In just five short years, two scorching albums, and hundreds of electrifying, shock-rock performances (think fake blood and straightjackets like Ozzy, Cooper, and Manson), Starcrawler has earned big-named fans like Elton John, Dave Grohl, Mike Campbell, and Ryan Adams. (The latter produced their 2018 self-titled debut featuring Beck's daughter Tuesday on the cover. Both of them are fans, too.)
Much of Starcrawler's glam-punk swagger is due to the peanut-butter-and-jelly relationship between singer Arrow de Wilde and guitarist Henri Cash. His prickly guitars and redlined Ramones rhythms flank her seething, sneering, sensual vocals making every second of Starcrawler's 28 minutes a gas. And most of it was done on three strings.
"Having three strings allows me to just play," admits Cash. "Half the strings, half the brain power [laughs]… I'm so used to the 3-string setup that it feels natural and I don't think about anything."
2019's follow-up Devour You maintained the daring Stooges' snarl, but incorporated slower tempos and B-Bender moans for the Let It Bleed-esque "No More Pennies" and dream-pop swirler "Born Asleep." The result is still an overall good-time ruckus, but the occasional change of pace makes the faster-paced uppercuts hit harder.
In between recording fresh material for Starcrawler and a new project, gear-gobbling guitarist Henri Cash virtually welcomed PG's Chris Kies into his L.A.-based tone zone.
In this episode, the sharp-dressed man shows off his main custom builds from Randy Parsons (including a 3-string ripper), induces serious gear lust with his collection of Fenders, Gretsches, and Gibsons, and shows off the degrees of burn bustling on his board.
Special thanks to Vice Cooler for all of Henri's video and photography.
[Brought to you by D'Addario Auto Lock Straps: https://ddar.io/AutoLockRR]3-String Parsons White Bat
Harlan Howard described country music as "three chords and the truth." For Starcrawler guitarist Henri Cash, it's "three strings and the power."
Above is Cash's custom-made, 3-string "White Bat" built by esteemed luthier Randy Parsons who has delivered jaw-dropping instruments for Jack White, Jimmy Page, and Joe Perry.
About four years ago, Cash first encountered the Seattle-based builder's work at a NAMM Show when his aunt—custom strapmaker Jodi Head—and Parsons were booth neighbors. Throughout the show, they bonded over music and unusual instruments. At the close, Randy offered to build Henri a custom White Bat model.
The key elements making it his dream machine (a cross of his beloved White Falcon and Randy's original Bat) would be the single TV Jones Power'Tron Plus (Cash only uses the bridge pickup in any guitar), a built-in R2R Treble Booster (approximating the onboard 9V boost found in late 1960s Gretsch Rally models), and a Bigsby vibrato (huge Neil Young fan). For this one, he actually uses partial sets of Ernie Ball Baritone Slinkys (.026–.036–.046).
Parsons White Bat
Here's a full-fledge, 6-string White Bat built by Randy Parsons. This one is chambered like the 3-string Bat and features all the same accoutrements. For his standard 6-strings, Henry goes with Ernie Ball Power Slinkys (.011–.048) for most guitars. (He puts Slinky .010s on his Les Pauls for "Skynyrd" bends.)
1980s Epiphone Les Paul
This 1980s Epiphone Les Paul is where all the 3-string raging started for Henri. His father is a musician and often plays in open tunings. He always tried to play his dad's instruments but couldn't quite grasp it until he broke the part of the Les Paul's bridge and saddles. Instead of taking it to his dad to fix, he removed the strings and quickly realized with the remaining top three strings (tuned to D–A–D), he could cop chords and compelling sounds.
His dad encouraged the musical pursuit knowing his son was a fan of other "mutated" players in the B-52s, Morphine, and The Presidents of the United States of America, but he did warn that if he was going to continue playing just three strings, he should move them further down the neck to balance out the tension. After that (and adding a Stones-y G–D–G tuning to his repertoire), Cash was off and riffing.
When schoolmate Arrow de Wilde approached Cash about playing guitar, he had only played drums and bass in previous bands, but he was interested and most of the early Starcrawler jams were written on this 3-string Epiphone.
1950s Gretsch 6130 Roundup
A recent addition to Cash's abundant collection is this 1950s Gretsch 6130 Roundup complete with the western motif and Dynasonic pickups.
Gretsch White Falcon
Another pivotal guitar used a bunch in the studio and onstage is this big, beautiful Gretsch White Falcon.
Fender Road Worn '50s Telecaster
Since getting it (and before falling for the Parsons), this Tele has probably logged the most hours by his side. He scooped this original-run Fender Road Worn '50s Telecaster at Imperial Vintage Guitars. It's worth noting that the original Road Worn relic'ing was relegated to just the neck, so all the body bruises and bashing has been added by Henri's hands. Starcrawler's 2018 self-titled debut featured mainly this Tele and the 3-string Parsons.
1970s Fender Telecaster Custom
When Ryan Adams produced the band's first album, Cash fell in love with his 1974 Fender Tele Custom. At the time, he couldn't afford a vintage guitar (so he settled for the previous Road Worn Telecaster), but after saving some scratch and lurking on eBay, he landed this (at the time) clean Tele Custom.
He deemed it his No. 1 before heading out to support Starcrawler, but at the first show it screeched and scratched because the pickups weren't potted and Cash plays with lots of volume and gain. He went to Welcome to Mike & Mike's Guitar Bar in Seattle to have it serviced, but still needing to play that night's show, they dropped in a temporary fix—a Lollar Special T. The replacement sounded so good that Henri left it and has the now-wax-potted original single-coil in the guitar's case.MIM Fender Classic Series Tele with B-Bender
Thanks to his uncle Brad Rice (who's played guitar for and collaborated with Keith Urban, Ryan Adams, Jason Boland, Will Hoge, Ray Wylie Hubbard, Whiskeytown, and Jack Ingram) and falling in love with the Clarence White-era Byrds, Cash specifically scored this tobacco sunburst MIM Fender Classic Series Tele so he could recreate White's Parson StringBender (now owned by Marty Stuart). He even added the Nudie sticker (above the neck pickup) and swapped out the stock tuners for banjo tuners. He recorded with it and plays it onstage for the songs "No More Pennies" and "Born Asleep."
Satellite Coronet
Some P-90 bark for the in-progress Starcrawler album was dished out by this Satellite Coronet that is now no longer in production because of a lawsuit issued by Gibson.
Custom Echopark Clarence
When opening for the Distillers, luthier Gabriel Currie gifted this custom Echopark Clarence model before a show in Detroit. A notable first happened with this T when Henri resuscitate it himself with a headstock repair while touring in Europe.
Kauer Banshee
If you share a house with another guitarist, you know where to go looking for your instruments when they go missing. Cash and his father play tag with this custom Kauer Banshee that howls with a single Lollar.
1966 Gibson SJN Country Western
Prior to the quarantine, Cash didn't have a suitable acoustic. And your roommates and neighbors can only take so much noise, so he scooped this 1966 Gibson SJN Country Western. Now it's one of his favorites: "Every time I sit down with it, I feel like I'm getting somewhere."
1950s Gibson LG-1
Cash's friend (and guitar sleuth) "fenderfinder" helped him land this 1950s Gibson LG-2.
Fender American Acoustasonic Jazzmaster
Originally a skeptic of the acoustic-electric hybrid, but after spending some time with the Fender American Acoustasonic Jazzmaster, Henri's a believer. He's enjoyed blending the acoustics and dialing up some Weezer-y dynamics.
Henri Cash's Wall of Amps
"Sound guys usually hate me," goofs Cash. "I typically tour with a Showman, Bandmaster, and Vibroverb … but they're only on the two or three!" For much of quarantine and this Rundown, Henri plugged into a Fender '62 Princeton Chris Stapleton Edition and a 1959 Fender Vibrolux that an '80s punk painted red.
Henri Cash's Pedalboard
Most of Henri's pedals fit into one of two categories: mayhem and movement. The wild bunch includes a trifecta of EarthQuaker Devices (Bit Commander, Hoof, Park Fuzz Sound), R2R Electric One Knob Treble Booster, and DigiTech Drop. And for the some subtle gruff, he's got a Way Huge Red Llama. The modulation and time-based boxes are a MXR Carbon Copy, Strymon Flint, DOD FX60 Stereo Chorus, TC Electronic Shaker, and EQD Afterneath. A MXR Clone Looper is a practice tool, Strymon Qjai powers his pedals, a Boss TU-3 Chromatic Tuner keeps his guitars in check, and a Lehle Dual SGoS Amp Switcher controls the Fenders.
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Alex LIfeson, Victor
Victor, originally released on January 9, 1996, marks Alex Lifeson’s solo debut. Lifeson took on the roles of songwriter, producer, and mixer for this album. For the first time, Victor will be available on vinyl, featuring a complete remix by Lifeson himself to enhance the audio quality. The fourth side of the album includes four instrumental tracks previously exclusive to Lifeson’s website. Guest artists include lead vocalist Edwin from I Mother Earth, Primus bassist Les Claypool, and Canadian powerhouse vocalist Lisa Dalbello. The 15-song collection is paired with striking 2024 reimagined artwork by Fantoons Animation Studios.
As a Rush Backstage exclusive, Alex Lifeson will personally autograph 1,000 lithographs to be included with the Ruby Translucent 2LPs, which are available only through the Rush Backstage web store.
Geddy Lee, My Favorite Headache
My Favourite Headache, Geddy Lee’s only solo album to date, was initially released on November 14, 2000. This reissue marks its first vinyl pressing since a limited-edition Record Store Day exclusive in 2019. The fourth side of the album features two instrumental mixes. Produced by Lee, Ben Mink, and David Leonard, the album includes contributions from Mink and drummers Matt Cameron (Soundgarden/Pearl Jam) and Jeremy Taggart (Our Lady Peace).
For more details on the Geddy Lee reissue and to preorder, visit: https://lnk.to/MyFavouriteHeadache.
Rush — bassist/keyboardist/vocalist Geddy Lee, guitarist/vocalist Alex Lifeson, and the late, great drummer/lyricist Neil Peart — maintains a massive and uniquely passionate worldwide fanbase that acknowledges and respects the band’s singular, bold, and perpetually exploratory songcraft that combines sterling musicianship, complex compositions, and distinctive lyrical flair. Rush has sold more than 30 million albums in Canada and the U.S. alone, with worldwide sales estimated at 45 million (and counting). Between Music Canada and the RIAA, Rush has been awarded 50 Gold, 30 Platinum, and 9 Multi-Platinum album distinctions (and counting). Rush has also had 5 Top 10 Billboard Canada Albums, received 7 Grammy nominations, 10 Juno Award wins with 41 Nominations, and earned an induction into the Canadian Music Hall of Fame in 1994 and the Rock and Roll Hall of Fame in 2013. Additionally, Lee, Lifeson, and Peart were made Officers of the Order of Canada on May 9, 1996.
For more information, visit: https://www.rush.com
We love “Cult of Personality” because it’s one of the hardest hitting riffs in the classic rock canon. Catch it on drivetime radio and it’ll get your heart pumping faster than an extra double-shot of espresso. But we also love it because it launched Vernon Reid’s guitar into the mainstream. We’re unpacking Reid’s playing—from his early days in the NYC jazz underground through his work with Living Colour and into supergroup superstardom—and his longstanding gear-acquisition-syndrome.
This episode is brought to you by Reverend Guitars. Visit reverendguitars.com for more info.
![Fall Out Boy Rig Rundown [2024]](https://www.premierguitar.com/media-library/fall-out-boy-rig-rundown-with-patrick-stump-joe-trohman-pete-wentz-guitar-bass-gear-tour.jpg?id=52823626&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Back in March, Chicago’s Fall Out Boy blasted through Birmingham, Alabama, in the middle of a year-long tour supporting their 2023 release, So Much (for) Stardust. It was their first solo headline tour since 2018, and they brought along loads of new noisemakers for the occasion.
Frontman Patrick Stump has moved on from his trademark Gretsch electrics, guitarist Joe Trohman scored an Explorer that may or may not remind us of a certain purple McDonald’s character, and Pete Wentz packs some basses that bring both ice and fire to the gig. And while tube amps still reign supreme in the studio, including the recording of So Much (for) Stardust, the band goes digital and speaker-free on the road.
Brought to you by D’AddarioPaint It Red
After his love affair with Gretsch came to a close, the Guild S-60D has become Patrick Stump’s new muse. Given his intense vocal responsibilities during performances, he’s aiming for function over form these days, and the S-60D and S-300 models are fitting the bill for playability and position in the mix. “I want something that stays in tune,” he says. “I try to be as minimal as possible.”
Stump bought this S-60D with its all-over bright-red paint job, then set about sourcing red components to make it almost entirely monochrome. He also dropped a DiMarzio Super Distortion humbucker in the bridge and a Seymour Duncan Little ’59 in the neck.
Multicolor Halo
Stump commissioned this Halo guitar, which turned out radically different from what he initially pitched. It was first envisioned to help Stump out with some metal playing he was recording for a TV project, so he called for some classic touches like scalloped frets, a Floyd Rose, and a Seymour Duncan Dimebucker in the bridge. But the color ended up anything but metal. It’s not totally applicable to most Fall Out Boy material, but Stump is giving it a shot at some live play time.
Horse With Name
For slower moments, Stump goes with this Martin X Series acoustic he picked up at Guitar Center around 15 years ago. Since he had a deal with Fender, he covered the headstock Martin logo with some black tape that’s remained there ever since.
Mighty Zemaitis
First up, Trohman shows off this Japanese-made Zemaitis The Portrait Hisashi Signature Model, a model built in honor of Glay guitarist Hisashi Tonomura. While not a genuine Tony Zemaitis build, Trohman likes this one for its stability and build quality.
The Grimace
Trohman was lusting after this ’80s Gibson Custom Shop plumburst Explorer when he saw it pop up on Reverb, and when it sold, he was heartbroken. A few days later, his wife surprised him with it. It’s named Sanders, in honor of her maiden name.
Smokin' a Sig
Trohman also brings out his signature Squier Joe Trohman Telecaster, a take on the Tele Deluxe that includes a 5-position rotary selector switch to navigate the triple-pickup configuration.
Catching Rays
Tech Christian Zayas shows off this stunning custom paint job Sterling by Music Man Pete Wentz StingRay, which is outfitted with passive (rather than the typical active) pickups and a Hipshot drop tuning system. Note the signature red-eyed-loon inlay art on the 12th fret.
Winter Wonderland
This brand new, heavy-as-hell signature StingRay is full of some type of liquid (Zayas believes its anti-freeze) plus white material that turns it into a bass-shaped snowglobe. Wentz pulls it out for a fantasy sequence in the show, and it doesn’t stick around long because of its weight and more mellow tone.
Don't Sink the 8 Ball
This Pete Wentz StingRay is also a new addition, and comes out for an 8-ball-related encore.
Pete Might've Started the Fire
The last Sterling in the stable is also Wentz’s most deadly, doubling as a flamethrower during some of the show’s pyrotechnic flourishes. A primer on the upper bout preps the rear-mounted flame system, and the red-covered switch controls ignition. The pyro team tests it before each show with local fire departments to ensure its safety. “Sometimes we wanna be KISS, and we are,” says Zayas.
Farewell To Tubes
Joe Tone
Joe Trohman's tech Ben Young helped the FOB lead guitarist creep in digital modelers and here he provides additional details for what's happening inside the Axe-Fx III:
"The Fractal is set up where we have a different patch for each song, and then use scenes for each section of the songs. I have a template with all our dialed in amps and effects for everything. All the amp sounds are based off a JCM800 for our mid gain “crunch” sound, and a Dual Rectifier for our classic Fall Out Boy heavy sound. We also have a Friedman amp and a “brown sound” amp for other higher gain options that we’ve been using on newer songs and a Matchless for clean stuff."
