On this page you will find the descriptions of the rigs presented in the Guitar Heroes exhibitionWe have faithfully reproduced the texts accompanying the instruments on display. We have decided to include them in this document to offer you an even more complete experience and to preserve a memory of your visit.
In the exhibition, a dedicated playlist is available for each artist. Vintage Authority YouTube channelThe tracks have been carefully selected based on the equipment on display and, therefore, are not intended to retrace the artist's entire career, but to help you appreciate the sound of those specific setups.
We thank you for visiting the exhibition and invite you to find out more about Vintage Authority website.
Andy Summers
1960 FENDER TELECASTER CUSTOM SUNBURST
1966 FENDER TWIN REVERB
▶ Listen to Andy Summers' playlist on YouTube
Il Sound Andy Summers's album with the Police is one of the pillars of New Wave and rock history. A three-dimensional, crystalline, and atmospheric soundscape.
At the heart of this magic is a legendary pairing of instruments where the beating heart is his Fender Telecaster Custom playing inside a Fender Twin Reverb.
La Guitar – heavily modified over the years – combined the classic dry and ringing “twang” of the bridge pickup with a decidedly warmer and rounder sound thanks to a Gibson humbucker later installed in the neck position, as well as an overdrive circuit integrated directly into the body of the guitar.
This instrument found its ideal partner in theAmplifier Fender Twin Reverb, famous for its impressive clean headroom, which offered the artist a neutral, powerful and distortion-free base.
On this sound basis, Summers applied his Effects symbol: the flanger (to give undulating movement) and the analog delay, transforming the scratching of the Telecaster into a liquid, spatial and impactful texture, capable of filling the spaces of a power trio on its own.
The union of these elements created a clear, sharp and enveloping timbre at the same time perfect for making the guitarist's typical chords and rhythms unique, which sculpted the Police's sound.
Angus Young
1970 GIBSON SG STANDARD CHERRY
1977 MARSHALL JMP 2203 MASTER VOLUME HALF STACK
▶ Listen to Angus Young's playlist on YouTube
Il Sound Angus Young's "The Way You Are" is the very essence of pure, direct, no-frills Rock 'N' Roll: an iconic combination of crunch, dynamics, and definition, achieved almost entirely through guitar work, fingerwork, and amp volume, without the aid of effects pedals.
At the heart of this magic formula is its legendary instrumentation of the late 70s, a pairing that defined epic albums like Highway to Hell and Back in Black.
La Gibson SG Standard Cherry “Large Guard” ( 1969 / 1970 ): Compared to the models from the early '60s, this version stands out for its larger pickguard and a rather deep neck profile but nevertheless incredibly fast and perfect for Angus's searing blues-rock fingerings. The T-Top humbucker pickups of the time provide that cutting tone and rich midrange, capable of "piercing" the mix with a deadly presence.
Il Marshall JMP Master Volume 2203 ( 1977 ): the 100 watt head was and is a true power monster. Introduced in the mid 70s, the 2203 allowed the preamp tubes to be saturated thanks to the Master Volume control, despite this Angus always preferred to push the amplifier to the limit to make the power tubes work (the EL34 model, a Marshall standard), thus obtaining an incredibly responsive distortion to the touch of the pick and rich in sustain.
Il outcome It's a “dry” sound, an analog roar where the SG scratches with surgical precision and the Marshall JMP provides the foundation of a timeless wall of sound.
Ritchie Blackmore
1974 FENDER STRATOCASTER BLACK
1971 MARSHALL JMP SL FULL STACK
▶ Listen to Ritchie Blackmore's playlist on YouTube
Il Sound Ritchie Blackmore's "The Greatest Hits" is one of hard rock's most incendiary and recognizable pillars. It features a cutting, almost cello-like tone in its attack, heavily influenced by classical music but projected into the powerful volumes of 1970s rock.
Focal point of his Instrumentation it is the very famous Early 1970s Fender Stratocaster Black with maple fingerboardHe used various types and vintages, both with a 3-bolt neck attachment – like the one shown – and a 4-bolt one. The distinctive feature of his instrument was the modification to the fretboard called “scalloped,” meaning hand-carved between the frets: this allowed Blackmore to reduce the friction of the wood on his fingertips, allowing him to easily perform dramatic vibratos and extreme bends, as well as very fast neoclassical licks. From an electronics standpoint, Ritchie tended to almost always exclude the middle pickup in his performances, preferring the sharp harshness of the one at the bridge or the fluid warmth of the one at the neck.
This signal, already in itself scathing, was channeled into the mammoth Full Stack Marshall Amplifier (The heads were often 200-watt Major models, heavily modified by the engineers to obtain even more gain and volume, more easily achievable with their smaller 100-watt Super Lead siblings.) Blackmore pushed the tubes to the limit of collapse, but to obtain that iconic, saturated crunch, without ever losing the definition of individual notes, he relied on a secret ingredient: an Aiwa TP-1011 tape recorder (or a Hornby Skewes Treble Booster preamp) used as a gain booster before the signal entered the Marshall.
The result is a monumental, dynamic, and saturated sound, capable of switching in an instant from a clean, crystalline whisper to a distorted, blade-sharp roar.
Eric Clapton
1964 GIBSON ES 335 CHERRY
1965 MARSHALL JTM 45 HALF STACK
▶ Listen to Eric Clapton's playlist on YouTube
Il sound Eric Clapton's overdrive literally redefined the boundaries of rock and blues guitar in the late '60s, laying the foundation for what we now call "overdrive." It's a thick, growling, and incredibly expressive tone, born from the perfect marriage of American lutherie and British amplification pushed to the limit.
At the heart of this sound is one of the most iconic guitars in his collection: the Gibson ES-335 CherryThis semi-acoustic (characterized by the maple center block that reduces unwanted feedback) combined the woody warmth and typical resonance of the hollow body with the biting push of the humbucker pickups, immediate successors to the famous PaFs. In Clapton's hands – particularly during the golden years with Cream and at the famous farewell concert at the Royal Albert Hall in 1968 – the ES-335 transformed into a war machine: fluid on the neck pickups for its iconic “Woman Tone” (achieved by completely closing the guitar's tone pots) and sharp but full-bodied on the bridge pickups.
But the real secret to making that guitar sing, however, lay in the amplifier. Clapton connected the instrument directly to a Marshall JTM 45, both in the head and matching cabinet version and in the famous 2x12 combo variant also known as the Bluesbreaker. This amplifier in 1965 was equipped with the characteristic round black plastic knobs – now known as “Clapton Knobs” among collectors. Eric's philosophy was as simple as it was revolutionary for the time: turn the volume and controls all the way up. Pushing the JTM 45 to extreme levels, the tubes saturated naturally, creating a warm compression and infinite sustain that mimicked the human voice.
There were no effects pedals to distort the signal: the sound was the pure result of the Gibson ES-335 running the amplifier at a controlled collapse, generating that creamy, harmonic-rich and deeply dynamic sound that changed the history of music forever.
freddy king
1969 GIBSON ES 345 CHERRY
1968 FENDER SUPER REVERB
▶ Listen to Freddie King's playlist on YouTube
“The Texas Cannonball” evokes a sound which is pure energy. Among the "Three Kings" of the blues (along with BB and Albert), Freddie was the most aggressive, the one with the most ferocious attack and the sharpest timbre, so much so that he could break through the mix of any band. Between the late '60s and the '70s, the fulcrum of this sonic storm was a very specific instrumental pairing: the Gibson ES-345 Stereo guitar and the Fender Super Reverb “Silverface” amplifier.
If in the early years of his career Freddie was inextricably linked to the Gibson Les Paul Goldtop, it was with the ES series (semi-acoustic with a maple center block) that defined his more mature look and sound. The ES-345 in the iconic Cherry finish offered unique features: the “Varitone” circuit with a 6-position rotary selector that Freddie almost always kept in position 1, to get the full signal from the humbucker pickups, or in position 2, which “dried out” the bass slightly, making the sound more cutting; the “Stereo wiring” capable of splitting the signal onto two different channels or amplifiers, which Freddie often did not use.
To withstand the impact of his touch, Freddie needed volume and an immediate dynamic response that only theamplifier most iconic of the house Fender in the 70s, The Super reverb characterized by the brushed aluminum panel “Silverface” introduced in 1968 could give. The configuration with four 10-inch speakers moved the air extremely quickly compared to a single 12-inch speaker. This guaranteed tight bass that didn't "clog" and crystal-clear, almost percussive high frequencies. 40 watts of tube power allowed the amplifier to remain clean and defined even at high volumes, only to begin to saturate after the so-called "edge of breakup", only when Freddie pounded the strings hard.
Il Secret of his Sound were the Attack and the Fingers combined with his instrumentation. But the real “Make upFreddie King's ” resided in his right hand, as he played with metal or hard plastic thumb and index finger picks (thumbpick and fingerpick) that generated a metallic, almost “clicky” attack.
The end result was a modern blues, both acidic and sophisticated, blending depth, brilliance, and violence. A monumental sound that would influence generations of guitarists, from Eric Clapton to Stevie Ray Vaughan.
John Frusciante
1966 FENDER JAGUAR LAKE PLACID BLUE
1970 MARSHALL JMP SB HALF STACK
▶ Listen to John Frusciante's playlist on YouTube
Il sound John Frusciante's "The Red Hot Chili Peppers" is a perfect balance of expressive minimalism, vintage warmth, and pure funk-rock energy. With the Red Hot Chili Peppers, he built his sonic identity around a very specific philosophy: an extremely dynamic guitar-amp signal, enriched by a palette of effects used in an almost theatrical manner. At the heart of this sonic architecture is the magical contrast between the razor-sharp clarity of Fender guitars and the monumental punch of British amplifiers.
An iconic example of this combination can be found in the recording sessions for “Blood Sugar Sex Magik” and “Under the Bridge”, where Frusciante did not use his famous '62 Stratocaster, but a splendid 1966 Fender Jaguar in Lake Placid Blue finish with matching headstock. The Jaguar, with its single-coil pickups shielded by the characteristic metal claws, gave the song that crystalline, slightly compressed and metallic tone, perfect for bringing out the famous Jimi Hendrix-inspired phrasing.
To give body and depth to this voice, Frusciante has always relied on the power of Marshall systems. Alongside his inseparable 200-watt Major (used for clean sounds), the beating heart of his crunch and solo saturations is represented by the heads Marshall JMP “Metal Panel from the early 1970s. These amplifiers, featuring the gold-brushed aluminum control panel that replaced the plexiglass in late 1969, are known for a more aggressive sound, with a stronger midrange and a faster attack than their predecessors. When Frusciante pushes these JMPs with his guitar signal (often enhanced by a Boss DS-1 distortion pedal or an Electro-Harmonix Big Muff fuzz), the amp responds with a warm, harmonically rich, and incredibly responsive saturation, defining the visceral sound that made alternative rock history.
Jerry garcia
1967 GIBSON SG STANDARD CHERRY
1967 FENDER TWIN REVERB
▶ Listen to Jerry Garcia's playlist on YouTube
Il Sound Jerry Garcia's late 60s album captures the Grateful Dead's crucial transition from their early psychedelia to the unique mix of country-rock, jazz, and modal improvisation that would define their legacy.
In 1969 on the legendary and tormented stage of Woodstock, the visual and sonic centerpiece of Jerry's setup was a splendid Gibson SG Standard guitar in Cherry finish, which hit the headlines for a peculiarity: it was equipped with a Bigsby-type vibrato system installed directly in the factory (Factory Bigsby). The SG, with its lightweight mahogany body and period-era T-Top humbucker pickups, offered Garcia a warm, mellow midrange tone that was incredibly responsive to the touch. The Bigsby bridge added a subtle resonance, different from the classic “stopbar” tailpiece, allowing Jerry those expressive micro-inflections and almost imperceptible vibratos that recalled the pedal steel guitar style.
However, the real secret to keeping the SG humbuckers from sounding too dark or muddy was in the amplifier section. Garcia relied heavily on the clarity of the Fender Twin Reverb amplifiersThe search for “Clean” at high volumes, where the Twin Reverb is historically known to be the most worthy representative with its enormous reserve of clean sound (headroom). Jerry pushed these amplifiers at high volumes to be heard above the Dead’s rhythmic wall, obtaining a crystalline, three-dimensional and extremely dynamic sound. The Fender Twins, especially when paired (or modified shortly thereafter) with JBL speakers, perfectly compensated for the “soft” nature of the Gibson SG. The result was a clear and “sparkling” attack in the high frequencies, which allowed his legendary lead textures and chromatic scales to pierce the mix with surgical precision.
Even though the Grateful Dead's performance at Woodstock was undermined by enormous technical and electrical insulation problems on stage (which made the band quite nervous), that essential and powerful rig crystallized an unrepeatable moment: the perfect meeting point between the scratchy warmth of the Gibson mahogany and the crystalline purity of the Fender valves.
David Gilmour
1969 FENDER STRATOCASTER BLACK
1970 HIWATT DR103 + 1970 WEM STARFINDER
▶ Listen to David Gilmour's playlist on YouTube
Il Sound David Gilmour's "The Greatest Hits" is a monument to rock's sonic architecture: a perfect balance of lyricism, sustain, and crystalline definition that cuts through the mix with surgical precision. While his identity lies primarily in his skills and iconic touch, his early '70s instrumentation laid the foundation for that legendary tone.
At the root of the chain there is the legendary 1969 Fender Stratocaster Black guitarPurchased from Manny's in New York in May 1970 to replace an older one, this guitar originally featured a rosewood fingerboard and the large headstock typical of the CBS era. It was the primary instrument with which Gilmour began to explore the psychedelic textures of Pink Floyd, before the band's entire truck was tragically robbed in New Orleans in October of that year, during the Atom Heart Mother tour. Gilmour immediately had to buy another, again a Stratocaster and again a Black Strat (the one that would become the most famous “Black Strat” in history), but the warmth and smooth attack of that first '69 model with a rosewood fingerboard remain etched in bootlegs and historic recordings from those crucial months of 1970.
To give voice to his guitar, Gilmour relied on a combination of amplification which has become a true standard of sonic purity. The beating heart of the system was the head Hiwatt DR103, a tube amplifier renowned for its incredible headroom and impeccable, military-grade internal construction. These specific amplifiers were meticulously overhauled and optimised by Harry Joyce (Hiwatt's legendary chief engineer), ensuring a dynamic response free of unwanted distortion even at colossal volumes. This radiant cleanliness made the Hiwatt the ideal source for the pedals of the time, such as fuzzes and early delays. The secret to the projection and body of this sound lies in the legendary WEM Starfinder 4×12 caseThis cabinet, featuring a robust design and a three-dimensional acoustic response, was equipped with Fane Crescendo speakers. High-fidelity speakers with an aluminum dome, capable of handling extremely extended frequencies without succumbing to harmonic distortion.
Il outcome it was a monumental sound.
Jimi Hendrix
1969 FENDER STRATOCASTER OLYMPIC WHITE
1967 MARSHALL JTM 100 FULL STACK
▶ Listen to the Jimi Hendrix playlist on YouTube
Il Sound Jimi Hendrix's revolutionary sound was not born only from his incredible "hand", but from a precise alchemy of instruments and effects that have gone down in history for their timbre and for what they have represented musically.
In the early years of his meteoric career, Hendrix often played a small-headstock (pre-CBS) Fender Stratocaster Sunburst guitar, typical of the early to mid-60s. This guitar, with its classic look and exposed wood grain, formed the foundation of his visceral approach to blues and rock.
However, the most iconic image of Jimi is inextricably linked to the legendary Fender Stratocaster Olympic White guitar “Big Headstock” (Large Headstock) famous for its maplecap fingerboard (characterized by a layer of maple glued onto the neck, without the classic “skunk stripe” back insert). It was this very guitar, rigorously reversed to be played left-handed, that gave voice to the distorted American Anthem on the Woodstock stage… which revolutionized the world of rock music forever.
To give body to these rather thin-sounding guitars, Jimi needed an unprecedented wall of sound. The breakthrough came from themeeting with Jim Marshall and his amplifiersThe beating heart of Hendrix's rig was the Marshall 100W Super Lead head combined with the legendary cabinets, where the first versions were equipped with a splendid front fabric called pinstripe (the characteristic grille with thin vertical stripes used before the later classic "salt and pepper" fabric), which protected the 4 speakers. By pushing this amplifier to maximum volume, Hendrix was able to exploit the saturation of the tubes to transform the feedback from an annoying whistle to a pure musical element, accompanied by transgressive and animalistic physical movements.
A deadly cocktail of sound, musicality, instinct and substances… gave birth to the Mito.
Yngwie Malmsteen
1971 FENDER STRATOCASTER OLYMPIC WHITE
1971 MARSHALL JMP 100W FULL STACK
▶ Listen to the playlist of Yngwie Malmsteen on Youtube
Il Sound di Yngwie Malmsteen It is one of the most recognizable trademarks of hard rock and heavy metal, a perfect meeting point between the strength of rock and the precision of baroque classical music.
The beating heart of its instrumentation is the Fender Stratocaster, from the early 1970s, characterized by the large headstock. Preferably white like Hendrix's and with a scalloped fretboard like Blackmore's, where the wood between the frets was hollowed out so that the fingers only touched the strings, ensuring control over vibrato and bending. Custom electronics and pickups eliminated background hum and maintained a clear, defined tone, essential for avoiding muddy notes during the rapid sweep picking that was characteristic of his style.
This signal shoots straight into a Wall of Marshall Amplifiers, preferably vintage and without a master volume (like the legendary Plexi heads or the later 100w Metal Panel models), pushed to maximum volume to obtain a warm, responsive, and harmonic-rich tube distortion. To push the amplifier even further into saturation without losing the definition of the attack, Yngwie uses an overdrive pedal (like the old DOD 250), which dries out the bass and inflates the mid-frequencies. The result is a violin-like tone, with infinite sustain. All emphasized by the use of Delay.
This unique mix of electric fury and classic rigor has its roots in two guitar giants: Jimi Hendrix, from whom Malmsteen inherited his visceral love for the Stratocaster, the massive use of Marshalls at devastating volumes and the theatrical attitude on stage; Ritchie Blackmore, the legendary guitarist of Deep Purple and Rainbow, who was able to blend blues-rock riffs with harmonic minor scales, the use of the “scalloped” fretboard with the noble and dramatic touch that Malmsteen would later exaggerate, taking it to speeds and technical levels never heard before.
Pete Townshend
1969 GIBSON LES PAUL DELUXE GOLD
1970 HIWATT DR103 HALF STACK
▶ Listen to Pete Townshend's playlist on YouTube
Il Sound Pete Townshend's album during his golden years with The Who is an explosive blend of power, dynamics, and incredible sonic definition, which has gone down in history as the “Maximum R&B.” At the heart of this sonic universe, especially during the 70s, is a legendary instrumental duo.
Although Townshend has historically used a variety of guitars (from Rickenbackers to Fender Stratocasters), the Gibson Les Paul Deluxe It represents the era of massive stadium tours. This model's distinctive feature originally lay in its Mini-Humbucker pickups, which offered a sharper, less muddy sound than standard humbuckers, perfect for cutting through the mix generated by the monumental rhythm section of Keith Moon and John Entwistle. Pete loved these guitars so much that he heavily customized them to his needs. He often added a third pickup in the middle for an even more versatile tonal range. Small additional switches were installed on the body to blend the sound of the middle pickup and split its coils. To quickly distinguish them on stage and understand what modifications or tunings each instrument had, he numbered them with large stickers from 1 to 9.
If the Les Paul was lightning, the Hiwatt DR103 heads They were thunder. Designed by the genius of Dave Reeves and connected to the mammoth 4x12 heavily braced cabinets, they were part of the secret to Townshend's sound. Unlike the Marshalls of the time, known for their distortion, the Hiwatts were famous for their clean headroom and the ability to play at high volumes without distorting the original signal. When Townshend pushed these amplifiers to the maximum, he didn't get saturated or compressed distortion, but a huge, "three-dimensional" and incredibly dynamic sound. If he touched the strings the sound was clean, but if he hit the guitar with his famous windmill motion, the Hiwatt responded with a granite "crunch", free of any burrs.
This perfect fit between the attack of the mini-humbuckers of the Les Paul Deluxe and the monumental thrust of the Hiwatt DR103 allowed Pete Townshend to invent the modern concept of power chords. A sound that hit the listener with the violence of a train, while maintaining the definition of each individual note within the chord intact.
Randy rhoads
1974 GIBSON LES PAUL CUSTOM WHITE
1978 MARSHALL JMP SB WHITE
▶ Listen to Randy Rhoads' playlist on YouTube
Il sound Randy Rhoads's sound is one of the most iconic and recognizable tones of '80s heavy metal: a mix of neoclassical aggression, sustain, and precision. This sonic signature was defined by a very specific instrumental pairing.
The beating heart of his solo playing was more than any other guitar his famous Gibson Les Paul Custom “White” (at the time already turning towards a characteristic cream colour). This guitar, heavy and rich in sustain, was equipped with original Gibson “Super Humbuckers” pickups and offered a warm and full-bodied tone in the medium-low frequencies, perfect for giving thickness to his riffs and fluidity to his legato.
To cut through the mix, Randy relied on the brutal power of tube saturation: his go-to heads were the Marshall JMP 100W from the late '70s, often modified with a cascading master volume to achieve more distortion. These amps, connected to Marshall cabinets loaded with Celestion speakers, created that typical British “wall of sound” that has become a trademark of Hard Rock. To push the Marshalls even further and achieve his iconic saturated sound, Randy used an MXR Distortion+ pedal as a booster, which dried out the low frequencies and focused the sound on the mids.
Il final touch It was the famous double-tracking effect, that is, the doubling of the guitar tracks in the studio, which made his sound immense, combining the majesty of classical tradition with the violence of the hardest rock.
Rory Gallagher
1965 FENDER STRATOCASTER SUNBURST
1967 VOX AC 30 TOP BOOST
▶ Listen to Rory Gallagher's playlist on YouTube
Il sound Rory Gallagher's "The Blues" is one of the purest, most visceral, and recognizable in the history of blues-rock. There were no electronic tricks or complex effects chains: his was a direct approach, based on finger dynamics and amp volume pushed to the limit.
The beating heart of his instrumentation was composed of two legendary elements: The Fender Stratocaster (Sunburst) from the early 60s (1961) His signature guitar, which he wore out until it almost completely lost its paint due to sweat and years of relentless touring. With the Stratocaster, Rory expressed a scratchy, at times harsh but incredibly expressive sound. He used the pickup selector switch a lot (often modified) and constantly worked with the volume and tone pots to go from cutting rhythms to warm, roaring solos.
To get his famous “crunch” sound, Rory would plug the Stratocaster into an amplifier Vox AC30 (preferably a 60s model with the legendary Celestion speakers called Bulldog, first in Blue, then Grey, with the protruding Alnico magnet). To push the amplifier to saturate and add more sustain, Gallagher inserted a fundamental piece between the guitar and the Vox: a Treble Booster pedal (initially a Dallas Rangemaster).
Il outcome This combination produced an open sound, rich in harmonics and midrange, capable of cutting through the mix on stage. It was a tone "on the verge of collapse," where the Stratocaster's signature twang blended with the Vox AC30's warm, responsive saturation, creating a roaring, uniquely Irish sound.
Stevie Ray Vaughan
1960 FENDER STRATOCASTER BLOND
1964 FENDER VIBROVERB
▶ Listen to Stevie Ray Vaughan's playlist on YouTube
Il sound Stevie Ray Vaughan's 'The Way We Are' is a hurricane of dynamics, a perfect blend of Texas blues, rock, and expressive sensitivity that redefined the tone of the electric guitar. It wasn't just a matter of fingers, but how his brutal energy interacted with a sometimes diverse setup that became legendary.
At the heart of this magic is his Fender Stratocaster guitar sunburst from 1961, the Number One, although he used several different vintages and colors including a Blond Also from the early 60s. This guitar, with its clear finish and memorable custom tiger-striped pickguard bearing his initials, was fitted, like the others, with huge strings (often .013 gauge) tuned a semitone down. This setup gave the notes an impressive specific weight. Each pick generated a percussive and woody attack, with the single-coil pickups capturing a fat sound on the neck pickup and incredibly cutting, but never acidic, in the middle positions.
One of his most recognizable guitar partners was the Fender Vibroverb amplifierStevie loved customizing the 15-inch speaker, often a JBL or Electro-Voice. The Vibroverb was able to handle that massive, percussive signal to celestial levels: The 15-inch speaker provided a deep, three-dimensional bass response that didn't get muddy even under the pressure of his heavy rhythms. When pushed to high volumes, the amplifier also created a natural, warm, and scratchy tube saturation, defined by Fender's classic "glassy" (crystalline yet roaring) character. The spring reverb and built-in vibrato enveloped the sound in a smoky atmosphere, giving the impression that the guitar was literally breathing.
When Stevie Strat met the little Vibroverb Wall in 1979 (there were two of them at first) on a stage during a hot afternoon in Texas, it was thebeginning of the Myth and its Sound: a clean but saturated roar, capable of crying sweetly in the slower passages and exploding with devastating violence in the rhythmic knots of the Texas flood.
Again and Forever The Lone Star of The Texas Blues.
