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 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.
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.
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 )
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 )
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)
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.
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.
Surf y Rock and Roll desde Carolina del Norte (EEUU). Wray jugaba con el feedback (acople de la guitarra en el amplificador) y las distorsiones (Fuzz, Reverb). Contiene los éxitos ‘Ramble’ y ‘Caroline’, entre otros temas instrumentales.
Seguidores: Duane Eddy, Dick Dale, The Ventures, Syd Barrett, Jeff Beck, The Who, Brian Setzer.
All-tube 45W @ 2 ohms 4 x 10" Jenson speakers 2 footswitchable channels Reverb and vibrato
Panel frontal
Tripas.
The Fender '65 Super Reverb Combo Amp is a long overdue addition to Fender's Vintage Reissue series. Here's a faithful re-creation of the legendary and highly collectible Blackface Super Reverb from the 1960s. This 45W, all-tube combo with 4 x 10" Jensen speakers, tube reverb, and vibrato has long been considered one of the best amps to "crank up" for unmiked club gigs or on the concert stage. The all-time bluesy, funky rocker! Includes 2-button footswitch.
CHICAGO BLUES Muddy Waters Rolling Fork, MS, 1915 Chicago, IL, 1983
At Newport 1960
Muddy Waters cambió la historia del Rock and Roll desde la orilla del blues del Mississippi. Junto con Otis Span, versionó temas clásicos de Willie Dixon o Big Bill Bronzy ofreciéndolos más eléctricos e intensos desde Chicago.
ROCK AND ROLL Bo Diddley McComb, Mississippi, 1928 Archer, Florida, 2008
El rocker del Mississipi y su famoso ritmo –bomp, ba-bomp-bomp, bomp-bomp- no pasó desapercibido para los hombres de Chess Records. El padre prehistórico del rap inventó sus propias guitarras (¡una Gretsch roja rectangular!). Fuzz, distorsión y rock and roll.
For five decades, Bo Diddley has been turning heads with his great chops, incredible showmanship and outrageous guitars. Now it's your turn! The G6138 is a faithful reproduction of the famous rectangle-shaped guitar Gretsch built for Bo back in 1958.
Measuring 17-3/4" x 9-1/4" x 2" and made of alder and 5-ply maple, the eye catching Firebird red semi-hollow body features two FilterTron pickups, a Tune-O-Matic bridge, Gretsch "G" tailpiece, and plenty of gold hardware. The 3-piece rock maple neck has an ebonized rosewood fingerboard with "dot" pearl inlays, a 1957 style headstock, and a special Bo Diddley signature on the truss rod cover.
Seguidores: The Rolling Stones, Stray Cats, The Pretty Things, Esquerita, The Yardbirds, Dr. Fellgood, Eric Burdon
ROCK AND ROLL Chuck Berry San José, California ¿Un hombre de color que triunfa entre los blancos? Hendrix encontró su objetivo en San José, California, y se llamaba Charles Edward Anderson Berry. ‘Maybellene’, ‘Carol’, Sweet Little Rock and Roller’, ‘Little Queenie’... la jukebox echa humo y Berry haciendo el paso del pato mientras descarga una rápida escala mayor.
Chuck Berry Is On Top 1958 Maybellene, Carol, Sweet Little Rock&Roller... Perfecto.
St. Louis to Liverpool 1964 The Beatles y The Rolling Stones estaban machacando su reperterio. Ahora edita un disco con más energía que nunca. No Particular Place to Go, You Two, Little Marie... Lección magistral.
The Chess Box 1955-1973 1988 LA CAJA. Todas las grabaciones con Chess.
CHARLES EDWARD ANDERSON BERRY. Seguidores: The Blasters, The Dave Clark Five, Led Zeppelin, The Who, The Velvet Underground, Eric Clapton, Johnny Thunders
ROCK AND ROLL Guitarras: Edgar Blanchard, Justin Adams Little Richard St. Louis, MO, 1935
Here´s Little Richard 1957
El excéntrico de San Louis tocaba el piano, pero el fuego musical que provocaba en cada actuación iluminaron a Hendrix. Fue la primera gran estrella del rock and roll. Muchas versiones y un ‘Keep a Knockin’ con su firma iluminan este trabajo. Justin Adams toca las seis cuerdas en el mítico ‘Tutti Frutti’ y Blanchard, en la mayor parte del disco.
Seguidores: , Esquerita, The Beatles, Funkadelic, Otis Redding, The Standells, Ringo Starr, Status Quo, Lazy Cowgirls, The 13th Floor Elevators
SWING JAZZ Charlie Christian Dallas, Texas, 1916 New York, 1942
1939
Guitarrista eléctrico de Dallas (EEUU). Influyó en todos los guitarristas de jazz desde 1940 a 1965. Fluidez, confianza y ‘swing’ son sus credenciales.
Similares: Chet Atkins, Wes Montgomery, BBKing, T-Bone Walker, Tommy Emmanuel, Scotty Moore, Les Paul.
Una figura mítica en la historia del blues del Mississippi y de la guitarra. Sus misteriosas afinaciones todavía están por descifrar. Un catálogo de composiciones muy corto pero con una influencia masiva en el rock y el blues de todos los tiempos.
Similares: Mississippi John Hurt, Louisiana Red, Willie Dixon, Nick Drake, BBKing, Angus Young, Jimmy Page.
Gibson Acoustic’s Robert Johnson L-1 guitar captures the haunting, timeless sound of the man whose legacy and contributions to the blues are unmatched. Though he died tragically in 1938 at the age of 27, Johnson’s historic blues recordings have inspired countless generations of blues artists and guitarists. The Robert Johnson L-1 guitar is tribute to his instrument of choice. It features Gibson’s traditional L-1 body design, exactly as it was on the first L-1 in 1926.
Gibson L-1’s will forever be associated with bluesman Robert Johnson, who was holding a circa 1929 L-1 in his famed Hooks Brothers studio portrait. The 1928 L-1 pictured here is identical to Johnson’s guitar, except that by 1929, Gibson moved the guitar slightly down market by eliminating the binding on the fingerboard and soundhole.
In several ways, this guitar sits at a Gibson guitar-development crossroads. Gibson’s earliest flattops were built with ladder bracing, and the company didn’t fully embrace X-bracing until around 1930. This L-1 has what Gibson connoisseurs call “A-bracing”—just the lower half of the X (see X-ray photo). The result produces the bark of a ladder-braced guitar tempered with some of the warmth of an X-braced guitar. The flattop L-1 was built with the same body molds that Gibson used in its small L-1, L-2, and L-3 archtops of the 1920s. These early Gibson flattops also have dramatically radiused tops and backs, making them resemble their archtop cousins. This L-1 is constructed with an Adirondack spruce top, Honduras mahogany back and sides, and Brazilian rosewood fingerboard and bridge. Like many Gibsons of this era, it bears tiny, mandolin-size frets. With its comfortable 13.5-inch-wide body, this guitar is the perfect blues box. Bending strings is a breeze due to the very short 24.25-inch scale, and the 13/4-inch nut width and 23/8-inch string spacing make it a fingerpicking delight.
This Gibson is the sort of guitar you’ll want to take to the intersection of highways 61 and 49 in the Mississippi Delta when you follow in the footsteps of Johnson. You’ll attain instant blues prowess, but the price, of course, will be your soul
