June 2007 Letters

I was generally pleased with the April issue’s “40 Greatest Guitar Albums of 1967” cover story. I do, however, have a complaint concerning Darrin Fox’s review of Something Else by the Kinks. It is not with his excellent decision to include this album, nor with the praise he bestowed upon masterpieces such as “Death of a Clown” or (the best song ever) “Waterloo Sunset.” No, my complaint lies with a singular comment: “… it’s quite possibly the best record the Kinks ever made.” If Mr. Fox had bothered to listen to the exquisite works following and just previous to Something Else, I’m sure he would be inclined to rectify his comment, perhaps to “…one of the best records the Kinks ever made.” After being banned from the United States in ’65, the Kinks released at least eight other albums on par with or superior to anything the Beatles, Floyd, the Stones, or Hendrix were putting out. Of course, my opinion is probably biased, as I currently only have one month to go to ge

Every month, GP Managing Editor Kevin Owens will pick the most interesting, inspiring, humorous, snotty, honest, and/or confounding piece of feedback, cheese it as “Letter of the Month,” and send the lucky winner a snazzy GP t-shirt. In addition, this month’s winner will receive a box (12 sets) of Dunlop Strings (acoustic or electric, winner’s choice of gauge and type)!


The April issue is no fool. This is without a doubt one of the best I have ever seen. Great all around—the photos, the stories, the new gear, the columns, and lessons. Not a page of wasted space. Well done! It was better than getting candy. I particularly like the Vox pedal comparison. Now that we found out about Dick Dale, how about a story on Jason Everly and his dad?
James Walsh, Via Internet

Your April issue was amazing. It was my second-favorite issue of GP ever (number one is Feb. 1997), and I will keep it in my collection. Dave Rubin rocks for getting Magic Sam’s West Side Soul included. I beg your young readers to buy this CD. I learned how to play guitar in 1967, because of people like Hendrix and Bloomfield. I gave up playing in the late ’70s, but after a chance listening to West Side Soul in ’95, I started playing again, and this time I will go ’til I drop.
Jerry Rosen, Via Internet

I was aghast to see such a frivolous letter (April 07’s Letter of the Month) highlighted in your publication. You have a responsibility to your readers to be thoughtful. You reach a population that tends to have weak coping skills, as music is frequently the only outlet they have for expression. Your base is comprised of many isolated and perhaps at-risk people, and clearly rewarding such a ludicrous statement is not only in bad form, but devalues the worth of life.
Dr. Beverly A. Piccillo, Depew, NY


I would like to take the opportunity to thank Dave Hunter for his glowing review of my signature model Martin. Designing the guitar was truly a labor of love, and to find my efforts appreciated, understood, and commended is extremely gratifying. However, one or two points deserve clarification. Most obviously, Dave refers to “its bound fretboard,” but the fretboard is unbound in the tradition of Style 28 and 18 models. Also, I did not use a ’70s Martin D-18 as the “springboard” for the guitar, as it most closely resembles a HD-28V. The neck profile is Martin’s standard “modified V,” as found on their Vintage series. Finally, Dave’s assessment that the top is “not over-buffed” could lead one to incorrectly assume the guitar is not finished in gloss. In fact, the entire guitar is polished to a high-gloss finish, including the back of the neck. These comments are intended to clarify rather than criticize, as I am truly knocked out by the review. I’m only taking the time to write this to avoid any possible confusion by your interested and knowledgeable readers.
Lotsa Love, Elliot Easton


Thank you from the bottom of my heart for allowing Tommy Bolin to grace the cover of your February issue. There has not been a sweeter soul who has combined versatile guitar prowess, a spectacularly glam voice, exceptional songwriting abilities, and stellar charisma before or since his untimely passing in 1976. His music sustains me when I’m submerged in my lowest valleys or scaling the highest peaks, and I am convinced that nobody will ever fill his masterful platform shoes. Tommy was the crème de la crème of multiple genres. It is still shocking to me that not many people—including supposed guitar aficionados—have an inkling as to his identity and corresponding greatness. My only regret is that you didn’t write a full-length feature on him, but perhaps you can consider doing so in the future, as it’s the very least that he deserves. There’s a valid reason why his box set is entitled The Ultimate, you know.
Christine Carmela, Branford, CT


Our April Riffs piece on Tim Brady incorrectly stated that his Playing Guitar CD was released on Justin Time records. It’s actually on the Ambiances Magnetiques label.