X is a preeminent example of a band that’s gone “Beyond and Back” — to borrow one of their vintage song titles — but there’s always been an asterisk on the “back” part. There’s been no shortage of chances to see L.A.’s preeminent punk-era group on tour over the last 15 years, with the original lineup reunited and blazing through their most poetically rip-roaring catalog material from the late ‘70s and early ‘80s. But the setlists rarely if ever included anything post-1983. Coming up with any new material for X, as they have all along for their solo and side projects? Not even a consideration, seemingly.
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