What was it about the Epiphone Casino that first attracted you to it?
“The Epiphone Casino and Gibson ES-330 are kind of the same guitar, apart from a few cosmetic things like colour, for example. When I got into music, the first people I saw got me fascinated with this whole semi-acoustic thing. It was all about the image of that. Also, the record I fell in love with was The Stone Roses [1989], and John Squire had a Gretsch Country Gent. It was that and seeing Chuck Berry, the whole f-hole guitar thing.
“Then I saw some footage of The Kinks and early Keith Richards or Brian Jones – I think they both used Keith’s guitar. But there were also contemporary bands like Teenage Fanclub, so eventually, I had to go to a shop to try one, even though I had only just started playing. But I was already hankering after that kind of thing.
“Over the years I’ve had a few Casinos, including cheaper ones. Sometimes I’ve upgraded with various bits and bobs, but the thing I liked about it, when I actually got to try one, was not only how good it looked but how great it sounded. It sounded excellent. And I also liked the way it sat. And after seeing a few and trying them out, Casinos and 330s, I realised they just worked for me.
“Also seeing that footage of The Stones from the Hyde Park gig in 1969 when Keith used a 330, and seeing Paul Weller on TV in the 90s playing his Casino – I thought he got a really great sound out of it. Things like that got me interested, but when I started trying them out, I just realised that with hollow-body guitars with P-90 pickups, you can’t go wrong.”
Do you struggle with feedback playing live because there’s no centre block?
Esta historia es de la edición Summer 2021 de Guitarist.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición Summer 2021 de Guitarist.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
QUICK CHANGE
As Gibson finally adds some Quick Connect pickups to its Pickup Shop line-up, Dave Burrluck revisits this simple no-solder method to mod your Modern guitar
Return Of The Rack
A revered rackmount digital delay makes a welcome comeback in pedal form.
Pure Filth
This all-analogue preamp pedal based on Blues Saraceno's amp is a flexible powerhouse with a variety of roles.
Reptile Royalty
From Queen to King - there's another Electro-Harmonix royal vying for the crown of octave distortion
Tradition Revisited
Line 6 refreshes its Helix-based modelling amp range by doubling the number of available amp voicings - and more
Ramble On
Furch's travel guitar folds down so you can transport it in its own custom backpack and, the company claims, it returns to pitch when you reassemble it. Innovation or gimmick?
Redrawing The 'Bird
A fascinating reimagining of one of Gibson's more out-there designs, the Gravitas sticks with vintage vibe and mojo. Oh, and that sound...
1965 Fender Jazz Bass
\"They made them later on, but it's not something I've ever seen this early.
Boss Cube Street II
Regular readers will know that the last time I took the Boss Cube Street II out, I was in rehearsal for a debut gig in London.
STILL CRAZY
One of the most creative yet reliably great-sounding effects makers out there, Crazy Tube Circuits grew out of a fetish for old valve amps. We meet founder Christos Ntaifotis to find out more
