Representative Albums: "Getting Even," "Dick," "Goof Off Experts & the Taylor Texas Corrugators"
Biography
Unquestionably, the most influential guitarist to emerge from the late-'70s/early-'80s U.S. hardcore/punk movement was Black Flag's Greg Ginn. Never afraid to incorporate other musical styles into this playing (namely jazz fusion and Black Sabbath-y heavy metal) as well as squealing feedback from his amplifier, Ginn's playing also served as a major ingredient to the Black Flag sound as he was the only original member to remain in the group from its formation until its demise. Influenced equally by the Grateful Dead and the Stooges, Ginn formed Black Flag in 1977, but the group didn't really start to make a name for itself until Ginn set up shop in Hermosa Beach, CA, in early 1979, where he began running an electronics supply business. It was during this time that the phrase "SST" was coined (an abbreviation for Solid State Transmitter), which would eventually be used for the name of Black Flag's record label. Although members came and went at a steady rate (including singers Keith Morris, Ron Reyes, and Dez Cadena), Black Flag prevailed, building a large and loyal following on the strength of their explosive live show, EPs/singles (including such classics as Nervous Breakdown and Jealous Again), and an appearance in the cult classic L.A. punk documentary The Decline of Western Civilization. Ginn also began to favor a Plexiglas "Dan Armstrong" guitar, which would soon become a trademark of sorts for both him and the band (despite eventually becoming covered with black tape). Black Flag began to make a nationwide impact when big-time Flag fan Henry Rollins signed on as the group's fourth vocalist, which resulted in the group's first-ever full-length album, 1981's Damaged, considered by many as one of the greatest hardcore albums of all time. Although legal tape would keep Black Flag from issuing a follow-up as quickly as they would have liked (which included Ginn being sent to jail for five days), the band returned more ferocious then ever, with such releases as My War and In My Head, among others. Black Flag also managed to issue a completely instrumental release, Process of Weeding Out, which inspired Ginn to launch his own instrumental project, Gone, resulting in a pair of releases around this time as well, Let's Get Real, Real Gone for a Change and Gone II - But Never Too Gone. Additionally, Ginn launched another side project around this time, October Faction, which included contributions from many other SST artists. Black Flag broke up after a final U.S. tour in 1986, and while many assumed that Ginn would simply play with Gone full-time, he decided to focus on record company work, forming an all new label, Cruz, while running the Minutemen's former label, New Alliance, as well as SST. The early '90s saw Ginn return from his exile as he began issuing solo albums, including such titles as Getting Even, Payday, Dick, and Let It Burn, as well as surprisingly relaunching Gone. Ginn has also performed alongside other acts (Mojack, Hor, Killer Tweaker Bees, etc.), briefly operated a coffee house, The Idea Room, and has been known to appear under an alias, Poindexter Stewart, on his own radio program, Screw Radio. In 2003, Ginn put together a new version of Black Flag (he and Cadena were the only recognizable names) to perform benefit shows for several different Cat Rescues. ~ Greg Prato, All Music Guide
Gregory Regis Ginn (born June 8, 1954) is a guitarist, songwriter and singer. He is best known for being the leader of and primary songwriter for the hardcore punk band Black Flag, which he founded and led from 1976 to 1986.
Since breaking up Black Flag, Ginn has recorded a few solo albums, and has performed with the bands HOR, Fastgato, The October Faction, Gone, Confront James, EL BAD, Mojack, The Texas Corrugators, Jambang, and he also played bass with Tom Troccoli's Dog. [1]. He also owns the Texas-based, independent record label, SST, originally begun as an electronics company called Solid State Transmitters when he was a teenager in Long Beach, California. He remains very active in music; in a recent interview he states he still performs "about six nights a week." [2] This is similar to how he was with Black Flag; with them he was very strict about practicing and would practice for up to 7 hours a day, 6 days a week according to Henry Rollins.
Rollins has also said that Ginn is perhaps the reason for Black Flag's success stating that, "Black Flag had at least one ingredient they only made one of and that's Greg Ginn, that's the big deal with that band."[1]
One review of Black Flag's Slip It In (1984) notes that Ginn's "playing was becoming increasingly avant-garde and exciting. Rather than simply coughing up one clichéd solo after another, he wandered harmolodically up and down the fretboard as a jazz player like Blood Ulmer would, making the material more interesting than what most Black Flag-influenced bands were playing." [3]
Ginn made it to 99th on Rolling Stone's list of "The 100 Greatest Guitarists of All Time"[2].
Greg has two brothers and two sisters. His father, Regis, was a teacher and self-published author and his mother, Õie, was an immigrant from Estonia. The two met while Regis served in World War II as a B-17 navigator for the U.S. Army Air Corps. Ginn's younger brother, Raymond Pettibon, is an award-winning artist whose early works have appeared on album artwork for Black Flag and other SST bands; Pettibon also designed the Black Flag logo. The two had a falling out over the treatment of Raymond's artwork by SST and have not spoken since the mid-1980s.
For the majority of Black Flag's existence, Ginn used an Ampeg Dan Armstrong Lucite electric guitar with an interchangeable pickup nearly exclusively; it can be seen in use here. The guitar had become extremely worn out after intensive use and was stolen on April 16, 1986. Ginn would play it so hard that sweat (as well as blood) would seep inside the guitar and cause it to short circuit. To fix this problem he soldered the tone and volume knobs in place and installed a waterproof switch. Ginn does not use any effects pedals, and thus every sound he utilised was created with just a guitar and an amp.
After his Ampeg was stolen, he switched to using an Ibanez Roadstar II. According to Ginn, he also used an Ibanez Flying V with a Sound City tube amp for a little while. He has said that this Sound City amp was horrible and was the last time he used a tube amp. He has said that he dislikes tube amps because they round off the sound and he wants a sharper tone.
His current guitar and the one used at the Black Flag Reunion shows in 2003 is a custom-made ebony Stratocaster model called "Graffiti." This guitar is unique in that it has a graphite neck and is rather heavy for a Stratocaster copy.
Amplifiers and speakers
Originally, Ginn used a Peavey Standard Series 260 four channel P.A. Head to create his signature tone. He simply plugged directly into the amplifier and played with the volumes turned up to the point to where the signal being produced was naturally overdriven. This procedure created a rather abrasive sound that he tuned alongside of the vocal stylings of each singer of the band. This is the sound you hear on Black Flag's Nervous Breakdown single, up to the album Damaged. Ginn later used a rack mounted Roland SIP-300 guitar preamp along with a QSC power amp until 1985 when he began using a Yamaha PG-1 guitar preamp with the same power amp until switching to a Crest PL400 power amp during their last tour. All of Ginn's amps and preamps were solid state, as he preferred them over tube amplifiers.
The earliest speaker cabinets that he used were probably marshall 4x12's. He used a Sound City 4x12 also. His earliest hand made speaker cabinets were fitted with two Peavey Black Widow 15" speakers. His later speaker cabinets were hand made, and used Electro-Voice speakers. One contained six 12" speakers, and the other with two 15" speakers. He then had two custom built cabinets with two 12" and one 15" speakers each. The type of speakers, being heavy duty and engineered for P.A. use therefore largely contributed to his notably dense guitar tone.
Currently, he uses a solid state Sansamp Preamp (overdriven) and uses a Macro-Tech Crown Power Amp with "more Wattage than I really need." The power amp drives a custom made 6x12 cabinet, which he likes a lot.