The Father of Loud. A.M.P

The greatest photographs of the greatest guitarists are worth studying closely by any fan of rock music.

Give anyone a guitar to hold and they will assume the pose of their heroes in stance, attitude and trademark scowl or grimace followed by an attempt to strum or pick a few chords and notes and wail a few opening lines to a favourite song or anthem. Some may go a bit further in trying to impersonate the speaking voice of the artist, an arm flail or a mock attempt to smash the guitar into a fictitional stage floor.

There is always major disappointment in the faces of those picking up a guitar for the first time in that they cannot immediately strike into the standards of Stairway to Heaven, Smoke on the Water and Brown Sugar amongst others.

Other photographic observations are based on fashion and headgear. Hendrix really started the trend for style with flares, frock coat, flowery and lace fronted shirts and headband. In the 1970's and 1980's this trend was carried forward and developed by the likes of Stevie Ray Vaughan, Keith Richards and the more flamboyant lead and rhythm guitarists of the mainstream bands.

There were real fears for the future of exceptional guitar playing in the 90's and noughties with the coming to prominence of manufactured groups that sang off a backing track and played no instruments whatsoever or relied on the synthesiser and science rather than true talent. The rock world could however breathe a sigh of relief with the arrival of the new generation of guitarists with smart suits, neat or no hair and a technical understanding never seen before in the studio or on the live stage. The three new heroes are well known to followers of Rock but yet to really break into any form of appreciation amongst the wider population. Bring on Satriani, Vai and Bonamassa.

There has been a common denominator across the whole spectrum of performance by the great guitarists over the last 50 years. The close scrutiny of the most iconic and evocative rock photos of our times will always, in the background but simultaneously in the forefront, have the legend of Marshall emblazoned across the grey metallic mesh of a single black fronted or towering mass of Amps.

I always wanted a Marshall Amp. The status of the brand was so strong with me which was unusual because I did not and never have played the electric or any guitar. It was a fashion thing and enough to generate respect amongst your peers . As in later years when a nice car on the street was appreciated with a light kick of the tyres it was the case of running hands over the vinyl clad wooden frame of the Marshall and tweaking the volume and main controls in the back of the music shop or most commonly if someone had brought one in to the local 'Sell-it and soon'.

The Marshall became the guitarists preferred choice against quite strong competition in the market for such a product. There has to be substance behind image for something to be truly appreciated and this was certainly the position with Marshall so much so that with the sad death of its founder just yesterday the greatest testimonials have been from the greatest exponents of rock guitar.

The resonance and sound from a Marshall Amp is distinctive and instanly recognisable but not in a standard or mechanical way. It may be a factory product but each Amp is different and unique to the artist who plugs in their guitar and cranks up the dials to max 10.

Jim Marshall will always be remembered as 'The Father of loud' but also for his contribution to the sound and image of rock guitar enjoyed by many over the last half century.