Following last year’s successful Christmas tour with his 18-piece orchestra, iconic guitarist, songwriter and three-time Grammy winner Brian Setzer entered the studio to get back to his rockabilly roots — with incredible results.
Guitar fans — and Gretsch fans in particular — might be interested in a new book from Schiffer Publishing, Ltd,: Edward Ball's Ball’s Manual of Gretsch Guitars: 1950s. The book, which was published last month, is essential for collectors and just as entertaining and informative for the general enthusiast.
Gretsch has just announced the release of an all new and improved lineup of banjos, mandolins, resonators and guitars in the 2014 Roots Collection. This eclectic family of instruments transports players to a bygone era.
The infinite cool of Gretsch guitars operates on many levels. First there’s the look of the things: stylish, graceful, a little bit over the top in the ornamentation department but generally more proud than pimped. Bristling with gleaming, chunky control knobs and mysterious switches, a well-appointed Gretsch is a grown-up guitar.
In January 1951, Gretsch let the music world know it was a serious contender in the quickly evolving electric guitar business when it introduced the Electromatic and Electro II models at a three-day promotional show at New York’s Park Sheraton Hotel.
Forty-nine Februarys ago, after the Beatles made their debut appearance on The Ed Sullivan Show, thousands of kids across the US suddenly "needed" electric guitars, basses and drums. Kids who were able to pick out their dream gear took their cues from their new long-haired heroes and tracked down Gretsch and Rickenbacker guitars, Hofner basses, Vox amps and Ludwig drums.
Few guitars throughout history are as elegant, distinguished and iconic as the Gretsch White Falcon, a full-bodied behemoth once characterized by Guitar World’s own Alan di Perna as “the indisputable gold-trimmed Cadillac Coupe DeVille of the electric guitar universe.”