Oh my goodness! Carlos Santana said that he played Woodstock on acid! How could you have printed such a comment? Don’t you give a rat’s petootie about all those impressionable young minds out there reading your magazine? Next thing you know, you’ll have somebody like Zakk Wylde saying he has an occasional beer—and then those impressionable young guitar players will really start going straight to heck in a hand basket. Smokin’, drinkin’, psychedelics...
And it will be all your fault, too. Because we all know your job is not only to put out an informative and interesting guitar magazine every month, but also to act as Lifestyle Censor and Judge of What Is Fit for Young Guitarists to View. I’m sure it says so in the fine print there somewhere.Ed PerroneMt. Pleasant, TX
As a professional guitarist here in New York City, and a solo artist on Windham Hill Records, I work every day. I work many kinds of gigs—from subbing on Broadway shows to jazz, blues, R&B, singer/songwriter sessions, solo classical, etc. On any gig, as you all know, there are so many aspects of the whole situation to focus on at any given moment. I’ve got to tell you that ever since I read the latest interview with Carlos Santana [June ’05], I have this constant filter in the front of my brain asking me: “Are you touching their hearts right now?” I want to thank you for so many years of a great magazine, but most of all I want to thank you for that. Sean HarknessNew York, NY
Thanks so very much for the long overdue article on fusion god and pioneer Bill Connors [Missing in Action, June ’05]. It was most interesting to hear how he has taken a more straight-ahead approach on the new album. The lowdown on the gear he is using was also quite informative. But you should have included Stanley Clarke’s first solo album featuring Connors in the “Essential Listening” sidebar! I look forward to each issue from you, and I realize how hard it must be to please everyone, but you guys have outdone yourselves with this one. Hey, don’t let another 20 (yes, 20) years pass by before we hear from Mr. Connors again!Vinny RothFairfax, va
I don’t know where to even begin thanking you guys for featuring Kevin Cadogan [Master Class, June ’05]. I’ve been one of his biggest fans since I was 14. I am now almost 21 years old, and I can’t tell you enough how grateful I am to Kevin. He is probably the reason I picked up the guitar. Because of his influence, I use a little over 20 alternate tunings and counting. Taking those tuning gears and twisting them into submission to find new sounds and better ways to translate my emotions to my songs and instruments is something that keeps me alive! I totally agree with Jude Gold’s comment about his playing being one of the most underrated styles of ’90s rock guitar. Without Cadogan, my playing would be nonexistent. I miss him with Third Eye Blind very much—they will never be the same without him—but the riffs live on. With or without Third Eye Blind, Kevin will still be around rocking out with his 6-string orchestra! So, thank you, Guitar Player for bringing me the piece of joy I’ve been waiting for. And thank you, Kevin—for everything.Julian FernandezVia internet
I read with interest your “Riffs” sidebar on Slash’s missing trademark top hat [News, June ’05], which was subsequently recovered, and the pending police investigation into the incident. So let me get this straight: The guy owns 67 Les Pauls but only one hat? Jim CairnsOntario, NY
On page 55 of the July ’05 issue (“Steve Vai’s Guitar Hero Heaven”), while discussing Johnny Hiland, we mistakenly implied that Danny Gatton was from Nashville. In truth, Gatton, along with Roy Buchanan and Bill Kirchen, defined a high-octane—but decidedly non-Nashville—Telecaster sound that emanated from the Washington, D.C. and Maryland area. Sorry for the error!
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