it is FASCINATING to consider BUSINESSES and INDUSTRIES whose INNOVATIONS have transformed and put a LONG-LASTING stamp on CULTURE as we know it and take completely for granted.  i immediately think of MASSIVE, ICONIC INDUSTRIES related to TRAVEL (trains, planes and automobiles), CONSUMER GOODS (television, electric kitchen appliances, etc.), CINEMA and INFRASTRUCTURE (highways, bridges, tunnels) that largely defined MODERNITY in a post-WORLD WAR II AMERICA and its then-BOOMING economy. 


what WRITER IAN S. PORT (VILLAGE VOICE, ROLLING STONE) in his FANTASTIC THE BIRTH OF LOUD: LEO FENDER, LES PAUL, AND THE GUITAR PIONEERING RIVALRY THAT SHAPED ROCK 'N' ROLL (SCRIBNER, 2019) book is make a COMPELLING argument for the inclusion of the SOLIDBODY ELECTRIC GUITAR, CONCEIVED, MANUFACTURED and MARKETED in the 1940s along such DEFINING INNOVATIONS.  chief among said reasoning is that the advent of such, epitomized by the rivalry of MANUFACTURERS FENDER and GIBSON, whose PRODUCT INNOVATIONS regarding such still underpin MUSIC CULTURE more than 75 years later.  but what i find truly CAPTIVATING is not how these INSTRUMENTS and PRODUCTS influenced CONTEMPORARY music, but rather how their birth was in a totally different pre-ROCK N ROLL CULTURAL ERA and that, as a BUSINESS PROPOSITION, were attempts at addressing the needs and wants of a cadre of MUSICIANS DIFFERENT and FOREIGN to what we may now recognize.  FENDER MODELS like the TELECASTER and STRATOCASTER, as well as the GIBSON LES PAUL and SG MODELS, long sustaining icons of MODERN CULTURE through MULTIPLE generations to the PRESENT, are counterintuitively ANACHRONISMS from an absolutely BYGONE era.

and i think that last part is lost on people.  for all intents and purposes, those first few MASS-PRODUCED SOLIDBODY GUITARS ENGINEERED, MARKETED and MANUFACTURED primarily by FENDER and GIBSON (although GRETSCH, DANELECTRO, GUILD, RICKENBACKER, EPIPHONE, D'ANGELICO, HARMONY and KAY among others as well) have varied differently in terms of specs since their inception, which is beyond REMARKABLE.  the INDUSTRY DISRUPTOR was absolutely LEO FENDER and his SMALL operation out of SOUTHERN CALIFORNIA who built MODERATELY-PRICED INSTRUMENTS with a MODULAR DESIGN (neck and body were joined via screws) aimed initially at both HOBBYIST and WORKING PROFESSIONAL SEGMENTS.  this was in contrast to GIBSON, who made their REFINED LES PAUL MODEL aimed exclusively at PROFESSIONALS in response to the success of the relatively SPARE and BASIC TELECASTER MODEL, who chose to make SOLID-BODIED INSTRUMENTS that were in the tradition of their HOLLOW-BODIED ACOUSTIC MODELS that had a decidedly OLD-WORLD EUROPEAN ARTISAN and LUTHIER tradition about them.  a MODULAR SYSTEM OF PRODUCTION like FENDER's was in essence an insult to their heritage.  the two companies couldnt be more different in terms of PRODUCTION PHILOSOPHY or the SEGMENTS they went after.  

this difference brought their SOLID-BODIED INSTRUMENTS on SEPARATE paths.  the TELECASTER, and its follow-up answer to the LES PAUL - the likewise CURVY and more ERGONOMICALLY-DESIGNED STRATOCASTER, with its more MODEST pricing were wildly SUCCESSFUL and available to all levels of PLAYERS while the ICONIC LES PAUL SINGLE CUTAWAY MODEL died out in 1960 after an eight-year run due to DWINDLING sales.  it was just too EXPENSIVE for the market at that point.

it was only after the BRITISH INVASION (which interestingly via THE BEATLES was an initial boom for ORANGE COUNTY CROSSTOWN RIVAL RICKENBACKER) garnered AMERICAN POPULAR INTEREST in RHTHYM & BLUES (i.e. ROCK N ROLL).  subsequently FORMER YARDBIRDS GUITARIST ERIC CLAPTON resurrecting the LES PAUL MODEL in the eyes of the AMERICAN CONSUMER with the sounds he generated on the debut BLUES BREAKERS WITH ERIC CLAPTON (DECCA, 1966) album by JOHN MAYALL & THE BLUES BREAKERS.  for UPCOMING BRITISH GUITARISTS like ROBERT FRIPP, JIMMY PAGE and the like the LES PAUL instantaneously became de rigeur for SUSTAIN, TOUCH-SENSITIVITY and just SHEER TONE.  the FENDER MODELS in their eyes were considered toys until a then-UNKNOWN JIMMY HENDRIX blew away CREAM while sitting in with them at an early 1966 gig and made everyone reconsider such.  in essence several SEMINAL AMERICAN and BRITISH BLUES-based ROCK N ROLL MUSICIANS created in the PUBLIC CONSCIOUSNESS both brands as valid options for EXPRESSIVE sonic artistry at LOUD volumes.  gone were the days of the ACOUSTIC GUITAR as an ACCOMPANYING INSTRUMENT, it now held sway on center stage.

given that history, LEO FENDER originally geared his GUITARS and AMPLIFIERS towards TOURING COUNTRY MUSICIANS of the 1940s from the SOUTHWEST (who were likewise entertaining recent CALIFORNIA IMMIGRANTS from the DUST BOWL) who had reliability and feedback issues.  along with PAUL BIGSBY, who LEO FENDER based some of his early MODELS on his template upon, they did such well at a COMPETITIVE price point.  GIBSON saw their DEMOGRAPHIC in the JAZZ and BIG BAND music of post-war CROONERS like BING CROSBY and FRANK SINATRA.  LES PAUL himself was an AMBITIOUS MUSICIAN, COMPOSER and AUDIO ENGINEER whose work with second-wife MARY FORD gave him the profile to have GIBSON wish to attach his name to their already designed PRODUCT.  that the sonic needs of that GENERATION of POST-WAR MUSICIANS found a sanctuary in the CULTURE and GENERATIONS of MUSICIANS thereafter is EXTRAORDINARY to the point of being UNBELIEVABLE.

its a narrative about a SUCCESSFUL BUSINESS PROPOSITION that is UNRIVALED in my estimation.  none of the individual MAJOR PLAYERS, not LEO FENDER or LES PAUL or TED MCCARTY or DON RANDALL or PAUL BIGSBY or SETH LOVER had any clue about how said BUSINESS DECISIONS and PRODUCT INNOVATIONS made in a specific HISTORICAL and CULTURAL CONTEXT to address a nominally SMALL MARKET SEGMENT would blossom and reverberate down the decades and in effect transform the sound of AMERICAN music through the rest of the 20th century and well into the next.

originally conceived in the late 1950s as part of a new series of four decidedly MODERNIST guitar models by GIBSON pushed by their LEGENDARY president TED MCCARTY (including the EXPLORER, FUTURA and MODERNE) to compete with the FUTURISTIC FENDER STRATOCASTER, the FLYING V was shelved shortly after production began due to low sales.  it wasnt until the PROMINENT 1950s BLUES guitarist ALBERT KING and later 1960s ROCK AND ROLL guitar players like DAVE DAVIES (THE KINKS), ANDY POWELL (WISHBONE ASH) and JIMI HENDRIX began using them that their popularity began in earnest.  later in the 1970s and 1980s the model found a home and became identifiable with the NWOBHM and THRASH METAL scenes in bands like JUDAS PRIEST, MERCYFUL FATE, DIAMOND HEAD, SCORPIONS, ACCEPT and KING DIAMOND as well as SLAYER, METALLICA and MEGADETH.

the IN-ARTFULLY named, conceived and executed recent FLYING V (TEN NINETY ONE, 2020) documentary is focused on the SYNERGISTIC relationship between those music scenes and that particular GUITAR MODEL.  there is something to be said about the GIBSON models LACK OF CURVES and SPACE-AGE AESTHETICS which stood out on stage and literally pointed the way forward.  their popularity resulted in a myriad of later brands, most notably JACKSON, ESP, B.C RICH, DEAN, SHECTER, KRAMER, IBANEZ and so on taking their stab at creating POINTIER, more ANGULAR REVISIONS with DIFFERENT ACTIVE PICKUP CONFIGURATIONS that went well beyond the original SETH LOVER humbucking pickups associated with the original.  the film is largely an INCOHERENT series of interview clips with the likes of K.K. DOWNING (JUDAS PRIEST), MICHAEL SHENKER (UFO / SCORPIONS), MICHAEL DENNER & HANK SHERMANN (MERCYFUL FATE), BRIAN TATLER (DIAMOND HEAD), WOLF HOFFMAN (ACCEPT), ANDY LAROCQUE (KING DIAMOND), MICHAEL AMOTT (ARCH ENEMY), DAVE MUSTAINE (MEGADETH), JAMES HETFIELD (METALLICA) and KERRY KING (SLAYER) among others about various aspects of the guitars appeal.  most of these interviews are pretty TEDIOUS and REPETITIVE and act almost as advertisements for the band members and their particular MODELS, which does the FLYING V ultimately a disservice in my opinion.  the film would have been served better by conducting interviews with the manufacturers themselves and those that are continuing to INNOVATE on the original design.  there is also LAZY EDITING and the LACK OF LICENSED MUSIC by said artists, which shows both a LACK OF BUDGET and buy-in from the artists themselves.  in fact, the same GENERIC background music is repetitively utilized over and over again throughout to the point that it grates as the film rambles on.

in totality, this film was difficult to watch even with a passion for the subject that i have as a fan of guitars and their development in general.  this film feels RUSHED and ILL-CONCEIVED and would have been executed in a more talented director's hands with a bigger budget.  NOTHING WAS LEARNED here that a thirty second perusal through the first two paragraphs of a WIKIPEDIA entry couldnt have taught me, which funny enough feels like the extent of the preproduction utilized for this documentary.  id given this film a hard pass unless one is exceedingly interested in the subject of FLYING Vs to the extent that they could stomach one EVISCERATING the topic. 

​dont say you werent forewarned.

in an effort to maintain relevancy in a marketplace that had long looked at their celebrated guitars as INACCESSIBLE showpieces for the wealthy rather than working musicians, GIBSON BRANDS initiated a multi-prong charm offensive through its YOUTUBE channel with various video series such as THE COLLECTION (linked HERE), ICONS (linked HERE) and THE SONGBOOK (linked HERE) that sought to reconnect the storied brand to their core audience.  this was especially need in the wake of the ILL-CONCEIVED and staggeringly DEVASTATING 2019 misfire that was the PLAY AUTHENTIC campaign which came off both PATRONIZING and knuckle-draggingly BOORISH that alienated musicians from the brand.

THE SCENE is another MARK AGNESI-hosted video series on GIBSON's YOUTUBE channel that sought to connect the brand to various famous venues, guitar shops and even record stores that promote and support the musicians that utilize their wares.  my personal opinion is that i cannot get enough of the history and working knowledge of all three of those institutions, in any context.  so in that regard i am a complete pushover when it comes to this material.  i only major gripe is that fact that everything covered is only in NASHVILLE and LOS ANGELES, which feels more than a little SHORT-SIGHTED and MYOPIC in scope.  there is more than a valid argument for the inclusion of LOS ANGELES, but no offense to NASHVILLE, actually scratch that, all offense to NASHVILLE because the place is beyond OVERRATED.  the musicians, the industry, the music.  nothing of distinction emanates from that town, in fact, it is not even the most important "music city" in TENNESSEE, that distinction easily goes to MEMPHIS.  my guess is that these two locations were easy film in, but it seems very odd that historically prominent cultural incubators like NEW YORK CITY, DETROIT, NEW ORLEANS, CHICAGO, AUSTIN or even SEATTLE were not included in this series.  very curious indeed.

maybe they just never got around to it as the series seems to have flamed out two years ago.  my guess is that being comprehensive was never the point, more that GIBSON BRANDS was making the actual effort to share their spotlight and platforms with the greater economic ecosystem that supports the musicians that support them.  all these video series are meant as a means of conveying the message that they "get it" and are not the out-of-touch corporate ogre overlords that they positioned themselves as with the brand image-punishing PLAY AUTHENTIC campaign of a few years back.

i own a few GIBSON guitars.  i use them and cherish them on a near daily basis but my hope for their marketing is not for them to keep reminding me of their historical and cultural relevance, my wish is that theyd showcase current practical innovations that demonstrate how they are still a vital brand that is worthy of the lineage of past innovators like TED MCCARTY, WALTER FULLER, ALVINO REY, LES PAUL and SETH LOVER and further justify their status as an industry standard (along with FENDER and PAUL REED SMITH).  this marketing initiative to remind consumers about the legacy of the brand seems rather low-stakes and more-than-a-little PATRONIZING.  my sense is that the GIBSON line is a bit STALE with innovations nobody recognizes or wants (automatic tuning and blue sunburst paint jobs) and thus this effort towards legacy is the cry of a company that ran out of ideas.  maybe instead of suing their competition into oblivion, they should stop with these videos and maybe just work on making superior instruments that people want to purchase.  again, i love my standard SG and custom shop tv yellow LES PAUL JR.  i dont this low stakes window dressing of a marketing campaign to remind me of such.

my wish that the brand will expand and innovate and continue to make quality products.  or else i will move on and get my fill elsewhere from quality substitute instruments from other manufacturers like GUILD, ESP, YAMAHA, PAUL REED SMITH, JACKSON or even HERITAGE.  just sayin.

much like their ICONS (linked HERE), RIFF LORDS (linked HERE) and THE COLLECTION (linked HERE) series of videos on YOUTUBE, THE SONGBOOK is likewise another vehicle for GIBSON GUITARS to promote their product through linking such with the narratives of prominent recording artists.  except this time around is a more laidback setting with acoustic performances by the likes of AFI, CAVE IN, PETER HAYES (BACK REBEL MOTORCYCLE CLUB) and YUNGBLUD among numerous others that are meant to showcase song-craft.  

and i dont hate it. 

GIBSON has many storied acoustic models that go back to their origins as a mandolin manufacturer back at the turn of the 20th century.  the J200, DOVE, HUMMINGBIRD, L-00 and J45 are all eagerly sought after on the vintage market for their association with WOODY GUTHRIE (L-00), JOHN LENNON (J45), JIMMY PAGE (J200), TOM PETTY (DOVE), BOB DYLAN (DOVE, J45, J200), BRUCE SPRINGSTEEN (J45), THE EDGE (HUMMINGBIRD), EDDIE VEDDER (L-00), GEORGE HARRISON (J200), BILLY CORGAN (DOVE), BILLIE JOE ARMSTRONG (J45), KEITH RICHARDS (HUMMINGBIRD), DUANE ALLMAN (L-00), ALEX LIFESON (DOVE), and THE EVERLY BROTHERS (J200).  so it makes sense that they would attempt to associate with a more contemporary batch of artists.  seems only healthy and a much better vehicle for brand integration than their horribly ill-conceived "PLAYIN AUTHENTIC" campaign from a few years back.  jesus, that was a misstep.  thankfully GIBSON put themselves out of the way and let the artists add value to their product.

cant wait to see what series they cook up next.

much like the ICONS and THE COLLECTION series covered before, RIFF LORDS is another string of YOUTUBE videos promoted by GIBSON GUITARS under the GIBSON TV moniker that seeks to reestablish the brands bonafides with the guitar-playing public via celebrity musician endorsements after the disastrous "play authentic" campaign of 2019.

the hook regarding RIFF LORDS is that these famous guitarists are allotted an extended-period to not only go over their most notable riffs, but the PHILOSOPHY, THEORY and TECHNIQUE behind their composition.  noteworthy participants include that of BUZZ OSBOURNE (MELVINS), NICK HEXUM (311), JADE PUGET (AFI), BILLY HOWERDEL (A PERFECT CIRCLE), LER LALONDE (PRIMUS), MARK MORTON (LAMB OF GOD) and CLAUDIO SANCHEZ (COHEED & CAMBRIA).  this sort of territory has been mined for years by the likes publications like GUITAR WORLD and PREMIER GUITAR (not to mention online vendors like REVERB and SWEETWATER) for years, but the extended time and lack of an annoying an unnecessary interloctur makes this series of videos more immediate and engaging.

i play guitar so this hits me right in the sweet spot of seeing some of my favorite artists talk at length about their playing.  now if they could only get DAVE NAVARRO or JOHNNY MARR...  here's hoping.​

GIBSON GUITARS really did a DAMAGING and quite UNNECESSARY FACE-PLANT back in 2019 with their ILL-CONCEIVED, ultimately ABORTED and understandably MUCH-MALIGNED "PLAY AUTHENTIC" CAMPAIGN.

which was really a PITY because i had been watching their DIRECTOR OF BRAND EXPERIENCE MARK AGNESI since he was GENERAL MANAGER at NORM'S RARE GUITARS and hosted their INFLUENTIAL "GUITAR OF THE DAY" VIDEOS for their YOUTUBE CHANNEL in which he would deep dive into their BACKROOM ARCHIVE of VINTAGE GUITARS and elaborate in EXQUISITE DETAIL about their PRODUCTION, HISTORY and PLAYABILITY.  the dude knew his stuff and his APPRECIATION and PASSION for GUITARS was PALPABLE.  i was practically rooting for the DUDE when moved on to GIBSON.

which is why i think its a TERRIFIC PIVOT that GIBSON has him now doing these LONG-FORM VIDEOS where he similarly guides us through the ENVIABLE INSTRUMENT COLLECTIONS of FAMOUS MUSICIANS from RICK NIELSEN (CHEAP TRICK), MIKE CAMPBELL (TOM PETTY & THE HEARTBREAKERS), PAUL STANLEY (KISS), SLASH (GUNS N' ROSES, VELVET REVOLVER), and DWEEZIL ZAPPA (ZAPPA PLAYS ZAPPA), PETER FRAMPTON, BRAD WHITFORD (AEROSMITH) to KIETH NELSON (BUCKCHERRY), KIRK HAMMETT (METALLICA) and DAVE AMATO (REO SPEEDEWAGON).  its basically the same thing he did at NORM'S, even with the same batch of CHARACTERS.  in other words: its a match made in GUITAR NERD HEAVEN.  once i learned of this SERIES i have basically been mainlining them, IRRESPECTIVE of the ARTIST being interviewed.  bar none the COOLEST GUITAR shown was producer JOHN SHANKS' GIBSON ES-355 previously owned by JOHNNY MARR. 

'nough said there.

obviously the VAST MAJORITY of the PRODUCTS involved are GIBSON-related, but its also FUN to see when they veer off into other RIVAL MANUFACTURERS.  this gives me hope that GIBSON is getting off their HIGH HORSE a bit and acknowledging the fact that they are part of a GREATER COMMUNITY.  hopefully they take on their ROLE as ELDER STATESMAN and give back to the GUITAR-PLAYING COMMUNITY, because it looked BLEAK there for a while. 

REAL BLEAK.

this SERIES at least smells like they have their act together and were HUMBLED by their ATROCIOUS and entirely AVOIDABLE MARKETING MISTAKES over the last decade.

for the past couple months the legendary, and recently troubled, guitar manufacturer GIBSON has been publishing a series of long-form interviews on its YOUTUBE page.  in keeping with recent efforts by other leading manufacturers of musical products like ERNIE BALL and FENDER, GIBSON has used legacy artists to reconnect with their core, and often overlooked, HARD ROCK / METAL audience.

it is probably a smart move of having JERRY CANTRELL (ALICE IN CHAINS), KIRK HAMMETT (METALLICA), and TONY IOMMI (BLACK SABBATH) out front speaking about their careers then having GIBSON themselves selling themselves, especially given the company's recent heavy-handed and notoriously misguided PLAY AUTHENTIC debacle.  i also find it interesting that they chose these four players as three of them are well-known endorsees of other manufacturers, CANTRELL with G&L and HAMMETT with ESP, and DAVE MUSTAINE (MEGADETH) with just about everyone (JACKSON, ESP, DEAN and now GIBSON).  IOMMI of course is synonymous with the GIBSON SG model.  apparently last year CANTRELL became a brand ambassador, whatever that is, but then again live and in the studio he has been known to use LES PAULS.  HAMMETT likewise is famous for his use of LES PAULS as well as FLYING Vs, especially in METALLICA's early years.

whomever jumped on this trend at GIBSON of created thoughtful interviews and mini-documentaries on legendary players deserves kudos because these are great.  they have only released a handful but they are well worth investigating.