Joanne Shaw Taylor - Songs From The Road - True Grit and Red Hot Guitars

Joanne Taylor Shaw rips it up from one end to the other on Songs From The Road, her new CD/DVD offering, and it's tough to tell which she does better - sing, play, or write excellent blues rockers.

Recorded a few months back at The Borderline in London, England, this set reveals Shaw Taylor to possess more true grit than a bucketful of your run of the mill boy bluesers - her voice belies her soft look, suggesting a much rougher road than pictures would suggest, and her guitar tone is on the verge of psychotic reaction breakup. That she chooses a Les Paul and a Marshall as her main weapons speaks volumes - she is connected to the past, but not at all committed to sticking with the script.

I love her guitar solos for the simple reason that she sounds as if she's playing what she feels more than relying on the usual SRV apings - she's got a lot of rock 'n' roll under her fingers, and as anyone who knows me knows, I like my blues rock with a good dose more rock than blues. Her playing on Tied & Bound is incendiary - from the dirty riffing to an extended solo that touches much familiar territory for an experienced listener, but she's hitting it all with her own take. You won't here me saying anything about her being a hot female guitarist - she is simply a hot guitarist who happens to be female. If I have a criticism, it would be that I'd love to hear her with a band behind her that sound as on fire as their leader - mind you, they are perfectly competent, but her star would rise considerably if she had a gang behind her who would chase her a bit, and not just accompany competently.

Songwriting is most generally a weak point with blues rockers, but Taylor Shaw is miles ahead of the pack again - I hear a lot of the American South in her songs, from Muscle Shoals to the righteous Reverend Al Green, with a smidgen of The Brothers Allman on the side. Beautifully Broken is a song that most excellently makes my case. It smolders with soul and grit, and her solo is another howler.

Watch 'Em Burn is a great example of a song that rubs shoulders with the blues rock basics, but some interesting movement leads into the choruses, and keeps things out of the land of cliche - again her soloing is smoking hot and she manages to keep it quite interesting before backing off for the final verse which kicks nicely into the refrain. Then we get our first extended solo, and it's off to the races. Her style lives somewhere between Bonamassa's smooth as silk shredding and Gary Clark Jr's more savage axe slinging, and honestly I prefer hers. No disrespect to either gentleman, this is just more up my alley. It's feral, but there are some serious chops happening.

Diamonds In The Dirt is the title track from her 2010 studio set, and it's a sophisticated piece of soulful pop that brings to mind Boz Scaggs at his best. Her slinky rhythm guitars scratch nicely under her smokey vocals, and then her solo makes me remember why I miss Gary Moore so much. Good, good stuff.

Covering Hendrix is a ballsy manuever, and while Shaw Taylor is on the mark, she's held back by the band - again, they're a fine band, but they don't sound like a hellhound is upon their ass, and they leave their leader a bit vulnerable. They just don't sound like they ever get in her face, and that keeps damned good from being great. Manic Depression is an out of control train trip, and it needs to be ran and ran hard. The breakdown is brilliant, but it needs more fire from the band.

Jealousy is another great cover, and Shaw Taylor's take is downright funereal, in the best sense. Her vocal is one of the best on the record, as any take on Frankie Miller must be. She takes ownership - I wonder how many folks think this is one of hers? I can think of little better to say for her songwriting. If you're not hip to Frankie Miller, you'll thank me for the tip. I love her clean tone solo - a clean Les Paul is often very close to a Tele in pure six string tone, and this is a great example. Then she kicks in the sting of the fuzz, and burns the house down.

Shaw Taylor is a fine, fine, fine rhtyhmatist - not a word, but I like the sound of it. Her scratchy self accompaniment on Kiss The Ground Goodbye is extremely tasty and deft. Drummer Tony DiCello is in fine form on this, displaying exceptionally deft cymbal work as Joanne takes another flight of six string fancy.

Just Another Word is another rhythm workout that percolates nicely. I love that the guitar tones are not carbon copies, but rather they seem to be what Shaw Taylor wants to hear, and that's most generally the mark of someone on the proper path. Her clean rhythm strumming on the outré verse is exemplary.

Big rock moves inform Jump That Train with large style riffing setting up the verses that feature more clean skronk from the Les Paul. The solo is a bit Texas styled this time, and she takes it from six to sixty in no time at all, getting hotter by the measure. Her right hand is a work of wonder.

She sends the crowd home with the appropriately titled Going Home - a swampy number that heats up nicely, leading to another sizzling solo that makes the point once again.

Songs From The Road is a great sample of Joanne Shaw Taylor's skills - she's got it all, the songs, a great voice, and a set of hands and imagination that any guitarist would appreciate. She has an excellent band, but she's a great band away from being a big star. At any rate, I'd consider this a must own for anyone who digs their blues rock with a healthy dose of rock and soul.

Jake Bugg - Shangri La - Big Hope For The Future, or The Missing Masterpiece of A Lost Generation?

Jake Bugg got delivered to my doorstep several months ago, and now I'm in the position of saying, 'Damn, Rick Rubin, brilliant job.'

Hear it here:
http://www.npr.org/2013/11/14/244834372/first-listen-jake-bugg-shangri-la#playlist

Shangri La is the young Brit's second effort, and it's going to be the one. Rubin picked the right few players, and got it down - not losing the kid's great writing, but framing it with great sonics. Matt Sweeney, Chad Smith, Pete Thomas, Jason Lader, these are all hallmark names, and they deliver the goods as sidemen - sure, this sounds a little ProTools-ish and sometimes a bit derivative, but in a day and age when this is just how projects are done, this is a wall-to-wall winner.

This album sounds best when taken out of context - if I said this was made in a garage in Brighton in 1966, it would be proclaimed as the missing masterpiece of a generation. In fact, I think the sequencing could have been made better by kicking things of with What Doesn't Kill You, the delicious slice of power punk that deflects the obvious Dylan comparisons that may result from opening with a There's A Beast and We All Feed It, as brilliant as the song is.

Even when he's chasing Zimmerman's ghosts, Bugg makes the grade - this record sounds as we always wanted Bob's records to sound like, less tinny, more meaty, and clear as a ringing bell.

Slumville Surprise rocks its way down the highway with a brisk beat and kick ass guitars that step back to allow the kid to deliver the big, sumptuous, and sweet chorus. Yeah, there was never a guitar solo quite this good on a Dylan record - I hope Bugg can find a live band strong enough to stand next to this record.

What Doesn't Kill You is a pre-apocolyptic rocker that drags you down the street at full speed, but still manages to sweeten up for the hook. When I first heard Bugg I thought, yeah, the songs and lyrics were there, but I wasn't sure about the arrangements - in the interim, he's stepped up, and now he has the enviable problem of having the songs sound so great that you might not notice the brilliance of the writing. This hook will have you humming for days.

It's hard to separate the tones on this record from that of its forefathers, but that's a niggling point. Me and You is another tune that transcends comparisons by outrunning its past. The choruses always take a turn that brings a grin, and aside from an overly loud cymbal, I can find no fault.

The crack band breaks out every twist and turn they know, and I even think I'm even hearing a little Guided By Voices/Indie influence woven into Messed Up Kids. Mostly, this is just well played, well written, and yes, well produced pop. Buggs may be getting swallowed up by the machinery, but damn, it sounds great, cut to cut. Rick Rubin may have blown it to my ears with a near wilted Black Sabbath, but all is forgiven, as he's made a record that deserves to make year end Top Ten lists here.

A Song About Love shows Bugg's sensitive side, and he consistently sounds like the way brilliant almost twenty somethings used to sound. All Your Reasons is a mid-tempo stomper that suggests a familiarity with the folk rockers of the early seventies who combined their angst with beauty to create a history. Maybe I'll throw out CSN&Y on a good day as a reference point. David Crosby would surely love this tune. I'm guessing he'd dig the whole record.

It's back to the big rock with Kingpin, and it's a tale of trying to stay ahead of your detractors and the trouble they may bring. Big rock is happening here with a huge beat and bass getting ran down the road by gritty guitars that sound vaguely familiar - if you're really sharp, you can hear the cops in the arrangements, but it's more fun than annoying.

Kitchen Table gets a bit more sophisticated with its rhythms and rhymes. This is also more along the paths of Laurel Canyon circa 1970, and I'm more than happy to make the trip. My one hope would be that people get past the hype and the hoopla, and just listen to this record with open ears and an open heart. Jake Bugg is getting the full treatment, but he's the best pure writer I've heard come down the trail in many, many a moon.

Acoustic guitars feature largely across the record, and Pine Trees may be the least adorned number, and Bugg shines when left to his own devices - pen, guitar, and voice.

Then it's back to the band and Rubin's brilliance as Simple Pleasures washes ashore with gorgeous guitars that announce the arrival of the bard. I congratulate Bugg for letting the pros do what they do as they weave magic around his tunes. This is a slow build that eventually explodes into something more musical and powerful than anything I ever heard coming from the age of grunge. People who say rock is dead are simply whiners who aren't listening. If I had given you this album in any decade, you'd sing its praises.

Storm Passes Away evokes folk music via The Traveling Wilburys, and I mean that with all due respect - the writing is top shelf, and the arrangement is both sophisticated and extremely tasty. Bugg sounds like he could have recorded this in 1964, 1974, or today - he transcends trends and manages to never sound quaint, even when borrowing styles and cliches with which to wrap around his tone poems.

Jake Bugg isn't the new Dylan, hell, Dylan would have just as soon not been Dylan, so I won't saddle him with crap like that - if you need a lowest common denominator, sure, but this is a kid who has ingested every piece of music he's ever heard and is smart enough to surround himself with talent that doesn't overshadow or intimidate. In doing so, he's made one of the coolest records I've heard all year.

Congrats to Rick Rubin - I seem to either love or hate your work, but that's more about something other than just quality. You're in a complicated business and anyone who ever batted .500 ended up in the Hall of Fame, so there you go.

The Lunatic - Episode 7: The Baker - The Lunatic As Everyman

I've been watching The Lunatic build his case since the series of web episodes began on YouTube back in June - it was originally brought to my attention by a friend who noticed that this clip with no attribution had been viewed almost a half million times in about a week. I watched with interest as each episode revealed a bit more, and the view count grew to over 7 million views before being unceremoniously dumped by YouTube without explanation.

I've just previewed Episode 7 - The Baker, and if you're one of the seven million who have already taken the trip, you'll be pleased to know that you still can't predict exactly where this is all leading, but you'll also be pleased to hear that The Lunatic is most likely you. He's most likely a lot like most of us. If you haven't joined the party, come on in, the water's fine.

Episode 7 takes a decidedly more lighthearted approach with it's '50s sit-com music, black & white commercial trailers, and it's Gumb-like antagonist. The Baker is as unlovable as a politician, and we can all relate to the fact that we want to see him get what he's got coming. Maybe that's a big part of the appeal of The Lunatic at this point. We saw the early episodes, in which one was never certain if The Lunatic was hero, or villain, and we developed a healthy fear of his malevolence and demeanor. Then in Episode 5 - A 21st Century Man, we finally were able to collectively exhale when we found his particular bend was towards that of vigilante, and not villain.

Speaking for myself, I've been down those roads too many times, and while I know that the wages of vengeance are meager, it is an honest day's work. And I know that while society (read as: governments) don't approve of vigilantism, audiences do, and I can easily imagine throngs of movie goers raising their fists to the sky every time a bad guy dies at the hands of The Lunatic. There's darkness in us all, and as we are drawn closer to a darker shade of darkness, we often lose the light of reason, and the visceral becomes pleasing. Even if we never actually cross the line, we enjoying watching someone cross the line for us.

Of course, there is still one more web episode to go before The Lunatic leaves the monitor and heads for the big screen. I have more questions than answers at this point, but of course I realize that our hero can't just go about his business of righting the world's wrongs as he attempts to come to peace with a disturbed past, it simply never works out that way - the powers that rule this world know we need bad guys worse than themselves to deflect the light from their own misdeeds, and surely there will be forces unleashed against The Lunatic. I can only imagine where it'll go from there, and I anxiously await to see where the film's makers take this.

Give The Lunatic a look, and if you're of the mind, throw the filmmakers a few bucks toward their Indiegogo campaign so I can continue my living vicariously through The Lunatic. I'd hate to have to come visit you late one night after the lights are out.

Like I said, maybe we're all The Lunatic. See you at the movies.

Indiegogo link: http://igg.me/506080/x/4518738

Terry McInturff - Not Just Building Guitars, But Building A Sound - The Rock Guitar Daily Interview

He builds 'em, he plays 'em!

I consider myself to be tremendously lucky to have the opportunity to talk with some of the world's most talented artists on a pretty regular basis. It's like going to school every time, in that I learn best when I ask the right questions and then listen, so I try to be prepared and to do my homework. This strategy has never served me better than in my conversation with guitar builder Terry McInturff. Terry has been a builder for over 35 years, and he's as much an artisan as he is an engineer - like his guitars, his design and build philosophies are both logical and beautiful, and his masterful sense of what goes where, when, and why was fantastically illuminating.

He's not just a builder, he's also a very active player, gigging regularly in the region around his home in Pittsboro, North Carolina. He builds guitars he would like to play, in hopes that others will like them as well, a philosophy I've heard from more than one boutique instrument builder, and a logical manner in which to follow one's muse. He's also as modest and absent of affectation as one can be:

Terry McInturff: "Hey Tony, thanks for your interest in talking to me - what would you like to talk about today?"

I had earlier read one of McInturff's posts on his Facebook page, recounting an experience he'd recently had in a night club after a gig one evening that had lead to a discussion of where the guitar and the music business connected in this day and age, so I asked if he'd mind starting off by recounting that tale, and to see where it would lead our discussion:

Terry McInturff: "Sure! I had just done a show at a club down the street and this place called The Station is conveniently located on my way home, and sometimes I run into friends there, so I decided to stop by. Well, I didn't see any friends, but I saw a young man in his early twenties, speaking very knowledgeably about local bands. 

"We have a thriving music scene here, thank God, in the Chapel Hill/Durham area. 

"I weaseled my way into the conversation just to ask about who were some of the really interesting guitarists, young guys. He read what was the best he could come up with, but it wasn't much - I was a little taken aback, but by the same token, I'm thinking that maybe the guitar hero thing that I grew up with, it doesn't really have the same place for people any more. 

"When I was a kid, I had no real interest in sports at all, my sports heroes were Hendrix, Jimmy Page, and Jeff Beck! That was the kind of macho that turned me on. With all due respect, I'd rather watch Jeff Beck than somebody throw a ball through a hole. That's just me talking - the band stuff seemed like a pretty good job, they got a lot of girls! 

"It's different around here, industry wide too, and I read this in your article you sent me - that we're kind of hungry for the next Eddie Van Halen, or somebody like that, but I just don't know if that's going to happen. I don't know if there's an audience for it. Maybe there is, but certainly not on the level as when I was in high school - it's very different now."

I agreed, stating that while I had heard more great rock in the last couple of years than in the previous ten, it was more band and song oriented and less guitar-centric. While it may be of a different nature, rock ain't near dead:

Terry McInturff: "Bingo, man! I can relate to so many things you just said - when I mentioned that the guitar heroes are what got me going in my career, I guess I could blame them for it! But for my tastes, I had very little interest in virtuosic rock guitar guys who can play guitar like nobodies business - I think it's wonderful, but I'm much more band and song oriented, typically. 

"You mentioned that there's another new wave of great rock bands coming out of England, and I'm glad to hear that! My band, The Gillettes, was one of the first punk bands out of North Carolina back in 1977-78 - that was part of the formative years for the whole rock 'n' roll community around here, and it was really exciting. 

"I'm also old enough to have seen trends come and go. I remember back in the new wave days, the early to mid '80s, when there was a lot of keyboard stuff. The guitar industry really took a nosedive! Electric guitars were not selling well, particularly Les Pauls - Gibson sales were in the dumpster. Fender was still doing pretty well - it wasn't until Guns N' Roses came out, and Slash had his Les Paul. We saw within a year that Les Pauls were starting to move again. It's kind of interesting how that works."

Photo by Karen Stack

I wondered how these trends coming and going effected him as a builder:

Terry McInturff: "Well, they haven't really effected me at all because I've always just built guitars that I wanted to play, things that I needed, and then hoped like hell that somebody wants the same thing! 

"I build what I like, and I'm not a very trend oriented guy in terms of the guitar market, probably not to my best interests! I know guys and companies that have come and gone, certain companies have always been very adept at addressing trends, and the trend would last for three years, and then 'Whoops,' that product is now kind of obsolete, and now we need to design a new series of guitars! 

"So, it really hasn't effected me that much. My client base, via my distributors and dealers, is getting older - that's the one thing that has changed."

Being a builder who does a tremendous amount of custom orders, I asked McInturff how much give and take goes on between the customer and builder when a potential client calls:

Terry McInturff: "Thanks for that question - that's an excellent one! 

"If I custom build a guitar for an individual, there is a lot of communication going on. Starting with the first interview, whereupon I have to do my best to determine exactly what this person wants. 

"I view this as building a sound. 

"I really have to talk to this person about, 'What sound are we building?' And then in addition, there's all the cosmetic stuff, but the sound we're building is the first thing I start with. Sometimes, it's not the type of sound that I build! I do have a lot of variations in what I do, but they'll cut me mix CDs and stuff for me, and then send them to me to listen to. 

"I just get as good an idea as I can of the sound of their musical imagination - I want my imagination to be as close to their's as possible. Sometimes they are not sure of what they want. They know they want one of my guitars, bless their hearts, but maybe they're not quite sure of which direction they want to go, so I'm practiced at finding out what other sounds they may already own, and we don't necessarily want to replicate those. 

"I kind of give them homework sometimes. There's a way of listening to music, and I'll describe the way - let's see if that helps you determine what you would like me to make! 

"Other times, my dealers will order guitars for stock in their stores, and I have a different set of parameters for those. 

"But in each case, it really is building a sound. Unfortunately, that doesn't always mean picking the top board off of the stack, and then pulling another board off of another stack, and just put a basic recipe of species together. When you do that, you never know what it will sound like through the amplifier when you're done. 

"I could go on and on, but all mahogany - even a different part of the same board can sound pretty damned different!"

I knew from my research that McInturff's attention to tone and resonance are second to none, so I asked him how they impact his overall build philosophy:

Terry McInturff: "My marching order as a builder is to determine the sound I am trying to build, and then to select the materials that will result in the proper sound at the end of the line, plugged into the amplifier. 

"How I go about doing that may be a little different than other people, no criticism intended - what works for me works for me. 

"But, even if I am building a solid body guitar, I think of it as if I am building an acoustic instrument in terms of tone. One of the things that I've learned, and this is controversial - I know I've talked and been on the forums discussing this part, and there are a lot of people who disagree with me, and that's fine, but the acoustic nature of the electric guitar, in other words, unplugged, unamplified, the nature of it sets true boundaries on what will be available to amplify. No matter what pickups you put on it. 

"To explain that a little further, let's think of the acoustic sound of the guitar - let's say you grab a Telecaster off the rack and sit down, maybe even go into a bathroom where you can really hear the unplugged sound a little louder, a small reflective room. Just strum it. Play away, get to know it a little bit. 

"We can think of that sound as being a ball park - there's a fence around the perimeter of the park, and all the frequencies and overtone series are contained within that ball park. 

"Now - if we take pickups, different pickups, we know different pickups can create some pretty dramatic changes in our sound, but the difference between the pickups is what part of the ball park you're shining a light on, bringing forward on the soundstage. The frequencies that exist near the fence are either weakly present, especially the frequencies that are outside the fence and not present cannot be amplified by any pickups. Pickups can only sense what is within the fence. 

"The acoustic nature of the Telecaster, even if you play with a lot of high gain, the resonant qualities of that chassis changes the way those strings vibrate, even if you've got a Triple Rectifier just dimed. 

"It's still in play, so pickups are really important, but they can only serve what is given. 

"And that's how I kind of go about it. That's my basic philosophy. Building an acoustic guitar. So, if I'm building a custom order for someone, and through our meetings on the phone, what I'm really trying to determine is the acoustic nature of what I am trying to build. 

"Once I determine to the best of my ability what acoustic sound I'm trying to build, then I can proceed to sort through the wood and find pieces of wood that when they are used together will work together to eventually create this acoustic nature. Then we can start looking at choosing the microphones, i.e., the pickups. 

"Let's say that someone orders a Les Paul style guitar like one of my Carolina Customs. Two humbuckers, nothing surprising there, but what is surprising is how many different shades of sound can be built off that same chassis by different selections of wood! 

"I'm looking at a stack of Honduras mahogany right now - there's dozens of different tones right there, and if I put the wrong top on it and we have phase cancellations in the wrong places - what got me thinking about this was a question of yours, it kind of goes back to the mid '80s when C.F. Martin brought out their HD-28 guitar, which is a reissue of the pre-war WWII herringbone, the original D-28 dreadnaught guitar. I was a factory authorized Martin repair man, in fact, I was the only one in the city of Philadelphia, which was awesome fun! 

"Anyway, when Martin brought out the HD-28s, the first couple of years, they didn't get it quite right - in other words, they were building a really high quality guitar, but they weren't shaving the braces, in a fashion as to make them voiced more along the lines of what the originals would have sounded like, so I was hired numerous times to start shaving the x-braces and some of the tone bars, as well, the braces under the soundboard are what I'm talking about. 

"Through the sound-hole with a miniature plane shaving wood and tapping on the guitar - basically shifting the voice of it to the customer's desire. 

"And that's when I started thinking about it, probably 1985. The acoustic nature of the guitar, and setting the parameters explains why we can go to a Guitar Center and play fifteen seemingly identical Les Paul Standards, but out of those fifteen we could easily have ten noticeable differences. Even though they have the same pickups, the same everything, but obviously the pieces of wood aren't identical, even though they are of the same species. 

"I should have warned you, I can talk too much about this stuff!"

In fact, I was in guitar nerd heaven - I was soaking this in and enjoying the steeping. Terry had mentioned his stack of mahogany, so I had to ask about his wood supplies:

Terry McInturff: "This stack of Honduras mahogany I'm looking at I've owned for I guess twelve years, or so. I'm building some guitars right now that include some pieces of wood that I've only had for like six weeks, so it begs the question - what about this curing of wood I've heard about, air drying, and stuff like that? 

"Well, there is a lot to be said for using tone woods that have been dried to the proper moisture content, stored properly, and allowed to sit around for ages! What happens chemically in the cell walls that comprise the wood, which of course, is a series of dead cells. 

"However, it's common to see people state, 'Yeah, I'm using this wood which is a hundred years old.' Well, the funny thing is that unfortunately that piece of wood could easily be too wet to use - so, we have a very important specification that the piece of wood has to meet, and that is moisture content. 

"My twelve year old mahogany, because it's been stored properly, and because genuine mahogany is the most stable wood on the planet earth. It literally is, it is reluctant to absorb moisture from the surrounding atmosphere, and so it has stayed at like 6-8% moisture content for twelve years. Other woods, such as maple absorb moisture from the atmosphere a lot faster, because it's harder than mahogany - because density and stability are not bedfellows. 

"So, if I get a piece of maple in, and I electronically test it with my moisture meter to ascertain what the moisture content is, and I let it live with me in the shop for six weeks, and I monitor it for movement or warpage, cracks developing, if it's the proper moisture content and it's been proven to be a stable piece of wood then I will go ahead and build with it with great results."

Moving on to shaping the woods, I asked if there was any temptation to give up the panographic carvers, or pin routers, and go to newer CNC machinery:

Terry McInturff: "CNC machines are remarkably useful, and in fact, the one task that I do job out to a CNC shop is my fret slots. 

"Because a CNC machine can cut fret slots more accurately than any of the analog methods. That usually means, there's this thing called a gang saw, for instance, that has one saw for each of the say, twenty-two frets. You slide the fretboard underneath it, and it cuts the fret slots, but the saw blades can deflect under the load, and the CNC machine is damned accurate, so I just shop that job out, just so it is dime-on. 

"As far as getting a CNC machine to take over some of the duties here, I have no objections to using a CNC machine, it's just a tool. It just depends upon where in the build process it's used. Certainly, there is no mojo transferred to the wood when you drill holes in it, or route a pickup cavity, or anything like that. But really, I have no need for one - the tools that I use now, I can get plus or minus .005 of an inch on all the cuts. The quality of the cut is the same as with a CNC machine. 

"The thing about a CNC machine is that you can program it, and have it running on the other side of the room. You'll have to check on it pretty often, but you can do other things, that's pretty cool! 

"Unfortunately, my proprietary neck design, I've thought and thought and thought about this, and it's not possible to make it on a CNC. Because the series of steps in making a TCM neck are not compatible with CNC clamping techniques. Maybe it could be made to happen....well, I'm not sure it could. I think I'd have  give up some quality there. 

"That right there is a big strike against having a CNC in the shop, if I can't use it on most of the neck."

Speaking of necks, I asked Terry about his use of the 25.125" scale length, which is unique to McIntruff Guitars:

Terry McInturff: "Well, I do offer two scale lengths - the one you're asking about, I think I might be the only guy using it all these years. 

"It all goes back to the first electric guitar I built starting in August of 1977, and what I wanted to do was build what has become known as a hybrid guitar - something that can surf both Fender and Gibson territory. 

"Back then, Tony, it was heresy to try that because the Strat was a Strat, and a Les Paul was a Les Paul - they were two different camps, and those two guitars will never shake hands. 

"Well, of course, now.... 

"My buddy Paul Reed Smith was thinking along the same lines as me. We both wanted to do something that would incorporate so many attributes of both. So what I did was a little simple mathematics to find what the midway point between a Strat's scale length and a Les Paul scale length, and the answer is 25.125"! 

"What it's turned out to be is a scale length that either a Fender, or Gibson player can play, and shrug and say, 'Yeah, that feels great.' It has a little bit more twang and articulation than the shorter scale of the Gibson, but a little warmer and flutier sound than the longer scale Fender, so it's right in between. Paul Smith uses the 25 inch scale, which was first used by Dobro, and Dan Electro, he kind of had the same idea going on there. 

"The other scale length I use is 25 5/8", which is one of several scale lengths that Gibson has always called 25 3/4", and the 25 5/8" is what you would have seen on the current version of the scale length they were using from about 1950 through the early sixties. Then they started messing around with it a little bit. 

"So, it has that kind of vintage vibe about it, it really sounds great. I love the string tension on that scale, as well. Those are the two I use, that I work with right now."

Moving away from the chassis and necks, we looked towards the methods in which they are finished - McInturff Guitars are renowned for their beauty and their tones, so I asked about Terry's philosophies and methods of finishing:

Terry McInturff: "As you know, the topic of guitar finishes on tone has generated so much discussion on the internet, and once in a while I try to jump in and get my two cents in about what I've learned. 

"We read a lot about the differences in sound between nitrocellulose lacquer, polyester, and the various types of urethanes, as well, and there is a lot of misinformation out there, to be honest with you. 

"The finish on a guitar will effect the acoustic tonality of the chassis, and thus, it does have an effect on the amplified sound. It's not as radical as some of the other attributes of the guitar - I mean, it doesn't change the acoustic tone as much as using the wrong piece of mahogany for the neck. That wrong piece of mahogany will have a much greater effect, but it is still there, the finish effect. 

"If we start going into hollow body guitars, and then most notably, acoustic guitars, we can go back to the D-28 we were talking about earlier, and the wrong finish on that is going to have a very noticeable effect. 

"What we are concerned with when we're discussing the tonal role of the finish, if it's a hard finish then it's living on top of the wood, and it's not invaded, or soaked into the wood to an appreciable degree - the nitrocellulose lacquer, polyester, and the various urethanes will sound identical if the film thickness is the same between those three. So, it's the film thickness that has the effect on the acoustic nature of the chassis - not the resin that the film is comprised of. Does that make sense, do you get what I'm getting at? 

"If a polyester finish is .005 of an inch thick then it will sound identical to a nitro lacquer that is the same thickness. However - it is much more difficult to get a polyester finish that thin. That's why we rarely see it, and why there is so much confusion, because polyester has a much higher solids content. You spray one coat of poly on a guitar, and it could be up to 4X thicker per coat than lacquer, so a lot of polyester finish guitars have a thicker finish, which has a dampening effect to it. 

"Every finish system is a set of compromises. The builder has to decide - there's no such thing as a perfect finish, so it's choosing the best set of compromises for a particular person's needs. 

"In my case, I still use old fashion nitrocellulose lacquer, because I like its set of compromises, and advantages. Now, there are lots of disadvantages to nitro, as well! Just like there are with the other finishes. 

"I know this very well - I hesitate to even say how many thousands of guitars. I don't even want to think about it the numbers, it makes me want to go lie down! 

"But you know, nitro as we know from perusing the forums, amongst a lot of people, nitrocellulose lacquer has this real vintage cache to it. Which, by the way, is not one of the reasons I stick with it. 

"But, it does have a cache, and I go along with a lot of that, but I'm ready to draw the line and say, 'Let's not love the stuff too much - here's a list of the downsides of nitro, and there are significant disadvantages to using nitro. 

"One of the disadvantages of the vintage cache, what most builders, especially the younger ones don't realize is that the lacquer we get now is not - it does not have the same working properties compared to what was available to Gibson and Martin in 1958. To closely mimic that stuff, and I have had a chance to work with and study a gallon of that stuff. It was made by a company called Nicholas, and Gibson used that company's products during a key period in their development, and a fellow actually had an unopened gallon of that stuff, still chemically active - I was able to analyze it. 

"I take three different manufacturers products and I put them together in a certain ratio, and I get very close to the Nicholas formula. 

"But, there's no one lacquer out of a can that's going to, you couldn't look somebody in the eye and say that the working properties of the lacquer I use is the same as that on a 1958 Les Paul - because it's not there, from any manufacturer. 

"It's a little complicated, so modern nitro finishes, unless you do custom mixing like I do, and to be honest I don't know anybody else that does, except for a friend of mine who I let in on the secret. The modern nitro finishes are a lot softer than the old ones, even when they are freshly sprayed."

One step further along, and it's time to amplify what Terry has built thus far - we move on to pickups and their selection in the process:

Terry McInturff: "As I've explained, I see the pickups as microphones, but not in the literal sense. 

"I use them to interpret the acoustic sound of the chassis, and the way in which that is going to create the proper amplified effect. 

"Remember we were talking about shining the light onto the different parts of the ball park of overtones? That is how I go about choosing the pickups. And there's lots of other things to consider, too, like the output of the pickup. 

"Sometimes someone will call me and give me a whole list of things, and what pickups they want, and I just have to kind of ease the brakes on. 

"Nice and slowly, and professionally - and with courtesy, and say, 'We're getting a little ahead of ourselves, here. If we are going to build a sound then the sound is going to be built into the chassis, and then we're going to choose the microphones that will hold hands with the chassis to make it come out of the Marshall sounding the way you hear it in your head.' 

"Peter Florance's Voodoo Pickups work very well for me, particularly when I am building a guitar for a dealer for stock - they are reliably the same from set to set, which I can't say about a lot of boutique winders. 

"They have....how do I describe this? His PAF clones, the ones he builds for me, they'll sound good and give a few different shades of tones coming out of the chassis. They're kind of more omni-directional, if we're still talking mics, here. Some pickups are very uni-directional, if you follow me. They've got a real strong stamp, they want to build in a lot of personality, but if you put them in the wrong chassis, then it's not an organic sounding result. It can sound kind of hyped. 

"The pickup industry, the whole boutique pickup replacement industry, going way back to Larry DiMarzio - was born for two reasons. For one, there were no master volumes on amps, so people wanted to push the front end of their Marshall harder, therefore, the famous DiMarzio Super Distortion was born. 

"Also, it was a bit in reaction to poor quality - with all due respect, American guitars, for a lot of reasons, the '70s were not good for American guitars. The quality across the board was not that great. 

"There was a tremendous demand for products, and they started cutting costs. People scratch their heads and wonder why Gibson used sandwich laminated bodies for Les Pauls, why didn't they stick to what they were doing originally with a one piece back? The reason is costing! The price of the lumber was less. Now, I've played some sandwich body Les Pauls that still had some magic - I had a '69 Les Paul Custom that was actually quite a good guitar, but it wasn't fabulous. 

"So, people are complaining about the sound of these guitars, and so the pickup makers want you to think, 'You can change a set of pickups in your guitar, and you'll get the guitar you're looking for - sometimes that's true, sometimes it isn't. 

"You know, Tony, I'm sure you know people who have put set after set of replacement pickups in their guitar, trying to get that guitar to sound correct, and sometimes they're just never successful. The reason they weren't successful in their quest was one of two basic reasons - either the chassis did not have the goods built into it, and no pickup can fix that, or the person really didn't have a strong idea of what they were looking for in their musical imagination. 

"Another phenomenon that I'll just throw out there for you, is the risky business of using recordings as tonal references. 

"That's a whole big ball of wax, there, but I'll try to keep it brief. The fact of the matter is that the recording chain - the sound comes out of the guy's amp, it goes through the whole recording chain, and the mixing and mastering process, and is eventually played through a person's stereo at home, and we have no idea what that sounds like. 

"Basically, Duane Allman's Les Paul did not sound like the Live At The Fillmore album. If you were sitting in the front row, it did not sound like the record! Recordings can be somewhat useful, but I've seen pickup manufacturers market pickups that are supposed to get, say, Eric Clapton's sound on Crossroads, or Wheels of Fire. Well, that's just not true. 

"You know as well as I do that when that happy moment comes when you say, 'OK, this mix is working, and we're just going to make it worse if we change anything. Let's print this mix.' 

"Now, if you solo any one of the guitar tracks, it's probably not going to be a sound you'd want standing alone. Quite often, it's been carved up to serve the mix. If we listen, Led Zeppelin II was recorded with very archaic technology compared to today's standards. But even then, the layered guitars did not sound like that coming out of the amplifier. So that's a tricky bit of business, too! 

"I think it's trickiest for people who are searching for a tone, but don't play in a band. If they are playing in their bedroom, and they're trying to match the sound of a record, that's probably very frustrating. If you're in a band setting you can judge your rig by how well it sits in the soundstage with the rest of the band. If you're going about it properly, i.e., serving the song and making the singer sound as fantastic as possible, then there's a lot more amps for a given person that would work than they may think."

Having covered the basics of the guitar and its making, I asked Terry to discuss the genesis and development of his flagship guitar, the Carolina Custom - the guitar is a rethink of the classic Les Paul Standard concept, and it encapsulates McInturff's philosophies very well for the purpose of discussion:

Terry McInturff: "The Carolina Custom is a guitar I resisted for twelve years. 

"People would call me, and asked, 'Terry, I want you to build me a guitar with your accoutrements and such, but I want you to build me a Les Paul.' And I was saying no for years. I'd tell them to go to the Gibson Custom Shop, run the racks, and find themselves a really good Les Paul. Finally, I got tired of saying no. 

"So, I had a little heart to heart with myself over a couple of cold beers one night. It was like, 'Well, Ok, maybe we should do this, but Tony, it was the first guitar I ever made that was intentionally designed to sound like another company's product. I have never done that before - never once. 

"To build a guitar of my own design that was intended to sound like a vintage guitar from another company is something I had always avoided, because I thought it was something that had already been done. 

"So anyway, the Carolina turned into a really fun project! Once I had decided, 'OK, I'm not going to be prideful, people are wanting me to do this, so what can I bring to the party?' 

"The R&D for that guitar took many, many months of my spare time. But it was really fun, to go back to the fountain, so to speak. I was able to borrow three original '50s Les Paul Standards - one of which was excellent, and the other two were kind of, eh? OK versions, but I've played my fair share of 'Bursts and some of them are every bit as magical as we've been lead to believe. Others were obviously built in a hurry on a Friday afternoon, not at all fantastic. 

"I also have reams of notes on every stringed instrument that ever crossed my bench - measurements taken and notes about the sounds - my bench notebook is one of my most valued possessions, it's also part diary. If I go back to the '80s, I'll be talking about a dot neck '59, and then right below that I'll be talking about the chick I did the wild thing with the night before. So, I'm not sure how people would take all that crazy stuff, but I went back and I looked at all the specifications, and then proceeded to go to work. 

"The guitar is also heavily influenced by my Taurus Standard model which I'd been building for a number of years at that point. They share the same body shape. 

"So, as usual, what I'm going to do is build a guitar I want to play, and hope other people do, too. 

"That means that I need to have better upper fretboard access, and I wanted to have a larger footprint in the neck joint - in other words, a lot of glue joint surface area, because the part of the neck joint that resides prior to the neck pickup route is the most important part of the neck joint in terms of vibrational transference. So I made sure I had a lot there, and it turns out that it's a lot more than on a Les Paul. 

"I also wanted a neck you could take on tour with the truss rod cover on - a real stable neck, but I'd already been doing that for years, so there were no changes there. 

"The general voicing I prefer on a Les Paul is what I build into the Carolina Customs. That being defined as when we are playing on the neck pickup with a moderate amount of gain, let's say, Malcolm Young style - the opening chords of Back In Black. A real good crunchy thing, not overly saturated - fairly clean as these things go. I want to be able to play a G major barre chord at the third fret, and be able to hear the inside notes of the chord. I don't want to hear a big, woolly ball with a G major tonality. I want it to be more articulate and airy. 

"So - that says a lot about how I voice the acoustic nature of my chassis. I have a ball park of acceptability. They all have their own personalities, but there is that ball park of acceptability, and they're all going to have that openness in the neck pickup region, because at the end of the signal chain we can definitely fatten things up, definitely blur things, but if we give the amp a blurry tone, we can't open up the tone without it sounding tight, you know?

"So I build the version of a Les Paul that I like, and I hope other people like it, and I'm lucky to report that quite a few people seem to like it!"

If you've stuck around this far, I congratulate you, and I hope you've learned as much as I have about not just guitar building in general, but also just how passionate and masterful this particular luthier, Terry Mcinturff is about his craft. I thought I would wrap things up by speaking about a particularly interesting instrument - the renowned Barn Guitar that McInturff built for Brad Whitford of Aerosmith, using wood from a real barn, the barn that figures so heavily in the story of the largest selling band in American history:

Terry McInturff: "Well, as it turns out, my elderly parents live only fifteen minutes away from the Barn Night Club in New Hampshire, where, as you know, is where Steven and Joe first met as teenagers, and where later Aerosmith played some of their earliest shows. 

"It's hard to believe that this old barn was actually a den of evil, hahaha! It was a crazy time, and it was important to the band's history, so Brad, being one of my clients who is always interested in what I'm coming up with - I decided I'm going to go see this barn! 

"Well, they let me in when I got there, and the stage is still there, the dance floor, and the bar area - there was this bench seating, and it was wide white pine with tons of graffiti, dirt, and cigarette stains, cracks, and I thought, 'Well gosh, that looks pretty interesting.' 

"So, I managed to obtain some of that wood, and what I wanted to do was to keep all the dirt, graffiti, and stains on there, just as I found it. I milled the wood down from the back, protecting the show side with all that stuff on it. I milled it down really thin, approximately 3/16th of an inch thick, and then glued it on to a really resonant, rather bright piece of mahogany, and the reason I did that was because this pine had no desirable resonant characteristics at all. 

"In fact, it acts as a damper of vibration - so, what I ended up doing was using wood that may have been a bit too bright for other purposes, and had this damper on it for other purposes that is going to change the predominant resonant frequency of the body! I glued it on there, and that's basically the story. I did do a chemical cleaning of that old top, just so that lacquer would stick to it, and I sprayed on very little lacquer - a very dull satin, as little as I could. And there it is! 

"Tonally, it alludes to something like if you stuck a humbucker on a Les Paul Jr. It alludes to that sort of thing, but it has a lot more kerrang to it than a Les Paul Jr, even if you were to put a humbucker on it. There's a bit of a Telecaster thing living in there somewhere, as well. 

"The first day he had it, within the first hour, he had it onstage and was playing Toys In The Attic on it, which is always a thrill - that's one of the great thrills of my career, seeing people using my stuff, whether they are famous, or not! 

"So yeah, the concept of choosing materials to work together. I do that on all my guitars, like on the Carolina Customs - the top and back are always a matched set, so they are complimentary. I've been doing that for a long time."

Lita Ford - The Bitch Is Back...Live - Firing On All Cylinders

The Bitch Is Back...Live, Lita Ford's latest is hot as fire, and its collection of classic rockers and steely hot guitars takes no prisoners.

Click Here To Preview The Album!

It's too easy to remember Lita Ford as the tousled hair glam queen of MTV, duetting with Ozzy than to recall that she was one of the first and finest purveyors of Marshall Law, femme style. She never met a Marshall JCM800 or B.C. Rich guitar she didn't like, and she went straight from the hard rocking The Runaways to fronting her own power trio for her first solo record in 1983.

This brand new live set was recorded just months ago at the Canyon Club in Los Angeles, after touring the stadium circuit with Def Lappard and Poison earlier in the year -  she's partnered up with six string sidekick Mitch Perry (MSG, Asia), and it might just convince you that there's more to Ford than hairspray and high drama. I'll admit to being much more than pleasantly pleased by Ford and her crack band's firepower. Perry never shows up often enough, and it's great to hear him tearing it up with Ms. Ford.

Ford and Perry are joined by metal stalwart Bobby Rock on drums and bassist Marty O'Brien who has spent time with Tommy Lee, Static X, and Disturbed. They're a formidable hard rock machine, and their wall of noise is substantial. Perry and Lita split the lead duties and Mitch's smoother, and more technical forays are a great balance with Ford's more feral approach. They're split left and right, and it's a gas to hear them pitching it back and forth.

The six string mistress is in fine voice as well, and she comes off sounding like one damned tough woman. I'll save the details for Ford to tell in her upcoming autobiography (Spring of 2014), but it appears that her well documented past hasn't beat her down so much as built her up. She includes three tunes from her latest solo effort, Living Like A Runaway, and then delivers the best of her solo career to fill in the set, and it's to her credit that you can't really tell which tunes come from which decade. The band expertly brings it all up to date, and it comes across as a very well balanced greatest hits package.

Close My Eyes Forever is saved from being kitsch by Ford taking the song back from its earlier duet status, and you actually kind of hear that Ozzy weighed the thing down, in spite of the fact that his name on the label probably moved an extra million copies back in 1989, and helped the single climb to #8 in America. The solo section is a nice harmony number by Ford and Perry, and the audience is in their hands. I'm glad that the band chose to record a club gig, and not a stadium show, as the intimacy lends itself nicely in both the fans reactions, and capturing the solid tunes and wailing guitars.

Opening the set with the Elton John cover is brave and brilliant - the band rocks hard enough to keep it out of the cheese factory, and Ford makes it her own. The Bitch Is Back never sounded better.

Lita Ford never gotten her due - she was never on the covers of the guitar magazines, and was never truly championed by the press, who at the time preferred to keep their love in the men's locker room. Truth be told, she rocks as hard if not harder than most of the acts of the hair spray era, and this albums attests to that fact. I'm guessing she's begun a resurgence that will change all of that.

At any rate, her fans will love this new release, and she should certainly pick up some new adherents with this powerful live set. Next week I'll post my recent conversation with the hard rock veteran.

Robin Trower - State To State Live Across America 1974-1980 - A Great Look Back In Time

I have a soft spot in my heart for all things Robin Trower - he and his crack band were the first act I ever witnessed on a large stage back in the mid '70s, and this compilation of live songs taken from five previously unreleased shows takes me right back to that moment in a great way. While Chrysalis Records isn't the sort of company that puts a whole lot into their reissues, they are saved in this instance by good source material that requires little improvement.

The late James Dewar is out front on vocals and bass, and his performances are excellent across the set as his soulful pipes are honey thick and warm as a fire on a winter night. The Scotsman never got his due while he was alive, but his voice is on par with the best blues rock belters of the era, and his bass playing is imaginative, precise, and in the pocket, allowing Trower to weave his Stratocaster magic above and around it all.

The big change across the discs is that of the drummer, with Bill Lordan replacing Reg Isidore after the first set recorded in Philadephia. Isidore was a much smoother and sophisticated stickman with a much lighter touch, and Lordan is a more solid, in the pocket kind of pounder. Both are excellent and it will fall upon the listener to choose their preference, but it does serve to provide a great example of lineup changes and how they effect a band.

Then there's Robin Trower - a tremendously underrated guitarist for most of his career, mostly given to the fact that he was a player and not an overt rock star. There were no great controversies, makeup, or high heeled sneakers for the man, and while there was a shortage of drama for journalists of the day to write about, his playing and writing were never found wanting - passion and fire informs his musicianship, and there is little repetition in his writing, soloing, or riffing, which is an amazing feat for any six stringer in a power trio. His use of effects is heavy, but appropriate - he never goes too far and his proclivity for thick swirling tones most generally fits the songs like a glove. If anything, the lugubrious nature of some of the band's more sad and soulful material may have been a bit much for American audiences, but I can think of no band that did it better.

I love that when Trower unfolds the gorgeous intro to Daydream on both the Philadephia set and the Illinois version, you can hear the snare on the drummer's kits rattling in sympathetic vibration - these sets are raw and unvarnished, and I think that may be the best treatment and testament to this band. You want to hear them as nakedly as possible, and their stark nature is in fact, their beauty.

Funny enough, there are two songs that feature Rustee Allen on bass - the ex-Sly Stone bassist was an excellent musician, but in this context, it didn't really work and there's an audible disconnect when Dewar is not supported by his own bass. What is an amazingly well oiled machine on every other track sounds oddly disjointed, and more like a casual jam than a set by one of histories best trios. It may have been an honorable attempt, but it didn't play out, and while it's only two cuts, I wonder why they weren't scrapped. Chrysalis should have subbed in two other cuts, or just left these off. Interesting for historical purposes at best.

Still, this collection is a treat for any fan of Robin Trower, and a great look back in time. It serves as an excellent reminder that there is gold to be mined from the band's entire catalog, and not just the first few records. Whether you're a Trower completist, or just a curious seeker, this is an excellent set, and money well spent.

Leslie West - Still Climbing - West Gets Better And Better

Yeah - call it what you will, but this record review is more a loving testament to a guy who will read this and say, "You kiddin' me?" No, I'm not kidding, and let me tell you why....

Leslie West is a fellow I first ran into in maybe '72 or '73 - I suppose I'm not that different than my friend and old boss Michael Schenker - when I heard the solo on Theme From An Imaginary Western it changed my life. It set me off on the path of the single note solo that continues to this minute. I haven't spoken to Michael Schenker about Leslie's influence on us since, well, I guess last Thursday, and again we agreed that it was the Mountain man that set us on our respective paths.

Still Climbing is Leslie's latest, and he's gone far beyond just a great vibrato and playing the perfect lick to being a complete artist - he writes and he sings even maybe better than he ever just played, and I hope that's what you'll get from listening to this record.

Dyin' Since The Day I Was Born kicks things off, and it's a beautiful autobiographical number, and as I listen I'm bounced between a great riff, killer vocals, and fills that make me wish I had played them. When he hits those bends and those harmonic squalls, I'm in guitar heaven, and then as usual, the guy gives the tail solo unselfishly to a hot kid - Mark Tremonti delivers in spades, but that's the beauty - Leslie gives and he takes, and that's the true heart of rock 'n' roll.

The next track, Busted, Disgusted, Or Dead sees the big man putting on the slide and it melts like butter - no wonder Warren Haynes loves him so damned much. About now I realize the value of having Rev Jones playing bass, as the bottom end is carrying this set like the perfect foundation - it pulses, it palpitates, and it allows everything to ride across it like a king crossing the Nile. Johnny Winter joins in, and God bless everyone who made this coupling happen, as Leslie and Johnny's slide styles are very different, but they compliment one another perfectly.

A nice acoustic track eases in next, and along with Leslie's voice, this track, Fade Into You sounds like a man in love, and just the way we want a man in love to sound. The guy is singing better with every album, and you're left thinking that you hope you'd sing at least one song like this to some woman sometime in your life. When the guitar solo comes in, you are going to be amazed by yet another lift in spirit, devotion, and beauty.

Not Over You At All has a bit of a Neil Young vibe in the intro, but then Leslie kicks into a blues rock riff that reminds us that he was, indeed, one of the earliest proponents of the form on this side of the puddle. A sweet sax solo gives a bit of relapse from the onslaught of guitars, but soon enough it's back into six string bliss. Goddamn - this is one of Leslie's best - when you hear the melody of the solo married to the riff, you'll know why this man is loved by so many.

Another acoustic track brings in Tales of Woe, and I hear this as maybe a goodbye to Alvin Lee in a way - that's my presumption, but regardless, this is going to move your heart. Gorgeous - this one is ageless, and whether it's the vocal, the guitars, or the words, this one is will move you.

Leslie's joined by Dee Snider on Feeling Good, and it's another anthemic number that heralds back to the best of Clapton at his best, and both men are way above where they are normally scored by the casual rock listener. Snider made his dime with Twisted Sister, but the man is a singer, and I've a feeling he's still on the rise, and Leslie, well, Leslie is getting better by the goddamned minute.

Hatfield or McCoy - this is West doing what West does best. He's howling like the wolf, and playing like Muddy. This is blues rock children, don't go buying this or that, this is the real deal. Is he singing better, or playing better? I'll leave that for you to decide.

When A Man Loves A Woman? Jeesh, it takes a set of balls to cover this one, but Leslie approaches this fearlessly - he's even willing to sing alongside Jonny Lang, who is currently singing as well as anyone on the planet, and it results in this being a huge treat. His guitars are perfect, and when the guitars get to dancing, it is the dance of ages as they bounce back and forth before finally mating. This is musical nirvana.

Leslie knows where his bread is buttered, and he's finally broken out Long Red after it's been heard on over 5 million sales as a hip-hop sample. It was the first hip-hop rhythm and it's been now proven, and this version outruns the original from the first Mountain album by more than a few paces.

Don't Ever Let Me Go is the discs last original and it's riff rocker that reminds me what an influence Eddie had on everyone, even Leslie - still, West takes this down a path that you know is his, and it's great way to end the album proper - the man is singing better than ever, taking his place beside Gregg Allman and Paul Rodgers as the best that ever tackled the blues.

Rev Jones has been laying down the very foundation of this record since it began, and in tribute, Leslie allows him to give the ending sermon in the form of Somewhere, Over The Rainbow, and I think it fits because it pays proper homage to Leslie West, who rides alongside Eric Clapton and Jack Bruce as guys who took the form the finest.

So, there it is - I've put it as best I can about a guy who not only has been a musical influence on most everything I hear and play, but who I also consider a friend, and a mentor in many ways. My trek has not always been easy, but I always seek in many ways to one day be as tough and cool as Leslie West, the man and the musician.

Thanks to Leslie, Steve Karas, and Peter Noble.

The Lunatic - 7 Million Viewers Can't Be Wrong

http://www.indiegogo.com/projects/lunatic-the-movie

It all started with an actor getting warmed up before a take at a video shoot. Michael Jeremiah took out his phone and shot a 'selfie' video as he warmed up his voice with a slightly malevolent sounding version of the children's tune, If You're Happy and You Know It (Clap Your Hands) - next thing you know, the video is uploaded onto YouTube at his son's insistence and the next thing you know, it's got over 500,000 views. Entitled, The Lunatic, the short camera clip is virtually viral in the blink of an eye.

Jeremiah, realizing early on that there was something happening here, alerts his filmmaker friend Scott Rosenbaum and asks him to get onboard. Mind you, Rosenbaum is very busy making maybe the best unfinished documentary on the blues that I've ever seen (years in the making and quite remarkable), shooting record release documentaries for the likes of Mark Anthony and Joan Jett, and he doesn't really have time to blink, let alone start another new project. However, Michael Jeremiah is a charming and persistent fellow, and soon Scott was hauling his equipment into Jeremiah's basement to shoot episode number two, and suddenly a character is taking shape and the views on YouTube are entering the realm of seven figures.

Several more brief episodes are shot and uploaded, and all of a sudden the character has garnered several million views without the benefit of any prompting or manipulation from the hands of the maker - it simply grew legs of its own volition.

By episode four, we're starting to see other characters, and the plot is thickening - Rosenbaum enlisted his 90-something year old grandmother to contribute her voice to the reading of a decidedly Lynchian Little Boy Blue, and we start getting some insight into The Lunatic's psyche as we see Jeremiah in a dream state that includes some extremely eerie and disturbing footage - Rosenbaum somehow manages to identify most of the world's subconscious fears in less than a minute and a half, and still we're wondering where this all leads. All five million of us at this point.

Then, within a few short months, the videos are removed by YouTube without explanation - there was no copyright infringements, there was no nudity, there was nothing that should have resulted in the videos removal, but since when does YouTube need a reason to punish its non-paying customers and users? Did I mention that the film's makers had said no to accepting advertising when the view count went through the roof? I'm not saying that the reason the videos were removed was because Rosenbaum and Jeremiah weren't playing ball, but certainly the idea could be entertained by anyone willing to participate in conjecture.

By now, the creative team had gained traction and some confidence - they started speaking to friends in the film industry and several stepped up and encouraged further development towards a feature film. Producers Jeff Waxman (The Fighter, Immortals, Mirror Mirror) and Tony Grazia (Narc, 21 and Over, and Rosenbaum's first feature film The Perfect Age Of Rock 'N' Roll) convinced Rosenbaum to take the web series and turn it into a full length feature film.

It was episode 5 that blew my mind - fleshed out and lengthened to almost four minutes, we suddenly see that The Lunatic may be much deeper than previously imagined, and maybe even a hero (if somewhat disturbed) of sorts. This episode looks like a movie, and the soundtrack is a stunner - it's Michael Jeremiah's original song, 21st Century Man - the actor has long been a New York City rock scene figure, and they couldn't have found, nor paid for a more perfect track to the scenes. The song evokes memories of seventies glam and there is a definite sense of Bowie's darker side, but all in a very contemporary manner - that may not be my most elegant description ever, but watch the episode, and you'll get it. You will definitely get it.

Episode 5 - The Lunatic - A 21st Century Man

Scott Rosenbaum is a bright guy - one of the brightest I know, but don't tell him I said that, he'll bristle and grouse at that notion. He is enough of a visionary that he has chosen to go the crowd funding route to finish the picture. He's just started an Indiegogo project, with the thought being that since the concept and development has been so intrinsically shaped and shared by the seven million viewers who voted by watching that they should also be involved with the picture right down the line. This is not a project that was written and developed - it has developed organically and by the virtue of its own fate, it's destiny, if you will.

Click To See The Indiegogo Trailer

The Lunatic is Michael Jeremiah. His portrayal is masterly, and it's often the subtle nuances and spaces in between actions where the character makes his loudest proclamations, and we get insight into his being. We know these moments - they are somehow universal, if not often discussed. There's darkness in us all, and in many ways we may all have the capacity to be lunatics, and I'm guessing that's why a simple warm up exercise managed to draw in millions. Jeremiah makes his mark with this character, and he even writes the soundtrack - I get a sense of this is just meant to be.

I've seen crowd funding work for a great many musical projects, mostly when it makes sense - an agreement between an artist and their audience where there is trust and confidence. This one might be a little different - it could be that people will pre-pay in a manner of speaking to see where this all goes after being drawn in by something that just happens to speak to so many in these dark days of the American subconscious.

Be a part of the madness - let's see where this may lead. I'll be following this one for the next few months.