Dan Armstrong - Man & Guitars

Luther Rabb also played a Dan Armstrong · Ampeg instrument. He was a sax player in Jimi Hendrix's first band which was called The Velvetones, whom Rabb joined in the summer of 1958. The band lasted with Hendrix for around three months, before a lineup change evoked the band's change into The Rocking Teens.

Seen at left, Rabb walking with Jimi Hendrix in a corridor backstage at a concert. The photo, from what I can make out, looks to be dated May of 1963? Maybe? If that date is correct it means this shot would have been taken during the Rocking Teens tenure. Between that time and the forming of Ballin' Jack, Rabb had been with such groups as The Stags, Nite Sounds and Emergency Exit.

At left, in 1969 Rabb formed the group Ballin' Jack, and at around this time, according to records, He purchased his Dan Armstrong bass new in his hometown of Seattle, that year. He used it exclusively throughout his time recording and touring with Ballin' Jack, which included numerous dates opening for his childhood friend, Jimi Hendrix. Notice his picking style using what looks like his index finger on the string while his thumb gets anchored on the thumb rest. At right, and just to the right of center, Luther is seen playing his Dan Armstrong bass in Ballin' Jack.

At left, in July of 1973 Rabb playing an outdoor venue in Ballin' Jack. The date can be seen in the enlarged view. At right, and a photo that was once left-right reversed, and shown on the backside of the band's 1970 self-titled LP. Rabb looks to be hammering away on his Dan Armstrong bass.

Luther Rabb can be seen playing his Dan Armstrong bass on two 'other' Ballin' Jack album covers; at left - on the backside of their 'BuzzardLuck' LP in 1972, and at right, on their 'Live and in Color' LP in 1974. In later years Rabb would join the groups WAR, and Santana.

As for his bass, though he bought it new he had altered. Reports indicate that, in addition to replacement Schaller tuners, it also included a custom-fabricated lucite pickguard with a mirrored back, and a Leo Quan BADASS tunable bridge. But the biggest mod was the changing out of the original bass pickup to a Dan Armstrong guitar pickup. Specifically a CB 'Country Bass' pickup. Apparently this pickup, along with a set of flatwound bass strings produced a deep rich thud when plucked. Apparently a sound that Rabb was after. This bass can be viewed in the Mods section.

Above left and right, Larry Ramos was another musician who played a Dan Armstrong guitar. Gifted with the ability to play guitar and banjo he was also the lead vocalist with the American pop band The Association. After seeing the album cover some while ago I contacted them via their web site as I was curious about him being a left handed guitar player as Dan himself told me he only made a lefty model for Paul McCartney. To their credit, they responded that the outfit that did the imaging for the album cover got the negative backwards. Seen here, and something that I obviously didn't notice at first is that everyone appears to playing their instruments left handed. Over on the right is an enlarged view of Ramos from the album cover once I mirrored the image. Notice the clear scratchplate.

Above left and right, Larry Ramos and Paul Holland of the Association on The Midnight Special in 1973. Apparently this venue was chosen for the cover of their (then) new album shown above. Seen better in the enlarged view, notice that Ramos has had the word 'Minister' etched into the acrylic body.

Above left and right, closeups of Ramos playing the Dan Armstrong. The darkened portion of the fingerboard is nothing but the shadow of the microphone stand as which changes its placement as the photographer moved. Given a clear scratchplate the original Carling Technologies selector switch can be easily seen.

Above left, three time Detroit music award nominee for outstanding guitar instrumentalist William 'Bill' Reedy plays his 1971 Dan Armstrong · Ampeg guitar at Comerica Park in downtown Detroit in support of a Sammy Hagar/Kid Rock Tour. One the right, Reedy performs to promote "American Style" at The Fillmore on March 20, 2012 - also in Detroit, Michigan.

Back at left in the enlarged view, I first thought his instrument was a re-issue as it had a re-issue style bridge with the brass inserts and is equipped with a Kent Armstrong ST humbucker, but the scratchplate.... pardon pun.... 'clearly' shows the lack of the reissues 8^th screw, or even a hole for it. Notice the supporting washer around the output jack as no doubt the usual crack or breakage occurred at some point.

Randy Rhoads is another guitarist who employed a Dan Armstrong · Ampeg instrument.

Seen here with drummer Drew Forsyth on the left and lead vocalist Kevin Dubrow on the right, Randy played the Ampeg plexi during his time with the 80'^s rockin band Quiet Riot. Not pictured is bassist Rudy Sarzo.

While Randy also played other brands of guitars, it was a treat to watch and listen to him when he accessed his Dan Armstrong. Unfortunately very few photos or videos were taken of him playing it.

The Rolling Stones on the Ed Sullivan show in 1969. Keith Richards plays a clear Dan Armstrong · Ampeg prototype guitar.

Notice that bassist Bill Wyman is missing. It was fairly common for members to miss a TV show for numerous reasons. But, the show must goes on.... as they say.

At left and right, Keith Richards of The Rolling Stones is pretty much where the Dan Armstrong · Ampeg story all began.

When it comes to Keith Richards and the Rolling Stones, I'm going to 'yield the floor' to guitarist/specialist Heather Anne Peel who has vast knowledge on the subject, stating "Keith began using the Dan Armstrong in October 1969, when Ampeg employee and soon-to-be Stones amp tech Rich Mandella brought him one to Stephen Stills' home in Laurel Canyon, CA, where the Stones were rehearsing for their 1969 comeback tour with new guitarist Mick Taylor." At right, notice the look of the pickup in the enlarged view. Clearly this is a prototype instrument & pickup.

Heather continues "Mandella was called by Ian Stewart, as the Stones's Hiwatts had been blown by not being properly converted to American voltages after being shipped over from the UK for the tour. Stewart had many friends in the musical equipment industry, as he doubled as the Stones' chief roadie and pianist. Mandella brought the Stones the brand new and not yet for sale Ampeg SVTs for Richards, Taylor and Wyman to all use. Although designed as bass amps, the Stones also used them as guitar amps for the massive venues they were planning to play on the '69 tour. In fact, Mandella and Ampeg redesigned the SVT somewhat, based on the '69 tour with the Stones, to be more stable. Mandella served as the Stones Ampeg roadie until 1978 or so."

At left, Richards with Mick Taylor around 1970. At left, notice the additional Dan Armstrong guitar in the background and how it has a capo on it on the 4^th fret. Notice too, this instrument sports a pickup with a full length pole piece. Now observe the instrument has Richards has slung on. In particular, and the enlarged view, notice that the pickup is white and has a totally different look to it.

At right, still with Taylor and bassist Wyman seated in the background. Richards is playing the aforementioned Dan Armstrong model with the capo.

At left, Richards in what appears to be a studio shot. Notice the light colored pickup. At right, it appears the bassist Bill Wyman has put down his bass track and is putting down his bass as Richards continues playing.

On the left, Richards playing the Armstrong with the capo while the prototype leans against the wall. At right, drummer Charlie Watts and Keith Richards (with his Armstrong guitar still slung on) in a conversation.

At left, Richards and Taylor working on their parts. At right, the same but with bassist Wyman looking on.

At left, Warner Bros films obliged by offerring this practice venue for the Rolling Stones in Los Angeles 1969. Allegedly it was Keith himself that had dragged in the Kirk Douglas parking lot sign. Another curiousity, the 'How Long Will They Last' sign above the band (meant for amusement park customers) seems rather ironic given the bands longevity.

At right, Mick Jagger and Keith Richards have a chat with B.B. King in the recording studio. Richards has his plexi slung on in both photos.

Above, early writing sessions and studio photos with Brian Jones and Keith with his Dan Armstrong guitar.

At left, a cool photo of Richards playing his Armstrong on stage while at right, and maybe in the studio given the headphones. In the enlarged view, notice the straight headed screw that's visible, as it's just one of four that secure the tailpiece to the acrylic body. These straight headed screws were seen on the earliest models.

At left, and continuing to quote Heather "Keith apparently loved the Dan Armstrong he was given by Ampeg, which was also a prototype. It quickly became his main stage guitar for several years ('69 - '71) and it's featured prominently on the "Get Yer Ya-Ya's Out!" live album and "Gimme Shelter", the documentary film of the Stones '69 tour and Altamont." Notice again the lighter colored prototype pickup.

At right, Richards on stage with a Dan Armstrong with the capo. Likely this is the other Dan Armstrong model that he had. Quoting Heather once again "Richards got a second Dan Armstrong in 1970 from Dan Armstrong himself and the newer model included a humbucking pickup module. Keith used both onstage in '70 and '71."

The prototype instrument, according to Heather "quickly became his main stage guitar for several years ('69 - '71) and it's featured prominently on the "Get Yer Ya-Ya's Out!" live album and "Gimme Shelter", the documentary film of the Stones '69 tour and Altamont. The image of Keith playing one on "Sympathy For The Devil" and other tunes at Altamont is forever etched in the memory of a generation."

At left and backstage, Richards shows his Dan Armstrong · Ampeg clear guitar to Jimi Hendrix. At right, Jimi tries out the instrument, though in left-hand mode.

At left, Richards and Wyman on stage in Hamburg Germany 1970. Notice the coily guitar cord on the bass. At right, a closer look at the prototype pickup on Richards guitar.

At left, Richards playing what looks like 'fifths' in A - while at right he smiles for the camera.

Mick and Keith on stage at left, while at right, and with Charlie in the background, Keith accessing his Dan Armstrong.

Above left, it appears that Richards is drying &/or removing removing any grit and grime from the backside of the neck on his plexi, for if you observe his left hand it appears it has a towel or other type of cloth for such purposes. At right, the light colored prototype pickup stands in sharp contrast to the wood grained faux-wood scratchplate on his Dan Armstrong guitar.

Above left, Richards onstage in an unknown photo. In the enlarged view, notice the straight slotted screws anchoring the tailpiece to the acrylic body.

At right, a good look at the prototype pickup which appears to be an early version of the ST pickup. Dan told me that he made the ST himself, with no help from anybody "around a year later". Yet here is Keith with an early 1969 prototype sporting such a pickup. Did Dan get his timeline mixed up that badly? It would seem unlikely, for if you look at the pickup in the enlarged view the usual square pole pieces on the ST model which are almost always flush with the resin, are actually protruding out more on this pickup, which could mean that it too, was an early version or prototype of Dans humbucking pickup.

At left, onstage during the 'Stones Touring Party' - commonly called STP. At right, taking a break, resting against the SVT stacks given to them by Ampeg's Rich Mandella.

Above, Keith Richards with his Armstrong and Bill Wyman are interviewed. Notice the camera on the man at far right.

At left, and right, more images of the prototype guitar and white prototype pickup. I like the Marilyn Monroe shirt.

At left, a colored version of the above. At right, notice a capo on the 7^th fret.

At left, again a capo on Richards Dan Armstrong guitar. At right, Richards with the Dan Armstrong · Ampeg prototype.

At left, Richards and his Dan Armstrong at practice or in the studio, and in concert at right.

At left, when I first saw this photo I thought Richards had a custom scratchplate made as it appears to follow the shape of the lower cut-away all the way to its end. However, upon closer look at the enlarged view, I can make out that it's the original scratchplate with only the shadows giving the illusion of a custom plate. I can't be sure, but it looks like an Asus4 chord he is playing.

At right, Richards at Villa Nellcote which was leased from April 1971 to October 1973 by Richards who lived in the house until late August 1971, after which he left France due to legal problems. Apparently, when Richards left France, the government ordered him to maintain the rent on the property. On October 15, 1973, Richards was found guilty of trafficking cannabis by a court in Nice and was given a one-year suspended sentence and a 5,000 franc fine. In addition, Richards was banned from entering France for two years. Recording sessions for the Stones 1972 album Exile on Main St. took place in its basement. Photo courtesy of Dominique Tarle.

At left, and seen better in the enlarged view, a corner of the white prototype pickup can be viewed. Likely, this is the ST, or sustain humbbucker which is seen in other photos on this page and one that Dan told me that he made by himself, without Bill Lawrence. At right, The Rolling Stones on stage with Keith playing his Dan Armstrong · Ampeg.

At left, Keith Richards onstage playing his Dan Armstrong. Notice the grey cord that seems somewhat flimsy. But, then, this was the late 60^'s. Notice too, the Ampeg amplifiers behind him. At right, and from left to right, Bill, Mick, and Keith backstage.

At left, Richards and Jagger in Paris 1970, while at right, and not an uncommon sight, Richards tuning his Dan Armstrong guitar. Many players have reported tuning issues with these guitars. Perhaps it's the lighter gauge stings I use, or my style of playing, but I've never really had much problems keeping my Dan Armstrong guitars in tune.

At left, a bit of a mosiac that, in the enlarged view shows an ST pickup being used. At right, and with the headphones off, it appears that Keith is working on a lead solo of sorts. Notice the Ampeg amp he is sitting on. Maybe a VT-22?

At left, Richards onstage with a later model Armstrong while at right, and with Charlie Watts in the background, Richards sits atop an Ampeg amp that is not plugged into. Notice the footswitch and his drink in the enlarged view.

At left, onstage with Mick Jagger. Notice the man in a suit back and off to the right of Richards. At right, Jagger and Richards looking around warily at the goings on at Altamont.

As seen at left, Richards onstage with his Dan Armstrong. In the enlarged view, notice a second Armstrong leaning up again the drum riser. No doubt it's tuned differently.

But having two such Dan Armstrong guitars this early in his career with the Stones (notice Mick Jones in the photo) is somewhat new and interesting.

At left, Richards looking in towards drummer Charlie Watts. You can make out much of his Dan Armstrong. At right, still playing his Dan Armstrong guitar, and with the Hells Angels walking the stage - Richards, no doubt in total uncertainty, gazes out on a sea of people at Altamont Raceway on Dec. 6^th 1969 at Livermore, CA.

At left and right, vinyl LP's by DECCA in French. Labelled as 'lage dor des' meaning 'Golden Age Of' - basically meaning the Stones earlier hits. At left is volume 6 while at right, and originally recorded at Madison Square Garden, on Nov. 27^th & 28^th of 1969 is volume 11. Notice on both record covers that Richards is playing his Dan Armstrong guitar.

At left and right, Richards and Armstrong playing 'Gimme Shelter' on the Ed Sullivan show on Nov. 18, 1969.

At left, a rare photo of Richards playing the prototype guitar. Notice the prototype pickup that appeares to be an ST pickup with the squared pole pieces protruding upwards - past the resin unlike later pickups. At right, another rarely seen photo of Richards, but this time the pickup appears to have the full length pole piece. Perhaps it's an RT pickup.

Onstage with Jagger at left, and Wyman at right.

At left, in concert 1969. At right, I can't tell, is that Jagger playing Keef's axe?

At left, Jagger and Richards look about to take the microphone together. At right the prototype pickup can be seen.

At left, another early photo with the prototype pickup. In the enlarged view an Ampeg SVT amp can be faintly seen. On the right, Keith sits down as he plays a solo. Again the SVT head can faintly be seen in the background.

At left, Keith plays his early Dan Armstrong model - likely the one that was gifted to him given the early white pickup in use. At right, Richards glares across the stage as he plays his plexi. Notice in both photos a capo is in use. Notice too, in both photos, how far up the neck the capo is.

At left and right, Richards on stage with Mick Jagger. In the enlarged view at left, notice another plexi leaning up against the drum riser along with a Les Paul Custom guitar.

At left and right, more earlier photos of Richards and the Stones.

At left, Richards onstage with his Armstrong. At right the same, only backstage.

At left and right, through the years many have insisted the only reason Richards played a Dan Armstrong · Ampeg guitar was because it was an instrument gifted to him in 1969. However, it is well known that in 1970 he acquired a second plexi with an RT pickup which would seem to squash such rumors. If that weren't enough, all one has to do is look at the following photos, for as can be seen many decades later Keith was still strapping on such an instrument.

At left, it appears that this plexi is a re-issue model as the extra scratchplate screw can be seen. At right, and unfortunately a bit out of focus, Richards playing his Dan Armstrong in 2007.

At left, Georgia Satellites' Rick Richards has played a Dan Armstrong · Ampeg guitar since we've first seen him. Notice the ST pickup in use. At right, notice towards the end of the scratchplate that some type of modification has taken place. Most likely, the culprit is the usual broken area around the output jack of the guitar. In both photos, notice he's using a slide.

At left and right, captured images of Richards in the video for the hit song 'Keep Your Hands To Yourself'. In the enlarged views one can easily see that the instrument still has the original tailpiece. However, the rosewood saddle has been replaced with a tunable style bridge directly behind the pickup. Also the modification to the scratchplate can be more easily seen. Oddly, it appears that the pickup in this guitar is an ST humbucker but with a full length pole piece similar the newer ST pickups made by Kent Armstrong. However the video for this song was made years prior, so the jury is out on this one.

At left, another captured image of Richards in the video for the hit song 'Keep Your Hands To Yourself' - while at right, and seen best in enlarged view, the modified portion of the scratchplate around the output jack can be seen better. Notice the lack of a selector switch. Notice too, a 'witch hat' style knob adorns the tone pot, while the volume pot is lacking a knob.

At left and right in an interview Rich Robinson talks about his Dan Armstrong · Ampeg plexiglass guitar which was one of the few items that actually survived the Hurricane Sandy flood of 2012 AKA 'Superstorm Sandy' which wiped out alot of the Black Crowe’s musical equipment.

At left, the acrylic body and even the faux-wood scratchplate were immune to the flooding. Unfortunately, the maple neck and, in particular the rosewood fingerboard were not as resistant. As a result the frets had to be redone on it. As a precaution the control pots got changed out as well.

At right, Robinson did some modifications to his Armstrong guitar in order to use a Tom Holmes humbucking pickup. Looking back at left, and better seen in enlarged view, there seems to be a thin strip of wood underneath the pickup ring. Notice too, the white piece of tape by the selector switch, perhaps marking that side of the switch as a kill switch function or something. Back at the right, a newer 're-issue' bridge was installed, perhaps for better intonation, or to raise the action a bit for slide work.

At left, Robinson onstage at Bethel Woods on Sept. 25^th 2021. In the enlarged view, notice a capo on the fourth fret and the Tom Holmes humbucker.