“Song strains, distant. Over A barroom drink-filled roar. The old folksinger lays it down...”
Gibson SG Junior
Gibson SG Junior
"Post Bankruptcy Gibson" 2019 Model
This guitar is a hot-rod. It's great for slide, as a result. I used it for slide on Drivin Me To Ruin, and for solos on Singin The Blues. The stop-bar tailpiece, hard-mounted dog-ear P-90, and mahogany body combine to create a solid feeling and playing guitar. The pick-up is hotter than the P-90's in the Special. In addition to using this guitar on the I Can Shine Album, I've used it live with The Pretty Ugly's. I produced a video for the Two Kinds Of Light YouTube Channel which features this guitar, called "SG Junior Live". Like the 2019 Special, Gibson got the necks on these guitars right. They are more stable than SG's I've played in the past. The neck on this particular SG is probably the best one I've ever played. Click on the photo to see the video, or listen to it on Drivin Me To Ruin.
This is the amp head I used on all of the electric guitar and bass on my debut album, except for on the title track "I Can Shine". This is a late model amp (2018 model) which harkens back to the plexi era. Or at least I think that was Marshalls intention. It does have an effects loop and built-in boost, which you won't find on an old plexi amp. It also has a master-volume but does not do insane levels of gain like a DSL or a 900, thus, the "plexi" like sound. Being my roots are in what we refer now to as classic rock, the level of gain in the Origin suits me fine. The cabinet shown is a JCMC410B 120 watt, 16 ohm, 4x10 from 1998. These were originally sold to pair with the short lived JCM600 series amps. The speakers are Marshall/Celestion Gold Back Speakers. The Origin amp shined both onstage, and in the studio. Click on the photo for more Origin video's and stories.
Here is a gut-shot of the JCMC410B. These were produced for the JCM600 series from 1997 to 1999. The 10" 'Gold Back' speakers used, were all custom-voiced Marshall Celestion Heritage models. These are a 30 watt, 4 ohm speaker. The cabinet can be wired series/paralell to run 4 ohms, or the speakers can be wired in series to achieve a 16 Ohm cabinet. My preference, especially for live shows, is to run the cab series/paralell. This way if you blow a speaker, the rig will still run on the pair that's not blown, so you can at least finish the song your on (of course at your first opportunity you want to switch the head from four to eight ohms, to impedance match to the survivng pair). These MDF cabinets and speakers were UK made. The check-grill cloth was for a special anniversary run. Overall, with the small magnet speakers and MDF construction,these cabinets are comparable to the current Marshall Origin cabinet line coming from Vietnam.
I'm one of those old dogs who remembers when the Squier line was introduced in the 80's. They were price-pointed at beginners and novices. I never gave them a second look.
Last year I tried all the various Fenders at my local shop, looking for a back-up for my (real) 1974 Jazz. Couldn't find anything that didn't feel 'too new', cold, or heavy. I decided to try a Squier and there it was- that warm, light, smooth, resonant feel I was used to in my old J-Bass. I knew I'd own a Squier soon.
Well, here's an ISS-serial (Sammick), Surf Green CV70's P. The block inlays, narrow nut width, and thin neck are more reminiscent of a 70's J-Bass. (The P-Bass had Dot Inlays in the 70's). It's very Jazz Bass like, and maybe that's why I like it so much. I read somewhere that the CV70's are arguably as good as a real 70's Fender. As a lifelong 74 Jazz player, I have to concur. You'll get to hear this guitar soon, on The Big Sky album. You can hear it now on my recording of The Big Sky.
Built in the 80's presumably as a cost effective alternative to the 2204 and 2203 amps. Channel switching was in its infancy and this amp was one of the first to get it right. It was arguably the perfect gigging amp for Rock & Roll. Paired up with a Les Paul and a Strat, with the boost function, the sounds of most of the Hits of the day could be approximated with this rig. A little smaller and a little lighter than it's big brothers made it more gig friendly on those late night load-outs. At the same time, this amp could hang with the big boys and it'd roar in a way that could make any head banger proud. Then, when you got to the theater stages with the prima donna sound man telling you to turn down, this hybrid amp could do insane gain levels at practically a whisper.