Vintage Guitar - December 2016 - Open - 27

For this album, I used three all-tube amps
- a Marshall JTM45, a twin-channel Orange
30-watt, and Mesa/Boogie Transatlantic. That
covered most styles, from AC30-style to heavy
tones. All were run through a Marshall 4x12
greenback cab. Guitars included my custom Jet
solidbody and two Telecasters - one Thinline
with humbuckers and a butterscotch with
Kinman single-coil pickups. Also, my '66
Gibson ES-175, two ES-335s, two Les Paul
goldtops, a Fender Custom Shop Stratocaster,
and a Jet lap steel.
Acoustics were a Guild jumbo and a Seagull
12-string, plus an eight-string Portuguese
acoustic and a no-name resonator. Pedals were
mainly from TC electronics and Strymon, my
booster from [Swedish amp modder] Tommy
Folkesson, a Ramble FX Twin Bender Fuzz,
Electro-Harmonix Ravish Sitar, and a Cry
Baby wah.
Tell us about your custom Jet guitar,
which you use a lot?

That was built by American luthier Jeffrey
Earle Terwillinger. It has Seymour Duncan Jeff
Beck humbuckers with coil taps and electronics
that can get me the out-of-phase Peter Green
tone. It also has a vibrato that I rarely use these
days, and a piezo pickup for acoustic sounds.
The top and neck are maple, and it has jumbo
nickel frets and locking tuners.

ROINE STOLT

What is the red ES-335 you've been playing with your Swedish band, Kaipa da Capo?

The Progfather

W

ith two decades of epic prog-rock under
his belt, Swedish guitarist Roine Stolt
keeps raising the bar year after year. He's
known for leading roles in Transatlantic and
the Flower Kings, but recently completed
a major tour with fellow guitar man Steve
Hackett, playing the music of early Genesis. If
that weren't enough, Roine (pronounced roynah) has teamed with legendary Yes vocalist
Jon Anderson for a new album, The Invention
of Knowledge. As usual, Stolt likes to work
constantly and is always progressing forward.

Roine Stolt: : Lilian Forsberg.

As a teenager who grew up on Yes,
recording with Jon Anderson must have
been something of a life goal.

It's great working with one of the most
unique singers in rock. I found out about Yes
when I was 13 or 14, and their albums from
1970 to '77 remain absolutely stunning, as well
as Jon's solo album, Olias of Sunhillow, and
others. Our collaboration on The Invention
of Knowledge was very natural and easy - Jon
just sent me musical sketches and ideas, and I
tried to build structures from there, wherever

It is a mid-price 335 from the Custom Shop. It
has a nice percussive tone and sings beautifully
when you crank it up onstage. Looks great, too.
the music seemed to take us. We were both
thinking "progressive," meaning we're open
to influences from classical, jazz-fusion, folk,
ethno, world music, and electronica.
Your fans will be thrilled by the long-form
"epics" here, but was Jon resistant to going
back to that extended '70s form?

He mentioned a couple of times that he
wanted us to avoid sounding too retro, but
was open to just about anything. Usually,
he'd just say, "Have fun," and let the songs
grow into long epics. We both sought a way to
find the ultimate compositions - we're both
perfectionists.
Your guitar is deployed more as a melodic
instrument on the album.

Yes, my playing was very much based around
the songs, since there were lots of vocals, but
I tried to sprinkle both a few solos and a few
counterpoint parts. There was also plenty of
acoustic guitars, some fuzz lines, and textures
built with delays and reverb, phase shifters,
and Leslie'd guitars.
Describe your rig and the guitars used
on the record?

December 2016

27

VINTAGE GUITAR

You've recently toured touring with Steve
Hackett, and played a lot of bass. Was it a
stretch to shift roles?

Not really, as I've been playing bass in
studio for a long time, but it was my first time
as bass player onstage in many years. I really
enjoy creating the solid bottom, plus playing
a Rickenbacker 4003 is always fun.
What was it like playing vintage Genesis
with Steve just a few feet away?

It was a thrill to be playing all those old
Genesis tunes with the man himself and got a
little surreal playing "Cinema Show," "Get 'Em
Out By Friday," and "Firth of Fifth" - songs I
grew up listening to. "The Lamb Lies Down on
Broadway" got better as we went along; we finally
got the energy right for the last run of U.S. dates.
You're known as a "prog" guitarist, but
your solos are clearly based in the blues.

I grew up on Jimi Hendrix, Peter Green, and
Robin Trower, for sure, and later on, Duane
Allman and B.B. King. I just like to bend and
shape the sound, and use wrist vibrato for
good effect, like violin - or the human voice.
- Pete Prown


http://youtu.be/scVF-gF3pIM?list=PL1293D4CB8DBFF1B9

Table of Contents for the Digital Edition of Vintage Guitar - December 2016 - Open

Contents
Vintage Guitar - December 2016 - Open - Cover
Vintage Guitar - December 2016 - Open - IFC
Vintage Guitar - December 2016 - Open - 1
Vintage Guitar - December 2016 - Open - 2
Vintage Guitar - December 2016 - Open - 3
Vintage Guitar - December 2016 - Open - 4
Vintage Guitar - December 2016 - Open - 5
Vintage Guitar - December 2016 - Open - 6
Vintage Guitar - December 2016 - Open - 7
Vintage Guitar - December 2016 - Open - Contents
Vintage Guitar - December 2016 - Open - 9
Vintage Guitar - December 2016 - Open - 10
Vintage Guitar - December 2016 - Open - 11
Vintage Guitar - December 2016 - Open - 12
Vintage Guitar - December 2016 - Open - 13
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Vintage Guitar - December 2016 - Open - 27
Vintage Guitar - December 2016 - Open - 28
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Vintage Guitar - December 2016 - Open - IBC
Vintage Guitar - December 2016 - Open - BC
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