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Classic Rock History: Tools Of The Trade: 

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The Gibson Les Paul Sunburst is a classic electric guitar that is considered by many to be one of the most iconic and sought-after guitars of all time. The original Les Paul model was first introduced by Gibson in 1952, and it quickly became popular among musicians for its thick, rich tone and its sustain.

The Sunburst finish, introduced in 1958, was a combination of a deep red color on the outside of the guitar, which gradually faded to a golden yellow in the center. This finish was achieved by spraying the guitar with different shades of nitrocellulose lacquer and then buffing it to a high gloss. With two humbucking pickups, an adjustable bridge and a stop tailpiece, the model was priced between the earlier Gold Top and Custom models, and was designated the Les Paul Standard.

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Tools Of The Trade: 

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The Fender Twin Reverb is an iconic guitar amplifier that has been a staple of rock, country, and blues music for decades. The Twin Reverb was first introduced by Fender in 1963 as a high-powered, two-channel amplifier with a 2x12 speaker configuration.

The Twin Reverb's signature sound is characterized by its bright, clean tone and its ability to produce a high level of volume without distortion. This made it a popular choice for guitarists who wanted a clear, powerful sound that would cut through the mix in a live performance.

Over the years, the Twin Reverb has gone through a number of changes and variations. In the 1970s, Fender introduced a new version of the amp with a "silverface" cosmetic design, which included silver control panels and aluminum trim around the speakers. In the 1980s, Fender reissued the original "blackface" Twin Reverb design, which had a black control panel and gold trim around the speakers.

Today, the Fender Twin Reverb remains a popular choice for guitarists who value its clear, powerful sound and its versatility. It is used by a wide range of artists in many different genres, from Stevie Ray Vaughan and Eric Clapton to The Edge of U2 and John Mayer.

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From The Vault: 

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This one came up on the radar years ago in a magazine review which mentioned that if you liked Bad Company, you'd probably like The Joneses. For that reason, I took a chance and bought it. I'll say there are some things about them I almost like better than Bad Company, the guitar work being the most compelling. Don't get me wrong, Mick Ralphs' work defined the Bad Co. sound, but The Joneses' Billy Loosigian does some fine playing on this record, the lengthy outro solo on "Don't You Know" being a standout. It appears they only released this one album.

Tools Of The Trade: 

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The Fender Stratocaster, commonly referred to as the "Strat," is an iconic electric guitar model introduced by the Fender Musical Instruments Corporation in 1954. The Stratocaster was designed by Leo Fender, George Fullerton, and Freddie Tavares, and was intended to be an improvement on Fender's earlier Telecaster model.

The Stratocaster featured a distinctive double-cutaway body shape, with three single-coil pickups, a tremolo bridge, and a bolt-on neck. The new, "Original Contour Body" meant relief from angular body edges pressing into players' forearms and ribcages. The guitar is known for its bright, clear tone and versatile sound, which has made it a favorite among guitarists in a wide range of genres, from rock and blues to country and jazz.

Over the years, the Stratocaster has undergone a number of design changes and variations, including different pickup configurations, finishes, and neck shapes. Some of the most notable versions of the Stratocaster include the "Hendrix Strat," which was designed to replicate the guitar used by Jimi Hendrix, and the "Eric Clapton Strat," which features special pickups and electronics designed to replicate Clapton's signature sound.

The Stratocaster has been used by countless famous guitarists over the years, including Jimi Hendrix, Eric Clapton, Buddy Holly, Stevie Ray Vaughan, David Gilmour, and many others. The guitar's versatility and distinctive sound have made it a favorite among players of all levels, from beginners to seasoned professionals.

Today, the Fender Stratocaster remains one of the most popular and iconic electric guitar models of all time, and it continues to be an essential tool for guitarists in a wide range of genres.

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Classic Rock History: Tools Of The Trade: 

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There's no electric guitar distortion effect more identified with classic rock than the "fuzz tone". But it actually started with a recording session for a hugely successful country music album.

The origin of the fuzz electric guitar can be traced back to the early 1960s, when a recording engineer named Glenn Snoddy accidentally invented the effect while working on a recording session for the country music artist Marty Robbins.

During the recording session, Snoddy noticed that the guitar riff on Robbins' song "Don't Worry" had an unusual distorted and fuzzy sound. He traced the problem back to a faulty preamp tube in the mixing console, which was causing the guitar signal to overload and create a distorted sound. Rather than replace the faulty tube, Snoddy decided to leave it in and record the distorted guitar sound.

Snoddy later experimented with reproducing this distorted guitar sound using a transistor circuit. He worked with a Nashville-based electronics company called Gibson-Maestro to create the first commercially available fuzz pedal, called the Maestro Fuzz-Tone, which was released in 1962.

The Fuzz-Tone quickly gained popularity among guitarists, particularly in the emerging garage rock and psychedelic rock genres. The distorted and fuzzy sound created by the pedal was unlike anything that had been heard before, and it became an essential tool for many guitarists looking to push the boundaries of rock music.

The success of the Fuzz-Tone led to the development of other fuzz pedals by companies such as Electro-Harmonix and Dallas-Arbiter, and the fuzz effect became a staple of rock music. Today, fuzz pedals are still used by guitarists in a wide range of genres, and the distinctive sound of the fuzz electric guitar remains an important part of rock music history.

In The News: 

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Two of my favorite bands, Rival Sons and Tedeschi-Trucks Band are getting some very public love in a GM truck and SUV advertising campaign, in the form of their songs "Pressure and Time" and "Anyhow", respectively serving as background music in multiple ads. Neither is a new cut, the RS being from 2011 and the T-TB from 2016, but both are considered perennial favorites by their fans.

Tools Of The Trade: 

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Often, in reading about classic rock, you'll see phrases like "a Strat through a Marshall" or "a 'Burst through a Marshall". Translated, they refer to the sound of Fender Stratocaster or 1958-1960 Gibson sunburst finish Les Paul electric guitars played through a Marshall amplifier.

Marshall Amplification is a British company that produces guitar amplifiers, speaker cabinets, and other related products. The company was founded in 1962 by Jim Marshall, who began building guitar amplifiers in the back of his drum shop in Hanwell, London.

Marshall amps quickly gained a reputation for their powerful and distinctive sound, and became popular among guitarists in the emerging rock and roll scene of the 1960s. In particular, Marshall amps were favored by guitarists like Jimi Hendrix, Eric Clapton, and Pete Townshend of The Who, who used Marshall amps to create the loud, distorted sound that became a hallmark of rock music.

One of the most iconic Marshall amplifier configurations is the "Marshall stack," which consists of a "head" amplifier unit and one or more speaker cabinets stacked on top of each other. The classic Marshall stack typically includes a 100-watt head unit, paired with one or two "4x12" speaker cabinets, each containing four 12-inch speakers.

Over the years, Marshall has continued to innovate and expand its product line, introducing new amp models and speaker cabinets designed for different genres and playing styles. The company also produces a wide range of other products for guitarists, including effects pedals, guitar strings, and accessories.

Today, Marshall amplifiers are still considered some of the best in the industry, and the distinctive "Marshall sound" remains a staple of rock music. The company's legacy continues to be celebrated by guitarists around the world, and Marshall amps remain a symbol of the power and excitement of rock and roll.

Classic Rock History: Landmark Albums: 

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"Aqualung" is the fourth studio album by British progressive rock band Jethro Tull, released March 19, 1971. It is widely regarded as one of the band's best and most influential works, and is considered a classic of the progressive rock genre.

The album was produced by Ian Anderson, the band's frontman and primary songwriter, and features a conceptually linked series of songs exploring themes of religion, poverty, social inequality, and the nature of human existence. The title track, "Aqualung," tells the story of a homeless man, while other songs like "My God," "Cross-Eyed Mary," and "Wind-Up" tackle issues of organized religion, prostitution, and societal expectations.

Musically, the album is characterized by Anderson's distinctive flute playing, Martin Barre's guitar work, and the band's use of complex time signatures, orchestration, and folk elements. The album also features bassist Jeffrey Hammond, drummer Clive Bunker, keyboardist John Evan and orchestral arranger Dee Palmer.

Track by track (vinyl):

  1. Aqualung:
    • Overview: The title track introduces the character Aqualung, a homeless man, and paints a vivid picture of the struggles of urban life. The song is known for its iconic riff and dynamic shifts, showcasing the band's progressive rock tendencies.
    • Analysis: The lyrics explore themes of urban alienation, poverty, and the indifference of society. The contrasting sections, from heavy guitar riffs to delicate acoustic passages, highlight Jethro Tull's ability to blend different musical elements seamlessly.
  2. Cross-Eyed Mary:
    • Overview: This song continues the theme of urban life, focusing on a young girl named Mary and her experiences in the city. Musically, it features catchy melodies and a memorable flute riff.
    • Analysis: The lyrics delve into societal expectations and the exploitation of youth. The flute work by Ian Anderson is particularly noteworthy, adding a folk-influenced element to the rock sound.
  3. Cheap Day Return:
    • Overview: A short acoustic piece, serving as an interlude. Clocking in at just over a minute, it provides a breather between the more intense tracks.
    • Analysis: The simplicity of the acoustic guitar and Anderson's vocals create a poignant moment, offering a contrast to the larger-than-life sound of the surrounding tracks.
  4. Mother Goose:
    • Overview: This whimsical track combines folk elements with progressive rock. It features playful lyrics and showcases the band's versatility.
    • Analysis: "Mother Goose" provides a lighter, more fantastical element to the album. The use of flute and acoustic guitar contributes to the song's whimsical atmosphere.
  5. Wond'ring Aloud:
    • Overview: Another acoustic interlude, featuring gentle guitar and poetic lyrics.
    • Analysis: The lyrics explore themes of love and contemplation. The simplicity of the arrangement allows Anderson's vocals and the intimate nature of the lyrics to take center stage.
  6. Up to Me:
    • Overview: A more upbeat track, featuring a mix of acoustic and electric instrumentation. It addresses personal relationships and responsibility.
    • Analysis: The song has a lively energy, and the interplay between the acoustic guitar and electric elements contributes to its dynamic sound. The lyrics touch on personal growth and the choices we make.
  7. My God:
    • Overview: One of the more complex and progressive tracks on the album, both musically and lyrically. It engages with themes of religion and spirituality.
    • Analysis: "My God" features intricate instrumental sections, showcasing the band's technical prowess. Lyrically, it challenges organized religion and questions the nature of faith.
  8. Hymn 43:
    • Overview: A more straightforward rock track with a catchy riff and direct lyrics.
    • Analysis: "Hymn 43" offers a critique of organized religion, and its upbeat tempo contrasts with the heavier themes explored in the lyrics.
  9. Slipstream:
    • Overview: An instrumental piece that features the flute prominently, creating a dreamy and atmospheric quality.
    • Analysis: "Slipstream" provides a sonic departure from the more vocal-driven tracks, showcasing the band's instrumental versatility.
  10. Locomotive Breath:
    • Overview: One of the most well-known tracks on the album, "Locomotive Breath" is a driving, energetic piece with a memorable riff and powerful vocals.
    • Analysis: The lyrics depict a sense of urgency and chaos, and the music mirrors this with its propulsive rhythm. The flute and guitar work add layers of complexity to the overall sound.
  11. Wind-Up:
    • Overview: The closing track of the album, "Wind-Up" revisits and concludes some of the thematic elements introduced earlier in the album.
    • Analysis: The song is a fitting end to the album, featuring a combination of acoustic and electric elements. Lyrically, it addresses the nature of existence and the human experience.

In summary, "Aqualung" is a diverse and thematically rich album, showcasing Jethro Tull's ability to seamlessly blend rock, folk, and progressive elements. The album's exploration of societal issues, combined with its musical innovation, has contributed to its lasting influence in the world of progressive rock.

Upon its release, "Aqualung" was a commercial and critical success, reaching the top ten in both the UK and the US. It has since been certified platinum in both countries, and has been praised for its innovative sound, thought-provoking lyrics, and enduring influence on the progressive rock genre.

Jethro Tull genealogy and discography
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Tools Of The Trade: 

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The Fender Rhodes piano is a musical instrument that was first introduced in the 1960s by the Fender Musical Instrument Corporation, named after its inventor, Harold Rhodes. It is an electric piano that uses hammers to strike metal tines, which are then amplified and played through a speaker system.

In 1959, Fender began by marketing the Piano Bass, a cut-down version of Rhodes' invention consisting of the 32 bottom keys. The full-size instrument was not produced until after Fender's sale to CBS in 1965.

The Fender Rhodes was a popular instrument in many genres of music, including jazz, rock, and pop. Its warm, mellow sound and expressive capabilities made it a favorite among keyboard players. It has been played by a wide range of artists, including Herbie Hancock, Stevie Wonder, and Chick Corea.

There were several models of the Fender Rhodes electric piano produced over the years, each with its own unique features and sound. Some of the most well-known models include the Rhodes Suitcase Piano, the Rhodes Stage Piano, and the Rhodes Mark I, Mark II, and Mark V. Each model has its own unique features and sound characteristics. The Mark I, for example, has a brighter, more percussive sound, while the Mark II has a more mellow and rounded tone.

Despite its popularity, production of the Fender Rhodes electric piano ceased in the early 1980s due to financial troubles at Fender. However, the instrument has continued to be used by musicians and can be found in many recordings to this day. In recent years, there has been a resurgence of interest in the Fender Rhodes, and some companies have even started producing new versions of the instrument.

The Fender Rhodes electric piano has become a classic instrument, and its unique sound has been widely imitated by digital keyboards and software synthesizers. However, many musicians still prefer the original instrument for its authentic sound and feel.

Trivia: While considered an electronic instrument, the sounds are produced mechanically by the tines and tone bars. As such, the instrument can still be played, albeit very softly, without being powered, similar to an electric guitar.

Classic Rock History: Landmark Albums: 

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"Deja Vu" is the second studio album by the folk rock supergroup Crosby, Stills, Nash & Young (CSNY). It was released March 11, 1970 on Atlantic Records, and it is considered to be one of the most influential and successful albums of the 1970s.

The album features songs written and performed by all four members of the group, including Stephen Stills' "Carry On" and "4+20," Graham Nash's "Teach Your Children" and "Our House," Neil Young's "Helpless" and "Country Girl," and David Crosby's "Almost Cut My Hair" and "Déjà Vu."

The album's sound blends folk, rock, and country music with intricate vocal harmonies and skilled musicianship. It also features guest appearances by musicians like Jerry Garcia of the Grateful Dead and John Sebastian of The Lovin' Spoonful.

"Deja Vu" was a commercial and critical success, reaching #1 on the Billboard 200 chart and selling over 8 million copies in the United States alone. It is considered to be a landmark album of the 1960s and 1970s, and has been included on numerous "best albums of all time" lists.

CSNY genealogy and discography
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