All Eyes Out For You

Back to the blog

Well, I can no longer belabor my exile from the blogosphere. In case you were wondering where I disappeared to, my June was mostly consumed by a move to a new home (still in Houston, though John C. will rightly dispute my claim to that based on my new zip code). There was a good three weeks or so where I was mostly checked out from a musical standpoint. Some odd shifts have occurred in my listening habits as of late, brought on by my now-standard summertime obsession over guitars. A few of you might be appalled to find out what I’ve been obsessing over lately, and we’ll get to that in short order. So in the interest of getting back to some regular blogging, let’s get a few bullet points out of the way…

• Grace Potter & The Nocturnals’ self-titled new album is still my fave of the year so far. In fact, some of the credit/blame for my recent classic rock obsession should be laid at their feet for conjuring such a 1970’s vibe. It’s been a bit disheartening to see that the record hasn’t really caught fire, despite the standard recent appearances on Jay Leno and Jimmy Kimmel (they did manage not to slip from the #184 slot on Billboard’s Top 200 Album chart last week). There’s really no reason this album shouldn’t be some kind of hit, but it certainly exemplifies how ineffective the major-label bag of tricks is these days. Here’s hoping there are still plenty of fans out there to be won over by GPN’s best record yet. Will a second music video make any difference (even one with French strippers)? Probably not.
• Alejandro Escovedo’s new record Street Songs Of Love is probably my second favorite of the year and similarly evokes a certain golden era of rock and roll. If you thought Real Animal was an unapologetic rock album, you ain’t heard nothing to you hear this thing blast from your speakers.
• The Black Crowes are celebrating their 20th Anniversary in high style with the release of Croweology, a double CD collection of acoustic versions of songs mostly from their first four albums. It’s indulgent and overly long, and also a real treat for longtime fans. It’s kind of interesting how smoothly they’ve locked into this Band-like vibe between this and their last album Before The Frost… Certainly not for the casual listener but obviously a must-have for fans. And make special note that their upcoming tour will be the band’s last for some time while the Crowes take an indefinite hiatus after enjoying a creative resurgence over the past few years.
• Sheryl Crow’s new album 100 Miles From Memphis was co-produced by guitar great Doyle Bramhall II, and it does indeed often capture the soulful spirit of the city in the title. It’s my favorite Crow record in a long while, and maybe sometime I’ll bore you with a post about how I’m slavishly devoted to the idea that Sheryl Crow is capable of another great record. This one is better in small doses – none of the tracks are anything less than solid, but they tend to mine the same territory repeatedly. Still, it’s a mildly adventurous album by Crow’s standards, and it’s to her great credit that she’s still giving it her best effort.
• Okay, I admit I’ve been really diving headlong into guitar-hero music lately, and it’s probably not an exaggeration to claim that I’ve listened to almost nothing but Clapton, Hendrix and Stevie Ray for almost a solid three week stretch. I finally picked up Hendrix’s recent Valleys Of Neptune, which is a fantastic album of unreleased stuff featuring several alternate versions of well-known tracks. Even better is the just-released Sony Legacy Edition of Stevie Ray Vaughan’s Couldn’t Stand The Weather, which features a few unreleased tracks and an entire show recorded in Montreal. I’d also like to note that Craig Hopkins has created a fantastic tribute book to SRV. He has had 3000 copies self-published, and it will be published by Hal Leonard/BackBeat Books in two parts starting in the fall of this year (pre-order from Amazon here). But the full volume is probably worth grabbing now as a collector’s item. Oh, and in case you were wondering, the new guitar is a Fender Eric Clapton Signature Stratocaster.
• I caught Robert Plant & The Band of Joy out at The Woodlands about two weeks ago. Since the new record is not yet out (due Sept. 14), I was sort of expecting a lot of laid-back material in the vein of Raising Sand. I was also expecting an open revolt of Zep-heads. On both fronts, I was pleasantly surprised. Plant was in awesome form, and I guess it goes without saying that his band – which features Buddy Miller, Patty Griffin and Darrell Scott – was unreal. Plant was generous with the spotlight, and the crowd was deliriously enthralled. Oh, and Bettye LaVette opened the show and I’m pretty sure conjured a violent thunderstorm with her set-closing rendition of The Who’s “Love Reign Over Me”. Incredible.
• I’ve actually been listening The Allman Brothers. Dear God help us all.
• The Derek Trucks Band will be taking a break while Trucks works on music with his wife, Susan Tedeschi (!). The band’s parting shot is a double live album Roadsongs recorded in Chicago last year. It’s fantastic – everything I admire about Trucks’ band amped up to 11.
• Lest you think I’ve lost all touch with my roots, next weekend I’ll be heading to North Adams, MA, for the Solid Sound Festival, aka the Wilco Super-Dork Fest. My good friend Babalugats and I also have designs on visiting the Martin Guitar Factory in Nazareth, PA (which is close to ‘Lugats’ home in PA). He really wants me to try to weasel a “press credential” or something, but I think it’s safe to assume that every attendee at Solid Sound will be a music blogger.

(Guitar) dork alert: Wilco straps!

If you've attended a recent Wilco concert, you might've noticed that there were "signature Wilco guitar straps" available at the merch table for an eye-popping 75 bucks.  I think I commented to my buddy Joey that the price seemed pretty steep for what appeared to be a standard poly-vinyl guitar strap.

But, of course, I was wrong.  In fact, on closer inspection, these straps appear to be very groovy, made from recycled 1970's seat belts by a company in Chicago.  In addition to being a guitar addict, I have a fairly incurable fetish for guitar straps.  So naturally, I promptly ordered one of these Wilco guitar straps (only $65 from the website).  I chose the Pat Sansone edition - very sharp, just like Pat - but I imagine I'll be collecting a few more of these if I dig the strap.  Limited quantities due to the limited materials, so hurry up!

Oh, and Wilco (The Album) is due on June 30.  They'll be appearing on The Tonight Show this Wednesday, June 24.

New addition to the family: Martin M-21 Steve Earle

Apologies for the light blogging lately, but maybe this endless Houston heat (is it only mid-June??) has softened my resolve.

In any case, as I'm sure you've gleaned from the post title, it's that time again: guitar bug.  Much to Mrs. K's chagrin, the bug hit me a couple of months ago, and finally got the cure in the form of a new guitar delivered just a couple of days ago.  Where I started at the outset of guitar-bug-season and where I ended up is a convoluted (and, no doubt, boring) story so I won't bother you with the details.  But needless to say, after many years of buying Gibsons, I returned once again to the Martin fold with the purchase of the M-21 Steve Earle Custom Edition (#70, for the record).

Despite what you may think (Steve Earle guitar = obvious purchase for me), I wasn't initially wowed by the M-21 when it was announced last year.  I was impressed by Steve's M-36 when I saw him at Cactus Music last April but knew very little about the body style and its history.  Steve himself had only recently returned to Martins after a long association with Gibson guitars.  In fact, the M has only been back in the regular production line since 2007, but it has a colorful history.

In the 1930's, Martin went after the archtop market aggressively, with models like the F-7 and the expensive F-9 (it was the most expensive catalog model ever at that time).  Archtops are those cool, retro acoustics with the f-holes on the shoulders rather than a soundhole in the middle.  But despite their best efforts, Martin's archtops really never took off.  As a result, these models were not particularly valued by collectors in the late '60's and early '70's.  But some players and luthiers took a shine to the body style (a jumbo shape but a thinner body than a dreadnought) and started converting F-7's and F-9's to flattop acoustics.  One such luthier was Matt Umanov of New York.  Folkie David Bromberg loved his coversion so much that he encouraged Martin to produce such a model, and the M shape was born (also known as 0000 size or "Grand Auditorium").  In the late 1970's, it was Martin's first new flattop body style in over 40 years.  Despite the enthusiasm from the company and players alike, the M fell out of production several times (though it continued to be produced as custom orders).  It would drop out of the catalog line in 2002, only to return in 2007 with the nicely appointed M-36 and M-38 models (a David Bromberg M-42 artist model appeared in the interim).

Around that time, Steve Earle had moved to New York City and moved in only blocks from - you guessed it - Umanov Guitars.  Since then, Umanov has become Earle's guitar guru of sorts, and Umanov's signature sits alongside Earle's on the label inside the new M-21.  As the arguable inventor of the M body, Umanov's technical expertise is apparent all over the M-21.  But Earle's influence is strongly felt in the appearance of the guitar, which is notably simpler and more modestly appointed than either the 36 or 38 (Earle says he was going for "dressed down" version).  Most obvious, there is no fingerboard binding and the Alpine spruce top is given an "aging toner", less goldish than the "vintage toner" of the other two M's.  But additions like the tortoise binding with white inlays on top and Waverly tuners give it some subtle flash that you wouldn't see in, say, an 18-style Martin.

The body shape is ultimately what makes the M-21 so special.  I'm a big lover of larger guitars (I have a Martin DM dread, a Gibson Hummingbird and a Gibson SJ-200), but I have found over time that the size can be a problem (see particularly the SJ-200).  The M, by comparison, has the large, round curves of a jumbo-size guitar (it's approximately the same shape as the J series Martins), but is much thinner and more comfortable to play.  This is one of the features that drew Earle to the M.  All of the M's in production feature rosewood sides and back, and the M-21 is no exception.  The Alpine spruce top is beautiful and has a great-looking finish (I had pondered special ordering a burst finish like the ones Steve has been playing lately, but I'm a sucker for Martin natural tops).  The rosewood yields that lovely natural sparkle but seems to have more sustain on this model than, say, OM's that I've test driven.  The neck is the modern Martin low-profile, and is extremely responsive to the touch.

As is usually the case with a new guitar, I find myself with the certainty that it's no doubt my best guitar, and possibly the last one I'll ever want.  But I'm wary of such claims because only time will tell.  There are a few factors that drew me back to Martin guitars.  First, I'd been looking at some new Custom Shop Gibsons, and I gotta tell you - the workmanship on Gibson acoustics is continually hit or miss.  I've seen some sloppy binding and gluing lately, though that's always been true to some degree.  You won't ever see that on a Martin.

Another thing I discovered is that Martins can be had for a much lower price than their "minimum advertised price" (which is what you'll find on sites like Musicians' Friend).  I ordered my M-21 from Maury's Music in Pennsylvania, and the price quotes he gave me on several models were astonishing.  Martins may appear to be overpriced compared to Gibsons (at least in the over-$2000 price range), but if you find a competitive dealer, you will be shocked how Martins stack up compared to Gibsons.  Maury was very patient and responsive as I asked him for quote after quote, and when I ordered the M-21 a few weeks ago, he said it would be available in late June.  So imagine my delight when the guitar shipped last week and arrived this week in perfect condition.  He'll even give your guitar a ten-point inspection for free, and I had him install a strap button on the neck (always a dicey affair), and it was installed perfectly.  I just can't tell you how pleased I am with the experience, and how amazing the price was that I got on the M-21.

BTW, even if you could care less about a Steve Earle model guitar, I'd encourage you to check out the M-21 or the other M models.  No doubt, the "artist model" aspect of the M-21 commands a premium, but the M-36 and M-38 seem to me especially a great value relative to other Martin models (I think the M-38 prices out just about where the M-21 Steve Earle does).  Lots of nifty appointments that you would pay much more for in a D or OM model.  I firmly believe that the M shape is well-kept secret amongst players, and if you happen to be comparing guitars, track one down and see for yourself.  Umanov Guitars also occasionally has custom edition M's in stock so you might go right to the source to find one (though don't forget to check with Maury first!).  Martin also produces the 0000-28, which is the same body shape (not sure why it's not called an "M").

On a related note, there is newly updated two-volume set of book about Martin.  It's a fascinating look at the history of the company, as well as the evolution of their guitar lines.  Much of the history of the M recounted above came from the Technical Reference.  Also check out this month's Vintage Guitar magazine for an interview with Earle and Umanov and a closer look at the M-21.

Steve playing Townes Van Zant's "Colorado Girl" on Letterman, with M-21 in hand:

Hendrix DVD's and other assorted nerdiness

So I had approximately two days with the house entirely to myself, a situation I'd not faced since sometime in early 2007.  I had a small stack of Jimi Hendrix DVD's that needed watching, and I was able to knock a couple of them out.  These are small ambitions, I admit, but it's important to set achievable goals.

First off, I think it's safe to say that as far as Hendrix films go, Live At Monterey is still the gold standard.  I have the Criterion Collection's complete Monterey set, which also includes the complete Otis performance from 1967.  Both Redding's and Hendrix's performances are simply stunning, all the more so because they were both relative unknowns to the audience at that time.

Anyway, the two films I just watched are both documentaries.  The first was The Making of Electric Ladyland, which is just what it says.  It's a retrospective doc that is actually about 10 years old but has been released with additional footage.  It's quite a fascinating look at Hendrix's landmark album.  Producer Eddie Kramer is interviewed extensively, and he walks the viewer through some isolated tracks, which sheds a lot of light on the recording process.  There is some rare footage of Hendrix as well, plus lots of interviews with manager Chas Chandler and the members of The Experience (though Noel Redding was relegated to a lesser role on this album).  Overall, it's a great film, probably recommended for more serious fans.  It is available as a standalone DVD or a combo package with the original album.

The second is the classic doc A Film About Jimi Hendrix, filmed only years after his death.  This was re-released as a deluxe DVD a few years back, with extensive extras.  The best part of the film are the interviews with peers like Pete Townsend, Eric Clapton and Mick Jagger, back when they were still in their prime.  This lends the film a bit more authenticity and makes it feel less Behind The Music-y.  It is heavily weighted with footage from Monterey, Woodstock and Isle Of Wight, all of which are now commercially available but were probably pretty revelatory at the time of the film's release.  Also really fantastic are the interviews with Hendrix's girlfriend from his Harlem days.  She's smart and funny, with not a trace of bitterness.  The affection for Hendrix as a person comes across loud and clear.

Missing from this list is the 2-disc edition of Hendrix At Woodstock, which is on its way.  All of this adds up to a fairly dorky three days or so, but it's great to hunker down with a singular obsession for a while.

I should also add that my friend Darren came over, and we moved both of my amps and all of the guitar into the living room for the evening.  And Darren left with my first Strat, which I bought in 1993.  I had trouble parting with her, but I just never play her anymore, and I'm happy that she'll get more time in someone else's hands.  This sale was, of course, to make room for a new guitar that I'm trying to sneak into the house, but Mrs. K is quite vigilant about money during tax/home renovation season.

John Frusciante update

As some of you may recall, apart from the music you typically read about on this blog, I'm also a bit of a guitar nut.  My worship of John Frusciante (of the Red Hot Chili Peppers) is somewhat well documented at this point, and he has a rather stunning new solo album out called The Empyrean.  Though the record is occasionally indulgent, it sure has some wonderful music, guitar-centric and otherwise.  Some would argue that his talents are more focused inside the confines of his band, but it's great to hear his ideas flow a bit freely in his solo work.

I realize it's a bit of a trap to believe that musicians - particularly those in massively popular rock bands - are in any way "pure" or whatever.  But I love reading or listening to interviews with Frusciante because he just comes off as a student of music.  Not only is his attitude refreshing and inspiring, but his thoughts are also educational.  I've probably spent more time studying his playing than almost any other player, but there's so much to learn just in the way he thinks and speaks about music.

The latest buzz amongst the Chili Peppers' fanbase is that Frusciante seems indifferent about rejoining the group to record another album.  This three-part podcast interview with Music Radar certainly added fuel to the fire.  But, as always, I find Frusciante to be one of the most thoughtful and interesting guitarists out there.

Guitar geek: "Honky Tonk Women"

In my Gibson email this week, Arlen Roth gives a quick little video lesson on the riff for "Honky Tonk Women".  I've got a transcription of the song laying around somewhere so it looks like I've got a little project this weekend!  BTW, Open G is pretty easy to tune, particularly if you've got a tuner with open settings.

Frusciante: A Love Letter

I have to admit that I've lately been fairly ensconced in a lot of classic rock albums lately, brought on partly by the recent purchase of a new Fender Blues Deluxe amp.  That acquisition has brought my Stratocaster and me a whole lot closer, and naturally I find myself exploring a lot of inspiring guitar work, especially that of Stevie Ray Vaughan and Jimi Hendrix.

It's not a recent development, however, that I find myself very much admiring and revering the work of John Frusciante, particularly on the Red Hot Chili Peppers' last two records.  For my money, their 2004 effort By The Way is the band's watershed, and it's probably no coincidence that Frusciante was the driving force behind it.  It's an often gorgeous and sunny piece of work - and nearly a complete break with the Chili Peppers' early work (it's notably a widely reviled work by a few longtime fans, and it's easy to sympathize).  That record's follow-up and the Chili's most recent album, the 28-song double album Stadium Arcadium, is not quite up to the same standards - and contains some filler, no doubt - but I have recently been struck by the sheer studio inventiveness of the album, particularly Frusciante's pursuit of sounds and details that few listeners will ever sit down and truly digest.  Some of the parts were achieved by slowing down analog tape to create overdubbed guitar harmonies, and Frusciante has continued to explore a number of low-cost guitar pedals that often make his guitar sound like a synthesizer or even a harpsichord.  In this way, the many Hendrix comparisons attached to Frusciante are apt - Hendrix employed similarly inventive techniques to craft Electric Ladyland.

The contrasts between Stadium Arcadium and By The Way are striking.  Stadium is notable for its intricacy and embrace - for better and worse - of classic rock cliches, such as soaring, fiery guitar solos.  By The Way, on the other hand, it striking for its sheer simplicity.  Layered harmonies, though carefully constructed, overlap with some of Frusciante's most achingly beautiful guitar work, almost all of it ridiculously simple in its construction.  The guitar outro to "Dosed," for instance, is among one of my favorite guitar moments on any record, and it should tell you something that I can actually play it on my guitar.  As is often the case, Frusciante's guitar tone is crystalline and clean (his solos are usually the only parts that are heavily distorted).  Whatever you think of the current incarnation of the Red Hot Chili Peppers, I think it's safe to say they wouldn't be that band without John Frusciante.  I can't think of another mainstream band whose sound is so dependent on their lead guitarist.

(BTW, Hal Leonard produced a wonderful guitar songbook for Stadium Arcadium, which includes the entire album with the guitar parts isolated in the mix.  As a teaching tool, it's really quite cool.  I wish there more of these.  A bass version is available as well.)

Fender Elvis Costello Jazzmaster

I've been looking for an excuse to get a Fender Jazzmaster for a long time, and it looks like Fender finally cooked up a good enough reason.  These are technically shipping now but probably won't be readily available until later in the summer -- just in time for someone's birthday!!

BTW, I did pick up Elvis's latest this week Momofuku but haven't even had a chance to listen.  Josh Hurst's review can be found here.

Red Hot Chili Peppers - Stadium Arcadium Guitar Book

I buy plenty of guitar songbooks, and I'm not normally compelled to rave about them.  Guitar tab books have long achieved a remarkable level of accuracy, so much so that you can generally be assured that any songbook published by Hal Leonard is a spot-on transcription of whatever record and guitarist it's based on.

Instead of just releasing the standard guitar and bass books for their latest record Stadium Arcadium, the Red Hot Chili Peppers have created a unique companion to the book.  Both the bass and guitar books are available with two CD's of guitar-and-bass-only tracks, mixed directly from the recorded versions.  This simple idea yields remarkable results, placing the guitar and bass parts in sharp contrast to each other and making the tablature very easy to follow, even with multiple overlapping guitar parts.  John Frusciante's style can easily be used for guitar exercises for all playing levels.  While I can't play many of the riffs and leads as fast as Frusciante, they are fun and useful for practicing just the same.  I suspect the same is true of the bass-only edition of this book.

Highly recommended for guitar nerds of all stripes.