The older I get, the more I realize that experiencing the guitar at an early age should be an opportunity that everyone shares. I believe that if every person in

The older I get, the more I realize that experiencing the guitar at an early age should be an opportunity that everyone shares. I believe that if every person in this world enjoyed the guitar like we do, the world as we know it would be a much different place. I can remember the experience of trying to form my first band and my first experience interacting with other players. I can also recall sneaking over to the local bad boy’s house – the kid that the whole town referred to simply as “long hair” – to drink Mountain Dew, smoke cigarettes and play guitar! That intrinsically satisfying, youthful excitement generated when learning a new lick, conquering a new scale or simply copping that first groove with a band has become a lifelong addiction.

I can still vividly recall performing at my first junior high talent show and blowing up the school’s Shure Vocal Master PA during my Kiss tribute band’s performance; playing my first club at age 17 and literally having to leave right after the basketball game to get to the club in enough time for the sound check; my very first week-long tour opening for Head East; and recording my first original song and meeting my wife of 22 years while she was working as a waitress at a club where I played near Creighton University. Hang on, there is a moral to this story.

These days, as I settle into a gigging life comprised primarily of acoustic shows, I still feel the youthful excitement of that very first junior high talent show – perhaps illustrating that as we get older we tend to judge time by counting the memories, not by counting the years. I will never play Carnegie Hall or have a private dressing room at Wembley Stadium, but in my twisted mind I am a star, simply because I had the power to dream it, the courage to live it, and now, I have the responsibility to pass it on. I am sure many of you feel the same. Pass it on – give an eight-year-old kid an impromptu guitar lesson at the local music store or coordinate a local fund raising event to purchase guitars for schools. Play a benefit gig for a local retirement home, donate an hour set to the American Cancer Society or play Christmas carols at your local hospital and feel the power of music lift a spirit.

Look at it as another way to “do it yourself,” as this issue of Premier Guitar is proud to celebrate with our inspirational articles of personal tone and chops enrichment – never forget to include yourself as a shareable resource.

If you can dream it, you can live it. Life is short, play more guitar.

Nuff sed.
Trent Salter

This 1964 Vibrolux Reverb arrived in all-original condition, right down to a two-prong power cord and a death cap wired to the ground switch. The author’s well-worn Strat is the perfect companion.

How our columnist’s risky purchase turned out to be a dusty pre-CBS jewel.

This month, I’d like to share the story of my 1964 Fender Vibrolux Reverb. It was a really risky purchase that had some big surprises.

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Fat tones from a sweet niche where Les Paul, Gretsch, and Telecaster share the limelight.

Copious, unexpected tones. Cool, useful bass contour control. Very nice build quality. Excellent value.



Reverend Flatroc Bigsby


If you only pay casual attention to Reverend guitars, it’s easy to overlook how different their instruments can be. Some of that may be due to the way Reverends look. There are longstanding styling themes and strong family likenesses among models that can make differentiation a challenge for uninitiated guitar spotters. For instance, the Flatroc reviewed here has more or less the same body as the Charger, Buckshot, and Double Agent OG (which has an entirely different body than the more Jazzmaster-like Double Agent W). If you don’t have an experienced Reverend enthusiast at your side, it can all be a bit mind bending.

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