Bassist Julie Slick and reader Dan Hanson join PG staff members in sharing about the fresh listening experiences they’d love to revisit.
What band or artist do you wish you could hear again for the first time?
Julie Slick
A: Remarkable sensory experiences are like time travel, and for that reason I hold a very special place in my heart for Massive Attack’s Heligoland. I first heard its single “Paradise Circus” at Andrea Pellegrini’s mastering studio outside of Florence, Italy, during my first year as a nomad. I fell in love instantly.
Current obsession: Emma Ruth Rundle. I met her during one of those nomad years on an excursion to L.A. We became friends before I’d even listened to her music, which is probably a good thing because I totally would have fan-girled out over her incredible art, which is inspiring, impassioned, and pure.
Photo by Allan Wan
Luke Ottenhof - Assistant Editor
A: Frightened Rabbit blew the doors off of indie rock for me. Their most popular work is folksy, anthemic indie rock, but the imagination in composition, and especially in Grant Hutchison’s percussion and timing, really made me reconsider what a great song could consist of, and how far outside the lines you could color while still producing a sing-along, dance-along alternative-rock record. I’d love to experience that realization of possibility again.
Current obsession: I’ve been learning about the labor organizing efforts of music workers through the past century, in particular the massive AFM strikes of the 1940s, when musicians fought back against labels hoarding the profits from the latest technology: recordings. The more things change, the more they stay the same.
Connor Wade - Digital Experience Manager
A: I wish I could experience Annie DiRusso’s music again for the first time. After a chance introduction scrolling TikTok, her grungy indie-pop tracks have consumed my life. Songs like “Don’t Swerve” helped me through the pandemic, and I’m excited to see what this Nashville-based songwriter does next.
Current obsession: I’ve been digging up some of my favorite songs from Arctic Monkeys after hearing about a friend’s recent experience seeing them live. This obsession is very nostalgia-fueled, as their first full-length came out during my high school years, but it’s been inspiring to realize how much they unconsciously influenced my playing.
Dan Hanson - Reader of the Month
A: Mountain. Leslie West’s guitar sound reverberates with me to this day! A Les Paul Jr. with a P-90 pickup through a Sunn PA amplifier! His fat tone, sustain, and vibrato were shockingly perfect! His delicate volume-swell ‘violin’ sections in his solo “Dream Sequence” were indeed dreamlike!
Photo by Frank Schwichtenberg
Current obsession: The 1962 duet album Undercurrent with Jim Hall (guitar) and pianist Bill Evans: I’m not a jazz-musician by any stretch...but their instinctive, intricate musical conversations gently force you to just listen and absorb the beauty of the music and not think about how they’re doing it.
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Vernon Reid's signature Reverend is equipped with Korina, ebony, Railhammer Pickups, and Floyd Rose for punchy tones.
From the vivid imagination of Vernon Reid comes the Totem Series of Reverend Vernon Reid guitars. A sleek body features graphics inspired by Carl Jung's Collective Unconscious Theory, Joseph Campbell's The Hero's Journey, and artists Jean-Michel Basquiat and Romare Beardon. West African Adinkra symbols adorn the pickups and headstock, while American Hobo symbols grace the fretboard. Africana and Americana symbolism meld with profound graphics, conjuring vivid images that speak to humankind's perilous, yet necessary journeys in three different graphic designs: The Talisman, The Mystery Tramp, and The Shaman.
While visually stunning, these instruments are also refined tools of the trade. The recipe of Korina, ebony, and Railhammer Pickups, coupled with the sheer metallic mass of the Floyd Rose, serves up a tone best described as punchy. Harmonics pop, single notes sing, and chords ring with tasty overtones - delivering that knockout punch whether you're playing clean funk or heavy rock. The Reverend Vernon Reid Signature Totem Series guitars are genuinely collectible art pieces that sound and play as amazing as they look.
The Reverend Vernon Reid Signature Totem Series Guitars are now available through any Reverend Authorized Dealer.
For more information, please visit reverendguitars.com.
Ex-B-52s member, composer, and NYC music scene veteran Pat Irwin loves pairing EHX pedals with keyboards—and recollecting good times with his late guitar virtuoso friend.
I’ve got a thing for Electro-Harmonix effects boxes. I’ve got a Crying Tone Wah that’s the coolest, a 16 Second Digital Delay, and a Deluxe Memory Man. All have made their way onto my ambient country band SUSS’s new record, Birds & Beasts. And currently a Big Muff, two Freeze Sound Retainers, and a Mel9 Tape Replay Machine are on my pedalboard. Here’s the thing: I like using them on keyboards.
I remember spending one cold winter night recording keyboards for a track called “Home” that made it onto Promise, the third SUSS album. I was playing a Roland Juno-106 through the Deluxe Memory Man while my bandmate Bob Holmes manipulated the delay and feedback on the pedal in real time. The effect was otherworldly. You can also hear the Crying Tone on SUSS’s “No Man’s Land” and “Train,” on Bandcamp. Sure, the guitars sound great, but those keyboards wouldn’t sound the same without the extra touch of the Crying Tone. I also used it on the B-52s’ “Hallucinating Pluto,” and it went out on the road with us for a while.
One of the first musicians I met when I moved to New York City in the late ’70s was the late, great Robert Quine. Quine and I would talk for hours about guitars, guitarists, and effects. I bought my first Stratocaster from Quine, because he didn’t like the way it looked. I played it on every recording I’ve made since the first Lydia Lunch record, 1980’s Queen Of Siam, and on every show with 8 Eyed Spy, the Raybeats, the B-52s, and my current bands PI Power Trio and SUSS. It was Quine who taught me the power of a good effects pedal and I’ll never forget the sessions for Queen of Siamwith the big band. Quine played everything through his Deluxe Memory Man straight into the recording console, all in one take except for a few touch ups here and there.
Quine and I used to go to Electro-Harmonix on 23rd Street and play through the boxes on display, and they let us pick out what we wanted. It’s where we first saw the 16 Second Digital Delay. That was a life-changer. You could make loops on the fly and reverse them with the flick of a switch. This thing was magical, back then.
“Quine played everything through his Deluxe Memory Man straight into the recording console, all in one take except for a few touch ups."
When I recorded a piece I composed for the choreographer Stephen Petronio and performed it at the Dance Theatre Workshop in Manhattan, I put everything through that 16 Second Digital Delay, including my clarinet. Later, when I recorded the theme for the cartoon Rocko’s Modern Life, I played all of the keyboards through the Deluxe Memory Man. Just when things would get a little too clean, I’d add a little more of the Memory Man.
I’m pretty sure that the first time I saw Devo, Mark Mothersbaugh had some Electro-Harmonix effects boxes taped to his guitar. And I can’t even think of U2 without hearing the Edge and his Deluxe Memory Man. Or seeing Nels Cline for the first time, blowing a hole in the universe with a 16 Second Digital Delay. Bill Frisell had one, too. I remember going into the old Knitting Factory on Houston Street and passing Elliott Sharp. He had just played and I was going in to play. We were both carrying our 16 Second Delays.
Who knows, maybe someone from another generation will make the next “Satisfaction” or “Third Stone from the Sun,” inspired to change the sound of a guitar, keyboard, or even a voice beyond recognition with pedals. If you check out Birds & Beasts, you’ll hear my old—and new—boxes all over it. I know that I won’t ever make a SUSS record or play a SUSS show without them.
Things change, rents go up, records are being made on computers, and who knows how you get your music anymore? But for me, one thing stays the same: the joy of taking a sound and pushing it to a new place, and hearing it go somewhere you could never have imagined without effects pedals.
The legendary Elvis sideman was a pioneer of rockabilly guitar, and his approach to merging blues and country influenced generations of guitar pickers. Here’s how he did it.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Craft simple blues-based phrases that lie within the CAGED system.
• Understand how double-stops are used in rockabilly music.
• Improve your Travis picking.
Click here to download a printable PDF of this lesson's notation.
In 2016 we lost one of the most influential guitarists and unsung heroes the world has ever known. The driving force behind Elvis Presley’s first recordings, Winfield Scott “Scotty” Moore III helped shape the sound of rock ’n’ roll and inspire generations of fans. Born in 1931, Scotty caught his big break in 1954 when he was called to do a session with Elvis at Sam Phillip’s Sun Studio in Memphis. History was made that day when Elvis recorded “That’s All Right,” and for about four years, Scotty provided 6-string magic for such Elvis hits as “Heartbreak Hotel,” “Hound Dog,” and “Jailhouse Rock.”
A huge Chet Atkins fan, Scotty grew up listening to country and jazz. This blend would have a dramatic impact on his sound, as he would mix Travis picking with some ear-twisting note choices based on chords, rather than using an obvious scalar approach.
I used a thumbpick on the examples in this lesson to sound as authentic as possible. Using a thumbpick on some notes makes them stand out in comparison to those plucked with the remaining fingertips. Ex. 1 is a classic Scotty-type rhythm riff in E that uses some Travis picking. Play the notes on the 6th and 4th strings with your thumb, and use your index and middle fingers for the double-stops on the 3rd and 2nd strings. This is illustrated in the notation: Attack all the up-stemmed notes with your fingers and down-stemmed notes with your thumb.
Click here for Ex. 1
The next example (Ex. 2) reveals one of the more common elements of Scotty’s lead work: double-stops. It makes sense when you consider that Scotty often performed with just a bass player and drummer, so when it came time to play a solo, he needed to create a strong sense of harmony. The first three phrases begin in the “E” shape of the CAGED system before moving down to the “A” shape and returning to the “E” shape. Those last two measures sit squarely in the “E” shape at the 12th position.
Click here for Ex. 2
Ex. 3 returns to Scotty’s Travis-picking influence by outlining an A chord before leading the idea in a new direction with double-stops. The example begins in the “C” shape and resolves in the “E” shape, though this wouldn’t have meant anything to the legendary guitarist. However, his reliance on moving the five basic chord shapes around the neck is undeniable.
In this version of “Hound Dog”—a song originally recorded by Big Mama Thornton—Moore takes a bluesy solo starting at :45.
Click here for Ex. 3
The blues was an essential part of Scotty’s style, and Ex. 4 shows something he might play over the first eight measures of a blues in E. To use the moves in any given key, it’s important to understand how intervals work within a chord. For example, over the E7, I’m approaching the root and 3 (G#) with a half-step slide. With that information, you’re able to transpose this musical shape all over the neck. Approach each double-stop with this method, and you’ll get a lot of mileage out of this rather simple lick.
Click here for Ex. 4
Ex. 5 shows some of Scotty’s single-note ideas, though the phrase still begins with a double-stop on the top two strings to grab the listener’s attention. Measures three and four use a strange collection of notes. Scotty isn’t thinking of a scale here. The phrase begins with a bluesy flourish and a melodic descent to the root. When he gets there, he moves down a half-step to the 7 (an unusual note to play on a dominant chord, but if it sounds good, it is good), and then up again to resolve to the A chord.
Click here for Ex. 5
Scotty was also a big fan of using three-note grips. In Ex. 6, you can see how these ear-grabbing sounds would work over our blues progression. It begins with an E triad in the “D” shape. It’s genuinely amazing how many great chordal licks Scotty could come up with by using just a few chord forms.
Click here for Ex. 6
Ex. 7 is a little trickier, but a great example of how to move from an A chord to an E chord using some double-stops and single notes along with position shifts and sixths. This is very much a country phrase and evidence of the genre’s importance to the rockabilly sound.
Click here for Ex. 7
The final example (Ex. 8) is a longer, 20-measure piece outlining a full progression with Scotty's superb Travis-picking ideas. While this isn’t a column specifically on Travis picking with a collection of exercises to develop that skill, here are a couple of simple tips that should help you navigate this music.
First, focus only on the bass notes. The thumb needs to be automatic. Strive to put no thought into playing the bass part. This takes time but eventually you’ll be free to concentrate on the melody. The last part to absorb is the excellent ending chord. It’s a maj6/9 with the root on top—very common in the rockabilly style.
Click here for Ex. 8
From here it’s easy to hear Scotty’s immense influence on guitardom. It would be well worth your time to go down a rabbit hole of YouTube vids from the CAAS (Chet Atkins Appreciation Society) conference. Nearly every player from that scene owes a debt to Mr. Moore.
A reimagined classic S-style guitar with Fishman Greg Koch Signature pickups and a Wilkinson VS100N tremolo.
Designed to resonate with both tone and soul, this guitar boasts a slightly larger profile with a raised center section, offering superior dynamics and feel. A chamber beneath the pickguard enhances punch, while hum-free Fishman Greg Koch Signature Gristle-Tone pickups and a Wilkinson VS100N tremolo complete the package.
This marks the third signature model from Reverend Guitars for blues virtuoso Greg Koch, joining the revered Gristlemaster and Gristle-90. Each of these guitars, equipped with Fishman’s Greg Koch Signature pickups, embodies the relentless pursuit of tone, delivering inspiration to players who seek to push their own musical boundaries.
The Gristle ST has everything I need to engage in fiendish musical deeds. It has the classic sounds with a second voice to the pickups that adds more girthsome tones, a tremolo system that can take a licking and stay in tune, it’s a gorgeous looking and playing instrument that is just a little bit larger as to not look like a mandolin when played by a larger soul such as myself…I can dig it all! – Greg Koch
The Reverend Greg Koch Gristle ST is now available through any Reverend Authorized Dealer.
For more information, please visit reverendguitars.com.