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Friday 6/6/2008 ~ Guitar Relations
I've been thinking about last
week's email... and the concept of arranging your albums not
only alphabetically, but also relative-to-one-another-ly.
Many people wrote back about
their approach. Several folks mentioned the greatest  "record"
movie ever, "High Fidelity." In the movie John Cusack
owns a record store and in one scene he is shown reorganizing
his personal record collection. His sorting plan: autobiographically.
He was rearranging his albums based on what was going on in his
life the day he bought the record. A quote: "If you want
to find 'Landslide' by Fleetwood Mac you have to know that I
bought it for someone in the fall of 1983 and then didn't give
it to her for personal reasons..." It's a wonderful movie.
Meanwhile, here at the store
Johnny B. has his Beatle albums under "B," but then
further subdivided chronologically. And when he has multiple
copies of the same record he has them again arranged chronologically
based on which label variation came first.
Sam, meanwhile, has Iggy Pop
under "S" if the album is by The Stooges; under "I"
if it's by Iggy & The Stooges; and "P" if it's
by Iggy Pop. Whew....
Anyway, getting back to my thoughts
about last week's email... today I contemplated applying this
concept of 'organizational sorting' to guitars....
You know how when you go to someone's
house to jam, and you go downstairs to their music room, they
always have their Gibson Les Pauls displayed chronologically?
First their 1952 Goldtop with the trapeze tailpiece; and then
their 1953 Goldtop with the wrap-around bridge/tailpiece; and
then their 1954 Les Paul Junior; etc etc? Well, as I was brushing
my teeth this morning it occurred to me that other "related"
guitars should also be arranged within the Les Paul display...
First let's re-cap the history
of the Gibson Les Paul, Gibson's corporate motivation, and Les
Paul's personal contribution:
 *
In the late 1940s Les Paul was a well-known, established, successful
guitarist and recording star. He was also a technical innovator,
designing the world's first multi-track recording system. And
he had long been a proponent of a solid-body electric guitar.
He made his own by attaching an Epiphone neck to a 4x4 piece
of pine.
* Meanwhile, in the guitar-manufacturing biz, a young upstart
named Leo Fender introduced a radical new guitar at the 1950
summer NAMM show that turned everyone's head: the solid-body
Fender Esquire. (The Esquire is a one-pickup Telecaster.)
* Gibson's corporate head was turned as well. They saw the writing
on the wall and they figured it was time to jump on the solid-body
bandwagon. But they were an old, respected company, and they
needed a respected artist to endorse their new guitar. So they
turned to Les Paul. With his name on the headstock, they were
not just following Fender's lead, they were creating a new, classy
instrument... one befitting Gibson's long, rich heritage.
* There are many opinions concerning Les Paul's personal contributions
to the look of the new guitar. The general consensus is that
Gibson's Research & Development Department designed the guitar,
including the carved arched-top (because Fender didn't have any
carving tools and could NOT make an arched top); and Les Paul
designed the trapeze combination bridge/tailpiece unit and recommended
the gold color.
Here's a picture of John with a 1952 Gibson Les
Paul.
When discussing this instrument,
though, most people fail to mention the companion piece that
Gibson issued at the same time. In conjunction with the new solid-body,
Gibson took another guitar from their line... the deep-body,
hollow, single-cutaway ES-175... painted it gold and attached
Les Paul's tailpiece, and called it the ES-295.
Here's a picture of John with a 1953
ES-295. Notice the similar
features to the `52 Les Paul.
Here's
John with both the Les Paul and the ES-295.
 In
1954 Gibson decided to offer a budget "student" version
of the Les Paul. The new model was plainer and only featured
one pickup. It was called the Les Paul Junior.
Here's
a picture of John with a 1954 Les Paul Junior.
Again, it is rarely mentioned,
but Gibson also introduced a companion hollow body, the ES-225.
Here's
a picture of John with a 1954 ES-225. Notice that like the
ES-295 and the original Les Paul, it features the long trapeze
bridge/tailpiece combination. Here's John with both guitars.
In mid-1958 Gibson changed the Les Paul finish from gold to sunburst.
Shortly afterward they discontinued its hollow brother, the ES-295.
Also in mid-1958 the Les Paul Junior was changed to a double
cutaway. Likewise, its brother (or is it sister?) ES-225 was
discontinued.
Of course, Gibson has produced
many, many hollow guitars over the years. And for that reason,
the ES-295 and ES-225 are usually categorized with the other
hollow guitars. But this morning, by the time I was done brushing
my teeth, I decided that we must correct this injustice! We must
acknowledge their relatives! We must pull the 295 and 225 from
the piles and piles of other Gibson hollow-bodies and recognize
their relation to the Les Paul!!!!
OK, my work here is done.
This week's email special:
If you'd like to display your guitars (in the proper order) you
can hang them on your wall with the String Swing wall hanger!
See you soon,
Carl
PS: The ES-295, the ES-225 and
the 1952 Les Paul were the ONLY Gibson guitars to feature the
Les Paul designed trapeze bridge/tailpiece.
PPS: Although the 295 and the
225 kept this trapeze bridge/tailpiece throughout their life-span,
the bridge on the solid-body 1952 Les Paul was changed by mid-1953.
Why? Well, partially because of a design flaw on the part of
Gibson's R&D department. When Les Paul gave them the part
to be added to the new solid-body, the design department thought
that the strings were supposed to wrap around UNDER the bar bridge.
So they designed the neck angle on the guitar appropriately.
By the time the guitar was in production it was too late to switch
it around the correct way, with the strings going OVER the bar.
Because of the way the guitar was designed, if you strung it
properly the action would be far too high. The result of this
error is that on a 1952 Les Paul it is extremely difficult to
play over the bridge pickup. The bar of the bridge gets in your
way. Here's a photo of the issue. That's why if
you see a picture of Les Paul playing one of his signature guitars,
even in 1952, you'll see that he has modified the bridge.
PPS, Part 2: The ES-295 was designed
correctly. The strings can be wound OVER the bridge bar, the
way Les Paul wanted. Here's a photo of the ES-295 bridge.
PPPS: In 1953 Gibson changed
the bridge/tailpiece to a simple fixed bar. Here's John with a 1953 Les Paul.
PPPPS: The 1952 Les Paul pictured
above is from late-1952. The very first Les Pauls, from mid-1952
had two slightly different features: they did not have binding
on the neck and the mounting screws on the bridge pickup (only)
were in diagonal corners of the P-90, rather than in the center.
Here's a picture of John with one of the first
Les Pauls ever made. Here he is with both, the super-early mid-1952
Les Paul and one made a few months later, in late-1952.
PPPPPS: I don't have a 1952 ES-175
to show its comparison to the ES-295, but Scott has a quite beautiful
1960 ES-175, so just for fun here's a picture of that guitar. (Note that
since this guitar is from 1960 it features the new humbucking
pickups instead of the earlier P-90s.)
PPPPPPPS: There probably won't
be any 295s or 225s, but I'm sure there will be Les Pauls at
an upcoming event:
Sunday, June 22nd, The Rex Theater
The 2nd Annual "Rock For Autism"
5:30 - 9:00 PM
Music by The Taxman, The Elliotts and The Remnants
Lots and lots of raffled and auctioned items!!
100% of the proceeds go to "Autism Speaks!"
For more info contact John at: j_bechtold@hotmail.com
http://www.myspace.com/rockforautismpittsburgh
PPPPPPPPS: Customer of the week:
Dancing
Queen!
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Friday 6/13/2008 ~ Predicting
the Future
As Pittsburgh Guitars enters
its 30th year, several folks have asked me if I've grown tired
of it.
Well, occasionally "yes"...
but almost every day something happens that entertains me.
For example, remember way back
on May 9th, 2008, when I wrote about Martin electric  guitars,
and we saw THIS PICTURE of John, holding two Martin
F-55 hollowbody electrics?? Well, guess what we took in on trade
last Saturday??? Yep!! THIS, another Martin F-55!! So, I guess the
first picture should really look like THIS...
Later that day a gentleman came
in with his 1957 Gibson L-50. He got it brand new when he was
a child and he hadn't played it for the last forty-seven years.
He's thinking about starting again (which we encourage!) so he
wanted to get it re-strung. (The L-50 is a non-electric, non-cutaway,
archtop acoustic guitar... It looks like this.) As we were writing up
his repair tag we started to discuss the value of this instrument
vs. others from the same time period.
In 1957 the L-50 sold for $147.50...
(Before continuing, let's take a temporary detour to the 1930s,
the "Big Band" era. With their bright, sharp sound,
archtop guitars were an excellent choice in a Big Band ensemble.
In those sax, trumpet, and trombone based bands the purpose of
a guitar was to provide a percussive back beat to the rest of
the group. Flat top guitars, with their richer, bassier sound,
could not cut through the horns. Guitar vs. guitar, an archtop
can't compete with a flat top in the low end department, but
in a horn band it shines. In the 1930s every guitar manufacturer
offered archtops, in a variety of price ranges. If you jump ahead
to 1957 though, big bands were few and far between, and both
"folk music" and rock & roll were on the horizon.
But Gibson, no doubt out of respect for its rich archtop-making
heritage, kept them in their line. And in 1957 parents still
bought them for their kids.)
OK, so in 1957 his parents spent
$147.50 to buy him this guitar. And now, in 2008, his excellent
condition L-50 is  worth
around $1000. BUT, as we discussed with him last Saturday, if
they would have spent $27.50 LESS, and bought him a new 1957
Les Paul Junior ($120), it would today be worth ten times as
much as the L-50. Even if they didn't want to go electric (a
Gibson Skylark amp for the Les Paul Junior would have cost another
$59.50), they could have spent $22.50 less, and bought him a
new J-45 flat-top acoustic ($125.00)... which would today be
worth five to six times what the L-50 is worth. (And, if they
had just spent an extra $100 on a new Les Paul Standard ($247.50)...
they could now sell it and buy a small house!)
Now, of course, his parents couldn't
have predicted the future. The investment-value of these guitars
wasn't part of consideration because the concept of a "collectors
item" guitar didn't exist in 1957. No one could have guessed
that 51 years later there would be so much interest in old guitars
that we even have books documenting old shipping totals. (Gibson
shipped 177 L-50s in 1957, by the way...)
It got me wonderin'....
Now that we are familiar with
the concept of a "collectors item," can WE predict
the future?
No.
Let's try to relate the above
story to today. 1957 was fifty-one years ago... So let's look
ahead fifty-one years, to 2059. Can we even IMAGINE what life
will be like then?? Will there be "collectors items"
in 2059? (Besides original clean air...) (And winters with  snow...) Will people
still be creating music on the guitar? If so, how will it be
delivered to the audience?? (Receptor chips implanted in folks'
heads...?)
Yeah, it's easy to look back
to the 1950s and say, "Oh, if only they would have done
this or that..." But that would have required them to look
AHEAD, and that's the hard part. There may be a guitar hanging
on the wall of Pittsburgh Guitars today that will have house-buying
value in the future. But I'll be darned if I know which one it
is.
So, it was fun to look at this
guy's old L-50 and try to imagine him walking through the door
with a `57 Les Paul instead (598 shipped in 1957...), but we're
living in the future of the past, and the future is impossible
to predict.
I can't read the distant future,
but I can read next week's future. You're going to need new strings
for your guitar.
See you soon,
Carl
PS: I couldn't help myself with
that "future of the past" phrase... but it's not only
pseudo-deep, it's also accurate. Feel free to quote me!
 PPS:
Hey, it's not a guitar, but here's a future collectors item! It's an
official old Pittsburgh Guitars iMac! In the glorious Blueberry
color!! I can't decide whether to save it until it's worth a
million dollars, or give it away!! OK, I've decided. Would you
like this wonderful past-classic, present-day-doorstop, computer?
The first person who writes back can have it for free! (Pick-up
only.)
PPPS: On a different topic, I
just finished reading an interview with Mike Campbell from Tom
Petty & The Heartbreakers. On their last tour, including
a performance at last year's Super Bowl, they appeared to use
six Vox Super Beatle amps. It turns out that the Super Beatles
were just for show. Here's a side photo of his amp set-up. He
really plays through two small Fender amps!
Hey, you know who REALLY plays through Vox Super Beatle Amps?
YOU!!! At the Pittsburgh Guitars Big Beatle Show #5!!! We have
just set the date: Saturday, September 13th, at The Rex Theater.
Here are photos from our last show. This
is your chance to play on the big stage, through the big amps!
(Only unlike Tom Petty, you'll REALLY be doing it!!)
Call John here at the store to sign up for the Big Beatle Show
#5!!! Or email
him. Your entire band is welcome, or if it's just you we'll
have a house band to back you up!! Everyone gets two Beatle songs,
we provide the amps and drums. We'll have more info soon, but
mark your calendar now! Saturday, September 13, 2008. (It's in
the future. But not too far!)
PPPPS: Hey, back-tracking to
the free iMac from the "PS," I also have a bunch of new pro VHS tapes
that I used to use with my video company, Worldwide Filmworks. They are also free.
Do you know anyone who needs unused VHS tapes? Did I mention
FREE??
PPPPPS: Next Sunday!!!
Sunday, June 22nd, The Rex Theater
The 2nd Annual "Rock For Autism"
5:30 - 9:00 PM
Music by The Taxman, The Elliotts and The Remnants
Lots and lots of raffled and auctioned items!!
100% of the proceeds go to "Autism Speaks!"
For more info contact
John or visit the website.
http://www.myspace.com/rockforautismpittsburgh
PPPPPPS: Customer of the week:
Chaibaba
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Friday 6/20/2008 ~ The Golf Outing
Years and years ago (1986, to
be exact) I had a weekly radio spot on the Jimmy & Steve
Show ("Jimmy & Steve in The Morning, Sometimes They're
Funny, Sometimes They're  Boring")
on WMYG-FM, "Magic 97." My segment was called "Carl's
Record Corner" and I'd play wacky songs from my album collection.
Like William Shatner doing "Lucy In The Sky With Diamonds"...
or Mae West 'singing' "Twist & Shout." Sometimes
I'd have contests: "What was significant about the American
Top 40 chart on April 4, 1964?" or, "What is the next
line in this song: Hoss & Joe & Adam know, every rock
and pine...?"
As a member of the Magic 97 radio
family I would sometimes participate in promotional events. At
one event I said something that Steve Hansen laughs about to
this day. I was invited to a WMYG-hosted golf outing. I had never
played golf before, but my first shot wasn't bad. My follow-up
shot, however, went straight into the woods. The ball was obviously
lost. I looked at Steve and said, "Oh, man, good thing I
brought a second one!" He fell over. It then dawned on me
that I should have brought two DOZEN balls!
I've been a little shy about
golfing ever since...
But I hear that it's fun.
 So last week, when
John, the not-so-new guy, suggested the First Annual Pittsburgh
Guitars Golf Outing, I said, "Will there be drinking?"
And then I said, "Does it matter if I'm not any good?"
Then I said, "Won't Tiger Woods just win all of the prizes,
anyway?" John said, "Yes," "No," and
"No, he just canceled!" John then convinced me that
it would be good for us to get out in the sunshine for a day...
And that he'd make all the plans. He also explained the concept
of a "scramble." Apparently everyone hits a first shot
from the tee, and then everyone goes to the spot of the best
shot, and hits their second shot from there. As long as one guy
in the foursome is good, it'll work out well. (And I won't have
to keep trying to hit out of the woods.)
So.......... It took us twenty-nine
years, but we're going to have our first Pittsburgh Guitars Golf
Outing. Here's what I know so far: It will be on Sunday, August
17th.  There
will be six tee times, staring at 11 AM. And it will be a "scramble."
Oh yeah... and there will be prizes, food and alcohol.
More details next week.
Meanwhile, here's a list of the best famous-musician-golfers,
compiled by Golf Digest magazine.
I know, I know, golf is kind
of an odd activity for me to suggest, but you know I like to
try new, experimental things... And I hear this is golf thing
catching on.
Speaking of odd: The wackiest
instrument we have here in the store is the kazoo. And it's this
week's email special!
See you soon,
Carl
PS: We'll see you this Sunday!!!
At The Rex Theater 5:30 - 9:00 PM
The Second Annual "Rock For Autism"
Music by The Taxman, The Elliotts and The Remnants
Lots and lots of great raffled and auctioned items!!
(Including a guitar signed by The Clarks, Donnie Iris, The Gathering
Field and others!)
100% of the proceeds go to "Autism Speaks!"
Visit
their website for more info or email John.
 PPS:
One of my favorite Carl's Record Corner segments: I played a
track from an actual album that I own called "The Best Of
Marcel Marceau." You put the needle in the groove and all
you hear is silence... for the entire side of the LP. Then, at
the end, applause.
PPPS: Hey, if you know the answers
to the above two questions in the first paragraph, send `em in.
We'll randomly pick a winner from the correct replies and the
winner will get some sort of yet-to-be-determined prize!
PPPS: Customer of the week: Max
& the Tatraplan
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Friday 6/27/2008 ~ Golfing, Vince
Gill, and The NAMM Show
This one is a tad long... but
we'll be off next week for the 4th of July...
Part 1
So, last week I mentioned the First Annual Pittsburgh Guitars
Golf Outing (on August 17th)... "FORE!" (I'm practicing
now...). And I included a link to Golf Digest's 100 Top Musician Golfers. Naturally,
golf-fanatic Alice Cooper was on the list (#11), but I was surprised
to see that Vince Gill was #2! I've always loved his guitar playing,
and I've heard that he's a really nice guy, so it was cool to
see him near the top of the list. (The #1 musician on the list:
Kenny G.!)
I wrote that email early in the
morning, right before I left for the NAMM Show in Nashville,
 Tennessee, y'all.
Nine hours later, as I was driving into Nashville, I saw a giant
billboard that said, "Tonite at The Grand Ol' Opry- Vince
Gill!" I thought, "Hey, wait a minute!" BUT, Vince
is a member of the Opry. He probably appears there a couple of
times a year, so I didn't think any more about it...
The NAMM Show opened bright and
early the next morning, and I began my quest to find more cool
stuff to carry here at Pittsburgh Guitars. The first thing that
caught my eye was a reissue of the Kay Thin Twin "Jimmy
Reed" guitar. I ran over to the booth to check it out. Here
are some pictures of the newly revived Kay line. The owner
of the company welcomed me and said, "There has been a lot
of interest in these. Look! We got a nice mention in 20th Century
Guitar Magazine..." and he handed me the July issue. Here's
the cover. Yep, right on the cover, next to the Kay guitar...
Vince Gill.
I smiled, ordered a few of the
guitars (estimated delivery: August) (which probably means October...),
and moved on to visit with our other vendors.
 Vox
had some great new stuff, including what might be the first piece
of computer software ever sold at Pittsburgh Guitars (more about
that next time)... Fender introduced some new Jaguar and Jazzmasters
that are cool, and we ordered them all (including the Elvis Costello
reissue Jazzmaster)... Hagstroms have done well for us, so we
ordered a bunch more of those. (It turns out that the original
Hagstom family is still a part owner of the company! That's nice...
most 1960s brands these days are owned by folks who simply bought
the name when no one else was using it)... Eventually we ended
up at Martin...
 As
we were ordering new Martin guitars, we told our Martin sales
rep about our upcoming golf outing. He said he'd like to play,
and he had a gift for us: some Martin golf balls. He gave us
the golf balls, and as we were thanking him, guess who walked
into the booth? Yep, Vince Gill. At this point we figured that
we may as well stop and talk to Vince. It turns out he really
*IS* a nice guy. Here's a picture of Vince Gill signing a Martin
golf ball with John. We were going to invite Vince to our
golf outing, but we figured he'd win all of the prizes and there
wouldn't be any left for YOU. He says "Hello" to y'all.
Part 2
Speaking of new products from the NAMM show, we just received
the new Danelectro guitars, and I think it will be interesting
to see how well they do in the market. In fact, I'd like to get
your opinion with a quick survey. And to make it fast and easy,
you only have to reply with answer "A," or "B."
(First a quick explanation of
Danelectro's current marketing plan, which we like by the way...
Two years ago they decided that rather than offer lots of different
models, they would limit themselves to one new model every six
months. They would make a batch of something, and then it would
be gone. They made a six-month batch of the Longhorn, then discontinued
it. They made a six-month batch of the Jimmy Page model, and
then discontinued it. etc.)
Danelectro's newest guitar is
the "63 Dano," a reissue of a two-pickup, double-cutaway
guitar first issued in 1963. Here's a picture of me with an original 1963
that I keep beside my bed. In the 1960s this model came with
a small amp built into its case. The new ones don't have the
amp-in-the-case option, but they are very nice repros. There
is regular six-string, a baritone, a short scale bass, and a
long scale bass. Here's John holding a couple of them.
Now, here's what has been rattling
in my brain: We sell a lot of "reissue" guitars. For
example, the Fender 1962 Reissue Stratocaster is always a big
seller. So is the 1952 Reissue Tele. Hofner Reissue Basses, most
Reissue Gretsches, and all Reissue Rickenbackers also sell fast.
Danelectro's last guitar, the Jimmy Page version, quickly sold
out. So, you would think that this guitar will do well, too.
HOWEVER, what all of the above guitars have in common is that
they are models that most of us could not afford (or at least
find!) when we were younger... The new "63 Dano" is
a reissue of a guitar  that
WAS readily available, and easily affordable, when it was first
issued in the 1960s.
I know from experience that we
like to buy things that "we always wanted." For example,
as a kid I looked at the Sears Catalog every day, and I always
liked the brown sunburst Silvertone (made by Danelectro) Model
1442 Bass. So, when I had a chance to buy one years (and years!)
later, I did. And I love it, and I will never sell it. (Here's me with the bass.) BUT what about
an instrument like the new Danelectro, that falls into the "I
had one of those when I was a kid" category?
Here are the questions... If
you'd like to give your opinion on this topic, please reply with
"A" or "B":
"A" - I understand
your concern. This model will not sell as well as other reissues.
People are more inclined to buy a reissue of something they have
"always wanted" rather than something that they either
already owned, or could easily have owned.
"B" - Even if you had
one as a kid, this model has always been fun to play... And most
people have long since sold, traded, or given away their original
one. This new reissue gives folks a chance to re-live their youth.
And that's good!! It will sell as well as any other reissue!
Thanks!!
For this week's email special:
When it comes re-living our youth, coiled cables used to be everywhere.
But very few companies make them today. This week's special is
on the fabulous Vox 25-foot coiled guitar cable...
See you soon,
Carl
PS: Part 3
A lot of old Danelectros have come through the store over the
years, and generally we don't keep track of where they end up.
But I do know who has one of ours. It all goes back to Pittsburgh
Guitars' first day, May 22, 1979. One of my first customers was
someone who would become a lifelong friend, Paul Buriak. He was
funny and wacky and always full of joy. And he loved guitars.
Paul would visit almost every day and it was always an experience.
In addition to sharing an interest in instruments, we also had
similar tastes in music. So, when The Kinks came to Pittsburgh
on their 1980 tour, we both went. After the show Paul asked around,
found out where the band was staying, and he suggested we hang
out in the hotel bar. And we did. Sure enough, a few minutes
later we met one of my heroes, Ray Davies. Thanks to Paul's charismatic
personality, we all became fast friends. When the bar closed
Ray took us up t o his
room where he opened a bottle of champagne and we talked more
about music and guitars. Ray said he often wrote songs on the
road, and Paul told him that he needed a Danelectro Silvertone
with the amp-in-the-case, so he could plug-in in his hotel room.
Ray said he loved the idea. Paul said there was one for sale
at Pittsburgh Guitars. Ray offered to buy it, but I ended up
giving it to him... it was the least I could do for all of the
happiness that Ray's music brought to me. I took it to him the
next morning before the band left town. Here's a picture of me, Ray and Paul. The
next time I talked to Ray he said that he actually used the guitar
to write some songs for The Kinks' next album.
 Several
months ago, as I was having lunch with Paul, we talked about
the Pittsburgh
Guitars web site. I told him that I really liked our site,
and we get lots of compliments on it, but I wished we had a place
to put up more pictures and videos. He suggested an additional
site that would be more fluid. We could change pictures and videos
every week. It could also display weekly band posters, and be
a place to house the entire history of the Pittsburgh Guitars
Email Special. And he said he'd love to contribute with a blog,
featuring links to interesting music sites. Over that lunch,
we formulated Carl's Guitar Corner, which has been lots of fun.
The unfortunate thing about life
is that it does not go on forever. Sadly, last month Paul passed
away. He was a true friend of mine and true fan of Pittsburgh
Guitars. We miss him every day. We still have a link to his blog
on the home page of CarlsGuitarCorner.com. He was proud of the
blog, and added to it every day. We have left it exactly as he
left it. He was a good guy.
PPS: Thanks to all of the folks
who entered last week's contest!! The answers are:
1) "What was significant
about the American Top 40 chart on April 4, 1964?"
- The top five songs on the chart that week were by The Beatles.
1. Can't Buy Me Love
2. Twist & Shout
3. She Loves You
4. I Want To Hold Your hand
5. Please Please Me
2) "What is the next line
in this song: Hoss & Joe & Adam know, every rock and
pine...?"
- "No one, works, fights or eats, Like those boys of mine."
(It's from "Bonanza," sung by the star of the show,
Lorne Greene.)
We randomly chose a winner from
all of the replies: Congratulations to Michael B.
He wins a prize package (also randomly chosen) of this fun Martin stuff.
PPPS: My favorite reply to last
week's email came from Kenny W. I mentioned an album I have called
"The Best Of Marcel Marceau," which is entirely silent...
(up to the applause at the end.) Kenny wondered if it was available
on CD, where it would be even MORE silent!
PPPPS: If you'd like to sign
up for the First Annual Pittsburgh Guitars Golf Outing, contact me or John. It'll be lots of fun
and since it's a scramble you don't have to be any good (I'm
not!). There will be food, drinking and prizes! Sunday August
17th.
PPPPPS: Customer of the week:
Todd
Jones
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