LETTER OF THE MONTH!Thanks for jogging some foggy memories I have from the early ’60s, when I would accompany my father, Buddy Kendrick, to the Fender factory where he built a lifelong association and friendship with Leo Fender as an R&D field tech. I remember our phone would ring, and it would be Leo. My Dad would drop everything, hop in the car, and head to Fullerton to pick up and test Leo’s latest creation with his band, the Buddy Kendrick Trio. The next day, he’d report all the pros and cons back to Leo. At the time, I was much too young to appreciate the genius of Leo Fender, but I would watch him as I gazed over the counter—surrounded by scopes, meters, miles of wire, and the smell of solder—plucking a string, and then very methodically asking my Dad, “How’s that?” Another pluck, another adjustment. “Is that better?” I’m sorry to say my Dad passed away suddenly in 1984, at the age of 56. But just knowing that some of his expertise, his knowledg


I can’t tell you how thrilled I was to finally see Warren Haynes on the cover [Dec. ’06] of the best guitar mag out there. I’ve been wondering why he hasn’t gotten the recognition he deserves. Here stands a musician whose songwriting rivals the best of the best, and whose guitar playing is equal to the power and creativity of all the greats. His passion bleeds from his voice and his guitar, and he does what all great athletes do: He makes all of those who play with him better. Nobody I know of can say they played with the Allman Brothers, the Dead, in a solo acoustic project, and in his/her own very successful band. Kudos to GP for finally showing the world what Warren Haynes represents as a musician, artist, and person.

Ryan Ogden, via Internet


The last time I was disappointed with Guitar Player was in the 1970s, when Kiss was on the cover. Today, I find Paul Stanley in an issue yet again, and I’m amazed you gave him the time of day. Paul Stanley saying, “I see myself as a guitarist who can handle whatever is necessary” is like Jack the Ripper saying he can handle any kind of surgical situation. At least, this time, he didn’t discuss how one of his pickups shoots fireworks. [Ed’s note: In all fairness to Paul Stanley, Ace Frehley was the one with firework-shooting pickups.]

Don McCarter, Imperial, MO


I enjoy each issue of Guitar Player, and a large part of that enjoyment comes from learning the many technical details found in the interviews with players—everything from their string gauges to the kinds of picks they use. So it was especially helpful to find out in the January 2007 issue that Califone’s Tim Rutili tunes his Epiphone D,A,D,D,A,D (low to high). Now I know what I have been doing wrong—I’ve always tuned D,A,D,D,A,D (high to low). You don’t need “radar” to recognize a palindrome at close range.

Bill Galbraith, Houston, TX


I’ve only been playing for a couple of years now, but, thanks to Will Ray’s eBay strategies, GAS (Gear Acquisition Syndrome) has gotten a hold of me. I have acquired ten guitars—the latest being an ES-335 copy that I picked up on eBay for less than 100 bones. And it sounds nice! Will’s strategies really hit the string on the fret.

Jimmy Holt, via Internet


In the January issue’s table of contents, we incorrectly identified Lamb of God’s Mark Morton as Willie Adler. In addition, we neglected to mention that Adler and Morton both use GHS strings.

In the December ’06 piece on Ike Turner, we implied that Turner played the guitar parts on “Rocket 88.” In reality, Willie Kizart played the guitars, and Turner played the piano. There was some further confusion with the gear sidebar mention of Turner playing a Valley Arts guitar—which was info provided by Turner’s co-guitarist Seth Blumberg. The whole story is that Turner’s go-to guitars are typically Fender Stratocasters, including some one-of-a-kind models built for him by the Fender Custom Shop.