HOUSTON FEARLESS

I was now living the Large life. Handling talent, hanging with popstars and having my phone calls returned. My associations with Hendrix and the Who generated a multitude of opportunities to roll the musical dice and I knew I’d never get a better place at the table. With producers like Dave Hassinger (Stones), Terry Melc…her (Byrds) and Charlie Greene (Springfield) in and out of the Sunn office I had a variety of role models: Hassinger, the engineer, Doris Day’s golden son Terry and Charlie Greene, king of the street. Charlie was still basking in the glow of the Iron Butterfly, which had ushered in a whole new bag and generated so many sales that the RIAA had to create a new album award, called a “Platinum” record. Labels were throwing money at Charlie for acts and he was scrambling to find talent to fill the demand. The current LA Sunn demo band was a strong four-piece of nice young kids. Lead guitar, bass, drums and screaming Hammond B-3. (Vanilla Fudge meets the Grateful Dead). Bob Wall, the guitarist, sang lead and wrote most of the material, Harley Baker the organist was the volume hog, wild man, Joel Krasomil was Entwistle-steady and the band’s glue and the drummer Bill Combest played hard and looked exactly like Paul McCartney. Another set of Sinatra-lawyer management contracts and I was back in business. I shopped them to Charlie Greene who got them an album deal with Imperial. I would produce the album for Charlie’s York-Pala Productions in exchange for publishing. For the single we would cover a UK hit, “Race With The Devil.” I changed the named of the band to Houston Fearless, which came from a movie camera tripod manufacturer in west LA located right across the street from the Warehouse 9. Every night when I left the club with the Stillwaters, and drove past the sign, I thought what a great name for a band. Sunn had big plans for Houston Fearless. I reached out to the Hammond organ and Slingerland drum companies, pitched them my program and got them to agree to an endorsement deal with advertising, and tour support. A free organ and three sets of drums, and more importantly, two national advertising campaigns.

Here’s a link to the trailer for the film,

“THE 1959 BURST – A Les Paul documentary”

THE 1959 BURST – A Les Paul documentary

Here’s a picture of me and my 1959 Gibson Les Paul Burst.  I bought this from Seattle guitarist Ned Neltner for $750.   Most people thought I was crazy for paying sooo much for a used electric guitar !

A couple of weeks ago we starting talking about a Texan FT79 we acquired, now its here. We get a few nice guitars going through our hands, not many have a legacy that this model does. Some play great some look great and some sound great but few have all going for them. Playing this amazing guitar inspires, the tone and vibe for me are unmatched to any other acoustic I have played. I put off listing it so I could sit and play it more, but the time has come  and here it is world. Obviously Paul knew something when he chose this over all the others he could have, check it out.

We have just acquired a really nice 1964 Epiphone Texan.  This is the same model, year and finish as the one Paul McCartney used with the Beatles.  You can hear what this guitar sounds like by listening to the Beatles “Yesterday” as well as the Revolver album.  Gibson has reissued this guitar.  But, why have a reissue if you can have the real deal.  We will be posting pics soon.