june 2011

Rock ’n’ Roll Hall of Fame inductee Duane Eddy first lassoed radio waves with his influential spaghetti-western style, single-note melodies, and eerie, low-string bends using a Gretsch Chet Atkins

Rock ’n’ Roll Hall of Fame inductee Duane Eddy first lassoed radio waves with his influential spaghetti-western style, single-note melodies, and eerie, low-string bends using a Gretsch Chet Atkins model. He bought that Gretsch when he was 16 and started his first duo with friend Jimmy Delbridge, who later recorded as Jimmy Dell. The aforementioned Gretsch would later help create Eddy’s two signature models released by Gretsch—the 6120-DE in ’97 and the brand new G6120DE. Long before Gretsch signed on to honor the Twangmaster General for his legendary guitar phrasing and echo-chambered recordings, Guild Guitars constructed a signature Duane Eddy 400 model in 1963. Upon its completion, Guild’s Duane Eddy 400 guitar stands as one of the first signature models built by a company for a player who wasn’t necessarily connected to their guitar brand or makes.

This 1969 Guild Duane Eddy 400— made during the initial run’s final year—is a semi-hollowbody with a bound, arched spruce top, maple back and sides, mahogany neck, and a 20-fret bound rosewood fretboard. To accommodate Eddy’s penchant for right-hand note bends, the 400 has a Bigsby vibrato—stamped with the Guild logo and “G” rather than the standard Bigsby branding. Additional points of interest are the bound headstock with the Chesterfield-style Guild logo, Eddy’s signature on the pickguard (rather than the more typical headstock or truss-rod cover), and the dual humbuckers that have been described as having a crisp, midrange bark.

A special thanks to Jeff Sadler of Rock N Roll Vintage Guitars (https://www.rocknrollvintage.com) in Chicago for the opportunity to feature this fine instrument and its story.

Have an axe that would make a great Guitar of the Month? Then email pics and your instrument’s story to us at gotm@premierguitar.com.

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Todd Grubbs Return of the Worm Grubbworm Music Readers email me all the time to ask if they can send in an album for Media Reviews consideration. I always encourage

Todd Grubbs
Return of the Worm
Grubbworm Music


Readers email me all the time to ask if they can send in an album for Media Reviews consideration. I always encourage them to do so, but I always include the caveat that—with only a handful of slots and the world being full of so many amazing players in so many genres—competition is pretty stiff. I listen to every album that comes across my desk, no matter how home-job-y the cover may look or how cliché the song titles may sound (songs like “Shred Planet” or “Dead Man Blues” are pretty common, as are pics of every piece of gear the player owns), but Todd Grubbs’ latest effort is a perfect example of why I give everything a shot: The cover image of a PRS guitar painted with an exploding sun and an evil grub worm and the interior shots of sour gummy worms and an emaciated elephant are sort of par for the guitar-centric-CD course, but spinning the disc raised my eyebrows: Grubbs can shred like crazy—Steve Vai’s influence is evident on solos throughout, including on “I Am Not a Commentator” (which also has tasty harmonized parts reminiscent of Time Odyssey-era Vinnie Moore)—but he also has a knack for engaging soundscapes (“5 After 4 in the Morning” begins with relaxing crickets and cinematically panned train and barking-dog clips, in addition to ethereal chords awash in lush reverb) and a penchant for quirky sound bites. Besides being able to rip like noteworthy guitar gods, Grubb also doles out convincing funk, neck-pickup blues (“You Can Do It”), and jam-band (“Number Station”) vibes. Overall, the difference between Grubbs and some of the other dexterous players we get discs from is that he seems to pay as much attention to tones, chord progressions, phrasing, and injecting his own personality into things as he does to jaw-dropping licks. Kudos, Todd!