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The Les Paul Junior is an electric guitar model that was introduced by Gibson in 1954 as a more affordable option for players who wanted the distinctive Les Paul sound and style without the additional features and costs of other Les Paul models. The Les Paul Junior became one of the most popular and recognizable guitars of the 1950s and has remained a classic instrument in the decades since.

The Les Paul Junior (1954-1958) features a single-cutaway mahogany body and neck, with a 22-fret rosewood fingerboard. It has a simple, no-frills design with a single P-90 pickup, a single volume and tone control, and a wraparound bridge/tailpiece. In 1958, it was redesigned with a double-cutaway body style. This initial run of the model lasted through 1963.

The P-90 pickup is known for its distinctive and powerful sound. The simplicity of the guitar's design belies its ability to produce a variety of sounds, especially through a high-gain amplifier. Even when played through an overdriven amp, its sound "cleans up" well when the volume control is rolled back slightly. Coupled with a variation in picking attack, the Les Paul Junior can be a formidable and versatile weapon in the arsenal of blues, pop and rock players.

The Les Paul Junior has been used by many notable guitarists over the years, including John Lennon, Mick Jones of The Clash, Billy Joe Armstrong of Green Day, Leslie West of Mountain, and Charlie Starr of Blackberry Smoke. Martin Barre of Jethro Tull recorded the entire Aqualung album with a 1957 Les Paul Junior, including the extended guitar solo of the title track.

The LP Junior remains popular with musicians who value simplicity and a classic rock and roll sound.

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Classic Rock History: One Hit Wonders: 

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The Rugbys were a rock band from Louisville, Kentucky that formed in the mid-1960s. They started out playing cover songs by artists like The Beatles and The Rolling Stones, but soon began writing and performing their own original material. The latter part of 1969 and all of 1970 were spent touring the midwest and northeast, playing on the same bill with artists like Bob Seger, Grand Funk Railroad, the James Gang, and many others.

In 1969, The Rugbys released their debut album, "Hot Cargo," which included their hit single "You, I." Clocking in at only 2:50, the song opens with a droning buzz-saw, feedback-laden guitar note preceding the driving main riff and bass line, moving through a distorted wah-wah guitar solo over a trippy middle section before a key change leads to its raucous climax. "You, I" reached #24 on the Billboard Hot 100 chart and helped to establish The Rugbys as a nationally and internationally known recording act.

Rugbys genealogy and discography
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The Fender Mustang is an electric guitar model that was first introduced by Fender in 1964. It was initially designed to be a student model guitar, but it has since gained popularity among many different types of guitar players.

The Mustang features a shorter scale length of 24 inches, which makes it easier to play for those with smaller hands or for players who prefer a shorter neck. It also has a unique offset waist body shape that sets it apart from other Fender models like the Stratocaster or Telecaster.

In terms of electronics, the Mustang typically features two angled single-coil pickups, each with an adjacent on-off-on switch, and a master tone and volume control. Some models also include a tremolo bar or vibrato system, which allows players to create unique pitch-bending effects.

The Mustang was a popular choice for surf music groups in the 1960s. It was eventually discontinued in 1982. Over the years, the Mustang has been used by many notable guitarists, including Kurt Cobain of Nirvana, who famously played a Fender Mustang during the band's early years, and whose embrace of the model was likely the impetus for its reissue in 1990. Today, Fender offers a variety of Mustang models with different features and finishes to suit different players' preferences.

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Classic Rock History: Landmark Albums: 

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"Agents of Fortune" is the fourth studio album by the American rock band Blue Öyster Cult, released in May 1976. The album is considered to be one of the band's best and most popular works, featuring their signature hard rock and heavy metal sound with elements of psychedelic and progressive rock. Although a bit more polished and slicker than their previous three albums, it would prove to be BOC's breakthrough commercially.

The album's most well-known song is "Don't Fear the Reaper," which became a major hit and is now considered a classic rock staple. The song features haunting guitar riffs and harmonies, and its lyrics deal with the topic of mortality and the inevitability of death.

Other notable tracks on the album include "This Ain't the Summer of Love," which features a driving guitar riff and a catchy chorus, and "Sinful Love," which has a bluesy, slow-burning feel.

"Agents of Fortune" was produced by Murray Krugman and Sandy Pearlman, who had worked with the band on their previous albums. The album was well-received by critics and fans alike, and it helped to cement Blue Öyster Cult's reputation as one of the most innovative and influential hard rock bands of the 1970s.

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The Gibson ES series of electric guitars is a line of semi-hollow and hollow body electric guitars manufactured by Gibson. The ES in the name stands for "Electric Spanish" and the series was introduced by Gibson in the late 1940s as a response to the growing popularity of electric guitars.

The ES series has been used by many famous guitarists, including B.B. King, Chuck Berry, and Wes Montgomery, among others. The guitars are known for their warm, rich tone, which is due in part to their semi-hollow and hollow body construction.

The ES-335 is perhaps the most iconic model in the series. It features a semi-hollow body construction with a center block that runs down the middle of the body, which helps to reduce feedback and increase sustain. The ES-335 has a warm and full-bodied tone that is perfect for blues, jazz, and rock music. Legendary guitarist Larry Carlton is affectionately known as "Mr. 335" owing to his association with that particular model.

The ES-345 and ES-355 are similar to the ES-335, but they include additional features such as stereo outputs, varitone circuits, and multiple pickups. These guitars have a more complex sound and are well-suited for players who want more tonal options.

The ES series has undergone various changes and updates over the years, with different models featuring different pickups, hardware, and finishes. Gibson continues to produce the ES series today, and the guitars remain popular among musicians of all genres.

Trivia: While it's easy to assume that ES guitar models are numbered according to their feature set (they mostly are), the numbers actually directly correspond to the original list prices, in dollars, of the various models at the time of their introduction.

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The Rickenbacker 4001 is a bass guitar model manufactured by Rickenbacker International Corporation. It was first introduced in 1961 as an upgrade to the Rickenbacker 4000 bass, and quickly became popular among bass players for its distinctive sound and sleek design.

The Rickenbacker 4001 features a solid body made of maple or walnut, with a neck-through design for improved sustain and resonance. The neck is made of maple and features a rosewood or maple fingerboard with dot inlays. The bass is equipped with two single-coil pickups, each with its own volume and tone controls, as well as a 3-way pickup selector switch.

One of the most notable features of the Rickenbacker 4001 is its distinctive "cresting wave" body shape, which has become a trademark of the Rickenbacker brand. The bass also features a unique bridge design, which allows for individual string height and intonation adjustment.

The Rickenbacker 4001 has been used by many famous bass players over the years, including Paul McCartney of the Beatles, Lemmy Kilmister of Motorhead, Geddy Lee of Rush, and Chris Squire of Yes. Its distinctive sound and unique design have made it a favorite among bass players in a wide range of musical genres, from rock and metal to jazz and funk.

Classic Rock History: Tools Of The Trade: 

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The Mellotron is an electronic musical instrument that was invented in England in the 1960s. It is an early example of a sampler, which means that it is capable of playing back pre-recorded sounds, or "samples", at different pitches and speeds to create musical melodies.

The Mellotron works by using a set of tape loops for each note on its keyboard. When a key is pressed, the tape loop for that note is played back, producing a sound that corresponds to the instrument or sound effect that was recorded on the tape. The tape loops are designed to be interchangeable, so the Mellotron can be used to emulate a wide variety of instruments, such as strings, flutes, brass, and choir voices.

The typical model Mellotron has a small keyboard spanning three octaves. A control pad at the left of the keyboard allows adjustment of volume, tone, and pitch as well as selection of available instrument sounds. More advanced models may have additional controls and/or a second keyboard.

The Mellotron was popularized in the late 1960s and early 1970s by progressive rock bands such as King Crimson, The Moody Blues, and Genesis, among others. Its distinctive sound, which is characterized by a slightly grainy and lo-fi quality, has been used in countless recordings over the years, and it continues to be used by musicians and producers today.

While the Mellotron was eventually surpassed by more advanced sampling technology, it remains a beloved instrument among musicians and collectors, and vintage Mellotrons are highly sought-after by enthusiasts.

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The Illusion was an American rock band active during the late 1960s and early 1970s. The band was formed in Long Island, New York in 1967 (originally as The Five Illusions in 1964 by then high school senior John Vinci). The band's lineup consisted of Vinci (vocals), Ritchie Cerniglia (guitar), Chuck Alder (bass), Mike Maniscalco (keyboards), and Mike Ricciardella (drums).

The Illusion gained popularity in the late 1960s with their self-titled debut album, produced by Jeff Barry, which was released in 1969 on the Steed record label. The album featured a mix of psychedelic and hard rock influences, and included the hit single "Did You See Her Eyes". The band's second album, "Together (As a Way of Life)", was released in 1970 and featured a more progressive rock sound.

Despite their initial success, The Illusion disbanded in 1971 due to creative differences and financial issues. However, their music has continued to be influential to later generations of rock musicians. The band's members went on to have varying degrees of success in other musical projects, with guitarist Ritchie Cerniglia and drummer Mike Ricciardella going on to form the band Wiggy Bits.

Trivia: I addition to writing their hit single "Did You See Her Eyes", producer Jeff Barry also co-wrote hits for other groups such as "Do Wah Diddy Diddy", "Da Doo Ron Ron", "Then He Kissed Me", "Be My Baby", "Chapel of Love", and "River Deep - Mountain High" (all with his then-wife Ellie Greenwich and Phil Spector); "Leader of the Pack" (written with Greenwich and Shadow Morton); "Hanky Panky" (with Greenwich); "Sugar, Sugar" (written with Andy Kim); and "Without Us" (written with Tom Scott).

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The self-titled debut album by Crack the Sky was released in 1975. The band, hailing from West Virginia, had been playing together for a few years before signing to Lifesong Records and releasing this record. The album features a blend of progressive rock and hard rock with intricate arrangements, catchy melodies, and quirky lyrics.

The opening track, "Hold On," sets the tone for the album with its driving rhythm, soaring vocal harmonies, and intricate guitar work. Other standout tracks include "Surf City," "Hold On," and "Ice," a haunting ballad with a melancholic melody and lyrics about lost love. Quirkier selections include "I Don't Have a Tie," "Robots For Ronnie," and "Sea Epic".

One of the album's most well-known tracks is "She's a Dancer," a catchy and upbeat song with a memorable chorus and a funky guitar riff. The lyrics tell the story of a dancer who captures the attention of everyone around her.

Track by track (vinyl):

  1. Hold On:
    • Overview: The album opens with "Hold On," a dynamic track that showcases Crack the Sky's ability to blend progressive rock elements with catchy melodies. The song features intricate guitar work, rhythmic complexity, and strong vocal harmonies.
    • Musical Highlights: Pay attention to the shifting time signatures, the energetic guitar riffs, and the way the vocals interact with the instrumentation.
  2. Surf City:
    • Overview: "Surf City" takes a departure from the progressive rock sound and introduces a surf rock vibe. It's a piece that demonstrates the band's instrumental versatility and willingness to explore different genres.
    • Musical Highlights: Listen for the surf-inspired guitar melodies, the tight rhythm section, and the overall playfulness of the composition.
  3. A Sea Epic:
    • Overview: "A Sea Epic" is a longer, more ambitious track that allows the band to delve into extended musical explorations. It's characterized by shifts in mood, tempo, and musical themes, showcasing their progressive tendencies.
    • Musical Highlights: Explore the various sections of the song, including the quieter, more introspective moments and the more intense, guitar-driven passages.
  4. She's a Dancer:
    • Overview: "She's a Dancer" is one of the more accessible and radio-friendly tracks on the album. It's a catchy, upbeat song with a memorable chorus and a driving rhythm.
    • Musical Highlights: Pay attention to the infectious melody, the funky guitar riff, and the way the song combines elements of rock with more pop-oriented sensibilities.
  5. Robots for Ronnie:
    • Overview: "Robots for Ronnie" is a quirky and experimental track that showcases the band's dark sense of humor. It features unconventional lyrics and musical elements, adding a unique flavor to the album.
    • Musical Highlights: Listen for the offbeat lyrics, unconventional song structure, usage of strings and the band's willingness to inject humor and creativity into their music.
  6. Ice:
    • Overview: "Ice" is a more somber and reflective ballad. It showcases a different side of Crack the Sky, with emotive vocals and a melancholic atmosphere.
    • Musical Highlights: Explore the emotional depth of the song, including the evocative lyrics, the expressive vocal delivery, and the overall mood created by the instrumentation.
  7. Mind Baby:
    • Overview: "Mind Baby" is another track on the album, and it's known for its complex structure and progressive rock elements. It often features intricate instrumental passages and demonstrates the band's technical prowess.
    • Musical Highlights: Pay attention to the interplay between different instruments, the shifting dynamics, and the overall progressive nature of the composition.
  8. I Don't Have A Tie:
    • Overview: "I Don't Have A Tie" is known as one the more energetic tracks on the album.
    • Musical Highlights: Has a funky, almost Steely Dan groove to it, with good vocal harmonies and the type of quirky theme the band is known for. The track wakes up a mostly low-key side two.
  9. Sleep:
    • Overview: "Sleep" is the final track on the album and is known for its dreamy and atmospheric qualities. It might serve as a contrast to the more energetic tracks earlier in the album, providing a thoughtful conclusion.
    • Musical Highlights: Explore the ambient and atmospheric elements in the song, including the use of keyboards or other textural instruments that contribute to the dreamlike quality.

In summary, Crack the Sky's self-titled debut album is a diverse and accomplished work that combines progressive rock intricacies with accessible melodies. The band's willingness to experiment with different styles and moods contributes to the album's lasting appeal.

Despite the record company's lackluster promotion, and nearly non-existent airplay, Rolling Stone named "Crack The Sky" the “debut album of the year.” The magazine ranks it in the top fifty prog rock albums of all time. The album showcases the band's impressive musicianship and songwriting skills, and remains a beloved classic of the progressive rock genre.

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Bachman-Turner Overdrive, also known as BTO, is the self-titled debut album by the Canadian rock band Bachman-Turner Overdrive, released May 17, 1973. The album did not produce a true hit single ("Blue Collar" reached #68 on the U.S. Billboard charts and #21 in Canada), but it was certified "Gold" by the RIAA in 1974.

The album was produced by Randy Bachman, who was previously a member of the Canadian rock group The Guess Who. Bachman left The Guess Who in 1970 and formed Bachman-Turner Overdrive with his brother Robbie Bachman, bassist C.F. Turner, and guitarist Tim Bachman (who later left the band and was replaced by Blair Thornton).

The album's sound is characterized by its hard-driving, guitar-heavy rock and roll, with catchy hooks and choruses that made it a hit with fans of the genre. The lyrics often focus on blue-collar themes, such as working-class struggles and the daily grind of the 9-to-5.

"Bachman-Turner Overdrive II" followed in December, and featured the hits "Let It Ride" and "Takin' Care of Business". The album was a commercial success, reaching #5 on the US Billboard 200 chart and earning a gold certification from the Recording Industry Association of America (RIAA). It has since been regarded as one of the most important albums of the 1970s rock era and a definitive example of Canadian rock and roll.

Trivia: It's an urban legend that the distinctive piano part on "Takin' Care of Business" was played by a pizza delivery man who, while making a delivery to the recording studio, heard the song being rehearsed and suggested it could use some piano. The myth endured for years, with band members even recounting it. The piano player himself would later reveal that he was in fact a musician who happened to be recording commercials in a studio across the hall, and was asked to play the piano part, an invitation which he reluctantly accepted.

BTO genealogy and discography
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