我们的主人的慷慨好客和1959年的小事，带有令人陶醉的吉他和放大器系列莱斯·保罗在有史以来最伟大的摇滚专辑之一中使用的标准，我们希望我们可以在西蒙·怀特（Simon White）的街道上流放。诺斯诺·西蒙·怀特（Northerner Simon White）的职业生涯巨大亮点远非仅仅是老式乐器的狂热收藏家，包括成为1970年代英国最独特乐队之一的成员。他解释说：“我当时在一个名为Alberto y Lost Trios Paranoias的乐队中。”“我们曾经在舞台上玩得很开心，我们认真对待音乐，但根本没有认真对待自己。”
Indeed, the Manchester outfit were a joyously eccentric group who ruthlessly parodied musical acts of the time, mixing uniquely British comedy with spectacular musical ability often surpassing the acts they were paying jovial ‘tribute’ to, leaving audiences the length of the country equally enthralled, entertained and bemused. During the 1970s they not only opened for Hawkwind but they also topped the bill on numerous tours and were supported by acts such as Blondie, The Stranglers andThe Police。
粉丝的最爱与其他僵硬的唱片艺术家（例如Ian Dury）尼克·洛andElvis Costello在70年代后期臭名昭著的僵局之旅中，艾伯托斯（Albertos）甚至在1978年在英国单打排行榜上排名第47现状欺骗朝下，无意识的布吉。“Unfortunately, we lost Les Prior, one of our vocalists, to leukaemia in 1980 leaving an unfillable void in the band, it was very sad,” remembers Simon. “We eventually went our own ways through musical indifference.”
With the band breaking up in 1982, Simon went on to have a career in film and TV special effects. His impressive credits include很棒的福克斯先生，，，，Frankenweenie和即将到来的皮诺奇奥翻拍。但是，他总是有吉他，有些巡回演出的日子里有些吉他，有些人在他切碎和变化的年来，从他的收藏中进出。
Let it loose
With such a spectacular array of instruments in front of us, it’s hard to know where to begin. “Well, how about this beautiful ES-330 TDN I got a little while back?” Simon suggests. “I had another red one which was lovely, but since seeing Dave Edmunds with his blonde ES-335 years ago, I’ve always kept an eye out for a nice blonde ES series guitar. This one came up at ATB Guitars and I traded in my red one. It’s a spectacular looking and sounding guitar.”
Another blonde that catches our eye is Simon’s 1954 ES-175. “That was in a bit of a state when I got it,” he admits. “It had a few cracks and the neck P-90 pickup was a clear bobbin, so probably a mid-1960s replacement. It’s a spectacular sounding guitar now that I’ve got it all sorted out. The pickups were out of phase when I got it and I wanted it to stay that way as I just love the middle position. It’s perfect for that彼得·格林tone.”
坐落在ES-175旁边，我们发现了另一个令人惊叹的Gibson。西蒙说：“那是我的1959年ES-5开关师。”“这只是一件令人难以置信的听起来。只需看一下背面的火焰，以及船头背面的毒刺的精度即可。那时，吉布森（Gibson）的手工艺令人难以置信。我也在为金发es-5的一笔交易分类，这可能属于切特·阿特金斯他本人，但这必须等待另一次访问，因为我还没有！”
Next up is a further pair of impressive ES models. “My 1961 cherry ES-335 TDC has seen some action over the years,” says Simon. “It has a wonderfully slim neck, which I don’t always like on some guitars but that guitar is so beautifully easy to play you don’t notice. The sunburst ES-345 TD is from 1964 and is another lovely instrument. It’s pretty much all original and the Varitone is lots of fun to play with.”
Shine a light
我们与西蒙（Simon）的其他吉他一起度过了一些非常愉快的时光 - 尤其是华丽的1962 Fiesta Red挡泥板Bass VI, whose deep evocative twang through his 1960s Super Reverb is pure spaghetti-western soundtrack material. Then we turn out attention to a couple of beautiful 1950sStratocasters。
“This sunburst is from November 1955, the blonde one is from March 1956” notes Simon, placing thee guitars at a significant precipice of 1950s Stratocaster design evolution. “It’s incredible, they are only about six months apart in age, yet are very different in terms of parts and construction. The sunburst has all the early parts, the blonde has the later plastics that would pretty much define Strats into the late 60s.”
谈到1960年代的Stratocaster开发曲线，西蒙的其他主要Strats都是从1962年开始的，并体现了Stratocaster进化的另一个重要飞跃。西蒙回忆说：“声音蓝色是我当天以60英镑购买的修补厂。”“它有一个平板板，是1962年2月的脖子日期。白色是全面的，是1962年11月。同样，这对只有大约六个月的时间，但却大不相同。”
随着我们深入研究西蒙（Simon）的收藏，一对棕色的lifton案例自然会激起我们的好奇心。第一个内部是1956年华丽的金顶。西蒙说：“我只是喜欢衰老及其在顶部绿色的方式。”像那吉他一样美丽，打开第二个Lifton Case揭示了一个六弦，不仅是该系列的珠宝，而且是一种可能是任何收藏的核心的乐器：流放在主St.爆裂。
撕裂和磨损
Formerly owned byKeith Richards，这是1959年的莱斯·保罗（Les Paul）Stones1971年的传奇人物，由基思（Keith）和米克·泰勒（Mick Taylor）使用流放在主St.during sessions at Sunset Sound in Los Angeles, and on the subsequent tour that followed. As well as appearing in numerous photographs during that heady period, the guitar was also used by Taylor later in the 1970s with other acts, and eventually sold to a guitar shop in London, from which Simon acquired it in the early 1980s.
西蒙对莱斯·保罗的热爱又回到了一点点。他回忆说：“我第一次看到莱斯·保罗（Les Paul）看到彼得·格林（Peter Green）在1967年在绍斯波特（Southport）的一次演出中付款。”“这是在丹尼·基尔万（Danny Kirwan）加入之前。那是彼得·格林（Peter Green）的弗利特伍德（Fleetwood）Mac的早期，他们真是令人难以置信的摇摇欲坠，但多么令人难以置信的乐队。可能是我听过的最好的乐队。
“彼得在扮演他的莱斯·保罗Vox还有其他东西，声音真是宏伟。作为乐队，他们很出色，他们互相听，他们没有大量演奏。我以前从未见过莱斯·保罗（Les Paul），当然是绿色的。那时仍然很樱桃。因此，多年来，我一直是Les Pauls的粉丝，尤其是爆发，A一直关注一个……”
正如命运所拥有的那样，一系列不幸的事件导致西蒙流亡爆发。西蒙回忆说：“有人在1980年代初闯入我在伦敦的公寓，偷走了我所有的吉他和装备，除了他们显然不喜欢外观的一种阶层。”“幸运的是，那时我唯一的明智的事情就是让我的东西投保！
“随后，我去了一家名为Guitar Grapevine的商店，该商店位于丹麦街上的丹麦广场。他们有几个可爱的吉他，几个旧的弦和几次爆发。我对此发光并放了一个押金，几天后回来买了它，从那以后我就已经拥有了！
“经理，一个叫斯图尔特·索尼（Stuart Sawney）的家伙，我买了它后才告诉我吉他的著名先前所有者！实际上，大约一周后，我也从那里得到了我的55层。”
As guitar-shopping weeks go, that’s about as good as it gets. However, it should be noted that the market for vintage Gibsons and celebrity-owned instruments in those days was nothing like it is now. Perhaps the shop manager felt that this well-used 20-year-old Les Paul that had a fair few parts changed, a hole in the back from an extra strap button and some general wear and tear, was best sold on its own merits rather than artist association.
但是，毫无疑问，这是真正的交易。由于谷物的个性和枫木顶部的火焰，以及随着时间的流逝，饰面的褪色方式不同，每个爆发都在其上赋予了独特的指纹。西蒙指出：“我认为石头大约有三到四次爆发。”“但是表明这是流放的爆发是顶部的谷物中独特的狗腿，也是拾音器之间非常突出的火焰。这些照片在所有照片中都很容易脱颖而出。我只在获得它后才真正研究了它，最终使用它挖出了所有这些旧照片，并使用了它。”
西蒙向我们展示了一张珍贵的照片，新闻剪裁，甚至是吉他葡萄树经理的名片，以及该时代的旧滚石乐队。亮点包括基思·理查兹（Keith Richards）在日落声音中以这吉他拍摄的，穿着长袖石头徽标T恤和一千码凝视，而在音乐中迷失方面。
灵魂幸存者
任何与真正的1959年爆发的接触都将被珍惜，但是鉴于该吉他在《摇滚历史》中的特殊位置，我们都会格外小心。显然，工作生活很忙。西蒙说：“当这些吉他在道路上时，他们会不断调整，并尽力准备道路。”
舒适舒适的脖子有一个经典的轮廓，可以在您的手掌播放时溶解在您的手掌中，而小脚跟是'59的典型特征，尽管脖子可能是脖子上的修补厂。床头背面的随附的划痕序列号包括一个绝对的非工具规定字母r，可以很好地衡量 - 也许是“理查兹”吗？
The guitar is loaded with a pair of PAF pickups, one double-white at the bridge and one narrow ‘jazz’ spaced double-black at the neck. Under close inspection we also notice the pickup covers and mounting screws, along with the thumbwheels under the later wired nickel ABR-1 bridge, were originally gold and are now worn down to the nickel beneath.
要专注于这些修改，除了这个非凡的乐器故事中的章节以外的其他任何事物都将是令人振奋的 - 这是一种令人难以置信的鼓舞人心的乐器，也是我们有史以来最好的声音和演奏爆发之一。而且，如果在他们的力量峰值的两块石头上足够好，我们该争论谁？
直到今天，西蒙的爆发似乎仍然喜欢上舞台并尽力而为。“Joe Bonamassa几年前在曼彻斯特的舞台上演奏。”西蒙说。“我必须说他很棒，是一个非常体贴的主人。他整理后台下的是自己，而不是将任务委派给工作人员，这是一场很棒的表演，他似乎喜欢爆发……尽管他通常是非官员！”
从卡拉马祖（Kalamazoo）推出63年后，这只传奇的旧吉他似乎还剩下很多音乐。
For more features, clickhere。