Team HC

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC January 16th - 22nd Historically speaking, this week in rock music has been marked by a trove of memorable events. Buddy Holly made his final recordings, a great southern band reunited following a tragic loss, and a British icon achieved his first Number One album in America. A spate of classic albums was released as well, including landmark records by The Beatles, Bob Dylan and Def Leppard. Read on for a look back at other significant moments that shaped rock and roll during this historically eventful week. Events 1957 – The Cavern Club opens in Liverpool. 1957 – Johnny Cash makes his first appearance on national TV, performing on “The Jackie Gleason Show.” 1959 – TV ratings service Arbitron reveals that “American Bandstand” is the most popular daytime show in the U.S. 1959 – Buddy Holly makes his final recordings, sitting alone with an acoustic guitar in his apartment in Greenwich Village. 1965 – The Rolling Stones and The Kinks make their debut on the pioneering music variety show, “Shindig!” Other guests include the Dave Clark Five and Gerry and the Pacemakers. 1967 – The Monkees perform live for the first time, staging a concert at The Cow Palace in San Francisco. The show is a sell-out. 1970 – Robert Moog unveils his “minimoog” synthesizer. Carrying a retail price of $2,000, the portable synth becomes the first such instrument to be taken out on tour by rock bands. 1973 – Jerry Lee Lewis performs at the Grand Ole Opry for the first time. 1974 – Former Free members Paul Rodgers and Simon Kirke team with ex-Mott the Hoople guitarist Mick Ralphs and former King Crimson bassist Boz Burrell to form the super-group, Bad Company. 1975 – Paul McCartney and Wings arrive in New Orleans to begin recording their Venus and Mars album. Sessions take place at Allen Toussaint’s Sea Saint studios. 1979 – Lynyrd Skynyrd reunite to perform for the first time since the horrific 1977 plane crash that took the lives of three band members. 1980 – Iconic southern rock label Capricorn Records files for Chapter 11 bankruptcy. 1980 – Pink Floyd’s The Wall begins a 15-week run atop the U.S. album charts. 1981 – Motley Crue forms when bassist Nikki Sixx begins rehearsing with drummer Tommy Lee and singer-guitarist Greg Leon. Leon soon departs, with guitarist Mick Mars stepping in as replacement. Singer Vince Neil joins the band in April. 1982 – Ozzy Osbourne bites the head off a bat during a performance, believing the animal to be fake. Later it’s reported that Osbourne underwent a series of rabies shots. 1982 – B.B. King donates his 20,000-record album collection to the University of Mississippi’s Center for the Study of Southern Culture. Among the albums are 7,000 discs King played during his years as a Memphis disc jockey in the ‘50s. 1988 – Tina Turner performs for a crowd of 182,000 at a concert in Rio de Janeiro. At the time, the show marked the biggest-ever attendance turnout for a concert staged by a solo artist. 1996 – David Bowie, Pink Floyd, and the Velvet Underground are among the artists inducted into the Rock and Roll Hall of Fame during this year’s ceremony. 2000 – Carlos Santana’s Supernatural begins a multi-week run atop the U.S. album charts. The comeback LP goes on to earn eight Grammy wins. 2008 – Charlie Daniels is inducted into the Grand Ole Opry. 2016 – David Bowie’s Blackstar reaches Number One on the American album charts. The album is the first LP by Bowie to achieve this distinction. Releases 1964 – The Beatles: Meet the Beatles! 1966 – Simon & Garfunkel: Sounds of Silence 1967 – The Rolling Stone: Between the Buttons 1968 – Dr. John: Gris-Gris 1968 – Iron Butterfly: Heavy 1968 – Aretha Franklin: Lady Soul 1968 – Spirit: Spirit 1971 – ZZ Top: ZZ Top's First Album 1971 – Mountain: Nantucket Sleighride 1972 -- Blue Öyster Cult: Blue Öyster Cult 1974 – Bob Dylan: Planet Waves 1974 – Brian Eno: Here Come the Warm Jets 1974 – Gordon Lightfoot: Sundown 1975 – Bob Dylan: Blood on the Tracks 1976 – Lou Reed: Coney Island Baby 1978 – Journey: Infinity 1980 – The Pretender: Pretenders 1983 – Def Leppard: Pyromania 1984 -- Bon Jovi: Bon Jovi 1987 -- Hüsker Dü: Warehouse: Songs and Stories 1988 – Megadeth: So Far, So Good... So What! Deaths Alan Freed – Jan. 20, 1965 Jackie Wilson – Jan. 21, 1984 Colonel Tom Parker – Jan. 21, 1997 Carl Perkins – Jan. 19, 1998 Wilson Pickett – Jan. 19, 2006 Denny Doherty (The Mamas & the Papas) – Jan. 19, 2007 Don Kirshner – Jan. 17, 2011 Johnny Otis – Jan. 17, 2012 Etta James – Jan. 20, 2012 Glenn Frey – Jan. 18, 2016 John Stewart – Jan. 19, 2008 Steve Knight (Mountain) – Jan. 19, 2013 Births Leadbelly – Jan. 20, 1888 George Handy – Jan. 17, 1920 Sam Cooke – Jan. 22, 1931 Bob Bogle (The Ventures) – Jan. 16, 1937 Phil Everly -- Jan. 19, 1939 David Ruffin (The Temptations) – Jan 18, 1941 Richie Havens – Jan. 21, 1941 Janis Joplin -- Jan. 19, 1943 Rod Evans (Deep Purple) – Jan. 19, 1945 Dolly Parton – Jan. 19, 1946 Mick Taylor – Jan. 17, 1948 Robert Palmer – Jan. 19, 1949 Steve Perry (Journey) – Jan. 22, 1949 Dewey Bunnell (America) – Jan. 19, 1951 Randy California – Jan. 20, 1951 Paul Stanley – Jan. 20, 1951 Ian Hill (Judas Priest) – Jan. 20, 1952 Steve Earle – Jan. 17, 1955 Michael Anthony (Van Halen) – Jan. 20, 1955 Susanna Hoffs – Jan. 17, 1959 Michael Hutchence – Jan. 22, 1960 Steve Adler (Guns N’ Roses) – Jan. 22, 1965 Luther Dickinson – Jan. 18, 1973 Nick Valensi (The Strokes) – Jan. 16, 1981 Orianthi – Jan. 22, 1985 January 22nd - 29th From the birth of Eddie Van Halen to the release of Elvis Presley’s timeless tune “Heartbreak Hotel,” the week of Jan. 23 through 29 is a good one for rock ‘n’ roll. Let’s not forget Nirvana recording a special demo tape with the Melvins’ Dale Crover, to boot. Read on for some major events, historic record releases and births and deaths taking place Jan. 23 through 29. Events 1962 - Warner Brothers Records signed a deal with Peter, Paul & Mary. 1969 - Jethro Tull performed their debut U.S. concert in New York City. They opened at the show for Led Zeppelin. 1986 - The first musicians were inducted into the Rock and Roll Hall of Fame, including Elvis Presley, Chuck Berry and Fats Domino. 1988 - Nirvana recorded a 10-track demo tape with producer Jack Endino. Dale Crover from the Melvins played drums. 1990 - "Tom Petty Day" was made official in Petty’s hometown of Gainsville, Florida. Births Danny Federici (E Street Band), January 23, 1950 Robin Wayne Zander (Cheap Trick), January 23, 1953 Earl Falconer (UB40), January 23, 1959 Ray Stevens, January 24, 1939 Neil Diamond, January 24, 1941 Etta James, January 25, 1938 Richard Finch (KC and the Sunshine Band), January 25, 1954 Corky Laing (Mountain), January 26, 1948 Lucinda Williams, January 26, 1953 Eddie Van Halen (Van Halen), January 26, 1957 Norman Hassan (UB40), January 26, 1958 Nick Mason (Pink Floyd), January 27, 1944 Brian Downey (Thin Lizzy), January 27, 1951 Seth Justman (The J. Geils Band), January 27, 1951 Gillian Gilbert (New Order), January 27, 1961 Mike Patton (Faith No More), January 27, 1968 Mark Trojanowski (Sister Hazel), January 27, 1970 Corky Laing (Mountain), January 28, 1948 Tommy Ramone (drummer for Ramones), January 29, 1952 Eddie Jackson (Queensryche), January 29, 1961 Jonny Lang, January 29, 1981 Deaths Terry Kath (Chicago), January 23, 1978 Allen Collins (Lynyrd Skynyrd), January 23, 1990 James "Shep" Sheppard, January 24, 1970 Lamar Williams (The Allman Brothers Band), January 25, 1983 Jim Capaldi (Traffic), January 28, 2005 Billy Powell (Lynyrd Skynyrd), January 28, 2009 Releases Elvis Presley, Heartbreak Hotel, 1956 Prince, Take Me With U, 1985 Van Halen, Balance, 1995 Dream Theater, Six Degrees of Inner Turbulence, 2002 Bruce Springsteen, Working on a Dream, 2009 ______________________________________________________ HC's Rock Review is sponsored by Gibson

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC January 2nd - 8th This week in rock music history was marked by abundance of significant events. One of rock and roll’s greatest bands kicked off their first headlining tour, a legendary American glam band signed their first contract, and Gibson launched one of its most innovative instruments. A trove of classic albums was released as well, including landmark records by The Doors, The Stooges and Peter Frampton. Read on for a look back at other noteworthy moments that shaped rock and roll during this historically eventful week. Events 1926 – The first edition of the long-running British music magazine Melody Maker is published. 1950 – Sam Phillips opens the Memphis Recording Service, later to be renamed Sun Studio. 1955 – Bill Haley and His Comets’ “Rock Around the Clock” enters the UK chart for the first time. 1957 – Elvis Presley makes his third and final appearance on “The Ed Sullivan Show.” 1958 – Gibson launches the legendary “Flying V” electric guitar. Such renowned players as Albert King, Dave Davies and Lonnie Mack come to be associated with the instrument. 1964 – The Rolling Stones begin their first headlining UK tour, with the Ronettes on the bill as opening act. 1966 – The last episode of the pioneering music variety show “Shindig!” airs on ABC. The Who and The Kinks are featured performers. 1969 – The Beatles begin rehearsals for what will eventually become their Let It Be album. 1970 – B. J. Thomas’s recording of the Burt Bacharach/Hal David song “Raindrops Keep Fallin’ on My Head” hits #1. 1971 – George Harrison’s All Things Must Pass triple-album begins a seven-week run atop the U.S. album chart. 1973 – The Allman Brothers Band officially announce Lamar Williams as the replacement for late bassist Berry Oakley. 1974 – Kiss sign their first recording contract, with Casablanca Records. 1975 – Elton John’s cover of “Lucy in the Sky with Diamonds” begins a two-week run in the #1 spot on the U.S. singles charts. 1979 – The Saturday Night Fever soundtrack LP achieves worldwide sales of 25 million, making it the best-selling album in history up to that point. 1979 – Prince makes his first major live performance debut, at the Capri Theatre in Minneapolis. 1979 – The Canadian government names Rush the country’s official “Ambassadors of Music.” 1981 – David Bowie wraps up his run on Broadway in the lead role of the critically acclaimed play, “The Elephant Man.” 1987 – Aretha Franklin becomes the first female artist to be inducted into the Rock and Roll Hall of Fame. 1988 – Sonny Bono loses his life in a tragic skiing accident at a resort near Lake Tahoe. 1991 – Nirvana signs with Geffen Records. The band’s breakthrough album, Nevermind, is released eight months later. 1994 – Oasis begin recording their debut album, Definitely Maybe. 2009 – Robert Plant is voted the Greatest Voice in Rock in a poll conducted by UK radio station Planet Rock. Releases 1967 – The Doors: The Doors 1969 – Creedence Clearwater Revival: Bayou Country 1972 – The Rolling Stones, Nicky Hopkins, Ry Cooder: Jamming with Edward! 1973 – Thin Lizzy: Vagabonds of the Western World 1973 – The Stooges: Raw Power 1973 – Aerosmith: Aerosmith 1973 – Bruce Springsteen & the E Street Band: Greetings from Asbury Park, N.J. 1973 – The Beach Boys: Holland 1974 – Joni Mitchell: Court and Spark 1976 – Journey: Look into the Future 1976 – Bob Dylan: Desire 1976 – Peter Frampton: Frampton Comes Alive! 1979 – Elvis Costello & the Attraction: Armed Forces 1979 – Joe Jackson: Look Sharp! 1983 -- Eurythmics: Sweet Dreams (Are Made of This) 1984 – Judas Priest: Defenders of the Faith 1988 – L.A. Guns: L.A. Guns 1993 – Neil Young: Lucky Thirteen 2006 – The Strokes: First Impressions of Earth 2016 – David Bowie: Blackstar Deaths Cyril Davies – Jan. 7, 1964 Tex Ritter – Jan. 2, 1974 Charlie Mingus – Jan. 5, 1979 David Lynch (The Platters) – Jan. 2, 1981 Phil Lynott – Jan. 4, 1986 Steve Clark (Def Leppard) – Jan. 8, 1991 Dizzy Gillespie – Jan. 6, 1993 Randy California (Spirit) – Jan. 2, 1997 Sonny Bono – Jan. 5, 1998 Ken Forssi (Love) – Jan. 5, 1998 Ron Asheton – Jan. 6, 2009 Willie Mitchell (producer) – Jan. 5, 2010 Gerry Rafferty – Jan. 4, 2011 Phil Everly – Jan. 3, 2014 Births Sam Phillips (producer) – Jan. 5, 1923 Earl Scruggs – Jan. 6, 1924 George Martin – Jan. 3, 1926 Elvis Presley – Jan. 8, 1935 Roger Miller – Jan. 2, 1936 Paul Revere – Jan. 7, 1937 Rory Storm – Jan. 7, 1938 Van Dyke Parks – Jan. 3, 1943 John McLaughlin – Jan. 4, 1943 Volker Hemback (Tangerine Dream) – Jan. 4, 1944 Stephen Stills – Jan. 3, 1945 Dave Cousins (The Strawbs) – Jan. 7, 1945 Chick Churchill (Ten Years After) – Jan. 2, 1946 John Paul Jones – Jan. 3, 1946 Syd Barrett – Jan. 6, 1946 Robby Krieger – Jan. 8, 1946 Sandy Denny – Jan. 6, 1947 David Bowie – Jan. 8, 1947 Kenny Loggins – Jan. 7, 1948 Chris Stein (Blondie) – Jan. 5, 1950 Malcolm Young – Jan. 6, 1953 Brian Ray (Paul McCartney guitarist) – Jan. 4, 1955 Bernard Sumner – Jan. 4, 1956 Ricky Van Shelton – Jan. 2, 1957 Kathy Valentine (Go-Go’s) – Jan. 7, 1959 Michael Stipe – Jan. 4, 1960 Grant Young (Soul Asylum) – Jan. 5, 1963 Kate Schellenbach (Luscious Jackson) – Jan. 5, 1966 Marilyn Manson – Jan. 5, 1969 Doug Robb (Hoobastank) – Jan. 2, 1975 January 9th – January 15th From the birth of Foo Fighters frontman Dave Grohl to the debut records from the Beatles and Led Zeppelin, the week of Jan. 9 through 15 is filled with significant moments in rock history. Read on for some major events, historic record releases and births and deaths taking place Jan. 9 through 15. Events 1956 - Elvis Presley records his very first songs as an RCA Victor artist in Nashville, Tennessee. 1963 - The legendary Whiskey-a-Go-G0 nightclub opens in Los Angeles. 1967 - Jimi Hendrix starts recording "Purple Haze." 1984 - Mötley Crüe kick off their first U.S. tour at Madison Square Garden, New York. 1978 - The Police starts recording their debut album. 1978 - The Sex Pistols perform their final concert before breaking up in San Francisco, California. Births Joan Baez, January 9, 1941 James Patrick "Jimmy" Page, January 9, 1944 Cassie Gaines (Lynyrd Skynyrd), January 9, 1948 Paul King (Mungo Jerry), January 9, 1948 Steve McRay (.38 Special), January 9, 1950 David Johansen (New York Dolls), January 9, 1953 Eric Erlandson (Hole), January 9, 1963 Carl Bell (Fuel), January 9, 1967 Steve Harwell (Smash Mouth), January 9, 1967 Dave Matthews (The Dave Matthews Band), January 9, 1967 Frank Sinatra Jr., January 10, 1944 Rod Stewart, January 10, 1945 Ronny Light, January 10, 1945 Aynsley Dunbar (Journey, Whitesnake, Jefferson Airplane), January 10, 1946 Donald Fagen (Steely Dan), January 10, 1948 Pat Benatar, January 10, 1953 Michael Schenker (Scorpions, UFO), January 10, 1955 Clarence Clemons (E Street Band), January 11, 1942 Tony Kaye (Yes), January 11, 1943 Tom Dumont (No Doubt), January 11, 1968 Tom Rowlands (The Chemical Brothers), January 11, 1971 William Lee Golden (The Oak Ridge Boys), January 12, 1939 Cynthia Robinson (Sly and the Family Stone), January 12, 1946 Charlie Gillingham (Counting Crows), January 12, 1960 Rob Zombie (White Zombie), January 12, 1966 Trevor Rabin (Yes), January 13, 1954 Fred White (Earth, Wind & Fire), January 13, 1955 Zach de la Rocha (Rage Against the Machine), January 13, 1970 T-Bone Burnett, January 14, 1948 Geoff Tate (Queensryche), January 14, 1959 Dave Grohl (Nirvana, Foo Fighters), January 14, 1969 Ronnie Van Zant (Lynyrd Skynyrd), January 15, 1949 Melvyn Gale (Electric Light Orchestra), January 15, 1952 Deaths Chester Arthur Burnett “Howlin’ Wolf,” January 10, 1976 Margaret Whiting, January 10, 2011 Mickey Finn (T. Rex percussionist), January 11, 2003 Jimmy Griffin (Bread), January 11, 2005 Spencer Dryden (Jefferson Airplane, New Riders of the Purple Sage), January 11, 2005 Maurice Gibb (The Bee Gees), January 12, 2003 Jerry Nolan (The Heartbreakers and New York Dolls), January 14, 1992 Dee Murray (The Elton John Band), January 15, 1992 Releases The Beatles, Introducing... The Beatles, 1964 Led Zeppelin, Led Zeppelin, 1969 ______________________________________________________ HC's Rock Review is sponsored by Gibson

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC December 19th - 25th It’s Christmas week! From the births of Jimmy Buffett and Pearl Jam singer Eddie Vedder to the formation of Jethro Tull, the rock events don’t stop for the holiday week of Dec. 19 through 25. Read on for some major events, historic record releases and births and deaths taking place Dec. 5 through 11. Events 1818 - "Silent Night" has its first performance at the Church of St. Nikolaus in Oberndorff, Austria. 1906 - Reginald A. Fessenden was the first person to successfully broadcast a music program over the radio. He did it from Brant Rock, Massachusetts. 1967 - Jethro Tull forms. 1968 - Crosby, Stills and Nash plays their debut public show. 1968 - Singer Eric Burdon parts ways with the Animals. He embarks on a solo career. 1971 - Martha and the Vandellas call it quits. 1974 - Ron Woods becomes a member of the Rolling Stones. 1975 - Joe Walsh becomes a member of the Eagles. Births Maurice White (Earth, Wind & Fire), December 19, 1941 Doug Johnson (Loverboy), December 19, 1957 Kevin Shepard (Tonic), December 19, 1968 Agatha Nathalia Weston (Kim Weston), December 20, 1939 Bobby Colomby (Blood, Sweat & Tears), December 20, 1944 Alan Parsons (The Alan Parsons Project), December 20, 1948 Chris Robinson (The Black Crowes), December 20, 1966 Frank Zappa, December 21, 1940 Carla Thomas, December 21, 1942 Carl Wilson (The Beach Boys), December 21, 1946 Brett Scallions (Fuel), December 21, 1971 James Gurley (Big Brother & the Holding Company), December 22, 1939 Barry Jenkins (Nashville Teens, the Animals), December 22, 1944 Rick Nielsen (Cheap Trick), December 22, 1946 Maurice and Robin Gibb (The Bee Gees), December 22, 1949 Jorma Kaukonen (Jefferson Airplane), December 23, 1940 Johnny Contardo (Sha Na Na), December 23, 1951 Dave Murray (Iron Maiden), December 23, 1956 Eddie Vedder (Pearl Jam), December 23, 1964 Ian Fraser Kilmister (Lemmy of Motorhead), December 24, 1945 Jan Akkerman (Focus), December 24, 1946 Tony Martin, December 25, 1913 O'Kelly Isley (The Isley Brothers), December 25, 1937 Noel Redding (The Jimi Hendrix Experience), December 25, 1945 Jimmy Buffett, December 25, 1946 Robin Campbell (UB40), December 25, 1954 Annie Lennox, December 25, 1954 Shane McGowan (The Pogues), December 25, 1957 Noel Hogan (The Cranberries), December 25, 1971 Deaths Michael Clarke (The Byrds, Flying Burrito Brothers), December 19, 1993 James Gurley (Big Brother & the Holding Company), December 20, 2009 Bluesman Albert King, December 21, 1992 Ma Rainey (“The Mother of the Blues”), December 22, 1939 Dennes Boon (guitarist, vocalist for Minutemen), December 22, 1985 Joe Strummer of The Clash, December 22, 2002 Dave Dudley, December 22, 2003 Joe Cocker, December 22, 2014 Eddie Hazel (Funkadelic), December 23, 1992 Dan Hamilton (Hamilton, Joe Frank & Reynolds), December 23, 1994 Bobby LaKind (The Doobie Brothers), December 24, 1992 Nick Massi (The Four Seasons), December 24, 2001 Dean Martin, December 25, 1995 James Brown, December 25, 2006 Releases The Beach Boys, Barbara Ann, 1965 The Beatles, The Beatles' 1968 Christmas Record, 1968 The Beatles, The Beatles' Seventh Christmas Record: Happy Christmas 1969, 1969 George Harrison, Ding Dong, Ding Dong, 1974 December 26th - January 1st Historically speaking, this week in rock music has been marked by a trove of memorable events. Great Britain’s most influential hard rock band kicked off their first American tour, a country music icon passed away at a tragically young age, and a spectacularly popular Swedish pop group performed onstage for the last time. A spate of classic albums was released as well, including landmark records by Bob Dylan, The Stooges and Rush. Read on for a look back at other significant moments that shaped rock and roll during this historically eventful week. Events 1953 – Country music icon Hank Williams dies of a heart attack. He is just 29. More than 20,000 mourners attend his funeral. 1960 – Johnny Cash plays the first of his prison concerts, performing for inmates at San Quentin. Among those in the audience is Merle Haggard. 1961 – The Beach Boys perform under their just-adopted bandname for the first time, earning $300 for a show staged in Long Beach, California. 1963 – Capitol Records issues the first Beatles single to be released in America: “I Want to Hold Your Hand,” backed by “I Saw Her Standing There.” 1967 – The Beatles’ Magical Mystery Tour film debuts on Great Britain’s BBC television network. 1968 – The Miami Pop Festival is staged, making it the first major rock festival held on America’s East Coast. Performers include Chuck Berry, Fleetwood Mac, The Box Tops, Steppenwolf, Iron Butterfly and The Grateful Dead, among others. 1968 – Led Zeppelin kicks off their very first U.S. tour, opening in Denver, Colorado, for Vanilla Fudge and Spirit. 1973 – AC/DC make their performance debut in Sydney, Australia. 1974 – Stevie Nicks and Lindsey Buckingham are asked to join Fleetwood Mac. 1975 – The Faces formally disband. 1980 – John Lennon and Yoko Ono’s Double Fantasy album begins an eight-week run atop the U.S. album charts. 1982 – ABBA make their final live appearance, performing in Stockholm, Sweden. 1984 – Def Leppard drummer Rick Allen loses his left arm after crashing his Corvette. He continues on as a member of the band. 1985 – Country rock icon Rick Nelson is killed, along with six other passengers, when the chartered airplane in which they are flying crashes in Texas. 1999 – George Harrison suffers a serious stab wound after a mentally disturbed intruder breaks into the ex-Beatles’ home. Harrison’s injuries include a collapsed lung. 2005 – Pink Floyd are voted the greatest-ever rock stars in a poll conducted by U.K. radio station Planet Rock. More than 50,000 listeners participate in the survey. 2010 – Soundgarden reunites. Releases 1967 – Bob Dylan: John Wesley Harding 1967 – Leonard Cohen: The Songs of Leonard Cohen 1969 – Grand Funk Railroad: Grand Funk 1969 – Blue Cheer: Blue Cheer 1971 – America: America 1971 – The Byrds: Farther Along 1971 – The Electric Light Orchestra: Electric Light Orchestra 1972 – The Rolling Stones: Hot Rocks 1973 – Thin Lizzy: Vagabonds of the Western World 1973 – The Stooges: Raw Power 1974 – Joni Mitchell: Court and Spark 1975 – Emmylou Harris – Elite Hotel 1975 – Bachman-Turner Overdrive: Head On 1976 – Genesis: Wind & Wuthering 1976 – Blondie: Blondie 1979 – Todd Rundgren’s Utopia: Adventures in Utopia 1980 – Warren Zevon: Stand in the Fire 1980 -- Steve Winwood: Arc of a Diver 1980 – Rush: Permanent Waves 1981 – Badfinger: Say No More 1982 – Neil Young: Trans 1984 – Los Lobos: How Will the Wolf Survive? 1987 – Anthrax: I’m the Man Deaths Hank Williams – Jan. 1, 1953 Bert Berns (writer of “Hang on Sloopy” and “Twist and Shout”) – Dec. 30, 1967 Freddie King – Dec. 28, 1976 Chris Bell (Big Star) – Dec. 27, 1978 Tim Hardin – Dec. 29, 1980 Dennis Wilson – Dec. 28, 1983 Alex Korner – Jan. 1, 1984 Rick Nelson – Dec. 31, 1985 Clarence “Satch” Satchell (The Ohio Players) – Dec. 30, 1995 Ted Hawkins – Jan. 1, 1995 Townes Van Zandt – Jan. 1, 1997 Floyd Cramer – Dec. 31, 1997 Curtis Mayfield – Dec. 26, 1999 Meri Wilson – Dec. 28, 2002 Hank Garland – Dec. 27, 2004 Delaney Bramlett – Dec. 27, 2008 Stevie Wright (The Easybeats) – Dec. 27, 2015 Lemmy Kilmister – Dec. 28, 2015 Births Pops Staples – Dec. 28, 1915 Johnny Otis – Dec. 28, 1921 Bo Diddley – Dec. 30, 1928 Odetta – Dec. 31, 1930 Scotty Moore – Dec. 27, 1931 Del Shannon – Dec. 30, 1934 Felix Pappalardi (Mountain) – Dec. 30, 1939 Phil Spector – Dec. 26, 1940 Mike Pinder (The Moody Blues) – Dec. 27, 1941 Ray Thomas (The Moody Blues) – Dec. 29, 1941 Rick Danko (The Band) – Dec. 29, 1942 Michael Nesmith (The Monkees) – Dec. 30, 1942 Pete Sinfield (King Crimson) – Dec. 27, 1943 John Denver – Dec. 31, 1943 Mick Jones (Foreigner) – Dec. 27, 1944 Davy Jones (The Monkees) – Dec. 30, 1945 Edgar Winter – Dec. 28, 1946 Marianne Faithfull – Dec. 29, 1946 Patti Smith – Dec. 30, 1946 Cozy Powell – Dec. 29, 1947 Jeff Lynne – Dec. 30, 1947 Burton Cummings (The Guess Who) – Dec. 31, 1947 Donna Summer – Dec. 31, 1948 Alex Chilton – Dec. 28, 1950 Morgan Fisher (Mott the Hoople) – Jan. 1, 1950 David Knopfler (Dire Straits) – Dec. 27, 1951 Tom Hamilton (Aerosmith) – Dec. 31, 1951 Andy Johns (Producer) – Jan. 1, 1952 Paul Westerberg – Dec. 31, 1959 Jim Reid (The Jesus and Mary Chain) – Dec. 29, 1961 Lars Ulrich – Dec. 26, 1963 Dexter Holland (The Offspring) – Dec. 29, 1965

Keeley Rising - Visit The Keeley Electronics Factory Things are just warming up ... by Blake Wright - Gearphoria Robert Keeley is on fire. Today, that's a good thing. On a cold January afternoon in 2009, it was anything but. The facility Keeley Electronics occupied caught fire, which destroyed most everything inside—equipment, inventory… you name it. Given the economic recession of the time, the outlook of a full recovery was not guaranteed, but six-plus years later the company is in the best shape of its decade and a half in existence... and it would appear things are just warming up. ON THE THURSDAY we visited Keeley Electronics in Edmond, Oklahoma, a challenge had been thrown down: Build X amount of pedals by noon and everyone can go home. Keeley had every confidence his team would meet the goal. He was already in his swim trunks. Edmond is a suburb of Oklahoma City. Situated just north of the capital city, it was voted #1 in a poll of perfect suburbs by CNBC back in 2011, highlighting its school system and level of education of those living there. Keeley not only had to overcome the 2009 fire, but he also battled personal demons that lead to both personal and business-related debts. Today, the operation is a well-oiled machine with a clearer vision on what it means to be an electronics manufacturer and an eye on expansion. “We could probably put out three things today if we wanted to,” explains Keeley. “Really. Not even joking. We’re having to force ourselves to hold back. We’ve dropped a few things this week too. Not everything is valid after you’ve put together certain packages. Some things aren’t as profitable either. I priced them low enough where it’s like, darn… too bad we had to price them like that at the time. One day we released our Caverns pedal, which is a delay/reverb. Smokin’ hot pedal. Worth every last penny of $249. The same day that MXR releases the Carbon Copy Bright for $149. We got no interest. And we had lots of money in development. There are two microprocessors in ours. It was an expensive thing. After a few months or so I dropped the price down to $199, where there is really no money in it then. Almost a loss leader… and it eats up resources. So that one we decided to put to bed this week. Then it became popular. $199 for all of this processing power?” (HISTORY IN HAND: Keeley inspects an early build in for repairs... a pedal originally shipped in 2002.) The big news for Keeley in 2016 hasn’t been the $99 pedals, rather his $300 workstations. He unveiled a handful of new models at Winter NAMM this year and has since put together more ‘artist-specific’ tone stations, like the Hendrix-inspired Monterey and the Pink Floyd-esque Dark Side. “One of the things we’ve learned this year is that more expensive pedals do better for us,” confesses Keeley. “They sell like hotcakes. That seems counter-intuitive, but we’re able to provide much more at $299 than we are at a hundred bucks. At $100, you’ll get a one-trick pony. At $299, you’ll get three, 12, 16 different things — so we’re beyond successful with our Workstations. Total game changer.” It was a message from famous guitar tech Rene Martinez that really got the Workstation train rolling. Martinez told Keeley that John Mayer had been using an old Keeley Tone Workstation from 2007 and was looking for another one. Fortuitously, a Keeley customer in Dallas was looking to unload one after a divorce. Keeley bought the pedal for $600 and shipped it out to Mayer. However, before he let it go his circuit board designer Craighton Hale took a look, and the pair soon became curious about the potential for that setup with some of the company’s newer pedals. “So the Oxblood, the ’62… with a DSP package, then our modulation effects, and our delay/reverb effects,” says Keeley, “all of the sudden there are the four Workstations we showed off at NAMM last January. Then, all the pieces essentially came together to have the Monterey, which has been more successful than all of the Workstations, which is outrageous. We’re around 2,000 (units) now. It is just a spin-off of a Workstation. It is actually simpler than a Workstation, and it does its job very well.” Keeley built his first compressor in April 2001. A clone of the fantastic Ross unit, he sold his first one that September. He dropped it in the mailbox the morning of September 11th, then shuffled off to his teaching job at Vatterott College. By the time he reached the school, the attacks on the World Trade Center and Pentagon had turned the world upside-down. By that Christmas, he was two months backordered on compressors. He had to cut off orders in October to ensure Christmas delivery. By May 2002, he quit his teaching job and had several full-time employees. The growth was off the charts. To date, Keeley had shipped 45,000 of his four-knob compressor. His Katana boost has shipped just over 10,000 units. “Now that’s great, but it’s still nothing compared to Mike Fuller,” says Keeley. “I saw a post where that Fulldrive 2 was at 120,000 units. How early you were in makes a huge difference in how much of the market share you got to conquer. He didn’t have a compressor out, Thank God. I’d pray to God everyday going… ‘and thank Mike Fuller for not coming out with a compressor!’” (RISE OF THE ROBOTS: Keeley uses this small CNC to drill out enclosures.) Much of what is happening inside Keeley right now is based around platform development — doing multiple things on a similar circuit board. Today, it’s the Workstation template. Thinking far enough in advance to allow for alternate versions, modifications or special features is key. The team works towards the stated goal, but then takes it a step further and questions what else could any given design become. “The digital part of this allows us to reprogram the left side of the pedal into a variety of forms,” says Keeley. “One version may have octaves and wahs, and the other might have flangers, chorus and reverb. The right side of the pedal gets the drive circuit — tube screamer, Muff-style, whathave you. That changes. It’s not new, what we’ve packaged here. If you remember around 10 years ago, DigiTech had an Eric Clapton pedal, and a Brian May pedal that had several different things in it. So the concept is not new… it might be new to the smaller, boutique market. It is our take on those theme pedals. I like theme pedals because it allows us to be a lot more creative. We have quite a few reverbs out. There are some that specialize is small room reverb like from the 50s and 60s, then there is plate like from Abbey Road. Then there are vibe/trem/phaser-type reverbs that haven’t been put together in a package. "It goes on and on… almost like plug-ins. The El Monte, which is still on the runway, since it’s a Tube Screamer-based pedal, it could be a Trey Anastasio from Phish package or a SRV package. It just depends on how we piece together the different things… and the graphics.” (AT EVERY TURN: Keeley's HQ has a labyrinth feel to it. Around every corner you could run into a graphics printer, a pedal pile or just folks doing work.) It’s ironic that Keeley headquarters is dominated by doorways. Every room is mostly dominated by circuit boards — in a box on the floor, stacked on a desk, piled in front of a person diligently working to get their task done and passed down the line. Still, almost every turn greets you with a choice of path. Keeley’s current path is to bring all operations of pedal building in-house. When things were bad, he didn’t have much choice. “When all of my creditors had cut me off… everybody that was doing stuff on the outside was tired of not getting paid,” says Keeley. “My business was totally down in the dumps. No one was interested buying stuff that had been on the market for 10 years. Bringing all of that inside allowed me to keep on going first, then to start solving problems and coming up with new stuff. Bringing everything back in-house was my solution. I always see folks moving the other way.” Now the move makes more sense from the a production timeline standpoint. He recently acquired the neighboring sections of the office park building the company occupies and had already begun to spread the operations out as well as add new perks, like an audio/video studio for shooting demos. “We now have a full time guitar player and a full time video guy,” reveals Keeley. “That was a big step for us. Especially for my peace of mind. It’s easy to hire someone for production. I can count the money they’re making. Their input is tangible. It is a little different to hire a guy to learn to play songs and make this video. We know this stuff resonants with people, but we don’t know how it translates to sales.” Some of Keeley’s pedals are populated by Liberate Electronic Design in Kansas City. Other vendors do work for Keeley as well, but he says it's only a matter of time before he purchases his own pick-and-place — a roughly $60,000 investment, not including the solder equipment and reflow oven needed. “We don’t powder coat here either, but we’re trying to change that,” says Keeley. “Powder coating is kind of ugly, dirty and hot. There is nothing fun about it, but we spend $5k to $7.5k per month on it. The guy we’ve got doing it right now is used to doing oilfield equipment, so he doesn’t really care if there are specks in it. We can’t convince him that we actually sell these little boxes and they have to look good. I’m sure I can do it cheaper and get the quality up.” (AROUND THE SHOP: The new studio [shown above] is just one of the improvements planned by Keeley over the course of the next several months.) Walking around the shop you meet folks like Josh, who holds the in-house record for most pedals built in a day — an impressive 150; Aaron, who is the DSP guru as well as head of repairs; Christina, who listens to every single pedal before it leaves the shop— which in 2015 was estimated to be about 25,000; Atlee, who is responsible for a lot, including dealer relations and the newest design direction of Keeley’s pedals. Towards the rear of the main hall a door opens up in to the current CNC mill. Compressor Pros were on the menu while we were visiting. This is the smaller of two machines. The one next door is a new delivery — and four times bigger. Keeley called the CNC ‘another stepping stone’ in the redirection of the company. The small machine does 24 larger enclosures at a time and it takes about an hour to drill them out. The larger machine will do about 100… or closer to 250 of the smaller enclosures. (BRINGING IT HOME: After taking over additional space in his building, more of the manufacturing process is expected to move in-house.) Later, we run into Keeley’s wife Lisa, who he says was the key to getting him straight back when his personal demons got the best of him. “She is the one that helped me get off all of the pills and all of that,” says Keeley. “She gave me a reason to get straight and get back on track. It was a long road. She’d see me walking in one morning with a McDonalds bag and an hour later I’d be so bombed that I would just have to go home… or I wouldn’t be here for weeks at a time. It was pretty bad in those days. Not anymore.” As we entered what would become the new administrative offices, a call came out from the bull pen that the pedal build goal had been met and verified. The crew managed to build 600 pedals by noon and was now looking for its half-day reward. After a brief meeting and a few words from the boss, the Keeley team of roughly 23 was sent on their way. “We’re on the verge of another growth phase… and now we have the space,” says Keeley. -HC- ____________________________________________ Blake and Holly Wright are Gearphoria. They travel full-time in their 25 foot Airstream while writing about cool guitars and guitar accessories. Gearphoria is a bi-monthly free-to-read online publication. You can visit their website by going to www.gearphoria.com and while you are there, sign up for their free e-zine.

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC December 5th - 11th From the tragic deaths of Dimebag Darrell, John Lennon and Otis Redding’s entire band to the kidnapping of Frank Sinatra, Jr., the week of Dec. 5 through 11 is a tough one in the world of rock ‘n’ roll. Keep reading for some major events, historic record releases and births and deaths taking place Dec. 5 through 11. Events 1842 - The New York Philharmonic performs for the first time. 1963 - Frank Sinatra, Jr. was kidnapped and later released after a $240,000 ransom payment. 1970 - “Gimme Shelter,” a documentary film about the Rolling Stones' 1969 tour of the U.S., opened. 1972 - Genesis performed their first U.S. concert at Brandeis University in Waltham, Massachusetts. 1980 - John Lennon gave his final interview, which was with Jonathan Cott of Rolling Stone. 1984 - The Jacksons performed their last show together in Los Angeles. 2001 - David Crosby and Don Henley headline a benefit show that raises $300,000 for kids of the victims of the 9/11 attacks. 1995 - Four months after Jerry Garcia passes away, the Grateful Dead officially call it quits. 1992 - Rolling Stones bass player Bill Wyman quits the band after more than three decades of service. 2014 - Metallica became the first band to play a concert on all seven continents after performing in Antarctica. Births Richard Wayne Penniman (Little Richard), December 5, 1932 Jack Russell (Great White), December 5, 1960 Johnny Rzeznik (The Goo Goo Dolls), December 5, 1965 Glen Graham (Blind Melon), December 5, 1968 Randy Rhoads (Quiet Riot), December 6, 1952 Rick Buckler (The Jam), December 6, 1955 Peter Buck (R.E.M.), December 6, 1956 David Lovering (Pixies), December 6, 1961 Ulf Ekberg (Ace of Base), December 6, 1970 Bobby Osborne (The Osborne Brothers), December 7, 1931 Harry Chapin, December 7, 1942 Gregg Allman (The Allman Brothers Band), December 7, 1947 Tom Waits, December 7, 1949 Tim Butler (The Psychedelic Furs), December 7, 1958 Sammy Davis Jr., December 8, 1925 Jim Morrison (The Doors), December 8, 1943 Gregg Allman (The Allman Brothers Band), December 8, 1947 Warren Cuccurullo (Duran Duran), December 8, 1956 Phil Collen (Def Leppard), December 8, 1957 Paul Rutherford (Frankie Goes to Hollywood), December 8, 1959 Marty Friedman (Megadeth), December 8, 1962 Ryan Newell (Sister Hazel), December 8, 1972 Randy Murray (Bachman-Turner Overdrive), December 9, 1955 Donny Osmond, December 9, 1957 Brian Bell (Weezer), December 9, 1968 Jakob Dylan (The Wallflowers), December 9, 1970 Geoff Barrow (Portishead), December 9, 1971 Tre Cool (Green Day), December 9, 1972 Susan Dey (The Partridge Family), December 10, 1952 Scot Alexander (Dishwalla), December 10, 1971 Meg White (The White Stripes), December 10, 1974 Nikki Sixx (Mötley Crüe), December 11, 1958 Deaths Douglas Hopkins (Gin Blossoms), December 5, 1993 Roy Orbison, December 6, 1988 John Lennon, December 8, 1980 Big Walter Horton, December 8, 1981 Marty Robbins, December 8, 1982 Dimebag Darrell, December 8, 2004 Sonny Til (The Orioles), December 9, 1981 Otis Redding and his band mates Phalon Jones, Jimmie King, Ronnie Caldwell and Carl Cunningham all die in a plane crash, December 10, 1967 Rick Danko (The Band), December 10, 1999 Sam Cooke, December 11, 1964 Releases The Supremes, Meet the Supremes, 1963 The Beatles, We Can Work It Out, 1965 (U.S. release) The Rolling Stones, Got Live If You Want It, 1966 The Rolling Stones, Beggar's Banquet, 1969 John Lennon, John Lennon/Plastic Ono Band, 1970 George Harrison, Dark Horse, 1974 Wings, Wings Over America, 1976 Jackson Browne, Running on Empty, 1977 The Offspring, Splinter, 2003 Michael Jackson, Michael, 2010 December 12th - 18th The end of the year is traditionally a bit light on album releases, but both David Bowie and The Clash released a couple of classic albums during this week. This was also the week that saw the birth of two legendary guitarists - Keith Richards and Billy Gibbons, and sadly the passing of the great Captain Beefheart. Events 1962 - Bassist Bill Wyman appeared on stage with the Rolling Stones for the first time. 1962 - Bob Dylan visited England for the first time, where he played his first gig in London at the Troubadour Club. 1969 - John Lennon played his final live show ever in the UK. Lennon took the stage with the Plastic Ono Band at the Lyceum Ballroom in London during a Christmas benefit show put on by UNICEF. 1970 - The Doors played their last show with Jim Morrison. It took place at the Warehouse in New Orleans. 1974 - Mick Taylor announced his departure from the Rolling Stones. He was replaced by Ronnie Wood from the Faces, who has remained with the Stones ever since. Releases 1964 - The Beatles: Beatles '65 1967 - The Who: The Who Sell Out 1967 - The Beach Boys: Wild Honey 1968 - Blood, Sweat & Tears: Blood, Sweat & Tears 1970 - T. Rex: T. Rex 1971 - David Bowie: Hunky Dory 1972 - Status Quo: Piledriver 1974 - Joe Walsh: So What 1980 - The Clash: Sandinista! 1987 - Dinosaur Jr.: You're Living All Over Me 2000 - Tool: Salival (box set) 2008 - Fall Out Boy: Folie à Deux Deaths Big Joe Williams (blues musician) - December 17, 1982 Jimmy Nolan (James Brown) - December 18, 1983 Ian Stewart (pianist with the Rolling Stones) - December 12, 1985 Rufus Thomas - December 14, 2001 Zal Yanovsky (The Lovin' Spoonful) - December 13, 2002 Captain Beefheart - December 17, 2010 Births Chas Chandler (The Animals) - December 18, 1938 Dickey Betts (The Allman Brothers Band) - December 12, 1943 Keith Richards - December 18, 1943 Carmine Appice (Vanilla Fudge) - December 15, 1946 Jeff "Skunk" Baxter (The Doobie Brothers, Steely Dan) - December 13, 1948 Ted Nugent - December 13, 1948 Cliff Williams (AC/DC) - December 14, 1949 Paul Rodgers (Free) - December 17, 1949 Billy Gibbons - December 16, 1950 Robben Ford - December 16, 1951 Bruce Kulick (Kiss) - December 12, 1953 Mike Mills (R.E.M.) - December 17, 1958 Tom Delonge (Blink 182) - December 13, 1975 Dan Hawkins (The Darkness) - December 12, 1976 Amy Lee (Evanescence) - December 13, 1981

VERELLEN TAKES FLIGHT Hear the sound in your head ... by Blake Wright - Gearphoria (adapted by Team HC) MUCH LIKE HIS beloved Seattle Seahawks, Ben Verellen (shown below) isn’t afraid to shake things up in order to attain a specific goal. For the the NFL franchise, it could mean testing unproven players at various skill positions to create a better team. For Verellen, it is about being the custom shop that his line of clientele have always wanted, but were afraid to ask about. It’s an approach that has served him well over the past nine years. Of course, being a two-man operation most days, it can be hard to live on wires and resistors alone. Verellen also remains active with his band Helms Alee, which just released a new album, Stillicide. TUCKED BACK in an alleyway just north of the Fremont Cut in Seattle, Ben Verellen builds custom guitar and bass amplifiers. Surrounded by businesses ranging from a jiu jitsu dojo and glass gallery to a flower shop and ramen house, the scene looks strangely like a Pacific-Northwest version of Harry Potter’s Diagon Alley. There’s even a troll — the famous Fremont Troll — just a five minute walk to the east. While one might be hard pressed to find a wand shop or a bank run by goblins, their are some that believe Verellen works his own brand of magic on the equipment he creates. The shop itself has as many curious as practical appointments. There’s a bench where the majority of the amps get wired up, and there is also a venerable upright piano in one corner well past its ‘saloon days’ prime. The piano currently sports a light blue, plastic label maker, an instructional book of unknown origin and a well-worn copy of Queen: Deluxe Anthology — a sheet music book. The main shop room also is decorated with various slogans and artwork. ‘Take It By The Balls 2016’ is the current mantra that hangs above the cabinets in the kitchenette. As far as artwork, there is an interesting painting of a Dalek from Dr. Who setting its deadly sights a flock of Canada Geese as well is as the angler fish-inspired original art piece, which was used a couple of years back as an album cover for one of Verellen’s two active bands. Directly above his work station are various magazine and newspaper clippings referencing either his life as a musician or an entrepreneur. He also does repairs from time to time, so it isn’t unusual to see the vintage Garnet sitting idle near a stack of Verellen amps-in-progress blocking entry to the refrigerator. It’s a cozy set-up, split into two main rooms — one for the electrical work, the other for screen-printing, some woodwork (though most cabinets and head shells are made off-site) and coloring. There was a time, at the old shop, where the repairs would go through Chris Benson. That name sound familiar? Benson, now heading up his own amp brand (Benson Amps of Portland, OR), used to work with Verellen. Verellen has been in this current space for about a half-dozen years. Prior to that he had a space just north on Aurora Avenue for about a year. Before that, he was working out of the house he lived in during college… which gets us back to around 2007 and the very first amp he ever made. “The first amp I did was kind of an oddball,” admits Verellen. “I was in school studying EE [elecctrical engineering] so I wanted to come at things from a real academic perspective. It wasn’t a clone of anything. It was cathode-bias. It was about 30 watts. A pretty clean preamp. I wouldn’t know what to compare it to. I just pulled it together. I was studying EE and wanted to learn about tubes, so I emailed every professor in the department asking if anyone would teach me about tubes. Only one guy wrote me back. The one that wrote back asked why’d I want to learn about an obsolete, fragile, expensive technology. But he was the youngest professor in the department and he loved tube amps. So he invited me to his office. There he had a little tube radio he had refurbished. He was really interested. He said ‘Let’s do a project.’” So Verellen built an amp and wrote a paper on it. The professor got the paper published in an IEEE (Institute of Electrical and Electronics Engineers) journal. After that, they did another one, which was also published. Verellen’s knack and passion for the work caught the professor’s attention so much so that he made a proposition — he told him if he ever wanted to go into business making amplifiers that he would be interested in investing in it. “Things got real then,” recalls Verellen. “I used that as momentum to get some addition people on board with investments, borrowed a bunch of money and me and my carpenter buddy moved into respective shops… his was in Tacoma where he was living. It was the worst mistake. The dumbest thing we could have done with that money was to have all these shops. We should have kept in the house for another year or two, but you know… sink or swim! And I’ve been struggling ever since!” Over the past two years things have gotten better for Verellen, who fully admits being in a comfort zone with the level of business his small brand generates. He has been able to pay back his investors and is moving to get more dealers on board, however he also is aware that dealers are not the prime avenue for his product. The level of customization he offers — and it’s extensive — makes direct sales a must. “Almost everybody buys direct… and they want their amp named after their band or whatever,” says Verellen. “There is a screen-printing bench if I need to do any screen printing. There is a little slot where chassis drop down and get custom screens made. If people want their dog’s name printed on the amp… or if they want an ‘Explosion’ knob. They can have it!” Some of this hit home after a recent NAMM show, where Verellen threw in with pedal maker Dwarfcraft Devices and other effects houses as part of the the Guild of Calamitous Effects — a collective that showcased their left-of-center wares together as part of a larger booth spread in the tradeshow’s infamous dungeon — Hall E. “NAMM was worthwhile, but not in the way that one would hope,” recalls Verellen. “I didn’t walk away with a bunch of new dealers, but I met a lot of awesome people and a few of those relationships have already parlayed into little things. I did sell an amp off the floor. I’m not sure that happens all of the time. It was way better than the time I did it about four years ago. That was a total bummer. It’s expensive to do, and our stuff is so niche. You don’t look at our amps and feel any nostalgia. Most of the stuff I see there is more geared towards that sort of vibe. People would come up and point to an amp and say “What’s that? When are you going to tolex that?”… and I’m like “I’m not.” But it was very cool being surrounded by those pedal guys. It felt like everyone shared the same spirit. It was awesome… and encouraging.” Verellen estimates there are somewhere over 700 of his amps out in the wild and that 90% of those are unique in some aspect, which can make it difficult to sell ‘models’ to dealers, but he does have some set offerings as well. “The Meatsmoke, the 300-watter, has been the most popular one, but they get it with 1/3 power switch, or a tube-driven Jensen transformer DI out, or a spring reverb circuit or a 50-watt version in a combo… There is a lot of that,” he admits. “The Loucks is a pretty common 100-watt amp that we do. There’s the Skyhammer and the Coupe, the Spaldo. Those are the one’s that have kind of stuck around, but more often than not it is something completely different. Someone will want something like a Fender Twin, but it needs to be 200 watts and have an overdrive channel that sounds like a Marshall. That is more typical. But they get what they want, and that’s what sets us apart.” Lately, Verellen has been shipping more and more Kalalochs, which is the hybrid (tube/solid state), 1400-watt (700 per channel) behemoth he unveiled at the 2016 NAMM show. Designed for guitar, bass, keyboards, etc… the stereo amp offers up a variety of instrument amplification solutions, and all for around $1,750, with customization options available. While Verellen prides himself on the level of customization and special order items he can offer the end-user, it can create a slippery slope, so his generosity does have its limits. “That’s the other place where I’m a sucker,” he admits. “If it doesn’t do what someone wants, I’ll take it back and go through it… but there is a threshold there. If it is what they ordered and they send it back and I make changes they want and they still want to send it back… at some point, that is going to have to be it. Guys like that are chasing the dream. They are not hearing the sound in their head.” As far as future expansion, Verellen has no master plan to take his brand to mass production any time soon — or ever. He strives for the fine line that keeps him happy, and in business, shying away from growth for growth’s sake. “I don’t think I’m interested in building 100 of these a month and shipping them all over,” he confesses. “I’m enjoying the one-offs for people. It’s still fun to do. It’s manageable. It’s creative, and I don’t have to hire 20 people and hope I can keep them employed. I don’t have to move into some huge facility and hope I can pay the rent every month. For me, I could sell five more amps a month and be great. I’m in a couple of bands and they tour so if I can have this function in a way where I can do that stuff and keep things going here, that’s perfect.” —HC— Republished with the expressed permission - www.gearphoria.com ____________________________________________ Blake and Holly Wright are Gearphoria. They travel full-time in their 25 foot Airstream while writing about cool guitars and guitar accessories. Gearphoria is a bi-monthly free-to-read online publication. You can visit their website by going to www.gearphoria.com and while you are there, sign up for their free e-zine.

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC November 21st - 27th Read all about the events in rock history between November 21 - 27! It includes the first public UK live show of the Jimi Hendrix Experience, no less than three Beatles albums, and sadly the death of a rock music icon. Events 1955 - RCA Records bought Elvis Presley's recording contract from Sun Records for $35,000. This was considered a substantial amount of money at the time. 1960 - After George Harrison was discovered to be underage, the Beatles were forced to play Hamburg's Kaiserkeller Club without their 17 year old guitarist. 1965 - The Jimi Hendrix Experience made their public live debut in the UK on November 25 when they played at the Bag O'Nails Club in London. 1968 - Eric Clapton, Ginger Baker and Jack Bruce played their last show as Cream at London's Royal Albert Hall. 1976 - The Band played their last show ever. It took place at the Winterland Ballroom in San Francisco. Releases 1963 - The Beatles: With the Beatles 1965 - The Kinks: The Kink Controversy 1967 - The Beatles: Magical Mystery Tour 1968 - The Beatles: The Beatles 1968 - The Kinks: The Kinks Are the Village Green Preservation Society 1970 - George Harrison: All Things Must Pass 1971 - Alice Cooper: Killer 1974 - Johnny Winter: John Dawson Winter III 1977 - Eric Clapton: Slowhand 1981 - AC/DC: For Those About to Rock We Salute You 1986 - Eric Clapton: August 1989 - Rush: Presto 1990 - Bad Religion: Against the Grain 1993 - Guns N' Roses: "The Spaghetti Incident?" 1995 - Bruce Springsteen: The Ghost of Tom Joad 1998 - Metallica: Garage, Inc. 2002 - Sum 41: Does This Look Infected? 2003 - Puddle of Mudd: Life on Display 2004 - U2: How to Dismantle an Atomic Bomb 2005 - System of a Down: Hypnotize 2008 - Guns N' Roses: Chinese Democracy Deaths John Rostill (The Shadows) - November 26, 1973 Big Joe Turner - November 23, 1985 Peter Grant (Led Zeppelin manager) - November 21, 1995 Michael Hutchence (INXS) - November 22, 1997 Eric Carr (Kiss) - November 24, 1991 Freddie Mercury - November 24, 1991 Albert Collins - November 24, 1993 Births Dr. John (Malcolm John Rebennack) - November 21, 1940 Jimi Hendrix - November 27, 1942 John McVie (Fleetwood Mac) - November 26, 1945 Steven Van Zandt (E Street Band) - November 22, 1950 John Squire (The Stone Roses) - November 24, 1962 Tony Rombola (Godsmack) - November 24, 1964 Mark Lanegan (Screaming Trees) - November 25, 1964 Alex James (Blur) - November 21, 1968 Chad Taylor (Live) - November 24, 1970 Karen O (Yeah Yeah Yeahs) - November 22, 1978 November 28th - December 4th This week in rock music history was been marked by abundance of significant events. A long-running music awards show made its television debut, a pioneering hard rock band officially came to an end, and a revered alternative group entered the Top 10 chart for the very first time. A trove of classic albums was released as well, including landmark records by The Rolling Stones, The Who and Pink Floyd. Read on for a look back at other noteworthy moments that shaped rock and roll during this historically eventful week. Events 1956 - The “rock and roll” film “The Girl Can't Help It” opens in the U.S. Little Richard, Eddie Cochran, Gene Vincent, the Platters and Fats Domino are among the featured artists. 1959 - The Grammy Awards show is nationally televised for the first time. 1961 - The Beatles and Brian Epstein meet for the first time, at a record store owned by Epstein. Later that evening they meet again to discuss Epstein’s management of the group. 1965 - Keith Richards suffers a serious electric shock – losing consciousness -- when his guitar makes contact with his microphone during a performance of “The Last Time” at a Rolling Stones show in Sacramento. 1966 - The Beatles record “Strawberry Fields Forever.” 1966 - Jeff Beck officially leaves The Yardbirds after spending a year-and-a-half in the band. He later forms the Jeff Beck Group. 1968 - Janis Joplin makes her last appearance with Big Brother & the Holding Company. 1969 - The Beatles’ “Come Together” reaches #1 on the charts. 1974 – John Lennon joins Elton John onstage at Madison Square Garden, where the two perform “Whatever Gets You Thru the Night” and “I Saw Her Standing There.” It would be Lennon’s last concert appearance. 1977 – David Bowie joins Bing Crosby for a duet on Crosby’s final Christmas TV special. The two perform a modified version of “Little Drummer Boy,” with Bowie singing new “Peace On Earth” lyrics composed by the show’s writers. 1979 - The four original members of KISS perform for the last time together before their first breakup. 1980 - Led Zeppelin officially declare they will not continue as a band in the wake of drummer John Bonham’s death. 1980 - Annie Leibovitz takes the last known photographs of John Lennon and Yoko Ono together at the Lennon’s apartment in New York. 1983 – Michael Jackson’s “Thriller” video debuts on MTV. A "making of" version is later released on VHS tape, and becomes the best-selling music video of all time. 1987 - REM enter the Top 10 on the US singles chart for the first time, with their hit “‘The One I Love.” 1988 - Roy Orbison plays what turns out to be his last concert, in Akron, Ohio. Orbison dies of heart failure two days after the show. Releases 1964 - The Beatles: Beatles for Sale 1965 - The Rolling Stones: December's Children (And Everybody’s) 1967 – Love: Forever Changes 1968 – Van Morrison: Astral Weeks 1968 - The Who: The Who Sell Out 1968 - The Rolling Stones: Beggars Banquet 1969 - The Rolling Stones: Let It Bleed 1970 – Derek and the Dominoes: Layla and Other Assorted Love Songs 1970 – Velvet Underground: Loaded 1970 – Trapeze: Medusa 1970 – Spirit: The Twelve Dreams of Dr. Sardonicus 1970 – Wishbone Ash: Wishbone Ash 1971 – Bonnie Raitt: Bonnie Raitt 1971 – Mott the Hoople: Brain Capers 1971 – Grand Funk Railroad: E Pluribus Funk 1971 – Mountain: Flowers of Evil 1971 – Steppenwolf: For Ladies Only 1971 – Traffic: The Low Spark of High Heeled Boys 1971 – Nilsson: Nilsson Schmilsson 1971 – Humble Pie: Performance Rockin’ the Fillmore 1971 – Emerson, Lake & Palmer: Pictures at an Exhibition 1971 – King Crimson – Islands 1973 – Black Sabbath: Sabbath Bloody Sabbath 1974 – Charlie Daniels Band: Fire on the Mountain 1974 – Ohio Players: Fire 1974 – Linda Ronstadt: Heart Like a Wheel 1974 – Mott the Hoople: Live 1974 – Deep Purple: Stormbringer 1974 – Badfinger: Wish You Were Here 1975 – Pure Prairie League: If the Shoe Fits 1976 – ZZ Top: Tejas 1976 – Joni Mitchell: Hejira 1976 – Foghat: Night Shift 1976 – Jackson Browne: The Pretender 1976 – Aerosmith: Draw the Line 1976 – The Scorpions: Taken by Force 1977 – KISS: Alive II 1978 – Alice Cooper: From the Inside 1978 – The J. Geils Band: Sanctuary 1978 – The Doobie Brothers: Minute by Minute 1979 – Pink Floyd: The Wall 1980 – John Lennon and Yoko Ono: Double Fantasy 1980 – The Jam: Sound Affects 1982 - Michael Jackson: Thriller 1983 - Bad Religion: Into the Unknown 1984 – Deep Purple: Perfect Strangers 1988 – Guns N’ Roses: G N’ R Lies 1993 - The Beatles: Live at the BBC (Recorded 1963-'65) Deaths Magic Sam – Dec. 1, 1969 Tommy Bolin – Dec. 4, 1976 Frank Zappa – Dec. 4, 1993 Jerry Edmonton (Steppenwolf) – Nov. 28, 1993 George Harrison – Nov. 29, 2001 Odetta – Dec. 2, 2008 Hubert Sumlin – Dec. 4, 2011 Junior Murvin – Dec. 2, 2013 Bobby Keys – Dec. 2, 2014 Ian McLagan (Small Faces, Faces) – Dec. 3, 2014 Scott Weiland – Dec. 3, 2015 Births Merle Travis – Nov. 29, 1917 Berry Gordy, Jr. – Nov. 28, 1929 Dick Clark – Nov. 30, 1929 Bob Moore (Moby Grape) – Nov. 30, 1932 John Mayall – Nov. 29, 1933 Chris Hillman (The Flying Burrito Brothers, The Byrds) – Dec. 4, 1942 Bob Mosley (Moby Grape) – Dec. 4, 1942 Randy Newman – Nov. 28, 1943 Felix Cavaliere – Nov. 29, 1944 Robb Grill (The Grass Roots) – Nov. 30, 1944 Eric Bloom (Blue Oyster Cult) – Dec. 1, 1944 John Densmore (The Doors) – Dec. 1, 1944 Dennis Wilson (The Beach Boys) – Dec. 4, 1944 Roger Glover (Deep Purple) – Nov. 30, 1945 Gilbert O'Sullivan – Dec. 1, 1946 Ronnie Montrose – Nov. 29, 1947 Ozzy Osbourne – Dec. 3, 1948 Mickey Thomas (Jefferson Starship) – Dec. 3, 1949 Barry Goudreau (Boston) – Nov. 29, 1951 Jaco Pastorius – Dec. 1, 1951 Gary Rossington – Dec. 4, 1951 Duane Roland (Molly Hatchet) – Dec. 3, 1952 Billy Idol – Nov. 30, 1955 John Ashton (The Psychedelic Furs) – Nov. 30, 1957 Rick Savage (Def Leppard) – Dec. 2, 1960 Matt Cameron (Soundgarden) – Nov. 28, 1962

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC November 7th - 13th November is traditionally packed with new record releases, and that becomes quite apparent when you look at what's happened during the second week of November throughout rock history. Tom Petty and Mötley Crüe both released their debut albums, Motörhead's classic Ace of Spades took the rock world by storm, and Led Zeppelin released the album that once and for all secured their place in rock history. Keep on reading for the full scoop! Events 1961 - Future Beatles manager Brian Epstein saw the band on stage for the first time during a lunch performance at The Cavern in Liverpool. 1965 - Velvet Underground played their first gig together, at a high school in New Jersey. 1975 - David Bowie made his first TV appearance in the US when he performed "Fame" on the Cher show. 1991 - Guitarist Izzy Stradlin quit Guns N' Roses, shortly after the band's release of their Use Your Illusion albums. 1995 - The now classic album Mellon Collie and the Infinite Sadness by The Smashing Pumpkins went to the top of the US charts. Along with Siamese Dream, the album represents the band's finest work. 2011 - Black Sabbath announced their reunion and a new album. The idea was for all four original members to participate, but after various dramas drummer Bill Ward would not be part of the recording sessions and the subsequent tour. Releases 1965 - The Beach Boys: Beach Boys' Party! 1967 - The Moody Blues: Days of Future Passed 1969 - The Byrds: Ballad of Easy Rider 1970 - Badfinger: No Dice 1971 - Led Zeppelin: Led Zeppelin IV 1971 - Genesis: Nursery Cryme 1972 - Lou Reed: Transformer 1973 - Santana: Welcome 1973 - Rory Gallagher: Tattoo 1974 - Queen: Sheer Heart Attack 1975 - Neil Young and Crazy Horse: Zuma 1976 - Tom Petty and the Heartbreakers: Tom Petty and the Heartbreakers 1976 - Kiss: Rock and Roll Over 1978 - The Clash: Give 'Em Enough Rope 1978 - Queen: Jazz 1980 - Motörhead: Ace of Spades 1981 - Ozzy Osbourne: Diary of a Madman 1981 - Mötley Crüe: Too Fast for Love 1983 - Billy Idol: Rebel Yell 1985 - Aerosmith: Done with Mirrors 1988 - R.E.M. - Green 1989 - Eric Clapton: Journeyman 1990 - The Sisters of Mercy: Vision Thing 1991 - Genesis: We Can't Dance 1995 - Alice in Chains: Alice in Chains 1996 - Blind Melon: Nico 2000 - Yngwie Malmsteen: War to End All Wars 2001 - Paul McCartney: Driving Rain 2002 - 3 Doors Down: Away From The Sun 2002 - Pearl Jam: Riot Act 2003 - Kid Rock: Kid Rock 2003 - Dream Theater: Train of Thought 2007 - Queensryche: Take Cover 2009 - Bon Jovi: The Circle 2012 - Soundgarden: King Animal 2014 - Foo Fighters: Sonic Highways Deaths Berry Oakley (The Allman Brothers Band) - November 11, 1972 Ronnie Bond (The Troggs) - November 13, 1992 Herb Abramson (songwriter, producer, Atlantic Records) - November 9, 1999 Tommy Tedesco (session guitarist) - November 10, 1997 Mitch Mitchell (The Jimi Hendrix Experience) - November 12, 2008 Allen Toussaint - November 10, 2015 Phil "Philty Animal" Taylor (Motörhead) - November 11, 2015 Births Tom Fogerty - November 9, 1941 Joni Mitchell - November 7, 1943 Neil Young - November 12, 1945 Chris Dreja (The Yardbirds) - November 11, 1946 Pat Daugherty (Black Oak Arkansas) - November 11, 1947 Joe Bouchard (Blue Oyster Cult) - November 9, 1948 Bonnie Raitt - November 8, 1949 Dennis Stratton (Iron Maiden) - November 9, 1954 Tommy Thayer (Kiss) - November 7, 1960 David Ellefson (Megadeath) - November 12, 1964 Robin Finck (NIN, GN'R) - November 7, 1971 Jason White (Green Day) - November 11, 1973 Miranda Lambert - November 10, 1983 Nikolai Fraiture (The Strokes) - November 13, 1979 November 14th - 20th From the birth of Metallica guitarist Kirk Hammett to the release of Led Zeppelin’s Coda, November 14 through 20 offers a bevy of notable moments in rock ‘n’ roll. Read on for some major events, historic record releases and births and deaths taking place November 14 through 20. Events 1961 - The Elvis Presley movie “Blue Hawaii” debuted. 1971 - B.B. King marked his 25th anniversary in music by opening a European tour in London. 1973 - David Bowie performed on his first TV special, "1980 Floor Show.” The show was broadcast on NBC's "Midnight Special." 1978 - Echo & the Bunnymen performed for the first time at Eric's Club in Liverpool, England. 1987 - U2 posted as a country-rock band called the Dalton Brothers and opened for itself during a show in Los Angeles. 1990 - David Crosby broke his left leg, ankle and shoulder in a motorcycle incident in Los Angles. 2005 – The Johnny Cash flick "Walk the Line" opened in theaters. Births James Young (guitarist for Styx), November 14, 1948 Stephen Bishop, November 14, 1951 Frankie Banali (Quiet Riot), November 14, 1953 Alec John Such (ex-Bon Jovi), November 14, 1955 Joseph Simmons (Run of Run-DMC), November 14, 1964 Brian Yale (Matchbox Twenty), November 14,1968 Travis Barker (Blink-182), November 14, 1975 Tobin Esperance (Papa Roach), November 14, 1979 Steve Fossen (Heart), November 15, 1949 Troy Seals (James Brown), November 16, 1938 John Ryanes (The Monotones), November 16, 1940 Harry Rushakoff (original drummer for Concrete Blonde), November 16, 1958 Mani (The Stone Roses), November 16, 1962 Gerry McGee (The Ventures), November 17, 1937 Gordon Lightfoot, November 17, 1938 Bob Gaudio (of The Four Seasons), November 17, 1942 Gene Clark (tambourine player, guitarist, vocalist for The Byrds), November 17, 1944 Martin Barre (guitarist for Jethro Tull), November 17, 1946 Ben Wilson (keyboardist for Blues Traveler), November 17, 1967 Herman Rarebell (The Scorpions), November 18, 1949 Graham Parker, November 18, 1950 Rudy Sarzo (Quiet Riot, Whitesnake), November 18, 1950 John McFee (The Doobie Brothers), November 18, 1953 Kim Wilde, November 18, 1960 Kirk Hammett (Metallica), November 18, 1962 Duncan Sheik, November 18, 1969 Warren "Pete" Moore (Smokey Robinson & the Miracles), November 19, 1939 Fred Lipsius (Blood, Sweat & Tears), November 19, 1943 Joe Correro Jr. (Paul Revere and the Raiders), November 19, 1946 Matt Sorum (Guns N' Roses), November 19, 1960 Travis McNabb (Better Than Ezra), November 19, 1969 Duane Allman (The Allman Brothers Band, Derek and the Dominos), November 20, 1946 Joe Walsh (guitarist, vocalist for James Gang, Eagles), November 20, 1947 Jim Brown (UB40), November 20, 1957 Sen Dog (Cypress Hill), November 20, 1965 Micheal Diamond / Mike D (Beastie Boys), November 20, 1965 Deaths Keith Hudson, November 14, 1984 Danny Whitten (Crazy Horse), November 18, 1972 Cab Calloway, November 18, 1994 Tom Evans (Badfinger), November 19, 1983 Kevin DuBrow (Quiet Riot), November 19, 2007 Releases The Beach Boys, Smiley Smile, 1967 The Faces, A Nod Is As Good As a Wink to a Blind Horse, 1971 Elton John, Crocodile Rock, 1972 (U.S. release) Bob Dylan, Dylan, 1973 Frank Zappa, Joe’s Garage (Acts II & III), 1979 John Lennon, Double Fantasy, 1980 Led Zeppelin, Coda, 1982 Kiss, Smashes, Thrashes & Hits, 1988 U2, Achtung Baby, 1991 AC/DC, Bonfire, 1997 Metallica, Reloaded, 1997 The Offspring, Conspiracy of One, 2000 The Beatles, Let It Be... Naked, The Beatles, 2003 ________________________________________________ HC's Rock Rewind is sponsored by Gibson

Freelance Musician: Advancing The Gig Assimilate! Resistance is futile and could cost you the gig by Brendan Buckley (DW's Edge Magazine) A freelance musician can sometimes get a call to perform with one artist for eight months straight. Other times, he or she could get called to perform with eight different artists within one week. It helps to have a system of organization to handle this type of workload. Over the years, I have developed my own process that enables me to assimilate tons of songs and bounce from one job to the next. Here are a few key points to consider. The Details: Firstly, the details could always use some clarification. Let’s say a phone call or email comes in asking, “Are you available from February 15th through the 20th?” That does not tell me very much about the job. Therefore, I often begin by digging for more information. What is this mystery gig? Are the proposed dates for rehearsals, a concert, a couple of recording sessions? Will this event take place in Los Angeles, or somewhere out of town? And if the job is out of town, when would I need to leave, and when would I return? Also, keep in mind the issue of time zones, and the international date line. For instance, it takes an extra day to fly west over the Pacific Ocean but, on the contrary, you land the same day you take off if flying from Shanghai to Chicago. Who else is on this gig? The ‘hang’ is often as important as the music. What is the pay? Would it be hourly, daily, weekly? What are the travel arrangements? Would we be driving in a van to San Francisco, or flying to Barcelona? Is there some type of cancelation policy between now and then if the entire project falls through or gets postponed? It’s considerate and professional if they offer somewhere between 50-100% of the income in the case of a cancelation. The Music: Now that you’ve accepted the gig, the next step of the process would be to get ahold of the music. Normally, a batch of MP3s is sent to me by email. However, for recording sessions, I might receive entire Pro Tools files via a service such as WeTransfer. I like to put all the music in a playlist form on iTunes. And, if possible, I prefer to get a set-list order too. That helps me later on while trying to memorize the music. I’ll sync up my iPod (yep, still use one of those) so that I can take this music around with me on car rides, hikes, or plane flights. The Learning: Now comes the real ‘homework’ of the job. I set aside a period of time to chart out all of the songs. First, I start with a stack of plain white printer paper (although I have been known to use a napkin, a torn sheet from a journal, or the backside of junk mail), a black pen, good headphones that allow me to distinguish kick drum patterns and bass lines, and any tap-tempo metronome. Then I go down the list of songs, writing out charts using my own version of notation and hieroglyphics. My charts are usually as detailed as they need to be, but not unnecessarily detailed. I still follow a system similar to the one that I learned for reading high school Big Band/Jazz charts. Left-to-right, top-to-bottom, with sections like: introduction, verse, prechorus, chorus, bridge, solo, outro, etc. How many bars are in each section? Include rests, accents, and unison figures. Jot down dynamics (ppp vs fff). I notate specific beats and signature drum fills. What would my hands be doing at any given time? RH on closed hi-hat and LH on cross-stick. Or RH on ride cymbal and LH on snare drum. Or RH on floor tom and LH on tambourine. I notate the tempo markings. And, if time allows, I will even check out alternate versions of the songs (remixes, live versions, cover versions) on Spotify or YouTube. Part #2 of this learning process takes place on the actual drum set. I take my folder of charts, throw on the headphones, and play along with the iPod, seeing how the songs feel on the instrument. At first, I approach the songs exactly like the album versions (as note-for-note as possible). Then, I gradually adjust them in ways that I believe would make them even more musical. That might mean changing the subdivision of the hi-hat from 16ths to 8ths, or adding ghost notes to the snare part, or simplifying the kick drum pattern, or coming up with an alternate drum fill that does not clash with the acoustic guitar part or the vocal melody. In general, I prefer to have all of the songs learned well enough to the point where I can do them exactly like the record, or differently from the recorded versions in case the artist, producer, or Musical Director requests a fresh approach. Brainstorm for multiple options. The artist could either be completely sold on their album version, or they could be utterly bored with it. You can’t be sure, so it’s a good idea to have choices. Part #3 of the learning process is the memorization. Even though I’ve been working on my reading since I was in middle school, I prefer to not read any charts on stage or during recording sessions. Staring at a page makes me feel as though I have not internalized the music. Therefore, I go through a process of memorization. It’s a good brain exercise (like Sudoku)! First, I spend a good deal of time running through the music in headphones while staring at my charts. Then, I close the folder and spend time playing the music, still with headphones, but without the charts. This can be a bit bumpy at first, but it helps highlight the trickiest parts of the songs. Finally, I will switch from the iPod to ametronome, and just play through all ofthe songs with only a click track whilesinging the melody and arrangements inmy head. This can be the toughest part, but it’s only when I do this that I feel as though I actually know the songs. It’s as though I am inside all of the phrasing. And, practically speaking, if things go wrong on stage (bad monitor mix, guitarist breaks a string, singer gets lost), I’ll know exactly where we are, and I‘ll be able to hold everyone together. As a drummer, you are often steering the ship! The Gear: Ok, so we’ve confirmed the dates for this upcoming performance and we’ve learned all of the music. Now we have to organize the logistics of the equipment. You’ll probably have to find out if the venue/studio has its own backline or will you rent a drum kit? Or do you need to bring your own gear to the gig? Then, according to the music, I will decide on drum sound options. The kick drum size, and its tuning. The amount of toms, and their sizes. Coated Ambassadors vs. Clear Pinstripes? A metal or wood snare drum? How about a side snare drum turned off and cranked like a timbale, or should it be deep and chunky? Which cymbals would work well, and how many? Maybe an extra mounted hi-hat would be cool. Double pedal? Are there mounted percussion elements that would add to the music, such as tambourines, cowbells, rototoms, more cowbells? Of course, we’ll need a gong bass drum. Trashy cymbal effects and cymbal stacks are in vogue. So are treated drum heads with elements like car keys, jingles, splash cymbals, drum wallets, BigFatSnares, and Keplinger metal creations. Should I add a few electronic trigger pads and trigger pedals? Maybe I could use some alternate stick choices like brushes, rods, maracas, or jingle sticks. Maybe a song would sound better if I left the drum set altogether and only played cajón, or marching snare, or pandeiro. Will we have in-ear monitors? Will there be computer tracks? Will I be asked to run them? The Look: At some point, the topic of ‘Look’ will probably come up and a person called a ‘Stylist’ will probably tell you to “wear all black” and “just look cool.” Rock & Roll. The Show: Countless articles have been written about the professionalism needed to maintain a career as a working musician. This includes concepts such as ‘punctuality’, ‘getting along with others’, and ‘not vomiting in the artist’s dressing room or getting arrested at the airport.’ Assuming we’ve already read and internalized these nuggets, I’ll just skip ahead to showtime. Hint: I like to write my own set-lists and tape them where I can see them. It’s a habit that makes me comfortable. On these set-lists, I will often scribble a note for each song such as, “count off the guitarist for this one”, or “switch to mallets”, or “don’t forget those crazy hits at the end.” These are just reminders to glance at from time to time. And, beyond learning the songs, I also take the time to walk through the moments that occur between the songs. For instance, does the singer tell a story or joke between songs #2 and #3? Or, is there a non-stop segue between songs 7-8-9? I like to be in charge of the time between the songs in order to help keep a good flow. It’s almost a choreography that I develop: tighten the loose snare drum lugs here, drink a sip of water, fix the hi-hat clutch, switch to brushes, add a sizzle chain to the ride cymbal, switch the patches on my sampler, crack an inside joke at the bass player. This all happens seamlessly during the few seconds between songs. Beyond that, I would say: (1) shake hands with all the band and crew members before you go on. So many people are in their own worlds before a show. Smart phones, ugh! This is a team effort. (2) Expect that things will go wrong on stage, and embrace those moments. They can be a whole lot of fun! And, (3) hug and celebrate with your gang of musicians once the show is completed. It’s not just a collection of songs. It’s an event! The Compensation: Lastly, get paid. This sounds simple, but it’s important. And you’d be surprised how difficult this part can be. For musicians, it’s not common to get paid before you do the work. Therefore, you’ll probably have to type up and send an invoice. There is a myriad of ways to transfer payment such as: direct deposit, PayPal, Western Union, cash, or “the check is in the mail.” Keep track of all outstanding payments because certain people will space out and forget. I hope this gives you a brief look into what I do to prepare for a performance. You’ll find that most pro drummers out there have a similar approach and work ethic. And keep in mind this helpful sports quote: “Don’t practice until you get it right. Practice until you can’t get it wrong.” -HC- Here’s an example of a sample drum rider that I have sent to a rental company: Brendan Buckley: Drum Rider (Shelby Lynne 2016 U.S. Tour) DW (Jazz, Classics, or Collector’s Maple series): • 14”x22” bass drum (hole in front head, with pillow inside) • 9”x13” rack tom (on snare stand) • 16”x16” floor tom (on 3 legs) • 6”x14” black nickel snare drum • 5”x13” titanium snare drum DW Hardware: • cymbal boom stands (x5) • snare drum stands (x3) • hi-hat stand • DW5002 double pedal (x2) • throne Sabian Cymbals: • 15” Artisan hi-hats (or HHX) • 22” Artisan ride cymbal (or HHX) • 18” Artisan crash (or Evolution) • 19” Evolution crash (or HHX) • 19” HHX Extreme crash • 8” splash Remo Drum Heads: • Coated Ambassadors on all tops • Clear Ambassadors on all bottoms • Powerstroke 3 on bass drum batter side Vic Firth sticks: • 5A wood tips • T1 Timpani mallets • Heritage wire brushes LP: • mounted cyclops tambourine • shaker Accessories: • drum rug • gaff tape • drum key • towel • water • miniature electric fan - reprinted with expressed written permision DW's Edge Magazine - _______________________________________________________ Brendan Buckley – Drummer for Shakira, Roberto Carlos, Leehom Wang, Shelby Lynne, Aleks Syntek, Leighton Meester, Minnie Driver, The Bodeans, JJ Lin Website: www.brendanbuckley.com | Facebook: www.facebook.com/Brendan-Buckley-120852807940391/ Twitter: www.twitter.com/BrendanDrums | Instagram: www.instagram.com/BrendanBuckley *Thanks to Kevin Stevens and Stewart Jean from Musicians Institute for the addition help.

Musician Leon Russell Dies Aged 74 Shine a Light for Leon by Team HC According to his website and Facebook page, American musician and songwriter Leon Russell has died at the age of 74. The artist, who is best known for the songs "Shine a Light" and "A Song for You" died in Nashville on Sunday. “His wife said that he passed away in his sleep,” a statement posted on Russell’s website read. Russell was inducted into both the Rock and Roll Hall Of Fame and the Songwriter's Hall of Fame in 2011.

Canadian Singer Leonard Cohen Has Died - Aged 82 Another voice has been silenced ... by Team HC It is with profound sadness that Team HC reports the death of Canadian Singer/Songwriter Leonard Cohen. An official statement from Sony Music Canada has confirmed his passing. Sony Music said it was proud to have "celebrated Cohen's artistry" over his six-decade career. "Leonard Cohen was an unparalleled artist whose stunning body of original work has been embraced by generations of fans and artists alike," it said in the statement. "The Sony Music Canada family joins the world in mourning Leonard Cohen's passing." The Montreal-born singer's hits included Suzanne and I'm Your Man and he released his 14th album, You Want It Darker, just last month. His song Hallelujah has been recorded over 300 times. He was inducted into the Rock and Roll Hall of Fame in 2008. "This is a very unlikely occasion for me. It is not a distinction that I coveted or even dared dream about," he said. There were no details about the cause of Cohen's death. A memorial will take place in Los Angeles at a later date. Join the discussion at Harmony Central _____________________________________________________________ Photo Credit: Simone Joyner/Redferns via Getty Images

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC October 25th - 30th This week we celebrate the seventieth birthday of one of the most influential rock and blues guitarists in rock history - the great Peter Green. Sadly, this was also the week when Duane Allman passed away, just shy of his twenty-fifth birthday. Record releases from the last week of October include debuts by Ten Years After, Jethro Tull and the Sex Pistols. Read on for more! Events 1962 - An early version of the Rolling Stones recorded their first demo, comprised of three covers by Bo Diddley, Muddy Waters and Jimmy Reed. 1963 - The Beatles visited Sweden on their first foreign tour. The Fab Four recorded a radio show, did a few live concerts, and appeared on Swedish television. 1964 - A riot broke out in the studio during Rolling Stones' first appearance on The Ed Sullivan Show. The band played "Around and Around" and "Time is on My Side." 1986 - Bon Jovi's third album Slippery When Wet went to number one on the US album chart, propelling the band to super star status seemingly over night. 1988 - U2's concert film and Joshua Tree Tour autobiography Rattle and Hum had its world premiere in the band's hometown of Dublin, Ireland. Releases 1966 - The Kinks: Face to Face 1967 - Ten Years After: Ten Years After 1967 - Buffalo Springfield: Buffalo Springfield Again 1968 - Jethro Tull: This Was 1969 - Johnny Winter: Second Winter 1971 - Don McLean: American Pie 1973 - The Who: Quadrophenia 1977 - Sex Pistols: Never Mind the Bollocks, Here's the Sex Pistols 1978 - Rush: Hemispheres 1979 - Motörhead: Bomber 1982 - Prince: 1999 1983 - Bob Dylan: Infidels 1984 - Deep Purple: Perfect Strangers 1985 - ZZ Top: Afterburner 1989 - Joe Satriani: Flying in a Blue Dream 1995 - Ozzy Osbourne: Ozzmosis 1995 - The Smashing Pumpkins: Mellon Collie and the Infinite Sadness 1998 - R.E.M.: Up 1999 - Incubus: Make Yourself 2000 - Linkin Park: Hybrid Theory 2000 - U2: All That You Can't Leave Behind 2001 - Lenny Kravitz: Lenny 2007 - Avenged Sevenfold: Avenged Sevenfold 2007 - Eagles: Long Road Out of Eden 2013 - Arcade Fire: Reflektor 2015 - Def Leppard: Def Leppard Deaths Duane Allman - October 29, 1971 Steve Took (T Rex) - October 27, 1980 Tom Dowd (producer) - October 24, 2002 Lou Reed - October 27, 2013 Jack Bruce - October 25, 2014 Births Bill Wyman - October 24, 1936 Grace Slick (Jefferson Airplane, Starship) - October 30, 1939 Denny Laine (The Moody Blues) - October 29, 1944 Jerry Edmonton (Steppenwolf) - October 24, 1946 Peter Green - October 29, 1946 Chris Slade (AC/DC) - October 30, 1946 Timothy B. Schmit (The Eagles) - October 30, 1947 Glenn Tipton (Judas Priest) - October 25, 1948 Garry Tallent (E Street Band) - October 27, 1949 Bootsy Collins (Parliament) - October 26, 1951 K. K. Downing (Judas Priest) - October 27, 1951 Desmond Child (songwriter) - October 28, 1953 Joey Belladonna (Anthrax) - October 30, 1960) Chad Smith (Red Hot Chili Peppers) - October 25, 1962 Keith Urban - October 26, 1967 Scott Weiland - October 27, 1967 Gavin Rossdale - October 30, 1967 Ben Harper - October 28, 1969 Ben Gillies (Silverchair) - October 24, 1979 October 31st - November 6th From the birth of U2 rocker Larry Mullen to the release of Nirvana’s celebrated MTV Unplugged in New York, Halloween through the first week of November brings many memorable moments in rock music history. Read on for some major events, historic record releases and notable births and deaths happening October 31 through November 6. Rockin’! Events 1961 - Bob Dylan performed at Carnegie Chapter Hall in New York City for the first time. 1987 - U2 surprised fans by opening for itself by posing as a country-rock band named the Dalton Brothers at a show in Indianapolis. 1998 – Kiss kicks off their Psycho Circus tour with a Halloween concert in Los Angeles. 2005 - Black Sabbath gets inducted into the UK Music Hall of Fame by Queen’s Brian May. 2005 - The iTunes Music Store hits 1 million videos sold. Births Tom Paxton, October 31, 1937 Larry Mullen (U2), October 31, 1961 Johnny Marr (The Smiths), October 31, 1963 Adam Horovitz (Beastie Boys), October 31, 1966 Adam Schlesinger (Fountains of Wayne), October 31, 1967 Vanilla Ice, October 31, 1968 Linn Berggren (Ace of Base), October 31, 1970 Ronald Bell (Kool and the Gang), November 1, 1951 Lyle Lovett, November 1, 1957 Anthony Kiedis (Red Hot Chili Peppers), November 1, 1962 Rick Allen (Def Leppard), November 1, 1963 Alex James (Blur), November 1, 1968 Dave Pegg (Jethro Tull, Fairport Convention), November 2, 1947 Carter Beauford (The Dave Matthews Band), November 2, 1957 Bobby Dall (Poison), November 2, 1963 Reginald Arvizu (KoRn), November 2, 1969 Nick Simper (Johnny Kidd and the Pirates, Deep Purple), November 3, 1946 Adam Ant, November 3, 1954 Scherrie Payne (of The Supremes), November 4, 1944 Van Stephenson (Blackhawk) November 4, 1953 James Honeyman-Scott (The Pretenders) November 4, 1956 Jeff Scott Soto (Journey, Yngwie Malmsteen band) November 4, 1965 Puff Daddy November 4, 1969 Gram Parsons (The Byrds, The Flying Burrito Brothers), November 5, 1946 Don McDougall (The Guess Who), November 5, 1948 David Moyse (Air Supply), November 5, 1957 David Bryson (Counting Crows), November 5, 1961 Mike Score (A Flock Of Seagulls), November 5, 1967 Jonny Greenwood (Radiohead), November 5, 1971 Ryan Adams, November 5, 1974 Kevin Jonas (The Jonas Brothers), November 5, 1987 Guy Clark, November 6, 1941 John Wilson (Them), November 6, 1947 Glenn Frey (Eagles), November 6, 1948 Corey Glover (Living Colour), November 6, 1964 Greg Graffin (Bad Religion), November 6, 1964 Deaths Bobby Parker, October 31, 2013 Mississippi John Hurt, November 2, 1966 Fred "Sonic" Smith (The Sonics, MC5), November 4, 1994 Johnny Horton, November 5, 1960 Bobby Nunn (The Coasters) November 5, 1986 Fred 'Sonic' Smith (MC5) November 5, 1994 Billy Guy (The Coasters) November 5, 2002 Bobby Hatfield (The Righteous Brothers) November 5, 2003 Billy Murcia (original New York Dolls drummer), November 6, 1972 Dickie Goodman (Buchanan and Goodman), November 6, 1989 Releases The Monkees, Pisces, Aquarius, Capricorn & Jones Ltd., 1967 Led Zeppelin, Immigrant Song, 1970 Hall & Oates, Abandoned Luncheonette, 1973 Ringo Starr, Ringo, 1973 The Who, Quadrophenia, 1973 (U.S. release) Queen, Bohemian Rhapsody, 1975 The Police, Outlandos d'Amour, 1978 George Harrison, Wonderwall Music, 1968 Bad Religion, No Control, 1989 Bon Jovi, Keep the Faith, 1992 Nirvana, MTV Unplugged in New York, 1994 Queen, Made in Heaven, 1995 The Beach Boys, The Pet Sounds Sessions, 1997 Beck, Mutations, 1998 John Lennon, John Lennon Anthology, 1998 U2, The Best of 1980–1990, 1998 The Rolling Stones, Live Licks, 2004

ddrum Journeyman Player Drumset Can a US-based Swedish company deliver a beginner drumset? by Yannick (adapted by Team HC) In summer 2013, a friend first told me about how great his new ddrum Journeyman Player sounded. I thought he was referring to an electronic kit, and soon found out how little I knew about recent developments in the drumming industry (that has even changed since): ddrums, a US-based Swedish company specializing in electronic kits had branched out into acoustic drum kits in 2005. And in 2013 they launched what I consider their best entry-level kit so far. More than that, I also think it’s could be one of the best beginner drum sets on the market. Who Is this Kit for? The ddrum Journeyman is a very good kit for the beginning drummer. ddrums has one cheaper entry-level series (the D2), but to my mind the ddrum Player is a world ahead of the D2 for only about 100 bucks more. I think you can already tell by comparing their looks: Judging from design alone, the ddrum D2 is for the practice room, while I’d be comfortable to go on stage with the Journeyman. In terms of genres, the ddrum Journeyman is probably best used for rock and similarly punchy genres, because of its shell sizes. Most likely, you’d also get away with it as a fusion drummer. But if you’re mainly into jazz, you’d better look at sets such as the Sonor Martini or the Ludwig Breakbeats. Features Shells made of basswood in sizes: 22" x 18" (bass drum), 13" x 7" (snare drum), 10" x 7" and 12" x 8" (mounted toms), 16" x 14" (floor tom) Bass and snare drum are 8 ply, toms 6 ply Comes with double-braced hardware (hi-hat, snare, cymbal and boom stand, tom mount and single bass drum pedal) Suspension tom mounts 45 degree bearing edges Pros Out-of-the-ordinary snare in 13" x 7" This snare is 1" smaller and 2" deeper than those coming with most other beginner kits. The depth lends this thing an authoritative punch, but with the smaller diameter it also retains a good snap that makes it useful for a variety of musical genres. Punchy kick drum When I ordered the Journeyman I was most curious to see whether the bass drum would live up to its considerable size (22" x 18"). And I’m pleased to say it does. It’s super punchy - especially after changing the bass drum head to an Evans Emad2. But see for yourself (with original heads) in the video below. Great-looking (black) sparkle finish It might not come through fully on the picture above, but the ddrum Journeyman has a noticeable but not overly aggressive sparkle finish. And looking good on stage is very important, because audiences judge you more by your looks than by your skills. And in case you don’t like it in black: the Journeyman is also available in yellow and white. Decent wood for the money The shells of the ddrum Journeyman Player are made of basswood. This is obviously not the most expensive material on the market, but it also doesn’t mean it’s bad. It simply means that it will have its own sound qualities (or better: sound potentials, because how you tune the drums will contribute a good bit to how they’ll sound in the end). In the case of basswood, these sound qualities will be similar to those of maple or mahogany: an emphasis on the midrange and warm lower frequencies with somewhat less projection than those other two woods would have. I’ve achieved a very decent and balanced sound with my Journeyman. Cons Heads to be changed sooner rather than later Speaking of the large impact the heads have on your sound, I’d rather not go on stage with the Journeyman’s stock heads. These are Remo heads, but the lower-quality UX ones made in China that come with most other entry-level kits too. Of course you can mess around with them and you might get a fairly good sound out of them. But I’ve never gotten them to sound good enough for the stage. (I recommend Evans Emad2 heads all around on the Journeyman.) Packaging is miserable I got this kit from Amazon and it came fully intact. But a friend of mine wasn’t so lucky: because of the fairly lax packaging, his bass drum had a crack right through. This might be an extreme case, and I haven’t heard from more people with this issue. Still, most of them say that the packaging wasn’t what it should be like with drum kits (unprotected edges, very little foam, etc.). Conclusion Please keep in mind that this is not a “play right out of the box”-type beginner kit. It doesn’t come with cymbals, so you'll need to have some or be ready to invest some money for them (at least $200-$300). Also, there’s the packaging issue (but of course you can always request a replacement for damaged items). Other than that, I think there really is no reason not to buy the ddrum Journeyman Player. Great sound, sturdy hardware, great design...I fully recommend this for any drum beginner. Resources _____________________________________________ Yannick is the drummer behind kickstartyourdrumming.com where he writes high-quality reviews to help you find your acoustic drum set, electronic kits, cajon and whatever else your drummer heart desires. He started drumming at the age of 8 (making it 20 years by now) and has played in a range of rock bands and symphonic orchestras all over.

Jason Lollar - Magnetic Attraction Enamoured with the pickups ... by Blake Wright - Gearphoria (adapted by Team HC) JASON LOLLAR wanted to build guitars. He attended and graduated from Roberto-Venn School for Luthiery in Phoenix, Arizona in 1979 and built several different styles, but gravitated towards arch tops. After dropping in dog-ear P90 pickups of his own recipe, he would take some of his handi- work around to regional guitar shows for feedback. Once folks heard one of the Lollar creations, they almost instantly became enamored... with the pickups. He wrote a book, Basic Pickup Winding, as a sort of calling card for his guitar builds, but in the end only drew more attention to his magnetic masterpieces. “Making those kind of guitars is way harder than that pickup,” he told Gearphoria. His focus soon shifted to pickup manufacturing and he has really been too busy to look back. Today, Lollar employs almost 20 people and occupies a three-story building near downtown Tacoma, Washington. — Jason shows off a J-Street single coil — THE TOUR OF Lollar’s newest headquarters starts with an impressive floor inlay proudly announcing the company’s two-decades plus of bringing high quality guitar pickups to throngs of tone-starved players worldwide — both pro and hobbyist. The building on A Street once housed a candy manufacturer, a coffee roaster and at least one hair salon. The crew not-too-fondly remembers the renovation chore of digging out years of hair and coffee that had become impacted in the grooves of the plank wood floors, and that wasn’t the only job that needed doing ahead of moving into the new digs in 2014. “We had to have this place all completely rebuilt,” says Jason Lollar. “All new wiring. Refinished the floors and stuff. All new windows. Everything. Heat. I think it was built in 1911. It was the probably the first building on this street because there are windows that were bricked over from the building next to it.” The ground floor of the shop houses offices, the customer service department, shipping, parts storage and perhaps the building’s most drool-worthy space — the test-drive lounge. This impressive space towards the back houses at least a couple of dozen guitars and a least a dozen top-flight amplifiers to give interested parties a place to put all that Lollar offers through its proper paces. Guitars from the likes of Collings, Agile, Teisco, Greg Bennett, Godin, Fender (and Squire) and more line the walls, all equipped with a variety of Lollar pickups. Classic Fender amps dominate the main wall, but other brands such as 65amps also make an appearance. — Crock Pots are used in the wax potting process on Lollar's pickups — “A lot of the models of pickups we make are installed in these guitars so people can come in and check them out,” explained Lollar. “We do a lot of listening and comparing, with our own and other people’s pickups, while we’re developing new products. So all the amps here have different frequency responses so you can tell if a pickup sounds great with a Tweed, but not so great with a Super Reverb and so on. It gives us a good perspective.” One of the guitars housed a new set of an upcoming release — Lollar P90 staple pickups. The staple-shape of the magnets creates a different sound than the regular P90 with screws. According to Lollar, it has more ‘clarity and zing’ to it. “I’ve seen the R&D process for 17 years and it still fascinates me, when they sit down with three or four different pickups and figuring out their qualities,” says company co-owner Stephanie Lollar. “I’m not a guitar player. I’m a calculator player. A lot of times it comes down to not only sound, but feel… which I totally can’t understand. It just part of the process. They can hear things that I just can’t here.” Players themselves make such a huge difference, just by the way the attack the strings. Everyone strikes it a little different, according to Jason. It is in the voicing of the chords they play. He is a firm believer that if you hand a guitar to one guy and then to another, it is going to sound different. The R&D process stays true to the Lollar philosophy and identity the company has built up over almost 20 years. They make little attempt to please everyone in the room, and have often directed potential clients to other pickup manufacturers. “People appreciate that,” he says. “I mean, you don’t go to one doctor to get everything done.” Before a product hits the adjacent shipping area, where orders are filled and sent out the door, it is tested, and tested again. “By the time they get down here they are ready to go,” says Jason Lollar. “We rarely get anything returned because something wasn’t functioning right. Maybe twice a year?” To put some perspective on that figure, Lollar estimates the company makes between 1,500 and 2,000 pickups per month, and they’ve been doing that type of volume for over a decade resulting in tens of thousands of Lollar-built pickups in circulation around the globe. With that kind of reputation it is important to the company that it align itself with like-minded suppliers. A recent deal with Emerson Custom now allows Lollar to offer additional parts to go along with its pickups including pre-wired sets as well as individual components.’ “They do it the way we like it,” says Lollar of Emerson. “Their soldering is like what we do. It’s perfect. I see so many photos in (others) advertisements where they don’t even pull the wires all the way down. They’re all stuck up with blobs of solder coming off of them.” Upstairs is the company’s nerve-center — production central. The completely open-air room is lined with rows of workbenches and winding stations, each home to a production specialist. While many of Lollar’s crew can build any pickup in the line, they do have their specialities. The room is capped at one end by the wax potting area where the pickups get the tried-and-true Crock Pot dip, just after pre-heating for a more even penetration. “We time it from anywhere between five seconds, 45 seconds or a minute-thirty depending on what it is,” he explains. “Then we are really careful about wiping off the wax. A lot of companies aren’t. You can’t even tell by looking at it that there is any wax in it. We’re also careful with the fact that we want there to be some microphonics to it. So that is why we time it. You just don’t want it so microphonic that it is hard to control. The Crock Pots nowadays all have a drip channel. We have to buy used ones that don’t have that. We hook them up to a variac so we can control the temperature exactly. We’ve been doing it that way since we started.” There has been discussion about building a larger potter, but to date Lollar has stuck fast to the old idiom — If it ain’t broke, don’t fix it. When they need to upgrade they just add another Crock Pot, often times a garage sale or Craigslist find. “Until there ends up being a major bog down here, I think we’re ok,” says Stephanie Lollar. A good portion of everything it takes to create a Lollar pickup happens in this building. One of the things that still happens off-site is the metal-working, which is done by a company in Nashville. The company owns its plastic injection molds, but those are also done offsite in nearby Poulsbo, Washington. There is a laser cutter nearby that produces the pickup bobbins. Of course, in order to bring in the equipment necessary to have much of this work done in-house, sacrifices were made. “We ate beans and rice for years to make sure that every cent that we got was put back into the company so that we could grow it, buy the tools,” recalls Stephanie Lollar. “I remember when we bought the first laser. We were so nervous. Would we be able to pay for this thing?” One of the most striking pieces of equipment around might just be one of the most low-tech. Sitting precariously yet dominate towards the middle of the room is a large, foot-controlled industrial press. It seems to have been used in a previous life to bend steel, but now it is utilized by Lollar to press magnets into pickups. “We used to insert magnets all by hand,” he reveals. “We’d have four or five guys going tap, tap, tap, tap, tap… all day long. We also used to cut all of our lead wires by hand. Someone would be doing that for four or five days out of the week. Just cutting wire. The press we got from Florida. It was like $200, but it cost us $500 to have it shipped.” Though they did participate in some ‘ghost’ building in the past, Lollar has eschewed OEM work for the most part. The company does have agreements in place with select customers to supply exclusive builds. Bill Nash, who runs Nash Guitars, has a design that Lollar designed and builds for him. It does not get sold to other customers. Similarly, there are a couple of designs for Bill Collings at Collings Guitars in Texas that are exclusive to them. Lollar admits they are fairly selective about the companies they collaborate with. — The company logo as inlaid in the floor of the entrance — “We want to protect the customers we have,” explains Stephanie Lollar. “Collings, Nash, National Resophonic… we don’t want to do business with companies that will bring in a cheaper brand that compete with them. Most of these people are our friends.” The lower floor of the Lollar building is a work in progress. Mostly unfinished and used for select storage, the back half has a recently-started construction project underway that will give the company its own small sound studio. At the time of our visit, the walls had gone in forming both the soundboard area and the live room. “We’ll do sound clips and video demos here,” says Jason Lollar. “It’s all built so it’s not attached to the floor above.” The A Street building is a far cry from Vashon. Prior to the move, the company was based on Lollar’s property on the large island north of Tacoma. Growth and logistics made moving inland necessary. — The companies impressive Jam Room — “We looked all over town for this,” says Jason Lollar of the building. “There are still a lot of open buildings for sale or for lease here. It is not really that happening here. We got a good deal on this. I don’t think a deal like that would exist today… just three years later.” Republished with the expressed permission - www.gearphoria.com ____________________________________________ Blake and Holly Wright are Gearphoria. They travel full-time in their 25 foot Airstream while writing about cool guitars and guitar accessories. Gearphoria is a bi-monthly free-to-read online publication. You can visit their website by going to www.gearphoria.com and while you are there, sign up for their free e-zine.

Transformers - Not the Movie When touring in a land of unfamiliar voltages, make sure you choose the right kind of transformer ... by Mike Bieber, ACUPWR (adapted by Team HC) Musicians travel and that’s the way it’s been for thousands of years. So, all hail the roving troubadour, the travelling minstrelsy, the road dogs in the Ford Econoline, and the New Jersey hair bands in their steel horses. And let’s not forget the Travelling Wilburys. Seriously, touring internationally should be an exciting adventure for any performer or musician. Yet the prospect of jet lag, getting treated like royalty by a tiny two-person label, and performing in an exotic place like Sheffield can obfuscate important logistical factors—like AC voltage differences. Granted, you often don’t need to think about this; power supplies in most newer electronics and electrical equipment can accommodate a line (household) voltage range of 100-240 volts. This range encompasses the international voltage standards used throughout the world, and most modern guitar amps have power transformers that accept world-wide voltages as well. Still, plenty of touring musicians are tone obsessives who can’t part with their vintage tweed Deluxe amp or vintage keyboard or pedal or whatever, and lots of old gear accepts only a single voltage standard (particularly export gear). For example, the backline of Fender amps seen in the Beatles’ “Let it Be” rooftop concert were export models fitted with power transformers to accommodate England’s 220-volt, 50 Hz AC power. Most older amps were built to operate on the voltage standards of the countries from which they originated; for years, Marshall shipped amps to the US with fixed-voltage power transformers designed to handle only the US’s 110-120-volt, 60 Hz voltage standard. Meanwhile, today many boutique amp builders use single-voltage power transformer to match the voltage standard in a distributor’s country, so an amp shipped to a European distributor likely has a power transformer that accepts the European voltage standard of 220-240 volts and 50 Hz. (Fun fact: two thirds of the world rely on 220-240-volt, 50 Hz electricity.) Of course, amps with single-voltage power trannies have hardly stopped dedicated musicians from bringing them all over the world. That said, what’s the workaround for using your fixed-voltage amps and instruments in a country with incompatible voltage? Let’s consider the options. Rent your equipment overseas. Most touring musicians bring only their instruments, and rely on equipment rental houses or the club’s backline for gear like amps and drums. With fixed-voltage amps, convert the power transformer to one that will accommodate 220-240 volts, 100 volts (as used in Japan), or whatever the voltage standard is in the country you’ll be using it in. Amp-friendly power transformers are available from Mojotone, Hammond, Mercury Magnetics, Tube Depot, and other sources. Use an external step up/step down voltage transformer that converts the line voltage in a particular country or region to match the voltage requirement of your amplifier or instrument. This route eliminates the hassle of modifying your amp for a situation that might be only temporary (such as touring). Each of these options has its own merits, and you can decide which of them is most convenient for your needs. But we’ll limit this discussion to the third option: using an external step up/step down voltage transformer to convert international voltages. This option lets you leave the power transformer in your amps, keyboards, and other equipment completely stock—something appreciated by vintage amp collectors—and instead, use a “plug-and-play” solution between the power source and your equipment. Guitar technicians and live sound contractors rely on step-ups and step-downs for all kinds of line voltage conversions; with a high-quality, American-made transformer you can play the heart out of your old ’67 Deluxe Reverb (the one with a power requirement of 117 volts) somewhere in Norway (where everything runs on 220 to 240 volts). CAVEAT EMPTOR: THE QUALITY FACTOR If you enter the search term “step-down voltage transformer” in amazon.com, you’ll see dozens of similar-looking black boxes with a slew of different brand names, among them PowerBright, SevenStar, Simran, Rockstone, etc. Now, because I’m with an American company (ACUPWR) that makes step-up/step-down transformers, the following may seem self-serving—but I’ve also accumulated a lot of experience regarding what does and does not work. The bottom line is playing through something like an amp involves high power, high voltages, and high current drain, which places significant constraints on what you can use. It’s not like you’re trying to power a radio or electric razor. The visual similarity of the black boxes referenced above is due to their being manufactured inexpensively in China, usually under the same roof (regardless of brand name). These types of transformers are ill-suited to serious use, for reasons we’ll discuss later. In the other corner there’s quality. Scroll a few pages in on the amazon.com “step-down voltage transformer” search and you’ll find some American-made models by ACUPWR. This brand costs more ($159 for a 500-watt step-down model compared to a 500-watt Chinese model that sells for $32.95) but there’s a reason for this kind of price difference. Ideally, a transformer is reliable, energy efficient, and will have a long useful life. Even more importantly, when you’re dealing with all things electro-magnetic, safety is first and foremost. At a $32.95 price point, the corner-cutting involves using aluminum wiring and coils, cheap steel for the transformer core, and an ordinary glass fuse that often doesn’t blow until there’s been an overload for a period of time. These differences are important. For example not only does aluminum have lower current carrying capacity than copper, if a product mixes aluminum wiring and copper (e.g., in connectors), corrosion becomes a factor because aluminum will react electrochemically with copper when moisture is introduced into the system (e.g., humid environments). As to glass cartridge fuses, although they’re supposed to blow when the circuit is overloaded to protect the transformer and your amp, the response time can be sufficiently slow that they may not blow until after the transformer has caught on fire due to overheating. Professional units that can handle the kind of current needed by amps are hand-built with premium-grade electrical steel, copper core wiring, heat resistant enamel coating, and a thermal protection sensor instead of glass fuses. These sensors react to the heat caused by an overload condition instead of reacting solely to the amount of current. This is important because if the fuse thinks the amount of current is okay, it will keep supplying current and continue heating up the transformer. A sensor will shut the unit off automatically if it becomes too hot due to an overload condition, but also restart the transformer when it cools down (unlike a blown fuse, which you have to replace) and also unlike a fuse, will work beyond the stated wattage if there’s no danger over overheating. Remember, parts aren’t just simply parts. Using cheap steel for a transformer’s core and aluminum wire makes the transformer susceptible to overheating, power loss, and inefficiency. This kind of core can also lead to a very audible AC hum (a principle known as hysteresis), and not enough magnetic flux to move the electrons along. To compare, a recent bench test between an ACUPWR transformer and a Chinese PowerBright model showed the ACUPWR model to have 95% energy efficiency compared with the Chinese model’s 85% energy efficiency. Tested at their fully stated wattage load capability of 500 watts, the ACUPWR model converted 220-volt input to the desired 110-volt output, while the PowerBright model converted 220 volts to an undesirable 95 volts—the equivalent of running your amp during a brownout. CYCLE ’TIL IT HERTZ There’s more to the subject than just converting voltage, because of the AC line frequency differences that exist with different line voltage standards. 60 Hz, or cycles per second, is common with 110-120-volt electricity and 50 Hz is typical with 220-240-volt electricity. Voltage transformers don’t convert AC frequency. Does this matter? It’s a complicated question with many opinions for answers. A solid, ruggedly built voltage transformer has enough iron in its core to allow for safe operation of 60 Hz equipment in a 50 Hz country. The general rule is that any electronic device with a high-power motor will be affected and not crank at the proper torque. Also, devices that depend on the AC voltage frequency for timing (e.g., many analog tape decks) will be affected. Low-power “servo” motors are not impacted, nor are electronics. However, this answer doesn’t always satisfy audiophiles and tone purists who insist that there’s a difference. Whether their observations stand up to double-blind testing is another matter altogether, so we’ll just leave it at that. “Golden ears” questions aside, the most important point is that step-up or step-down voltage transformers are not just about getting a job done reliably, but getting it done safely. If you have a few low-current consumer gadgets, the $32 transformer might do the job. But when you want something that won’t damage either your gear or yourself, or turn your smokin’ solo into a literally smokin’ solo, it’s crucial to do your research and choose transformers that prioritize reliability and safety. ___________________________________________ Mike Bieber is the Marketing Director for ACUPWR transformers. And when he isn't dealing with transformers, he's busy playing guitar. He is not related to Justin.

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC This was the week when Dave Grohl played on stage with Nirvana for the first time, and also the week when Credence Clearwater Revival called it quits. This week also marks the 114th anniversary of the formation of a certain mandolin and guitar manufacturing company in Kalamazoo. Read on for some significant events, historic record releases and notable births and deaths happening October 10th through October 23rd. Week of October 10th - 16th Events 1902 - The Gibson Mandolin-Guitar Mfg. Co., Ltd. is formed on October 10, 1902. Orville Gibson sold the rights to his name and patent to five businessmen in Kalamazoo, MI, who kept Orville on as a consultant. 1965 - Jimi Hendrix signed his first UK record deal. 1972 - Creedence Clearwater Revival officially called it quits on October 16, 1972 following a rather lackluster reception of their seventh studio album Mardi Gras. 1974 - Blondie played their first gig using their new name "Blondie" at the legendary CBGB's in New York City. 1978 - While playing a show in Philadelphia, Aerosmith's Steven Tyler and Joe Perry were injured when someone in the audience threw a cherry bomb on stage, prompting the band to use a safety fence in front of the stage for the remainder of the tour. 1980 - Led Zeppelin drummer John Bonham was laid to rest. Bonham passed away on September 25 at only 32 years old. 1990 - Dave Grohl played on stage with Nirvana for the first time. The show took place at the North Shore Surf Club in Olympia, WA. 2009 - Pearl Jam's ninth album Backspacer went to the top of the US charts, proving the Seattle band were still every bit as relevant some 18 years after releasing their debut album Ten. Releases 1968 - The Jimi Hendrix Experience: Electric Ladyland 1968 - Three Dog Night: Three Dog Night 1969 - Frank Zappa: Hot Rats 1972 - Santana: Caravanserai 1973 - Fleetwood Mac: Mystery to Me 1973 - Grateful Dead: Wake of the Flood 1974 - The Rolling Stones: It's Only Rock 'n Roll 1975 - Deep Purple: Come Taste The Band 1977 - David Bowie: "Heroes" 1978 - Toto: Toto 1979 - Fleetwood Mac: Tusk 1980 - Thin Lizzy: Chinatown 1981 - U2: October 1982 - Kiss: Creatures of the Night 1986 - Billy Idol: Whiplash Smile 1988 - U2: Rattle and Hum 1990 - ZZ Top: Recycler 1991 - Ugly Kid Joe: As Ugly as They Wanna Be 1992 - 4 Non Blondes: Bigger, Better, Faster, More! 1994 - Suede: Dog Man Star 1994 - Korn: Korn 1995 - Green Day: Insomniac 1995 - No Doubt: Tragic Kingdom 1997 - Green Day: Nimrod 1999 - Kenny Wayne Shepherd: Live On 2000 - Slash's Snakepit: Ain't Life Grand 2000 - The Wallflowers: (Breach) 2004 - Sum 41: Chuck 2005 - Sevendust: Next 2008 - Keane: Perfect Symmetry 2013 - Pearl Jam: Lightning Bolt 2013 - Paul McCartney: New 2014 - OK Go: Hungry Ghosts Deaths Carey Lander (Camera Obscura) - October 11, 2015 Ricky Wilson (B-52's) - October 12, 1985 John Denver - October 12, 1997 Births Nico (The Velvet Underground) - October 16, 1938 Paul Simon - October 13, 1941 Robert Lamm (Chicago) - October 13, 1944 Justin Hayward (The Moody Blues) - October 14, 1946 Sammy Hagar - October 13, 1947 Bob Weir (The Grateful Dead) - October 16, 1947 Rick Parfitt (Status Quo) - October 12, 1948 Daryl Hall - October 11, 1949 Midge Ure - October 10, 1953 David Lee Roth - October 10, 1955 A. J. Pero (Twisted Sister) - October 14, 1959 Eric Martin (Mr. Big) - October 10, 1960 Dave Vanian (The Damned) - October 12, 1956 Bob Mould (Husker Du) - October 12, 1960 Flea (Red Hot Chili Peppers) - October 16, 1962 John Mayer - October 16, 1977 Week of October 10th - 16th Historically speaking, this week in rock music has been marked by a trove of memorable events. The most important band in rock history make their television debut, the most influential heavy metal band of the ‘70s kicked off their third U.S. tour, and classic rock favorites Santana made a spectacular comeback. A spate of classic albums was released as well, including landmark records by David Bowie, Bob Seger and U2. Read on for a look back at other significant moments that shaped rock and roll during this historically eventful week. Events 1959 – Paul McCartney makes his debut appearance with The Quarrymen, performing alongside John Lennon and three other band members. 1960 – Roy Orbison scores his first U.K. Number One hit, with “Only the Lonely.” 1962 – The Beatles make their television debut, performing the songs “Some Other Guy” and “Love Me Do” live on a show titled “People and Places,” in Manchester, England. 1966 – The Jimi Hendrix Experience play their first major public show as a band, appearing at the Olympia Theatre in Paris, France. 1978 – The Police make their U.S. debut, performing at CBGB’s in New York. 1999 – Santana’s Supernatural album tops the charts, giving the group their first Number One album in 28 years. 2001 – Concerts are staged at Madison Square Garden in New York and at RFK Stadium in Washington, D.C., to raise funds for victims of the 9/11 attacks. David Bowie, Paul McCartney, The Who and Eric Clapton are among the performers. 2008 – Guns N’ Roses release their first new material in nearly a decade, issuing the title track from the new album, Chinese Democracy. Singer Axl Rose is the sole original member of the band. Releases 1964 – The Rolling Stones: 12 x 5 1966 – The Zombies: “She’s Not There” (single) 1969 – Led Zeppelin: II 1969 – John Lennon and Yoko Ono: Wedding Album 1970 – Bob Dylan: New Morning 1970 – Genesis: Trespass 1971 – The Doors: Other Voices 1973 – David Bowie: Pinups 1973 – Montrose: Montrose 1973 – The Wailers: Burnin’ 1974 – KISS: Hotter Than Hell 1976 – Bob Seger: Night Moves 1977 – Lynyrd Skynyrd: Street Survivors 1977 – Meat Loaf: Bat Out of Hell 1979 – Fleetwood Mac: Tusk 1979 – Prince: Prince 1979 -- Tom Petty & the Heartbreakers: Damn the Torpedoes 1980 – U2: Boy 1985 – The Cult: Love 1986 – Iggy Pop: Blah Blah Blah 1987 – INXS: Kick 1988 – Steve Earle: Copperhead Road 1989 – Nine Inch Nails: Pretty Hate Machine 1992 – Keith Richards: Main Offender 1993 – Pearl Jam: Vs. 1998 – Black Sabbath: Reunion 2011 – Coldplay: Mylo Xyloto Deaths Derek Bell (The Chieftains) – Oct. 17, 2002 Levi Stubbs (Four Tops) – Oct. 17, 2008 Dee Dee Warwick – Oct. 18, 2008 Glen Buxton (Alice Cooper) – Oct. 19, 1997 Son House – Oct. 19, 1988 Don Cherry – Oct. 19, 1995 Merle Travis – Oct. 20, 1983 Ronnie Van Zant – Oct. 20, 1977 Steve Gaines – Oct. 20, 1977 Shannon Hoon (Blind Melon) – Oct. 21, 1995 Elliott Smith – Oct. 21, 2003 Sandy West (Runaways) – Oct. 21, 2006 Al Jolson – Oct. 23, 1950 “Mother” Maybelle Carter – Oct. 23, 1978 Births Jim Seals (Seals & Croft) – Oct. 17, 1941 Ziggy Marley – Oct. 17, 1968 Chuck Berry – Oct. 18, 1926 Laura Nyro – Oct. 18, 1947 Gary Richrath (REO Speedwagon) – Oct. 18, 1949 Keith Knudson (Doobie Brothers) – Oct. 18, 1952 Peter Tosh – Oct. 19, 1944 Keith Reid (Procol Harum) – Oct. 19, 1946 Karl Wallinger (The Waterboys, World Party) – Oct. 19, 1957 Patrick Simmons (Doobie Brothers) – Oct. 19, 1948 Jelly Roll Morton – Oct. 20, 1890 Tom Petty – Oct. 20, 1950 Alan Greenwood (Foreigner) – Oct. 20, 1951 Norman Black (Teenage Fanclub) – Oct. 20, 1965 Manfred Mann – Oct. 21, 1940 Steve Cropper – Oct. 21, 1941 Elvin Bishop – Oct. 21, 1942 Lux Interior (The Cramps) -- Oct. 21, 1946 Steve Lukather – Oct. 21, 1957 Bobby Fuller – Oct. 22, 1942 Leslie West – Oct. 22, 1945 Stiv Bators – Oct. 22, 1956 Shelby Lynne – Oct. 22, 1968 Roberto Trujillo – Oct. 23, 1964

Carl Allen - New York State of Mind It beats laying bricks ... by Scott Donnell (DW's Edge Magazine) You’ve heard of a drummer’s drummer? Well, Carl Allen is a thinking man’s drummer. He’s articulate, well-informed, and certainly in-tune with every aspect of the Jazz drumming institution. His reverence and insatiable appetite for the art form are readily apparent and therefore infectious. Professor Allen is a motivator and a realist; a seasoned player and an educator. Indeed, he resides in The Big Apple, but it’s his practical, no-nonsense, and purist approach that qualifies him as having a New York state-of-mind. Scott Donnell: Talk a little about how drummers can develop their own voice. Carl Allen: This is an excellent question. I’d like to preface it by saying that in my opinion, specifically when we’re talking about Jazz, one should possess some basic knowledge of the tradition, because part of what we are attempting to do when we play is to add to the existing language and vocabulary of the idiom. That being said, there are a number of ways to develop your own voice. I have often said that great musicians are also great thieves. In music, we steal or borrow ideas from what we hear. I don’t think that the masters left us all of this great music for us to merely copy and regurgitate. We have to find a way to take ideas and make them our own. For example, take a solo from a recording. Learn it, and then find a way to change that same information, such as patterns, musical phrases or other ideas, and make them personal. This is nothing new, but it still works. SD: How did you cultivate your playing style? CA: As I mentioned, I took a lot of what I heard on recordings and in live performances from some of the masters. I transcribed them, learned their vocabulary, and explored a lot. One of the great lessons that I learned early on is that it takes courage to explore what it is that you are hearing, but it’s very necessary. I grew up listening to and playing a lot of styles of music long before I started playing Jazz. Gospel, R&B, Soul, and Funk are where I ‘lived’ before I started visiting Jazz, so to speak. When I was around ten years old, I started to really hear melody and wanted to adapt that approach to the drums. I can recall a conversation that I once had with the great Freddie Hubbard. We were on the road and I remember telling him that I didn’t think I was hearing the drums the way that I was supposed to hear them. He said, “What do you mean?” I replied, “I hear what Blakey, Tony, Elvin, Higgins, and others are doing, which I love. I want to do that, but also do what you, Miles, Monk, Dexter, Trane, and others are doing.” He started laughing his head off. I thought, “Oh man, I am in trouble.” He then encouraged me to follow my vision and said that as I long as I did what I was supposed to do as a drummer, that I could explore this conversation. In a way, he gave me permission to start asking what has become my favorite question: what if? Once I felt like I could explore more, I started learning ‘non-drummer’ solos, but playing them on the drums. This led me to taking ideas from other non-Jazz musicians and trying to apply it to what I was hearing. I still do it to this day. SD: In a strange way, is there a Jazz drumming rulebook? CA: I am not sure if there is a rulebookcper se for Jazz drumming as much as therecis for just making great music. I’m sure itcmay be different for others, but for me, it’s simple. Here are a few of my rules: The Ride Cymbal: This is where it starts for me when playing Jazz. I always say that you should be able to swing the whole band with just your ride cymbal. Play great time, make it feel good and make it dance. Play Great Dynamics: Listen to others more that you listen to yourself. Contribute to the Conversation at Hand: This means playing something that makes sense conceptually, stylistically, and is pertinent to what’s happening at that moment. Sound: The sound of your instrument has to compliment the music. This goes not only for the tuning of the drums, but the tone as well. Concept: Be aware of the concept of the music. In order for the music to swing or dance it has to feel like Jazz. Be in the moment. Nothing else really matters. Make others (musicians and the audience) feel something. Have fun. SD: How do you teach Jazz? CA: I think with Jazz music, like other genres, you learn by doing. It’s a language, a culture, and it’s social music. You have to be around it; listen to live performances, a ton of recordings, and be prepared for a lot of trial and error. When I was with Freddie, he never told me how to play and he allowed me to explore and make mistakes. If something didn’t work he’d just say, “Try something different,” and I knew what that meant. It wasn’t until years later that I understood the value of being able to just figure it out. More importantly, you have to want it. This also means accepting that phase where you will sound bad before you sound good. Some musicians have a hard time with this, but I think that it’s part of the growth process. SD: In today’s world, how do you achieve a career as a Jazz drummer? CA: Although the music and the business have changed immensely over the past thirty, or so, years, many things still remain the same. Learn your instrument. Learn the music and the lineage. Learn as much about the business as you can. Show up on time, be prepared, and be nice. This is a people business; relationships and resources are cyclical, so this is very important. SD: Does your kit change from gig-to-gig? CA: I know that the obvious answer to this question would be, “Yes.” However, in my case, it doesn’t change much. I may add an additional floor tom, second snare, or go between one or two mounted toms, but that’s about it. If it’s a Big Band gig I may use a 20” bass drum. There are times, if I am doing a commercial or movie soundtrack, I may use a 22” bass drum, but that’s rare in recent years. I try to adjust my touch more than anything. A friend of mine says, “Your touch produces your sound and not the other way around.” He’s a pianist, which means that he’s playing a different instrument just about every day. Years ago, I was on a gig in Paris along with Art Blakey and Billy Higgins. We all had to play the same drums, which were horrible (this, of course, was before I started playing DW). Both of those guys sounded amazing and I really sounded horrible. After the gig I was furious. I was kicking chairs and complaining about the drums. Art said, “What’s wrong?” I proceeded to tell him about my drum rider. He laughed and said, “Do you play the drums or do the drums play you? If you could really play, it wouldn’t matter.” He walked away laughing. I was about twenty-two years old at the time. Lesson learned. SD: Describe your sound. CA: I would like to think of my sound as warm, clear, and recognizable. I never have any muffling on my drums or anything inside of them. I like for my drums to be open, resonant, and singing. I want those around me to feel the wood and warmth of the drum. SD: How do you create your signature sound? CA: I create my signature sound through exploring. I’ve spent years experimenting with not only creating different sounds, but also changing up my set-up from timeto- time. I think that sometimes we take our set-up for granted. I like for it to feel like it’s part of me and an extension of my body, if you will. Art (Blakey) used to talk to me about posture and how important it is. This, I do believe, has had an effect on my sound. Speaking of sound, I also work on drawing a sound out of the drum by focusing on playing into the drum versus playing off of the drum. I use both techniques. I once asked Elvin Jones what he practiced with his feet and he said, “The same thing I do with my hands.” I’ve always remembered this and try to do the same. For me, the key is having a balanced sound. SD: Does a Jazz drummer have to use coated heads and tune up high? CA: There was a time when I would say, “Definitely, yes.” Hearing and spending time around Tony Williams changed all of that for me. In his later years, he used clear black dot heads. I dare anyone to say that he didn’t get a great sound from the instrument or make it sound like Jazz. Al Foster is a great example of someone who tuned their drums low and still sounded amazing. There are many others, as well. SD: What’s the perfect workhorse snare drum? CA: This is not a fair question. (Laughs). I love snare drums! For years, I swore by wood snare shells, but recently I have been going between a 5x14” Collector’s Maple Mahogany and a 6.5x14” Nickel over Brass snare drum. I salivate whenever I play either of these drums. I have many snares and when I’m recording, I’ve been known to bring three or four with me. SD: Who’s the Elvin of 2016? CA: If we’re speaking specifically of the younger guys, I’d say Eric Harland, Marcus Gilmore, or Kendrick Scott. Of course, there’s also Jeff “Tain” Watts and Brian Blade. There are so many amazing drummers out there! SD: Who’s the Tony of 2016? CA: Obed Calvaire is someone that I really dig. Some of the other younger guys in this vein are Jonathan Barber, Jason Brown, McClenty Hunter, Jerome Jennings, Bryan Carter, and Justin Brown. I am so proud of all of these guys. There is a kid named Kojo Roney, who is the son of Anton Roney and the nephew of trumpeter Wallace Roney; I think he’s eleven now. It’s just sick the way that he has really digested Tony’s concept for tuning, comping, and just playing the instrument. Check him out. He’s also a great kid and he’s very well-balanced. There are others that I feel are also doing great things and blending styles together; guys like Marcus Baylor, Mark Whitfield, Jr., Terreon Gully, and Jamison Ross. SD: Have you discovered new talent? CA: Several years ago, I started a production company. My aim was to primarily focus on talent that I believed deserved more attention. This would not only be the younger musicians, but some of the older masters that I felt had been overlooked. This included Nicholas Payton, Roy Hargrove, Eric Harland (he was eighteen years old at the time), Brian Blade, Cyrus Chestnut, and many others. I taught at The Juilliard School for twelve years; the last six as the Artistic Director of Jazz Studies. During my tenure there I was able to help nurture many of today’s active players like Jerome Jennings, Ulysses Owens, McClenty Hunter, Lee Pearson, Marion Felder, Bryan Carter, Lawrence Leathers, Aaron Diehl, Mayuko Katakiura, Ben Williams, Kris Bowers, Joe Saylor, Phil Kuehn, Jonathan Batiste, Etienne Charles, Marshall Gilkes, Yasushi Nakamura, and many others. I must say that I had a lot of help from a great faculty that included Ron Carter, Kenny Barron, Rodney Jones, Kenny Washington, Billy Drummond, Steve Wilson, Ron Blake, Steve Turre, Wycliffe Gordon, Eddie Henderson, and I think of a lot of the young drummers who are out here working have studied with me at some point, and they’re playing with the likes of Gregory Porter, Michael Bublé, Chris Botti, The Late Show with Stephen Colbert, Kurt Elling, and many others. I am just trying to do for the next generation what Blakey, Elvin, Higgins, Tony, Max, Roy Haynes, Mel Lewis, and Philly Joe did for me. I am happy to say that I’m not alone in this endeavor. As the old adage says, “It takes a village.” SD: You’ve been with Drum Workshop for almost two decades. How has DW evolved in your eyes? CA: For me, DW drums have always sounded great. I remember right after I signed with you guys, I visited the factory and we discussed sizes, sound, feel, etc. Don Lombardi and John Good said, “How about we just send you something and you can let us know what you like and don’t like about them. Then, we can make some changes to make it your kit.” The drums were perfect right out of the box! I do think that DW has a much broader range of sounds now than they did twenty years ago. The Jazz Series are amazing, as are all of the other drums that they make. One major difference for me is the 13” mounted tom. Until I started playing DW, I found that the 13” toms of many other brands sounded somewhat tight or choked. DW had the first 13” tom that had a wellbalanced, round, full, and warm sound. Sounds like I’m describing a person, huh? Funny! (Laughs). DW drums have so much personality to them. They defy the odds in the sense that you can tune the drums up or down and use the same kit in a variety of settings. Years ago, I played a short stack kit; I used these drums on Big Band, Funk, Pop, Gospel, and Jazz gigs and recordings. They’re very versatile. I love those drums. SD: Why did you choose DW so early on? CA: When I first signed with DW they didn’t have many Jazz drummers at all. I was intrigued by this. Initially, I just endorsed the hardware. On my first visit, I just stopped by the office when I was driving from LA to San Francisco. John Good gave me a tour of the facility, and at one point we went into a room with drums set up. I just stared at them like I was in a trance. John said, “Why don’t you sit down and try them?” I thought to myself, “Okay, I’ll tap them for a bit.” I had no plans on leaving the company that I was with at the time. Once I started playing I couldn’t stop! I was playing with my eyes closed. I played non-stop for about 30-to- 40 minutes. When I opened my eyes, the room was full of people! I had never had that feeling playing drums before. I was sweating and breathing hard. I looked at John and Don and said, “Where do I sign?” That was it. I was hooked and still am. When I first got with DW they didn’t have any lightweight hardware. I remember having a conversation with Don about this. I felt that this was a market that no one was addressing. I think he was somewhat skeptical, initially. I know that Jim Rupp had also spoken with him about it from a consumer’s perspective. I was looking at it not only for me, but thinking of all of the guys that I would see taking drums on the subway in New York or taking them up five flights of stairs to their apartments. I’d see drummers come up with their own homemade version of hardware, so I knew that there was a need. Needless to say, DW has to keep up with the demand. The new Ultralight hardware is just mind-blowing for me. Not to mention that my drum tech (and his back) loves it. Thanks, you guys! SD: Which DW Custom Shop shell configuration do you want to try next and why? CA: I must admit that every day I look at what DW has posted on Facebook. The drums are a work of art. I’m very curious about the new Pure Oak drums. They seem like they’d be warm and resonant. I heard Sheila E. play some on the site and they sounded amazing. She’s incredible, so I expected no less. As for snare drums, I’m interested in checking out the Concrete (snare) drum. I have some ideas for different kinds of combinations of materials, as well. I have a confession to make. Whenever I get new drums, guys come to me with comments like, “Man, how did you come up with that idea?” I’ve been dealing with Garrison (DW Artist Relations Manager) for years and he’s a wizard. Whenever we are discussing a new kit, I may give him an idea for a color and then say, “Just surprise me.” What he comes up with always blows me away! Louie Garcia in the paint shop is also a genius. These guys deserve some kind of gold medal. SD: What would you recommend to a drummer that wants to purchase their first DW kit? CA: In terms of which model or series, I would say that it depends on the music that you’re playing and your budget. I was never in agreement with the idea that PDP drums are a ‘budget line’ of drums. I’ve used them many times via backline companies and they all sounded great. I’ve never played a bad DW kit. I am curious about the Mini Pro kit, too. I haven’t heard one yet. I’d like to see DW do more with the 16” bass drum. I would just recommend being open to possibilities because if one is not familiar with DW drums and they have a preconceived notion of what they want, they may be surprised...pleasantly so. SD: What’s on your schedule for 2016? CA: 2016 is looking to be a busy year, starting with the Jazz Cruise with Christian McBride and Dianne Reeves. January-April, I’ll be touring with The Mack Avenue Super Band with Christian McBride, Gary Burton, Sean Jones, Tia Fuller, and others. In between tour dates, I’ll also be doing a lot of clinics at schools and music stores. Other things on the horizon for 2016 include touring with a project called The Art of Elvin. It’s a band that pays tribute to Art Blakey and Elvin Jones. We played PASIC in 2014 and had a great time. People were so supportive and showed so much love that I decided to try to keep this band going, so we will be touring throughout the year. I’ve also been playing with the legendary saxophonist Benny Golson for more than twenty years and we’ve recently recorded a new CD, so we’ll tour for the new release, as well. One of the gigs that I have been doing for about eleven years now is being part of the rhythm section for the Thelonious Monk competition. This happens every year, and part of my duties includes playing behind twelve-to-fifteen semi-finalists. We rehearse with each of them for thirty minutes and perform the following day. I enjoy it because it’s a challenge to make each one of them feel comfortable, as if I am in their band. For me, it’s all about serving the music. I love doing a lot of different kinds of gigs and projects, so there will be many great things happening. SD: If you could do anything musically, what would it be? CA: Art Blakey used to say, “Music is supposed to wash away the dust of everyday life.” I take this to heart. It may sound simple, but I want to play music on the highest possible level, while inspiring others to be the best that they can be. Playing music reminds me of growing up in church. My mother was a Gospel singer in the choir and she was my best friend. Whenever I play, I just want to make her proud. When she passed away in May of 2001, I was in New Zealand doing free clinics and performances. I was at a point in my life where I felt a pull in my spirit to give back. When my sister called to tell me of my mom’s passing, she told me that I couldn’t come home until I finished the tour. I had four more days to go, but we were taught to finish whatever we started. I get such a thrill playing and teaching. It’s kind of all the same for me. SD: What’s on your drumming bucket list? CA: There’s so much that I’d still like to do. I would love to play with Fred Hammond, Marvin Sapp, Sting, Bonnie Raitt, Paul Simon, and James Taylor, to name a few. Surprised? I love a lot of different kinds of music. Musicians tend to get typecast, but I love it all. SD: What has been the most gratifying musical experience of your career? CA: There have been many, but when I get to spend time with someone one-on-one or in a clinic situation and you get to see and hear the immediate change in their playing, it’s an affirmation of the importance of sharing this gift that we have. Another one that comes to mind was playing with Freddie Hubbard in Berlin (with special guests Woody Shaw and Dizzy Gillespie). When Freddie introduced me to Dizzy he said, “Hey Diz, this is my drummer Carl Allen.” Man, I thought I would pass out just hearing him say that to Dizzy. Wow! I played with him for eight years and during that time I was also the Road Manager and Musical Director. He even played some of my music! It’s still unreal to this day. One of the best life lessons that all of the aforementioned legendary musicians taught me is that music is a fraternity. It’s a privilege and an honor to be a part of what so many great people have spent their lives building. It has to be respected and never taken for granted. I remember meeting the great Ndugu Chancler the first time and he was so nice and gracious to me that it scared me, because I had assumed that if he was this nice, he must have thought that I was someone else. (Laughs). I thought, “Once he finds out that I’m not that person, his approach to me will change.” I said, “Hi, Mr. Chancler, my name is Carl Allen.” He said, “I know who you are. How you doing?” I’ve never forgotten that love and that warmth. He and I are close to this day. The great Billy Higgins said this about playing music: “Carl, it beats laying bricks.” I agree, and I know that I am a blessed man to be able to do so. -HC- - reprinted with expressed written permision DW's Edge Magazine - _______________________________________________ Scott Donnell is the Editor for DW's Edge Magazine. He's been involved in the percussion industry since 1997 and serves as the V.P. of Marketing for Drum Workshop. He states: "The Cutting Edge is not just a play on words. The fact is, DW’s mission statement is to solve problems for drummers, create the instruments and gear that can inspire musicians, and take the art form to new and uncharted place isn’t just a catch phrase or a way to label our latest product designs. It all goes back to our mission statement and our belief in a Darwinian approach to making drums and gear, while constantly refining and reinventing the tools needed to craft new rhythms and new beats — Play on."

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC The week of September 26 through October 1 brought the release of one of the greatest rock albums of all times—the Beatles’ Abbey Road on September 26, 1969. Other memorable moments in rock history this week include the birth of Sting, born as Gordon Matthew Thomas Sumner, and tragic death of Metallica’s Cliff Burton. Read on for some significant events, historic record releases and notable births and deaths happening September 26 through October 2. Week of September 26th - October 2nd Events 1957 – Famed musical "West Side Story" opened at the Winter Garden Theatre. 1964 – The Beach Boys performed on “The Ed Sullivan Show” for the first time. They played “I Get Around.” 1965 – The Who appeared on U.S. television for the first time on the program “Shindig!” 1970 – Jimi Hendrix is buried at Greenwood Cemetery in Seattle. He passed away on September 18, 1970. 1972 – David Bowie sold out Carnegie Hall in New York City. It was his first U.S. show to sell out. 1984 – Prince released his chart-topping song, “Purple Rain.” 1997 – Bob Dylan performs "Knocking on Heaven's Door" and "A Hard Rain's A-Gonna Fall" for Pope John Paul II and a crowd of 200,000 at a concert and mass in Bologna, Italy. 1998 – MTV Russia debuted. Births George Gershwin, September 26, 1898 Joe Bauer (The Youngbloods), September 26, 1941 Olivia Newton-John, September 26, 1948 Craig Chaquico (Jefferson Airplane), September 26, 1954 Randy Bachman (The Guess Who and Bachman-Turner Overdrive), September 27, 1944 Meat Loaf, September 27, 1947 Stephan Jenkins (Third Eye Blind), September 27, 1966 Ed Sullivan, September 28, 1902 Ben E. King, September 28, 1938 Nick St. Nicholas (Steppenwolf), September 28, 1943 George Lynch (Dokken), September 28, 1955 Jerry Lee Lewis, September 29, 1935 Mark Farner (Grand Funk), September 29, 1948 Les Claypool, September 29, 1963 Brad Smith (Blind Melon), September 29, 1968 Johnny Mathis, September 30, 1935 Dewey Martin (Buffalo Springfield), September 30, 1940 Marc Bolan (T. Rex), September 30, 1947 Robby Takac (The Goo Goo Dolls), September 30, 1964 Julie Andrews, October 1, 1935 Jerry Martini (Sly and the Family Stone), October 1, 1943 Donny Hathaway, October 1, 1945 Michael "Cub" Koda (Brownsville Station), October 1, 1948 Kevin Griffin (Better than Ezra), October 1, 1968 Don McLean, October 2, 1945 Mike Rutherford (Genesis), October 2, 1950 Sting (born Gordon Matthew Thomas Sumner), October 2, 1951 Freddie Jackson, October 2, 1958 Bud Gaugh (Sublime), October 2, 1967 Tiffany (born Tiffany Darwish), October 2, 1971 Deaths Jimmy McCulloch (Paul McCartney’s Wings), September 27, 1979 Cliff Burton (Metallica), September 27, 1986 James Dean, September 30, 1955 Al Jackson Jr. (Booker T. & the MG’s), October 1, 1975 Bruce Palmer (Buffalo Springfield), October 1, 2004 Releases The Beatles, Abbey Road, 1969 John Lennon, Walls and Bridges, 1974 Rush, All the World’s A Stage, 1976 Styx, Crystal Ball, 1976 Accept, Restless and Wild, 1982 Prince, Diamonds and Pearls, 1991 Iron Maiden, The X Factor, 1995 Prince, The Gold Experience, 1995 Nirvana, From the Muddy Banks of the Wishkah, 1996 Bob Dylan, Time Out of Mind, 1997 The Verve, Urban Hymns, 1997 Radiohead, Kid A, 2000 The Rolling Stones, Forty Licks, 2002 Shine On, Jet, 2006 Bad Religion, The Dissent of Man, 2010 Thom Yorke (of Radiohead), Tomorrow's Modern Boxes, 2014 Week of September 26th - October 2nd Let's have a look at what happened the week of October 3 - 9 in rock history! Events include both the birth of John Lennon and the death of Janis Joplin. The Jimi Hendrix Experience played together for the first time, and Dire Straits released their debut album. It was also during this week in 1962 that the Beatles released their first single. Read on for more exciting rock happenings! Events 1958 - Cliff Richard and The Shadows played their first show. It took place at Victoria Hall in Hanley, England. 1962 - "Love Me Do," the first single from the Beatles, was released in the UK. 1966 - Jimi Hendrix, Noel Redding and Mitch Mitchell, better known as The Jimi Hendrix Experience, played together for the first time in London. 1968 - The Beatles' Abbey Road album reached number one on the UK charts. 1985 - Strawberry Fields - a three and a half acre garden in New York’s Central Park opened on what would have been John Lennon's 45th birthday. The garden, which also feature a mosaic with the word "Imagine" at its center, was made possible with the help of a donation from Yoko Ono. 1988 - Pink Floyd's The Dark Side of the Moon dropped out of the US Billboard Chart after an unprecedented run of 741 weeks. 1995 - Alanis Morissette reached the top of the US charts with Jagged Little Pill. It is still one of the biggest selling rock albums by a female artist. Releases 1963 - The Beach Boys: Little Deuce Coupe 1968 - Muddy Waters: Electric Mud 1970 - Led Zeppelin: Led Zeppelin III 1973 - Elton John: Goodbye Yellow Brick Road 1973 - Three Dog Night: Cyan 1974 - John Lennon: Walls and Bridges 1975 - The Who: The Who By Numbers 1977 - ELO: Out of the Blue 1978 - Dire Straits: Dire Straits 1978 - Judas Priest: Killing Machine 1979 - The Who: Quadrophenia 1980 - The Police: Zenyatta Mondatta 1983 - Genesis: Genesis 1986 - Slayer: Reign in Blood 1987 - Bruce Springsteen: Tunnel of Love 1988 - Keith Richards: Talk Is Cheap 1991 - Soundgarden: Badmotorfinger 1992 - R.E.M.: Automatic for the People 1992 - Soul Asylum: Grave Dancers Union 1994 - The Cranberries: No Need to Argue 1997 - Kenny Wayne Shepherd: Trouble Is... 1999 - Live: The Distance to Here 2000 - Green Day: Warning 2002 - Bon Jovi: Bounce 2005 - Nickelback: All the Right Reasons 2006 - The Killers: Sam's Town 2007 - Kid Rock: Rock N Roll Jesus 2013 - Cage the Elephant: Melophobia 2014 - Sixx:A.M.: Modern Vintage Deaths Johnny Kidd - October 7, 1966 Janis Joplin - October 4, 1970 Woody Guthrie - October 3, 1967 Sister Rosetta Tharpe - October 9,1973 Benjamin Orr (The Cars) - October 3, 2000 Eddie Kendricks (The Temptations) - October 5, 1992 Mike Gibbins (Badfinger) - October 4, 2005 Philip Chevron (The Pogues) - October 8, 2013 Births Eddie Cochran - October 3, 1938 John Lennon - October 9, 1940 Chubby Checker - October 3, 1941 Steve Miller - October 5, 1943 John Entwistle - October 9, 1944 Brian Connolly (Sweet) - October 5, 1945 Brian Johnson - October 5, 1947 Johnny Ramone - October 8, 1948 Jackson Browne - October 9, 1948 Lindsey Buckingham - October 3, 1949 Eddie Clarke (Motörhead) - October 5, 1950 Bob Geldof - October 5, 1951 John Mellencamp - October 7, 1951 Tico Torres (Bon Jovi) - October 7, 1953 Stevie Ray Vaughan - October 3, 1954 Kevin Cronin (REO Speedwagon) - October 6, 1954 David Bryson (Counting Crows) - October 5, 1961 Tommy Lee - October 3, 1962 Tommy Stinson (The Replacements) - October 6, 1966 Thom Yorke (Radiohead) - October 7, 1968 Gwen Stefani - October 3, 1969 Polly Jean "PJ" Harvey - October 9, 1969 William Butler (Arcade Fire) - October 6, 1982 -HC-

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC The week of September 12 through 18 brought many notable events in the music world, from the births of Dave Mustaine and Neil Peart to the release of Guns N' Roses’ Use Your Illusion I and Use Your Illusion II. It’s safe to say this week in rock history truly rocks. Read on for some major events, historic record releases and notable births and deaths happening September 12 through September 18. Week of September 12th - September 18th Events 1948 - Elvis Presley moved with his parents to Memphis, Tennessee, at age 13. 1965 - The Beatles scored their first Grammys: Best New Artist and Best Album (for A Hard Day's Night). 1966 - The Monkees TV showed debuted on NBC. 1968 - The Beatles recorded the song "I Will." 1973 – Billy Joel began recording “Piano Man.” 1974 - Bob Dylan recorded the song "Meet Me in the Morning." 1987 - Morrissey left the Smiths to go solo. 1981 - Pink Floyd's film "The Wall" starts production. 1988 - Dire Straits broke up. Births George Jones, September 12, 1931 Barry White, September 12, 1944 Neil Peart, September 12, 1952 Ben Folds, September 12, 1966 Jennifer Nettles (Sugarland), September 12, 1974 Peter Cetera, September 13, 1944 Dave Mustaine, September 13, 1961 Steve Perkins (drummer of Jane's Addiction), September 13, 1967 Fiona Apple, September 13, 1977 Steve Gaines (guitarist and songwriter for Lynyrd Skynyrd), September 14, 1949 Paul Kossoff (Free), September 14, 1950 Craig Montoya (bass player for Everclear), September 14, 1970 Amy Winehouse, September 14, 1983 Signe Anderson (Jefferson Airplane), September 15, 1941 Mitch Dorge (drummer and percussionist of Crash Test Dummies), September 15, 1960 DJ Kay Gee (Naughty by Nature), September 15, 1969 B.B. King, September 16, 1925 Kenney Jones (The Small Faces and The Who), September 16, 1948 Ron Blair (original bass player for Tom Petty & the Heartbreakers), September 16, 1948 Marc Anthony, September 16, 1968 Hank Williams (born Hiram King Williams), September 17, 1923 Bill Black, September 17, 1926 Dee Dee Ramone (bass player and songwriter for Ramones), September 18, 1952 Keith Morris (singer for Black Flag and Circle Jerks), September 18, 1955 Deaths Johnny Cash, September 12, 2003 Tupac Shakur, September 13, 1996 Johnny Ramone (The Ramones), September 15, 2004 Rick Wright (keyboardist for Pink Floyd), September 15, 2008 Mary Travers (Peter, Paul and Mary), September 16, 2009 Rob Tyner (singer for MC5), September 17, 1991 Releases The Beatles, She Loves You (U.S. release), 1963 The Beatles, Yesterday (U.S. release), 1965 Pink Floyd, Wish You Were Here, 1975 Boston, More Than a Feeling, 1976 Ringo Starr, Ringo's Rotogravure, 1976 The Eagles, Heartache Tonight, 1979 Huey Lewis and the News, Sports, 1983 KISS, Lick It Up, 1983 KISS, Animalize, 1984 The Notorious B.I.G., Ready to Die, 1994 Lenny Kravitz, Circus, 1995 Megadeth, The System Has Failed, 2004 Metallica, Death Magnetic, 2008 Guns N' Roses, Use Your Illusion I and Use Your Illusion II, 1991 Week of September 19th - September 21st From the birth of rock greats such as Bruce Springsteen, Joan Jett and David Coverdale to the release notable albums including Nirvana’s Nevermind and Green Day’s American Idiot, the week of September 19 through 25 claims some major moments in rock history. Read on for some major events, historic record releases and notable births and deaths happening September 19 through September 25. Events 1962 - Bob Dylan performed for the first time at Carnegie Hall. 1967 - The Beatles graced the cover of Time Magazine. 1968 - Steppenwolf scored their first gold record for "Born to be Wild." 1973 - The Roxy Theater opened its doors in Los Angeles. The first acts to perform at the venue were Elton John, Carole King and Jackson Browne. 1980 - David Bowie began his run acting in the Broadway show “The Elephant Man.” 1980 - Bob Marley played his last show in Pittsburgh, Pennsylvania. 1985 - The first Farm-Aid concert took place in Champaign, Illinois. The concert helped raise $10 million for U.S. farmers. 1989 - The Bangles called it quits. 1997 - VH1’s “Storytellers” aired its debut episode. It was a 90-minute special with Elton John at the House of Blues in New Orleans. 1999 – HBO debuted its live music show, "Reverb." Everlast and Alanis Morissette performed at the first show. Births Cass Elliot (The Mamas & the Papas), September 19, 1943 Lita Ford, September 19, 1958 Chuck and John Panozzo (Styx), September 20, 1948 Nuno Bettencourt (Extreme), September 20, 1966 Ben Shepherd (Soundgarden), September 20, 1968 Leonard Norman Cohen (Leonard Cohen), September 21, 1934 Don Felder (Eagles), September 21, 1947 Tyler Stewart (Barenaked Ladies), September 21, 1967 Liam Gallagher (Oasis), September 21, 1972 David Silveria (Korn), September 21, 1972 David Coverdale (Whitesnake, Deep Purple), September 22, 1951 Johnette Napolitano (Concrete Blonde), September 22, 1957 Nicholas Edward "Nick" Cave (The Bad Seeds, the Birthday Party), September 22, 1957 Joan Jett, September 22, 1958 John Coltrane, September 23, 1926 Ray Charles, September 23, 1930 Neal Smith (Alice Cooper), September 23, 1947 Bruce Springsteen, September 23, 1949 Lawrence "Booker T." Laury, September 23, 1995 Will Smith, September 25, 1968 Deaths Gram Parsons (The Byrds), September 19, 1973 John 'Jaco' Pastorius, September 21, 2987 Robbie McIntosh (Average White Band), September 23, 1974 Led Zeppelin’s John Bonham, September 25, 1980 Releases Elvis Presley, Jailhouse Rock, 1957 The Doors, People Are Strange, 1967 Bachman-Turner Overdrive, You Ain't Seen Nothing Yet, 1974 The Rolling Stones, Love You Live, 1977 Steely Dan, Aja, 1977 The Eagles, The Long Run, 1979 Bon Jovi, New Jersey, 1988 KISS, Psycho Circus, 1998 Lenny Kravitz, Let Love Rule, 1989 AC/DC, The Razor's Edge, 1990 Nirvana, Nevermind, 1991 The Red Hot Chili Peppers, Blood Sugar Sex Magik, 1991 Nirvana, In Utero, 1993 Weezer, Pinkerton, 1996 Dream Theater, Falling into Infinity, 1997 The Rolling Stones, Bridges to Babylon, 1997 Sting, Brand New Day, 1999 Chris Tomlin, Arriving, 2004 Green Day, American Idiot, 2004 No Doubt, Push and Shove, 2012

VARIETY FOR EVERYONE - A Visit With VFE Pedals Four knobs and one minor control ... by Gearphoria (adapted by Team HC) AMBITION WAS an essential element of Washington-based VFE Pedals from the get-go. The goal was to take a classic circuit and make it as flexible and tweak-worthy as possible... to get the player to dive deeper into what most would consider, say, a simple dirt pedal. Then, add a layer of customization so a potential customer had aesthetic choices beyond the stock model. Seems like a pretty hefty chore for a team of a half-dozen. Peter Rutter did it (mostly) all on his own. THE TWO-CAR garage. It’s a life landmark right up there with the house it’s attached to. The square footage is seductive. Some would dream of hot rods, others perhaps a man cave. For Peter Rutter, and other pedal builders like him, the two-car garage is the office… and the manufacturing facility, assembly line, parts store, and shipping center. One half of his garage has been consumed by all things VFE Pedals, but things are changing for the eight-year-old company. Rutter is going back to teaching in the fall, and while he doesn’t want to walk away from all he has built with the pedal company he knows he cannot keep it in its current form. So he is blowing out all of this back stock of highly-tweakable pedals in order to bring a new, simpler form factor into mix. All new VFE pedals will be limited to four knobs and one minor control, like a toggle. “I’m sort of reformatting things so that I can continue to do it on the side and if demand is there I can easily train someone one to build them,” explains Rutter. “It’s a much simpler form factor. The biggest thing for me is that it will just be one board. I’ve had a two-board system… one did all of the switching and other things, and the other was the effect. You’d have to connect them together and stuff them separately. It just takes a lot longer. With this, you stuff the one board, solder it up, stuff it in the enclosure, solder a few wires and you’re done. It is not twice as fast, but based on what I’ve done so far it has got to be at least 30% faster. The one slow task is that this one has more wires because I’ll be hand-wiring the jacks versus them mounted on the circuit board. Anytime you do hand wiring it takes longer, which is why they are usually more expensive. Not necessarily due to quality, but it does take longer.” The transition will also involve some pedals being retired and not making the leap to the simpler format. Rutter believes he will be sold out of old stock this summer and is targeting a new VFE slate of eight pedals by year-end. The plan also includes going direct to be better positioned to manage the ebb and flow of the business. “I’ve already developed most of the stuff that’s ready for the new launch,” he says. “In the old form I have 26 pedals, which is ridiculous. I’m putting a hard cap on myself at 18… not at launch, but if I get to 18, and I want to do #19… something will have to be discontinued. That’s what I’m planning, because one, it organizationally works better, and 18 is nice because you’ve got a lot of variety.” Variety will include a version of the custom shop VFE is known for. Customers will still be able to pick from a variety of colors and add a graphic to most of the new pedals, but those will carry a longer lead time and be more expensive. Rutter is targeting an average custom shop build to come in priced around $150. There will also likely be cases of limited run pedals. “Clearing out this stuff is going to allow me to get my overhead down to a ridiculously low level,” adds Rutter. “Definitely under $1,000 and maybe even less than $500 per month, which if it was that low… $500/mo… we’d have to sell like five pedals to break even or something. That is really easy to do… especially at that price point. $150 for custom pedal… that’s just not out there.” The current set-up at VFE consists of an extended workstation for loading out boards and soldering. A pair of amps for testing every build and a shipping area for boxing and sending out product. The crown jewel of the set-up might be the DCS Directjet printer, which allows Rutter to run 20 enclosures at a time for label and graphic printing. He is approaching this next phase of VFE as he would when launching a new product line, and with that a new mindset on how he will approach his effects. In the past, he has been keen on taking existing circuits and stretching them to their limits — adding controls, giving his customers the most flexibility. The new VFE pedals will be more focused. “This time out I’m taking the approach of… I want to accomplish a goal,” he says. “So here is the sound goal… and this is how to get there. If it means starting at a certain point, great. If it means starting from scratch… that’s fine too. I always used to tell guys who were mad about cloning… physics is physics. There is only so much you can do. I can start from scratch, and it will still look pretty much the same, unless I invent new electrical circuit components. There is a variety of things you can do. But would you want to do it the way that you know will work or would you do it in a way where you had to experiment a lot to accomplish the same task… just so you can say it’s original? That’s kind of weird to me. No one does that with burgers, right? You put a beef patty between two buns… you’re a cloner! Did you do it differently? Did you do it better? What way is it different? You don’t worry about that fact that it is just another burger.” Another goal is to make the new stomps as intuitive as possible, to where even a novice could sit down with it and just by examining the controls have a good indication of what it does. Straight-forward control labels, smooth tapers, making ‘noon’ the average setting on some controls are just some of the plans. If any one thing has hurt the VFE brand over time it has been the seemingly endless string of price increases — a result initially of pricing for direct sale and not building in room for possible dealer mark-up. “One of the things from a business perspective you don’t realize, when I first started pricing things they were pretty cheap… like $100 or so,” explains Rutter. “So when dealers come knocking, it was like… what will they want this for? I can’t build it for that! So you make an estimate, but you never really estimate factoring in any growth. You estimate for the here and now. One of the toughest things that has hurt me has been the continual price increase instead of starting at a point that was higher. I was there for a little while, and had too much business. My margins weren’t big enough to allow me to grow fast enough. I couldn’t keep up. I was working more and making less. I put the brakes on it. What I should have done is said there was going to be a back order. Instead, I said I was going to take a break from wholesale distribution. I lost dealers on that. Not that they were mad, but if you can’t build something, you can’t build something. It is harder to get them back. Dealers are ok with lead times. If I had done that it would have been smarter. The demand was there.” Another was a plan to revise the look of the pedals back in 2014, to bring a bit more uniformity to a range that had grown to over two-dozen offerings. Rutter had one employee at the time. There was an upgrade to metal knobs and overall sharper appointments. The graphics were cleaned up and made more consistent throughout the line. All of this resulted in yet another price increase, due to the fact that Rutter was not making a more expensive product. “My sales from Q4 to Q1 had always been slightly higher in Q1… every year,” he says. “But last year… Q1 of 2015, they were 40% lower. So the change backfired. We apparently hit that tipping point on price. It became that I needed to do it by myself. I need to come up with a model that works for just me and not worry about getting to a point where I need to hire someone. It was pretty clear that I dug myself to deep a hole, overhead was too great. What is nice is that I have a lot of inventory. So when I’m clearing this stuff out I’m not spending a lot of money at the same time. A little bit, but not a lot.” Like many boutique effect houses, VFE was born from a hobby. Rutter would built a few boxes to tinker with, but due to school teachers salary he really couldn’t afford to keep them. “By the time I actually decided to make it a business I had already designed 18 pedals,” he recalls. “So the 26, I have only developed eight pedals in the past five years! I’ve made improvements. I’ve taken my lumps just by the fact that I never intended it to be a business.” One lesson learn quickly… and an important fact that all should embrace is that music is subjective. Highly subjective. VFE’s best selling pedal is the Alpha Dog… a control-heavy variation on the classic Rat circuit. Rutter is quick to confess he hates the Rat. “It is too compressed,” he says. “You hit on it and it’s got no breadth to it. If you try to chord anything on it, it is a mess. It’s great for leads though, which is why people use it. The circuit can do chords though, if you remove the clipping that does the huge clamping on the circuit. That is why there are so many Rat variations. It can sound so different, but still maintain some of the characteristics that made the original desirable. There is a way to set the Alpha Dog up as a stock Rat, but it’s my least favorite setting… but if it is yours, I’m not going to judge you on that!” He has run into the same problem with his popular Merman pedal — a highly-tweakable take on the famous Klon circuit. He has been around the block more than once with people who can’t get the circuit to sound like a Klon. “If you wanted it to sound like that pedal, why didn’t you buy a simpler version?,” he puzzles. “There are plenty of other clones out there. I appreciate it, but the reason I built it this way was so you could experiment and find something different.” Under the company’s new mission, Rutter is excited to continue to bring new colors to the aural palettes of his customer base and maintains a strong desire to assist in helping players achieve their sonic goals. “I understand that music is completely subjective,” he says. “I’m going to not care if I don’t like you’re tone or not. That does not matter to me. What does matter is… What are you trying to do and how can I help you get there? So I tell them… don’t give me any ‘tone’ words. Go find me clips of what you want.” -HC- Republished with the expressed permission - www.gearphoria.com ____________________________________________ Blake and Holly Wright are Gearphoria. They travel full-time in their 25 foot Airstream while writing about cool guitars and guitar accessories. Gearphoria is a bi-monthly free-to-read online publication. You can visit their website by going to www.gearphoria.com and while you are there, sign up for their free e-zine.

Epiphone Masterbilt Century Zenith Classic Subheader goes here... By K.C. McCarthy (Ed. Note: Craig, this is un-edited and exactly as submitted. I just added the info at the end in the Resources section, as well as the initial image... ) I un-boxed the sample guitar, and was immediately impressed by the case, of all things! Not that it has anything to do with the instrument itself, but it does say that Epiphone feels this new MasterBuilt line deserves a high quality case. Out of the case, my first take was that the guitar's back looks better than the front - not that the 'natural' finish on the spruce top is bad at all, but the flame maple on the back is gorgeous! The headstock inlay work is pretty fancy, harking back to the Epiphone heyday of the 1930's, but the gem in the crown here is the ebony fingerboard...it just feels so silky. The guitar arrived in tune, down about a half step, fairly impressive having been shipped from Nashville, Tennessee to Los Angeles, California. The pickguard is not installed, no big deal, but I think I will leave it off, as I am not a wild strumming kind of guy. Tuned up, a few strums. The G and B strings seem to ring out a bit more than the rest. Not a bad thing if you are playing in a 1930s big band setting. As a benchmark for comparison, I used one of my 'go-to's, an Epiphone Performer ME A/E with a Shadow pickup/undersaddle [made in Indonesia]. The other comparison was to a Martin 000CXE, which sells closer to the price range of the Zenith. I discovered one tiny, almost invisible, ding, where the binding meets the body on the upper bout...no doubt the reason this unit was designated to be put in the hands of a reviewer. It will have no effect on functionality. Okay, the basic specs: Laminated maple body, spruce top, ebony fret board with diagonal diamond inlays [they call them 'snowflakes', and, oddly, they are set two at the 3/5/7/9th frets and a single marker at the octave/12th fret], 20 medium frets on a 25.5” scale, 5 piece laminated mahogany/hard maple neck, 'C' shaped, a bit wider than one would expect, but not 'classical guitar' wide. The body has a 16” lower bout, 11.6” upper bout, 9.4” waist, OAL a little over 20”, but is only 3.5” deep. This has a nice compact feel, and tucks in nicely against the body without that 'put a crease in your arm' feel of many large body jazz boxes and acoustics, feeling a bit more like a deep semi-hollow body. Electrically, this sports the new Shadow system, with the controls in the lower f-hole, and the battery and output jack in a unit on the lower back side of the guitar. This is a little hard to reach with the guitar strapped on, but it does make the guitar look less 'electrified' than having a big black plastic control/battery access panel on the wall of the upper bout, something we acoustic electric players have learned to live with over the past decades. The process: acoustic comparison, recorded on a Tascam DR-05, then the electric comparison using a Fishman SA220 [set flat] and the rehearsal PA system of one of my project bands. I took the opportunity to plug this through my lightly modified Fender Champion 600RI, which is always at the ready in my work room. Not a good idea. No matter what I tried, I could not get a 'creamy' tone, which I had hoped would be the result. On to the Fishman and the PA. Acoustic comparison: The Zenith has a very forthrightly bright tone.. It is not over bearing, but there is nothing subtle about this guitar's tone or ability to project. It is not lacking depth or bottom, and it has that 'push' which may be great for playing fills and triads behind a horn section, however, I do not think this was is the intention of the designers. That strength, though, also has some drawbacks, as I find fingerpicking sounds rather unbalanced by comparison to both of the benchmark acoustics. Electrically, the sound reproduction of the Shadow system is pretty accurate. The controls, so neatly tucked under the lip of the lower f-hole are somewhat challenging. There is no visual context, and not much 'play' from the center detent. The control wheels are also too close together in my opinion. I suppose after a while, one would get accustomed to the feel and position and develop the light touch required to make the volume control useful; I did not, however, master this in the time I have had the guitar. I found it extremely difficult to roll the volume up and down for soloing. Through the PA, set totally flat, although the acoustic properties are there, the over all response seems somewhat unbalanced, and tweaking the controls failed to relieve that. I was unable again to achieve a warm, even sound. No matter what I did with the tone control, the bass was too deep, or the top end was too cutting on the verge of shrill. The center position seemed to lack any 'shaping'. Adding a DI box made no real difference to the instruments sound. Some notes to the designers...this guitar just looks like it should have the split Frequensator tailpiece [in lieu of the trapeze], that 'radical' late 1930s design that helped distinguish Epi's of the era, and are still favored today on some Epi's; just a thought, considering how much this wants to evoke that era, and how well it does that visually. Also the plain Jane truss rod cover; couldn't you have an Epi emblem at least? A script 'Zenith' would have looked very 'high end'. Also. A pinned bridge base would have been a good addition, as floating bridges are inherently 'painful' to deal with. I really wanted to fall in love with this guitar, but it isn't happening. The look and the feel had me at first sight, but it is like dating a super model with Marge Simpson's voice...you just can't ignore that sound. May I add that I have two Epiphone guitars that I really like, and sound remarkably good for inexpensive instruments made in varying parts of Asia, both of which I have gigged with for years: the aforementioned Performer ME, and an Alley Kat [Y2K issue, I was an early adopter]. So I am not biased against the Epiphone brand, nor offshore/Asian manufacturing in anyway. This is a great looking instrument, that feels good, but just doesn't bring the sound I was hoping to hear from it. Let's also look at some realities. Epiphone wants over $700 for this guitar, and with the niceties, I can see some people paying that, but you are paying for a lot of nice window dressing, or the sizzle, not the steak. When you close your eyes...what you hear does not equate to what you expected. If you are looking for an instrument that will look great on stage, this is it! If you are looking for a guitar that will sound great on stage, keep looking. Overall rating: Appearance 4.5 stars Sound 2.5 stars Value: 3 stars -HC- (Ed. note: He said he's got some photos too, but he hasn't sent them yet... the one image is one I sourced from the Epiphone site. Also, in case you want to reference the De Luxe Classic review, here's the link: http://www.harmonycentral.com/expert-reviews/epiphone-masterbilt-century-de-luxe-classic - Phil) Resources Epiphone Masterbilt Century Zenith Classic ($1,232.00 MSRP, $739.00 "street") Epiphone's product web page You can purchase the Epiphone Masterbilt Century Zenith Classic at Sweetwater Musician's Friend Guitar Center Demo videos: Masterbilt Century series overview The Wild Feathers Epiphone Masterbilt Century Acoustic Archtops BIO AND HEADSHOT FOR KC GOES HERE... (KC, do you have a brief bio and a picture we can use?)

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC These past two weeks involve some of the most memorable milestones to ever hit music. From the birth of pop great Michael Jackson to the Beatles playing their final official public show, the end of August and beginning of September offer many cornerstone musical moments. Read on for some major events, historic record releases and notable births and deaths happening August 29 through September 4th. Rock it! Week of August 29th - September 4th Events 1942 - Frank Sinatra began his career as a solo singer. 1958 - George Harrison became part of the group Quarrymen. John Lennon and Paul McCartney were also in the band. 1964 - The Animals performed for the first time in the U.S. in Brooklyn, New York, at the Paramount Theater. 1966 - The Beatles played their fourth American tour at Candlestick Park in San Francisco, California. It ended up being their final proper public concert. 1974 – The final episode of "The Partridge Family" television show aired. 1977 - Blondie inked their first major record company contract with Chrysalis. 1979 - INXS performed for the first time in Sydney, Australia. 1983 - The movie "Merry Christmas, Mr. Lawrence" opened in U.S. theaters. David Bowie starred in the film. 1986 – What was once the "American Bandstand" studio was positioned on the National Register of Historic Places. 1991 - Dottie West was in a car accident while on her way to perform at the Grand Ole Opry in Nashville, Tennessee. She passed away five days later. 1993 - Billy Joel was the debut musical guest on CBS-TV's "The Late Show with David Letterman" when the show started. 1995 - The Rock and Roll Hall of Fame and Museum ribbon cutting ceremony took place in Cleveland, Ohio. Births Sterling Morrison (The Velvet Underground), August 29, 1942 Dick Halligan (Blood, Sweat & Tears), August 29, 1943 Rick Downey (Blue Oyster Cult), August 29, 1953 Michael Jackson, August 29, 1958 Kyle Cook (Matchbox Twenty), August 29, 1975 David Desrosiers (Simple Plan), August 29, 1980 “Papa” John Phillips (The Mamas & The Papas), August 30, 1935 Micky Moody (Whitesnake), August 30, 1950 Van Morrison, August 31, 1945 Guitarist Rudolf Schenker (Scorpions), August 31, 1948 Gina Schock (The Go-Go's), August 31, 1957 Jeff Russo (of Tonic), August 31, 1969 Debbie Gibson, August 31, 1970 Greg Errico (Sly and the Family Stone), September 1, 1946 Barry Gibb (The Bee Gees), September 1, 1946 Gloria Estefan, September 1, 1957 Rosalind Ashford (Martha and the Vandellas), September 2, 1943 Billy Preston, September 2, 1946 Mik Kaminski (Electric Light Orchestra), September 2, 1951 Fritz McIntyre (Simply Red), September 2, 1956 Steve Porcaro (Toto), September 2, 1957 Freddie King, September 3, 1934 Al Jardine (The Beach Boys), September 3, 1942 George Biondo (Steppenwolf), September 3, 1945 Eric Bell (Thin Lizzy), September 3, 1947 Donald Brewer (Grand Funk Railroad), September 3, 1948 Steve Jones (The Sex Pistols), September 3, 1955 Perry Bamonte (The Cure), September 3, 1960 Gene Parsons (The Byrds, The Flying Burrito Brothers), September 4, 1944 Martin Chambers (The Pretenders), September 4, 1952 Kim Thayil (Soundgarden), September 4, 1960 Beyoncé Knowles, September 4, 1982 Deaths Thomas "Papa Dee" Allen (War), August 30 1988 Sterling Morrison (The Velvet Underground), August 30, 1995 Jerry Reed, September 1, 2008 Alan Wilson (Canned Heat), September 3, 1970 Major Lance, September 3, 1994 Releases Roy Orbison, Oh, Pretty Woman, 1964 Bob Dylan, Highway 61 Revisited, 1965 The Byrds, Sweetheart of the Rodeo, 1968 The Rolling Stones, Get Yer Ya Ya's Out, 1970 The Rolling Stones, Goat's Head Soup, 1974 Styx, Pieces of Eight, 1978 George Strait, Strait Country, 1981 Michael Jackson, Bad, 1987 Alabama, I'm in a Hurry (and Don't Know Why), 1992 Oasis, Definitely Maybe, 1994 Week of August 29th - September 4th This week we celebrate the birth of two music icons - Buddy Holly and Freddie Mercury. It was also during this week in 1970 that Jimi Hendrix played his last show. In 1991 Nirvana released "Smells Like Teen Spirit" and completely turned the rock scene upside down. Read on for more exciting events from the rock history vault! Events 1956 - Elvis Presley appeared on The Ed Sullivan Show for the first time. The King played "Don't Be Cruel," "Love Me Tender" and "Ready Teddy." 1968 - The members of Led Zeppelin played their first show as a band, although at this time they went under the name The New Yardbirds. The gig took place at a club in a suburb of Copenhagen, Denmark. 1970 - Jimi Hendrix played his last concert. It took place at the Open Air Love & Peace Festival in Fehmarn, Germany on September 6, twelve days before his death on September 18 in London. 1976 - Lynyrd Skynyrd guitarist Gary Rossington hit an oak tree with his Ford Torino, suffering severe injuries. The accident went on to inspire the lyrics to the Skynyrd classic "That Smell." 1997 - As a marketing tool to promote the reissue of Led Zeppelin's back catalogue, "Whole Lotta Love" was released as a single - their first ever in the UK. 1998 - Aerosmith had their first (and so far only) US number one hit single with "I Don't Want to Miss a Thing." The song, which was written by Diane Warren, was the lead song on the soundtrack to the film Armageddon. Releases 1964 - Manfred Mann: The Five Faces of Manfred Mann 1971 - Poco: From the Inside 1971 - John Lennon: Imagine 1973 - Frank Zappa: Over-Nite Sensation 1973 - Bruce Springsteen: The Wild, the Innocent & the E Street Shuffle 1974 - Judas Priest: Rocka Rolla 1975 - Kiss: Alive! (live album) 1976 - Electric Light Orchestra: A New World Record 1979 - Siouxsie and the Banshees: Join Hands 1982 - Rush: Signals 1984 - Queensryche: The Warning 1987 - Pink Floyd: A Momentary Lapse of Reason 1989 - Soundgarden: Louder Than Love 1990 - Neil Young and Crazy Horse: Ragged Glory 1990 - Warrant: Cherry Pie 1991 - Nirvana: "Smells Like Teen Spirit" (single) 1992 - Ugly Kid Joe: America's Least Wanted 1995 - Blur: The Great Escape 1996 - R.E.M.: New Adventures in Hi-Fi 1998 - Hole: Celebrity Skin 2000 - Ryan Adams: Heartbreaker 2001 - P.O.D.: Satellite 2003 - John Mayer: Heavier Things 2004 - The Black Keys: Rubber Factory 2005 - The Rolling Stones: A Bigger Bang 2006 - Audioslave: Revelations 2010 - Stone Sour: Audio Secrecy 2012 - Chris Robinson Brotherhood: The Magic Door 2014 - U2: Songs of Innocence 2015 - Hollywood Vampires: Hollywood Vampires Deaths Keith Moon - September 7, 1978 Peter Tosh (The Wailers) - September 11, 1987 Tom Fogerty (Creedence Clearwater Revival) - September 6, 1990 Nicky Hopkins (session musician) - September 6, 1994 Warren Zevon - September 7, 2003 Clarence "Gatemouth" Brown - September 10, 2005 Robert Young (Primal Scream) - September 9, 2014 Births Jimmy Reed - September 6, 1925 Patsy Cline - September 8, 1932 Buddy Holly - September 7, 1936 Otis Redding - September 9, 1941 Danny Hutton (Three Dog Night) - September 10, 1942 Roger Waters - September 6, 1943 Mickey Hart (The Grateful Dead) - September 11, 1943 Ron McKernan (The Grateful Dead) - September 8, 1945 Buddy Miles - September 5, 1946 Freddie Mercury - September 5, 1946 Benjamin Orr (The Cars) - September 8, 1947 Joe Perry - September 10, 1950 Chrissie Hynde (The Pretenders) - September 7, 1951 Dave Stewart - September 9, 1952 Benmont Tench (Tom Petty & The Heartbreakers) - September 7, 1954 LeRoi Moore (Dave Matthews Band) - September 7, 1961 Brad Wilk (Rage Against The Machine) - September 5, 1968 Delores O'Riordan (The Cranberries) - September 6, 1971 Richard Ashcroft (The Verve) - September 11, 1971 Jonny Buckland (Coldplay) - September 11, 1977 Mikey Way (My Chemical Romance) - September 10, 1980 Matthew Followill (Kings of Leon) - September 10, 1984

HC's Rock Rewind A look back at the past two weeks in Rock History by Team HC These past two weeks in rock music were marked by a trove of memorable events. A legendary British band launched its first-ever American tour, an iconic “concert TV” show made its debut, and rock and roll’s most renowned festival was staged. An abundance of classic albums was released as well, including landmark records by Oasis, Eric Clapton, and the Red Hot Chili Peppers. Read on for a look back at other significant moments that shaped rock and roll during this historically eventful week. Week of August 15 - 21 Events 1962 -- Drummer Pete Best is fired from The Beatles by manager Brian Epstein. Best had been a member of the band for two years and four days. He is replaced by Rory Storm and the Hurricanes’ drummer Ringo Starr. 1964 -- The Beatles begin their first American tour, performing a 33-minute show at the Cow Palace in San Francisco. 1965 -- The Beatles kick off their third North American tour, performing at Shea Stadium in front of 55,000 fans. A total of 2,000 security guards are employed to maintain order at the event. 1968 – A trio called Earth, who play blues and rock, makes their performance debut in a coffee house in a small town in New Jersey. The guitarist and singer is an 18-year-old named Bruce Springsteen. 1968 -- The final episode of the TV show “The Monkees” airs on NBC. The series had won two Emmy Awards the previous year: one for Outstanding Comedy Series, and the other for Outstanding Directorial Achievement in Comedy. 1969 -- The Woodstock Music and Art Festival is staged at a 600-acre farm in Bethel, New York. More than 500,000 people attend the three-day festival. 1969 -- The Beatles gather for the last time at EMI Studios in London. They wrap up the mixes for “I Want You,” and discuss the song sequence for the Abbey Road album. 1972 -- “The Midnight Special,” hosted by Wolfman Jack, makes its debut on NBC. The show features War performing their current million-seller, “Slippin’ into Darkness.” 1974 -- Keyboardist Patrick Moraz replaces Rick Wakeman in Yes. Moraz remains with the band for three years, before Wakeman returns. 1975 -- Peter Gabriel announces he is leaving the prog-rock band, Genesis. During the next year and a half, the group auditions more than 400 singers before deciding that Phil Collins, their drummer since 1970, will step into the frontman spot left by Gabriel. 1977 -- Elvis Presley is found dead at his Graceland Mansion in Memphis, Tennessee. The rock and roll icon was just 42 years old. At the time of his death, Presley’s estate was valued at $4.9 million. By 1993, its value is more than $50 million. 1979 -- Led Zeppelin releases their final studio album, In Through the Out Door. 1980 -- John Lennon begins recording the Double Fantasy album. The record will later be awarded a Grammy for “Album of the Year.” 1987 -- Lindsey Buckingham leaves Fleetwood Mac, after refusing to tour behind the band’s latest album, Tango in the Night. 1991 -- Nirvana performs a concert at The Roxy in Los Angeles, where they invite fans to attend the shoot for the video for “Smells Like Teen Spirit.” When filming begins two days later, the response is so massive that hundreds of fans have to be turned away. 1997 -- The Rolling Stones announce plans for their “Bridges to Babylon” tour by driving up to the Brooklyn Bridge in New York in a red ’55 Cadillac, with Mick Jagger at the wheel. 2005 -- Sly Stone makes a rare public appearance, when he shows up the Knitting Factory in Hollywood to watch his little sister, Vet, perform with a Sly and the Family Stone tribute band. Releases 1970 -- The Band: Stage Fright 1974 -- Harry Nilsson: Pussy Cats 1975 -- Rod Stewart: Atlantic Crossing 1976 -- Burning Spear: Man in the Hills 1977 -- Doobie Brothers: Livin’ on the Fault Line 1977 -- Motorhead: Motorhead 1978 -- The Who: Who Are You 1979 -- Led Zeppelin: In Through the Out Door 1979 -- Bob Dylan: Slow Train Coming 1979 -- XTC: Drums and Wires 1980 -- The Cars: Panorama 1980 -- Yes: Drama 1981 -- The Pretenders: Pretenders II 1983 -- Cheap Trick: Next Position Please 1983 -- Heart: Passionworks 1983 -- AC/DC: Flick of the Switch 1984 -- Red Hot Chili Peppers: The Red Hot Chili Peppers 1985 -- John Cougar Mellencamp: Scarecrow 1989 -- Red Hot Chili Peppers: Mother’s Milk 1990 -- Prince: Graffiti Bridge 1991 -- Joan Jett and the Blackhearts: Notorious 1991 -- Julian Lennon: Help Yourself 1992 -- Eric Clapton: Unplugged 1997 -- Oasis: Be Here Now 2002 -- Black Sabbath: Past Lives 2003 -- Neil Young: Greendale 2003 -- Kings of Leon: Youth and Young Manhood Deaths Robert Johnson -- Aug. 16, 1938 Elvis Presley -- Aug. 16, 1977 Norman Petty (producer) -- Aug. 15, 1984 Betty Everett -- Aug. 19, 2001 Vassar Clements -- Aug. 16, 2005 Robert Moog -- Aug. 21, 2005 Jerry Wexler (producer) -- Aug. 15, 2008 LeRoi Moore (Dave Matthews Band) -- Aug. 19, 2008 Jim Dickinson -- Aug. 15, 2009 Scott McKenzie -- Aug. 18, 2012 Births Ginger Baker -- Aug. 19, 1939 Johnny Nash -- Aug. 19, 1940 Isaac Hayes -- Aug. 20, 1942 Ian Gillan -- Aug. 19, 1945 Jimmy Webb -- Aug. 15, 1946 Ralf Hutter (Kraftwerk) -- Aug. 20, 1946 James Pankow (Chicago) -- Aug. 20, 1947 Tom Johnston (Doobie Brothers) -- Aug. 15, 1948 Robert Plant -- Aug. 20, 1948 Scott Asheton (The Stooges) -- Aug. 16, 1949 Phil Lynott -- Aug. 20, 1949 John Deacon -- Aug. 19, 1951 John Hiatt -- Aug. 20, 1952 Glenn Hughes -- Aug. 21, 1952 Joe Stummer -- Aug. 21, 1952 Colin Moulding (XTC) -- Aug. 17, 1955 Tim Farris (INXS) -- Aug. 16, 1957 Belinda Carlisle -- Aug. 16, 1958 Gilby Clarke -- Aug. 17, 1962 Dimebag Darrell -- Aug. 20, 1966 Fred Durst -- Aug. 20, 1970 Emily Robison (Dixie Chicks) -- Aug. 16, 1972 Kacey Musgraves -- Aug. 21, 1988 Week of August 22 - 28 This week is remembered in rock history for the time that Keith Moon supposedly celebrated his birthday by accidentally driving a car in to a pool. It was also during this week in 1965 that the biggest band in the world had a rather special meeting with a hero. These seven days also house some really big record releases, like Bruce Springsteen’s breakthrough album Born to Run and Pearl Jam’s Ten, which celebrates its twenty-five year anniversary. This week also marks the one year anniversary of the last ever studio album by the mighty Motörhead. Keep reading for all the goings-on throughout rock history! Events 1965 - Jefferson Airplane played their first gig. It took place at the Matrix Club in San Francisco. 1965 - While on a break during their US tour, the Beatles visited Elvis Presley at his home in Beverly Hills. The Fab Four came away slightly underwhelmed by the experience. 1967 - Keith Moon of The Who accidentally drove a car in to a hotel swimming pool. Moon was trying to elude the police who had come to shut down his birthday party. Some say it’s myth, Roger Daltrey claims it really happened. In any case it makes for a great story! 1970 - The Velvet Underground played their last gig with Lou Reed. The show took place at the famous Manhattan venue Max's Kansas City. 1970 - Elton John played in the US for the very first time. John started his tour at the Troubadour in Los Angeles. 1970 - Jimi Hendrix played in the UK for the last time when he appeared at the Isle of Wight Festival. Releases 1967 - Merle Haggard: Branded Man 1968 - Fleetwood Mac: Mr. Wonderful 1972 - The Kinks: Everybody's in Show-Biz 1975 - Bruce Springsteen: Born to Run 1976 - Boston: Boston 1976 - Eric Clapton: No Reason to Cry 1978 - Devo: Q: Are We Not Men? A: We Are Devo! 1979 - The Alan Parsons Project: Eve 1981 - The Rolling Stones: Tattoo You 1982 - Alice Cooper: Zipper Catches Skin 1983 - Rainbow: Bent Out of Shape 1985 - The Cure: The Head on the Door 1986 - Paul McCartney: Press to Play 1986 - Status Quo: In the Army Now 1987 - The Cars: Door to Door 1988 - Jane's Addiction: Nothing's Shocking 1988 - Metallica: ...And Justice for All 1991 - Pearl Jam: Ten 1994 - Manic Street Preachers: The Holy Bible 1996 - Pearl Jam: No Code 1998 - Rob Zombie: Hellbilly Deluxe 1998 - Manic Street Preachers: This Is My Truth Tell Me Yours 1999 - Sevendust: Home 2001 - Puddle of Mudd: Come Clean 2001 - Slipknot: Iowa 2002 - Coldplay: A Rush of Blood to the Head 2002 - Queens of the Stone Age: Songs for the Deaf 2002 - Stone Sour: Stone Sour 2002 - Thirty Seconds to Mars: 30 Seconds to Mars 2003 - Avenged Sevenfold: Waking the Fallen 2008 - The Verve: Forth 2008 - Slipknot: All Hope Is Gone 2008 - B.B. King: One Kind Favor 2010 - The Pretty Reckless: Light Me Up 2014 - Royal Blood: Royal Blood 2015 - Motörhead: Bad Magic Deaths Brian Epstein (Manager of the Beatles) - August 27, 1967 Stevie Ray Vaughan - August 27, 1990 Bob Stegmeyer (bassist) - August 25, 1995 Jack Nitzsche (producer) - August 25, 2000 Births John Lee Hooker - August 22, 1920 Ken Hensley (Uriah Heep) - August 24, 1945 Keith Moon - August 23, 1946 Danny Seraphine (Chicago) - August 28, 1948 Rick Springfield - August 23, 1949 Gene Simmons - August 25, 1949 Jimi Jamison (Survivor) - August 23, 1951 Rob Halford - August 25, 1951 Alex Lifeson - August 27, 1953 Elvis Costello - August 25, 1954 Glen Matlock (Sex Pistols) - August 27, 1956 Vernon Reid (Living Colour) - August 22, 1958 Dean DeLeo (Stone Temple Pilots) - August 23, 1961 John Bush (Anthrax) - August 24, 1963 Dan Vickrey (Counting Crows) - August 26, 1966 Shirley Manson (Garbage) - August 26, 1966 Layne Staley - August 22, 1967 Jeff Tweedy (Wilco) - August 25, 1967 Adrian Young (No Doubt) - August 26, 1969 Jack Black (Tenacious D) - August 28, 1969 Tony Kanal (No Doubt) - August 27, 1970 Julian Casablancas (The Strokes) - August 23, 1978 Florence Welch (Florence and the Machine) - August 28, 1986 ______________________________________________________ HC's Rock Review is sponsored by Gibson

Josh Freese - No Alternative The consumate working musician by Scott Donnell (adapted by Team HC) One day he’s on a private jet with Sting, the next day he’s in a cargo van with The Vandals. Josh Freese is the consummate working musician. He possesses a work ethic that just won’t quit, is a genre-bending chameleon, and has a rock-solid reputation that precedes him. A drum geek from a very early age, he grew up in a musical family and harnessed his enthusiasm to help pave a fruitful and diverse career path. Yes, there are quite a few extremely talented players in the drumming universe, but for many artists and bands, there’s truly no alternative. Scott Donnell: Tell us about meeting your drumming idols at such a young age. Josh Freese: Getting to meet some of my favorite drummers when I was a kid was a huge deal. Growing up in Southern California, I started going to NAMM shows when I was ten. I walked around with a cheap point-and-shoot camera and an autograph album that was a little bigger than a wallet. I followed Vinnie (Colaiuta) and Terry (Bozzio) around like a lost puppy dog and they were so cool to me. They didn’t have to be, but they were! Those guys, along with Keltner, Porcaro, JR, and Gregg Bissonette were such a big deal to me, especially at that age. I even had their phone numbers and would call and bug them about stuff. My dad would drive me up to LA when I was 10-12 years old to see Vinnie play at the Baked Potato. He’d put me on the list and save a few seats right next to his drums. That stuff absolutely blew me away. Getting to watch him up close and actually pick his brain about stuff had a major impact on me. SD: Do you still talk to Vinnie often? What do you guys talk about? JF: I talk to Vinnie a few times a year and we keep in touch via email. It’s funny because we’re both so busy and, of course, we’re never on the same gigs. We might cross paths if one of us played bass! (Laughs). He’s one of those guys though; we can go a long time without seeing each other and when we hang out it’s like no time has passed. He’s forever my buddy and, arguably, my all-time favorite drummer. SD: How do you feel about being a role model? JF: It feels funny to think of myself as a possible role model for anyone. If I really wanted to read into it, it could freak me out. I’m not sure if I like that kind of responsibility, to be honest. To me, trying to be a good guy and a good father comes first and foremost. Hopefully, I can pass that on to others. If someone can be inspired by my drumming, my resume, work ethic, attitude, or music I’ve written, then great! My role models range anywhere from Steve Gadd to Bill Stevenson, Walt Disney to John Waters, Jaco Pastorius to John Lydon, and Chris Burden to Jeff Koons. Maybe some of those guys aren’t necessarily ‘role models’ to me, but they’re major sources of inspiration. SD: Do drummers often ask for your advice? What do you tell them? JF: I get asked for advice all the time and, as much as it sounds cliché, I always tell people to keep their ears and minds open. I’m a firm believer in hard work, but also in having fun. I tell guys to get out there and play with as many people as they can. Go out and meet people. Meet other players, producers, songwriters, engineers… you never know who will lead to what. Get involved and experience as much as you can. All of those relationships and experiences, combined with your playing, will help develop your sound and your style. I also say that it helps to find something you really like stylistically, something you also have a knack for, and then just go for it. Try and find your niche and dive in head first. You have to eat, sleep, and breathe it, especially in your younger, more formative years. SD: Do you still do a lot of sessions? JF: I feel fortunate to always be busy, but the landscape has changed. We all know it and anyone that tells you differently is lying. Everyone’s on a tighter budget. I had one of the biggest names in music have their management call me recently to ask for a discount on my normal rate. A lot of records are still being made but recording sessions, like we once knew, are totally different. The budgets just aren’t there the way they were in the past. It used to be hard for me to turn them down because everything paid so well. Now, the smaller sessions I do are only because I really like the artist and the music. It has worked out for me, and my lifestyle, because I honestly don’t want to be doing two or three sessions a day like I used to. I’ve done that. I’ve put that time in. I have four kids and my priorities have changed pretty drastically in that regard. Of course, I’ll do big-time sessions that come up and then, if I have the time and I really like the music, I’ll say yes to the smaller budget stuff. SD: Where can people hear your latest work? JF: Some of the more notable artists I’ve been in the studio with recently are Wolfmother, Michael Bublé, Danny Elfman, Sublime with Rome, Rob Zombie, and The Offspring; all on either their latest releases or albums that are coming out soon. Some of those are full records and others are just selected tracks and/or soundtrack stuff. I have some other records I’m trying to get made, but haven’t been able to work it out; everything from a new Vandals record, to a new Sublime with Rome record, to my own instrumental record, and a project with my brother Jason who plays keys with Green Day and Joe Walsh. It’ll also feature my dad and his tuba skills! SD: Which kit is your ‘go-to’ at the moment? What is your preferred workhorse snare? JF: I have a lot of kits that sound great, of course, and all of them are in the rotation, but the one I’ve been going back to most often is the same kit I’ve been touring with a lot in recent years with The Replacements and with Sublime with Rome. It’s a Gun Metal Grey Collector’s Series kit. It has a 22” kick, 12” and 13” toms, with 16” and 18” floor toms. That’s my ‘go-to’ kit right now. With The Replacements, I just take the 13” tom away and have one up and two down. I use a variety of 14” snares but, for the most part, I lean towards the Collector’s metal snare drums. I really like the Brass, Bronze, and the Aluminum snares. They seem to cut the most in a Rock n’ Roll-type setting. You’ve got to compete with all those damn guitar amps! SD: Talk about the relationship between a working player and a cartage company. Also, how do you build a successful working relationship with a new tech? JF: My relationship with any tech, live or in the studio, is pretty simple and straight forward. Just like any working relationship, it’s nice to have someone you’ve worked with for a while and that you have some sort of rapport with. Hopefully, it’s someone that knows you and your playing well enough to be able to spot any possible hiccups or glitches ahead of time and take whatever precautions are needed to cut them off at the pass. First off, I’m never really using a giant kit with a bunch of bells and whistles, and I like to think that I’m not too high-maintenance. My tech needs to ensure that the drums sound good, feel comfortable to play, and make sure I’ve got some extra sticks lying around that are within reach. I don’t need the heads to be changed all the time; as long as they’re not dented and are holding up, then I’m good. I’m not a ‘polish my cymbals and drums’ kind of guy. Never have been, never will be. I like some dirt and sweat to get in there. It needs the grit. It’s Rock n’ Roll after all, right? SD: Are you a ‘gear guy’? JF: No, not to the extent that some guys are. I don’t go out hunting for that ‘perfect’ snare; I just don’t. I’m busy enough and, dare I say, lazy enough that I want to have great sounding stuff at my disposal at all times. I know the difference between the good stuff and the not-so-good stuff. There’s a reason I’ve played DW my ENTIRE LIFE! Since I was in 6th grade I knew that DW was head-and-shoulders above the rest. There you go. I figured out what I thought were the best sounding drums to me and then just moved forward. Sure, there are other good companies, but for what I want to hear and how I want it to look, DW is it for me, no questions asked. I don’t want to have to wonder. Who’s got the time anyhow, right? I’ve got music to make, a family to raise, and P.F. Chang’s to eat. [Laughs]. SD: Do you like tweaking your kit? JF: I like tweaking my kit, but I don’t tweak out too hard on it. Knowing me, I’ll just make it sound worse than it sounded when I first sat down! I will say that I’ve had drum techs since I was sixteen or seventeen and, of course, I spent many years before that loading my own gear, setting up, tearing down…all of that. I do, however, like to sit down and change heads sometimes. It feels good. I feel connected to the drums when I do it. SD: What is the perfect Josh Freese drum sound? JF: I’m not sure what the perfect Josh Freese sound is. I like it all, really. I like the ultra-tight stuff, but also the big, loud, bombastic route sometimes, as well. It all depends on the band I’m playing with. If pressed, I’ll go with tighter and punchier drums rather than looser and bigger ones. I’ll take the smaller room in the studio over the giant one with fifty-foot-tall ceilings. SD: How do you build a rapport with the FOH (front of house) sound engineer? JF: I have always just kept my fingers crossed and hoped that the FOH engineer is doing a good job. I’ll ask around sometimes, but I don’t want to be the guy after each show asking everyone, “How’d it sound? How’d it sound?” Chances are, they were hired because they have a good reputation and someone in the band and/or management has heard them in action before. At the beginning of a tour I’ll usually have my tech, or a few different techs, wander out and report back as to how it’s sounding. Once in a while, I’ll have someone play the drums and I’ll walk out front during the soundcheck. I’ll usually talk to them a bit during rehearsals to make sure we’re both on the same page, as far as the drums and the mix go. It’s always a good sign when you have more than two people a night tell you that it sounded good out front. Not that the show was cool or the band kicked ass, but that the actual sound was great. SD: Why Sublime? Why now? JF: The Sublime with Rome thing happened at a perfect time. I’d just stopped working with Weezer and was doing some one-off stuff with Devo, The Vandals, and Sting, but I was basically at home and doing sessions. I’d been trying to stay off the road after leaving Nine Inch Nails, but you know how that goes. I’ve known the Sublime guys since the beginning of their career, pretty much. They used to play shows with The Vandals and because we were Long Beach residents and in the Punk Rock scene, we ran in some of the same circles. I watched their career rise and then come to a screeching halt. A few years ago, I saw some of their shows, when Rome started singing and playing guitar, and they were great. It was nice seeing so many people that loved their music get to see these songs performed live, because most people didn’t get the chance, originally. They were just getting started when Brad died. After reforming, they toured for a bit and then Bud Gaugh was having a child with his wife and didn’t want to be on the road anymore. They caught me at a rare time when I didn’t have any big commitments or immediate plans. I’ve always loved their songs and it was a slightly new style for me to play, so it sounded interesting. I’ve always loved Eric Wilson too. He’s a great bass player, good dude, and a total character. Rome grew up learning to play guitar while listening to their records. He’s an amazing talent, great writer, and he has an incredible voice. SD: How has touring changed over the years? JF: Touring can still be a lot of fun but, like anything, it can change as you get older and have done it for so many years. I don’t go out as much as I used to. The party thing slows down once you have a family and start behaving yourself. In that respect, it has become a little too adult and boring for me at times, but oh well. Being away from my family is hard these days, but going out and playing gigs is definitely a necessity, now more than ever. You can’t download or steal a live concert experience and with the recording end of things suffering, bands are really having to tour more often. The internet and technology have helped make touring easier on a lot of fronts: being able to communicate with everyone on tour and back at home, working on music, writing and recording on the road, etc. Passing the time in hotel rooms used to drive me crazy years ago and now there’s no shortage of things to do, watch, and read. SD: How has studio work changed? How have you adapted? JF: Like I mentioned earlier, the studio scene has changed in the respect that budgets have shrunk incredibly because record sales are almost nonexistent. People steal it off the internet, so nobody is getting paid for their art. Everyone’s on a tighter budget, but advancements in technology have made it incredibly easy to make records without having to book an expensive studio. Home studios are way more common now. At the end of the day, you can record whenever and where ever you want with your laptop and a few mics. People still like being able to record drums in a nice room with a good board and a lot of mics, so even if they’re finishing the record at home, or in a smaller studio, people usually prefer to track the drums in a quality studio, if they can. The big and fancy studios are still around town, but I see a lot more home studios than I used to. I also have my own studio, so people will hire me and just send me Pro Tools files. I know a lot of guys that are doing that because it’s a huge money and time saver for artists on smaller budgets. I do sessions for songwriters and bands from all over the world that I’ve never met! They save a fortune by not having to pay for a plane ticket, hotel room, booking a studio, or cartage. SD: Tell us a funny Tommy Lee story. JF: I met Tommy through the people at Simmons Electronic Drums when I was thirteen. I’ll never forget going up to his house in Woodland Hills when he was married to Heather Locklear. It was a time when Mötley Crüe was one of the biggest bands around and they were complete MTV superstars. The whole thing was pretty impressive, seeing as I was in 7th grade. I remember that he had this Corvette and was totally into showing off this over-the-top sound system he had put in it. It was a two-seater and had these gigantic speakers and subwoofers pushed right into your back, behind the seats, and under the seats. It was like getting a full-body massage when you turned up the volume! He had a refrigerator in the garage completely filled with Corona beer. No one in my neighborhood had a second refrigerator, especially one solely designated for beer! I’m pretty sure it was the first time I had a beer. I was thinking, “Wow, this dude is married to one of the hottest actresses around, has a Corvette with a PA system in it, and a mountain of beer in his garage…it must be fun to be Tommy Lee!” (Laughs). I still know him and always love running into him. SD: Have you seen any young drummers recently that have impressed you? JF: There’s a young guy that a lot of people don’t know, but should. His name is Jaydon Bean and he’s a bad-ass. He’s from Utah, but lives in LA now. He has great feel and amazing chops. He plays all over town and is one of the guys that are out there doing it. I met him through my brother; they were doing some recording together for some of my brother’s stuff. He’s really fluid and has a great command of the instrument. Obviously, I’m sure there are a ton of amazing up-and-comers that I’m just not aware of. SD: How do you balance your career and your personal life? JF: Finding a balance between my professional and personal life, now that I have a big family, is something I work on every day. It’s a constant challenge. I don’t want to regret not being around for my kids growing up, but then I have to work enough to support a family of six in 2016 in Southern California. I also have to satisfy my own personal artistic needs and I have a lot of things I want to be doing right now, but many of them have been sitting on my ‘to do list’ for a while. I know I’ll get to them eventually. Once again, your priorities start shifting once you decide to have a family and commit to being an involved parent. Whenever someone says, “What have you been up to?” My answer is always, “Drumming and daddy-ing.” That’s it! SD: Tell us a bit about your relationship with DW and what it has meant to you over the years. JF: Ever since I was a kid, Don Lombardi and John Good have always blown me away with their vision, hard work, and dedication to making the best drums available. They’ve always been a few steps ahead of the game and, at this point, I don’t think there’s any arguing that. I said this in a recent DW ad but it’s true, we grew up together. I got to watch DW go from a small operation to a bigger one, then to a bigger one, and then to an even bigger one! It’s exciting to be part of a team like the one at DW. The history we have with one another is something I value very much and wouldn’t trade it for the world. - HC - - reprinted with expressed written permision DW's Edge Magazine - _______________________________________________ Scott Donnell is the Editor for DW's Edge Magazine. He's been involved in the percussion industry since 1997 and serves as the V.P. of Marketing for Drum Workshop. He states: "The Cutting Edge is not just a play on words. The fact is, DW’s mission statement is to solve problems for drummers, create the instruments and gear that can inspire musicians, and take the art form to new and uncharted place isn’t just a catch phrase or a way to label our latest product designs. It all goes back to our mission statement and our belief in a Darwinian approach to making drums and gear, while constantly refining and reinventing the tools needed to craft new rhythms and new beats — Play on."

Kelly SHU Bass Drum Microphone Shock Mount Drum mics everywhere can now bungie jump! by Carmine Strollo You can shoe a horse, or maybe even a deck of cards…and even shoo a fly from a pie, but did you know we can also Shu a bass drum as well? Yep, that’s right…you can Shu a bass drum when it comes to internal miking. This device that can come in handy if you're a gigging drummer who always seems to be fighting for stage space while trying to eliminate stage clutter as well. Even though this device may appear small in size, it offers some very big real-world benefits. How many times have you been given a limited amount of space to set up your kit? You get to a club, a restaurant, or a small venue stage, only to find out that between the Marshall stacks and those 88 key behemoth workstations, you’ve been given barely enough room for 18” x 22” kick. It’s sadly true that many venues today have stages that seem to be no larger than a small dining room table area at best. So the band has to compensate so as the drummer, you start omitting toms and extraneous accoutrements to try and save some space. But you still need a full miking rig to blend through the front of house PA. There are plenty of options for mounting drum mics these days, but what about the kick? Most of the time it’s mounted on a full boom with a gooseneck, or dare I say, a small foot stand—a target for the dancing front people or over aggressive Jimi Hendrix wanna-be. How many times has a mic ended up being knocked into the port, or up against the resonant head, or even just plain lying on the floor because of being tipped over from stage vibration or folly. Well here’s a possible solution for you that won’t cost an arm and a leg (like some other mounting systems), and gives you a controlled, isolated sound source that's virtually undetectable—leaving you with a clean look up front to show off your decorated resonant head, and no worries from twinkle toes McGirk!. Description The Kelly Shu is available in both the all-aluminum SHU Pro version, and the SHU Composite; I chose the composite model. The SHU Composite is an internal/external mounting assembly for virtually any size bass drum…or just about any drum for that matter. I say "any drum" because I presented my special challenge to Jeff Kelly (the inventor) with my new 14” x 16” converted floor tom/kick drum, and he responded quite rapidly with a solution (service from his company is very responsive and professional, by the way…a rarity in this day and age). The device is made of a hard plastic, resembling a horseshoe, with a sled-type mic mount attached in the center. The clip mount is a standard screw-on type, the same used on virtually any mic stand, and contains a locking washer plate that secures your mic clip. Any mic will do (contact service for recommendations first to be on the safe side), and rest assured, it will fit snugly and precisely, even while transporting your gear from home or riding in the band trailer or semi. In my personal scenario, I’ve made this a permanent mount setup…simply by running a small 3’ leader XLR cable connected to the mic on one end and out through a small port in my reso head. That cable, in turn, is connected to my snake box input, or into a longer cable should my box not be close by. Installation The SHU itself is suspended by a number of bungee cord-type connections. This, I might add, was my biggest complaint. It’s not that the concept doesn’t work…it does! Jeff supplied me with some photo examples of how to construct my suspension, but I managed to configure the device on my own. My issue was with the cords themselves…a great concept, but in need of a few refinements with logistics. You are supplied with clips…a hook-like headpiece, a closing clamp that secures the cord, and a length of rubberized cord that you will trim to the lengths you desire. It’s good in theory, but I ran into two obstacles. The brief instructions say to cut each suspension cord to half the length from the distance to the shell. I understand why, because the cord needs to stretch so as not to be suspended too loosely. But unfortunately, without some predetermined lengths as a guide, it’s kind of like one of those cookbooks that tells you the ingredients to use, but doesn’t give you specified amounts. They say “spice to taste” or some such verbiage. The problem is, with no minimums as a guide, if you’re not a cook, you can make some pretty awful decisions, turning out some less than flavorful combinations. It's the same for the bungee lengths. I believe there needs to be more specific amounts for cutting each bungee section, or you end up with short ones, long ones, and ones that you’ll not be able to use at all. I was lucky and found that when I cut the first cord and trimmed off some excess to fit (albeit I had to send it through two loops instead of one), I measured them all the same from then on. In my opinion, this hit-or-miss technique isn’t an accurate enough approach to create a precision mounting. The second drawback was trying to assemble the cords themselves. Imagine a hooked clamp with a hole in the center to insert the cord. You slide the bungee rope first through a rounded locking sleeve and then thread the rope into the clamp end to secure the seating. Then you slide on the sleeve ring to secure the cord to the hook clamp. This locks the cord into place inside the hook. It’s genius how it works, but getting the sleeve ring to snap into the hook clamp takes an act of Congress! I tried many combinations between sleeves and hooks…some worked easily, some were such a struggle. At one point I thought I would break two fingers getting them snapped into place. Even with needle nose pliers, some sleeves would never seat themselves correctly. After an hour of trying to assemble the suspension cords, I finally took a razor blade and scraped around the bungee end thinning out the rope ever so carefully, and got the cord to seat properly. Jeff, in my opinion, you must find a better way to make the cord assembly work, or at least keep a tighter spec with the finer tolerances of the cord. Just that little bit of fine-tuning on the width of the cord seemed to make the whole process go so much quicker. (Jeff and Kathleen Kelly pose with a drum showing the Kelly SHU) Conclusion The bottom line is...how did it work on the gig? It worked flawlessly! My large bass drum mic never moved an inch—stationary, solid and permanent! I determined how far from the beater spot I needed to seat the mic for the exact sound that I needed going through the house system. The kick drum is completely isolated from the rest of the kit with no bleed from toms, snare or cymbal. And considering you can mount this device anywhere inside or outside of the drum, point it any which way you choose, you have the makings of a custom secure setup that should hold even through the most powerful pounding. I use a hard plastic beater that slams into a 1/8” thick piece of leather at the beater spot…and the mic did not budge! And for all you worried about ambient or harmonic noise from the mount or bungees? Fugetaboutit! Being as isolated as it is from the rest of the structure, there won't be issues from this mounting system at all. I see this system being equally viable in the studio as I am finding it on the road for my live gigs. All in all, it's fast becoming one of the best investments I’ve made for my drumset. -HC- Resources Courtesy Header Image - Slipnots drums on world tour, and yes, those are beer kegs mounted as part of his kit! Kelley SHU Official Website Buy Kelly SHU at: Sweetwater Amazon Musician's Friend Guitar Center zZounds ________________________________________________ Born and raised in Baltimore's Little Italy, Carmine has been playing the drums since he was 6 1/2 years old. He originally studied at Yeager's Music Store in East Baltimore under Wayne Hudson and then attended the Peobody Conservatory Prep Department and studied under Bob Kennick and Chuck Memphis. He then enrolled at Towson State University (College) and studied percussion under Dale Rauschenberg and composition with Hank Levy. Graduating with a BS in Music Education, he then began performing full time 6 nights a week with Buddy Voelker's Brass Menagerie, Fantasy, the 2nd Coming Showband, and the Admirals, before moving to Delaware's eastern shore, where he is currently is the drum instructor at B&B Music in Lewes, Delaware, and gives private instruction via SKYPE.