Of course, other guitarists have been more influential overall: Hendrix, Clapton, Chuck Berry, Les Paul himself, BB King, Tony Iommi, <insert your favourite artist here>… But you’re talking substantial back catalogs with those guitar heroes. In Steve Jones’ case, you’re just talking about those 35 minutes. He came, he saw, he conquered, he ****ed off. That, folks, is amazing work.

Even more so, as Jones became a guitarist by “accident”. In his teens, he decided to form a band – originally named The Swankers – of which he was singer, and he only picked up the guitar after [original guitarist] Wally Nightingale’s departure at the insistence of new manager Malcolm McLaren, and was then replaced by a vocalist whom Jones dubbed “Johnny Rotten.”

In a 2002 interview with Sex-Pistols.net Jones admitted, “I guess I learnt [guitar] properly about three months before we did our first gig. I didn’t really know anything on the guitar before that, maybe a couple of little bits and pieces. I didn’t know what I was doing. I still didn’t know what I was doing in those three months really. I just used to take a lot of speed and just play along to a couple of records over and over again, [The Stooges’] Raw Power and the New York Dolls’ first album.”

Jones’ actual favorite players were a little broader, even if he never attempted to emulate them. Jones told Gibson.com, “Mick Ronson was definitely a big influence. I was a mad Bowie fan growing up, with the glam and all that. And The Faces’ Ronnie Wood was one of the guys I loved growing up as a teenager. Pete Townshend was definitely an influence, but not as much as Mick Ronson and Ronnie Wood. The Faces were like my band. The Who had already been goin’ a long time. I’m not takin’ anything away from Pete Townshend; he’s a fantastic guitar player and brilliant songwriter. [With] Roxy Music, them three bands were my favorite bands growing up. I’d go and see them everywhere.

“And Mott the Hoople. Mick Ralphs was a great guitar player. And I liked Free, even though that was a little before my time. I thought Paul Kossoff was a great guitar player, too. Status Quo, there was another great band.”  So, pretty much classic taste for any English guitarist growing up in the ‘70s. But, somehow, the Pistols ended up sounding like none of them at all…

Essential Listening

It’s just the one album that’s truly essential. Never Mind The Bollocks was essentially recorded as a 3-piece, with the band doing their best to keep the newly-joined Sid Vicious away from the studio. Glen Matlock – although the co-writer with Jones of many of the band’s best riffs – had been pushed out over personality clashes,and Jones would later caricature Matlock’s unsuitability for the Pistols as down to his habit of washing his feet in hotels rooms!

Jones later explained, “Sid [Vicious] wanted to come down and play on the album, and we tried as hard as possible not to let him anywhere near the studio. Luckily he had hepatitis at the time.” To appease Sid his bass is in the mix to a tiny degree (“he’s fumblin’ around on ‘Bodies’”), but the majority, Never Mind… was recorded with Jones playing guitars and bass. And, looking back, it’s baffling that the Pistols were ever derided as a band that “couldn’t play.” Jones and drummer Paul Cook could play their asses off – eventually – even if they kept things simple. Session guitarist Chris Spedding, who had produced their early demos, recalled: “All that stuff about them not being able to play was rubbish. When [potential producer] Mickie Most heard them he presumed the guitar player was me. So did [eventual Never Mind…] Chris Thomas. But The Pistols could play.”

Jones told Yahoo! Backspin this year, “It was some of the best times, recording. I enjoy recording more than playing live. It was about creating a sound. It wasn’t a case of going in and just saying, ‘let’s roll it, who cares what the drums sound like.’ It wasn’t like that at all. That’s why we picked Chris Thomas. Me and Cooky were big fans of early Roxy Music and he’s produced a couple of their albums. He was fantastic, Chris Thomas and Bill Price, the engineer. I don’t know what he thought of us –  he’s just finished an Elton John record, or something – but they adapted to what we were doing. And when I first heard the finished version of ‘God Save The Queen’, I knew it was great. But I didn’t know how people would be talking about it 40 years later.”

In Eagle Rock’s Classic Albums video documentary, Thomas recalls how he did work hard on “orchestrating guitar parts”, but the raw talent was already there. The late Bill Price, who’s main job as co-producer was to capture Jones’ multiple tracks, put it simply: “Steve Jones was, and still is, just about the tightest lead guitarist I’ve ever heard in my life”… and Price was a man who engineered/mixed The Clash, The Cult, Bowie with Ronson and Guns N’ Roses. Indeed, such was Jones’ superbly metronomic talents, he even laid down the bass tracks after his guitars: and they were still bang on. The rhythm tracks were replicate takes, left and right channels, leading Thomas to say it wasn’t so a much stereo, as “mono deluxe.” He argued: “that’s the Sex Pistols sound, really. Barre chords; bass doing the same an octave below. E chords. Panzer Division!”It’s still one of the greatest rock guitar sounds ever recorded.

Post-Pistols, Jones and Cook’s The Professionals cut I Didn’t See It Coming (1981) which is more new wave-y – solid guitaring, but lacking the brutality of NMTB. Elsewhere, Jones has played on albums by everyone from Bob Dylan to Iggy Pop (on Iggy’s 1988 “metal” album, Instinct), as well as cutting a few solo albums. The closest he’s come to the Pistols sound again was on the self-titled album by Neurotic Outsiders (1996), a mainly Jones-led album with GN’R’s Matt Sorum and Duff McKagan and Duran Duran’s John Taylor. If you want to read Jones’ own story, get his 2016 memoir Lonely Boy.

Steve Jones and Gibson

Jones was notoriously light-fingered, and numerous guitars found their way into his hands. The sound of Never Mind The Bollocks is all Gibson, though. His main Gibson was a ‘74 Les Paul Custom in off-white finish. It notably had two stickers of female figures on the lower body. Syl Sylvain of The New York Dolls had given the guitar to Malcolm McLaren, the Dolls’ manager at the time, in lieu of paying McLaren for plane tickets (a long story we haven’t got space for here!) McLaren gave the guitar to Jones circa 1975, when he took over managing them. That said, Jones has said that over the years that he’s had “five or six” cream Customs. Gibson Custom produced a limited-run replica of Jones’ main Custom, complete with lightly-aged gold hardware, in 2008.

Jones also played black Les Paul Customs, a double-cut Les Paul Special, a Flying V (in the studio, where there’s a picture of him wearing one of the Pistols’ notorious “I Hate Pink Floyd” tees), and at the Pistols last (‘70s gig) he played a Gibson Firebird V. Don’t expect a lofty analysis as to why he loves Les Pauls, though. “That guy Wally (Nightingale), I nicked him a Les Paul,” Jones told Sex-Pistols.net. “I was always attracted to Les Pauls. I like Les Pauls, they’re more chunky. I dunno. They sounded kind of chunky, more than anything.”

Ultimately, getting the exact gear isn’t going to help you play exactly like Steve Jones. (Note: he also credits retro-fitted Gauss speakers in his Twin Reverb amp for his sound, although his pal Billy Duffy of The Cult is sceptical. He calls it a “lie” adding; “I think [Steve] still has a Marshall inside his.”) Of his own guitar style, Jones has said, “You get hundreds of ****s who wanna play like me, but none of them ever sound like it. It’s the thieving dirty fingernails! Iggy Pop calls me the Robert Mitchum of punk.”

11-07-2018 Gibson Guitar

Naperville Music, your home for everything Gibson.

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The Birth of the SG: Evolving Styles

Despite the fact that it would eventually become the most-revered electric guitar every made, Gibson’s Les Paul hadn’t really found it’s groove by 1960. The model’s iconic form had been established by 1958, when the PAF humbuckers of ’56 were joined by a new sunburst top, but sales had still failed to catch fire. Gibson records show that after shipping 920 goldtops in 1956 and 598 in ’57, the company only sent out 434 sunburst Les Pauls in ’58. That number rose to 643 in ’59, then declined to 635 in ’60.

Part way into ’60 Gibson reassessed the Les Paul conundrum: the model was, on one hand, just too far ahead of its time (about six years, to be precise), while on the other it was viewed by many players as being too traditional, too stodgy even. At the turn of the decade, the trend was for flashy, sharp, colorful, pointy, and with all due respect, the Les Paul was none of these. With a body made of solid mahogany with an elegantly carved solid maple top, binding on the body’s top edge, and other time-tested elements of traditional Gibson luthiery, it was also an elaborately constructed instrument—amid a field of slab-bodied, flat-topped competitors—and arguably not worth the effort amid lackluster sales.

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As such, it made total sense to kill three birds with one stone: transform the Les Paul Standard into a guitar that still sounded great and felt sublime to play, but which was both easier and less costly to manufacture, and which checked all the stylistic boxes for the trends of the day.

And Then There Were Two

The new model of ’61 shot off the line with a sleek double-cutaway body made purely of solid mahogany, with a pair of pointy and subtly asymmetrical horns that made it one of the sexiest guitar designs around. The body was also slimmer, and therefore lighter, than the chunky single-cut Les Paul that had preceded it—another bonus—and was finished in a bright cherry red, while its Custom counterpart came in flashy Arctic White, still with all the multi-ply binding and gold hardware bling.

This guitar remained the Les Paul Standard in Gibson’s catalog, while it’s fancy partner was the Les Paul Custom. After ’63, though, when Les Paul’s endorsement deal was on a temporary hiatus, it became known as the SG Standard, the name we’ve associated with the double-cut ever since, while earlier examples are now often referred to as “Les Paul/SGs”. In any case, the change-up worked, and the new design clearly sparked interest from a much wider swathe of players. Gibson shipped a whopping 1,662 units in the new version’s first year, not far short of three times the number of Les Paul Standards sold in 1960. The new Les Paul Custom, which now came with a white finish and three pickups, saw an equally copious upturn in production, with 513 shipped in 1961.

Common Ingredients

Other than the new chassis, the new double-cut Les Paul still received all the same hardware and electronics that the single-cut had had: Kluson tuners, Gibson’s Tune-o-matic bridge, and a pair of humbucking pickups, which were (for now) still the same PAF units with which the last of the ’60 single-cut Les Pauls had been equipped. The guitar’s neck was essentially the same, and the scale length was the same 24.75″ familiar to Gibson players. Given the extent to which pickups, hardware, and scale length play a role in forming any guitar’s sonic signature, these were certainly significant.

Most examples of the new Les Paul Standard and Custom came with one very different piece of hardware, however, in the form of the Deluxe Vibrato, often referred to as the “sideways vibrola” for the way it was operated. Little loved by Gibson fans, this unit was often simply ignored for fear of putting the guitar out of tune through too much use, and many early Les Paul/SGs were special-ordered with stopbar tailpieces (or converted to such) to bypass this vibrato’s inconsistencies altogether. By the time the Les Paul officially became the SG, the Deluxe Vibrato was fading from the picture, and SGs came standard with much more player-friendly tailpieces.

A Tale of Two Tones: SG vs Les Paul

Side by side, as configured today, there’s really very little between the Les Paul and the SG other than the shape of the body, and the thickness and composition of the wood. So why such distinct personalities?

The answer to that question shows us just how significant that thinner, all-mahogany body is in the equation. The classic single-cut Les Paul is best known for its thick, rich, warm tone with ample lower-midrange grunt and excellent clarity throughout the range, plus its singing lead tones when injected through a cranked amp, a high-gain channel, or a good overdrive pedal.

While, however, we think of thicker all-mahogany guitars as being “warmer” and “darker” than the Les Paul Standard’s maple-mahogany construction, the SG’s thinner body and higher neck/body joint lend the model a snappier, janglier voice that has a little more chime to it. The SG still has good warmth and depth, but it trades some of that lower-midrange grunt for brighter upper-midrange cut. Crank it up, and it will still wail and sing, of course, but it’s lead tone often leans a hair more toward “bite” while the Les Paul’s tilts slightly more toward “thick”.

Fraternal Twins

All that being said, there’s a ton of crossover between the Les Paul Standard and the SG Standard, and, practically speaking, you can easily substitute one for the other for a good, oh, let’s say 78.35% of your playing without anyone taking a blind bit of notice (that figure was not arrived at under laboratory conditions, but you get the idea). Massive rock crunch and power-chord goodness? Check for both. Trenchant clean tones with full-bore humbucker body and girth? Check for both. Wailing rock-godliness when your solo comes up? Check for both.

Let’s just say, then, that the Les Paul and SG share a common soul, and they both have a lot of heart. When you need the added sonic nuance of some extra lower-midrange thump or that extra ounce of sustain, give a Les Paul a try. When you want a slightly more eviscerating breed of lead tone or a little more chime in your jangly semi-clean arpeggios, grab an SG. Otherwise, there’s no reason not to let your sense of esthetics—or what the heck, you probably need one of each anyway.

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John Lee Hooker would have been 100 years old in 2017, and the landmark is being celebrated with a new spectacular 5-CD boxset, King Of The Boogie, and an exhibition at the Grammy Museum in Cleveland, Mississippi (through February 2018) before it moves to the Grammy Museum in Los Angeles.

This is the sort of thing the music industry does regularly, of course, but a legendary bluesman such as John Lee Hooker really does warrant such a treatment. In the blues, where even aficionados will admit there’s a lot of music and artists that sounds similar, John Lee was a truly remarkable one-off. King Of The Boogie boxset producer Mason Williams says, “Even at 100 songs, this set is just a snapshot of John Lee Hooker’s incredible and influential career.”

This expansive “snapshot” takes the listener on a long journey he took from Hooker’s early days in Detroit, to his time in Chicago recording for Vee-Jay Records and up through his later collaborations with Eric Clapton, George Thorogood, Van Morrison, Bonnie Raitt and Santana, among others.

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 “The Deepest Blues That Ever Was”

You’ll rarely find John Lee Hooker’s music transcribed in guitar magazines or websites. Why? There’s little point in trying to copy him. The best you can do with Hooker’s music is to feel it. He would often play 13 bars in what was theoretically a supposedly standard 12-bar blues. His solos stabbed like shouts, he would speed up songs mid-way. He knew little about keys of songs.

In a rare 1995 interview with The Guitar Magazine, Hooker admitted: “I don’t like to play a song the same way as everybody else. I can do. But I don’t want to.”

Ronnie Wood remembers when The Rolling Stones toured with Hooker in ’89, one of the blueman’s biggest but significant outings. “We never had any clue what key he’d be playing in,” Wood told Rolling Stone. “He’d look at us and say, ‘What key?’ He had no idea. Finally, before one song on the second night, he said “E” and I shouted to the band, “Boys, he gave us a clue! It’s in E!”

There are some who say they’ve learned from John Lee’s records, though. George Thorogood, who’s made Hooker’s “One Bourbon, One Scotch, One Beer” something of his own signature song, recalled how Hooker albums Moanin’ And Stompin’ and Alone “were really strong records in terms of my learning how to play the guitar.

Thorogood told Musicaficionado.com, “Like Robert Johnson, John Lee Hooker was playing alone, unaccompanied, so he made a lot of music all by himself. That encouraged me in thinking that I just might be able to pull this off, because I wasn’t having a lot of luck with bands. I played these two albums over and over again. They were really important to me when I was comin’ up and figuring things out.”

But for a lot of other players, John Lee Hooker’s primal boogie is almost otherworldly. Charles Shaar Murray, award-winning author of the JLH biography Boogie Man, tells Gibson.com: “John Lee Hooker was a musical primitive in the highest sense of the term. He cut ‘Boogie Chillen’ in 1948, but his music sounded older than that of musicians who began their recording careers a quarter-century earlier. He played what Charlie Musselwhite called ‘the deepest blues that ever was’… but Pete Townshend credited him with the invention of the power-chord.

“John Lee Hooker’s music was more than just ‘the blues’: it sounded like the raw stuff from which the blues was originally formed.”

John Lee Hooker was introduced to music by his stepfather, Delta bluesman Will Moore. “He played guitar, too,” Hooker recalled. “I checked out electrified [guitar] in the ’50s but it wasn’t ’til ‘Boom Boom’… that’s when I really stretched out on the electric.”

It was another Gibson-playing blues great, T-Bone Walker, who gave Hooker his first electric guitar, an Epiphone. “I was already established but not electrified. I still have that old Epiphone that T-Bone laid on me back in Detroit… Playin’ music, I really got into it big when I hit Detroit,” he said.

“A lot of work was goin’ on… wartime, World War II and the factories were goin’ and every city was boomin’. Detroit was boomin’.”

Hooker’s unique style itself may have been due to his initial settling in Detroit rather than Chicago. As Hooker once told blues writer Jas Obrecht (who also contributes to the booklet of King Of The Boogie): “Too much competition there [Chicago]. Too many blues singers was there. I wanted to go to Detroit where there wasn’t no competition between blues singers. I went there, and that’s where I grew up. I never lived in Chicago.”

In four years, from 1949 to 1953, Hooker made scores of albums for 24 different labels. He’d famously just turn up and record. He didn’t make much money, but he always liked the finer things in life, from his sharp suits to guitars. In a famous publicity photo for Modern Records in 1952, Hooker posed with an early Gibson Les Paul Goldtop with trapeze tailpiece: “one of the first ones,” he remembered. “It was beautiful. Beautiful.”

As with many of the incredible blues artists of the mid-20th century, it took the 1960s blues revival to really shine a spotlight on Hooker. In the U.K., Hooker became a cult hero: The Rolling Stones and The Yardbirds were disciples. Moving onto the 70s, his boogie style was soaked up by numerous by rock’n’roll bands of the day, notably Canned Heat (seek out the collaborative Hooker ‘N Heat LP) and ZZ Top, whose “La Grange” is almost a John Lee homage.

“With John Lee, there’s a break in the continuity of styles,” Rolling Stone Keith Richards, a lifelong fan who guested on Hooker’s album Mr Lucky, told Jas Obrecht. “What he picked up has got to come from one generation further back than anybody else, and John Lee can still make it work.” Even in more recent times, the likes of The Black Keys exhibit a huge debt to John Lee.

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 Hooker’s Guitar Style

Hooker remained faithful to Epiphone and Gibson guitars for most of his professional life, a favorite model being the Epiphone Sheraton – Epiphone introduced a signature John Lee Hooker Sheraton and Sheraton II in 2000, the year before his death. But he was also a regular player of the similarly-built Gibson ES-335.

Hooker didn’t use a pick, utilizing his thumb to hit the bass notes and brushing his lead licks with an upstroke of his index finger. Much of Hooker’s playing was in open G, which he first employed for his 1949 recording of “Crawlin’ Kingsnake”(covered by The Doors), and he also regularly capo’d at the second fret to play in the higher-toned open A, and at the fourth fret to play in open B (listen to the chiming brightness of 1949’s “Hoogie Boogie”). But he also played in standard tuning, a relative sophistication for pioneer bluesmen.

“He was astonishingly sophisticated,” argues Charles Shaar Murray. “If other musicians were prepared to travel with him, and be guided by him, through his own musical universe, he could – and, during a career lasting over half a century, indeed did – perform with jazz, soul and rock musicians as well as those versed in the blues.”

Hooker’s mantric grooves aren’t to every guitarists tastes. His playing is a world away from the distorted neo-shred that “electric blues” morphed into in the 70s. But that’s okay: Hooker’s blues always tapped a deeper vein.

As Charles Shaar Murray concludes: “Hooker was both the grandest of grand archetypes of the blues, and an artist unlike all others. He was the original Boogie Man: gone in the flesh, immortal and omnipresent in spirit.”

Simultaneously long gone yet also 100 years old, John Lee Hooker’s still here.

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While most artists in this series are known for their canonization of one specific Les Paul, this legendary “guitarists’ guitarist” made three Les Pauls iconic through the most formative part of his career. A true virtuoso, Jeff Beck is one of the most creative and original players ever to have strapped on an electric guitar—but he has never sounded more powerful than when he evolved through this trio of vintage Gibson Les Pauls in the late ’60s and early ’70s.

Beck’s First ’Burst

After Eric Clapton did his thing on a sunburst Les Paul with the Blues Breakers in early ’66, every guitarist in Britain wanted a ’Burst of their own, and Jeff Beck was apparently no different. Later that same year he acquired his first Les Paul—a ’58 with a deep sunburst finish—at Selmer’s in London, the same music shop where Keith Richards had acquired his own famous ’59 Les Paul a few years before, and a popular haunt of notable musicians. In addition to using it prominently with the Yardbirds before departing that outfit, Beck played the guitar on much of the Jeff Beck Group’s 1968 debut, Truth, featuring it on songs like “Happenings Ten Years Time Ago,” “Beck’s Bolero,” and “Over, Under, Sideways, Down,” all of which display that thick, singing tone that only a Les Paul can achieve.

During Beck’s ownership, this Les Paul’s looks gradually evolved to fit the fads of the day: it lost its pickup covers to reveal two double-cream PAFs (a mod thought to induce improved high-end response), then was stripped of its characteristics sunburst top finish (a bid to enhance the wood’s resonance). A little later, during an American tour, this first Beck ’Burst was damaged and was replaced by another ’58 Les Paul with a dramatically figured flame-maple top, which stood in for the laid-up stripped “un-’Burst” until the Jeff Beck Group’s demise in 1969.

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Crazy Conversion: the “Oxblood”

These two original late-’50s ’Bursts should have been the guitars to get collectors all hot and bothered today, if Jeff Beck hadn’t later taken on a very different Gibson to call his own, and with which he is now most closely associated: a heavily modified ’54 Les Paul that might have appeared a down-and-out working dog to some players of the day, but which spoke to the artist deeply.

While recording in Memphis, Tennessee, in the early ’70s, Beck paid a visit to the popular Strings and Things guitar store to see what was hanging on the walls, and was captivated by a ’54 Les Paul that a customer had dropped in for some very specific modifications. One request was that its original gold top be refinished to a deep chocolate-brown, a color that turned out to exhibit some oxblood tints in certain light. Others included the installation of full-size humbucking pickups in place of the P-90s, altering the full and rounded early ’50s neck shape to a slightly thinner profile, and changing the original tuners for modern replacements. After all these changes, the original “wraptail” bridge remained just about the only evidence of the guitar’s origins.

Legend has it that the customer didn’t like the results of all these modifications… but Jeff Beck did. He bought the adulterated Goldtop, played it extensively on tour and in the studio, and even gave it pride of place on the cover shot of his milestone 1975 album, Blow By Blow, securing its position as a legendary Les Paul.

Plenty of Beck’s playing in the 1970s does exhibit the incendiary tone that was common to Les Pauldom that decade, but much of it is also snappy, round and lithe, more akin to the semi-clean blues-rock tones prominent in the previous decade. Ultimately, all three of these Les Pauls have contributed to the work of an artist whom many fans still regard as one of the most skilled guitarists in the broad genre of rock-fusion. In 2009, the Gibson Custom Shop released its own Limited Edition tribute to the modified ’54 goldtop as the Jeff Beck Oxblood Les Paul, a guitar now highly prized by collectors and players alike.

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Slash has joined Gibson, the world’s leading music lifestyle brand, as Global Brand Ambassador, the first such designation in the company’s history. As part of the new role, Slash is highlighting the music lifestyle of Gibson with a series of new signature products and exclusive content that will be released throughout the year.

Slash embodies Gibson’s values of quality, prestige and innovation and has brought the indelible sound and style of Gibson guitars to new heights of popularity and recognition over the last 30 years.

“It’s an honor to be Gibson’s first Global Brand Ambassador,” said Slash. “I’ve been working with Gibson since the early days of my professional career and playing Gibson guitars since before that. I’m proud of the creative relationship we’ve developed over the years.”

Slash joined Guns N’ Roses in 1985 in Los Angeles and quickly rose to international fame by the summer of 1987 with the release of the band’s debut LP “Appetite for Destruction,” which has sold over 30 million albums and become one of the best-selling rock albums of all time. Slash’s signature sound and epic solos were recorded with several of his favorite Gibson guitars, which introduced an entirely new generation to the power and passion of music delivered through those instruments.

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Over the past three decades, Slash has collaborated closely with Gibson and the company’s CEO, Henry Juszkiewicz on several projects including product development, marketing, live events and supporting charitable initiatives with the Gibson Foundation.

“We are thrilled to recognize Slash as Gibson’s first Global Brand Ambassador,” said Henry Juszkiewicz, chairman and CEO of Gibson Brands. “Slash embodies the characteristics of creativity, passion and excellence that are so closely aligned with Gibson and we are very proud of the friendship and mutual success we have shared together for over 30 years.”

Slash is currently on the Guns N’ Roses “Not in This Lifetime” world tour extending through November, 2017.

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Contact Conner for Gibson questions or availability

Connor@napervillemusic.com

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