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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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Ain’t Nobody Gonna Knock This Name Off

03.23.2007

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This month one of Gibson’s most accomplished and dedicated luthiers, James “Hutch” Hutchins, celebrates 45 years at Gibson with a fond look back at a career that’s spanned two states, three changes of ownership, and thousands of lovely guitars. Hutch began his career in the original Kalamazoo, Michigan plant, making a name for himself there before transferring to Nashville in 1983. He’s worked every job from maintenance to pattern making with an unflinching attention to detail and an abiding pride in the Gibson name.
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Slash: The Making of a Modern Guitar Hero

Ted Drozdowski
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02.28.2007

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The most iconic guitarist of the past 20 years, Saul Hudson was only a boy when a family friend gave him his distinctive nickname, foreshadowing the single-name recognition that often comes with fame. He was a boy, too, when he got his first guitar—a Les Paul copy that spurred his lifelong affinity for the Gibson classic. And it was 1988 when Slash ordered the two Gibson Les Paul Standards that he would carry with him for years thereafter, most memorably on Guns N’ Roses’ tour to support Appetite for Destruction. Those were the guitars on which Slash mastered the guitar as few rockers have, and now 20 years later, he has teamed with Gibson to release a fleet of signature guitars: the Gibson USA Slash Signature Les Paul Standard, the Gibson Custom Inspired By Slash Les Paul Standard Vintage Original Spec, and the Epiphone Slash Signature Les Paul Standard Plus Top.
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Johnny Cash: It Takes One to Know Me

Ari Surdoval
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05.15.2006

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It was Sam Phillips who named him Johnny, while pressing the labels for the "Hey Porter b/w Cry Cry Cry" debut single on Sun Records in 1955. Phillips changed Cash's name without asking. He thought "Johnny" sounded younger, better for the Memphis teenagers who kept their ears pressed to transistor radios as if they were about to receive secret instructions. Phillips must have figured he had better do something. That low bass moan humming under the staccato guitar twang sounded anything but youthful. Haunted? Yes. Desperate? Yes. But not young--not the skipping, rockabilly bounce of Elvis careening through "That's All Right." This was something else entirely. "Soon your sugar daddies will all be gone / You'll wake up some cold day and find you're alone / You'll cry cry cry." It was the birth of the Man in Black, but not the man himself.
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