Biz Prof

Nice Charvel. It's like 1983 all over again!

Superb player. Wish he had adopted the Standard as his standard.

The Rhoads tone debate usually centers around how the roaring LP-->MXR-->Marshall sound for which he was known somehow morphed into what I've read described as a "Crate practice amp on 11" rhythm sound on Blizzard of Ozz. His live work with Ozzy clearly showed a significant difference between the tone of his typical live rig and the recorded rhythm tone as produced by Max Norman. It's all in the ears of the beholder, but to me, the album version of "Over the Mountain" is a much more faithful rendering of Rhoads' tone than anything on Blizzard.

You're spot on. Grover really understood the importance of image, but it also helped that the first Jackson customer was a fleet fingered shredder considered to be the the best of the young rising guitar stars AND the fact that his firm was located in So Cal--a relatively short driving distance from the L.A. studios and music scene.

I think "Cult" has Vernon using a cocked wah. I don't hear any wah modulation at all. He does make liberal use of a Floyd to affect the attack of certain notes...but that's not a wah.

It speaks for itself that a slew of really good players had/have Soloists in their arsenal. And it's not just metal players. Hell, Jeff Beck, of all people, got really excited about his custom 3 SC Soloist. It was and is a groundbreaking design. Those wide/thin necks aren't for everyone, but they've sold a ton nonetheless.

Hold on there; I'm actually a fan. Inexplicably, I freeze whenever I find that movie while flipping channels. Like Smokey and the Bandit, it almost demands to be watched. Back in '97 and early '98, I was traveling a great deal for work and found that Road House and Bandit could be found playing on TNT or TBS nearly any weeknight. There simply aren't many lines in those flicks that I don't know by heart!

"Pain don't hurt." "Right boot." "He's quick out of the gate, but he's not much for stamina." "Dalton! I see you've found my trophy room. The only thing missing is....your ass!!!"

"Be nice until it's time to not be nice."

Road House has some of the best "worst" one-liners in cinematic history.

Nope, doesn't count. Next thing you know, you'll be telling me that some had Kahlers on 'em. I like that one, but...would it have killed the boys from Kalamazoo to install two more dots on the fretboard? I mean, it looks a tad incomplete, as is.

This/\ I leave that shit to my co-guitarist. He digs the beef and bombast of 10's and 11's and I like my 9's for the slinky, spongy action. Makes for a killer combo, IMO. I cover the searing highs and chewy mids, he gets the growl of the lows and girth of mids that I don't hit. Fits our soloing styles as well. Good summary. Applies to me, as well.

Cannot resist the temptation to give this gem a bit more mileage...

Isn't the chord progression in Suite Madame Blue also similar to the one in Stairway? Not sure I'd opine that either is a rip off of the other. Of course, Stairway is a somewhat complex song with multiple parts; all of which makes this lawsuit somewhat absurd.

Never liked grunge as a genre, but the Foos really are an excellent rock band that emerged from the 90s as a legitimate nod to the heavy AOR rock bands of the 70s. They are one of the very, very few contemporary acts I enjoy.

Yes, but then, I find that I've developed the same reaction to nearly all of the artists on the bill for ACL for the past two years (Steve Martin + Steep Canyon Rangers and CT being the exceptions). I guess Indie rock, as a genre, is limited in appeal for a reason. To each, his own.

I know to what sound you're referring. I think it qualifies as an overtone...and it's not pleasing. The right pickup set at the right height through the right rig can help. For example, I'm never displeased with the sound of my P-90 Special through the neck pickup. On the other hand, I've played many a neck single (Strat-style) and thought, "Yuck".

Not sure about the "giant frets". My '90 has mediums like most Hamer guitars from that era.

Did Warmoth make the bodies/necks on the original Valley Arts guitars as they were doing more recently with VA under Gibson's control?

In "Cork Sniffer" magazine (that would be the print version TGP), that symptom would be called "period-correct patina" . Seriously, have you tried buffing it with Brasso--or if you can even find it--Silvo?

Wish someone on that set had told the emperor he was naked.

Yep...seems a few young lads have this one figured out. I like this version, partly because the dude is playing a new production/old school Charvel: https://www.youtube.com/watch?v=_VD1B4FraYc#t=10

Definitely one of the cooler guitar mysteries I've read in a long time. And it didn't involve a wrecked Mustang!

This analogy just never gets old....love it.

A early 80s Gibson Victory MVX....if you can find one.