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2 weeks ago | 
vintageguitar.com | Oscar Jordan
The left side (labeled “Circuit #O”) is inspired by Marshall’s Bluesbreaker. The knobs control gain (Honey), tone (Taste), and Volume. A toggle adjusts Mid Boost, Flat, and Low-End Boost. On the right side, “Circuit #1” is based on the Klon Centaur and gets the same control markings but with the addition of a (“Circuit Flavors”) toggle that switches between No Clean Blend, Medium Clean Blend, and Full Clean Blend.
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2 weeks ago | 
vintageguitar.com | Oscar Jordan
Sonic guitar messenger Jimmy James, formerly of the Delvon Lamarr Organ Trio, lays down fat-free chordal embellishments, in-the-pocket lead lines, spikey horn stabs, and the blues. Next to him, organist Adam Scone and drummer Tim Carman funk up the atmosphere with spacious soul and boogaloo beats. “Driptorch,” “Sugar Maple,” and “In Green We Dream” set the tone for their sparse-is-more approach that never tries to fill every hole.
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2 weeks ago | 
vintageguitar.com | Dave Hunter |Michael Wright |Walter Carter |Oscar Jordan
June 2019 VOL. 33 NO. 08FEATURESBacon & Day The Guitar YearsA major force in the banjo market of the early 20th century, B&D’s story includes a significant chapter on guitars as the company pushed to compete when the guitar moved closer to the front of stages.
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3 weeks ago | 
vintageguitar.com | Oscar Jordan
Joined by Brazil’s top musicians, the ensemble explores the contemporary rhythms and harmonies of this South American nation. Recorded in São Paulo and produced by Rit and Grusin, Brasil celebrates the vibrance of the local culture and artistry of Rit’s upper-echelon guitar playing. Seamlessly alternating between acoustic nylon-string, steel-string, and electric, his unique sound blends seamlessly with Grusin’s mature keyboard work and passionate vocals by Tatiana Parra.
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3 weeks ago | 
vintageguitar.com | Oscar Jordan
How did Parlor Greens come together? I gotta give it up to Tim Carman from GA-20 and Terry Cole, CEO of Colemine Records, for bringing us forth. I’d heard from Tim about a project, and he had Adam Scone on keys. I was like, “Oh! Scone Cash Players! The Sugarman 3!” In 2019, I recorded with Adam on his Brooklyn to Brooklin album and I’ve done video shoots with him. We ended up at Terry’s place in Ohio. There were ideas thrown around, but I was like, “What’s happening here?
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1 month ago | 
vintageguitar.com | Oscar Jordan
What was the secret sauce for Death Wish Blues, your album with Samantha Fish? A million things could have gone wrong, but they didn’t, for some reason. We ended up co-writing all the songs and it sounded like nothing else out there. In blues, there’s a lot of paint-by-numbers stuff. It was our opportunity to do something different, and people dug it. We live in a very noisy world, so for me and Samantha to rise above and have something of a hit was shocking.
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1 month ago | 
vintageguitar.com | Oscar Jordan
How does Black Country Communion V compare to past albums? It’s the best one. I didn’t think it was going to be the best one because we weren’t as prepared as we were for the others. But it came out good; I was surprised (laughs)!Did you hit the ground running or was it a slow burn? We had sketches of songs – this bit, that bit, this bit over here. We spent a week doing two songs a day, building the tracks, then sat in the courtyard at Sunset Sound and bashed through it.
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1 month ago | 
vintageguitar.com | Oscar Jordan
Rubin’s heavy hand is evident, yet King’s abundant vocal and guitar talents still shine. Despite the mega-compressed acoustic-guitar tone on “Soul It Screams,” King’s sweet fingerpicking glows.
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1 month ago | 
vintageguitar.com | Oscar Jordan
Chops and influences merge into epic arrangements and familiar sounds, transporting listeners to the days of ’70s British hard-rock ear candy. Mesmerizing prog lyrics, powerhouse drumming, and unfettered guitar tones permeate, like on “Enlighten” and “Stay Free” (with its “Trampled Under Foot” clavinet sounds). The gorgeous lead-guitar break on “Restless” echoes the mighty minor blues of Jimmy Page but magically transforms when Hughes belts with arena-rock zeal.
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1 month ago | 
vintageguitar.com | Oscar Jordan
Produced by Shooter Jennings, The Hard Way Blues marinates in a grimy Texas hot sauce with echoes of early Tom Waits. The album’s first single, “Night Brain,” is Dayton’s alt-blues ode to insomnia. Morphing from a back-porch 1930s acoustic blues intro to intense modern psychedelic electric burn and twang, Dayton unleashes pentatonic napalm with joie de vivre. The intro to “Navasota” is Chuck Berry on crack, as Dayton settles into a hypnotic ZZ Top-style blues stomp. Gut-level slide playing abounds.
