angus young gibson SG guitar best guitars best guitarists brian setzer gretsch guitar eddie van halen frankenstrat eric clapton gibson sg george harrison gretsch guitar gibson flying v guitar jeff beck fender esquire noe gold slash les paul guitar replica Tools of the Trade top ten rock lists trigger guitar

Class Axes & the Guitarists Who Wielded Them (Pt 2)

Greatest Basic Bands contributor and Guitar World journal founding editor Noe Gold indulged us with certainly one of his favourite things to do as a guitar journalist: share his first seven picks out of 14 special instruments associated with notable guitar players, aka legendary rock guitars aka Class Axes. (See Part One here.)

Right here’s the second set of seven iconic axes. This record goes beyond sure key models from guitar producers spotlighted in the first half. We now have a couple of customized builds, an adaptation, and the famed acoustic above. Guitar technicians, builders and customizers grow to be a part of the process by which these six-strings obtain and retain their historic six-string stature.

Or in other phrases, perfection is where you find and how you define it.

7) Willie Nelson’s Martin N-20 acoustic “Trigger”

How did Willie change music historical past together with his beat-up Martin acoustic, “Trigger?” Take heed to his music and also you’ll hear Set off at the middle of most all of Nelson’s greatest recordings. And his considerable talent as a participant and guitar stylist driving the melody. All of that that’s central to the type that separated Nelson from the country music pack in the 1970s and distinguishes Willie as a very unique American musical artist who transcends genres.

Before Nelson hits the stage every night time, his longtime guitar tech, Tom Hawkins, brings out the famous guitar, putting it at the middle of the stage. “The whole front row will come up and photograph it for several minutes before the show starts,” says Hawkins. That’s the power of Set off.

Nelson discovered Trigger at a crossroads in his profession. By 1969, he had spent almost a decade making an attempt to grow to be a clean-cut solo success in Nashville. After a drunk destroyed his Guild acoustic, he decided to search for a brand new guitar with a sound just like his gypsy-jazz hero Django Reinhardt “I think he was the best guitar player ever,” Nelson says.

“I named my guitar Trigger because it’s kind of my horse,” he explains. “Roy Rogers had a horse called Trigger.”

“This is the best guitar I have ever played,” says the pigtailed avatar of the gut-string classical instrument. It brings to Nelson’s nation music touches of jazz in addition to now and again a style of flamenco.

When the IRS seized his possessions in the early ’90s, Willie sent his daughter, Lana, to cover the guitar in Hawaii. He’s had Trigger for therefore lengthy and played it so exhausting and so much that his decide wore a sizable hole by means of its front. It shouldn’t be playable. Willie’s response? “I don’t want to put a guard over it,” he smiles. “I need a place to put my fingers.” He recurrently has Austin, TX luthier Mark Erlewine shore up its clawed spruce prime.

After five many years together with his trusty companion, Nelson continues to be going robust. “I figure we’ll give out about the same time,” he says of the well-worn acoustic. “We’re both pretty old, got a few scars here and there, but we still manage to make a sound every now and then.” (For extra particulars learn Texas Monthly‘s function story on Set off.)

albertking5806) Albert King’s 1958 Gibson Korina Flying V

Bluesman Albert King was born on April 25, 1923 on a cotton plantation in Indianola, MS. By the time this early champion of the Gibson Flying V’s career was ended by a coronary heart assault in Memphis in 1992, he had traveled the world and made dozens of albums, recording such classics as “I’ll Play the Blues for You,” “Don’t Throw Your Love on Me So Strong,” “Crosscut Saw,” “Laundromat Blues” and, in fact, “Born Under a Bad Sign.”

What made King so interesting to the A-list of guitarists he influenced, which includes Stevie Ray Vaughan, Jimi Hendrix and Eric Clapton, was his massive tone and his radical, rubbery bends. So let’s take a look at the right way to get into this six-foot-four, 250-pounder’s zone.

In addition to the power in his large arms, King additionally had the southpaw benefit. When he obtained his 1958 Korina V he immediately flipped it over and played it with the low-E string on the bottom, the place a standard participant’s high E can be. So, like fellow lefty blues guitar daredevil Otis Rush, King bent downwards as an alternative of the typical upwards path. Do this on any gauge of string and you’ll see the quick advantage flattening slightly than pushing up yields in controlling bends — better vibrato, simpler string journey, and the means to bend up or right down to a observe — or even up two notes, in steps, like King typically did.

The remaining was angle. King appreciated to play as sluggish, slinky and funky as his velvet fog singing. To him – and to his early heroes like Lonnie Johnson and T-Bone Walker – the real blues was unhurried. He also favored slide legends like Blind Lemon Jefferson, and whereas he never performed slide himself, the voice-like qualities of the method influenced King’s clean bending profoundly. He additionally never wasted a single, stinging word. His terse phrases have been built from only a handful of notes, typically adorned with the sort of wrist-shaking vibrato that B.B. King perfected. They usually have been good for the voice-and-guitar call-and-response interplay that made his biggest songs so memorable – every one like a conversation with a sensible previous soul.

BrianSetzer-Gretsch 61205) Brian Setzer’s Gretsch 6120 Hollowbody

The Gretsch 6120 is a hollow-body electric guitar with f-holes, manufactured by Gretsch and first appearing in the mid-1950s with the endorsement of Chet Atkins. It was shortly adopted by rockabilly artists Eddie Cochran and Duane Eddy and of course, years later, neo-rockabilly artist Brian Setzer of the Stray Cats. Eric Clapton has and every so often performs one; Pete Townshend acquired one as a present from Joe Walsh in 1970, which he later would use on recordings for Who’s Next and Quadrophenia.

GeoHarrisonGretschAs a consequence of modifications in musical tastes and modifications in possession of the Grestch brand in the late 1960s, leading to deteriorating high quality, production of the 6120 ceased in the late 1970s. Values of the present devices soared when Setzer was seen enjoying an previous 6120 in his early-80s music videos. Gretsch subsequently went back into the guitar enterprise and new 6120 guitars are again extensively obtainable.

Also recognized with:

George Harrison’s Gretsch Country Gentleman
After George Harrison performed the Gretsch Nation Gentleman and Tennessean models (which, like the 6120, have been developed with and endorsed by Chet Atkins), the company found they might scarcely keep up with demand.

AngusYoung-cherrySGfour) Angus Younger Gibson Les Paul SG Normal “Cherry”

In 1960, sales of the Les Paul have been faltering, and Gibson did some rethinking on its solid-body electric guitar line. Dumping the sunburst Les Paul was solely the starting. Throughout the following yr, Gibson launched a totally new design. We all know that design now as the SG, for Strong Guitar, an ultra-thin, hand-contoured, double-cutaway body. The modernistic mix of bevels and factors and angles was a radical departure.

Angus started his musical profession enjoying the Gibson SG 1970 model virtually solely. This model is considered one of the many variations of design and high quality of supplies since its first introduction in 1961, however the 1970 model is its quintessential iteration.

The Gibson SG 1970 “is the one I’ve always played, before the band even started,” Angus informed Guitar Participant. “It was the first brand-name guitar I had gotten for myself, as well. Before that, it was hand-me-downs  – a beat-up acoustic. I don’t know the SG’s year. Some people have said 1969, and some people have said it’s from the 1970s.”

And what is his favourite music to play on the ax? “One of my favorite tracks to play is ‘Back in Black,’ because it’s a cool riff and people get it immediately. You hear one or two notes and, boom, you know it’s ‘Back in Black.’ That’s probably the song Brian [Johnson] hates the most, though, because he has to hit his high notes.”

Also recognized with:

Clapton fool SG• Eric Clapton’s 1964/65 Gibson “The Fool” SG
Later inherited by and reworked by Todd Rundgren. It’s recognized for what Clapton referred to as the “Woman Tone.” Serial quantity sanded off in portray, so date of vintage just isn’t verifiable. This SG was bought for $500,000 to the Exhausting Rock Cafe San Francisco.

Additionally related to:

• Pete Townshend
• Frank Zappa
• Eric Clapton
• Todd Rundgren
• George Harrison
• Gary Rossington
• Tony Iommi
• Derek Vans

JeffBeck-1954-Fender-Esquirethree) Jeff Beck’s 1954 Fender “Yardbirds” Esquire

Really iconic is the image of a sleeveless t-shirt-wearing Jeff Beck, twanging away at the axe that produced the landmark sounds of Beck-powered Yardbirds tracks like “I’m a Man,” “Heart Full of Soul,” “Over Under Sideways Down” and “Shapes of Things.” The Esquire is the icon that completes the image.

With a physique partially floor right down to ape the contours of a completely totally different mannequin, its broken neck changed by a well-worn second-hand substitute and a face so scuffed, gouged and scarred it seems more like the boards of a minor league hockey rink, Beck’s 1954 Fender Esquire is the rocker’s fixed companion.

What attracted him to the much-beloved if primordial version of the more well-liked Telecaster?

“I think it was the transitory period where Fender started using a rosewood fingerboard,” Beck explaine. “(But) I didn’t want that, I wanted a maple neck. And the only one I ever saw belonged to John Walker (aka John Maus) from the Walker Brothers. As luck would have it, The Yardbirds went on tour with the Walker Brothers early in ’65, and I bought it. He wanted £75, which was a lot of money – it was only about 10 quid cheaper than a brand new one. But he wouldn’t shift, and I dug out the seventy-five and gave it to him.”

Beck’s fuzztone intro of “Heart Full of Soul” turned a sensation among guitarists of the day, including a younger Seymour Duncan, the trendy pickup guru who’d ultimately acquire the legendary Esquire. Paradoxically, Jeff had developed that distinctive sound by imitating the sitar used on the session for the first, longer  unreleased version of the document.

JeffBeckEsquireDuncan provided a detailed “guitar-topsy” with some fascinating insights about the legendary instrument in a 1994 Jeff Beck fanzine. “Several years ago John [Maus of the Walker Brothers] visited my shop in Santa Barbara and he said he contoured the front [forearm] and back of the body to make it feel more like a Fender Stratocaster,” Seymour stated of the Esquire’s physique customizing. “He carefully shaped the wood leaving the original paint and exposed Swamp Ash body.”

“When Jeff first obtained it from John Maus, it had a white vinyl decide guard as might be seen in earlier Yardbirds movies and photographs. Jeff changed it with a black Esquire pickguard with a 5-hole pattern and two distinctive chips on the prime edge and decrease neck slot. Jeff appreciated the distinction and it seemed like the Teles made just a yr earlier. The body was made in 1954 and the neck (the unique was broken) was replaced with one made in 1955.

Seymour lent the Esquire to the Rock and Roll Corridor of Fame, the place it’s on public show.

slash_LPStandardBurstReplica2) Slash’s Les Paul Normal ‘Burst 1959 duplicate

When Slash got here on the scene with Guns N’ Roses, the Les Paul wasn’t cool, wasn’t synonymous with Axeman Domination. No, the Strat varieties whose reputation dominated from the late-‘70s onward – Stevie Ray Vaughan, Jeff Beck, Clapton and all those slinky guitar heroes inspired by Hendrix – dominated for a while. But then along came Slash. He elevated the stature of the Gibson Les Paul back to the pantheon of rock’n’roll the place it had been installed, although sitting a bit dormant, by LP-blasters like Jimmy Web page, Carlos Santana and Mike Bloomfield.

For studio periods, Slash virtually solely uses a reproduction of the basic 1959 Les Paul Normal made in the ’80s by ace luthier Kris Derrig. It is with this instrument that he recorded virtually all elements of Guns N’ Roses albums, Slash’s Snakepit, Velvet Revolver and his solo recordings. The “Cat in the Hat” aka Saul Hudson, relates the story of how he acquired the now iconic guitar in his autobiography:

“On our very last day recording Appetite… Alan [Niven, Guns N’ Roses’ manager] came into the control room and laid a guitar case on the small couch behind the soundboard. One overhead light perfectly spotlighted the guitar as he opened the case. ‘I picked this up from a local guy in Redondo Beach,’ he said. ‘He makes them by hand. Try it out.’ It looked good: it was an amazing flame-top 1959 Les Paul replica with no pick guard, and two Seymour Duncan pickups. I felt it out and I liked it…. The moment I plugged in my new guitar I thought it sounded pretty good.”

The guitar was originally constructed by Derrig in 1986 and was meant to be a reproduction of the so-called “holy grail of electric guitars” – the 1959 Gibson Les Paul Normal. “From 1986 until about 1988, that was my main guitar, that one Kris built,” Slash continues. He goes on to say, “The latest Slash model is identical to that guitar.”

EddieVH_GW Nov.821) Edward Van Halen’s Do-it-yourself ”Frankenstrat”

EVH’s famed and distinctive instrument of selection was famously concocted by the participant himself in his garage from elements of varied guitar carcasses – a Fender-style body here, a maple neck there and a signature whammy bar made by Floyd Rose – is called the “Frankenstrat.” Its identify is a tribute to the fictional doctor who mixed body elements to create a monster, and the Fender Stratocaster. This mad scientist’s monster is a killer in an entirely totally different approach from the the fictional Dr. Frankenstein’s creation.

The essential instrument value Eddie a mere $130. Van Halen bought the prototype’s physique with a knot in the wood at the discount worth of $50. The $80 neck had jumbo fret wire, and its truss rod was adjustable at the heel. Then he carried out surgery on the ash Stratocaster-style physique, modifying it routing to suit a Gibson PAF humbucking bridge pickup. This tinkering produced an amalgam of Fender-Gibson sound.

Then he changed a 1958 Fender tremolo with a Floyd Rose bridge, inserting a 1971 quarter to keep the “Floyd” flush with the body. He hooked up truck reflectors to the rear of the physique for decoration and installed giant screw eyes as an alternative of strap buttons, a foolproof (albeit ugly) technique of securing the guitar to the strap. The guitar had a number of paint designs until it arrived at its last mixture of pink and black-and-white stripes.

Fun Information:

A replica of the Frankenstrat is housed in the National Museum of American History, part of the Smithsonian Institution in Washington, D.C.

The Frankenstrat was used in the field artwork for Guitar Hero: Van Halen. It additionally appears a lot of occasions in the recreation, including transitions at the end of songs; the stripes seem one by one in quick succession, and are then removed.

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Noe Gold

Founding Editor of Guitar World magazine and Artistic Advisor to the Jimi Hendrix Basis, Noe Gold has labored for Crawdaddy and The Hollywood Reporter, The Village Voice and the New York Every day News. His tales have appeared in GQ, USA At present, Rolling Stone, Premiere, The Films and the Los Angeles Occasions Journal. The writer of articles and books on the music of Jimi Hendrix, Frank Zappa and Albert King, amongst others, his newest undertaking is the forthcoming e-book, Hendrix Now! Backstory of a Legend, which options Mick Taylor, the late Alan Douglas and Stevie Ray Vaughan, Steve Stevens, Joe Satriani, Leonard Nimoy and a few other Hendrix intimates and devotees in the final followup to his seminal work began at Guitar World thirty years ago. Go to

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