitar collection for reasons difficult to quantify.
"You never think that this inanimate object is going to have such a mental connection with you and get you through your darkest hours," Peterson shared in PG's Conversations in the Key of Life podcast ("Episode 3: Guitar as Therapy," June 2016).
"I can't tell you how many timesāespecially dealing with the post-traumatic-stress aspect of things, when the triggers come aroundāthat I've just picked up the Mira, laid on my back, and plunked around on it. Nothing in particular ⦠just me and the guitar. When you feel like your body can't move on to do anything else, it seems like the musicāthat connectionādrives you just for that brief moment while you're contemplating that next string bend. You forget everything else."
But beyond the scores of untold private battles like Peterson's, where music becomes both shield and weapon against encroaching darkness, there are many other instances where guitar has played a more oblique role in therapy, whether through 6-string stars playing benefits for rehab centers, selling their instruments and donating the proceeds, or, in Eric Clapton's case, both. Anecdotes and superstars aside, the guitar has found a more institutional place in the healing process through the relatively new field of music therapy.
Roots and Branches
To get an overview and history of music therapy and understand the guitar's place in it, we chatted with health professionals who administer this treatment on a daily basis. One such person is Dr. Robert Krout, professor and director of music therapy in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas. Krout also teaches guitar online and has taught at the National Guitar Workshop, as well as guitar workshops around the world.
"Music therapy as a profession started in 1950," explains Krout. "You use music-based experiences in the relationship with the therapist to help achieve desired health outcomes, whether they be physical goals, social rehabilitation, helping with developmental issues, and so on."
Krout notes that people are usually referred to a music therapist by a psychiatrist, nurse, social worker, or health insurance company. The therapist then conducts a comprehensive assessment to see if the referred individual might benefit from music therapy. "The patient doesn't necessarily have to be able to play or sing," says Krout, "but the therapist would assess whether music might be beneficial for them based on their needs, and also based on how they respond to music either actively or passively."
Potential music-therapy beneficiaries run the gamut from parents anticipating an addition to their family to individuals who've recently lost a loved oneāand all sorts of related situations in between: Krout works with expectant mothers and couples in Lamaze training, using music to help with the timing of contractions. He also works with patients who are nearing the end of their lives or are in hospice care. Music therapy can also help bereaved siblings, spouses, children, grandchildren, and other survivors with grief healing. Meanwhile, music can often stimulate forgotten memories or buried emotions in patients with Alzheimer's or cognitive impairments. Music therapy can also be a great way to communicate with children on the autism spectrum, especially those who are nonverbal.
"I work with people with eating disorders, and often they have a series of verbal defenses that shield them from how they're feeling. When we do music-based experiences, many of those defenses fall away and they have an emotional reaction to the musicāeven when they try not to." āDr. Robert Krout
The work that Dr. Krout and others are doing with music therapy is often effective where other forms of therapy have come up shortāfor instance, with clients who lack the verbal skills to benefit from talk-based therapy. Further, it can often make inroads with patients who have highly developed verbal skills that have, for one reason or another, proved an impediment to treatment.
"I work with people with eating disorders, and often they have a series of verbal defenses that shield them from how they're feeling," says Krout. "When we do music-based experiences, many of those defenses fall away and they have an emotional reaction to the musicāeven when they try not to. We can sometimes use that emotional reaction to take the discussion deeper into some of the issues they're facing."
Music therapy has been found to be very helpful in treating post-traumatic stress disorder (PTSD), particularly that suffered by troops returning from combat. Thanks to George Hauerāwhose organization Operation: Music Aid supplies thousands of musical instruments to recovering military and armed forces personnelāwe chatted with music therapist Bobbi Blake about her experience working with veterans at a VA medical center in Connecticut. She began by explaining that music therapy had its beginnings in the U.S. Department of Veterans Affairs system after World War II.
"They found when they played music for the veterans it was very helpful in calming them down and soothing them," Blake says. "They started to investigate it more, and that began the music-therapy research in the '50s. There has been extensive research ever since. Now, they're doing neurological work on how music affects the brain. In working with veterans with PTSD, I'm trying to use music to help engage their coping skills and self-expression."
Like patients with eating disorders, PTSD patients often have a hard time expressing the multitude of profound, overwhelming feelings bubbling just beneath the surface. They can become socially isolated or be fearful of being around other people, crowds, and trying new things.
"Bringing them together to play music is a wonderful way to have them be with other people in a safe place and learn a skill that's going to help them with anxiety, mood swings, and relaxation," she adds.
Music therapy can play an important role in treating those with substance addictions. Paul Pellinger, one of the founders of Recovery Unplugged (a Florida-based rehab center), uses music to engage clients in different ways. For example, the center organizes live performances by famous musicians, who share stories and songs related to their own issues with drug addiction and alcoholism.
The program incorporates music as early as the pre-assessment process. Before being accepted, a prospective client is asked about his or her favorite genre of music. "If they say, 'classic rock,' I'll ask if there is a particular song that describes their life," says Pellinger. "When I pick them up [to bring them to the center], I have that song playing in the van. Right away, rapport is established and they feel heard versus being yelled at. When they get to our facility, we don't have to deal with a two-week adjustment to the new environment."
Like people with PTSD or eating disorders, many addicts have trouble accessing their emotions. But music can often be a gateway through those mental walls. "Identifying what you think or feel is an obstacle for most people in general, and it's especially difficult for addictsābut I guarantee you somebody has written a song about it," Pellinger says. "We often let song lyrics be the catalyst to verbalize what's going on. We're using music not only to engage the clients, but also to make recovery more of a payoff than using drugs. If you look at [a scan of] the brain after somebody takes a hit of crack cocaine, it lights up similar to how it does after hearing a simple chord change."
Guitar in Therapy
Dr. Robert Krout from Southern Methodist University (center) poses with a class that includes special-needs students at the Hope Town School on Elbow Cay island in the Bahamas.
When music therapy began in 1950, it traditionally employed piano as the accompanying instrument. But at the same time, electric and acoustic guitars were becoming mainstream instruments. Guitar gained more popularity and began to be used, in part, because it was portable. As a teacher of guitar, Krout has a unique view on the instrument's special place in music therapy.
"Clients of different ages and needs are very attracted to the guitarāthe look of it and sound of it," he says. "I've worked with emotionally disturbed teenagers who normally would not have any reason to relate to me, but if I walk in with a FenderĀ Stratocaster they relate to that. So the guitar can be used as the go-between. I do a lot of songwriting for music therapy, and the acoustic guitar is a musical instrument I can hold while sitting across from the client. They relate to the guitar, which creates a therapeutic space, and then we can safely do other things with singing, lyric discussion, or songwriting. With autism, it might be the way the guitar smells. A person with a psychiatric syndrome might have played guitar when they were younger, before the disease took over, and they connect to that."
To maximize effectiveness, Krout adapts his choices of instrument and songs to the background of the patient. For example, if a patient is a baby boomer, he may rely on the guitar-based music of the '60s. Meanwhile, if radio hits from the 1950s were the soundtrack of his nursing-home patients' youth, Krout might use Buddy Holly songs as an emotional connection.
The guitar also figures prominently in Blake's work with the Connecticut VA health system. Perhaps the country's best-known nonprofit working with veterans via the 6-string is Guitars for Vets, which provides a free guitar and lessons to veterans through local chapters set up all over the country from its base in Milwaukee, Wisconsin. In contrast, Blake's Six Strings for Soldiers program is much smaller and locally focused, with more of an emphasis on the music-therapy side than on the guitar-centric aspects.
"With an instructor, the primary concern is about instrumental skills, like teaching someone how to play chords, rhythms, or notes," she says. "I'm more concerned about how playing guitar is helping them with their coping skills and stress."
Blake says one of the most rewarding parts of working with Six Strings for Soldiers is that patients use what they've learned when they return home. If they start to get anxious, they pick up the guitar and it calms them. She also finds that even small improvements in learning the instrument quickly reward patients with increased self-esteem.
"Within four weeks it's possible to teach somebody how to play some I-IV-V chord songs," says Blake. "And to accomplish that is very exciting! Guitar is, of course, very complicated to play wellāas any instrument isābut for a beginner it's very accessible. It can be particularly effective with isolation issues. It's empowering for socially isolated and fearful PTSD patients when they walk around with a guitar, because it's like walking a dog. People say, 'That's a nice dog' or 'What kind of dog is that?' Similarly, they say, 'You play guitar?' The patient may then say, 'Well, I'm learning,' and it encourages a conversation."
When they leave our facility, we don't just give them a certificate and coin and tell them not to drink, and to go to meetings." āPaul Pellinger
Meanwhile, Pellinger from Recovery Unpluggedāwhich has centers in Austin, Texas, and Fort Lauderdaleāhas yet another perspective. As the center's name implies, acoustic guitar figures prominently in its treatments. Three or four guitarists work full-time with the program. One of the musicians on staff is Richie Supa, a songwriter who has worked with Gladys Knight & the Pips, Bon Jovi, and Aerosmithāand who performs acoustic sets of songs about addiction and recovery for Recovery Unplugged patients.
But Recovery Unplugged clients don't just consume music, they can also make it. The centers offer musical workshops where Supa and other staff members help interested patients learn to create songs or take their guitar playing to the next level. Recovery Unplugged even found a way for clients to take their musical experiences home after completing treatment by providing a recording studio where patients can create soundtracks of their stay. The soundtracks can be any combination of prerecorded songs they've chosen, performances they've witnessed, or tunes they've performed or written.
"When they leave our facility, we don't just give them a certificate and coin and tell them not to drink, and to go to meetings," Pellinger says. "We give them earbuds and an MP3 player. Music is used as a catalyst for recovery, whether to help them be grateful, call their sponsor, or remember the consequences of using. For instance, Richie Supa wrote a song called 'I Got This.' That's one of the things addicts say when someone asks for their car keys because they are in no shape to driveā'Go away, I got this.' The song was on the soundtrack of a client who graduated from our treatment center. He was on his way to use drugs instead of going to a meeting. He was thinking, 'I got this,' when the song reminded him he didn't have 'this' and should go to a meeting."
Of course, Recovery Unplugged isn't the only music-therapy center that celebrates the unique attributes of flattops. SMU's Krout finds that acoustic guitar can work especially well with certain patients because of the physical vibrations they feel through the back of the instrument.
"With an electric guitar, the sounds are coming out of a speaker across the room," he explains. "Sitting across from a person with an acoustic guitar, it is the vibrations that actually connect us in that moment and create the shared therapeutic space."
Despite that advantage, Krout often uses electric guitars as well. "I worked with Fender for a number of years to bring the electric guitar into music therapy," he says. "We were trying to introduce music therapists to more contemporary sounds by using electric guitar."
Even so, not everyone relates to guitarāacoustic or electric. Krout says the instrument's popularity has fallen off a bit with younger patients in recent years, as it has become less the currency of popular musicāespecially in the inner city, where rap and hip-hop are often the music of choice.
"With teens, often I will work from an iPad using GarageBand. I use loops with hip-hop, electro, and techno types of sounds," Krout explains. "But many times they want to be doing something active, and even if they hadn't [previously] thought about being a guitarist, if I've got a guitar and they see me playing along with a GarageBand track, it might be attractive to them. I'm working with a young man now from India who is into Bollywood movies and soundtracks. We're working on guitar with very simple chords in the context of a huge Bollywood arrangement. It may just be guitar chords, but it feels like Bollywood to him."
Get Involved
For guitarists wanting to explore career alternatives that involve music and guitar, music therapy is a path worth considering. Therapists must meet educational and clinical training requirements set up by the American Music Therapy Association (AMTA). Graduates must take and pass a comprehensive exam administered by the Certification Board for Music Therapists in order to become certified music therapists (MT-BC), which qualifies them to work as a member of treatment teams in schools, hospitals, or nursing homes.
"You don't have to be a doctor or go to medical school, though you will learn about some medical conditions in a music-therapy program," says Blake, who achieved certification in the aforementioned manner. "It's music training combined with psychology." She adds that, just as medical doctors often specialize in certain areas, music therapists can, too. "I work at a VA hospital with veterans. Other therapists work with the elderly, kids with autism, pain management, people who are developmentally disabled, and so on. Depending on what you choose as a specialty, you may need advanced training to be able to work with that population."
According to the AMTA, music therapists must have a bachelor's degree or higher in music therapy from one of AMTA's 72 approved colleges and universities. They must also complete 1,200 hours of clinical training. Some states also require a license for board-certified music therapists.
Premier Guitar readers know the big and small ways in which playing guitar and listening to music can be therapeutic. The admirable work of music-therapy practitioners like Krout, Blake, and Pellinger is but a small sample of how the instrument we love is helping countless others.
[Updated 11/12/21]
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Stevie Van Zandt with āNumber One,ā the ā80s reissue Stratocasterāwith custom paisley pickguard from luthier Dave Petilloāthat heās been playing for the last quarter century or so.
With the E Street Band, heās served as musical consigliere to Bruce Springsteen for most of his musical life. And although he stands next to the Boss onstage, guitar in hand, heās remained mostly quiet about his work as a playerāuntil now.
Iām stuck in Stevie Van Zandtās elevator, and the New York City Fire Department has been summoned. Itās early March, and I am trapped on the top floor of a six-story office building in Greenwich Village. On the other side of this intransigent door is Van Zandtās recording studio, his guitars, amps, and other instruments, his Wicked Cool Records offices, and his man cave. The latter is filled with so much day-glo baby boomer memorabilia that itās like being dropped into a Milton Glaser-themed fantasy landāa bright, candy-colored chandelier swings into the room from the skylight.
Thereās a life-size cameo of a go-go dancer in banana yellow; sheās frozen in mid hip shimmy. One wall displays rock posters and B-movie key art, anchored by a 3D rendering of Creamās Disraeli Gearsalbum cover that swishes and undulates as you walk past it. Van Zandtās shelves are stuffed with countless DVDs, from Louis Prima to the J. Geils Band performing on the German TV concert seriesRockpalast. There are three copies ofIggy and the Stooges: Live in Detroit. Videos of the great ā60s-music TV showcases, from Hullabaloo to Dean Martinās The Hollywood Palace, sit here. Hundreds of books about rock ānā roll, from Greil Marcusās entire output to Nicholas Schaffnerās seminal tome, The Beatles Forever, form a library in the next room.
But I havenāt seen this yet because the elevator is dead, and I am in it. Our trap is tiny, about 5' by 5'. A dolly filled with television production equipment is beside me. Thereās a production assistant whom Iāve never met until this morning and another person whoās brand new to me, too, Geoff Sanoff. It turns out that heās Van Zandtās engineerāthe guy who runs this studio. And as Iāll discover shortly, heās also one of the several sentinels who watch over Stevie Van Zandtās guitars.
Thereās nothing to do now but wait for the NYFD, so Sanoff and I get acquainted. We discover weāre both from D.C. and know some of the same people in Washingtonās music scene. We talk about gear. We talk about this television project. Iām here today assisting an old pal, director Erik Nelson, best known for producing Werner Herzogās most popular documentaries, like Grizzly Man and Cave of Forgotten Dreams. Van Zandt has agreed to participate in a television pilot about the British Invasion. After about half an hour, the elevator doors suddenly slide open, and weāre rescued, standing face-to-face with three New York City firefighters.
As our camera team sets up the gear, Sanoff beckons me to a closet off the studioās control room. I get the sense I am about to get a consolation prize for standing trapped in an elevator for the last 30 minutes. He pulls a guitar case off the shelfāitās stenciled in paint with the words āLittle Stevenā on its topāsnaps open the latches, and instantly I am face to face with Van Zandtās well-worn 1957 Stratocaster. Sanoff hands it to me, and Iām suddenly holding what may as well be the thunderbolt of Zeus for an E Street Band fan. My jaw drops when he lets me plug it in so he can get some levels on his board, and the clean, snappy quack of the nearly 70-year-old pickups fills the studio. For decades, Springsteen nuts have enjoyed a legendary 1978 filmed performance of āRosalitaā from Phoenix, Arizona, that now lives on YouTube. This is the Stratocaster Van Zandt had slung over his shoulder that night. Itās the same guitar he wields in the famous No Nukes concert film shot at Madison Square Garden a year later, in 1979. My mind races. The British Invasion is all well and essential. But now Iām thinking about Van Zandtās relationship with his guitars.
Stevie Van Zandt's Gear
Van Zandtās guitar concierge Andy Babiuk helped him plunge deeper down the Rickenbacker rabbit hole. Currently, Van Zandt has six Rickenbackers backstage: two 6-strings and four 12-strings.
Guitars
- 1957 Fender Stratocaster (studio only)
- ā80s Fender ā57 Stratocaster reissue āNumber Oneā
- Gretsch Tennessean
- 1955 GibsonĀ Les Paul Custom āBlack Beautyā (studio only)
- Rickenbacker Fab Gear 2024 Limited Edition ā60s Style 360 Model (candy apple green)
- Rickenbacker Fab Gear 2023 Limited Edition ā60s Style 360 Model (snowglo)
- Rickenbacker 2018 Limited Edition ā60s Style 360 Fab Gear (jetglo)
- Two Rickenbacker 1993Plus 12-strings (candy apple purple and SVZ blue)
- Rickenbacker 360/12C63 12-string (fireglo)
- Vox Teardrop (owned by Andy Babiuk)
Amps
- Two Vox AC30s
- Two Vox 2x12 cabinets
Effects
- Boss Space Echo
- Boss Tremolo
- Boss Rotary Ensemble
- Durham Electronics Sex Drive
- Durham Electronics Mucho Busto
- Durham Electronics Zia Drive
- Electro-Harmonix Satisfaction
- Ibanez Tube Screamer
- Voodoo Labs Ground Control Pro switcher
Strings and Picks
- DāAddario (.095ā.44)
- DāAndrea Heavy
Van Zandt has reached a stage of reflection in his career. Besides the Grammy-nominated HBO film, Stevie Van Zandt: Disciple, which came out in 2024, he recently wrote and published his autobiography, Unrequited Infatuations (2021), a rollicking read in which he pulls no punches and makes clear he still strives to do meaningful things in music and life.
His laurels would weigh him down if they were actually wrapped around his neck. In the E Street Band, Van Zandt has participated in arguably the most incredible live group in rock ānā roll history. And donāt forget Southside Johnny and the Asbury Jukes or Little Steven and the Disciples of Soul. He created both the Underground Garage and Outlaw Country radio channels on Sirius/XM. He started a music curriculum program called TeachRock that provides no-cost resources and other programs to schools across the country. Then thereās the politics. Via his 1985 record, Sun City, Van Zandt is credited with blasting many of the load-bearing bricks that brought the walls of South African apartheid tumbling into dust. He also acted in arguably the greatest television drama in American history, with his turn as Silvio Dante in The Sopranos.
Puzzlingly, Van Zandtās autobiography lacks any detail on his relationship with the electric guitar. And Sanoff warns me that Van Zandt is ānot a gearhead.ā Instead he has an organization in place to keep his guitar life spinning like plates on the end of pointed sticks. Besides Sanoff, there are three others: Ben Newberry has been Van Zandtās guitar tech since the beginning of 1982. Andy Babiuk, owner of Rochester, New York, guitar shop Fab Gear and author of essential collector reference books Beatles Gear and Rolling Stones Gear (the latter co-authored by Greg Prevost) functions as Van Zandtās guitar concierge. Lastly, luthier Dave Petillo, based in Asbury Park, New Jersey, oversees all the maintenance and customization on Van Zandtās axes.
āI took one lesson, and they start to teach you the notes. I donāt care about the notes.ā āStevie Van Zandt
I crawl onto Zoom with Van Zandt for a marathon session and come away from our 90 minutes with the sense that he is a man of dichotomies. Sure, heās a guitar slinger, but he considers his biggest strengths to be as an arranger, producer, and songwriter. āI donāt feel that being a guitar player is my identity,ā he tells me. āFor 40 years, ever since I made my first solo record, I just have not felt that I express myself as a guitar player. I still enjoy it when I do it; Iām not ambivalent. When I play a solo, I am in all the way, and I play a solo like I would like to hear if I were in the audience. But the guitar part is really part of the songās arrangement. And a great solo is a composed solo. Great solos are ones you can sing, like Jimi Hendrixās solo in āAll Along the Watchtower.āā
In his autobiography, Van Zandt mentions that his first guitar was an acoustic belonging to his grandfather. āI took one lesson, and they start to teach you the notes. I donāt care about the notes,ā Van Zandt tells me. āThe teacher said I had natural ability. Iām thinking, if I got natural ability, then what the fuck do I need you for? So I never went back. After that, I got my first electric, an Epiphone. It was about slowing down the records to figure out with my ear what they were doing. It was seeing live bands and standing in front of that guitar player and watching what they were doing. It was praying when a band went on TV that the cameraman would occasionally go to the right place and show what the guitar player was doing instead of putting the camera on the lead singer all the time. And Iām sure it was the same for everybody. There was no concept of rock ānā roll lessons. School of Rock wouldnāt exist for another 30 years. So, you had to go to school yourself.ā
By the end of the 1960s, Van Zandt tells me he had made a conscious decision about what kind of player he wanted to be. āI realized that I really wasnāt that interested in becoming a virtuoso guitar player, per se. I was more interested in making sure I could play the guitar solo that would complement the song. I got more into the songs than the nature of musicianship.ā
After the Beatles and the Stones broke the British Invasion wide open, bands like Cream and the Yardbirds most influenced him. āGeorge Harrison would have that perfect 22-second guitar solo,ā Van Zandt remembers. āKeith Richards. Dave Davies. Then, the harder stuff started coming. Jeff Beck in the Yardbirds. Eric Clapton with things like āWhite Room.ā But the songs stayed in a pop configuration, three minutes each or so. Youād have this cool guitar-based song with a 15-second, really amazing Jeff Beck solo in it. Thatās what I liked. Later, the jam bands came, but I was not into that. My attention deficit disorder was not working for the longer solos,ā he jokes. Watch a YouTube video of any recent E Street Band performance where Van Zandt solos, and the punch and impact of his approach and attack are apparent. At Nationals Park in Washington, D.C., last year, his solo on āRosalitaā was 13 powerful seconds.
Van Zandt and Bruce Springsteenās relationship goes back to their earliest days on the Jersey shore. āEverybody had a different guitar; your guitar was your identity,ā recalls Van Zandt. āAt some point, a couple of years later, I remember Bruce calling me and asking me for my permission to switch to Telecaster. At that point, I was ready to switch to Stratocaster.ā
Photo by Pamela Springsteen
Van Zandt left his Epiphone behind for his first Fender. āI started to notice that the guitar superstars at the time were playing Telecasters. Mike Bloomfield. Jeff Beck. Even Eric Clapton played one for a while,ā he tells me. āI went down to Jackās Music Shop in Red Bank, New Jersey, because he had the first Telecaster in our area and couldnāt sell it; it was just sitting there. I bought it for 90 bucks.ā
In those days, and around those parts, players only had one guitar. Van Zandt recalls, āEverybody had a different guitar; your guitar was your identity. At some point, a couple of years later, I remember Bruce calling me and asking me for my permission to switch to Telecaster. At that point, I was ready to switch to Stratocaster, because Jimi Hendrix had come in and Jeff Beck had switched to a Strat. They all kind of went from Telecaster to Les Pauls. And then some of them went on to the Stratocaster. For me, the Les Paul was just too out of reach. It was too expensive, and it was just too heavy. So I said, Iām going to switch to a Stratocaster. It felt a little bit more versatile.ā
Van Zandt still employs Stratocasters, and besides the 1957 I strummed, he was seen with several throughout the ā80s and ā90s. But for the last 20 or 25 years, Van Zandt has mainly wielded a black Fender ā57 Strat reissue from the ā80s with a maple fretboard and a gray pearloid pickguard. He still uses that Stratādubbed āNumber Oneāābut the pickguard has been switched to one sporting a purple paisley pattern that was custom-made by Dave Petillo.
Petillo comes from New Jersey luthier royalty and followed in the footsteps of his late father, Phil Petillo. At a young age, the elder Petillo became an apprentice to legendary New York builder John DāAngelico. Later, he sold Bruce Springsteen the iconic Fender Esquire thatās seen on the Born to Run album cover and maintained and modified that guitar and all of Bruceās other axes until he passed away in 2010. Phil worked out of a studio in the basement of their home, not far from Asbury Park. Artists dropped in, and Petillo has childhood memories of playing pick-up basketball games in his backyard with members of the E Street Band. (He also recalls showing his Lincoln Logs to Johnny Cash and once mistaking Jerry Garcia for Santa Claus.)
āI was more interested in making sure I could play the guitar solo that would complement the song. I got more into the songs than the nature of musicianship.ā āStevie Van Zandt
āIāve known Stevie Van Zandt my whole life,ā says Petillo. āMy dad used to work on his 1957 Strat. That guitar today has updated tuners, a bone nut, new string trees, and a refret that was done by Dad long ago. I think one volume pot may have been changed. But it still has the original pickups.ā Petillo is responsible for a lot of the aesthetic flair seen on Van Zandtās instruments. He continues, āStevie is so much fun to work with. I love incorporating colors into things, and Stevie gets that. When you talk to a traditional Telecaster or Strat player, and you say, āI want to do a tulip paisley pickguard in neon blue-green,ā theyāre like, āHoly cow, thatās too much!ā But for Stevie, itās just natural. So I always text him with pickguard designs, asking him, āWhich one do you like?ā And he calls me a wild man; he says, āI donāt have that many Strats to put them on!ā But Iāll go to Ben Newberry and say, āBen, I made these pickguards; letās get them on the guitar. And Iāll go backstage, and weāll put them on. I just love that relationship; Stevie is down for it.ā
Petillo takes care of the electronics on Van Zandtās guitars. Almost all of the Strats are modified with an internal Alembic Stratoblaster preamp circuit, which Van Zandt can physically toggle on and off using a switch housed just above the input jack. Van Zandt tells me, āThat came because I got annoyed with the whole pedal thing. Iām a performer onstage, and Iām integrated with the audience and I like the freedom to move. And if Iām across the stage and all of a sudden Bruce nods to me to take a solo, or thereās a bit in the song that requires a little bit of distortion, itās just easier to have that; sometimes, Iāll need that extra little boost for a part Iām throwing in, and itās convenient.ā
In recent times, Van Zandt has branched out from the Stratocaster, which has a lot to do with Andy Babiuk's influence. The two met 20 years ago, and Babiukās band, the Chesterfield Kings, is on Van Zandtās Wicked Cool Records. āHeād call me up and ask me things like, āWhatās Brian Jones using on this song?āā explains Babiuk. āWhen Iād ask him why, heād tell me, āBecause I want to have that guitar.ā Itās a common thing for me to get calls and texts from him like that. And thereās something many people overlook that Stevie doesnāt advertise: Heās a ripping guitar player. People think of him as playing chords and singing backup for Bruce, but the guy rips. And not just on guitar, on multiple instruments.ā
Van Zandt tells me he wanted to bring more 12-string to the E Street Band this tour, ājust to kind of differentiate the tone.ā He explains, āNils is doing his thing, and Bruce is doing his thing, and I wanted to do more 12-string.ā He laughs, āI went full Paul Kantner!ā Babiuk helped Van Zandt plunge deeper down the Rickenbacker rabbit hole. Currently, Van Zandt has six Rickenbackers backstage: two 6-strings and four 12-strings. Each 12-string has a modified nut made by Petillo from ancient woolly mammoth tusk, and the D, A, and low E strings are inverted with their octave.
Van Zandt explains this to me: āI find that the strings ring better when the high ones are on top. Iām not sure if thatās how Roger McGuinn did it, but it works for me. Iām also playing a wider neck.ā
Babiuk tells me about a unique Rick in Van Zandtās rack of axes: āI know the guys at Rickenbacker well, and they did a run of 30 basses in candy apple purple for my shop. I showed one to Stevie, and purple is his color; he loves it. He asked me to get him a 12-string in the same color, and I told him, āThey donāt do one-offs; they donāt have a custom shop,ā but itās hard to say no to the guy! So I called Rickenbacker and talked them into it. I explained, āHeāll play it a lot on this upcoming tour.ā They made him a beautiful one with his OM logo.ā
The purple one-off is a 1993Plus model and sports a 1 3/4" wide neckā1/8" wider than a normal Rickenbacker. Van Zandt loved it so much that he had Babiuk wrestle with Rickenbacker again to build another one in baby blue. Petillo has since outfitted them with paisley-festooned custom pickguards. When guitar tech Newberry shows me these unique axes backstage, I can see the input jack on the purple guitar is labeled with serial number 01001.āSome of my drive is based on gratitude,ā says Van Zandt, āfeeling like we are the luckiest guys in the luckiest generation ever.ā
Photo by Rob DeMartin
Van Zandt also currently plays a white Vox Teardrop. That guitar is a prototype owned by Babiuk. āStevie wanted a Teardrop,ā Babiuk tells me, ābut I explained that the vintage ones are hit and missāthe ones made in the U.K. were often better than the ones manufactured in Italy. Korg now owns Vox, and I have a new Teardrop prototype from them in my personal collection. When I showed it to him, he loved it and asked me to get him one. I had to tell him, āI canāt; itās a prototype, thereās only one,ā and he asked me to sell him mine,ā he chuckles. āI told him, āItās my fucking personal guitar, itās not for sale!ā So I ended up lending it to him for this tour, and I told him, āRemember, this is my guitar; donāt get too happy with it, okay?ā
āHe asked me why that particular guitar sounds and feels so good. Besides being a prototype built by only one guy, the single-coil pickupsā output is abnormally hot, and the neck feels like a nice ā60s Fender neck. Stevieās obviously a dear friend of mine, and he can hold onto it for as long as he wants. Iām glad itās getting played. It was just hanging in my office.ā
Van Zandt tells me how Babiukās Vox Teardrop sums up everything he wants from his tone, and says, āItās got a wonderfully clean, powerful sound. Like Brian Jones got on āThe Last Time.ā Thatās my whole thing; thatās the trickātrying to get the power without too much distortion. Bruce and Nils get plenty of distortion; I am trying to be the clean rhythm guitar all the time.ā
If Van Zandt has a consigliere like Tony Soprano had Silvio Dante, thatās Newberry. Newberry has techād nearly every gig with Van Zandt since 1982. āBruce shows move fast,ā he tells me. āSo when thereās a guitar change for Stevie, and there are many of them, Iām at the top of the stairs, and we switch quickly. Thereās maybe one or two seconds, and if he needs to tell me something, I hear it. Heās Bruceās musical director, so he may say something like, āRemind me tomorrow to go over the background vocals on āGhosts,āā or something like that. And I take notes during the show.ā
āEverybody had a different guitar; your guitar was your identity. At some point, a couple of years later, I remember Bruce calling me and asking me for my permission to switch to a Telecaster.ā āStevie Van Zandt
When I ask Newberry how he defines Van Zandtās relationship to the guitar, he doesnāt hesitate, snapping back, āItās all in his head. His playing is encyclopedic, whether itās Bruce or anything else. He may show up at soundcheck and start playing the Byrds, but itās not āTambourine Man,ā itās something obscure like āBells of Rhymney.ā People may not get it, but Iāve known him long enough to know whatās happening. Heās got everything already under his fingers. Everything.ā
As such, Van Zandt says he never practices. āThe only time I touch a guitar between tours is if Iām writing something or maybe arranging backing vocal harmonies on a production,ā he tells me.
Before we say goodbye, I tell Van Zandt about my time stuck in his elevator, and his broad grin signals that I may not be the only one to have suffered that particular purgatory. When I ask him about the 1957 Stratocaster I got to play upon my release, he recalls: āBruce Springsteen gave me that guitar. Iāve only ever had one guitar stolen in my life, and it was in the very early days of my joining the E Street Band. I only joined temporarily for what I thought would be about seven gigs, and in those two weeks or so, my Stratocaster was stolen. It was a 1957 or 1958. Bruce felt bad about that and replaced that lost guitar with this one. So Iāve had it a long, long time. Once that first one was stolen, I decided I would resist having a personal relationship with any one guitar. But that one being a gift from Bruce makes it special. I will never take it back on the road.ā
After 50 years of rock ānā roll, if there is one word to sum up Stevie Van Zandt, it may be ārestlessāāan adjective you sense from reading his autobiography. He gets serious and tells me, āIām always trying to catch up. The beginning of accomplishing something came quite late to me. I feel like I havenāt done nearly enough. What are we on this planet trying to do?ā he asks rhetorically. āWeāre trying to realize our potential and maybe leave this place one percent better for the next guy. And some of my drive is based on gratitude, feeling like we are the luckiest guys in the luckiest generation ever. Thatās what Iām doing: I want to give something back. I feel an obligation.ā
YouTube It
āRosalitaā is a perennial E Street Band showstopper. Hereās a close-up video from Philadelphiaās Citizens Bank Park last summer. Van Zandtās brief but commanding guitar spotlight shines just past the 4:30 mark.
Follow along as we build a one-of-a-kind Strat featuring top-notch components, modern upgrades, and classic vibes. Plus, see how a vintage neck stacks up against a modern one in our tone test. Watch the demo and enter for your chance to win this custom guitar!
With over 350 effects models, 120 sampling slots, and a Groove Station with a 480-second looper, this pedal offers unparalleled versatility for guitarists worldwide.
In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOERās advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precisionāspecifically, for distortion pedals, preamps, amplifier heads, and cabinets.
With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.
Itās unforgettable how much MOOERās multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000ās previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.
Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devicesā previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.
Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper featuresāincluding 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.
Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touchscreen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.
In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.
As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo ¼ā inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLRmicrophone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.
Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOERās editing software, as well as the USB-based MIDI control.
The GS1000 will be available in two versionsāthe standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.
Overall, for fans of MOOERās previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with therelease, keeping things fresh for the companyās dedicated user base.
- MNRS 2.0 sampling technology for emulating distortion pedals, preamps, amplifier heads, and cabinets
- Over 350 original factory effects models
- 120 sampling slots with upload/download support via the MOOER Cloud app
- Supports third-party cabinet IR files up to 2048 sample points
- Integrated Groove Station with a drum machine and 480-second looper, featuring infinite overdubs and synchronization capabilities
- 54 high-quality drum kits
- 4 metronome tones
- Tap-tempo control for timing effects
- Advanced AI-driven EQ Master for intelligent tone adjustment based on music styles, with manual customization options
- Built-in high-precision digital tuner
- Quick-access dual-chain effects architecture for seamless creative workflows
- 5-inch high-resolution touchscreen with ambient lighting for enhanced usability
- Four multi-purpose footswitches
- Configurable serial/parallel TRS stereo effects loop for external effects integration
- 6.35mm instrument input and XLR microphone input for expanded connectivity
- Balanced TRS stereo outputs for long-distance signal transmission without quality loss
- Bluetooth audio input functionality for accompaniment playback
- Low-latency ASIO 2-in/2-out USB sound card supporting up to 192kHz sampling rate
- MIDI controller compatibility for managing presets and features
- USB-C port for preset management, USB audio, and USB MIDI functionality
- Supports MOOER F4 wireless footswitch for extended control
- Also available as the GS1000 Li, which features a built-in 7.4V 4750mAh lithium battery, offering up to 6 hours of continuous playtime, chargeable through the power port
The GS1000 will be available from the official distributors and retailers worldwide on January 16th, 2025.
For more information, please visit mooeraudio.com.
Hand-crafted in Petaluma, California, this amp features upgrades while maintaining the original's legendary tone.
The Mesa/Boogie Dual Rectifier Solo Headās arrival in 1992 was a watershed moment for alternative rock and metal that changed everything; heavy music would never sound the same again, and the Dual Rectifierās crushing, harmonically rich tone became the most sought-after guitar sound of the era. With a feel as empowering as its sound, the Rectifiers provided an ease of playing that supported and elevated proficiency and was inspirational, rewarding, and addictive.
Its sound and impact on the generation that used it to define what rock music would become were as sweeping as they have been lasting. And it remains arguably the most modeled in todayās digital amp landscape. Now, the 90s Dual Rectifier is back with a vengeance, built in Petaluma, California, by the same artisans who made the originals the most desirable high-gain guitar amplifier of all time.
For more information, please visit mesaboogie.com.