What was your go-to album during quarantine?
JD Simo - Guest Picker
A: There were a lot of records spinning, haha! After doing 200 or so dates a year since 2016, it was a blast for me to get to indulge in my relatively large collection in a deep way. I'm an obsessive vinyl guy. There are two that rose above the rest for me, though. Fela Kuti's Open & Close was a constant. It's one of his earliest albums. After the death of his legendary drummer Tony Allen at the beginning of the pandemic, I did an Afrobeat deep dive that I've been meaning to do for years. I have almost everything he ever recorded now, but this record is just dope!
Fela Kuti - Open and Close (LP)
Secondly, Junior Kimbrough's Most Things Haven't Worked Out. Junior has bit me hard. I mean, it was always there to some extent, but his music has just grabbed me in a way that few others have in my whole life. This record is probably his most fucked up, but it's my favorite. It's not for the faint of heart. I love it so much! That raw, primal trance. I wanna live in this record!
Junior Kimbrough - Most Things Haven't Worked Out (Full Album)
Current obsession: The two styles of these records I mentioned have really opened up a path musically forward for me. Hill country trance blues over Afrobeat type grooves. I made a new record during lockdown that'll come out later this year, and that's the basis for it. To me, it's like they were meant to go together and it just happened naturally. Hillfro we call it, haha! Feels right to me.
Kelly Blanchard - Reader of the Month
Kelly Blanchard
A: Emma Ruth Rundle's Marked for Death and On Dark Horses. She's an artist I discovered on a Rig Rundown!
Emma Ruth Rundle // On Dark Horses (FULL ALBUM)
Built To Spill - Carry The Zero (Live in Sydney) | Moshcam
Current obsession: Having fun learning the Built to Spill song "Carry the Zero," mainly because my friend and collaborator Jim Roth (aka Jerms Fuzz) used to be in Built to Spill and showed me the basic chord progression. Jim has produced the last couple of releases for my band Blue Star Creeper and we're finally practicing again and getting ready to play shows here in Seattle and the Northwest. I guess that would be my other current obsession: Getting used to playing as a band again!
Ted Drozdowski - Senior Editor
Ted Drozdowski
Photo by Peter Lee
A: David Gilmour's Live at Pompeii album and concert film really helped me remain nailed together. The astonishingly high level of musical and visual performance kept the intention toward creativity in my mind. The empathy of Gilmour's and Waters' lyrics helped my heart. And the guitar tones speak about a thousand things too complex to put in words every time Gilmour bends or hangs a note. There's an understanding within it all that reminded me of my humanity and brought light.
David Gilmour - Shine On You Crazy Diamond (Live At Pompeii)
Current Obsession: Lately, I've been returning to my foundation in the rural hill country and Delta blues of Mississippi, and it's been incredibly rewarding emotionally and in crystallizing my idiosyncratic technique. R.L. Burnside lives, and always will!
Nick Millevoi - Associate Editor
Nick Millevoi
A: Sometime last year, a friend sent me a link to a recording of Kostas Bezos and the White Birds, a 1930s Hawaiian-inspired band from Athens, Greece. I fell in love with the songs and the playing on this record, which have a pretty esoteric combination of influences. While I've gone down a deep rabbit hole in search of similar music, I'm yet to find anything that comes close.
Kostas Bezos and the White Birds - Λαίντυ Γιουκούλελε Lady Ukulele
Current Obsession: I've been going through Todd Rundgren's catalog with as much of a completist approach as I can. It's a wild and weird journey that is full of so many special treasures.
Rig Rundown - Todd Rundgren
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“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
