For this monthās question, picker JJ Appleton, Premier Guitar staff, and reader Gil Chiasson explore their personal bond with their favorite musical genre.
Question: What connects you to your favorite genre of music?
Guest Picker JJ Appleton
Blues legend John Hammond Jr.
Photo by Louis Ramirez
A: What I love about the blues is its deceptive simplicity, the immediacy of emotion, and the story/truth-telling. When they say, āBlues is a feeling,ā itās clear when two different people play the same three chords or the same lick. If youāre really doing it, your personality should be laid bare with every note you play and sing.
Professor Longhair, musical king of the Mardi Gras
Current obsession: Professor Longhair. I love his humorous bursts of deeply inventive rhythms. His use of extreme dynamics in one bar of music. His beautiful voice. His piano is the orchestra and there is a lot of musicality going on there. Professor Longhair has set the standard for me to try to become an āorchestratorā on the guitar and to find my own unique voice and style.
Ted Drozdowski Editorial Director
A: Iām connected to cosmic roots music via decades of exploring the nooks and crannies of the American South and its deep creative fringes. Itās defined roughly by Son House and John Lee Hooker to Pink Floyd, Sonny Sharrock, and Tom Waitsāanything with an āothernessā thatās soulful and authentic. It helps keep me alive.
One of Tedās inspirations, the late free-jazz guitarist Sonny Sharrock.
Current obsession: The dang movie Iāve been working on with my band Coyote Motel for about two years. After 300 hours of editing, I can see completion. And it does have āotherness.ā
Coyote Motel in thier upcoming film.
Luke Ottenhof Assistant Editor
A: I was raised on folk and classic rock, but when I was 10 years old, I got Billy Talent on CD, and covertly copied my friendās CD of Sum 41ās Does This Look Infected? onto a cassette (I wasnāt allowed to buy it because it had a parental advisory sticker). The early 2000s were a golden era of pop-punk in Canada, and while that genre post-2006 doesnāt really rev my engine anymore, those two releases set me on a path of obsession with heavy, riffy music paired with great hooks and bright vocal harmonies.
Current obsession: Iāve gotten back into soldering after taking apart my crappy Vox Cambridge 15 to finally fix it up. I was planning to just sell it for cheap to someone who wanted to repair it, but all it needed was a new gain pot, and the fix cost me $1.50 plus an hour of labor.
Lukeās Vox, redeemed by a $1.50 part and an hourās repair time.
Gil Chiasson Reader of the Month
A: When I think of āSurfer Girlā by the Beach Boys, for instance, it is the sum total of all its parts which makes it so amazing in how it captures the context of the song. Itās about a surfer girl, a cool breeze, water spray, and hot summer sun!
The Beach Boys, when they were crafting the California dream.
Current obsession: I am currently writing music inspired by Thelonious Monk. He had these soulful chord progressions with interesting types of time signatures. His pockets, or, grooves, were full of that gold we all love to hear and feel.
Thelonious Monk had the keysāperhaps even to the universe.
Classic fuzz-pedal chaos meets modern tone shaping.
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RatingsPros:Authentic vintage Super-Fuzz tones with slightly more control. Fair price. Cons: Hard to determine precise knob position. Street: $179 JHS Supreme jhspedals.com | Tones: Ease of Use: Build/Design: Value: |
If youāre a rabid Who fan, you probably wanted a Shin-Ei/Univox Super-Fuzz before you ever knew what a Super-Fuzz was. But even if Live at Leeds hadnāt made the sound of the Super-Fuzz an obsession for aspiring Townshends, itās sheer wickedness and massive speaker-shredding octave fuzz would have driven circuit heads to re-create it. JHS has made a Super-Fuzz of their own called the Supreme, as part of their Legends of Fuzz series, and it manages to sound authentic and add a midrange boost switch that extends the deviceās versatility in more straightforward fuzz settings.
While I donāt have a vintage Super-Fuzz for comparison, I A/Bād the JHS against a Wattson clone that is a proven dead-ringer for a friendās blue-and-orange vintage model. In general, the JHS pulls off the high-wire feat of making the Supreme sound and feel a touch more controlled without sacrificing the buzz-saw aggression of the basic fuzz or the hectic, seat-of-the-pants thrill of the octave-up mode. Some of this extra civility is thanks to the Supremeās more compressed voice. For anyone whoās ever used a vintage Super-Fuzz at volume and knows how wildly compressed it can sound, that might be a frightening concept. But the Supremeās slight, intrinsic compression doesnāt squash dynamics. Instead it imparts a touch of harmonic equilibrium that keeps the pedal feeling responsive and sounding fantastically ferocious.
Test Gear: Guild X-175, DeArmond JetStar, ā68 Fender Bassman, Marshall 1987x
Check out our video demo (featuring Yvette Young) of JHS' Crimson fuzz.