The bone-rattling guitarist helped set a revolutionary path for expression in 6-string-based music, while drawing on the cultural explosion of the ’60s and elevating its promise for future generations.
Poet, author, patriot, rebel, felon, jailbird-turned-prison-reformer, and—most important—part of the twin-guitar engine of the influential rock band the MC5, Wayne Kramer died on February 2, at age 75, leaving a gap in the world of activist musicianship and a tear in the fabric of American music history. The cause was pancreatic cancer.
Kramer was just 19 when his career began with the founding of the Motor City 5 in Detroit, alongside fellow guitarist Fred Smith, singer Rob Tyner, bassist Michael Davis, and drummer Dennis Thompson in 1963. The group were as tough and complicated as their hometown—musical firebrands, playing with an energy and intensity rarely seen in the then still-evolving rock genre—and Kramer performed like Chuck Berry and Sun Ra in one body. Which made sense, for while rock was their voice, they embraced the cultural explosion of the times in all its glory, including free jazz, and in particular figures like John Coltrane and Sun Ra, whose music reflected the Black freedom struggle in its themes as well as the purity of self-expression.
As a result, before Hendrix began recording, the MC5 were blazing a trail in rock improvisation. “We attacked that concept like a dog on a steak,” Kramer told me at our first meeting in the ’90s, which was arranged by our mutual friend, the band’s original manager and counterculture icon John Sinclair. “The people we idolized were Coltrane, Sun Ra, Albert Ayler, Cecil Taylor … and the Yardbirds and the Who. We saw a connection between those kinds of music. I was pushing Chuck Berry-inspired solos into the territory Coltrane was in. We cultivated music in the moment, coming up with it on the spot. Taking risks is what makes something unique, no matter what it is.”
“It’s those moments when everyone in the room is on the same wavelength, and the barriers between us explode.” —Wayne Kramer
And so, for their raw, unbridled, and at times practically unhinged sonic attack, the MC5 are an important element in the bedrock of punk rock. “The context of punk,” Kramer explained, “is to try to move away from the status quo and do things of principle that are of value. Most people today understand it as something that’s been commodified to mean Green Day or the Offspring, which are mainstream music business success stories, not my understanding of what punk really meant.”
The MC5 almost immediately became a cultural force, in both music and American politics. “Kick out the jams, mother****ers,” the shout that singer Rob Tyner used to lead the charge of their every performance, became not only a call to rock, but a call of the rising tide of youth culture in America. On their own turf, the band used its record-deal advance, the largest scored by a rock group at the time, and concert proceeds to fund a food kitchen and for their local community’s medical needs.
After raising the ire of the American political establishment with a conflagrant performance in Lincoln Park, Chicago, during the 1968 Democratic Convention, they landed in the crosshairs of the authorities and their slow erosion began, complicated also by drug use and other internal conflicts, and the arrest and imprisonment in 1969 of their colorful manager Sinclair, who had founded the White Panther Party in support of the Black Panthers, and later co-founded the Ann Arbor Blues & Jazz Festival.
The MC5’s battle cry of a live album, from 1969.
Nonetheless, by then the MC5 had laid enough groundwork to be widely acknowledged as progenitors of punk rock (by virtually everyone but the Rock and Roll Hall of Fame, in which they surely deserved a place while Kramer was alive). Drummer Dennis Thompson remains the only surviving member of the original recording band, which broke up in 1972.
That spirit of activism and DIY creativity stayed with Kramer throughout his career—although it was sidelined by a four-year prison sentence in the mid 1970s for selling drugs to an undercover agent. While in prison in Lexington, Kentucky, he met Red Rodney, who was also incarcerated there on a drug charge. The jazz trumpet genius took Kramer under his wing and continued Kramer’s musical education in prison.
After serving his time, Kramer moved to New York City and teamed up for a short-lived band with Johnny Thunders, and produced and played in a series of other groups. He also worked as a carpenter during a brief stint in Nashville. But in 1991, he ignited his solo career with a series of albums, including the beautiful gut punch of 1995’s The Hard Stuff, which features his acolytes from the Melvins and the Vandals. These albums blended Kramer’s songs and his poetry set to music, and his list of collaborators grew to include Dee Dee Ramone, Chris Spedding, Bad Religion, David Was, Nels Cline, and, perhaps most importantly, kindred spirit Tom Morello, for whom the MC5 and Kramer were profoundly influential. Kramer eventually launched his own record label and a U.S. branch of Jail Guitar Doors—the latter an offshoot of the U.K. organization started by Billy Bragg, dedicated to reforming inmates through music.The classic MC5 lineup.
Kramer never lost his vitality onstage and, after 2011, always played the Stratocaster signature model that Fender created for him that year, with an American-flag finish and a humbucker in the middle position. Starting in 2018, Kramer put together a band he named the MC50, to tour in celebration of the 50th anniversary of the MC5’s 1969 live album Kick Out the Jams, the most furious document of their aesthetic. The band performed the MC5’s music with brass-knuckled perfection, and included Soundgarden’s Kim Thayil, Fugazi’s drummer Brendan Canty, and Zen Guerilla frontman Marcus Durant. And Kramer, then 71, led the fray with the snarl and pounce of his 19-year-old self, always heading the charge with solos that were brash, raw, and expressive, displaying his love of free jazz with unpredictable melodic lines, flurries of notes not unlike triple tonguing, and jagged riffs, and laying down self-assured and powerful chording that could drive a spike through a wall. And he did it all with a warm, midrange-ripe tiger’s growl snarling from his amps—then Fender DeVilles, rather than the 100-watt Marshalls stacks he played through with the MC5.
During that tour, in 2019, Wayne was profiled in Premier Guitar by Bill Murphy, when his fascinating autobiography, The Hard Stuff: Crime, Dope, the MC5, and My Life of Impossibilities, was published. Astonishingly, Kramer’s final recording project is an album under the MC5 name, featuring the band’s original drummer on two tracks, Don Was, Morello, Vernon Reid, and Slash—and produced by Bob Ezrin. The release of the album, Heavy Lifting, is scheduled for this spring.
Morello issued this statement following Kramer’s death: “His band the MC5 basically invented punk rock music. Wayne came through personal trials of fire with drugs and jail time and emerged a transformed soul who went on to save countless lives through his tireless acts of service.”
When I last spoke with Wayne, when the MC50 played at Nashville’s Exit/In, he still extolled his belief in the magic of the moment. “To be right there, in a club, and to hear somebody play something they’ve never played before—to take a chance, to allow risks.… It’s those moments when everyone in the room is on the same wavelength, and the barriers between us explode.”
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Listen to the MC50 and Wayne Kramer kick out the jams, mother****ers! One more time....
Dig the details of the shredder’s iconic guitar and recreate EJ’s wiring.
Hello, and welcome back to Mod Garage! You’ve probably heard about Eric Johnson’s passion for the smallest and oddest details when it comes to guitars and tone. There is a longstanding urban legend that EJ is able to hear what type of battery is used in his stompboxes and how long his guitar cables are. Regardless of whether or not that’s true, it speaks to his reputation that he really cares about his tone, down to the smallest details.
This month, let’s take a deep dive into the details of Eric Johnson’s 1954 “Virginia” Stratocaster, and discuss how to install its unique wiring scheme in your Stratocaster.
For much of Johnson’s career, he’s played his 1954 Stratocaster, which he nicknamed after a masking-tape label found in the pickup routes. In the ’50s, it was common for employees at the Fender factory to sign the guitars they assembled. This now-iconic instrument was built by an employee named Virginia, one of the earliest women Leo Fender had hired to work at the Fender factory. (Virginia’s last name is a mystery from the early Fender days. There are several photos of her, and other early employees remember Virginia, but none seem to remember her last name.)
In 2020, Fender released the Eric Johnson “Virginia” Stratocaster, as well as a Custom Shop version. It’s unknown when the modifications were done to this guitar. Let’s look at some of the things that make “Virginia” unique, and how you’d recreate this by building your own personal copy:
Body: Two-piece, offset-seam sassafras body painted in the classic Fender two-tone sunburst finish. Sassafras, also called golden elm or cinnamon wood, is native to North America. It’s not a common tonewood, but Fender used sassafras for some early Strat bodies. My guess is that it was used to substitute ash and swamp ash. Sassafras has a grain and appearance similar to ash and chestnut, as well as a similar weight and density, and it was easy and cheap to get in large quantities.
There are different companies offering sassafras Strat bodies, but you can also choose an ash or swamp ash body. If you want to be as close as possible, get a two-piece body. Whether it’s offset-seam or not is up to you.
Neck: One-piece maple neck with a soft V-shape, 12"-radius fretboard sporting 21 jumbo frets and black dots. It should be no problem to find such a Stratocaster neck. And the choice of standard or figured maple is a matter of personal taste.
Hardware: Basically the standard Fender hardware from the ’50s, such as the typical Fender ’50s Stratocaster tremolo and Kluson vintage tuners. Here is a list of what is not standard on this guitar’s hardware:
- A single Graph Tech String Saver saddle is used on the high E string. All the other saddles are ’50s standard bent-steel saddles.
- A flat washer on the output jack.
- The tremolo uses four springs (instead of five), and the one that’s under the B string is not installed.
- A single ’60s-style butterfly string tree with a nylon spacer underneath, instead of the ’50s-style round string tree
The plastic parts: This is also ’50s standard, sporting a single-ply offset-white pickguard with aged-white pickup covers, knobs, switch tip, and tremolo arm tip.
EJ plays pure nickel strings, so this is also recommended if you want to get as close as possible.
Now, let’s have a close look at the electronics and wiring. Here is a list of the electronic parts you’ll need:
- DiMarzio DP116 HS-2 stacked humbucker bridge pickup
- Fender ’57 or ’62 EJ middle and neck pickups
- Standard open-blade 5-way pickup selector switch
- Cloth wire for all connections
- 375k audio volume pot with a 90/10 taper ratio, no treble-bleed network
- Two 250k audio tone pots with a 90/10 taper ratio
- 0.1 μF/150 V wax-paper tone capacitor
- Standard mono output jack
Getting all these parts should be no problem at all. The pickups are in production, 375k pots are available from various companies, and new wax-paper capacitors are also available. All three pickups should use latex tubing instead of springs for pickup-height adjustment.
If you wish to use NOS wax-paper caps, don’t worry about the voltage. It will have absolutely no influence on the tone inside the guitar, only on its size. Be sure its capacitance is close to 0.1 μF, because these caps have a tendency to drift in capacitance over time.
The switching matrix is almost standard Stratocaster and goes like this:
#1: bridge pickup
#2: bridge + middle pickup in parallel (in phase)
#3: middle pickup
#4: middle + neck pickup in parallel (out of phase)
#5: neck pickup
The DiMarzio stacked humbucker is permanently used as a split single-coil pickup with only the upper spool being engaged, so no humbucking feature is activated. The upper tone control is assigned to the neck pickup, while the lower tone control is connected to the bridge pickup, leaving the middle pickup without tone control. The pickguard uses ’50s-style copper-foil shielding (connected to ground), but only under the area where the electronics are installed, not over the whole pickguard.
If you want to put this wiring into your Strat, take notice of the out-of-phase feature in switching position #4. On the “Virginia” Strat, the bridge pickup has a south polarity, while the middle and neck pickups both have a north polarity, and the middle pickup is reverse-wound. Please note that this is not a reverse-wound, reverse-polarity (RWRP) pickup, because both pickups need to have the same magnetic polarity. There are many pickup combinations where this feature will not work, so upgrading your pickups may be necessary if you want the full package. In short, you need a middle and neck pickup with the same magnetic polarity, one of them reverse-wound, and both in phase with the bridge pickup.
Fig. 1
Illustration courtesy SINGLECOIL (www.singlecoil.com)
So, here we go for the wiring (Fig. 1). As always, I tried to keep it as clean as possible by substituting the ground-wire runs with the international symbol for ground. I used the DiMarzio humbucker color code for the bridge pickup. If you decide to use a different brand, you need to transfer the color code of the wires with the correct color-code chart.
That’s it. Next month, we will dissect the new Fender John 5 “Ghost Telecaster” wiring, so stay tuned.
Until then ... keep on modding!
Fender announces the launch of the Juanes Stratocaster guitar, a collaboration with multi-Grammy and Latin Grammy award-winning singer, songwriter, and guitarist Juanes.
On the heels of his latest album release, Vida Cotidiana (praised by Rolling Stone as “His best album yet!”), the Juanes signature guitar captures the essence of his sound, tone, and look – a distinctive blend of pop, rock, and metal fused with the unique folkloric sounds of Colombia, as well as his passion for innovation, culture, and philanthropy. Regarded as a leading trailblazer for Latin music and a champion for social transformation, Juanes will give back by donating all artist proceeds to his foundation, Mi Sangre, which empowers new generations and fosters a culture of peace in Colombia and beyond.
Born in Medellin, Colombia, Juanes began his musical journey as a self-taught guitar player at the young age of seven. After honing his skills and creating his own style of guitar playing– combining elements from the rock world with his Colombian roots–Juanes embarked on a solo career and released his debut studio album, Fíjate Bien in 2000 which earned him a field-leading seven Latin Grammy nominations and three Latin Grammy Awards, including Best New Artist. Juanes has since garnered over two dozen American and Latin Grammy awards, sold more than 30 million albums worldwide, and been hailed by TIME as “One of the 100 Most Influential People in the World.”
In Conversation with Juanes | Artist Signature Series | Fender
Known for his preference for individual notes and riffs that stand out even within chords, the Juanes Stratocaster captures his unique sound with custom-voiced noiseless single-coil pickups to achieve clear tones and note distinction. His left and right-hand technique, combined with the use of a Mid-Boost Preamp with an S-1 Switch and a modern-voiced humbucker pickup, allows his guitar playing to act as a secondary voice, sending a powerful message alongside his vocal lyrics. The mid-boost preamp amplifies his sound and highlights the right midrange frequencies, making his chord changes stand out and ensuring his music resonates from verse to chorus to bridge and beyond. With its alder body featuring a stunning, moon-reminiscent "Luna White" Satin finish, an ode to his oldest daughter, Luna, which means “moon” in Spanish, this guitar exudes elegance and style.
Fender Juanes Signature Stratocaster - Luna White
Fender Juanes Signature Stratocaster - Luna White