LIBRO

BONAMASSA JOE COLLECTION PLAY IT LIKE IT IS GUITAR TABLATURE LIBRO-Last Kiss-Lonesome Road Blues

BONAMASSA JOE, COLLECTION. PLAY IT LIKE IT IS. TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOE BONAMASSA IN PERSON

LIBRO DI MUSICA, SPARTITI PER CHITARRA CON TABLATURE. 

 

Joe Bonamassa Collection
Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Joe Bonamassa

Artist-approved, note-for-note transcriptions in standard notation and tab for a dozen of the best from this formidable blues rocker. Includes: Asking Around for You • The Ballad of John Henry • Ballpeen Hammer • Black Night • Bridge to Better Days • Dirt in My Pocket • The Great Flood • Last Kiss • Lonesome Road Blues • One of These Days • Sloe Gin • So Many Roads, So Many Trains.

TITLE - AUTORE- ALBUM - ANNO

Asking Around For You - WORDS AND MUSIC BY: JOE BONAMASSA, MICHAEL HIMELSTEIN - YOU & ME - 2006
The Ballad Of John Henry - WORDS AND MUSIC BY: JOE BONAMASSA - SLOE GIN - 2009
Ballpeen Hammer - WORDS AND MUSIC BY: CHRIS WHITLEY - THE BALLAD OF JOHN HENRY - 1998
Black Night - WORDS AND MUSIC BY: JESSIE MAE ROBINSON - SLOE GIN - 1951
Bridge To Better Days - WORDS AND MUSIC BY: JOE BONAMASSA - YOU & ME - 2006
Dirt In My Pocket - WORDS AND MUSIC BY: JOE BONAMASSA, JIM HUFF - SLOE GIN - 2007
The Great Flood - WORDS AND MUSIC BY: JOE BONAMASSA - THE BALLAD OF JOHN HENRY - 2009
Last Kiss - WORDS AND MUSIC BY: JOE BONAMASSA - THE BALLAD OF JOHN HENRY - 2009
Lonesome Road Blues - WORDS AND MUSIC BY: JOE BONAMASSA - THE BALLAD OF JOHN HENRY - 2009
One Of These Days - WORDS AND MUSIC BY: JOE BONAMASSA - SLOE GIN - 2007
Sloe Gin - WORDS AND MUSIC BY: BOB EZRIN, MICHAEL KAMEN - SLOE GIN - 1978
So Many Roads, So Many Trains - WORDS AND MUSIC BY: PAUL MARSHALL - YOU & ME - 

160 pages

 

Joe Bonamassa performs at the Kravis Center on Tuesday.

Guitarist Joe Bonamassa doesn’t just play the blues – he is a student of the form.

For example, here’s how he describes Rory Gallagher, an Irish blues guitarist who never got nearly as well-known in the United States as he did in Europe: “Think of Rory like this – what you see is what you get. He comes out in a flannel shirt, blue jeans, playing a battered old Strat. He walks up to the mic, and he just plays, and it’s honest, the music’s honest.”

Bonamassa, who’ll be performing at the Kravis Center on Tuesday, is not just interested in knowing the blues. He wants to pass along his knowledge – so he started Keeping the Blues Alive, where he visits with groups of middle-school and high-school students to keep the fire of the blues burning.

“That’s the whole point, how do we get through the next hundred years?” Bonamassa said in a telephone interview. “Blues is 100 years old, essentially, so how do we get to the next hundred years? We get the kids interested in it. A lot of blues guys tend to play the victim – that the music doesn’t get covered by the media, it gets ignored. But at the end of the day, you have to be proactive about it.”

Directions, invite a friend, nearby dining
So Bonamassa will be taking his love of the blues to the kids – including a session before his show at the Kravis.

“As it happens, it’s about self-preservation for the blues, but it’s also about giving a little back to the community,” he said. “I get to do this nightly, playing music and a couple thousand people show up, so I feel indebted to the community.”

These days, it’s just one more thing on a busy slate for Bonamassa – he’s just wrapped up a pair of albums and tours with the supergroup Black Country Communion, which also features bassist/vocalist Glenn Hughes, drummer Jason Bonham and keyboardist Derek Sherinian; he’s worked on an album with singer/songwriter Beth Hart that he calls the project he’s most proud of; and he’s touring in support ofDust Bowl, his latest solo record.

Bonamassa set out to make Dust Bowl a much more American album than what he’s done before – he said his guitar work was closer to that of Duane Eddy, the great surf guitarist of the 1950s and ’60s, than anyone else. He also had the chance to work with singer/songwriter John Hiatt and Vince Gill, a country legend who also happens to be a highly respected guitarist in his own right. Bonamassa first met Gill at the Crossroads Guitar Festival just outside Chicago in the summer of 2010, and from there, it just took off.

“I saw him from afar, but I didn’t really approach him,” Bonamassa said. “But he came up to me, and he said, ‘My wife and I watched your concert at Albert Hall on DVD and we really like it,’ and he asked, ‘Do you know me?’ I said, ‘I know exactly who you are!’

“I’m not one to go up to famous people, I don’t enjoy the experience, it’s very daunting to me. I probably wouldn’t have approached him, but he approached me, and it’s Vince freakin’ Gill! Two months later we’re doing a session with John Hiatt, and then he’s on stage with me at the Beacon Theater in New York. My Rolodex has changed a bit in the last 10 years – used to be my mom and dad and a couple of friends!”

 

As Joe Bonamassa grows his reputation as one of the world’s greatest guitar players, he is also evolving into a charismatic blues-rock star and singer-songwriter of stylistic depth and emotional resonance. His ability to connect with live concert audiences is transformational, and his new album, Black Rock, brings that energy to his recorded music more powerfully than ever before. The tenth solo album and eighth studio release of his career – as well as his fifth consecutive with producer Kevin Shirley (Led Zeppelin, Black Crowes, etc.) – the disc adds an enlivening dose of ‘world’ vibes to Bonamassa’s virtuoso mix of ‘60s-era British blues-rock (à la Beck and Clapton) and roots-influenced Delta sounds.

The album was recorded at Black Rock Studios in Santorini, Greece. “With this album, we wanted to explore a ‘world’ feeling, and this was the inspiration behind going to record in Greece and using some of the best Greek musicians to add a little flavor to a couple of the tracks. But it’s by no means a ‘world’ album. We wanted Joe’s usual youthful and energetic tones to play alongside the worldly vibes of the Greek bouzouki and clarino,” said Shirley. Bonamassa adds, “It was the kind of record Kevin and I wanted to make. We needed to rock again a bit like on my first album. It’s youthful, like going back to your childhood.” Throughout, Bonamassa is again backed by the stellar players Carmine Rojas (bass), Anton Fig, Bogie Bowles (both on drums) and Rick Melick (keyboards).

2009 was a big year for Bonamassa. He was awarded the Breakthrough Artist of the Year Award at the U.K.’s prestigious Classic Rock Roll of Honour Awards and Classic Rock magazine has said, “They’re calling him the future of blues, but they’re wrong – Joe Bonamassa is the present; so fresh and of his time that he almost defines it.” He was also named Best Blues Guitarist in Guitar Player Magazine’s 2009 Readers’ Choice Awards for the third consecutive year. Guitar Player writer Matt Blackett has said, “He’s an old soul, and that comes through in his bends, vibrato, singing voice, and note choices, which – which each passing year – get more restrained and refined.”

In May ’09, he played to a sold out crowd at London’s Royal Albert Hall, arguably the most prestigious concert venue in the world. During the show, Bonamassa’s hero, Eric Clapton, joined him on stage for a joint-performance of Clapton’s hit “Further On Up The Road.” London’s The Independent said about the show, “The man has arrived, and there’s no turning back.” Shortly after, Bonamassa released a 2-DVD live set – Joe Bonamassa – Live From The Royal Albert Hall – which captures the night in full. Guitar Edge gave it five stars and also said, “It is the wallop of his emotional expression, fueled by the rocking energy he derives from that trans-Atlantic connection and driven by his devastating technical ability, that elevates him about his peers and makes him a certifiable blues guitar hero and the face of his blues generation.”

Last year also coincided with Bonamassa’s twentieth year as a professional musician, an extraordinary timeline for a young artist just into his ’30s. A child prodigy, Bonamassa was finessing Stevie Ray Vaughan licks when he was seven and by the time he was ten, had caught B.B. King’s ear. After first hearing him play, King said, “This kid’s potential is unbelievable. He hasn’t even begun to scratch the surface. He’s one of a kind.” By age 12, Bonamassa was opening shows for the blues icon and went on to tour with venerable acts including Buddy Guy, Foreigner, Robert Cray, Stephen Stills, Joe Cocker and Gregg Allman.

Bonamassa reunites with King for a duet on Black Rock. The song they perform together is a rendition of the Willie Nelson-penned song, “Night Life,” which appeared on King’s 1967 album Blues Is King. Shirley says about the experience, “This is a rollicking Stonesy-vibe version of the Willie Nelson song on which B.B. duets with Joe, both vocally and on his famous Lucille guitar. What a joy and an honor to work with the legend who is possibly the pivot point and unifying musician between blues and rock.”

Other tracks appearing on Black Rock include Jeff Beck’s “Spanish Boots,” a lively version of Leonard Cohen’s poetic “Bird On A Wire,” Otis Rush’s “Three Times A Fool,” as well as Bobby Parker’s “Steal Your Heart Away,” a song recommended by Robert Plant, who said Led Zeppelin rehearsed it in their earliest days. Also, Blind Boy Fuller’s “Baby, You Gotta Change Your Mind,” John Hiatt’s “I Know A Place,” and James Clark’s “Look Over Yonder’s Wall,” as well as the Bonamassa-penned originals “When The Fire Hits The Sea,” “Wandering Earth,”

“Athens To Athens,” and “Blue and Evil.”

Bonamassa’s recording career began in the early ’90s with Bloodline, a hard-charging rock-blues group also featuring Robby Krieger’s son Waylon and Miles Davis’ son Erin. His 2000 solo debut, A New Day Yesterday, was produced by the legendary Tom Dowd; Bonamassa’s rendering of the title track, originally a Jethro Tull hit, was called, “a jaw-dropping performance” by allmusic.com.

His last studio album, The Ballad Of John Henry – with no shortage of its own jaw-dropping moments – debuted at #1 on the Billboard blues chart and stayed there for six months. The album marks a more confessional approach to songcraft than he’s previously employed. “Making the first half of the album,” Bonamassa says, “I was in the happiest place I’d ever been in my life. The second half found me in completely the opposite state. I’ve come to the conclusion that experience makes for better art. I had more to say, and it’s the first time I’ve personally opened up the book on my life.”

Previous studio sets include 2007’s Sloe Gin, which debuted at #1 on Billboard’s blues chart and received a 2008 nod for Album Of The Year from the Classic Rock Roll Of Honour Awards. Sloe Gin careens between heavy electric blues-rockers and acoustic, folk-etched cuts in a flow that Bonamassa says was partly inspired by Rod Stewart’s classic 1969 solo debut LP. Modern Guitars Magazine wrote, “If calling Sloe Gin a Bonamassa sampler isn’t graphic enough, think of the album as a musical buffet in which unrelated entrees share a single trait: they taste good.” The Boston Phoenix called it, “an elegant and brawny guitar-hero album.”

In 2008, he released the 2-CD set Live From Nowhere In Particular, which Guitar Player said, “finds Joe playing with soul, intensity and savage tones.” It features 13 songs recorded live in concert on the artist’s 2007 North American tour – at shows like the one at New York’s Westhampton Beach Performing Arts Center reviewed by Lon S. Cohen: “In a thousand years, when archeologists dig out Joe Bonamassa’s guitar from the strata of the earth, it will still be smoking…He holds the guitar like a shotgun but what comes out of it is poetry, color, and a story is told in notes.” A review of a show at Alexandria, VA’s Birchmere drew similar sentiments from writer Paul Roy on blogcritics.org: “I have flirted with the opinion that Bonamassa may be the overall best guitarist on the planet these days, and after seeing him perform live again…I am now totally comfortable with that opinion. He is simply mesmerizing to watch.”

Bonamassa circles the globe playing an average of 200 shows a year, and his mind-blowing guitar wizardry and electrifying stage presence are selling out progressively larger venues all the time. The OC Register’s Robert Kinsler has written, “Whether in a club or outdoors at a festival, something magnetic happens when Bonamassa steps to the front of the stage, leans his head back and simply lets loose.”

Ongoing journeyman touring is a given, and looking beyond Black Rock, Bonamassa will continue his recording collaboration with producer Kevin Shirley, who says, “It’s great working with Joe and seeing him enjoy the discovery of all these places he can go. He’s an artist who can play anything, there are so many facets to him.” Bonamassa adds, “Kevin comes up with fantastic ideas outside the box. He appreciates the blues, but pushes me, the only person besides Tom Dowd who’s done that.”

On top of touring, recording and overseeing the independent label J&R Adventures with his entrepreneurial partner and manager Roy Weisman, Bonamassa is a spokesperson for the Blues Foundation’s respected Blues In The Schools program, volunteering his time during tours to speak with groups of high school students about the heritage of blues music – the first pure American music form. Recently, he was chosen by Channel One, the largest in-school news network, to host an ongoing segment called “Know Your Roots with Joe Bonamassa” in which he traces the musical roots of Channel One’s weekly “Hear It Now” featured artist.

And, 2010 has already started with a bang – Guitar World dubbed Bonamassa “The Blues Rock Titan” and his song, “Lonesome Road Blues,” is a part of Guitar Hero V’s New Blues Masters Track Pack. Keeping with his blues roots but fluently moving between rock n’ roll and international sounds, 2010 is not only a new decade but a new era for Bonamassa.

 

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HENDRIX JIMI VALLEYS OF NEPTUNE Guitar Recorded Version TABLATURE SPARTITI CHITARRA

HENDRIX JIMI, VALLEYS OF NEPTUNE. Guitar Recorded Version. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

Jimi Hendrix - Valleys of Neptune

Series: Guitar Recorded Version
Format: Softcover - TAB
Artist: Jimi Hendrix
Inventory #HL 00691033
ISBN: 9781423492504
UPC: 884088500382
Width: 9.0"
Length: 12.0"
168 pages
Cover Photo: Linda McCartney

 

Valleys Of Neptune is the newly compiled album of 12 fully realized studio recordings, and more than 60 minutes of music never commercially available. Centered around tracks recorded during a pivotal and turbulent four-month period in 1969, Valleys Of Neptune unveils the original Jimi Hendrix Experience's final studio recordings, as the group lays down the foundation for its follow-up to Electric Ladyland, alongside the guitar superhero's first sessions with bassist Billy Cox, an old army buddy he'd recruited into his new ensemble.

Valleys Of Neptune provides an essential, compelling, and up-til-now largely unseen view of what Jimi Hendrix was up to musically in the critical period between the release of Electric Ladyland in October 1968 and the 1970 opening of his own Electric Lady Studios in Greenwich Village, the state of the art facility where he would begin his final project, the ambitious double album First Rays Of The New Rising Sun.

 

Valleys of Neptune is originality electrified, offering more than 60 minutes of previously unreleased Jimi Hendrix music, originally recorded, and newly mixed for this historic release, by Hendrix's longtime engineer Eddie Kramer, who first worked with the guitarist on Are You Experienced in 1967. Valleys Of Neptune is produced by Janie Hendrix, John McDermott (who contributes detailed liner notes to the album) and Eddie Kramer.

 

"Valleys of Neptune" has long been one of the most sought after of any commercially unavailable Jimi Hendrix recording and sees it's debut nearly forty years after Jimi finished recording the track at New York's Record Plant in May of 1970.

 

Other highlights on Valleys Of Neptune include blazing studio covers of Elmore James' classic "Bleeding Heart" and Cream's "Sunshine Of Your Love" as well as premier performances of original Hendrix compositions like "Ships Passing Through The Night," "Lullaby For The Summer" and The Jimi Hendrix Experience's the original un-dubbed rendition of "Hear My Train A Comin'." Also included in Valleys Of Neptune is "Mr. Bad Luck," a Jimi Hendrix Experience track, produced by Chas Chandler during the 1967 Axis: Bold As Love sessions.

 

TRACK LISTINGS:

 

Stone Free

Recorded: Record Plant, New York, April 7, 9, 14, May 17,1969

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Bass: Billy Cox

Drums: Mitch Mitchell

Backing Vocals: Roger Chapman, Andy Fairweather Low

 

Valleys Of Neptune

Recorded: Record Plant, New York, September 23, 1969, May 15, 1970

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Drums: Mitch Mitchell

Bass: Billy Cox

Percussion: Juma Sultan

 

Bleeding Heart

Recorded: Record Plant, New York, April 24, 1969

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Bass: Billy Cox

Drums: Rocky Isaac

Tambourine: Chris Grimes

Maracas: Al Marks

 

Hear My Train A Comin'

Recorded: Record Plant, New York, April 7, 1969

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

 

Mr. Bad Luck

Recorded: Olympic Studios, London, May 5, 1967

Producer: Chas Chandler

Additional bass and drum recording, Air Studios, London, June 5, 1987

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

 

Sunshine Of Your Love

Recorded: Olympic Studios, London, February 16, 1969

Producer: Jimi Hendrix

Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

Percussion: Rocki Dzidzornu

 

Lover Man

Recorded: Olympic Studios, London, February 16, 1969

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

 

Ships Passing Through The Night

Recorded: Record Plant, New York, April 14, 1969

Producer: Jimi Hendrix

Guitar, Vocals: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

 

Fire

Recorded: Olympic Studios, London, February 17, 1969

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Bass, Backing Vocal: Noel Redding

Drums: Mitch Mitchell

 

Red House

Recorded: Olympic Studios, London, February 17, 1969

Producer: Jimi Hendrix

Vocal, Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

 

Lullaby For The Summer

Recorded: Record Plant, New York, April 7, 1969

Producer: Jimi Hendrix

Mixed By Eddie Kramer

Guitar: Jimi Hendrix

Bass: Noel Redding

Drums: Mitch Mitchell

 

Crying Blue Rain

Recorded: Olympic Studios, London, February 16, 1969

Producer: Jimi Hendrix

Additional bass and drum recording, Air Studios, London, June 5, 1987

Vocal, Guitar: Jimi Hendrix

Percussion: Rocki Dzidzornu

Bass: Noel Redding

Drums: Mitch Mitchell  

 

Track

Date(s)

Studio(s)

Details

"Stone Free"

April 7, 1969

Record Plant Studios, New York City, New York

Master recording

April 9, 1969

Guitar and vocal overdubs

April 14, 1969

Guitar and vocal overdubs

May 17, 1969

Additional recording

"Valleys of Neptune"

September 23, 1969

Record Plant Studios, New York City, New York

Master recording

May 15, 1970

Additional recording

"Bleeding Heart"

April 24, 1969

Record Plant Studios, New York City, New York

All recording

"Hear My Train a Comin'"

April 7, 1969

Record Plant Studios, New York City, New York

All recording

"Mr. Bad Luck"

May 5, 1967

Olympic Studios, London, England

All original recording

June 5, 1987

Air Studios, London, England

Bass and drum overdubs

"Sunshine of Your Love"

February 16, 1969

Olympic Studios, London, England

All recording

"Lover Man"

"Ships Passing Through the Night"

April 14, 1969

Record Plant Studios, New York City, New York

All recording

"Fire"

February 17, 1969

Olympic Studios, London, England

All recording

"Red House"

"Lullaby for the Summer"

April 7, 1969

Record Plant Studios, New York City, New York

All recording

"Crying Blue Rain"

February 16, 1969

Olympic Studios, London, England

All recording

June 5, 1987

Air Studios, London, England

Bass and drum overdubs

 

 

This compilation matches the highly anticipated album of 12 previously unreleased Hendrix recordings. Includes: Bleeding Heart • Crying Blue Rain • Fire • Hear My Train a Comin' (Get My Heart Back Together) • Lover Man • Lullaby for the Summer • Mr. Bad Luck • Red House • Ships Passing Through the Night • Stone Free • Sunshine of Your Love • Valleys of Neptune.
 

1967 - Fire - parole e musica: Jimi Hendrix
1965 - Bleeding Heart - parole e musica: Elmore James, Marshall Selhorn
1969 - Valleys Of Neptune - parole e musica: Jimi Hendrix
1969 - Lullaby For The Summer - parole e musica: Jimi Hendrix
1969 - Ships Passing Through The Night - parole e musica: Jimi Hendrix
1969 - Crying Blue Rain - parole e musica: Jimi Hendrix
1969 - Hear My Train A Comin' (Get My Heart Back Together) - parole e musica: Jimi Hendrix
1969 - Lover Man - parole e musica: Jimi Hendrix
1967 - Mr. Bad Luck - parole e musica: Jimi Hendrix
1967 - Red House - parole e musica: Jimi Hendrix
1966 - Stone Free - parole e musica: Jimi Hendrix
1969 - Sunshine of Your Love - parole e musica: Jack Bruce, Pete Brown, Eric Clapton

Prezzo: €35,99
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MCKEE ANDY JOYLAND Guitar Recorded Version TABLATURE SPARTITI LIBRO CHITARRA TAPPING

Andy McKee - Joyland

LIBRO DI MUSICA.

SPARTITI PER CHITARRA.

ACCORDI, PENTAGRAMMA E TABLATURE. 

Tapping acoustico
Series: Guitar Recorded Version
Format: Softcover - TABLATURE
Artist: Andy McKee

Andy McKee has become known as one of the world's best acoustic guitar players, through millions upon millions of views on YouTube. At one point he held the three top spots in the Top-Rated Videos section of the website! Joyland is his third release, and our matching folio features note-for-note transcriptions supervised by Andy himself of 10 songs: Away • Blue Liquid • Everybody Wants to Rule the World • For Now • Hunter's Moon • Joyland • Layover • My Life As a CPA (Parallel Universe #43) • Never Grow Old • Upward Mobility. 58 pages

Away
Blue Liquid
Everybody Wants To Rule The World
For Now
Hunter's Moon
Joyland
Layover
My Life As A CPA (Parallel Universe #43)
Never Grow Old
Upward Mobility

Prezzo: €26,99
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JOHNSON JACK-TO THE SEA-Play It Like It Is-TABLATURE-LIBRO SPARTITI CHITARRA-PENTAGRAMMA NOTE ACCORDI

JOHNSON JACK, TO THE SEA. Play It Like It Is. TABLATURE

LIBRO DI MUSICA POP ROCK.

SPARTITI PER VOCE E CHITARRA CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.

 

ARTIST APPROVED

 

Jack Johnson - To the Sea
Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - TAB
Artist: Jack Johnson

Johnson says the title of his fifth studio CD is “a reference to a father leading his son to the sea – with the water representing the subconscious, so it's about trying to go beneath the surface and understand yourself.” The 2010 album dropped in June and debuted at #1. Our folio features notes & tab for all 13 tunes: Anything but the Truth • At or with Me • From the Clouds • My Little Girl • No Good with Faces • Only the Ocean • Pictures of People Taking Pictures • Red Wine, Mistakes, Mythology • To the Sea • Turn Your Love • The Upsetter • When I Look Up • You and Your Heart.

Anything But The Truth
At Or With Me
From The Clouds
My Little Girl
No Good With Faces
Only The Ocean
Pictures Of People Taking Pictures
Red Wine, Mistakes, Mythology
To The Sea
Turn Your Love
The Upsetter
When I Look Up
You And Your Heart

Width: 9.0"
Length: 12.0"
68 pages
 

Prezzo: €29,95
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FENDER TELECASTER HANDBOOK-How to Buy-Maintain-Set Up-Troubleshoot-Modify Your Tele-Paul Balmer

FENDER TELECASTER THE HANDBOOK, How to Buy, Maintain, Set Up, Troubleshoot, and Modify Your Tele. Paul Balmer

LIBRO

The Fender Telecaster Handbook
How to Buy, Maintain, Set Up, Troubleshoot, and Modify Your Tele
Series: Book
Publisher: Voyageur Press
Format: Hardcover
Author: Paul Balmer

This is the first hands-on how-to manual devoted to the Telecaster. This guidebook shows owners and dreamers the basics of selecting and buying Telecasters. It covers maintenance and repairs such as tuning, setting intonation, tremolo alignment, fret repairs, bridge and nut adjustments, electrics troubleshooting; spur-of-the-moment stageside fixes; and some basic performance enhancements like adding “hot rod” aftermarket pickups.

Width: 8.25"
Length: 10.75"
198 pages

 

Description

In series with the best-selling manuals on the Fender Stratocaster and Gibson Les Paul Electric Guitars, this manual covers the Fender Telecaster in detail, explaining how to maintain it, set it up to get the best sound, and repair it when things go wrong or damage occurs.

Originally introduced in 1950 as the Broadcaster, the Telecaster was the first production Electric Guitar and remains one of the most popular. Superbly illustrated and designed, this manual includes case studies of key models - everything from a 1948 prototype to a 2008 'closet classic' - but also gives appropriate attention to today's affordable Squier versions.

Key content
Buying a Fender Telecaster, used and new options, pitfalls, authenticity issues, getting the right Guitar for the job.
Pre-gig checks, tuning, and stageside repairs.
Routine maintenance and servicing.
Set-ups and careful 'customising'.
Case studies of key Telecaster models, such as the '51 Nocaster, '52 Relic repro, '70s Thinline, Customer Elite, Jeff Beck Esquire reissue, Gerry Donahue model and Squier affordables.
'Under The Hood' with celebrity users - how the pros set up their Telecasters and related hardware, including Jeff Beck, Jerry Donahue, Keith Richards and Albert Lee.

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FENDER PRECISION BASSES 1951-1954 Detlef Schmidt LIBRO HAL LEONARD CENTERSTREAM-BASSO ELETTRICO

FENDER PRECISION BASSES 1951-1954. Detlef Schmidt

LIBRO ILLUSTRATO SUL FAMOSO MODELLO DI BASSO ELETTRICO FENDER . 

160 PAGINE, FOTOGRAFIE A COLORI

Series: Guitar

Publisher: Centerstream Publications
Format: Hardcover
Author: Detlef Schmidt

Introduced in 1951, the Fender Precision Bass is the precursor of all modern electric basses. This book takes a look at the history of the “slab body basses” and the most famous players. In addition to many historical photos, the full color book lists many basses with beautiful pictures, detail shots, and anecdotes. This book is a must-have for every bass player and enthusiast or collector.
162 pages

Prezzo: €35,99
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FENDER 60 YEARS OF SIX DECADES OF THE GREATEST ELECTRIC GUITARS Tony Bacon STRATOCASTER-TELECASTER

60 Years of Fender Six Decades of the Greatest Electric Guitars. Tony Bacon

Series: Book
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

The latest addition to Tony Bacon's acclaimed series of guitar books, 60 Years of Fender gives a year-by-year history of the most successful electric guitar maker. In 1950, Leo Fender introduced to the world the solidbody electric guitar – the instrument known as the Telecaster. He soon added two more classics: the Precision Bass (1951) and the Stratocaster (1954). Fender's sleek, adaptable guitars have since fueled modern music – from country to rock – and have been heard in the hands of virtually every guitarist of note, from Buddy Holly to Kurt Cobain, from Eric Clapton to John Mayer. Illustrated with an unrivaled gallery of color photographs of instruments, players, and memorabilia, this revised and updated edition expands upon 50 Years of Fender (published in 2000), covering nine more years of the Fender story.

“A must-have for any Fender fan. Highly entertaining.”

– Guitar Player

Inventory #HL 00332861
ISBN: 9780879309664
UPC: 884088401597
Width: 8.5"
Length: 11.0"
144 pages

 

Leo Fender listened hard to players' comments about the
Telecaster and Esquire models, and during the early 1950s he and
Freddie Tavares began to devise the guitar that would become the
Stratocaster (seen in stylized form on the 1954 catalog cover,
right). At first other makers had merely mocked Fender's new
solid body guitars, but soon Gibson had joined in with its Les
Paul, Gretsch with the Duo Jet, Kay with its K-125. Competition
was looming - and Fender needed to up the stakes. This they
most certainly did.

The Stratocaster was launched during 1954. Samples
around May and June were followed by the first proper
production run in October. The new Fender guitar was
the first solidbody electric with three pickups, meaning
a range of fresh tones, and featured a new-design
vibrato unit that provided pitch-bending and
shimmering chordal effects.
The new vibrato - often called a "tremolo" by
Fender and many others since - was troublesome in
development. But the result was the first self-contained
vibrato unit: an adjustable bridge, a tailpiece, and a
vibrato system, all in one. It wasn't a simple mechanism
for the time, but a reasonably effective one. It followed
the Fender principle of taking an existing product (in
this case, the Bigsby vibrato) and improving it.
Fender's new vibrato had six bridge-pieces, one for
each string, adjustable for height and length, which
meant that the feel of the strings could be personalized
and the guitar made more in tune with itself. The
complete unit was typical of Fender's constant
consideration of musicians' requirements and his
application of a mass-producer's solution.
The Strat came with a radically sleek, solid body,
based on the outl ine of the 1951 Fender Precision Bass.
Some musicians had complained to Fender that the
sharp edge on the Telecaster's body was uncomfortable
- the dissenters included musician/entertainer Rex
Gallion and Western Swing guitarist Bill Carson - and
so the Strat's body was contoured for the player's

comfort. Also, it was finished in a yellow-to-black
sunburst finish.
Even the output-jack mounting was new, recessed in
a stylish plate on the body face. And the headstock?
Side by side with Paul Bigsby's guitar made for Merle
Travis in 1948 there is clearly influence from the earlier
instrument. But as a whole the Fender Stratocaster
looked like no other guitar around, especially the
flowing, sensual curves of that beautifully
proportioned, timeless body.
The Stratocaster's new-style pickguard
complemented the Jines perfectly, and the
overall impression was of a guitar where
all the components ideally suited
one another. The Fender
Stratocaster has since become
the most popular, the most
copied, the most desired, and
very probably the most played :
solid electric guitar ever.
On its 40th anniversary in
1994 an official estimate put
Strat sales at over a million
guitars. At its launch it wasn't such
a world-beater; later in the 1950s,
the Fender Stratocaster began to hint
at future glories, especially in the hands
of players such as Buddy Guy, Carl Perkins,
and Buddy Holly.

The amp Custom Shop offered the high-end, vintage-flavored Vibro-King and Tone-Master as its first products, while the existing guitar Custom Shop reflected on a 90th Anniversary Harley-Davidson Strat. Comings and goings among Fender players included a debut from Liz Phair (opposite) and the death at 61 of the great Texas bluesman Albert Collins (memorial ad, right). G-Vox (above) was Fender's ill-fated computer guitar-teaching system.

With the continuing success of the guitar Custom
Shop, this year saw the start at Scottsdale, Arizona, of
an amp equivalent, with ex-Matchless electronics
expert Bmce Zinky in charge. The intention was to
make limited quantities of expensive, high-quality
products. The amp Shop would not build far-out
made-to-order items, but generally would follow the
guitar outfit's increasingly important business in
defining a catalog of regular items.
Artists could collaborate on individually crafted
items, but broadly speaking the hand-built
line would be drawn from reinterpretations ofFender's
classic tube amps of the 1940s, 50s and early 60s. The
first models to appear from the amp Custom Shop
were the Vibro-King 60-watt 3xlO combo and the
1one-Master 100-watt piggyback amp, with a choice of
2x 12 or 4x 12 cabinet, all finished in cream Tolex. In
the meantime at the guitar Custom Shop, over in
Corona, a link was being forged with motorcycle
manufacturer Harley-Davidson.
The result was the Fender Harley-Davidson 90th
Anniversary Commemorative Stratocaster in a very
limited mn of 109 pieces. The stunning handengraved
aluminum body summoned up the shiny
exterior of a Harley, while the bird's-eye maple neck
and ebony fingerboard would please anyone who
actually got to play one of these creations.
The signature-guitar list continued to grow, this year
with the addition of two new models, for Clarence
White and Richie Sambora. The Clarence White
Telecaster was named for the brilliant Byrds and
Kentucky Colonels guitarist, tragically killed by a
dmnk driver in 1973. The White Tele was fitted with
his favored Scmggs banjo-style detuners for first and
sixth strings, and the B-bender string-pull device that
he developed with Byrds dmmmer Gene Parsons.
Bon Jovi's Richie Sambora helped devise a Strat to
respond to his fiery playing, with Floyd Rose double-locking vibrato,
a DiMarzio bridge humbucker plus
Texas Special single-coils, and a flatter, wider
fingerboard. A personal touch came with
the inlaid stars for position markers.
On a cultural note, the Fullerton
Museum Center - not far from
the site of Leo Fender's
original workshops
exhibited Five Decades Of
Feruler, organized by guitar
historian Richard Smith.
Included were instmments
and an array of special
memorabilia fi"omFender as
well as Music Man and G&L.
Remarkably, this was the very
first exhibition to feature Fender's
achievements. "Leo forever changed
the course of popular music," is how
Smith admirably summed it up .

 

CONTENTS
the fifties page
the sixties page
the seventies page
the eighties page
the nineties page
the new millennium page
chronology of models page
index page
acknowledgements page

Prezzo: €27,99
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STRATOCASTER GUITAR BOOK A Complete History of Fender Stratocaster Guitars Tony Bacon

 

The Stratocaster Guitar Book

A Complete History of Fender Stratocaster Guitars

Series: Guitar Reference
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

Leo Fender's company changed the course of popular music in 1954 when they introduced the Stratocaster. Since then, the Strat has been played by countless guitarists, from Jimi Hendrix to Buddy Guy and Jeff Beck. In this book, interviews with important Strat players from every decade illustrate the instrument's versatility, playability, and continuing importance. This is the complete story of the Stratocaster and the Fender company, from the struggles of the 1950s to the new models, retro reissues, and luscious collectibles of the 21st century. The Stratocaster Guitar Book is a glorious compendium of beautiful pictures, a gripping history, and a detailed guide to all Strat models. A must for all guitar lovers.

Width: 8.5"
Length: 11.0"
160 pages

 

CONTENTS:
THE STRATOCASTER STORY
THE PRE-STRAT ERA
THE FIFTIES
THE SIXTIES
THE SEVENTIES
THE EIGHTIES
THE NINETIES
RECENT YEARS
ENDNOTES
THE REFERENCE LISTING
US-MADE STRATOCASTERS
MEXICO-MADE STRATOCASTERS
JAPAN-MADE STRATOCASTERS
KOREA-MADE STRATOCASTERS
DATING & SERIAL NUMBERS
MODEL CHRONOLOGY
INDEX
ACKNOWLEDGEMENTS

 

Leo began work as an accountant, at first in the accounts section of the state highway department and then at a tyre distribution company, but his hobby was always electronics. In his twenties, he built amplifiers and PA systems for public events: sports gatherings, dances, and so on. He took a few piano lessons before trying the saxophone, but he was never serious, and he never learned to play the guitar.
When he lost his accounts job in the Depression, Leo took a bold step and opened his own radio and record store in Fullerton, around 1938. He called the new retail and repair shop Fender Radio Service, and it seemed a natural move for the ambitious and newlymarried 30-year-old. He advertised his wares and services on his business card: "Electrical appliances, phonograph records, musical instruments & repairs, public address systems, sheet music."
His new store on South Spadra meant that Leo met many local musicians and characters in the music and electronics businesses. During the first few years he hooked up with several people who would prove important to his future success. First among these was a professional violinist and lap-steel guitarist, Clayton Orr Kauffman, known to all simply as Doc.
The story goes that some time around 1940, Doc brought an amplifier into Leo's shop for repair and the two got chatting. Doc had amplified his own guitars and made designs for an electric guitar and a vibrato system. By this time, Leo had started looking into the potential for electric guitars and was playing around with pickup designs. A crude solidbody guitar that Fender and Kauffman built in 1943 purely to test these early pickups - one design for which was patented in '44 - is today in the Roy Acuff Museum at Opryland, ashville.
Doc went to work for an aircraft company during World War II, but the two incorrigible tinkerers still found time to get together and come up with a design for a record-changer good enough to net them $5,000. They used some of this money to bolster their shortlived company, K&F (for Kauffman & Fender), and began production of electric lap-steel guitars and small amplifiers in November 1945.
In the 20s, many people in America had taken up the little lap-steel guitar, often called the Hawaiian guitar, and the instrument was still tremendously popular. The steel had been the first type of guitar to go electric in the 30s. Several innovative companies, with Rickenbacker in the lead, experimented with electro-magnetic pickups, fixing them to guitars and feeding their signal out to small amplifiers. The attraction of the steel was that it was an easy-to-play instrument, and thus one suitable for beginners, but the electric version also proved appealing to professional musicians, especially in Hawaiian music and among country-and-western bands.
The musician would play the steel guitar on his lap or would step up to an instrument mounted on legs. The name came not from its construction - Fender's steels were all wooden - but from the metal bar that the player held in his left hand to stop the raised strings, which were generally tuned to an open chord. During the 30s and later the term the stratocaster guitar book...

... quantity, naturally, is limited," announced Fender, and during 1979 and 1980 the firm proceeded to make thousands of 25th Anniversary Stratocasters ($800 including case, virtually the same price as a standard model). "They went fast in '54. They'll go fast now," ran the insistent ad. An official estimate of production mentioned 10,000 units.
Most people tend to refer to a Stratocaster as a Strat, and in 1980 Fender finally used the abbreviation officially on a new model. It was designed by Gregg Wilson, who had come up with the budget-price Fender Lead models introduced the previous year. The new Strat combined regular Stratocaster looks with updated circuitry, a 'hot' bridge pickup, and fashionable heavy-duty brass hardware. Fender also offered the hardware separately as an after-market accessory line, called Original Brass Works, following the lead of various companies that popularised a craze for retrofit replacement parts. Larry DiMarzio was a leader in this new business, introducing his Super Distortion replacement pickup in 1975, with Mighty Mite, Seymour Duncan, and others soon following.
Fender intended with the Strat to re-introduce the old-style narrow headstock of the original Stratocasters. The broader type of the time had been in use since 1965. However, Fender used old worn-out tooling, and the result was not an entirely accurate re-creation. Smaller, certainly; accurate, no. A reversion to the four-bolt neck fixing and body-end truss-rod adjustment and the removal of the neck-tilt for the new Strat model implied that CBS were already aware of criticisms of 70s Stratocasters. A few brighter colours were offered for the Strat, too, reviving Lake Placid Blue, Candy Apple Red, and Olympic White.
The model was significant as the first attempt at a modernised Strat. It retailed at $995, compared to $745 for the regular Stratocaster.
One further attempt in 1980 to provide something different for Strat fans was the Hendrix Stratocaster. It was something like a 25th Anniversary Strat in overall spec, but it had an inverted headstock and additional body contouring, and was only offered in white.
It's another significant guitar, as it was the first Fender marketed to highlight an association with a musician, a sales technique that would become very important to the company from the late 80s. Only 25 or so were produced, and most if not all were marked as prototypes.
Colour schemes were brightened and expanded a little during the 80s, with the shortlived International Colors in 1981 and then the Custom Colors and Stratobursts of '82. Some of the new hues were distinctly lurid - such as Capri Orange, Aztec Gold, or Bronze Stratoburst - and they were not much liked at the time. In 1983, there was a short run of Marble or 'bowling ball' finishes, designed by Darren Johansen, in swirling Red, Blue, or Gold.
With generally trimmed model lines and a massive output from the factories at Fender, it was hard to resist the feeling as the 80s dawned that the newly-important calculations of the balance sheet were firmly established and took precedence over the company's former creativity. At the start of the decade, CBSmanagement decided that they needed some new blood to help reverse a decline in Fender's image and finances. Income had the stratocaster guitar book ...

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LES PAUL LEGACY 1968-2009 THE MODERN ERA OF THE-Robb Lawrence LIBRO ILLUSTRATO CHITARRA

LES PAUL LEGACY 1968-2009 THE MODERN ERA OF THE. Robb Lawrence.

LIBRO ILLUSTRATO CON FOTOGRAFIE A COLORI.

 

The Modern Era of the Les Paul Legacy 1968-2009
Series: Book
Publisher: Hal Leonard
Format: Hardcover
Author: Robb Lawrence

Following the release of The Early Years..., which Vintage Guitar magazine called “carefully crafted ... lavishly illustrated,” this full-color book continues the amazing journey of an American icon's recording career and the coveted instruments that bear his name. Beginning with the collectible late '60s models, The Modern Les Paul Legacy moves on to the '70s and '80s special-themed instruments – showing all popular artist models, like Jimmy Page, Joe Perry, and Slash, in living color. And the “holy grail” '59 Sunburst and the jaw-dropping Custom Shop creations of the '90s receive their due as achievements that have never, to this day, been surpassed. The book also covers Les Paul's resurgence – the comeback Grammy Award-winning album with Chet Atkins, the start of a weekly gig in a New York City jazz club, and the reconnection with the Gibson family. Since Les Paul's death in August 2009, this will be the first book that covers his entire life, including his last performances at the Rock and Roll Hall of Fame, the memorials in New York, and the burial in his hometown in Wisconsin.
Width: 8.5"
Length: 11.25"
362 pages
 

Prezzo: €49,99
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YOUNG NEIL FINGERPICKING GREATEST HITS BOOK GUITAR TABLATURE LIBRO CHITARRA SPARTITI

NEIL YOUNG, FINGERPICKING GREATEST HITS. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

ARRANGED FOR FINGERSTYLE GUITAR, 

 

Fingerpicking Neil Young – Greatest Hits
Fingerpicking Guitar Series
Series: Guitar Solo
Format: Softcover - TAB
Artist: Neil Young

This fantastic collection offers fingerpicking arrangements in notes & tab for 16 Neil Young classics! Includes: After the Gold Rush • Cinnamon Girl • Harvest Moon • Heart of Gold • Helpless • Hey Hey, My My (Into the Black) • Like a Hurricane • Ohio • Old Man • Rockin' in the Free World • Southern Man • and more, plus a helpful introduction to fingerstyle guitar and loads of photos, design pages, and lyric sheets.

Inventory #HL 00700134
ISBN: 9781423429548
UPC: 884088157913
Width: 9.0"
Length: 12.0"
80 pages

 

Fingerpicking Neil Young – Greatest Hits
Fingerpicking Guitar Series
Series: Guitar Solo
TAB
HL #00700134

Song List:
After The Gold Rush
Cinnamon Girl
Comes A Time
Cowgirl In The Sand
Down By The River
Harvest Moon
Heart Of Gold
Helpless
Hey Hey, My My (Into The Black)
Like A Hurricane
The Needle And The Damage Done
Ohio
Old Man
Only Love Can Break Your Heart
Rockin' In The Free World
Southern Man
 

 

After The Gold Rush (12 marzo1970)
Cinnamon Girl (20 marzo1969)

Comes A Time (2 novembre 1977)
Cowgirl In The Sand (18 gennaio1969)
Down By The River ( 17 gennaio 1969)
Harvest Moon (22 settembre 1991)
Heart Of Gold (8 febbraio 1971)
Helpless (7 novembre 1969)
Hey Hey, My My (Into The Black) (22 ottobre 1978)
Like A Hurricane (29 novembre 1975)
The Needle And The Damage Done (30 gennaio 1971)
Ohio (21 maggio 1970)
Old Man (6 febbraio 1971)
Only Love Can Break Your Heart (15 marzo 1970)
Rockin' In The Free World (10 marzo 1989)
Southern Man (19 marzo 1970)
 

Prezzo: €18,99
€18,99
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