Electric Guitar Career

How To Play in the Electric guitar

A number of poeple are often fraustrated along with understanding how to play the guitar since they are investing a lot of cash on beginners guitar training, which can prevent the family price range. Playing the guitar is a fairly adaptable instrument, but is not completely different inside the audio world. Your guitar can be an exceptionally enjoyable musical instrument to experience. but in all honesty with you, they will went above and beyond everything you should put in it since most of my buddies are usually insane! We were holding applying the very least of 2 hours each day using a highest of with regards to five, but all that you should carry out is actually use a concentrated practice of of a half hour a day and will also be rockin' in almost no time!Will not waste time looking for a electric guitar teacher.

 

 

 

Participate in through the pain  Guitar, up to it's a talent, is additionally demanding. There are even training out there for newbies as well as someone who has in no way acquired an instrument just before. You can discover for your very own tempo. You can learn at the very own rate. Its not necessary a consultation. You'll find a large amount of e-books and also acoustic guitar guides online that you could search regarding on the net.

 

 

 

You may even make an online search to work with you understand how to enjoy acoustic guitar.  Get a good guitar : Understanding how to play acoustic guitar goes better when you've got an excellent beginners guitar, that is really sizeable, and naturally you will be able to buy your hair a electric guitar on the flea market for underneath the $200. Its not necessary a meeting. A fantastic acoustic guitar may have a normal sound, prompting that you maintain taking part in. Whether or not an individual play in the acoustic guitar pertaining to satisfaction or perhaps since it is your current profession you can find these kinds of online guitar training extremely powerful to help you. In order to learn brand-new songs you can easily see them on websites.

 

 

 

You can find a large amount of e-books and beginners guitar manuals online you could search pertaining to online. Acoustic guitar classes can be very high-priced and the teacher themselves probably have a new persona which doesn't really stream with your own individual. For your value of one particular electric guitar lessons you'll be able to virtually buy an entirely year of on-line guitar lessons or a total study course. However, you need to be told that will a number of of the actual e-books and guides that you simply run into, may well not this sort of high quality. Learning how to play the guitar without headaches is often a item of wedding cake.

 

 

 

The good qualities absolutely outnumber your cons concerning actually aren't downsides to begin with!!! Therefore cease waiting around to master to play the guitar, boogie your own cares away, worries for the next evening, let the songs enjoy, quit waiting around and initiate rockin' Currently!. Practice will make flawlessness. They are even sent to anyone free of transport charges. You can discover at your individual speed. Its not necessary a scheduled appointment.

Electric Guitar Career

Quality Electric Ranges Encourage Anyone To Bake Things You Never Dreamed About

A good quality electric range is an extremely desired product for the discerning cook. Even though your conventional electric range is nonetheless the most typical cooking home appliance, cooktops and wall ovens are expanding in reputation. Electric cooktops might be put in nearly every place, even though wall ovens supply an benefit too. They could be placed at nearly any degree, and eliminate bending even though checking your meal.



Conventional, freestanding electric ranges nonetheless have a spot within the contemporary kitchen. The smoothtop models rule that market place.The heat is shipped uniformly and no more swaying pans! Cleanup can be a breeze with all the smoothtop range. No replacing unsightly drip pans and scraping in confined locations to help keep your range clean.

Current additions to those home appliances, to add benefit, are cooking storage along with the major oven. Touch screen controls for setting stove temperatures make it fast and easy to make. Touch controls, rather than dials, for your cooktop settings are a convenient and desirable add-on. Generally, any good quality electric range will be an addition for your kitchen.

Following getting checked out conventional ranges, the versatility and beauty from the electric cooktop and wall oven are nonetheless high on the list. An electrical cooktop also provides you the identical capabilities as the smooth top electric ranges. It also has the ability to offer you the identical capabilities as the electric cookers, which some people think are the answer for slow cooking. A selection of temperatures, automated programable turn on and shut down times, and size of container getting used, are readily available in 1 appliance rather than having to purchase distinct size cookers and making use of them for only 1 purpose.

The benefit towards the partner towards the cooktop, the wall oven, will be the versatility with where it can go. Hassle-free eye level or waistline degree comfort.

A good quality electric range, cooktop or wall oven are readily available inside a variety for you to choose from.

Electric Guitar Career

What are Record labels?

Record labels are companies associated with the music industry. Many companies are involved with the production, marketing, distribution and manufacture and promotion of music. They provide the necessary infrastructure such as studios and help established singers as well as fresh ones to bring their musical products to the market.

Talent search

They sign contracts with the singers and ensure copyright protection of the musical CDs or videos. Many of these labels are major recording companies and their names along with other important details appear on the CD or record. Very often they conduct talent contests in order to scout and promote new talent in the industry. Aspiring singers can apply to these companies and book an audition.

Talent shows

Many of the music labels organize talent shows regularly in order to discover new talent. In these shows the company’s sponsor programs such as dancing, singing, drumming, and other musical instruments so that individual artistes can showcase their talent to the outside world. These days’ talent shows are also in the form of Reality shows on television where aspiring singers are given the opportunity to present their talent to a worldwide audience. Many shows such as The X Factor, Sa Re Ga Ma Pa, BritAsiaSuperStar, Airtel Super Singer, Pop stars, Idol Series and Got Talent Series have been sponsored and become great hits with the viewing public. As a result the participants have earned a huge fan following and many musical contracts with record labels too. Talent shows are organized by many web sites which present the talent of the local community. This can be viewed by millions of viewers online via the YouTube.

Talent Manager

Many individual record labels appoint managers to scout for talent. These managers discover new talent and give them professional advice on how to manage their career. They earn a commission for this service. The talent agents are a link between an individual aspirant and the record label. They give them important connections to further their musical career. They help them to sign contracts with music labels.

The record companies help song writers, singers, and instrumentalists in furthering their musical career.

Learn how record labels look for talent and how to attend talent shows. For more information, visit ReachFame at http://www.reachfame.com

Pursuing music….?

I don’t know where to start so I am asking for some advice. I am researching careers in music. I love listening to music. I have been playing the piano for 7 years and I want to learn how to play the guitar. Someday when I get older I’d love to mix my own music together with electric guitars, organ/keyboard, piano, vocals…etc. I know this would be a musician career but where do I start to learn the requirements of the job? I am looking for more information. I also want to know what I could do help me get started in the future.

1. Where should I look on the internet to learn about music careers?
2. If you have any experience being a musician, I’d love to hear what you have to say!

There’s alot of job you can do in music career, start on teaching (instrument, theory, apreciation, etc.), player (session player, live player), composer, arrangger, critician, etc.

if you’re trying to find in internet you’ll only find a little bit on the outer layer, i mean you won’t find anything serius/deep enough to help you. I suggest you to talk to someone that really know and understand about this, because it will be alot easier for you to ask and the person to explain it to you…

btw, if it’s really your passion, whye do you need to wait until you’re older? just start now…

if you want to be serius profesional musician (not just a bunch of celebrities, pop star), start with study more and more, about music theory, train your solfege, about musical form about history of music and aesthetics, harmony, melody, etc.
Analize the work of your favorite composers.

In music/entertainment industry, always start with a good relationship, especialy to have a relation to some one in the recording company or something like that…

If you need more help, just contact me: n_rue_7@yahoo.com

Hope this Help
Bless You

dueling banjos on six string electric guitar(one person)

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Ibanez Sv5470 Electric Guitar $1499.99 Ibanez SV5470 Electric Guitar

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Electric Guitar Cufflinks These Electric guitar cufflinks are approximately 3/4″ diameter, featured in a classic black and white enamel on a nickel plate, with a bullet back closure….

Mississippi Fred McDowell concert at Newport Folk Festival on 27 Jul 68 $6.98 Following the extraordinary backstage jam (also available here in the Concert Vault) that was piped live over the PA system prior to the July 27, 1968 evening performers, Newport Festival director George Wein, announced another unscheduled surprise to begin that evening’s program. On hand and eager to play a few numbers was one of the most important rural blues guitarists to come out of the 1960s blues revival, Mississippi Fred McDowell. At age 55, McDowell had been discovered in 1959, when he was first recorded by music historian, Alan Lomax. Those recordings, which would see release spread out over multiple compilations, Deep South-Sacred and Sinful and Yazoo Delta-Blues and Spirituals on the Prestige label; and Sounds of the South and Roots of the Blues issued by Atlantic Records, announced McDowell to a new legion of fans. These recordings would launch McDowell’s career as a professional musician. Two subsequent 1964 solo albums, released on Arhoolie and Testemant, would cement his reputation, leading to international touring the following year, where he encountered enthusiastic response everywhere he went. In America, McDowell became a frequent performer on the club and festival circuit. Although considered one of the great Mississippi Delta blues men, McDowell was originally from Tennessee, having relocated to Como, Mississippi, in the early 1940s, where he found steady work farming, while performing at local picnics and dances. McDowell would be among the first (if not the first) of the northern Mississippi blues musicians to achieve wide recognition for his music. Although one of his most ubiquitous quotes was the declaration, “I do not play rock ‘n’ roll,” he was not averse to playing an electric guitar. McDowell also took a personal interest in sharing his technique with younger rock and blues musicians. His influence can clearly be heard in subsequent blues recordings by younger Mississippi blues men like R.L. Burnside and Junior Kimbrough, and he per

Al Di Meola – Speak a Volcano: Return to Electric Guitar $17.99 Following a 30-year career made up of several different musical styles, guitarist Al Di Meola has made a name for himself in jazz and…

All Your Love I Miss Loving: Live at the Wise Fools Pub Chicago $16.98 Despite deservedly being one of the towering figures of Chicago blues guitar, Otis Rush’s recorded output has been both intermittent and inconsistent for various reasons. After his famed Cobra and Chess sides of the ’50s and very early ’60s, his career trudged along in first gear but it looked like he might break through in the ’70s with a handful of solid albums. For whatever reason, this was not to be and Rush virtually disappeared from the scene again until the mid-’90s (except for live albums of varying quality surfacing from time to time). All Your Love I Miss Loving: Live at the Wise Fools Pub Chicago is a recently unearthed live set from early 1976, originally recorded for Chicago’s WXRT Sunday Night Unconcert series, and immediately takes its place as one of Rush’s best live offerings for several reasons. First off, this was his working band of the time. Bob Levis, Bob Stroger, and Jesse Green all came on board in 1975 for Rush’s Delmark debut, Cold Day in Hell, and remained until at least the end of 1977 when Live in Europe and the unfortunately overdubbed and edited Lost in the Blues were recorded. Other live albums have been marred by fair to middling pickup bands. Not only is it his working band, it’s the first live Otis Rush album recorded on his own turf; Wise Fools Pub was just about the only Chicago club Rush played at regularly during this time. Excellent sound seals the deal.The sound is great and the band is clearly on its game, and this is a gritty live performance (which is decidedly not a drawback). There are some audible clams and a bit of feedback here and there, but Rush’s passionate singing and playing always carry things to the next level. Fully half the songs are longer than five minutes, giving Rush plenty of solo time. His guitar and vocals are way up front (as they should be), and the band provides perfect support. Alberto Gianquinto’s electric piano is pretty low in the mix but that’s probably as it should be as well, and this is q…

Berlin $11.98 Transformer and “Walk on the Wild Side” were both major hits in 1972, to the surprise of both Lou Reed and the music industry, and with Reed suddenly a hot commodity, he used his newly won clout to make the most ambitious album of his career, Berlin. Berlin was the musical equivalent of a drug-addled kid set loose in a candy store; the album’s songs, which form a loose story line about a doomed romance between two chemically fueled bohemians, were fleshed out with a huge, boomy production (Bob Ezrin at his most grandiose) and arrangements overloaded with guitars, keyboards, horns, strings, and any other kitchen sink that was handy (the session band included Jack Bruce, Steve Winwood, Aynsley Dunbar, and Tony Levin). And while Reed had often been accused of focusing on the dark side of life, he and Ezrin approached Berlin as their opportunity to make The Most Depressing Album of All Time, and they hardly missed a trick. This all seemed a bit much for an artist who made such superb use of the two-guitars/bass/drums lineup with the Velvet Underground, especially since Reed doesn’t even play electric guitar on the album; the sheer size of Berlin ultimately overpowers both Reed and his material. But if Berlin is largely a failure of ambition, that sets it apart from the vast majority of Reed’s lesser works; Lou’s vocals are both precise and impassioned, and though a few of the songs are little more than sketches, the best — “How Do You Think It Feels,” “Oh, Jim,” “The Kids,” and “Sad Song” — are powerful, bitter stuff. It’s hard not to be impressed by Berlin, given the sheer scope of the project, but while it earns an A for effort, the actual execution merits more of a B-. ~ Mark Deming, Rovi

Best of Judas Priest $12.75 Used – Note-for-note guitar transcriptions with tab for 15 hard, fast & loud hits spanning the illustrious career of this menacing Birmingham metal band. Includes: Breaking the Law * Burn in Hell * Cathedral Spires * Electric Eye * Freewheel Burning * The Green Manalishi * Heading Out to the Highway * Hell Bent for Leather * The Hellion * Hot Rockin’ * Living After Midnight * Ram It Down * Some Heads Are Gonna Roll * Turbo Lover * You’ve Got Another Thing Comin’.

Best of Judas Priest $29.2 New – Note-for-note guitar transcriptions with tab for 15 hard, fast & loud hits spanning the illustrious career of this menacing Birmingham metal band. Includes: Breaking the Law * Burn in Hell * Cathedral Spires * Electric Eye * Freewheel Burning * The Green Manalishi * Heading Out to the Highway * Hell Bent for Leather * The Hellion * Hot Rockin’ * Living After Midnight * Ram It Down * Some Heads Are Gonna Roll * Turbo Lover * You’ve Got Another Thing Comin’.

Best of Judas Priest $38.82 New – Note-for-note guitar transcriptions with tab for 15 hard, fast & loud hits spanning the illustrious career of this menacing Birmingham metal band. Includes: Breaking the Law * Burn in Hell * Cathedral Spires * Electric Eye * Freewheel Burning * The Green Manalishi * Heading Out to the Highway * Hell Bent for Leather * The Hellion * Hot Rockin’ * Living After Midnight * Ram It Down * Some Heads Are Gonna Roll * Turbo Lover * You’ve Got Another Thing Comin’.

Best of Judas Priest $13.01 Used – Note-for-note guitar transcriptions with tab for 15 hard, fast & loud hits spanning the illustrious career of this menacing Birmingham metal band. Includes: Breaking the Law * Burn in Hell * Cathedral Spires * Electric Eye * Freewheel Burning * The Green Manalishi * Heading Out to the Highway * Hell Bent for Leather * The Hellion * Hot Rockin’ * Living After Midnight * Ram It Down * Some Heads Are Gonna Roll * Turbo Lover * You’ve Got Another Thing Comin’.

Billy Bragg, Vol. 2 $81.98 The first four years of Billy Bragg’s recording career (1982 to 1986) were a blur of record releases that established the froggy-voiced “Bard from Barking” as perhaps the most powerful and engaging political songwriter to emerge since the “folk scare” of the 1960s. From 1988 on, however, Bragg had the difficult task of living up to his own legacy, and that proved to be no small task; as he stylistically outgrew the rough electric guitar and vocal textures of Brewing Up with Billy Bragg and Life’s a Riot with Spy vs. Spy, Bragg didn’t display the same immediate skill at “proper” record-making and took his time growing comfortable with the craft of the studio, and while he never ran out of things to write and sing about, as the 1980s faded into the 1990s his songs lost a certain amount of the sharp wit and keen focus that was second nature on his early records. (It also became clear the material was coming a lot more slowly, to boot.) This period of Bragg’s career is documented on Volume 2, the second box set compiled from Bragg’s back catalog, featuring expanded versions of four albums: 1988′s Workers Playtime, 1991′s Don’t Try This at Home, 1996′s William Bloke, and 2002′s England, Half English. While none of these albums can be called bad, very little of what’s featured on this set matches the consistent quality of the records compiled on the similar Volume 1 box, and even the best of the records featured here (Don’t Try This at Home) falls slightly short of the wit and fire of Bragg’s salad days. That said, while one has to pick and choose to find the pearls on Volume 2, they are certainly there, and Bragg has been generous with the bonus material on this set. Each album is accompanied by a bonus disc of demos, outtakes, single sides, and the like, and each is full of pleasant surprises for the completist (though they never quite equal the quality of the original albums) and offer an interesting look at how these albums came together. Volume 2 also comes…

Clarence Ashley & Doc Watson concert at Ash Grove on 09 May 63 $7.98 Since his passing in 1967, folk and country fans are left wondering if Clarence Ashley recognized the significance of his decision when he tapped Doc Watson to accompany him on a homespun recording session at the dawn of that decade. Ashley had already been performing in traveling medicine shows and recording for over 40 years when Harry Smith’s Anthology of American Folk Music made him an unlikely fixture on dorm room turntables. Of course, the college set could have found no better example of true Americana than this itinerant musician and farmer. As the folk revival gained momentum, Ashley was again asked to put his music to tape, and it was then that he made another lasting contribution to American music by enlisting the man who would become one of the most influential flat-pickers of all time. Doc Watson had been cutting up regional dancehall stages throughout the ’50s as an electric guitar player, but his popular debut came by way of his recordings with Ashley as an acoustic hero. This series of albums, along with an appearance at the Newport Folk Festival in 1963, introduced the world to Watson’s nimble picking and rich voice, beginning an illustrious career that has continued into the 21st century. Preserved here is a historic moment in their collaboration, bringing that old-timey sound to the fabled Ash Grove in Los Angeles. While the appreciation of the attendant audience at this 1963 performance may have been city-slick and politely academic, or perhaps stupefied by whatever controlled substances were making the rounds on line outside, the performance on stage that night was pure as sweet bourbon. Watson’s guitar is the foundation, providing a warm, rhythmic propulsion for Ashley’s percolating banjo and Fred Smith’s soaring and wheezing fiddle; the haunting murder ballad “Ellen Smith” is a fine example of this interplay. This music lives in their bones, and the blend of sounds is a testament both to the musicians and the tradition of song which they sh

Danny Gatton Signature Telecaster Electric Guitar with Hardshell Case $4280 Throughout his career, Danny Gattons explosive hybrid style of playing earned him many nicknames such as The Humbler, Telemaster, and the world's greatest unknown guitarist". His playing encompassed jazz, blues, and rockabilly, all wrapped up in an incomparable style that was truly his own. The vast majority of his most well-known work was done on his highly modified Fender Telecaster. Fender now offers an exact replica of his trusty Tele to you.This special Telecaster features a swamp-ash body true to his trademark 1953 Tele. The custom '50s-style U-shaped maple neck features a 22 vintage style frets and a 9.5 fingerboard radius which facilitates easier string bending. Another custom hot rod feature is the cubic zirconia side position markers which give a bright reflection under stage lights. The electronics feature a pair of custom Joe Barden Dual-Coil Tele Pickups which give a much hotter output than the Vintage-style Telecaster Pickups. The tone circuit is the vintage style Master Volume, Master Tone, 3-way switch configuration. Finally, this iconic Telecaster comes with a cable, strap, and a Tweed Fender Hardshell Case. Order your Fender Danny Gatton Signature Telecaster Electric Guitar from Sam Ash Direct today with the security of our 45/60 day return/price protection policy and be sure to take advantage of our fast, free shipping.

Dengue Fever Presents: Electric Cambodia $16.98 The band Dengue Fever have managed to build a career out of their obsession with Cambodian pop music of the 1960s and ’70s, and with this compilation, they’ve generously allowed fans to sample their treasure trove of rare recordings, rescued from battered cassettes brought back from visits to Southeast Asia. While the Sublime Frequencies label has been releasing fascinating compilations of Asian pop from this time period, the music on Electric Cambodia: 14 Rare Gems from Cambodia’s Past more closely walks a middle ground between the distinct melodic and vocal style of traditional Cambodian music and the insistent rhythms and electric instrumentation of Western pop and rock; instead of suggesting Asian folk music with some American pop added to the mix, these tunes tend to offer a more equal fusion of the two styles, and the creative and cultural mashups result in some inspired combinations. Highlights include the bright, kinetic sound of Ros Sereysothea’s “I Want to Shout” (complete with a killer guitar solo), the assured R&B shuffle of “Shave Your Beard” from the same act, “Give Me One Kiss” by Dara Chom Chan, which recalls an Asian girl group backed by a ska band, and several cuts from Pan Ron, including the polished but driving garage rock of “Don’t Speak,” some heavily rhythmic psychedelia with “Jombang Jet,” an appropriately melodramatic cover of Sonny Bono’s “Bang Bang (My Baby Shot Me Down)” dubbed “Snaeha,” and an untitled number that features some deadly fuzztone riffs Link Wray would admire. This music is wild and energetic fun, though it’s also a document of a short-lived era in Cambodian history that came to an end with the rise of Pol Pot and the Khmer Rouge, whose efforts to rid the nation of modern Western influences led to the death of nearly all the artists represented on this disc. If there’s a tragedy lurking behind this music, at least Electric Cambodia allows a wider audience to hear this remarkable music, and you don’t have to …

Donny Hathaway concert at Carnegie Hall on 30 Jun 73 $5.98 A smooth soul singer who injected rhythmic complexity, harmonic sophistication, and a jazzy sensibility into his ambitious arrangements, Donny Hathaway was a bona fide superstar during the ’70s. A romantic crooner capable of sanctified intensity on some of his more cathartic gospel flavored originals, Hathaway reached his commercial zenith as Roberta Flack’s duet partner on popular hits like “Where Is The Love?” and “The Closer I Get To You.” Unfortunately, his ascending career came to a tragic demise with his apparent suicide in 1979 at the age of 33. Hathaway’s appearance at Carnegie Hall for the 1973 Newport Jazz Festival in New York caught the multi-talented soul singer-composer-arranger-keyboardist at the peak of his powers, performing material from his ambitious new release, Extensions of a Man. Hathaway opens with the ebullient “Flying Easy,” an appealing precursor to smooth jazz which sounds like it might’ve served as the template for George Benson’s Breezin’, the guitarist-vocalist’s platinum-selling album from 1976 for Warner Bros. Records. Interestingly, the next tune on Hathaway’s set list, his inventive jazz fusion instrumental “Valdez in the Country,” was covered by Benson on his 1977 album, In Flight. Guitarist Lee Ritenour also covered the tune on a 1976 compilation presented by Guitar Player magazine and released on MCA Records. Clearly, Hathaway had his share of fans in music circles, as well as the general public. Switching from electric piano to grand piano, Hathaway next delivers the transcendent message song “Someday We’ll All Be Free” with spine-tingling, gospel inspired majesty. His lovely, Latin flavored instrumental “Nu-Po” (a slang reference to Newport) is a tune he wrote especially for the festival. Hathaway stretches out here and improvises in daring fashion on electric piano while his rhythm section cooks up an infectious Afro-Cuban groove underneath. Returning to his Extension of a Man album, Hathaway and his crew turn in a soulful

Dreams So Real $11.99 Performing the intricate music of Carla Bley is no mean feat, but if anyone is up for the challenge, it would be vibraphonist Gary Burton. Signifying a high watermark in his career in the mid-’70s, Dreams So Real teams Burton with his fellow professor at the Berklee College of Music Mick Goodrick, along with recently graduated student Pat Metheny. Add the peerless electric bass guitarist Steve Swallow and always proficient drummer Bob Moses, and you have the makings of a short-lived supergroup capable of playing Bley’s memorable, melancholy music. While generally regarded as one of many Burton/Metheny pairings, it is Goodrick’s individualism (it was he who primarily tutored Metheny) that needs more recognition. With Goodrick on electric six-string and Metheny on electric 12-string guitar, the sonorities they establish allow Burton to freely discourse on Bley’s prickly angular melodies. The brittle and fractured combo track “Ictus/Syndrome” — closer to a three-piece suite — goes from a frantic neo-bop meter to straight-ahead swing with a clearly inspired Burton rambling into the bright signature rondo sound that Metheny and Swallow have always owned. “Syndrome” might also be familiar to Bley’s fans as “Wrong Key Donkey.” “Doctor” merges the vibes and guitars into a guided prognosis of hypertension within slowly elevated blood pressure levels. “Intermission Music,” inspired by golden age films, is a beautiful waltz vehicle for the guitars rhythmically, and for Swallow and Moses melodically. With the bandmembers at their most passionate, the title track is a lighthearted but cerebral ballad, “Vox Humana” a simplified tango, while “Jesus Maria” evokes the delicate epic strains of Bley’s personalized sound with Burton playing it alone. While the singing sound of Metheny is in its infant stages, it is easily recognizable and clearly realized. Generally regarded as one of Burton’s top three recorded dates, it has stood the test of time. Perhaps some day,…

EJ160E John Lennon Advanced Jumbo Acoustic Electric Guitar $499 The EJ160E faithfully recreates the guitar used by John Lennon at the outset of the Beatles’ legendary career, and was featured on several of their hits. It has a mahogany body with a solid spruce top and full binding, mahogany neck with rosewood fingerboard and trapezoid inlays, vintage style chrome tuners, and a retro-looking Vintage Cherry finish. Why did John choose the original model back then? It’s got a mini humbucker pickup just past the neck joint with electric-style volume and tone knobs – something you won’t find often in an acoustic. To top things off, John’s signature graces the guitar’s top. Case not included. Mahogany back and sides Solid spruce top Mahogany neck Rosewood fingerboard with trapezoid inlays Mini humbucker pickup at neck position Volume and Tone knobs Rosewood bridge Vintage style tuners John Lennon signature on body at neck joint 25.5″ scale 1.725″ nut width Bound body Case not included Warranty:Part of the Gibson family of musical instruments, Epiphones are backed by a limited lifetime warranty.

Edwyn Collins $49.15 Used – High Quality Content by WIKIPEDIA articles! Edwyn Collins (born Edwyn Stephen Collins, 23 August 1959, Edinburgh) is a Scottish musician. His music is mostly electric guitar-driven pop. Collins formed the musical group Nu-Sonics in 1976, which became Orange Juice three years later. Orange Juice had a Number-8 hit single with “Rip It Up,” their only UK Top 40 single and biggest commercial success. In 1985, Orange Juice disbanded, and Collins has since pursued a solo career.

Edwyn Collins $69.6 Used – High Quality Content by WIKIPEDIA articles! Edwyn Collins (born Edwyn Stephen Collins, 23 August 1959, Edinburgh) is a Scottish musician. His music is mostly electric guitar-driven pop. Collins formed the musical group Nu-Sonics in 1976, which became Orange Juice three years later. Orange Juice had a Number-8 hit single with “Rip It Up,” their only UK Top 40 single and biggest commercial success. In 1985, Orange Juice disbanded, and Collins has since pursued a solo career.

Electric Guitar Man: The Genius of Les Paul $5.8 Used – Without the electronic guitar invented by Les Paul, music would never have been the same. In this biography of Pauls life and career, Edwin Brit Wyckoff shares how the rambunctious boy from Waukesha, Wisconsin, was propelled to stardom by his unrivaled playing ability and technological prowess. Revered by generations of musicians and fans, Paul and his inventions have forever changed the way music is produced, recorded, and enjoyed.

Electric Guitar Man: The Genius of Les Paul $21.56 New – Without the electronic guitar invented by Les Paul, music would never have been the same. In this biography of Pauls life and career, Edwin Brit Wyckoff shares how the rambunctious boy from Waukesha, Wisconsin, was propelled to stardom by his unrivaled playing ability and technological prowess. Revered by generations of musicians and fans, Paul and his inventions have forever changed the way music is produced, recorded, and enjoyed.

Electric Guitar Man: The Genius of Les Paul $2.17 Used – Without the electronic guitar invented by Les Paul, music would never have been the same. In this biography of Pauls life and career, Edwin Brit Wyckoff shares how the rambunctious boy from Waukesha, Wisconsin, was propelled to stardom by his unrivaled playing ability and technological prowess. Revered by generations of musicians and fans, Paul and his inventions have forever changed the way music is produced, recorded, and enjoyed.

Electric Guitar Man: The Genius of Les Paul $15.22 New – Without the electronic guitar invented by Les Paul, music would never have been the same. In this biography of Pauls life and career, Edwin Brit Wyckoff shares how the rambunctious boy from Waukesha, Wisconsin, was propelled to stardom by his unrivaled playing ability and technological prowess. Revered by generations of musicians and fans, Paul and his inventions have forever changed the way music is produced, recorded, and enjoyed.

Fender® 011-9600-805 Jeff Beck Stratocaster® Electric Guitar $1599.99 From his blistering British Invasion beginnings through his amazingly varied solo career and right up to today, Jeff Beck?s Stratocaster? Guitar has been an integral part of his signature sound. Now he has a signature Fender? instrument. The Jeff Beck Stratocaster? features a soft C-shaped neck and has a contoured heel for easier access to the higher registers. Further, it?s ?Wired” with Fender? Special Design dual-coil ceramic Noiseless pickups and straight-ahead five-way switching-Body: Alder -Neck: Maple, ?C” Shape, (Satin Urethane Finish) -Fingerboard: Rosewood, 9.5″ Radius (241 mm) -No. of Frets: 22 Medium Jumbo Frets -Pickups: 3 Dual-Coil Ceramic Noiseless Pickups -Controls: Master Volume, Tone 1. (Neck), Tone 2. (Middle, Bridge) -Pickup Switching: 5-Position Blade- Position 1. Bridge Pickup, Position 2. Bridge and Middle Pickup, Position 3. Middle Pickup, Position 4. Middle and Neck Pickup, Position 5. Neck Pickup -Bridge: American 2-Point Synchronized Tremolo with 6 Stainless Steel Saddles -Machine Heads: Fender? Deluxe Cast/Sealed Locking Tuning Machines -Hardware: Chrome -Pickguard: 3-Ply White -Scale Length: 25.5″ (648 mm) -Width at Nut: 1.6875″ (43 mm) -Unique Features: Thinner ?C” Shape Maple Neck, Contoured Heel for Easier Access to Upper Frets, LSR Roller Nut, Aged Knobs and Pickup Covers -Strings: Fender? Super 250L, Nickel Plated Steel, Gauges (.009, .011, .016, .024, .032, .042), P/N 073-0250-003 -Accessories: Vintage Tweed Case, Strap, Cable

G6120 Eddie Cochran Signature Hollow Body Electric Guitar with Hardshell Case $2550 Gretsch celebrates the legacy of rock n roll and rockabilly pioneer Eddie Cochran with the G6120 Eddie Cochran Signature Hollow Body model, based on the distinctively modified guitar that fueled Cochrans highly influential and all-too-brief career.Distinctive elements include a special open internal body design and the unique combination of a DynaSonic single-coil bridge pickup and Lindy Fralin dog ear single-coil neck pickup. Features include a three-ply arched maple top with parallel bracing and double-bound "F" holes; three-ply arched maple back and three-ply maple sides; two-ply body binding (white-black); two-piece maple neck with 9.5 radius, single-ply binding and polished brass nut; 22-fret rosewood fingerboard with western-themed pearloid inlays (cactus, steer heads and fences); single-ply headstock binding; translucent plexi pickguard with Gretsch logo; "G"arrow control knobs; compensated aluminum bridge with rosewood base; Bigsby B6GBVF tailpiece; gold and polished aluminum hardware; gold-plated Grover V98G Sta-Tite tuners; elegant Western Maple Stain finish and a deluxe hardshell case.

HAL LEONARD The Best of Bob Dylan Chord Songbook $16.99 From the folk troubadour to electric iconoclast, born-again preacher to elder statesman, Bob Dylan has sound-tracked the last 50 years in an unparalleled catalog of song. This collection contains 70 Dylan classics from every part of his career. Arrangements are in the same keys as the original recordings and include chord symbols, Guitar chord frames, and complete lyrics. -Songs Include: -All Along the Watchtower -Blowin’ in the Wind -Forever Young -Hurricane -It Ain’t Me Babe -Just like a Woman -Knockin’ on Heaven’s Door-Lay Lady Lay -Like a Rolling Stone -Mr. Tambourine Man -Rainy Day Women #12 & 35 -Tangled Up in Blue -The Times They Are A’Changin’ -And more-Instrumentation: Guitar

Hampton Hawes concert at Great American Music Hall on 28 Aug 76 $9.98 A key player on Central Avenue, Los Angeles’ equivalent to the fabled bebop strip of 52nd Street back in New York, pianist Hampton Hawes accompanied the likes of sax greats Wardell Gray, Dexter Gordon, and Teddy Edwards during the mid-to-late 1940s. A member of trumpeter Howard McGhee’s band from 1950 to 1951, he also played with Shorty Rogers and the Lighthouse All-Stars before serving a stint in the Army from 1952 to 1954. After being discharged from the service, he led his own trios around Los Angeles while also recording for the LA-based Contemporary label. His career, which was in ascendance at that point, came to a screeching halt in November of 1958, when he was arrested for heroin possession. After serving five years in jail (he was granted a presidential pardon by JFK in 1963, just three months before he was assassinated), Hawes returned to the scene with renewed energy and ideas, leading his own trios through the ’60s and experimenting with electric piano in the early ’70s. This 1976 Great American Music Hall appearance came a year after he had performed at the prestigious San Francisco venue in a duo setting with bassist Mario Suraci and two years after the publication of his revealing autobiography, Raise Up Off Me. Hawes stretches out considerably here on some probing vehicles in the company of guitarist Denny Dias and drummer Al Williams, both of whom were part of Hawes’ working quartet around this time. The electric bassist is probably Carole Kaye, the Los Angeles-based session player who recorded with Hawes during the mid-’70s. They open this GAMH concert with the mysterious modal number “Spanish Mood,” which is underscored by a Latin flavored electric bass groove from Carol Kaye and includes some intuitive exchanges between Hawes and Dias. The guitarist, a charter member of Steely Dan who also studied with jazz guitar great Billy Bauer, turns in a stellar solo on this evocative Hawes original. Next up is “The Sermon,” a midtempo swinger with a g

Hank Thompson (Musician) $69.6 Used – High Quality Content by WIKIPEDIA articles! Henry William Thompson (September 3, 1925-November 6, 2007), known professionally as Hank Thompson, was an American country music entertainer whose career spanned seven decades. He sold more than 60 million records worldwide. Thompson’s musical style, characterized as honky tonk Western swing, was a mixture of fiddles, electric guitar and steel guitar that featured his distinctive, smooth baritone vocals.

Hank Thompson (Musician) $49.15 Used – High Quality Content by WIKIPEDIA articles! Henry William Thompson (September 3, 1925-November 6, 2007), known professionally as Hank Thompson, was an American country music entertainer whose career spanned seven decades. He sold more than 60 million records worldwide. Thompson’s musical style, characterized as honky tonk Western swing, was a mixture of fiddles, electric guitar and steel guitar that featured his distinctive, smooth baritone vocals.

James Burton Telecaster Electric Guitar (Assorted Colors) $1699.99 To celebrate the career of a lifelong Tele player, Fender lets loose the flames! The unique finishes put this guitar in a class of its own, while the pickups and options give this guitar extra power under the hood. It has a poplar body, 60s U shaped solid maple neck and fingerboard, and 21 vintage style frets. It’s fitted with three James Burton custom pickups complete with the S-1 switching system for a tone like no other. Additional features include gold-plated Fender/Schaller deluxe tuners with pearl buttons and an American Vintage string-thru-body hardtail bridge. Comes with a Vintage Tweed case.

James Taylor concert at Cape Cod Coliseum on 30 Aug 75 $9.98 Recorded shortly after the release of James Taylor’s sixth album, Gorilla, these concerts were re-election benefits for Massachusetts Congressman Gerry Studds. An afternoon and evening show was presented, each featuring two sets by Taylor, with the Congressman addressing the audience between Taylor’s sets. Taylor had recently completed his summer tour and had returned home to Martha’s Vineyard a few weeks prior. His most recent albums, 1974′s Walking Man and 1975′s Gorilla, both showcased his more electric side, with the latter spawning two big hits, “Mexico” and his cover of Marvin Gaye’s classic, “How Sweet It Is.” On tour, he had been accompanied by his outstanding band, performing in large venues across North America. With that in mind, these performances are all the more special, as both are full length concerts performed entirely solo acoustic, something he had not done for some time. Performing before a relatively local audience, these concerts find Taylor in a relaxed mood, essentially playing before friends and neighbors. This brings out a thoroughly engaging performance that touches on every phase of his career up until that point and features many of his most beloved songs, both old and new. All six of his albums are represented over the course of this intimate evening and while the older classics sound as good as ever, it is often the newer material, stripped down to just acoustic guitar and vocals, that are the most intriguing. The first set of the afternoon show kicks off with “One Man Parade.” Immediately engaging and stripped down to its essence, this reveals what a fine acoustic guitar player Taylor really is. Venturing back to his 1968 Apple Records debut, he follows with a lovely “Brighten Your Night With My Day,” proving that he had a knack for writing distinctive melodies early on. Following a humorous bluesy little ditty for Coca Cola, the audience was treated to a true rarity, “I Can Dream Of You.” This is an introspective song written by

James Taylor concert at Cape Cod Coliseum on 30 Aug 75 $9.98 Recorded shortly after the release of James Taylor’s sixth album, Gorilla, these concerts were re-election benefits for Massachusetts Congressman Gerry Studds. An afternoon and evening show was presented, each featuring two sets by Taylor, with the Congressman addressing the audience between Taylor’s sets. Taylor had recently completed his summer tour and had returned home to Martha’s Vineyard a few weeks prior. His most recent albums, 1974′s Walking Man and 1975′s Gorilla, both showcased his more electric side, with the latter spawning two hits; “Mexico” and his cover of Marvin Gaye’s classic, “How Sweet It Is.” On tour, he had been accompanied by his outstanding band, performing in large venues across North America. With that in mind, these performances are all the more special as both are full length concerts performed entirely solo acoustic, something he had not done for some time. Performing before a relatively local audience, these concerts find Taylor in a relaxed mood, essentially playing before friends and neighbors. This brings out a thoroughly engaging performance that touches on every phase of his career and features many of his most beloved songs, both old and new. All six of his albums are represented over the course of this intimate evening and while the older classics sound as good as ever, it is often the newer material, stripped down to just acoustic guitar and vocals, that are the most compelling. Following a speech by Congressman Gerry Studds, James Taylor returns to the stage for his second set. Appropriately enough, he begins with “Hello Old Friend,” a song about living on Martha’s Vineyard, featured on his Walking Man album release from the previous year. This is followed by the relaxed groove of “Riding On A Railroad” and then “Blossom,” another Sweet Baby James classic. With one exception, this second set is identical to the second set of the afternoon show (also featured here on Concert Vault) and that exception is up next; a delightful r

James Taylor concert at Cape Cod Coliseum on 30 Aug 75 $7.98 Recorded shortly after the release of James Taylor’s sixth album, Gorilla, these concerts were re-election benefits for Massachusetts Congressman, Gerry Studds. An afternoon and evening show was presented, each featuring two sets by Taylor, with the Congressman addressing the audience between Taylor’s sets. Taylor had recently completed his summer tour and had returned home to Martha’s Vineyard a few weeks prior. His most recent albums, 1974′s Walking Man and 1975′s Gorilla, both showcased his more electric side, with the latter spawning two big hits, “Mexico” and his cover of Marvin Gaye’s classic, “How Sweet It Is.” On tour, he had been accompanied by his outstanding band, performing in large venues across North America. With that in mind, these performances are all the more special as both are full length concerts performed entirely solo acoustic, something he had not done for some time. Performing before a relatively local audience, these concerts find Taylor in a relaxed mood, essentially playing before friends and neighbors. This brings out a thoroughly engaging performance that touches on every phase of his career up until that point and features many of his most beloved songs, both old and new. All six of his albums are represented over the course of this intimate evening and while the older classics sound as good as ever, it is often the newer material, stripped down to just acoustic guitar and vocals, that are the most intriguing. This first set of the evening show begins with the beautiful Mud Slide Slim track, “You Can Close Your Eyes,” followed by the happy-go-lucky “Sunny Skies” off his Sweet Baby James album. These two songs set the relaxed, laidback tone for the remainder of the set. The One Man Parade that follows is particularly engaging, as this was primarily a full band song. Stripped down to its essence, this reveals what a fine acoustic guitar player Taylor really is. He then ventures back to his 1968 Apple Records debut, with a lovely “Bri

James Taylor concert at Cape Cod Coliseum on 30 Aug 75 $12.98 Recorded shortly after the release of James Taylor’s sixth album, Gorilla, these two concerts were re-election benefits for Massachusetts Congressman Gerry Studds. An afternoon and evening show was presented, with the Congressman addressing the audience between Taylor’s sets. Taylor had recently completed his summer tour and had returned home to Martha’s Vineyard just a few weeks prior. His most recent albums, 1974′s Walking Man and 1975′s Gorilla both showcased his more electric side, with the latter spawning two hits; “Mexico” and his cover of Marvin Gaye’s classic, “How Sweet It Is.” On tour, he had been accompanied by his outstanding band, performing in large venues across North America. With that in mind, these performances are all the more special as both are full length concerts performed entirely solo acoustic, something he had not done for some time. Performing before a relatively local audience, these performances find Taylor in a relaxed mood, essentially playing before friends and neighbors. This brings out a thoroughly engaging performance that touches on every phase of his career and features many of his most beloved songs, both old and new. All six of his albums are represented over the course of these two shows and while the older classics sound as good as ever, it is often the newer material, stripped down to just acoustic guitar and vocals, that are the most intriguing Following a speech by Congressman Gerry Studds, James Taylor returns to the stage for the second set of his afternoon performance. Appropriately enough, he begins with “Hello Old Friend,” a song about living on Martha’s Vineyard, featured on his Walking Man album release from the previous year. He follows up with his ode to Americana, “Riding on a Railroad” from his popular “Mudslide Slim and the Blue Horizon” album and then “Blossom,” another Sweet Baby James classic. The remainder of the set includes stripped down readings of “Migration” from the Walking Man album as well as “Ligh

Jeff Beck concert at Ambassador Theatre on 11 May 75 $9.98 After redefining electric guitar during his tenure in The Yardbirds, numerous outstanding permutations of The Jeff Beck Group, and a brief experiment with ex-Vanilla Fudge/Cactus alumni in Beck, Bogart & Appice, Jeff Beck disappeared from the public eye. When he returned in 1975 with his new album, Blow By Blow, it was immediately apparent that Beck was taking an entirely different approach. The album, produced by the legendary George Martin at his AIR Studios, was strictly an instrumental affair with the music clearly heading in a jazz-fusion direction. The results were nothing short of spectacular, gaining Beck a new legion of fans, and Blow By Blow would sail up the charts, soon to become one of the best selling instrumental albums of all time. When Beck took this exciting new material on the road, he assembled a stellar new quartet featuring the outstanding rhythm section of bassist Wilbur Bascomb and drummer Bernard Purdie. He wisely retained the services of keyboardist Max Middleton, the only mainstay from his previous groups. Middleton’s jazzy keyboard parts complimented much of Beck’s finest work from the early 1970s, and in this new band he inspired Beck to reach new levels of sophistication. Beck’s explorations into this new genre of music were immediately distinctive and would in retrospect prove to be the commercial peak of a long and illustrious career. This recording, from when Jeff Beck and The Mahavishnu Orchestra took to the road together, captures this new era perfectly. Much of the Blow By Blow album is here when it was fresh and new. Even when Beck dips back into his catalogue, older songs are given an altogether new instrumental treatment, bringing out delightful nuances and making them entirely new experiences. This set, recorded at St. Louis’ Ambassador Theater, was the final night of the first leg of the North American Blow By Blow Tour, when both Jeff Beck and John McLaughlin’s Mahavishnu Orchestra toured the continent together, providin

Jeff Beck concert at Masonic Temple Theatre on 09 May 75 $9.98 After redefining electric guitar during his tenure in the Yardbirds, numerous outstanding permutations of the Jeff Beck Group and following a brief experiment with ex-Vanilla Fudge/Cactus alumni in Beck, Bogart & Appice, Jeff Beck disappeared from the public eye. When he returned in 1975 with his new album, Blow By Blow, it was immediately apparent that Beck was taking an entirely new approach. The album, produced by the legendary George Martin at his AIR Studios, was strictly an instrumental affair and was clearly heading in a jazz-fusion direction. The results were nothing short of spectacular, gaining Beck a new legion of fans, and Blow By Blow would sail up the charts, soon to become one of the best selling instrumental albums of all time. When Beck took this exciting new material on the road, he assembled a stellar new quartet featuring the outstanding rhythm section of bassist Wilbur Bascomb and drummer Bernard Purdie. He wisely retained the services of keyboardist Max Middleton, the only mainstay from his previous groups. Middleton’s jazzy keyboard parts complimented much of Beck’s finest early 1970s work, and in this new band he inspired Beck to reach new levels of sophistication. Beck’s explorations into this new genre of music were immediately distinctive and would in retrospect prove to be the commercial peak of a long and illustrious career. This recording, when Jeff Beck and the Mahavishnu Orchestra took to the road together, captures this new era perfectly. Much of the Blow By Blow album is here, when it was fresh and new. Even when Beck dips back into his catalogue, older songs are given an altogether new instrumental treatment, bringing out delightful nuances and making them entirely new experiences. This set, recorded at Detroit’s Masonic Temple Theatre, kicks off with the humorously titled, “Constipated Duck.” Just prior, one can here Beck preparing to do battle with a choice expletive aimed at his guitar. This opener showcases a wide range of gu

Jeff Beck concert at Riverside Theatre on 10 May 75 $9.98 After redefining electric guitar during his tenure in the Yardbirds, numerous outstanding permutations of the Jeff Beck Group and following a brief experiment with ex-Vanilla Fudge/Cactus alumni in Beck, Bogart & Appice, Jeff Beck disappeared from the public eye. When he returned in 1975 with his new album, Blow By Blow, it was immediately apparent that Beck was taking an entirely different approach. The album, produced by the legendary George Martin at his AIR Studios, was strictly an instrumental affair and was clearly heading in a jazz-fusion direction. The results were nothing short of spectacular, gaining Beck a new legion of fans, and Blow By Blow would sail up the charts, soon to become one of the best selling instrumental albums of all time. When Beck took this exciting new material on the road, he assembled a stellar new quartet featuring the outstanding rhythm section of bassist Wilbur Bascomb and drummer Bernard Purdie. He wisely retained the services of keyboardist Max Middleton, the only mainstay from his previous groups. Middleton’s jazzy keyboard parts complimented much of Beck’s finest early 1970s work, and in this new band he inspired Beck to reach new levels of sophistication. Beck’s explorations into this new genre of music were immediately distinctive and would in retrospect prove to be the commercial peak of a long and illustrious career. This recording, when Jeff Beck and the Mahavishnu Orchestra took to the road together, captures this new era perfectly. Much of the Blow By Blow album is here, when it was fresh and new. Even when Beck dips back into his catalogue, older songs are given an altogether new instrumental treatment, bringing out delightful nuances and making them entirely new experiences. This set, recorded at Milwaukee’s Riverside Theater, kicks off with the humorously titled, “Constipated Duck.” This is a great opener as it showcases a wide range of guitar sounds and techniques. Beck vacillates between screaming psychosis and

Jimi Hendrix, Electric Gypsy: Jimi Hendrix $13.04 Used – The young Jimmy Hendrix was an Elvis Presley fan, worked a paper route, and obtained his first guitar for five dollars. A mere decade and a subtle name change later, he was to spearhead the 1960s rock revolution and become the icon for a generation. Harry Shapiro’s in-depth study of the guitarist’s life and times takes us on an atmospheric journey through Hendrix’s Seattle childhood, his brief career in the Army, his musical apprenticeship in various R&B bands, and his discovery by Chas C

Jimi Hendrix, Electric Gypsy: Jimi Hendrix $12.73 Used – The young Jimmy Hendrix was an Elvis Presley fan, worked a paper route, and obtained his first guitar for five dollars. A mere decade and a subtle name change later, he was to spearhead the 1960s rock revolution and become the icon for a generation. Harry Shapiro’s in-depth study of the guitarist’s life and times takes us on an atmospheric journey through Hendrix’s Seattle childhood, his brief career in the Army, his musical apprenticeship in various R&B bands, and his discovery by Chas C

Junior Brown $67.2 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Jamieson “Junior” Brown (born June 12, 1952) is an American country guitarist and singer. He has released nine studio albums in his career, and has charted twice on the Billboard country singles charts. Brown’s signature instrument is the “guit-steel” double neck guitar, a hybrid of electric guitar and lap steel guitar. Brown was born in Grandview, Texas. He firs

Junior Brown $48.25 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Jamieson “Junior” Brown (born June 12, 1952) is an American country guitarist and singer. He has released nine studio albums in his career, and has charted twice on the Billboard country singles charts. Brown’s signature instrument is the “guit-steel” double neck guitar, a hybrid of electric guitar and lap steel guitar. Brown was born in Grandview, Texas. He firs

L-200 Emmylou Harris Acoustic Electric Guitar with Hardshell Case $2999 The big sound and classy look, but in a smaller package.Legendary singer-songwriter Emmylou Harriss love of Gibson Jumbo acoustics is well documented. From her duets with country-rock pioneer Gram Parsons and his 1960s J-200which she still ownsto her custom-painted pink J-200 which she used exclusively on her 1985 album The Ballad Of Sally Rose, Harris career has been distinguished by her close association with Gibson. That friendship endures today with the L-200 Emmylou Harris acoustic guitar, a model that captures the big sound and classy look of Gibsons SJ-200, but in a smaller package designed to meet the performance and travel demands of any artist. First introduced in 2002, the L-200the inspiration for Gibsons CJ-165 linefeatures a body design that is smaller and thinner than the SJ-200, but braced to produce the powerfully balanced, natural sound so closely associated with it.Gold Gotoh Pearloid Keystone Button TunersGibsons L-200 Emmylou Harris features Gotohs pearloid keystone button tuners. With a gear ratio of 15:1, these Gotoh tuners deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage, with a special lubricant inside the gear box for smooth and accurate tuning stability.Crown Peghead LogoGibson put the first crown peghead logo on an ES-300 back in 1940, and it has graced the headstocks of many legendary Gibson guitars ever since, including todays L-200 Emmylou Harris . Over the years, it has also been called a thistle because of the group of flowering plants with the sharp prickles, though Gibson has preferred to call it a crown.PickguardThe tortoise pickguard for the L-200 Emmylou Harris is Gibsons standard jumbo-style shape, with a beautiful cream floral and vine design and 10 mother of pearl dots. As with all of Gibson Acoustics pickguards, the coloring, inlay, and binding are all done by hand.RosetteA rosette is

Les Paul Chasing Sound (DVD) $23.74 As seen on PBS! The inventor of the famous Les Paul guitar talks candidly about his life and achievements in this documentary. Learn the stories behind his groundbreaking work with electric guitars, multi-track recording, as well as his life-long music career.

Les Paul: Guitar Wizard $8.06 New – This addition to the Badger Biographies series for young readers tells the story of Les Paul, the legendary “Wizard of Waukesha,” who pioneered the solid body electric guitar and many other musical inventions. After leaving his hometown of Waukesha at 17 to pursue a musical career, the budding jazz guitarist lived in Chicago, New York, and Los Angeles, finding new audiences and new musical partnerships. This Grammy Hall of Fame inductee died in 2009, making” Les Paul: Guitar Wizard “a time

Les Paul: Guitar Wizard $8.36 New – This addition to the Badger Biographies series for young readers tells the story of Les Paul, the legendary “Wizard of Waukesha,” who pioneered the solid body electric guitar and many other musical inventions. After leaving his hometown of Waukesha at 17 to pursue a musical career, the budding jazz guitarist lived in Chicago, New York, and Los Angeles, finding new audiences and new musical partnerships. This Grammy Hall of Fame inductee died in 2009, making” Les Paul: Guitar Wizard “a time

Les Paul: Guitar Wizard $8.06 Used – This addition to the Badger Biographies series for young readers tells the story of Les Paul, the legendary “Wizard of Waukesha,” who pioneered the solid body electric guitar and many other musical inventions. After leaving his hometown of Waukesha at 17 to pursue a musical career, the budding jazz guitarist lived in Chicago, New York, and Los Angeles, finding new audiences and new musical partnerships. This Grammy Hall of Fame inductee died in 2009, making” Les Paul: Guitar Wizard “a tim

Les Paul: Guitar Wizard $8.36 Used – This addition to the Badger Biographies series for young readers tells the story of Les Paul, the legendary “Wizard of Waukesha,” who pioneered the solid body electric guitar and many other musical inventions. After leaving his hometown of Waukesha at 17 to pursue a musical career, the budding jazz guitarist lived in Chicago, New York, and Los Angeles, finding new audiences and new musical partnerships. This Grammy Hall of Fame inductee died in 2009, making” Les Paul: Guitar Wizard “a tim

Lightnin’ Hopkins and Bernie Pearl concert at Ash Grove on 08 May 66 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly twenty different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982 recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin Recor

Lightnin’ Hopkins concert at Ash Grove on 05 May 66 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982, recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and the mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander, and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin R

Lightnin’ Hopkins concert at Ash Grove on 06 May 66 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982, recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and the mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander, and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin R

Lightnin’ Hopkins concert at Ash Grove on 06 May 66 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982, recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and the mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander, and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin R

Lightnin’ Hopkins concert at Ash Grove on 07 May 66 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins who, over the course of his career, recorded for nearly twenty different labels. A country blues artist of the highest caliber, he recorded more than 85 albums between between his earliest recordings in 1946 to his death in 1982, seeing the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander; both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Allad

Lightnin’ Hopkins concert at Ash Grove on 22 Aug 67 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982 recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander, and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin Record

Lightnin’ Hopkins concert at Ash Grove on 24 Mar 67 $9.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who recorded more than 85 albums between his earliest recordings in 1946 to his death in 1982, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and the mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander, and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin Re

Lightnin’ Hopkins concert at Ash Grove on 28 May 65 $7.98 Of all the influential Texas blues men, none were more prolific than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982 recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins’ popularity would wax and wane over the course of nearly five decades of recording, but he remains an essential influence on American music and has inspired countless musicians with his style and originality. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander. Both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Alladin Records ta

Lightnin’ Hopkins concert at Ash Grove on 29 May 65 $6.98 Of all the Texas blues men, none were more prolific or influential than Sam “Lightnin’” Hopkins, who over the course of his career, recorded for nearly 20 different labels. A country blues artist of the highest caliber, who between his earliest recordings in 1946 to his death in 1982 recorded more than 85 albums, Hopkins saw the blues genre change considerably over the course his career. However, he never strayed far from his trademark soulful and mournful sound that he perfected on both acoustic and electric guitar. Hopkins’ intricate boogie riffs resonated with musicians and fans alike, and his seemingly boundless ability for lyrical improvisation made nearly every live performance a unique experience. This penchant for spontaneous creativity gave his performances a sense of immediacy and relevance unlike many of his peers and endeared him to audiences everywhere he went. Hopkins was born in Centerville, Texas in 1912, one of Abe and Frances Hopkins’ six children. Upon the death of his father, when Hopkins was three years old, his mother relocated the family to Leona. By age eight, Hopkins made his first cigar-box guitar and within two years was performing locally with his brothers John Henry and Joel. In 1920, Hopkins met the legendary bluesman Blind Lemon Jefferson at a social function and struck up a friendship. Still a teenager, Hopkins also began working with his cousin, singer Texas Alexander and both Alexander and Jefferson would provide the early encouragement that would begin fueling his ambition. Hopkins’ musical partnership with his cousin was interrupted by a mid-1930s sentencing to the Houston County Prison Farm, but upon his release, Hopkins reunited with Alexander. In 1946, while performing as a duo, they caught the ear of Aladdin Records talent scout, Lola Anne Cullum. Uninterested in Alexander, Callum’s vision was to introduce Hopkins to pianist Wilson “Thunder” Smith, recreate Hopkins as “Lightnin’,” and have “Thunder & Lightnin’” become Al

Loose in L.A. $14.98 Captured on tour for their Loose Screw album, this gig, recorded during one typical show at L.A.’s Wiltern Theater on February 27, 2003, is a vivid and uncluttered document of the band closing in on its third decade. Original members Martin Chambers on drums and ringleader Chrissie Hynde are joined by longtime guitarist Adam Seymour (turning in a stunning performance), bassist Andy Hobson (who sounds fine but looks like he’d rather be doing something else), and keyboardist Zeben Jameson (who gets hardly any camera time). Hynde is her usual feisty self; strutting around the stage like she owns it, brandishing a barely audible electric guitar and introducing the less-familiar songs. She even blurts out “I hate sports!” with no apparent provocation or reason other than she just thought of it. Except for the exclusion of “The Wait,” from the set list, this is a well-chosen trawl through the band’s extensive back catalog. Seven tracks from the new album share space with the expected hits and some rarities like “Biker” (from 1999′s under-heard Viva El Amor) and “The Homecoming,” a song originally included only in the G.I. Jane movie and soundtrack. There are no gimmicks, no props, no smoke, fancy lights, or guest stars. Just a great road-tested band churning through a two-hour show with spunk and an obvious appreciation for their dedicated audience. A few missteps are left in, including one false start that Hynde comments will probably be cut for the DVD. It’s not, which shows that this group acknowledges their talent and isn’t afraid to take chances or even look foolish. Some unnecessary backstage footage and a too brief interview with Hynde are the disc’s only extras. Tighter and arguably more exciting than at any time in their 25-year (and counting) career, the Pretenders don’t need to rely on anything but their songs and musical skills to prove they are one of the most durable outfits in rock history. ~ Hal Horowitz, Rovi

Marc Bolan VOS Les Paul Electric Guitar with Hardshell Case $4999 With his glam-rock looks and pop-metal hooks, Marc Bolan led his band T. Rex into the stratosphere in the late '60s and early '70s, and his customized Gibson Les Paul was the fuel that propelled it all skyward. Dressed in a simplicity that gave them a broad and infectious appeal, songs like "Ride a White Swan," "Get It On (Bang a Gong)," "Jeepster," "Metal Guru," "Children of the Revolution" and "20th Century Boy" were laced through with addictive riffs and crunching rhythm guitar that sounded consistently massiveand hooked burgeoning metal-heads and teeny-boppers alike. Bolan's star burned out far too soon when he died in a car accident in Southwest London in 1977 shortly before his 30th birthday, but his music and its influence have remained strong over the intervening decades.To honor this star's legacy, Gibson Custom introduces the Marc Bolan Les Paul, a detailed recreation of the much-modified Les Paul that accompanied Bolan throughout the height of his career. With its replacement Custom Model neck and headstock (added to Bolan's late-'50s Les Paul when its original neck was broken in the early '70s), un-covered humbucking pickups including zebra-coil neck unit, and stripped "Bolan Chablis" finish, the Marc Bolan Les Paul is the spitting image of the iconic original. Add in its superior neck and body tonewoods, period-correct design and construction, and accurate PAF-style humbucking pickups, and this great Artist Model also nails the meaty, rich tone of its legendary inspiration.The Marc Bolan Les Paul will be produced in a strictly limited run, including 100 hand Aged guitars, and a further 350 aged with Gibson Custom's acclaimed VOS process. Each will include an Artist Model Certificate of Authenticity, a plush-lined hardshell case, a vintage replica guitar strap, and owners and warranty literature.Order yours from Sam Ash Direct today with the secu

Marshall Crenshaw concert at Stone Pony on 16 Feb 01 $9.98 As a true believer in rock ‘n’ roll’s power to transcend and transform, Marshall Crenshaw has maintained a stubborn fidelity to his creative muse, merging craftsmanship and passion to build an impressive and enduring body of work. Now, at the 25th anniversary of his landmark 1982 debut album, the Detroit-bred singer/songwriter/guitarist continues to craft classic pop tunes that blend the innocence of rock ‘n’ roll’s early years, the melodic sophistication of classic Brill Building pop, and an emotional complexity that’s rooted in a deep insight into the joy and pain of human experience. These days, Crenshaw is creating some of the strongest work of his career, still seemingly incapable of writing a song that doesn’t feature a killer hook and/or uncover some grain of universal truth – and still delivering those compositions with a refreshing absence of trickery or artifice. In 2000, Crenshaw, whose live shows have long been high-spirited celebrations of straight ahead electric rock ‘n’ roll, began alternating his rock gigs with acoustic performances – usually solo but sometimes with a small combo. The stripped-down format was something of a revelation, allowing the artist to explore his songs in completely untapped ways – to deliver “Someday, Someway,” for example, as either a bluegrassy rave-up or a bracing solo singalong. Stripped to their essentials, the songs confirm the compositional and emotional depth that, along with his trademark buoyant hooks and surging melodies, has always been a constant in Crenshaw’s work. The material is complemented by the intimate living-room vibe, with the spacious arrangements allowing the listener to appreciate the artist’s subtly superlative guitar work and the understated emotional commitment of his singing. “It’s really challenging,” Crenshaw has said of the unplugged approach. “You have to get up there and really be there. No coasting. You can’t let your mind wander for one second. And it just got me thinking about the songs

Mike Bloomfield concert at Record Plant on 10 Nov 74 $9.98 One of America’s greatest white blues musicians, Mike Bloomfield initially earned his reputation as the pioneering guitar player in the original Paul Butterfield Blues Band, influencing nearly every guitarist who heard him. His impressive work with Butterfield led to his recruitment into many other projects, most notably Dylan’s transition into electric rock music, where his expressive, fluid soloing propelled Dylan’s music into a whole other realm. Bloomfield then went on to found what can arguably be considered America’s first supergroup, Electric Flag, a seminally important band that became the critical link between the Chicago and San Francisco sounds of the late 1960s. Bloomfield’s mastery of lead guitar during this era was second to none, and his astounding abilities displayed that he was equally adept at playing sweet and soulful as he was at stinging lead lines. Following the demise of the Flag, Bloomfield became increasingly uncomfortable with the reverential guitar hero treatment. His distaste for fame, a chronic health bout with insomnia and his hard drug use all contributed to increasingly erratic behavior and to him shying away from the limelight. He consciously pursued a lower-profile career into the 1970s, primarily playing club gigs in and around San Francisco and lending his name and guitar prowess to his friends’ recording projects. He also began releasing a number of low-visibility albums for smaller labels that displayed a more traditional, less adventurous blues focus. This Record Plant recording, featuring Bloomfield and very notable friends, captures this later era perfectly. It’s a relaxed affair, where Bloomfield cuts loose only occasionally and is quite content to support his friends. It is a rather incredible cast of characters that Bloomfield has assembled here. Mark Naftalin, his comrade from the original Butterfield Band is on board, as are Nick Gravenites and Barry Goldberg from the Electric Flag. Added to this is the exemplary rh

Nick Oliveri $70.8 Used – High Quality Content by WIKIPEDIA articles! Nick Steven Oliveri (born October 21, 1971 in Los Angeles) is an American musician from Palm Desert, California. He plays bass guitar, acoustic guitar, electric guitar, and is a vocalist. His main music project is Mondo Generator, which he has fronted since 1997. He is most widely known for his work with Queens of the Stone Age. Oliveri began his career in 1987 with John Garcia, Brant Bjork, Josh Homme and Chris Cockrell under the band name Katz

Nick Oliveri $49.9 Used – High Quality Content by WIKIPEDIA articles! Nick Steven Oliveri (born October 21, 1971 in Los Angeles) is an American musician from Palm Desert, California. He plays bass guitar, acoustic guitar, electric guitar, and is a vocalist. His main music project is Mondo Generator, which he has fronted since 1997. He is most widely known for his work with Queens of the Stone Age. Oliveri began his career in 1987 with John Garcia, Brant Bjork, Josh Homme and Chris Cockrell under the band name Katz

Nils Lofgren – Electric & Acoustic Guitar $21.99 Nils Lofgren has earned his place among guitar greats, embarking upon a successful solo career after an auspicious beginning playing…

Nils Lofgren concert at Record Plant on 31 Oct 75 $9.98 Nils Lofgren was still establishing himself on the musical turf when he recorded this rare and exciting concert on KSAN-FM’s “Live From The Record Plant” series on Halloween night, 1975. Lofgren had finished a run in the band Grin (with his brother Tom) and was an on-again/off-again member of Neil Young & Crazy Horse when he landed a solo deal on A&M Records. Though Lofgren never had a massive chart-topping hit that made him a household name, he did have a strong fan-base and enough success as a sideman for Young (and later Bruce Springsteen), that by the mid-1970s, his career had garnered serious noteworthy attention by music-industry insiders. Although this show conveys Lofgren in the spotlight singing all the lead vocals, what made him such an in-demand sideman was his ability to provide brilliant guitar playing and effective backing vocals. Although many of his fans feel he had the talent and the songs to be a solo superstar, Lofgren has always seemed content with his career, and he never fails to deliver good solid performances. Although this band is not as hot as his ’77 line-up (which included Rev Patrick Henderson on piano), Lofgren and company give shining performances on these songs that would eventually become the basis of his solo set lists. Opening with the simple and very short “Take You To The Movies,” (featuring only Lofgren and his electric guitar), it gets a jump-start with “Back It Up,” and “Keith Don’t Go,” a one/two punch combination of the best rockers Lofgren ever wrote. The latter was written about Keith Richards, Lofgren’s most influential musical icon. It was penned during a time when Richards and Jagger were sparring in the press, and Lofgren had heard Keith would be leaving the Stones. In the end, of course, Richards never left and this song would end up getting Lofgren more radio airplay than any other in his career. Even if you don’t like Lofgren’s smooth vocals and tasty guitar licks, this recording should be checked out for the

Pat Travers concert at Ritz on 10 Nov 82 $9.98 Pat Travers has been playing blistering blues/rock guitar on the international music scene for three decades. Although he has never attained the success of Stevie Ray Vaughan or Eric Clapton, he has had a very accomplished career supported by a base of incredibly loyal fans and critics. This recording is classic Travers, taken a few years after he had his biggest radio success with “Boom, Boom Out Goes The Lights.” And while Travers only had a few big radio hits in the late 1970s, he had been touring for eight years when this recording was made for the King Biscuit Flower Hour, and his popularity was at its peak. Travers first emerged in 1976 (in between the eras of Robin Trower and Stevie Ray Vaughan) and was considered one of the hottest axemen on the scene, especially during the early ’80s. This show was recorded while Travers was promoting his eighth LP for PolyGram, Black Pearl. Travers offers up a high energy set that also includes “The Fifth,” “Rockin’,” “Snortin’ Whiskey (And Drinkin’ Cocaine),” “I La La La Love You” (from the Valley Girls soundtrack) and his signature closer, “Boom, Boom Out Goes The Lights.” Another highlight is “Amgwanna Kick Booty” and Travers’ crankin’ remake of the “Who’ll Take The Fall,” also from Black Pearl. This show was recorded with a new band that Travers had assembled during the recording of Black Pearl, and they would prove to be the backing band that had the most impact on his audiences. Travers emerged out of the competitive Toronto club scene when Canada was just beginning its onslaught of international talent when acts like Rush, Bryan Adams, Lover Boy, Red Rider, and Triumph were all coming into prominence. “I just picked up an electric guitar when I was 14 and started playing,” says Travers. “That was when I got into my first band, a high school band. Then I played in bar bands for about five years, up in Canada.” “I played with a guy named Ronnie Hawkins, who used to have what became the Band as his original back up

Paul Austin Kelly $41.05 Used – High Quality Content by WIKIPEDIA articles! Paul Austin Kelly (born 1960) is an American opera tenor and former rock musician who also writes, records and performs music for children.When Kelly began his music career he was more likely to be found holding an electric guitar than an opera score and fronted bands with names such as Legend, Black Dog and Guilded Spice. He attended Rondout Valley High School in New York and the Hartt School of Music in West Hartford, Connecticut. Kelly sang a

Paul Austin Kelly $70.8 Used – High Quality Content by WIKIPEDIA articles! Paul Austin Kelly (born 1960) is an American opera tenor and former rock musician who also writes, records and performs music for children.When Kelly began his music career he was more likely to be found holding an electric guitar than an opera score and fronted bands with names such as Legend, Black Dog and Guilded Spice. He attended Rondout Valley High School in New York and the Hartt School of Music in West Hartford, Connecticut. Kelly sang a

Paul Kossoff 1959 VOS Les Paul Electric Guitar with Hardshell Case $7332 The 1959 Gibson Les Paul Standard has been in the hands of many Rock & Roll icons and is widely considered to be the Holy Grail among guitar aficionados. Guitar icons such as Eric Clapton, Peter Green, Jimmy Page, Keith Richards, and Jeff Beck has all made their indelible stamp in history while wielding Les Pauls from the late 50s. Paul Kossoff is from this lineage of legends, and he blazed his own trail to rock immortality during his years as the lead guitarist of Free; one of the biggest selling bands in the late 60s and early 70s. Though his career was tragically cut short, he left his mark and his influence is still felt today. Gibson has recreated his favorite instrument and is making it available to you.In cooperation with the Kossoff estate, Gibson Custom has gained access to this incredible Les Paul in order to painstakingly recreate it in strictly limited numbers. Digitally scanned, measured and tested in England by Gibson Custom, this guitar has been examined in intimate detail in order to recreate the tone, look and feel of this iconic instrument. The result, presented by Gibson Custom is the Paul Kossoff 1959 Les Paul Standard VOS, of which 250 will be produced.The Paul Kossoff 1959 Les Paul Standard figured two-piece carved maple top paired with a solid, one-piece, lightweight mahogany body. The Cherry Sunburst finish has been aged to give a Green Lemon hue. Gibsons VOS aging process delivers just the right amount of vintage vibe and gives the guitar that comfortable, well worn-in feel and look. The neck is carved from quarter-sawn mahogany and features a rosewood fingerboard with aged acrylic trapezoid inlays complimented by aged cream colored binding along the edges of the fingerboard.Crucial to Kossoffs unmistakable tone were Gibsons Patent Applied For humbucking pickups. The Paul Kossoff 1959 Les Paul Standard VOS is equipped with a pair of Custom Buckers wound with the characteristic mismatched, potted coils of 42-AWG plain-enamel coated wire,

Peter Frampton’s Camel concert at Academy of Music on 04 May 73 $5.98 Following modest success in the mid-1960s in the Herd and increasing popularity during his five-album tenure in Humble Pie, in 1971 lead guitarist Peter Frampton embarked on a solo career. At the time, many fans questioned his departure as Humble Pie was just breaking through to American audiences with the release of the studio album Rock On, followed by the two album set Rockin’ The Fillmore, a raw exuberant live album that captured the original Pie lineup at the peak of their powers and showcased Frampton’s guitar playing in a most positive light. Over the course of the next several years, Frampton released several promising albums, which gradually increased his profile but failed to capture the immediacy and excitement of his live performances. For his first album, 1972′s self-produced Winds of Change, Frampton recruited an all-star cast of friends including Ringo Starr, Billy Preston, and former Herd partner Andy Bown, in addition to engineer Chris Kimsey, who had also engineered Pie’s Rock On album. Kimsey helped Frampton better emphasize his acoustic guitar playing and lush melodic sensibilities. For his second album, Frampton’s Camel, which also became the name of his touring group, Frampton refocused on creating a true band sound. Assisted by Mick Gallagher, whose driving organ and tasteful piano work became the other prominent element, Frampton delivered a second album containing first-rate material, including the original much shorter studio version of “Do You Feel Like We Do?,” a group composition that would become a permanent staple of classic rock radio three years later (in highly expanded form on the Frampton Comes Alive album). The Frampton’s Camel album also contained harder edged electric guitar work than its predecessor in addition to Frampton’s acoustic work, striking a better balance. As had been the case in Humble Pie, Frampton’s Camel (and Frampton’s subsequent solo work in general) was best heard live on stage. Unfortunately, few professio

Rapture of the Deep $24.98 Deep Purple’s 2005 album Rapture of the Deep generally maintains the quality of 2003′s surprisingly sturdy Bananas. It’s the second release from the re-energized lineup of vocalist Ian Gillan, guitarist Steve Morse, bass guitarist Roger Glover, drummer Ian Paice, and keyboardist Don Airey, who replaced the retired Jon Lord. The band’s comfort level has increased, and after nearly a decade onboard, Morse’s stamp is all over the place. At first, this guitar genius’ presence was noticeable because of what it lacked — the incredibly distinctive Fender Stratocaster electric guitar tone of Ritchie Blackmore. Thus, sometimes Deep Purple didn’t sound like Deep Purple. However, the variety of tones Morse incorporates in his style gives the pioneering heavy metal quintet more sonic weaponry. Airey’s long, respectable career as a journeyman keyboardist-for-hire pretty much guaranteed he would largely adopt Lord’s organ-based style, at least at first, but he has expanded his sound on Rapture of the Deep too. “Money Talks,” “Girls Like That,” and “Wrong Man” ride strong riffs and rhythms into decent grooves. “Rapture of the Deep” floats along on a lightly hypnotic wave. The mature ballad “Clearly Quite Absurd” has a lilting, controlled tempo, and it’s the biggest surprise on the album; Gillan’s singing is appropriately subdued while Airey’s piano supplies the beauty and Morse’s gradually ascending riffs toward the end build the tension. “MTV” is a vicious, bile-spewing, all-out attack on how the modern music industry treats classic rock/heritage artists, although in 2005 Deep Purple clearly appeals more to VH1 Classic than MTV. Initially, the song risks biting the hand that feeds by correctly criticizing classic rock radio for not playing new music by veteran artists. The last verse is a cannon blast that pummels clueless, uninformed disc jockeys who, during interviews, butcher artists’ names (“Mr. Grover ‘n’ Mr. Gillian”), get facts wrong (misinterpreting the …

Richie Kotzen $52.8 Used – High Quality Content by WIKIPEDIA articles! Richie Kotzen (born February 3, 1970 in Reading, Pennsylvania) is an American guitarist, singer, and songwriter. At a young age, Richie Kotzen was taken by music and first began playing piano at the age of five. At the age of seven he was inspired by New York City band KISS to learn the electric guitar. Relentlessly developing chops and his own unique voice on the guitar, he started his career in a band named Arthurs Museum. Kotzen was eventuall

Richie Kotzen $38.65 Used – High Quality Content by WIKIPEDIA articles! Richie Kotzen (born February 3, 1970 in Reading, Pennsylvania) is an American guitarist, singer, and songwriter. At a young age, Richie Kotzen was taken by music and first began playing piano at the age of five. At the age of seven he was inspired by New York City band KISS to learn the electric guitar. Relentlessly developing chops and his own unique voice on the guitar, he started his career in a band named Arthurs Museum. Kotzen was eventuall

Roger McGuinn concert at Mahopac on 17 Mar 84 $9.98 Roger McGuinn will forever be recognized for his pioneering musical efforts in The Byrds and for being one of the first to recognize the potential of Bob Dylan’s songs within a rock music context. However, his greatest and longest-lasting influence may be his development of two innovative styles of playing electric guitar. McGuinn was not only responsible for introducing the jangly highly compressed ringing Rickenbacker sound, based on banjo finger picking, but he was also one of the first musicians to merge the free-jazz atonalities of John Coltrane into popular music by applying it to the electric guitar, a sound clearly heard on the Byrd’s classic 1966 single, “Eight Miles High.” A gifted interpreter, as well as a talented songwriter, McGuinn has been at the center of several significant stylistic movements, including the initial electrification of folk music and the merging of country and rock ‘n’ roll music, both long before they were accepted or popular. McGuinn has also been ahead of the curve when it comes to technology, being one of the first musicians to embrace the internet and utilizing it to preserve the traditions of folk music, with his Folk Den Project on his own website. During the 1980′s, McGuinn devoted much of his time to touring solo acoustic, performing at intimate venues and college campuses. Without a record label, and traveling without a crew other than his wife Camilla, McGuinn continues to pursue his musical career on his own terms. In 1984, McGuinn again hit the road as the opener for fellow former Byrd David Crosby, performing a delightfully engaging set primarily comprised of familiar Byrds-era songs. This recording captures one of those 1984 sets in its entirety, when McGuinn opened for Crosby at The Mohopac Auditorium in March of 1984, a venue he had also played 13 years prior with The Byrds. McGuinn’s set is structured like a virtual travelogue, featuring engaging monologues between each song. His talent as a storyteller ties all o

Santana and McLaughlin concert at Berkeley Community Theatre on 05 Sep 73 $3.98 In 1973, guitarists John McLaughlin and Carlos Santana were both venturing down a similar path. Both had become disciples of the spiritual teacher, Sri Chimnoy and they were both actively pursuing a spiritual path within their music. Both musicians also held the music of John Coltrane in the highest regard and these common interests led them to collaborate on an album. That recording, “Love, Devotion, Surrender” was greeted with mixed reactions at the time, but there was no denying that it contained some of the most blistering guitar playing ever committed to tape. For Santana, the album was a serious departure from the Latin-flavored rock that his fans had embraced, but was clearly a signpost to where he was heading. McLaughlin was already one of the most respected jazz guitarists on the planet and had been directly involved in some of the most influential music of the past few years, having played with Miles Davis during his transition into electric music and with his own group, Mahavishnu Orchestra. The album was not for the faint of heart or the casual listener. The depth of concentration between the musicians was difficult to fathom at first, but repeated listening revealed that these musicians had indeed tapped into something very special. In retrospect, the jazz-rock fusion recorded for this album holds up rather well and the brief tour that occurred in support of the album contained some the most inspired performances of either guitarist’s career. Two of the most memorable concerts of that tour occurred at the intimate Berkeley Community Theater. This late show begins with the plaintive and delicate “Meditation,” setting a tone of quite contemplation. This transitions into the first serious exploration, “The Life Divine.” This complex composition is not unlike McLaughlin’s work with Mahavishnu Orchestra, containing a heavy emphasis on rhythm with a freeform jazz quality running throughout. It vacillates between moodiness and an infectious funkiness. Altho

Santana and McLaughlin concert at Berkeley Community Theatre on 05 Sep 73 $4.98 In 1973, guitarists John McLaughlin and Carlos Santana were both venturing down a similar path. Both had become disciples of the spiritual teacher, Sri Chimnoy and they were both actively pursuing a spiritual path within their music. Both musicians also held the music of John Coltrane in the highest regard and these common interests led them to collaborate on an album. That recording, Love Devotion Surrender was greeted with mixed reactions at the time, but there was no denying that it contained some of the most blistering guitar playing ever committed to tape. For Santana, the album was a serious departure from the Latin-flavored rock that his fans had embraced, but was clearly a signpost to where he was heading. McLaughlin was already one of the most respected jazz guitarists on the planet and had been directly involved in some of the most influential music of the past few years, having played with Miles Davis during his transition into electric music and with his own group, Mahavishnu Orchestra. The album was not for the faint of heart or the casual listener. The depth of concentration between the musicians was difficult to fathom at first, but repeated listening revealed that these musicians had indeed tapped into something very special. In retrospect, the jazz-rock fusion recorded for this album holds up rather well and the brief tour that occurred in support of the album contained some the most inspired performances of either guitarist’s career. Two of the most memorable concerts of that tour occurred at the intimate Berkeley Community Theater. The early show begins with the plaintive and delicate “Meditation,” setting a tone of quiet contemplation. This transitions into the first serious exploration, “The Life Divine.” This complex composition is not unlike McLaughlin’s work with Mahavishnu Orchestra, containing a heavy emphasis on rhythm with a freeform jazz quality running throughout. It vacillates between moodiness and an infectious funkiness. Although th

Sonny Rollins concert at New Paltz on 09 May 76 $7.98 Born in 1930 in New York City, American tenor saxophonist Sonny Rollins began his musical career as a young teenager in the early 1940s. Initially influenced by the jump and rhythm and blues sounds of musicians like Louis Jordan, Rollins soon developed a more progressive individual style that utilized the strong sonority of Coleman Hawkins and the lighter flexible phrasing of Lester Young. Drawing these two styles together, Rollins established his reputation as a fluid post-bop improviser with a strong resonant sound. Recognized by piano legend Thelonious Monk when Rollins was still in his late teens, Rollins would prove to be one of the greatest improvisers of the hard bop era, eventually recording alongside contemporaries such as Miles Davis, John Coltrane, Art Blakey and Max Roach, among others. Rollins would outlive all of these legends and continues recording and performing up to the present day, becoming one of the most prolific and influential jazz musicians of his generation. Frustrated with the business side of the music industry, Rollins began a sabbatical in the late 1960s, where he stopped performing in public and traveled to Japan and India to pursue studies in yoga, meditation, and spiritual philosophy. When he returned to America and began recording and performing again in 1972, he began embracing modern instrumentation, including electric guitar and bass, and his new music now had distinct elements of R&B, funk and pop rhythms thrown into the mix. This transition into an electric context was controversial at the time but like Miles Davis, Rollins ignored the critics and his traditionalist fan base to pursue his own direction. This performance, recorded in 1976 at the State University of New York in New Paltz may not be a major addition to Rollins’ impressive legacy, but it is a fine example of this controversial era. Recorded after his earlier electric experimentation on the albums The Cutting Edge and Nucleus, but prior to the sessions for his 1976

Stephane Grappelli concert at Great American Music Hall on 19 Mar 76 $9.98 An elegant improviser whose lilting lines are imbued with a vivacious spirit of swing and tender lyricism, legendary violinist Stephane Grappelli had a long and distinguished career that began in the mid ’30s with the Hot Club of France Quintet (featuring Gypsy jazz guitar great Django Reinhardt) and continued well into the 1990s. An inductee in the Down Beat Hall of Fame, Grappelli received a Lifetime Achievement Grammy Award in 1997. The influential Parisian jazzman, who was 68 at the time of this Great American Music Hall concert, is accompanied by UK guitarists and ardent Django-philes Diz Disley and Ike Isaacs and American bassist Brian Torff on this set of Swing era staples. And the grand old man of violin is in vintage form throughout the set. Following some humorous introductory remarks from Disley (including a dis of Chicago and a putdown of electric basses by way of introducing upright bassist Torff), they jump into a lively take on Jimmy McHugh’s jaunty “I Can’t Believe You’re in Love with Me,” a tune introduced in 1927 by Cliff “Ukulele Ike” Edwards (the voice of Jiminy Cricket in the 1940 Disney film classic, Pinocchio) and later popularized by Billie Holiday. Grappelli’s violin work here is dazzling and coy at the same time, full of elaborate curlicues and imbued with an undeniable sense of swing. Isaacs’ guitar solo is sadly off-mic and, therefore, barely audible (unfortunate since the rest of the mix here is so resonant and brimming with rich, even tones). From that snappy opener they launch right into a bristling uptempo reading of the Richard Rodgers-Lorenz Hart number “This Can’t Be Love” (from the 1938 Broadway musical The Boys from Syracuse). The violin maestro nonchalantly double times the lines here while digging into his fiddle with rare abandon on this unbridled swinger. Disley’s guitar solo here is strictly in a Djangoesque tradition. From pure burn to sublime ballad, they segue to a tender rendition of the lovely Jerome Kern ballad “Smok

Terri Clark Signature Acoustic Electric Guitar (Natural) $699.99 After hitting the charts at number one with the hit tune Easy on the Eyes, Terri Clarks career has been on the rise and now she can add Fender Signature Artist to her numerous awards and hit records! The Terri Clark Signature acoustic has a AA solid spruce top with Rosewood back and sides, exquisite Abalone inlays, and a look and sound that is nothing but Terri. Also features Fishman Matrix electronics and Antique Silver finish machines. Includes case.

The Best of Bob Dylan Chord Songbook $12.99 New – From the folk troubadour to electric iconoclast, born-again preacher to elder statesman, Bob Dylan has sound-tracked the last 50 years in an unparalleled catalog of song. This collection contains 70 Dylan classics from every part of his career. Arrangements are in the same keys as the original recordings and include chord symbols, guitar chord frames, and complete lyrics. Songs include: All Along the Watchtower * Blowin’ in the Wind * Forever Young * Hurricane * It Ain’t Me Babe * Just lik

The Best of Bob Dylan Chord Songbook $12.99 Used – From the folk troubadour to electric iconoclast, born-again preacher to elder statesman, Bob Dylan has sound-tracked the last 50 years in an unparalleled catalog of song. This collection contains 70 Dylan classics from every part of his career. Arrangements are in the same keys as the original recordings and include chord symbols, guitar chord frames, and complete lyrics. Songs include: All Along the Watchtower * Blowin’ in the Wind * Forever Young * Hurricane * It Ain’t Me Babe * Just li

The Best of Bob Dylan Chord Songbook $12.74 New – From the folk troubadour to electric iconoclast, born-again preacher to elder statesman, Bob Dylan has sound-tracked the last 50 years in an unparalleled catalog of song. This collection contains 70 Dylan classics from every part of his career. Arrangements are in the same keys as the original recordings and include chord symbols, guitar chord frames, and complete lyrics. Songs include: All Along the Watchtower * Blowin’ in the Wind * Forever Young * Hurricane * It Ain’t Me Babe * Just lik

The Best of Bob Dylan Chord Songbook $12.74 Used – From the folk troubadour to electric iconoclast, born-again preacher to elder statesman, Bob Dylan has sound-tracked the last 50 years in an unparalleled catalog of song. This collection contains 70 Dylan classics from every part of his career. Arrangements are in the same keys as the original recordings and include chord symbols, guitar chord frames, and complete lyrics. Songs include: All Along the Watchtower * Blowin’ in the Wind * Forever Young * Hurricane * It Ain’t Me Babe * Just li

The Best of Bob Dylan Chord Songbook- Guitar Chord Songbook $17.09 From the folk troubadour to electric iconoclast, born-again preacher to elder statesman, Bob Dylan has sound-tracked the last 50 years in an unparalleled catalog of song. This collection contains 70 Dylan classics from every part of his career. Arrangements are in the same keys as the original recordings and include chord symbols, guitar chord frames, and complete lyrics. Songs include: All Along the Watchtower Blowin' in the Wind Forever Young Hurricane It Ain't Me Babe Just like a Woman Knockin' on Heaven's Door Lay Lady Lay Like a Rolling Stone Mr. Tambourine Man Rainy Day Women #12 & 35 Tangled Up in Blue The Times They Are A'Changin' and more.

The Blues Rolls On $16.98 Bishop hops labels once again, this time to the relatively young and scrappy Delta Groove imprint, while calling up some names in his obviously well-stocked Rolodex to assist on his first predominately studio album in three years. Like most guest studded affairs, this is an inconsistent but enjoyable romp. It also works as a career recap of sorts with Bishop revisiting “Yonder’s Wall,” a tune from his Butterfield Blues Band days (with Ronnie Baker Brooks and Tommy Castro), along with the Southern styled party sound that proved so commercially viable during his ’70s Capricorn affiliation, in addition to other covers. He strips things down for a solo musical life history in “Oklahoma,” an electric, educational traipse through his back pages from his early years in the titular state, set against stark, distorted boogie guitar. He taps the youngsters in the Homemade Jamz Blues Band, another Delta Groove signing, for a cool grooving version of Junior Wells’ “Come On in This House,” and features John Nemeth on vocals for three tracks and harp on the closing midtempo Jimmy Reed instrumental “Honest I Do,” apparently the first blues song a young Bishop heard on his transistor radio as a child in Oklahoma. Fellow boogie man George Thorogood squares off with Bishop and takes lead vocals for a frolic through Hound Dog Taylor’s “Send You Back to Georgia,” and Bishop references his Capricorn days with current Allman Brothers Band guitarists Derek Trucks and Warren Haynes on a reworked “Struttin’ My Stuff.” B.B. King stops by for a short interview that leads into a jazzy, swinging cover of Roy Milton’s “Keep a Dollar in Your Pocket,” a song King was familiar with from his old Memphis DJ days. R.C. Carrier and Andre Thierry shift the proceedings to a bluesy, zippy zydeco on “Black Gal.” As you can see, the album is pieced together from a variety of sessions in different locations, resulting in a patchwork set that, despite many excellent and above all enthusiast…

The Byrds concert at Concertgebouw on 07 Jul 70 $9.98 Despite being one of the most unstable American bands of the 1960s, The Byrds were also one of the most creative, innovative and influential. Right from the start, the group’s music would have an impact both on their own influences like The Beatles and Bob Dylan, as well as on subsequent generations of country and alternative rock bands. The Byrds’ striking vocal harmonies and the jangly timbre of Roger McGuinn’s Rickenbacker guitar would fuel their early hits and become the building blocks of a sound that remains compelling to the present day. Unlike most American rock bands of the era that first established their reputations on stage, The Byrds initially established their reputation in the studio. Over the course of their decade-long career and numerous personnel changes, this would gradually reverse itself. It is no wonder that this occurred, as Roger McGuinn, Clarence White, Gene Parsons and Skip Battin had become the most enduring lineup of The Byrds, performing and recording together from September of 1969 well into 1972, shortly before the ill-fated reunion project of the original five members commenced. Both critics and fans universally agreed that this early-1970s lineup was far more accomplished in concert than any previous configuration of The Byrds. They would find wildly enthusiastic audiences nearly everywhere they played, especially in Europe where their popularity had never really waned. Ironically, as the group became accomplished performing musicians, they would simultaneously experience decreasing satisfaction with their studio recordings. Regardless, the live performances benefited from both old and new music, and The Byrds certainly had a wealth of acoustic and electric material on which to develop their concert repertoire. Performing songs from throughout their wide-ranging career, they were one of very few bands capable of forging both a spiritual and musical unity between the two decades. Much credit goes to Roger McGuinn for maintaini

The Byrds concert at Concertgebouw on 07 Jul 70 $9.98 Despite being one of the most unstable American bands of the 1960s, The Byrds were also one of the most creative, innovative and influential. Right from the start, the group’s music would have an impact both on their own influences like The Beatles and Bob Dylan, as well as on subsequent generations of country and alternative rock bands. The Byrds’ striking vocal harmonies and the jangly timbre of Roger McGuinn’s Rickenbacker guitar would fuel their early hits and become the building blocks of a sound that remains compelling to the present day. Unlike most American rock bands of the era that first established their reputations on stage, The Byrds initially established their reputation in the studio. Over the course of their decade-long career and numerous personnel changes, this would gradually reverse itself. It is no wonder that this occurred, as Roger McGuinn, Clarence White, Gene Parsons and Skip Battin had become the most enduring lineup of The Byrds, performing and recording together from September of 1969 well into 1972, shortly before the ill-fated reunion project of the original five members commenced. Both critics and fans universally agreed that this early-1970s lineup was far more accomplished in concert than any previous configuration of The Byrds. They would find wildly enthusiastic audiences nearly everywhere they played, especially in Europe where their popularity had never really waned. Ironically, as the group became accomplished performing musicians, they would simultaneously experience decreasing satisfaction with their studio recordings. Regardless, the live performances benefited from both old and new music, and The Byrds certainly had a wealth of acoustic and electric material on which to develop their concert repertoire. Performing songs from throughout their wide-ranging career, they were one of very few bands capable of forging both a spiritual and musical unity between the two decades. Much credit goes to Roger McGuinn for maintaini

The Early Years Of The Les Paul Legacy 1915-1963 $38 Journey through the career of musical giant, milestone guitarist, and recording innovator Les Paul, and marvel at the world of cutting-edge guitar design! This book, along with its companion book The Modern Era of the Les Paul Legacy 1968-2007 (Fall 2008) emerged out of author Robb Lawrence's years of research, interviews, extensive vintage archives (including original Les Paul/Mary Ford articles, press photos, music and recordings), and gorgeous original photography. It's all here: the factory pictures, the designers, the electronics; the first experimtela Log and Clunker guitars, stories of the various Goldtops, the humbucking pickup evolution, and over 80 pages dedicated to the heralded '50s Sunburst Standard. Exclusive interviews with Les Paul, as well as Michael Bloomfield and Jeff Beck. A beautiful and insightful book on a legendary inventor, musician and his partnership with Gibson to make the world's most-cherished electric guitar.

The Singer and His Songs $25.25 New – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $19.01 Used – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $18.05 Used – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $19.01 New – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $18.05 New – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $23.4 Used – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $23.4 New – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

The Singer and His Songs $25.34 Used – The first time Chris Wild sees an electric guitar, it is as if he has found a long-lost friend. As soon as he touches the smooth surface of the guitar and his fingers wrap around its neck, his life changes forever. It is the mid-1950s in Australia when Chris realizes he possesses a musical gift and joins the teenage band, the Offenders-never realizing he has just embarked on a life-spanning career. Forced to leave the Offenders behind when his family emigrates to Canada, Chris never hears

USED: Identified $2.99 Ever savvy, Disney started launching the post-High School Musical careers of the franchise’s stars while it was still in full swing by having Ashley Tisdale and Vanessa Hudgens make albums with a more mature sound than most Radio Disney fare. Hudgens’ debut album, V, was her first step toward a less overtly Disney-affiliated career: released by the studio’s Hollywood label, it used Christina Aguilera’s soulful pop as a template; even if its songs were a bit faceless, they had surprisingly sophisticated production values. Almost two years passed between V and its follow-up, Identified. That’s a long time in Disney terms, especially considering how quickly they release anything related to star attractions like High School Musical. Identified isn’t drastically different from V — Hudgens still sings about love, dancing, and hanging with her girls, and once again, the production outclasses the songs and the singing. With work by Kasz Money’s Doctor Luke, Benny Blanco, and J.R. Rotem, the album sounds more playful, more elaborate, and trendier than it has to: “Last Night” builds from a bouncing beat into whispered backing vocals, acoustic slide guitar licks, and warm electric pianos, while “First Bad Habit” segues from chugging electric guitars to breathy electro-pop and back again. Borrowing from Gwen Stefani, Nelly Furtado, Fergie, and Rihanna, Identified plays like a simulation of a state-of-the-art pop album. However, strangely for an album named Identified, these songs skip from sound to sound, hoping that some of them will stick. Hudgens just doesn’t have the presence or pipes to pull off a hip-hop-tinged dancefloor anthem like “Hook It Up” or an intimate ballad like “Paper Cut,” which feels like a Disneyfied version of Leona Lewis’ “Bleeding Love.” The best moments here turn Hudgens’ weaknesses into strengths: her vocals aren’t powerful, but they are malleable, perfect for tweaking into fembot pop like “Amazed” and the title track. Though there are …

USED: Johnny Cash Remixed $5.98 Johnny Cash earned his legendary status with his music and his life. In a career that stretches from the dawn of commercial country and pop music to the dawn of the 21st century, he made his rep as an artist of uncommon integrity. Too bad the same can’t be said for his record labels. Even before he passed, his music was subjected to a massive repackaging and reissue program, and Johnny Cash Remixed continues the trend, with the expected unfortunate results. Who knows what Cash thought about hip-hop, but it’s hard to believe he would have enjoyed this bastardization of his work. The collection was produced by John Carter Cash and Snoop Dogg, and while it has its amusing moments, the original Sun Recordings Cash made in the 50s will still sound timeless long after the junk on this album has faded from memory. “I Walk the Line” gets smothered by Snoop Dogg’s big, bass heavy production; “Get Rhythm” is transformed into an electro-funk track with the original track broken into snippets and sprinkled onto the pounding backbeats; “Doin’ My Time” sounds like a soul band cover with Cash making a brief “appearance” near the end of the track; Alabama 3, the guys who recorded the song that became the theme for The Sopranos use a snippet of “Leave That Junk Alone” but reinvent the track as their own. Machine Drum’s “Belshazzar” remix leeches all the drama out of the song, and Apparat’s take on “I Heard That Lonesome Whistle Blow” also tries to make a desolate song more desolate by adding industrial sound effects, but the effort is wasted. On the positive tip, as the kids would say, there’s Count de Money’s remix of “Big River,” which adds a few dub effects and an electric guitar solo that isn’t bad, but is unnecessary. Sonny J’s “Country Boy” breaks up Cash’s solo and makes it sound like a rap, complemented by gospel-esque female vocals, while on “Folsom Prison Blues,” Pete Rock adds slide guitar (probably from Carter Cash) and a thumping club beat, but th…

USED: KIND HEARTED WOMEN 996 $3.99 Each successive Michelle Shocked album marks a departure from its predecessor, and her fifth album, Kind Hearted Woman, was true to that in more ways than one. Shocked endured an acrimonious split from Mercury Records following her controversial 1992 album Arkansas Traveler and began selling an early self-released version of Kind Hearted Woman at her shows and by mail order on March 25, 1994. (The 1996 version under consideration here was re-recorded for retail release by Private Music. This is the so-called black edition, since the cover is black with a white line drawing. The earlier version is called the white edition and features a white cover with a black line drawing.) Following an album on which she worked with a different name band on nearly every track, Shocked took things back to basics, recording with just her own electric guitar for accompaniment on several tracks, plus selective use of a rhythm section and harmony vocals on others. That was appropriate to a set of slow-tempo, minor-key compositions treating rural scenes and desperate circumstances. Like Bruce Springsteen on his Nebraska album, Shocked was concerned with what sounded like Depression-era issues of poverty and hard times in the heartland, beginning with the story song “Stillborn,” a portrait of a midwife heading home after delivering a dead infant. A dead toddler was the subject of “A Child Like Grace”; a boy lost his father to a bolt of lightning in “Eddie”; and death loomed elsewhere as Shocked surveyed the lives of poor farmers and cattlemen. Her defense against a world in which God made grave mistakes and didn’t care was a typical sense of flippancy and outright defiance. In words that might have acknowledged her recent career struggles, she sang in “The Hard Way,” “I always believed I ran away but now I know I was told to go. Maybe it worked out better this way. What could you say I didn’t already know?” And the final song, “No Sign of Rain,” found her “Fanning my desi…

USED: Love in Time $9.99 Shortly before his death from prostate cancer in 2007, Dan Fogelberg completed his final studio album, locked it in a safe deposit box, and directed his wife to release it after his passing. Long considered one of the landmark artists of the ’70s smooth singer/songwriter genre, the Illinois native released very little new material in his last decade, making the classic sound contained on Love in Time all the more welcome. Full of songs that could easily sit alongside his biggest hits such as “Longer Than,” “Same Old Lang Syne,” and “Leader of the Band,” the album pairs Fogelberg’s soothing voice and expert songcraft with just the right amount of subtle instrumental backing. “Come to the Harbor,” with its jaunty strumming and electric sitar motif, sounds like Cat Stevens’ “Peace Train” meets the Beatles’ “Norwegian Wood,” while “Sometimes a Song” is a quintessential Fogelberg love ballad, with a stick-in-the-head melody and spare, acoustic guitar-based accompaniment. A cover of Neil Young’s “Birds” is dressed with gorgeous Eagles-esque vocal harmonies and serves as a poignant and chill-inducing closer, its final — and in this case literal — lyric, “it’s over,” seeming to echo long after the song ends. A gentle, finely crafted, and passionately performed album, Love in Time is a career coda both satisfying and bittersweet. ~ Pemberton Roach, Rovi

USED: Skull Ring $4.99 One of the key rules of rock & roll is there are some artists you can never count out — no matter how many lame records they may make, no matter how misguided their career direction might seem, they always hold the promise that they’ll jump back in the loop and deliver the goods again. Iggy Pop delivered a solid one-two punch (for the first time in a while) with Brick by Brick and American Caesar in 1990 and 1993, but after ten years and three major duds in a row (the uninspired Naughty Little Doggie and the strikingly faulty Avenue B and Beat ‘Em Up), you just had to wonder if maybe the World’s Forgotten Boy had finally lost the magic touch for good. Of course, Iggy’s career had always offered plenty of opportunities for such thinking, and just as he had in the past, Iggy came back to shut down the disbelievers with a solid slice of prime rock & roll called Skull Ring. The big news is that, on four cuts, Skull Ring marks Pop’s first studio collaboration with the Stooges since Raw Power in 1973, and thankfully Ron Asheton’s gloriously primal guitar riffs sound as brilliant as ever, and mix with Iggy’s bestial wail like gin and tonic; if “Little Electric Chair” and “Skull Ring” don’t quite pick up where Fun House left off, they make it clear the monster that is the Stooges can still shake the Earth when they have a notion. If the rest of Skull Ring doesn’t quite reach the same level of solar plexus impact as the Stooges cuts, Iggy flies high enough on the rock juice that this set blasts like an M-80 from start to finish; Iggy’s road band, the Trolls, redeem themselves after their cringe-worthy debut on Beat ‘Em Up, electro-punk diva Peaches proves she’s just libidinous enough to keep up with Iggy (and they goad one another into truly glorious rudeness), Green Day back the godfather of punk with spunk, enthusiasm, and lots of energy, and even Sum 41 give as good as they get (which is a lot more than you might expect from them). Skull Ring doesn’t always captur…

USED: The Meat of Life $9.98 After a few years of instability when the group’s future was in doubt, Clem Snide are back and in clearly recognizable form on their seventh studio album, The Meat of Life, which finds the core trio of Eef Barzelay (guitar and vocals), Brendan Fitzpatrick (bass and keyboards), and Ben Martin (percussion) joined by guest musicians Tony Crow (keyboards), Roy Agee (trombone), and Carole Rabinowitz (cello). With the band in stable circumstances, for the most part Clem Snide pick up where they left off with Soft Spot and End of Love; except for a few moments where the electric guitars get pushed into overdrive on “BFF” and “Walmart Parking Lot,” The Meat of Life faces Barzelay’s darkly comic lyrics against melodies that wouldn’t have felt out of place on a ’70s soft rock session, with acoustic pianos and tasteful guitar lines providing the aural framework for stories of romantic angst and languid depression. Barzelay is seemingly incapable of singing without appearing to drip with irony, but the 12 songs on The Meat of Life never sound as if the band is forcing the joke, and the subtle balance between the polish of the music and the rough, dour textures of Barzelay’s voice adds something close to poignancy, reflecting the arid, busted lives at the heart of these songs. In many respects, The Meat of Life covers musical territory that Clem Snide have explored in the past, and this album is short on surprises for anyone who has been following the group’s career. But Barzelay’s songs are good, the ensemble playing is subtle and beautifully executed, and the production by Mark Nevers and the group is clean and unobtrusive, capturing the songs without pointless clutter. The Meat of Life might sound like “another Clem Snide album,” but considering that it wasn’t so long ago that it looked like this band was over and done, getting another serving of what these musicians do so well is more than welcome even if it doesn’t break much new ground. ~ Mark Deming, Rovi

Warren Haynes – Electric Blues & Slide Guitar $21.99 With a designation from Rolling Stone magazine as the 23rd greatest guitarist of all time, and a career spanning over 30 years, Warren…

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