Hardcore heavyweights Greg Hetson and Zander Schloss still supercharge slam-dancers with just an SG, a P bass, modded tube heads, and lots of downstrokes.
Any band that hammers along for 43 years should be praised. But for a hardcore outfit that first seethed “I don’t wanna live / To be thirty-four / I don’t wanna die / In a nuclear war” 42 years ago on their 1980 debut Group Sex, pushing on for over four decades is a bit of a miracle. The Circle Jerks should be honored with a skanking statue in their hometown of Hermosa Beach, California.
“If you would’ve told me in my 20s that I’d be in a seminal hardcore-punk band in my 60s, I would’ve said ‘you’re fucking crazy, dude! I’m going to be dead by that time,’” jokes longtime Circle Jerks bassist Zander Schloss. “Now I say, live slow, die old!”
The Circle Jerks were formed in 1979 by former Black Flag vocalist Keith Morris and ex-Redd Kross guitarist Greg Hetson. (Hetson has also been a member of another seminal SoCal punk rock band, Bad Religion, from 1984-2013.) They were joined by bassist Roger Rogerson and drummer Lucky Lehrer. Group Sex is one of the most important albums in the first swell of hardcore. It’s worth noting that the 14-song collection was crammed into less than 16 minutes of tape. Tasmanian devil Morris raged his commentary on sex, drugs, politics, the rich, and even self-reflection. His bandmates redlined to keep up. Hetson’s swift, stabbing guitar parts pierced and slit through the slamming, double-time rhythmic pistons that were Lehrer and Rogerson.
Their 1982 follow-up, Wild in the Streets, contained five songs over two minutes long and three covers (“Wild in the Streets,” “Just Like Me,” and “Put a Little Love in Your Heart”), but all 15 tunes were still laced together with the same frenetic guitar bursts and rambunctious rhythms of Group Sex. The last of their most-influential works was 1983’s Golden Shower of Hits, which alternated between short, melodic mayhem and slower-but-still-acerbic stompers. The next year saw the arrival of Schloss, who contributed heavily to the band’s final three studio releases: Wonderful (1985), VI (1987), and Oddities, Abnormalities and Curiosities (1995). While out in support of the latter, their major-label debut, the Circle Jerks imploded.
In subsequent years, Hetson focused on Bad Religion, started Punk Rock Karaoke, formed Black President, and built out his Hetson Sound studio. Schloss played guitar for Joe Strummer, drove the bass for the Weirdos, and even entertained on the silver screen, starting with the role of Kevin in Repo Man. While Morris battled health issues (he fell into diabetic comas in 2008 and 2013), he was able to get several projects off the ground and revisit old ones including Midget Handjob, Off!, and FLAG. The latter’s a Black Flag byproduct featuring former members bassist Chuck Dukowski, guitarist/vocalist Dez Cadena, and Bill Stevenson—who produced most of their 1980s catalog—on drums, plus Stevenson’s Descendents bandmate Stephen Egerton on guitar.
Before the current celebratory run marking the band’s first live shows in 11 years (and first full U.S. tour in 15), they announced drummer Joey Castillo (Queens of the Stone Age, Danzig, Eagles of Death Metal) would be propelling the Circle Jerks’ runaway train. And since the band’s core members are now all in their 60s, and the resolution of the ripping “Live Fast, Die Young” is yelled out at each show (“I don’t wanna live / To be fifty-seven / I’m living in hell / Is there a heaven?”), they’re well aware that according to their own canon they shouldn’t be here and certainly not having this much fun.
“I never thought the Circle Jerks would tour again, but you know what? Dreams do come true, and in some weird way, we’re doing better than ever and this world tour proves it,” remarks Schloss.
But is the grind too much?
“As a younger man, I used to resent breaking my arm off to play this music because it’s so fast, so hard, and so intense, but as a 60-year-old I’m finding it really exhilarating,” he admits.
Well, sir, then let’s have a bash!
Hours before the Circle Jerks’ July 21 headlining show at Nashville’s Brooklyn Bowl (a Covid-delayed celebration of 40 years since Group Sex), PG’s Perry Bean took to the stage and talked gear (a conversation longer than most Circle Jerks’ albums) with Schloss and Hetson.
Brought to you by D’Addario String Finder.
The Industry Standard
“I’ve always thought the Fender P bass was the industry workhorse,” allows Schloss. His beastly battle axe is an American Professional II Precision bass that has a ’63 P neck profile, the company’s new V-Mod II Precision Bass split-coil pickup, and a Hi-Mass Vintage bridge. Schloss used to play roundwound strings, but he would constantly break them and do some serious damage to his hands. He made the switch to flatwounds in the ’90s. The string snaps significantly reduced and he found their sound sits better in the mix, making it more distinct and outside the guitar’s lane.
During the Rundown, he offers up two vintage tidbits: After the band’s last show in 2011, he sold his 1964 P bass to the Hard Rock International, and the second is that he loaned a black 1964 Fender Stratocaster to producer Guy Seyffert, who’s on the road with Roger Waters and has been using it onstage. Schloss says it was a gift from Joe Strummer and once belonged to Sid Vicious, and then Steve Jones.
Slice ’n’ Dice
Schloss swears by Fender Classic Celluloid triangle picks (355 shape). As he shreds off a tip, he rotates the pick around for another angle. As he says, “It has a lot more click for the buck.”
Close Enough for Jazz
For backup purposes, he totes along this American Professional II Jazz bass that also has flatwounds. Schloss acknowledges that the thinner neck isn’t his favorite and wishes he’d brought out a pair of Ps.
No Take Backs!
Probably as collateral on that ’64 Strat, Guy Seyffert loaned Schloss an early ’70s blue-line Ampeg SVT that hits a slant-back Ampeg SVT-810E that belongs to one of the tour’s openers. It’s up for debate who has the better end of the deal.
Solid Greg, Solid Guitar
If you’ve seen Greg Hetson thrashing onstage with any of his numerous bands, you’ve seen him rocking a Gibson SG. For the Circle Jerks’ world tour, he brought out this recent SG Standard ’61 Maestro Vibrola reissue with a mahogany body, a SlimTaper mahogany neck paired with a rosewood fretboard, and an ABR-1 Tune-o-matic bridge. It originally came with a set of BurstBucker 61s, but Hetson removed the T pickup (bridge) and dropped in an uncovered Seymour Duncan Alnico II Pro humbucker.
Moshing With Marshall
Hetson loaded up a pair of 1980s Marshall JCM800s for this run. On the left is an early-’80s 2203 model, while the other is a late-’80s 2555. Both run into their own Mesa/Boogie Rectifier Traditional slant 4x12 loaded with rear-mounted Celestion Vintage 30s. On the floor, you’ll notice Hetson’s lone “effect”: a TC Electronic PolyTune.
We’ve Seen This Before
The 2203 was overhauled with the venerable “crunch” mod by L.A. Sound Design’s late Martin Golub. If that tone tweak sounds familiar, then this will surely ring a bell, as the “crunch” mod is also referred to as the “Dookie” mod—widely known for residing in Green Day frontman Billie Joe Armstrong’s “Pete” Marshall 100-watt 1959 SLP reissue head. (The much-revered Golub passed away in 2021.)
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.