
New Epiphone inspired by Gibson Custom Collection features eight new guitar models with Gibson USA pickups, high quality electronics, rosewood fretboards, world-renowned Gibson open-book headstocks, one-piece necks, new vintage gloss finishes, and premium design builds.
For over 150 years, Epiphone has been a leading innovator in instrument design. By leveraging its iconic past and leaning into the future, Epiphone has set the stage for the next era of sound for present and future generations. Epiphoneās game-changing Inspired by Gibson Custom Collection, developed in close collaboration with the skilled luthiers at Gibson Custom Shop in Nashville, Tennessee, continues to expand, establishing a new tier of premium Epiphones for every stage. Featuring Gibson USA pickups and premium electronics, world-renowned Gibson āopen bookā headstocks, solid wood construction, and one-piece necks, Epiphoneās Inspired by Gibson Custom Collection brings Gibson Custom designs to the masses, adding to Epiphoneās full array of instruments for all player levels. Epiphone's Inspired by Gibson Custom Collection is now available worldwide at Authorized Epiphone dealers, the Gibson Garage in Nashville and London, and on www.epiphone.com.
The game-changing Epiphone Inspired by Gibson Custom Collection collaboration with the artisans at Gibson Custom is expanding with eight new models that feature Vintage Gloss finishes that give them a more vintage-correct appearance without looking overly aged. These guitars look as if they had been purchased new and then spent years sitting in a case that was safely stored away, just waiting for you to discover them. All of the models in the Epiphone Inspired by Gibson Custom Collection now feature rosewood fretboards for even greater authenticity and historical accuracy and USA-built pickups from the Gibson Pickup Shop in Nashville, Tennessee. These are the same high-quality, great-sounding pickups in the USA-built Gibson and Gibson Custom models. All of the models feature vintage-appropriate headstock shapes, from the authentic Reverse Firebird⢠headstock on the 1963 Firebird V Reissue With Maestro⢠Vibrola⢠and the 1963 Firebird I Reissue to the āopen bookā Gibson-style headstocks on the other models, they give these guitars an undeniably authentic appearance.
āAs Epiphone celebrates over 150 years of guitar craftsmanship, each iconic guitar is a tribute to Epiphone's rich history and dedication to quality,ā says Aljon Go, Epiphone Product Manager, Nashville, Tennessee. āOur āInspired by Gibsonā collection is all about bringing high-quality guitars based on classic Gibson designs, but at a price that won't break the bank. For those looking for something truly special, our newest āInspired by Gibson Customā range offers premium models crafted in collaboration with the Gibson Custom Shop. These guitars are part of our ongoing mission to make the exceptional craftsmanship and elevated appointments of the Custom Shop more accessible to players and fans everywhere.ā
Explore the full Inspired by Gibson Custom lineup of premium Epiphone models for players of every level HERE.
1962 ES-335 Reissue:
A 1962 vintage-style ES-335 Reissue Inspired by Gibson Custom
The Gibson ES-335⢠is one of the greatest guitar designs of all time. It is renowned for its exceptional versatility and has been used by countless players in a wide range of genres. Combining the best elements of solidbody and thinline hollowbody designs, itās a highly resonant guitar that resists feedback much better than a full hollowbody due to its interior solid maple center block. Now, Epiphone, in cooperation with Gibson Custom, is proud to introduce the 1962 ES-335 Reissue, a guitar that was very much inspired by Gibson Customās ES-335 offerings but purposefully based on a model year that Gibson Custom does not currently reissue ā 1962, a year when popular features like rounded cutaways, small block inlays, and a fast-playing, slim neck profile were all present on the Gibson ES-335.
The Epiphone1962 ES-335 Reissue has a semi-hollow 5-ply layered maple/poplar body with rounded cutaways and a solid maple center block for outstanding sustain and feedback resistance. The genuine one-piece mahogany neck has a thin 1960s SlimTaper⢠C profile and is capped with a rosewood fretboard that is outfitted with 22 medium jumbo frets and mother-of-pearl small block inlays. The fretboard features rounded edges to give it a comfortable, played-in feel that invites you to explore it for hours at a time. Even the side dot position markers are the same size as on vintage 1962 ES-335 models and are placed in historically accurate locations. The Gibson-style āopen bookā headstock features the Epiphone logo and Gibson Crown inlaid in aged mother-of-pearl and is fitted with smooth-turning Epiphone Deluxe tuning machines with Double Ring Keystone-style buttons and a Graph TechĀ® nut. An ABR-1 Tune-O-Matic⢠bridge and Gibson historic reissue aluminum Stop Bar tailpiece anchor the strings at the other end directly into the solid maple center block and further contribute to the 1962 ES-335ās excellent sustain. For electronics, a pair of USA-made Gibson Custom bucker humbucker⢠pickups are hand-wired to CTSĀ® potentiometers and Black Beauty paper-in-oil capacitors and deliver authentic ES-335 tonal versatility, making the 1962 ES-335 Reissue a great choice for rock, blues, jazz, country, and more. The Sixties Cherry and Vintage Burst finishes have a vintage gloss that gives them a cool vintage vibe. A vintage-style Black hardshell case with a plush Goldenrod interior and Inspired by Gibson Custom exterior graphics is also included to help keep this beautiful 1962 ES-335 Reissue safe during storage and travel.
Epiphone 1962 ES-335 Reissue Semi-hollow Electric Guitar - Vintage Burst
62 ES- 335 Reissue, Vin Burst1960 Les Paul Special Double Cut Reissue:
Special in every way
The Gibson Les Paul⢠Special was first introduced as a single cutaway model in 1955, and with the exception of the sunburst Standards that were produced from 1958-1960, it was the last of the original50s-era Les Paul model variants to be introduced. An enhanced version of the Les Paul Junior with increased sonic flexibility, it featured two P-90 pickups instead of the single P-90 found on the Junior and also added a bit of extra bling in the form of a bound fretboard and a mother-of-pearl headstock logo. In 1958, the body shape was revised from a single cutaway to a double cutaway, which delivered improved fretboard access, and the Special hit its stride in 1960 when a thinner SlimTaper⢠neck profile and a lower neck pickup placement made it more robust and easier to play than ever.
Now, Epiphone, in partnership with Gibson Custom, is proud to introduce the 1960 Les Paul SpecialDouble Cut Reissue, an Inspired by Gibson Custom recreation of the sought-after 1960 Les Paul Specia Double Cut. Like the originals, it features a slab mahogany body with double cutaways that provide excellent access to the entire length of the fretboard. The one-piece mahogany neck has a fast-playing60s SlimTaper profile and is capped with a rosewood fretboard with 22 medium jumbo frets and mother-of-pearl dot position marker inlays. The fretboard has a 12ā radius that makes playing first-position chords and solos with string bends further up the neck equally effortless. The Gibson āopen bookā style headstock is equipped with Epiphone Deluxe three-on-a-plate tuners with white buttons and a GraphTechĀ® nut to help keep the tuning nice and stable, while a historic style Wraparound bridge with intonation screws solidly anchors the strings at the other end and contributes to the excellent sustain that the Les Paul Special is famous for. A pair of USA-made P-90 Soap bar pickups from Gibson Custom that can go from sweet and clean to outright nasty and dirty-sounding are hand-wired to individual volume and tone controls with high-quality CTSĀ® potentiometers and Bumblebee paper-in-oil capacitors for authentic vintage tones that are sure to please even the most tone-conscious players.
The 1960 Les Paul Special Double Cut Reissue comes packaged in a vintage-style case with a brown exterior and pink plush interior that features Inspired by Gibson Custom graphics on the exterior. It all comes together to deliver a vintage playing and ownership experience at an accessible price that is special in every way.
Epiphone 1960 Les Paul Special Double Cut Reissue Electric Guitar - TV Yellow
60 LP Special Double Cut Reissue , TV Ylw1964 SG Standard Reissue With Maestro Vibrola:
An Inspired by Gibson Custom reissue of one of the most beloved vintage SG models
The 1964 SG⢠Standard Reissue With Maestro⢠Vibrola⢠recreates one of the most beloved SG model years of all timeāthe 1964 SG Standard. While the 1964 SG Standard was famously used by such notable players as George Harrison and Eric Clapton, the model year was a standout for the SG in general. By 1964, the less intuitive Sideways Vibrato had been replaced with the dependable Maestro Vibrola, while the neck profile increased in size somewhat from the ultra-thin neck profiles found on some of the earlier SG models, and the SGās balance, playability, and look seemed to come into its own. 1964 was also the first full year that the SG dispensed with the Les Paul moniker it previously used. Now, Epiphone is proud to release the 1964 SG Standard Reissue With Maestro Vibrola, a stunning recreation of that legendary model. Made in collaboration with Gibson⢠Custom, the Epiphone 1964 SG Standard Reissue With Maestro Vibrola is the most authentic recreation of the 1964 SG Standard ever released by Epiphone.
All of the classic appointments the 1964 SG Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper⢠profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and an aged mother-of-pearl Gibson crown headstock inlay on the Gibson-style āopen bookā headstock. The center-seamed, two-piece mahogany body features the comfortable and distinctive bevels that help define a vintage-style SG and make it so comfortable to hold and play. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTSĀ® potentiometers, Black Beauty paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and output jack. The Vintage Gloss finish is nicely complimented by the nickel hardware, including Epiphone Vintage Deluxe āDouble Ringā tuners. A black hardshell case with Inspired by Gibson Custom graphics, gold hardware, and a goldenrod interior is also included.Epiphone 1964 SG Standard Reissue Electric Guitar - Cherry Red
64 SG Std w/Maestro Vibrola Reissue, Chrry Red1963 Firebird V Reissue With Maestro Vibrola:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson⢠Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird V Reissue With Maestro Vibrola ā an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird⢠was Gibsonās first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through- body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper⢠Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. KlusonĀ® planetary geared ābanjoā tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro⢠Vibrola⢠with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker⢠pickups with Alnico 5 magnets, CTSĀ® potentiometers, Mallory⢠capacitors, and a SwitchcraftĀ® 3-way pickup selector toggle switch and 1/4ā output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.Epiphone 1963 Firebird V Electric Guitar - Polaris White
63 Firebird V Maestro Vibrola Reissue, Polaris Wht1959 Les Paul Standard Reissue:
A 1959 vintage-style Les Paul Standard Reissue Inspired by Gibson Custom, now with a rosewood Fretboard
The 1959 Gibson Les Paul⢠Standard is one of the worldās most covetedāand valuableāvintage guitars. It has been embraced by numerous famous players, including Peter Green, Kirk Hammett, and Joe Bonamassa. The 1959 Les Paul Standard is very similar to the 1960 model year that followed it, but with a few differences, most notably, a somewhat beefier 1959 Rounded Medium C neck profile that many players prefer over the thinner SlimTaper⢠profile found on the 1960 Les Paul Standard models. Now, Epiphone is proud to introduce the Epiphone 1959 Les Paul Standard Reissue, a beautiful recreation of those rare 1959 Les Paul Standard models. Made in partnership with Gibson Custom, the Epiphone 1959 Les Paul Standard Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1959 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, an authentic 1959 Rounded Medium C neck profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words āLes Paul Modelā silkscreened in gold on the Gibson-style āopen bookā headstock.
Even the side dot position markers are the same size as on vintage 1959 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are first class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTSĀ® potentiometers, Black Beauty paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and 1/4ā output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe āSingle Ringā Keystone button tuners. A Brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard, but donāt want to sell the house to afford one.
Epiphone 1959 Les Paul Standard Reissue Electric Guitar - Deep Cherry Sunburst
59 LP Std Reissue, Deep Chrry Sunburst1963 Firebird I Reissue:
Made in collaboration with Gibson Custom, now with a rosewood fretboard and a new Vintage Gloss finish
Epiphone and Gibson⢠Custom have once again teamed up to create the updated Inspired by Gibson Custom 1963 Firebird⢠V Reissue With Maestro Vibrola ā an authentic replica of the guitar designed by legendary automotive designer Ray Dietrich. When it was launched in 1963, the Firebird⢠was Gibsonās first neck-through-body guitar, and it went on to be used by players in a wide range of genres, including blues legend Johnny Winter, Keith Richards and Brian Jones of The Rolling Stones, Eric Clapton, and Phil Manzanera of Roxy Music, to name a few.
The updated Epiphone Inspired by Gibson Custom 1963 Firebird V with Maestro Vibrola delivers vintage Firebird specifications at an accessible price. The vintage-inspired features include a 9-ply neck-through-body made of mahogany and walnut with mahogany body wings to either side of the neck. This construction method results in the tuners, pickup, and bridge all being anchored into the same pieces of wood for exceptional resonance, sustain, and tonal transfer between them. The neck features a SlimTaper⢠Rounded C profile with soft fretboard edges for a comfortable, played-in feel. The rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets. Even the side dot position markers are the same size as on vintage Firebirds and placed in historically accurate locations. KlusonĀ® planetary geared ābanjoā tuners anchor the strings at the headstock and further add to the historic Firebird look, while an Epiphone ABR-1 bridge and Maestro⢠Vibrola⢠with an engraved Epiphone logo hold things down at the other end. The electronics are also premium and include Gibson USA Firebird mini humbucker⢠pickups with Alnico 5 magnets, CTSĀ® potentiometers, Mallory⢠capacitors, and a SwitchcraftĀ® 3-way pickup selector toggle switch and 1/4ā output jack, giving this remarkable recreation not only the look but also the sound of a classic Firebird V. An Epiphone Inspired by Gibson Custom hardshell case is also included.1957 Les Paul Goldtop Reissue:
An Inspired by Gibson Custom reissue of the classic humbucker-equipped ā57 Goldtop
1957 was the year that the Les Paulā¢, as most players think of it today, truly came into its own. It was the first full year that it had Patent Applied For humbucker⢠pickups installed. The humbuckers, along with the ABR-1 Tune-O-Matic⢠bridge and Stop Bar tailpiece that first appeared on a Les Paul with the introduction of the Les Paul Custom in late 1953 and on the Goldtop in late 1955, were defining features
that many players still prefer over the earlier models that had a wraparound bridge/tailpiece and P-90pickups and made the Les Paul into a true fire-breathing rock icon. Now, Epiphone, in collaboration with Gibson Custom, is very proud to introduce the 1957 Les Paul Goldtop Reissue, a stunningly authentic Inspired by Gibson Custom reissue of those early humbucker-equipped Les Paul Goldtops that delivers vintage Les Paul looks and performance at an accessible price. It has a genuine mahogany body with a carved, plain maple cap. It is finished in a new Vintage Gloss version of the classic Gold color that gives it a vintage appearance without looking overly aged. The one-piece genuine mahogany neck has a 50s Rounded Medium C profile and a long neck tenon for excellent stability and sustain. The bound rosewood fretboard is adorned with mother-of-pearl trapezoid inlays and equipped with 22 medium jumbo frets, just like the original models from 1957. It has an aged mother-of-pearl Epiphone logo and the words āLes Paul Modelā silkscreened in gold on the Gibson-style āopen bookā headstock. Even the side dot position markers are the same size as on vintage 1957 Les Paul Standard models and are placed in historically accurate locations. The hardware is nickel-plated, including the ABR-1 Tune-O-Matic bridge, historical aluminum Stop Bar Tailpiece, and the Epiphone Deluxe āSingle Ringā Keystone button tuners. The electronics are also first-class, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTSĀ® potentiometers, Bumblebee paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and 1/4ā output jack. A historic-inspired hardshell case with a Brown exterior and pink plush interior and Inspired by Gibson Custom Graphics is also included. The 1957 Les Paul Goldtop Reissue isnāt just a guitar; itās a bridge to a symphony of possibilities, willing and ready to help you make your own mark on music history.
Epiphone 1957 Les Paul Goldtop Reissue Electric Guitar - Goldtop
57 LP Goldtop Reissue, Goldtop1960 Les Paul Standard Reissue:
A 1960 vintage-style Les Paul Reissue Inspired by Gibson Custom, now with a rosewood fretboard and new Vintage Gloss finish
The 1960 Gibson Les Paul⢠Standard is one of the worldās most coveted vintage guitars. It has been embraced by such luminaries as Eric Clapton, Paul McCartney, and Joe Walsh. The 1960 Les Paul Standard is very similar to the famous 1959 model year that preceded it, but with a few changes, most notably, a thinner and faster-playing SlimTaper⢠neck profile that many players prefer over the somewhat beefier 1959 Les Paul Standard neck profile. Now, Epiphone is proud to introduce the Epiphone 1960 Les Paul Standard Reissue, a beautiful recreation of those vintage 1960 Les Paul
Standard models. Made in partnership with Gibson Custom, the Epiphone Les Paul Standard 1960 Reissue delivers vintage Les Paul looks and performance at an accessible price. All of the classic appointments the 1960 Les Paul Standard model is known and loved for are present here, including a one-piece mahogany neck with a long neck tenon for increased stability and sustain, a comfortable, fast-playing SlimTaper⢠profile, and a bound rosewood fretboard. It also features mother-of-pearl trapezoid fretboard inlays, an aged mother-of-pearl Epiphone headstock logo, and the words āLes Paul Modelā silkscreened in gold on the Gibson-style āopen bookā headstock. Even the side dot position markers are the same size as on vintage 1960 Les Paul Standard models and are placed in historically accurate locations. The genuine mahogany body features a carved maple cap that is topped with a beautiful AAA flamed maple veneer. The electronics are equally impressive, with two USA Gibson Custombucker humbucking pickups with Alnico 3 magnets that are hand-wired to CTSĀ® potentiometers, Bumblebee paper-in-oil capacitors, and a SwitchcraftĀ® pickup selector toggle switch and output jack. The Vintage Gloss finish gives the guitar a vintage appearance without looking overly aged and is nicely complimented by the nickel hardware, including the Epiphone Deluxe āDouble Ringā Keystone button tuners. A brown hardshell case with Inspired by Gibson Custom graphics and a pink plush-lined interior is also included. This is the perfect Les Paul for players who love the vintage appeal of the classic 1959 Les Paul Standard but who want a more comfortable neck profile.Epiphone 1960 Les Paul Standard Reissue Electric Guitar - Washed Cherry Sunburst
59 LP Std Reissue, Washed Chrry SunburstThe Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼ā input, XLR and ¼ā outputs, gain and volume controls and extensive equalization. Itās intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But donāt let that hold you back if youāre a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼ā phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry ā important for the instrument most responsible for the bandās groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard FilterāTron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary āsidewindā approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain ā all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and theyāre available directly and exclusively through BelltoneĀ® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Making a quiet, contemplative album allows Isbell to reflect on the material in a new way and to really explore the relationship between his guitar and voice, which heād recently lost and reclaimed.
With his new album, the Americana hero faces the microphone aloneāsave for a 1940 Martin 0-17āand emerges with an album full of nuanced emotional touchstones framed by the gentle side of his virtuosic musicianship.
Imagine, just for a moment, that youāre a successful, internationally recognized singer, songwriter, and guitarist. (Nice dream, right?) Youāve been in the public eye nearly a quarter-century, and for all that time youāve either been a band member or a band leader. Then one day you decide the time is right to step out on your own, for real. You write a bunch of new songs with the express intent of recording them soloāone voice and one acoustic guitar, performed simultaneouslyāand releasing the best of those recordings as your next album. No overdubs. No hiding behind other musicians. No hiding behind technology. For the first time, itās all you and only you.
Would you be excited? Would you be petrified?
This is the challenge that Jason Isbell voluntarily took on for his 10th and latest album, Foxes in the Snow. There were some extenuating circumstances. He was sorting through the aftermath of a very public breakup with his longtime partner in life and music, singer/violinist Amanda Shires, and the new songs reflected that situation, sometimes uncomfortably. Music this personal needed a personal approach. And so, when Isbell entered Electric Lady Studios in New York City for five days of recording last October, none of the members of his regular band the 400 Unit were there. He was accompanied only by co-producer/engineer Gena Johnson, whoās worked with him regularly for the past eight years.
Soundstream
āIt was difficult to pull off,ā Isbell acknowledges via Zoom from his Nashville homebase, ābut it didnāt require me to look for ways to make the record sound weird. And thatās important to me, because what I donāt want to do is write a bunch of songs and then go in the studio and intentionally try to make them sound strange, just so they donāt sound like things Iāve done in the past. It made sense to me to just walk into a studio with a guitar and a notebook and make a record that way. First of all, because I can, and Iām grateful for the fact that I can. And I also thought that it would be really hard. And it was.ā
Although Foxes in the Snow is Jason Isbellās first solo acoustic album, acoustic guitars have long been a part of his onstage 6-string regimen.
Photo by Tim Bugbee/Tinnitus Photography
Making it especially hard was Isbellās insistence on not overdubbing his vocals. āI didnāt want [the album] to sound like anything that could have been replicated or fabricated,ā he explains. āI wanted it to sound like somebody playing a guitar and singing. To me, the only way to do that was just to go in there, sit down, and play it. And itās hardto play the guitar and sing at the same time in the studio. Normally, thatās something you wouldnāt do; youād be in a really controlled environment with mics on the guitar, everything would be isolated, and youād have to play very carefully, not the way you play live. The idea of doing that while singing master vocal takes ⦠well, it was tough, because if you screw up, well, you just screwed up. But the good news is you donāt have to make everybody else start over, and I liked that. I liked the fact that if I messed up, I could just stop and immediately try another take.ā
āI brought an old D-18 into the studio, like a ā36 or ā37, and it sounded beautiful, but it didnāt sit in the right spot. It ate up so much space, and it was so big.ā
Being aware of the difficulties and doing it anywayāthat canāt help but be a vote of confidence in oneās own ability as a musician. And it should come as no great surprise that Isbellās confidence was well-founded. Foxes in the Snow shines a bright spotlight on his guitar playing, and the playing proves eminently worthy of such a showcase. From the bluegrass-tinged solo on āBury Meā to the Richard Thompson-esque fingerpicking at the end of āRide to Robertāsā and the bouncy, almost Irish-reel-like hook of āOpen and Close,ā Isbell always gets the job done, coming up with tasty parts and executing them with panache. Itās been easy to forget in recent years amid all the critical accolades and Grammy wins that when Drive-By Truckers brought Isbell into their fold in 2001āhis first major-league gigāthey didnāt do it because of his singing or songwriting, which were still unknown quantities at the time; they did it because of his considerable skills as a guitarist. By putting those skills on display, Foxes in the Snow helps rebalance the Isbell equation.
Isbell says his new album was ādifficult to pull off, but it didnāt require me to look for ways to make the record sound weird.ā
Jason Isbellās Gear
Acoustic Guitars
- 1940 Martin 0-17
- Martin Custom Shop 000-18 1937
- Two Martin OM-28 Modern Deluxes
- Martin D-35
- 1940s Gibson J-45
- Fishman Aura pickup systems
Electric Guitars
Amps
- 1964 Fender Vibroverb
- Dumble Overdrive Special
- Tweed Fender Twin
Strings, Picks, & Capos
- Martin Marquis phosphor bronze acoustic lights (.012ā.054)
- Ernie Ball Regular Slinkys (.010ā.046)
- Dunlop Tortex 1.14 mm picks
- McKinney-Elliott capos
And it does so while employing one guitar and one guitar only: an all-mahogany 1940 Martin 0-17, purchased within the past couple of years at Retrofret Vintage Guitars in Brooklyn. āMy girlfriend [artist Anna Weyant] lives in New York,ā Isbell notes, āand I didnāt want to keep bringing acoustics back and forth. Iāve got a lot of old Martins and Gibsons, and I donāt love to travel with them and subject them to air pressure and humidity changes. So I needed a guitar that could just stay in New York. As far as pre-war Martins go, itās about the least special model that you could possibly find. But it sat perfectly in the mix. I brought an old D-18 into the studio, like a ā36 or ā37, and it sounded beautiful, but it didnāt sit in the right spot. It ate up so much space, and it was so big. The sonic range of that guitar was overpowering for what I was trying to do, and with the little single-0 I could control where it was in relation to my vocal.ā
āThereās Bon Jovi and Bruce Springsteen and Paul McCartney all staring at me, and I knew that I had to sing in front of them with a busted voice.ā
That control was important, because Isbellās voice is spotlighted even more brightly on the new album than his guitar work. If you hear more strength in his singing these days, itās not your imagination; he hired himself a vocal coach last yearāout of necessity. āMy voice failed,ā he says simply. āI didnāt have any nodules or anything, but for some reason, anything above the middle of my range was gone. It was painful and embarrassing. I was doing the MusiCares tribute to Bon Jovi [in February 2024] and my voice was gone and I knew it. I was singing āWanted Dead or Aliveā on stage, and I looked down and thereās Bon Jovi and Bruce Springsteen and Paul McCartney all staring at me, and I knew that I had to sing in front of them with a busted voice.ā He pauses and sighs. The sense of humiliation is palpable.
āYou know, I did it,ā he continues after a few seconds. āI did my best, and it was not good. And then after that I started working with this coach, and it made a huge difference. I figured out that I hadnāt been singing in a way that was anatomically correct. Iād been squeezing and pushing all these notes out, and [the coach] was good enough to manage to keep my vocal quality the same; I didnāt have to change the way I sounded, I just gained a wider range and a lot more stability. Now Iām able to sing more shows in a row without having vocal trouble. Itās been really, really nice.ā He pauses again, this time to laugh. āAnd I made fun of people for so many years for blowing bubbles and, you know, doing all the lip trills and everything backstage ⦠but here I am doing it myself.ā
While recording sans band, Isbell said, āI liked the fact that if I messed up, I could just stop and immediately try another take.ā
Isbellās voice has made gains in both upper and lower range, as the Foxes in the Snow ballad āEileenā demonstrates. In a clever touch, he pairs an unusually deep vocal part with a high, chimey guitar line, produced by placing a capo on the 0-17ās 5th fret. āNow that Iāve learned how to sing after just hollering for my whole career, Iāve got the ability to support a vocal in that low a key,ā he says. āHaving a vocal coach made it possible for me to sing a song like that. And the 5th-fret capo is a little tricky sonically, too. People usually go between two and four [the 2nd and 4th frets]. At least I do. Matter of fact, when I was a kid, my grandfather didnāt like for me to capo up over the third fret. I remember heād tell me that would damage the guitar. Iāve never found a way that it would damage the guitar,ā he adds with a grin. āI think it just irritated him.ā
āMy grandfather didnāt like for me to capo up over the third fret. I remember heād tell me that would damage the guitar.ā
Growing up in northern Alabama in the 1980s, Isbell took to music in large part because of his multi-instrumentalist grandfather. āHe was a Pentecostal preacher, and he played every day. When Iād stay over with him, heād play mandolin or banjo, fiddle sometimes, and I would have to play rhythm guitar. And then my dadās brother, whoās a lot closer to my age, had a rock band. He taught me to play the electric guitar and rock ānā roll songs. I feel like I just got lucky that I loved it so much. Thatās really at the heart of itāthe fact that Iāve never had to sit down and practice because I just think about it all the time.ā
Isbell is typically found onstage with his fleet of electric guitars, including vintage Telecasters, Les Pauls, Stratocasters, and his ā59 Gretsch Jet Firebird with a Bigsby.
Photo by Matt Condon
This is not to say that Isbell doesnāt practice; quite the contrary. Indeed, one of the most moving segments of Sam Jonesā excellent 2023 documentary on Isbell for HBO, Running With Our Eyes Closed, is when he recalls just how crucial practicing became to him as a child. The guitar was a refuge, a way to literally drown out his parentsā vicious arguments in the next room. (Another poignant aspect of Jonesā film, shot mostly in 2019 and 2020, is the delicacy with which it captures the often tenuous state of the Isbell/Shires relationship, prefiguring their breakup.)
When asked what exactly it is about the guitar that makes it so special to him, Isbell doesnāt hesitate. āThe guitar is the best instrument,ā he says. āItās the smallest, most portable instrument that you can make full chords on. You canāt take a piano to a dinner party, you canāt accompany yourself on a clarinet, and you need something thatās big enough to where the volume of it can fill a room. In the days when everyone had acoustic instruments, like in the 1920s, there was nothing else like the guitar that you could carry on your back and travel from place to place and entertain people with."
āI realized pretty early on in the solo experiment that when youāre playing with the band, you donāt have a chance to work with tempo or volume in the same way.ā
With that question answered, all that remains is to inquire, now that Isbellās done the solo acoustic thing onceāboth in the studio for Foxes in the Snow and live for his tour to promote the albumāwhether heād ever consider doing it again. āI donāt see why not,ā he responds. āItās not in any kind of plan right now, but I enjoyed the challenge of it. And I think anything that makes me turn off the āDonāt fuck this upā switch is good for me, because if you sit there and spend the whole time thinking, āDonāt fuck this up,ā youāre not ever gonna get into that zone where youāre communicating with the work, and youāre not ever gonna get to a point where you can deliver it comfortably. This has been a really good opportunity for me to just practice letting all of that go.
āObviously I miss the horsepower of the band,ā he adds. āI miss the people individually, being on stage and communicating musically with them. But I realized pretty early on in the solo experiment that when youāre playing with the band, you donāt have a chance to work with tempo or volume in the same way. Usually youāre just trying to count a song off at the same tempo you recorded it in or the way youāve been playing it lately, but when itās just me, I can intentionally speed up and slow down within a song. And with respect to the volume, I can drop the bottom out soquickly, whereas itās more like steering a ship when Iāve got the whole band up thereāit happens more slowly, no matter how good they are. I would not enjoy this as much if I had to do it all the time,ā he concludes. āBut itās nice to have both sides.āYouTube It
In this version of āRide to Robertās,ā Jason Isbell demonstrates the flexibility of playing solo by picking up the tempo of this song from Foxes in the Snow.
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