July In Pics


Take a closer look at a few of the activities Paul Bothner Music has been involved with throughout July

Fender Elite Tele
Chris showing off this awesome new Tele which forms part of the new Fender Elite range
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Vocal Survival Workshop
Eileen Pilot presented a Vocal Survival Workshop at the N1 City branch
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New Cymbals
A drum kit just isn't complete without a set of sexy cymbals to offset the wood
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Elvis and Bill
Elvis Blue recently popped by for a visit to our N1 City Branch
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Reach For The Stars
These young ones are already looking like Rock Stars fit for the red carpet
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Reach For The Stars
Dressed to the nines and ready to take on the world
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Reach For The Stars
Always chase your dreams
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New Mixers
These new mixers have just been unpacked at our Plumstead branch. Head on down and check em out
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Head Phones Winner
One of the lucky draw winners from the Grahamstown Youth Jazz Music Festival
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Head Phones Winner
One of the lucky draw winners from the Grahamstown Youth Jazz Music Festival
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Jackson Madness
Nothing says metal quite like being surrounded by a flock of wild Jackson Guiars
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Happy Customers
We hope this Mustang III will bring you guys years of happiness
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Flea Signature Jazz Bass


Fender Flea Bass - Website Landing Page

Fender Guitars have recently announced the Flea Signature Bass. If you are a fan of the Red Hot Chili Peppers, then their Bass Guitarist Flea needs no introduction.

Flea’s funk- and jazz-influenced basslines helped make the Red Hot Chili Peppers household names among those who appreciate the art of groove with attitude, bringing a welcome breath of fresh air to the musical landscape of the past four decades. To celebrate his enduring influence, we’ve recreated his prized Shell Pink ’61 Jazz Bass that he received from a fan after requesting in his online tour journal if anyone knew where he could get a pre-CBS Jazz Bass so he could be “as cool as John Paul Jones.”

Shell Pink is the rarest of Fender’s classic Custom Color finishes, and Flea’s ’61 Jazz Bass is quite possibly the only one in existence. We’ve carefully recreated his personal instrument’s exact faded shade as it exists today, and then applied an eye-catching Road Worn nitrocellulose lacquer finish that perfectly replicates Flea’s playing wear.

A special neck plate engraved with Flea’s own artwork commemorates the inspirational player behind this instrument.

A pair of vintage-style, American-made Pure Vintage ’64 Jazz Bass single-coil pickups provides classic, original-era Fender tone with clear articulation, clear low end definition, up-front midrange punch and singing high end.

The vintage-accurate stacked concentric controls shape the pickups’ volume and tone, as well as allowing the pickups’ voice to be blended in any ratio to craft a unique sound.

The vintage-style bridge sports four threaded steel “barrel” saddles, adding a touch of crispness that enhances the attack for tone that can power through a busy mix.

Interview: Zombies Ate My Girlfriend


AI Zombies

Zombies Ate My Girlfriend recently won the Battle For Wacken. We got an opportunity to interview Adriano Rodrigues, guitarist for the band. 

The roster for the final of Battle for Wacken was filled with some great bands. Who were you most concerned about competing against?

Not being our first rodeo with Wacken Battle South Africa, we went into it knowing it could be anyone’s game. The thing is, once you reach the finals, you know all the competing bands are just as hungry as you are. I don’t think we really singled any bands out as “threats”. It’s a bit like football, anything can happen on the night.

A few of your members play in Infanteria, who won one of the previous Battle for Wacken events. How did that influence or assist you in this round of Battle for Wacken?

Chris and I were fortunate to go through to Wacken Open Air for the very first Wacken Metal Battle. From previous participation we had a good idea what the judges were looking for, but in all honesty Wacken Metal Battle S.A. made the judging criteria freely available to bands and spectators alike. We just figured, “what are the chances” and went for it. Being in bands for a while means pride isn’t really an issue when you’re considering the chances of losing.

Who is the main songwriting force in the band, or it is a fully collaborative effort?

I do the majority of writing in Zombies, but we do collaborate during certain parts of the process. Ferdi writes all his drums, there’s a lot of collaboration between myself and him at that point. Both of us trying to get the most out of the song but mainly trying to stay true to what the specific track is trying to do. Then during vocals myself and Gavin will get together to demo the entire album once the music is written.

Chris does a majority of writing for Infanterria. Is there ever a conflict in songwriting, or is Chirs more of a “Hired Gun” type?

The writing process and contribution is pretty much the same in both bands. I do the majority in Zombies, Chris does the majority in Infanteria. We’re completely honest with each other when we bounce ideas around or demo track ideas for each other but if it’s Teria Chris has the final say and likewise for Zombies it’s me. We decided this before Chris even joined Zombies. I’ve never wanted to write for Teria because Chris has a style going. Now that we band share completely this has become even more important. It’s a case of making sure the bands retain their individual sound without it just becoming two versions of the same thing.

In 2015, you guy released the album “Retrocide”. What has the reception for Retrocide been like?

On the whole it’s been good but it started out kind of weird. We received the award for ‘best album’ from the South African Metal Music Awards for it this year. When it first came out the reception from the press in general was lukewarm with a dash of average. But it was pretty clear from the start that the album was making ground amongst the fans and getting the band’s sound to new ears.

You said before that you would take a few months off in 2015 to begin working on a new album. Are you currently working on anything new, or has your main focus been prepping for Wacken?

We’re still set on releasing the next album in the first half of next year. Things have just become a bit harder recently with the addition of the tour as well as a few shows we’ve now got lined up for later this year. That being said, we are writing, and have written enough album worthy material for this second one to start taking shape conceptually. I guess we expected that things would quiet down a bit after the very successful album release year we had in 2015 but this year has just proved to be even more demanding and rewarding. We have no intentions of putting album plans on hold, if anything we’re just working harder to make it happen.

What preparations are you making for Wacken? 

In all honesty we’ve never changed up our prep for a specific show. We do the majority of the homework individually at home and then get together for a rehearsal or two before game night. It doesn’t matter if it’s 10 people or 8000 we’re going to go up there and blow you away. There’s a goodtime to be had for anyone who’s interested, whether it be for the many or the few. That’s the part of the deal that we’ll always bring to the table.

What are some of the challenges in regards to logistics are you as a band is facing in order to get to Wacken?

The biggest challenge is getting the required gear over there. We’ve been doing a lot of flying to Gauteng over the last few years so we’ve got our tour rig pretty sorted at this point. And thankfully the worst of the admin is behind us now so we can start focusing on rehearsals.

Zombies Are My Girlfriend are local legends, and many up and coming bands look up to you. What advice can you give any young band?

Patience and perseverance. On a more hands on note, spend a lot of time during your musical career writing songs. How do you write good music? By writing loads of [bad] music first. Like any technique you would practise with your instrument, song writing is no different. It takes a while to reach a decent level and then even longer to develop your own style. I think these days it’s very easy to market yourself effectively, to deliver some quality brand product as it were. But a lot of bands fall short after the initial “first one’s free” hype is done, because the music is nowhere near the level of the bands marketing. Ultimately, it can be all shiny to get attention, but the substance makes sure the attention is maintained and grows.

As a band, you guys use Jackson guitars. Tell us what guitars you’ll be playing at Wacken.

I’m using old faithful, the guitar that I’ve used to record the EP and album. My black Jackson Kelly KE5FR 2009. Chris is taking his Jackson PDX Demmelition King V 2014 and Marc his Jackson JS3V Concert Bass.

Why have you chosen these specific guitars?

These are pretty much the guitars and setup we’ve been using for quite a while now. So we’ve got our sound completely dialled in. I’m a total Jackson nut, been playing them for almost two decades now and have owned quite a few. This KE5 though, it’s by far one of the best guitars I’ve owned. Sometimes you just get that one that was made with that little bit of extra care. It’s a guitar I’ll never part ways with.

An Audience With Vusi Mahlasela


AI Vusi
In order to raise funds for The Vusi Mahlasela Foundation and The Casterbridge Music Development Academy, the world renowned Vusi Mahlasela was joined on stage by some local heros for an evening of great music.

The Casterbridge Music Development Academy

“If there’s one thing we’re utterly passionate about, it’s the empowerment of our community – and the world at large. We may still be young, but our appetite for enabling South Africa’s future generation has seen us achieve a great many things in the past three years”

When the Casterbridge Music Development Academy (CMDA) opened its doors in 2010, the idea was to provide a platform for local children, especially from previously disadvantaged backgrounds, to develop an interest in music and the performing arts: an idea that they hoped would impact their lives positively.
The result has been phenomenal. Young adults in Kabokweni and surrounds are starting to harness their talents and take charge of their futures.

In the last few years, they’ve produced a high calibre of musicians and bands who can boast to having performed alongside international acts as well as several local South African greats. When they’re not rubbing shoulders with well known local musicians, they spend their free time prepping for performances at corporate, private and public events, including several local festivals in the Lowveld area.

AB Vusi 1

As a result of grants received from the Department of Arts and Culture, the Department of Culture, Sports and Recreation and the National Lottery they have in the last 18 months been able to open several music ‘Hubs’ in the Lowveld. A Hub is a centre where young people aged 12 to 25 are offereg the opportunity to attend free music lessons. This facility is offered during the school term, weekdays between 2pm and 5pm. There are Hubs at the following locations: Masoyi, KaBokweni, Zwelisha, Hazyview, Mashishing and Nelspruit. The Nelspruit Hub will be re-positioning in KaNyamazane in the near future.

Each Hub is managed by a professional music coach, and there is an extensive network of music coaches in various genres who are employed to teach members. Lessons are offered in many musical instruments including guitar, percussion, piano and keyboard, marimbas and djembes, recorder and also vocals. Music theory lessons are offered with the support of 2Enable, and there are already a large number of students signing up to take UNISA exams.

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About Vusi Mahlasela

Vusi grew up in the Mamelodi township, just outside of Pretoria, South Africa, where he still resides. He began to write songs of justice, of freedom, of revolution, of love, of peace and of life. He joined a poetry group, The Ancestors of Africa, and also joined the Congress of South African Writers, a group of like-minded artists and writers, including Nobel Laureate Nadine Gordimer who paid for Vusi’s first guitar lessons.

At this point, his political activism truly began. For the “crime” of writing songs of freedom and human dignity, Vusi was held in solitary confinement; he was harassed by the police repeatedly. Many of his friends fled the country. Through this struggle, his songwriting became not only prolific but also healing for himself and for his listeners. And as Nadine Gordimer so vividly puts it, “Vusi sings as a bird does, in total response to being alive.” He simply became known as “The Voice.”

Fender USA Elite Strat


For 2016, Fender’s American Deluxe range is no more; they are now Elite.

Name aside, the range is trimmed to just four guitars: the Strat and Tele, an HSS Shawbucker Strat and a thinline Tele. So, what’s new?

Along with cosmetic additions in the form of new colours, a refreshed headstock logo and ‘soft touch’ rubber control knobs, there’s a new neck shape, a new wheel-style truss-rod adjustment (we lose the Micro-Tilt adjustment) and slightly altered-shaped heel geometry.

Then we have the latest (fourth) generation of Noiseless pickups controlled, as before, by the S-1 switching, activated by a push/push switch within the top of the volume control’s knob that expands the sounds from the five-way or three-way pickup selector switches.

The hardware stays the same: the excellent twin-post vibrato, with its six block saddles and pop-in arm, and the sealed, chromed rear-lock tuners (although instead of the previous dual-height string posts, they all have the lower height posts, which subtly increase the back angle behind the nut on the bass strings). A new-design string tree increases that back angle further on the top two strings; another change is the bone nut

The Strat is set up low with 0.009s, creating a pretty mainstream feel, but, of course, there’s no ‘right’ way to set up your Fender. The important thing here is that the new truss-rod adjuster – as any Music Man owner will attest to – means neck-relief adjustments are now dead simple.

There’s a lighter, brighter tonality to the Elite and raising the action and increasing the treble-to-bass stagger on the pickup heights narrows the gap a little, as does pulling back the No-Load tone control. There’s obviously a big difference in the pickups – our Roadworn has retro-fitted Custom Shop Texas Specials – and the Elite sounds more classic.

But despite a less-pronounced magnet stagger, to our ears, the second-string response is a little ‘soft’. The Elite does sound more refined, not quite as ‘dirty’ or as raw as our Roadworn, but with a touch more output.

The Bats That Old Magic


AI The Bats

The Legendary local band, The Bats will be playing at the guild theatre in East London!

When: 14 July 2016
Where: The Guild Theatre, East London
Cost: R140
Book at Computicket

If you`ve ever been lucky enough to see one of the bats` fabulous shows you`ll know that Eddie Eckstein, Paul Ditchfield, Pete Clifford and Derek Gordon enjoy entertaining their audiences as much as the audience enjoys watching them. These four wonderful musicians will take you on a nostalgic and hilarious journey that spans the “40 something” years they`ve been in the business.

From their early hits of the sixties to their latest recordings, they will have you singing along and shouting for more.
As a member of the audience quipped at one of their recent shows, “these guys are even better than they were 30 years ago”.

What makes this show different is that these guys are not trying to be the bats in the sixties, they are in their seventies being the bats.

With their busy solo careers, this “comeback” has brought with it a fresh and “now” sound that just shows what great musicians they are.

The show is full of their latest songs as well as taking the mickey out of everything and everyone.

Ja………. We can laugh at ourselves, and you will if you treat yourselves to a wonderful evening with Eddie, Paul, Pete and Derek and their unique blend of music and comedy.

An unforgettable evening with those unforgettable guys.

“Nuff Said”

Cape Town Folk `n Acoustic Music Festival


AI Ard

This is the 10th installment of the Cape Town Folk `n Acoustic Music Festival. On the 22nd and 23rd July at the Baxter Theatre Concert Hall – 22 South African artists will perform completely acoustically in an unplugged, intimate, concert-style setting, stripped down to the essence of the songs.

The evening is set to be an experience of the finest musical storytelling from the personal journeys of some of South Africa`s best songwriters and musicians.The line up is Ard Matthews, Arno Carstens, Tony Cox, Steve Newman, Andre De Villiers, Josie Field, James Stewart, Robin Auld, Tim Parr, Heather Mac, Wendy Oldfield, Gerald Clark, MacStanley, Laurie Levine, Digby and the Lullaby, Farryl Purkiss, Lionel Bastos, Claire Phillips, Andrew James, Jasmine Minter, Jennifer Eaves and Sonik Citizen.

If you remember bands like Z-Astaire, Ella Mental, The Usual, Delta Blue, Sweatband, HAMMAK, Springbok Nude Girls, Just Jinjer, Zen What, and SA`s most renown guitar duo, then don’t hesitate to book. We will feature all the singers from the mentioned bands, plus a few more have been added to this year’s Winter installment of the Cape Town Folk n Acoustic Music Festival.

When: Friday 22 July – Saturday 23 July
Where: Baxter Theater
Cost: From R195
Book now at Computicket

Line Up

Friday 22 July 2016
Ard Matthews
Arno Carstens
Andre De Villiers
Tony Cox
Steve Newman
Laurie Levine
Josie Field
Robin Auld
Farryl Purkiss
Digby and the Lullaby
Gerald Clark
Claire Phillips
Jennifer Eaves

Saturday 23 July 2016
Arno Carstens
Ard Matthews
Steve Newman
Tony Cox
James Stewart
Josie Field
Laurie Levine
Wendy Oldfield
Heather Mac
Tim Parr
Lionel Bastos
Andrew James
Sonik Citizen
Jasmine Minter

Review: Faith Blood Moon


Faith Bloodmoon - Page Header

Faith guitars are built in Indonesia and designed by legendary British guitar maker, Patrick James Eggle.


The guitar looks great, with a notable bold, wavy grain – yet even with figured maple binding and gold tuners. May guitars with these features end up look kitsch, but Faith maintains a classy look.

Faith calls it a Venus shape, an ‘OM/Auditorium’, based size-wise on Martin’s classic OM/000. It’s actually very slightly bigger than Martin’s OM/000, although in depth it’s noticeably deeper – closer to Taylor’s Grand Concert, with which it shares more spot-on dimensions.

If that depth gives an impression, played seated, of a bigger guitar, the mahogany neck reinforces that with quite a meaty profile and near-jumbo, electric- like frets as opposed to the smaller wires we find on numerous other acoustic brands.

To complement a very tidy build, we have a Shadow Nano-flex under-saddle pickup and side-mounted Faith-branded Shadow Performer Tuner preamp featuring volume, bass and treble rotaries, a push-button phase control to slightly alter bass response and importantly at higher volume reject feedback, plus a push-button for the on board tuner, with its micro-sized LED display.

It’s very accurate but not easy to see – bright LED’s aside – in low stage-level lighting. With spruce X-bracing designed by Patrick, and very tidily installed by the look and feel of it, hardwood tops like this always give us a different voice to that of spruce.

A little less wide perhaps in its frequency response, there’s also a subtle compression here as you strum hard with a pick, but that’s a positive: big open chords sound exactly that. There’s plenty of air at the bridge to make more delicate finger picking easy, too, although your thumb has to work quite hard to get those low strings driving.


Top Wood Solid ‘AAA’ Grade Indonesian Trembesi
Back Wood Solid ‘AAA’ Grade Indonesian Trembesi
Side Wood Solid ‘AAA’ Grade Indonesian Trembesi
Binding Flamed Maple
Bracing Material Quarter-Sawn Spruce
Bracing Pattern Patrick James Eggle X-Brace Design
Rosette 5mm Abalone with Fibre Border
Neck Mahogany
Neck Finish Satin
Neck Joint Patrick James Eggle Bolt-On Design
Fingerboard Macassan Figured Ebony
Fingerboard Radius 16″
Fingerboard Inlays Mother of Pearl ‘F’ at 12th Fret
Machine Head Grover Rotomatic Gold
Trussrod 2 Way
Nut / Saddle TUSQ (PQ-6116)/(PQ-9110)
Nut Width Nut 43mm / String Spacing 55mm
Bridge Macassan Figured Ebony
Bridge Pins Macassan Figured Ebony with Abalone Dots
Finish Type Gloss Top / Gloss Back and Sides
Preamp / Pickup Shadow Performer Tuner Preamp / Shadow Nanoflex Pickup
Hardcase Included

Hokum in Cape Town: The Money Eaters Tour


AI Hokum
HOKUM, a progressive band from Joburg will be playing a tour in the Mother City this week, to promote their new album; The Money Eaters

Formed from the ashes of Marlowe, and with more than ten years experience, their sound ranges from sublime soundscapes (Brian Eno, Radiohead), the avant garde (Steve Reich, Philip Glass), to the solidity of rock (Deftones, Tool). And although these influences can be heard, their sound defies strict classification; they bring something new to rock music.

More info:

HOKUM released their debut album, The Money Eaters, in June 2015, which can be downloaded on iTunes They have also been gigging extensively, including festivals such as Krank’d Up, Slamfest, Oppikoppi, Splashy Fen and Metal Feast. HOKUM have been playlisted on TUKS FM, various other Varisty and online radio stations, and have been featured artists on Mix FM’s Sunday afternoon Hangout show. They have recently paired up with renowned sound engineer and producer, Jon Pentreath (BLK JKS, Cold Water Morning, Sun, The Muffinz), and are endorsed by SA Backline, the premier sound company in South Africa (providing sound and equipment for Big Concerts for artists such as Foo Fighters, Lionel Richie and Mariah Carey).

The Tour Dates and Venues

7 July – Aces’n’Spades with Verona Walls

8 July – Club Med with Ohgod

9 July – R.O.A.R with Mind Assault, Conduit and more

Guitar and Music Expo in Pics


Take a closer look at the stall that Paul Bothner Music erected at the 2016 Guitar and Music expo

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