Back Issues

The September 2022 Issue of Vintage Guitar magazine featuring Nitty Gritty Dirt Band’s Jeff Hanna, Bad Company, Danny Gatton’s ES-295, Foghat, Dallas Rangemaster and Scala, Duke Levine and much more!

Psych-blues maestro J.D. Simo is the wizard behind the guitars heard throughout the feature film Elvis. The gig required him to embody the sounds of Scotty Moore, James Burton, Hank Garland, Tommy Tedesco, B.B. King, and others. Simo tells us why it was more fun than a barrel full of monkeys.

Despite the way collectors and dealers bandy the term “lawsuit guitars,” real-world examples are few. One time it did happen was triggered by the Vox Symphonic Bass.

All tweed Fenders are lauded, but the V-Front 5B4 Super might be the most iconic. This one was also the compatriot of a player known for his tone.

Like most baby-boomer kids, Vern Juran was into slot-car tracks and bikes with banana seats and sissy bars. He also loved guitars, and this Harmony Stratotone sent him down the path. After being traded 50 years ago, it recently returned to him.

A trade-show curiosity, Höfner’s Fledermaus Gitarre may be pedestrian in terms of materials, but its design was a radical departure. Today, it entices aficionados and collectors.

We talk about new music with Billy Sheehan, Adrian Belew, Lari Basilio, Tim May, Walter Strauss, and Mark Lettieri.

Blues aficionados recognize Pee Wee Crayton as a legend. Wolf Marshall’s “Fretprints” tells the story of “The little man with a big sound,” who dominated the charts briefly in the years between T-Bone Walker and B.B. King.

As they started studio work in 1976, Thin Lizzy was in trouble. Their label wanted a hit   –and “The Boys Are Back in Town” wasn’t on the short list for Jailbreak. With help from Scott Gorham and Brian Robertson, “Pop ’N Hiss”  tells what changed their minds.

Ceil Thompson returns to “Dan’s Guitar Rx” for more work on her from-scratch guitar senior project.

Because you’re constantly on the lookout for good new music, our “Hit List” review staff tells you why the latest from the Doobie Brothers, Pink Floyd, Talas, Kris Kristofferson, Lari Basilio, Kirk Fletcher, Six by Six, Happy Traum, and others is worth a listen.

Speaking of worthy, in a world inundated with new amps, instruments, and gadgets, our “Apprved Gear” reviewers explain why you won’t be wasting time or money if you try the Aclam Woman Tone OD, Keeley HALO Andy Timmons, MojoHand Octaverse, Donner Rising-G Pro, Mesa Boogie California Tweed 6V6 2:20, Martin 00-28 Modern Deluxe, Peavey VYPYR X, or Misco ToneSpeak 12s

It’s all in the November issue of Vintage Guitar!

GA-20’s Matt Stubbs is a disciple of Johnny “Guitar” Watson, Earl Hooker, and the guitar Kings, while Pat Faherty’s influences are more-modern. Their new album, Crackdown, reaches back while moving the blues forward.

Also dropping by to discuss their latest music are Richie Kotzen, Jeff Berlin, Mike Morgan, Steve Knight, Ewan Currie, and Grant Geissman. Wolf Marshall recalls the legendary work of Toy Caldwell, while “Pop ’N Hiss” examines how Black and Blue stands out in the catalog and history of the Rolling Stones.

Reid Farrell bought a used Fiesta Red ’59 Tele for $125, then used it and later sold it to Billy F Gibbons, who used it on two of ZZ Top’s biggest hits. “Classics” tells its story.

B.C. Rich closed the 20th century with its version of a “see through” guitar. In case you’ve forgotten, here’s the tale of the Acrylic Warlock. 

Orange amps are known for their raucous British sound. Created when amps were huge and men were men, the OR80 Combo screams bell-bottomed rock style and attitude. Here’s the how and why.

Leo Mazow’s vision for an exhibit at the Virginia Museum of Fine Arts stemmed from the guitar’s overwhelming popularity. Given its rich history, he knew it would make for an engaging exhibition. We knew it’d make for a cool magazine spread!

Our “Hit List” review staff screens the latest music from CCR, Jimi Hendrix, Albert Lee, Sonny Landreth, Pat Travers, Robben Ford and Bill Evans, Mark Knopfler, and more!

With the holidays approaching, it’s time to drop hints to Santa. We tell you why the EHX J Mascis Ram’s Head Big Muff, Fishman Loudbox Mini, Keeley Dark Side Hero, Dr Z Z28 Mk II, Eastwood Classic 6, Maestro Ranger Overdrive/Invader Distortion, Guild Starfire I-12, and the Universal Audio Dream ’65 Reverb/Ruby ’63 Top Boost/Woodrow ’56 will keep you from wasting St. Nick’s precious time.

It’s all in the December issue of Vintage Guitar!

Like large celestial bodies, some guitar collectors have a gravity that draws objects to them. In 2016, rare Copper Iridescent Les Pauls began entering Joe Bonamassa’s orbit. We check them out.

The April 2023 Issue of Vintage Guitar magazine featuring Marty Stuart, Steve Vai, Sunny War, Merle Travis Bio, Kansas’ Leftoverture, Kim Simmonds’ ’73 Les Paul, ’30s Eroma Guitars, Stephen Ulrich and much more!

Their new album is edgy, guitar-intensive music informed by blues, pop, and rock. Read about the alt-blues summit that is Samantha Fish and Jesse Dayton. 

We also talk new music with Ana Popovic, Ian Hunter, Joe Louis Walker, John Oates, Joel Hoekstra, Mike Keneally, and Kevin Comeau.

Gibson’s original Firebirds are classics, no doubt. But did the “non-reverse” version that replaced them deserve the criticism? Peter Stuart Kohman re-examines these intriguing basses.

Eric Clapton and his Model 1962 may have launched “the Marshall sound,” but the EL34/50-watt 2100 Lead & Bass brought its own appeal – but only to mail-order buyers in the U.K. Dave Hunter reveals its story.

In the ’70s, Danny Gatton sold a ’51 Nocaster (that once belonged to Roy Buchanan) to a young Bob Fener. Of course it has a story.

Gibson blazed a trail when it came to archtop design. But it took at least one wrong turn with an experimental archtop. George Gruhn and Walter Carter tell its tale.

Wolf Marshall’s “Fretprints” column dives into the story of studio legend Hiram Bullock, Dan Forte eulogizes lap-steel legend Freddie Roulette, and “Pop ’N Hiss” take us behind the scenes with players who were there discussing Alice Cooper’s Billion Dollar Babies.

Our gear reviewers bring their informed, objective opinions on the Donner DST-700, Drybell Vibe Machine, Mayfly Goddess, Reverend Rick Vito Soul Agent, Strymon Cloudburst Ambient Reverb, Vigier G.V.Wood Hollow, Blackstar Amped 2, and the Orange Rockerverb 50 Mk III. 

There’s no better way to roll into summer than with fresh tunes. Spruce your playlists with help from our reviews of new music by The Who, Cash Box Kings, Tommy Emmanuel, Ana Popovic, Arlen Roth and Jerry Jemmott, Eric Clapton, Rodrigo Y Gabriela, and many more!

It’s all in the June issue of Vintage Guitar!!!

As co-front man in one of country’s biggest acts, John Osborne creates music that mixes traditional and modern sounds with rock and pop leanings, his guitar sharing center stage with brother T.J.’s superb baritone voice.

Though they’ve played together for years, only recently has an album showcased the harmonic personalities of Steve Cardenas and Jim Campilongo, merging through atmosphere, reverb – and vintage guitars.

We talk more new music with Robben Ford, Steven Wilson, Noah Zacharin, Adam Levy, and Julien Kasper and pay homage to April Wine guitarist/front man/founder Myles Goodwyn.

A footnote in history, Narb amps arose as a bet between colleagues. This ’72 Tremolo 100 exemplifies the brand’s from-the-hip approach to design, manufacture, and marketing. And, an unlikely moment in the life of an unlikely instrument connected Dinosaur Jr. with Uncle Tupelo; J Masics himelf dubbed this ’64 SG Junior “Instant Rock.”

Spirited debates constantly rage over “jazz-rock fusion.” While there is no definition, Jeff Beck fans know the answer is Blow by Blow. Wolf Marshall’s “Fretprints” tackles the questions that divide listeners and music experts.

London’s music scene in the late ’60s hosted the early stylings of progressive rock, psychedelia, and “space rock.” Hawkwind carried the banner loud and proud – and still does. In “Pop ’N Hiss,” we revisit the making of Space Ritual.

Brits of a certain age recall the ’60s blues movement in their country, with its covers of Slim Harpo, Muddy Waters, and John Lee Hooker songs by the Rolling Stones, Manfred Mann, Yardbirds, and others. In “Check This Action,” Dan Forte examines Shake That Thing! The Blues In Britain, 1963-1973 to see if it can enlighten hardcore bluesniks.

New year, new gear, right? To aid your hunt, we offer informed, objective reviews of the Earthquaker Zoar Dynamic Audio Grinder, Strymon UltraViolet Vintage Vibe, Taylor T5z-12 Classic Deluxe, Bray Coco 50, and three pedals by Supercool – the Thneed, “800,” and ’77 Fuzz Blender.

To help freshen your playlists, check our reviews of new music by Thin Lizzy, Robben Ford, Sue Foley, Robin Trower, Omar & the Howlers, Susan Tedeschi, Black Pumas, and more!

It’s all in the February issue of Vintage Guitar!

Since emerging from Austin 30 years ago, Sue Foley has earned stalwart status. Her latest projects pay homage to pioneering female performers. The music features her custom-made flamenco and showcases playing styles of her heroines.

We talk more new music with Mick Mars, Robin Trower, Susan Tedeschi, Rob Fleming, and Paul Reed Smith, then offer a memorial to Larry Collins. 

Revolutionary new amp designs often have stars line up for a taste of their sound. That’s how it went when Reinhold Bogner launched the Ecstasy in 1993. We feature one that did heavy lifting with Walter Becker on Steely Dan’s first tour in two decades.

In the late-’80s heyday of the superstrat, the Les Paul and Strat were still going strong. So it was a little cheeky when Yamaha ads boasted of improving on those “dinosaurs.” The mixed results included the now-obscure Weddington Custom.

A true oddball, Chris Butler’s Vox Mark VI teardrop is a star thanks to the The Waitresses’ “I Know What Boys Like.” It’s also the guitar you’ll be hearing every December on “Christmas Wrapping.”

In “Fretprints,” Wolf Marshall examines how the debut album by Van Halen helped hard rock bounce back after being on the ropes. Everyone who heard it knew that Edward Van Halen had reinvented the guitar.

After their third album, the pitfalls of fame and fortune were taking a toll on Carlos Santana and his band. Seeking a shift in consciousness, he and drummer Michael Shrieve immersed themselves in the music of legendary jazz and fusion players. The result was Caravanserai. They talk about it in “Pop ’N Hiss.”

A key piece of the British blues revival in the ’60s, Dave Peabody wore many hats. Dan Forte catches up with him in “Check This Action.”

Because you’re jonesin’ for a new guitar or amp (right?), we take test drives on some of the absolute newest bits, including the Sundragon Super Dragon, Soldano Astro-20, Epiphone “Greeny” Les Paul, Squier Paranormal Custom Nashville Strat, JangleBox AcoustiComp, and EHX’s small-format Pico Canyon and Rerun reverb pedals.  

We screen all the latest guitar music, filter through it, and offer our thoughts on the best. This month, it’s from Chris Schiflett, UFO, Jim Kweskin, Mick Mars, Phillip Sayce, Saxon, and others. We also tell you why the new bio from Geddy Lee is worth a read.

It’s all in the March issue of Vintage Guitar!

Pushing hard to compete with Fender and be seen as hip, in 1958, Gibson gave its Les Paul a fancy maple top and also introduced the Flying V and Explorer. The tide also affected its  jazz boxes; the rounded cutaway that bespoke traditionalism was superseded by the daring, fabulous florentine cut.

Napping beneath his mother’s piano as she practiced Bach, Chopin, Beethoven, and Debussy, Wolf Marshall was absorbing music before he could walk or talk. His life as guitar pedagogue includes 24 years of VG “Fretprints,” but his new Jazz Guitar Course may be the most-vital to his legacy.

We talk new music with Ace Frehley, John Leventhal, Philip Sayce, Bryan Beller, and Jim Kweskin. We also memorialize MC5 founder Wayne Kramer.

Epiphone guitars made after Gibson acquired the brand are bona fide collectibles. A bit off the radar, though, are the “bikini logo” amps that accompanied them in 1959.

Running up the stairs at his grandmother’s house, 12-year-old Steve Kimock was anxious to chat with his older cousin. Kenny wasn’t in his room, but there, perched in a beam of sunlight, was his shiny gold Les Paul. Cue the choir of angels.

Wolf Marshall’s “Fretprints” examines funk’s transition to pop. It was 1976, and George Benson’s Breezin’ made him an international sensation. 

A cohesive yet varied set highlighted by the strut of its title track along with catchy mid-tempo rockers, UFO’s Lights Out is the British hard-rockers’ finest effort. “Pop ’N Hiss” re-examines its impact. 

Released in 1963, An Evening With Rev. Louis Overstreet, His Guitar, His Four Sons, and The Congregation of St. Luke Powerhouse Church of God In Christ captures a service by the Stratocaster-toting preacher, doing his thing backed by his boys on tambourine and washboard. It’s just one hidden treasure dug up by Dan Forte in “Check This Action.”

Ready to offer their informed, objective thoughts, our gear-review staff takes a close look at the Carr Bel-Ray, Martin Inception Maple, Gibson Falcon 5, Boss IR-2 Amp and Cabinet, D'Angelico Excel SS, and Vox Giulietta.

Our music-review staff turns their finely-tuned ears to the latest by Tinsley Ellis, Ace Frehley, John Leventhal, Immediate Family, Paul McCartney & Wings, Black Crowes, Justin Johnson, and more!

It’s all in the April issue of Vintage Guitar!

The May 2024 Issue of Vintage Guitar magazine features Gary Clark, Jr., Johnny A., Deep Purple’s Machine Head, The Beatles’ Revolver, Roger Glover, Les Paul “Goldtop”, Kinga Glyk, ’64 Silvertone 604, ’70s Roost SR22 Amp and much more!