Elizabeth Cotten: The black female musician you may not know, has written many songs you probably do

The twice-nominated folk musician, Elizabeth “Libba” Cotten won her first Grammy at 90 years old.

Fiercely proud of her North Carolina roots, her lyrics and melodies weave intricate tales about her life in the South. A singer and songwriter, The Grateful Dead produced several renditions of “Oh, Babe, It Ain’t No Lie,” a song she composed. Bob Dylan covered other songs she created including “Shake Sugaree” and “Freight Train.”

Other famous acts including Joan Baez, Gary Clark Jr., Peter, Paul and Mary, and The Quarrymen, who evolved into The Beatles, also covered her songs.

Suzi Quatro on Being a Pioneering Female Rocker: “Women Have Balls!’

For Suzi Quatro, portraying intimidating rocker chick Leather Tuscadero on the 1970s sitcom “Happy Days” was art imitating life. A veteran musician who came up in the rough and tumble rock scene of 1960s Detroit, her tough-but-sexy small-screen persona wasn’t an act, and it’s served Quatro well in her pioneering role as arguably the first prominent female musicians to front a band, and rock as hard as a man. She was frequently mentioned when the Runaways released their first album in 1976, and it’s safe to say there could have been no Joan Jett without Suzi Quatro. Now 68, and with a new album — ‘No Control’ — out today, Quatro remains an icon of cool, and notes that at least partially because of her tough image, guys didn’t mess with her, and anyone who tried got shut down, hard.

Rock n Roll: The USUALLY Shitty-sounding Gibson SG Guitar

For me, when I was a kid, I assumed the Gibson SG would always sound great, since it’s one of many Gibson guitars that it’s electronics are based on their Gibson Les Paul. To my ears, in rock n roll, it always sounds like crap. None of my friends could get a decent sound out of their SGs. Eventually, they all gave up on this Gibson.

I’ve heard it sound adequate to good in Soul music here and there. But it seems to be a monster to “EQ just right” so it works live and in the studio. Especially in rock n roll. But when the artist or engineer get it right, the SG almost has a sound of its own.

From my own experience and listening history, the deservedly legendary Rickenbacker guitar can have this problem in the recording studio. I’ve rarely heard EQ problems with the “Rick” in a live setting.

At the bottom of this entry, are some legendary rock n roll guitarists that (for me) always made the Gibson SG sound great, live and in the studio, whether you like their music or not. I was never a big Doors fan, but the guitar always sounded good. There are a few more SG players that wrestle a consistently good sound, but I have work to do, and didn’t want to get bogged down finding them.

In the current age of guitar-oriented pop music (rock, soul, hip-hop, country, metal, etc), an appreciation of guitarists as technicians and balladeers at their craft is pretty much over and dead. The fans don’t have expectations for great musicianship, and neither do the musicians in the groups.

They fake it along with repetitive bar-chord picking or 2 to 3-note “riffs” (if you can call them riffs), delays, and reverbs, in every song, transposed to which ever key, their particular group records. It never changes.

Thanks for bestowing that lazy playing and listening option upon us fans and fellow guitarists, The Edge. hahaha

Jimi Hendrix, of course.
George Harrison
Angus Young
Robby Krieger