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www.acousticmagazine.com Issue 125 December 2016 Editor:Nick Robbins,
[email protected] Sub-editor:Kate Puttick Design:Chris Sweeney and Jess Riley Studio gear photography: Joseph Branston, Olly Curtis and Joby Sessions Cover photograph: supplied by Lowden
Raymond Burley, Clive Carroll, Mike Dawes, Columnists: Chris Eaton, Richard Gilewitz, Chris Gibbons, Gordon Giltrap, Daniel Ho, Leon Hunt, Thomas Leeb, Simon Mayor, Carl Orr, Chris Woods Writers:Bob Battersby, Stephen Bennett, Emily Bielby, Paul Brett, Chris Eaton, Graham Hazelwood, Huw Hopkins, Andy Hughes, Glenn Kimpton, George Henry King, Alun Lower, Joel McIver, Ollie McGhie, Ian McWee, Sean Reid, Alison Richter, Teri Saccone, Paul Strange, Florence Thornton-Weeks, Richard Thomas, Sam Wise
THE ROOT NOTE T hough you can get somewhat
my guitar, Total Guitar and a challenge: I was
used to the jarring time-jumps
going to learn to play ‘The Middle’ by Jimmy
associated with working on a
Eat World, which was tabbed in that issue,
four-weekly magazine, I always
by the end of the day or I would give up
find this issue the strangest to work on.
playing guitar forever. What followed was
Writing about Christmas before the clocks
an arduous and soul-destroying few hours.
have even gone back just s eems wrong
Not helped, I now realise, by the fact I hadn’t
somehow. But I know there will be plenty
realised the song was in drop D. Even if I
out there who are already plann ing their
had seen that, though, I would have had no
festive fun: presents already bought,
idea what it meant. But I carried on. I must
turkeys preordered and the arguments over
have listened to the playalong version of
when you’re seeing different members of
that track 100 times. By the end of the day
the family already well underway.
I could just about muddle through the intro
Personally, Christmas will forever be tied
– which is played on the A, D and G strings,
to the acoustic guitar, as that was when I
so unaffected by my lack of tuning – but that
received my first guitar – a Yamaha F310 –
was enough. I’d made a breakthrough. I felt
CD reviews editor:Julian Piper
aged 13. Admittedly, I’d wanted to learn to
I understood the instrument slightly better.
Advertising:01225 442244
play drums, but my parents had reason ed that the guitar would be less likely to drive
I had experienced that indescribable feeling of hearing music and being able to play it
Distributed to the news trade by Marketforce
them insane when I was practising. And,
back. I was, by the very loosest definition,
For all subscription offers and Subscription rates: overseas prices visit www.myfavouritemagazines.co.uk or telephone the subscriptions hotline on 0344 8482852.
in the interest of f ull disclosure, I’d also
a guitarist. By the end of that year I had
– when told that drums were out of the
learned several more intros to pop-rock
question – expressed an interest in playing
songs (and what drop D was). Sure, I had no
electric guitar. But a deal had been struck:
theory knowledge, couldn’t list the notes
practise my acoustic guitar every day for
on the fretboard and couldn’t play any song
12 months and I’d get an electric guitar for
from start to finish, but I enjoyed playing the
Christmas next year.
guitar. I’ve never forgotten that feeling in the
© Copyright – Future Publishing Limited 2016. Printed in the UK.
All Rights Reserved. No part of this publication may be reproduced in any form, stored in a retrieval system or integrated into any other publication, database or commercial program without the express permission of the publishers in writing. Under no circumstances should this publication and its contents be sold, loaned out or used by way of trade, or stored or transmitted as an electronic file without the publishers’ prior approval. Disclaimer:While Future Publishing Limited prides itself on the quality ofthe information its publications provide, the company reserves the right not to be held legally responsible for any mistakes or inaccuracies found within the text ofthis publication.Acousticmagazine is an independent publication and as such does not necessarily reflect the views or opinions of manufacturers or distributors of the products contained within. All trademarks are acknowledged. Acousticis
proud to support the Music Industries Association.
Not the most romantic of starts then. No deeply burning passion or Damascene
following decade (and a bit). Years on from that, I can remember the
moment in a guitar shop when I took a model
first time I saw Jon Gomm play guitar. I knew
off the wall and felt such a connection to
immediately that his style was something
it that I just couldn’t walk out of the door
I wanted to copy, combining percussive
without owning it. In fact, the acoustic guitar
elements, dexterous fingerpicking and, above
was my third choice instrument, and one I
all, an ear for what makes a b eautiful song. It’s
assumed I’d put down forever after slogging
been a real honour, then, to put together this
through 12 months of torture to get to the electric Promised Land.
issue, which features not just an interview with Jon, but a review of his new signature
I was also set on the path of self-learning. My primary guides would be a beginner’s book that was bundled with the guitar, which
guitar and a tuition column on how to add aspects of his style to your playing armoury. So, as weird as it is to write this in October,
had me playing Henry Mancini’s ‘Peter Gunn’
I’ll sign this column off by saying enjoy the
theme within a day, and Total Guitar – now
issue… and merry Christmas.
Acoustic’s sister mag in the
Future stable.
Fast-forward two months and the limit of my abilities was still ‘Peter Gunn’. I was not enjoying picking up the guitar and the idea of practising seemed a waste of time: I simply wasn’t getting better. I remember clearly a
Enjoy the issue.
Saturday in February when I sat down with
Nick Robbins
Contents
12
ISSUE 125 DECEMBER 2016
Interviews 12 ................ ................. ................ ................. ................ ....JAMES TW 16 ................ ................. ................ ................. ................ ..DAN LAYUS 20 ................ ................. ................ ................. ........... DAVID CROSBY
20
26 ................ ................. ................ ................. ......... SETH LAKEMAN 31 ................ ................. ................ ................. ..........SUZANNE VEGA 36 ................ ................. ................ ................. ..........NANCY WILSON 42 ................ ................. ................ ................. ...............BEN CAPLAN 44 ................ ................. ................ ................. ................ .JON KENZIE
46
26
36
6
ACOUSTIC MAGAZINE DECEMBER 2016
50
Features 46 ......... .... SPECIAL FEATURE: JON GOMM & GEORGE LOWDEN 72 ...............................REPORT: THE HOLY GRAIL GUITAR SHOW 75 ....................... .. NICK BENJAMIN: THINKING INSIDE THE BOX 76 ......... ................ ................. .. NEW MUSIC: RETUNE YOUR EARS 78 ............ ................ ................. ............. NEW MUSIC: CD REVIEWS 98 .............. ................. ................. ................ .............A FUNNY NOTE
84
Techniques Gear
84 .....................THOMAS LEEB
54 .............. ................. ............... LOWDEN JON GOMM SIGNATURE
88 ................. CLIVE CARROLL
60 ................. ................. ................ ................. ....... COLLINGS OM-1T
90 ....................... .. LEON HUNT
64 ................. ................. ................ ................. ..... MARTIN GPCX1AE
92 ............... ......CHRIS WOODS
68 ........... ................. ............... SNAIL UKULELES SR-05T & SR-05C
94 ..................... . CHRIS EATON
86 .......... ................ DANIEL HO
DECEMBER 2016 ACOUSTIC M AGAZINE
7
NEWS DESK FOR THE LATEST NEWS VISIT WWW.ACOUSTICMAGAZINE.COM
COUNTRY TO COUNTRY FESTIV AL LINE-UP CONFIRMED Brad Paisley, Hunter Hayes, Zac Brown Band and Darius Rucker will perform at the Country To Country Festival 2017 – the UK and Ireland’s largest country music festival. The three-day extravaganza – held over 1012 March – takes place across three venues: London’s O2, Glasgow’s Clyde Auditorium and Dublin’s 3Arena. Other artists announced include: Brothers Osborne, Cam, Chris Young, Dan + Shay, Jennifer Nettles and Maren Morris – who between them boast Grammys, platinum albums and countless Country Music Awards. Milly Olykan, C2C festival director for the O2, said: “We are thrilled to be going into our fifth year of Country to Country – it’s be en incredible to have established an event that is so hugely anticipated by country fans and artists alike. For us to be presenting many new artists for their first time in the UK and Ireland as well as welcoming some back to C2C is fantastic.” Last year’s event saw over 80,000 country music fans take in music from the likes of Miranda Lambert, Carrie Underwood and Kacey Musgraves. Veteran BBC Radio 2 broadcaster Bob Harris said: “It’s amazing to think that C2C is five years old already and also how quickly it has grown. I am personally thrilled to be at the centre of it all and can’t wait for next March to welcome
© Jim Shea
8
ACOUSTIC MAGAZINE JULY 2016
back old friends from Nashville and to introduce some new ones.” Head to www.c2c-countrytocountry. com for all the latest artist information and day splits. Tickets are on sale now from:www. axs.com/c2c(08448 24 48 24) and www. gigsandtours.com(0844 811 0051). Tickets for Dublin are available atwww. ticketmaster.ieand Glasgow www. gigsinscotland.com(08444 999 990).
BOB DYLAN: NOBEL PRIZE WINNER Bob Dylan became the first musician to be awarded the Nobel Prize for Literature, a move that has caused surprise in the literary world and led the New York Times to declare that the boundaries of literature had been “redefined”. Though the Swedish Academy, who had placed Dylan on the shortlist for the award in previous years, reasoned that he had: “created new poetic expressions within the great American song tradition”, Trainspotting author Irvine Welsh countered that it was an “ill conceived nostalgia award wrenched from the rancid prostates of senile, gibbering hippies.” Dylan remained, consistent with his character over recent years, reticent to publicly acknowledge the award. He briefly added the phrase ‘winner of the Nobel prize in literature’ to his website, but removed it a day later when the media began reporting on it. His attendance at the award ceremony in Stockholm on 10 December had been cause for debate – and some consternation for the organisers. But some two weeks after the award was announced he revealed in an interview with the Telegraph that he had been left “speechless” by the honour and would attend the award ceremony in person “if at all possible.”
EDDI READER BOOSTS BEVERLEY FOLK FESTIVAL LINE-UP Brit-awar d winner and MBE recipient Eddi Reader will appear at next year’s Beverley Folk Festival, held on 16-18 June. Reader, who is known for her enduring solo career alongside her time with Fairground Attraction, joins the previously announced Martin and Eliza Car thy, Jon Boden and False Lights on the line-up. The festival also announced that Moore, Moss and Rutter, Dallahan and rising UK banjo star Dan Walsh will also be appearing. Festival chairman Matt Snowden said: “We are delighted to b e welcoming Eddi Reader to Beverley. Every year we carry out surveys with festival revellers to f ind out what they liked about the event, what we could improve upon and who they would like to see perform at the festival in the future. With this year’s feedback we kept seeing her name repeated where people were asked to suggest future bookings. We are therefore proud to announce that ‘you asked – we listened’.” The organisers tell us that the aim is to have at least 100 artists performing across the event, totalling over 100 hours of entertainment across the stages. Tickets for Beverley Folk Festival 2017 are currently on sale as part of a special Autumn Gold deal of £95 for a full weekend ticket at www.beverleyfestival.com(offer runs until 16 December) . And it’s the same site for all the latest artist announcements and to see the line-up so far.
MARTIN ADDS ‘TIME-LIMITED EDITION’ TRIO Three new ‘Time-Limited Edition’ Martin guitars have landed in the UK: the 000-15 Special, D-15 Special and the DRCentennial. The D-15 Special (£1450) carries the satin finish and mahogany back and sides of the 15-Series but is completed by a solid Sitka spruce top, while the 000-15 Special (£1450) has many of the same attributes of the D-15 Special but put together in the popular 00014-fret body size. The DR Centennial is, according to Martin, the “final piece in the celebration of Martin’s ‘100 Years Of The Dreadnought’.” It’s a D-14 fret model with a satin finish on the body and neck that is apparently “smoother than a bar of Galaxy chocolate.” It’s got an Adirondack spruce top that has the ‘Vintage Tone System’, East Indian rosewood back, sides and fingerboard and is finished in ‘antique white’ binding. Head to www.martinguitar.com for more details and visitwww. to find your nearest Martin dealer. quickfind.me/martin
NEW FRAMUS SIGNATURE MODEL Framus is releasing a new Legacy Acoustic Jörg Nassler Signature model, based on the FD 28 dreadnought. The new guitar is available with or without a cutaway or a Fishman Prefix Premium Blend onboard preamp and will retail from £1308.90 to £1780.15 depending on the configuration. Each model sports a solid AA Sitka spruce top and solid East Indian rosewood back and
and other components like the handcrafted manufacturing quality in every detail. Above all, the intention of not building just any guitar; they built a guitar with a soul. A very aesthetically pleasing, high-class instrument that goes beyond expectations.” Full details can be found at www.framus.de
sides, a mahogany neck and a tigerstripe ebony fingerboard. Nassler said: “Framus successfully built an incredible, versatile instrument with unlimited potential. Both with fingerstyle or when playing with a pick, whether delicate song accompaniment, open tunings or expressive melody over any positions and volumes, it makes an excellent figure in all disciplines. That certainly is because of the meticulous selection of wood
AUGUST 2013 ACOUSTIC M AGAZINE
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december 2016acoustic magazine
11
INTERVIEW JAMES TW
JAMES
TW
Getting ready to take 2017 by storm, we spoke to rising star James TW straight after he’d wowed the crowds at Barn on the Farm Festival about his musical roots and making as much noise as possible WORDS: FLORENCE THORNTON-WEEKS
rom the way the crowd gathered at
James first got into music when he was 10
guitar and started to write his own songs:
Barn On The Farm festival, you’d
years old. His dad was playing in a wedding
“My two favourite albums when I started
have been forgiven for thinking
band on the weekends when he saw a news
were Damien Rice’s O, which is obviously
that Ed Sheeran had wandered onsite for a quick set. But the throngs
bulletin about drumming being good for stress and bought a kit for his son. “My first
very acoustic driven, and Songs About Jane by Maroon 5, which got me interested in
were there to see rising star James TW, an
call of duty was when the drummer of my
kind of the more funky thing, but I went
18-year-old singer-songwriter who’s racked
dad’s band couldn’t make a gig last minute.
for the acoustic thing because that felt most
up major label and major gear support in a
They thought ‘do we let the ten year old play,
natural to me.”
“When playing in pubs I found that if I could make more noise, people would
to imagine a man who has seen and done it
F
frighteningly short amount of time. His percussive, loop pedal-led acoustic stylings smack of Sheeran, but he’s got a youthful sweetness that makes you think of the Gabrielle Aplins and Hudson Taylors of this world. It’s not all sweetness and light though – he’s not shy about tackling the big issues in his lyrics, showing a maturity as a songwriter and storyteller well beyond his tender years. When he finally batted off the last remaining fans, he made his way to meet us among the hay bales of a nearby barn, all while laughing at how rustic this festival was. Though he has already played at SXSW in Texas, the NAMM show in Anaheim and what he classes as “a small set” at Great
When you listen to his lyrics it’s so easy
pay more attention”
Escape in Brighton, he insists: “This is my
all – his words about love, heartbreak and emotional turmoil are widely relatable – but, as he admits, he took a bit of time to find his feet as a songwriter. “When I started writing songs, I was like ‘Come on, I can write songs, man’ and then I look back at my first songs like ‘Oh, James!’” Though he left school after his AS Level exams, education still plays a major part in his life, as he spends some of his nowprecious free-time time teaching guitar. One of his students was the inspiration behind recent single ‘When You Love Someone’. “I found out that his parents were getting divorced before he knew himself,” he says. “I was just thinking how on earth do
first real festival because it has grass… that’s
or do we cancel the show?’ and they ended
you go about explaining something like that
how a festival should be!
up letting me step in. That was really the first
to someone so young, someone who has no
“I love festivals,” he adds. “I ca n’t wait to
time I’d ever felt incredibly passionate about
idea of the concept of love and relationships,
go to some more festivals without playing
anything – there was something about being
and how do you tell h im in a way that won’t
and just take in the music. I love all different
in front of people, making people dance and
make him upset? So I wanted to write a song
types of music: from dance music to acoustic
making people h appy.”
that he could listen to – and that other kids
music, to funky music, to jazz… I would drink that in for a whole weekend.”
12
ACOUSTIC MAGAZINE DECEMBER 2016
A couple of years later, after literally discovering his voice, James picked up a
could listen to – and make them realise that it’s actually for the best.”
DECEMBER 2016 ACOUSTIC MAGAZINE
13
INTERVIEW JAMES TW Gear-wise, James is a Taylor guy and plays an 812 CE. “What’s cool about it is the body of the guitar meets the neck at the 12th fret, rather than the 14th fret, which means it’s a bit smaller and it has the Spanish head rather than the normal head to just give it a bit of style. It’s so good for picking, but you can also strum it a bit as well and it still sounds good.” Opting to use the ‘blindfold test’ when picking out his acoustic, his love for Taylor just came naturally: “I went to a store and told them my budget. They brought out six guitars and I remember taking off my blindfold after the last two and saw they were both Taylors. The sound and the feel of them just spoke to me.” And it wasn’t just the guitars speaking to him; the high-ups at Taylor got wind of his growing reputation and invited him out to America to their factory. “I met with Tim Godwin from Taylor Guitars for the first time about a year and a half ago. I got the tour round the factory in San Diego, which is really cool. People don’t appreciate how much time goes in to these guitars to make them. Tim’s a player himself, so he was teaching me some chords and the difference between this Taylor and that Taylor. Then I went and represented Taylor at NAMM in 2016. Taylor have been an awesome team member for me and taught me how to grow and evolve asa musician.” Another member of James TW’s team is his pedalboard, which gives him the ability to flesh out his sound on-stage, something he did to outstanding effect during his set at Barn on the Farm. “I have a lot of pedals as I’m not with a band,” he says. “I started using a loop pedal – a Boss RC-300 pedal – three years ago when I was playing in pubs. I found that if I could make more noise, people would pay more attention. If you’re a band you can play louder than someone’s conversation, but if you’re just playing an acoustic then you struggle, so I thought, ‘I’m just going to try this loop pedal thing’. I immediately found that, because I started as a drummer, my timing was good on it. I started looping bass on it, then I started beatboxing and I began hitting my guitar and getting cool sounds out of it and it became a ‘thing’ for me – people think of me as ‘the guy with the loop pedal’ at the moment. I’ve gone from multi-effects guitar pedals to stomps now, so I have a Strymon Big Sky and a Strymon Flint. I also have a Tubescreamer and a Polytuner, but I’m fairly minimal in terms of rig.” He adds: “I saw KT Tunstall on Jools Holland using a loop pedal actually, and Ed Sheeran and Matt Corby more recently, and yes, I’m definitely influenced by those guys, but I think I’ve found a way to make it my own.” n
14
ACOUSTIC MAGAZINE DECEMBER 2016
INTERVIEW DAN LAYUS
D
A
LAYUS After chart success with rock band Augustana,
Dan Layus has changed his tune – and, as Acoustic found out, is now enjoying life more than ever WORDS: HUW HOPKINS
“I
don’t necessarily mix it up in
Don Gibson or Ray Price or
public when I’m out on tour, but
even Ray Charles’ country
I went busking in Amsterdam
records. Those, blended
and thought ‘I wonder if any Augustana songs will get a reaction?’ I started
with Roy Orbison or the Everley Brothers, are not
to play ‘Boston’ and lady walked by mouthing
necessarily country, but
the words and gave me a thumbs-up. I
they’re specific to the town of
thought ‘does she know it’s me?”
Nashville and its sound. I didn’t set
You might be able to walk past Dan
out necessarily to write in that way, I
Layus in the street without recognising him
just couldn’t write songs, melodies, lyrics
– though it’s likely you’ve heard his band
or chords for a typical Augustana song.”
Augustana’s hit single ‘Boston’ on the radio or
This caused the singer-songwr iter
one of its many TV spots, including on Scrubs
some consternation, and, at the ripe old
or One Tree Hill – but with a few million
age of 30, he considered hanging up
album sales behind him, it’s not surprising
his Gibson Hummingbird. “I’d lived
that he can play anywhere in the world and
10 years in this industry and felt
find those who know his music.
incredibly fortunate to have had
Layus remains the only permanent
that, but I was thinking ‘what comes
member of Augustana left. He released Life
next?’ I wasn’t sure if I loved this as
Imitating Life in 2014 under the Augustana
much as I used to, I had to convince
moniker, but decided this year to put out
myself to have this life. In order
music under his own name. The result, Dangerous Things, sees Layus armed with a
to do that I had to sit with a guitar or in front of the piano with no
brand new sound, inspired by his new home
one around and remember what
and a long-time musical passion.
it was like to write songs be cause
“My family and I moved to Nashville from
I wanted to write songs – not
Los Angeles about three years ago,” Layus
because I had a tour coming up, or
tells us. “I already had a massive love for
an album deadline or the pressure of
country music, but moving here, it seeps
needing a big hit.”
into you. There’s something in the air that’s
But Dan’s guitar offered something
unavoidable and seems to make a mark on
to turn to, just as it had done since the
music you write.
beginnings of Augustana. “I’m a Gibson guy. I
“I tend to gravitate towards traditional country artists from 50s, 60s and 70s like
16
ACOUSTIC MAGAZINE MAGAZINE ACOUSTIC
DECEMBER 2016
don’t know why, but they feel really natural to me. The first big-label, real-money guitars I
N
DECEMBER 2016 ACOUSTIC MAGAZINE
17
INTERVIEW DAN LAYUS bought were a Gibson 345 and a 1968 Gibson Hummingbird. I realised I needed a liferacoustic – one that’s going to be with me until the end, and that Hummingbird has been my right-hand man since. They were pretty worn in when I got them and they’re even more so now – I get a nick on the guitar and I notice another wrinkle under my eyes.” Layus is also preoccupied with making sure that the acoustic sound on his tracks comes across as pure as possible. “I used the same guitar on the record as we do live. We didn’t double the tracks – we put up rhythm microphones and line-ins but apart from that it’s completely pure. Everything you hear is one guitar there’s no stacking or doubling or stereoing, that’s my guitar. There are audiences and artists that grow together, and you can see artists like David Rawlings or Nickel Creek where there’s no DI, nothing is altered. I’d like to get to that place, to just put up an SM58 mic and play, like you would in your living room. “I don’t change my strings often. My friend and guitarist Jay Barclay has to force me to change the strings. A lot of the time, I suspect he’s changing them without telling me when we’re on the road. I’m a sucker for a dead rhythm sound, not for a lead guitar player, but for me. I’m currently using some Martin medium 13-gauge acoustic strings, so I can tune the guitar down a whole step. Travelling on tour leads to few hours of sleep and it is useful to set it up a whole step down if my voice is feeling tired or I need to, but I haven’t
“You must make music for yourself. When I made music for someone else, they didn’t seem to like it and neither did I”
had to do it recently.” Apart from Barclay on guitar and the
though. Harry reached out last year because
seem to like it and neither did I. So to make
occasional fiddle player, Dan plays most of
he wanted to help us reach a larger audience
everyone happy, start pure and from within.
the guitar, piano and vocals onDangerous
so we supported 1D at the O2 over a few
It’s essential for me.
Things. But toward the end of the process,
nights. That was the first time Augustana did
there was clearly something missing. He
a proper show in the UK and it blew the doors
home and that was hard on my wife and I
says: “Everything was mixed but it felt like
open for us.
with a new baby. But in recent years, my
we were about 75 per cent of the way there.
“The band was completely landlocked in
“Between 2005 and 2008, I was rarely
career has become more manageable and
I was sitting down with my manager and it
the US, so if we needed to tour it was going
we’ve hit a rhythm at home and on the road.
felt like we needed some background on it.
to be Pittsburgh or Charlotte or Chicago, and
We no longer need to familiarise the rest of
He suggested the Secret Sisters and I said
that’s great, but at some point you have to be
the country with us and no longer have to
‘done’. They’re incredible. You set up the mics,
able to expand your reach. Something had to
tour nine or 11 months of the year. I can be a
they sing at the same time and they just nail
happen for something to happen, and playing
full-time dad, I get to take girls to gymnastics,
it. They came out and sang with us as we
the O2 with One Direction was it for me. We
watch my son’s soccer game, drop them off,
opened for Dixie Chicks and sang exactly the same as the record. Hopefully we can work
then did a headline run in the US, then we supported Dixie Chicks throughout Europe
do homework with them, ask how my wife’s workday was and cook dinner. I can be part of
together for a long time.”
and the momentum has continued.”
their lives 8-9 months of the year, because I
But while Layus has attracted support from
In October, Layus returned to the UK again,
only go out in three to six-week blocks.”
one of Nashville’s hottest vocal duos, his fans
and he has since gone back to the US and
come from all walks of musical life. “Harry
played on the grandest of stages, including
Layus is gearing up for this to change. “I’m
Styles and I spent some time writing together,”
an official debut at The Grand Old Opry. His
proud of the work and the money we’ve
Layus explains. “As far as I know all five [of
existing fans are enjoying the new direction,
put in to the UK to be able to continue to go
One Direction] were writing for the band and
while his sound is attracting a previously
back. I love it. I love the fans, I love the cities
then collaborating for the albums. We wrote
untapped fan base. Layus thinks he knows
and the culture. I’m fortunate that music
some great songs together but nothing ever
why: “You must first make music for yourself,
has taken me nearly everywhere, but I’ve
came of it, apart from some great songs and
and secondly make it for the fans. When I
never been to Paris or Berlin and I’m looking
good times. It resulted in a nice friendship,
made music for someone else, they didn’t
forward to going there.”
18
ACOUSTIC MAGAZINE DECEMBER 2016
With the new sound, style and album,
n
INTERVIEW DAVID CROSBY
D
A
V
I
D
CROSBY The unique David Crosby, now 75 but as accomplished a singer and guitarist as ever, returns with a new album, Lighthouse. Joel McIver asks the questions WORDS: JOEL MCIVER
I
t’s a safe bet that when you or I get to
still be around, by his own admission: struggles
75 years old, we won’t be touring the
with smack, coke, booze and the law got him
world, playing three hours a night and
all the wrong headlines until he found sobriety
building on half a century of folk-rock
after a liver transplant in 1994 and resumed
stardom, let alone releasing new albums. But
where he’d left off, musically at least.
Crosby, a genuine superstar to a generation
Twenty years after the madness died
of baby boomers weaned on Bob Dylan and
down, he’s perfectly friendly when we talk
the Beatles, is still out there, a remarkable
to him, despite his in sufficiently caffeinated
achievement made all the more impressive
state when we pick up the phone. His new
by the fact that he can still out-sing his peers and that he hasn’t become sick and tired of
album, Lighthouse, expresses where Crosby is at in 2016 with total clarity. Highlights
the touring lifestyle.
include ‘Look In Their Eyes’, a sympathetic
Indeed, the guy is on great form when he
paean to Syrian refugees who migrate to
calls Acoustic a couple of minutes past our
Europe; ‘Somebody Other Than You’, a
appointed time. “Sorry I’m late,” he chuckles,
thoroughly pissed-off attack on politicians
“but they just woke me up and I had to find
who send other people’s children to war;
some coffee! But here I am. I’m drinking it and
and ‘Drive Out To The Desert’, a song which
eating a roll while talking to you.”
points out that the night sky never looks
This is all the more interesting because Crosby has a bit of a reputation for a temper, possibly due to the fairly insane life he’s had. He first found fame in the Byrds, playing on
clearer than from a boat at sea, anchored a long way from land. “The passion is certainly there, and there’s anger in the song about sending our kids to
their classic debut single ‘Mr Tambourine
war,” says Crosby when we point out that
Man’ in 1965 and ‘Eight Miles High’ in ’66
Lighthouse is an emotional record. “There’s
before joining Stephen Stills (ex-Buffalo
compassion in the other songs. I have a
Springfield) and Graham Nash (ex-Hollies)
friend who goes over to Greece and works for
in 1968 to co-found the supergroup Crosby,
Human Rights Watch: she goes over and pulls
Stills & Nash. CSN’s self-titled debut LP of 1969 is an all-time essential album if you’re
people out of the water there, right across from Syria. She told me all these stories, and
an acoustic singer-songwriter, not simply
they affected me so strongly. There are people
for the ethereal brilliance of songs such as
being so resistant to helping them, but I see
‘Guinnevere’ but for the unnerving close
them as just like you and me. They’ve gone
vocal harmonies deployed by the trio.
through a horrible thing and it seems to me
CSN morphed into CSN&Y when Neil Young joined in ’69, but later split into various factions, re-forming and re-re-forming as the years passed and the members fell out, in and out again: Nash still isn’t talking to Crosby, all these years later. Crosby himself shouldn’t
20
ACOUSTIC MAGAZINE DECEMBER 2016
that we should be helping them in every way we possibly can.” I was expecting a Trump-themed song on the album, I tell him. “Well, I talk about the election all the time, although I didn’t try to put it on the
DECEMBER 2016 ACOUSTIC MAGAZINE
21
INTERVIEW DAVID CROSBY
22
ACOUSTIC MAGAZINE DECEMBER 2016
“I started playing acoustic guitar when I was a teenager. My brother was a guitar player, and he gave me his guitar when he got a better one. I was maybe 16 at the time. I don’t know what attracted me to it, but as soon as I started playing and singing, I knew I was supposed to do that” record,” he replies. “It’s a disaster! The guy’s
got to listen to Snarky Puppy, they’re
a complete idiot, and there’s no way he’s
absolutely terrific. They’re joyful and fun and
experience you have, the more you understand
capable of running a country. It’s absolutely
accessible, all the things that are rare with
other people’s lives, and the more insight you
terrible, and a very scary situation. I’m up in
jazz’. Mike heard about me tweeting about
get into other people’s behaviours. If you go
Canada right now, and the people here look
them, and we exchanged numbers. He called
through a lot in your life, it should teach you
at you aghast and say, ‘How did you let this
me from Singapore, because that band is on
compassion for other people. It certainly makes
happen?’ You think to yourself, ‘Actually, I don’t know how we let this happen’.”
the road like 900 days a year, and asked me to do a benefit record with them, and I said
you a better songwriter, because you’re more widely acquainted with what the human
‘Of course, I’d love to’. We spent a little time
condition is.”
Crosby’s primary collaborator on
“Oh yeah,” he nods. “The more life
Lighthouse was Michael League, leader of the
together and we really liked that, so he came
jazz outfit Snarky Puppy, and a virtuoso bass
over to my house and we started writing
series of amazing instruments in his 50 years
guitar player. “An awful lot of the credit goes
together. We wrote three of the best songs on
on stage. What’s he currently using? “Two of
to Mike, he did a really good job of producing
that record in the first three days, so I knew
my Martin D45s, of the three that I’ve had
I’d hit paydirt and had found somebody that it
since 1959, get used the most.They’re in pretty
was a joy to write with. I’m sure he and I will
good shape, because we take care ofthem.
be friends for a very long time. He’s a very
My guitar tech has had them in his care for
good guy.”
20 years. He makes sure they’re looked after,”
the album,” he says. Asked how he and League crossed paths, Crosby explains; “It’s a good story. Bass players have a website called No Treble, and a bassist friend of mine ran into Michael League through that website. He turned me onto him, so I started watching all their videos from [Snarky Puppy’s 2014 album] We Like
It Here on YouTube. They just killed me… they were just so good. “I couldn’t believe what joy they brought to their music, so I started tweeting about them, saying ‘You’ve
The results speak for themselves: the
Guitars, then. Crosby has played awhole
he replies. “And in the last few years I’ve
album sounds as if Crosby has something
discovered a fantastic guitar maker named Roy
important to say, and the means to say it.
McAlister in Seattle. His guitars are the only
“It does,” he agrees, “and that’s quite weird.
ones that really stand up to the 45s. They’re
You have to understand, most of the people
superb guitars, and I usethree of those. I take
that I know who are my age generally
six guitars out on the road with me – the
kind of peter out. They get lazy, or they’re
D45s, the McAlisters and a Micheletti. One
just trying to make a copy of their last hit. Their writing slows d own or goes away
of the 45s is in regular tuning, the other is in the ‘Guinnevere’ tuning, which is EBGDAG,
completely: mine’s sped up and got denser. I
and there’s a couple more. I have really good
don’t have an explanation other than I’m a
pickups in them. Fishmans, some of them.”
very happy man right now. My family’s good and I’m good.” The tribulations which Crosby went
Looking back, he reminisces: “I started playing acoustic guitar when Iwas a teenager. My brother was a guitar player, and he gave
through a couple of decades ago, which
me his guitar when he got a better one. I
you can read about in gory detail in his
was maybe 16 at the time. I don’t know what
2005 autobiography Long Time Gone and
attracted me to it, but as soon as I started
subsequent books, would leave most people
playing and singing, Iknew I was supposed to
dead, or effectively so. Do such trials make
do that. It brings joy to my heart: something
for good songwriting?
turns the lights on. I’m happy with six or 12
DECEMBER 2016 ACOUSTIC MAGAZINE
23
INTERVIEW DAVID CROSBY
strings, although there’s greater facility with a
don’t write it down it didn’t happen’. So I do
six-string: the 12-string is aharder instrument.”
write stuff down all the time, and two pieces
used in the 60s, we notice. Has he taken good
will connect later. You do have towork at it.
care of his voice, then? “No! I did everything
Melodies just come, though.”
wrong, and there’s absolutely no reason why
What advice can he pass on to us about choosing a decent acoustic guitar? “For me, it’s all about the sound and the overtones that
Crosby can still sing in the tenor range he
After so many albums, does Crosby ever find I should have a decent voice at this stage of
a guitar generates. The quality of its voice
himself repeating song ideas? “I don’t really pay the game. None at all! But since it’s there I’m
changes as time passes: a brand new guitar
much attention to my old stuff, so that doesn’t
does not have the voice that it will have in six
happen to me, although there are words that I
Does he still enjoy life on the road, we
or eight years, so you always have to take that
use a lot. I talk about dreams in many songs, so
wonder? “It depends on how you look at it,”
into account. But all of my guitars are ones
there’s some connective tissue there.”
he ruminates. “The two and a half or three
that I picked up and played and they had a
Talking of dreams, does he ever find that
going to use the hell out of it and be grateful.”
hours that we’re on stage are an unmitigated
voice. They had a really wonderful sound to
songs come to him in that weird half-asleep
joy. The other 20-plus hours are not so great!
them. I didn’t pick them because somebody
moment that creative types tend to enter just
You don’t get much sleep, you’re always at
famous owned them, I picked them solely for their playability and their tone. The D45s
before dropping off at night? “Words certainly do. Actually, it’s funny you should mention
the wrong time for the meals, you’re eating in crappy restaurants all the time. The road
are 50 years old or so now, and they’ve got a
that, because an awful lot of my songs start
beats you up, there’s no question about it.
spectacular sound.”
that way. I asked a science fiction author who I
I have less stamina for it than when I was
knew, ‘Hey, does this happen to you guys?’ and
a kid, but I’m a lot less scatterbrained than
first? “Both. I try to play the guitar every day
he said, ‘Yeah, it happens to all of us. That’s
when I was doing hard drugs, and so I’m
and just fool with it and see what’s there
why we keep a pad next to the bed, so we can
much more able to focus and do a decent job.
waiting for me. I do that a lot, plus a little on
write them down when we’re transferring
So I think it’s gotten better.”
the piano. Words just pop into my head and
our consciousness from one state toanother.
I write them down. I learned that from Joni
There’s a window there where a different part
doesn’t make sense – I was supposed to be
Mitchell: she said ‘Write that down’ and I said
of your head gets a shot at the steering wheel
dead 20 years ago, so this is all just gravy.” n
‘Write what down?’ and she said ‘That phrase
for a minute. We call it ‘the elves taking over
Lighthouseis out now.
you just said. It’s a good phrase, but if you
the workshop’... ”
www.davidcrosby.com
When writing, do lyrics or music come
24 ACOUSTIC MAGAZINE DECEMBER 2016
“I just go out and do it,” he shrugs. “It
INTERVIEW SETH LAKEMAN
SETH
LAKEMAN
Always wil ling to veer off in another direction, whil e staying within the realms of acoustic folk music, Devonshire whiz Seth Lakeman’s new Ballads of the Broken Few is a bold and beautiful set. We met in his native land to discuss the album WORDS: GLENN KIMPTON IMAGES: OLLY CURTIS
O
n a breezy day in Dartmoor that
to try out some songs and I knew straight
legend,” he states. “The guy’s done so many
hits us with a couple of showers,
away that we had clicked and something
records and worked with so many people.
we met up with the consistently
quite special was happening.”
He’s also very selective, so I was so pleased
busy and always energetic Seth
And just to add to the momentum that
to get him on board.”
Lakeman to discuss his dramatically new
would become Ballads , the third part to the
sounding album Ballads of the B roken Few. It’s a record that will reassure and surprise
puzzle fell into place when Lakeman sent Ethan Johns the demos he had recorded
record, which is the third since Hearts and Minds and sees Lakeman firmly back on form
his loyal following in equal measure, with
with Wildwood Kin. “Well, we had about
and with a renewed vigour and energy that
its grown up serious sound mixing perfectly
eight songs written and demoed, and I sent
the bold spare arrangements accentuate.
with the strong melodies Lakeman excels at. “I was asked to perform a tune for A Life in Song by Tim Ric e,” Lakeman begins, as
we settle in a cosy room at the local inn. “I worked out a version of ‘Any Dream Will Do’ by Jason Donovan, but on viola. It was quite a mournful version and it inspired me to start thinking about and then writing a set of songs in that way, on viola. I wanted them to be slower, a bit moodier and thoughtful sentiment songs. So that’s where the concept for Ballads began. I wrote a song called ‘Lay Me Down’ first, which isn’t on the record,
“To be honest,” he says, with a grin, “I don’t
“The tenor’s still an important part of my music, even after 15 years, but
and a bunch of others followed.” An interesting addition to the cover of the new album is the inclusion of ‘Featuring Wildwood Kin’ in bold font, suggesting
It is a move that pays off on the new
listen to any of the old albums, really. I’m a bit frightened to, although I feel I should go over them. But I always want to keep evolving and going forward and working on new sounds. It’s a strange dilemma, but I do know that this is a departure of sorts; the songs are about sentiment rather than story and it’s very much about voices – experimenting with my voice and the girls’ voices.” So, after the bouzouki being introduced to Lakeman’s sound on Tales from the Barrel House and the six-string making an
appearance on Word of Mouth, is Ballads
it ’sst no a le in rutme ntad ”
the album is less a purely solo piece than
predominantly about the voices or the viola? “I’m glad you noticed that,” he laughs, “because the album very much came from the viola and the voices together, and it all
a collaboration. “Well yes, that was the
them to Sam [Lakeman], who had Ethan’s
next creative step, meeting the girls ,” he
email, and asked him to forward them.
But of course, this is also an Ethan Johns
answers, with a nod. “The moment was at a
So when Ethan got back to me and said
record, so guitar fans can be reassured that
charity gig in the Barrel House up at Totnes.
he thought it was great and he wanted to
Lakeman still strums his tenor on several
Someone there mentioned them to me, so I
do it, I was over the moon. This time last
tracks, and there’s even the odd cheeky bit of
went to check them out and I thought they
year I was in this very pub celebrating and
quite fuzzy fret work from Ethan on there.
were superb. I asked them on the spot if they
getting really drunk, it was great!” It’s a big
“Yeah those bits of guitar on there are great,”
wanted to meet up to discuss some tunes.
accolade having such a top end producer
Lakeman laughs. “It’s a bit Ry Cooder, and
We met at the Phoenix Art Centre in Exeter
on board, as Lakeman is well aware. “He’s a
that’s because the guitar set-up being used
26
ACOUSTIC MAGAZINE DECEMBER 2016
stemmed from that Tim Rice show.”
DECEMBER 2016 ACOUSTIC MAGAZINE
27
INTERVIEW SETH LAKEMAN
came directly from Ry to Ethan, so that’s
rooms, so acoustically it was wonderful. We
between Howard and his sister that I was
why it’s so familiar.” It’s also a very warm
were going to go to Real World Studios, but
after. I was in awe of Ethan throughout the
sounding record, for one with very minimal
I convinced Ethan that this hall would be
process; he sat back like Rick Rubin and let it
arrangements; was that part of the appeal?
great and really special. The benchmark I
all evolve around him while he captured the
“Ethan is the master of recording in one
had in mind was an album Ethan did with
moments and made the right decisions. And
place and capturing a moment,” he continues.
a guy called Howard Elliot Payne from the
it’s all first take; every track on the album is
“We recorded this one in Mudford Manor in
Stands, called Bright Light Ballads. It was
a first take.”
Somerset, which was perfect in that it had
a bit of an under the radar record, but it’s
the flagstone floor and wooden panelled
beautiful and it has the vocal relationship
28
ACOUSTIC MAGAZINE DECEMBER 2016
One thing that is often apparent in Lakeman’s recordings is a strong theme or
comes from within. So, I think of it as a very soulful, spiritual record, even with hints of white gospel. And we’re all from Devon too,” he cackles. At this point, the focus shifted slightly to our feet, where Lakeman’s dog Bernie lay beside the tempting hard case, which I look inside to find the Harmony archtop tenor guitar that is resplendent on the front cover of the new album. “It made it to the front cover, mainly because the guy [Johns] loved the guitar! I’m actually going to start playing this tenor live on the tour because it’s on lots of the new songs.” It’s a minor change in instruments again for Lakeman, because the tenor guitar he has become associated with for years now has been the Martin 5-15T; firstly with the two 1950s models he has and more recently with the beautiful Westside Seth Lakeman 5-15T signature model in all its understated mahogany and Martin craftsmanship splendour. “Yeah, there’s no Martin on this album, I’m afraid,” laughs Lakeman. “But I will hopefully be going to their Nazareth factory next year. I think this album is going to be popular in America, what with its sound and with Ethan on board, so I’ve already looked into visiting the Martin guys; it’s something I’ve wanted to do for years. “But anyway, on Ballads , it’s just the Harmony tenor with the pickup you’ll hear, to give it that electric sound. I’ve ac tually been looking for a backup archtop tenor, because you can see it’s cracked here by the pickup and they’re actually quite fragile, especially compared to the Martin, but they’re also bloody hard to find!” Lakeman is almost certainly the most famous player of the four-string instrument in this country; I wonder if, with the experimenting, it’s still fundamental to his sound. “The tenor’s still an important part of my music, even after 15 years of playing it,” he answers. “But I know it isn’t a lead instrument. With the electric one on this album, tuned in that modal tuning [GDGD], it gives the songs space to breathe, which you wouldn’t get with a six-string. If you approach the tenor in the right way, it can create a really good foundation for a song. Also Ethan h ad some great pedals; I c an’t remember which, concept, for example the civil war songs
many personal elements to it, including parts
but there was certainly some distortion
that made up his 2006 album Freedom
of my life and my new responsibilities with
in there, and it was super-cool. It was a
Fields , or the strong sense of place and craft
family and all. So, the songs are certainly
bit Tchad Blake, who’s the master of that
that inspired 2014’s Word of Mouth . We
more heartfelt in where they have come
distortion sound. Yeah, I enjoyed that, it
wonder what was at the forefront during
from and from the way we are singing. But
was fun going down that route.”
the creation of Ballads . “This feels to me
also, importantly, where Wildwood Kin
Ballads of the Broken Few is out
like quite a spiritual album,” he states, after
have come from is a very spiritual, Christian
now on Cooking Vinyl. Lakeman
a moment. “And I feel like that was the
background; their grandmother wrote
will be touring the UK this winter
running theme. But also, I feel there are
hymns and when the girls sing it really
with Wildwood Kin.
n
DECEMBER 2016 ACOUSTIC MAGAZINE
29
SUZANNE
VEGA
Suzanne Vega’s never been short of inspiration for her songs, but her latest album is an unexpected deviation from her acoustic folk background. The music of Lover Beloved: An Evening With Carson McCullers, comes from her new stage show dedicated t o the work of the American novelist WORDS: JULIAN PIPER
DECEMBER 2016 ACOUSTIC MAGAZINE
31
INTERVIEW SUZANNE VEGA
“I
can’t tell you how much
when she was 16. “I started auditioning when I
keeps the music interesting. I try to put variety
discouragement I got in my early
was in my teens, and finally when I was 20 hit
in my work because it’s not there naturally.
years. In the 70s one musician I was
Folk City. I really loved it there, and that club
talking to said: ‘Don’t even bother
became my focal point for about five years.
particularly when trying to come up with more
In the 80s I approached A&M Records three
upbeat, major key songs; that’s something I
with major labels because they’re running out
“I have to work hard at songwriting,
of vinyl, and they won’t be making albums’, and times before they signed me; eventually they
really have to think about. It’s haphazard most
that was in 1976!” Suzanne Vega laughs, as she
did listen, but it was only because I kept going.
of the time, and then when I have a deadline I
recalls when she was scuffling for gigs at New
By that time I had a good following, and after a
work on it every day until I have it finished. The
York’s Folk City , a haunt favoured by Bob
great review in theNew York Timeseverything
problem is that I tend to pick up my guitar when
Dylan. Four decades on, she’s enjoyed a career
changed. But at least back then, there was an
I’m feeling low or downbeat and don’t go to the
full of unexpected twists and turns, and is a
industry to complain about!”
guitar when I’m happy. So, unless I’m aiming
quiet, chameleon-like figure, whose importance in the great scheme of things has often been
Listening to her albums, it’s plain that Suzanne Vega revels in the role of storyteller,
for a song in that solitary mood, I have to nudge myself along a bit!”
overlooked. Which is a shame because Suzanne but apart from ‘Songs In Red And Grey’, Vega was a trailblazer, proving to sceptical produced after the break up of her marriage
Vega’s a die hard New Yorker – she’s admitted in the past that when she’s in the countryside,
record companies that there was a market for
she’s far from being in her comfort zone – and
to her then producer Mitchell Froom, it’s hard
solo female acoustic songwriters. But it was her to find much autobiographical content in her
the city was also the adopted home of her
1987 song ‘Luka’ , about a young abused boy, that
songs. I wondered whether this was accidental,
current muse, the writer Carson McCullers.
really put her on the map. Despite being far
or whether she finds it easier writing in the
Books likeThe Ballad Of The Sad Café and
from obvious hit material, ‘Luka’ garnered three third person?
The Heart Is A Lonely Hunter explored the
Grammy nominations and established Vega’s
lives of social misfits, propelling McCullers
credibility as a writer – she even received a handwritten note from Prince proclaiming his love of the song. She once described herself as an ‘old style folkie with a guitar around my neck’, but at different times Vega’s fronted a rock band, written Bossa Nova songs, scored music for ballet, and, in perhaps the most unusual twist, her catchy acapella song‘Tom’s Diner’ , was remixed by English dance producers DNA, providing her with her biggest hit. “At first I wasn’t happy about it, but I thought it could only bring my music more attention,” she says. Her latest projectLover Beloved: Songs From An Evening With Carson McCullers , is arguably
her most ambitious to date. Based on the stories of the troubled New York writer, the 10 songs are from the stage play of the same name,
“I have to work hard at songwriting, particularly when trying to come up with more upbeat, major key songs”
an evening of Vega delivering monologues and extracts from McCuller’s work, as well as
in Georgia before moving to New York, and I wondered why it was that Vega identified so strongly with the gothic, Southern imagery. “I haven’t spent much time in the South,” she admits. “But I’ve played gigs in Georgia and Texas, and there’re lots of people in Manhattan who have relatives in the South. But it’s not really the South that appealed to me; it’s her and her life, what she wrote about and particularly how she wrote about kids. The In Heart Is A Lonely Hunter , she describes an older girl taking care of a bunch of younger siblings, and she does it really beautifully. Those kids wandering the streets, you see them in New York. It’s the same world that Carson wrote about – the world of kids wandering around, writing graffiti on the wall and getting into trouble. That’s universal. All of her work does
“I think I enjoy doing that because I studied
fronting a small band, led by her long-term
theatre in college. I took a course called the
collaborator Gerry Leonard.
dramatic monologue,” she says. “I just loved
With so many diverse interests, it’s no
to literary fame. But McCullers was raised
have that depressive stripe, but I love the ideals that come to the surface in that book.” A self taught guitarist, Suzanne’s favourite
the idea that you could be a person on a stage
guitar is a Taylor 514ce, but admits: “I pick
surprise to hear that the quietly spoken Vega
pretending to be someone else and speaking in
chords out of a book, particularly any book that
sees music as just one part of a much larger
their voice. That whole idea was very appealing has little pictures that show me where to put
creative whole.
to me. Because of that I’ve always written in a
my fingers. I just pick my favourite ones and use
variety of different characters. I find it more
them over andover again.”
“I’ve always loved music, especially during
my teenage years. I felt that it was an important entertaining for me, and I love being able to connection to a larger world. But I’ve always enjoyed the other things I’ve done; it’s good to perform something like a theatre play and then return to focusing on music. “Having been a pop artist at one time, I had no illusions,” Vega adds. “I knew that it could only be a short-lived phenomenon. But as
It can’t have been easy for Vega to put down
just throw down on the page what you feel and the guitar, and leave the music to Duncan Sheik assume the persona of another character.” on Lover Beloved. How did that process work? It’s difficult to reconcile the images on
“Duncan would give me a piece of music he’d
YouTube of Vega fronting a rock band in
recorded, then I’d go over the music with Gerry
1993 with the artist about to tour the Carson
Leonard, my guitarist. Then I’d work with the
McCullers show, but Vega sees little discord.
pianist or Gerry and fiddle around with the
“I’ve always enjoyed changing what I do,
melodies. Then I’d stand in front of Duncan and
what I really love is the performing and the
because there’s so much about me that stays
songwriting, the chance to have ideas and
the same,” she laughs. “My voice stays the same sometimes he’d say they were great as they
sing my lyrics; sometimes he’d correct them,
express them, it’s always been my plan to be an
and to be honest I feel that my musical gifts
were. Somehow the album had it’s own flow. It
artist who lasts over time.”
are limited – I only know a few chords on the
was odd but it worked” n
And as she recalled, her path to fame was far guitar and I stick to them. So working with other Vega’s albumLover Beloved: Songs From An from instantaneous. Vega began songwriting
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ACOUSTIC MAGAZINE DECEMBER 2016
people and trying different genres of songs,
Evening With Carson McCullers is out now.
DECEMBER 2016 ACOUSTIC MAGAZINE
33
INTERVIEW NANCY WILSON
NANCY
WILSON Heart’s Nancy Wilson is one of the leading ladies of rock, with a career that’s spanned hard rock, power ballads and huge commercial success. But at the root of it all has been a love of the acoustic guitar, and it’s a passion that’s still burning to this day WORDS: TERI SACCONE
O
fficially, Heart’s Nancy Wilson
to her intoxicating combination of folk and
is a rhythm guitarist who moves
classical styles.
between acoustic and electric effortlessly. Unofficially, it’s as
Acoustic
caught up with Nancy Wilson on
the eve of Heart’s 2016 UK tour, culminating
an accomplished acoustic guitarist where
in a landmark concert with the Royal
Wilson’s immense talents are best served.
Philharmonic at London’s Royal Albert Hall.
She helped pioneer acoustic in the rock genre, propelling it from a perception as a sensitive
We begin by discussing the acoustic guitar, which is the genesis of her playing.
folky instrument to that of a savage tool,
“That’s where I started and acoustic is still
capable of biblical intensity. Since Heart kicked
my ‘main man’, although I really get off on
off in the mid 70s, Wilson (along with older
electric to o,” she states emphatically. “I play
sister Ann) have been self-professed “women
electric like I play acoustic and vice versa, so
warriors” of rock, selling more than 35 million
for me there’s a lot of power to be had in non-
albums over 40 years. Alice In Chains’ Jerry
amplified guitar as much as amplified for me.”
Cantrell described Wilson to me inAcoustic as
One of the very powerful acoustic-centric
a “monster guitarist” of both the plugged and
tracks is the epic (and Zeppelin-es que) ‘Mistral
unplugged variety. She has stated “I’m never
Wind’. Wilson provides some background.
happier than when playing a guitar.” As an adolescent, Wilson slept clutching her guitar
“When we wrote that song I had the first part of the intro with the dissonant, curious
at night. “I couldn’t stop playing it as a teenager sound of the fretted fifth, which is called the and my guitar was my first ‘boyfriend,’” is
‘devil’s interval’. I was hung up on dissonance
how she explains her obsession in the Heart
at the time. I had that op ening and the band
autobiographyKicking and Dreaming.
wanted to make up a s ong around that. We
Exquisite acoustic playing on the epic
sat around trying to figure out what it wanted
‘Mistral Wind’, ‘Dogand Butterfly’, ‘Love Alive’, ‘Dreamboat Annie’ and ‘Silver Wheels’ prove
to become from there, and then the lyrics came about all that from one little guitar riff
that Wilson is an absolute guitar goddess.
of mine.”
And when Heart play acoustic versions of
I mention that Heart’s unplugged classics
their electrified classics, they s eem somehow
feel somehow more explosive than the
more irresistible. With both her rapacious
electric version – to which Wilson concurs.
riffage and nuanced, agile picking Wilson’s
“I think in the less-embellished statement
playing is potent. Even Heart’s second-coming
there’s more personal power that comes
power-ballad era hits from the 80s like ‘Alone’
through. I think ‘Alone’ with just me, Ann’s
and ‘These Dreams’ take on new, revitalised
voice and a piano delivers a more powerful
flavours when stripped down to acoustic
punch than any overproduced rock band
guitar. Furthermore, Wilson has done much to
version. It’s more personal this way and it’s
broaden the style of acoustic guitar in rock due
the moment you take home from a show.”
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ACOUSTIC MAGAZINE MAGAZINE
DECEMBER 2016
GEAR On stage, Wilson runs her acoustic guitar through a Groove Tubes Ditto DI box, with the XLR output going to the monitor/front of house and the 1/4” output going to three Trace Elliot TA200 acoustic amps linked together for on-stage sound
GUITARS Two Martin HD35 Nancy Wilson signature models A Martin DCP model single cutaway with Aura pickup system A Takamine EAN 15 single-cutaway model A mandolin (Japanese copy of old Gibson model)
DECEMBER 2016 ACOUSTIC MAGAZINE
37
In ‘99 Wilson released the all-acoustic Live at McCabe’s Guitar Shop. She explains how
it transpired. “Ann was on the road without me as I was working on the score for Jerry Maguire, my first real score. Cameron Crowe
[the director], who I was married to at the time, wanted to hear a sound that had an early Paul Simon-esque quality, similar to ‘Cathy’s Song’ with that amazing fingerpicking style, and that got me going on writing those types of songs again. I started out learning to play to that style of songs with those kinds of chord changes, that fingerpicking style like on Simon & Garfunkel, CSN and even Elton John to a point, because I tried to make my guitar sound like a piano. So I then needed to get down to McCabe’s to look at extra percussion for my drum arsenal and maybe mandolin too. They suggested I play live in the store to get a discount on the instruments. I went there with the intention of doing two shows. One of my oldest friends, Kelly Curtis [manager of Pearl Jam], suggested I turn it into an album. It’s on DAT so it sounds a bit less polished, but I really like it for what it is and a lot of people still come up to me saying ‘Live at McCabes is something I love and just discovered.’ This whole acoustic thing goes back to our backyards, campfires, teenage
38
ACOUSTIC MAGAZINE DECEMBER 2016
NANCY WILSON INTERVIEW
“I started out developing more of a Stills style, then it was Crosby and Stills combined. I think today I play most like Neil Young, though” bedrooms, church halls where I started out
stuff, or plucking simultaneous chords and
look at them’,” she laughs. “It turns out I don’t
and it’s a tradition we shared with our family
combinations of those things, which sounds
spend a lot on vintage pieces although I have a
and grandparents.”
more like a piano instead of just strumming.
beautiful German built guitar in a 3/4 size that
The acoustic guitar is also a very good
I picked up in 1975. It’s a classical guitar from a
being considered. “I’d like to do a hootenanny
percussion instrument, as shown in the way
luthier friend that’s ridiculously beautiful and
tour,” she admits. “And do an album that’s live,
flamenco players strike the top or back and
sounds better with age.”
raw and acoustic.” What would a live band
sides of the guitar. And there’s muting: I like
Does she still own the J-55 she had when
consist of? “I love a baritone guitar, I love a
to do half mute, half percussion and add lots
she was a newbie? “I don’t but I traded it for
mandocello, a mandolin and a mandola. Ann
of dynamics and muting, plus bringing out
something a little better and I think it was my
plays flute and she’s also a very decent bass player. The more I talk about it the more I
the open strings, which is what I’m doing more of lately.”
first Martin,” she says with a laugh. “Martin for me was the holy grail because I wanted a
Wilson confides that a Heart acoustic tour is
want to do it.”
Wilson is known to have a fairly extensive
really good acoustic guitar – I wanted the CSN-
Her earlier comment about obtaining a
guitar collection. Are there any new vintage
type of guitar. That first Gibson was more of a
piano sound from the guitar had me intrigued.
guitar acquisitions? “I have had quite a few
tank but in a really good way.”
She elaborates: “I learned a lot of Elton John
vintage Martins in my time like the 000s and
songs starting out as a teenager so I tried
the ones from the 20s, but some of them have
acoustics in CSN was she more of a Stills or a
to emulate his piano style and sounds on
been so precious that you don’t want to put
Crosby fan?
guitar. So you’re not strumming down, you’re
electronics on them or take them out on the
plucking out in more of a classical style, but
road. They become more like museum pieces.
style, then it was Crosby and Stills combined.
with his southern barrelhouse piano style
So although I have some priceless gems like
I think today I play most like Neil Young,
that he played. So you can do arpeggiated
the Martins, it becomes a case of ‘don’t even
though. He uses that same thing I was
Since Wilson was heavily influenced by the
“I started out developing more of a Stills
DECEMBER 2016 ACOUSTIC MAGAZINE
39
INTERVIEW NANCY WILSON mentioning: a lot of percussion and muting
have either the words first or the guitar first
other was always music and that’s how our
and pulling and letting it ring out in those cool
and I’ll get the melody or words onto my
bond got deeper. It’s been this journey that’s
contrast things. It’s a really amazing style, and
phone or in a notebook. There’s so many ways
gone on forever yet it feels like yesterday.”
he can accompany himself – he’s a rock band
to come at this. The latest album,Beautiful
unto himself.”
Broken, is a mix of old and new cuts. The title
appraisal from one of rock’s greatest singers,
Perhaps the most fitting send-off is an
song was a bonus track from Fanatic. We got
Ann Wilson: “Nancy Wilson is an srcinal.
drastically in the mid 80s from a singer-
James Hetfield from Metallica on there to
She connects with the guitar in a real and
songwriter-based rock band to a more
‘bark’ along as he’d say, and he added these
passionate way, unlike any other player I
mainstream act who, at the behest of their
amazing words to the title song and it turned
know, female or male. Power and delicacy is in
record label, used outside songwriters for the
into kind of a new song. We also re-did some
her hands.” n
first time in their career. They’ve admitted
songs from the past – beautiful gems like
they sold out creatively, yet commercially they
‘Sweet Darling.’ We have Paul Buckmaster on
were at their zenith – with Heart so massive
strings who played on the early Elton John
in the 80s that they had their own jet. Does Wilson ever stand on a stage and ponder
albums and it was so gratifying.” Playing the RAH is a big deal even for
retrospectively ‘How the hell did we create this
veterans Heart and draws comparisons to
beautiful 40 year-old entity?’
when they blew up YouTube with their
As mentioned earlier, Heart transformed
“Yeah, that crosses my mind pretty often,
performance of ‘Stairway to Heaven’ in front
especially when we play a big arena and that
of their idols Page, Plant and John Paul Jones
nervous adrenaline shoots through you. And
at the Kennedy Center Honors, which incited
it feels like it happened in a blink of an eye. It’s
palpable emotions in the surviving members
like one big, long continuous show and now it’s
of Zeppelin.
more rewarding than ever. We’ve done it for so
“It’s very exciting for us to do this show
long now that we’re pretty good at it. So we can
at the RAH. It will be a ‘life moment’ for
relax into it and celebrate it with the audience
us. I think we’ll bring out the new
a lot more now. It’s never easy work – travel is
track ‘Beautiful Broken’ for that
the hard part – but being onstage is elevating.”
show and ‘The Rain Song’.
Heart’s srcins are in both Seattle and
That song is a perfect
Vancouver, BC. In the 90s, the Wilsons
marriage between
returned to Seattle on a musical pilgrimage
electric and acoustic
and were embraced by the grunge bands of
sensibilities and is s o
the period, such as Pearl Jam, Alice In Chains and Soundgarden. Heart collaborated with
melancholy. The RAH show will be like Kennedy Center
some of these musicians as the Lovemongers.
Honors, I think.”
But one of many surprises in Wilson’s
So, what did it feel like
autobiography is that she introduced acoustic
doing ‘Stairway’ in front of
guitar to none other than Eddie Van Halen.
Zeppelin? “It was wild and a
“I was lucky enough to be the one to turn
little unnerving – definitely a
him onto an acoustic. He stayed up all night
peak life moment. Jones, Plant
writing his first opus on the Ovation I gave
and Page stopped by our table
him and then called me up way too early the
individually to congratulate us, and
next morning, as he was obviously writing
to get praise from Page was thrilling.
with it all night long, and played me the most
JPJ is someone we’ve worked with and
beautiful piece of music over the phone.”
he was so supportive. And Plant said ‘So
How does she connect to the elusive song
many cover that song but they do it wrong but
crafting ‘source’? “I’ve always been a hippy
you didn’t.’ People say that we made Zeppelin
because I come from that era of late 60s mid
cry but Jason Bonham was up there on drums
70s music, and that music was about mind
with us too, which certainly helped it become
expansion, peace, love and so cial justice. That’s
more emotional.”
the cradle from which I emerged and it may sound old now but that way of writing lyrics
It’s evident that Wilson enjoys herself musically, keeping things fresh while always
which are inspiring and more than just a sexy
keeping the song’s integrity intact.
innuendo-type thing, is where we’re at. From
“I like to joke around with my playing
where I sit the muse is all around me and if
sometimes because it’s rock‘n’roll, not
my mind is ready and my heart is open I’ll see
chamber music, and people get a kick out of it
it everywhere. It’s almost religious but in an
being different and fun.”
artistic way. Today in the music industry songs
Conversely, she is equally capable of
are now often created by committee. We did it
profundity, for example with glorious lyrics
old school.”
such as these, referring to her sisterhood with
When she writes, it can be with an acoustic
Ann from the track ‘Dog and Butterfly’: “We’re
or a piano. “I try to get a moment to myself
balanced together like ocean upon sky.” She
when I feel the muse is getting close and I’ll
elaborates on this: “Our language with each
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ACOUSTIC MAGAZINE
DECEMBER 2016
INTERVIEW BEN CAPLAN
B
E
N
CAPLAN Canada’s Ben Caplan, fresh from a UK date at the Union Chapel, talks about his acoustic heritage and new album Birds With Broken Wings
W
hen I started playing guitar,
one guitar with me it’s a real pain to change
a virtuoso. He really impressed me and
I was listening to stuff like
the tuning during a show. When I was
showed me the breadth and scope of sounds
Jethro Tull, Neil Young, and
younger I used to really get off on playing
that can be made on an acousti c guitar. I’ve
Bob Dylan. I never really
alternate tuning songs by Bob Dylan and
mostly lost track of him, but I occasionally
aspired to virtuosic fingerpicking, burning
Joni Mitchell. I even wrote a few of my own,
hear some sounds that he’s working on. I
solos or any kind of extended technique. I
but I never really dug into it too much as a
don’t think he has ever played outside of
wanted to play a solid rhythm and provide a
professional. I still have a lot to learn about
Canada, but he has continued to hone and
strong base for my songs as a solo performer.
standard tuning. I’m not b ored yet.
develop his technique as a musician and is
As my band has expanded, I’ve found that I’ve
When I meet people who are trying to
still probably the best acoustic player I’ve
preferred to hear myself take up less space
improve their playing, I find the most helpful
ever heard. He’s probably the reason I play
instead of more.
advice is to listen closer. Not necessarily
music for a living today. Google him and see
to what other people are playing, but to
what you find.
I’ve never heard of the brand since. It was a gift from my grandmother. Just a cheap
what you are playing. Many people will have a sense that their guitar playing is not
I am presently on tour with my band, the Casual Smokers, to promote our newest
starter guitar. It was pretty good for what it
what they would like it to be, but they can’t
album, Birds with Broken Wings. The
was though. I played it until the top five frets
identify what the difference is between
album is a deep exploration of the sounds
were almost completely worn down and
what they are hearing and what they would
of acoustic instruments from around the
the thing was starting to buzz with every
like to hear. It takes patience and focus.
world. Mixing horns, strings, guitars,
strum. After that I moved on to an Art &
Close listening. Only once you can identify
pianos, woodwinds, accordions, cimbaloms,
Lutherie, then to a Takamine and eventually
precisely what you are not achieving to
percussion, and more, the music is rooted in
discovered Guild.
your own satisfaction can you begin to work
a sort of songwriter-y folk kind of world, but
on improving that thing. You need to have
influenced by folk music from all around the
specific goals and intentional practice.
world – particularly Eastern Europe.
My first acoustic was a Mitchell guitar.
I now play a Guild F-50. That’s it. Just the one. It’s got a really warm response all across the sonic spectrum. I particularly love its low end response. Because I only have the
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ACOUSTIC MAGAZINE DECEMBER DECEMBER 2016 2016
Tavis Weir was my best friend during my first year of high school. The guy was
n
Birds with Broken Wingsis out now. www.bencaplan.ca
INTERVIEW JON KENZIE
J
O
N
KENZIE
Manchester-based guitarist Jon Kenzie tells us about the road he took to make new album From Wanderlust
I
would describe my guitar playing style
although I sometimes, when soloing, miss a
Not just playing a riff correctly but really
as a bit rough and ready. Although I
cutaway. But my first acoustic was a Vantage
digging in and making it sing. The same goes
have learned many techniques over
steel string with a cutaway. It had a much
for being aware of your dynamics and what
the years, I’m far from virtuosic. My
larger body than my current guitar and, as
feel you are trying to create.
main priorities when composing on guitar
I was quite small at the time, it looked even
and performing are the groove and texture.
bigger. I also play a steel body resonator,
from your safety net of muscle memory riffs
I often give more importance to the space
mainly for slide and open tunings as I have
and chord patterns, because when you put
between the notes rather than trying to fill a
had the action raised. I love to play electric
the guitar into a tuning you have never used
tune with complex riffs.
and I have relic Fender Telecaster, although
before, suddenly your fingers are forced to
I perform much more with an acoustic. I
find the sounds in a different way. This can
from blues players such as Robert Johnson,
think my favorite acoustic ever to date was
often inspire new techniques you wouldn’t
BB King, Albert King, Eric Clapton, John
a 1935 Gibson L-00, but alas I have never
have thought of before. I also find it helps
Lee Hooker and folk players such as John Martyn. I have always loved the
owned one. I only played on one some years ago in a shop i n London and I have never felt
when composing. My new album From Wanderlust came out
unorthodox approach of John Martyn’s
so inspired by an instrument. I rarely use
earlier this year. I have been more or less
playing. I am also in awe of the more
effects when I perform on my own. For my
continually touring throughout the year to
virtuosic players such as Django Reinhardt
acoustic playing I us e a Roland AC-60, either
promote it, playing solo shows and also with
and Tommy Emmanuel.
as a preamp on stage or just on its own when
a variety of bands that I put together around
I play smaller concerts or busk.
the world. Playing the guitar has enabled me
When I was young my inspiration came
At the moment I am mostly playing a Farida M-26E electro-acoustic steel string
The secret to playing acoustic well is
Using alternate tunings lets you step away
to travel the world, meet wonderful people
guitar, which Farida gave me as a non-
obviously practice! But also truly listening,
and have experiences I cannot imagine I
exclusive endorsement. It has a small body
both to the tones and sounds you are
would have had doing anything else. I still
that resembles the shape of a classical guitar
creating as well as the other musicians you
feel very lucky to make a living from one of
and yet has a surprisingly warm tone. I
are playing with. It’s important to put as
mankind’s greatest inventions, music. n
love the intonation and the feel of the neck
much feel into your playing as possible.
www.jonkenzie.com
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ACOUSTIC MAGAZINE DECEMBER 2016
FEATURE LOWDEN JON GOMM SIGNATURE
MAKING THE LOWDEN JON GOMM SIGNATURE Ahead of our review of the new model, we chat to the two men behind it, Jon Gomm and George Lowden, about working together, the design process and making a guitar that Jon Gomm couldn’t break WORDS:JOEL MCIVER How long has your signature Lowden been in development, Jon?
George and I first started discussing the guitar at the end of 2014, and it took about a year until I actually got it. I’ve always liked the idea of having a signature guitar: when I was a kid I used to get the Ibanez catalogue and cut out the pictures of Joe Satriani and stick them on the wall. But I didn’t want to have a guitar that didn’t offer anything new, so I spent a lot of time researching what you could do to a guitar that had never been done before. Was a Lowden signature guitar the logical choice because you were already a user of the brand?
Yes. I endorsed Takamine for a while some years ago, and I’ve been offered signature models by other luthiers since then, but I was really holding out for a Lowden. In the end George approached me about it, although we’d worked together on a few things before then. With him it’s partly about guitars and partly about people. He wants to work with people that he trusts and likes, and he invited me over to his house for dinner so they could check that I was okay! They’re a family business and very nice people. So what are the innovative bits of your guitar?
We used what I call tall, skinny frets, which you would be more likely to find on anelectric guitar, and they really add to the volume – but the major innov ation is in the woods we used in the top. What is crucial for me, and my percussive style of playing, is that I break guitars. I have a T-shirt in my merch range that reads “Don’t let Jon Gomm play your guitar”! It’s true. My old Lowden is full of cracks. I put a crack in the Takamine that I endorsed after acouple of months. Guitars are not really built to behit, although percussive playing is a very old guitar technique. I did some research andI found out that the tops of flamenco guitars arevery fragile and thin, even though they’re used for loads of percussion, so I asked some flamenco guitarists that I knew about that, and they toldme that it’s not unusual for flamenco guitars to explode during a gig. Somebody will hit the guitar
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ACOUSTIC MAGAZINE
DECEMBER 2016
FEATURE LOWDEN JON GOMM SIGNATURE
and it’ll just shatter. I tried tofind out if anyone was doing anything to fixthis problem.
I thought that if anyone could do it right, it would be George Lowden.
What was your solution?
Why did you choose spruce and cedar?
It turned out that a popular way was to create a sandwich top, where you take two pieces of wood and put a slab of Nomex, which is a bulletproof material, between them. I didn’t want that, because if the top wood wore away after a few years the Nomex would
Well, you have to have spruce because it’s strong, but I actually prefer the sound of cedar and I always have, although I knew it was more fragile and that I might well break it. I suggested combining the two woods, with the tougher spruce on the outside for strength and the cedar
be revealed, and that would look terrible! It would be like when someone’s skin comes off in a sci-fi movie and you realise they were an android the whole time. Anyway, I found out that some ancient guitars from the 1930s were built with two-ply tops, using two pieces of really high-quality spruce and offsetting them at an angle for strength. When you bend a piece of wood it will snap along the grain: it’s very hard to snap it against the grain. Put two pieces together and offset the grain, and you increase the strength. Apparently these twoply guitars from the 1930s were terrible, but
on the inside, which would create most ofthe tone. No one has ever usedthat combination for a guitar top before. The sides and the back of theguitar are black cherry, by the way: that was anecological choice, as mahogany and rosewood are scarce, and dominate the market purely for reasons of tradition. For more information on the subject, check out the Leonardo Project – it’s a gamechanger (www.leonardo-guitar-research.com).
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ACOUSTIC MAGAZINE
DECEMBER 2016
progress, I was getting more and more nervous. I thought to myself ‘This is George Lowden! I’ve convinced him to dothis thing – what if it’s crap and doesn’t work?’ But they actually builttwo: one with the regular spruce top, and one with my hybrid. The tonal difference between them is huge. The Hybrid sounds like it’s a couple of years old, rather than a newguitar, and has a greatly increased volume with much more bass. The first time I played a big chordon the Hybrid,
I couldn’t understand how all this volume could come from all different directions. It was an absolutely massive sound that seemed to spread out everywhere. I love a thunderous bass: I like to downtune the E string to A. On other guitars I can’t really hear that note whenit’s not unamplified, but with the Hybrid Ican. It’s like a baritone guitar. In terms of theguitar’s overall EQ, it’s moved the midrange peakup slightly. These guitars sound a little more like modern North American guitars that I’ve played, like a It must have been exciting to see it come to life. Greenfield for example. Those things costabout As they worked on it, and sent me photos of it in $24,000: it’s that kind of sound!n
DECEMBER 2016 ACOUSTIC M AGAZINE
49
FEATURE LOWDEN JON GOMM SIGNATURE
BUILDING THE GOMM-PROOF GUITAR George Lowden, head honcho at Lowden Guitars, tells us about working with Jon on his new signature guitar and the pressure of replacing Wilma
W
ith Jon there was the opportunity to design something unique – his playing is very special –
mesmerising visually as well as musically. It was a challenge to me even more so because of his long relationship with Wilma [Jon’s well-worn current Lowden guitar]. Often if a great player has been playing one guitar for years they find shortcomings in any new instrument and that presented me with a problem. However, in the end there was no problem because Jon asked me to experiment with a double top – cedar on inside and spruce on outside. I decided to try it that way round because Jon does ‘age’ his guitars with loads of contact. Therefore spruce on the outside was the choice – with cedar being softer and thus more susceptible to damage. I consider a signature model only if either the player is exceptional and or he or she has been playing Lowden for a long time. Jon more than qualifies on both counts. It’s an honour for me to make a signature model for any artist – but I don’t want a host of signature models for marketing purposes – it’s a collaboration which helps us both. I learn how to design for a particular player and he benefits if I succeed in the design. There is a real challenge for me to come up with a design that is a really good fit with the signature’s player’s style. In Jon’s case he had ideas himself, which gave me a head start. I was a bit nervous with Jon’s guitar,
book press to laminate the two top woods and tried different glues and l ength of times
wondering how it would work with this
in the press before we got it right. Also,
top design and non-tropical wood choices.
the angle of the grain direction difference
he first played the guitar is the combination
Thankfully, he loved it from the first
between the spruce and cedar as we glued
of the vigorous but disciplined way the
moment. Choosing the thicknesses and
it. This was als o a matter of judgement and
top vibrates combined with the overall
laminating method for the double top was
all new territory for me.
geometry and controlled low tension in the
a question of trial and error. Getting the
Tonewood wise, I’d been thinking about
the more plain grain – but we also like the wilder versions. The extra volume that Jon noted when
construction of the guitar.
voicing right was also a question of trying
using cherry for some time anyway – it’s a
I immensely enjoyed working with Jon
to sense the way this top would vibrate in
beautiful wood and non tropical – s o this
and designing this guitar. I always do when
comparison to a solid top. We work largely
was an opportunity to actually try it. We
there’s an element of risk and surprise
by hand and don’t have huge amounts of
also have figured cherry, which we are
involved and when I am working with a
equipment, and so we used an old school
trying on other models as well. Jon li kes
great player.
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ACOUSTIC MAGAZINE DECEMBER 2016
FEATURE PLAY LIKE JON GOMM
PLAY LIKE JON GOMM If you want to make the most of your new Jon Gomm signature guitar or find out whether that hybrid top would suit your percussive style, why not learn a few Gomm-ian techniques? WORDS & TRANSCRIPTION: TRISTAN SEUME true individual, Jon Gomm has carved out his career the hard way,
A
It’s quite true that, from the flamenco players of southern Spain to the blues masters
Jon strikes differe nt parts ofthe guitar tomimic the drum kit – for example, beating on the strings
shunning the mainstream record
of the Mississippi Delta, guitarists have been
over the soundhole for a bass drum or flicking the
industry in favour of hard graft,
beating on the humble wooden box in an effort
top with his fingernail to ape a snare drum. This
extensive touring and buildinga worldwide
to push its rhythmic limits for centuries. But
is unusual stuff, so you must take baby steps. Try
following of fans drawn to his baffling guitar
acoustic virtuosos such as Preston Reed,
Jon’s strikes one at a timeand practise his grooves
technique and his melodic and soulful songwriting
Andy McKee and our homegrown hero,
slowly, focusing firston clear-sounding percussion
style. “There’s nothing new to [percussive guitar
Jon, have seemingly raised the bar beyond
and then on the timing. Try each example in turn,
playing] at all,” he modestly asserts.
all comprehension.
slowly assembling all theelements.n
FIGURE 1 –PERCUSSIVE TAB GUIDE
Pick hand: Slap strings over soundhole for a kick drum sound
Pick hand: Flick the gtr. top for a snare sound
Pick hand: Strike thumb/finger on gtr. top for a mid-tom sound
Pick hand: Strike thumb/finger by neck joint for a high-tom sound
Fret hand: Slap fretting finger against strings for hi-hat sound
To notate the percussive elements, we’re using an extra stave underneath the tab with different symbols to denote the various percus sive strikes. Each strike equates to one of the instruments of a drum kit.
FIGURE 2 – KICK AND SNARE DRUM GROOVE q =100 Kick
Snare
First, Jon builds a drum groove that, in drum terms, is a simple kick/snare backbeat. For the kick drum, Jon slaps the strings over the soundhole, allowing him to double up the notes of a bass-line in time with the kick later on. He creates a snare sound by flicking the guitar top just below the soundhole.
FIGURE 3 – ADDING TOMS Kick
Mid-Tom
Snare
High-Tom
Taking the idea of mimicking a drum kit a step further, Jon creates tom-tom sounds by using his thumb to knock the guitar’s top above the strings. He creates higher and lower pitch sounds – emulating larger and smaller tom-toms – by moving between the neck joint area and the bridge.
FIGURE 4 – ADDING HI-HATS q =115
To imply hi-hats, Jon flutters his fretting fingers on and off the strings, causing them to gently slap against the fretboard. These strikes fall between all the others, so when you practise, bear in mind that you should not be hitting anything else at the same time.
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ACOUSTIC MAGAZINE DECEMBER 2016
FIGURE 5 – ADDING A BASS-LINE
q =125 5
B
B F F B F B
T A B
1.
0 0
0 0
2.
0 0
0 0
0 0
0 0
0 0
0 0
0 0
1
Here, Jon introduces a bass-line to the percussive part. To sound the bass notes, lift the first finger of your fret hand to reveal the open fifth and sixth strings i n between the hi-hats. Th is is extremely difficult to play, so we’d advise practising th e bass-line first, th en introducing the kick/snare groove and finally the hi-hat.
FIGURE 6 – PERCUSSIVE BASS AND SLIDE 5
B
F
5
5
B
D
5
B
5
F
5
E
1. 2. 3.
5
B
5
F
5
B
5
D
5
B
5
w/slide B
T A B
F F B F B
0 0
7 7 7
0 0
3 3 3
0 0
7 7 7
0 0
5 5 5
0 0
7 7 7
0 0
3 3 3
12 12 12
0 0
1
4.
B
T A B
0 0
5
F
5
7 7 7
B
0 0
5
D
3 3 3
5
B
0 0
5
A
5
10 10 10 10 10 10
2
B sus
7 7 7 7 7 0
2
B sus
12 12 12 12 12 0
[12] [12] [12] [12] [12] [0 ]
0 0
3
Finally, Jon adds a Bukka White-sty le Delta blues slide riff. For the most part, the hi-hats are limited to the brief moments when the slide is not involved, the idea being that with so much happening, the lis tener barely notices! Once again, this i s difficult stuff , so add i n the percussive parts one at a time.
DECEMBER 2016 ACOUSTIC M AGAZINE
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ACOUSTIC MAGAZINE DECEMBER 2016
£3660 LOWDEN JON GOMM SIGNATURE SERIESREVIEW
LOWDEN
JON GOMM SIGNATURE The great Jon Gomm lends us his futuristic signature Lowden. Get those percussive punches ready... WORDS:JOEL MCIVER
F
ortune favours the brave, they
Pull the JG Signature out of its Hiscox
say: take a look at the career of
Pro 2 case (included in the RRP, thankfully)
acoustic maestro Jon Gomm for a
and ponder this cunning technology. At
perfect example.
first, the top looks familiar. Sitka spruce
If you or I were lucky enough either
is the outer layer of wood, placed there so
to a) own a Lowden 032C or b) endorse a
that you can tap, slap and generally abuse
Takamine, as Gomm has done, we would
it Gomm-style at your leisure without it
probably handle said instrument with
imploding, while the cedar layer is situated
kid gloves, panicking every time a speck
underneath to contribute to the tone. The
of dust landed on our beloved guitar and
sheer size of the guitar is impressive, with
swooning if we broke a string.
a five-inch body depth and a whole lot of
Not our man Gomm. Wielding his fists
wood to embrace as a result, even with the
merrily, he smacks the tar out of his guitars
single cutaway.
as part of his enthusiastically percussive
Normally we don’t waste time in these
approach to the music, effectively
reviews with personal opinions about
knackering them to the point where his
the aesthetic of a given guitar, so forgive
Lowden eventually needed a whole new
this quick indulgence: this is a beautiful
fingerboard and the Takamine suffered a cracked body. And who’s the acoustic
instrument by anyone’s standards, thanks to the soft colour of the black cherry
superstar, us or him? Exactly... like we said,
sides and back and the contrast with the
fortune favours the brave.
ebony fretboard – the latter a feature of
A couple of years ago, Gomm teamed up
increasing importance, it feels to me, in
with Lowden for a signature model, with
acoustic guitar world. (On a related note,
the Downpatrick luthiers now producing a jumbo ‘O’ size guitar with a single cutaway, black cherry back and sides, maple fivepiece neck, ebony fingerboard and a secret weapon – a top made out of a spruce and cedar combination. It’s a clever innovation, which contributes heavily to the guitar’s eye-watering £3660 pricetag, so let’s examine the thinking behind it. The hybrid top, as it is known, is Gomm’s brainchild and is designed to do two things. One, not break into about 500 pieces when he hits it. Two, infuse the sound of spruce with the tone of cedar. To these ends, the two sheets of wood are laminated together at an angle, giving the top huge strength because the grains are juxtaposed at an angle – you can read more about this in the interview I did with Jon on page 48. It’s the same, or at least a similar, principle as the one behind the construction of plywood, in which wood grains are offset for durability – except several hundred times more expensive and rather less likely to be made into a bookcase with a Swedish name.
we were impressed with a Richlite board
“ The sheer size of the guitar is impressive, with a five-inch body depth and a whole lot of wood to embrace as a result, even with the cutaway”
we played on a Martin recently, and recommend this synthetic ebony substitute should the real thing not be available.) Starting from the top down, Gotoh tuners do their usual sleek job – an important feature on a guitar whose user regularly tunes the low E string down to A. Lowden offer the option of Keith banjo tuners for the B and top E strings, a superficially curious option – especially given the upcharge of £345 – but one which makes total sense to anyone familiar with Gomm’s playing style, which often involves tuning changes on the fly. The neck feels immensely playable, but judging by the spec, most of the engineering that you’re paying for takes place beneath the bonnet. With its five-piece construction, the maple neck is obviously designed for maximum stability, a fact that you’ll probably fail to consider because it’s only when necks a ren’t stable that you ever think about them. It’s a bi t like the car on your drive – it’s only when the damn thing
DECEMBER 2016 ACOUSTIC M AGAZINE
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REVIEW LOWDEN JON GOMM SIGNATURE SERIES£3660
“You’ll find yourself in awe at the sheer presence of this instrument”
doesn’t start that you ever consider what
£200, you’d be nuts not to spend what
soundhole, we suppose, but come on – if
happens when you turn the key.
is effectively another six per cent of the
you’re buying a guitar of this calibre, let
The Gomm guitar’s scale and nut width are standard at 25.6” and 1.75”, so no
overall cost and make the guitar amplifiable and thus more giggable.
the professionals take care of that stuff, eh? Gomm’s central point when discussing
So let’s dig in. Note that we didn’t ‘go full
this guitar, and thus the core of our review,
surprises there, although there are 21 frets rather than the usual 20, for no reason
Gomm’ and apply too much of a beating to
is that the hybrid top gives you extra tone
that we could divine. One more than the
this guitar: it’s not ours, after all. But we
and volume where you need it. Lowden
average chap, perhaps?
did apply a percussive pattern to the body
even built a spruce-only-topped twin guitar
with thumb and fingertips while jamming
in order to carry out a blind A/B test on
ease, and as our review model doesn’t come
out a blues chord sequence – a few
both models. In the absence of said spruce
with the optional Fishman Rare Earth
moments of fun which served to reinforce
twin, we only have our own ears to go on.
electronics, we don’t have any commentary
the point that without a pickup, we can’t
That said, we agree wholeheartedly that
on the guitar’s plugged-in sound or
loop the pattern and layer ourselves up a
the spruce/cedar combo (which we reckon
performance. Mind you, as the Fishman
full, beats-accompanied song. You could do
should be trademarked as ‘spruder’) gives
unit is available at an upcharge of less than
it via an external mic or install one in the
the player a mighty tone range: strum
The rosewood bridge does its job with
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ACOUSTIC MAGAZINE DECEMBER 2016
REVIEW LOWDEN JON GOMM SIGNATURE SERIES£3660
“Melodies and harmonics spring from the fretboard with amazing clarity” LOWDEN JON GOMM SIGNATURE SERIES NEED TO KNOW Manufacturer:Lowden Model:Jon Gomm Signature RRP: £3660 Body Size:Jumbo O with single cutaway Made In:Northern Ireland Top:Spruce/cedar hybrid Black cherry Back and Sides: Bridge:Rosewood Neck: Maple, five-piece Fingerboard:Ebony Frets:21 Tuners:Gotoh – Keith banjo tuners for B and top E strings available as optional extra (£345) Nut Width:1.75” Scale Length:25.6” Onboard Electrics: None – Fishman Rare Earth available as optional extra (£195) Strings Fitted:Elixir 12s Hiscox Pro 2 hardcase Gig Bag/Case Included: ACOUSTIC TEST RESULTS Pros:Unbeatable tone range, volume, solidity, playability... and bragging rights yourself a big old E or G chord and you’ll Cons:There’s no getting away from that huge RRP:be rewarded not only with tremendous do consider other luthiers around this price point highs and mids but also a remarkable
Overall:A wonderful instrument that it is a bass response. privilege to play. Hats off to GL and JG Keep playing. A few chords down the ACOUSTIC RATING Build Quality: Sound Quality: Overall: CONTACT DETAILS www.lowdenguitars.com
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ACOUSTIC MAGAZINE DECEMBER 2016
cross-reference it against a different, and possibly cheaper, Lowden (or other brand) to clarify this. Look, we obviously love this guitar – but it would be remiss of us if we didn’t point
line, you’ll find yourself in awe at the
out that other guitar makers produce
sheer presence of this instrument. That
very, very desirable instruments for
big body just keeps on giving, if you’ll
the same or less than the £3660 which
forgive the image. Melodies and harmonics
you’ll be forking out for this one. Check
spring from the fretboard with amazing
before you cheque, then – but bear in
clarity. The sustain is wondrous too. How
mind that this instrument’s Terminator-
much of this is down to the two-ply top, as
level body strength should ensure that a
simply opposed to the epic volume, remains
century down the line, your great-great-
to be seen: but we assume that anyone
grandchildren will be playing it. Viewed
prepared to pay the huge cost of this
that way, an outlay of three grand-plus
instrument would also take the trouble to
seems eminently reasonable.
n
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ACOUSTIC MAGAZINE DECEMBER 2016
£5520 COLLINGS OM1-T REVIEW
COLLINGS
OM1-T The OM has been a go-to guitar for fingerstylists and strummers alike for decades. Collings may just have made the ultimate example of its kind WORDS:STEVE BENNETT
T
he theory that one constructive
top – baked, thermally-treated, ‘torrefied’
idea leads to another has always
(chose your own term) – is the colour of pale
been central to the upward-spiral
cut-straw, the whole polished to a high-gloss
principle of the creative process.
but ultra-thin lacquer sheen, and topped off
Collings recently gave it the full “back to the
with a tortoiseshell-style scratch-plate. The
future” treatment when they introduced
voluted headstock is as square as a marine’s
the stripped-down, retro-cool Waterloo
haircut with a ‘none-more-black’ ebony
series and the universal success thereof
overlay and the Collings signature logo inlaid
got boss-man Bill to thinking. Again. His
in gold pearl with nickel Waverly tuners
nervous luthier crew needn’t have f reaked
to complete the classic vibe. The purfling
out this time (and some reputedly did when
and rosette are maple and rosewood, the
the Waterloo concept was first mooted)
backstrip’s walnut and the dot-inlaid
as the next-stage proposal for the Austin
fingerboard and bridge are deepest ebony.
company was, now they’d figured out
The translucent ivoroid bridge and end pins
how to reproduce the ‘budget’ crème de la
have the semi-preciou s look of Baltic amber;
depression-era crème, to go for a full-scale,
small, subtle detailing that’s typical of this
tone-and-touch perfect reincarnation of the high-end, pre-war acoustic legends that,
OM’s ever-so-refined restraint. It feels good, too, partly thanks to a
these days, command hushed-tone sums
comfortable, 14 frets to the body, neck profile
of money in dealerships from Nashville to
that’s like shaking hands with an old friend,
Nagasaki. So far, only one of the resulting
plus a fretboard machine-leve lled then
OM1-Ts has reached these shores and,
hand-finished to a b eautifully glass smooth
naturally, where else would it go?
finish. As far as hitting that “traditional”
The T stands for Traditional, which typifies the wood, the build, the voicing and, above all, the concept. That the whole shebang is ‘typical Collings’ (currently the highest of compliments) is a further underlining of West Coa st guitar-guru Joe Caruso’s observation that Bill C’s genius is in getting hold of something we take for granted and elevating it to the absolute pinnacle of art, craftsmanship and functionality. We’ve probably all played an OM at some point. Few of us will get to p lay one as classy as this latest offering from ‘Deep In The Heart of Texas’ . The accompanying photographs bear witness to the fact that the C ollings OM1-T
“We’ve probably all played an OM at some point. Few of us will get to play one as classy as this”
is the epitome of no frills, understated
sound-target goes, if those holy-grail 30s Martin OMs really have absorbed 30-odd grand’s-worth of magic over the years, Collings has sampled it, distilled it, bottled it and poured it into their own version. The 1-T, even brand-new, sounds played in, lived in and full to bursting with whatever kind of music you might care to pull out of it. If NASA wanted to send the ‘ultimate OM’ into space, this would be a contender for the journey. It delivers everything the model stands for, and then some: shimmering sustain, piano-like clarity right across the register and precise, clean note separation. While there’s volume a-plenty – with the mids especially meaty – it’s perfectly balanced. A strummed standard D shape at
elegance and as such doesn’t need
incorporate impeccable taste and fabulous
the 14th fret hangs in the air almost as long
any extended eulogy as to its overall
tone. Still, if there were no beauty in
as its lower octave equivalent.
appearance. There’s nothing to frighten the
simplicity, we wouldn’t have bubbles, pearls
horses here – why challenge an aesthetic
or skyscrapers. Or half of Sweden. So – in
style and substance – and as the acoustic
template that’s as close to perfect a s the
the same spirit of economy – the back and
tone-mantra insists, it’s all in the build. The
acoustic guitar gets? Instead, this par ticular
sides consist of a uniformly chocolate-rich
T series policy of “doing it like they used to,
Model T extends the alphabetical remit to
Honduran mahogany while the Sitka spruce
only better” incorporates some significant
This really is a Rolls Royce of an OM –
DECEMBER 2016 ACOUSTIC M AGAZINE
61
REVIEW COLLINGS OM1-T £5520
“If NASA wanted to send the ‘ultimate OM’ into space, this would be a contender for the journey” COLLINGS OM1-T NEED TO KNOW Manufacturer:Collings Model:OM1-T RRP: £5520 Body Size:OM Made In:America Top: Select Sitka spruce Honduran mahogany Back and Sides: Bridge:Ebony Neck: Honduran mahogany Fingerboard:Ebony Frets:20 Tuners:Nickel Waverly with 16:1 ratio Nut Width:1 3/4” Scale Length:25 1/2” N/A Onboard Electrics: Strings Fitted:D’Addario EJ-16 (.012”-.053”) Collings handmade Gig Bag/Case Included: Traditional hardshell case ACOUSTIC TEST RESULTS Pros: Hard to imagine there’s a better OM on the market Cons: We’d have to make something up Overall:Fulfills the ultimate OM brief as a ‘master of all trades’ ACOUSTIC RATING Build Quality: Sound Quality: Overall: CONTACT DETAILS www.collingsguitars.com Guitar Guitar (www.guitarguitar.com)
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ACOUSTIC MAGAZINE DECEMBER 2016
design thinking. The whole range goes
Finally, because Bill Collings insists that
for animal protein glue throughout and
it’s essential to the completion of his OM1-T
a gossamer-thin nitrocellulose lacquer
vision, a few words about the case. My first
finish that makes for a remarkably
reaction is, “how have they managed to fit
dynamic and responsive instrument. The
an OM in there?” “Pretty damn snugly,” is
scalloped bracing and tone woods have been specifically cut and shaped to the
the answer. Collings is now building (and supplying as standard with the Traditional
optimum weight and thickness needed for
Series) its own custom cases, fashioned a fter
the projection of a warm and immediately
the most attractive and user-friendly features
present voice. Also, the newly modified
of dozens of vintage versions – and very
neck with its (most welcome) rolled
similar in look, size and weight to the srcinal
fingerboard edge, features a slightly more
Martin cases of the 30s and 40s, right down
tapered curve than previous Colli ngs OMs.
to the faux-antique fasteners. It’s a slim,
Said willing, rapid response and balanced
sleek, highly covetable icing on the cake that
tone are further enabled, not only by the
the company has put huge amounts of time
familiar compact body shape, but also a lean
and effort into. To paraphrase Bill Collings,
and comparatively shallow width that’s
you wouldn’t want to keep your brand new
only a fraction over four inches deep.
Ferrari in a beat-up old shed and – to quote
“Collings has raised the OM bar by adding brand new shine to old school quality”
him directly – why “make this beautiful thing
across my repair bench. I wanted to make
strummers the world over. It’s never been
that we put our heart and soul into and then
guitars that were powerful, had more volume,
‘broke’ so it’s never needed fixing. The 1-T
shove it into something that fits maybe 15
and would last for 100 years because they
celebrates and elevates that workhorse’s
other instruments.”
were built right. I made them so that when
classic combination – spruce top, paired
you put in a little, they would give b ack
with mahogany back and sides specifically
extension of the instrument and, while you’d be hard pushed to get a rogue cigarette
more than you put in. They had a fast attack and a sparkle to them. Now, maybe because
designed to accommodate a lighter touch – in a thoroughbred form embodying, to the max,
paper in there, the reduced-padding , body-
I’m older or because I’ve been studying old
the OM’s trademark adaptability to just about
hugging fit is made possible by a precision-
guitars for the Waterloo project, I’m listening
any musical style executed with either fingers
engineered, lightweight exterior that’s as
differently. I’m hearing things that could be
or picks.
strong as it is shapely.
done differently, something a little warmer
Either way, the case here is seen as an
It’s worth quoting Collings himself when
In what is probably the most overcrowded
and rounder. These new guitars have a more
field in the acoustic body-shape universe, Bill
it comes to summarising the overall aesthetic
fundamental sound; they take things in a
Collings has successfully raised the OM bar
and the ongoing search for the perfect tone
different direction than we’ve gone before.”
via the simple strategy of adding b rand new
(unattainable and subjective as that may be):
It’s 80 years now since the orchestra mo del
shine to old school quality. And as with so
“In the early and mid-70s, I was thinking
(OM) body shape first emerged and it’s gone
many fine things, the effort involved in the
about how to make guitars that would hold
on to become the ‘go-to’ workhorse model
process disappears behind the perfection of
up better than most of the ones that came
for finger-style guitarists, flat-pickers and
the product. n
DECEMBER 2016 ACOUSTIC M AGAZINE
63
REVIEW C.F. MARTIN & CO. GPCX1AE£739
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ACOUSTIC MAGAZINE DECEMBER 2016
£739 C.F. MARTIN & CO. GPCX1AEREVIEW
C.F. MARTIN & CO. GPCX1AE Looking for a Martin that won’t break the bank? Joel McIver asks if Martin’s new X Series Grand Performance guitar has, well, the X Factor WORDS:JOEL MCIVER
T
he concepts of ‘cheap’ and ‘Martin’
Move onto the body of the guitar and you’ll
don’t sit well in a single sentence
notice its clean,uncluttered design, although
together – not for this choosy
it’s one that’s alsofamiliar. The tortoiseshell
guitarist anyway. There are far too
scratchplate, the white bridge pins, the
many low- to mid-budget guitars on the planet
tigerstripe rear finish: all these elements are
already, if you ask me, but since Martin has
tried and tested and totally standard toanyone
seen fit to extend its affordable X range, and
who’s been playing the guitar for a year ortwo.
have also been kind enough to send us one for
Pick up and strum unamplified before you
review, the least we can do is run it through its
plug in: the Sitka spruce topgives the zippy,
paces – especially when it’s as easy on the eye
toppy response that you’ve heard from every
as this one.
acoustic guitar ever,modulated by the mids
Straight from the box, the Grand
and bass you’d expect from the laminated
Performance Cutaway (hence the GPC prefix in
mahogany back and sides. If you want to play
the name) looks like abeauty. Two other body
on a strap you’ll need toadd strap buttons, for
shapes are available in the new Xrange, as
the rear of which a hole comes pre-drilled. Good
well as equivalents finished in black for the full Johnny Cash experience, but of them all, thisis
luck attaching the front one. If you pull that off, let us know how the guitar balances whenyou
the most immediately gripping in our unbiased
play it standing: we weren’t about to drill into it
opinion. Perhaps it’s the full dimensions ofthe
and find out.
body, or the cutaway which givesthat instant feeling that yes, son, you can play above the 14th fret... Pick it up and have a closer look from the top down. That iconic headstock and logoare unbeatable in acoustic world, unless perhaps you include a famous luthier beginning with G, and there’s no sign of the machine headsbeing weak or jerky – the very, very first thing any tester looks for on a low-budget (or mid-budget in this case) guitar. The neck looks and feels of very highquality, a laminated rust birch that feels solid but not over-imposing thanks to asympathetic, finger-friendly finish. The fingerboard, and the bridge while we’re at it, is made ofRichlite, a Forest Stewardship Council-certified paper composite that mimics the look and feel of ebony exceptionally well, without contributing to the ongoing environmental apocalypse. If you can feel the difference under your fingers between this stuff and ebony you’re either an experienced wood merchant or akoala. Presumably the tone is micro-acoustically different from a ‘real’ fretboard, but againyour ears will need to be those of aseasoned studio engineer or a bat to pick that up.
“If you can feel the difference under your fingers between Richlite and ebony you’re either an experienced wood merchant or a koala”
The GPCX1AErewards you straight away with a full-frequency response andexcellent sustain. The top end iswhere it excels, with a glassy, cutting treble that will penetrate the most irritatingly chatty audience. The unplugged volume is also impressive: the combination of Martin’s own strings, barre chords and an enthusiastically wielded medium-to-thick plectrum will result inserious decibels for your buck. Plug in and you’re given asatisfying volume boost. The Fishman Sonitoneelectronics don’t come with controls, so the extremes of tone are those you achieve in the old-fashioned way – with your fingers. Put that plectrum down and apply digits tostrings: that warm, Nick Drake-style thrum is available if you pick over the soundhole, especially if you go todrop D or DADGAD (those slick tuners proving their worth again). This guitar has a pretty decent bass response, as it should given its body dimensions, so feel free to investigate drop C and even drop B, why not? Conversely, apply a capo to the third fret or wherever your chosen preference takes you, and that trademark James Taylor-esque zithery squeak is right there, particularly if you pick
DECEMBER 2016 ACOUSTIC M AGAZINE
65
REVIEW C.F. MARTIN & CO. GPCX1AE£739
C.F. MARTIN & CO. GPCX1AE NEED TO KNOW Manufacturer:Martin Model:GPCX1AE RRP: £739 Body Size:Grand Performance Cutaway Made In:Mexico Top: Sitka spruce Mahogany, high pressure Back and Sides: laminated Bridge:Richlite Neck: Rust birch laminate Fingerboard:Richlite Frets:20 Tuners:Martin Nut Width:1.75” Scale Length:25.4” Onboard Electrics:Fishman Sonitone Strings Fitted:Martin Gig Bag/Case Included: No ACOUSTIC TEST RESULTS Pros:A Mexican-made Martin at close-to-USA spec Cons:A little generic: does it stand out? Overall:Affordable for those in need of a Martin; comparable acoustics are available ACOUSTIC RATING Build Quality: Sound Quality: Overall: CONTACT DETAILS www.martinguitar.com
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ACOUSTIC MAGAZINE DECEMBER 2016
back near the bridge. Amids control would have been useful here, had theguitar possessed any tone pots – but you get what you pay for, and in this case you’re not paying much, relatively speaking. The pickup does a solid job of replicating the instrument’s natural tone and we didn’t experience any feedback problems or undue volume spikes, so we’re happy. Determined to unearth any weak spots, we did our best Andy McKee impression (‘our best’ obviously means ‘fairly cack-handed’), tapping and using the body as a percussion instrument, while remaining aware, of course, that we need to send it back to Martin undamaged. The guitar handled this perfectly, giving up aseries of cajón-esque drum sounds that will bejust the thing for the Jon Gomm fans inyour audience. Where the Martin works best, wefound, was in a full band. Assembling the troops for a jam, we felt that itsnaturally rich tones and wide range made it most at homein a folk-rock or blues context, while those in need of a ballad accompaniment are catered for too. Soloing on the higher register beneath thecutaway would have been easier if said cutaway had been a little deeper, but who’s complaining? Keep a fresh set of strings on thisguitar and you’ll cut through in more or less any non-electric environment. While the GPCX1AEwill handle more or less anything that you care to throw at it, it does suffer slightly from the same malaise that all instruments above or below a certain price point have, which is tosay that it’s very much like dozens, perhaps hundreds, of similar guitars. Guitars below £300 can excite you if they’re unexpectedly amazing, for example, while a £2,000 instrument may wow you with its innovation or handmadequality. This one doesn’t fall into those brackets. At this midmarket price point, unpopular as this opinion will undoubtedly be, you couldline up equivalent-spec Taylors or Yamahas next to this Martin and thedifferences wouldn’t be profound. This is not to saythat the GPCX1AE isn’t enjoyable to play – it really is. It’sjust that lots of equally good,equally priced instruments exist which are just as much fun. Still, as guitar players, it’s a nice problem to have – and look, it’s a Martin,for heaven’s sake. In the real world that we inhabit, most of us will never lay our hands onthe company’s true, top-end monsters, available for salefor the cost of a family car or two. By investing in one of Martin’s X Series instruments, you’re getting to play a guitar that has at least someof the features that have made itspricier brethren so beloved, and all of the company’s 180 years of expertise. Investigate this tasty guitar by all means, but be aware that it will be just one of many possible – and deserving – contenders for your cash. n
DECEMBER 2016 ACOUSTIC M AGAZINE
67
REVIEW SNAIL UKULELES SR-05C & SR-05T £259.99 & £269.99
68
ACOUSTIC MAGAZINE DECEMBER 2016
£259.99 & £269.99 SNAIL UKULELES SR-05C & SR-05T REVIEW
SNAIL UKULELES SR-05C & SR-05T A newer ukulele brand to the UK market, but will it have us rushing to the shops or hanging back at a snai l’s pace? WORDS:SAM WISE
H
ave you been in a guitar shop
the difference between these ukes being
recently? I was in one the other
noticed and being missed on a display wall.
week, perusing their ukuleles,
At each end, the bevel meets the edge of the
and I found myself attempting
top in a point, which again looks attractive.
to take in an entire wall of ukes in a glance. So
The soundhole is ringed in abalone, and
many similar sized and shaped instruments
the preponderance of shell, the bevel and
in similar woods can be a little hard to
the richness of the topwood make for a real
navigate, so part of the job of any ukulele
impression of l uxury.
manufacturer is to make their offering stand
A standard rectangular tie-through
out. Snail Ukuleles, a brand which appears
rosewood bridge with a plastic,
to be genuinely Chinese, as opposed to a
uncompensated saddle anchors the Worth
Western brand manufacturing abroad, has
strings. The 18-fret neck looks to be
certainly managed that with the top end ukes.
mahogany, and is topped with a rosewood
Most of their range is at the very competitive
board and a good fret job. At the top, we
£100-150 price point, with mostly laminate
have a plastic nut and an eye catching
construction and the occasional solid cedar top. At the high end – where we are here –
relief carved headstock. This is of the same material as the neck, but the raised
the story is slightly different.
centre section is staine d much darker than
The two ukes up for review have more
the honey-brown of the carved sections
in common than differentiating them; they are concert and tenor versions of the same instrument, identically appointed, so for descriptive purposes we can treat them as one. The top is of solid koa, not the curliest master grade, but beautifully figured nonetheless, and polished just right to bring out the wonderful silking. The back and sides are laminate, veneered in a lower grade but still pleasing koa, reminiscent of good mahogany with more silking, but it’s where the two meet that the real magic happens. Most of the top is bound with particularly glittery abalone (it’s made with tiny pieces, which really sparkle), but the lower bout has a bevelled edge, with about a centimetre and a half of darker coloured wood let into the edge at a 45-degree angle. This is a feature that’s started to gain prevalence on high end guitars, theoretically providing a more comfortable feel for the forearm, but also serving a s a means for the luthier to show o ff their skills, and showcase some con trasting wood. Is such a feature of any practical use on a concert ukulele? Well, it’s arguable, but certainly it looks classy, and might be
and carries a Snail logo in abalone. The
“The finish is a glossy satin, which allows the wonderful topwood to look luxurious yet organic at the same time, and the bevel and carved headstock certainly catch the eye”
tuners are unbranded closed back types in gold; nothing special but they do the job well enough, although they seem to be higher geared than most. The overall look will strike you differently dependi ng on taste, but to us, it lo oks fabulous. The finish is a glossy satin, which allows the wonderful topwood to look luxurious yet organic at the same time, and the bevel and carved headstock certainly catch the eye. The construction is excellent; the design leaves plenty of oppor tunity for untidy workmanship to stand out, but there is no sign of anything untoward. With a n uncompensated bridge, you might expect the intonation to be less than perfect, but in fact both instruments play perfectly in tune all the way up the fingerb oard. You can certainly take these ukes out to play, confident that they will be both eyecatching and acquit themselves well musically. Let’s tackle the question of the bevel first; does it really make any difference? I am a large man at 6’3”, and reaching around an ukulele is not a problem for me in the way that Björk might struggle to reach around
DECEMBER 2016 ACOUSTIC M AGAZINE
69
REVIEW SNAIL UKULELES SR-05C & SR-05T £259.99 & £269.99 a super jumbo, but I actually did find this made a difference. In hours of practice on a conventional tenor, I’ve never really noted any forearm discomfort, but when A/Bing my usual instrument against the Snail and paying attention to how it felt under my forearm, I found it noticeably more comfortable. Score one for what turns out to be a genuinely practical feature. Tonally, you would expect koa to be bright, sweet and open – and less punchy and more airy than mahogany – and the tone h ere does answer that description. The tenor in particular lends itself to fingerstyle, with good note separation, ringing sustain and a pretty brightness to the tone that makes it a pleasure to listen to. It’s not the loudest of ukuleles; far from muted, but without as much projection as some tenors, yet around the kitchen table it’s amply loud. As part of a large ensemble, it will blend nicely, but will need to be well miked for live performance, unless you choose to fit a pickup. The concert isn’t quite as free breathing when played fingerstyle, which is probably a result of the lower string tension – the bodies being very close to the same size. Dig in a
SNAIL UKULELES SR-05C NEED TO KNOW Manufacturer:Snail Ukuleles Model:SR-05C Retail Price:£259.99 Body Size:Concert Made In:China Top: Solid koa Back & Sides:Laminate koa Neck: Mahogany Fingerboard:Rosewood Frets:18 ACOUSTIC TEST RESULTS Pros:Stunning unique looks; bright, punchy tone Cons:Could be louder. A pickup would be nice Overall:A looker and a winner ACOUSTIC RATING Build Quality: Sound Quality: Overall: CONTACT DETAILS www.redchilliaudio.com
70
ACOUSTIC MAGAZINE DECEMBER 2016
little and strum, however, and it has more punch and a little more thickness to the tone than the tenor. The terms we use to descri be guitar tone don’t really work for ukes; there’s no bass, and barely anything that can be described as mid, but what we’re noting here is a touch less brightness and more harmonic complexity perhaps in the middle of the ukuele’s range. These are fine differentiations however, and if you have a preference for the tenor or concert scale lengths, it’s unlikely that the tones here will persuade you to go the other way. It’s a s hame that neither uke is available with a pickup, but as acoustic ukes they’re very good. These are really nice ukes. Tonally they’re up there with the competition, construction wise they are hard to critici se, and they are visually stunning. If you play with your eyes shut, and don’t care what anyone else thinks of your uke, they probably aren’t category killers on tone alone, but if you want an instrument that calls to you from the stand, these will not only do the job, but will sing beautifully for you once you grab them.
n
SNAIL UKULELES SR-05T NEED TO KNOW Manufacturer:Snail Ukuleles Model:SR-05T Retail Price:£269.99 Body Size:Tenor Made In:China Top:Solid koa Back & Sides:Laminate koa Neck: Mahogany Fingerboard:Rosewood Frets:18 ACOUSTIC TEST RESULTS Pros:The same great looks and an airier tone Cons:Could also do with a pickup Overall:A thing of beauty that really stands out ACOUSTIC RATING Build Quality: Sound Quality: Overall: CONTACT DETAILS www.redchilliaudio.com
DECEMBER 2016 ACOUSTIC M AGAZINE
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FEATURE THE HOLY GRAIL GUITAR SHOW 2016
© Heiko Ruth
T
he Holy Grail Guitar Show is unlike any other guitar-related exhibition or show currently in existence. Now in its third year,
the two-day event is organised by the European Guitar Builders (EGB), an alliance formed by professional, independent European luthiers. The EGB is in existence to promote luthier-built instruments, which include acoustic, electric and bass guitars, among the guitar playing public.
HOLY
a good one, drawn from our combined
GRAIL
to their principles in promoting only single
experience of hundreds of all kinds of guitar shows. But being luthiers and not professional event managers, we had no idea if we could actually pull it off.” As evidence of the EGB’s desire to stick and small-shop lutherie, they have turned away exhibiting income from the ‘big guns’. There’s no Mar tin or Taylor here. No Yamaha. No Gibson. Though, it has to be
As such, the concept for their proprietary
said, the influences of the aforementioned
show is quite different. Yes, of course,
designs can be seen everywhere. Every
it’s a guitar show designed to bring ultra high-end product to a wider audience, but the event is much more than a static show. The EGB seeks to preserve and carry forward the art of guitar-building and has fostered a genuine sense of community among luthiers. One EGB board member told Acoustic : “Holy Grail is not really a commercial show. It’s a community show.
2 0 16
Acoustic packs its bags and heads off to Berlin for the annual drool-fest that is the Holy Grail Guitar Show
exhibitor gets the same amount of space (a single table that can display up to four instruments) and the list of those permitted to exhibit is strictly monitored. The organisers have determined what they feel the optimum size of the show should be. The event will therefore not grow in size year on year – although the current venue is capable of accommodating growth. New
It’s put together by luthiers, for the benefit
“When we started to plan for the first
luthiers wishing to exhibit are placed on
of luthiers and to create a great experience
Holy Grail we did not know how it would
a waiting list and the organisers operate
for show visitors without the ulterior
turn out,” recalls EGB president Michael
a rotation system; switching out existing
motive of making profit.”
Spalt. “We had faith that our concept was
exhibitors in favour of those waiting. One
72
ACOUSTIC MAGAZINE DECEMBER 2016
THE HOLY GRAIL GUITAR SHOW 2016FEATURE
© Carolyn Amanda
© Heiko Ruth
©Dazmatography
© Heiko Ruth
exhibitor told us that: “Having exhibited at
brainchild of the UK’s own Adrian
renaissance where everything was made
the first three shows, it’ll be my turn to sit
Lucas who serves on the board of the
from local woods.”
out next time and create space for someone
EGB and the six-man show team, whose
who was able to exhibit at this year’s show.”
responsibility it is to actually put the show
our eye included an exquisite Lowden,
This, as much as anything else, makes
on. “It’s completely optional – there’s no
hand-made by Mr Lowden himself
the Holy Grail unique. The rotation of
necessity to take par t,” Lucas told us, “but
specifically for the show, featuring genuine
exhibitors means that visitors can expect
luthiers could interpret the theme of using
Brazilian rosewood. The guitar had all the
something new at each show.
local woods as they choose. A total of 27
required CITES paperwork and was a rare
exhibitors took up the challenge. Some of
opportunity to see and, for one visitor, the
visitors from around the world, including
them were long-term users of local woods.
chance to own. We were also taken with
many known to regular readers of this
For others it was a completely new way of
Alister Atkin’s take on a pre-war Martin
magazine. Jason Kostal, Alister Atkin,
looking at tonewoods and what alternatives
Dreadnought. Flawlessly finished and with
Andy Manson, Gary Southwell, George
they could use. It really gave them
a tone to die for, it was rightly popular and
Lowden, Andreas Cuntz and Stefan Hahl were among those displaying some of
permission, or an excuse, to use woods that they traditionally felt weren’t guitar wood.
always seemed to be in someone’s hands. While at the show, Acoustic spoke to
the finest and most forward-thinking
But if you can use a local wood, why would
some exhibitors for their take on the
instruments available anywhere in the
you want to transport a different wood
event. Pavel Krajicek of Rozawood Guitars
world today.
halfway around the world?”
commented: “When compared to any other
The Holy Grail attracts exhibitors and
One special aspect of this year’s
All of the resulting guitars were collected
Specific acoustic guitars that caught
type of show in Europe, The Holy Grail is
show was an invitation to exhibitors
together on the Sunday morning to create
completely different – it’s more American
to build a guitar from local wood. At
a special feature. “It wasn’t just about the
in that it’s only for hand-built instruments.
a time when commonly used species
luthiers though,” Lucas told us. “It’s a n
People who come to the show know what
are now endangered, the concept was
opportunity to show visitors and players
type of guitars are on display and they are
to push luthiers to look at what can be
to say, ‘Look, this works’. The challenge
not surprised by the price tags. The visitors
accomplished by using locally sourced
was presented as a new way of looking at
come mainly from Germany, as you’d
alternatives. The initiative was the
things but, in reality, it’s a return to the
expect, but they also come from all over the
DECEMBER 2016 ACOUSTIC M AGAZINE
73
FEATURE THE HOLY GRAIL GUITAR SHOW 2016
© Frank Deimel
© Dazmatography
© Lars Mullen
© Frank Deimel
© Carolyn Amanda
© Carolyn Amanda
world. We have sold product here to people
a personal interaction with the luthier or
who have visited from America.”
to have a guitar tailored to a specific need.
Grail Show, we’re left with the feeling
Having spent two days at the Holy
Arizona-based Jason Kostal told us:
The boutique market stands for those that
that – and bear with us here – the
“The experience here is incredible. This
have played guitar for a while and figured
event can be likened to Formula 1. The
is my 21st guitar show as an exhibitor
out what they like and don’t like about
continual advancements and technical
and this is by far the best show I have
instruments they’ve played. They can then
innovations made by F1, be it in the
ever been at. The show is important for
speak to one person, give them that list and
field of aerodynamics, fuel efficiency,
me because it allows me to interact with
tell them to create ‘their’ guitar for them.
or maximising power output, eventually
future clients. For most boutique luthiers, there’s never really going to be any guitars
It’s about having a personal relationship with the luthier while they build you a
trickle down to everyday cars, which is why fuel injection systems, disc brakes
hanging in a guitar store for someone to
guitar – it’s a relationship that lasts not just
and adaptive suspension are all so common
play – as soon as the guitars are finished
through the creation of the guitar, but long
place today. In a s imilar way, events
they’re shipped to a buyer. The Holy Grail
after that. Often, that’s more important to
like Holy Grail push the boundaries of
is a great opportunity for people to fly
the client th an the instrument itself.”
guitar-making, both in terms of form and
from wherever they are in the world and
Famed UK luthier, George Lowden, said,
construction, and the innovations often
play some top-notch guitars. I’ve spoken
“This is the first time I’ve exhibited here
find their way into more affordable, mass-
to visitors from as far as Japan, America
and it’s fantastic to see the art of lutherie
produced product. As such, the Holy Grail
and Canada who have come specifically
so alive and well. As I walk round the show,
is not just a keep-your-credit-card-safe
for the show. For about 98 per ce nt of
I see lots of acoustic guitar makers who
drool-fest, it’s a crucial part of the art form
guitar players out there, the factory-made
are trying something different and, to me,
we love. The next Holy Grail show will be
guitars are great. They are not looking for
that’s really important.”
in the spring of 2018.
74
ACOUSTIC MAGAZINE DECEMBER 2016
n
THINKING INSIDE
THE BOX UK luthier Nick Benjamin tackles the thorny issue of whether one tonewood is inherently ‘better’ than another WORDS & IMAGES:NICK BENJAMIN
I
have talked with many people who, before describing their long-time favourite guitar,
As buyers looking for a new guitar, we want the guitar to sound good and we want it to stay
have apologised for the ‘quality’ of the
sounding good. We may even have expectations basis if my some of my customers are to be
forces from the strings and that will be handled all the time (and even bashed about on a regular
woods used in its construction, before
of the sound improving with time. We also want held to account), it is important to us that we
ending their description with something like, “I
the guitar to play in tune and have a comfortable can rely on the materials we use. They will be,
don’t know why, but Ijust like it...”
action, and we don’t want this to change over
So, are these people missing out on something time too much or from day to day so we are
ideally, predictable in manufacture, usage and supply, and each piece of wood needs to be
by not having exotic or AAAAA grade woods or never sure if we can rely on the guitar. We may reasonably similar to the next so we don’t need even by having a guitar with perhaps laminated not be expecting the guitar to last for hundreds woods rather than solid? Do they just need to
to redesign and adjust all the time. It is this need
of years like a violin, but we will be disappointed for predictability that has led to certain timbers
‘see the light’ – or hear it? Well, as a purveyor of if it becomes unusable too quickly or needs
becoming ‘industry standards’. When guitar
handmade guitars constructed from the finest
manufacture began to increase dramatically as
constant adjustment to be playable, however
materials I can find, you might be surprised that good it sounds initially.
the instrument’s popularity surged, there was
I’m going to say that it really doesn’t matter what
a reasonably steady and large supply of woods
As a builder or manufacturer of guitars we
woods are used. If a guitar sounds ‘right’ to you
also want the same things as the buyer (or one
when you play it; if it gets you the sound you
would hope so) – we want the buyer to be happy included: Brazilian rosewood, mahogany from
are looking for, the sound in your head or a new with the guitar and we don’t want endless
that worked predictably and sounded fine, which Central and South America, various species of
sound to inspire you, then what else do you need warranty issues. Of course, how much the guitar spruce from Europe and North America and it to do and who cares what it’s made from? Musical sound is pure personal taste, so
is going to be sold for will impact choices made by the manufacturer but good design can often
various species of ebony from India and Africa. Even in the short term, Brazilian rosewood
one wood sounding ‘better’ than another is an
compensate for lower cost materials. Cheaper
was quickly replaced with Indian, and now we
opinion rather than fact – what’s true for the
guitars seem to improve in build quality every
reach a point where there is a fast turnover of
person saying it doesn’t have to be true for you.
year, thereby making them ‘good value’ rather
new species being used for a while and then
Trust your own ears.
than ‘cheap’ these days. Of course, labour costs in diminishing and being replaced. So where
But we do need the guitar to do some other things apart from sounding right to us, so
different countries mean that many lower cost
next? Manmade materials, proper long term
guitars built in large quantities currently feature management of the potentially renewable
perhaps we should look at why particular woods surprisingly exotic timbers considering the
resource of wood, redesign (if necessary) of
have been commonly used and the challenges
overall cost of the guitars – possibly a worrying
instruments to suit different wood species that
we now face in finding alternatives for the fast
trend depending on one’s outlook.
are plentiful? Probably all these things and more,
dwindling ‘traditional’ choices. I’ll do this over the next three months’ columns.
As builders of complex, lightweight wooden
structures that will be subject to quite large
and they’re all starting to happen now! I’ll explain more next month…n
DECEMBER 2016 ACOUSTIC M AGAZINE
75
new music retune your ears
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december 2016acoustic magazine
77
CAROL FIELDHOUSE
SESSION AMERICANA
KATE RUSBY
LINEN
GREAT SHAKES
LIFE IN A PAPER BOAT
WWW.CAROLFIELDHOUSEMUSIC.COM
WWW.SESSIONAMERICANA.COM
WWW.KATERUSBY.COM
To include ‘Lucy In The Sky With Diamonds’ on your debut
It’s hardly in Pink Floyd’s inflatable pig stakes, but anyone
You’ll need to listen carefully, but sure enough you’ll hear
album is a risky move: we all know the song so well, and
who employs a collapsible bar table wired with microphones a Moog synthesiser in the ambient cloud ofthe Barnsley
there’s always a perverse joy in hearing how anyone hits
as part of their stage rig is certainly worthy of attention.
those ‘oh so high’ notes. So all credit to Fieldhouse that, with Far from being the bunch of old timey musos that their
Nightingale’s 14th album. But anyone who fears for the health of Ms Rusby’s folk musicbedrock needn’t worry. The haunting
merely Jim Watson’s piano for accompaniment, she pulls it off. name suggests, this six-piece Boston band trawl a no-holds title track is a song inspired by the plight of refugees, one of six It’s a highlight of an album of self-penned songs produced barred trick bag of influences. With Jim Fittings’ reedy
srcinal songs on offer, alongside traditional epicsapparently
by Boo Hewerdine, which drifts gently from one song to the harmonica well to the fore, and Jefferson Hamer’s croaking plundered from Kate’s stash of old ballad books. With some next. At times the pervading sense of ennui does become
vocals, ‘Big Mill In Bogalusa’ is a creepy, Tom Waits-style
talented guests on hand, including Michael McGoldrick and
claustrophobic, but thankfully the tempo heats up for the
epic, while the soaring harmonies and steel guitar of ‘One
Ron Block, it’s an album that never pauses for breath. Producer
throbbing folk epic ‘Billy Marshall’ and ‘Residue’, a rather Skinner’ bring early Eagles to mind. This is an album that
Damien O’Kane creates soundscapes that look forward as much
beautiful song of loss, with Boo pulling out some jazzy runs boasts some seriously fine music and leaves you wondering as they look back, at all times complementing the fragile beauty over Carol’s poetic lines. JP
what the heck’s going to happen next. JP
of Kate’s vocals. JP
THE O’S
GILLIAN WELCH
COLIN JAMES
HONEYCOMB WWW.WEARETHEOS.COM
BOOTS NO. 1 REVIVAL BOOTLEG THE OFFICIAL
WWW.COLINJAMES.COM
BLUE HIGHWAYS
‘Just because there’s a banjo and an acoustic, doesn’t mean weWWW.GILLIANWELCH.COM
In a career that has seen him working alongside everyone from
have to sit on stools and look all glum; we’re just trying to kick It’s been 20 years since Gillian Welch’s album ‘Revival’,
the Chieftains to Mavis Staples, Canadian guitarist Colin James
some ass!’ say the O’s. Well, honesty’s a great thing, and withintroduced her and David Rawlings distinctive brand of gothicfreely admits he’s worn many hats. But when itall comes down, the plethora of somnambulant old timey, rootsy duos currentlycountry chic to the world, and thistwo disc set of outtakes, all it’s the blues where he feels most at home. And onthis album, infesting the scene, it’s great to hear a couple of guys like this recorded in delicious analogue, is a fascinating aural diary recorded in just two days, he proves the point.He breathes new pair. Hailing from Dallas,John Pedigo and Taylor Young fashionof those times and is far from being a release just aimed songs like the pounding ‘Halfway Sideways’ and ‘Fourteen
life into old favourites like Tommy Johnson’s ‘Big Road Blues’,
at Gillian Welch completists. It’s great to hear the interplay and Robert Johnson’s ‘Last Fair Deal’. Showing a restraint sadly
Days’, jumping poppy anthems that owemore to Squeeze than between Rawlings’ guitar andWelch’s high and lonesome voicemissing in many of his contemporaries, James has learned his any Texas honky tonk. There’s a hint oflonesome country roads on a song like ‘Red Clay Halo’, or the alternate mix of ‘By The lessons well, and when you hear hissoulful acoustic slide guitar on ‘Reaper’, but not even thisunexpected diversion cannot
Mark’. Congratulations too for producer T Bone Burnett, whoseon Muddy Waters’ ‘Gypsy Woman’ and ‘GoingAway’, you can
deflect from the overriding sense of two guys having aJP ball.
inspired input that helped these guys along theJP road.
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ACOUSTIC MAGAZINE DECEMBER 2016
almost smell the catfish frying. JP
CHRIS WHILE & JULIE MATTHEWS
BILL CARTER INNOCENT VICTIMS & EVIL COMPANIONS
SARAH-JANE MORRIS &
WWW.BILLCARTERANDTHEBLAME.COM
ANTONIO FORCIONE
SHOULDER TO SHOULDER
“Bill who?”, you might ask – but having penned Stevie
COMPARED TO WHAT
WWW.WHILEANDMATTHEWS.CO.UK
Ray Vaughan’s ‘Crossfire’, and songs for heavyweights
WWW.SARAHJANEMORRIS.COM
A new album from the enigmatic While and Matthews is
like the Dixie Chicks, Waylon Jennings andJohnny Depp,
This is one of those albumsthat almost overwhelms the listener
generally a classy event, and Shoulder To Shoulder is no
this Austin tunesmith has some impressive credentials. For his with the force of the virtuosity. Self-penned songs sit alongside
exception. Enlisting the songwriting skills of Charlie Dore,
ninth self-produced album, Carter pulls out cuts likeBughouse ‘ ‘Message In A Bottle’ and ‘Blowing In The Wind’, both so cleverly
there’s no shortage of emotion – andpolitics – on display.
In Pasadena’, a pretty explanatory title ifever there was one, re-imagined you’ll swear you’ve never heard them before.
“Will you stand shoulder to shoulder?” Julie asks onPride’, ‘
and ‘Missing Guru’, a song about a ‘sneaky freaky swami’ with Forcione is a stunning guitarist, his playingfull of unexpected
an anthem calling for LGBT rights, while ‘Are We Human?’ is some honky Farfisa organ, Bill andthe band – which features aharmonics, pull-offs and lightning fast runs, one moment a moving indictment of the UK’s stance on refugees. But it’s couple of émigrés from Dylan’s road outfit – romp through their throwing in jazz chordal flights, the next laying down a greasy not all doom and gloom thanks to the Radio 2-friendly ‘Here Itstuff like they’re mainlining Tabasco sauce. A lot of fun from a bass-line to Stevie Wonder’s ‘Superstition’. There seems to be no Comes Again’ and the cute closer ‘My Salty Dog And Me’, which man, who on this showing, doesn’t take himself too seriously, limit to what he can play, a talent only matched by the stunning rounds off an album that’s as heart warming as itis quirky. JP
but knows how to lay it down. JP
range of Morris’s vocals. JP
THE FURROW
PAUL CAUTHEN
DAN BARNABY
COLLECTIVE
WWW.PAULCAUTHENMUSIC.COM
MY GOSPEL
GODDARD
WILD HOG
Catch a snatch of Paul Cauthen’s deep baritone vocals,
ACOUSTIC LIGHT
WWW.THEFURROWCOLLECTIVE.CO.UK
powering out over the loping country honk of ‘StillDrivin’,
WWW.DBGMUSIC1.BANDCAMP.COM
It can’t be easy for young folk musicians to find new material;complete with a raucous chicken pickin’ guitar solo, andit’s likeInspired by the rigours of his 500 mile trek on the Camino de most of the finest songs have been exhumed manytimes.
hearing Johnny Cash resurrected. Apparently life hasn’t been an Santiago, eight songs by this West Country guitarist celebrate
But when the Furrow Collective turn their attention to ahoary
easy rite of passage for this Texan songwriter , but, as much as what he admits is his creative renaissance. The result is a
standard like ‘Barbara Allen’, the sparseness of the backing, despair haunts the halls of ‘Grand Central Station’, this is nocollection of tracks built around Dan’s quiet acoustic guitar and engenders an almost spooky sense ofsuspense. And it’s the
musical therapy session. ‘I’ll Be The One’ is a joyous, anthemic gentle vocals, which from the suitably celestial opener ‘Sunset’,
quartet’s spatial awareness that informs this album. Attimes workout worthy of Bruce’s back pages and, when hedigs in
lead the listener through a cyclical journey ofbewitchment, until
you begin to wish they’d work up a bit of a sweat. But maybe deep, the sanctified soul of ‘Be There Soon’, withits ethereal
‘Sunrise’ is finally attained. Aslew of thoughtful arrangements
they don’t need to. There’s a simple, gentle beauty to the
gospel chorus, is just a blast.Tremendous music from a man complement rather than overshadow reflections on hisodyssey,
arrangements that merits the listener’s total immersion. JP
who’s weathered the storm – and won. JP
creating a strangely endearing, dreamlikequality. JP
DECEMBER 2016 ACOUSTIC M AGAZINE
79
NEW MUSIC CD REVIEWS
TERRA LIGHTFOOT
KATIE MELUA
DAMIEN DEMPSEY
EVERY TIME MY MIND RUNS WILD
IN WINTER
NO FORCE ON EARTH
WWW.TERRALIGHTFOOT.COM
WWW.KATIEMELUA.COM
WWW.DAMIENDEMPSEY.COM
Whether she’s picking out
We hardly need to be reminded ofwinter’s onset, so, with
When Dempsey sings about ‘the tyrants of this world’, there’s
its crinkly Christmas card cover, it would be easy todismiss
a universality about this Irish songwriter’s work, despite
Melua’s album out of hand. Fortunately the reality is far
the fact that it has been recorded as a commemoration of
different. Recorded in her native Georgia with the heavenly
the Easter Rising of 1916. Politics aside, Dempsey’s put
delicate acoustic arpeggios
or hammering out the power chords that i
ntroduce ‘No
Hurry’, this Canadian songstress is equally at on an acoustic or electric guitar. At first you fooled that her forte is songs that
home could be
verge on snappy
power pop, the kind of bar
band stuff Sheryl Crowe
has long been so good at
knocking out. But it’s on the
yearning soulful restraint of ‘NFB’ and back ‘Emerald Eyes’ that she really
the stripped shines; one of those
chorus that is the Gori Women’s Choir, it’s Katie’s voice andtogether a fascinating collection of songs, all vehicles for rippling acoustic guitar playing that take centre stage. The his wondrous voice. ‘Aunt Jenny’ is a tender and emotive album moves along in dreamlike fashion, andit’s difficult
song, remembering the part played by his great grand aunt
to pick highlights, but JoniMitchell’s ‘River’ is an unusual
in the uprising, ‘Wave Hill Walk Off’ marks the decimation of
and inspired choice of a cover, Katie’s crystal vocals, soaring Absrcinal culture, and ‘The King’s Shilling’ recalls the Irish
albums that continually rewards with surprises, if there
heavenwards echoed by the choir’s sublime harmonies. An
volunteers who fought in world war one, only to be pilloried
was any justice this girl
unusual album for sure but oneof great beauty, and as an
as traitors upon returning home. Not an easy album but the
near you soon. JP
antidote to Slade this year, a pretty fine option. JP
best music often isn’t.JP
CHAIM TANNENBAUM
3HATTRIO
GREENTRAX
WWW.CHAIMTANNENBAUM.COM
CHAIM TANNENBAUM
SOLITAIRE WWW.3HATTRIO.COM
30TH ANNIVERSARY
An unsung hero of the American folk scene, Chaim cut his
Hal Cannon, Greg Istock and Eli Wrankle conjure up some
would be on a television screen
musical teeth in the 70s as part of the Loudon Wainwright/ of the most unexpected and mysterious music to hit in a
THE PROJECT
WWW.GREENTRAX.COM
McGarrigle gang, appearing on 20 albums, but somehow never while. Give or take the occasional electronic ‘intrusion’, the Greentrax has every reason tofeel pleased with what’s its cut his own – until now. And at 68, it’s a pretty impressive debut. guys play acoustic guitar, banjo, violin and double bass,
achieved in 30 years of music.The list of artists they’ve
Vocally it’s easy to detect echoes of heroes like Pete Seeger and and come up with tracks like ‘Mojave’, a glorious piece of
recorded in their lifetime is mindboggling. It’s difficult to pick
Bill Monroe, but that sells him short. Whether bellowing ‘Ain’tmusic No that twists and turns all over the place – one moment out the gems from this two disc set – there’re just too many – More Cane On The Brazos’, dropping into a soft jazz mode fora‘Coal wide open instrumental, the next a strange rant with
but the rich sonorous tones of Dick Gaughan singingThe ‘ Last
Man Blues’ or hollering out the gospel soul of ‘Blessed Are The Hal sounding like he’s a refugee from Giant Sand. There’s
Trip Home’, Eric Bogle’s tongue-in-cheek Christmas nightmare
Poor In Spirit’, his voice is a remarkable instrument. With a great a slightly manic tinge to the proceedings, but I suspect
‘Santa Bloody Claus’ and thefret melting guitar of Tony
bunch of musicians on hand, including Loudon Wainwright who 3Hattrio never meant this to be easy. JP
McManus on ‘Zagreb’, are obvious highlights. A treasure chest
guests on four numbers, this is aJP gem.
JP of outstanding roots music.
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ACOUSTIC MAGAZINE DECEMBER 2016
ACOUSTIC TECHNIQUES LEARN
BECOME A BETTER PLAYER Whether you play guitar, banjo, ukulele or mandolin, this is the plac e to take your playing to the next level
OUR COLUMNISTS
084 THOMAS LEEB PERCUSSIVE VIRTUOSO
www.thomasleeb.com
086 DANIEL HO GRAMMY WINNING UKE PLAYER
www.danielho.com
088 CLIVE CARROLL ACOUSTIC VIRTUOSO
www.clivecarroll.co.uk
090 LEON HUNT UK’S LEADING BANJO EXPERT
www.leonhunt.com
092 CHRIS WOODSINSTRUMENTAL GROOVES
www.chriswoodsgroove.co.uk
094 CHRIS EATON UK SLIDE EXPERT
www.chriseatonguitar.co.uk DECEMBER 2016 ACOUSTIC M AGAZINE
81
LEARN ACOUSTIC TECHNIQUES
THOMAS LEEB FINGERSTYLE VIRTUOSO
‘THE HARD CAN (REMIX)’
APP EXTRA
Four bars that may lead to madness or glory according to fretboard wizard Thomas TECHNIQUES SKILL LEVEL:ADVANCED
wrote the srcinal ‘The Hard Can’ back
I
We’re only looking at four bars this month,
processing, so take one bite-sized piece
in 1999, and Eric Roche gave it the
but rest assured, they sound great if you loop
at a time rather than risking overload
nickname ‘The Difficult Container’. At
them, pack a punch and should be a challenge
and frustration.
some point I grew tired of it, reworked
for even the most hardened veterans.
it and ended up giving it a slightly different
To start out with, please bear in mind
If it’s only a few movements you are having trouble with, figure out where your hands
rhythmic spin, hence the ‘remix’ tag. It's this
that learning the co-ordination of new body
come from and where they are going next.
version we’ll look at here.
movements always takes a lot of cranial
Then go through the motion slowly and
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ACOUSTIC MAGAZINE DECEMBER 2016
“Learning co-ordination of new body movements takes a lot of cranial processing, so take one bitesized piece at a time”
repeatedly, making your gestures as efficient
making it exponentially more difficult. The left
improves positioning and accuracy. Slowly
as possible.
hand groove here is more than a little inspired
loop these exercises over and over and you
by a samba/bossa groove, so please make sure
will see improvement very soon. If you can’t
bars before you even attempt to progress to the second pair: the rhythm of the second two
you are solid there before progressing. Adding the right-hand hammer-ons shouldn’t be too
do the full loop just cut it in half or repeat a few notes.
bars is exactly the same a s the first two, but
bad once you have this down. Use your thumb
the left hand chords change all over the place,
behind the neck as an anchor. This usually
Make sure you nail looping the first two
You can find the audio for this track at https://youtu.be/CfxStgoIAqk (from 1:12). n
DECEMBER 2016 ACOUSTIC M AGAZINE
93
LEARN ACOUSTIC TECHNIQUES
DANIEL HO GRAMMY WINNING UKULELE AND SLACKKEY GUITAR PLAYER
‘PAVANA’
Adding ukulele parts to classical guitar compositions? No problem for Daniel Ho. He shows us how… TECHNIQUES SKILL LEVEL:I NTERMEDIATE
E
verything in life is an audition. These day for two months with the hopes of playing
are no ukulele parts. Before we could record a
are words I live by both professionally it flawlessly on that fateful day. Fortunately,
note, my first order of business (and my next
and personally, and the advice I offer
Pepe Sr was pleased with my efforts, and the
audition), was to compose ukulele parts to these
young musicians contemplating a
recording we made that afternoon was released classical pieces. I needed to create something
career in this unpredictable profession. Quite
on iTunes. In the following months, we talked
simply, everything we do takes our career in one about doing an album of classical guitar and
in the style of the period, with utmost respect to the composer’s musical intent. To do this,
direction or another. Often the effects are more ukulele duets. I set to work on it, and two years I adhered strictly to classical compositional profound than we were aware of at a particular later, our albumAloha España was released.
techniques to develop themes found in the
moment. Such was the case when Pepe Romero
srcinal pieces. As my composition teacher
The classical guitar and ukulele duets on
Jr arranged for me to meet and play a classical
Aloha Españaconsist of recognised solo classical
in high school once exclaimed: “Don’t write
guitar duet of ‘Romance’ with his father on 18
guitar repertoire – ‘Recuerdos de la Alhambra’,
anything unless you can explain it to me!”
December 2013. I practised that piece every
‘Leyenda’,‘Canarios’, ‘Pavana’ –for which there
Let’s take a look at how the ukulele part for ‘Pavana’ by Gaspar Sanz was created. In measure one, the ukulele part (highlighted in blue) imitates the first three notes of the guitar melody verbatim, but it starts two beats later. Then it goes down to the B natural note on the downbeat of measure two to define the G chord. I chose these notes and delayed them two beats later, because in this position, they also harmonise the guitar melody in thirds. The ukulele part at the end of measure two (highlighted in yellow) is the same melody the guitar plays at the end of measure three. The ukulele part uses this melodic fragment to launch into a full statement of the main theme (measures three and four) played by the guitar in measures one and two. The restatement of the main theme in measure three is also moving in a beautiful contrary motion to the guitar melody. The first two beats of measure five in the ukulele part (highlighted in pink) is an imitation of beats three and four of measure four in the guitar part. The ukulele part then does a diatonic transposition of this theme up a third in beats three and four of measure five (highlighted
© Richard Ecclestone
92
ACOUSTIC MAGAZINE SEPTEMBER 2015
in purple). This diatonic transposition also
‘PAVANA’ – GASPAR SANZ (ARR. FOR UKE BY DANIEL HO)
harmonises the guitar melody in thirds. Beats
are a diatonic transposition (down a third) and
three and four of measure six in the ukulele
rhythmic augmentation of the guitar melody in see if you can identify the srcins of the notes
part (highlighted in green) is a repetition of the
beats three and four of measure two.
previous three notes played by the ukulele. A
As you can see, every note chosen found
Take a look at measures nine through 16 and chosen and how they support the guitar melody with harmony and counterpoint.n
time, or rhythmic, augmentation was applied
its srcin in the themes of Gaspar Sanz. They
to the first of the three notes, Eb, to give it a
also serve multiple functions in the way they
The complete sheet music (written in
different musical phrasing. This new phrase
are used. Piecing a three-dimensional puzzle
tablature and notation) is available at
was repeated in beats three and four of measure like this together takes time and patience as
www.DanielHo.com, along
seven, and this restatement also utilises an intervallic augmentation. Additionally, the
the opportunities reveal themselves through thoughtful experimentation. A well-written
with the classical guitar and uke duets album,
emphasised notes on the downbeats of these
obbligatoshould sound like a beautiful melody
Aloha España(also available
two phrases highlighted in green (Eb, D, C, Bb)
even when played without the srcinal piece.
on iTunes).
SEPTEMBER 2015 ACOUSTIC M AGAZINE
93
LEARN ACOUSTIC TECHNIQUES
CLIVE CARROLL ACOUSTIC VIRTUOSO
‘THE RUDE REEL’
FULL TAB ONLINE
Clive walks us through aDADGAD tune that features a 2/2 itme signature TECHNIQUES SKILL LEVEL:MODERATE
94
ACOUSTIC MAGAZINE SEPTEMBER 2015
he Rude Reel’ first appeared as
‘T
‘The Rude Reel’ is in G Dorian mode (G A
Slides also appear in bars 17, 23 and 26 and
the central tune in a medley on my first album, Sixth
Bb C D E F G). The tuning for this piece is DADGAD and next to this indication in the
they are played as quickly as possible without feeling rushed. In contrast, the triplets found
Sense . The music was given its
score there is a rhythmic marking showing
throughout the piece contain pull-offs and
title because of the irregular, interrupting
that each pair of quavers is played wi th a
hammer-ons, and they should be played
phrase lengths. If section A was mapped out
swing feel.
rhythmically in time. Much of the melody in
in 4/4 or 2/2 time, it would last eight bars
Section A opens with two Gs. Finger four
section B is played on the upper two strings
like any Celtic dance tune, but this score
of the fretting hand is used for the lower
and is articulated with more hammer-ons
includes time signature changes to clarify
one and finger one takes care of the upper
and pull-offs. Once again, ensure that each
the downbeat stresses on the first beat of
fretted notes until the final C in bar one,
pair is played in time rhythmically and that
each measure. Section B, star ting at bar 11,
where finger two is used. The picking-hand
the arrival notes are the same volume as the
is in straight 2/2 time for the most part,
fingerings have been added to the score for
preceding plucked note. Achieving this on
with the exception of extended phrases in
the first two bars. Notice in particular the use
the thinner upper strings requires quite a bit
bars 14 and 23.
of the thumb on string four. This is marked
of slow, meticulous practice.
Why 2/2 and not 4/4? Both can suggest
in the score with a ‘p’ ( pulgar in Spanish) and
I have made a recording for you to
four crotchets to the bar. However, the 2/2
by using this fingering it will help to solidify
accompany this article and it can be heard
time signature indicates more clearly that
the rhythmic foundation of the piece.
at: http://www.clivecarroll.co.uk/acoustic-
there are two minims, or half notes, to a
Section A ends with a pair of staggered Gs.
magazine.html
bar. Counting the four beats in 4/4 time at
The lower one in bar 10 is preceded with a
‘reel’ speed would sound more like a quickmarch, whereas counting the same numb er
slide and is fretted with finger four. As with the upper G, this note is then sustained over
because it is in the key of G, ‘The Rude Reel’ could make for a useful number within the
I hope you enjoy learning this tune and,
of beats as ‘1 & 2 &’ in 2/2 communicates a
to the first quaver-beat of bar one when
predominant keys of D and A when playing
clearer image of the overall feel.
repeating the whole section.
in DADGAD. n
SEPTEMBER 2015 ACOUSTIC M AGAZINE
95
LEARN ACOUSTIC TECHNIQUES
LEON HUNT UK BANJO EXPERT
‘DEAR OLD DIXIE’ Leon gets our heads spinning with the ‘circle of 5ths’ and a look at Scruggs’ ‘Dear Old Dixie’ TECHNIQUES SKILL LEVEL:INTERMEDIATE or this month’s column we’re going
F
thing altogether. Conveniently, most chord
depending on how you look at it, music will
to have a look at a couple of things.
sequences adhere, at least to a certain extent,
never be 100 per cent predictable. There
Rather than bang on about ‘killing
to a set of fairly predictable conventions. Being
will be occasional instances that’ll ‘break’
two birds with one stone’, I’ll come
familiar with the style of music in question
this function of the circle of 5ths. That said,
right out and admit that the link between
is probably the best and most important part
it certainly works well enough for it to play
these two subjects is a bit tenuous.
of forecasting how a sequence is going to
a useful part in your ‘first line of enquiry’.
progress, but the circle of 5ths can offer some
Hopefully, it’ll also be the start of a beautiful
of the bluegrass banjo sound. We’re going
excellent help here too, as a kind of musical
relationship with this amazingly useful
to look at the ‘why and how’, using a well-
probability chart.
musical tool.
Ringing open strings provide a crucial part
known chord sequence as the vehicle for our
The 12 bar blues is arguably the most
exploration. The chord sequence in question
predictable and well-known sequence in
will be that of Scruggs’ classic, ‘Dear Old Dixie’.
popular western music. Pick any key and
When I began thinking about this column,
find it on the circle of 5ths. You’ll notice your
and looking at the aforementioned ‘Dear Old
chosen key is flanked by its two closest allies.
Dixie’ chord sequence, I was reminded of a
As a banjo player you may well have chosen
practical and useful way of looking at the
the key of G. Immediately to its left is C and to
circle of 5ths that someone showed me many years ago.
its right is D. These form ‘the usual suspects’ to what has often been described as a standard
For those of us that came to music through one of the less academic routes, there’s a good
C
F B
Dm
Am
D
Em Bm
Gm
E
G
Fm
Cm
A
‘three chord trick’. If you’re in a jam (literally or metaphorically)
Fm
A
C m
E
chance that the circle of 5ths poses something
and have the usual three chords placed,
of a mystery. When I was starting out with the
but are still looking for one or more elusive
banjo, it seemed to feature in just about every
chords, there’s every chance you’ll find them
instructional book I opened. To me it always
by extending further around the circle, either
looked more like Egyptian hieroglyphics
clockwise or counter-clockwise. At this stage
or some lost ancient form of Sanskrit than
you have to ask yourself a question: does the
anything to do with music. More importantly,
music you’re trying to play along with have
Right, back to the chord sequence that got
it seemed to have no real justification, or real-
a jolly, major sound to it, or is it slightly more
us onto this subject in the first place, ‘Dear Old
world application. For that reason, I made very
bluesy or minor sounding? For the happy,
Dixie’. Being quite a jolly, major sounding tune,
little effort to understand why it was there
major sounding stuff, move around the circle
but slightly more adventurous than a standard
and what could be done with it.
clockwise. For darker sounding music go
three-chord sequence, ‘Dear Old Dixie’ moves
counter-clockwise. The closer the chord to
clockwise all the way around to B on the circle,
jam sessions, attempting to join in with lots of
your ‘key note’ the more probable will be
and uses all the chords on the way.
music I’d never heard before. Clearly, at this
its inclusion.
stage I needed to quickly learn some chords, but then what? It’s all very well having all
As a slight disclaimer; this is a somewhat simplistic way of looking at all this. I
on the use of open strings. Not only do open strings generally ring more clearly, and for
these chords at your disposal, but predicting
acknowledge that this application is in no
longer than fretted ones, they also make for a
which ones are coming next is another
way foolproof. Unfortunately or fortunately,
less busy left hand. This provides much-needed
I eventually found myself flailing around in
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ACOUSTIC MAGAZINE SEPTEMBER 2015
B m
D
D m
F
G m
B
The bluegrass banjo sound relies heavily
“The bluegrass banjo sound relies heavily on the use of open strings. Not only do open strings generally ring more clearly, and for longer than fretted ones, they also make for a less busy left hand”
‘DEAR OLD DIXIE’ – KEY OF G breathing space between fretted notes, allowing your fingers to effortlessly get from one part of the fingerboard to another. Removing workload from the left hand willalways promote fluidity and speed, both trademark features of this banjo style. Furthermore, the threedifferent unfretted notes in open G tuning (G, D and B) will often provide interesting and easily attainable extensions to what might otherwise be a fairly dull chord. ‘Dear Old Dixie’starts out with four bars of G, so strictly speaking, you really don’t need to do anything more than play astrong right hand roll here. In this tablature I just added acouple of ornaments such as a‘pinch’ on the first and third strings and a nice long slide on the fourth string. The first change is to a C chord. As well as playing what’s been tabbed here, you could also include an open first string (D), as I did later in the arrangement. This D note inthe context of a C chord gives a nice, almost ethereal sounding major 9th effect. That same open first string used within the E chord turns it intoan E7 chord. When you arrive at the A in bar 13, you have a couple of options. In this tab I opted to play an open second string. This gives the same major 9th effect I was talking aboutwith the C chord. I could, however, have chosen the open third string, whichwould have created another 7th chord. I could easily continue rattling on here but I’m sure you get the picture. I’ll leave it to you to try to work out what the open strings mean in the context of various chords. You’ll find a YouTube video of this tab and an ‘up the neck’ arrangement at https://youtu.be/7P_ zyD5zOr8. We’ll probably take a look at that in a future issue.n
SEPTEMBER 2015 ACOUSTIC M AGAZINE
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LEARN ACOUSTIC TECHNIQUES
CHRIS WOODS CONTEMPORARY ACOUSTIC GROOVE PLAYER
FINGER PICKING WORKOUT Five fingerpicking exercises to get your fingers thinking TECHNIQUES SKILL LEVEL:SUITABLE FOR ALL his month, I've created five
T
slightly differently. Even the most simplistic riff
fingerpicking studies for you to wrap
can be a lifetime’s work – obsessing over detail
your picking vocabulary, develop those ‘finger
your fingers around. They steadily
can really take your playing to the next level.
brains’ and of course offer inspiration for your
Each example uses the same three simple
own writing – so please use them however you
couple suitable for beginners. However, each
yet beautiful-sounding chords, so we can really
want. If you’re not feeling the creative juices
one can benefit any player. The great thing
focus on the picking hand. You’ll notice in
flowing and just want to use them as a physical
about finger picking is the variety you can
the first bar of each study there pis, i, m or a,
exercise that’s great too; there’s little better
introduce to each pattern. A true masterwill
alongside the notes: this is the suggested fingers for finger picking than trying short rhythmic
build in complexity, with the first
attempt to add their own emphasis to each note to use on your picking hand. Of course there
These studies are here to help you build
passages to break the cycle of playing those
in infinitely different ways to create unique
are no right or wrong answers when it comes to same rhythms over and over again. See this
patterns. So, when you approach each study,
your picking hand, but these studies have been
once you can ‘play’ it, startpaying attention to
written with my picking system in mind, so give in creativity. Enjoy it and remember, once you
the detail, bringing the volume up in different
my way a go to start with, even if you end up
can play each example, play with the detail and
fingers, or perhaps try and attack the notes
developing your own method later on.
get obsessive!n
EXAMPLE 1
EXAMPLE 2
98
ACOUSTIC MAGAZINE SEPTEMBER 2015
as somewhere between a brain gym and class
EXAMPLE 3
EXAMPLE 4
EXAMPLE 5
SEPTEMBER 2015 ACOUSTIC M AGAZINE
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LEARN ACOUSTIC TECHNIQUES
CHRIS EATON UK SLIDE EXPERT
BOTTLENECK RHYTHM & GROOVE
APP EXTRA
Chris introduces a new series on building bottleneck licks into a New Orleans-style groove TECHNIQUES SKILL LEVEL: SUITABLE FOR ALL
I
n my previous ‘Slide Guide’ features I
A common approach to self-accompaniment is cowboy singer but the blues guitarist/producer).
introduced three popular slide styles
to use the Merle Travis thumb approach, where
He has some excellent solo albums and was also
– bottleneck, squareneck Dobro and
your thumb keeps the groove constant and your
John Lee Hooker’s producer/guitarist during
Weissenborn. I’m pleased now to be writing
fingers pick out lead lines. I demonstrated a simple John’s later years.
a bi-monthly slide column where you can study
slide example of this in my previous bottleneck
various disciplines and techniques throughout
feature but I’m not going to look at that style any Normally I don’t recommend this, but, as you’ll
the coming months.
further right now. Instead we’re going to learn
To begin with, let’s go back to using a
To play this style of slide I use a plectrum. discover, the piece is all about a strong groove and
chord positions and fretted riffs to build up a New I find it easier to accomplish that using a pick. You
bottleneck. This is of course the most popular
Orleans-style groove over my next three columns. can experiment with or without. Tuning-wise
and accessible type of slide guitar. Part of the
The bottleneck licks are then inserted into the
reason for its popularity is the fact that you can
piece during certain bars. We’ll look at that aspect phosphor bronze strings, a normal acoustic guitar
it’s in open D (DADF#AD) and I use 13 gauge
still fret notes and play chords using your fingers, next time. The completed song you’ll be playing
action and I wear my slide on my fourth finger –
unlike lap slide. So this is where I’m going to start is in the style of Roy Rogers’ approach to slide
again all of which is open for you to experiment
– rhythm guitar techniques used alongside your
guitar. If you haven’t heard Roy Rogers I highly
with. Maybe try a 14 gauge set, which will give
bottleneck playing.
recommend checking him out (not the old-time
you better purchase with the slide but might be
EXAMPLE 1 – OPEN D BLUES PROGRESSION
92
ACOUSTIC MAGAZINE DECEMBER 2016
EXAMPLE 2
tougher when fretting. Slightly raise your action chord. If you don’t use the slide for this but wear it
However, let’s look at those three chords a bit
with a shim under your saddle. You’ll figure out
on your fourth finger and you’ll be able to achieve further from an open position point of view. My
what works best for you.
that classic Status Quo-type blues riff example (
tab shows a IV chord (Gadd9), which you can then
1): open position for the I chord, fifth fret barre
turn into a seventh chord by adding your third
So, you want to play some chords but you’re
tuned to open D. Well to state the obvious all you for the IV chord and seventh fret barre for the V finger. Then there is the V chord (A). In fact it’s a have to do is play the open strings or barre all six chord. That’s all you need to play a standard
big power chord, an A5, which you can turn into
strings at any fret and you’ve got a lovely major
an A7 by adding a G note.
12-bar blues.
Example 2is a simple version of our final song.
OPEN D TUNING CHORDS
Note how the changes use the V and IV chords to get back to the I. No slide involved at this point, but it will be soon – so try to get comfortable playing this while wearing a bottleneck (hopefully on your fourth finger – try different sizes and weights. I use a relatively small and tight fitting glass one, custom made by Diamond Bottlenecks in Birmingham). Next time I’ll show you the slide licks and lines you’ll need for this piece, which makes it even more exciting. Have fun practising! n www.chriseatonguitar.co.uk
DECEMBER 2016 ACOUSTIC M AGAZINE
93
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97
FEATURE A FUNNY NOTE
Andy Pritchard continues his irreverent column with a look at what recent changes to the Tube schedule could mean for gigging musicians
S
o after much kerfuffle, strikes and what have you, it would appear that the LondonUnderground, conveyor s of the populace around the capital since
1863, have agreed to run thetube network through the night. It isapparent, however , that throughout the lengthy negotiations nobody from the musical fraternity was ever consulted on the implications for the capital’s musos. I mean, take buskers, already severely regulated: are we now going to see a new hand-written sign next to the tattered guitar case saying, “Time and a half after 12, all donations to be increased by 50 per cent. Thank you”? And who’s going to want the three till four am slot at Leicester Square? Some poor soulplaying ‘Guantanamera ’ on pan pipes to aCasio backing track? It will, of course, mean that revellers can stay later in London’s music venues, which can’t be all bad. It does remind me however of a time back in the day when we used to gig at The Rock Garden in Covent Garden, now sadly gone and replaced by an Apple Store. Famed as being the launch pad for bands such as the Police, groups from the North would travel down for their 40 minutes of fame just to get it on their CV. Turning up there at 6 o’clock for sound-check, that night’s four protagonists would sit around trying to look cool and studiously avoiding eye contact, like a scene from West Side Story. In an effort to precipitate
have been admirable on a Friday or Saturday
a more convivial atmosphere, Girlie Morrison,
night, top of the bill on a Tuesday could be a
all remarkably making the same gesture of
We emerged onstage to a sea of punters
our erstwhile tambourine operative, and Porky
very lonely place to be. At the same time as the
welcome to us, something they managed to
Edwards, drummer to the stars, would embark
Unwashed were taking the stage, 200 feet below, continue through the majority of our set, pausing
on a game of ‘chase me’ around the tables.
the last tube would be packing in the midweek
Believe me, it’s difficult to continue looking cool
revellers, including the contents of the Rock
only to change hands. Anyway I digress, I guess another benefit
when two grown men are playing chase around Garden’s dance floor, to conve y them to the
of night tubes would be that it enables
you. Thus suitably discombobulated, the rest
working musos to partake of a couple of quiet
of us would move in and try to engage them in conversation . Their opening gambit would normally be, “What the hell’s wrong with them two?” Once reassured that they were of no threat to
suburbs and slumber. Hence London bands would ask for the
ones after work with their fellow minstrels
second or third slot and our Northern comrades and still get home without running the would see the crowd warming up nicely only to
gauntlet of the night bus, or indeed spending
watch them troop out the door just as they were all their earnings on a cab. climbing onto the stage. What would really help would be for
their well being and that it was indeed safe to
Now I don’t want you to think I’m gloating,
enter the toilets alone, theconversation would
and believe me we came unstuck on numerous
normally follow a very similar line.
occasions when venturing north of the Watford there’s an idea for the Musicians’ Union to
parking permits to unload their gear… now
“What’s your lot called then?”
Gap. I once remember asking the MC at Junction get their teeth into. I suspect though that
“We’re the Unwashed.”
10, a club in Walsall, not to mention that we
what we might see is gig times moving later
“You don’t say, when you on?”
were from London in his introduction. Suitably
as venues look to drag out their earning
“Oh, we’re top of the bill,” they’d reply with
reassured, I went to wait in the wings only to
potential, which won’t be a good thing. One
hear over thePA:
would have to start performing in one’s
feigned indifference. “Really, how nice.” Now this is the point that you realise the
“Ladies and gentleman, all the way from that Mecca of themusic industry London Town ,
importance of local knowledge. While this would please welcome Shot in the Dark…”
98
London Transport to issue bands with
ACOUSTIC MAGAZINE DECEMBER 2016
onesie to enable a sneaky slumber between sets. Now there’s a thought, Girlie and the Porkster playing chase in a onesie…
n
