Guitars, amps and misc
'59 FENDER TELECASTER
I acquired my Tele about 25 years ago when a generous pal, John Jensen, gave it to me. He did so because I fell so much in love with it. It still feels like my musical home. Thanks again, John.
I have a '59 Fender Tele, three saddle, top-loading bridge with threaded "steel" saddles. I like Glendale The "Groovy 60s" saddles (See Accessories).
1959 was the only year Fender produced string through BRIDGE and not BODY. As far as the Toploader -- I think the feel and sound is a bit more "rubbery" than a standard Tele.
Both pickups have had windings snap internally (over 20 years ago) and were rewound by Seymour Duncan to the original specs, so I guess they are "original" and "Duncan's" at the same time.
Everything else on my '59 Tele is stock except the Gotoh/Kluson tuners (See Accessories).
The volume and tone potentiometers, etc., are stock. When I replace parts that wear out, I make sure there's nothing modified or "improved". I'm not saying my way is better, I am simply accustomed to the guitar the way I got it and prefer to keep it consistent and simple.
That said- It has jumbo frets - and I've had it re-fretted twice. I like Jumbo frets and they are on my '59, the Fender Signature Tele, the Hahn Model C Tele and on my '57 Music Master.
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HAHN CAMPILONGO MODEL C
How much is it?
$1495 with free gig bag and free shipping in the US. It’s a great boutique Hahn guitar at a price most folks can afford - thank you Chihoe! Does it sound like my "59? No, we didn't go for that - but it's a great sounding dark Tele - and it has a nice scream too. Does it come in Lefty? Yes Is it a Top Loader? It has both string through and a top loading option. I've been top loading. Does it come in custom colors? No, for now we are keeping everything simple to keep costs down - hence the name "Model C". Is there a waiting list? How long will it take to arrive? Chihoe can answer that question best. I know he's been chipping away at the overwhelming amount of orders we received and there is light at the end of the tunnel for those kind souls who have been patiently waiting. Do I play it on my "Live Record" No - it wasn't finished in time. But I've been playing it exclusively and I'm really hoping it can rip my '59 out my hands. I just went to Finland with my '59 (in a cheap-ass gig bag) and was terrorized by a flight attendant who was trying to keep me from bringing the '59 on board. It all worked out but it's always a stressful adventure. How does it compare to the Fender JC Signature? It's a totally different animal but both had similar sound ambitions. Dark, not glassy. How do I order a Model C? Email Chihoe Hahn at chihoe@hahnguitars.com or phone 845-269-8275 |
You can still order a Hahn Campilongo Model C!
$1495 with free soft case and free shipping in the US. Email chihoe@hahnguitars.com or call 845-269-8275 It's a wonderful guitar with a pine body and one piece maple neck, medium C, 7 1/4" to 9 1/2" compound radius and medium jumbo frets. It's finished in 100% nitro lacquer, and has all our best hardware, including a cold rolled steel bridge (precision milled, not stamped), compensated brass saddles, stainless ferrules and .10" thick stainless neck plate. It has a bone nut, Gotoh/Kluson tuners, CRL switch, 250k CTS pots, vintage cloth push back wire and our hand wound pickups. With gig bag and free shipping in the US it's $1495. More info at https://www.hahnguitars.com/model-c/ Watch Chihoe Hahn and Jim Campilongo talk about and demonstrate the Hahn Campilongo Model C…
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Hahn Photos courtesy of Maggie Osterberg
…if you are considering a Telecaster, we highly recommend the (Hahn) Campilongo Model C without reservation. You can’t do better then this truly made custom guitar…’ (full review)
Thanks ToneQuest!
FENDER CAMPILONGO SIGNATURE TELECASTER
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My Custom shop Signature Top-Loader Telecaster was introduced by Fender at the winter NAMM show in January, 2010. There was a limited run of 50 - one pops up on Reverb or eBay every now and then and they've held their value..
The Campilongo Signature Tele featured pickups custom wound to my specs (see "pick ups"). They sound fantastic. My goal was to have a woody, full bodied sound while retaining the character of a great Telecaster.
Jumbo frets, a tall "top hat" toggle for easy switching, and a "T" string tree for easy behind the nut bending are all part of the personality of this guitar - not to mention the easy playability and warm sounds the top-loader bridge brings to the Telecaster table.
Additionally, the bridge plate is flat, without the "lips" originally there for holding the "ash tray" metal cover on older Teles. Personally, I find those lips problematic and a hindrance when trying to pick the low "E" string. I compensate for this on my '59 with a high string altitude at the pickup plate. However, the trade off is high action from the 12th fret up. This "lip-less" plate should make my plectrum life easier.
The Campy model is a standard "white-ish blond" nitrocellulose finish, the exact color of my original guitar, with a white pick guard. Custom color Orange is available was only available in two guitars. I have one, and a lucky winner of a drawing hosted by Fender Custom Shop won a free orange model.
The Campilongo Signature Tele featured pickups custom wound to my specs (see "pick ups"). They sound fantastic. My goal was to have a woody, full bodied sound while retaining the character of a great Telecaster.
Jumbo frets, a tall "top hat" toggle for easy switching, and a "T" string tree for easy behind the nut bending are all part of the personality of this guitar - not to mention the easy playability and warm sounds the top-loader bridge brings to the Telecaster table.
Additionally, the bridge plate is flat, without the "lips" originally there for holding the "ash tray" metal cover on older Teles. Personally, I find those lips problematic and a hindrance when trying to pick the low "E" string. I compensate for this on my '59 with a high string altitude at the pickup plate. However, the trade off is high action from the 12th fret up. This "lip-less" plate should make my plectrum life easier.
The Campy model is a standard "white-ish blond" nitrocellulose finish, the exact color of my original guitar, with a white pick guard. Custom color Orange is available was only available in two guitars. I have one, and a lucky winner of a drawing hosted by Fender Custom Shop won a free orange model.
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All finishes were applied conservatively since I feel most of the great guitars I've played featured "very light" to "nearly nonexistent" finishes. I believe this allows the true resonant character of the wood to shine through. The neck was lightly finished for a "fast" playability.
Pick Ups As far as pickups go, I'm really happy with what I came up with for my Campy model. I went through dozens of pick ups and tried to combine the best features of what I liked and requested modifications for what I needed. I think the Campy pick ups are powerful, full-bodied and warm, but retain a classic vintage voice. They came standard and exclusively on the Campilongo Signature Tele and were not offered separately. 
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Femenella Duosonic
• Alder DuoSonic body
- Desert Sand nitrocellulose lacquer finish
- Fender Lic. Musikraft maple neck - 7.25" radius, 6105 frets
- Neck is 24.75" scale with 'Soft V' profile, oil/varnish finish
- DuoSonic top load bridge with Glendale 'groovy 60s' saddles
- Seymour Duncan 'Antiquity' DuoSonic pickups
- Custom gold anodized pickguard
- Callaham stainless steel neck plate, strap buttons
- Bone nut, Kluson vintage style tuners
- DuoSonic vintage style wiring, knobs and switch
- D'Addario EXL110 strings
I love Duosonics and the middle position has a rich, lush sound. The other toggle positions sound wonderfully low fidelity. Like Ike Turner ...or something like that. Great/Bad. I've never played the Femenella on 10 and have no idea if those pick ups can get a "woman tone" ... I have my doubts. But for a soulful, surprisingly lush guitar, a Duosonic does the job. I have a '56 Duosonic and a '57 Music Master (see below) I purchased before the prices skyrocketed. After I saw Luca Benedetti's and fell in love with the look and the perfect C shape necks I went on the hunt for these then underpriced and underrated guitars. The necks get TINY around '59 so be careful! The Fender necks are short scale to begin with and I had difficulties a '59 that I eventually sold. I couldn't play a first position C chord... not enough real estate on the fingerboard. The Femenella is nice and roomy (Les Paul scale) and my '56 and '57 are to my liking. Again, there is a "crappiness" (sorry- it's the most fitting word I can think of) to Duosonics that is kinda perfect to my ears -except for middle position that transforms the guitar from a VW bus to a 60's Cadillac. Either way, I think they are beautiful and marvel that they were originally a bottom of the line student guitar.
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OTHER GUITARS...
Hank Garland inspired Bigsby - Johnny Dilks builder
The amazing and talented Johnny Dilks built this Hank Garland/Bigsby style guitar in the 90's for me. It was one of the times in my life I wished my last name was "Jones". John persevered and built this incredible piece. Thank you John, for this, and your lifelong friendship....
*A synopsis by Johnny Dilks *The guitar is made of three woods. The top and back are western curly maple, and the neck is Birdseye maple. The sides and headstock are figured quartered sawn koa, and the pickguards are cocobolo (rosewood), and the fingerboard is Brazilian rosewood. All of the inlay is mother of pearl.
The pickups were hand made: machined from solid blocks of aluminum. Alnico 7 magnets were used based on researched Bigsby specs. I don’t remember the exact wire gauge used in the windings but it was WWII surplus Formvar wire (I think it was 38 gauge but I could be wrong). They were hand wound on a machine my friend Matt Graham built out of an old fishing reel and a manual click type counter at his barn in Morgan Hill CA. Each pickup took a full day to wind and were tapped to get two outputs for each pickup. The low output is 1800ohms and the upper output is 7 or 8k. The low output is in the range of what Bigsby used in his early pickups and the upper output is what a late 50’s Tele would’ve had. We also put an under bridge Piezo type pickup in it. I don’t remember the brand.
The pots were stacked pots and I remember I wanted the low output bottom pot to be at 500ohms.
Also, it’s hollow, I bent the sides like a traditional acoustic guitar and built forms for it. The neck is screwed on like a tele. The goal was to build a hybrid between a 50’s telecaster and Hank Garlands Bigsby guitar.
The amazing and talented Johnny Dilks built this Hank Garland/Bigsby style guitar in the 90's for me. It was one of the times in my life I wished my last name was "Jones". John persevered and built this incredible piece. Thank you John, for this, and your lifelong friendship....
*A synopsis by Johnny Dilks *The guitar is made of three woods. The top and back are western curly maple, and the neck is Birdseye maple. The sides and headstock are figured quartered sawn koa, and the pickguards are cocobolo (rosewood), and the fingerboard is Brazilian rosewood. All of the inlay is mother of pearl.
The pickups were hand made: machined from solid blocks of aluminum. Alnico 7 magnets were used based on researched Bigsby specs. I don’t remember the exact wire gauge used in the windings but it was WWII surplus Formvar wire (I think it was 38 gauge but I could be wrong). They were hand wound on a machine my friend Matt Graham built out of an old fishing reel and a manual click type counter at his barn in Morgan Hill CA. Each pickup took a full day to wind and were tapped to get two outputs for each pickup. The low output is 1800ohms and the upper output is 7 or 8k. The low output is in the range of what Bigsby used in his early pickups and the upper output is what a late 50’s Tele would’ve had. We also put an under bridge Piezo type pickup in it. I don’t remember the brand.
The pots were stacked pots and I remember I wanted the low output bottom pot to be at 500ohms.
Also, it’s hollow, I bent the sides like a traditional acoustic guitar and built forms for it. The neck is screwed on like a tele. The goal was to build a hybrid between a 50’s telecaster and Hank Garlands Bigsby guitar.
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'62 Strat signed by Roy Buchanan "Live Happy"
I played this guitar for about a decade (80's) that began when I traded a Roland guitar synth for this guitar. That unlikely swap made more sense back then, I think... When I got it, it was baby blue which still peaks out on the corner of the body (where my arm is placed). Hard living and hard playing back in my younger days contributed to the guitar turning green. I think *I* turned green a few times back then too! ha ha... My 62 Strat appears on many of my LP's particularly Table for One. It's all Strat on "The Grass is Greener" and on a few other tracks. I've used it extensively as an overdub guitar for rhythm etc. You can hear it shimmy on the bridge of Snakestretcher and that encapsulates this guitars sound...When I met Roy I didn't say a single word and he autographed my guitar with directed slight hand motions and head nods. I was too star-struck to speak. He was nice and almost gentle and said "drive safe" when I left the green room at The Stone on Broadway in SF. I love that memory and this guitar. Anyway, again, I hope you enjoy the pics. All the best- Jim
"FRANK"
Frank (short for Frankenstein) is a guitar made from “extra” parts from my Fender Campilongo Signature Tele that were unintentionally amassed during the construction and design of my guitar. After a year of shipping back and forth to Fender, one cleaning day as I organized parts, it occurred to me "Do I have a complete guitar here?". Hence, the Fender signature guitar I call Frank was assembled. One can see the personalized modifications that were in their infancy. Since I wanted a very light finish on the neck (two coats) I had the finish removed manually from the neck. Not a pretty sight. I wanted the bridge plate “lipless” and some of the lip remains on this prototype bridge, unlike the final version that is a clean sweep of lip. The pickups were nameless prototypes, possibly rejects? That said, as the guitar gods would have it, this was my favorite Campilongo signature guitar and it has "IT”. One can see the wear on the body where the paint was removed from arm wear because this guitar was PLAYED. I toured Italy and Finland with Frank. The back was signed by Blues legend Hubert Sumlin (Howlin’ Wolf’s guitarist) which is the absolute cherry on top and something I’ll always cherish.
1958 0015 Martin
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1956 Fender Duosonic
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1957 Fender Music Master
Green Stamp Melody Plus
My first guitar. I still have it and I still love it. Thank you Austin Slater and Bunnie Gregoire, you changed my life. 
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1958 Gibson 225
1970 Martin D-35
Alvarez Nylon String “AL”
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AMPLIFICATION
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I own many amps but I prefer the weight, portability and sound of Princeton Reverbs. I own two '66 Princeton Reverbs, and three 70s...I bought most of these Princetons in 2002/2004 when I felt they were underpriced. I'm going to hold onto to the Princetons I have, though it is a glut - because I know I'll never replace them.
I use one amp mostly- a Silverface Princeton with a Celestion (see below). I replace the tubes every 6 months/year - and get it serviced often so it's quiet and fully functional. Half the battle is keeping a vintage amp maintained. I know of recording studios who proudly catalog 25 amp models - and my experience is, they have 25 amps that need to be serviced/cleaned. |
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My main amp - A 1970 Silverface Princeton Reverb with a Celestion speaker -more info about the speaker below ...
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My '70's Vibrochamp ( an excellent vibrato effect).... Occasionally I use it for recording. It's on "Hamster Wheel (Slight Return)" and "Menace" off "Heaven is Creepy".
1954 Gibson Les Paul amplifier
It's really pretty, isn't it? I prefer plugging into the microphone input that has more wattage- and when it's cranked, it sounds incredible. Like Link Wray meets AC/DC. That said, at the outset the microphone input was microphonic and there was some unwanted feedback. Although I was initially doubtful, tube dampers remedied the problem and the amp has functioned perfectly ever since. Honestly? It doesn't leave the house much.
AMPEG GEMINI ONE
This is a rare Ampeg, it’s an early Gemini One with octal tubes and and not 9 pin miniature tubes. The first few off the line were like this and there is no mention of these anywhere, even in the Ampeg book. It’s going to be a mellower, less gain and more low mids then other Gemini’s one and two’s. Very 40’s vibe form the octal tubes.
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SPEAKERS
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The variety of speakers in my Princeton amps:
a) Celestion G-10 for a throaty "compressed" sound. This speaker isn't too bright so sometimes I'll use it for "jazz" sounds as well. Me? I love these speakers. Affordable too. https://celestion.com/product/30/g10_vintage/ |
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b) 60's "Gold Back" Jensen C-10 N. My favorite speaker. The more advanced the the Jensen speaker alphabet (as in Q verses N) the less the wattage capacity. The N Jensen C-10 seem to be robust enough to handle maximum volume, de-tuning and whatever else I throw at it. The highs are cutting but still pleasant. The last time I looked - these speakers were very expensive. Folks, a positive aspect of being "older" is I could buy this stuff before the prices became out of hand!
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Tubes
Until the last couple years, I was a NOS ( New Old Stock - RCA, Sylvania, Brimar etc.) tube guy. But I started experiencing NOS tubes getting more and more inconsistent and meanwhile - more expensive. Not a good combination. I converted - I use JJ's. They are good enough, and last a decent amount of time (one year is what I shoot for).
Fender Princeton Reissue
I endorse the Fender Princeton reissue and I think the guys at Fender did a great job. I'm proud to endorse the amp. A video of what I have to say about the reissue can be found here http://www.youtube.com/watch?v=gHVG4kDurtY
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Crazy Tube Circuits Stardust "Blackface"
One of the best sounding, touch dynamic overdrive pedals I've ever played... The Stardust Pedal was very intuitive and it took me 4 seconds to dial in a great sound and a perfect balance... I was totally inspired by my sound all night. The Stardust Blackface has what I've been looking in a overdrive for a long, long time. A pedal that gives me some great beefy authentic vintage amp sounds, without having to crank the amp to overkill settings. I easily dialed up some "Sticky Fingers" on steroids sounds, and achieved some thick Buchanan-isms too. Tone knob and volume swells were easily attained... Most importantly, my tone and volume controls are still responsive to fairly subtle variations.- many "ballsy" overdrives (OCD Pedal) eliminate the controls on the guitar. Please note - I haven't tried to use Stardust "Blackface" Overdrive Pedal as a subtle booster yet, but for a "Santana Abraxas" like sound, this little powerhouse hit a home run. http://crazytubecircuits.com/stardust-blackface |
JAM Waheko + Wah Wah
My JAM Waheko + (plus) Wah Wah is a great Wah. It has the classic Cry Baby sound, but it has a more dramatic sweep especially when using the Sweep knob. I use it as a Wah, a tone control and to add feedback. It's apparently indestructible too. I'm very happy with it and right now, it's the only pedal I regularly use.
More Info: https://www.jampedals.com/wahcko-plus/
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Universal Audio OX Amp Top Box Reactive Load Box
“…The Universal Audio OX Amp Top Box is a premium reactive load box, allowing guitarists to play and record their tube amp in its ideal sweet spots — from the edge-of-breakup to fully cranked — at any volume level, and with instant album-quality mic, room, and speaker cabinet emulations at the turn of a knob...”
Jim here - I am overwhelmed by how great the OX sounds. One can choose amp models, amp speakers, the type of mic and the mix of room, close mic etc - it even has a carpet or no carpet setting. One can get great sounds that still retain the personality of your guitar and amp. I am learning too. For example -the plate reverb looks exactly like a plate reverb in a studio, that I’ve never physically touched. But on the OX I’ve adjusted every variable to my hearts content and now I feel like I can independently find a setting on a plate reverb I love, without an engineer. Luca Benedetti are considering recording our duet record on the OX here in my Brooklyn apartment. The OX (and Luca) sounds that good.
Here’s an in-depth OX review by Joe Gore…
https://www.premierguitar.com/articles/27097-universal-audio-ox-review
More info from Universal Audio...
https://www.uaudio.com/hardware/ox.html
Boomerang Phrase Sampler
I also love the Boomerang Phrase Sampler... maybe I'm alone here, but I prefer the simplicity of very first model. It's a great musical tool to use during lessons, for writing and for practicing soloing over changes... I also like to use the Boomerang Phrase Sampler for short vibey looping.
D'ADDARIO STRINGS
I like 009 sets (D'Addario EXL120) because of the sound. There is a "ping" I enjoy and in my opinion, a light gauge string can sound big... I also want to avoid tendonitis...
My first endorsement ever, back in the stone ages of 1997, was from a lineage known to guitarists everywhere: the D'Addario family. I remember 1997 like it was yesterday—well, maybe the day before. Twenty-four years have passed since then, and I still feel a debt of gratitude—plus I still use their strings. I put D'Addario EXL120 strings on my Tele, D'Addario EXL110 strings on the Gibson 225, and one Campilongo Signature has D'Addario ECG524 Chrome Flat Wounds, which give it an amazingly smooth tone and feel. On my 1958 Martin 0015 I use D'Addario EJ13 80/20 Bronze Lights.
I like 009 sets (D'Addario EXL120) because of the sound. There is a "ping" I enjoy and in my opinion, a light gauge string can sound big... I also want to avoid tendonitis...
My first endorsement ever, back in the stone ages of 1997, was from a lineage known to guitarists everywhere: the D'Addario family. I remember 1997 like it was yesterday—well, maybe the day before. Twenty-four years have passed since then, and I still feel a debt of gratitude—plus I still use their strings. I put D'Addario EXL120 strings on my Tele, D'Addario EXL110 strings on the Gibson 225, and one Campilongo Signature has D'Addario ECG524 Chrome Flat Wounds, which give it an amazingly smooth tone and feel. On my 1958 Martin 0015 I use D'Addario EJ13 80/20 Bronze Lights.
FUSION V-PICK
The picks I use are made by V-Pick and I like the "Fusion" model. They aren't crazy cheap ($5) but they last FOREVER and the feel is worth every penny.
https://v-picks.com/shop/fusion-guitar-pick/
The picks I use are made by V-Pick and I like the "Fusion" model. They aren't crazy cheap ($5) but they last FOREVER and the feel is worth every penny.
https://v-picks.com/shop/fusion-guitar-pick/
SOULDIER GUITAR STRAPS
The Souldier website is a lot fun and their designs have something for everyone. I think some of the designs are beautiful and dressy - and they have some designs that are totally retro and the same as my guitar heroes wore, back in the day.
http://www.souldier.us/
The Souldier website is a lot fun and their designs have something for everyone. I think some of the designs are beautiful and dressy - and they have some designs that are totally retro and the same as my guitar heroes wore, back in the day.
http://www.souldier.us/
STEEL SADDLES FOR MY TELE GLENDALE "THE GROOVY 60'S"
I like these saddles. They've lasted and they do the job. Some folks swear by brass saddles but I always miss having a string slot and sometimes when I pick close to the bridge, my downstroke will move the string (on a smooth saddle).
https://glendaleguitars.com/saddles/
I like these saddles. They've lasted and they do the job. Some folks swear by brass saddles but I always miss having a string slot and sometimes when I pick close to the bridge, my downstroke will move the string (on a smooth saddle).
https://glendaleguitars.com/saddles/
Guitarists I like...
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"Brisbane Bop" with Jimmie Rivers on guitar had a huge impact on my playing. I studied that record for years before actually meeting Jimmie in 1996. I was lucky enough to meet Jimmie Rivers in a small restaurant in Placervlle, Calif where he held his every Sunday residency. I walked in the place (I forget the name, The Blue Gill or something like that...) and couldn't believe the sound coming from a corner in the restaurant was the unmistakable sound of Jimmie's guitar style. There was no stage and Jimmie and his band played on the carpeted restaurant floor. This is no hard-luck story, one could feel the joy and camaraderie transmitted into sound as the band played. This wasn't "Brisbane Bop" but it was well played swing by excellent, talented pros. Jimmie was teasing the waitress to bring him a drink while he joked, smoked, taunted and took everything around him. He spotted me and during the break walked over. He was interested in me, why I came. When I told him his guitar work was big influence, he became self-effacing and emotional. He really couldn't understand the interest "Brisbane Bop" was receiving. When I asked if the "Jimmies Blues" solo was worked out, he roared with laughter and cried out "We were all drunk!" I was lucky enough to sit in with the band. They were all really nice and supportive despite my nervousness and occasional musical shortcomings. Later Jimmie invited to visit his house and meet his wife Maria. I overcame my fear and called a few weeks later. This led to many thrilling opportunities including playing his "Retirement Show" at the Great American Music Hall and to a few guitar lessons.
His guitar lessons were amazing! He was very into sharing his concepts and was thrilled I was interested. I couldn't help think that being 70 years old had him feeling like someone should carry on the flame. He'd show me ideas and say "People go nuts when you play this at the end of a song!". He was not Mr. Music Theory, he called Emi7b5 (prefacing A7), "Little C7" but he had a profound genius in cutting away all the useless fat and showing the essential "meat". Many of his ideas were based on Jazz trumpeter Bill Davison and Charlie Christian via Barney Kessel. He once said the only solo he liked from "Brisbane Bop" was "Rose Room" in which he plays the Christian solo pretty much note for note. Jimmie could break down and simplify like a true Zen Master and many of his concepts I still draw upon and share. |
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MY MONTHLY COLUMN "VINYL TREASURES" GUITAR PLAYER MAGAZINE
Jimmie Rivers and the Cherokees Brisbane Bop
Chet Atkins - A Session with Chet Atkins
Bill Doggett - Everybody Dance the Honky Tonk
Billy Byrd - I Love a Guitar- Play it Pretty
Billy Grammer Gospel Guitar
Bo Diddley The Black Gladiator
Buddy Emmons Steel Guitar Jazz- Four Wheel Drive
Cream Wheels of Fire
Cypress Hill - Cypress Hill
Dick Nolan Truck Driving Man
Eddie Peabody Plays Sm-o-o-o-thies Guitar Player Magazine
Ernest Ranglin A Mod A Mod
George Barnes Be There at Five Guitar Player Magazine February 2016
HANK GARLAND JAZZ WINDS FROM A NEW DIRECTION
HARVEY MANDEL THE SNAKE
HOWARD ROBERTS H.R. IS A DIRTY GUITAR PLAYER
JOHN LENNON PLASTIC ONO BAND
JOHN MCLAUGHLIN DEVOTION
JULIAN BREAM MUSIC OF SPAIN VOL. 5
JULIE LONDON JULIE IS HER NAME
JOHNNY WINTER LIVE JOHNNY WINTER AND
MERLE HAGGARD OKIE FROM MUSKOGEE
The Paul Butterfield Blues Band East West Guitar Player Magazine April 2017
PIL SECOND EDITION
PIONEERS OF THE JAZZ GUITAR
Renata Terrago The Music of Francisco Terrega Guitar Player Magazine April 2016
Roy Buchanan - Roy Buchanan Guitar Player Magazine February 2017
SANTO AND JOHNNY (1ST RECORD)
SHELDON BENNETT SWINGIN' SOUTHERN GUITAR
Speed West Steel Guitar Guitar Player Magazine May 2017
THE NEW TONY WILLIAMS LIFETIME BELIEVE IT
WILLIE NELSON SOMEWHERE OVER THE RAINBOW
RAMONES IT'S ALIVE
BILL EVANS EVERYBODY DIGS BILL EVANS
COUNTRY GUITAR VARIOUS ARTISTS
SANTANA ABRAXAS
SEX PISTOLS NEVER MIND THE BOLLOCKS
BLIND LEMON JEFFERSON THE IMMORTAL BLIND LEMON JEFFERSON
JOHN McLAUGHLIN CARLOS SANTANA LOVE DEVOTION SURRENDER
BILL CONNORS OF MIST AND MELTING
JOHNNY PAYCHECK AT CARNEGIE HALL
MUDDY WATERS CHESS BLUES MASTERS SERIES
JIMI HENDRIX ELECTRIC LADYLAND
ANDRES SEGOVIA MASTERS OF THE GUITAR
RED SIMPSON ROLL TRUCK ROLL
BUDDY EMMONS EMMONS GUITAR INC.
Les Paul & Mary Ford Bye Bye Blues Guitar Player Magazine January 2020
Lee Konitz Motion Guitar Player Magazine February 2020
Lonnie Mack The Memphis Sounds of Lonnie Mack Guitar Player Magazine March 2020
Agustin Barrios Guitar Player Magazine April 2020
MC5 Kick Out the Jams Guitar Player Magazine May 2020
Curtis Mayfield Super Fly Guitar Player Magazine June 2020
Beatle White Album Guitar Player Magazine July 2020
FLEETWOOD MAC THEN PLAY ON GUITAR PLAYER MAGAZINE VINYL TREASURES NOVEMBER 2020
Yardbirds 'Rave Up' Vinyl Treasures Guitar Player Magazine December 2020
Kenny Burrell "Midnight Blue" Vinyl Treasures Guitar Player Magazine January 2021
Ritchie Blackmore "Machine Head" Vinyl Treasures Guitar Player Magazine Feb 2021
Johnny Smith Moonlight in Vermont - Vinyl Treasures Guitar Player Magazine March 2021
Billie Holiday Last Recording Vinyl Treasures Guitar Player Magazine April 2021
Boston's 1st Record Guitar Player Magazine Vinyl Treasures May 2021
"Do the Twist with Ray Charles" Vinyl Treasures Guitar Player Magazine June 2021
Trio Matamoros Vinyl Treasures Guitar Player Magazine July 2021
Phil Baugh "Country Guitar" Vinyl Treasures Guitar Player Magazine August 2021
Mary Osborne Vinyl Treasures Guitar Player Magazine September 2021
Allman Bros At Fillmore East Vinyl Treasures Guitar Player Magazine October 2021
Thumbs Carllisle On His Own Vinyl Treasures Guitar Player Magazine Nov 2021
GUITAR REPAIR
Femenella Custom/Brooklyn
Lou Femenella is my guy... Lou does world class, conscientious work. His set ups on my '59 are inspiring. His redux on my Gibson 225 was fantastic and he made the damn thing bullet-proof, yet it retained it's elegant feel & look. Aside from raising the real estate of your instrument, Lou also makes world-class guitars and necks - See photos and link below. Visit Lou - you’ll be happy you did.
http://www.femenellacustom.com/
info[at] femenellacustom.com
Femenella Custom/Brooklyn
Lou Femenella is my guy... Lou does world class, conscientious work. His set ups on my '59 are inspiring. His redux on my Gibson 225 was fantastic and he made the damn thing bullet-proof, yet it retained it's elegant feel & look. Aside from raising the real estate of your instrument, Lou also makes world-class guitars and necks - See photos and link below. Visit Lou - you’ll be happy you did.
http://www.femenellacustom.com/
info[at] femenellacustom.com
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In New York/Manhattan luthier Tom Crandall at TR Crandall did a great job re-fretting my 1957 Music Master. I trust their work and their store is always worth a visit.
https://trcrandall.com/
(646) 692-4235
179 E. 3rd Street NY, NY 10009
In New York/Manhattan luthier Tom Crandall at TR Crandall did a great job re-fretting my 1957 Music Master. I trust their work and their store is always worth a visit.
https://trcrandall.com/
(646) 692-4235
179 E. 3rd Street NY, NY 10009
Whenever I'm in California, I have my guitar set up by Luthier Kenneth Harper. He does GREAT WORK and the most perfect setups my fingers have experienced.
Harper Manufacturing, Makers of Fine Stringed Instruments
email: twangster_1999 [at] yahoo.com
phone: 707-446-0487
7246 Browns Valley Rd
Vacaville, CA 95688
Harper Manufacturing, Makers of Fine Stringed Instruments
email: twangster_1999 [at] yahoo.com
phone: 707-446-0487
7246 Browns Valley Rd
Vacaville, CA 95688
AMP REPAIR
MAIN DRAG MUSIC BROOKLYN
Pat is a thorough professional who fixes Fender amps and beyond with expertise and experience. Main Drag is large space with a good selection of guitars and amps. Good for consignments too.
Main Drag Music
718-388-6365
www.maindragmusic.com
info [at] maindragmusic.com
330 Wythe St Williamsburg, Brooklyn 11211
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THE AMP LAB CAMPBELL, CALIF
On the West coast there is none better at amp repair then Keith Reinegger at the Amp Lab in Campbell, CA. As far as I'm concerned he's the "Zen Master". Tell him "Jim Can't-Be-Long-Now" sent you.
https://www.yelp.com/biz/the-amp-lab-campbell
Keith Reinegger
Amp Lab
279 Dillon Ave # 1
Campbell, CA 95008
(408) 871-2422
My Other favorite stores ...Definitely worth a visit!
Main Drag Music (Brooklyn)
330 Wythe Avenue(corner of South 1st street)Brooklyn.
http://www.maindragmusic.com/
Southside Guitars (Brooklyn)
(718) 218-8201
303 Grand St Brooklyn, New York 11211 southsideguitars@gmail.com
https://www.southsideguitars.com/
Retrofret Vintage Guitars (Brooklyn)
(718) 237-6092
87 Luquer St, Brooklyn, NY 11231
http://www.retrofret.com/
Carmine St Guitars (Manhattan)
(212) 691-8400
42 Carmine St, New York, NY 10014
http://www.kellyguitars.com/