BOOKS: Led Zeppelin: Good Times Bad Times: A Visual Biography of the Ultimate Band & The Les Paul Guitar Book DVDs: Secret Policeman’s Balls: The Secret Policeman Rocks!, Guitar Setup and Maintenance & More Guitar Setup and Basic Modifications
Led Zeppelin: Good Times Bad Times: A Visual Biography of the Ultimate Band
No communication breakdown here, this is a must have for any Zeppelin fan. Led Zeppelin: Good Times Bad Times: A Visual Biography of the Ultimate Band is a collection of more than 250 photographs taken by over 10 of rock’s greatest photographers during Zeppelin’s time.
The photographers–Robert Knight, Herb Green, James Fortune, David LeVine, etc.– capture frame after memorable frame beginning in 1968 when the New Yardbirds first took the stage on their Scandinavian tour to the final live song played by the mighty Zeppelin (“Whole Lotta Love”) on July 7, 1980, in Berlin. Within those 12 years, they document plenty of Zeppelin firsts and lasts, including Page’s first use of a Les Paul ‘burst in concert; the first televised performance (British TV’s Supershow) of Page using a violin bow on “Dazed and Confused;” the last time Page would use his Bigsby-equipped Les Paul Black Beauty (the guitar was lost en route to Canada after a Miami, Fla., show in 1970); or Zeppelin last performance in the States (July 24, 1977, in Oakland, CA).
Along the way, the book also catches the world’s biggest hard rock band dealing with the ups and downs of their success, offering up charmingly optimistic shots of Zeppelin embracing its ascent with all the eagerness and excitement of a seemingly unknown future. On the flip side, the book is also laced with photos depicting a fatigued and downtrodden band contemplating and withdrawing from the monster it had created—further proof that the band’s determination and mentality to conquer rock and roll was all but lost by the mid to late ’70s.
However, to lay the overwhelming success and shelf-life of this book merely on the stunningly captivating photos would be a disservice to co-authors Jerry Prochnicky and Ralph Hulett. What makes this photo-driven compilation such a hit are the well-investigated and thorough captions that accompanies every shot. Whether you’re looking for the band’s gear info, significance of particular shows and festivals or personal commentary and reaction from the photographers, Jerry and Ralph include it with every charismatic photo.
If you’re an old Zep fanatic or someone just entering their world of mysticism and hard rock, there’s no reason to pass on this book for your Zeppelin paraphernalia. —CK
List $35
abramsbooks.com
The Les Paul Guitar Book
When a young entrepreneur from Waukesha, Wis., took a fence post and mounted a magnetic coil to it, then inserted the contraption into an Epiphone hollowbody, the prototype “Log” was born. Unbeknownst to the world at the time, Les Paul had created something completely original and long-lasting—something that has and will continue to inspire legions of guitarists every day.
Tony Bacon, the author of 50 Years of Fender, Electric Guitars—The Illustrated Encyclopedia and The Ultimate Guitar Book, doesn’t stray too far from his proven formula in this new book. Like many of his previous titles, The Les Paul Guitar Book features plenty of colorful, historic pictures and insightful “techy-spechy” text and captions, both factors that have made Tony Bacon’s books an instant hit with gearheads.
The book works chronologically through the Les Paul’s bright and loud history. Starting with the early prototype stages and working through the guitar’s early workings, the book gets heavy when it dives into the specific types and runs of the LP, especially those most mentioned in rock history lore. It covers the ‘Bursts, the Goldtops, the mystical ’59, along with some of the less famous LPs like the Professional, Personal and Recording models. Bacon even goes the extra mile by including specific modifications and alterations made or requested by famous players on their specific models. The additional information is contained within each section or chapter dedicated to a particular model or decade.
In addition to an updated compilation of pictures, stats and artist info regarding LPs, the third edition of The Les Paul Guitar Book features a brand-new full reference section with detailed information on variations and signature editions, available finishes, detailed chronology from the early ’50s through the present, with dating and serial number info. Most of us won’t ever rock out on a ’59 Standard, but with the help of Tony Bacon, we can regurgitate oodles of facts about the legend himself, and his legendary line of guitars. —CK
List $24.99
backbeatbooks.com
Videos
Secret Policeman’s Balls: The Secret Policeman Rocks!
Long before Live Aid and Comic Relief there were the Secret Policeman’s Balls, the benefit shows that featured England’s biggest comedic and musical stars performing for the British Section of Amnesty International in London. Secret Policeman’s Balls: The Secret Policeman Rocks! exposes the Balls’ best and rarest first-ever jams and song renditions from a list of who’s who in British rock.
The set kicks off with Sting performing “Roxanne” with just his black Stratocaster. At first it’s a little jarring seeing and hearing him without Stewart Copeland and Adam Summers, or his own backing band, but Sting’s vocals and soft guitar carry the song beautifully sans his missing bandmates. In addition to Sting’s stripped down performance, there’s also Pete Townshend (“Pinball Wizard” and “Won’t Get Fooled Again”) and Phil Collins (“In The Air Tonight”) presenting some of their classic songs with a minimalistic approach and excellent results.
Where things get real interesting and noteworthy is when some of the best guitar duos imaginable take to the stage. First there’s legendary Yardbirds’ guitarists Eric Clapton and Jeff Beck, who jam on “Further On Up The Road” and “’Cause We’ve Ended As Lovers.” Secret Policeman’s co-creator/producer Martin Lewis mentions in the DVD’s archival footage and interviews section that these two tracks are possibly the first ever with Clapton and Beck onstage together. During both songs, the guitar legends take turns trying to out-solo each other, which might lead you to ask, “Who wins?” The viewers, of course! There’s also the unlikely combination of Mark Knopfler and Chet Atkins, who perform an acoustic rendition of John Lennon’s classic “Imagine.” Throughout the jam, both Knopfler and Atkins nod and push each other to outdo each player’s previous lick—like only guitar masters can.
The DVD appropriately wraps up with a performance of “I Shall Be Released,” featuring several of the aforementioned performers and a whole host of others all onstage. The song is capped by Clapton proving once again why he’s earned the moniker, “Slow Hand.” If the celebration of Amnesty International and human rights isn’t enough, the slew of performances by rock legends in unfamiliar settings should push you over the edge to check this collection out. —CK
List $14.99
shoutfactory.com
Guitar Setup and Maintenance– Featuring Denny Rauen
More Guitar Setup and Basic Modifications– Featuring Denny Rauen
It’s that time of year again… New Year’s resolution time. Whether it’s practicing on a regular basis or going Bob Vila on your gear, guitarists can’t escape the wave of optimism that every January brings. Thankfully, master luthier Denny Rauen can help you get 2010 off to a great start by assisting you with the latter self-promise.
Rauen has worked as a luthier for nearly 40 years, including time as production manager and designer for S.D. Curlee and Dean Guitars before opening his own restoration and repair shop in Milwaukee. He’s setup and modified guitars for a slew of top musicians, including Keith Richards, Buddy Guy, Leo Kottke, Roger Glover, among many more. Needless to say, you your axe is in good hands with Rauen’s guidance.
Guitar Setup and Maintenance covers the absolute basic processes any guitarist should know to set up their guitar. Rauen walks through the setup for a typical acoustic, electric, archtop, slide and even the tricky Floyd Rose-equipped guitar. Each chapter (broken down by aforementioned guitar styles) includes installing strings, adjusting the bridge and truss rod, changing the action and lowering the nut height. For the electric models he demonstrates adjusting the pickup height. In addition, Rauen offers plenty of his own, personal tips; like how to quickly set the intonation of the string by using a pair of needle-nose pliers to pry an intonation screw up against the corresponding fine tuner, then using an Allen wrench to loosen the saddle block to pull the string and adjust the saddle block as warranted without messing with the locking nut. The overall feel and demeanor of this DVD is quite simplistic for most gearheads, but nonetheless packed with essential how-to information in an easy-to-digest presentation that any guitarist could use as a primer.
The corresponding DVD, More Guitar Setup and Basic Modifications takes things from the fundamental level to the land of tweakin’ and moddin’. On this disc, Rauen walks through things like installing a pickup and adding a miniswitch (for series, parallel and coil-tap), shielding a single coil hum, wiring a 4-way switch (series) and treble bypass for volume control on a Tele-style guitar. He also examines various ways to set the intonation on acoustics, archtops, electrics and Floyd Rose-loaded guitars. Where this DVD is worth its weight in gold, however, is in the “Tech Secrets” chapter. Here, Rauen gives us plenty of classified info on ways to get through a gig, or survive, until you can fork out the cash for a better solution to various guitarrelated dilemmas. For example, if you notice one of your strings is too low coming through the nut slot, Rauen guides you in using baking soda and super glue to fill in that string slot so that your string sits a bit higher. If your strings are getting snug or stuck on the nut slots, Rauen shows you how to take some Teflon tape and put it across all six nut slots to fix the problem without altering string intonation. Whatever your guitar quandary, you should find some pretty nifty solutions on this DVD.
So whether you’re looking to start 2010 fresh by learning how to set up and modify your guitars, or if you just need a refresher course in guitar repair basics with some on-the-fly solutions, these two DVDs won’t be the reason you renege on your DIY-resolution. —CK
List $29.99 each
halleonard.com
Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.