San Diego Reader July 21, 2016 55
Guitar Nazis. The music store credited for helping launch the career of country artist Barbara Mandrell is folding after 60 years. Oceanside Music Supply,
which maintained the same old-school, full-service music-store vibe it had from
Oceanside and 1967 Oceanside High grad, had a string of country hits, her own NBC-TV show (1980–’82), and she was inducted in the Country Music Hall of Fame. Bill Hendricks, now in
his 90s, passed operation of Oceanside Music to his son
the inside track
that in the last five years Eric was getting disenchanted.” Dusty’s, Giacolletti Music
in Carlsbad, and Moonlight Music in Encinitas are the only surviving independent music instrument stores in North County. They outlive Lier’s (Oceanside), Band Central Station (Vista), Rich Hunt’s (Escondido), Guitars West (San Marcos), and Buf- falo Brothers (Carlsbad). Giacolletti thrives, says
when it began 60 years ago, will close for good once its stock of guitars, clarinets, and music stands is sold. Founded by Bill Hendricks and the late Irby Mandrell,
Eric. The younger Hendricks blames internet commerce for sapping the life out of his business. He declined further comment but said once his stock is liquidated, it’s
Wheeler, “because they special- ize in lessons.” Wheeler says his Dusty’s Guitar does well because he provides attention that mega-stores can’t offer. “We kill ’em with service.” But being an indie, he says,
is tough. “Nowadays, if you want
to sell Fender or Gibson [guitars], they want a lot of money up front.” He says there is a reason
you tend to find brand-new guitars by those companies in either Guitar Center or Best Buy. “You have to commit
Dusty: “It’s not a guitar to them. To them it’s all numbers. To them it’s a SKU number, not a guitar. It’s been that way for ten years.”
the store on Hill Street (Coast Highway) acted as home base for Mandrell, who managed the Mandrell Family Band, the country-and-western group that launched Barbara’s career. Mandrell, a former Miss
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lights out. “It’s painful,” says Dusty
Wheeler, who owns Oceans- ide’s lone surviving music store, Dusty’s Music. “Every- body is going to miss having Eric around. It was no secret
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to about a hundred grand in sales each year or they won’t let you carry any of their product. I can’t do that kind of business.... It’s not a guitar to them. To them it’s all numbers. To them it’s a SKU number, not a guitar. It’s been that way for the last ten years.” And the big-name sales-
men don’t mess around. “I had the Fender guy in my store a few years back.
He saw that I had four or five brand-new-looking Strats on the wall. The first thing he did was he ran over and said ‘Where did you get these?’ I said, ‘Dude, calm down. They’re used.’ They come in and check your serial num- bers to make sure you don’t get new guitars from another dealer. That’s forbidden
nowadays...that’s why many stores have closed. The big manufacturers just don’t need
grassroots stores.” — Ken Leighton
Durans’ empty chair. Duran Duran, still Duranimal after all these years, brings their new multimedia blitz and their new album, Paper Gods, to the Sleep Train Amphitheatre July 31. From his home near Hammersmith, London, drummer Roger Taylor took some tele- phone queries. You learned to play from
listening to records? “My dad was a great
believer that you could teach yourself anything, so I thought, I’ll be like my Dad, learn to play an instrument. I saw the Dave Brubeck Quartet playing on television, looked at the drummer and thought, Wow, that’s what I want to do.” What were your favorite
records to emulate? “Yes was one of the first
bands I loved. They always had great drummers: Bill Bruford and Alan White. Led
Duran Duran drummer Roger Taylor (far left): “We’ve always been a dance band, and to me [ Paper Gods] is a real dance record.”
John’s bedroom, John saying ‘Check out this rhythm sec- tion.’ Bernard Edwards, Tony Thompson, and Nile Rodgers on the funky guitar. John said, ‘That’s how we’re gonna play.’ I said, ‘Really? Okay...’ “It’s amazing to have Nile
producing on the last record, playing on it. He’s on the bill with
us...playing with our idol. He’s very much part of the story, almost like another member of the band.” Do you recall meeting him
for the first time? “In the early ’80s, we were
playing at Meadowlands. He turned up with an aspiring singer, said, ‘She’s gonna be a big star.’ ‘What’s her name?’ ‘Madonna.’ ‘Oh, okay.’” What were your impres-
sions of a pre–“Like A Virgin” Madonna? “She seemed pretty quiet,
in the group. Did you find that a struggle? “No, we thought that was
exciting, to have an empty chair, if you like, that some- one could fill for each song. We had John Frusciante, we had
Nile...Dom Brown played on some of the record. When you’ve been playing together a long time, it’s good to have energies that come and go.” Which new cuts are you
proudest of? “We’re opening the
show with ‘Paper Gods.’ We debated that for awhile, should we open with some- thing pretty moody. It’s a deeper Duran Duran. ‘Last Night in the City,’ more in the EDM area. We’ve always been a dance band, and to me that’s
a real dance record.” — Andrew Hamlin (continued on page 56)
Zeppelin...I was a big John Bonham fan. But John [Tay- lor, Duran Duran’s bassist, no relation] introduced me to Chic. I remember sitting in
I’ve gotta say! Pretty humble and quiet. Just like a nor- mal girl.” You cut Paper Gods with- out a dedicated guitar player
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