GUITAR EUREKA !

GITARRE EUREKA! GUITARE EUREKA! GITAAR EUREKA! CHITARRA EUREKA! ギター EUREKA! κιθάρα EUREKA! 기타 EUREKA! GUITARRA ERUREKA! гитара EUREKA! 吉他 EUREKA!

Thursday, 31 December 2009

POST # 243 Tom Morello on his Influence

“Rather than being influenced by other guitarists, my playing in Rage was more influenced by hip-hop and techno DJs. The rhythmic freedom they have to drop sounds into a track. That’s what I aspired to.” - Tom Morello

( Tom Morello talks about his gear and technique. - Ed )

Wednesday, 30 December 2009

POST # 242 McCoy Tyner on Wes Montgomery's Funny Side

Wes had such a dry sense of humor. Sometimes he would say something funny, and then look at you with a straight face. After making you laugh, he'd laugh at you laughing. One time we crossed paths in Buffalo, New York; he was with his group and I was with Coltrane. Wes mentioned that he wasn't feeling well, so I offered to take him to a health food store. After one bite of that stuff, he asked, "My god, what is this?" A few years later at a little party in Oakland, he teased me by saying, "This guy told me he had something good to eat, and then he brought out what looked like a tree!" - McCoy Tyner

( McCoy Tyner, great pianist....not so great health practitioner. - Ed )

POST # 241 Jimi Hendrix on Life

I'm the one that has to die when it's time for me to die, so let me live my life, the way I want to. - Jimi Hendrix

You have to give people something to dream on. - Jimi Hendrix

( Charlie Hunter's take on a Hendrix classic...plus the sax player that plays like a guitarist! - Ed )

Tuesday, 29 December 2009

POST # 240 Johnny Smith on Soloing

I don’t consciously think about chords when I solo. A lot of people are into
modes, but I’m not. I recently heard a famous big band that had some outstanding young brass and woodwind players. But when it came time to solo,
they all played modes and sounded alike. They had a veteran tenor sax guy who played from the old school. When he soloed, it was like a breath of fresh air. You knew he was creating in his head instead of being locked into modes. - Johnny Smith

( You are what you practice ! Some old school swing , Count Basie, Freddie Green etc...laid back n swinging ! - Ed )

Monday, 28 December 2009

POST # 239 George Fullerton on Leo Fender's Guitar Playing Abilities

“No he never did. He’d never even let me show him one chord! “I don’t want to spend my time to learn it" were Leo's own words! He didn’t learn to even tune a guitar until electronic tuners came out! He had absolutely no desire for it!” - George Fullerton

( Building a guitar and playing the guitar are two different things I guess, still...pretty suprising! - Ed )

POST # 238 Pat Metheny on the Greatest Guitar Solo

The one I recommend most highly is Smokin' At The Half Note [Verve]. I can sing every note played by Wes, Wynton Kelly, Paul Chambers, and Jimmy Cobb. "If You Could See Me Now" is the greatest guitar solo ever played, including anything by Jimi Hendrix, Robert Johnson, or anybody else. It's the highest level attained on the guitar in terms of just dealing with music. I also love Down Here On The Ground and A Day In The Life [both A&M]. Those records illuminate another aspect of his improvisational talents: Stretching out and playing 50 choruses on a tune is one thing, but not many guys can take eight bars and make a perfect jewel of a statement. - Pat Metheny

( A very melodic and bluesy solo from Wes I love his sense of phrasing! - Ed )

Sunday, 27 December 2009

POST # 237 Eddie Van Halen on Hot for Teacher

“I winged that one, if you listen to it, the timing changes in the middle of nowhere. We were in a room playing together and I kind of winked at the guys and said, ‘Okay, we’re changing now!’ Because I don’t count, I just follow my feelings. I tend to do a lot of things in threes and fives, instead of fours.

“My weird sense of time just drives my brother Alex nuts because he’s a drummer, so he has to count. But generally he’ll say, ‘Well, Ed, you did it in five again. If that’s the way you want it…’ But that’s not the way I want it, that’s just what feels right to me.” - Eddie Van Halen

( A fun clip! - Ed )

Saturday, 26 December 2009

POST # 236 Sheryl Bailey on Being an Artist

Keep the faith and belief in what you are attempting to do. Being an artist in these times is more important than ever – we are the peace makers and innovators, and therefore not a part of the force of destruction and ignorance that is seeking to destroy human culture and life on this planet. Thanks for this wonderful opportunity to share my thoughts with you and your audience! - Sheryl Bailey

( Wonderful guitar duo between Sheryl Bailey and Jack Wilkins - Ed)

Thursday, 24 December 2009

POST # 234 Miles Davis on Playing like Yourself

Sometimes you have to play a long time to be able to play like yourself. - Miles Davis

( Miles playing All Blues - Ed )


POST # 233 Kevin Eubanks on Knowing and Reading Music

Since when does knowing music mean reading music? Those two things are not synonymous. When you listen to someone, why should you care whether they can read music or not? It's not necessary for those two things to exist in the same place when all your talking about is going to see a live performance or listening to a recording. So many people look for ways to drag people down to the lowest common denominator instead of appreciating what's there in its highest form. They're wasting their time on some very irrelevant things. - Kevin Eubanks

( Like Miles says..I'm going to play it first, then tell you what it is later :) - Ed )

Wednesday, 23 December 2009

POST # 232 Jim Marshall on Building the Bluesbreakers Amp for Clapton

Eric used to practice in my shop and he was one of the first guitarists to ask me to build a combo. He wanted one so it would be easy for him to put the whole thing in the boot (the English term for 'trunk') of his car. That's how the Bluesbreaker combo came about, actually. - Jim Marshall

( Amps the other half of rock'n'roll ! - Ed )

Tuesday, 22 December 2009

POST # 231 Yngwie Malmsteen on His Style

“ ‘Black Star’ and ‘Far Beyond the Sun’ from that album sort of sum up my style. There are fast runs, slow harmonies and some really nice arpeggios in them. I’ll probably play those songs until the day I die.” - Yngwie Malmsteen

(Yngwie giving his strat a workout - Ed )

Monday, 21 December 2009

POST # 230 Pablo Picasso on 'Doing' !

He can who thinks he can, and he can't who thinks he can't. This is an inexorable, indisputable law.


I am always doing that which I cannot do, in order that I may learn how to do it. - Pablo Picasso

( Will it to make it happen! (plus imagination)- Ed )

POST # 229 Sheryl Bailey on Learning to play Jazz

The most essential quality in a jazz musician is one’s sense of groove – time. Listening to a lot of jazz is also important to get the “sound of jazz” in your ear, and also, your heart. If you treat jazz as a science experiment, it will always sound like that – falling in love with the music is the key to open the door. That being lesson one – jazz challenges one to understand harmony and how harmony relates to melody. I’m a bit fanatical about harmonic clarity – meaning, really making the changes clear in your melodic line. A great line is one that can stand on it’s own, and the harmony accompanying it is clearly understood. Bach and Bebop are based on the same principles. The Bach Inventions are simply melodic lines that generate harmony – that’s what the jazz line is all about. - Sheryl Bailey

( Sheryl Bailey....very coool ! Digging that Benson / Wes vibe :)- Ed )

Sunday, 20 December 2009

POST # 228 More Sonny Rollins on Cliches

There’s something else that Miles hated: cliché people. These are some of the best artists in the world who have tremendous skill, but they play clichés. A cliché is something which is proven to be effective, but if you just use clichés, it’s a different type of playing. It’s not really the height of jazz improvisation, it’s not where I want to be anyway. Look, I don’t put any kind of playing down, certainly there are some great players who play clichés [who] I admire. Because it takes a lot of skill to play clichés in an effective way. But it’s not—Miles and I used to talk about this all the time—it’s not the optimum. It’s a different way of playing, but it’s not the way I want to play. It’s not the way other people play that I look to, these people in the firmament played. - Sonny Rollins

( I started to learned to play jazz by learning a few cliches, few bebop ii V patterns, transcribing etc but it did occur to me one day that... am I just really learning heaps of licks so that when I go to a jam session I can 'show off' my licks? Whats the point of that!! Its good from a technical point of view and learning the language of jazz but it feels somehow hollow to me after a while..Wayne Krantz talk about a similar thing from the video below. - Ed )

POST # 227 Sonny Rollins on Cliches vs Improvisation

Cliché playing may be okay to a point, and maybe you learn by playing clichés, but then you throw all of that stuff aside. It’s just like when I am working a piece of music, I will study the music, I will learn the music. Maybe that’s what I meant when I said there is some kind of formal aspect to this, so I learn the melody, the chord progression, in preparation for my instrumental improvisation.

Now when I improvise after learning formally these things, I forget them. I don’t go up on the stage and think of them. I forget them and that’s where the creativity comes in. That little area is quite mysterious. Music is magical, we all know that, and that area where you create and your subconscious is at work and you don’t know what you’re playing. Often I play things—if I’m in the right groove—I’ll play things where I surprise myself. Those are things that are deep in my subconscious, and they come out during my improvisation, but they are not things I went into the song thinking about. They are things I hear, and they come out. - Sonny Rollins

( The ever playful Sonny Rollins doing St Thomas. - Ed )

Thursday, 5 November 2009

POST # 226 Martin Taylor on Improvising

"My dad wasn't a schooled musician, kind of a basic sort of dixieland bass player. Very good at it, but he didn't read music or learn about the theory of music. But, he said to me, "It's like this: you just make up your own melody as you go over that chord. Don't play the melody, but you can play little bits of the melody maybe, but make up your own little things in there." I just understood that. That's really what I did. And I think that's why I'm quite a melodic improviser, because coming from that background I'm not doing it from a point of view of playing around chords and notes in a theoretic way of doing. But, I just go, "I wonder if I can actually make up a melody that's as good as that or better than that?"

( Martin Taylor playing Stella , excellent! - Ed )


Thursday, 29 October 2009

POST # 225 Jascha Heifetz on The Top

There is no top. There are always further heights to reach. - Jascha Heifetz

( This is pretty damn near the top! I know its a guitar blog but you have to admit a musical virtuoso of this calibre is pretty inspirational no matter what instrument you play! - Ed )

Monday, 26 October 2009

POST # 224 Pat Martino on Practice

"When I sit down to play something it is not because I want to master a technique. It is because I want to hear what an idea sounds like." - Pat Martino

( Pat Martino burning through Oleo - Ed )

Saturday, 24 October 2009

POST # 223 Art Blakey on Jazz and Rhythm and Blues

You can't seperate modern jazz from rock or from rhythm and blues - you can't seperate it. Because that's where it all started, and that's where it all come from - that's where I learned to keep rhythm - in church. - Art Blakey

( Dig the bluesy groove of the jazz classic Moanin' - Ed )


Friday, 23 October 2009

POST # 222 GIBSON MELODY MAKER Ebay Price Guide




















Another installment of Guitar Eureka's Ebay Price Guide, this time the GIBSON MELODY MAKER

The Stats:

- introduced in 1959
- All mahogany neck and body
- Setneck
- Slab body, thinner then Les Paul Jr
- Single coil pickups and cable jack assembled onto plastic scratchplate
- 1 or 2 pickups
- Single cutaway and double cutaway shapes
- Also available 3/4 size neck
- Wrapped around bridge/tailpiece
- Colours : Sunburst, Cherry Red, Blue, Burgandy, Walnut

The prices ranges from $1800 to $599 depending on condition. The Sunburst ones seems to fetch more, I guess its the first colour available and is more collectable. Personaly I dig the cherry red finish with the double cutaways, bit more flash!

VINTAGE 1959 GIBSON MELODY MAKER 3/4 ELECTRIC GUITAR
$1,800.00


1961 GIBSON MELODY MAKER CLEAN SG LES PAUL JUNIOR JR
$1,246.00


Gibson Melody Maker - 2 Pickups - 1961 - SN34620
$1,150.00


1962 GIBSON MELODY MAKER CLEAN SG LES PAUL JUNIOR JR
$1,050.00


Gibson 1962 Melody Maker Single Pickup Guitar With Case
$1,025.00


1958 or 1959 Gibson Melody Maker 3/4
$800.00


Vintage 1960 Gibson Melody Maker Poor Mans Les Paul
$799.00


1964 GIBSON MELODY MAKER ~~VINTAGE GEM~~
$795.00


VINTAGE 1965 GIBSON MELODY MAKER GUITAR - EXCELLENT !
$795.00


1965 GIBSON MELODY MAKER CHERRY ELECTRIC GUITAR NICE!!!
CHERRY MELODY MAKER NICE CONDITION W/CASE AND BOOKS!!!
$777.00


1968 Gibson melody maker SG
$690.00


1965 CHERRY GIBSON MELODY MAKER ELECTRIC GUITAR
$677.00


1965 GIBSON MELODY MAKER ELECTRIC GUITAR W/CASE (N)
$650.00


Gibson 1962 Melody Maker
$649.00


65_GIBSON_MELODY MAKER_VINTAGE GUITAR_SG HERITAGE CHERY
$599.99


1960 Gibson Melody Maker
$599.99

Wednesday, 21 October 2009

POST # 221 Ludwig Van Beethoven on Guitar

The guitar is a miniature orchestra in itself. (after hearing Giuliani play) - Ludwig Van Beethoven

( John WIlliams talk about the guitar - Ed )

Tuesday, 20 October 2009

POST # 220 Ebay Price Guide...MUSTANGS!!!!




























Here's a couple of vintage Fender Mustangs that were sold on Ebay, some original some have been modified....

Price range from US$1599 for a prisitne 1966 white Mustange to $800 for a 1977 Mocha Brown Mustang, although there was a 1966 Mustange for only $899 it was pretty played in, changed electronics etc.

All in all pretty funky looking guitar, I've never had a chance to play one hope to one day!
Interesting fact about Mustangs....John McLaughlin played one Miles Davis' "Bitches Brew".


1966 Fender Mustang Electric Guitar White Slab Board!
$1,599.00


1967 Fender Mustang All Original Daphne Blue with OHC
$1,550.00


VINTAGE 1970 FENDER MUSTANG ALL ORIGINAL!!!!
$1,525.00


Vintage 1966 Fender Mustang. All original w/case.
$1,076.00


1967 '67 Vintage Fender Mustang Guitar
$1,028.00


VINTAGE Fender 1974 Mustang EXC w/original parts & OHC
$1,025.01


1966 Fender Mustang w/'68 Gibson Humbuckers, Floyd Rose
$1,025.00


1968 Fender Mustang Competition Red
$950.00


1965 Vintage Fender Mustang Dakota Red
$950.00


1966 Fender Mustang With Case
$899.00


VINTAGE FENDER MUSTANG ELECTRIC GUITAR WITH CASE

$879.99


1977 Fender Mustang Mocha Brown Original Finish USA

$800.00



Monday, 19 October 2009

POST # 219 Eric Clapton on his Heroes

It's been very important throughout my career that I've met all the guys I've copied because at each stage they've said, "Don't play like me, play like you." - Eric Clapton

(Clapton with one of his heroes. - Ed )


Sunday, 18 October 2009

POST # 218 Fender Amp EBAY Price Guide











GUITAR EUREKA'S Vintage Fender Amp price guide! These are all actual sold prices on Ebay recently. Only include pics of some amps, roll mouse over pic for model.












1974 FENDER SUPER REVERB TUBE GUITAR AMP $949
1962 Fender Princeton amp (amplifier) with no reserve $860
1966 FENDER PRINCETON REVERB AMP-GOOD CONDITION $990
1970 Fender Deluxe reverb amp $995
Vintage 1970 Fender Deluxe Reverb Amp+Celestion Gold 12 $1111
Fender Vibrolux Reverb Amp Blackface PreCBS '60's $1244
Fender Dual Showman Blackface Piggyback Vintage Amp $1325
1961 Fender Harvard Amp $1400
1965 Fender Deluxe Reverb Black Face Pre CBS $1493
1964 Fender Princeton Amplifier $1599
1965 Vintage Fender Princeton Reverb $1599
Fender Deluxe Reverb 1964 Blackface Amp w JBL speaker $1626
1962 Fender Bandmaster Blonde tolex brownface amp $1662
Vintage Blackface Fender Vibrolux Reverb Amp 1966 $1750
1966 Fender Vibrolux Reverb Vintage Amp Tube Amplifier $1850
1965 Fender Princeton Reverb Deluxe Amp Oxford Speaker $1950

Saturday, 17 October 2009

POST # 217 GIBSON Solidbody Ebay Price Guide





































































Here's a few lesser known Gibson Solidbodies...(roll over mouse to see item model) see how much they went for at the end of the post!

Gibson "BluesHawk" Ebony w/ ivory binding (90's?)

GIBSON INVADER 1983 (bolt on)

Gibson G3 Grabber 4-String Bass 1977 W/ Hard Case Clean

Vintage Gibson Corvus III Guitar

76 gibson S1 relic with OHSC

1997 Gibson Blueshawk Blues Hawk P-90 Electric Guitar

1996 Gibson "The Hawk" Guitar
2007 Gibson RD Electric Guitar w/ HS Case

Gibson Marauder 1975 Vintage

GREAT CONDITION 1959 GIBSON MELODY MAKER & ORIGINAL CAS

Rare Gibson "The Hawk" Electric Guitar

Worlds Ugliest Vintage Gibson Invader & Case


$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$



Gibson "BluesHawk" Ebony w/ ivory binding (90's?) US$789
GIBSON INVADER 1983 (bolt on) US$500
Gibson G3 Grabber 4-String Bass 1977 W/ Hard Case Clean US$650

Vintage Gibson Corvus III Guitar US$565

76 gibson S1 relic with OHSC US$499.99

1997 Gibson Blueshawk Blues Hawk P-90 Electric Guitar US$881.99

1996 Gibson "The Hawk" Guitar US$330

2007 Gibson RD Electric Guitar w/ HS Case US$950

Gibson Marauder 1975 Vintage US$669.99

GREAT CONDITION 1959 GIBSON MELODY MAKER & ORIGINAL CAS US$1500

Rare Gibson "The Hawk" Electric Guitar US$575

World's Ugliest Vintage Gibson Invader & Case US$285


Friday, 16 October 2009

POST # 216 Gibson Archtops Ebay Price Guide II
















here's a couple more Gibson Archtops ! Roll mouse over pic to see name of model. See how much they sold for at the end of the post.
1969 Gibson Byrdland, Blonde. MINT w/ OHSC

1934 Gibson L-50~F-holes~Sunburst Front/Back~ElevPickGd

Vintage 1968 Gibson Barney Kessel Archtop Guitar

Gibson ES-150,1953, P-90, Best Tone Ever, Sunburst
Vintage 1955 Gibson ES-140 3/4 Full-Depth Hollowbody





$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$




1969 Gibson Byrdland, Blonde. MINT w/ OHSC $7000

1934 Gibson L-50~F-holes~Sunburst Front/Back~ElevPickGd US$800

Vintage 1968 Gibson Barney Kessel Archtop Guitar US$2384.99

Gibson ES-150,1953, P-90, Best Tone Ever, Sunburst US$1000

Vintage 1955 Gibson ES-140 3/4 Full-Depth Hollowbody US$1850
The Barney Kessel is something a bit special, I always thought the Ibanez Pat Metheny guitars owes a knod to this!





POST # 215 GIBSON ARCHTOPS Ebay Price Guide
















Ok here we go another installment of Guitar Eureka's Ebay Price Guide, from now on I will try and group them....see if you can pick how much they went for...no seller descriptions but you might get some idea from the pics and get a ballpark price guide when you wanna buy/sell. Answers at end of the post. (Place mouse over picture to see model)






A. 1954 Gibson ES-125 Vintage Hollowbody Electric Guitar


B. 1946 Gibson L-5, P90 pickup *nice* w/case

C. THE GIBSON 6 STRING - L 3 MODEL

D. GIBSON EPIPHONE BYRDLAND ELITIST ELECTRIC ARCHTOP

E. 1954 Gibson ES 125, 130, 150 Guitar







THE PRICE:

1954 Gibson ES-125 Vintage Hollowbody Electric Guitar US$1500

1946 Gibson L-5, P90 pickup *nice* w/case US$5899

THE GIBSON 6 STRING - L 3 MODEL US $1325

GIBSON EPIPHONE BYRDLAND ELITIST ELECTRIC ARCHTOP US $1700

1954 Gibson ES 125, 130, 150 Guitar US $ 1825
I like the simplicity of the "1954 Gibson ES 125, 130, 150 Guitar US $ 1825" guitar I think the seller wasnt quite sure what model it was. The byrdland looks real nice and pretty and for a SOLID SPRUCE top its a lot of guitar for the money. The L3 looks yummy too.






Thursday, 15 October 2009

POST # 214 Jimmy Raney on Guitar and Music

Listen, I don't care about the guitar; music is the main thing. I just happen to play the guitar. - Jimmy Raney

( Nice little interplay between two old timers. - Ed )


Wednesday, 14 October 2009

POST # 213 FENDER ESQUIRE ( 1952 ) EBAY Price Guide







Ok here's another installment of the GUITAR EUREKA! Ebay Price guide...what woud you need to shell out for this yummy all original 1952 Fender Esquire?

This vintage 1952 Fender Esquire is completely original. Nothing has been altered in any way. The overall condition is extremely good. It has typical dings and paint loss for a guitar of this age. The case is new.

This classic plays like a dream and sounds great...!!!
























THE DAMAGE : US$17,500

Tuesday, 13 October 2009

POST # 212 FENDER SUPER REVERB Amp ( 1964 ) Ebay Price Guide


Guitar Eureka's Ebay Price Guide! Here's an almost all original 1964 Fender Super Reverb...what would you pay for it?


here's the blurb from the seller ( find how much it sold for at end of post)


1964 Fender Super Reverb Amp. OK so it's not in mint condition, but it is one great sounding vintage Super Reverb workhorse. The tolex has it's share of nicks and small tears, but it's all there. The grill cloth is in perfect conditions. Comes with the original Victoria cover that has a few small tears and footswitch with early style gray cord. All original with the exception of: power cord end, tubes and some filter caps(see pictures). Would make a great addition to any collection.









THE DAMAGE: US$2950

POST # 211 FENDER TELECASTER CUSTOM SHOP, All Rosewood (2007) Ebay Price Guide


Guitar Eureka! Ebay Price Guide...would you pay top dollar for this nice clean Telcaster Custom Shop Rosewood ...or just LET IT BE???


Here's the blurb from the seller...(Find out how much it sold for at end of post.)



NOT TO BE CONFUSED WITH THE TEAM BUILT OR SATIN FINISH VERSION... THIS IS THE MASTERBUILT GLOSS VERSION!
You are looking at a 2007 Fender Masterbuilt Rosewood 60's Telecaster NOS! If you're old enough, you might remember George Harrison playing one of these Rosewood Tele's on the famous rooftop jam. Fender released a team-built version from the custom shop a few years ago... There is also a "satin finish" version out there in guitar-land. However, this is the much more sought after Masterbuilt GLOSS version. Only the finest woods were selected... and John Cruz himself created this work of art. This guitar is nothing less than a master-piece all the way down to the last screw. Sure, she's a beautiful to look at... but you will not believe the way she plays and sounds! This is the real deal folks! By the way; if you've been shopping around for this guitar, you might have noticed that places like The Music Zoo are selling this exact model for $5999! So save yourself a stack of cash and "BUY IT NOW" right here!! She's 100% original and 100% unmessed with!


Here is the low-down on the features;
Premium Rosewood Body with GLOSSY Finish
Premium Rosewood Neck, Fretboard and Headstock
7.25" Fretboard Radius
21 Vintage Frets
Two (2) 60's Tele Single Coil Pickups
3-Position Blade with "Top-Hat" Switch Tip
Original Vintage Style Tele Bridge with 3 Threaded Steel Saddles
Chrome Hardware
Nut-Width ~ 1.650"
25.5" Scale Length
3-Ply Black/White/Black Pickguard
One Master Tone and One Master Volume Control
She Weighs 7.7 lbs.
Serial # CZ508539


She was born on September 25th, 2007 and has been totally babied! I just picked this up from a good friend of mine who collects only the finest guitars. This one was only played gently a few times in a smoke-free home... Subsequently, there are no nicks, dings or scratches to be found. This is as clean as it gets folks! Otherwise, the neck is straight with no cracks or repairs... The frets are excellent with their entire life ahead of them... and the sound is everything you'd expect from a Masterbuilt Tele! Also included is the original Fender hard shell case (shown in the pictures) which is also in great condition and even includes the case candy, leather strap, factory cable, and Ash Tray Bridge Cover! Whoever wins this sweet guitar is going to be STOKED!!









THE DAMAGE: US$5000


POST # 210 : TELECASTER VALUE on EBAY - 1953 Telecaster


From today onwards I will feature a few price guides gleamed from Ebay of selected Vintage Instruments.

Since Ebay only have info available on completed item for a few weeks only I thought if I index a few instruments it might be interesting and of value to a buyer or seller who wants to check out what someone paid for a guitar.

Most of these guitars are still on Ebay history but will go offline in the near future, if you are interested they might still be availble on their webpage.

BTW I have only included items that HAVE SOLD....bit pointless to include items that are priced ridiculously high and have no correlation with market values!

So without futher ado lets go with our first post! A much worked on 1953 Telecaster....whats it worth??? Find out at end of the post!

Here's the blurb from the seller

Here we have a 1953 Fender Telecaster. Finish has been stripped. . Bridge pickup is original and sounds incredible. Neck pickup is aftermarket. Electronics (cap and pots) are correct. Switch was changed inthe 1960's. Control plate, jack cup and knobs are original. Bridge is original. Brass saddles are replacement. Neckplate is original with original screws. Tuners are double line Kluson tuners from the 1960's. Strap buttons and string tree are original. Original bakelite pickguard was sanded and reshot with overspray when body was stripped (jhey man, it wasthe 60s.) Decal is a replacement but looks rreal good. Frets are in nice shape but was refretted. We hate to let this one go. Gig bag.







THE DAMAGE: US$8995

Bit of Fender history for close to 9K ... good value or not?? What do you think?

Monday, 12 October 2009

POST # 209 Jimi Hendrix on Imitations

I've been imitated so well I've heard people copy my mistakes. - Jimi Hendrix

( Better to come up with your own mistakes rather then imitating someone mistakes and all! - Ed )

Sunday, 11 October 2009

POST # 208 Pablo Picasso on Finishing Work

To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul, to give it its final blow the coup de grace for the painter as well as for the picture. - Pablo Picasso

( The artist/musicians journey is never ending! - Ed )

Saturday, 10 October 2009

POST # 207 Barney Kessel on Music

"Above all, the humanness of a performer should be apparent...the essence of a living being is greater than the music. The music is only an expression of that essence. " - Barney Kessel

( As crazy as it sounds ... life is more then about playing guitar! - Ed )

Friday, 9 October 2009

POST # 206 Johnny Smith on Triads and Upper Extensions

I like to break tonal harmonies down into simple things to work from. With the exception of the 6/9 chord, all of our tonal harmonies harmonies can be broken down into one of four components: a major triad, a minor triad, a major- third interval, and a minor-third interval. The major and minor triads are the upper three notes in just about any chord. For instance, a G13b9contains an E major triad on the three
highest strings: If you want to fit a melody to the G13b9chord, play around an Etriad. If you want to play against,say, a G7#5b9 chord, you have an Abm triad to
work with: So remember: Simplify soloing by playing against the chord’s upper triad. - Johnny Smith

( I love chord substitutions! Make your playing more hip and less 'root' oriented. Plus definately easier to play E major triad then think what ar the notes in G13b9! Although you probably would need to resolve on one of G7 chord tones to pull it off. - Ed )

Thursday, 8 October 2009

POST # 205 Alex Lifeson on RUSH

“If we’ve influenced a generation of bands or musicians, it’s because they look at Rush and think, Here’s a band that wasn’t popular in a mainstream way, yet they’ve been around for 30 years.” - Alex Lifeson

( Alex talks about his gear. - Ed )

Wednesday, 7 October 2009

POST # 204 George Fullerton on Leo Fender's Favourate Amp Design

“Hard to say, I don’t know. We made a 4 speaker bassman (4x10) in the early days – Don Randall and Leo wanted to remove it from the line. Freddy and I wanted to keep it. I really think the bassman was a great sounding amplifier. Leo finally agreed with us and it stayed, but he liked the super too. Leo might say the Super.” - George Fullerton

( Some dude playing some nice BB King Styled blues on a Super. - Ed )

Tuesday, 6 October 2009

POST # 203 Randy Rhoads on his best Solo

“I’d have to say that ‘Mr. Crowley’ is my most memorable solo, I had spent hours trying to figure out a solo for the song, but wasn’t getting anywhere. I finally put something down. Then Ozzy came in and said, ‘It’s crap—everything you’re playing is crap.’ He told me to get in there and just play how I felt. He made me really nervous, so I just played anything. When I came back to listen to it, he said it was great, and I had to agree.” - Randy Rhoads

( Ozzy is one scary dude! - Ed )

Monday, 5 October 2009

POST # 202 Jack Grassel on Creating Your Own Voice

With the current mass availability of instruction it’s more difficult than ever to create your own voice. When Frank Zappa auditioned players, he looked them in the eye and said, "What do you do that's fantastic?" When hiring teachers at MATC (Milwaukee Area Technical College), I would ask them that question. Nine out of ten applicants recoiled and couldn't give an answer. I would also ask, "What do you do that no one else can do?" Needless to say, I wound up with an incredible, fully-functioning faculty that turned out fantastic musicians.

Remember that most of the great music legends were self-taught. They didn't have the internet, instruction books, DVDs, teachers, or music schools. Charlie Parker, Stevie Ray Vaughn, Tal Farlow, George Van Eps, Lenny Breau, Johnny Winter, Eddie Van Halen, McCoy Tyner, Elvin Jones, Roy Haynes, Gary Peacock, Keith Jarrett, Sonny Stitt, Thelonius Monk, etc. These guys were self taught musicians. They can play one note, and you know exactly who it is. Now ask yourself, what degrees to these guys have or what school did they attend? You don't care and it doesn't matter, it's about the music. - Jack Grassel

( You wont find many jazzers like Jack playing an Explorer for sure! Gibson Explorer for jazz...who knew! - Ed )


Sunday, 4 October 2009

POST # 201 Picasso on Truth and Art

If there were only one truth, you couldn't paint a hundred canvases on the same theme. - Pablo Picasso

( Just check out all the different types of "Blues" ! - Ed )







Saturday, 3 October 2009

POST # 200 Joe Pass on Hitting a Wrong Note

“If you hit a wrong note, then make it right by what you play afterwards.” - Joe Pass

( If you play as passionately and take as many risks as Joe you are bound to hit a bum note here and there, much more interesting then someone playing really safe though. - Ed )

Friday, 2 October 2009

POST # 199 Dave Brubeck on Playing Music

There's a way of playing safe, there's a way of using tricks and there's the way I like to play which is dangerously where you're going to take a chance on making mistakes in order to create something you haven't created before. - Dave Brubeck

( Brubeck playing Take 5 - Ed )

Thursday, 1 October 2009

POST # 198 Pat Metheny on Wes Montgomery and Phrasing

Wes' phrasing and melodic development affected me the most. He had a story-telling quality that let ideas unfold over time in a way no guitarist had done before. He took certain stylistic breakthroughs of Sonny Rollins and John Coltrane and applied them to the guitar in a way that is the ultimate achievement for an improvising musician. On a phrasing level, he made the guitar speak. Up to that point, players picked every note and had guitar-like phrasing. He was in the same ballpark with the greatest horn improvisers; he's probably the only pre-1970 guitarist I can say that about. Wes and Jim Hall pretty much revolutionized the instrument. Those are the two guys for me. - Pat Metheny

( Good introduction on Wes - Ed )

Wednesday, 30 September 2009

POST # 197 Leo Fender on the Precision Bass

"In the 40s and 50s, it was common for guitar players in groups to double on bass. My concept of an electric bass arose in response to some important needs. First, it was impossible to get a Dog House' bass around. Second, the bass player had to sing, and it was hell to try and get the bass up to center stage to the microphone. There was a screaming need for a portable bass that could be amplified and with frets so that the guitarist wouldn't have to struggle to stay in tune."

"The only bass strings we could make were made of gut, and they wouldn't work on an electric. To get workable strings, we had to wrap iron wire around the gut strings, which was a miserable job." - Leo Fender

( Once sales of P-Bass took off, V.C Squier made electric bass strings for Fender. Donald Duck Dunn giving the P-Bass a workout. - Ed )

Tuesday, 29 September 2009

POST # 196 Kirk Hammett on Master of Puppets

“I really felt that Master of Puppets was the album that defined that lineup—James, Lars, Cliff and I. We had gotten to know each other’s musical capabilities and temperaments over the three-year period we’d been together, and every song we came up with was another great conception.” - Kirk Hammett

( Vintage Metallica live. - Ed )

Monday, 28 September 2009

POST # 195 Jonny Greenwood on Radiohead Sound

Our ears get bored very quickly. Sometimes a guitar plugged into an amplifier isn’t really enough. So you hear sounds in your head, or on a record, and you say, ‘I want it to sound like this.’ And sometimes it won’t—I can’t play the trumpet, so it’s not going to sound like Miles Davis. But we aim for these things and end up with our own garbled version. - Jonny Grenwood

( Radiohead doing Paranoid Android - Ed )

Sunday, 27 September 2009

POST # 194 Bix Beiderbecke on Jazz

One of the things I like about jazz, kid, is I don't know what's going to happen next. Do you? - Bix Beiderbecke

( Doco on Jazz - Ed)



Saturday, 26 September 2009

POST # 193 Pablo Picasso on Originality

Disciples be damned. It's not interesting. It's only the masters that matter. Those who create. - Pablo Picasso


.

Friday, 25 September 2009

POST # 192 Kenny Burrell on Exercises and Practices.

If we overload ourselves with exercises, our playing will sound like that, I don’t
want to practice things to have little bits and pieces to call on. I’ve studied theory and composition, so I’m aware of all the scales from India, Asia, Europe, Greece—whatever—but I’m not going to put these in my music just because they’re different. Rather than consciously impose scales on a progression, I just try to add something musical—a few notes, some nice sounds. It’s a combination of emotion and intellect, but emotion is the essence. If you don’t have that, you don’t have anything. The most important thing is to express your feeling—not what someone else is feeling. I try to be as free as possible and just let something happen. It will—if you let yourself relax. - Kenny Burrell

(Wonderful jam here contrast Banrey's bebop lines with Grant Green's hardbop soulful approach and Burrell's tasty bluesy sensibility. Really dig Grant Green's comping behind Kessel as well and Burrell's hip outside lines when they were trading 4 in the end. - Ed)

Thursday, 24 September 2009

POST # 191 Stevie Ray Vaughan on the Blues

If people tell me they don’t want to hear a blues band because it brings them down, they’re not paying attention at all. I like a lot of different kinds of music, but if it doesn’t have any soul I can’t relate to it. - Stevie Ray Vaughan

(RIP Steive Ray Vaughan, guitar slinger extraodinarie par excellence. - Ed )

Wednesday, 23 September 2009

POST # 190 Angus Young on Malcolm Young's Gretsch Firebird

...it’s the way he plays rhythm – it’s got that distinct sound, especially with that Gretsch [Firebird]. I’ve tried to emulate his rhythm style myself, at home, with one of his guitars, and it’s no easy task. He’s got those big thick strings on it, like tram tracks, you know? It’s all in his little wrist…….he’s at the point where they’re not making that gauge any more, since the youth want them lighter and lighter. These days, you see, they all want to run from one end of the fretboard to the other. They want to practice scales. I mean, that’s all very good, so long as they do it at home. - Angus Young

(Malcolm getting some glorious sounds from his firebird in TNT. - Ed)

Tuesday, 22 September 2009

POST # 189 Leo Fender on his upstart guitar factory

We were putting an acetate finish on the guitars at the time, and to keep the acetate warm, we kept it near an open gas flame. If anything ever happened we would have blown that building to the moon. Actually, , it was so bad that when the fire inspector came by, he just looked in the door and ran to the nearest pay phone to call us about being in violation of code. - Leo Fender

( Clip of the Fender factory today. - Ed )

Monday, 21 September 2009

POST # 188 Wes Montgomery on Guitarists

Some things you have to leave for somebody else. Of all the good guitarists I've heard, they're either in one thing or another. But then I can imagine how some of the public feel. They say, well, OK, I can hear how you're doing what you're doing - solid, but for some ungodly reason they'd like to see how you'd do something else. And they don't realise what's involved for you to get into another thing. I keep trying to explain 'like, I'm up tight now! - Wes Montgomery

( Benson and Ritenour pays tribute to the master of jazz guitar. - Ed )

Sunday, 20 September 2009

POST # 187 Mike Stern on Chops and Playing Fast

Chops are a luxury item, but if you use them responsibly, they can add a lot to your music. For example, I never wanted to play fast for fast’s sake. But once I was onstage with Blood, Sweat, and Tears while everyone was playing aggressive, burning solos. I tried to play this slow, melodic thing, and Jaco[Pastorius, bassist] told me I needed to learn how to ‘hit up against the time’ and nail faster tempos. So I started working up my speed—not with physical exercises, but by playing tunes a little bit faster each week. - Mike Stern

( Nice interview - Ed )

Saturday, 19 September 2009

POST # 186 Carlos Santana on Writing Europa

“I started writing this song in 1966 or ’67, but didn’t finish it until ’75 when we were on tour with Earth, Wind and Fire, in Manchester, England. We were backstage while they were on stage playing. And we were just warming up, tuning up. I started playing it and [keyboardist] Tom Coster and I completed it right there on the spot. It immediately became a crowd favorite; it is one of those songs that, whether it’s played in Japan or in Jerusalem or in South America, it just fits right in with everything.” - Carlos Santana

( Love this song, Santana gets some beautiful tone from his YAMAHA SG2000 and nice use of a wah pedal in the middle to change it up. What's up with the chef's uniform though??!! I guess he is cooking up some nice tone! - Ed)

Friday, 18 September 2009

POST # 185 Irvin Berlin on Show Business

" Talent is only the starting point. "

" There is an element of truth in every idea that lasts long enough to be called corny. "

" There's no business like show business. " - Irvin Berlin

"Irving Berlin has no place in American Music, Irving Berlin is American Music."
-Jerome Kern

( Unless you are playing for your own amusement at home...it's all show business baby ! Amazing how many of Berlin's songs have endured and are still played today. - Ed )



Thursday, 17 September 2009

POST # 184 Adrian Belew on Elephant Talk

"As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box....For example, after developing a sound similar to an elephant trumpeting, I wrote the song Elephant Talk which gave my elephant sound an appropriate place to live." - Adrian Belew

( With the excellent Robert Fripp on guitar as well! - Ed)

Wednesday, 16 September 2009

POST # 183 Leonardo da Vinci on Importance of Theory

"He who loves practice without theory is like the sailor who boards ship without a rudder and compass and never knows where he may cast." - Leonardo da Vinci

( Knowledge is power ! - Ed )

Tuesday, 15 September 2009

POST # 182 Leo Fender on his first PICKUPS for K&F in the 40's

"The magnets in our pickups came off the flywheel of Model T Fords, which used magnets on the flywheel and coils on the engine block as an alternator" - Leo Fender

( I think it'd be pretty cool if my pickups came from a flywheel of a Model T Ford! Dick Dale talks about Leo Fender. - Ed)

Monday, 14 September 2009

POST # 181 Lenny Breau on his Style

"What I'm trying to do is make impressions. I think of myself as a colorist, adding different colors and shades by using different techniques and touching the guitar in different ways. I'd like to play sounds you can see if you've got your eyes closed. I'll always be a student, because I think of music as never ending." - Lenny Breau

( Lenny Breau what a beautiful cat. - Ed)

Sunday, 13 September 2009

POST # 180 Ritchie Blackmore on Writing and Playing Smoke on the Water

"Simplicity is the key. And it is simple - you can still hear people playing it at music stores. I never had the courage to write until I heard "I Can't Explain" and "My Generation." Those riffs were so straightforward that I thought, "All right, if Pete Townshend can get away with that, then I can, too!" - Ritchie Blackmore

" It's like Jeff Beck - when he can't find a pick, he just plays with his fingers. You know how it is. You're watching television and you can't find a pick, so you just play with your fingers. Even on something as simple as the riff to "Smoke On The Water," you'd be surprised how many people play that with down strokes, which makes a world of difference. Otherwise, you're just hitting the tonic before the fifth." - Ritchie Blackmore


Saturday, 12 September 2009

POST # 179 Charlie Parker on Musicians and Different Genres of Music

"There's always room for musicians, you know. There's no such thing as the middle of the road, it will be one thing or the other -- good music or otherwise, you know. And it doesn't make any difference which idiom it might be in -- swing, bebop, as you might want to call it, or Dixieland -- if it's good it will be heard." - Charlie Parker

(Musical styles go in and out of fashion but who cares what style you are into as long as you are playing your heart out and playing it good! - Ed)

Friday, 11 September 2009

POST # 178 Buddy Guy on his Style

I’ve learned a little more, but it’s still Buddy Guy. If you put me through a modern amplifier, somebody is going to say, “He don’t sound like he used to.” Well, of course, the guitars and amps aren’t the same today. But the man is still the same. I’m using the same fingers I left Louisiana with. I can’t really say how my style has changed, though. I used to tell T-Bone Walker, B.B., Lightnin’ Hopkins, Muddy, and John Lee Hooker—all those guys I learned from—that I didn’t have anything unique. Guess what they said? “Buddy, we got it from someone else, too.”


(Buddy Guy with a couple of legends. - Ed)



Thursday, 10 September 2009

POST # 177 Joe Pass on His Choice of Picks

"Always the same kind. It's half a pick really, a pick broken in two. It's a medium-thin gauge, not soft, but firm. But I use my fingers a great deal too; and pick and fingers, or thumb and fingers. It's not quite as fast with the fingers though." - Joe Pass

(Joe playing beautiful rapid fire bebop lines with Oscar Peterson - Ed)

Wednesday, 9 September 2009

POST # 176 Lenny Breau on his pianistic approach.

• "...I approach the guitar like a piano. I've reached a point where I transcend the instrument. A lot of the stuff I play on the 7-string guitar is supposed to be technically impossible, but I spent over twenty years figuring it out. I play the guitar like a piano, there's always two things going on at once. I'm thinking melody, but I'm also thinking of a background. I play the accompaniment on the low strings." - Lenny Breau

( Two masters at work here. - Ed)

Tuesday, 8 September 2009

POST # 175 Eddie Van Halen on Eruption

"‘Eruption’ wasn’t even supposed to be on the album. I showed up at the recording studio early one day and started to warm up. I had a gig that weekend and I wanted to practice my solo guitar spot. Our producer, Ted Templeman, happened to walk by and he asked, ‘What’s that? Let’s put it on tape!’ " - Eddie Van Halen

( World's most famous warm up. - Ed)


Related Posts Plugin for WordPress, Blogger...