
Articles
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1 week ago |
vintageguitar.com | Oscar Jordan
From the Beatle-esque sounds of “The Greatest” through a plethora of narratives drenched in the L.A. desert, Campbell sings with a Southern California drawl, as earthy acoustic strumming buoys electric rock and roll guitars with zeal. Graham Nash makes an appearance on “Dare To Dream,” adding excellent vocal contrast to Campell’s Tom Petty treatment. The slide work is killer.
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1 week ago |
vintageguitar.com | Oscar Jordan
Running between two guitars (a vintage Strat and a Les Paul Standard) and a Bassman clone, the Rodeo shined, especially when maxed, its Gain knob goosing the amp with pleasing, highly usable textures while adding none of the woofy midrange of a Tubescreamer or Klon. Clear yet gainy, it’s the sound of a cranked Bassman with rich overtones, minus the volume. The tailored tones of SRV come to mind, with a pinch of Billy Gibbons.
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1 week ago |
vintageguitar.com | Oscar Jordan
You’ve been peeling the onion with Dirty Knobs to reveal a unique sound. I feel like I’ve turned a corner in terms of writing and my so-called singing, but I really enjoy it. I’m getting confidence and starting to feel it. Windows of songs are starting to open up for me, and it’s a joy. Did you have a muse as Vagabonds came together? Well, I certainly have a muse. I don’t know who she is, but I love her (laughs). When the light goes on and things drop in your lap, it’s pretty magical.
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1 month ago |
vintageguitar.com | Oscar Jordan
The Real McCoy Wah is designed as a throwback to the earliest iteration of the wah sound, with a warmer vocal character. More-nasal in tone, it accentuates midrange for a more-musical flavor, accentuating articulate single-note definition. It’s the secret sauce for funk rhythm styles that require cleaner amp tones. Running between a superstrat and a Marshall combo, it offered mellower, richer sounds.
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1 month ago |
vintageguitar.com | Oscar Jordan
Drawing from the six-string legacies of Stevie Ray Vaughan, Jimi Hendrix, Robin Trower, and Pat Travers, Jones brings a modern, black urban sensibility to the proceedings, creating a distinctive POV. “Too High To Fly,” “Just Like You,” and “Always The Same” are power-packed compositions, Jones emphasizing harder melodic-rock tones steeped in traditional blues, offset by clean, funky, and precise rhythm work coupled with beautifully chorused arpeggiation.
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