Steve Haynie

Both of them made their mark 30+ years ago. For the last decade or more they have played large clubs. Both are still working in music. There are young people going to the shows, but the majority of the crowds have been people in their 40s who likely would already own more expensive guitars than those Kramers.

While I will see Snake Sabo or Tracii Guns play a show, I just wonder how many guitars their names will sell.

She was younger than me in that photo. OK. I'd hit it.

Oh, it can get more rare...

um... DIBS!

Yup. He plays what he collects, so it is all good.

If the black refin was a good job, leave that guitar alone. Just play it. The cost of retopping and refinishing is not going to have any financial return. You only do that if you are never going to sell a guitar. A lot of "keepers" get sold eventually. Your Standard looks like a veteran of 1000 shows. Keep it that way.

I have been playing through the same '68 Vibro-Champ since 1977. The sandblasted ash look has been around for a while, but it seems like it is being pushed a lot more now. Maybe it is just Charvel, but that finish is on their Strats for their new releases. I am not thrilled with most new signature models. A Gilmour Martin?

Are you sure about that? We a known for being cheap around here.

Paul was a young guy caught up in rock and roll. Johnny Thunders was that guy putting on a rock and roll show for people like Paul. Watch Steve Marriott. Paul got some moves from him, too. Instead of complaining, think about Paul taking that Johnny Thunders image to a higher level of acceptance.

Get the IP address.

Tim Bogert was a monster player for sure. I regret not talking to him the one time I got to go to a NAMM show, but I watched him for a minute or two as he was getting dialed in. He looked like he did not want to be bothered at that moment.

Those inlays are a little over the top, are they not? Good!

The pickguard should be made of wood.

The SG and Tele take time to get used to them. After not playing an SG for years they got to feeling really weird. Had my SG stayed as my main, or only, guitar it would have felt normal.

Black hardware!

The Entwistle style of playing with all the tapping is going to sound unique on its own, so you really need to judge the tone of the slower walking parts. I like the sound of my mahogany necked Blitz bass better than the Cruise.

Woody? Gibsonesque? The Cruisebass has the tone of mahogany. They can cover the same sonic ground as a P-Bass with just a little difference. There may be more difference in the way the bass feels while you are playing than a difference in the sound. The body of the Cruisebass does not have the mass of a Thunderbird, nor the thickness down the center of the body. They do not sound the same.

I did not miss anything. I was running the PA system for the jazz stage on Coffee Street one block over. Molly Hatchet was so loud they overwhelmed all the other stages within a block in all directions. I heard the entire Molly Hatchet show. Too bad I could not turn down the jazz band in front of me to make Molly Hatchet sound a little more clear.

@RobB thank you for correcting me. I meant thrash, not death metal. Did Metallica create thrash? That is the question I meant to ask. Death metal requires Cookie Monster vocals over Metallica-esque riffs.

Did Metallica create death metal or not? I never heard anyone else crank their amps the same way. Black Sabbath and Judas Priest were the heaviest bands I listened to. Metallica was so cranked up with gain that it was different. The percussive thumps of the guitars sounded different. Sliding into a chord, or not so ghostly ghost notes was another trait of Metallica that made them stand out. Either a new sound was going on with record companies starting to pull in bands that sounded like Metallica once they caught on, or Metallica happened to be band with that sound that stood out th

Those Gibson Ripper and Grabber basses were good. The Grabber pickup made that bass feel odd the whole time you played it, though. It was like you might want to move it around. Then again it sounded OK where it was. It was a simpler way of creating the same problem with a B.C. Rich switch section.

Most of those basses will be sold to KISS collectors.