-
4 weeks 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.
-
4 weeks 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.
-
4 weeks 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.
-
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.
-
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.
-
2 months ago | 
vintageguitar.com | Oscar Jordan
Songs like “Always The Same” are blues-based but really hit home. “Always The Same” is an old song I’d redone. It’s probably 30 years old. I re-wrote it, and I think if I can relate to it, other people can relate to it. “Too High To Fly” and stuff like that are about waiting for things to happen. That never works. You have to get off your butt and do it. “Just Like You” is about traveling the world and seeing how much we all have in common – respecting other cultures and not being the ugly American.
-
2 months ago | 
vintageguitar.com | Oscar Jordan
How far do you and Dave Grusin go back? He goes back to the very beginning for me. I’ve known Dave since I was 18, but I knew about him before that because he was the most popular and respected TV and film scorer in Los Angeles when I was in my late teens and early 20s. I watched shows like “I Spy” and “The Name of the Game,” and loved Howard Roberts’ playing. He was a great jazz guitarist and studio musician with a phenomenal sound.
-
2 months ago | 
vintageguitar.com | Oscar Jordan
Heavy Soul has a wonderful synergy between your vocals, writing, and guitar playing. I love writing songs. It’s very therapeutic for me and I love playing guitar. My job at the end of the day is to play obnoxiously loud guitar and scream into a microphone about things that bother me. I’m very lucky. It’s free therapy (laughs). It’s like scream therapy. Oh, 100 percent! I call it the “Adele effect.” People think I break up with someone every time I write an album.
-
2 months ago | 
vintageguitar.com | Oscar Jordan
With help from drummer/friend Nick D’Virgilio stepping in for Torpey (who died in 2018 after dealing with Parkinson’s for four years), they’re closing the book on a treamendous ride with their final studio album, Ten, a tour to support it, and in September they’ll offer fans The Big Finish Live album and an accompanying concert film. Mr. Gilbert agreed to tell all. When Mr. Big has reunited every so often, is it like riding a bike? Overall, things fall into place.
-
2 months 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.
