To fall in love with a vintage Gretsch, one often needs a strong heart. Say you chance upon a closet find: a '60s Country Gentleman that has been carefully stored for decades. You open the case and what do you see? Often, rotten binding crumbling off the body, and the rot's corrosive fumes have wreaked havoc on the hardware.
This month's featured 6129 Silver Jet does not pose such an issue. The guitar has only had one very active owner. According to Reverb seller Guitars West, based in Southern California, it was that owner's only guitar. He bought it new in 1956, likely for around $255. Then, from rockabilly club nights to bar mitzvahs, it traveled with him to every gig. With scuffs and buckle rash, the guitar has the play wear to prove it, while the binding—having never been enclosed for long—is intact.
From rockabilly gigs to bar mitzvahs, this 1956 Gretsch Sparkle Jet has led a long and active life, which has kept its binding and hardware intact.
One can imagine these DeArmond pickups roaring through a Dual Twin amp and rising above the din of a honky-tonk—that sparkle top gleaming like a misplaced disco ball, its silver sparkle aging to a golden patina. At some point, the guitar lost its pickguard. At another, its neck joint was reset. (Wood glue deterioration is another ailment common to old Gretsches.)
By 1958, those beautiful block inlays would become the more common thumbprint style and the single-coils were swapped for Filter'Trons
But it's easy to see what made that first owner fall so hard, as, pickguard aside, this Jet still has its original parts. Notice the knobs' straight-arrow position indicators, only found on Gretsches from '55 to '57. Its Melita bridge was one of the first to offer individual string-length adjustments. This guitar has the classic Gretsch control set: pickup selector on the upper bout, master volume by the cutaway, master tone in the lowest spot, and neck and bridge pickup volume dials. By 1958, those beautiful block inlays would become the more common thumbprint style and the single-coils were swapped for Filter'Trons. In the early '60s, Gretsch grounded this design by making all Jets double-cutaways.
Among this instrument's signs of age are belt rash and a neck-joint reset, which is common for '50s Gretsches.
A revived Gretsch brand reintroduced the single-cut 6129 in 1989. The late Chris Cornell played a gold sparkle reissue in Soundgarden's "Black Hole Sun" video, sparking a Sparkle Jet renaissance. For 30 years, they've been continuously available in one form or another, including 2021's G6129T-89 Vintage Select Sparkle Jet—an exacting recreation of the now-vintage '89 reissue.
Under those pickups covers are a set of single-coils. Filter'Trons became standard in 1958. The Melita bridge was among the first to offer individual string-length adjustment.
Original '50s Silver Jets in pristine condition are rare—for the reasons mentioned above—but recent examples have sold north of $10,000. This particular Jet, having quite a few miles on it but still plenty of fuel, is currently listed for $6,895.
Sources for this article include Gruhn's Guide to Vintage Guitars by George Gruhn, American Guitars: An Illustrated History by Tom Wheeler, and the Reverb article "What's So Special About the Gretsch Sparkle Jet?" by Ron Denny.
Over the decades with Hüsker Dü, Sugar, and solo, Bob Mould has earned a reputation for visceral performances.
Mould’s album landed in a world of cloistered listeners, so he never knew how it impacted people. For a musician from punk and hardcore scenes, it was a disquieting experience. So when he got back out on the road in 2023 and 2024, playing solo electric sets, the former Hüsker Dü and Sugar frontman was determined to reconnect with his listeners. After each show, he’d hang out at the merch table and talk. Some people wanted their records or shirts signed, some wanted a picture. Others shared dark stories and secret experiences connected to Mould’s work. It humbled and moved him. “I’m grateful for all of it,” he says.
These are the in-person viscera of a group of people connecting on shared interests, versus, says Mould, “‘I gotta clean the house today, so I’m going to put on my clean the house playlist that a computer designed for me.” “Everything has become so digitized,” he laments. “I grew up where music was religion, it was life, it was essential. When people come to shows, and there’s an atmosphere, there’s volume, there’s spilled drinks and sweat–that’s what music ritual is supposed to be.”
His experiences on tour after the pandemic heartened Mould, but they also gave him traction on new ideas and direction for a new record. He returned to the simple, dirty guitar-pop music that spiked his heart rate when he was young: the Ramones’ stupid-simple pop-punk ecstasy, New York Dolls’ sharp-edged playfulness, Pete Townshend’s epic, chest-rattling guitar theatrics. In other words, the sort of snotty, poppy, wide-open rock we heard and loved on Hüsker Dü’s Flip Your Wig and Candy Apple Grey.
Mould’s time on the road playing solo in 2023 sparked the idea for Here We Go Crazy.
Photo by Ryan Bakerink
Mould started writing new songs in the vein of his original childhood heroes, working them into those electric solo sets in 2023 and 2024. Working with those restraints—guitar chords and vocal melodies—put Mould on track to make Here We Go Crazy, his new, 15th solo record.
Lead single and opener “Here We Go Crazy” is a scene-setting piece of fuzzy ’90s alt-rock, bookended by the fierce pounding of “Neanderthal.” “When Your Heart is Broken” is a standout, with its bubblegum chorus melody and rumbling, tense, Who-style holding pattern before one of the album’s only solos. Ditto “Sharp Little Pieces,” with perhaps the record’s chewiest, darkest guitar sounds.
“It’s a very familiar-sounding record,” he continues. “I think when people hear it, they will go, ‘Oh my god, this is so Bob Mould,’ and a lot of that was [influenced by] spending time with the audience again, putting new stuff into the set alongside the songbook material, going out to the table after the show and getting reactions from people. That sort of steered me towards a very simple, energetic, guitar-driven pop record.”
Of his new album, Mould says, “I think when people hear it, they will go, ‘Oh my god, this is so Bob Mould.’”
Mould recorded the LP in Chicago with longtime bandmates Jason Narducy and Jon Wurster at the late, great Steve Albini’s Electrical Audio. Then Mould retreated to San Francisco to finish the record, chipping away at vocals and extra guitar pieces. He mostly resisted the pull of “non-guitar ornamentation”: “It’s a rhythm guitar record with a couple leads and a Minimoog,” he says. “It’s sort of cool to not have a 64-crayon set every time.”
Mould relied on his favorite, now-signature late-’80s Fender Strat Plus, which sat out on a runway at O’Hare in 20-below cold for three hours and needed a few days to get back in fighting shape. In the studio, he ran the Strat into his signature Tym Guitars Sky Patch, a take on the MXR Distortion+, then onto a Radial JD7. The Radial split his signal and sent it to three combo amps: a Fender Hot Rod DeVille, a Fender ’68 Custom Deluxe Reverb reissue, and a Blackstar Artisan 30, each with a mic on it. The result is a brighter record that Mould says leaves more room for the bass and kick drum. “If you listen to this record against Patch the Sky, for instance, it’s night and day,” he says. “It’s snug.”
Mould explains that the record unfolds over three acts. Tracks one through five comprise the first episode, crackling with uncertainty and conflict. The second, spread over songs six to eight, contrasts feelings of openness with tight, claustrophobic tension. Here, there are dead ends, addictions, and frigid realities. But after “Sharp Little Pieces,” the album turns its corner, barreling toward the home stretch in a fury of optimism and determination. “These last three [songs] should give us more hope,” says Mould. “They should talk about unconditional love.”
The record closes on the ballad “Your Side,” which starts gentle and ends in a rush of smashed chords and cymbals, undoubtedly one of the most invigorating segments. “The world is going down in flames, I wanna be by your side/We can find a quiet place, it doesn’t need to be the Albert Hall,” Mould starts. It’s a beautiful portrait of love, aging, and the passage of time.
Bob Mould's Gear
Mould paired his trusty Fender Strat Plus with a trio of smaller combo amps to carve out a more mid-focused rhythm-guitar sound in the studio.
Photo by Mike White
Guitars
- Late 1980s Fender American Standard Strat Plus (multiple)
Amps
- Fender Hot Rod DeVille
- Blackstar Artisan Series amps
- Fender '68 Custom Deluxe Reverb
Effects
- Tym Guitars Sky Patch
- TC Electronic Flashback
- Electro-Harmonix Freeze
- Wampler Ego
- Universal Audio 1176
- Radial JD7
Strings, Picks, & Power Supply
- D'Addario NYXLs (.011-.046)
- Dunlop .46 mm and .60 mm picks
- Voodoo Labs power supply
And though the record ends on this palette of tenderness and connection, the cycle is likely to start all over again. Mould understands this; even though he knows he’s basking in act three at the moment, acts one and two will come along again, and again. Thankfully, he’s figured out how to weather the changes.
“When things are good, enjoy them,” he says. “When things are tough, do the work and get out of it, somehow.”
- YouTube
Many of the tracks on Here We Go Crazy were road-tested by Mould during solo sets. Here, accompanied only by his trusty Fender Strat, he belts “Breathing Room.”
Rhett Schull’s a busy guy. Between being one of the most prolific YouTubers in the guitar sphere, working as a trusted hired gun, and creating his own original music, including last year’s EP The Early Days, he’s an avid cyclist. Just a week before we met up with Rhett at Eastside Bowl in Madison, Tennessee, for this Rig Rundown, he was slated to ride a 100-mile race in Stillwater, Oklahoma. Those plans were dashed when 70-mile-an-hour winds stoked a wildfire near town and burned just over 26,000 acres. But the show must go on: The next night, Schull played a gig in town, a special release for people reeling from a brutal natural disaster.
Schull’s a certified gear aficionado and tone wizard, so PG’s Chris Kies headed to Eastside Bowl to have him walk us through his current live rig. Check out the Rundown here, and stay tuned; Schull’s got more music coming later this year.
Brought to you by D’Addario.
Special Serus
Schull’s wife pointed out this Novo Serus J hanging on the wall of a guitar shop back in 2017, and it was love at first strum. Made from tempered pine and loaded with Amalfitano P-90 pickups, plus sporting an unmissable pink sparkle polyurethane finish, it’s a real looker, and one of Schull’s favorite guitars.
Third Man Thumper
After Schull did a video on the Fender Jack White Pano Verb amplifier, Fender sent him a Jack White Triplecaster Telecaster, part of his signature series of gear with Fender launched last year. Schull calls it one of the most versatile guitars he owns, with each of the three pickup options virtually splitting it into three separate guitars.
Firebird-Watching
This beauty from Gibson’s Custom Shop came to Schull following NAMM in 2020. On tour, he needs something with humbuckers and something with single-coils. Then, he thinks of what’s exciting him. These days, it’s this Firebird V, which doesn’t have a typical Firebird tone, but cuts closer to something like a Telecaster at times.
Rockin' Two With a Two-Rock
Schull runs two amps onstage, but he doesn’t run them in stereo; he believes the stereo image doesn’t translate as well in a live situation where listeners are spread across the speaker system’s field. With this Two-Rock Classic Reverb Signature and an AC15-ish David Edwards Apollo, Schull gets a “broadband” sound set for big, fat clean tones, like one giant amp on the edge of breakup.
Fun fact: Edwards surprised Schull with the Apollo when Rhett went to Florida to work on some videos.
Rhett Schull's Pedalboard
Schull’s 2024 EP is very effects-heavy, so he commissioned the pedalboard-whisperers at XAct Tone Solutions to build him this double-decker station based around an RJM Mastermind PBC/6X switcher. Some of the stomps, like the Chase Bliss Mood, are activated by MIDI, and all the different sounds from each song—from intro to chorus to bridge to finish—is set up in the RJM. If Rhett wants to go off script, he can hit the function button, which lets him engage pedals on a one-by-one basis. A Line 6 HX One is a “wildcard” pedal in this rig, filling in gaps as needed.
In addition to those machines, the rig includes a Chase Bliss Dark World, GFI System Synesthesia, Hologram Electronics Chroma Console, Boss Space Echo RE-202, GFI System Duophony (which mixes the Dark World and Synesthesia), Chase Bliss Automatone Preamp MkII (used for boost, EQ, fuzz, or overdrive depending on the song), Old Blood Noise Endeavors Beam Splitter, Source Audio ZIO, Memory Lane Electronics Tone Bender clone, and a Mythos Argonaut. A mysterious Japan-made Noel dirt pedal, finished in striking red and gifted to Shull by JHS Pedals’ Josh Scott, rounds out the collection. Utility boxes include a TC Electronic PolyTune3 Noir, Lehle Little Dual, a pair of Strymon Ojai power supplies, and a bigger Strymon Zuma supply.
