This magazine was sent by LittleDragon and I would like to thank you very much to him..
suzi
----------------------------------------------------------------------
GUITAR COLLECTION OF STEVEN SEAGAL FROM THE VINTAGE GUITAR MAGAZINE ISSUE: JANUARY 2006
WATCH THOSE HANDS – THEY’RE CAPABLE OF MANY SURPRISES. AS AN ACTION STAR AND MARTIAL ARTIST, STEVEN SEAGAL CAN DAZZLE AND DECIMATE WITH HIS PATENTED AIKIDO MOVES. THAT’S A GIVEN – AND PART OF POP CULTURE. FOR EDIFICATION, JUST CHECK OUT THE MULTI-MILLION-DOLLAR GROSSING ACTION THRILLERS ABOVE THE LAW OR UNDER SIEGE. AS A GUITARIST, HE CAN WHIP OUT THE MEANEST, GRITTIEST BLUES FLICKS THIS SIDE OF CHICAGO OR MEMPHIS, LAY INTO A WIDE RANGER OF GROOVES FROM REGGAE AND FUNK TO MODERN ROCK AND WORLD BEAT, OR WAX MELODIOUS ON A TENDER SOUL BALLAD.
THAT’S WHAT YOU’LL HEAR ON SONGS FROM THE CRYSTAL CAVE, STEVEN SEAGAL’S NEW ALBUM. AS ANNASTUTE AND DEDICATED GUITAR COLLECTOR, SEGAL CAN SIMILARLY ASTONISH WHEN HE HANDS YOU INSTRUMENT AFTER INSTRUMENT FROM ONE OF THE FINEST AXE ARSENALS IN THE KNOWN WORLD-HIS. AND THAT’S EXACTLY WHAT HE DID ONE RECENT SUNNY AFTERNOON IN LOS ANGELES, WHEN HE INVITED VINTAGE GUITAR TO THE INNERT SANCTUM.
“THIS IS WOODY, STEVIE KAY VAUGHAN PUT THE WOODPECKER DECAL ON, PERSONALLY, AND IT’S GOT MODDY WATERS. ALBERT KING’S AND STEVIE’S SIGNATURES CARVED INTO THE BACK” SEAGAL SAYS AS THE GESTURES TO THE BATTLE-SCARRED GIBSON FIREBIRD FORMARLY OWNED BY SRV.
“B.B. GAVE ME A COUPLE OF GUITARS. THESE STILL HAVE HSI GUITARS. THESE STILL HIS SALT ON THEM AND I’M NEVER WIPING IT OFF”. HE PROCLAIMS, ACKNOWLEDGING THE COPIOUS STAINS ON THE EBONY SRFACES OF THE GIBSON LUCILLES . “THIS TELECASTER WAS OWNED BY MUDDY WATERS. IT MUST’VE BEEN S FAVORITE.” SEAGAL COMMENTS, WHILE CRADLING THE FAMILIAR METALLIC BLUE L-SERIES TELE WHICH WAS INVOLVED A THOUSAND MAJORS. “THIS IS ALBERT COLLINS” SECOND STAGE GUITAR.” HE CONTINUES, PULLING OUT THE ICONIC CUSTOM-MADE FENDER; ADDING A ZINGING FOOTNOTE: “BUT I’HE ALSO GOT HIS ORIGINAL (FENDER) QUAD REVERB AMP.”
PROVENANCE IS AN CLEARLY ATTIRIBUTE AND CARMARK OF THE SEAGAL COLLECTION. HIGHLIGHTS ABOUND, RANGING FROM THE CRIOUS AND OBSCURE TO THE SUBLIME AND TRANSCENDET. HE HAS A FENDER JAZZMASTER OWNED AND PLAYED BY JIMI (“YOU’LL NEVER HEAR SURF MUSIC AGAIN”) HENDRIX, A FENDER BROADCASTER FROM THE JOHN ENTWISTLE AXE MUSEUM, A PINK PAISLEY TELECASTER GIVEN TO HIM BY JAMES BURTON AND SMILEY BURNETTE’S PRE-WAR MARTIN D-45 (ONCE OWNED BY GENE AUTRY) AS WELL AS FREDDIE KING’S SOLD GIBSON ES-345 AND JOHN LEE HOOKER’S EPIPHONE SHERATON. BUT AT THE TOP OF THE HEAP IS WHAT SEAGAL CIONSIDERS THE “MOST IMPORTANT BLUES GUITAR IN HISTORY”.
“THIS IS ALBERT KING’S ORIGINAL “50’S KORINA [GIBSON] FLYING V. HE LOST THE GUITAR IN A POKER GAME DECADES AGO, AND NOW IT’S WITH ME. LOOK HERE AT THE RUBBED AREA IN THE WOOD OF THE BODY WHERE HE RESTED HIS HAND OVER THE YEARS,” SAYS SEAGAL, REFERRING IN REVERENTIAL TONES TO WHAT IS INARGUABLY ONE OF THE MOST SIGNIFICANT AND PRECIOUS MUSICAL INSTRUMENTS IN HISTORY, PERIOD. TO UNDERSCORE THE OBVIOUS FOR THE UNINITIATED, ALBERT KING MADE HIS MOST FAMOUS GENRE-DEFINING RECORDINGS WITH THIS EMBLEMATIC INSTRUMENT. TRACKS LIKE “BORN UNDER A BAD SIGN”, “OH PRETTY WOMAN”, “CROSS CUT SAW” AND “BLUES POWER” WEREW CUT WITH THIS AXE IN THE STAX PERIOD.
HOW DID SEAGAL BECOME ONE OF THE WORLD’S MOST RESPECTED AND ENVIED GUITAR COLLECTORS, AND HOW DOES HIS OBSESSION RELATE TO HIS PRESENT COURSE OF MUSIC MAKING? THE ANSWERS TO THESE QUESTIONS AND MORE WERE REVEALED IN OUR INTERVIEW, HELD IN THE PRIVATE LAIR OF THE INSCRUTABLE AIKIDO MASTER AND UNABASHED GUITAR FANATIC. ALL THE WHILE, SEAGAL’S BANDMATE AND FELLOW GUITAR CONNOISSEUR, GUITARIST AL ANDERSON (OF BOB MARLEY FAME) PUNCTUATED THE PROCEEDINGS AS HE USHERED IN A PROCESSION OF BREATHTAKING VINTAGE BEAUTIES AND DETAILED THEIR SPECS AND IDIOSYNCRAISIES. IT WAS BUSY DAY IN THE SEAGAL COMPOUND !
VG- HOW DID YOU GET INTERESTED IN THE GUITAR ?
SS- I STARTED PLAYING DRUMS WHEN I WAS FIVE YEARS OLD. WE LIVED IN HIGHLAND PARK, WAYNE, DEAR-BORN, ALL OVER MICHIGAN. I WAS 10 WHEN I WANTED TO TRY THE GUITAR, AND DECIDED BY THE TIME I WAS 11 OR 12 THAT IT WAS MY INSTRUMENT. I THINK MY FIRST GUITAR WAS AN OLD MACK SILVERTONE. I LATER MOVED ON TO A SUPRO, THEN A [FENDER] MUSTANG OR SOMETHING.
VG- WHAT WAS YOUR FIRST SERIOUS GUITAR ?
SS- MY FIRST SERIOUS GUITAR WAS AN EARLY –‘60S STRATOCASTER THAT I GOT IN THE MID’60S. IN 1969 I SOLD EVERYTHING (BEFORE) I MOVED TO ASIA. OVER THERE, I HAD A COUPLE OF ELECTRICS AND A LITTLE AMP LIKE A FENDER CHAMP OR DELUXE.
VG- WHAT KINDS OF MUSIC WERE YOU INTERESTED IN BACK THEN ?
SS- AT THAT TIME IT WAS JUST BLUES. IN THE BEGINNING, I LISTENED TO LIGHTNIN’ HOPKINS , MUDDY WATERS, HOWLIN’ WOLF, ALBERT KING, ALBERT COLLINS, T-BONE WALKER... THOSE WERE THE CATS I LIKED.
VG- HOW DID YOU DEVELOP AS A BLUES GUITARIST ?
SS- I WAS JUST LUCKY TO HAVE SEEN A LOT OF THE GREAT PLAYERS. I ALWAYS HAD IT MY BLOOD AND IN MY HEART, BUT IT CAME ABOUT GRADUALLY, IN DETROIT, CALIFORNIA, OR DOWN SOUTH. I GOT TO HANG OUT WITH A LOT OF THEM, AND BY WATCHING AND LISTENING IN PERSON, I WAS SCHOOLED. NOW IT’S PART OF ME. I CAN’T LEAVE THE BLUES; THAT’S WHERE I COME FROM. I’M DEFINITELY GOING TO MAKE A BLUES ALBUM NEXT. IN FACT, I WOULD LIKE SO HAVE ALL OF THE REMAINING BLUES LEGENDS ON IT- BUT NO ONE UNDER 70’.
VG- I NOTICE YOU PLAY WITH YOUR FINGERS. WAS THIS THROUGH A CONSCIOUS EFFORT, OR FROM AN INFLUENCE ?
SS- LET ME TELL YOU SOMETHING ABOUT DETROIT BACK IN THOSE DAYS. ALL OF THE GREAT BLUES PLAYERS CAME OUT OF THE DEEP SOUTH OVER ROUTE 23 TO GET AWAY FROM THE COTTON FIELDS AND COAL MINES, AND MANY SETTLED IN MICHIGAN TO WORK IN THE STEEL MILLS IN DUPONT OR PONTIAC OR WHEREVER. I LIVED IN AN ALL-BLACK NEIGHBORHOOD AND ACROSS THE STREET THERE WAS A FAMILY WITH AN OLD MAN WHO WAS GREAT BLUES GUITARIST. AS A KID, I USED TO SIT ON A FOOT STOOL AND WATCH HIM PLAY FOR HOURS. THAT’S WHERE I REALLY STARTED LEARNING. I LEARNED FROM HIM, AND THEN ALBERT KING, GATEMOUTH BROWN, AND ALBERT COLLINS. THEY ALL PLAYED WITH THEIR FINGERS; SO THAT’S HOW I LEARNED TO PLAY. FOR ME, IT’A ALL FINGERS AND THUMB. I NEVER USED A PICK.
VG- A GOOD EXAMPLE OF YOUR PICKING ON ARTICULATE BLUES LICKS IS HEARD IN THE INTRO OF “ROUTE 23” ON THE ALBUM. THAT’S GOING TO SURPRISE A LOT OF PEOPLE WHO DON’T REALIZE YOU PLAY GUITAR.
SS- ITS FUNNY, THAT’S WHAT I DID FIRST-BEFORE THE MOVIES- AND IT’S WHAT I LOVE BEST TO THIS DAY. I STARTED ACTING MAYBE 20 YEARS AGO, BUT STARTED PLAYING GUITAR 40 YEARS AGO.
VG- DID YOU PLAY PROFESSIONALLY BEFORE YOU GOT INTO ACTING ?
SS- YES I DID. BY THEN, I WAS LIVING IN LA., SO I PLAYED AROUND TOWN WITH SOME BANDS, ALSO A LITTLE BIT IN TEXAS, LOUISIANA AND MEMPHIS. DOWN-SOUTH, I PLAYED IN JUKE JOINTS AND BARS. I CAME BACK FROM JAPAN IN A985 AND BY THEN I WAS GETTING SO MUCH MONEY AND SO MUCH BUSSINESS FROM THE MOVIES THAT I NEVER MENTIONED OF MUSIC, THOUGH I ALWAYS KEPT PLAYING.
VG- HAS THE STRATOCASTER ALWAYS BEEN YOUR MAIN GUITAR, OR DID YOU HAVE FLIRTATIONS WITH OTHER INSTRUMENTS ALONG THE WAY ?
SS- THE STRAT IS MY MAIN GUITAR , NO QUESTION. I FEEL IT’S THE MOST STABLE, CONSISTENT INSTRUMENT. I HAVE ALOT OF STRATS IN MY COLLECTIN. BUT I DID LIKE SOME OF THOSE FUNKY OLD BLUES GUITARS I SAW PWOPLW PLAY TEXAS AND LOUISIANA-OLD SILVERSTONES, AIRLINES, AND NATIONALS. I LIKED ALL OF THOSE, AS WELL.
VG- HOW LONG HAS THIS ALBUM PROJECT BEEN IN THE WORKS ?
SS- IT’S HARD TO SAY BECAUSE I HAVE OVER 150 SONGS AND HAVE BEEN WRITING FOR A LONG TIME. I ORIGINALLY WANTED TO DO A BLUES ALBUM-BECAUSE THAT’S WHERE I’M COMING FROM-BUT EVERYONE SAID, “AW, MAN. BLUES DOESN’T SELL !” SO I DECIDED TO DO MORE DIVERSE “WORLD ALBUM”-BECAUSE I’VE SPENT SO MUCH TIME ALL OVER THE GLOBE.
AS MUCH AS I LOVE THE BLUES, I WAS ALSO RAISED IN ASIA AND DEVELOPED A DEEP INTEREST IN INDIAN AND ARABIAN MUSIC. YOU HEAR THAT IN TUNES LIKE “THE LIGHT”, WHICH IS VERY ARABIAN. ANOTHER PART OF THE INSPIRATION COMES FROM THE TIME I’VE SPENT IN THE SOUTH-TEXAS AND LOUISIANA. I’VE GOT A LOT OF FAMILY THERE. I’VE BEEN THINKING ABOUT PUTTING TOGETHER THIS PARTICULAR ALBUM FOR ABOUT FIVE YEARS AND ACTIVELY WORKING ON IT FOR THREE YEARS.
VG- WHICH GUITARS CAN WE HEAR ON THE ALBUM ?
SS- IT WAS MAINLY MY MARY KAYE STRAT-A ’57 WITH GOLD HARDWARE. THAT’S ON 90 PERCENT OF THE TRACKS. I ALSO PLAYED A SCRATCHED-UP ’57 STRAT AND COUPLE OF MARTINS- A D-18 AND A D-28. THAT’S IT.
VG- WHAT ABOUT AMPS ?
SS- THEY’RE MOSTLY THE 1958 100-WATT TWEED FENDER TWIN; THE ULTIMATE TUBE AMP, IN MY OPINION . YOU SHOLULD HEAR THESE MUTHAS ! THERE ARE ONLY A FEW IN THE WORLD. I HAVE EIGHT. BETWEEN MYSELF, ERIC CLAPTON AND KEITH RICHARDS, WE BOUGHT ‘EM ALL. THEY WOULD BE ROUGHLY VALUED, IF YOU CAN FIND ONE, AT $15.000 TO $20.000. FOR RECORDING AND GIGGING, THAT IS MY FAVORITE AMP. PEOPLE ALWAYS POINT TO THE ’58 BASSMAN, BUT I SAY, “NO,NO,NO. IT’S THE TWIN !” I LOAD THEM WITH THE OLD TUBES, HAVE THEM BIASED, AND PLAY THEM HARD. I ALSO USED SOME ‘60S MARSHALL PLEXIS THROUGH 30-WATT SLANT CABINETS. THOSE MIGHT BE ON SOME OF THE HEAVIER SONGS LIKE “DON’T YOU CRY”. AND I GENERALLY DON’T USE ANY EFFECTS, BUT I THINK WE ADDED A LITTLE PROCESSING ON “ROUTE 23”. I USED AN MXR FLANGER AT THE BOARD VERY SPARINGLY TO FATTEN THE SOUND ON A COUPLE OF SOLOS. IN THE STUDIO, WE HAVE A COUPLE SETS OF GUYS –ROBERT DIXON FROM ARAP HOLE AND BILLY YATES FROM DENNIS MUSIC- TENDING TO THE AMPS, MAKING SURE THE TUBES ARE PUTTING OUT THE MAXIMUM OUTPUT, AND ARE BALANCED... JUST MAKING SURE THEY SOUND GOOD.
VG- HAVE YOU ALWAYS BEEN ATTRACTED TO TONES OF VINTAGE GEAR ?
SS- YES, IT’S FUNNY, WHEN I WAS A KID, IT WAS EASY. THAT’S ALL THERE WAS. NOW THAT I AM OLDER, I HAVE TO HUNT FOR THAT SOUND.
VG- WHO ARE SOME OF THE PLAYERS ON THE ALBUM ?
SS- WELL, IT’S MOSTLY ME ON THE GUITAR. I DIDN’T INVITE BB. OR SOMEONE FAMOUS TO SIT IN ON GUITAR BECAUSE IT DIDN’T FEEL RIGHT TO CAPITALIZE ON THEIR NAMES. AL ANDERSON IS IN THE BAND AND PLAYED ONE OR TWO SOLOS AND HE PLAYED RHYTHM AND PICK STUFF ON “WAR” AND “MY GOD”. STEVIE WONDER PLAYED HARMONICA ON THAT TRACK TOO. “NOT FOR SALE” HAS ONE OF THE GREATEST INDIAN VIOLINISTS IN THE WORLD –MANI SUBRAMANIAN. LADY SAW, FROM JAMAICA, SANG ON “JEALOUSY”. SUBHASH CHUNDRUN DID THE TABLA,BOWL AND JEW’S HARP, AND LT.STITCHIE, THE JAMAICAN DJ, IS ON “LOLLIPOP”. THAT’S THE ONE TUNEI DIDN’T WRITE. VINNIE COLAIUTA AND FRANK VALARDIPLAYED DRUMS ON ALOT OF THE TRACKS. WE ALSO HAD GUEST PERFORMANCESBY BILLY PRESTON, TYRONE DOWNING AND GREG PHILLIGANES (KEYBOARDS), LEE SKLAR AND PATRICK CARROLL (BASS), SEAN FISHER (BASS/GUITARS7KEYBOARD), REMI KABAKA (NIGERIAN TALKING DRUMS) AND VOCALIST KAVITA SUBRAMANIAN, THE TREASURE OF INDIA. A LONG WITH ME AND AL, RICK WAKE WAS THE PRODUCERS.
VG-WHAT PROMPTED YOUR AVID GUITAR COLLECTING ?
SS- I REALIZED THAT THE GUITAR IS THE LAST HISTORICAL INSTRUMENTS OF AMERICA, ONE OF ITS LAST CULTURAL ARTIFACTS THAT WAS ACTUALLY INVENTED AND BUILT IN A GOLDEN AGE. THE CRAFTSMANSHIP AND VITALITY OF THAT PERIOD OF AMERICANA WILL PROBABLY NEVER RETURN. I VALUE THOSE INSTRUMENTS SO MUCH AND FEEL THEY SHOULD BE PRESERVED AND MAINTAINED AS THE ULTIMATE ART OBJECTS OF OUR TIME.
VG- TELL US ABOUT YOUR GUITAR COLLECTION . WHAT ARE SOME OF THE HIGHLIGHTS ?
SS- I THINK ALBERT KING’S 1958 KORINA FLYING V IS THE MOST IMPORTANT BLUES GUITAR IN THE WORLD. IT HAS AN AMAZING SOUND. YOU CAN SEE WHERE HE RESTED HIS HAND. AND HE WROTE ON THE FACE, IN RED INK. IT SAYS “ALBERT KING LOVES YOU”, AND THEN HE SCRIBBLED HIS NAME. I ONCE SAW SOMETHING ON THE INTERNET SPECTULATING ABOUT THE WHEREABOUTS OF THIS GUITAR. NOBODY KNEW, BUT IT WAS VALUED IN THE LIGHT SIX FIGURES. I WOULD PUT IT THERE, AT LEAST . IT’S A MILLION-DOLLAR GUITAR TO ME. THERE ARE STORIES THAT SAY ALBERT LOST IT WAY BACK IN A POKER GAME. I THINK HE HAD TO HOCK IT TO PAY A POKER DEBT, AND COULDN’T GET IT BACK IN TIME. I GOT IT RECENTLY. IT WAS HIDDEN FOR A LONG TIME. I DIDN’T BUY FROM ALBERT; I BOUGHT IT FROM SOMEONE I CAN’T MENTION. AND I PLAYED IT. IT’S GOT A VIBE TO IT, MAN. ALBERT ALWAYS WANTED TO GET THIS GUITAR BACK. IF I WOULD’VE GOTTEN İT BEFORE HE DIED, I WOULD’VE GIVEN IT BACK TO HIM.
VG- WHAT ABOUT THE MUDDY WATERS TELECASTER ?
SS- THE MUDDY WATERS TELE HAS AN INTYERESTING STORY. BEFORE I BUY A GUITAR, I TAKE IT APART TO SEE WHAT’S INSIDE. IN THIS TELE WERE THREE OLD PIECES OF ELECTRIC TAPE IN DIFFERENT CAVITIES. THEY HAD MESSAGES IN MUDDY’S WRITING, SAYING THINGS LIKE, “IF FOUND, REWARD RETURN TO THIS ADDRESS”. HE HAD HIS NAME ON ANOTHER. WHEN YOU LOOK UP THE ADDRESS, YOU FIND THAT WAS HIS PLACE IN CHICAGO. I’VE SEEN A LOT OF PICTURES OF MUDDY PLAYING IT; HE MUST HAVE REALLY LOVED THE GUITAR. YOU CAN TELL BY THE NOTES HE HID THAT HE DIDN’T WANT THAT TELE GOING ANYWHERE.
VG- DO WE HAVE ANY OTHER FAVORITE RECOLLECTIONS ?
SS- WELL, THERE!S THE ONE ABOUT ALBERT COLLINS’ TELECASTER. WHEN ALBERT DIED, I WAS OUT OF THE COUNTRY. AT ONE POINT, I WENT TO SEE GWEN, HIS WIDOW, AND SHE HANDED ME THAT TELE. HE HAD TWO ALMOST IDENTICAL MODELS: ONE HE PLAYED ALL THE TIME, THE OTHER WAS THE BACKUP HE USED SOME OF THE TIME. ANYWAY, SHE KNEW “FROSTY” WAS A TUNE ALBERT LIKED A LOT BUT HE SAID IT WAS KIND OF DIFFICULT TO PLAY. I HAD ALWAYS PLAYED “FROSTY”, AND KNEW İT WELL. SO SHE PUT ME ON AND SAID, “PLAY IT !” I PLUGGED IN AND THOUGHT, “I’M NOT GOING TO BE ABLE TO PLAY IT LIKE ALBERT”. BUT MAYBE ALBERT WAS LOOKING DOWN ON ME AT THAT MOMENT AND I PLAYED WELL THAT DAY. AFTER I PLAYED SHE SAID, “ı WANT TO GIVE THIS TO YOU “. SHE GAVE ME THAT TELE AND HIS QUAD REVERB.
VG- WHAT ABOUT THE HENDRIX JAZZMASTER ?
SS- I BOUGHT THAT GUITAR FROM TAPPY WRIGHT, WHO WAS HIS ROADIE. THAT JAZZMASTER IS A 100 PERCENT AUTHENTIC. I2VE GOT PICTURES OF HRNDRIX WITH IT. HE PLAYED IT IN 1966 AND 67. HENDRIX WROTE IN A JOURNAL SOMEWHERE THAT HE GOT IT FOR RECORDING. APPARENTLY, SEYMOUR DUNCAN WAS WITH HIM THE DAY HE BOUGHT IT-SOMEPLACE LIKE MANNY’S IN NEW YORK CITY. I SHOWED THE JAZZMASTER TO SEYMOUR AND HE REMEMBERED IT.
VG- WHAT ARE SOME OF THE OTHER HIGHLIGHTS OF YOUR COLLECTION ?
SS- WELL, THERE’S FREDDIE KING’S 1962/63 TOBACCO SUNBURST GIBSON ES-345. AND I HAVE JOHN LEE HOOKER’S RED EPIPHONE SHERATON. I ALSO HAVE AN ACOUSTIC FROM JOHN LEE HOOKER. IT’S A GIBSON J-45, I THINK. I HAVE THE MOST IMPORTANT PRE-WAR MARTIN D-45 IN THE WORLD. IT CAME OUT OF THE FACTORY WITH GOLD, ENGRAVED TUNERS, AND HAS THE MOST INCREDIBLE SNOWFLAKE INLAYS YOU’VE EVER SEEN. AND I HAVE SMILEY BURNETTE’S MARTIN 00-45; IT IS LIKE A SMALLER D-45 WITH SNOWFLAKE INLAYS. IT WAS GIVEN TO SMILEY BY GENE AUTRY.
AS FOR AMPS, THERE’S ALBERT’S FENDER QUAD REVERB 4X12” COMBO WITH JBL SPEAKERS. I HAVE ONE HENDRIX AMP-A SMALL WARM-UP AMP., SWEDISH MAD. HE BOUGHT IT IN ENGLAND. I HAVE SOME OF ERIC JOHNSONS’S OLD MARSHALSS. THEY SOUND VERY GOOD, WITH 30- WATT CELESTIONS IN THE CABINETS; 120-WATTS, 16OHMS. THEY’RE DYNAMITE. I HAVE TWO SLANT-CABS WITH CELESTIONS, AND STRAIGHT CABINET WITH 30-WATT GOODMANS, MADE IN THE LATE 60’S.
VG- HAVE YOU EVER GONE AFTER AN OLD LES PAUL STANDARD, LIKE A ’58-’60SUNBURST ?
SS- NO, NOT REALLY. I AM NOT INTO THOSE SO MUCH; ALTHOUGH I HAVE A ‘50SGOLDTOP. THE ONLY GIBSONS I REALLY ENJOY PLAYING ARE MY RED 355 AND THE ’63 REVERSE FIREBIRD.
VG- DID YOU SEE COMMONALITIES IN THE THESE PASSIONS OF YOUR LIFE-MUSIC, ACTING AND MARTIAL ARTS ?
SS- TO ME, THEY ARE ALL THE SAME. I THINK ART IS THE SAME WHETHER YOU’RE A PAINTER, A GUITAR PLAYER, POET, MARTIAL ARTIST, OR ACTOR. THEY SWIRL INTO EACH OTHER. TO MASTER ONE IS TO MASTER ALL, IN A WAY. WE NEVER REALLY MASTER ANYTHING, ANYWAY; WE JUST GET COMFORTABLE
WITH IT AT DIFFERENT LEVELS. THAT’S MY PHILOSOPHY. I’VE BEEN COMFORTABLE WITH MARTIAL ARTS AND THE GUITAR FOR 20 YEARS, AND I AM STILL IN THE PROCESS OF GOING FORWARD.
PICTURES:
1- 1963 GIBSON FIREBIRD (SN 179292). NICKNAMED “WOODY” OWNED BY STEVIE RAY VAUGHAN WITH ALBERT KING’S MUDDY WATERS’ AND STEVIE’S NAMES CARVED IN THE BACK.
2- 1959 GIBSON FLYING V (SN 9-1716), FORMERLY OWNED BY ALBERT KING. SEAGAL CALLS IT “THE MOST IMPORTANT BLUES GUITAR IN THE WORLD”.
3- GIBSON ES-355 IN CHERRY RED FINISH WITH BIGSBY TAILPIECE. ONE OF SEAGAL’S TWO FAVORITE- PLAYING GIBSONS.
4- NEWER GIBSON LUCILLE SIGNED BY BB.KING AND GIVEN TO SEAGAL. NOTE AUTHENTIC BB.”SALT” STAINS.
5- 1958 GIBSON LES PAUL GOLDTOP (SN 8 2074) WITH PAF HUMBUCKERS
6- 1954 FENDER STRATOCASTER (SN 6699) LEFTLY WITH MOCHA BROWN FINISH, MAPLE FRETBOARD, ANODIZED PICKGUARD, AND GOLD HARDWARE. SEAGAL CALLS IT “THE MOST INCREDIBLE STARTOCASTER ON EARTH”. HE PLAYS IT UPSIDE-DOWN, A LA ALBERT KING.
7- 1954 FENDER STRATOCASTER (SN 0208). EARLY, ’54, WITH SERIAL NUMBER ON BACKPLATE.
8- 1957 FENDER STRATOCASTER (SN 027412). BLOND “MARY KAYE” FINISH. ONE OF SEAGAL’S FAVORITE STRATOCASTERS
9- 1965/’66 FENDER STRATOCASTER (SN L-12518) IN LAKE PLACID BLUE.
10- 1960 FENDER STRATOCASTER (SN 57169) IN RARE EMERALD GREEN METALLIC
11- 1962-’63 FENDER STRATOCASTER (SN-76446( IN RARE RED SPARKLE METALLIC FINISH.
12- 12 1965 JAZZMASTER (SN L64620) FORMARLY OWNED BY JIMI HENDRIX
13- 1965 FENDER TELECASTER (SN L09958) IN LAKE PLACID BLUE. FORMARLY OWNED BY MUDDY WATERS
14- 1968 FENDER TELECASTER (SN 250414) IN PINK PAISLEY FINISH, GIVEN TO SEAGAL BY JAMES BURTON.
15- ALBERT COLLINS’ FENDER CUSTOM SHOP TELECASTER
16- 1952 FENDER TELECASTER (SN 1484). VERY EARLY EXAMPLE WITH ASH BODY AND FLAME-MAPLE FRETBOARD.
17- 1939s DOBRO RESONATOR (SN 2050) IN NATURAL FINISH WITH WIRE SCREEN HOLES
18- LATE-’50S GIBSON ES 335 (SN 829051) WITH FACTORY BIGSBY AND “CUSTOM” PLATE OVER STUDS
19- 1950 FENDER BROADCASTER (SN 0204) A WEIGHTY PRE-SWAMP-ASH EXAMPLE.
20- 1954 FENDER STRATOCASTER (SN 1101)
21- 1954 FENDER STRATOCASTER (SN 1094)
22- 1955 FENDER STRATOCASTER (SN 6546)
suzi
----------------------------------------------------------------------
GUITAR COLLECTION OF STEVEN SEAGAL FROM THE VINTAGE GUITAR MAGAZINE ISSUE: JANUARY 2006
WATCH THOSE HANDS – THEY’RE CAPABLE OF MANY SURPRISES. AS AN ACTION STAR AND MARTIAL ARTIST, STEVEN SEAGAL CAN DAZZLE AND DECIMATE WITH HIS PATENTED AIKIDO MOVES. THAT’S A GIVEN – AND PART OF POP CULTURE. FOR EDIFICATION, JUST CHECK OUT THE MULTI-MILLION-DOLLAR GROSSING ACTION THRILLERS ABOVE THE LAW OR UNDER SIEGE. AS A GUITARIST, HE CAN WHIP OUT THE MEANEST, GRITTIEST BLUES FLICKS THIS SIDE OF CHICAGO OR MEMPHIS, LAY INTO A WIDE RANGER OF GROOVES FROM REGGAE AND FUNK TO MODERN ROCK AND WORLD BEAT, OR WAX MELODIOUS ON A TENDER SOUL BALLAD.
THAT’S WHAT YOU’LL HEAR ON SONGS FROM THE CRYSTAL CAVE, STEVEN SEAGAL’S NEW ALBUM. AS ANNASTUTE AND DEDICATED GUITAR COLLECTOR, SEGAL CAN SIMILARLY ASTONISH WHEN HE HANDS YOU INSTRUMENT AFTER INSTRUMENT FROM ONE OF THE FINEST AXE ARSENALS IN THE KNOWN WORLD-HIS. AND THAT’S EXACTLY WHAT HE DID ONE RECENT SUNNY AFTERNOON IN LOS ANGELES, WHEN HE INVITED VINTAGE GUITAR TO THE INNERT SANCTUM.
“THIS IS WOODY, STEVIE KAY VAUGHAN PUT THE WOODPECKER DECAL ON, PERSONALLY, AND IT’S GOT MODDY WATERS. ALBERT KING’S AND STEVIE’S SIGNATURES CARVED INTO THE BACK” SEAGAL SAYS AS THE GESTURES TO THE BATTLE-SCARRED GIBSON FIREBIRD FORMARLY OWNED BY SRV.
“B.B. GAVE ME A COUPLE OF GUITARS. THESE STILL HAVE HSI GUITARS. THESE STILL HIS SALT ON THEM AND I’M NEVER WIPING IT OFF”. HE PROCLAIMS, ACKNOWLEDGING THE COPIOUS STAINS ON THE EBONY SRFACES OF THE GIBSON LUCILLES . “THIS TELECASTER WAS OWNED BY MUDDY WATERS. IT MUST’VE BEEN S FAVORITE.” SEAGAL COMMENTS, WHILE CRADLING THE FAMILIAR METALLIC BLUE L-SERIES TELE WHICH WAS INVOLVED A THOUSAND MAJORS. “THIS IS ALBERT COLLINS” SECOND STAGE GUITAR.” HE CONTINUES, PULLING OUT THE ICONIC CUSTOM-MADE FENDER; ADDING A ZINGING FOOTNOTE: “BUT I’HE ALSO GOT HIS ORIGINAL (FENDER) QUAD REVERB AMP.”
PROVENANCE IS AN CLEARLY ATTIRIBUTE AND CARMARK OF THE SEAGAL COLLECTION. HIGHLIGHTS ABOUND, RANGING FROM THE CRIOUS AND OBSCURE TO THE SUBLIME AND TRANSCENDET. HE HAS A FENDER JAZZMASTER OWNED AND PLAYED BY JIMI (“YOU’LL NEVER HEAR SURF MUSIC AGAIN”) HENDRIX, A FENDER BROADCASTER FROM THE JOHN ENTWISTLE AXE MUSEUM, A PINK PAISLEY TELECASTER GIVEN TO HIM BY JAMES BURTON AND SMILEY BURNETTE’S PRE-WAR MARTIN D-45 (ONCE OWNED BY GENE AUTRY) AS WELL AS FREDDIE KING’S SOLD GIBSON ES-345 AND JOHN LEE HOOKER’S EPIPHONE SHERATON. BUT AT THE TOP OF THE HEAP IS WHAT SEAGAL CIONSIDERS THE “MOST IMPORTANT BLUES GUITAR IN HISTORY”.
“THIS IS ALBERT KING’S ORIGINAL “50’S KORINA [GIBSON] FLYING V. HE LOST THE GUITAR IN A POKER GAME DECADES AGO, AND NOW IT’S WITH ME. LOOK HERE AT THE RUBBED AREA IN THE WOOD OF THE BODY WHERE HE RESTED HIS HAND OVER THE YEARS,” SAYS SEAGAL, REFERRING IN REVERENTIAL TONES TO WHAT IS INARGUABLY ONE OF THE MOST SIGNIFICANT AND PRECIOUS MUSICAL INSTRUMENTS IN HISTORY, PERIOD. TO UNDERSCORE THE OBVIOUS FOR THE UNINITIATED, ALBERT KING MADE HIS MOST FAMOUS GENRE-DEFINING RECORDINGS WITH THIS EMBLEMATIC INSTRUMENT. TRACKS LIKE “BORN UNDER A BAD SIGN”, “OH PRETTY WOMAN”, “CROSS CUT SAW” AND “BLUES POWER” WEREW CUT WITH THIS AXE IN THE STAX PERIOD.
HOW DID SEAGAL BECOME ONE OF THE WORLD’S MOST RESPECTED AND ENVIED GUITAR COLLECTORS, AND HOW DOES HIS OBSESSION RELATE TO HIS PRESENT COURSE OF MUSIC MAKING? THE ANSWERS TO THESE QUESTIONS AND MORE WERE REVEALED IN OUR INTERVIEW, HELD IN THE PRIVATE LAIR OF THE INSCRUTABLE AIKIDO MASTER AND UNABASHED GUITAR FANATIC. ALL THE WHILE, SEAGAL’S BANDMATE AND FELLOW GUITAR CONNOISSEUR, GUITARIST AL ANDERSON (OF BOB MARLEY FAME) PUNCTUATED THE PROCEEDINGS AS HE USHERED IN A PROCESSION OF BREATHTAKING VINTAGE BEAUTIES AND DETAILED THEIR SPECS AND IDIOSYNCRAISIES. IT WAS BUSY DAY IN THE SEAGAL COMPOUND !
VG- HOW DID YOU GET INTERESTED IN THE GUITAR ?
SS- I STARTED PLAYING DRUMS WHEN I WAS FIVE YEARS OLD. WE LIVED IN HIGHLAND PARK, WAYNE, DEAR-BORN, ALL OVER MICHIGAN. I WAS 10 WHEN I WANTED TO TRY THE GUITAR, AND DECIDED BY THE TIME I WAS 11 OR 12 THAT IT WAS MY INSTRUMENT. I THINK MY FIRST GUITAR WAS AN OLD MACK SILVERTONE. I LATER MOVED ON TO A SUPRO, THEN A [FENDER] MUSTANG OR SOMETHING.
VG- WHAT WAS YOUR FIRST SERIOUS GUITAR ?
SS- MY FIRST SERIOUS GUITAR WAS AN EARLY –‘60S STRATOCASTER THAT I GOT IN THE MID’60S. IN 1969 I SOLD EVERYTHING (BEFORE) I MOVED TO ASIA. OVER THERE, I HAD A COUPLE OF ELECTRICS AND A LITTLE AMP LIKE A FENDER CHAMP OR DELUXE.
VG- WHAT KINDS OF MUSIC WERE YOU INTERESTED IN BACK THEN ?
SS- AT THAT TIME IT WAS JUST BLUES. IN THE BEGINNING, I LISTENED TO LIGHTNIN’ HOPKINS , MUDDY WATERS, HOWLIN’ WOLF, ALBERT KING, ALBERT COLLINS, T-BONE WALKER... THOSE WERE THE CATS I LIKED.
VG- HOW DID YOU DEVELOP AS A BLUES GUITARIST ?
SS- I WAS JUST LUCKY TO HAVE SEEN A LOT OF THE GREAT PLAYERS. I ALWAYS HAD IT MY BLOOD AND IN MY HEART, BUT IT CAME ABOUT GRADUALLY, IN DETROIT, CALIFORNIA, OR DOWN SOUTH. I GOT TO HANG OUT WITH A LOT OF THEM, AND BY WATCHING AND LISTENING IN PERSON, I WAS SCHOOLED. NOW IT’S PART OF ME. I CAN’T LEAVE THE BLUES; THAT’S WHERE I COME FROM. I’M DEFINITELY GOING TO MAKE A BLUES ALBUM NEXT. IN FACT, I WOULD LIKE SO HAVE ALL OF THE REMAINING BLUES LEGENDS ON IT- BUT NO ONE UNDER 70’.
VG- I NOTICE YOU PLAY WITH YOUR FINGERS. WAS THIS THROUGH A CONSCIOUS EFFORT, OR FROM AN INFLUENCE ?
SS- LET ME TELL YOU SOMETHING ABOUT DETROIT BACK IN THOSE DAYS. ALL OF THE GREAT BLUES PLAYERS CAME OUT OF THE DEEP SOUTH OVER ROUTE 23 TO GET AWAY FROM THE COTTON FIELDS AND COAL MINES, AND MANY SETTLED IN MICHIGAN TO WORK IN THE STEEL MILLS IN DUPONT OR PONTIAC OR WHEREVER. I LIVED IN AN ALL-BLACK NEIGHBORHOOD AND ACROSS THE STREET THERE WAS A FAMILY WITH AN OLD MAN WHO WAS GREAT BLUES GUITARIST. AS A KID, I USED TO SIT ON A FOOT STOOL AND WATCH HIM PLAY FOR HOURS. THAT’S WHERE I REALLY STARTED LEARNING. I LEARNED FROM HIM, AND THEN ALBERT KING, GATEMOUTH BROWN, AND ALBERT COLLINS. THEY ALL PLAYED WITH THEIR FINGERS; SO THAT’S HOW I LEARNED TO PLAY. FOR ME, IT’A ALL FINGERS AND THUMB. I NEVER USED A PICK.
VG- A GOOD EXAMPLE OF YOUR PICKING ON ARTICULATE BLUES LICKS IS HEARD IN THE INTRO OF “ROUTE 23” ON THE ALBUM. THAT’S GOING TO SURPRISE A LOT OF PEOPLE WHO DON’T REALIZE YOU PLAY GUITAR.
SS- ITS FUNNY, THAT’S WHAT I DID FIRST-BEFORE THE MOVIES- AND IT’S WHAT I LOVE BEST TO THIS DAY. I STARTED ACTING MAYBE 20 YEARS AGO, BUT STARTED PLAYING GUITAR 40 YEARS AGO.
VG- DID YOU PLAY PROFESSIONALLY BEFORE YOU GOT INTO ACTING ?
SS- YES I DID. BY THEN, I WAS LIVING IN LA., SO I PLAYED AROUND TOWN WITH SOME BANDS, ALSO A LITTLE BIT IN TEXAS, LOUISIANA AND MEMPHIS. DOWN-SOUTH, I PLAYED IN JUKE JOINTS AND BARS. I CAME BACK FROM JAPAN IN A985 AND BY THEN I WAS GETTING SO MUCH MONEY AND SO MUCH BUSSINESS FROM THE MOVIES THAT I NEVER MENTIONED OF MUSIC, THOUGH I ALWAYS KEPT PLAYING.
VG- HAS THE STRATOCASTER ALWAYS BEEN YOUR MAIN GUITAR, OR DID YOU HAVE FLIRTATIONS WITH OTHER INSTRUMENTS ALONG THE WAY ?
SS- THE STRAT IS MY MAIN GUITAR , NO QUESTION. I FEEL IT’S THE MOST STABLE, CONSISTENT INSTRUMENT. I HAVE ALOT OF STRATS IN MY COLLECTIN. BUT I DID LIKE SOME OF THOSE FUNKY OLD BLUES GUITARS I SAW PWOPLW PLAY TEXAS AND LOUISIANA-OLD SILVERSTONES, AIRLINES, AND NATIONALS. I LIKED ALL OF THOSE, AS WELL.
VG- HOW LONG HAS THIS ALBUM PROJECT BEEN IN THE WORKS ?
SS- IT’S HARD TO SAY BECAUSE I HAVE OVER 150 SONGS AND HAVE BEEN WRITING FOR A LONG TIME. I ORIGINALLY WANTED TO DO A BLUES ALBUM-BECAUSE THAT’S WHERE I’M COMING FROM-BUT EVERYONE SAID, “AW, MAN. BLUES DOESN’T SELL !” SO I DECIDED TO DO MORE DIVERSE “WORLD ALBUM”-BECAUSE I’VE SPENT SO MUCH TIME ALL OVER THE GLOBE.
AS MUCH AS I LOVE THE BLUES, I WAS ALSO RAISED IN ASIA AND DEVELOPED A DEEP INTEREST IN INDIAN AND ARABIAN MUSIC. YOU HEAR THAT IN TUNES LIKE “THE LIGHT”, WHICH IS VERY ARABIAN. ANOTHER PART OF THE INSPIRATION COMES FROM THE TIME I’VE SPENT IN THE SOUTH-TEXAS AND LOUISIANA. I’VE GOT A LOT OF FAMILY THERE. I’VE BEEN THINKING ABOUT PUTTING TOGETHER THIS PARTICULAR ALBUM FOR ABOUT FIVE YEARS AND ACTIVELY WORKING ON IT FOR THREE YEARS.
VG- WHICH GUITARS CAN WE HEAR ON THE ALBUM ?
SS- IT WAS MAINLY MY MARY KAYE STRAT-A ’57 WITH GOLD HARDWARE. THAT’S ON 90 PERCENT OF THE TRACKS. I ALSO PLAYED A SCRATCHED-UP ’57 STRAT AND COUPLE OF MARTINS- A D-18 AND A D-28. THAT’S IT.
VG- WHAT ABOUT AMPS ?
SS- THEY’RE MOSTLY THE 1958 100-WATT TWEED FENDER TWIN; THE ULTIMATE TUBE AMP, IN MY OPINION . YOU SHOLULD HEAR THESE MUTHAS ! THERE ARE ONLY A FEW IN THE WORLD. I HAVE EIGHT. BETWEEN MYSELF, ERIC CLAPTON AND KEITH RICHARDS, WE BOUGHT ‘EM ALL. THEY WOULD BE ROUGHLY VALUED, IF YOU CAN FIND ONE, AT $15.000 TO $20.000. FOR RECORDING AND GIGGING, THAT IS MY FAVORITE AMP. PEOPLE ALWAYS POINT TO THE ’58 BASSMAN, BUT I SAY, “NO,NO,NO. IT’S THE TWIN !” I LOAD THEM WITH THE OLD TUBES, HAVE THEM BIASED, AND PLAY THEM HARD. I ALSO USED SOME ‘60S MARSHALL PLEXIS THROUGH 30-WATT SLANT CABINETS. THOSE MIGHT BE ON SOME OF THE HEAVIER SONGS LIKE “DON’T YOU CRY”. AND I GENERALLY DON’T USE ANY EFFECTS, BUT I THINK WE ADDED A LITTLE PROCESSING ON “ROUTE 23”. I USED AN MXR FLANGER AT THE BOARD VERY SPARINGLY TO FATTEN THE SOUND ON A COUPLE OF SOLOS. IN THE STUDIO, WE HAVE A COUPLE SETS OF GUYS –ROBERT DIXON FROM ARAP HOLE AND BILLY YATES FROM DENNIS MUSIC- TENDING TO THE AMPS, MAKING SURE THE TUBES ARE PUTTING OUT THE MAXIMUM OUTPUT, AND ARE BALANCED... JUST MAKING SURE THEY SOUND GOOD.
VG- HAVE YOU ALWAYS BEEN ATTRACTED TO TONES OF VINTAGE GEAR ?
SS- YES, IT’S FUNNY, WHEN I WAS A KID, IT WAS EASY. THAT’S ALL THERE WAS. NOW THAT I AM OLDER, I HAVE TO HUNT FOR THAT SOUND.
VG- WHO ARE SOME OF THE PLAYERS ON THE ALBUM ?
SS- WELL, IT’S MOSTLY ME ON THE GUITAR. I DIDN’T INVITE BB. OR SOMEONE FAMOUS TO SIT IN ON GUITAR BECAUSE IT DIDN’T FEEL RIGHT TO CAPITALIZE ON THEIR NAMES. AL ANDERSON IS IN THE BAND AND PLAYED ONE OR TWO SOLOS AND HE PLAYED RHYTHM AND PICK STUFF ON “WAR” AND “MY GOD”. STEVIE WONDER PLAYED HARMONICA ON THAT TRACK TOO. “NOT FOR SALE” HAS ONE OF THE GREATEST INDIAN VIOLINISTS IN THE WORLD –MANI SUBRAMANIAN. LADY SAW, FROM JAMAICA, SANG ON “JEALOUSY”. SUBHASH CHUNDRUN DID THE TABLA,BOWL AND JEW’S HARP, AND LT.STITCHIE, THE JAMAICAN DJ, IS ON “LOLLIPOP”. THAT’S THE ONE TUNEI DIDN’T WRITE. VINNIE COLAIUTA AND FRANK VALARDIPLAYED DRUMS ON ALOT OF THE TRACKS. WE ALSO HAD GUEST PERFORMANCESBY BILLY PRESTON, TYRONE DOWNING AND GREG PHILLIGANES (KEYBOARDS), LEE SKLAR AND PATRICK CARROLL (BASS), SEAN FISHER (BASS/GUITARS7KEYBOARD), REMI KABAKA (NIGERIAN TALKING DRUMS) AND VOCALIST KAVITA SUBRAMANIAN, THE TREASURE OF INDIA. A LONG WITH ME AND AL, RICK WAKE WAS THE PRODUCERS.
VG-WHAT PROMPTED YOUR AVID GUITAR COLLECTING ?
SS- I REALIZED THAT THE GUITAR IS THE LAST HISTORICAL INSTRUMENTS OF AMERICA, ONE OF ITS LAST CULTURAL ARTIFACTS THAT WAS ACTUALLY INVENTED AND BUILT IN A GOLDEN AGE. THE CRAFTSMANSHIP AND VITALITY OF THAT PERIOD OF AMERICANA WILL PROBABLY NEVER RETURN. I VALUE THOSE INSTRUMENTS SO MUCH AND FEEL THEY SHOULD BE PRESERVED AND MAINTAINED AS THE ULTIMATE ART OBJECTS OF OUR TIME.
VG- TELL US ABOUT YOUR GUITAR COLLECTION . WHAT ARE SOME OF THE HIGHLIGHTS ?
SS- I THINK ALBERT KING’S 1958 KORINA FLYING V IS THE MOST IMPORTANT BLUES GUITAR IN THE WORLD. IT HAS AN AMAZING SOUND. YOU CAN SEE WHERE HE RESTED HIS HAND. AND HE WROTE ON THE FACE, IN RED INK. IT SAYS “ALBERT KING LOVES YOU”, AND THEN HE SCRIBBLED HIS NAME. I ONCE SAW SOMETHING ON THE INTERNET SPECTULATING ABOUT THE WHEREABOUTS OF THIS GUITAR. NOBODY KNEW, BUT IT WAS VALUED IN THE LIGHT SIX FIGURES. I WOULD PUT IT THERE, AT LEAST . IT’S A MILLION-DOLLAR GUITAR TO ME. THERE ARE STORIES THAT SAY ALBERT LOST IT WAY BACK IN A POKER GAME. I THINK HE HAD TO HOCK IT TO PAY A POKER DEBT, AND COULDN’T GET IT BACK IN TIME. I GOT IT RECENTLY. IT WAS HIDDEN FOR A LONG TIME. I DIDN’T BUY FROM ALBERT; I BOUGHT IT FROM SOMEONE I CAN’T MENTION. AND I PLAYED IT. IT’S GOT A VIBE TO IT, MAN. ALBERT ALWAYS WANTED TO GET THIS GUITAR BACK. IF I WOULD’VE GOTTEN İT BEFORE HE DIED, I WOULD’VE GIVEN IT BACK TO HIM.
VG- WHAT ABOUT THE MUDDY WATERS TELECASTER ?
SS- THE MUDDY WATERS TELE HAS AN INTYERESTING STORY. BEFORE I BUY A GUITAR, I TAKE IT APART TO SEE WHAT’S INSIDE. IN THIS TELE WERE THREE OLD PIECES OF ELECTRIC TAPE IN DIFFERENT CAVITIES. THEY HAD MESSAGES IN MUDDY’S WRITING, SAYING THINGS LIKE, “IF FOUND, REWARD RETURN TO THIS ADDRESS”. HE HAD HIS NAME ON ANOTHER. WHEN YOU LOOK UP THE ADDRESS, YOU FIND THAT WAS HIS PLACE IN CHICAGO. I’VE SEEN A LOT OF PICTURES OF MUDDY PLAYING IT; HE MUST HAVE REALLY LOVED THE GUITAR. YOU CAN TELL BY THE NOTES HE HID THAT HE DIDN’T WANT THAT TELE GOING ANYWHERE.
VG- DO WE HAVE ANY OTHER FAVORITE RECOLLECTIONS ?
SS- WELL, THERE!S THE ONE ABOUT ALBERT COLLINS’ TELECASTER. WHEN ALBERT DIED, I WAS OUT OF THE COUNTRY. AT ONE POINT, I WENT TO SEE GWEN, HIS WIDOW, AND SHE HANDED ME THAT TELE. HE HAD TWO ALMOST IDENTICAL MODELS: ONE HE PLAYED ALL THE TIME, THE OTHER WAS THE BACKUP HE USED SOME OF THE TIME. ANYWAY, SHE KNEW “FROSTY” WAS A TUNE ALBERT LIKED A LOT BUT HE SAID IT WAS KIND OF DIFFICULT TO PLAY. I HAD ALWAYS PLAYED “FROSTY”, AND KNEW İT WELL. SO SHE PUT ME ON AND SAID, “PLAY IT !” I PLUGGED IN AND THOUGHT, “I’M NOT GOING TO BE ABLE TO PLAY IT LIKE ALBERT”. BUT MAYBE ALBERT WAS LOOKING DOWN ON ME AT THAT MOMENT AND I PLAYED WELL THAT DAY. AFTER I PLAYED SHE SAID, “ı WANT TO GIVE THIS TO YOU “. SHE GAVE ME THAT TELE AND HIS QUAD REVERB.
VG- WHAT ABOUT THE HENDRIX JAZZMASTER ?
SS- I BOUGHT THAT GUITAR FROM TAPPY WRIGHT, WHO WAS HIS ROADIE. THAT JAZZMASTER IS A 100 PERCENT AUTHENTIC. I2VE GOT PICTURES OF HRNDRIX WITH IT. HE PLAYED IT IN 1966 AND 67. HENDRIX WROTE IN A JOURNAL SOMEWHERE THAT HE GOT IT FOR RECORDING. APPARENTLY, SEYMOUR DUNCAN WAS WITH HIM THE DAY HE BOUGHT IT-SOMEPLACE LIKE MANNY’S IN NEW YORK CITY. I SHOWED THE JAZZMASTER TO SEYMOUR AND HE REMEMBERED IT.
VG- WHAT ARE SOME OF THE OTHER HIGHLIGHTS OF YOUR COLLECTION ?
SS- WELL, THERE’S FREDDIE KING’S 1962/63 TOBACCO SUNBURST GIBSON ES-345. AND I HAVE JOHN LEE HOOKER’S RED EPIPHONE SHERATON. I ALSO HAVE AN ACOUSTIC FROM JOHN LEE HOOKER. IT’S A GIBSON J-45, I THINK. I HAVE THE MOST IMPORTANT PRE-WAR MARTIN D-45 IN THE WORLD. IT CAME OUT OF THE FACTORY WITH GOLD, ENGRAVED TUNERS, AND HAS THE MOST INCREDIBLE SNOWFLAKE INLAYS YOU’VE EVER SEEN. AND I HAVE SMILEY BURNETTE’S MARTIN 00-45; IT IS LIKE A SMALLER D-45 WITH SNOWFLAKE INLAYS. IT WAS GIVEN TO SMILEY BY GENE AUTRY.
AS FOR AMPS, THERE’S ALBERT’S FENDER QUAD REVERB 4X12” COMBO WITH JBL SPEAKERS. I HAVE ONE HENDRIX AMP-A SMALL WARM-UP AMP., SWEDISH MAD. HE BOUGHT IT IN ENGLAND. I HAVE SOME OF ERIC JOHNSONS’S OLD MARSHALSS. THEY SOUND VERY GOOD, WITH 30- WATT CELESTIONS IN THE CABINETS; 120-WATTS, 16OHMS. THEY’RE DYNAMITE. I HAVE TWO SLANT-CABS WITH CELESTIONS, AND STRAIGHT CABINET WITH 30-WATT GOODMANS, MADE IN THE LATE 60’S.
VG- HAVE YOU EVER GONE AFTER AN OLD LES PAUL STANDARD, LIKE A ’58-’60SUNBURST ?
SS- NO, NOT REALLY. I AM NOT INTO THOSE SO MUCH; ALTHOUGH I HAVE A ‘50SGOLDTOP. THE ONLY GIBSONS I REALLY ENJOY PLAYING ARE MY RED 355 AND THE ’63 REVERSE FIREBIRD.
VG- DID YOU SEE COMMONALITIES IN THE THESE PASSIONS OF YOUR LIFE-MUSIC, ACTING AND MARTIAL ARTS ?
SS- TO ME, THEY ARE ALL THE SAME. I THINK ART IS THE SAME WHETHER YOU’RE A PAINTER, A GUITAR PLAYER, POET, MARTIAL ARTIST, OR ACTOR. THEY SWIRL INTO EACH OTHER. TO MASTER ONE IS TO MASTER ALL, IN A WAY. WE NEVER REALLY MASTER ANYTHING, ANYWAY; WE JUST GET COMFORTABLE
WITH IT AT DIFFERENT LEVELS. THAT’S MY PHILOSOPHY. I’VE BEEN COMFORTABLE WITH MARTIAL ARTS AND THE GUITAR FOR 20 YEARS, AND I AM STILL IN THE PROCESS OF GOING FORWARD.
PICTURES:
1- 1963 GIBSON FIREBIRD (SN 179292). NICKNAMED “WOODY” OWNED BY STEVIE RAY VAUGHAN WITH ALBERT KING’S MUDDY WATERS’ AND STEVIE’S NAMES CARVED IN THE BACK.
2- 1959 GIBSON FLYING V (SN 9-1716), FORMERLY OWNED BY ALBERT KING. SEAGAL CALLS IT “THE MOST IMPORTANT BLUES GUITAR IN THE WORLD”.
3- GIBSON ES-355 IN CHERRY RED FINISH WITH BIGSBY TAILPIECE. ONE OF SEAGAL’S TWO FAVORITE- PLAYING GIBSONS.
4- NEWER GIBSON LUCILLE SIGNED BY BB.KING AND GIVEN TO SEAGAL. NOTE AUTHENTIC BB.”SALT” STAINS.
5- 1958 GIBSON LES PAUL GOLDTOP (SN 8 2074) WITH PAF HUMBUCKERS
6- 1954 FENDER STRATOCASTER (SN 6699) LEFTLY WITH MOCHA BROWN FINISH, MAPLE FRETBOARD, ANODIZED PICKGUARD, AND GOLD HARDWARE. SEAGAL CALLS IT “THE MOST INCREDIBLE STARTOCASTER ON EARTH”. HE PLAYS IT UPSIDE-DOWN, A LA ALBERT KING.
7- 1954 FENDER STRATOCASTER (SN 0208). EARLY, ’54, WITH SERIAL NUMBER ON BACKPLATE.
8- 1957 FENDER STRATOCASTER (SN 027412). BLOND “MARY KAYE” FINISH. ONE OF SEAGAL’S FAVORITE STRATOCASTERS
9- 1965/’66 FENDER STRATOCASTER (SN L-12518) IN LAKE PLACID BLUE.
10- 1960 FENDER STRATOCASTER (SN 57169) IN RARE EMERALD GREEN METALLIC
11- 1962-’63 FENDER STRATOCASTER (SN-76446( IN RARE RED SPARKLE METALLIC FINISH.
12- 12 1965 JAZZMASTER (SN L64620) FORMARLY OWNED BY JIMI HENDRIX
13- 1965 FENDER TELECASTER (SN L09958) IN LAKE PLACID BLUE. FORMARLY OWNED BY MUDDY WATERS
14- 1968 FENDER TELECASTER (SN 250414) IN PINK PAISLEY FINISH, GIVEN TO SEAGAL BY JAMES BURTON.
15- ALBERT COLLINS’ FENDER CUSTOM SHOP TELECASTER
16- 1952 FENDER TELECASTER (SN 1484). VERY EARLY EXAMPLE WITH ASH BODY AND FLAME-MAPLE FRETBOARD.
17- 1939s DOBRO RESONATOR (SN 2050) IN NATURAL FINISH WITH WIRE SCREEN HOLES
18- LATE-’50S GIBSON ES 335 (SN 829051) WITH FACTORY BIGSBY AND “CUSTOM” PLATE OVER STUDS
19- 1950 FENDER BROADCASTER (SN 0204) A WEIGHTY PRE-SWAMP-ASH EXAMPLE.
20- 1954 FENDER STRATOCASTER (SN 1101)
21- 1954 FENDER STRATOCASTER (SN 1094)
22- 1955 FENDER STRATOCASTER (SN 6546)
It was a good read.
