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Punk Legend Cheetah Chrome Puts His Les Paul BFG Through the Paces

Ari Surdoval
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05.03.2007

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Rumor has it that the Dead Boys and Pere Ubu—the two bands that rose out of the smoldering ashes of Cleveland’s proto-punk cult heroes Rocket From the Tombs—were practically tame in comparison to the band that spawned them. Hard living, hard drinking, hard playing, Rocket From the Tombs survived for just 1974 and 1975, leaving behind no trace but for the songs that were reworked for Dead Boys and Pere Ubu albums.
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The Wild Ones: Black Rebel Motorcycle Club Rise Up with Electrifying New Album

Ellen Mallernee
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05.01.2007

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Black Rebel Motorcycle Club sound like they are from the other California. Not the sun-drenched land of good vibrations and little deuce coupes, but the dark, desperate underworld of Altamont and the Manson murders, of the Doors and X and the Gun Club. With ES-335s and open-tuned J-200s they create a tough and brooding sonic landscape that owes more to Joan Didion’s White Album than the Beatles’. BRMC bassist Robert Been and guitarist Peter Hayes, both singers, met innocently enough at their San Francisco high school. They copped their band name from the Marlon Brando rebel cult classic The Wild Ones, and recruited English transplant Nick Jago to pummel the drums during furious, adrenalized live sets. Over the last five years, Black Rebel Motorcycle Club have released four distinctly different albums, culminating with the upcoming, electrifying Baby 81, due out May 1.
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How Hard Times and 335s Shaped the Sound of VietNam

Jonathan Toubin
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04.23.2007

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While the children at the Mexican bakery in Brooklyn stare with curiosity at the rock ’n’ roll Rasputin hunched over the counter sipping coffee from a blue paper cup, the staff and locals greet Michael Gerner with warm hellos. The VietNam frontman smiles and speaks through his (Rick) Rubenesque beard in a humble, down-to-earth tone,giving no hint that he is a rock star in the making, currently on the cover of Fader, and featured in Rolling Stone. Slowly and deliberately, but with bemused enthusiasm, he discusses the band’s long and winding tour of duty.
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Royal Blues: New York's Earl Greyhound Revitalize Hard Rock

Ellen Mallernee
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04.23.2007

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“Who wouldn’t want to be compared to Led Zeppelin?” asks Matt Whyte, guitarist and primary songwriter for Earl Greyhound, Brooklyn's newly minted purveyors of blistering blues-rock. “It’s flattering without a doubt, and it’s not like it’s putting us in a position where it’s going to affect the music we make.” Earl Greyhound’s rough-and-tumble, Zeppelin-reminiscent cuts, the stuff of last year’s Soft Targets, have propelled the trio out of New York’s hipster metropolis and into headlining slots at rock clubs across the U.S. Within the space of 11 songs, Earl Greyhound recharge the sweat and grit of ’70s rock with galloping drum beats, chugging guitars, and hypnotic keyboard lines, made arresting with brooding refrains and the keen, hymn-like harmonizing of Whyte and bassist Kamara Thomas.
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Grand Mal Frontman Bill Whitten Sits Down with the Legendary Ian Hunter

Bill Whitten
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04.23.2007

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When former Mott the Hoople frontman Ian Hunter’s excellent new album Shrunken Heads landed on the Gibson Backstage Pass desk, we picked up the phone and called Bill Whitten and let him know how great it is. Whitten, the driving force behind Grand Mal—hands-down one of the best bands in New York City, by a New York mile—was the obvious choice to talk to Hunter.
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Gibson Salutes Joe Perry

Jonathan Toubin
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04.23.2007

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Though well-regarded for his solo work, Joe Perry will go down in history as the lead guitarist for the mighty Aerosmith.
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Sister Rosetta Tharpe: The Untold Story

04.23.2007

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The time: the early 1960s. The place: a television studio. The occasion: the taping of TVGospel Time, a national program, before a live audience. A modestly dressed middle-aged woman takes the stage, launching into an improvised rendition of “Up Above My Head,” a church standard, accompanying herself on electric guitar. Behind her the white-robed mem- bers of a full gospel choir clap their hands in time to the music.
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Gibson Goes to South by Southwest festival

Jonathan Toubin
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04.23.2007

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The 21st annual South by Southwest festival recently transformed the muggy spring streets of Austin, Texas into a heaving labyrinth of immaculate Japanese mods, haggard Australian cowboys, flamboyant Laurel Canyon hippies, bratty Memphis punks, rootsy Chicago proletarians, shaggy New York avant-garde-ists, white-shoed French rockers, Blackberry-toting industry types, drunk unshaven rock critics, and everything in between.
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Gibson Goes to The Roots

Ellen Mallernee
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04.23.2007

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Vanderbilt’s old, ivy-covered campus took a friendly beating over the weekend when Philly’s resident hip-hop megastars the Roots came to town. Surrounded on all sides by stately dormitories, the annual Rites of Spring music festival cranked beneath the shade of Vandy’s ancient trees, and soon hundreds of beer cans were embedded into the stampeded Alumni Lawn. It was BYOB, after all, and coolers were carted in by the hundreds, as some 10,000 concert-goers poured into the gates Friday and Saturday nights to witness the Roots, and fellow Gibson artists Wolfmother, Drive-By Truckers, Amos Lee, and Mat Kearney. Held on the Vandy campus for more than 30 years now, Rites of Spring has distinguished itself by showcasing an ever-eclectic and exciting lineup. This year was no different.
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The Silos Forge Distinctive Style with Collection of Gibsons and Epiphones

Ellen Mallernee
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04.23.2007

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Walter Salas-Humara sits on the edge of the bed in his Atlanta hotel room toweling dry his dark hair. Though it’s mid-afternoon, the freshly showered Silos frontman admits he’s still a bit bleary following another stop on the Silos’ U.S. tour to promote Come On Like the Fast Lane, their tenth album.
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