CAPTAIN BEEFHEART: Safe as Milk, 1967

CAPTAIN BEEFHEART & THE MAGIC BAND

Donald Glen Vliet, Captain Beefheart Bloodshot Rollin' Red
Born January 15, 1941(1941-01-15)
Glendale, California, U.S.
Died December 17, 2010(2010-12-17) (aged 69)
Arcata, California, U.S.[1]

Experimental rock, blues, blues-rock, avant-garde, psychedelic rock, progressive rock, protopunk, surrealist, outsider
Years active 1964–1982

Songwriter, singer, musician, artist, poet, lyricist, composer, record producer, film director
Vocals, harmonica, saxophone, clarinet, oboe, french horn, shehnai, theremin, flute, piccolo, percussion

Labels: A&M, Buddah, Blue Thumb, ABC, Reprise, Straight, Virgin, Mercury, DiscReet, Warner Bros., Atlantic, Epic
Associated acts: The Magic Band, Frank Zappa, The Mothers of Invention, Ry Cooder, Zoot Horn Rollo, Rockette Morton, John French, The Tubes, Jack Nitzsche, Gary Lucas, Moris Tepper





Safe as Milk
1967
Blues Rock
Con Ry Cooder en la guitarra.

Released September 1967
Recorded April 1967
RCA Studios, Los Angeles
Genre Experimental rock
blues
blues-rock
psychedelic rock
protopunk
Length 33:40
Label Buddah
Producer Richard Perry & Bob Krasnow


1 Sure Nuff 'N' Yes I Do Bermann, VanVliet 2:13
2 Zig Zag Wanderer Bermann, VanVliet 2:39
3 Call on Me VanVliet 2:35
4 Dropout Boogie Bermann, VanVliet 2:29
5 I'm Glad Trumbauer, VanVliet, Wood 3:30
6 Electricity Bermann, Mitchell, Murphy, VanVliet 3:07
7 Yellow Brick Road Bermann, VanVliet 2:25
8 Abba Zaba VanVliet 2:41
9 Plastic Factory Bermann, Handley, VanVliet 3:07
10 Where There's a Woman Bermann, VanVliet 2:08
11 Grown So Ugly Williams 2:26
12 Autumn's Child Bermann, VanVliet 4:00
13 Safe as Milk [Take 5] VanVliet 4:11
14 On Tomorrow VanVliet 6:56
15 Big Black Baby Shoes VanVliet 4:50
16 Flower Pot VanVliet 3:54
17 Dirty Blue Gene VanVliet 2:42
18 Trust Us (Take 9) [Take 9] VanVliet 7:20
19 Korn Ring Finger VanVliet 7:26


Musicians
Don Van Vliet – vocals, harmonica, bass marimba, arrangements

The Magic Band
Alex St. Clair Snouffer – guitar, bass, background vocals
Jerry Handley – bass, background vocals
John French – drums, background vocals

Additional musicians
Ry Cooder – guitar, slide guitar, bass, arrangements of "Sure 'Nuff 'N Yes I Do" and "Grown So Ugly"
Samuel Hoffman - theremin on "Electricity" and "Autumn's Child"
Milt Holland – log drum, tambourine
Taj Mahal – tambourine

Production
Richard Perry – producer, harpsichord
Bob Krasnow – producer
Hank Cicalo – engineer
Gary Marker – engineer



Sure 'Nuff 'N' Yes I Do
Originally appeared on Safe As Milk

Well I was born in the desert came on up from New Orleans
Came up on a tornado sunlight in the sky
I went around all day with the moon sticking in my eye

Hey hey hey all you young girls wherever you're at
I got a brand new Cadillac I got a Ferrari too
Sure 'nuff baby sure 'nuff 'n yes I do

Got the time to teach ya' now, bet you'll learn some too
Got the time to teach ya' now, bet you'll learn some too
Sure 'nuff baby sure 'nuff 'n yes I do

Hey hey hey all you young girls whatever you do
Hey hey hey all you young girls whatever you do
Well come on by and see me I'll make it worth it to you

.....with me and I'll ..with me and you
Sleep with me and I'll sleep with me and you
Stick with me and I'll stick with me and you



Zig Zag Wanderer
Originally appeared on Safe As Milk

Zig zag wanderer, zig zag wanderer (rep.)
You can huff, you can puff
You'll never blow my house down
You can zig, you can zag
Whoa I'm gonna stay, gonna stay around (rep.)

You can jump, you can holler
Never lose what I found
Heaven's free 'cept for a dollar
You can zig, you can zag
Whoa I'm gonna stay, gonna stay around (rep.)

The zig zag wanderer had a zigzag child
Zig zag traveller for the mercy mile
Found his wheels and nature scene
Quenched his thirst, (in a?) way it never been
Zig zag wanderer (rep.)

You can dance, you can prance
Freeze those timbers, drop some beams
Hide my shield, throw away my lance
Zig zag child, mercy mile
Zig zag dream, zig zag dream
Zig zag



Yellow Brick Road
Originally appeared on Safe As Milk

Around the corner the wind blew back follow the yellow brick road
It ended up in black on black
I was taught the gift of love
Smiling children painted joy sunshine bright girl and boy
bag of trick s and candy sticks peppermint kite for my toy
Yellow brick black on black
Keep on walking and don't look back

I walked along happy and them came back
I follow the yellow brick road
Lost and found I saw you down on the bound off the bound
Taught against the love yellow brick road took my load
Sunshine girl sunshine girl come to my abode 1-2-3-4-5 miles long
Oh I can't ever (so) go wrong
Clouds were gray yesterday down on my shoulder it's time to play
Yellow brick black on black
Keep on walking and don't look back

(repeat 1st verse)
I follow the yellow brick road..............


Electricity
Originally appeared on Safe As Milk

Singin through you to me
Thunderbolts caught easily
Shouts the truth peacefully
Electricity

High voltage man kisses night to bring the light to those who need to hide their shadow deed
Go into bright find the light and know that friends don't mind just how you grow

Midnight cowboy stained in black reads dark roads without a map
To free-seeking electricity (repeat) (Repeat both lines)

Lighthouse beacon straight ahead straight ahead across black seas to bring
Seeking electricity

High voltage man kisses night to bring the light to those who need to hide their shadow-deed hide their shadow-deed (repeat)
Seek electricity...........

JOHNNY 'GUITAR' WATSON: Ganster of Love, 1957

JOHNNY 'GUITAR' WATSON:

Born February 3, 1935
Houston, Texas
Died May 17, 1996 (aged 61)
Yokohama, Japan
Genres Blues, blues-rock, electric blues, jazz blues, funk
Instruments Guitar, keyboards, bass, drums
Years active 1950s–1990s
Labels Federal, RPM, Keen, King, Chess, Fantasy, DJM




Ganster of Love
1957

Released 1957
Recorded 1953 - 1954
Genre Blues
Electric blues
Blues rock
Label Keen Records (1957)
King Records (1958)
Sanctuary Records (2002)

"I Got Eyes"
"Motorhead Baby"
"Gettin Drunk"
"Walkin To My Baby"
"Highway 60"
"Space Guitar (alt)"
"Sad Fool"
"What's Going On"
"Half Pint of Whiskey"
"No I Can't"
"Thinking"
"Broke and Lonely"
"Cuttin In"
"What You Do to Me"
"Those Lonely, Lonely Nights"
"You Can't Take It With You"
"I Just Wants Me Some Love"
"Gangster of Love"
"Space Guitar"
"Sweet Lovin Mama"


Johnny "Guitar" Watson - organ, synthesizer, bass, guitar, piano, conga, drums, keyboards, timbales, triangle, vocals, clavinet
Rudy Copeland, James Ivory Johnson, Randie Redman, Darcus Thomas, Marci Thomas, - vocals (bckgr)
Paul Dunmall, Knud Jensen - saxophone
Bruce Fowler - trombone, horn
Walt Fowler - trumpet, horn
Peter Martin Trumpet
Tommy Robertson - trombone
Emry Thomas - drums, vocals (bckgr), whistle, siren, bell tree
Albert Wing - horn, sax







Gangster Of Love
Johnny "Guitar" Watson

Jesse James and Frank James,
Billy the Kid and all the rest,
Supposed to be some bad cats
Out in the West.

But when they dug me,
And my gangster ways,
They hung up their guns,
And made into their graves.

Cause I'm a gangster of love,
Say, I'm a gangster of love.
Oh, well now,
When I walk down the street,
All the girls that I meet
Say: "he's a gangster of love"

(Yeah!)

I robbed a local beauty contest,
for their first place winner,
they found her with me out in Hollywood,
eating a big steak dinner.
They tried to get her to go back,
to pick up her prize.
She stood up and told them:
"You just don't realize, that he's a gangster of love"

And in the morning,
gangster of love.
(Uuh yeah, now!)
When I walk in to a bar,
girls from... from near and far,
say: "he's a gangster of love".

(Alright!)

I jump on my white horse Cadillac,
I ride across the border line,
I rope 65 girls,
I kiss them all the same time,
I take 25 or 30,
I put 'em all on a freight,
A million dollar reward for me,
In each and every state,
Sheriff say "Is you "Guitar" Watson?"
In a very deep voice
And I say "yes sir brother sheriff, and that's your wife on the back of my horse"

Cause I'm a gangster of love
I'm a gangster of love

(Yeah!)

When I walk down the street,
All the girls that I meet
Say: "he's a gangster of love"

TOMMY CASTRO: Live At Fillmore, 2000

TOMMY CASTRO
Blues sin final de blancos.
San José, California, 1955

Similares: Mike Bloomfield, SRV, Eric Clapton, Gary Moore, Jimmie Vaughan, Jeff Healy




Right As Rain
1999




Live at the Fillmore
2000


Right as Rain Castro 5:46
2 Like an Angel Castro, McDonald 5:07
3 Nasty Habits Castro 5:18
4 My Time After Awhile Badger, Feinberg, Geddins 7:48
5 Lucky in Love Castro, Lewis 5:07
6 I Got to Change Castro, Matthews 3:16
7 Can't You See What You're Doing to Me King 5:38
8 Just a Man Castro 6:10
9 Keep a Good Man Down Castro 6:45
10 The Girl Can't Help It Troup 3:38
11 Get Up (I Feel Like Being A) Sex Machine Brown, Byrd, Lenhoff 10:22

KAY MUSICAL INSTRUMENTS, 1931-1968

Kay Musical Instruments Company
EEUU
1931-1968
Guitarras art decó.
En los centros comerciales de la época.
Baratas.

OLD KRAFTSMAN
SHERWOOD
AIRLINE
SILVERTON
GOLD K LINE



Silvertone 612, de 1962

Introduced:
Fall/Winter 1962 at $21.95
as the 57H612L

Retired:
Spring/Summer 1963 at $21.95
as the 57A612L

Hoy toqué una Silvertone H-12, parecida a la de la foto superior (Silvertone 612, de 1962)
Made in USA.
Guitarra de jazz.
No le enchufé la pastilla.
Muy ligera.
Sin enchufar no tiene acústica.
Con la pastilla debe sonar a rayos.
No me la compré porque piden una pastón (y no lo vale).



MARCAS DE KAY



Old Kraftsman
1960
600$




Sherwood Standard Archtop Guitar
1960
Estimate $100 - $200
Starting Bid $50




Airline




Silvertone Kentucky Blue
1955
Kay Musical Instrument Company
Introduced:
Fall/Winter 1955 at $18.95
as the 57D0653L



Retired:
Fall/Winter 1962 at $24.95
as the 57H0653L




Gold K-Line
1957-1960
Jazz.




Kamico
La marca más baja.
40'




GUITARRISTAS
Jimmy Reed, Big Joe Williams, Ry Cooder, Phil Alvin, Howlin' Wolfe



Aquí, encontré UNA FIESTA.

BLUES MUSIC AWARD 2010: Tommy Castro

2010 Blues Music Award Winners:
The Blues Foundation

Acoustic Album of the Year
David Maxwell & Louisiana Red – You Got to Move

Acoustic Artist of the Year
Louisiana Red

Album of the Year
Joe Louis Walker
Between a Rock and the Blues




B.B. King Entertainer of the Year
Tommy Castro (foto)

Band of the Year
Tommy Castro Band

Best New Artist Debut
Monkey Junk
Tiger in your Tank

Contemporary Blues Album of the Year
Tommy Castro
Hard Believer

Contemporary Blues Female Artist of the Year
Ruthie Foster

Contemporary Blues Male Artist of the Year
Tommy Castro

DVD
Delmark Records
It Ain’t Over! Delmark Celebrates 55 Years of Blues, Live at Buddy Guy’s Legends

Historical Album of the Year
Chess - Authorized Bootleg (Muddy Waters)

Instrumentalist-Bass
Bob Stroger

Instrumentalist-Drums
Cedric Burnside

Instrumentalist-Guitar
Derek Trucks

Instrumentalist-Harmonica
Jason Ricci

Instrumentalist-Horn
Deanna Bogart

Instrumentalist-Other
Buckwheat Zydeco (accordion)

Pinetop Perkins Piano Player
Eden Brent

Rock Blues Album of the Year
Derek Trucks Band
Already Free

Song of the Year
Cyril Neville & Mike Zito
‘Pearl River’ (Pearl River–Mike Zito)

Soul Blues Album of the Year
Johnny Rawls
Ace Of Spades

Soul Blues Female Artist of the Year
Irma Thomas

Soul Blues Male Artist of the Year
Curtis Salgado

Traditional Blues Album of the Year
Super Chikan
Chikadelic

Traditional Blues Female Artist of the Year
Debbie Davies

Traditional Blues Male Artist of the Year
Duke Robillard

SKIP JAMES: Today, 1965

Nohemiah Curtis 'SKIP' JAMES.
Bentonia, Mississippi, 1902
Philadelphia, Pensilvania, 1969


Afinaciones:
D Menor: DADFAD (grandísimo)
E Menor: EBEGBE
Open G: DGDGBD



Today, 1965
Genial voz en falseto, maravilloso fingerpicking y un piano.


Skip James - Crow Jane

Crow Janie, Crow Janie, Crow Jane
Don't you hold your head high
Someday baby, you know
You got to die
You got to lay down an -
You got to die, you got to -

You know, I wanna buy me a pistol
Wants me forty rounds of ball
Shoot Crow Jane, just to see her fall
She got to fall, she got to -
She got to fall, she got to-

That's the reason I begged, Crow Jane
Not to hold her head, so high
Someday baby, you know
You got to die
You got to lay down an -

When I dug her grave
With a silver spade
Ain't nobody gon' take
My Crow Jane place
You can't take her place
No, you can't take her -

That's the reason I begged, Crow Jane
Not to hold her head, too high
Someday baby, you know
You got to die
You got to lay down an -

You know, I let her down
With a golden chain




Skip James - Devil Got My Woman

I'd rather be the devil, to be that woman man
I'd rather be the devil, to be that woman man
Aw, nothin' but the devil, changed my baby's mind
Was nothin' but the devil, changed my baby's mind

I laid down last night, laid down last night
I laid down last night, tried to take my rest
My mind got to ramblin', like a wild geese
From the west, from the west

The woman I love, woman that I loved
Woman I loved, took her from my best friend
But he got lucky, stoled her back again
And he got lucky, stoled her back again

Gibson J-185

4.021 $

Gibson J-45
3.000 $




Martin D-28
3.000 $




Martin D-18
2.600$
En los sesenta.







Stella de 12 cuerdas.
Grabaciones de 1931



Todo un acontecimiento: Grunewald, desde 1904. Nacieron las 12 cuerdas. Y Leadbelly.




Stella de 12 cuerdas.
Réplica por 2.700 $

MARTIN D-15: Al grano sin adornos

1.250 dólares

Un clásico caoba de Martin.

De cuerpo pequeño, el estilo del Delta.

Gran timbre.

Excelente ajuste.

Desnuda, sin trampa ni cartón.

Un 10.

Al grano.


Model Specifications
MODEL D-15
CONSTRUCTION: Mortise/Tenon Neck Joint
BODY SIZE: D-14 Fret
TOP: Solid Sapele or Solid Genuine Mahogany
ROSETTE: Herringbone Style - Gold & Black
TOP BRACING PATTERN: A-Frame ''X''
TOP BRACES: Solid Sitka Spruce 5/16''
BACK MATERIAL: Solid Sapele or Solid Genuine Mahogany
BACK PURFLING: none

SIDE MATERIAL: Solid Sapele or Solid Genuine Mahogany
ENDPIECE: none
ENDPIECE INLAY: none
BINDING: none
TOP INLAY STYLE: none
SIDE INLAY: none
BACK INLAY: none
NECK MATERIAL: Select Hardwood
NECK SHAPE: Modified Low Oval
NUT MATERIAL: White Corian

HEADSTOCK: Solid/Square Taper
HEADPLATE: Solid East Indian Rosewood
HEELCAP: none
FINGERBOARD MATERIAL: Solid Morado or Solid East Indian Rosewood
SCALE LENGTH: 25.4''
# OF FRETS CLEAR: 14
# OF FRETS TOTAL: 20
FINGERBOARD WIDTH AT NUT: 1-11/16''
FINGERBOARD WIDTH AT 12TH FRET: 2-1/8''
FINGERBOARD POSITION INLAYS: Style 28

FINGERBOARD BINDING: none
FINISH BACK & SIDES: Satin
FINISH TOP: Satin
FINISH NECK: Satin
BRIDGE MATERIAL: Solid Morado or Solid East Indian Rosewood
BRIDGE STYLE: Belly
BRIDGE STRING SPACING: 2-1/8''
SADDLE: 16'' Radius/Compensated/White Tusq
TUNING MACHINES: Chrome Enclosed w/ Small Buttons
RECOMMENDED STRINGS: Martin Studio Performance Medium Phosphor Bronze (MSP4200)
BRIDGE & END PINS: White w/ Black Dots
PICKGUARD: Tortoise Color
CASE: 345
INTERIOR LABEL: Paper Label
ELECTRONICS: Optional
OTHER OPTIONS: Available left-handed at no additional charge
OTHER COMMENTS: All prices & specifications are subject to change without notice.

WHISTLER´S JUG BAND, 1928-1935

Desde Lousiville, Kentucky.
Buford Threlkeld, guitarrista y cantante, y sus amigos.
No había dinero para trompetas.



La botella de güisqui tenía que servir para algo.
WHISTLER´S JUG BAND

STICK MCGHEE, New York Blues 1947-1955

Granville 'Stick' McGhee
Kingsport, Tennessee, 1917
New York, NY, 1961



Stick a la izquierda, hermano de Brownie McGhee (derecha).





New York Blues and R&B 1947-1955
Con Sonny Terry y Brownie McGhee
2007




Drinkin' Wine Spo-Dee-O-Dee -
[Written by: Granville "Sticks" McGhee & J. Mayo Williams-1949


Down in New Orlean, where ev'rything is fine
All them cats is drinkin that wine
Drinking that mess, their delight
When they gets drunk, start singing all night

Drinkin' wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Pass that bottle to me

Drinking that mess, their delight
When they gets drunk, start fighting all night
Knocking down windows and tearin out doors
Drinkin' half a gallon and callin' for more

Drinkin' wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Pass that bottle to me

Hoy! Hoy! Hoy!
Wine, wine, wine (Elderberry!)
Wine, wine, wine (Or Sherry!)
Wine, wine, wine (Blackberry!)
Wine, wine, wine (Half 'n half!)
Wine, wine, wine (Oh Boy!)
Pass that bottle to me

If you wanna get along, in New Orleans town
Buy some wine and pass it all around
Age runs up for tonight (?)
All those cats they love sweet wine

Drinkin' wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Pass that bottle to me

Hoy! Hoy!
Wine, wine, wine (Elderberry!)
Wine, wine, wine (Or Sherry!)
Wine, wine, wine (Blackberry!)
Wine, wine, wine (Half 'n half!)
Wine, wine, wine (Oh Boy!)
Pass that bottle to me

Drink that slop!
That's what I'm talkin' about!
Ah, drink it!
Sneaky Pete!

Now down on Rampart street at Willy's Den
He wasn't selling but a little gin
One cat wanted a bottle of wine
He hit that cat for a dollar and a dime

Drinkin' wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Pass that bottle to me

Hoy! Hoy!
Wine, wine, wine (Elderberry!)
Wine, wine, wine (Or Sherry!)
Wine, wine, wine (Blackberry!)
Wine, wine, wine (Half 'n half!)
Wine, wine, wine (Oh Boy!)
Pass that bottle to me

I got a nickel, have you got a dime?
Let's get together and get a little wine
Some buys a fifth, some buys a quart
But when you buy Sherry now you're doing things smart

Drinkin' wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Wine spo-dee-O-dee, drinkin' wine (bop ba)
Pass that bottle to me



Album Title: Atlantic Rhythm & Blues: Vol 1, 1947-1952

Prime Artist: Stick McGhee
Vocal: Stick McGhee
Guitar: Stick McGhee
Guitar: Brownie McGhee

Bass: Gene Ramey
Piano: Wilbert (Big Chief) Ellis
Producer: Ahmet Ertegun
Producer: Herb Abrahmson

Written by: J. Mayo Williams
Written by: Stick McGhee



Appears on: The Complete Coral Rock'N'Roll Trio Recordings-1978,
The Legendary Johnny Burnette & the Rock'N'Roll Trio-1984,
Rockbilly Boogie-1989, Johnny Burnette & the Rock'N'Roll Trio-1993,
Train Kept A-Rollin'-Memphis to Hollywood: The Complete Recordings
(1955-1964), Shattered Dreams-2007, et al.]

[1] Other covers: Sticks McGhee & His Buddies-1949, Lightnin'
Hopkins-1963, Jerry Lee Lewis-1964, Ronnie Hawkins-1971, Charlie
Daniels-1972, Continentals-1994, Lionel Hapton-1996, and many
others.]

T-BONE WALKER, Imperial Recordings 1950-54

Aaron Thibeault Walker 'T-BONE WALKER'
Linden, Texas, 1910
Los Angeles, California, 1975

Pionero de la guitarra eléctrica. El primer solista eléctrico de blues.
Una figura fundamental en la evolución del blues hacia el rock and roll. Chuck Berry o BB King quedaron enganchados a las escalas y acordes de jazz blues del texano.
Fundador del blues de Texas en los años 30.
El origen del paso del pato.



Complete Capitol Black and White Recordings
3 Cds.
Años 40.




The Complete 1950-1954 Imperial Recordings
52 temas.




Gibson ES-250
The ES-250 first appeared in the 1940 Gibson AA catalog with the slogan: "Gibson has created the best electric guitar possible to make." This top-of-the-line instrument was an upgraded version of the popular ES-150. It had significant refinements which distinguished it from the earlier mid-range model. These included a larger body, a more deluxe fingerboard, headstock, tuners and tailpiece, and a bar pickup with individual mini-blades acting as separate polepieces for each string--for "maximum tonal reproduction."





Gibson ES-5 Switchmaster
Desde 1949


The ES-5 combines the acclaimed features of the L-5 with the finest method of electronic guitar amplification. Three separately controlled, adjustable magnetic pickups reproduce the full, rich tones and harmonics to make the ES-5 truly ‘the instrument of a thousand voices.'" — Gibson catalog, circa 1951

The Gibson ES-5 Switchmaster was truly a guitar ahead of its time. First introduced in 1949, the ES-5 Switchmaster was the first ES guitar to be fitted with three pickups, and was initially intended solely for jazz players. It was dubbed the “supreme electronic version” of Gibson’s L-5 and offered a unique four-knob control circuitry that allowed players to manage pickup selection by adjusting the volume of each pickup, thus eliminating the pickup selector switch. Yet despite its pioneering circuitry and three-pickup layout, the ES-5 Switchmaster was not immediately embraced by jazz players while competing guitar manufacturers rushed to introduce their own similar models, including the Epiphone Zephyr Emperor of the early 1950s and the Fender Stratocaster in 1954.





Gibson Barney Kessell model





Fender Tweed 4x100 Bassman
The ’50s Fender Bassman was the pro bassist’s answer to amplifying a great new invention: the Fender Precision Bass® guitar. This powerful 50-watt rig could easily compete with the common instrumentation of the day: horns, piano, four-piece drum kit with calfskin heads, and maybe even an electric guitar through a nice, new 10-watt amp! By the ’60s and ’70s, the original all-tube “Tweed” 4x10 Bassman was popular with rock, country and blues guitarists as a reliably great-sounding and easy-to-use guitar amp. Even some emerging British amp designers of the day copied its circuitry for use in their most celebrated designs.

In the 1990s, Fender released an affordable reissue of the now-collectible ’59 Bassman amplifier to massive acclaim. Many guitarists, tired of experimenting with preamps, equalizers, and effects racks, rediscovered the simple pleasure of plugging into a Fender tube amp. The Bassman’s wide stage coverage, touch-sensitive dynamics and full-frequency “swirl” make it the perfect vehicle for building a great tone with almost any guitar or effect. The reissue Bassman continues to be a staple of the Fender guitar amp line to this day.




Gibson EH-150




Gibson EH-150
Galería de amplificadores anteriores a la Guerra Mundial.



Frases:

'When I heard T-Bone Walker play the electric guitar I had to have one. He had a touch that nobody has been able to duplicate."--B.B. King

"All the things people see me do on the stage I got from T-Bone Walker." --Chuck Berry

"When T-Bone Walker came, I was into that. That was the sound I was looking for." --Albert King

"No one else can touch T-Bone in the blues on guitar."--Jimmy Witherspoon

"He was the first man that made the electric guitar popular."--John Lee Hooker

LONNIE MACK, The Wham of That Memphis Man! 1964

ROCK AND BLUES
Lonnie Mack
Harrison, Indiana




The Wham of That Memphis Man!
1964

El primer disco del guitarrista blanco de Indiana (EEUU). Magnífico vibrato y endiablada velocidad en los fraseos.
Versiones instrumentales de R&B (‘Memphis’, ‘Suzie Q’, ‘The Bounce’) y temas de soul (‘Father Down The Road’) y blues acelerado (‘Wham!) aderezadas con sección de viento y órgano Hammond.
Desde entonces, eterna carrera de bluesman volador con su Flying V.

Seguidores: Roy Buchanan, Jimi Hendrix, Steve Ray Vaughan, Johnny Winter, Duane Eddy.





La única Gibson Flying V con Bigsby. 1993-1994
Diseño especial sobre una Flying V de 1959.
$2600-$3500 ( lonnie mack flying v )

REVEREND GARY DAVIS, At Home and Church 2010

Reverend Gary Davis
Laurens, South Carolina, 1896
Hammonton, New Jersey, 1972

Ragtime de la coste este de EEUU.
Ciego de nacimiento.
Malgastó su vida en el Harlem de Nueva York.
Un gigante del blues rural.
Una religión en el folk y en la música tradicional.
Maestro de genios como Bob Dylan, Taj Mahal, Donovan o Ry Cooder.



Pure Religion and Bad Company
1957




Harlem Street Singer
1960




At Home and Church
2010
Tres fantásticos CDs.
Grabaciones de 1962 a 1967.
IMPRESCINDIBLE.


Similares: Lightnin´Hopkins, Ry Cooder, Brownie McGhee, Blind Willie Johnson, Doc Watson, Bert Jansch, Hot Tuna, The Wood Brothers.




Gibson SJ-200
6.330 dólares

The SJ-200 True Vintage acoustic guitar delivers the look, feel, and sound of Gibson’s original Super Jumbo as it first appeared in 1937. Gibson Acoustic’s master luthiers in Bozeman, Montana have recreated a legend. The SJ-200 was originally built to cut through the loudest acoustic ensembles, but ended up defining the new American music scene of the 1930s on its way to becoming the world’s most famous acoustic guitar. The SJ-200 True Vintage captures the deep, well-balanced tone and powerful sound of these celebrated guitars, and are almost identical in makeup and structure as the most popular 1950’s versions including an Adirondack red spruce top and VOS finish.




Gibson GB-1
Rare model and an incredible piece of American history. This is the banjo that was recorded and played by the Reverend Gary Davis. This is a non Mastertone banjo with thick, 11 inch rim and simple tonering. It has all the appropriate documentation. The original flange was broken and a replacement makes it playable once again.



Gibson B45-12


Gibson B-45-12 ( 1961-1979 )

The Gisbon b-45-12 was also in production during these years ( 1961-79 ) it was a 12 string acoustic guitar , flat top , mahogony wood . The 61-62 models had round shoulders and from late 62 and on gibson made them with square shoulders , and were made in sunburst colors .

In 1963 Gibson also introduced the B-45-12-N ( same guitars but in natural finish ) production ended in 1979 . Vintage Price values are more or less the same as the Gibson b-45-12 ( sunburst )


Gibson B-45-12 Limited Edition Reissue ( 1991 -1992 )

Because of the high demand gibson in 1991 made a limited edition reissue of the b-45-12 ,same guitar but was built with rosewood wood on the back and sides of the body .

Because of the limited number of gibson b-45 reissues produced , they are also considered somewhat collectible .

Vintage Guitar Price Value 2008 :
1967 - 1971 > $500 to $700 ( b-15 )
1962 - 1969 > $1000 to $1600 ( b-25 )
1970 - 1977 > $900 to $1000 ( b -25 )
1962 - 1969 > $950 to $1500 ( b-25n )
1970 - 1977 > $750 to $1000 ( b-25n )
1962 - 1968 > $700 to $1200 ( b-25 3/4 )
1962 - 1966 > $900 to $1600 ( b-25 / 12 )
1967 - 1977 > $800 to $1000 ( b-25 /12 )
1961 - 1962 > $1900 to $2300 ( b-45-12 round shoulders )
1962 - 1964 > $1700 to $2100 ( b-45-12 square shoulders )
1965 - 1969 > $1400 to 1700 ( b-45-12 )
1970 -1979 > $900 to $1100 ( b-45-12 )
1991 - 1992 > 950 to $1200 ( b-45-12 reissue )

JOHN LEE HOOKER, Plays and Sings the Blues 1961

BOOGIE BLUES, DETROIT BLUES
John Lee Hooker
Clarksdale, Mississippi, 1917
Los Altos, California, 2001



Plays and Sings the Blues
Caviar de 1951 y 1952.
Chess, 1961



Cantante, compositor y guitarrista de Mississippi (EEUU). Blues hipnótico sobre un mismo acorde que se mueve al ritmo de Boogie primitivo. Una voz poderosa, cruda e irrepetible. No mezclar con sustancias alucinógenas.
El trabajo incluye 'Mad Man Blues' y 'Baby Please Don´t Go'. Material propio, único e irrepetible.

Similares: Ray Charles, Lightnin´Hopkins, JB Lonoir, Cannet Heat, The Animals, Nick Cave, Jon Spencer, Seasick Steve.

Música:
THE DETROIT YEARS (recordings 1948-1955)
THE CHICAGO YEARS (recordings 1955-1964)
THE FOLK YEARS (recordings 1959-1963)
THE ABC YEARS (recordings 1965-1974)
THE ROSEBUD YEARS (recordings 1975-2001)




EPHIPHONE 64' John Lee Hooker Sheraton
$3,194.

The Epiphone Sheraton: An Upscale Version of a Gibson Classic

In 1957, Gibson purchased the Epiphone Company, which up until that time had been one of its fiercest rivals – particularly in the area of hollowbody archtop guitars. Prompted by a stern memo from Ted McCarty to hurry up and introduce some new Epiphone models at the upcoming NAMM show in 1958, Gibson introduced a completely new line of Epiphones, highlighted by the now-legendary Sheraton.

While some of the new Epis had familiar names, such as the Emperor and Deluxe, the Sheraton represented a first for Epi – not just in name but in its semi-hollowbody construction as well. Although Gibson’s ES-335 garnered more publicity from its 1958 debut, the Sheraton offered the same revolutionary body style but with a more stylish look, highlighted by its Emperor-style V-block fingerboard inlays and vine inlay on the peghead.

The Sheraton was an immediate hit, the unique voice of its mini-humbuckers soon made it the instrument of choice for many professional artists of the time, including blues legend John Lee Hooker. Today Epiphone continues the Sheraton legacy by offering three versions of this classic guitar icon.

FREEDIE KING, Let´s Hide Away and Dance Away 1961

TEXAS BLUES
Freddie King
'The Texas Cannonball' King.
Gilmer, Texas, 1934
Dallas, Texas, 1976





Let´s Hide Away and Dance Away
1961

* Fred Jordan – guitar, rhythm guitar
* Freddie King – guitar, vocals
* Philip Paul – drums
* Gene Redd – saxophone
* Clifford Scott – saxophone
* Sonny Thompson – piano
* William "Bill" Willis – bass guitar


Compositor de instrumentales de blues y genial guitarrista de Texas. ‘Hide Away’ es un tema esencial en la historia del rock and roll.



Similares: Eddie Taylor, Jimmy Rogers, Robert Jr. Lockwood, Eric Clapton, Lonnie Mack, Michale Bloomfield, Buddy Guy, Jeff Beck.







Gibson ES-335

La guitarra Gibson ES-335 Dot Reissue es una gran guitarra de semicaja, ideal tanto para sonidos tipo Jazzy hasta sonidos mas contundentes de R'n'R...

The ES-335 brought hollowbody tradition and solidbody performance together in 1958,
and it is still one of the all-time classic guitar designs.