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ERIC CLAPTON AND J.J. CALE
Blowin’ Down the Road...
Despite appearing onstage together only twice (at shows 27 years apart), they‘ve been collaborating continuously since early 1970. Their new album, Road to Escondido, is their first together. By Dan Forte

AMP-O-RAMA
Marshall’s 1962 JTM45
Jim Marshall’s amps were ultimately ripped from the belly of the late-’50s Fender Bassman, and it‘s fascinating to examine the seemingly subtle technical differences that make them sound so different. By Dave Hunter

RICKENBACKER ELECTRO BASS
When Rickenbacker debuted the Electro bass in 1936, it served as just another example of how the company blew away traditional concepts of design. Without the Electro, bassists might today still be playing upright. By George Gruhn and Walter Carter

HISTORY OF A MYSTERY
Kurt Hendrick and the Enigmatic Axes That Bear His Name
One of the least-understood brands of American guitars, they were built by the son of an aerospace engineer and luthiery school dropout. By Willie G. Moseley

DOITSCH HAWAIIAN GUITAR
Many fine guitars are overlooked simply because they don’t have the right pedigree. This guitar, made by Harmony, is a nifty example of better Depression-era guitarmaking, even if the name on the headstock is anglicized German for... “German”! By Michael Wright

BASS SPACE
The Robin Ranger
Introduced in 1983 and made by ESP, Robin’s Ranger series instruments had reverse headstocks, Fender-like control plates, and large pickguards. Its 32" scale and retro-cool vibe made it stand out. By Willie G. Moseley

THE DIFFERENT STRUMMER
Semie Moseley: The Lost Interview, Part 2
Semie meets the Ventures, discusses his record label and how he fielded offers to buy his company, then contemplates what might have been if he’d accepted. By Michael Wright

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