Anybody who knows me, knows I love all kinds of music. Especially music I find very difficult to play. It pushes my mind and coaxes my ambition to be a better player. When I hear Dani Rabin from Marbin play it happens, but to the 10th power. Its one thing to be a technical player (and Dani is that) but when you play with that kind of precision and a feel with a supreme vibe that comes through you can’t help but want to bob you’re head in glorious approval.

The new Marbin disc is called “The Third Set” and it’s a peek into being with a band and audience that is sufficiently oiled up and has let their hair down in both senses. ( have you ever walked into a club late and you feel like, “Damn, I should have been here all night!”) This unique blend of doubled guitar and soprano sax lines backed by a wicked rhythm section drenches the audience in a funk, blues and jazz fusion mix that demands your attention to the groove then whacks you with soloing that leaves you saying, “I need to practice more”.

These guys have tapped into an extremely unique niche and although it might have a smaller audience, this is an opportunity to hear real musicians play honestly and with an intention that is sorely missed in most music today. They are Bloody Brilliant!!!

Mark Daven

Marbin is Featured on the 2/4/15 episode of Guitar Radio Show and is hitting the road for the rest of the winter. Below are dates, if you can see them we highly recommend it. Then you’ll want to go home and pick up the guitar!

For more on the band go to- http://www.marbinmusic.com

Marbin Tour Dates-

01/27/15 – 09:00pm@Lamasco Evansville, IN
01/28/15 – 10:00pm@Hideaway Saloon Louisville KY
01/29/15 – 09:00pm@Paddy Wagon Richmond KY
01/30/15 – 09:00pm@Avalon Lima OH
01/31/15 – 09:00pm@Tim Faulkner Gallery Louisville KY
02/01/15 – 10:00pm@Preservation Pub Knoxville TN
02/02/15 – 09:00pm@Barley’s Taproom Knoxville TN
02/03/15 – 09:00pm@The Pour House Music Hall Raleigh NC
02/04/15 – 08:00pm@Awendaw Green Awendaw SC
02/05/15 – 07:00pm@The Rusty Rudder Mt. Pleasant SC
02/06/15 – 06:00pm@Palmetto Brewery Charleston SC
02/06/15 – 10:00pm@Big John’s Tavern Charleston SC
02/07/15 – 10:00pm@Surrey Tavern Augusta GA Get
02/08/15 – 09:00pm@Ruby’s Elixir St. Petersburg FL
02/09/15 – 09:30pm@The Amsterdam St Pete St. Petersburg FL
02/10/15 – 10:30pm@Tir na nOg Irish Pub Daytona Beach FL
02/11/15 – 09:30pm@West End Trading Company Sanford FL
02/12/15 – 09:00pm@Ybor Cigars & Spirits Lakeland FL
02/13/15 – 08:00pm@South Shores Tavern & Patio Bar Lake Worth FL
02/14/15 – 09:00am@The Amsterdam St Pete St.
Petersburg FL
02/15/15 – 02:00pm@The Hut Ft. Myers FL
02/16/15 – 08:00pm@Will’s Pub Orlando FL
02/18/15 – 10:00pm@The Handlebar Pensacola FL
02/19/15 – 09:30pm@Black Nile New Orleans LA
02/20/15 – 09:00pm@The Howlin Wolf New Orleans, LA
02/21/15 – 09:00pm@Beatnik New Orleans LA
02/24/15 – 09:00pm@The Nick Rocks Birmingham AL
02/25/15 – 10:00pm@Alley Cat Carrollton GA
02/26/15 – 09:00pm@Rhythm and Brews Chattanooga TN
02/27/15 – 09:00pm@12th and Porter Nashville TN
02/28/15 – 09:00pm@John Brown’s on the Square Marion IL

500 Words In Defense of Country Music

Rock and roll had been one of the most dominant musics of the twentieth century. Early rock and roll combined elements from electric blues, boogie, jazz, R&B, gospel, jump blues and country, put them in a stew pot, and came up with something new.

Country had been an integral part of the early development and in fact Chuck Berry’s first hit, “Maybellene” was an adaption of a traditional country fiddle tune called “Ida Red”.

Charlie Poole and the North Carolina Ramblers recorded an early version of “Ida Red” called “Cripple Creek” in 1928.

“Ida Red” became such a hit for Bob Wills he recorded a version in 1938, a second version in 1941 and a boogie version of the song 1949.

Before Bill Haley had a hit with “Rock Around the Clock” Bill Haley fronted a group called Bill Haley and the Saddlemen and even recorded a version of “Rocket 88”.

One doesn’t have to go too much further to find another direct link between rock and country than Glen Campbell’s involvement with The Beach Boys.

After moving from Arkansas to Los Angeles Campbell became a session musician and member of the famous Columbia Records “Wrecking Crew”.

Campbell’s guitar can be all over on The Beach Boys’ “Pet Sounds” album. He also played on records with Nancy Sinatra as well as Elvis too.

Country recordings first started to appear during the late 1910s but it wasn’t until the 1920s with the success of Vernon Dallhart’s “Wreck of the Old ‘97” in 1924 that Southern Appalachian fiddle music reached a larger audience.

The first superstar of country was Jimmie Rogers and his million-selling single, “Blue Yodel #1” in 1927.

Throughout the decades country music has going through more of its share of stylistic changes, some for the better and for some for the worst. At its core, however, country music is about good song writing and (as far as we’re concerned) great guitar playing.

My first exposure to country was by way of “Hee Haw” co-hosted by Roy Clark and Buck Owens. It wasn’t until years later that I realized that Roy was a monster guitar player and has a signature model guitar made by Heritage.

Even though Jerry Reed is better known as Burt Reynolds’ sidekick in “Smokey and the Bandit”, he was a fearsome guitar player.

More recently Brad Paisley and Keith Urban have picked up where their processors had left off and are both well-regarded guitar players.

Country is probably isn’t for every one but just try “faking” playing that style, it’s tough. While there are similarities between blues and country the “feel” and timing is quite different. That said, I think any player from any genre can add some new dimensions to their playing by adding some country licks.

If you’re like me and have come to country via punk rock background I was surprised how much I liked Elvis Costello’s “Almost Blue” album of country covers.

I’m also a big fan of Social Distortion singer, Mike Ness, two solo albums, “Cheating at Solitaire” and “Under the Influence”.

I would be remiss by neglecting The Mekons alum, Jon Langford and The Waco Brothers.

Adam P Hunt is a freelance writer who has previously written for The Library Journal and Premier Guitar Magazine. We are so happy to have him join us here at Guitar Radio Show.com.

For more on Kelly go to-  http://www.kellyrichey.com

500 Words, The Guitarists of David Bowie
From young folike to alien invader, from Thin White Duke to elder statesman, David Bowie occupies a unique place in musical history. Some people don’t like Bowie because they are turned off by his theatrical artifice. Other people don’t like him due to his sexuality. I say that if you are willing to leave those trappings behind what you’re left with is a bold, creative artist that has been backed up by some of the best guitarists in the business.

Mick Ronson: Despite his feathered hairdo, platform shoes and eyeliner Mick Ronson was the muscular counterpoint to Bowie’s sexually ambiguous flouncing.

Earl Slick: Earl may be one of the great unsung guitar heroes because not only did he fill Ronson’s enormous shoes for the ’74 “Diamond Dogs” tour, he’s also played with Ian Hunter, John Lennon the super groups Phantom, Rocker and Slick, and Stinky Vagabond, and the latest version of the New York Dolls.

Robert Fripp: Guitarist, inventor, and sole constant member of King Crimson Robert Fripp had been an innovative guitarist that has a developed a unique voice with his playing. Despite being best known for his work with King Crimson, Fripp has also worked with Brian Eno, Andy Summers, Toyah Wilcox, David Sylvian (vocalist of the group Japan), Van der Graff Generator, Peter Gabriel, Talking Heads and Blondie to name a few.

Carlos Alomar: Another unsung great, Alomar has shared the stage with Chuck Berry, James Brown, Luther Vandross, Arcadia, and has guested on albums by Paul McCartney, Simple Minds, Mick Jagger, Iggy Pop, and The Pretenders.

Peter Frampton: Before selling a zillion copies of “Frampton Comes Alive”, Peter Frampton was an early member of Humble Pie. Frampton has also lent his talents to Harry Nilsson, Jerry Lee Lewis, George Harrison and John Entwistle. With a lot of well-received solo albums and a revitalized career we can almost forgive him for starring with the Bee Gees in Robert Stigwood’s “Sgt. Pepper’s Lonely Hearts Club Band”.

Almost.

Reeves Gabrels: Gabrels can be best be described as a “guitarist’s guitarist” because despite being well respected in the music world he’s completely unknown to the general listening audience. When Bowie formed his own super group, Tin Machine, Gabrels became his right hand man. After Tin Machine Gabrels eventually found a semi-permanent home with The Cure and still plays an in demand sessions musician.

Stevie Ray Vaughan: Stevie Ray hardly needs an introduction and his guitar solos on David Bowie’s “Let’s Dance”. It should be noted that when Stevie Vaughn exploded onto the scene blues was almost completely absent on the radio and was nowhere to be found on MTV. After Stevie’s untimely death in 1990 it’s become somewhat popular to bash Stevie. To his critics I’d like to say while there were a handful of blues torchbearers during the early eighties, no one had done more to popularize the genre since Stevie.

Adrian Belew: Belew has also played with a lot of the whose who of popular music including Frank Zappa, Talking Heads, Joe Cocker, Nine Inch Nails, King Crimson, Herbie Hancock and even Cyndi Lauper.

Nile Rodgers: While Rodgers may be better known as a producer he’s also a founding member of Chic. Roger had also played with Screamin’ Jay Hakins, Aretha Franklin, Daft Punk and Prince. Rodgers can also be heard playing counterpoint to Stevie Vaughn on Bowie’s song “Let’s Dance”.

Adam P Hunt is a freelance writer who has previously written for The Library Journal and Premier Guitar Magazine. We are so happy to have him join us here at Guitar Radio Show.com.

http://mjtagedfinishes.com

500 Words: Is Gibson Guitar Finished?

Founded in 1884 by Orville H. Gibson, Gibson Guitars has been so closely associated with the development of American popular music. Orville Gibson’s development of the arch top guitar and innovative mandolin designs proved to be louder and more durable than their contemporaries and quickly became in demand.

From the Gilded Age, through the Jazz Age, the Great Depression and two World Wars Gibson survived numerous ownership changes and changes in the taste of audiences. Gibson even survived a rather bleak period known as the Norlin years that lasted from 1969 to 1986.

Gibson guitars also found their way into the hands of such early rock and roll notables as Chuck Berry and Danny Cedrone.

While Berry’s name should be immediately familiar to any one with a passing knowledge of 20th Century popular music, Danny Cedrone’s may not be. Danny Cedrone was a session musician and has been credited for playing guitar on Bill Haley’s version of “Rock Around the Clock”.

In 1986 three investors, Henry Juszkiewicz, David Berryman and Zebrowski bought Gibson and initially things seemed have looked promising. Under new ownership Gibson seemed to have righted it’s course and addressed many of the quality control issues that plagued Norlin era instruments.

Over the years Gibson has purchased many non-guitar related companies such as Cerwin Vega, Baldwin Pianos and Slingerland Drums. In November 2014 CEO Henry Juszkiewicz announced, “We’re no longer (just) a guitar company any more”.

I’ve intentionally chosen to ignore forum posts concerning Gibson’s quality control because anonymous forum posters aren’t reliable sources of information.

One complaint about Gibson, however, seems to be pretty widespread and that is their shift away from focusing on smaller, independent music retailers, and more on large chain stores like Guitar Center and Sam Ash.

The problem, in part, that GC’s business model was predicated on opening twelve new stores a year. That’s great, if there were a nigh unlimited amount of people that wanted to buy guitars.

Too be fair, Paul Reed Smith has also hitched their wagon to the Sam Ash and GC horse but it’s a good bet that neither Gibson nor PRS had realized that the GC horse had a terminal case of Coccidioidomycosis.

But by both companies limiting their distribution to a small number of retailers they’ve successfully alienated themselves from smaller, independent retailers.

Another problem is that the economic model that existed to support musicians is disappearing. Once upon a time recording artists could expect royalties from record sales and radio airplay but those royalties too have all but evaporated.

A lot of clubs and rehearsal spaces have also vanished so there are fewer venues for small and medium size acts to play.

Gibson isn’t the only one in peril, as musicians we all are.

If musicians can’t support themselves, the future of music looks pretty grim.

I’m pretty sure before things get sorted out at least one major company is going bankrupt.

I’m not 100% who, but I have my guess.

Adam P Hunt is a freelance writer who has previously written for The Library Journal and Premier Guitar Magazine. We are so happy to have him join us here at Guitar Radio Show.com.

Adam P Hunt is a freelance writer who has previously written for The Library Journal and Premier Guitar Magazine. We are so happy to have him join us here at Guitar Radio Show.com. 

500 Words On Pedals

I love pedals and I’ve gone through my share of them. There’s been a handful I bought but later traded away. Even though there are some pedals I wished I had kept while others I regret purchasing in the first place.

I don’t mean this to be a definitive pedal board checklist but more as a guide to a useable, low cost, flexible pedal set up that you could use in a lot of different playing situations.

BD-2 Boss Blues Driver. Even though the Ibanez TS9 Tubescreamer is more famous and has a dedicated following, it’s not my favorite boost/drive pedal. Personally I like the Blues Driver better because I think it’s more transparent, you can use it as both a clean boost and a drive pedal.

PWOV Morley Power Wah Volume. I love this pedal partly because it’s two pedals in one. I’ve had a bunch of wah pedals from a well-known company that starts with a “D” and they’ve all crapped out in short order. Phooey, who needs that? My PWOV just keeps on trucking and after twenty years of loyal service I think the PWOV is a viable alternative to a “D” pedal.

A delay. For my needs I like the Electro – Harmonix Memory Toy a lot. I had a popular brand digital delay until one day it gave up the ghost on me. Don’t get me wrong, on a dark sounding amp it added a nice sort of brilliance to the notes as they decayed but other than that it was a little “glassy” for my liking. When I was shopping for a replacement I tried about a half dozen delays and played them back-to-back. I was very surprised that this basic delay stacked up nicely to ones costing two or three times as much. Yeah, it doesn’t have a tap tempo or other advanced features but if you don’t need to switch the delay or feedback rates on fly it’s a cool little pedal.

A compressor. If you lack finesse the way I lack finesse you need a compressor. As the name implies a compressor squeezes the dynamic range an amplified instrument has and evens out some of your playing irregularities. I like the Toadworks Mr. Squishy and Xotic SP compressor equally as well.

E.W.S. Fuzzy Drive. Like the other pedals, the Fuzzy Drive wasn’t my first fuzz box. I’ve tried some classic fuzz pedals and what I like about this it can go from mild to wild and still sound musical. Sure, it’s not as crazy as an Angry Troll or a Big Muff Pi but I think it’s a little more flexible.

With a setup like this you can easily play blues, classic rock, punk, psychedelic and even some country, if you use the right guitar and amp. Your musical likes change as you evolve as a musician, solid foundations will take you far, and so will a solid pedal board. Your needs may be different than mine but this should be a good place for you to start.

The US Department of Transportation finally gave us musicians some respect!!

http:/http://www.dot.gov/briefing-room/us-department-transportation-issues-final-rule-regarding-air-travel-musical