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Fender Custom Shop Recreates the 1955 Strat

2005 marks the 50th anniversary of one of the finest guitars ever made--the Stratocaster.

To celebrate the occasion, the Fender Custom Shop has recreated the 1955 version of the Strat in a limited edition run, exactly fifty years on from the original.

Vintage features have been retained, such as:

*A tone-colour sunbust finish over a Comfort Contoured Premium Ash Body
*Soft "V"-shaped neck
*1-Ply Parchment (8 Hole) pickguard
*Maple fingerboard with a 9.5” (241 mm) Radius
*Chrome-plated "ashtray" bridge cover
*Bone nut

Full specs http://www.fender.com/products/view_specs.php?...name=1955+StratocasterВ®+RelicВ®+2TSB+LTD

2Primal Scream:
Ну, наконец про нормальную гитару написал...
А то все Эпифон, да Эпифон! :р

Будем Маккартни рекламировать!

2Primal Scream:
>Будем Маккартни рекламировать!
Тогда уж лучше Эпифон, но с Ленноном...
А у этого, подделка китайская! :))))))))))))

У нас есть кого рекламировать!

Buddy Guy

Buddy Guy is the greatest living exponent of classic Chicago electric blues. He is a thrillingly inventive guitarist, a passionately soulful singer, and a peerless showman. In the course of a 45-year professional career, he has sold more than two million albums; earned five Grammy Awards; and won twenty-four W.C. Handy Blues Awards—more than any other single artist.
In 2001, Buddy Guy released “Sweet Tea”—one of the most sonically innovative and critically acclaimed albums of his career. On that disc, Buddy offered exciting new interpretations of songs originally recorded by such blues primitives of the North Mississippi hill country as Robert Cage, T-Model Ford, and Junior Kimbrough. Working with producer Dennis Herring at Sweet Tea Studio in Oxford, Mississippi, Buddy stripped away the horn sections, keyboards, and guest vocalists of his ‘90s recordings to create a fierce, stripped-down sound. The music of “Sweet Tea” evoked “a world full of temptation and cruelty” (Rolling Stone) and resulted in “the guitarist’s best album since his 1991 breakthrough, “Damn Right, I’ve Got The Blues” (Guitar World). It also earned a Grammy nomination for Best Contemporary Blues Album.

Buddy Guy’s new Silvertone/Jive album, “Blues Singer,” extends the journey into blues history that he began with “Sweet Tea.” This 12-track collection of pure acoustic blues comprises a unique entry in his lengthy discography.

Buddy has recorded in the acoustic mode before, most famously with the late Junior Wells on “Buddy and the Juniors” (1970) and “Last Time Around – Live at Legends” (1989). But these were loosely organized jams that relied on familiar blues standards. “Blues Singer,” on the other hand, is a carefully selected set of songs that Buddy has never recorded previously—including “Hard Time Killing Floor” (Skip James), “Louise McGhee” (Son House), “Can’t See Baby” (Jack Owens), “Moanin’ and Groanin’” (Johnny Shines), and “Lucy Mae Blues” (Frankie Lee Sims).

The aesthetic model for “Blues Singer” is an album recorded in September 1963 by the late great Muddy Waters—with 27 year-old Buddy Guy on second guitar. Muddy Waters, “Folk Singer” is a captivating all acoustic set of pure Delta blues that Chess Records made to capitalize on the emerging folk-blues boom ignited by the success of Bob Dylan, Dave Van Ronk, and Tom Rush, to name a few. Today, the inclusion of Muddy’s “I Live the Life I Love” on Blues Singer comprises a loving tribute to one of Buddy Guy’s greatest blues idols and teachers.

For the “Blues Singer” sessions, Buddy Guy (acoustic guitar, vocals) is joined on selected tracks by some equally legendary friends.

B.B. King (acoustic lead) and Eric Clapton (acoustic lead) both perform on Buddy’s version of the John Lee Hooker classic “Crawlin’ Kingsnake”; Eric also plays on “Lucy Mae Blues.” On drums is Jim Keltner, whose 40-year resume includes recording sessions and tours with Neil Young, Bob Dylan, Ry Cooder, James Taylor, Tom Petty, Elvis Costello, and George Harrison. Tony Garnier, on upright bass, is a longtime stalwart of Bob Dylan’s touring band who’s also worked with Lucinda Williams, Marshall Crenshaw, and Asleep At The Wheel. Mississippi native James “Jimbo” Mathus (guitar and slide guitar) is a member of both the Squirrel Nut Zippers and his own Knockdown Society; he first worked with Buddy on the sessions for “Sweet Tea.”

“Blues Singer” is produced by Dennis Herring (Counting Crows, Cracker, Camper Van Beethoven, Jars of Clay) and mixed by Ed Cherney (Rolling Stones, Bonnie Raitt, Eric Clapton, Bob Dylan, Jackson Browne).

George “Buddy” Guy was born July 30, 1936 in Lettsworth, La. “I was so far out in the country, man. We didn’t have running water, no electric lights, no radio, and I didn’t know nothing about no electric guitar. We used to get the catalogs, like from Sears, and that’s how our mother would order our clothes. Didn’t have no stores there to buy clothes from.”

Today, Buddy Guy is an internationally celebrated symbol of the living blues. The owner of the Chicago club Buddy Guy’s Legends, he continues to tour the world with his dynamic live show. On February 7, 2003 at New York’s Radio City Music Hall, Buddy Guy broke up the house in a gala “Salute to the Blues.” This all-star show included B.B. King, Macy Gray, Alison Krauss, the Neville Brothers, and Aerosmith, among other artists—but “the evening seemed to belong to Buddy Guy,” according to Billboard. “The night’s leading figure was Buddy Guy,” wrote the New York Daily News while The New York Post proclaimed, “it was Buddy Guy who stole the show.”

“It’s the blues that keeps you young,” Buddy once told Guitar Player magazine. “When you stretch that string, you’re stretchin’ your life.”

Buddy Guy was inducted into the Rock and Roll Hall of Fame at the 20th Annual Rock and Roll Hall of Fame Induction Ceremony. U2, Percy Sledge, The O'Jays and The Pretenders were also inducted. Past inductees include: Chuck Berry, The Rolling Stones, Elvis Presley, Cream and Bob Dylan. Congratulations to Buddy Guy for this most deserving honor!

Marcus Miller

Grammy-winning musical Renaissance man Marcus Miller has tapped into an especially deep well of inspiration for his sixth studio album…a baptizing barrel of Silver Rain. Touched by imagery from the Langston Hughes poem of the same name, the acclaimed bassist, composer, producer, band leader and multi-instrumentalist has crafted both a song and a generous 15-track album of musical medicine that blends funk, jazz, classical, blues, reggae and world music sounds into a vibe remarkably recognizable as pure Marcus Miller.
“I came across the poem in a Langston Hughes collection,” Miller states. “The poem is about spring, but it was the title that really inspired me. It could go so many other places. To me, it meant music washing over you…making you forget all of your pain and fear. I began writing a song with that in mind.” Marcus started the uplifting, reggae-drenched piece about 7 years ago with the intention of recording it on an album for Eric Clapton. He had gotten to know the legendary blues rock singer/guitarist pretty well touring Europe with a one-off band called Legends (Clapton, Miller, keyboardist Joe Sample, saxophonist David Sanborn and drummer Steve Gadd). Communication lapses and both men’s hectic schedules prohibited Eric from recording his vocal until early 2005 in London. In the interim, the song morphed through several beautiful transformations, including lyrical contributions from singer/songwriters Joey Kibble of Take 6, neo soul man Kem and the legendary Bill Withers. Kenny Garrett also contributes a stirring alto sax solo.

The essence of “Silver Rain,” however, sprang from Marcus and the image of nearly 100,000 people raising lighters at an outdoor Bob Marley concert in Europe. “My engineer Dennis Thompson, who was Marley’s engineer, told me Bob sang ‘No Woman No Cry’ and even people in nearby buildings held candles out of their windows, lighting up the whole area and filling it with this heat. It shows you how powerful music is. I don't know how many of those people could fully understand the details of what Bob was singing about, but they could feel the music. This is the year of Bob's 60th birthday. It’s the perfect time for this song.”

No stranger to out of body experiences, the highly chameleonic and influential Miller has played an integral role in the careers of no less than Miles Davis, Luther Vandross, David Sanborn and many other legendary artists. Around the world, he has astounded music lovers with his masterful, earthy and ever passionate approach to music making. One can rest assured he knows the intricacies and complexities of what Jimi Hendrix was riffing on in his composition “Power of Soul,” another gem that Marcus interprets on Silver Rain. “I've seen what music can do,” he confesses. “After certain gigs, people would walk up to me holding a 3-year-old boy and say, ‘This is Marcus.’ I think, ‘My goodness. My music was that powerful and meant that much to them...helped them through a period of their life.’ Once that happens to you a couple of times, you get a little more reverent about what you're doing.”

Silver Rain is yet another profoundly eclectic yet firmly cohesive album from Miller – one that finds him bringing as much moodily evocative beauty to a bluesy flip on Beethoven’s “Moonlight Sonata” (inspired by hearing his son practicing the piano piece at home – and featuring Lucky Peterson playing some soul-searing electric blues guitar) as he does Ellington’s “Sophisticated Lady” (a solo tour de force with Marcus on bass clarinet, fretless bass and keyboards) or Stevie Wonder’s “Boogie on Reggae Woman” (marinating in a groove with Kirk Whalum on tenor sax, drummer Poogie Bell and Apple computer DJ wizard Mocean Worker).

No matter how reverent Marcus can be, he exists in ever-present readiness to get down. He and his road band (guitarist Dean Brown, trumpeter Michael “Patches” Stewart, saxophonist Roger Byam, drummer Poogie Bell, and keyboardists Bernard Wright and Bruce Flowers) have a ball taking you to the proverbial ‘late night TV commercial break’ with a ferocious whirl through Edgar Winter’s earth shakin’ rock-n-roll oldie “Frankenstein” (one of countless sound check jams). Later, the inimitable Macy Gray lays her unmistakable vocal stamp on the sophisticated funk of Prince’s “Girls and Boys” as Marcus transfers the melody and the bass line to his electric bass and bass clarinet, respectively. “I needed someone you could recognize and feel in the first few notes,” Marcus muses. “Macy's face just popped into my mind.”

Speaking of one-of-a-kind voices, Eartha Kitt’s is found on the solo bass opener “Intro Duction” on which the legendary singer/actress wanly purrs, “Marcus, darling,” a signature line sampled from the now classic 1992 African American comedy “Boomerang” (among the first films for which Miller composed the score). “People leave that on my answering machine all the time,” Miller shares. “So I decided to flip it on them and open up my album with it!”

In addition to the title track “Silver Rain,” Marcus composed five pieces himself, four of which were created during a whirlwind European tour: “La Villette” (with a romantic lyric of longing penned and sung by his longtime friend Lalah Hathaway with spellbinding vocals by operatic tenor Kenn Hicks), “Behind the Smile,” “Make Up My Mind” and the brief interlude “Paris” all of which feature the haunting sound of the inventive Swiss harmonica player Gregoire Maret). “When I realized I was going on another tour,” Marcus reflects, “I started writing in whatever town I was in. I got a lot done alone in a hotel room in Paris…just vibing off the city. The thing about France is, when you first get there, it's all about romance -the Paris you see in the movies. But the longer you stay, the funk starts rising up. Check out all the North African people that live there. There's a lot of soulfulness in Paris. You’ll hear all sorts of sounds coming out of the city streets.”

Particularly inspired is a number Marcus composed back at his own Hannibal studios in Santa Monica, California called “Bruce Lee,” featuring Gerald Albright on alto sax. “My engineer plays martial arts tapes while we’re mixing,” Marcus begins with a chuckle. “Even though he kept the sound off, at first, it was distracting. I’d keep looking up and seeing people getting knocked out! Then Enter the Dragon came on and I started thinking, ‘Bruce Lee fights like a jazz musician. He doesn't know what he's gonna do until he's in the middle of it; he fights like he's improvising. He sees an opportunity and he takes advantage of it. That's what jazz cats do - they see a hole and fill it with something good on the spot.’ I went right in the other room and wrote that tune within an hour.”

“There are two ways to get things done,” Miller continues,. “You can just do it, or you can do it artfully. When people in my neighborhood play basketball, two points were not as important as how you got to those two points. Did you do it with some style, some grace and some swerve?”

Style, soul and intense professionalism have set Marcus Miller at the top of his game for well over two decades now. He was born in 1959 and raised in a musical family that included his father (a church organist and choir director) and jazz pianist Wynton Kelly. By 13, Marcus was proficient on clarinet, piano and bass guitar, and already writing songs. Two years later he was working regularly in New York City, eventually playing bass and writing music for flutist Bobbi Humphrey and keyboardist Lonnie Liston Smith. Miller soon became a top call New York session musician, gracing well over 400 albums, recorded with musicians and in countries around the globe. A short list includes Wayne Shorter, McCoy Tyner, Frank Sinatra, Aretha Franklin, Elton John, Grover Washington Jr., Donald Fagen, Bill Withers, Chaka Khan, meshell ndegeocello and LL Cool J.

The breadth of his collaborative talents were best showcased in his work with soul man Luther Vandross (contributing to well over half of his albums as a producer, composer and/or player on hits such as “Any Love,” “Never Too Much” and “The Power of Love,” which won Miller the 1991 Grammy for R&B Song of the Year), David Sanborn (for whom his compositions “Chicago Song” and “Voyeur” helped the saxophonist make an indelible imprint on contemporary jazz), and the legendary Miles Davis (for whom he became the primary collaborator of his latter years, composing and producing his last classic signature, “Tutu”). Miller has often stated that the number one thing he learned from Davis is always being honest about who you are and what you do.

This served him well when he began focusing on his own recordings with 1993’s The Sun Don’t Lie and 1995’s Tales, both of which found him brilliantly connecting the dots of Black music’s evolution. Following a fan-demanded Live and More in 1997, Miller released M2 (“M-Squared”) on his own 3 Deuces Records label and won the 2001 Grammy for Best Contemporary Jazz Album. Film scoring is another artistic muscle Miller has been flexing over the years, including scores for the comedies House Party (Martin Lawrence), Head of State (Chris Rock) and the upcoming King’s Ransom (Anthony Anderson). He composed the club smash “Da Butt” for Washington, D.C. Go-Go music band EU in Spike Lee’s film School Daze, and also scored The Trumpet of The Swan, an animated rendering of children’s author E.B. White’s cherished tale.

True to his innovative spirit, Marcus Miller’s next project is something he first thought about doing 15 years ago: a melding of classical opera and modern jazz in collaboration with operatic tenor and acclaimed vocal coach Kenn Hicks. Titled Avanti, it contains artful reinventions of music from several of the great arias. Relating this renegade spirit back to the evolution found throughout Silver Rain, Miller stresses, “There's a fine line between playing the same stuff all the time and coming from the same place all the time. I make an effort to try to approach things the same way. If I'm playing jazz or opera or reggae, I still sound like I'm from Jamaica, Queens, New York - that aggressive, in-your-face style. I can do stuff from all over the place and not worry about my album falling apart. I know that my sound will unify it.”

What Marcus Miller has accomplished with Silver Rain is create contemporary inspirational music as only Marcus Miller can. “Right now I think what we need is some joy,” he concludes. “We're going through a lot, but we will get through the craziness. And this music will help.”

Robert Cray

I was born in Columbus, Georgia, August 1, 1953. The first of three boys and two girls for Maggie and Henry Cray. Dad spent nearly 30 years in the army, so we know a little about traveling. We always had music around the house when we were growing up, blues, jazz, gospel, soul, pop... You name it, I loved it all.
When the Beatles came out, so did the guitars. I got mine in '65, a Harmony® Stella®, then a Harmony Electric single pickup that still exists (in pieces!). In the late sixties it was covered in floral printed contact paper for that psychedelic look!

I joined my first band in Jr. High in Newport News, Virginia called the One Way Street. Then at the end of High School I was in a band called Steakface in Tacoma, Wash. Richard Cousins and I were in a band called Foghorn Leghorn very briefly and another short-lived band that included Richard, Bobby Murray and Richard's brother Butch on drums.

In '74 Richard and I left Tacoma and moved to Eugene, Oregon to join Tom Murphy on drums to start The Robert Cray Band.

Sting


Composer, singer, actor, activist – Sting has won universal acclaim in all these roles, but he defies easy labeling. He’s best described as an adventurer, a risk-taker. As he himself said, “I love to put myself in new situations. I’m not afraid to be a beginner.” Husband and father of six, masterful guitarist and bassist, a devoted Yoga practitioner, and now a writer who has published his memoirs entitled “Broken Music,” he’s made a career, in fact, of new beginnings.

A milkman’s son from Newcastle, England, Sting was a teacher, soccer coach and ditchdigger before turning to music. Inspired equally by jazz and the Beatles (eclectic tastes that would prove prophetic), he met Stewart Copeland and they, along with guitarist Andy Summers, formed the Police in 1977. The band quickly became a success both in the UK and U.S. scoring several No. 1 hits including “Roxanne,” “Every Breath You Take,” “King of Pain,” and “Every Little Thing She Does Is Magic.” They earned five Grammy Awards and two Brits, and in 2003 they were inducted into The Rock and Roll Hall of Fame. The trio’s live work forecast the astonishing inventiveness and range of influences that Sting would realize fully in his solo career.

With the release of Dream of the Blue Turtles in 1985, followed by Bring On The Night, Nothing Like The Sun, The Soul Cages, Ten Summoner’s Tales, Mercury Falling, Brand New Day and All This Time, Sting has evolved into one of the world's most distinctive and highly respected performers, collecting as a solo performer an additional 12 Grammys, 2 Brits, a Golden Globe, an Emmy, three Oscar nominations, Billboard Magazine’s Century Award, and MusiCares 2004 Person of the Year. He has remained at the forefront of the public consciousness for 4 decades and has written some of the most enduring songs of our time, a talent perfectly showcased by his latest record Sacred Love, released in September to both critical and commercial success. Sting has also appeared in more than 10 films and in 1989 starred in a Broadway play the “Threepenny Opera”.

Sting’s support for human rights organization like the Rainforest Foundation, Amnesty International, and Live Aid mirrors his art in its universal outreach. Along with wife Trudie Styler, Sting founded the Rainforest Foundation in 1989 to protect both the world’s rain forests and the indigenous peoples who live there. Together, they have raised more than 19 million dollars with their 13 benefit concerts to raise funds and awareness of our planet’s endangered resources. Since its inception, the Rainforest Foundation has expanded to a network of interconnected organizations working in 18 countries around the globe.

НУ и первый сигнатюрщик, ест-но!

SergeK
Зря на Уси-Пусика наехал.

На твоём любимом Press to Play он играет не Телеке...с качалкой:-)

2bk:
Бренчит, хочу заметить! БРЕНЧИТ!!! :р

А, кстати, почему его на этом форуме называют Уси-Пусиком? По-английяки это звучало бы Usy-Pussy. Как звучит!:)

sunset

А фиг его знает, почему.
Традиция!:-)

2sunset:

>А, кстати, почему его на этом форуме называют
>Уси-Пусиком? По-английяки это звучало бы Usy-Pussy.
>Как звучит!:)

Кажется, Усик-Пусик пошел от Annabeatles.

Primal Scream
Да-да, именно так.

"Усик-Пусик" целиком заслуга уважаемой Annabeatles...
Ну, настока мне понравился энтот её ярлычок, шо иначе Биг-Мака я и не называю :)))

ДРУЗЬЯ! ВЫ ТЕМУ НЕ ПЕРЕПУТАЛИ?!
Я уже от обилия этого "пусика", чай без сахара стал пить!

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Attack of the 10-Foot Stratocasters!

Giant, 10-foot-tall guitars will invade downtown Phoenix Friday morning, Sept. 23, as GuitarMania becomes the largest public art display in Arizona history.

More than 80 local celebrities and artists—including Eddie Van Halen, Stevie Nicks and the Phoenix Suns—created art pieces using 10-foot-tall, fiberglass Fender Stratocaster® guitar models, all of which will be on free public display throughout that weekend at America West Arena and outside Bank One Ballpark.

Phoenix Mayor Phil Gordon and rock legend Alice Cooper will officially launch GuitarMania at Friday’s public unveiling. After that weekend, the guitars will be displayed at various public locations throughout the Valley, and will not be together again until they’re auctioned off on Feb. 4, 2006.

Proceeds from the auction will benefit Big Brothers Big Sisters of Central Arizona and the Rock and Roll Hall of Fame Education Fund.