.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
When I was kicking around in my teenage bands, Yamahas were the guitar of choice with some of the more interesting guitar players of the time – people like Bill Nelson and John McGeoch. They became popular because, stylistically, Yamahas meant a break away from the classic rock tradition of the past and also because, as an instrument, they are really very good.
JOHNNY MARR, MARR’S GUITARS, 2023
Inspired by the guitarists of the late 70s art-rock movement, Johnny Marr began hunting down Yamaha SGs around the time that he released his first solo studio album The Messenger in 2013. In conversation with Martin Kelly for Marr’s Guitars, Marr reflects that when he was first starting out, the new wave guitarists his age were all playing Yamaha SG-100s, a new guitar that I disliked at the time, before acknowledging I've got a bunch of them now - amazing instruments. Speaking to Rod Brakes for Guitar World in 2022, Marr elaborated: The Yamaha SGs are really great instruments to play. Around the time I left school in 1980, a lot of the innovative players had switched to the [Yamaha] SG, most notably John McGeoch [of Siouxsie And The Banshees]. Andy Partridge was playing one in XTC for a while. Stuart Adamson was playing one with Skids. And also [Be-Bop Deluxe founder] Bill Nelson, who was very important to my generation. As good as those players were, when I left school, I wanted to do something of my own. Vintage guitars were the holy grail for me. So, I sidestepped the Yamaha. My thing with The Smiths was about Gretsches and Strats and Rickenbackers. [Longtime collaborator] Doviak and I decided to track Yamaha SGs down about ten years ago. They do the thing a Les Paul does, but with a different kind of articulation. And those pickups are a little more hi-fi. They’re a good alternative to a Les Paul. And they were beautifully made. They make me play in a very precise way.
With the help of Richard Henry Guitars, Marr assembled a collection of three SG-1000s, two SG-1300s and one SG-700, all of which he employed on his studio recordings from 2014’s Playland onwards. Marr told us: People think the guitars on my solo records are mostly the Signature Jags, but they’re mostly Les Paul Customs and Yamaha SGs. Marr used this Cherry Sunburst SG-1300 to record the song ’25 Hours’ on his second solo studio album Playland, released in October 2014. Marr told us: That part on ’25 Hours’ is one of my favourite things I’ve ever played, and I would not have played it had it not been on one of those guitars, because I was inspired by Ultravox. Midge Ure was known to use a Cherry Sunburst SG-2000 in the early days of Ultravox. Marr has said that the song is about his childhood realisation that making music could be his escape from the life that was laid out in front of him. I just kind of made a pact with myself when I was nine, ten, eleven, that [the guitar] was my greatest companion and it was my doorway out of not just my social situation but out of these regular three dimensions, he told Donald Gibson for Write on Music in 2014. My relationship with the guitar is sometimes otherworldly. I talk about that in the song ‘25 Hours’ – “this door really goes somewhere”. That’s kind of what I’m talking about, my relationship with the guitar, with art and pop culture. Guitar is my vehicle for that.
JOHNNY MARR, MARR’S GUITARS, 2023
Inspired by the guitarists of the late 70s art-rock movement, Johnny Marr began hunting down Yamaha SGs around the time that he released his first solo studio album The Messenger in 2013. In conversation with Martin Kelly for Marr’s Guitars, Marr reflects that when he was first starting out, the new wave guitarists his age were all playing Yamaha SG-100s, a new guitar that I disliked at the time, before acknowledging I've got a bunch of them now - amazing instruments. Speaking to Rod Brakes for Guitar World in 2022, Marr elaborated: The Yamaha SGs are really great instruments to play. Around the time I left school in 1980, a lot of the innovative players had switched to the [Yamaha] SG, most notably John McGeoch [of Siouxsie And The Banshees]. Andy Partridge was playing one in XTC for a while. Stuart Adamson was playing one with Skids. And also [Be-Bop Deluxe founder] Bill Nelson, who was very important to my generation. As good as those players were, when I left school, I wanted to do something of my own. Vintage guitars were the holy grail for me. So, I sidestepped the Yamaha. My thing with The Smiths was about Gretsches and Strats and Rickenbackers. [Longtime collaborator] Doviak and I decided to track Yamaha SGs down about ten years ago. They do the thing a Les Paul does, but with a different kind of articulation. And those pickups are a little more hi-fi. They’re a good alternative to a Les Paul. And they were beautifully made. They make me play in a very precise way.
With the help of Richard Henry Guitars, Marr assembled a collection of three SG-1000s, two SG-1300s and one SG-700, all of which he employed on his studio recordings from 2014’s Playland onwards. Marr told us: People think the guitars on my solo records are mostly the Signature Jags, but they’re mostly Les Paul Customs and Yamaha SGs. Marr used this Cherry Sunburst SG-1300 to record the song ’25 Hours’ on his second solo studio album Playland, released in October 2014. Marr told us: That part on ’25 Hours’ is one of my favourite things I’ve ever played, and I would not have played it had it not been on one of those guitars, because I was inspired by Ultravox. Midge Ure was known to use a Cherry Sunburst SG-2000 in the early days of Ultravox. Marr has said that the song is about his childhood realisation that making music could be his escape from the life that was laid out in front of him. I just kind of made a pact with myself when I was nine, ten, eleven, that [the guitar] was my greatest companion and it was my doorway out of not just my social situation but out of these regular three dimensions, he told Donald Gibson for Write on Music in 2014. My relationship with the guitar is sometimes otherworldly. I talk about that in the song ‘25 Hours’ – “this door really goes somewhere”. That’s kind of what I’m talking about, my relationship with the guitar, with art and pop culture. Guitar is my vehicle for that.