On the heels of a whirlwind debut that included a Grammy-award nomination for his first-ever single, #1 debuts on multiple charts, television performances, and sold out shows over a two-year span, Mammoth WVH is back with its sophomore album Mammoth II. The 10-track record will be available worldwide on August 4th via the band’s new label, BMG. Recorded at the legendary 5150 studio, the album was produced by friend and collaborator Michael “Elvis” Baskette. Mammoth II is available for pre-order in multiple configurations here: https://MammothWVH.lnk.to/MammothIIPR.
Continuing the tradition of writing all of the songs and performing all of the instrumentation and vocals himself, Wolfgang Van Halen set out to challenge himself to expand his sound beyond what people had already come to know him for. From the rocking opener “Right?” to Beatles-esque fade on closer “Better Than You” Mammoth II showcases the growth of Wolfgang as a songwriter, musician and especially vocalist. Songs like “Like A Pastime,” “Take A Bow” and “Waiting” are all sonically different from each other but unique to what mastermind Wolfgang Van Halen and Mammoth WVH is. The debut single from Mammoth II is the upbeat rocker “Another Celebration At The End Of The World.” The single is currently impacting radio and the music video for “Another Celebration At The End Of The World” is an 8:25 introduction to the Mammoth WVH live band. Picking up where the #1 single “Don’t Back Down” music video left off, the new video showcases a frustrated Wolfgang firing the other Wolfgang’s from that video and replacing them with his now notorious live band featuring Frank Sidoris (guitars), Jon Jourdan (guitars), Ronnie Ficarro (Bass) and Garrett Whitlock (drums).
Mammoth WVH - Another Celebration at the End of the World (Official Music Video)
“I knew that I wanted the new album to contain elements of what people heard on the debut, but also giving me a chance to branch out a bit. ‘Another Celebration At The End Of the World’ is definitely a song that showcases what people can expect from the new album. It is a high-energy rocker with some fun guitar moments on it. I also pushed myself vocally and it is a song I can’t wait to get out and play live. I can see it being a fixture in our live set moving forward,” explains Wolfgang Van Halen
Track Listing
1. Right?
2. Like A Pastime
3. Another Celebration At The End Of The World
4. Miles Above Me
5. Take A Bow
6. Optimist
7. I’m Alright
8. Erase Me
9. Waiting
10. Better Than You
Photo by Travis
Mammoth WVH is planning to tour around the globe in support of Mammoth II. The live band – comprised of Wolfgang Van Halen, Frank Sidoris, Jon Jourdan, Ronnie Ficarro and Garrett Whitlock - is currently on the second leg of the US tour supporting Alter Bridge before moving to another massive tour playing alongside Metallica. Mammoth WVH will also be making various festival appearances around the globe as well as headline stops going in to 2024. More dates will be announced in the near future tickets for all Mammoth WVH appearances can be found here: https://www.mammothwvh.com.
Tour Dates 2023
Mar 23 – Seattle, WA – Paramount Theatre *
Mar 25 – Airway Heights, WA - Northern Quest Resort & Casino *
Mar 26 – Airway Heights, WA - Northern Quest Resort & Casino *
Mar 28 – Anaheim, CA – House Of Blues *
Mar 29 – Tempe, AZ – Marquee Theatre *
Mar 31 – Reno, NV – Silver Legacy Resort Casino *
Apr 1 – Highland, CA – Yaamava Theater *
Apr 27 – Amsterdam, NL – Johan Cruijff ArenA #
May 19 – Paris, FR – Stade de France #
May 26 – Hamburg, DE – Volksparkstadion #
May 29 – Berlin, DE – Hole44
May 30 – Frankfurt, DE – Das Bett
Jun 1 – Köln, DE – Gebäude 9
Jun 3 – Tilburg, NL - Poppodium 013 *
Jun 6 – Edinburgh, UK – O2 Academy Edinburgh *
Jun 8 – Castle Donington, Derby, UK – Download Festival
Jun 10 – Sölvesborg, SE – Sweden Rock Festival
Jun 13 – Stockholm, SE – Gröna Lund *
Jun 15 – Dessel, BE – Graspop Metal Meeting
Jun 16 – Göteborg, SE – Ullevi #
Jun 17 – Copenhagen, DK – Copenhell Festival 2023
Jun 20 – Ludwigsburg, DE – Mhp Arena
Tour Dates 2024
May 24 - München, DE - Olympiastadion München #
Jun 7 – Helsinki, FI – Helsinki Olympic Stadium #
Jun 14 - Copenhagen, DK – Telia Parken #
Jul 5 - Warszawa, PL - PGE Narodowy #
Jul 12 – Madrid, ES - Cívitas Metropolitano #
Aug 2 – Foxborough, MA – Gillette Stadium #
Aug 9 – Chicago, IL – Soldier Field #
Aug 16 – Minneapolis, MN – US Bank Stadium #
Aug 23 – Edmonton, CA- Commonwealth Stadium #
Aug 30 – Seattle, WA – Lumen Field Event Center #
Sep 20 – Mexico – Foro Sol #
Sep 27 – Mexico – Foro Sol #
# Supporting Metallica
Connect with Mammoth WVH at:
Website: www.mammothwvh.com
Facebook: https://www.facebook.com/MammothWV
Instagram: https://www.instagram.com/mammothwvh
Twitter: https://twitter.com/MammothWVH
YouTube: https://www.youtube.com/@MammothWVH
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Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.