Win Bill Wyman’s Framus Star Bass

Contest Slide 770x420Guitar Player and Rolling Stones Gear have teamed up to give you a chance to Win the Brands of the Rolling Stones! Now you can own some of the major brands of equipment the Rolling Stones played including Fender, Martin, Framus, Zemaitis, Gretsch, and Vox in this exciting new sweepstakes! They are also giving away the new book Rolling Stones Gear: All the Stones’ Instruments from Stage to Studio by Andy Babiuk and Greg Prevost. Now you have a chance to win this stunning Framus bass! Andy and Greg wrote about Bill’s decision to play a Framus in Rolling Stones Gear.

 

BILL WYMAN’S FRAMUS STAR BASS

During August and September, the group began doing more shows on the ballroom circuit. Crowd hysteria and chaos grew with their popularity. Bill was no longer comfortable using his customized fretless Dallas Tuxedo bass onstage, fearing that it might be damaged or, worse yet, stolen. So, he went to the Art Nash music shop in Penge on September 2 and purchased a Framus Star F5/150 bass. He 152147-FR05150 STARB SH V11remembered: “I decided to buy a new bass guitar. I helped finance my purchase by selling my old bass cabinet and amp to Tony Chapman for £25. He had put together a new band with Steve Carroll and some friends. They called themselves the Preachers.”

On why he decided to go with a Framus Star bass, he explained: “I never really settled on
anything. About the only thing around at that 
time that was suitable was a Framus Star—you know, with the big cherry body. I played it
 upright because it was still quite a long guitar and 
my arms are short as well. I found it physically 
easier to stretch up and down than sideways. I
 played one of those up through 1968. I tried a 
few Vox guitars, some Gibsons, and various
 Fenders, because of the sound. The boys always 
used to say, ‘Why don’t you try a Fender—you
 get a really good sound and it’s easy to record 
and all that. I would agree, but I could not play
 the bloody things. I tried the Mustang, the
 smaller version, and there were a couple more I
 can’t remember. I actually did an album with the
 Mustang, though I can’t remember which one.
 After that I tried a Gibson for onstage, but the 
bottom strings were really dull sounding.” He
added that, “It was better for what we were doing then. My bass [the Dallas] was wonderful for the blues—you know the real down-home, earthy blues—, because I got a fantastic sound with that. When I went on to the Star Bass, it became more R&B, when the Stones became more R&B as well. I got that in the when we started to do ballrooms. The endorsement came after we started to become popular.”

Bill’s Framus Star F5/150 bass was a single-cutaway, 18-inch wide, thin hollow body with two white-bound ƒ-holes. The bass was finished in a red-to-black sunburst and had white binding, two pickups, and a black pickguard, on which the Framus logo was embossed in white. The white volume and tone controls were mounted directly on the pickguard instead of the body of the bass. The adjustable bridge was made of rosewood, with a Framus trapezes tailpiece engraved with “Star Bass.” The bass was fitted with a very thin, multi-laminated, long-scale, bolt-on neck with a bound rosewood fingerboard and a two-per-side headstock with white plastic-shaft tuning pegs.

Fred Wilfer founded Framus in Germany in 1946, at first concentrating on acoustic instruments. By 1954, Framus had started adding pickups to their guitars and was making thin body, semi-acoustic guitars and basses by 1958. Framus was known for their multi-laminated necks and their unique pickups and electronic designs. With the help of the escalating beat boom, the instruments became very popular and were distributed in Great Britain through the London-based Dallas company.

Bill first used his Framus Star bass on stage the same
day he bought it, at Studio 51, the group’s Monday 
evening residency. He remembered, “That night I used it
at Studio 51 and had to admit it was much better than my
homemade bass.” He used it for the first time on television when the Stones mimed “Come On” on ABC-TVs “Lucky Stars Summer Spin,” which was filmed on September 8, 1963, and aired on September 14.

Q&A with Harvey Kubernik (Part 2)

Here is Part 2 of an interview with Harvey Kubernik, author of Leonard Cohen: Everybody Knows at Heck of a Guy — The Other Leonard Cohen Site.

00126365Q: Of all the stories you’ve heard through the years about Leonard Cohen, which strikes you as the most moving? funniest?A: To this day I still find it strange and funny, and still can’t comprehend on some level that in 1967 Leonard Cohen had a full length mirror in the Columbia recording studio so he could watch himself play and sing during his initial LP sessions. If he got lost in the creative process he could employ the mirror to keep him on track or remember lyrics or chords.

I also found the quotes from Nick Cave on Leonard very moving. In the mid-eighties I produced a Nick Cave spoken word reading at the Lhasa Club in Hollywood and we talked about Leonard Cohen around settlement. We were all in same frame game together. The impact an early Cohen LP had on him four decades ago was immense.

Q: You wrote that “this book is neither definitive nor encyclopedic.” How did you decide which content made it into Everybody Knows and which didn’t make the cut?A: Many of the choices were influenced by the supportive working relationship that developed among myself,  publisher Colin Webb, and UK editor  James Hodgson.  After I put together a formal proposal with areas of interest and interview subjects, we had many discussions. Both Colin and James were easy to work with. They were pleased to see names that had never been in a Cohen book and often emailed me about getting a photo to accompany a given quote or section of text. Sometime a photo would trigger a text to be written or a pull quote or a sidebar I would want inserted. Or they would ask if I was interviewing someone and I’d respond, ‘just ran tape on them.’

I also made the musicians a top priority way over the women or lovers in Leonard’s life, none of whom I even spoke to. It wasn’t that sort of biographical examination. If organically something is revealed, fine. But on this Cohen book I felt Leonard’s creative life needed to be re-defined partially by my own hand-picked west coast team of friends and musical associates as well as worldwide interview quotes I gathered to inform the text and enhance the visuals. “This is not your father’s Oldsmobile.”

After my brother Kenneth, my regional editor, reviewed the initial large sections, he made some first look observations, namely that my manuscript had to be condensed from 100,000 words to 60,000. That was a stressful and exhausting process for me. You edit alone.

Authors, including Andrew Loog Oldham, gave me some important interior editing tips. Poets and writers Harry E. Northup and Jimm Cushing provided especially helpful feedback, reinforcing that the new data and photos were as potent as I hoped.

I wouldn’t have bled for this book if its pages didn’t contain extraordinary, important insights and observations.

Any major Leonard Cohen project demands certain essential voices and interview subjects. There are, as well, specific subjects and a biographical chronology the reader has to know. That being acknowledged, it was my responsibility to incorporate these obligatory elements with new material to create a portrait of the man from a unique perspective.

There is a bit of redundancy, such as citations and quotes from other publications, but as UCLA basketball coach John R. Wooden once explained to me, life, like hoops, is a game of repetition – as long as it moves the ball to the basket it’s OK.

View the rest of the interview HERE!

Listen: Cary Ginell on Inside Art

Cary Ginell spent a half-hour with Dave Drexler on “Inside Art” on KSDS in San Diego talking about The Evolution of Mann. Cary never lets us down with his great interviews. Give it a listen!

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>>LISTEN HERE<<

More than any other musician, Herbie Mann was responsible for establishing the flute as an accepted jazz instrument. Prior to his arrival, the flute was a secondary instrument for saxophonists, but Mann found a unique voice for the flute, presenting it in different musical contexts, beginning with Afro-Cuban, and then continuing with music from Brazil, the Middle East, the Caribbean, Japan, and Eastern Europe. As Mann once said, “People would say to me, ‘I don’t know where you are right now,’ and I would respond, ‘And you’re not going to know where I’m going to be tomorrow.’” A self-described restless spirit, Herbie Mann also was a master at marketing himself. His insatiable curiosity about the world led him to experiment with different kinds of sounds, becoming a virtual Pied Piper of jazz. He attracted thousands to his concerts while alienating purists and critics alike. His career lasted for five decades, from his beginnings in a tiny Brooklyn nightclub to appearances on international stages. “I want to be as synonymous with the flute as Benny Goodman is for the clarinet,” he was fond of saying. By the time he died of prostate cancer in 2003, he had fulfilled his desire.

Q & A with Harvey Kubernik

Harvey Kubernik met up with One Heck of a Guy for a long interview about his new book, Leonard Cohen: Everybody Knows. Stay tuned for part 2 of the interview later this week!

 

Music means everything because it informs everything if you let it. ~ Harvey Kubernik

Harvey Kubernik is to music journalism what Shane Battier was to Duke basketball. Harvey is also one of the few individuals likely to read this post who will understand that analogy without an explanation: Harvey and Shane have achieved distinction in their respective fields because of their hard work, energy, enthusiasm, dedication, perseverance, and commitment. They are both hustlers.

00126365Harvey Kubernik is the kind of guy who knows 97% of the individuals associated with popular music and knows folks who know everybody in that other 3%. During his 40+ years career, he has authored six books, including This Is Rebel Music (2002), Canyon of Dreams: The Magic and the Music of Laurel Canyon (2009), and, most recently, Turn Up the Radio! Rock, Pop and Roll in Los Angeles 1956-1972. He has written liner notes for Carole King and Allen Ginsberg, appeared on documentaries about Bobby Womack and Queen, collaborated with Brian Wilson on a limited edition volume, and published multiple articles in Melody Maker, The Los Angeles Free Press, Crawdaddy!, Musician, Record Collector, Goldmine, MIX, The Los Angeles Times, MOJO, Discoveries, UNCUT, Music Life, Classic Rock, HITS, and Record Collector News. In addition, he has worked as a broadcaster, producer, and musician.

Harvey has a knack for turning up in the right place at the right time. He was, for example, in the studio during some of the sessions of the Leonard Cohen-Phil Spector collaboration that spawned Death Of A Ladies’ Man. That experience resulted in two classic Harvey Kubernik articles: What Happened When Phil Spector Met Leonard Cohen? and The Great Ones Never Leave. They Just Sit It Out Once In A While.

Most significantly for our purposes, Harvey Kubernik is the author of Leonard Cohen: Everybody Knows, which I described in my review of the book as “either the most textually substantive coffee table book ever published or the most lavishly illustrated narrative about a Canadian poet-novelist-singer-songwriter-icon on the market” and the subject of today’s Q&A.

THE HARVEY KUBERNIK Q&A

How did you come to write this book about Leonard Cohen?
A couple of years ago I was contacted by Colin Webb of Palazzo Editions, an England-based book company and packager. He has read my three interviews I conducted with Leonard from the mid and late-seventies, and was mulling over a Leonard Cohen book. He was preparing a sample text which would include all my archive quotes along with photos for a presentation at a book fair he was visiting.

Colin asked me for permission to utilize my archive, and, if things went further, would I be receptive to writing a book on Leonard? A year later his name showed up on my computer screen and we put it in motion. I did stress the aspect of a multi-voice narrative for the book and he was receptive.

How would you describe the readers you view as the primary audience for Leonard Cohen: Everybody Knows?
That’s a good question but early in the game, like a basketball match, before the opening tip off, I decided it would be a book I wanted to do for myself. Yes, it would be geared a bit to readers who already know lots of things about Leonard’s work, books, recordings and his road work, as well as the uninitiated, or new potential readers who might have just Greatest Hits package or checked him out only after hearing ‘Hallelujah” in some capacity.

Always ticking just a little in the back of my mind are the hardcore collectors and “Cohen Heads,” including website principals, previous Cohen book authors and pop music history book buffs that I knew would relish the information and data I would present.

Why even bother with the gig if I don’t deliver some new “voices” and observations as well as photos with visuals never displayed before. For a well-documented artist like Leonard Cohen I know I tossed in plenty of three-point baskets.

Even without this Cohen book scheduled. I have written and conducted interviews for decades without formal assignments or the security of publication. I like the education, the fun, the struggle, and the results. The last ten years book publishers have come to me about potential titles and suggestions for books. They are also mining Los Angeles and Hollywood for literary subjects or regional studies and not exclusively possessed or obsessed with New York subject matter or New York authors.

Secretly a lot of publishers and literary agents love and worship the lore and lure of L.A. and Hollywood, but most won’t admit it, let alone fund it. But the literary game has now changed and I’m in the league as team Kubernik.

View the rest of the interview HERE!

Scott Bomar and Music Tomes

Southbound author Scott B. Bomar answered some interview questions over at Music Tomes! Read the entire article HERE.

And for all of you Californians,  Scott will be doing a 2:00 pm book signing August 30th at the Barnes & Noble on the 3rd Street Promenade in Santa Monica. Don’t miss out!

 

How did this project come about?

Mike Edison, who is a fantastic writer, was an editor at Backbeat Books. He was the guy who 00102657worked with Will Romano on an illustrated history of prog rock that came out in 2010. Will’s book was really cool, and Mike thought it would be great to do something similar with Southern rock. He contacted a good friend of mine named Randy Poe, who wrote a great biography of Duane Allman for Backbeat called Skydog. Randy recommended me to Mike. I was not a Southern rock expert, but Randy and I had worked together on some projects, and he thought I would bring a fresh perspective to the subject. I didn’t have any preconceived ideas, so it was just sort of “jump in and go.” This is kind of funny, but the first thing I did was listen to “The South’s Gonna Do It” by the Charlie Daniels Band and I wrote down the names of all the acts he references in the lyrics. From there I began reading everything I could get my hands on, and contacting all the great surviving Southern rockers for interviews. I grew up in the South, and I had listened to a ton of this music growing up, so I really connected with it.

Southern Rock has been something that has been often hard to define. How do you define it?

In the Introduction to the book I really grapple with this issue. There are a lot of ways that people have defined Southern rock, and most of the artists who are categorized with that label have been pretty resistant to the term. Gregg Allman pointed out that saying “Southern rock” is like saying “rock rock” because rock music originated in the South. Elvis, Little Richard, Jerry Lee Lewis, and all those guys were Southerners. After the British Invasion, rock music shifted away from the South. By the time the psychedelic era ended, however, the Band, Bob Dylan, and Creedence Clearwater Revival heralded a return to the simplicity of rock’s Southern roots. That set the stage for the Allman Brothers Band, which came together in 1969. To me, Southern rock is about an era as much as it is about a sound. It was music that was created by guys (and sometimes girls, but mostly guys) from the same geographical region who shared a similar cultural background. Though you can point to specific sounds – multiple electric guitars, for instance – the music that I would categorize as Southern rock today is the music that best captures the spirit of the golden age of the genre in the 1970s.

Watch: Leonard Cohen – Everybody Knows

Watch the new book trailer for Leonard Cohen: Everybody Knows coming from Backbeat Books this September!

 

 

Leonard Cohen’s songs and poetry are defined by their emotional and intellectual intelligence. Lyrically potent, his records are full of romance, innuendo, and humor, and in performance his smoke-black vocal cords navigate the most sophisticated and arresting of melodies.

Illustrated with 200 rare black-and-white and color photographs and items of memorabilia and featuring the recollections and comments of those who have worked with him and are close to him, Leonard Cohen: Everybody Knows is a celebration of the life, music, and poetry of a unique artist and music legend.

Win a Zemaitis Custom Shop Metal Front Guitar

Contest Slide 770x420       Guitar Player and Rolling Stones Gear have teamed up to give you a chance to Win the Brands of the Rolling Stones! Now you can own some of the major brands of equipment the Rolling Stones played including Fender, Martin, Framus, Zemaitis, Gretsch, and Vox in this exciting new sweepstakes! They are also giving away the new book Rolling Stones Gear: All the Stones’ Instruments from Stage to Studio by Andy Babiuk and Greg Prevost. Check out this beautiful Zemaitis custom shop metal front guitar – you can win this! Andy and Greg of Rolling Stones Gear speak about the Stones’ love for Zemaitis in their book.

ENTER TONY ZEMAITIS

During his early days with the Faces, Ronnie played a Gibson SG, followed by a red Fender Stratocaster, and then a Danelectro, all of which were subsequently stolen. In the end, he resorted to personalized guitars made by the legendary British luthier Tony Zemaitis. “No one would dare steal his guitars because he makes them so individual,” Ronnie explained. “He plasters your name all over it.” Antanas Kazimeras Zemaitis (1935-2002), born in London England became an apprentice cabinetmaker when he was sixteen and went on to make high-quality furniture. After taking up guitar in the 1950s, he began building his own instruments. By the early 1960s, he had become an accomplished twelve-sting guitarist who shared stages with the likes of Long John Baldry and acoustic guitar wizard Davy Graham. Twelve-string guitars were a rare commodity in England, and Zemaitis made a name for himself building twelve-strings for Spencer Davis, Ralph McTell, and others.

Ron Wood was introduced to Zemaitis’s guitars in 1970 through Faces’ roadie Peter Buckland and commissioned Zemaitis to build two guitars for him. Zemaitis was known for his unique-looking electric guitars built with a metal plate on the top face of the guitar, which was intended to shield the guitar and reduce the hum produced by the pickups. The first Zemaitis Metal Front electric guitar was built for Tony McPhee of the Groundhogs; the second was built for Ronnie Wood. It had a single-cutaway mahogany body similar to a Les Paul and a mahogany neck with a bound ebony fingerboard. The 25-inch scale guitar was fitted with two humbucking pickups and a three-way toggle switch with two volume and two tone metal control knobs. To insure that each of his electrics was unique, Zemaitis teamed with his friend Danny O’Brien, a master gun engraver. Zemaitis handcrafted his own metal bridges, tailpieces, truss rod covers, pickup mounting rings, jack plates, rear electronics plates, and metal front facerplates, while O’Brien skillfully hand engraved each part, personalizing the guitar for the client. Ronnie Wood’s first Zemaitis Metal Front guitar also had two metal control knobs on the lower bout of the guitar.

The second electric guitar Zemaitis built to Wood’s specifications was an all-black, single-cutaway “Disc Front” model, named for a round metal plate on the face of the guitar that O’Brien engraved with a treasure map. The 25-inch scale guitar had a mahogany body and neck and an unbound ebony fingerboard with dot inlays that started at the first fret and became smaller as they went up. The guitar was fitted with three humbucking pickups and a combination of six volume and tone control knobs, a five-way selector switch, and a built-in preamp powered by a nine-volt battery. The handcrafted Zemaitis metal bridge, tailpiece, truss rod cover, jack plate, and rear electronics plate also were hand engraved by O’Brien.

Wood’s 1971 appearance with the Faces on Top of The Pops playing his Metal Front guitar sparked a huge interest in Zemaitis’s eye-catching work. It also inspired Zemaitis’s next creation, a Pearl Front guitar that he considered perfect for the stage because it would catch the light and change color. The guitar was similar to the Metal Front guitar, but, instead of the engraved metal plate, the top face of the guitar was inlaid with a mosaic of pearl and abalone. Wood received one of the first Zemaitis Pearl Front guitars, which was fitted with three single-coil pickups instead of humbuckers. In the latter stages of the Faces and during his early involvement with the Stones, Wood also owned a hardtail 1955 sunburst Fender Stratocaster, and a Dan Armstrong Plexi guitar which he made the mistake of giving to David Bowie. “I thought I could get another one,” Wood said with regret, “and I couldn’t.” His amplification at the time was strictly Ampeg SVTs, which were painted white while he was in the Faces.