Vox Phantom VI Model Solid Body Electric Guitar (1964), made in Dartford, Kent, England, serial # 52737, lilac lacquer re- finish, mahogany body, maple neck with rosewood fingerboard, original grey hard shell case.

The Vox Phantom remains one of the 1960s’ most iconic instruments, at least in visually — utterly distinctive then and now. Along with the teardrop-shaped Mark series, the abstract trapezoidal-shaped Phantoms were born at JMI in Dartford, Kent in the early ’60s. The Phantom VI guitar introduced in 1962-3 is Vox’s most recognizable signature instrument. This one dates to the end of 1964 and is a rare fairly early example, especially hard to find here in the US. It has been neatly refinished with some restoration but even so is a better instrument than many later examples.

Like most Vox guitars the design is based on the Fender Stratocaster with the body reduced to an angular minimum, visually effective if not particularly ergonomic. JMI served as Fender’s UK distributor in the early 1960s and had ample opportunity to examine the California company’s products in detail. The three 6-pole pickups are a case in point; they are nearly identical to 1962 Stratocaster pickups, with a similar but more square-ended white plastic cover. Controls are also a ringer for the Strat: a master volume and two tone knobs, but using a 3-way rotary switch for pickup selection. This one has the earlier “Hank Marvin” Vibrato (which the Shadows guitarist never used!), with the early style solid aluminum bar bridge closely modeled on the Bigsby piece.

The maple neck is date-stamped December 1964 on the heel, made of nice maple with a thick dot-inlaid ebony fretboard. A product of English furniture builder G-Plan, it has a somewhat chunkier profile than those from 1965-6. The distinctive “Spear” Vox headstock is cut flat Fender style and the truss rod adjustment is at the body end. The body is made of light African mahogany, now refinished in a pale lilac color (originally it was white polyester). The pickguard is cut from hard signmaker’s plastic, and will never warp and shrink like the later Italian versions.

Unlike nearly all Vox guitars originally sold in the US, this JMI-made example was assembled at the Vox factory in Dartford, Kent. That facility was overstretched even in 1964 supplying Vox product to the UK and world markets; instead of expanding their guitar-making facilities, JMI outsourced the bulk of instrument production to the EKO factory in Recanati, Italy. Eko-made Vox guitars are exponentially more common in the US and to the connoisseur lack the cachet — and the sound — of original JMI-built instruments. Thomas Organ in California controlled US distribution of JMI’s products and nearly all the Vox guitars they handled would be of Italian parentage, making this genuine 1964-dated UK-made instrument extremely rare in America.

This particular guitar has a bit of a story; according to the original owner it was bought at the sell-off of old stock at the Vox retail store in Hollywood in 1969; the original finish had flaked so it had been stashed in the basement and forgotten. It was stripped and refinished natural hippie-style in 1970, then refinished again more recently in lacquer to a subtly attractive pale lilac color. In any color the Phantom VI is a garage rock classic, one of the most visually striking of all 1960s guitars. This is a far better playing (and especially sounding) example than the great bulk of them, still wicked-looking piece of ’60s cool.

Overall length is 41 in. (104.1 cm.), 11 in. (27.9 cm.) across at the widest point, and 1 5/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 25 1/2 in. (648 mm.). Width of nut is 1 5/8 in. (41 mm.).

This is a restored instrument but not heavily altered from original and a clean looking guitar overall. The finish on the neck is not original but older amber lacquer from 1970 that highlights some flamey grain; there are a few small dings and dents to the surface but no heavy wear. Any headstock markings (likely a simple “Phantom” applique) were long ago lost in the refinish. The neck was also nicely refretted in the distant past plays quite well; virtually all UK-made Vox necks had dubious fretwork originally, so this is almost always a must be playable to a modern standard. The nut is replaced as well.

The body is finished in lilac lacquer; this is a more recent finish although the original white Polyester was removed in 1970. It is very clean with almost no subsequent wear; although not an original Vox color it is very attractive. All hardware appears original or at the very least period. The three pickups and wiring are stock as are the bridge, “Hank Marvin” trem and tuners. The trem arm is present but some of the mounting hardware is a mixed bag. The forward pickup selector knob does not match the others perfectly but is an original ’60s JMI part. Over the years we have seen so much inconsistency in the fittings used on these UK-assembled instruments that it’s close to impossible to judge what was “correct” originally!

Even with the refinish this is a better-preserved example than most of the “real” versions of this iconically badass guitar, in the original classic oblong case. This 1964 dated example is a neat and rare find, especially here in the US where nearly all Vox Phantoms were imported from Italy, not the UK. This one likely came over in the first batch, and despite a checkered life has preserved its mojo for sure! Restored to Excellent Condition.


Admired for his inspiring playing ability and song writing prowess, George Harrison reigns as one of the premier icons in music history. To honour Harrison’s venerable career, we created the George Harrison Rosewood Telecaster, a limited-edition commemoration that embodies George’s elegant playing style and sound. The George Harrison Rosewood Telecaster celebrates the legacy of one of rock’s most treasured heroes. Limited to 1,000 guitars worldwide, this iconic model –as seen in The Beatles documentary ‘Get Back’ currently streaming – features a chambered rosewood body, Pure Vintage ‘64 pickups, late-’60s “C”-shaped rosewood neck and a vintage-style threaded steel saddle bridge.

In the late 1960s, Fender had designs to introduce a new type of Telecaster to its wide range of ground breaking instruments. This model would do away with the traditional maple, alder and ash tonewoods typically found on guitars and basses up to that point. 

The material of choice for this groundbreaking model was rosewood. Typically only used for fingerboards, rosewood boasts a unique sound quality delivering bell-like highs, smooth mids and punchy lows. Altogether, it was a perfect platform for the legendary George Harrison to record some of the most iconic music of his career.

Harrison received the rosewood Telecaster in 1968, as the Beatles were in the middle of their ambitious “Let It Be” sessions and planning their subsequent rooftop concert from the Apple Corps headquarters in London. 

The Beatles’ final public performance showcased this unique deep-brown guitar to a global audience, as Harrison’s gift looked and sounded impeccable in his capable hands.

Seeing Harrison run through now-classics like “Don’t Let Me Down” and “Get Back” with the rosewood Telecaster established it as one of the most iconic guitars in rock lore, and now you can own your own piece of history with the limited-edition George Harrison Rosewood Telecaster. 

This iteration of Harrison’s namesake instrument features a late-’60s “C”-shaped rosewood neck that provides exceptional resonance, while the 9.5” radius fingerboard and 21-medium jumbo frets allow smooth chording and easy bends. 

Other features include a vintage-style threaded steel saddle bridge, chrome bridge cover, “F”-stamped tuners and a custom George Harrison “Om” logo neckplate. Capped at only 1,000 models worldwide, the George Harrison Rosewood Telecaster captures the qualities of the artist that made it famous — subtle and classy on the exterior, all while being a musical powerhouse through and through. 

BB King Lucille Legacy

In honour of the legendary B.B. King, the Gibson Custom Shop launches the B.B. King Lucille Legacy, based on his personal and most well-known guitar.

The Gibson B.B. King Lucille Legacy features standout appointments including split block inlays, gold hardware, with a gold “B.B. King” engraved truss rod cover, and a TP-6 tailpiece with fine tuners. A “Lucille” mother of pearl inlay adorns the headstock, and the ebony fretboard features split block mother of pearl inlays. A mono Varitone switch, along with four audio taper CTS potentiometers and paper-in-oil Bumblebee capacitors, are paired to Gibson Custombucker humbucking pickups. The hollow-body design remains, but the f-Holes are gone, in keeping with B.B. King’s personal preferences. The top, back and sides of the body of the guitar feature figured maple veneer, which is visible through the Transparent Ebony finish.

“We are honoured to celebrate the life and spirit of B.B. King with this very special addition to Gibson Custom Shop’s Artist Collection,” says Mat Koehler, Senior Director of Product Development, Gibson Brands. “The Lucille Legacy model features both classic Lucille features and some new ornate elements like split block inlays and a stunning figured maple body. Its beauty and character pay tribute to the man who brought joy to millions around the globe and created music so powerful it will live forever.”

Spending his life sharing the music of his soul, the man born Riley B. King would grow up to be one of the most influential blues musicians of all time, being crowned “The King of the Blues.” Releasing over 50 albums and 2400 master recordings along the way, The King of The Blues, gathered up other musicians in his wake and melded them into the harmony of his animating passion. As a 15-time GRAMMY Award Winner and the recipient of “The Recording Academy Lifetime Achievement Award,” the King’s global audience continues to expand worldwide and reaches over 90 million average yearly streams.


Posted: January 26, 2021 in Uncategorized


The PLUS Pedal is more than just a stomp-box – it is a vast extension of your instrument that bridges the gap between rhythm and lead parts, and lets all musicians explore completely new territories.

Besides being a powerful arrangement and compositional tool, The PLUS Pedal can also be used for creating interesting and unique sound effects that would otherwise be impossible to achieve in real-time.

Sometimes a single guitar pedal can change the way you think about song arrangements. 🎶 Chris Buck uses a looper and a PLUS Sustain Pedal to create a fantastic solo arrangement of “Colors” by Black Pumas. If you listen carefully, you can also hear how he adds some extra layers along the way! More videos and more info about the PLUS Pedal below!☑️https://www.gamechangeraudio.com/pluspedal/

Whether you are a composer, solo performer, sound designer or part of a band – the ability to instantly turn any melodic sound produced by your instrument into a layer of continuous sound will completely change the way you approach music. Just as the wah is a standard pedal in every guitarist’s setup, I can see that happening with the PLUS as well. If you’re a solo player or play in a power trio, it’s the perfect item to fill in the gap when you’re not playing chords. The ability to just place effects on the sustain also opens up tons of tonal possibilities that are yet untapped

is a unique audio algorithm developed by GAMECHANGER AUDIO that lets you capture and sample tiny bits of your instrument’s signal in real time and loop them into a seamless, warm and responsive sustained tone.

Unlike existing granular synthesizers and synth-pad triggers, PLUS Pedal actually runs a constant Hi-Res recording of your instrument, and once engaged, the RealTime sampling algorithm instantly creates a circular micro-loop out of the most recent audio signal produced by you.

Think of it as a smart looper that only catches the last segment of your chosen note or chord, and uses it to create a continuous sound.

The resulting layers of sustain can be practically indistinguishable from the original tone of your instrument, and you can further adjust and fine-tune the PLUS Pedal to achieve the exact type of sustain you have imagined.

 have had endless amounts of fun creating what I was calling “instant Fripp”, but this is better, what an amazing ambient tool. I am starting to produce the band Dawes next week and we have already been planning to use the pedal on a few of the tracks, it instantly set the mood I was hoping for with the ambient-style production under a rock band, etc- I can’t thank you enough, hands down my favourite piece of gear in years…

Jonathan Wilson

Dawes, Father John Misty, Roger Waters

The Anthology Portfolio presents six images from the book featuring Jimmy Page’s iconic guitars, costumes and equipment. Every piece was photographed under his art direction and brought to life with in-depth commentary, placing it within the story of a phenomenal career.  

His Fender ‘Dragon’ Telecaster, 1959, Supro Coronado 1690T amplifier, 1959, and an Oriental silk shawl worn by Jimmy in the Yardbirds.

One of the most famous guitars in rock and roll history, the ‘Dragon’ Telecaster marked Jimmy’s transition from the Yardbirds to Led Zeppelin. In The Anthology, Jimmy recounts how the guitar came to have the dragon design and how and why it was eventually refurbished to its original glory.

When I began painting my Telecaster the pattern took on the imagery of a dragon. The painting started down in the main part of the body from behind the bridge, more or less where you put the strap lock on, and then it starts to become more ambitious towards the neck. Then there are all these little flourishes like the dragon’s head and the breath and horns and things on the body where the volume controls are. So now it was the ‘Dragoncaster’. Once it was created and painted it became like the legendary Excalibur as it travelled from the later recordings and shows with the Yardbirds, to the early shows with Led Zeppelin and the recording of Led Zeppelin I.

My ‘Dragon’ Telecaster got damaged while I was away on tour in the States in 1969, playing with the Les Paul. The house sitter, an acquaintance, scraped off my painting and applied other artwork. Well, it was the Sixties, but this was still an unpleasant shock!’

‘For the limited edition model of this guitar that I put out in 2019 with Fender, the original artwork needed to be recreated and repainted. I had the original reflective scratch plate as a starting point, and the guitar body now stripped of all paint. Then I worked with a graphic artist using archive photographs where we could see the grain of the guitar and retrace the outline of my original painting and produce the colours. It’s jolly close to the original and I’m really pleased that I managed to do it.’

Jimmy comments on the significance of the shawl seen draped across the Supro Coronado 1690T amp in the print.   ‘I got my Yardbirds shawl from the Chelsea Antiques Market, London. I began to wear it when Jeff [Beck] left, because I thought it was time to change my image.’

The limited edition print captures the unique pairing of guitar and bow that Jimmy made famous. Jimmy explains in The Anthology how he came to use the bow. My session years were a fabulous apprenticeship… I was coming up with things in the studio and working on them at home, being at the forefront and pioneering them, like playing with the bow and the distortion pedals and trying different recording techniques. Rather than staying a faceless musician in the session world, I was ready to get out there and play live.’

One of the first times Jimmy recorded with the bow was on the ‘Degree of Murder’ session with Brian Jones. It was a magical session and Brian was lovely to work with. As well as playing regular guitar, this was one of the first times I used the violin bow on a session. He asked me to come up with something and I took along my bow just in case. He was thrilled when I played it.’

Later, Jimmy played with the bow during live performances with both the Yardbirds and with Led Zeppelin, when the bow was used with a Sonic Wave theremin and an Echoplex tape delay unit. 

I got my Sonic Wave back in the Yardbirds and it became a regular feature, used simultaneously with the bow in live performances. It gave people the chance to see something approached on a guitar that they’d never witnessed before in a live situation. I experimented with putting it through the Echoplex and changing the speed and intensity of the repeats. I started to construct these elaborate soundscapes with it, in the same way that I applied myself to the bow…’

The Song Remains The Same suit and Gibson Les Paul Standard ‘Number One’, sunburst, 1959. The Les Paul ‘Number One’ print features Jimmy’s famous guitar and his beautiful dragon-embroidered and appliquéd Song Remains the Same suit. Jimmy recalls how he came to own the guitar: ‘Joe Walsh brought a Les Paul Standard along to a Fillmore East gig on the first leg of the American tour and said, ‘You’ve got to have this guitar.’ I said, ‘Well, I don’t need it, Joe, I’ve got a Les Paul Custom... I just really enjoyed playing Joe’s guitar that night, and so I agreed with him that maybe I should buy his Les Paul Standard after all. Neither Joe Walsh nor I realised at the time just what an important thing he had done by coming along with that Les Paul.’ It went onto become the main guitar for Led Zeppelin II and took over from the Telecaster on tour in 1969.

I played the Les Paul on ‘Whole Lotta Love’ and ‘What Is and What Should Never Be’ (the first two tracks recorded for Led Zeppelin II). I always wanted to make a change for each album sonically, and that was my first decision for Led Zeppelin II, to use the Les Paul. Like I had built Led Zeppelin I around the Fender Telecaster, I built the second album around the sonic texture of the Les Paul Standard.

‘Moving into the second leg of the American tour, I used the Danelectro on ‘White Summer/Black Mountain Side’ and the Les Paul. The Telecaster had been on the first album and tours until I converted to the Les Paul, which then became the main campaigner. I used it consistently throughout my career, including the O2 Led Zeppelin reunion concert in 2007.’

Jimmy comments on the significance of the Song Remains the Same suit:   ‘The idea of featuring dragons on my stage wear came from the Song Remains the Same suit. I wanted to extend the dragon theme and take it into the realms of kimono art. I had a customised dragon Tele, and now I was going to have a bespoke dragon suit.’

Jimmy Page on the 'Swagger' of Led Zeppelin's 'Physical Graffiti' - Rolling  Stone

Jimmy’s Gibson EDS-1275 double neck – cherry, 1968. Jimmy explains how he came to own and use a Gibson Double Neck: Guitars have been photographed since the Fifties, but I wanted to do some shots and angles that nobody had come up with before, as far as 
I know. I thought it would make an interesting effect to have a row of double necks in which each neck eclipses the next. It’s like the double neck guitar army standing to attention.’ This guitar was born out of necessity for Page.

On the original recording I was so involved in creating the guitar parts for ‘Stairway to Heaven’ on the acoustic guitar and two electric 12-strings that I hadn’t been thinking about how I was going to perform it all live. That’s where the double neck – a 12-string and a six-string – came in. It wasn’t the first one that Gibson had made, but it was soon to be the most iconic. To play the song live without a 12-string would not work. He was the only guitar player in the band so to replicate that part they either needed another guitar player or a way for Jimmy to switch to the 12 string while playing the song. Jimmy had seen pictures of American guitarists with a double neck guitar… Grady Martin with a Bigsby double-neck, Joe Maphis with a Mosrite. He also saw a strange band named Family with a guitar player  named Charlie Whitney with a double neck guitar.

Gibson first introduced the doubleneck guitar in 1958 with the EDS-1275’s forerunner the “Double 12”. The body and hardware specifications for the EDS-1275 include a solid mahogany SG-style body, a dark cherry finish with walnut filler, chrome hardware, a chrome ABR Bridge with chrome tumblewheels, Schaller strap locks, a five-play pickguard, two volume and tone control knobs, a three-way pickup-selector switch and a three-way neck selector switch.

Jimmy played Les Pauls and wanted to get another Gibson. By the time Page wanted an EDS-1275, they were no longer in production so he ordered a custom-made cherry guitar.

Page’s EDS-1275 has a slightly different body shape from that of the then current model. Page’s also has one-piece mahogany necks rather than the current three-piece maple, and has tailpieces positioned near the bottom of the body, reportedly increasing sustain, and Patent No. or T-Top humbucking pickups.

Jimmy’s EDS-1275 made its live debut in March 1971, allowing him to play 12-string and six-string parts without swapping guitars and it certainly did become iconic. Page recently donated a later model EDS-1275 for charity, but it was not the famous one he used with Led Zeppelin. That guitar remains firmly in his possession.

Jimmy Page:“I asked to get one from Gibson, because I knew it was the only way,” “I knew I couldn’t do Stairway…, but it was essential to do it. So it became iconic, didn’t it? If a little tough on the left shoulder…Yeah, though I’ve got heavier guitars! But nevertheless, it was pretty weighty.”

Utilising the double neck guitar in a live situation it also enabled me to play ‘The Song Remains The Same’ segueing into ‘The Rain Song’. Also, in a live situation, I would play ‘Celebration Day’ primarily on the 12-string neck. But I would swap over from the drive of the 12-string to the six-string to enable me to play the melodic guitar solo and then back to the 12-string to complete the song.

In 2019, Jimmy’s Gibson Double Neck was exhibited at the Metropolitan Museum’s ‘Play It Loud’ Exhibition. I was really impressed with the way the Met presented the exhibits. For example, they constructed a mannequin to model my dragon suit and carry the double neck, creating a 360-degree view.’

Gibson Les Paul Custom ‘Black Beauty’, 1960 (left) and the 2007 reissue prototype (right).

In the early Sixties I saw my Les Paul Custom ‘Black Beauty’ in a shop on Charing Cross Road. When I plugged it in it was like a dream, I had to have it. I used it throughout my studio musician years on the majority of sessions so I was deeply connected to this guitar.’ Jimmy’s Les Paul Custom guitar is a thing of legend. In The Anthology Jimmy explains how he came to own it, how it disappeared for 45 years and then finally returned.

I went in a shop one day and there was this guitar hanging on the wall looking so bloody sexy in its black and gold. It was saying, ‘Come on then. Come on, stop looking and ask them if you can play me.’ The next thing was working out how to pay for it – all kinds of trade-ins and hire purchase plans, but I had to have it. When I was at art school I played in the interval band on Thursday nights at the famous Marquee Club on Oxford Street. I got headhunted for sessions out of there, so that gave me an extra opportunity to pay for the ‘Black Beauty’.’

In January 1970 I played my ‘Black Beauty’ with Led Zeppelin at the Royal Albert Hall. By April we were on an American tour, and after crossing the border into Canada the guitar failed to turn up. It had evaporated. My ‘Black Beauty’ had been stolen and remained lost for many years.’

The guitar had become so iconic, featuring in photographs from as far back as my early session days, that Gibson wanted to make a replica. It was this Les Paul Custom reissue prototype, photographed on the right, that I played ‘For Your Life’ on at the Led Zeppelin O2 concert in 2007.’

A good friend had made it his mission to find my original ‘Black Beauty’ and 45 years after it was stolen I received a call from him telling me, “I think I’ve found it”. He was able to identify it as my ‘Black Beauty’ from the Royal Albert Hall footage: he saw that on the twelfth fret there was an unusual mother of pearl inlay that had a stripe across it. It was hard to believe I was finally going to get it back, but I did, and in time for it to be shown at the ‘Play It Loud’ exhibition at the Metropolitan Museum of Art in 2019.’ 

Stb mockup tight crop 1024x928

Stompbox: 100 Pedals of the World’s Greatest Guitarists, is a deluxe celebration of the unsung hero of guitar music–the effects pedal.

Stompbox showcases the actual effects pedals owned and used by Jimi Hendrix, Stevie Ray Vaughan, Frank Zappa, Alex Lifeson, Andy Summers, Eric Johnson, Adrian Belew, Joe Satriani, Steve Vai, Ed O’Brien, J Mascis, Lita Ford, Joe Perry, Thurston Moore, Lee Ranaldo, Vernon Reid, Kaki King, Nels Cline and 82 other iconic and celebrated guitarists.

These exquisitely textured fine-art photographs are matched with fresh, insightful commentary and colorful road stories from the artists themselves, who describe how these fascinating and often devilish devices shaped their sounds and songs. A visual treat for obsessive collectors, guitar players, and music fans, Stompbox reveals the essential but lesser-known marvels behind some of rock ‘n’ roll’s signature sounds.

Book features and structure:

100 Pedals. Featuring interview with the artist and a photos of the chosen pedal. The interview explores the artist’s personal connection to their chosen pedal. The pedal photo receives a full page with the interview on the adjacent page.

5 Editorial Features:
* Fuzzed, Phased & Freaked Out: A Heavy History of the Guitar Pedal.
* Thinking Inside the Box: A Pedal Innovators Roundtable.
* Fuzzy Drums, Hairy Horns & Silky Keys: Why It’s Okay to Love Guitar Pedals for Everything But Guitar
* Seeing Sound: The Art & Design of the Stompbox
* J’s Big Muff Museum: Lee Ranaldo Talks Pedals With J Mascis.

Photographer and Art Director: Eilon Paz
Editorial Director: Dan Epstein
Editor At Large: James Rotondi
Foreword: Ed O’Brien (Radiohead)

DANELECTRO 66 12 String

Posted: October 25, 2020 in Uncategorized
See the source image

Our “66” is killing it on stages and in studios across the globe. Now we add the Wilkinson tremolo and voila… the 66T. A toneful combination of large single coil and Lipstick Humbucker pair.   Pull on tone knob to coil tap the Humbucker. One guitar you will cherish forever!

Tonally, a Dano sits somewhere between a Telecaster and a Rickenbacker 330. Any way you slice that, you get bags of sparkle and presence that responds beautifully to compression and light overdrive, particularly on the coil-split setting. As we discovered on the old ’66, the knobs are fiddly, so engaging the coil split on both new Danos takes the edge of a pick or a fingernail. It’s worth the effort. You get a great Tele-like twang with the bonus of the springy vibrato. 

Running the ’bucker on full power allows both guitars to find a classic rock or even metal voice. Add in the warmth that the neck P-90 brings in and you’ve got a fantastic tonal palette to work with. 

When we put the hardtail ’66 through its paces it behaved itself impeccably, at least until it received a clip ’round the earhole when we spotted the price tag. A year on, we’ve made our peace with the RRPs. Face it, you’re going to get a deal on a ’66T anyway and, besides, the versatility, build quality and tonal charms of this guitar make it worth the money. 

It can be loud, brash, brutal, experimental, and even psychedelic, but arguably no other style of music has experienced as many revivals as garage rock. Maybe that’s because it taps into the essence of what rock ’n’ roll is all about: Just turn up your guitar, and play like you mean it.

If you’ve ever spent a Saturday afternoon in a friend’s basement slugging beers and banging out guitar jams through a few raggedy amps, a beat-up drum kit, and a makeshift PA (possibly a cheap microphone hooked up to another raggedy amp), then you know what it’s like to play in a garage band. There’s no rarified air or mystery to it. Rock ’n’ roll, as every rock critic from Lester Bangs to Lisa Robinson has asserted over the years, is the great equalizer—a democratizing force that imbues us all with the inalienable right to unleash our rebel yell. In the end, all you really need is the desire … and a dream.

So what then is “garage rock,” exactly? The term itself gets tossed around a lot these days, and rather glibly at that, but it comes down to a few key ingredients (and it’s not just about where you play it or how “lo-fi” it sounds). For starters, it has to be electric-guitar based. You can have a Farfisa organ, even a horn section, or backing singers, but without guitars and amplification, it ain’t garage. Then there’s the do-it-yourself factor. Covers are allowed, just as long as you give them your own unique spin—the farther out, the better. And finally the kicker: Attitude is an absolute necessity.

“When you picture someone in a garage or a basement or at home or wandering down the street, trying to find a way to express their inner core, that’s what it’s about.” —Lenny Kaye
Patti Smith Group, Nuggets curator

Ironically, this most all-American of pastimes got its kick-start when the Beatles and the first British Invasion started dominating the airwaves back in early 1964. Before then, ’50s rock and rollers like Ritchie Valens and Buddy Holly—who, incidentally, recorded a clutch of early demos in his parents’ garage with his backing band, the Crickets—had helped set the tone for what was to come. By 1963, with the release of their classic version of “Louie Louie,” the Kingsmen staked a claim for what may very well be the first true garage-rock record. Just on the basis of Jack Ely’s unhinged, almost indecipherable vocal performance and Mike Mitchell’s wacky Strat solo, the song certainly qualifies.

“When you picture someone in a garage or a basement or at home or wandering down the street, trying to find a way to express their inner core, that’s what it’s about,” says Lenny Kaye. And he ought to know. Besides his punk-rock bona fides as the founding guitarist of the Patti Smith Group, he also curated the famed Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968 compilation for Elektra back in 1972. The double album features 27 key tracks by such stage-proven stalwarts as the Seeds, the Standells, the Shadows of Knight, Blues Magoos, the Electric Prunes, and many more. Nuggets has long been recognized as a lodestone in the garage-rock canon, because it provided, for the first time, an encapsulated history and context for a sound that detonated across the latter half of the 1960s. Fueled by hungry, fiercely iconoclastic bands that had emerged from underground scenes around the country, garage rock had all the earmarks of a musical movement.

Lenny Kaye, lead guitarist for the original Patti Smith Group and curator of Elektra Records’ canonical Nuggets garage-rock compilation, performing in London’s Hyde Park on July 1, 2016. Photo by Brian Rasic/WireImage. One of Kaye’s fond gear memories from the early years of the garage movement was seeing the game-changing
Gibson Maestro FZ-1A Fuzz-Tone. 

“This was the renaissance for rock and roll,” Kaye observes. “Especially for the guitar, where the instrument became the primary source for innovation and inspiration. It made the garage band very guitar-friendly, because the one thing you needed was a guitar, y’know? And it coincided with the explosion of mass acceptability of the guitar, and its sense of electronic potential. When I was playing with my own band the Zoo, I remember seeing the first Gibson [Maestro] Fuzz-Tone, the FZ-1A. So when we played ‘Satisfaction’ or ‘Wild Thing,’ we could replicate that stinging, sustained tone.”

Although the preferred gear varied wildly in the early days of garage, Fender Strats, Mustangs, Teles, Precision basses, and Jazzmasters rose to the top, often powered by Fender Twins, Super Reverbs, and Showmans. But almost as soon as the Beatles came on the scene, the amplification began to shift. Up until late ’63, the Fab Four had relied on the workhorse Vox AC30, but their screaming fans consistently drowned them out. Vox outfitted the band with the larger and louder AC100 amps and cabinets (prototypes for the U.S.-made Super Beatle, introduced in ’66), so by the time they reached American shores in early ’64, the word was out.

One teenaged guitarist based in San Francisco had been following the development closely. Cyril Jordan hadn’t yet founded Flamin’ Groovies, a future cult favourite in the Bay Area and southern California—and, with the 1971 release of Teenage Head, a band that was destined to be considered a key progenitor of punk rock and the garage offshoot known as “power pop.” But Jordan was already a well-informed aficionado of guitar gear, and he put his knowledge to good use.

Flamin’ Groovies founding guitarist Cyril Jordan onstage in 2013 with one of his favourite axes, a Dan Armstrong Plexi with swappable pickup modules.Influential San Francisco guitarist Cyril Jordan was often found plugged into a Fender Pro Reverb onstage with punk forefathers Flamin’ Groovies.

“I started getting guitar catalogues in 1959, and in ’63, my cousin in Holland sent me a Vox catalog,” he says. “This was just before the Beatles came to America. It was weird, because the Vox amps were drawn in pencil—there were no photos. And then when the Beatles show up on Ed Sullivan with their Vox amps, I’m like, ‘Oh, those are from the catalogue my cousin sent me!’ So I went to a store in my neighbourhood called Angelo’s Music, and I kept bugging Angelo to look at this catalogue. Finally he takes a look and says, ‘What’s the big deal?’ And I told him these are the amps the Beatles use. As it turned out, Angelo was a rep for the Thomas Organ Company, and guess who got the franchise for Vox in America? I didn’t figure this out until decades later.”

Jordan himself was a proponent of the Fender Pro Reverb, which he retrofitted with Electro-Voice speakers before the Groovies recorded their defiantly oddball, multi-styled debut, Supersnazz, in 1968. He also owns one of the original Dan Armstrong Plexiglas guitars, which he still plays to this day. “At the time, they were going for $400 and came with two extra pickups that looked like chocolate candy bars,” he says. “You could slide one out like a cassette and put the other one in—it was amazing. I always used it on basic tracks, and later on I split the signal so I could play live in stereo. I took it back to mono about five years ago. It still has a great shredded sound, because I go into a Roland JC-120 for pure treble, with a Brian May Vox AC30 on the bottom.”

As guitarists across the U.S. picked up on the Beatles’ built-for-sound Vox AC100 behemoths, the marketing gurus at Vox were already plotting the company’s entry into the American market by sponsoring a few emerging bands, including two stalwarts of the L.A. garage scene—the Seeds and the Standells. The 1967 exploitation film Riot on Sunset Strip features the Standells playing through Vox amps (with guitarist Tony Valentino wielding a Telecaster and bassist John Fleck slinging an Eko 995), while the Seeds’ Jan Savage, who favoured a Fender Mustang, also played a Vox Bobcat through the Super Beatle, later models of which upgraded the trapezoidal V1141 head with a built-in “distortion booster.”

Although Hendrix is often thought of as a premiere proponent of the Arbiter Fuzz Face, Leigh Stephens, who achieved notoriety for his band Blue Cheer’s raging 1968 rendition of “Summertime Blues,” was also a big fan.

Along with Vox, Marshall amps broke into the U.S. market in the mid 1960s, and suddenly volume was the name of the game. Blue Cheer’s Leigh Stephens was an early convert to the 100-watt Marshall stack—the perfect outlet for his Strat or Gibson SG, which he usually played through an Arbiter Fuzz Face. The band’s ’67 demo of “Summertime Blues” is a stunning example of how, with just a little power and distortion, a garage band could morph into blues-rock with a psychedelic edge.

“I always liked John Cipollina’s amplifier setup, with the trumpet horns on the top, and a Standel and a Twin,” says Kaye, referring to the lead guitar slinger from the Quicksilver Messenger Service, who became an unsung hero to many fans of the late-’60s San Francisco scene. “But that’s a very high-end sound, and of course everything changed with the Marshall and Hiwatt invasion from England. Blue Cheer were probably the underbelly of garage rock as it developed that heavier sound through the end of the ’60s.”

“The bands of the Bay Area were still growing up on a folk-based thing, so when the [13th Floor] Elevators showed up, things changed real quick.” —Billy Gibbons

Jordan picks up the thread, recalling his first encounter with the heavier version of the garage-rock scene in Detroit. “We’d seen the fuckin’ MC5, and Fred [“Sonic” Smith] and Wayne [Kramer] both had Marshall stacks. That really blew our minds.” In fact, the Flamin’ Groovies started sharing bills with the MC5 and the Stooges—both known for their hard-rocking protest anthems (later lumped under the rubric of “proto-punk”)—in early 1970, when the Detroit scene was in full throat. “After that, I knew I had to get a Marshall,” Jordan says. “I used one when we cut Teenage Head about a year later, and the rest of the guys had the Vox Super Beatle amps. Those were real cool, too, because they had that power.”

After the technical leaps made in amplification in the mid ’60s—not to mention the oncoming wave of new and improved effects boxes, including the Echoplex EP-2, the Maestro FZ-1A, and the Vox wah—it made sense that the next frontier for the garage sound would be the musician’s imagination. But those weren’t the only pieces of the puzzle. Just as important were the growing support networks—the scenes—that had popped up in cities all over America.

Austin, Texas, certainly had one, and bands based in the nearby cities of Houston and San Antonio fed into it. In the mid ’60s, Red Crayola (out of Houston), Bubble Puppy (San Antonio), the Golden Dawn, and the Babycakes were all part of a burgeoning psychedelic scene that united like-minded musicians of all stripes. And oscillating at the center of it were the 13th Floor Elevators.

Led by the wild-eyed, charismatic singer-guitarist Roky Erickson, with lead guitarist Stacy Sutherland by his side, the Elevators defined a sound—duly repped by the way-gone “You’re Gonna Miss Me,” included on the Nuggets set—that was overtly derived from the band’s mind-altering experiments with hallucinogenics. In the liner notes to their 1966 debut, The Psychedelic Sounds of the 13th Floor Elevators, co-founder Tommy Hall wrote about chemically altered states and “the essence of the quest,” putting fans on notice that the Elevators weren’t just firmly committed to musical experimentation—they were living it.

The Elevators toured the West Coast in October ’66, and right away they had a profound effect on the San Francisco scene. “The bands of the Bay Area were still growing up on a folk-based thing, so when the Elevators showed up, things changed real quick,” observes ZZ Top’s Billy Gibbons in the 2006 Roky Erickson documentary You’re Gonna Miss Me. (During his teenaged stint fronting his own psych band the Moving Sidewalks, Gibbons played a white ’63 Fender Jazzmaster, a garage staple.) “Every musician had so much respect for this crazy thing that they were coming up with. They took it into a new realm, branching out with some of the wildest arrangements.”

Trip-a-delic 6-string masters Roky Erickson and Stacy Sutherland of the 13th Floor Elevators both favoured Gibson ES-330s .

The kaleidoscopic range of Erickson and Sutherland, who plugged their Gibson ES-330s into Fender amps that were usually outfitted with the essential “Tube Reverb” or “Reverb Tank,” lingers to this day. Besides influencing Texas players like Butthole Surfers’ Paul Leary and the Black Angels’ Christian Bland, the Elevators directly inspired the founding of the annual Levitation festival (formerly the Austin Psych Fest), which has been drawing crowds since 2008.

Meanwhile, in New York City, an entirely different but no less explosive movement was coalescing around the thriving countercultural art scene—one that intersected with the experimental music of composers like Tony Conrad and La Monte Young, and created a super-heated atmosphere that was primed for the Velvet Underground.

Thanks to the support of Andy Warhol’s Factory studio, Lou Reed and the Velvets had a platform to launch their brooding, street-hardened, and decidedly garage-flavoured brand of art rock. For Reed, it was a natural progression. He was an avowed fan of the Sonics’ 1965 debut, Here Are The Sonics!!!, and had even written an accidental garage hit in ’64 called “The Ostrich” for an ad-hoc band he assembled under the name the Primitives. (Among the players brought together in the project was Welsh musician John Cale, who would go on to become another founding member of the Velvets.) The song featured a droning guitar with all six strings tuned to the same note—a technique that would later be used in VU.

Both Velvet Underground frontman Lou Reed and lead guitarist Sterling Morrison often plugged in a Kent Copa 532 for the band’s influential amalgam of garage-inspired art rock, but Reed often played a ’64 Gretsch Country Gentleman as well.

Reed favored a ’64 Gretsch Country Gentleman through a Fender Deluxe, while lead guitarist Sterling Morrison often went for a ’65 Japanese-made Kent Copa 532 (also a fave of Reed’s), as well as a small arsenal that included a Fender Stratocaster, a ’61 Gibson SG, a Les Paul Standard, and a Vox Phantom. Reed and Morrison both switched up on amps, which included Silvertone 1484s, Vox Super Beatles, and Sunn models. Ultimately though, the gear almost didn’t matter: If the twin emotions of desire and dread could be double-helixed into a yowling guitar sound that personified the dystopian end of the ’60s, this was it.

The rest, as the cliché goes, is rock history. VU’s 1967 debut album with Warhol starlet-singer Nico eventually became a creative flashpoint for a wave of ’70s protopunk and glam bands, influencing the Modern Lovers, the Dictators, the New York Dolls, and plenty more to follow. Or as Brian Eno put it in a 1982 interview with the L.A. Times: “I was talking to Lou Reed, and he said that the first Velvet Underground record sold only 30,000 copies in its first five years. Yet that was an enormously important record for so many people. I think everyone who bought one of those 30,000 copies started a band!”

In the wake of the ’60s, the influence of the garage rock sound ebbed and flowed, but the spirit behind the music never really wavered. “We’re talking about a very direct, no-frills form of rock ’n’ roll,” says Lenny Kaye. “When you start reducing the music to its base elements, that spirit is always there for renewal. You can see it cropping up through the years—not specifically a garage revival as exemplified by, say, a group like the Chesterfield Kings in the early ’80s, or even the Lyres, although those bands had a little more modernity. But to me, the great garage revival scene was the one in Detroit, with the White Stripes and the Demolition Doll Rods and the Gories. That was bringing things back to the elemental.”

Like most of his heroes (Jimmy Page being one), White Stripes mastermind Jack White can’t easily be summed up based on his record collection, but two delectable quirks stand out: his fascination with the Monks—a wacky, way-out band of enlisted misfits stationed with the U.S. Army in Germany who released one sublime album called Black Monk Time in 1966—and his childhood love of the Stooges, whose 1970 classic Fun House album White has lauded as “by proxy the definitive rock album of America.” (White almost produced a Stooges studio album, but he and Iggy Pop politely scrapped the idea after the band demurred. Steve Albini eventually signed on to tweak the knobs for 2007’s The Weirdness.)

Interestingly, while the Stooges’ Ron Asheton recorded the band’s early albums on Stratocasters and a Gibson Flying V—usually through a Marshall stack, and often front-loaded with unpredictable waves of fuzz and feedback—White pursued much more of an exotically vintage—and one could even say defiantly minimalist—route with his ’64 Airline Res-O-Glass “JB Hutto” guitar. Doubled up through an old Silvertone and a Fender Twin, the unusual axe pretty much defined the crunchy, gutbucket sound (and, in fire engine red, the seductively louche style) of the first five White Stripes albums.

Beyond the music, White clearly revels in shrouding himself in mystique, but the 2009 documentary film It Might Get Loud is probably the most accessible window into his thinking about how the guitar—and the garage attitude—defines his stripped-down aesthetic. “Distortion, anger, the punk ideal—guys who got picked on, like a lot of us did in high school, this is our chance to push you down now,” he says. “Southwest Detroit is a tough town, and it puts up with a lot and keeps going. Where I lived, it was uncool to play guitar. Hip-hop and house music—that’s what everyone wanted to hear. Nobody liked rock ’n’ roll or blues music. Surf, rockabilly, Dick Dale, the Cramps—I tried to absorb everything.”

He also cites going to see Flat Duo Jets—a seminal two-piece band from North Carolina fronted by Dexter Romweber—as a life-changing event. “They were guitar, drums, and vocals just like me and Maggie. I was just blown away. There was nothing onstage—just an old 10-watt amp and a Silvertone guitar. [Dexter] had what I would have thought at the time as a backwards direction. And I had to reassess what backwards meant in my mind. That opened up a whole new inspiration for me about the guitar.”

That tireless search for the unusual, even the outrageous, in both gear and sonic direction has driven the efforts of numerous artists for the last two decades. You can hear it in the bent, vibrating wall-of-sound generated by Thee Oh Sees, the psycho-surf-glam grooves of Ty Segall, the ageless experimental sludge rock of the Melvins, the wall-banging riffs of JEFF the Brotherhood, or the spooky desert twang of Allah-Las—and the list goes on and on. By and large, the underlying mission these days is to completely deconstruct the garage ethos with giddy abandon, reshaping it in a distorted funhouse image that embraces the sheer possibility of the music.

“That’s what I like about it, because it pushes me to keep trying different types of music and expanding my vocabulary,” says L.A.-based belter and axe-grinder Hanni El Khatib. Since 2010, he’s churned out three noisy, exuberant, and instantly accessible albums, including 2013’s grimy Head in the Dirt, produced by the Black Keys’ Dan Auerbach. This year, El Khatib has focused on rolling out a three-volume series of EPs called Savage Times—each a raucous snapshot of his growing interest in sonic manipulation and electronics.

Velvet Underground’s Reed and Morrison used a variety of amps, including a Silvertone 1484 Twin Twelve like this specimen.

“I was really taken by bands that morphed that idea of early rock ’n’ roll,” he says, “especially the Sonics, the Cramps, and 13th Floor Elevators. Roky Erickson, I would consider a very influential garage source for me. But I see it all falling out of blues and rock ’n’ roll, and then it just moved forward. It was the answer, or the antithesis, to straight-up mainstream rock. But the essence of it, in a sense, is derived from that late-’50s, early-’60s garage sound. It definitely informed the way that I think about music. I mean, it’s fast, and it’s loud!”

Mondo and His Makeup,” an ear-stinging garage send-up from El Khatib’s Savage Times Vol. 3, is a case in point. Tracked on a 1963 Danelectro 4021 Batwing guitar, with shades of Maestro fuzz driving a vintage Fender Princeton Reverb and solid-state Alamo amplifiers, the song sounds like it burst right out of a Laguna Beach garage jam circa 1966. The song’s fly-by-night video, shot at a magically gaudy Mexican restaurant in L.A., is a post-modern take on the multi-cultural fabric of the southland.

As for the guitars, El Khatib has run the gamut. “I’ve been listening to garage for forever,” he says, “and there are inherent sounds that just feel right. My main guitar for years was a ’64 Silvertone—a model H that looks like a Jaguar, with dual pickups like those DeArmond Kleenex boxes. That dictated my sound early. When I started recording with Dan, I realized that making a record and performing live don’t have to go hand-in-hand, so I opened up and started playing Teles. He even had a Strat that we used for fuzz leads. I would never in a million years think I would play a Strat, but after recording with it, I was like, ‘Oh shit, I want a Strat in the studio!’”


When the White Stripes burst on the scene with their eponymous 1999 debut, frontman Jack White made the all-but-forgotten Airline Res-O-Glass “JB Hutto” model a hot item practically overnight.

At the same time, El Khatib began to notice many of his peers were stocking up on guitars that had been oddball novelties when they were first produced, but were now ultra-fashionable. “I love to play out with the off-brand stuff—the Teiscos, Kays, Nationals, or Airlines or whatever—just because of the sound. But everyone started going that way. They were straying from the Mustangs, Jaguars, and Jazzmasters. So I thought the opposite of that would be to get a Gibson Black Beauty [laughs]. It was like, ‘Okay, let me play a real guitar that the greats played.’ Not that the others aren’t real, but I wanted to mess with the sound. I put a Bigsby vibrato on it and took it on the road with my ’78 Marshall, which has a modded master volume, and it became the guitar for me.”

Meanwhile, on the other side of the pond, garage rock has enjoyed its own sustained renaissance in England. From the unvarnished scuzz-punk of the Kills (based in London and Nashville) to the soulful lo-fi pop of Little Barrie, the DIY spirit is alive and well—and getting louder.

In the seaside town of Brighton, the Wytches have been making noise since 2011. In fact, they literally recorded demos for their first album in a garage. After the release of Annabel Dream Reader in 2014, they met Jim Sclavunos, well known for his long stint in Nick Cave’s genre-busting band the Bad Seeds. As it happens, Cave is also a resident of Brighton, and Wytches lead singer and guitarist Kristian Bell is an avowed fan of Cave’s first band, the Birthday Party—particularly the warped, freewheeling guitar attack of the late Rowland S. Howard.

“I can identify with his playing a bit more because it doesn’t seem very technical,” says the 23-year-old Bell. “It’s more like a feeling, rather than having loads of knowledge. He’s playing simple riffs, but they’re also really good, and with a lot of feedback. He’s probably my favourite guitar player—one I’ve tried to emulate now and then.”

The Wytches’ latest album, All Your Happy Life, delivers on the promise. For most of the sessions, Bell plugged into a Vox AC30 with his trusty Fender Classic Player Jazzmaster, cutting loose with a jagged, angular attack on the tripped-out single “C Side,” which pretty much encapsulates the trio’s sound: aggressive and combative, but still melodic as hell. He channels a stereophonically wide-angled crunch on “Bone Weary” and Dumb Fill”—both tracked on a tweed Fender Blues Junior, once again making the case that, in the studio (as opposed to onstage), massive volume is often just a matter of perception.

The Blues Junior is quite limited, but it does have a really nice natural distortion,” Bell says. “And I think there’s a lot to be said about trying out things without reverb, because the guitar seems to do some crazy things when you take that away. I used to just drown everything in echo, and it sounds cool for some parts, but for a lot of the heavier playing on this album, I just left it dry and distorted, which I’m glad I tried out. It works better.”

In past interviews, Bell has referred to his band’s sound as “surf doom,” with a nod to Duane Eddy and Black Flag’s Greg Ginn—two key influences who couldn’t be more vastly different. It’s become an identifying factor among scores of young bands today that embrace the garage blueprint: The cross-pollination of styles doesn’t matter. Besides a guitar, an amp, three chords, and the truth, as long as you also share the commitment, comradery, and the burning desire to make noise together, then you’re playing in a garage band.

“To me, a band is a mystical thing,” says Lenny Kaye, summing up his own history with the Patti Smith Group, still going strong after more than 40 years. “It took me a long time with Patti to get my thing together. I was not the greatest guitar player—I’m still not the greatest guitar player—but you do learn your craft over the years. In our early years, people would say, ‘Well, if you had a real band, instead of this haphazard group of musicians who are straining to figure out who they are …’—but it wouldn’t have been what it became. And that’s one of the important things. You look at all these bands, from the garage era on up, and you can feel their unity.”

At a recent New York tribute to the Shaggs—yet another band of almost-forgotten outsiders who had the distinction of being sisters as well as self-taught musicians (and who counted Frank Zappa and Kurt Cobain among their fan base)—Kaye elaborated further on the mystique behind the music.

“Sometimes it’s hard to play simple, to take those two or three chords and turn them inside out and find a sound that attracts the ear. I mean, ‘Pushin’ Too Hard’ [by the Seeds] is just a great, crafty song. One of the myths of the garage bands is that they’re untutored and unschooled, and somewhat less musicianly. But some of these songs are not as simple as they seem. There are little guitar phrases, a second guitar adding this, the chords going strange—like most music, it’s not as easy as it looks.

“And I couldn’t let this go without mentioning the national anthem of garage rock—[Them’s] ‘Gloria,’ y’know? All over the world, whatever band happens to be up there, if they want me to jam out, I say, ‘Okay, E-D-A, just follow along.’ And they know it! And it’s always different, but it makes everybody stand up, and that’s what a national anthem should do.”

Image may contain: one or more people, people standing, tree, shoes, plant and outdoor

This extraordinarily pleasant, restful film is essentially the digital equivalent of hanging out in the Manhattan shop of the title, a Greenwich Village institution of sorts where master craftsman Rick Kelly and his young apprentice Cindy Hulej make and sell guitars. At one point early on, Hulej puts down her blowtorch and brushes and steps back to photograph her latest creation for Instagram, assigning the label “#guitarporn” – really, that could just as easily been a title for the whole film. It is 80 minutes of pure woodwork-musicianship-upcycling erotica for a very specialist but passionate market.

If, like me, you love watching video footage of people making stuff, the you’ll probably swoon most over the bits where Hulej and her sensei Kelly saw and chisel or just talk about the objects they create: electric guitars carved from wood recovered from New York’s oldest buildings. They’ve been known to scrounge joists from burnt-down churches, reclaiming timber from the 19th century that Kelly describes as “the bones of old New York City”.

Once the centre of the New York bohemia, Greenwich Village is now home to lux restaurants, and buzzer door clothing stores catering to the nouveau riche. But one shop in the heart of the Village remains resilient to the encroaching gentrification: Carmine Street Guitars. There, custom guitar maker Rick Kelly and his young apprentice Cindy Hulej, build handcrafted guitars out of reclaimed wood from old hotels, bars, churches and other local buildings. Nothing looks or sounds quite like a Rick Kelly guitar, which is the reason they are embraced by the likes of Bob Dylan, Lou Reed, Patti Smith, Jim Jarmusch, just to name a few. Featuring a cast of prominent musicians and artists, the film captures five days in the life of Carmine Street Guitars, while examining an all-too-quickly vanishing way of life.

Thanks to partly their craftsmanship and partly the crystallised resin in the material (impossible to replicate for guitars made from fresh-cut wood), the instruments have a uniquely beautiful tone. It also helps to hear them played by the various friends of the store who walk through the door for a jam, a natter, maybe even a purchase (this is shopping porn too). Musicians featured include Christine Bougie of Bahamas, the Fiery Furnaces’ Eleanor Friedberger, jazz greats Bill Frisell and Marc Ribot, Jamie Hince from the Kills, Lou Reed’s guitar tech Stewart Hurwood (who put on an installation in Brighton with guitars built by Kelly for Reed), Patti Smith’s guitarist Lenny Kaye, and longtime Bob Dylan collaborator Charlie Sexton. And there’s a visit from film-maker/musician Jim Jarmusch, who is also described in the credits as the film’s “instigator”; his involvement seems inevitable, even though it’s a very self-effacing appearance given over mostly to a discussion of types of wood. If a film had a smell, this one would be of sawdust, varnish and pure love.

  • Carmine Street Guitars is available on digital platforms from 26 June.


Posted: July 21, 2020 in Uncategorized


Squier Classic Vibe 70s Jaguar

Squier CV Jaguar

Retro styling is the name of the game for the Fender Jaguar. Sharing many cues with classic automotive design, the Jaguar features sleek lines yet sports a rough and ready feel. Fender-Designed alnico single coil pickups and a 24” scale length set this guitar apart from the rest of the lineup.

Squier Classic Vibe 60s Jazzmaster

Squier CV Jazzmaster

A faithful and striking homage to the iconic Fender favourite, and also available in a rare left-handed edition! Undeniable Jazzmaster tone thanks to the pair of Fender-Designed alnico single coil pickups, and a slim, comfortable playing experience. There’s also the classic vintage-style tremolo system for expressive string bending effects.

Squier Classic Vibe 60s Mustang

Squier CV Mustang

Another favourite for the fans of alternative guitars, the Squier Classic Vibe 60s Mustang pays tribute to the offset stars of the 60s. With its dual Fender-Designed alnico single coils, 24” scale length and comfortable neck, players of all ilk will enjoy the Mustang.

Bass Guitars

Squier Classic Vibe Bass VI

Squier CV Bass VI

Grabbing headlines this year is the return of the Squier Bass VI! The secret weapon of many a daring producer and sonic pioneer, this beefy instrument gives an extra octave below a standard guitar. It’s certainly a true hybrid; bassier than a guitar yet more guitary than a bass. Thicken out your recordings and enjoy the quirky experience of the Bass VI.