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Paul Wesley

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Everything posted by Paul Wesley

  1. I’m happy to see someone else say this. I think the first few years of the Fender “custom shop” lines up with those years. In my (amateur non-collector) experience, those are just terrific guitars that maybe don’t have the same “vintage” panache/price as guitars made 20 years prior, but they are noticeably higher quality in workmanship. I’ve suggested to others on this thread to consider that era when looking for their Love-Connection Fender.
  2. It’s available. I’m just gonna let this sit here through the weekend, if no takers then I’ll list it. I think it’s about $800 discount compared to what you’d pay online - subsidized by no sales tax (maybe $250), no website fees (5% of about $4500, credited to buyer rather than paying Reverb), and a few hundred (plus or minus a Benjamin) in Surly discount.
  3. AUTF, that price lines up better with what I recall, though it's been 4 years. Just to clarify, these *might* have gotten a boost in appreciation as 60th anniversary, but Gibson does not use that word anywhere on this guitar or its papers. How's $3950 plus actual shipping? If I take it to reverb, I'll probably ask something around $4400 (plus Reverb will hit you for another $300 in tax). First dibs to the person who already PM'ed me with interest.
  4. If you search "2018 Les Paul R8" on Reverb, you'll get five hits, average asking price $5464... which would be close to 6K with tax and shipping. Those asking prices are a lot higher than I remember... Honest question: did these things go up by a grand during the pandemic?
  5. Selling my 2018 Les Paul R8 - True Historic specs. Gloss teaburst. Pretty perfect flame, and very light at 8.2 pounds. Case still has the tags and all the case candy. And yes, uploading these photos to sell it has me questioning my decision-making.
  6. I have a teaburst R8 that is really pretty wood, is super light and sounds glorious. But I never really bonded with it because of the chunky neck. It’s in mint condition. I’m mentioning that because it’s probably headed to Reverb in order to fund another purchase. If anyone wants to do something financially irresponsible, I’ll try to entice you with a below-market price (avoiding Reverb fees will help). I haven’t bought a guitar in several years, but I hope that I just broke that streak (hoping my offer will get accepted). I have 24 hours to find out.
  7. I watched it because I'm a sucker for music documentaries. Definitely learned a few things (am I the only one who didn't know she was a backup singer for Michael Jackson?). I have two observations: 1. The filmmaker is keenly aware of the criticisms against her for being purely self-interested and (as a consequence) for passing off collaborative work as her own. It definitely reminded me of the Robbie Robertson documentary... who faced the same charge. Both documentaries spend almost zero time explaining the basis for the criticism, but spend extensive amounts of time defending against it. It makes for a kind of weird protesteth-too-much movie. 2. The film opens with Sheryl and Brandi Carlile stating very emphatically that the music business is much harder to break into for a woman, and that women have to be more talented and harder-working than their male counterparts. Which is a fucking silly and demonstrably wrong assertion. It was completely impossible to break into the traditional industry (record labels) in the 90's if you were overweight, ugly, or old... regardless of gender. If you were a hot young woman, on the other hand, then all kinds of industry doors were (and remain) wide fucking open -- doors that are hermetically sealed to the unattractive (no matter the gender, no matter how talented). I think the only Sheryl Crow record I ever bought was TNMC. She's definitely got talent as a singer, writer, and performer, but she doesn't blow me away on any of those individual skills. My wife cannot stand her vocal delivery on a lot of songs (like "All I Wanna Do") - she thinks it's just kind of an annoying affectation.
  8. This is awesome, Deej.
  9. Thanks for the heads up. I'm in.
  10. Speaking of rules of thumb...
  11. Cool guitar, but the video called to mind a rule of thumb: If a hat looks fucking ridiculous when you're not playing guitar, it probably looks fucking ridiculous when you are (I'm looking at you, bass players and your fedoras).
  12. It's all I own.
  13. Any of you degenerates in Austin want to go to the Jason Bonham Zeppelin thing in 90 minutes, PM me your cell and I’ll text you a ticket. You’ll know me when you see me there - I’m the guy playing that Peavy in the AUTF pic.
  14. This comment reminds me of the Bill Burr Philly rant where he starts getting heckled and he just spends his entire set talking about how much their city sucks. I think it was a year or two after 9/11 ”The terrorists will never attack you, because they know the rest of this country doesn’t give a fuck about you.”
  15. (Edit) Was worse than I remembered. A rich guy teasing another rich guy about golf.
  16. I don’t know… Did you see the videos from that recent Kid Rock concert where Trump (in full orangeface) appears on a giant video screen right before the show and tells the crowd that they are the God-fearing backbone of America? That might be less rock and roll.
  17. It's just bonkers that only one of the hosts had some kind of clarification question, and the others just nodded along with "we shouldn't have schools."
  18. OK, the Tragically Hip. That's about it.
  19. And btw, if you're ever in a club and a dude takes the stage with the Aldo Nova guitar, you can just go. Really, just leave. Don't wait for confirmation.
  20. Has there ever been a Canadian rock band that didn't look totally fucking ridiculous? Rush? April Wine? Aldo Nova (it was too hard to pick just one)?
  21. I think every R vs D political discussion needs this reminder. When you start off with Reagan's "Government *is* the problem," it gets tricky to address even the most profoundly broken systems that provide basic elements of government. e.g. healthcare, a stable power grid.
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