BAGRATIONCOMMENTATEUR DU HALL D'HONNEUR le 4 juillet 2012
Un seul mot Rock...une seule phrase : Long Live Rock...Un seul cri : Aaaarrrggghhh !
On pourrait être chez Kawabata, Le Fanu ou Serpolet...Non on est chez Gibson...et l'UNIQUE OBJET DU DESIR...La Les Paul itself...L'Invention Diabolique, l'Arme Absolue, le Geddon d'Arma, le Bomba de Tsar Bomba ou le Scylla de Charybde
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11 internautes sur 15 ont trouvé ce commentaire utile
The Full History (And Near Demise) of Gibson Guitars15 juillet 1998
- Publié sur Amazon.com
Okay. I have a confession to make. I have a slight bias about Gibson Guitars. They are the ONLY guitars I play, ever have played, and, unless I get my hands on a Rickenbacker 12 string, the only guitar I ever will play. "Gibson GUITARS 100 YEARS OF AN AMERICAN ICON", by Walter Carter, is a 314 page chronicle of each and every single era, dichotomised into a neat, organised and painstakingly concise tome of this musical titan, beginning with the Orville H. Gibson (creator of the Gibson instruments) era, and taking the reader on a roller-coaster ride of the triumphant ups, and near fatal decline, of this legendary manufacturer. This book is worth every penny you will pay for it, and more, because it expands on every phase of Gibson's development, every epoch of the sea changes in the industry, while entertainingly interweaving changes in musical tastes, trends, and featuring leading artists, mainly those who used Gibson instruments, such as Pete Townsend, ! ! Duane Allman, virtuoso Jimmy Page, Jeff Beck, the legendary innovator and artist, Les Paul himself, Jeff Lynn, Mick Ronson, Chris Hillman, Billy Gibbons, and many, many others. It is no coincidence that most of them were or are the preminent artists of the world's musical stage. Make no mistake about it. This is no P.R. book, or propaganda espousing Gibson as the ALL TIME WINNER-greatest manufacturer ever jive; this book is painfully frank about the good times and the bad times with professional, dispassionate, objectivity, each chapter narrated era by era, by industry professionals from all corners of the musical field. This book also debunks many of the myths, misconceptions, and misinformation floating around about the company. It takes the reader through each level of ownership, outlining the strategic decisions, for better or worse, as a company with a passion for being the leader in a fast-changing industry. And, later, I will address some of the false presumptions ! ! about the more recent models. No doubt, Gibson was in its! hayday in the postwar period. It was a money maker and a winner. It's decisions were based upon well thought out and carefully crafted tactical decisions, a motivated workforce, and a desire for excellence. Quite equal time is devoted to the acoustical and electrical divisions of the company, the key players in each ownership regime, and the masterful unveiling of each new product, extraordinarily chronicled often by Gruhn Guitars' George Gruhn, co-collaborator with the author, Walter Carter on a variety of other projects, and nationally acknowledged expert on musical and vintage instruments; the book is literally filled with high quality color photos of vintage instruments dating back to the early 1900's.on through the 40's, 50's and 60's, to the present, thanks to George Gruhn's extraordinary collection of vintage instruments. I was blessed with playing excellent Gibson instruments since the early 1960's, and own a number of their electric guitars, and having played f! ! or 34 years, was equally lucky in NOT playing one of their products during their steep decline in the late 1970's and early 1980's, when very poor decisions by Norlin almost destroyed this national treasure. Tom Mulhern and George Gruhn detail the self induced problems which perpetuated when opportunists from an Ecuadorian beer company, railroad company, and mineral extractor nearly ran this company into extinction. A great example of knowing your industry or else. By a rare fortune of fate, passionate and educated guitar efficianados (with engineering backgrounds) came to the rescue. Henry Juskiewicz, Dave Berryman, and Gary Zebrowski rescued this company, and the manner in which they did it is not only fascinating, but amazing in that they purchased a near crumpled empire, and brought it back to resurgance, and debatable superiority yet to be appreciated. At issue over many debates is the worthiness, or lack thereof, of re-issues, of 'vintage' Gibson instruments. Unti! ! l I read this amazing book, I was of the impression that th! e re-issues were just attempts at nearly duplicating the successes of the past. Recently, however, and thanks to this book, I have discovered otherwise. Anyone who has heard Jimmy Page's blistering, intricate lead on the First song on CD 2 of the BBC Sessions KNOWS what a Les Paul can sound like. Perfection. Well, I have re-created that exact same tone, and lead on my Les Paul 1960 Classic re-issue, with the proper equipment, and I can assure you, the quality is still there, waiting to be explored. This book tells you WHY. That is the most intriguing part. Yes, you MUST know your equipment from stem to stern, amps, tubes, effects, guitar intricacies (sorry, that info is classified; I do not give away 34 years of technical knowledge). But as has not been said about other instruments as Gibson's re-issues have been wrongly labeled: just because there are no Beatles now, no Led Zeppelins, no new supergroups, it is NOT because they don't make great microphones, pianos, and stud! ! ios like they used to (the bum rap hung on Gibson solid body guitars). The absence relates more to the lack of talent, and technical expertise, than to the properties of the instruments. This book has drawn from the very best and most knowledgable professionals in the U.S. and U.K. to present a detailed encyclopedia of mandolins, guitars, banjos, and other instruments that made Gibson the frontrunners in music, giving an amazingly full chronology of its past, and looking ahead into the future for this promising company with a glorious past and an unlimited future. Having read this excellent book, I look forward to the next 50 years of glory yet unimagined now, for Gibson USA. This is a very, very fine book, extremely well researched, documented, and a joy to read. Anyone with an interest in music, be it Country and Western, Bluegrass, Jazz, or Rock'n'Roll will be proud to own this chronicle of modern music, and the company that virtually single-handedly brought us here.! ! To say this book is purely exceptional is quite an underst! atement. It is beyond that. And it is fun too. What more can a reader ask for? Five Stars + from me.
16 internautes sur 23 ont trouvé ce commentaire utile
A highly biased look at Gibson31 décembre 2005
- Publié sur Amazon.com
Gibson has unleashed a propaganda piece on an unsuspecting audience of guitar freaks. By having their in-house historian write it and by publishing it themselves, Gibson has ensured that they retain complete editorial control over all of the content. Here's an example of the hypebole that is present throughout the book: in reference to the oncoming wave of solid body electrics Walter Carter writes, "...Gibson would lead rather than follow the pack as the electric guitar era began to take shape." I think Leo Fender would take exception to that statement if he were still around. The book features lots of well-known players with a Gibson in their hands. The captions border on outright fraud. "Jimi Hendrix reached new guitar heights with an SG Custom." Gee, I thought that 99% of his playing was on a Fender Stratocaster. "Rolling Stones guitarist Keith Richards plays a custom single-pickup L-55." Maybe he does in that picture, but any casual Stones fan will tell you that Keef plays a Tele. There are countless other examples of this type of misreprensentation. As much as I dislike that lame marketing approach, I completely despise the self-congratulatory chapter on the trio of Harvard guys who bought the company in 1986. I personally think they have done more to damage the image of Gibson in the eyes of players than Norlin ever did. They even went so far as to include a staged photo of Juszkiewicz between rounds in a boxing match with the caption: "Berryman and Zebrowski revive Juszkiewicz after a tough round in a negotiations course at Harvard business school." It's almost too much to stomach.
Having said all of that, the book is not completely without merit though. If you are a diehard Gibson fan and already own Duchossoir's essential book "Gibson Electrics - The Classic Years," then this book may make a nice, if somewhat trivial, addition to your collection of guitar books.
Fantastic trip through history!25 septembre 2012
- Publié sur Amazon.com
The history of Gibson is lots of fun! The contributors provide lots of historical information about the instruments that Gibson developed, as well as many of the other early mandolin, banjo and guitar makers. It also provides a historical context for the development of many instruments by Gibson and others, describing many of the changes in the music businesses alongside the popular music of the times.
To be clear, don't look for an unbiased view of the industry, a critical study of working conditions, etc., and just enjoy the ride as you see the wonderful instruments made by Gibson over the past 100 years!
(By the way, as far as bias goes this review is written by a Martin guitar player, although I also play a Gibson F2.)
Gibson history at its best9 mars 2013
David John Skinner
- Publié sur Amazon.com
I must say that this book really shows what you can do with historic info. Good photos and written info, there's always something there that is news. "Well I did n't know that" sort of thing. I 'm glad that I purchased the book. Highly recommended for of course guitar aficionados
5 internautes sur 8 ont trouvé ce commentaire utile
Gibson propaganda1 juillet 2008
- Publié sur Amazon.com
If you know nothing about guitars and want some nice pictures (courtesy of George Gruhn), then this might be the one for you...if you can find a copy (not cuz they are sold out, but because Gibson won't release any more of them)...This book was obviously written while the author was employed at Gibson, and heavily edited by them too...there are rare pictures of rockers (who usually played other guitars) with Gibsons strapped on...the text is slanted towards Gibson throughout, I mean, it is about Gibson and published by them too..constantly making it seem like musical instrument makers are indentured servants and the companies are having this fierce war with each other, and to survive and try just to break even...and the author is constantly bashing management techniques, even Gibsons', which is irrelevant and unimportant...its way too dramatic...music and its instruments can speak for themselves...