•October 3, 2013 • Leave a Comment

“As you know, I decided to “mix it up” with musicians on my new CD, Mustang Run. Being a studio musician in Los Angeles for so many years has rewarded me with deep musical relationships with some of the best drummers, bass players and keyboardists in the world. Because of this lucky situation, I recorded the CD with many different musicians.”

“I decided to keep this “mix it up” philosophy going on the Mustang Run Tour, so I’m bring Stuart Hamm from Joe Satriani’s band and Jason Harrison Smith from Albert Lee’s band with me. The chemistry and instant “high energy” magic that happens when we play together will be a joy to experience, I’m sure!”   –Carl Verheyen

06/10/2013  Ullapool, SCT – Ullapool Guitar Festival
08/10/2013  Coventry, BR – Nexus Trust (CV solo clinic, 3:15pm and gig, 8:30pm)
11/10/2013  Culdaff, IE – The Backroom/McGrory’s
12/10/2013  Belfast, IE – The Cube/Crescent Arts Centre (CV solo clinic, 3:00pm; CVB gig, 8:30pm)
16/11/2012  Aachen, DE – Outbaix
17/10/2013  Amsterdam, NL – Max Guitar (CV solo clinic, 6:30pm)
17/10/2013  Amstelveen, NL – P60
18/10/2013  Hamburg, DE – Downtown Blues Club
19/10/2013  Merseburg, DE – Oelgrube
20/10/2013  Reichenbach, DE – Bergkeller-Reichenbach
21/10/2013  Berlin, DE – Crystal
22/10/2013  Gottingen, DE – Norgelbuff
23/10/2013  Essen, DE – Grend
24/10/2013  Nordhorn, DE – Alte Weberei
25/10/2013  Schwerin, DE – Speicher
26/10/2013  Erfurt, DE – Museumskeller
27/10/2013  Burgkunstadt, DE – Alte Schuhfabrik
29/10/2013  Nitra, SK – Music a Café
30/10/2013  Graz, AT – Generalmusikdirektion
01/11/2013  Athens, GR – Athina Live (clinic & gig)
02/11/2013  Athens, GR – Athina Live (clinic & gig)
03/11/2013  Roccaforzata (TA) – Go West Saloon
04/11/2013  Foggia, IT – Moody Jazz Café
05/11/2013  Rome, IT – Casa del Jazz
06/11/2013  Ascoli Piceno, IT – Break Live Club
07/11/2013  Bovisio Masciago, IT – Music Factory Academy (CV solo clinic, 4:00pm)
07/11/2013  Cermenate, IT – Black Horse Pub
08/11/2013  Stuttgart, DE – BIX
09/11/2013  Weng, AT – Wengerwirt
11/11/2013  Salzburg, AT – Rockhouse
12/11/2013  Munich, DE – Orangehouse/Feierwerk
13/11/2013  Oftringen, CH – Luscher Musik AG (CVB clinic, 8:00pm )
14/11/2013  Hard, AT – Kammgarn
15/11/2013  Ludwigshafen, DE – dasHaus
16/11/2013  Nijmegen, NL – Max Guitar (CV solo clinic, 2:00pm)
16/11/2013  Tilburg, NL – Paradox
17/11/2013  Paris, FR – Sunset Sunside
20/11/2013  Verviers, BE – Spirit of 66
21/11/2013  Bruchsal, DE – Fabrik
22/11/2013 Euskirchen, DE – Altes Casino
23/11/2013 Minden, DE – Jazzclub Minden



•August 28, 2013 • Leave a Comment



I’m sitting in the Denver Airport, returning from an inspiring weekend playing at the Guitar Town Festival in Copper Mountain, Colorado. I’ve played many festivals all over the world, a few of which have provided me with stories to tell for the rest of my life. For some strange reason, when you get a large number of musicians together and put them in the same hotel and on the same stages, crazy stuff happens.

But for a great time, it’s hard to beat a guitar-themed festival. The chance to socialize, exchange experiences and musical concepts as well as play with fellow guitarists is always such a rewarding experience. How else could I play with both Bireli Lagrene and Greg Howe on a jam at the Jimi Hendrix Festival in Leeuwarden, The Netherlands? Or share the stage with KISS and Aerosmith at Rock am Ring in Germany?

The Guitar Town Festival is a two-day event that is free to the public. Set in the Rocky Mountains in a small ski town, the entire village becomes the festival grounds. There are workshops for both acoustic and electric players in the morning and concerts on the main stage all afternoon and evening. I couldn’t pull myself away for a moment!

I saw Jerry Douglas’s band play one of the most eclectic sets ever. Anyone who can switch between traditional Bluegrass and Weather Report songs in the same set deserves to be the national treasure he is. Although I’d never heard of the amazing lap-style guitarist Rory Hoffman, every performance he did was more astounding than the last. His mastery of Telecaster® country music and straight- ahead jazz is on another level.

John Jorgenson is the heart and soul of the festival and deservedly so: he’s as good a musician as you’ll ever get a chance to see. He plays impeccable Gypsy Jazz with his quintet, then switches to a Telecaster and rips those blazing country licks you remember from his Hellecasters days. We got into some fiery jams together backed by his rhythm section and my old friend Jim Cox on keyboards.

Coco Montoya lived up to his reputation as a take-no-prisoners blues player, but I was also amazed at what a soulful singer he is. I also got to witness an amazing performance by Tony Joe White, backed by nothing but a drummer. Back in 1969 the hit song “Polk Salad Annie” slinked out of the radio speakers until the end, when he kicked on his wah-wah and got down to business. Forty-four years later he’s still the king of the swamp. When his set ended I was afraid I’d have nightmares of rattlesnakes and alligators crawling in my bed! It was a deep slice of the real thing and something amazing to witness.

(c)2013 Carl Verheyen. All Rights Reserved.




•May 2, 2013 • Leave a Comment



LsL Instruments “CV Studio”

“Carl told us that he loves his signature LsL Guitar with the true single coil pickups that evoke the tones that define rock ‘n roll. But sometimes he plays in venues with old or sub-par wiring, or he’ll play with a symphonic orchestra, for example, and he can’t tolerate even the slightest bit of 60-cycle hum. Working directly with Carl and LsL’s Lance Lerman, Seymour Duncan VP Engineering’s Kevin Beller came up with a unique version of our patented Stack Plus hum-canceling pickup custom-voiced for Carl and impervious to 60-cycle hum. The result is quite extraordinary.” –Seymour W. Duncan

  • Bodies made from the lightest Alder we can find.

  • Contains a specially-designed, custom-voiced version of Seymour Duncan Stack Plus hum-canceling pickups.

  • Slightly hotter bridge pickup.

  • Dark rosewood 9.5″ radius fingerboard with LsL’s “Lowered Apex” fingerboard edges. The “Lowered Apex” creates a rounded transition from the neck to the fingerboard that begins behind the fingerboard and creates a soft, worn-in feel that melts in your hand.

  • Hand-shaped neck that is based on Carl’s ’61 which has a medium “C” shape that is about .88″ thick at the 3rd fret.

  • Hand-cut bone nut.

  • Lower torque Bournes pots for fast, easy controls.

  • Gotoh, vintage style, bridge with steel block and 2-3/16” string spacing.

  • 60’s style string tree.

  • LsL’s thin, NC, checked lacquer finish with very light aging.

  • Available in CV Blue (metallic), Vintage White and 3-Tone Sunburst.

  • LsL, aged 3-ply pick guard with aged knobs and pickup covers.

  • Medium high, 6105 nickel-silver frets.

  • Tone circuit using oil-filled capacitor.

  • Like our LsL Saticoy’s, the middle tone knob controls tone on the neck and middle pickups while the lower tone controls the bridge pickup alone.

  • The “CV Studio” is strung with Dean Markley’s Carl Verheyen “Balanced Bridge” HelixTM string set: .009, .012, .016, .026, .037, .046.

  • The “CV Studio” is set up and shipped with the Carl Verheyen “floating bridge” setup. This is Carl’s iconic setup that allows you to use the trem bar to not only lower the pitch of the strings but raise them too. This setup allows the pitch of the high E string to be raised a half step. The B string will raise in pitch by a whole step and the G string will raise a minor 3rd.

  • Backplates feature Carl’s engraved signature.

  • Like all LsL’s, each guitar is named with a unique female name.

  • Each finished “CV Studio” weighs in at less than 7.5 lbs.

  • A G&G hard-shell case is included.

  • Made in USA.


•March 28, 2013 • 4 Comments

I just finished an article for the June issue of Guitar Player magazine about drummers. Since I am limited to around 600 words I felt the need to expound on the subject a bit more and relate it to a recent personal experience. As some of you may know, I’m currently working on a new CD for release later this year, Mustang Run. Instead of using a rhythm section (i.e. the CVB) for all 10 tracks, I decided to use a different rhythm section for every two songs.

This has proven to be a very enjoyable and musical decision because each drummer and bass player combination has brought out different musical sides of my own playing and the choices were specific to the songs. For a loose, 6/8 jazzy piece I used Chad Wackerman and Jimmy Johnson. Their playing on Allan Holdsworth’s CDs comes to mind and inspired a very open feel during the solos. They also played on an acoustic ballad of mine that goes electric, and since the two of them have been James Taylor’s rhythm section for most of last year it turned out to be very appropriate.

Gregg Bissonette and Dave Marotta played on two more songs, and Gregg’s high energy shuffle against Dave’s solid foundation seem to jump out of the speakers. Gregg has a shuffle like nobody else. It’s relentless whether it’s just warming up or full tilt boogie! Bernie Dresel on drums and Stu Hamm on bass is another powerful combination I used and their tracks are stellar. Bernie played on the Rumor Mill and Take One Step albums we did a while back and during subsequent CVB tours we attained a telepathic on-stage communication that exists in these new recordings, too. Stu, Bernie and I did a live show recently where we jammed in many styles, so I knew I HAD to capture that magic somewhere on the new record.

Walfredo Reyes, Jr. and Dave Marotta have been CVB members for the last five years, and since Trading 8s was released we’ve logged many hours on stage (and in the tour bus). There is a magic that happens in that rhythm section too, that is undeniably infectious. Nobody plays like Wally; his spirit comes though in every bar. If you listen to track one (“Highway 27”) on Trading 8s that we recorded with Joe Bonamassa, you hear a unique approach to the chorus that I guarantee nobody else would have thought of!

The last rhythm section I used was two guys that had never even met, but that I knew would compliment each other perfectly. Cliff Hugo, my partner in Supertramp and the bass player in the CVB for 10 years, was rock solid with Simon Phillips on drums. I’d seen Simon play with The Who a few years back and knew that his intense, groovular propulsion would drive the rocking, fusion-style tune I had recently written.

The entire project has been fun, inspiring and eye-opening. I learned a lot about my own playing and how it swings and locks in with the heartbeat and groove of all these great players. I’m lucky to be able to play with some of the finest drummers and bassists on the planet. Next time I’ll talk about the soloists and keyboard players….but that’s another story!

©2013 Carl Verheyen. All Rights Reserved.



•February 14, 2013 • 3 Comments

Hi everyone, I really need your help! In an effort to do more touring I need to learn more about YOU.

Please help me out by taking this 30 second survey before Friday, March 1:

Hopefully, your responses will help me bring the band out on the road more effectively and often.

Thanks, I really appreciate it!



•December 10, 2012 • 5 Comments

One of the cool things about the ability to download music from sources like iTunes is the instantaneous ability to learn songs you have always wanted to know. I listen to lots of radio while driving and invariably I’ll hear a song on my way home from a session. Something I haven’t heard in a long time like “Lies” by The Knickerbockers or “Love Lies Bleeding” by Elton John.

As an ear training exercise I find it invaluable to transcribe the chord changes and make myself a chart. I may play the tune for a couple of days and then file it along with hundreds of others I’ve collected over the years. My choices may come from simple curiosity over decades of hearing a tune on the radio. Or I might find find myself saying, “I’ve always wanted to know how the harmony works in that tune and what makes it so cool.”  It’s all part of my:  If you dig it you must learn it philosophy.

Going one step further, I sometimes transcribe solos using just my ear, no instrument. Many times on the road you’ll find yourself in a hotel room on a rainy afternoon with nothing but a laptop, pencil and paper.  Start with something easy like “Green Onions” by Booker T. & the MG’s and pull it up on YouTube. Then, after you determine it’s in the key of F, try writing out the organ melody by ear. At first it’s a challenge as you attempt to visualize the notes on your guitar fretboard, but after a while the intervals become more obvious and your transcribing chops improve.

When somebody asks me if I transcribed a song the guitar or a keyboard, I tell them, “on the couch!”

©2012 Carl Verheyen. All Rights Reserved.



•September 22, 2012 • Leave a Comment

September 22, Zulpich, Germany

There is something very special for us American musicians about playing in Europe. There is a high regard over here for improvising artists. It must have something to do with their long tradition of supporting the arts via the crown and handed down through the years to local and national governments. State supported concert halls and jazz clubs abound in Austria and Germany, and local music festivals are commonplace in Italy. We’ve played concerts in Switzerland that are free to the public, and attract people from France and Germany as well as the locals.

This climate of artistic respect makes us musicians from the USA really feel wanted. The true American art forms like blues and jazz are important to the people here. Music that is not part of their tradition is seen as desirable instead of foreign. And improvising is respected as a high art form. It is not uncommon for me to look out in the audience and see a handful of “traveling fans” each night. These are people that come to three or more shows on a tour and anxiously watch to see what we’ll play differently tonight. They really pay attention to the songs where we stretch out and pride themselves on knowing our set lists from previous shows in other cities…..stuff I’ve long forgotten!
One such set of fans are Manuel and Wolfgang in Germany. They have kept a record of every CVB show they’ve ever seen and it totals over 70 shows in at least eight countries. The Grateful Dead have the Deadheads, what should we call fans of the CVB?

©2012 Carl Verheyen. All Rights Reserved.

PS: You might want to check out some of the FREE thank you song downloads here:


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