Designed in collaboration with Green Day’s Billie Joe Armstrong, Gibson unveils the new Billie Joe Armstrong Les Paul Junior.
“The single cut 50’s Les Paul Jr has been the root of my guitar tone for over 20 years,” says Billie Joe Armstrong. “Ever since I bought ‘Floyd’ my 1956 Sunburst Jr, in the early 2000’s I have been addicted. It’s a simple, raw, and powerful guitar that has a sound that just can’t be beat! Plug it straight into any tube amp, crank it and it will roar!“
Green Day was inducted into the Rock and Roll Hall of Fame in 2015 and has released thirteen studio albums to date including the Diamond-selling Dookie, and the punk rock opera album turned Broadway musical, American Idiot. Green Day brought their sold-out Hella Mega headline stadium run to the UK and Europe this past summer, as well as, headlining festivals including Innings, Shaky Knees, Lollapalooza, Outside Lands, Rock In Rio, Sea Hear Now, and Firefly. Green Day played Formula 1 Grand Prix’s in Austin and Singapore Grand Prix performing to their largest crowds in three years. Outside of Green Day, Billie Joe also fronts The Foxboro Hot Tubs, The Longshot, and The Coverups.
Photo by Scott Nagelberg
“The collaboration between Billie Joe and Gibson has been long standing, popular and successful,” says Jim DeCola, Master Luthier at Gibson. “Billie Joe has previously used our P-90 and P-100 pickups to great effect and for him to choose the P-90DC on his latest guitar is quite an honor. The P-90 DC continues the legacy which Seth Lover started by applying his ‘Sidewinder’ concept (coils rotated 90 degrees with a single row of pole screws) to a guitar pickup. It was introduced in the late 50’s on the Gibson EB 0 and EB 2 basses, and not applied to a guitar pickup at the time. Seth’s concept has now been reimagined and applied to a guitar pickup utilizing modern components and manufacturing methods to create a hum-canceling P-90 pickup with the most authentic P-90 tonality yet.”
The new Billie Joe Armstrong Les Paul Junior has a mahogany neck with Billie Joe Armstrong SlimTaper profile, rosewood fretboard, Graph Tech nut, and Billie Joe’s signature on the truss rod cover. The mahogany body is equipped with a wraparound bridge/tailpiece and a P-90 DC Dogear pickup. The P-90 DC--Gibson’s latest hum-canceling pickup designed by Gibson master luthier Jim DeCola--features a modernized version of the Sidewinder dual-coil technology that was first developed by Seth Lover in 1958, delivering a hum-free P-90 with the most authentic P-90 tonality yet, retaining the classic sound of a single coil P-90 while eliminating the noise. The Gibson Billie Joe Armstrong Les Paul Junior is offered in Silver Mist and Vintage Ebony Gloss nitrocellulose lacquer finishes and a Custom Billie Joe Armstrong Protector hardshell case with a pink exterior, and a striking leopard-print interior is also included.
For more information, please visit gibson.com.
The pedal aims to capture the sound of the dual-amp setup that Billie Joe Armstrong used on Green Day's breakthrough album.
Benicia, CA (January 21, 2019) -- Billie Joe Armstrong’s guitar tone on Green Day’s groundbreaking album Dookie sounded dirty and punchy with the perfect amount of articulation to express the musicality of his fast, melodic riffs. He got that sound by running his signal through two heavily modified amplifiers—one scooped with a ton of gain and the other with a well-defined midrange. When it came time to mix the record, the band blended the two signals together in different ratios to match the vibe of each track.
To celebrate the 25th anniversary of Dookie, we’re releasing the MXR Dookie Drive. It captures the sound of both of Billie Joe’s amps in a single pedal so that you can dial in your own variations of that famous Dookie sound. We borrowed the amps themselves so that the MXR team could carefully analyze all the sonic qualities that make them sound so darn good. After much analysis and A/B testing, our engineers rebuilt the amps from scratch in pedal circuit form and fit them into a single housing. The High Gain and Clean Gain sections each have their own controls, while the Blend control allows you to mix them together just like Green Day did in the studio. If you want some extra scoop in the midrange of the overall output signal, just hit the Scoop switch.
The Dookie Drive isn’t just for Green Day fans—this totally unique pedal provides a full harmonic range of overdriven tones for a playing experience that is full of depth and dimension.
For more information:
Why do musicians have a bad reputation? Because we’ve earned it.
Let's start this column with a tasteless yet germane joke.
Scientists want to know if canines learn by observing human behavior. They borrow the dogs of a physicist, a mathematician, and a musician, and then observe as the dogs are set loose in a room with a big pile of bones. The physicist's dog runs straight to the pile of bones and began arranging them with his snout, eventually spelling E = mc2. The scientists are amazed.
The mathematician's dog then runs to the pile of bones and arranges them on the floor to form π = 3.14. The scientists are astounded and quickly scribble copious notes in their journals.
The musician's dog eventually wakes up from his nap, walks slowly over and eats all of the other dogs' bones, has sex with the other two dogs, takes a crap on the floor, and then asks if he can go home early.
The scientists write “hypothesis confirmed."
Why do musicians have a bad reputation? Because we've earned it. You don't have to dig too deeply to find examples of musicians behaving badly. Be it Ozzy or Izzy whizzing publicly (on the Alamo and in the galley of a commercial flight, respectively), Kid Rock, Axl Rose, or Billie Joe Armstrong randomly attacking fans, or any of the batshit crazy stuff Justin Bieber did in the past 24 hours, you'll never run out of musicians living up to our lowest expectations.
Which makes me wonder: Why does the ability to play music compel some musicians to act so douchey?
One could argue that the salient traits of douchebag musicians are also textbook tells for people with Narcissistic Personality Disorder. Take a look at this checklist that health care professionals use to diagnose NPD and compare it to the behavior of ego-driven, unpleasant musicians:
- Thinks about himself most of the time and talks about himself a lot
- Craves attention and admiration
- Exaggerate his talents and achievements
- Believes he's special
- Sets unrealistic goals
- Has wide, fast mood swings
- Has a hard time taking others' feelings seriously
- Strives to win, whatever it takes
- Fantasizes about unlimited success, money, and power
Narcissistic Personality Disorder is a mental illness, so to be clear, I'm not diagnosing anybody. (I'm not qualified to. I just like to read the Diagnostic and Statistical Manual of Mental Disorders and think about how messed up my friends, co-workers, and strangers are.) But it's not hard to imagine these NPD traits would be helpful for someone pursuing a career in music. To crave attention, exaggerate your talents, and strive to win above all with no regard for others sounds like the battle cry of many who succeed in showbiz. Also, it's no stretch that narcissists would be attracted to a career onstage that, at the least, can reward you with praise and, at the most, can reward you with praise, money, and power. According to the U.S. National Institutes of Health, 6.2 percent of the U.S. population has NPD, so it's probable that a few are working and succeeding as performing musicians. Still, NPD remains fairly uncommon, and there's a huge difference between having narcissistic personality disorder and just being a garden-variety douche, or GVD.
It's more likely that the musicians we see regularly in embarrassing TMZ videos are GVDs. In their defense, the music industry encourages it because:
1. Press fuels success.
2. The public loves watching a good train wreck.
Talent goes unnoticed and unrewarded more often than not, but dragging your genitals over the head of a security guard will always get you press. (I'm looking at you, Marilyn Manson.) If your ability does not make you famous, infamous is close enough. Best of all, infamy doesn't require years of practice. By stretching the boundaries of the maxim “there's no such thing as bad publicity," acting like the Supreme Leader of Douchemanistan will garner greater notoriety than working to become a better musician.
Although I love music, I'll scroll through 20 videos of people playing guitar on Facebook, but will stop to watch a video of Kanye West, Billie Joe Armstrong, or the guy from Smash Mouth acting like idiots. Idiocy draws consistently better than talent.
For many performers, being appreciated for your craft is the goal, but, when that doesn't work, being hated is the second choice. Being ignored is the nightmare.
Over 100 years ago, Joseph Conrad wrote about the fascination of the abomination. We all slow down to get a better look at car wrecks, we all feel compelled to read about catastrophes, and we enjoy a good celebrity meltdown. Maybe the compulsion to watch ugly behavior stems from our primitive wiring: We are drawn to cautionary tales because they ultimately aid in our survival. Whatever the reason, the populists love to watch idiots and the shallow with limited talent love to give them a show. “Look at me, look at me, look at me, I'm a celebrity."