Brev Sullivan interview: ”A guitar puts a smile on a grown man’s face.”

March 21, 2012

| Author: Vintage & Rare

Brev Sullivan is a Miami – based guitarist. He plays with the rock band ” Featured on Fridays ” and with his father, jazz legend, Ira Sullivan. Vintage & Rare got the opportunity to talk to Brev about his music, gears, future plans and much more.

Hi Brev, thank you for taking your time to speak to us.

Could you please tell us a bit about how you got into playing music in the first place? Do you remember any specific moment that sparked your interest in music?

I was born into a musical family. My father had musical instruments all around the house so I was very young when I discovered music. I loved the piano at first and eventually I started learning trumpet and then guitar.

Why you initially got into the genre you’re currently playing? What musicians or bands inspired you in the beginning?

I listened to nothing but classical and jazz growing up. It wasn’t until my teens that I discovered rock and even then I was very choosy about what bands I listened to. When I heard Gary Moore and Guys like Van Halen that really sparked my interest and pushed me to practice strictly guitar. Currently I am writing in the style of 80′s arena rock. This music is about happy times and celebrates extreme guitar technique and requires all of the band members to be talented.

Do you like performing with your father – jazz legend Ira Sullivan?

Of course. While I’m known as a rock musician, my father always encouraged me to follow my own path and to play from the heart and to improvise. I grew up hearing him play with Joe Diorio, my guitar teacher. When they performed together I heard some of the most incredible music on the planet. That music was the ultimate guitar lesson for me.

Can you tell us about the gear your using, and why?

It is a combination of several amps. I use a Bogner Goldfinger 45 and the DV Mark triple 6. As far as pedals I don’t like a lot of pedals in the signal chain. The more pedals you have on stage the more they distract the artist from playing and performing. If I hit a pedal it’s gotta be an effect the whole arena hears when you hit it. Currently I plug my amps into a Yamaha UD stomp pedal for delays and pitch shifting (no longer manufactured) and several old world style pedals. A barracuda flanger, Psilocybe phaser and an old Thomas Organ Vox Crybaby. Circa 1970.

Can you please tell us about your collaboration with DV Mark?

My bassist Crystal Fawn has always used Markbass amps. When I discovered they make a whole line of guitar amps I had to try them out. They match up sonically to the best boutique tube amps out there and are pounds lighter than the normal heavy guitar amp. They also make extremely light weight cabs as well. I am currently using them to record tracks for my next solo cd.

Does the gear you play live differ from the gear you’re using in the studio?

No. When I record in the studio, I play live with a drummer and the tracks sound best when that energy is captured. Nothing else sounds like a cranked tube amp. You need the power amp section of a tube amp turned up to match the power of a brute rock drummer. When I have live shows I grab the same rig and take it to the gig. If I can’t have my rig and have to use generic back line, I take my trusty pedalboard with me. While I prefer amp distortion If I have to use a pedal I use the MI audio crunchbox. There are actually are a couple of great pedals on the market that come pretty close to the real Tamale. The Rockbox Boiling Point is great and I’ve also discovered recently Studio devil software. The other day I actually plugged my laptop with the Studio Devil virtual guitar amp straight into a Plexi 50 watt amp head and it sounded amazing.

Are there any special guitars, brand or a model, that fit your specific sound or genre better than others, and if so, why?

I’ve been using Vigier guitars as a solo artist for many years. The Vigier allows me to go from rock, to jazz, to chicken picken’ to shred. More recently though I’ve gone back to a simpler 80′s retro strat style guitar because I play 80′s Arena style rock with My group Lazy Bonez. I prefer an Alder or basswood body for tone, Floyd Rose trem and high output pickups. I see a trend with a lot of companies going back to this model.

How important do you find the gear to be, in relation to the sound you’ re trying to produce?

Extremely important. While the tone is actually in your hands, the right gear can help you can capture the vibe you are going for with your music. That does not mean you should go into debt trying to get gear! On the contrary. If you are going for a classic rock tone, grab a cheap strat and plug straight into a tube amp and record what comes out. You can always buy replacement parts and tweak a guitar to sound better. Back in the 60′s and 70′s, Strats off the wall of a guitar shop were imperfect and you had to fight to keep it in tune. You don’t need to pay out the nose for a vintage guitar to get that sound. I recently recorded a whole album on a $450 stock Gibson Sg special. It’s one of the best sounding guitars I’ve ever owned.

If you could choose 3 dream guitars for you – what would they be and why?

That list may have to be a bit longer but here’s a 3 guitar wish list: A classical nylon string guitar by Ruck (One of the finest guitars I’ve heard), Vigier Fretless Surfretter (I’ve always wanted to learn the style of fretless guitar) and Bob Benedetto ( The best jazz Archtop I’ve heard).

You appear in the upcoming summer 2012 Film Rock of Ages as a guitarist with Tom Cruise. What was that like?

I appear in several scenes in the fictional band Arsenal fronted by Tom Cruise who plays the character of lead singer / frontman Stacee Jaxx. It was a surreal experience to say the least being surrounded by Actors such as Alec Baldwin, and Paul Giamatti every day. Tom was extremely professional and really knocked it out of the park as a rock performer. I got to work with choreographer Mia Michaels and that really helped me with my stage presence. Being on the set everyday was just like preparing for a real tour. We were on an Aircraft carrier size stage with full size Marshall stacks circa 1980, used pointy guitars and old school pedals. One of the biggest scenes we filmed was Def Leppard’s ‘Pour Some Sugar on Me’. Def Leppard was on tour at the time in town and they actually came down to the location we were filming at in to watch our rehearsal. It was epic!

Any famous last words?

Yes. I have never seen an instrument like the guitar that is so utterly fascinating to so many people. Right now is an amazing time in history. We all have phones that do everything, Ipads, electronic gizmos, and yet people everywhere are marveled by a simple, old world creation of wires and wood that has absolutely no micro chips inside. I personally know more people that own a guitar that can’t play it but wish they could. That’s also an amazing phenomenon. A guitar puts a smile on a grown man’s face and kids love the guitar. People also love the guitar and idea of being a rock star so much that they will buy a video game with a plastic guitar that makes them feel like a rock star, that’s powerful.

www.brevsullivan.com
www.myspace.com/brevsullivan

Would you like to add something about Brev Sullivan? Please leave a comment…

Hot Amps – The Fifteen Class A Mini Head

March 8, 2012

| Author: Vintage & Rare

Hot Amps – The Fifteen Class A Mini Head are fully customized and hand-made in Czech Republic. New one channel 15W deluxe class-A mini-amp head based on HOT’ original construction and tone character with genuine “British” character class A sound and with two tone character modes,  LOW mode – from very nice genuine “British” clean to vintage crunch and HI  mode – with more aggressive rock distortion. Fully hand-made by point-to-point hand-wired method. Featuring pentode/triode switch for lowering output power to half, CUT control and Bright switch for fine adjustment of tone, optional tube-driven effect loop and customized tolex design. Excellent for all music styles, from pop-rock to hard-rock and metal. Ideal for stage, recording  as well as for rehearsal rooms. Delivered in nice rigid and waterproof cover.

Henrik Berger taking a tour on a vintage Greco EGF-1000 Super Real series, through a Hot Amp “The Fifteen” 15/7 watt tube mini head amp with HOT GBR112 half open cab.

Henrik Berger taking a tour on a blonde 1966 Fender Stratocaster through a Hot Amp “The Fifteen” 15/7 watt tube mini head amp with HOT GBR112 half open cab.

Henrik Berger taking a tour on a natural relic, beat up and amazing blond 1972 Fender Stratocaster through a Hot Amp “The Fifteen” 15/7 watt tube mini head amp with 112 half open cab. Alnico Gold Speaker.

The seller of this product is Musician’s navigator – an international company providing for boutique custom music gear and pro audio manufacture, online sales and service. Their main mission is to provide customers with high-end professional music gear products of E.U. and U.S. manufacturers. Musician’s navigator portfolio covers fine collection of custom, boutique, high-end and rare pro audio as well as guitar & bass top quality music gear products we personally believe in. For some of them they act as an exclusive worldwide promotional and business representative (HOT, Gerhat, VHRelief and other).

Would you like to add something? Please leave a comment…

Walk off the Earth: Sarah Blackwood interview

March 5, 2012

| Author: Vintage & Rare

Walk off the Earth is an unique Canadian band. Their  interpretation of Gotye’s “Somebody That I Used To Know” has so far reacg more than 67 million views on Youtube.

Vintage & Rare got the opportunity to talk to Sarah Blackwood, the band member. She told us something about their work, how does it feel to be the only girl in the band, their future plans and many more.

Hi Sarah, thank you for taking your time to speak to V&R.
No probs!

Could you please tell us a bit about how you got into playing music together in the first place?
I started working with Gianni a long time ago. Around 2007. Him and Marshall started WOTE in 2006 and just over the years we have all come together for different projects and music. Gianni helped produce and engineer my second solo album and during that time we started talking a lot about making videos and getting involved more with each others music. Over the past few years it’s all just kind of come together with everyone and the music and videos have created buzz and momentum for the band.

Your version of ’’Somebody that I used to know’’ has more than 64 millions views on Youtube. How important do you see Youtube as a promotion tool?
We have been making stuff for the Youtube world for a few years now. From experience and research we saw potential in it more so than anything else. I personally spent the past 6 years as more of a “road  warrior”  so to speak. Touring full time and traveling around the world with my music. When we put our heads and music together from the road and with the world of Youtube/Social Media our minds opened up big time! Youtube is a whole different world and we know there is so much more to develop from it. We’re just getting started. Social Media really is changing the world.

Five people, one guitar, five different roles – Great concept and it really sounds great. How did you came up with that idea?
Gianni came up with the idea. Every time we do a video the idea stems and we just go from there. With this one, it was something he had wanted to do for a while. When we looked up other videos on Youtube we could only find three people on one guitar. So we did five. Every idea we have has to be incredibly creative and inventive. Otherwise you’re just doing what everyone else has done already.

Does the instruments you play live differ from the ones you’re using in the studio?
Yes they do. We have a plethora of instruments that we share in studio with the stage and not. In face, just recently we have been obtaining more instruments than ever. It’s pretty neat. We also use random things as instruments as well. Like little pieces of metal instead of a snare drum. Or cardboard boxes instead of a drum. Or a box of TicTacs instead of a shaker. We like to get super creative.

Any artists you would like to play with?
I would love to play with a few different people. Mumford and Sons would be a killer!

You are the only female in the band. How does that feel? Or is it really the other way around?
It’s much better than being in a band with all girls! haha. Either way, the members in the band now add a dynamic that was never this strong. No matter what… we are family and will be together until the end. I love hanging out with guys because they are drama free for the most part. And in return, I have learned a lot about being patient, trustworthy and incredibly independent. There are many, many valuable things you learn about being a girl when spending all your time with guys.

Are you working on some new songs? Recording? Will you be touring soon?
We have a bunch of new original songs recorded now! The past 2 months have been insanely busy and we are working on an album to hopefully be released before or during the summer. It’s cool because now we just get to work on music and videos. It’s still a TON of work, even much, much more than before, but it’s our dream job so we are all so happy. We have tours and summer festivals coming up soon too!

Any famous last words?
Don’t drink chocolate milk before bedtime, it will give you nightmares.

Early days and hard lessons

March 2, 2012

| Author: Vintage & Rare

Guestblog by Russel Grooms

I am what you might consider a newcomer to the vintage guitar scene, but I’m a fast learner. In the time it has taken me to amass a collection of books and to strike up friendships with various dealers, different guitars have passed through my hands and back out again. Very few have stayed.

For those that do still have a home, I have some criteria that I can`t overlook. Out with anything with a crack in it, out with anything with non-original parts and out with anything built after 1969. This might seem harsh but I did not get into the vintage guitar world to own masses and masses of guitars.

I got into this world because I don’t trust banks and I don’t have a pension. What I do have at the ripe old age of 37 is the money to invest in something that brings me happiness, is of historical interest, has unsurpassed design quality and will hopefully never depreciate. Of course, all markets are fickle but with the rising interest in the sub-culture of anything “vintage”, I think it’s a safe bet to say that I won’t lose money in the long term.

I’m not fooled into thinking that I ‘own’ these guitars. I’m a caretaker, content to have them in my possession and play them, nurture them and keep them from harm until I can no longer do so, at which point they will be passed onto the next person. If this was not the way of the world then I would not have the guitars I have now and someone else would not be playing a great Banner L-48 or the ’73 D-28 I had heard a few weeks ago. They will be sitting on a porch somewhere playing their hearts out to the moonlight, not bothered by the cracks and living for the sound and the feeling that those old boxes bring. I may be fussy but I still miss them and hear their tones in my head but I console myself that I can always tune into the memory.

I am always on the hunt for something new, but as my ear develops and my eyes become keener to the finer points of cosmetic damage, I find it harder and harder to find something that ticks all the boxes. With prices rising fast, it’s no good for me to put my money in a ’58 Country and Western if it’s a bad player because I’ll never pick it up. It’s the same as buying a Ferrari and then putting it in the garage. You might as well wrap your cash in a brown envelope and bury it in the garden. Those guitars are out there but with each investment come higher price tags and a harder search.

The day I first played my 61’ Hummingbird was a jaw-dropping moment and I had to beg the dealer not to sell it until I could raise the money. In the end, it took 6 months to secure it and I know he held a lot of people back in that time but he saw the look on my face… love at first strum. The question is now can I be a master to more than one mistress? It’s going to take one hell of a guitar to even come close. I know now within seconds, much to the amusement of dealers as I plow through their collections like a locust through a cornfield.

Visits to vintage guitar shops are no longer for casual browsing and I have to be in the mood, focused, well fed and wide awake, like an athlete on the block. First and foremost it’s the tone and the playability I’m looking for, after that it’s the tick list. What happens when I find an awesome sounding guitar with cracks or non-original tuners, or changed bridge? I put it back. I remember the tone like a photograph and I put it back because no matter how good it sounds or plays, there will be a better one out there and I can’t risk the dread of knowing that I let the part of my brain that is ruled by sound over-ride the part that governs my strict rulings. It’s like walking a tightrope with myself and I don’t intend to trip at this stage. I’m off to view a collection of slope shoulders Gibsons tomorrow. Wish me luck and let’s hope the stars are aligned for that magic moment when time stops and I know I’m holding the Holy Grail.

By Russell Grooms

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Vlatko Stefanovski: An Interview with the Macedonian guitar player Vlatko Stefanovski

February 17, 2012

| Author: Vintage & Rare

Vlatko Stefanovski is an incredible guitar player that was born in Prilep, Macedonia. There he formed the group LEB i SOL, one of the biggest in former Yugoslavia. The band played a particular style of fusion music, a blend of Macedonian traditional irregular rhythms and contemporary rock. While he is preparing for a new solo tour, he found some time to talk to V&R.

Could you please tell us a bit about how you got into playing music?
Most probably, those were my teenage years, when I was interested in everything exciting like basketball, photography, music, guitars etc. Forming local bands was so popular at that time, so I was one of those who had tried everything. I was listening to the records of my older brother, and was deeply impressed by the whole new word of rock’n’rol

Could you explain to us, why you initially got into the type of music and genre you’re playing?
I was not thinking too much of any genre. I was improving pretty fast with my playing, and some things just came to me naturally. I got into the fusion thing in the mid seventies, and started to play some traditional Macedonian stuff in a new and unusual way. I learned and composed just by endless improvisations. Of course that term is heavily overused, and very often misused, but that is how I work even today.

What musicians and bands have inspired you and why?
The Beatles of course, Bob Dylan, Jimmy Hendrix, Alvin Lee, Jan Akkerman, John McLaughlin, Allan Holdsworth, Joni Mitchell and many others, because there is a certain magic in their music, and image that they create around.

What do you prefer, playing solo and/or with your band?
For me everything is fine and exciting, playing solo, in an acoustic duo, trio, electric, bigger bands.But recently I discovered the beauty and the luxury of playing with symphony orchestras. I have already had such an experience, and I really love it!

Can you tell us about the gear your using, and why? What guitars? Any amps & Effects, if so what brands and types…?
The guitar that is my working horse at the moment is Leo Scala VS-1, el. Guitar that Leo had built for me 7 years ago. Great instrument. Before that I was playing mostly my black Pensa-Suhr guitar from the beginning of the nineties. My guitar collection is growing pretty fast because I receive many gifts form many companies and guitar luthiers. Mirza Kovacevic from Bosnia had also built a very fine instrument for me. I am also very happy with my new Lowden acoustic guitar that I found recently with the help of my friend Jan Akkerman.

Can you please tell us about your collaboration with DV Mark?
I don’t want to sound like and advert, but these guys from Italy build some great amps, pretty revolutionary with the feel of vintage. Great sounding, singing tones, in a compact and lightweight format, with some features that many big and famous companies could not invent or put into their products. I play those amps exclusively, whenever it is possible!

Does the gear you play live differ from the gear you’re using in the studio?
My home studio gives me the opportunity to experiment and to change guitars, signal chains and processors. For the road, and airplanes, my setup is very conservative. I carry four guitar pedals in a very small pedal board and that’s it.  The red Fulltone overdrive is my favorite drive pedal and one guitar on my shoulder, to avoid customs and travel problems.

How important do you find the gear to be, in relation to the sound you’ re trying to produce?
For me gear is very important, especially having a great instrument. I am lucky to have more than one. But young guitarists these days show pretty big lust for gear, for more and more toys. So in a way, guys are drowned into different amps, pedals, processors, and spaghetti cable setups. What really matters is do we touch the hearts of those who listen to us? Do we give something? Those who play and produce great music are the good ones, not those who own 200 guitars.

Any famous last words?
Nothing famous, practice and progress. The tone is the combination of our hearts, minds, fingers, and of course our instruments!

Would you like to add something about  Vlatko Stefanovski…? Please leave a comment…

Finding Vintage and Rare Vinyl Records

February 13, 2012

| Author: Vintage & Rare

Maybe those people under the impression that traditional record sales are doomed, because of the Internet, are wrong. It seems that what we know about vintage and rare instruments, it also applies for vintage and rare vinyl records. People like the collectability appreciate fine work and the need and desire for personal ownership is still strong amongst music fans. We are proud to introduce you to a new V&R guest blogger from the United Kingdom, Sylvia from vinylrecordsearch.com. She gives us a great guide on how to find Vintage and Rare Vinyl Records.

Finding Vintage and Rare Vinyl Records

Finding vintage and rare vinyl records these days requires some research. Although in the UK there was a remarkable small revival in record stores last year (http://www.guardian.co.uk/music/2011/apr/15/independent-record-store-increase), overall record shops have been at a slow decline for the last decade or more. This has meant that record lovers sometimes have to turn to other sources for those vinyl gems. For many collectors, the hunt is as much fun as the find, and finding a rare record in a used book store or thrift and consignment shops can bring great excitement. Alternatively, if you are looking for the true international market price for a record, then it can be better to look online.

What is Considered Vintage Vinyl?

Most records could be considered vintage vinyl, but those from the 50′s or 60′s may be very valuable depending on their condition. When searching for vintage records, music trends such as Big Band, Rock ‘n’ Roll, ‘Bubble Gum Rock,’ Disco, Punk and other genres are a good place to start. Choosing a genre gives you something concrete to search for, and who knows, you may become an expert in a particular niche genre. Alternatively, as a place to start, you could also look for particular artists that have become music icons over the years.

Look for records signed by the original artist, special edition records or limited releases as these records may be very valuable. Lastly, look for records with stereo or mono pressings as these tend to be rarer and thus more sought after.

How to Spot Vintage Vinyl

If searching for vintage vinyl in a book or thrift store, it is important to thoroughly inspect the record to determine its condition. The grading system for records is Mint, Near Mint, Very Good Plus, Very Good, Good or Good Plus, and Poor or Fair.

When inspecting the condition of a record, try to do so in good lighting. Inspect the label, the record (both sides), record sleeve, record jacket, and cover art. You are looking for any imperfections such as scratches, uneven surfaces, warping, tearing, stains, discoloration, imperfect center hole positioning, and any other imperfections that reduce the value.

Keep in mind that records that are still sealed may have been played at one time and then resealed, as this process is fairly simple. Unless you know the person you’re buying the record from, you may want to avoid buying records with a seal, unless you are sure the seal is authentic.

Buying Vinyl Online

One can buy vintage records online through collector’s websites, auction houses, online auction sites, record dealers, and record shops or bookstores with websites. Even though you can’t physically inspect these records, by looking online you will be able to see the true market value of the items. Furthermore, in some cases, you may be able to buy a record, inspect it once it arrives and return it if it doesn’t meet the grade specs provided by the owner.

Having an extensive knowledge of music makes bidding on vintage vinyl online much easier. If you find a record you’re interested in, learn as much as you can about the artist and the record to determine its value.

Visit record dealer websites to buy and sell entire record collections. Websites like The Record Collectors Guild maintain websites listings for record dealers. You can also conduct quick search engine searches to find dealers in your area.

Record Buying Resources

When buying records online, there are plenty of resources to use. Informational websites like http://www.vinylrecordsearch.com/rare-records.htm allow you to search for rare records by artist and title. Using this site, you can find where certain records are sold and the average price. Other helpful websites include Musicstack, Gemm and Vintagevinyl.com. You can also visit online auction websites like Ebay to bid on vintage records.

For many collectors, the Internet has opened up a whole new world for buying and selling vintage records. Instead of traveling from book store to thrift store, you can now buy vintage records from the comfort of your own home.

By Sylvia at  http://www.vinylrecordsearch.com/

Note: The views expressed by the author of this blog post do not reflect the views of Vintageandrare.com. Rock On…!

Would you like to add something about vinyl records…? Please leave a comment…

The Paganini Il Cannone Guarnerious violin – legendary!!

January 13, 2012

| Author: Vintage & Rare

Paganini Il Cannone Guarnerious

Paganini is often described as the world’s first virtuoso and is still widely recognized as one of the greatest ever. While the story of Paganini’s life story is fascinating reading the story of his favorite violin – his “Il Cannone” (The Canon) is no less so.

Niccoló Paganini (1782-1840) achieved massive fame throughout Europe and was the most celebrated virtuosi of his time, and today he is considered the father of modern day violin techniques. Sadly he lived before the time of recordings, but this rendition of one of his most famous pieces – his Caprice No. 24 – should give you an idea of what his musical and technical prowess could produce. The artist seen is Alexander Markov.

Originally Paganini played a valuable Amati violin. This however he lost in a bet as he was heavily addicted to gambling. Instead a generous businessman and amateur violinist donated him a neglected Guarneri violin. The instrument distinguished itself by having lots a resonance and a booming quality which immediately attracted Paganini. He named it “Il Cannone” – The Canon, and it was on this violin he wrote some of his fastest pieces which require advance technique and performance at breakneck speed.

“Il Cannone” after Paganini

Upon his death Paganini donated “Il Cannone” to the Italian town of Genoa who still holds the violin at the Palazzo Doria Tursi. It is now considered a national treasure. All the principle parts of the violin are still intact a unique fact in itself, considering that this instrument dates back to 1742-43. Notice that it doesn’t have any chin rest, and instead the varnish which also is the original coating has rubbed of. This is due to the fact that Paganini like his contemporaries didn’t use a chin rest. Instead they rested their head directly on the sounding board.

The violin is supervised by a panel of experts. Among them is Mario Trabucco who is charged with playing the instrument regularly and Bruce Carlson, a violinmaker in charge of the conservation. Every year Genoa hosts a violin contest and the winner gets to play the masterpiece so thankfully this masterpiece has not been reduced to a museum artifact. Rarely it’s lended to guest cities with requirements of police escorts and multimillion dollar insurance policies. It can be heard on jazz-violinist Regina Carters “Paganini: After a dream”.

On the following video you can see Il Cannone in live action. The video features Israeli violinist Shlomo Mintz playing Paganinis Violin Concerto.

While Vintage & Rare can’t boast of having a genuine Guaneri on sale we have an excelent replica made by danish luthier Robert Knudsen. The violin is available through our partner Hertz Music based in Denmark.

Robert Knudsen Guaneri Model 1739 Violin

Thunder Road Guitars interview with Frank Gross from Thunder Road Guitars

January 11, 2012

| Author: Vintage & Rare

Hi Frank, thank you for taking your time to speak to us. Could you please tell as a little bit about Thunder Road Guitars? Where are you located?
Hello Vintage and Rare! Thunder Road Guitars is an online-based guitar shop by musicians for musicians. We buy, sell, trade and cosign guitars and amplifiers with folks all over the globe. We opened our doors January of 2012 and have loved every moment of it since. We are located in Seattle, Washington, USA.

What initially motivated you to set up a music store, and when was that?
I’ve worked in music shops since I was old enough to have a job and have always had a love and passion for great guitars. I have managed a well-known Seattle vintage guitar shop and have also worked for a US chain store. I learned a lot working for both companies and eventually decided to open my own store this January. My favorite thing about independent music stores is the “shop culture” – the things that happen day to day, the guitars that come in and go and the interesting folks you meet. I love it! At Thunder Road we try and give our customers that same experience online by offering great customer service and a very personal approach. I’m very hands on and if you are buying a guitar from us more than likely you will speak to me directly.

What has been the biggest challenge in setting up your shop?
The biggest challenge for me was to take this dream of mine and make it a reality. I’ve always dreamed of owning my place, but there’s a lot of risk involved when you start any new business. Like I mentioned earlier I have just opened my digital doors to the world, but so far so good.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
I’ve shipped a lot of guitars between the US and Europe in my time buying and selling instruments and I think it’s unfortunate that the “Lacey Act” has created the issues that it has. I’ve seen it scare off customers and make it harder for someone like myself or other dealers out there to share great Brazilian rosewood vintage instruments with customers around the globe. With that said, it seems that if you can provide proper documentation of your instrument and show that it was built before a certain time period then you will be fine shipping, or so I’ve heard.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I sure do. I started my first band at age eleven, before I could even really play guitar. Since then I’ve been lucky enough to play in two professional bands, put out records, tour the US for what seems like a million times, and also tour Europe. One time on tour with my band in Europe the border guards in Croatia didn’t want to let us in because we didn’t have work visas so we bribed our way in with CDs, T-shirts, and other merchandise. We ended up making it across the border and rocked a great show. I’ve had some pretty amazing experiences playing music. I am very grateful for my experiences and feel lucky for the opportunities I’ve been given through music.

What do you consider the biggest challenge for dealers of musical instruments today?
I would say the biggest challenge is also one of the greatest strengths, and that is globalization. When I first started working in this field the primary option someone would have would be to walk into a brick and mortar store to pick out a guitar. Now they have the entire world’s instrument supply at the click of a button. For us this has been a good thing because it allows us to connect with buyers worldwide, but it is also challenging because there is much more competition for sales.

How do you choose what products to carry?
I carry instruments that I like, plain and simple. I’m a big fan of American and import vintage guitars and amplifiers from the 50s, 60s, and 70s as well as modern custom shop instruments from Gibson, Fender, Martin, Gretsch, Marshall, Dr. Z, and Orange. Right now Thunder Road offers used and vintage instruments, but in the near future we will be expanding to include boutique guitars and amplifiers.

What role has technology (the internet, your website, etc.) played in the success of your business? Do you use social media channels to promote your business?
Technology is huge for us as we are an Internet based business. Without the huge role the Internet now plays in instrument sales it would have been much harder for Thunder Road to get off the ground. We use social networking as a source of promotion as well as a way to connect with our customers and keep them updated on new and exciting instruments we acquire.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
We sell guitars and amplifiers to folks all over the globe. Some touring musicians, some recording musicians, and some hobby rockers. The thing they all seem to have in common is a passion for great guitars. I love how into guitars my customers are and love talking with them about music, life, and instruments.

You are known for your dedication to providing a good customer service. What advice do you give to somebody looking to purchase an instrument from you?
Being a musician myself I would not want to carry or sell an instrument that I wouldn’t feel comfortable personally owning or playing. Being a business owner I want to give my customers the same experience I would expect from a guitar shop. We go to great lengths to get to know everyone who crosses our path, whether it is selling them something or a simple inquiry asking about a guitar. We want people to feel comfortable when they work with us and feel as though they’re getting a great guitar from a great shop.

Any famous last words?
I want to thank the fine folks at Vintage and Rare for this interview and thank you (the reader) for taking time out of your day to read about Thunder Road Guitars. Please check out our website: www.thunderroadguitars.com/

Airline H8396 – 1960s Sunburst
Gibson ES335 – 1965 Cherry Red
Gibson GA18T Explorer – 1960

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Peter Frampton and the doomed 1954 Gibson Les Paul

January 6, 2012

| Author: Vintage & Rare

From time to time the unthinkable happens. We all know somebody who knows somebody it has happened to. And we all retell the story to friends and familiars with quacking voices, shivering hands and fear painted in our eyes. I’m talking about a musician’s ultimate nightmare: The losing of your favorite instrument. This was exactly what happened to guitar legend Peter Frampton in November 1980 when a cargo plane carrying his precious 1954 Gibson Les Paul crashed during takeoff in Caracas, Venezuela tragically killing the pilot and co-pilot.

The master piece seen on the picture to the left was presumed lost for 31 years until it finally reemerged last month having spent just over three decades on a little Dutch Caribbean Island called Curaçao. So what happened?
In 2010 (before the reemerging) Frampton gave an interview to rumerz.com as his Gibson signature model of the very same guitar hit the market. Frampton traces the history of how he came in possession of his ’54 Les Paul and it’s clear that he was still dealing with the loss at this point:

[rumerz.com]

What is it about your black Gibson Les Paul that you love so much? How did it come about for you to release a signature model with Gibson?
[Frampton] “The original black Les Paul that I had was when I was playing with Humble Pie supporting the Grateful Dead in San Francisco back in ’70 or so. I had swapped a Gibson SG for a Gibson 335, a semi-acoustic. With the loud levels we used to play, when I turned it up for solos, the sound was just all over the place, whistling feedback, you know. There was someone at the concert that heard the problem, and he offered to let me borrow his Les Paul for the next show. I told him I’d never had luck with a Les Paul and that I preferred SG’s. He brought it ’round to the coffee shop the following day, and it was this 1954 Les Paul. I played it that night. He had re-routed it for three pickups instead of two and it was recently refinished by Gibson. It looked brand new. I don’t think my feet touched the ground the whole evening. It was just such an amazing guitar. I came off stage and told him thank you, and asked if he’d ever want to sell it, and thanks so much. He said he didn’t want to sell it to me, but he offered to give it to me. He gave it to me. Mark Mariana is his name. We keep in touch even today. Unfortunately in 1980, we had a disastrous plane crash with all our gear on it in Caracas, Venezuela. The pilot and co-pilot were lost, and their loss was very tough. Their lives meant so much more than that guitar. I’m not saying I don’t miss it, but it was a piece of wood compared to their lives.”

“Cut all the way forward. When I moved to Nashville about 13 years ago, I used to go hang out at Gibson. It was like my club, and I’d go hang out with the luthiers. I made a lot of friends at Gibson. Mike McGuire, the head of the custom shop, suggested one day that they should make a Peter Frampton model. We spent a year working together on trying to make it as much like the original as we could. I tried to give him as much information as I could from what it felt like, and they came so close. I love my guitar. It’s probably nothing like the other one, but I love what they did for me. We’re over 500 made now, and the PF Custom is out there and the collectors love it.”

Little did Frampton know that while this interview was being made heavy negotiation was going on between the local Curaçao musician who had the instrument, Mr. Balentina – a local customs agent who spends his spare time repairing guitars, a hardcore Frampton fan from the Netherlands as well as the head of Curaçao’s tourist board Ghatim Kabbara. Confused?
Well apparently the guitar was saved from the burning wreckage of the plane and sold to a local musician from Curaçao. For the last 30 years the still unidentified musician has been using it playing hotels and bars on the Island totally unaware of the instruments history. Two years ago he handed the piece in to free time guitar repairman Donald Balentina. N.Y. Times’ James C. McKinley JR. tells the story:

Asked to repair the guitar, Mr. Balentina noticed the unusual third set of pickups and burn marks on the neck, Mr. Kabbara said. The customs agent began to suspect the guitar might be the one Mr. Frampton had played on the “Frampton Comes Alive!” album. He consulted with another Frampton fan in the Netherlands, who confirmed it had all the earmarks of the missing Gibson. Mr. Balentina also sent photos of the inner works of the guitar to Mr. Frampton. Mr. Frampton said he was stunned when he saw the photos; it looked like guitar, he said, but he could not be sure.

For two years Mr. Balentina tried to persuade the local guitarist to sell the instrument, and finally, in November, facing a financial problem, he finally agreed. But Mr. Balentina did not have money and, afraid another buyer might scoop up the guitar, he approached Mr. Kabbara at the tourist board.

Mr. Kabbara, an amateur guitarist who admires Mr. Frampton, agreed to put up the board’s funds to purchase the guitar, on one condition. He and Mr. Balentina would take the guitar to Mr. Frampton as a gesture of goodwill. “I thought the right thing to do was to give him back his guitar,” he said. “This guitar was him. The whole 1970s was this guitar.”

Mr. Frampton, who is 61, said he hopes to play the guitar again when he appears at the Beacon Theater in New York in February. For now, he has left the instrument at the Gibson Custom Shop in Nashville to have some minor repairs made. The neck is still straight, he said, but he must replace old pickups with new ones, made to the same specifications as the original coils. But he said he will leave the burn marks and scrapes alone. “I want it to have its battle scars,” he said.

Ca. a month ago Mr. Kabbara managed to seal the deal via public funds and travelled to Nashville to hand over the guitar to Frampton. The moment he picked it up he knew it was the same ’54 Gibson Les Paul he almost exclusively had used throughout the 70’ies most notably perhaps on his 1976 breakthrough “Frampton Comes Alive!”. In a phone interview with N.Y. Times Frampton states: “For 30 years, it didn’t exist – it went up in a puff of smoke as far as I was concerned.”. As seen on the picture a clearly very happy Frampton is now reunited with his long lost love. To his webpage Frampton states:

“I am still in a state of shock, first off, that the guitar even exists let alone, that it has been returned to me. I know I have my guitar back, but I will never forget the lives that were lost in this crash. I am so thankful for the efforts of those who made this possible…And, now that it is back I am going insure it for 2 million dollars and it’s never going out of my sight again! It was always my #1 guitar and it will be reinstated there as soon as possible — some minor repairs are needed. And, I just can’t wait to get Mark Mariana on the phone.”

V&R like to congratulate Frampton for getting his prized possession back after all these years and also send a big thanks to Frank Gross from Thunder Road Guitars for making us aware of this story.

Grinning Elk interview with Ray Mauldin from Grinning Elk

January 4, 2012

| Author: Vintage & Rare

Hi Ray, thank you for taking your time to speak to us. Could you please tell as a little bit about Grinning Elk? Where are you located?
Lee and I have been attending shows together since 2000. At the time, I owned an electronics repair service and was well- established here in my hometown. Lee walked into my office one day and as we were talking, I asked him, “What exactly do you do, Man”? He answered, “I buy and sell vintage guitars”. Well, I had always been a gear junkie, having played in various bands around Atlanta for years and I thought that his answer sounded very intriguing, so I asked if I could go to a show with him sometimes. He said, “Sure” so in October 2000, we drove out to the Arlington, Texas show and on the way back, the idea of forming a company was born. Our office is in Douglasville, Ga., which is about 20 miles West of Atlanta.

What initially motivated you to set up a music store, and when was that?
We don’t have what is referred to as a “brick and mortar” store. We are primarily a web- based business and have an appointment only office where clients can set up a time to come and visit. Our office and company was officially opened in Sept. 2006.

In EU the current Gibson case “lacey act” has gotten a lot of attention, what is your perspective on shipping between US & EU? Have you had any problems regarding this case so far?
Not yet. In the last year, we have been asked to send only two guitars that had Brazilian Rosewood overseas. Both were vintage Martins and we decided that rather than take a chance on them being confiscated, we would sell them here in the U.S. Thankfully, our clients understood and the guitars sold easily here.

Do you play music yourself? If so, what do you play, for how long have you been doing it?
I have been playing bass since about 1987, which was right after I got out of the Army. Lee’s been playing guitar since the late 70’s, when he was in high school. I think he even won a talent show back then, so he obviously got an earlier start than I did. He’s a much more accomplished musician than I am. He’s taller too.

The Elk Nation….James Hetfield….could you tell us a bit more about that?
That was one of the best days of my life. It was a Sunday and I was lying on my couch, watching TV.  Metallica was playing Atlanta that night and was thinking I’d get tickets down at the arena right before the show started. Lee called me up and said, “Pull out those two Flying V’s and the ’65 Strat. We might be showing them to the guys in Metallica this afternoon”. I probably said something like “Yeah, sure we are” but he insisted that I get up off my comfortable couch and get ready.  So I begrudgingly did as he asked, thinking that this was a cruel joke because you just didn’t get to go meet Metallica on a Sunday afternoon, but sure as shootin’, two hours later, we were standing at the service entrance to Phillips Arena with those guitars in hand. James’ guitar tech, Zak took us into a room where we laid the guitars out and it wasn’t long before Hetfield walked in and started checking them out. He eventually bought the white ’75 Flying V. We later showed the Strat to Kirk Hammett, but he said it was too clean and “not vibey enough”. Go figure that one out!

What do you consider the biggest challenge for dealers of musical instruments today?
I think the most difficult part of our business today is completing a deal over the telephone or by email. It’s a challenge to sell a piece to someone that is halfway around the world with only a written description or with words spoken on the phone. We want to make sure that the guitar or bass being discussed is exactly what our client is looking for and will fit his or her needs. The last thing we want is to mail a guitar across the planet only to have it come back.  We try to do all of the legwork and preparation before the guitar goes out so that when it arrives at its new home, the customer opens the case and says “wow”. That’s our goal with every transaction.

How do you choose what products to carry?
That’s another challenge in itself. We are so picky when it comes to condition and originality, the pool of instruments we will consider buying is a small one. We want them all to be as close to new as possible and completely original. Every once in a while, we’ll purchase a guitar that might have broken solder joints or a replaced nut, but it’s a rare occasion. There’s even a term that’s been coined in our industry- “Elk clean”. I hear it all the time at the shows we attend and I’d like to think that it refers to best of the best.

What is the oddest guitar you’ve ever sold?
A few years ago, at the Philadelphia Guitar Show, we bought a 1986 Kramer Triax that was virtually unplayed. It was flip- flop pink and had its original flight case and all of the tags.  Very cool and very 80’s!

Do you have any personal favorite guitars in your shop? If so, why is said guitar your favorite?
My favorite guitars are usually basses, so at the moment, it’s a Rickenbacker 4003s8. It’s an 8- string bass in Desert Gold that was made as a “color of the year” piece in 2001. There can’t be more than one or two in the world. In terms of favorite guitars, we have the first Murphy- aged Les Paul ever made at Gibson and it’s one of the most authentic looking ’59 reissues we’ve ever seen. I think Lee’s got that one stashed away somewhere so I can’t get my hands on it.

Given that this is for a blog, what role has technology (the internet, your website, etc.) played in the success of your business?
Well, it has exposed us to the entire world. Anybody, anywhere with a little electricity, an internet connection or a smart phone can look at our inventory and buy from us. Think about it: prior to the establishment of the internet, most guitar dealers sold their gear from a store and if they did have any national or international exposure, it would have been through magazine advertisements. Now, you can place a banner on a forum and be seen by literally millions of visitors to that forum a year.  I once sold a 1967 Stratocaster to a gentleman in Belgium from my Blackberry, sitting in the parking lot of a local post office. You couldn’t do that ten years ago.

Is there a general trend to the people who purchase from you, in terms of how skilled or experienced they are?
The majority of our clients are professionals, serious collectors and higher- end musicians. They know their stuff when they call, they like what they see on our website so generally, the only thing left to discuss is price. The gear we have speaks for itself.

What advice would you give to somebody looking to purchase a guitar from you?
If you’ve never heard of us, check us out. Another important aspect of the internet is, if you consistently perform at a high level, people will say so. The various forums have become powerful mediums and people all over the world talk about their purchases, experiences, etc. If you make just one person unhappy, they will certainly say something about it somewhere. Your reputation is the most important thing your company can have. It’s everything.

Any famous last words?
Sure. It’s a Latin saying: “audentes fortuna iuvat, which means “Fortune Favors the Bold”. Or, on a lighter note, Two Elks are always better than one…

In 2010 V&R visited Arlington Guitar Show and Ray was kind enough to introduce us to some of his pieces: (The interview with Ray Mauldin starts at 1:43)

A selection of Grinning Elk pieces:
Korina Explorer R9
Gibson ES330T
Rickenbacker 660/12 Tom Petty
Gibson USA map guitar