Life Garden and Voice of Eye

   
Artist: Life Garden and Voice of Eye

   Genre(s): 
Other
   

---

Discography:


   
 The Hungry Void

   Year: 1995   
Tracks: 19

---

 





Lilium

Time.Space.Repeat

   
Artist: Time.Space.Repeat

   Genre(s): 
Indie
   

---

Discography:


   
 Early Transmissions

   Year: 2006   
Tracks: 10

---

 





Many Hollywood celebrities rally behind Obama

D-List Rappers Find Cache Abroad

1990s rappers like Coolio command respect from Faroe Islands to Taiwan

Ginger Baker

   
Artist: Ginger Baker

   Genre(s): 
Jazz
   

---

Discography:


   
 Falling Off The Roof

   Year: 1996   
Tracks: 11


   
 Going Back Home

   Year: 1994   
Tracks: 10


   
 Unseen Rain

   Year: 1992   
Tracks: 8


   
 Middle Passage

   Year: 1990   
Tracks: 6


   
 Horses and Trees

   Year: 1986   
Tracks: 6

---

Ginger Baker was rock's number 1 virtuoso drummer and the most influential percussionist of the sixties. There were other drummers world Health Organization were well-known to the world earlier him, including the Beatles' Ringo Starr and, in England at the end of the fifties, the Shadows' Tony Meehan, but they were celebrated chiefly for the groups in which they played and for attributes beyond their musicianship. Baker made his name completely on his playing, initially as showcased in Cream, but far transcending even that trio's relatively brief creation. Though he only abbreviate top-selling records for a period of or so three days at the end of the 1960s, virtually every drummer of every heavy metallic element ring that has followed since that clock time has sought-after to emulate some aspect of Baker's playing.


He was natural Peter Edward Baker in Lewisham, London, in 1939. The nickname "Ginger" came along afterwards, a consequence of his red fuzz. As a boy, Baker had a special interest in bicycle racing, but by his mid-teens, his interests had switched to music, particularly percussion. A rebel tied at that age, he became devoted to modern artistic production and contemporaneous nothingness, transforming himself into something of a beat during the mid to late '50s. A natural musician, he talked himself into his first professional gig when he was 16 and was on the road that twelvemonth, working full-time. Baker's matinee idol during the late '50s was Phil Seaman, a jazz drummer world Health Organization was likely the best percussion player in England; his possess acting tended toward an aggression and articulation that were strange in juxtaposition with each other.


By the end of the fifties, Baker had passed through several of what were known in England as trad jazz bands -- "trad" was the English naming disposed to what Americans and the stay of the world know as Dixieland jazz. It was the dominant phase of popular idle words in England from the mid-'50s forth and it provided utilization. He'd been a penis of Terry Lightfoot's and Acker Bilk's bands, only the fit was an awkward one, outstanding to the passion that Baker often displayed in his work and his possess, in person outspoken nature. Instead, he turned toward the budding British blues scene coalescing around the solve of Alexis Korner and Cyril Davies -- less bound in tradition and reinforced largely around younger players, this music was growth and organism played in a much more open environment.


In 1962, on the good word of Charlie Watts, Baker was selected as the latter's substitute in Blues Incorporated, the dance band started by Korner and Davies. It was here that Baker showtime crossed paths with two musicians -- saxman and organist Graham Bond and bassist Jack Bruce -- that were to act a winder character in his professional career. Their work with Blues Incorporated was successful enough, merely it was patch the two were playing with a side group, the Johnny Birch Octet, that they began jamming with saxophonist Dick Heckstall-Smith (another Blues Incorporated graduate) and began acquiring a very positivist response from the crowds. It was verboten of those jams that Baker, Bond, Bruce, and (joining a niggling later) Heckstall-Smith formed the Graham Bond Organization in 1963, the former trey quitting Korner's group all at once. The Graham Bond Organisation was never as popular as such Blues Incorporated offshoots as the Rolling Stones or the Small Faces, being more jazz-oriented in their coming to R&B, and, thus, a niggling besides complex to happen a immense audience, only they were successful and respected on stage; Baker's reputation among vapours aficionados and more scholarly British rock listeners tush be traced to his forge with the grouping. Their recordings, however -- with the obvious exception of the Klooks Kleek concert album -- were never as exciting as their live performances.


Its advert aside, Ginger Baker was the de facto leader of the Graham Bond Organization. Bond himself was temperamentally mismated to a leaders use, a condition made worse by the spells of substance abuse and addiction that blighted his spirit. The Bond group as well dependent Baker up in the like round section with Jack Bruce for an extensive menstruum of time, and few relationships between unceasing bandmates -- with the exception of siblings Jimmy and Tommy Dorsey's efforts at working together in the early '30s -- bear been so riotous and productive. The two authentically detested each other on a personal grade, and stories of each razing (or stressful to crash) the other's instruments and assaultive each other on stage abound. Still, the group's sound was extraordinary, a jazz-based R&B built about four muscular players, each displaying variable degrees of virtuosity and assertiveness that was quite daringly complex. And their director, Robert Stigwood, power saw them all as talents worth keeping an eye on in the future.


Baker finally laid-off Bruce, world Health Organization jumped to John Mayall's Bluesbreakers, which, fatefully, allowed him to cross paths with Eric Clapton for a short fourth dimension, and then to Manfred Mann, as well as doing session forge that even had him acting on records by the Hollies. By early 1966, the Graham Bond Organization had run its commercial line (though it was placid sufficiently viable to ferment up on a bill poster outside of the club that David Hemmings' theatrical role enters in Blow Up), and Baker was probing for a new gig.


He'd discovered John Mayall & the Bluesbreakers in activity and had known lead guitarist Eric Clapton for a mates of long time, having jam-packed with him one time in 1964 as part of the Graham Bond Organization, and approached him ab initio to drop a line together and mayhap contour a mathematical group. Baker had, in burden, been running the Graham Bond Organization piece Clapton had emerged in Mayall's grouping so far into the spot that he'd eclipsed Mayall himself; they discovered that they were in precisely the same place. The keen irony was that Clapton, impressed with Bruce's musicianship in both the Bluesbreakers and a passing group called Eric Clapton & the Powerhouse, insisted that the bassist total aboard as the third member of the triple. Baker in agreement, fairly reluctantly, acknowledging Bruce's intimidating musical power and willing to overlook their past tense animosities. The proposed trio, christened Cream, was sign up by Reaction Records, a record label founded by Robert Stigwood, wHO had been the coach of the Graham Bond Organization, knew of Baker's and Bruce's virtuosity intimately, and was equally impressed by Clapton and as eagre as any executive in England to get the three together and catch what would happen.


What happened ab initio was "Wrapper Paper," a pop-style single released in former 1966 that didn't impress to a fault many people -- although even in that location, one could hear a swing chemical element to the group's well-grounded, reminiscent of '40s jazz, that showed off one (albeit minor) constituent of what went into their sound. Baker was barely audible in the ruffle, though what i could hear of the drumming did make a signature of sorts, a idle, jazzy chemical element that was unusual. Within the next year, the circle would become a chart-topping act and then a cultural phenomenon, however, and at its congress of Racial Equality was Baker. He and Bruce continued to contend without ease off spell Clapton mediated and refereed, and on their records everyone got to shine, just Baker's playing was special even in that linguistic context -- on "Rollin' & Tumblin'," a Muddy Waters megrims standard that the 3 took into the stratosphere from the first bank note, Baker's playing sounded like it was on some other planet, coordinated Clapton's rapid-fire quoting of the primary riff and Bruce's frenetic tattle and quietly overpowering the auditor; his performing on "I'm So Glad," by contrast, had a lyrical, nigh melodic quality, like a veiled orchestral musical accompaniment to the bass and guitar -- he unbroken a thump, only his drumming besides played the kind of role that a cembalo basso continuo played in Baroque euphony. And so there was "Toad," in its original studio apartment version, an outgrowth of several pieces geological dating back to the Graham Bond years that featured Baker in a solo; here, as on "Oh Baby" from the first Graham Bond album, Baker made his drum kit sing.


In concert, the piece would become the ground for a ten-minute drumfish solo that was no less impressive. The trio's live healthy was, unluckily, limited pretty by the technology of the twenty-four hour period, specially when they turn also popular to play little clubs (which was very former), merely Baker prepare a new banner for playing on record, and at those shows, that every drummer with more than an ounce of ambition sought to emulate. A portion of critics in later years likewise felt that Baker as well had a mass to answer for -- that the 15-minute alive version of "Anuran," 13 proceedings of which was Baker solo, opened the way to elephantine drum solos by the metal bands that came up after Cream, culminating with the infamous (and passing suspicious) drum solo interlude in the pic This Is Spinal Tap. Baker crapper scarcely be faulted, however, for the excesses of those world Health Organization followed after him -- his studio lick with Cream, and at least the live material that was authorized for release, ne'er showed him playacting lengthy solos for their possess sake only quite pictured a drummer blarney beautiful voices out of his instrument. The mere fact that he could do it for decade minutes or more at a extend was impressive, to say the least.


Cream off made (and still generates) a immense amount of money, but couldn't last long with the egos knotty -- in just over 2 days, they were history. It turned Baker into a lasting hotshot, however. Such was his influence that he was able-bodied to grow young admirers of his acting onto elder drummers such as Gene Krupa and Buddy Rich, whose careers dated to the 1930s and 1940s, respectively. For a metre at the end of the 1960s, teenagers world Health Organization hadn't tied been born when Krupa retired the net of his boastful bands were quest knocked out the drummer's work, all based on Baker's professed appreciation for him.


What followed future for Baker was Blind Faith, one of the well-nigh notable abortive bands in history -- many millions of records sold, and millions of dollars earned, despite their having only some an eight-song repertoire of their have. Initially planned as a tie-in betwixt Clapton and singer/guitarist/keyboard player Steve Winwood, Baker came along and cashed in Clapton's assure to include him in his future plan and the resulting occupation and publicity fury pushed the band too far, likewise cursorily. In septet months they were gone, but out of the ashes of Blind Faith rose wine the mathematical group eventually known as Ginger Baker's Air Force. Ironically, Air Force's history was an exact reversal of that of Blind Faith -- ab initio set together for two live gigs in England, the radical suddenly base its life extensive to a spell and a second record album; in contrast to Blind Faith, yet, whose plug had but reflected an big audience aegir to see a isthmus made up of two superstars (Clapton and Baker) and one star (Winwood), Air Force's plug was the cartesian product of promoters desperately hoping that it would be another Blind Faith.


The radical, which included Baker's wise man Phil Seaman and his quondam bandmate Graham Bond, was practically likewise eclecticist ever to have achieved the genial of popularity that Cream or Blind Faith had enjoyed, embracing jazz, traditional African music, vapors, sept, and rock. The ten-piece lot lasted less than a year earlier breakage up, going behind a genuinely enchanting and exciting unrecorded album and an interesting studio apartment LP (both combined on the Ginger Baker double-CD set Do What You Like. In 1971, Baker decided to indulge his longtime fascination with African music firsthand and affected to Nigeria, where he reinforced the low forward-looking recording studio in western Africa. Over the next three years, he worked with a huge range of acts, including Fela and Paul McCartney's Wings, as good as recording the solo album Stratavarious -- he ultimately lost the studio and to the highest degree of his money (and has claimed that McCartney stiffed him for the use of goods and services of the studio in the recording of Band on the Run).


During 1974, Baker formed the Baker-Gurvitz Army Band with guitarist Adrian Gurvitz and bassist Paul Gurvitz, which made an initial splosh in America before fading out commercially over the side by side three eld. He last re-emerged in 1986, with bassist/guitarist Bill Laswell on the album Horses & Trees. By that time, a new generation of star drummers had emerged, most notably Carl Palmer of Emerson, Lake & Palmer and Bill Bruford of Yes and King Crimson, only Baker's reputation, thanks to the continued catalogue gross sales of Cream's work, continued to vibrate with fans and insouciant listeners. Over the succeeding few years, Baker reappeared through various projects, including Ginger Baker's African Force and Middle Passage, that freely miscellaneous African and Western musical influences. And in 1991, Baker surprised all onlookers with the release of Spiritual domain Rain, a free morpheme instrumental record album through virtually completely on acoustic instruments. Finally, in 1994, he returned to Atlantic Records -- which had been the U.S. vent for Cream's recordings -- and to what he accomplished were his jazz roots with the prideful Going away Back Home, which featured the Ginger Baker Trio. Baker has hooklike up with jazz cornetist Ron Miles on Sir Noel Pierce Coward of the County, a enormously successful show window for his malarkey side and too includes a tribute to the previous Cyril Davies, the British vapors partisan wHO co-founded Blues Incorporated in the early '60s.


Ginger Baker, like his ex-bandmates, has seen go since the 1970s to celebrate the bequest of Cream at arm's length or further -- the trio's installation into the Rock & Roll Hall of Fame reportedly did little to change his feelings, and he is also said to be amazed at the issue of Eric Clapton to mega-stardom during the nineties. Despite some of the financial and other troubles that have dogged him since the sixties, he has been message to go his possess way musically for the welfare of any world Health Organization guardianship to take heed.





Jo Dee Messina

Clooney wants to play The Tourist?

George Clooney is in talks to play the lead role in 'The Tourist', the big screen adaptation of the Olen Steinhauer novel.
According to Variety, Anthony Peckham, who wrote the screenplay for next years Nelson Mandela biopic 'The Human Factor' is on board to write the script for the Warner Brothers film.
'The Tourist' is a contemporary international thriller about a spy who risks everything to reveal a conspiracy after he's accused of a crime he didn't commit.
Clooney will next be seen in the Joel and Ethan Coen Brothers-directed 'Burn after Reading', which co-stars Brad Pitt, Frances McDormand, John Malkovich and Tilda Swinton.

Uncomfortable Chris Martin Walks Out on Interview

Leave it to Coldplay frontman Chris Martin to say he is uncomfortable with an interview and quietly walk out, leaving band mate Will Champion answer the remaining 90 percent of the questions.


Lead singer Chris Martin and drummer Will Champion were doing a pre-recorded interview with the BBC’s Radio 4 arts show Front Row, when after a short 9 minutes he said he was not enjoying his time in the studio.


The two band mates were promoting their newly released album, “Viva La Vida Or Death And All His Friends.”


The interviewer’s first questions, regarding comments Martin made at an awards show back in 2005, when he said the group would be away for a very long time, caused the singer discomfort.


“I always say stupid things, and I think Radio 4 is the place that will most remind me of that,” he answered. The rest of the interview fared no better.


When asked about the meaning of the new album’s title and its connection with the band’s presumed fascination with death, the 31-year-old replied, “I wouldn’t agree with you there at all, no.”


Apparently having reached the end of his patience, Martin commented, “I’d say you’re journalistically twisting me into saying something I don’t really mean.” Saying he was “not really enjoying this” and that he did not really like “having to talk about things,” he eventually walked out of the studio.


When the interviewer, John Wilson, asked Champion whether he had unwittingly said something upsetting, the drummer said this was not the case and proceeded to answer questions.


Martin did return to the studio to answer one final question, regarding the exploration of “new territory” on the new album, with a succinct “Um...yes, yes, yes...exactly.”


Martin, Champion and band mates Jonny Buckland and Guy Berryman worked on “Viva La Vida” with Brian Eno and Markus Dravs, who co-produced the album and, according to a Billboard report, “adorned it with grandiose embellishments the likes of which have never been heard before on a Coldplay album.”


“We’re still obsessed with making songs that can be sung to the rafters. We just wanted to present them differently,” Martin told Billboard.

See Also

• K3
• Diddy Wants Leona
• New York Dolls Announce Tiny UK Tour
• Lockup

'Miles From India' at Grand Performances

Two compelling forces, improvisation and surging rhythms, drove Sunday's "Miles From India" performance, which opened the 2008 Grand Performances season at California Plaza with an exploration of the commonalities shared by jazz and Indian classical musics.

Nearly 20 musicians took part in the event, which was centered on the recent "Miles From India," a two-CD recording produced by composer-arranger Bob Belden as a "grand gesture at reconciliation between disparate musical cultures bound together by a universal truth. Music."

Belden chose Miles Davis' music as the vehicle for his "reconciliation" for several reasons: the wide-open improvisational narratives of Davis' works from the '70s and '80s, the modal qualities of earlier pieces, and the subtle connections between the spiritual aspects of Indian music and the unspoken presence of a spirituality of community in Davis' recordings.

The first half of the evening was devoted to acoustic pieces from the Davis oeuvre. Belden's arrangements made slight metric adjustments -- the bass-driven underpinning of "So What," performed with his usual brilliance by Ron Carter -- was transformed to an offbeat 9/4 rhythm. The plaintive phrases of "All Blues" emerged over a 5/4 rhythm.

Those are not rhythmic meters that are as challenging for most jazz musicians today as they might have been 20 years ago, and the interaction -- especially during an exhilarating exchange between jazz drummer Ndugu Chancler and mridangam drummers Anantha Krishnan and Sridar Parthasarathy -- often found the symbiotic point of contact between the cultures.

The melodic improvising, however, had its apples and oranges aspects, which were particularly noticeable in the offerings of the Indian players. The skills of sitarist Ravinda Chary, vocalist Shounak Abhisheki and violinist Kala Ramnath seemed disoriented within material -- "All Blues," for example -- in which their raga-driven phrases were out of sync with a harmonic environment.

They were far more effective in the program's electrically oriented second half, most notably in the pieces, such as "In a Silent Way," that provided the sort of atmosphere in which their complex melodic melismas and ornamentation could rove freely across multi-layered rhythmic foundations.

The soloing jazz players -- principally Carter, keyboardists Robert Irving and Adam Holzman, alto saxophonist Rudresh Mahanthappa and, especially, trumpeter Wallace Roney -- sounded more comfortable, regardless of the setting.

Unrestricted by the specificity of a classical system, as the Indian players were, they found inspiration in all of the material's varied aspects. But they too seemed most liberated in the electric numbers, coming together with the Indian players in a fashion that affirmed Belden's search for the "universal truth" of music.

Justin's Speedo Stealing Role

The new comedy The Love Guru may star A-list actors Mike Meyers and Jessica Alba, but it was the film's supporting actor who ended up stealing the show--in a Speedo!

Justin Timberlake is revealing what it was like to wear the body hugging swimsuit for his role as L.A. Kings goalie Jacques Grande.

"This may be TMI but I was constantly digging out those wedgies!" The Grammy winner told Extra of his skimpy attire. Wedgies aside, JT says he actually enjoyed putting on the Speedo.

"I work out pretty diligently," he says. "At the time I was on tour, I worked on this film for ten days...I was on tour...so I was in shape."

Meyers, who co-wrote the film, tells Extra it didn't take much to persuade Timberlake to strip down. "He's not an uncomfortable person," Meyers explains. "This is a guy who was golfing yesterday on a pro course and got under 100. The Speedo is getting some very good reactions from people. Some people are very happy about the Speedo!"




See Also

• Ellen Degeneres - Degeneres Argues With Mccain Over Gay Marriage
• Serious Lord
• Britney Spears Radar Video To Be Filmed In UK?
• Jodie Foster stalker is arrested

Father Ted star reveals cancer battle

'Father Ted' star Frank Kelly has revealed he is having chemotherapy after being diagnosed with bowel cancer.
The Mirror newspaper reports that the 69-year-old, who played foul-mouthed priest Jack Hackett in the hit comedy, had a tumour removed last September.
He is in the middle of a seven-month chemotherapy course that doctors hope will stop the cancer returning.
Speaking to the paper Kelly said: "The tumour was the size of a bloody cabbage."
He continued: "I had discomforts and symptoms that I thought were just bowel problems. But when you're told it's cancer, it doesn't come as such a massive shock."
Kelly added: "I've made a complete recovery. But I need chemo to reduce the chance of it returning."

The Foot Fist Way

The Foot Fist Way is the literal translation of Tae Kwon Do, the greatest of all martial arts according to Mr. Simmons, a small-town Tae Kwon Do instructor.

Brian Wilson shines a light on 'Sun'

Brian Wilson [ tickets ] kicks into touring mode this summer with a round of dates supporting his forthcoming new album, which returns him to the record label that launched his career.The perpetual Beach Boy's outing, which kicks off July 8 in Niagara Falls, Ontario, is highlighted by a three-night engagement (9/12-14) at the Hollywood Bowl in Los Angeles following the album's Sept. 2 release. Dates are below.Wilson collaborated once again with longtime writing partner Van Dyke Parks and bandmate Scott Bennett on the new set, "That Lucky Old Sun." The album, described by Wilson in a press release as an "interwoven series of 'rounds' with interspersed spoken word," and as an autobiographical travelogue of sorts, was recorded at Capitol Studios in Hollywood.Wilson debuted "That Lucky Old Sun" last fall during a six-night run at London's Royal Festival Hall.The set, the singer/songwriter's first studio effort since his 2004 re-recording of the Beach Boys' "Smile," marks Wilson's return to Capitol/EMI, the label that launched the Beach Boys' career with the 1962 hit "Surfin' Safari/409.""I'm thrilled to be back home with Capitol, and I'm looking forward to sharing 'That Lucky Old Sun� with everyone," Wilson said in a press release. "This music is really special to me."

Gibson Guitar Announces Joan Jett Signature Melody Maker Guitar

Legendary Rock and Roll Icon Joan Jett Makes History as First Female with a
Gibson Electric Signature Model

NASHVILLE, Tenn., June 11 -- Gibson Guitar, the world's
premier musical instrument manufacturer and leader in music technology, has
announced the launch of the Joan Jett Signature Melody Maker guitar,
designed and produced in close cooperation with the rock legend herself.
The model pays tribute to the iconic Melody Maker Jett played on hits like
"I Love Rock N' Roll," and "Do You Wanna Touch Me" and, true to her
trailblazer status, marks the first Gibson electric signature model
designed in conjunction with a female artist.

"This is my guitar. Gibson was successfully able to replicate my custom
velvet hammer pick ups which have not been available for twenty years. It's
perfect for gigs as well as recording," says Jett. "For those of you
performing live, you may understand the value of being able to shave off
those split seconds between playing and interacting with the audience,
especially if you use your hands to communicate. I can move between the
killswitch, which mutes the guitar, and playing, and then back again
without a lot of in-between motion. With its no frills basic set up, it's a
perfect guitar for either an experienced player or someone just learning."

Gibson's Joan Jett Signature Melody Maker features a lightweight, slab
mahogany body with a White Worn finish. Handcrafted to the same specs as
Jett's original guitar, the slim-tapered neck profile is similar to the Les
Pauls and SGs of the mid to late 1960s. The fingerboard of the Melody Maker
is constructed from the highest grade of ebony on the planet, Jett's
personal choice for her signature Melody Maker, and the headstock features
Gibson's classic, silk-screened logo.

The classic, snarling growl of Jett's original Melody Maker is
accurately captured by a single Gibson Burstbucker 3 zebra humbucker,
slightly overwound with asymmetrical coils, unpolished Alnico II magnets,
and all the punch and power of an original Gibson PAF pickup. The tuners
are mini-Grovers with authentic "witch hat" knobs, exactly as they are on
Jett's guitar. A "kill" switch replaces the normal Gibson toggle switch,
and the body is outfitted with a period-correct black vinyl pickguard. The
guitar also includes such typical Melody Maker features as 24-inch scale
length and the standard Gibson Tune-o-matic and stopbar tailpiece.

"Joan Jett is a true icon of rock and roll. Since the beginning she has
been a groundbreaking artist and a trailblazer for women in the genre,"
said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. "Gibson is proud
to be working with such an influential guitar player."

Joan Jett has been a force in the world of music since the age of 15
when she co-founded the all-girl punk quintet The Runaways. After being
rejected by multiple labels for a record contract after the Runaways, she
formed Blackheart Records, making her the first major female artist to own
her own record label. With hits such as "I Love Rock n' Roll," "Bad
Reputation" and "Crimson and Clover," she has scored nine Top 40 hits and
eight Platinum and Gold albums. Joan Jett and The Blackhearts continue to
win over fans both new and old with their live shows, including a main
stage headliner spot on the 2006 Vans Warped Tour. Jett also currently
hosts her own show, "Joan Jett's Radio Revolution," on Sirius' Faction
(Channel 28).



Gibson Joan Jett Signature Melody Maker Specifications:
Body Style: "California" Body Shape
Body Species: Mahogany
Fingerboard Species: Ebony
Scale Length: 24 3/4"
Number of Frets: 22
Inlays: Dot
Pickups: One Burstbucker 3 Pickup (Zebra Coil) in the
Bridge position
Controls: Kill Switch Black Witch-hat knobs with Chrome
inserts
Neck Species: One Piece Mahogany Neck
Neck Profile: Rounded
Nut Width: 1.695"
Neck Join Location: 16
Truss Rod Cover: Joan Jett Signature on the Truss Rod Cover
Plating Finish: Chrome
Tailpiece: Chrome
Bridge: Chrome
Knobs: Black Witch-hat Knobs with Chrome Inserts
Tuners: Chrome Mini-Grover Special Tuners
MSRP: $839

About Gibson Guitar:

Gibson is known worldwide for producing classic models in every major
style of fretted instrument, including acoustic and electric guitars,
mandolins, and banjos. Gibson's HD.6X-PRO Digital Guitar and the Gibson
Robot Guitar represent the biggest advances in electric guitar design in
over 70 years. Founded in 1894 in Kalamazoo, Michigan, and headquartered in
Nashville since 1984, Gibson Guitar Corp.'s family of brands now includes
Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron,
Slingerland, Valley Arts, Maestro, Oberheim, Sunshine Piano, Take Anywhere
Technology, Baldwin, J&C Fischer, Chickering, Hamilton, and Wurlitzer.
Visit Gibson's website at http://www.gibson.com or
http://www.gibson.com/press.



Contacts:
Caroline Galloway/Gibson Guitars/(440) 338-3469/
caroline.galloway@gibson.com
Maureen O'Connor/Rogers & Cowan/(310) 854-8116/
moconnor@rogersandcowan.com



See Also

• ‘Sex and the City’: Afterlife, By Kurt Loder
• Dubai goes from business to music mecca
• Cowell: ‘New American Idol is best yet’
• Led Zeppelin - Led Zeppelin Set For Canada Dates