Vintage Guitar® magazine : Current Issue :

SUBSCRIPTION SERVICES

ONLINE READERS GALLERY

ADVERTISING WITH VG

HALL OF FAME

HOME

Current Issue

Issue Archive

FEATURES

BOB WOOTTON
“Boom-Chika” and the Man in Black
They’d never met, but minutes after Bob Wootton rolled up backstage in a pickup truck, Johnny Cash handed over his Martin saying, “Tune my guitar” before the two walked out to play “Wreck of the Old 97.” By Rich Kienzle

AMP-O-RAMA
The Park Lead 50
British guitarists of a certain age – and their clued-in Yank counterparts – swoon over visions of Park amps, whose name means “vintage Marshall,” but with a twist. By Dave Hunter

GIBSON L-10
Among Gibson’s high-end archtops, it has been overshadowed by the more revered L-5 and less expensive L-7. Still, it is noteworthy because it was the first step toward Gibson developing a full line of archtops in the ’30s. By George Gruhn and Walter Carter

GRANDDADDY TO THE STARS!
Ro-Pat-In’s First Electric Spanish
The story of George Beauchamp’s first successful electric guitar is shrouded in the mists of murky memory. But one critical element of the story recently became more clear. By Lynn Wheelwright and Walter Carter

ELECTRIFYING EARLY JAZZ
The Selmer Modèle Jazz and Stimer M.10 Amp
In the ’30s, the quest for volume was the Holy Grail of guitar construction. When Django Reinhardt began playing his revolutionary jazz, he played it on a revolutionary new jazz guitar. By Michael Dregni

BRAD GILLIS
Hard Rock, High Profile
From Rubicon to Ozzy to Night Ranger, he has made a living playing guitar since he was 19. Today, he’s busy as ever with Night Ranger, his own sound production studio, and hunting down collectible axes and amps! By Ward Meeker

CORT DRAGON ST0STAT
As spectacular as they may be, the PRS Dragon was not the first guitar to carry the name of a mythological beast. First were some Japanese models, then the Cort StoStat. And there is a fascinating story behind this beauty. By Michael Wright

BASS SPACE
Paul Reed Smith #11
Rick Kennell, bassist for ’70s prog-rockers Happy the Man, was one of the very first players to jump aboard the PRS bandwagon. He bought the seventh instrument by Smith, then acquired this one. By Willie G. Moseley

2344