These aren’t simple items: powerful telescopes, metal-bodied resonator guitars, mandolins or ukuleles. Then there’s the purely whimsical; cutting the roof off an old Chrysler Royal to create his own convertible, welding a barbecue into the shape of a bull. Everything is distinctive, amusing, and above all else, they work.

“I never understood people’s lack of curiosity about how things worked,” says 53-year-old Don with a disbelieving shake of his head. “I was the kid who was always pulling apart a toy racing car to look at its mechanism and then having a hell of a time trying to put it back together.”

He picked up this sense of curiosity from his father, a maintenance fitter who was a dedicated shed man and used to tinker in his spare time.

“He made one of the first portable arc welders from an old South Australian Electricity Trust transformer. It was so big and powerful that it used to drain all the available power from the neighbourhood, so ETSA came and told him that he couldn’t use it after 5pm,” recalls Don. “He made a chook shed out of steel; everything was big and solid and made to last. I think I’ve picked up that legacy.”

Not surprisingly, when Don recently moved to a house in Summertown in the Adelaide Hills in South Australia, establishing a new shed as a functioning workshop was his first priority. And in this humble backyard abode, Don has created an industry that has become the talk of the music world – Donmo Guitars.

At a pair of spacious workbenches, and with a modest array of tools, he makes about 40 Donmo guitars, mandolins and ukeleles each year – mostly to United States buyers, sometimes elsewhere in Australia, but rarely in Adelaide, where he hails from.

“They’re not cheap – everything is hand made – so I think people here don’t believe that a guitar made locally can be worth a price tag of $2500. It’s funny though; Americans don’t have the same problem.”

The distinctive musical character of Donmo instruments – an acoustic instrument with its own built-in amplification from a resonating aluminium foil cone – is their incredible volume. “Like my personality, I suppose,” offers Don with a grimace.

There’s no reason for him to cringe: since the mid-1980s, Don has been one of Adelaide’s most loved rock’n’roll performers, firstly in raw blues band The Sensational Bodgies playing beside his younger brothers Geoff and Brian. It has continued through countless ensembles – including the notorious Hillbilly Hoot radio program on public radio station threeD that has spawned a hit independent feature movie and CD – and solo recordings.

It was this love of performing – particularly with acoustic instruments – that led Don to build his first guitar in 1998. It’s still what drives him now, to work about 35 hours a week alone in the shed crafting his distinctive instruments.

“That’s about as much as I want to do. I can only put up with myself in this shed for so long,” says Don. “I wouldn’t say that building them is my absolute passion, but it sure has me playing more music than I ever have before, and it sure beats being in an office.”

Incredibly, for several decades all this frantic shed activity was happening while Don held down a job in the Australian tax office. “That was like purgatory, and all the guys in there had these incredible hobbies they would devote themselves to. You just had to have a life outside of that office.”

For Don, that manifested itself in many ways, from performing music to racing motorbikes. And in the shed, it led him to build the largest refractor telescope in the southern hemisphere that remains in private hands. “Dad was interested in astronomy, and I picked up on that too,” he explains.

“A guy taught me that I could grind glass to make lenses, so then I realised I could make my own telescopes. I kept fiddling with different designs to make them more powerful. And then I built the big one – I had to grind four perfect optical surfaces – and that was the end of it. I’d had enough by that stage. I’ve spent my shed time making guitars instead.”

The guitars he builds are largely the type of instrument Don feels comfortable playing himself. Some customers are surprised to learn they have been road tested by Don on busking outings – most famously in the Adelaide Central Market with Prawnhead, the acoustic trio he fronts with his sons Eddie, 24, and Jake, 20 (the name came from the fact they performed outside Cappo Brothers fishmongers).

“I want to know that the guitars work as they should; you gotta be able to hear them,” Don says. “I still find it amusing that people call these custom-made musical instruments. I certainly can’t meet people’s specific requirements of how they want the instrument. There are no exact, precise measurements; I go by feel. I make what I believe is a good guitar.”

The building process started from pure trial and error; the first guitar body was cut from an old Volvo car door and proved too heavy for any guitarist to carry. Opting for lighter steel, he kept making more bodies, and deemed the third effort good enough to string and play. It sits in the shed now as a reminder of how things started, still too damn heavy for any guitarist to use in performances.

“I used to lie awake at night thinking of how I could do it properly,” says Don. “There were no books, no plans to follow, not even pictures of the original American steel guitars. I had to figure it out for myself. I actually used to thumb through old Classic Bike motorcycle magazines to get tips on how to fabricate metalwork.”

Several years ago, in his quest to keep making lighter guitar bodies, Don thought of using galvanized iron as a body fabric, then used a vinegar and peroxide finish to create The Rustbucket – a distressed metal finish that is coated with lacquer, and has become the toast of guitar collectors internationally for its “vintage” look. It’s the style that now attracts the most orders that come to Don through his Internet site.

Don has kept two Donmo resonator guitars for his own use. He pulls up his favourite – a galvo guitar, made from the shed he pulled down to create his new workshop, with a jarrah fretboard fashioned from floorboards pulled up in the kitchen of neighbour that live next door to his mother. He slips an old car sparkplug socket over his finger to use as a metal slide and starts playing some dusty ol’ blues.

“There’s a story behind every guitar that I make, and that’s why there’s a market for them,” Don explains. “There’s a million shiny metal guitars being churned out in Korea now – all very nice, but there ain’t nuthin’ quite like this.”

Photo Credits

“DonMo CEO” Photo by Thomas Wielecki

“Red Guitar” Photo by Thomas Wielicki

“Donmo Guitar” Courtesy of Donmo Guitars

“Prawnhead” Photo by Mia

“Rustbucket Guitar” Photo by Andy Rasheed

“We are capable of creating miracles ourselves, and the greatest miracle is to create a masterpiece of joy out of your life with no excuses.”

Carlos Santana is one of the few guitarists whose sound is instantly identifiable, even after just a single note.

From Tijuana to San Francisco, from playing guitar in venues with dirt floors to some of the finest stages in the world, Santana has lived a life of extremes that have drawn him down a deep spiritual path that helped him to balance the dark and light. Forever a student of his own musical heroes, Santana’s graciousness  pours forth in his music and his efforts toward creating global change through the power of positive thought.

Music Maker in Mexico

Born in Autlán de Navarro, Mexico, Santana initially followed in the footsteps of his musical father, a mariachi violinist. In fact, Santana’s first memory is of the joy his father’s music brought to local people. By age five, Santana began learning the violin.

New-found hope was in the air as the Santana family moved north to the border town of Tijuana. There, at age eight,  Santana began playing guitar by learning Mexican folk songs. But the harsh reality of poverty meant he also sold Chiclets gum on the streets.

Eventually, he began playing with his father in various clubs around Tijuana, in some of the dirtiest, most undesirable music venues in town. By his early teens, Santana had landed a gig playing in a local strip bar. He played for nine dollars a day, working from late afternoon until early the following morning, a child working in an adult world to help support his family.

American Dreams

Santana’s hard earned money helped finance his family’s move to San Francisco in the early 60s while he remained behind in Tijuana. After a year apart, his mother and older brother made the trip back to Tijuana for him. They returned with him to San Francisco’s Latin district where the family had a small home, and the seven siblings shared two rooms.

In the US, prospects of junior high school did not bode well for Santana. He had become accustomed to life in the clubs, enjoying the freedom of making money and spending time with adults. Although he did attend high school, Santana’s true education would come from exposure to many of his favorite musicians.

San Francisco was the ideal place for Santana to immerse himself in the multicultural arts and music scene. Through the mid to late 60s, he saw some of the most influential musical acts in rock history, including BB King, John Lee Hooker, Jimi Hendrix, Cream, and The Doors. He finished high school amidst the height of the civil rights movement.

There’s no doubt that the move from Tijuana to San Francisco provided the fertile environment for his musical gift to fully take form. He found himself surrounded by musical minds, which as many musicians know, can be extremely motivational, leading to collaboration, creation and performance.

The rich cultural exposure offered by San Francisco planted the seeds of Santana’s lifelong love of music and exploration of the human spirit. Santana refers to San Francisco as “the Atlantis of today” and lives in the Bay Area region in the city of San Rafael.

Soul Sacrifice

To make ends meet, Santana worked at a local diner, waiting tables and washing dishes. A chance visit from some customers of note who showed up in a limo was the tipping point for Santana. Those customers were the The Grateful Dead and the encounter fueled Santana’s choice to become a full-time musician, and put his heart and focus into the formation and rise of The Santana Blues Band.

By his early 20s, Santana had already etched into history his signature sound of Afro-Latin influenced blues rock.

“You have to learn how to tell a story,” he says. “You have to learn to carry a melody. You have to learn to access the intangible at will. These things will make you a different kind of musician.”

The June 1968 debut of Santana at The Fillmore West was pivotal. The band’s stellar performance and unique sound led to Santana’s historic inclusion at Woodstock in 1969.

One month later, the band, which became known simply as Santana, released its self-titled debut record, followed one year later by the 1970 release of Abraxsas. Widely considered as Santana’s greatest effort, Abraxas brought the band to a new level of success, solidifying the soulfully unique and versatile guitar sound of Carlos Santana.

Spirituality and Jazz

The 70s were an experimental period for Santana in several areas of his life. As he progressed on his musical journey, he received inspiration from jazz greats such as Miles Davis and John Coltrane. He also collaborated on an album called Love, Devotion, Surrender with guitar great John McLaughlin.

Santana discovered an interest in Eastern mysticism and philosophy, eventually studying with Guru Sri Chinmoy. Although Santana found himself opened spiritually, his music began to suffer because of it. At the same time, although Santana managed to sustain his career through loyal fan support and touring, the rapid success of the early albums led the band to deteriorate.

The intensely strict lifestyle imposed on Santana by the teachings of Sri Chinmoy led to his departure from the guru in the early 80s. As it did for many artists, the 80s for Santana proved to be an uninspiring period. Disillusioned by the death of friend Miles Davis, and by Stevie Ray Vaughn’s death in the early 90s, Santana became increasingly frustrated.

Supernatural Salvation

The 90s brought Santana full circle in certain respects — issues surrounding his past and his difficult childhood in Tijuana began to surface.

“You have to, like a snake, shed skin,” says Santana. “The skin is guilt, shame, judgment, condemnation, fear. That’s the skin. The new skin is beauty, elegance, excellence, grace, dignity.”

Through Santana’s spiritual trials and tribulations, his inner voice and will pushed him to record his 1999 release, Supernatural. This concept album transpired through the work of Santana and legendary producer Clive Davis at Columbia Records. Since its release, Supernatural has gone on to sell over 25 million albums worldwide. It won nine Grammy Awards, including Album of the Year and Record of the Year. As further testament to his talent, Santana was named by Rolling Stone magazine as #15 on its list of the 100 Greatest Guitarists of All Time in 2003.

Architects Of A New Dawn

In 1998, Santana and his wife Deborah (they were divorced in 2007 after 34 years together) launched the nonprofit group The Milagro Foundation as an effort “to support underserved children and youth in the areas of arts, education and health.” Appropriately, milagro means “miracle.”

Recently, Santana formed the media company Architects Of A New Dawn to create a place where positive media can exist.

“It’s the most important thing that you can do on this planet, to elevate, transform and illumine your own consciousness,” Santana says of his philanthropic efforts, which he pursues in hopes of creating global change through inspiration, creativity, love and forgiveness.

Universal Tone

Santana is currently finishing a new album due to be released this summer.  He is also beginning the Universal Tone Tour in June 2010 with opening act Steve Winwood.

Recommended Recordings

To experience some of Carlos Santana’s music, seek out and have a listen to these select tracks which are standouts in an extraordinary career. These songs are an excellent starting point for new listeners and a glimpse of his large body of work. Below this list, you will find two excellent videos for your viewing pleasure. Enjoy!

“Black Magic Woman/Gypsy Queen” on Abraxas

“Samba Pa Ti” on Abraxas

“Oye Como Va” on Abraxas

“Evil Ways” on Santana

“Jingo” on Santana

Santana On Video

<a href="http://www.youtube.com/watch?v=8JryQXilMj4

<a href="http://www.youtube.com/watch?v=TEMz2WUmnig"

Additional Reading

Visit the Carlos Santana Web Site

More on Carlos Santana From Wikipedia

Architects Of A New Dawn

What Do You Think?

Please feel free to comment and share your thoughts on the music of Carlos Santana. What are some of your favorite songs or albums? How have they affected you? If you have seen Santana in concert, please share some of your comments about the shows.

Photo Credits

Wikimedia Commons

Stoned59 @ flickr.com

eyeofeinstein @ flickr.com

globalcitizenexperiment @ flickr.com

It was a long road that led me there. My desire to play the guitar started when I was 14 and in love. I worked at a summer camp in the kitchen, chopping vegetables and scrubbing pots. He was the head counsellor. Cute. Popular. Eighteen. Every evening he’d lead 50 kids in sing-a-long songs, strumming his guitar like a rock god, all the female counsellors swooning in their seats. I had no chance.

But that has never stopped a girl from dreaming. I went home and liberated my dad’s guitar from my parent’s closet, determined to impress the pants off my super crush the following summer.

Let’s just say that didn’t happen. The whole “practicing” thing didn’t really jive with my budding grade nine social life. That and the whole “never seeing him again” thing (I think maybe his name was Aaron?). But I thought the guitar case looked cool and kept it in my room.

Four years later the guitar moved with me into my first apartment, and I decided it was finally time to learn how to play it. So I found a music teacher and once a week me and my guitar would board a bus to downtown. We’d climb the stairs to a small studio above an antique shop, and sit quietly while Patrick droned on and on about numerology.

Seriously. This guy was crazy. He was obsessed about the numeric values of music, and was writing a book about all the hidden numbers in the Bible. The first few seconds of my weekly lesson would be spent with me taking my guitar out of its case, and the remaining 29+ minutes were all him telling me about his latest revelations.

I’d sit there quietly and listen. Then I’d pay him and leave. This arrangement actually sort of worked for me. You see, I had discovered something quite annoying about myself.

I’m terrified of trying new things.

Once I left high school I was plagued with this feeling that anything I might want to learn I should already know how to do. Things like playing an instrument, or drawing, or swimming, or applying makeup so I don’t look like a drunk circus performer.

In that awkward transition from adolescent to adult I thought I was done learning things. That there was something pathetic and laughable about an 18-year-old girl stumbling over simple chords on a guitar. Better not to try at all.

Even though I was afraid to play in front of people who were already really good (otherwise known as “teachers”), I continued to want to play. And so I lugged that stupid guitar everywhere.

It traveled across North America with me in the back on my Honda Civic during a four month road trip. It flew to Halifax and lived with me there for two years. Then we hitched a ride back west in my sister’s car. Over the last 12 years it’s lived in more apartments than I can count. I don’t even really see it any more. It’s just one more thing that doesn’t get dusted.

Yes, I’m aware that this fear of trying things is ridiculous. It’s a pretty basic concept to have someone who knows something teach it to someone who doesn’t, and that the person who is learning (me) won’t be very good to start. I can’t help it. It’s some sort of genetic disorder (thanks a lot, MOM and DAD!). I can argue with myself for hours, list all the reasons I’m being stupid, agree with myself, and decide to stop it. And then I’ll sign up for something new and spend a week feeling nauseous and not sleeping.

Fortunately,  I have learned that the icky feeling passes. I know that if I can get through the beginning — the first lesson or attempt at whatever it is that scares me — the sickness goes away and I have a lot of fun. So even though I’m a big old chicken, I still do a lot of cool new stuff. I just say yes right away without thinking, and then spend some time hating myself and trying not to vomit. Healthy, right?

This method has seen me through several new jobs, crazy travel plans, a few awkward dates, and more recently, lessons. In the last year I’ve finally forced myself through swimming lessons, a beginners drawing class, and some make up tips from the lovely girls at Mac.

My last hurdle? The guitar.

I was reading fellow Life As A Human writer Chris Finch‘s bio, and noticed that he teaches guitar. Before I had the chance to talk myself out of it, I emailed him. Which brings us to the beginning of this post, where I’m standing in fear outside of the music school, hating myself with a violent passion and wondering if it’s too late to back out. I could get back in my van, call the school and pretend I’m not sitting outside like a stalker.

I swallowed. I breathed. I opened the door.

Since then I’ve been having fun with my homework — trying to play the three chords of Tom Petty’s Free Fallin’ without producing a horrible buzzing noise from the strings. I’m not exactly a rock hero yet, but it’s a start. And who knows? If I do run into Aaron (or whatever his name is) one day, I may still have my chance to impress the heck out of him.

Is there anything you’ve always wanted to do but have been afraid to try? Trust me, as one totally shy wuss to another, it’s worth forcing your way through it.

You may even like, grow. As a person. You know, gain character. Or something.

Photo Credits

guitar_attempt1 © bb_matt @ Flickr. Some Rights Reserved.

While My Guitar Gently Weeps © Simone13 @ Flickr. Some Rights Reserved.

While all of those things were very cool, what is forever etched in my mind is meeting David Wish, an inspired man who cared enough to make a difference.

At the 2002 NAMM show in Anaheim, I was walking the halls of the second floor looking for companies that might have a need for our fiber-optic based touch pads.

As I was walking past one of the smaller booths, an energetic and cheerful man wearing a huge red and white top hat approached me. His simple booth had a round logo with the slogan Little Kids Rock.

As this was a product show, I imagined they must have been selling some kind of software or books aimed at the younger market. I stopped and asked him what his company did. Smiling broadly, he invited me into his humble booth, introduced himself and began to tell me all about his organization and its vision to provide the students of under-served schools with free musical instruments and instruction. Afterwards, David asked if I would pose for a photograph with himself and Jon E. Gee who plays bass with John Mellencamp. Of course, I said yes!

Little Kids Rock began in In 1996 when David, then an elementary school teacher, grew frustrated with his school’s lack of funding for music education. He decided to take it upon himself to ensure his kids got a chance to explore music, so he began offering an after-school guitar class to interested students. The classes became wildly popular. As more kids sought to enroll, he decided to take the program national.

In 2002, with initial support from musical luminaries BB King and John Lee Hooker, Little Kids Rock was born. What began as an informal project led by one school teacher and a handful of volunteers has since evolved into a nationally recognized not-for-profit organization that, according to a recent email from David, will reach 50,000 low income kids this year.

I have only met David Wish once. Since then, I have spoken to him once on the phone and we have exchanged eight or nine emails. While I do not know him very well, what I do know is that this is a man filled with purpose, light and love. He is responsive, and always demonstrates a humble heart. Not once have I heard him say, “I did this.” Rather, it’s always about Little Kids Rock and recognizing the efforts and contributions of others.

Little Kids Rock is the realization of a vision with an outward focus to help, and bring joy into the lives of those who so desperately need it. The organization believes that learning to play a musical instrument can transform kids’ lives, and inspire the creativity and confidence that are critical to success — not only in school but in life.

I agree with them! I salute their accomplishments and I salute David Wish for his perseverance and his dedication to a most noble endeavor.

David, what you and Little Kids Rock have accomplished is truly inspirational. I cannot even begin to imagine the many challenges and hardships you and your team have faced in the pursuit of your vision. From my heart to you and your amazing team — thank you for what you have done. Best wishes to you all as you move forward with Little Kids Rock!

___

This article was first published on July  11, 2009 at synaptici.com. Since then, Little Kids Rock have made some great strides forward. On December 7th, 2009, the Dr. Phil Foundation launched Little Kids Rock Across America with a $500,000 donation designed to restore, revitalize and enhance musical programs in schools in 10 cities across the country. David made an appearance on Dr. Phil’s show.

David recently told me that “Little Kids Rock are indeed now reaching over 50,000 kids, a huge milestone for us! The sad thing is that music programs are all under the knife of the budget cutters now in what seems to be the worst time for music education in our nation’s history. Little Kids Rock is bucking the trend by expanding our services and we anticipate reaching an additional 15,000 – 20,000 kids by the end of this school year. That will be awesome!”

Little Kids Rock continues to receive support from many mainstream musicians. You can read their news index here.

The Dr. Phil Foundation – “Little Kids Rock Across America”  – $500,000 donation

Photo Credits

All Photos © Little Kids Rock

And since you already know about Chuck Berry, Jimi Hendrix, Eric Clapton, Jimmy Page, and other famous and undeniable players, I thought I’d focus on 16 of the lesser known (by the general pop-music listening populace that is) players that have enriched the musical landscape widely, uniquely, or both.

Here they are, in no particular order.

1. Memphis Minnie

One of the first blues musicians to take up the electric guitar and use it regularly on her long recording career, Memphis Minnie (born Lizzy Douglas in 1897), was an early pioneer who brought the blues out of a rural, acoustic setting and into an electric, urban one much to the edification of people like Muddy Waters and Howlin’ Wolf, and laterally nearly every rock player currently plugging in. In 1929, she recorded what is probably her most celebrated song “When the Levee Breaks”, recorded and made even more famous by Led Zeppelin in 1971.

Recommended listening: “When the Levee Breaks”

2. Wes Montgomery

A late bloomer to the guitar, learning the instrument at the advanced age of 20, Wes Montgomery soon became a giant in the field of jazz guitar, for all time. His claim to fame, besides his supernatural improvisational abilities, was his unique playing style, using his thumb and eschewing a guitar pick, a practice leftover from the evenings of late night practices without wanting to disturb his sleeping family. The effect is much like the flight of a bumblebee — seemingly impossible, and yet highly efficient.

Recommended listening: “Impressions“

3. Wanda Jackson

The undisputed Queen of Rockabilly, Wanda Jackson is to Oklahoma City to what Elvis is to Memphis. In fact, the two were a brief romantic item in the mid-50s, recording some of the same songs, including “Hard-Headed Woman” and “Let’s Have a Party”. Wanda’s approach comes out of country music traditions, with the grit of R&B mixed right in. She’s an active performer today, still keeping the flame of proto-rock ‘n’ roll and rockabilly alive.

Recommended Listening: “Money Honey“

4. Link Wray

A largely uncelebrated figure to many, Link Wray was a key player in the development of instrumental rock. Link Wray and the Ray Men can be credited for the early use of distortion, and perhaps more famously, the earliest use of the power chord. His 1958 instrumental hit “Rumble” looms large , with a clear influence on surf-rock bands into the 60s, and in more recent times on soundtracks — including that of the movie Pulp Fiction.

Recommended listening: “Rumble“

5. Les Paul

A musician, and inventor, Les Paul’s name is borne on the guitar he invented, and the first solid body guitar in the world; the Gibson Les Paul. In addition to this, he invented the studio of multitrack recording, something we take for granted today. He took his own jazz influenced country-pop guitar licks, and created the first overdubs, filling out the sound in an unprecedented manner for the time. Along with a choir of overdubbed harmonies from then-wife Mary Ford, he managed to be innovative and have hits. His importance to the guitar, and to modern recording cannot be underestimated.

Recommended Listening: “The World is Waiting For A Sunrise“

6. Albert King

Albert King was a singular figure in blues and soul playing. A left-handed player, King learned to play the guitar upside down on right-handed guitars, with the low E-string on the bottom, and all of his chord-shapes inverted. Further, King employed open tunings, that made his approach to the instrument a singular one. Among the many players he influenced, the most high profile may be Stevie Ray Vaughn, with whom he duetted in the early 80s.

Recommended Listening: “Born Under A Bad Sign“

7. Steve Cropper

If you’re a fan of 60s soul music, chances are you’ve heard Steve Cropper play. He was a key member of the Stax/Voltz family, and the guitar-slinger in Booker T. & The MGS, the label’s house band who backed soul greats Otis Redding, Sam, Dave, and Wilson Pickett, among many others. His playing is razor sharp, making any song he plays on exceptional, and epitomizing the “Memphis guitar” sound. Cropper is the co-writer on a tune you may have heard: “(Sitting on the) Dock of the Bay”.

Recommended listening: “Green Onions“

8. Jerry Reed

Jerry Reed’s  playing was unorthodox, confounding early attempts at formal training, with keen abilities on the instrument that made him a standout during the development of the cosmopolitan country sound. His trademark use of a nylon-stringed guitar can be heard on his 1967 hit “Guitar Man”, later recorded by Elvis Presley. When the King needed the “Jerry Reed sound” on his version, Jerry Reed submitted that the best way to get it was to have Jerry Reed play on the track. He did, and he was right.

Recommended listening: “Guitar Man“

9. James Burton

A master of the Fender Telecaster, and yet another Elvis Presley sideman, James Burton brought something of the swamp into his playing, thanks to his Louisiana upbringing. Burton backed Elvis on his early comeback period in Las Vegas, along with later stints with Emmylou Harris’ ‘Hot Band’, among with many other appearances. Never has rockabilly and country sounded so funky as when James Burton was playing it.

Recommended Listening: “Mystery Train“

10. Richard Thompson

A national treasure in his native Britain, and a founding father in late 60s British folk-rock starting with his time in Fairport Convention, Richard Thompson’s skill with the guitar is only rivaled by his abilities as a songwriter. Thompson forged an impressive career even after leaving the Fairports, creating classic albums with his then-wife Linda Thompson (neé Peters), and as a solo artist up until the present.

Recommended Listening: “1952 Vincent Black Lightning“

11. Peter Green

Former John Mayall Bluesbreakers lead guitarist, and founder/leader of Fleetwood Mac by the end of the 60s, Peter Green is an electric blues innovator, adding psychedelic flourishes, and pure rock muscle into the mix before his departure from the band by the early 70s. Among his many admirers, Eric Clapton, Carlos Santana (who recorded Green’s “Black Magic Woman”), and Jimmy Page have all acknowledged his skills with a guitar, known for a distinctive style in its use of vibrato and sustain before these techniques were widely used.

Recommended listening: “The Supernatural“

12. Michael Bloomfield

Bob Dylan, who hired him in 1965 to play on Highway 61 Revisited, called Michael Bloomfield “the best guitar player I’d ever heard”, and he was not alone in that opinion. Bloomfield grew up in Chicago and learning his craft at the feet of his heroes in sweaty, crowded blues clubs along with his compatriot and musical partner, blues-harp master Paul Butterfield. Bloomfield’s flammable licks with Paul Butterfield Blues band revitalized the American blues scene, and his work on Dylan’s “Like A Rolling Stone” alone makes him a legend.

Recommended listening:  “Born in Chicago“

13. Steve Hackett

When Steve Hackett joined Genesis in 1971, he added important texture to the complicated, yet lyrical, progressive rock the band was known for. And in terms of technique, he introduced important innovation to the guitar. The tapping technique he used in pieces like “The Musical Box” and “Supper’s Ready” while with Genesis were later employed and more widely popularized by Eddie Van Halen. His solo career continued to bridge the gaps between rock, folk, and classical guitar playing.

Recommended Listening: “Horizons“

14. Alison Robertson (AKA ‘Donna R’)

When it comes to amalgamating the attack of punk rock and the muscle of blues-rock and heavy metal, Alison Robertson of the Donnas (and billed as Donna R) is a skillful alchemist. Taking cues from both the Ramones, and from Angus &  Malcolm Young, Robertson’s ability to build riffs around which to construct extremely hook-laden pop songs in a rock vein makes her an indispensable element to her band. And a further ability to do this without getting in the way of the songs is also an important, and undeniable example to all rock players.

Recommended listening: “It Takes One To Know One“

15. Bonnie Raitt

Although she’s pretty well known for her radio hits, not many people realize what a dexterous, lyrical, and versatile a guitar player she is. Easily integrating the blues, country, and pop, Raitt’s signature slide guitar is like a second voice to her lead vocal. But, her intuition with the subtleties of the blues  as well as its living spirit is a true standout skill. This is an influence she’s passed on to newer players in the same vein.

Recommended listening: “Sugar Mama“

16. Charlie Hunter

The Charlie Hunter Trio  is comprised of guitar, sax, a drummer — and no bassist — exploring jazz, psychedelic rock, and everything in between. But doing without a bass player is easy when you can play guitar and bass parts yourself. In Charlie Hunter’s case, his eight-stringed guitar gets him there quite ably, with his own almost supernatural ability with balancing melody and countermelody.

Recommended listening:  “Come As You Are“

There are so many other names I could have talked about here, so many unsung heroes and heroines — David Rhodes, Andy Summers, Curtis Mayfield, Ollie Halsall, Robbie Robertson, Bruce Cockburn, Susan Tedeschi, Marc Ribot are also among my personal favourites. What are some of yours? Who should have made this list? Tell me all about it in the comments section, good people!

Photo Credits

“Memphis Minnie” Source Unknown

“Electric Guitar” Jsome1 @ flickr.com. Creative Commons. Some Rights Reserved.

“Link Wray” by Anthony Pepitone

“Albert King” Wikipedia

“James Burton by Scott Dudelson” Wikipedia

“Steve Hackett” Wikipedia

“Bonnie Raitt” Wikipedia

“The high harmonics on the Fender Stratocaster have this otherworldly sound. A Fender guitar with a Fender amp is a marvelous thing. And it’s also a marvelous thing with a Marshall amp, they both bring out different qualities.”

Regarded as one the most innovative guitarists in rock history, Jeff Beck is the highly revered pioneer of instrumental rock, known for his emotive approach and free form. Beck has achieved legendary status while mostly remaining out of the media spotlight. With most artists tirelessly promoting themselves throughout their entire careers, Beck’s approach is largely unorthodox by rock and roll standards.

Beck has provided me with immense inspiration as a guitarist. His exceptional gift introduced me to channeling melody and soul through the modern sonic capabilities of wire and wood.

London Fog

Born on June 24, 1944, Beck grew up in Wallington, England, a suburb of London. As a child, he was surrounded by music through his parent’s eclectic record collection. Initially he sang in a choir, but as he grew into his teens and heard jazz and rock and roll on the radio, he began playing guitar.

After a short stint at Wimbledon’s College of Art in London, Beck fully committed to pursuing music. Soon he was playing throughout London, eventually landing gigs as a session musician. However, it was a chance introduction from Beck’s sister to the young Jimmy Page that proved pivotal in the progression of Beck’s career.

Clapton, Beck and Page in the Yardbirds

During the mid 60s, as Page and Beck were working as session musicians, Page received an offer to replace Eric Clapton on lead guitar in the psychedelic R&B band The Yardbirds. However, Page decided to continue earning a steady income as a session player so it was Beck who would replace Clapton.

“No one has ever equaled what Jeff has done,” says Page, who would later play in The Yardbirds on bass. Eventually he shifted back to the guitar, sharing twin leads with Beck.

These legendary guitarists each had their own time in The Yardbirds, and the band, in turn, provided them with an opportunity to experiment, improvise, and learn.

For Page, much of this improvisation became the foundation of the mighty Led Zeppelin. Clapton went on to join John Mayall and the Bluesbreakers, eventually forming Cream, then reaching even greater heights as a solo artist.

“I could see they were getting, with Jeff, at something beyond what I was capable of. His thing was so advanced,”  says Clapton.

Beck would only record one album with The Yardbirds  — Roger the Engineer —before exiting the band. His time in The Yardbirds allowed him to establish many connections in the London scene. This would lead to the formation of his own band The Jeff Beck Group, featuring Rod Stuart, Ronnie Wood and Nicky Hopkins.

The Jeff Beck Group

The Jeff Beck Group was the culmination of Beck’s years of experimenting with sounds and technique. As such, it was a platform for him to truly be heard. The band’s first two albums, Truth and Beck-Ola, were well received. The originality coupled with Beck’s aggressive style proved to be influential towards the development of hard rock.

Beck’s unique use of amplifier distortion and feedback in a saturated, but controlled way would set him apart stylistically. However, after various line-up changes, he finally decided to go solo in 1974.

He embarked on a ten-year journey that would see him playing and recording with some of the finest musicians in London. He continually surrounded himself with amazing musicians, which fueled his creative output. While he has achieved definitive creative success, commercial success was secondary.

“A lot of people think I’m a multi-millionaire, but I’m not. Not at all, not in any way. Not compared with some people you could name,” says Beck who, in a 40-year career, continues to create out of want and need.

Solo Success and Instrumental Rock

Beck’s choice to become a solo artist would spawn a series of groundbreaking instrumental guitar albums, rocketing Beck and the instrumental rock genre into the mainstream.

The first solo release from Jeff Beck was the masterpiece Blow by Blow in 1975. With this album, Beck incorporated elements of jazz, funk, and rock to form a style know as jazz fusion. Blow by Blow, along with Wired in 1976, exemplify the refined, hands-on melodic approach to the guitar for which Beck is known.

Through emulating vocalists and saxophone players, Beck uses a combination of fingers, slide and whammy bar to evoke an incredibly rich and vocal sound. “You reach people with the night notes in the right way,”  he says.

Beck is one of  few guitarists who can brilliantly capture the emotional essence of a song and fully gift it to his audience.

Early Days

My first introduction to Jeff Beck came at an early point in my musical journey. I was taking lessons at the time with Gil Namur. It was an extremely inspiring and exciting time for me. Each week, Gil would send me home with a new album to explore. There was Al Di Meola, King Crimson and Pat Metheny, to name a few. I remember Gil putting Beck’s Blow By Blow on his living room stereo one evening after a lesson.

The sounds that came through were like none I had ever heard on the  electric guitar. Early on, I realized Beck was a musical risk taker, but also a very reserved player. He never lets his technical ability overshadow the soulful and melodic elements of his vocal-like playing.

I’m grateful that I was exposed to Beck in my important formative years as a guitarist. I had — and still have — a hunger for knowledge and new sounds. A great deal of inspiration came from being immersed in these groundbreaking guitar records. Being surrounded by inspired musicians early on also served me a great deal. I look back at my guitar lessons with Gil as the best I’ve ever had.

Hot Rod Heaven

For a pioneering guitar legend, the interesting irony of Jeff Beck is that practicing his instrument isn’t always a focus. After the success of his early solo albums, he began to embrace his love of vintage hot rods. While Beck continued through the 80s to release the Grammy-winning records, Flash and Jeff Beck’s Guitar Shop, he also took time away from the music.

When he isn’t writing, recording or touring, Beck puts his creative efforts towards restoring and building vintage hot rods. Over the years he has built more than 14 cars  from the ground up. “I like the studio because it’s delicate; you’re working for sound,” he says. “I like the garage because chopping up lumps of steel is the exact opposite of delicate.”

However, his love of cars has had its consequences. A crash in the late sixties left Beck with a concussion and broken jaw. Several injuries to his hands have also resulted from hours underneath the hood.

Modern Times

As Beck grew into the 90s, he began to embrace electronic music and the intricate Middle Eastern melodies he’d been emulating since the sixties. The series of albums including Who Else, You Had It Coming and Jeff brought two more Grammys through his artistic fusion of rock, jazz, Indian, and electronic music. In recognition of his achievements and contributions, he was inducted into the Rock and Roll Hall of Fame in 2009. Upon his introduction, Beck graciously became part of a select group of musicians who have profoundly impacted the music world.

Emotion & Commotion

In February 2010, Beck co-headlined selected tour dates in London, New York, Toronto, and Montreal with fellow guitar legend Eric Clapton. “It was a bit like I’ve got to get my old blues cap on now, because that’s where I came from,” says Beck. The duo will also be working together again this summer as Beck is returning to the stage at Eric Clapton’s Crossroads Guitar Festival in Chicago on June 26, 2010.

Currently, Beck is gearing up for the April 13, 2010 release of his first studio album in seven years, Emotion and Commotion. This release sees Beck playing with a 64-piece orchestra on selected tracks along with guest vocals from the likes of Imelda May and Joss Stone. With instrumental tracks such as “Somewhere Over The Rainbow”, the album will be sure to include Beck’s signature guitar mastery.

Recommended Recordings

To experience some of Jeff Beck’s music, seek out and have a listen to these select tracks which are standouts in an extraordinary career. These songs are an excellent starting point for new listeners and a glimpse at his large body of work. Below that, you will find two excellent videos for your viewing pleasure. Enjoy!

“Cause We’ve Ended As Lovers” on Blow By Blow (Written by Stevie Wonder)

“A Day In The Life” on  In My Life by George Martin (Written by The Beatles)

“Led Boots” on Wired

“The Pump” on  There and Back

“Delcan” on Who Else! (Written by Donal Lunny)

Beck on Video

href='http://www.youtube.com/watch?v=drAv2FoYji8

href='http://www.youtube.com/watch?v=9Ej3BdMpgZw

Additional Reading

Visit the Jeff Beck Web Site

More on Jeff Beck from Wikipedia

What Do You Think?

Please feel free to comment and share your thoughts on the music of Jeff Beck. What are some of your favorite songs or albums? How have they affected you? If you have seen Jeff Beck in concert, please share some of your comments about the shows.

Photo Credits

“Jeff Beck – Ottawa Bluesfest” bouche @ flickr.com. Creative Commons. Some Rights Reserved.

“Jeff Beck” jlapco @ flickr.com. Creative Commons. Some Rights Reserved.

“Jeff Beck” MandyHallMedia @ flickr.com. Creative Commons. Some Rights Reserved.

“Jeff Beck’s Guitar Shop” Geoff B. @ flickr.com. Creative Commons. Some Right Reserved.

Have you ever had a dry spell? You know, where you can’t get motivated or inspired to play your instrument? If you’re like me, you might even put a few of your guitars out on stands and leave them where you will always see them, hoping that the sight of them will encourage you to play.

When you pick up your guitar and start playing, you feel as if you’ve played these chords a million times and there is no creative spark to continue. It’s like driving on a road you have traveled many times and there is nothing new to see. You put the guitar down and tell yourself that you will get back to it later.

“Where did my muse go?” you ask yourself. You’re dry! You can’t write and you just can’t find a groove. At the worst of times, at least for me anyway, the instrument doesn’t sound in tune, even though it is. The neck feels foreign. I get bummed and I find myself humming B.B. King’s version of ‘The Thrill Is Gone’.

What to do? I have a few thoughts that might help.

Revisit old favorite grooves and work them into a song

Most of us come up with chord progressions or hooks that we really like. Many of those stay just that, a progression or a hook. We have played them many times and they are always favorites, but they go nowhere. We promise ourselves that we will do something with them one day. Taking one of those ideas and working it can re-energize your creativity.

Years ago, I wrote a chord progression inspired by the theme song for Hill Street Blues written by Mike Post and Larry Carlton (one of my favorite guitar players). Anytime I tried out a new guitar, I would play it. Often people would come over and tell me what a great groove it is. I had always thought it would be fun to solo over but never got around to it. A few years ago, I decided to record it with Bruce Davies playing bass. A simple recording with no edits. I practiced over it a bit, hit the record button and then just improvised. I then handed the recording over to my friend and engineer Eric Brad who did a nice mix for me.

Here is the result. It’s called ..

Promenade (click on name to play in a new window)
© 1995, Gil Namur (2 minutes 30 seconds)

Every time I listen to this, it makes me smile and makes me want to play my guitar. It’s not really a complete song, it’s just a happy groove, an idea that I breathed some life into with Bruce’s help. Am I happy with all my improvisational choices in the piece? Not entirely. If I was going to record this for a CD, there are a few bars where I would have made different improvisational choices. It doesn’t matter though. It’s raw and it speaks to me each time I hear it. When I record my next instrumental CD called ‘Next Exit’, a new version of Promenade will be on it. I have a vocal CD to do first though!

Change the scenery

If you have one, take your acoustic guitar and head off to the woods or the beach. Remember to bring along some paper, a pen and if possible, a portable recorder.

Try to find somewhere you won’t hear people, cars, cell phones, or jets flying overhead. A change of environment can have a profound impact on your creativity. Start by playing single notes or single chords and listening to how they blend in with the natural sounds of the environment. Let them sustain and hang in the air. Let your ears and your heart guide you as to what to play next. Don’t forget to hit the record button!

Play a different instrument for a few days

I have four guitars for a reason. Each plays and sounds different from the next. They each lend themselves to distinctive styles, which leads me to play different melodies and rhythms.

If you have access to a piano, tickle its keys for a while. Pianos are such inspiring instruments. Alternatively, go buy a nice clay flute. They are inexpensive and can be very expressive. The idea is to get your ears hearing different things. This exercise will often unlock your creative juices.

Unplug or Plug-in

If you are playing your electric guitar constantly, put it in its case and pull out your acoustic. Conversely, if you are always playing your acoustic, then give it a rest and play your electric guitar.

Try an open tuning that you have never played with before. It will force you to explore your instrument in unfamiliar ways and you will hear new musical possibilities.

Unfinished Songs are Unfinished Business

I believe that when we have unfinished songs or tasks, we have dissonance and clutter in our lives. Finishing songs brings resolution and creates the space for new songs. Think of it as musical Feng-shui! You need to discipline yourself to do this. Even if you don’t feel like it, you eventually need to get to the business of finishing the things you have started. If you don’t, you surround yourself with dissonance and clutter.

I wrote an article on this concept called Look After The Little Things. I encourage you to read it as well.

By the way, you are not alone. I have written well over 100 songs. About half are actually finished!

Go see a concert

Hearing a gifted musician play can really be inspiring. Often after a concert, I find myself driving home longing to play my guitar. You will often hear sounds or rhythms that are new to your ears. Exploring these on your instrument can open up a deep well of creative possibilities.

Practice

My final idea to share with you is to rely on discipline. It’s so easy to use a dry spell as an excuse not to play at all. What I have learned over the years is that if I pick up my guitar and ‘practice’ for at least 15 minutes, things begin to happen. I will hear something new and that will spur me on to play for an hour or two. That’s when the magic happens. That’s when your muse and you can have a delightful promenade together.

Photo Credits

B.B. King in concert in France 1989 © Roland Godefroy

Woods and moon photos © Gil Namur

Originally Posted at Synaptic Studios April 25, 2009

Pat Metheny is a truly remarkable guitar player, a uniquely gifted musician and a prolific composer. Always melodic, always interesting, I hear new things every time I listen to him play. It is my opinion that a century from now, history will look back on his music in the same way we look back at Chopin and his body of work.

As a guitar player myself, it is the freedom and ease with which he explores new musical avenues that has been a huge source of inspiration to me. Recently, a very good friend of mine sent me an amazing video clip called “Pat Metheny Introduces “Orchestrion”. While this piece is just an example of his musical journeying, I know you will find it fascinating and very enjoyable to watch.

In this seven-minute film, Pat Metheny walks viewers through the Orchestrion experience, explaining its origins and performing music from the adventurous solo recording that pairs the composer-guitarist with a phalanx of remarkable, custom-made instruments, played via solenoid switches and pneumatics. – Nonesuch Records

The Album – Pat Metheny | Orchestrion

Visit Pat Metheny’s web site

More on Pat Metheny from Wikipedia

About Nonesuch Records

Photo Credits

All pictures are screenshots from the video clip from Nonesuch Records

Special thanks to Mauro A. for pointing this video out to me.

Daniel Lanois is a multi-instrumentalist, songwriter, and record producer who has helped create some of the most memorable and significant albums of the last 30 years. His music has had a profound effect on my own relationship to music.

In his world travels, Lanois has sought inspiration for his art through culture and connecting to the emotional openness of the human spirit. His craft is born out of experiencing melody, harmony and rhythm by constantly surrounding himself with musicians.

Lanois has offered unparalleled contributions to modern music through linking the musical roots of the past with his desire to forge ambient sounds of the future.

Music has always been a part of Lanois’ life. Born on September 13, 1951 in Hull, Quebec, Canada, he spoke only French until the age of ten. Music was a strong presence in his community and household; both his father and grandfather were fiddlers.

The melodies of French-Canadian folk songs were a part of Lanois’ childhood and provided the musical foundation for the many melodies he would later create.

Psychedelia and Soul

A move to Hamilton, Ontario in his teens set Lanois amidst the psychedelic explosion of the 60s. “The first time I heard Hendrix, I was in school and it made me want to quit school,” he says.

Now focused on the guitar, he began playing with some of his first bands in an abandoned YMCA building. Radio of the 60s was a transformative force for Lanois. Fueled by the radio waves emitting from nearby Detroit, Lanois was hooked by sounds of southern R&B and soul music.

“I think there is a quality that has never gone out of fashion or has been given stylistic boundaries, and that is having soul,” says Lanois.

Lanois and his brother Bob also began to experiment with recording and production tools in a makeshift studio in their mother’s basement. The duo started recording local bands and the international choirs that traveled through Hamilton.

Recording these choirs, Lanois found himself surrounded by musicians from around the globe and learned the importance of complimenting the essential musical elements of melody and harmony.

Enter Brian Eno

With local success came the need for a larger recording space. A move to a new facility, which Lanois named Grant Avenue Studios, paved the path for the life-altering steps to come. His early production work for Canadian artists such as Bernie LaBarge and Martha and the Muffins caught the attention of British producer and musician Brian Eno.

Originally a keyboardist for the 70s art rock group Roxy Music, Eno shared the musical and production sensibilities of Lanois. This common ground would lead Eno to work with Lanois at his Grant Avenue Studios.

The work that transpired included some of Eno’s groundbreaking 80s ambient recordings. Eno would act as a mentor for Lanois, providing him with the opportunity to hone his skills in sound manipulation and recording. The collaborative efforts of Lanois, Eno, and Harold Budd yielded the album The Pearl in 1984.

This creative process saw Lanois experimenting with sound treatments on instruments such as the piano. Through hours of turning knobs and innovating in the studio, Lanois was blending the borders between melody and sound texture.

A Call to Ireland

Eno eventually returned to the UK after a few years of work with Lanois in Hamilton. Upon his return, he began receiving calls from major artists who wanted to collaborate. David Bowie was one of these artists.

However, it was a call from the rock band U2 that would lead to an invitation for Lanois to join Eno on a co-production effort for U2’s fourth album, The Unforgettable Fire. U2 was seeking a more modern sound — and Eno and Lanois were on the cutting edge.

A few years later, Lanois produced the defining So album by Peter Gabriel. The following year, a second invitation from U2 led to Eno and Lanois producing what would become one of the most successful albums of all time, The Joshua Tree.

One of Lanois’ many unique strengths as a producer is his ability to connect on several levels with the artist he is recording. In a broad sense, the role of a producer is to guide and manage the creation of a record. Lanois pours himself into every project in which he is involved, drastically exceeding the standard role of a producer. Because he is a musician as well as a producer, he can freely communicate musical ideas, often joining in the creative process.

By keeping his instruments plugged in at the studio, Lanois’ prepared approach provides a fertile environment for musical spontaneity and creation. Coupled with his open and caring nature, a large part of his creative process is an exchange of ideas, be it emotional or philosophical, with his artists.

“I think the emotional makeup of people is actually what gets on records and it’s what people like about records,” he says.

Lanois has proven that he can capture emotional truth, whether working on his solo or collaborative efforts, or portraying that truth sonically through a rich musical landscape of the past and future.

Southern Heat in New Orleans

Soon after the success of The Joshua Tree, Lanois set his sights on moving south. With a desire to absorb the blues and funk rhythms of the southern United States, he established himself in New Orleans.

“I’ve always had an appreciation for the south. In fact, some years back I took a train from Canada to New Orleans to be in the environment where a lot of the music I love comes from. When I got there, I noticed the music comes from the neighborhoods, churches, people’s houses, parades, it was all part of the culture.”

By the early 90s, he had created Kingsway Studio in an old mansion he purchased. This proved to be a very fruitful period for Lanois as his extensive production list continued to grow. During his time in New Orleans, he produced records for artists such as The Neville Brothers, Emmylou Harris, and Bob Dylan. Lanois helped create two Bob Dylan records, Oh Mercy and Time Out of Mind.

In 1997, Time Out of Mind went on to win Album of the Year at the Grammys, essentially re-kindling Dylan’s career. Lanois was intrigued and honored to work with Dylan and cherishes fond memories of that time. That sentiment was shared by Dylan who, in his 2004 memoir, Chronicles Volume One, describes the challenging but rewarding process with Lanois.

The Solo Artist

During his incredible journey of creation and collaboration, Lanois has also released six solo albums. When I was first introduced to Lanois’ music as a solo artist, he was touring in support of his Shine record in 2003. At the time, I had heard very little of his music directly.

The show I attended was in a church sanctuary that had been converted into a performance hall. Lanois’ rich guitar tones and vocals were accompanied by the unbelievable rhythms of jazz drummer Brian Blade. I was also treated to Lanois’ pedal steel guitar work, which beautifully filled the room.

“The pedal steel guitar is my favorite instrument,” he says. “It takes me to a sacred place. It’s like my little church in a suitcase.”

Although my seat was in the upper level of the venue, I could hear everything. I could hear footsteps on the maple hardwood floor and scraping of the guitar pick across the strings. The show was so personal, it was like having the band in my living room.

When I walked out of that venue that evening, I felt incredibly inspired. After years of reflecting on the show, I now realize it was a gift. It provided me the chance to feel a new kind of music in a way I’d never experienced. The soulful simplicity and sonic magnificence in Lanois’ art changed the way I absorb and create music.

Black Dub

Daniel Lanois currently shares his creative time between his Toronto and Los Angeles studios. His latest release is the documentary and album Here Is What Is. In the film, viewers get a glimpse over Lanois’ shoulder in the studio and through his creative travels across five cities.

Currently, Lanois is working with his new group Black Dub. Their debut album is slated for a May 2010 release, followed by a summer tour. With drummer Brian Blade and soul singer Trixie Whitley at his side, this release is expected to deliver soulful rhythms accented by the stringed and vocal mastery for which Daniel Lanois is so well known.

Please feel free to comment and share your thoughts on the music of Daniel Lanois. What are some of your favorite songs or albums? How have they affected you? If you have seen Daniel Lanois in concert, please share some of your comments about the shows.

Recommended Recordings

To experience some of Daniel Lanois’ music, seek out and have a listen to these select tracks, which are standouts in an extraordinary career. These songs are an excellent starting point for new listeners and a glimpse at his large body of work. Below that, you will find 2 excellent videos for your viewing pleasure. Enjoy!

1. “The Maker” on Acadie

2. “The Messenger” on For The Beauty of Wynona

3. “JJ Leaves LA” on Shine

4. “Duo Glide” on Here Is What Is

5. “Man In The Long Black Coat” on Oh Mercy (Written by Bob Dylan – Production and Doboro Guitar by Daniel Lanois)

*Written by Bob Dylan – Production and Doboro Guitar by Daniel Lanois

Videos

href='http://www.youtube.com/watch?v=Er1d2MtglWw

href='http://www.youtube.com/watch?v=10uMDXRqLAI

Photo Credits

“Daniel Lanois Main” 3Li55 @ flickr.com    http://www.flickr.com/photos/melissa/2367790481

“Daniel Lanois 1” Kmeron@flickr.com    http://www.flickr.com/photos/frf_kmeron/3928356197/

“Daniel Lanois 2”  cinetech@flickr.com    http://www.flickr.com/photos/cinetech/1431154012/

“Daniel Lanois 3” AJ @ flickr.com     http://www.flickr.com/photos/u2wanderer/3005102241/

My dad was born and raised on the island of Barbados, a member of a relatively small community of white people on that island. He studied accounting and worked as an auditor when just out of school as a teen. But he made extra money as a musician in his band, The Pete Jones Combo. The group fashioned itself after the pre-Beatles British instrumental rock band, The Shadows.

Dad immigrated to Canada in 1965, and he joined another band, The Bayards, who played gigs on the Toronto club circuit. When Dad found gainful employment, met my Mum, and was confronted by the rise of psychedelic music that he hated, he quit the band to focus on the exciting career of an auditor, and controller.

But he kept his guitar.

The guitar was a Harmony Rocket; cherry-burst red, decorative F-holes, with a neck like a cricket bat, and what seemed like hundreds of dials on it right near the pick guard. It was an artifact of a bygone age. It was alien and wonderful.

I must have been about seven. Radio loomed large for me even then. Music was like some wonderful import from another distant dimension. But when dad pulled out this wonderful machine right in front of me, this brash weapon of sound in his hands closed that distance in an instant.

Dad had bought a little Garnet amp. When he plugged in and turned it on, a single red light came on with a crackle and a buzz. And when he hit the strings of the Harmony Rocket, it was like receiving some heavenly message. It beamed straight down, and reverberated outward, dancing all around. And something happened inside me.

By age 13 or so, I wanted to learn how to play it. Learning guitar for the first time involves a lot of pain (on fingers, and on patience). And because of that, I soon gave up. Part of it was that the electrical system on this wild and dangerous object was beginning to age. Intermittently, it bit you with little charges of electricity.

But even though it defeated me, I still loved it. It was still beautiful, even if in its old age it had become cantankerous.

Many years later, my dad bought a few more guitars. He’d become involved in a church, and had joined the church band. All of the accounting in the world couldn’t kill the musician that had been born so long ago inside him. So, with bigger hands and greater patience, I learned to help shape that sound from these newer instruments that didn’t bite my hands with electrical charges. And those guitars were beautiful too, in their way.

But they didn’t replace the Harmony Rocket, that feral beast of a guitar, my first up close sighting – crackling, reverberating its way into my imagination.

My dad is an unromantic sort, unlike his son. He sold the Harmony Rocket to a collector a few years ago without my knowledge. I was dismayed to find this out, when my Dad very casually told me. I think he realized that he should have offered it to me, and actually contacted the guy to see about getting it back.

But the collector in question wouldn’t sell.

Still, maybe it’s better this way. Because the Harmony Rocket lives in my imagination, where I suppose a portion of it has always existed. The spark it helped to ignite started an inferno of love for music, and for music history that has enriched my life. Ultimately, the value it has imparted is intangible anyway.

It is amazing what six-strings, a stick of wood and plastic, and a crackly amp can do; the sound of it can echo down through the years and illuminate your view of the world like a tongue of fire. When you flick that part of your imagination on you can hear it crackle, sending the music outward, and making the distinction between you and it to be entirely unimportant.

Photo Credit

“Harmony Rocket” jcarbaugh @ flickr. Creative Commons. Some rights reserved.