glassjaw

Chicago’s three-day, punk-rock carnival was host to Slayer, Jawbreaker, Raconteurs, Patti Smith, Rise Against, Bob Mould, Rancid, Bikini Kill, Lucero, the Struts, and more. Here are our favorite guitar-related moments from the 15th annual gathering.

Ween’s Dean Ween

One half of the offbeat alt-rock group Ween, Dean (aka Mickey Melchiondo) pays constant tribute to his Hendrix influences by primarily rocking a Strat onstage. His Frankenstein Strat’s cavity has a ’57 route with a dowel cut in half-lengthwise and glued to the outside wall to receive the extra screw hole for a ’62 or later pickguard. It was refinished Dakota red in the early ’90s, and its neck plate dates to 1962. The guitar has a Seymour Duncan Hot Rails pickup in the bridge and Fender Lace Sensors in the middle and neck positions. The band played The Mollusk in its entirety.

Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.

$299

Dunlop JCT95 Justin Chancellor Cry Baby Wah
jimdunlop.com

4.5
4
4
4

Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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"'If I fall and somehow my career ends on that particular day, then so be it," Joe Bonamassa says of his new hobby, bicycling. "If it's over, it's over. You've got to enjoy your life."

Photo by Steve Trager

For his stylistically diverse new album, the fiery guitar hero steps back from his gear obsession and focuses on a deep pool of influences and styles.

Twenty years ago, Joe Bonamassa was a struggling musician living in New York City. He survived on a diet of peanut butter and jelly sandwiches and ramen noodles that he procured from the corner bodega at Columbus Avenue and 83rd Street. Like many dreamers waiting for their day in the sun, Joe also played "Win for Life" every week. It was, in his words, "literally my ticket out of this hideous business." While the lottery tickets never brought in the millions, Joe's smokin' guitar playing on a quartet of albums from 2002 to 2006—So, It's Like That, Blues Deluxe, Had to Cry Today, and You & Me—did get the win, transforming Joe into a guitar megastar.

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