Spain-based, Canadian-born, Australian-raised guitar legend Chris Masuak (Radio Birdman, The Hitmen, Screaming Tribesmen, New Christs) was going to be promoting his new album “Chris Masuak’s Dog Soldier” with a tour Down Under in November, but a recurring illness required an emergency operation.

What illness? It's referred to in Chris' book, “Faith and Practice in Bedlam” (High Voltage Publishing – edited by this writer). I'm not going to explain it: find the reference and read up. Fucking horrible, is all I'm gonna say. Makes me squirm to even think of having an operation there.

Anyway. I listened to the album, thought it was damn good, and fired off some questions to Chris. 

 _{Full house on the 2023 Australian Dog Soldier tour.}

Brokenmouth: "Chris Masuak's Dog Soldier" is a crisp, fresh assault with some songs bordering on metal juggernauts with harmonies. It's also very focused: but a great set of songs does not always make a good LP. But, 'Dog Soldier' is great fun! How did this happen?

Chris Masuak: I had what was fast becoming an annoying backlog of songs for the Viveiro Wave Riders, but the other guys' pesky work commitments kept derailing plans to record and tour. Both The Barman (I-94 Bar Becords) and Stuart Wilson (Drummer for the Australian chapter of Dog Soldier) in Sydney were asking about material for an album, so I passed along some of the songs that were the most fun to play. Before I knew it, I had backing tracks. It was unseemly not to follow through.

_{Stu Wilson in action with Dog Soldier.}

Brokenmouth: Producer Ernie O seems awful modest, this is a driller of an LP; it's very homogeneity is very impressive for recordings made on different sides of the planet. Comment on Ernie? 

Chris Masuak: I have my hands full as a guitar player and now even more so as a so-called “singer”. And, staying objective and keeping everyone happy during the production process was increasingly thankless and futile. I was relieved when Ernie said he'd have a shot at mixing the EP by my Spanish band Los Revelators. It was then that I discovered that we both speak the same language.

He'd ask about the ballpark approach, and didn't flinch if I said that I was hearing Steppenwolf's second album with an Amboy Dukes guitar sound and Vanilla Fudge keyboards via Blue Oyster Cult rhythm section before “Agents of Fortune”. Keeping that going with “Dog Soldier” was a no-brainer.

Brokenmouth: Ernie must have patience, too, I would think. Now, in Bob Short's review of the album, he commented about guitar solos. I get the impression he doesn't like them. I suppose he doesn't like drum solos either. Me, I don't care about guitar solos as long as I’m not bored, and I’m not with “Chris Masuak’s Dog Soldier”. In fact, there’s a number of solos’which lift the roof in my opinion; look, Chris, what’s the purpose of a solo anyway? What thoughts went into these? 

Chris Masuak: I love guitars but never got into the guitar hero solo thing. I mostly think about the arrangement and dynamics first, and aim for the solo to lift and serve the song. I think Bob would be suitably amused to learn that there was very little “virtuosity” involved in those solos.

I was on a tight deadline and was very lucky to grab what little studio time was available. And, my amp had begun shitting itself to the point that I was doubtful that it would survive the session. So, it was very seat-of-the-pants stuff, with genuine tension in my playing.

Brokenmouth: So. Dog Soldier is a fucking kicking band, you must be spewing you couldn't tour this year. Can we hope for next year?

Chris Masuak: You're aware of my history of shit eyesight. But thanks to the wonderful Spanish medical system, I had been enjoying the best eyesight I'd ever had. Then, bang! So, there were many levels of disappointment and frustration. But, although the specialist can't speak to my long-term results I aim to get to Oz as soon as I get the go-ahead to fly. I'm guessing mid-2026.

Brokenmouth: Let's talk kit. What guitars do you have, which do you favour at the moment, and why? Do you have your eye on any other guitars: which, and why?

Chris Masuak: After pissing away so many great and/or irreplaceable guitars over the years I tend not to chop and change anymore.

I only have a small stable, based primarily on their coolness factor, which of course is the best criteria. Having said that, each on has a very particular voice, which comes in handy for recording but doesn’t really make much of a difference live.

The oldest is a 69 Ampeg Dan Armstong, which I’ve had since the early Hitmen days. After seeing one on the cover of The Flamin’ Groovies' “Teenage Head” I just had to have it!

My workhorses are a Fender Custom Shop Strat from around 1994 and a Robin Ranger built for a NAMM show in the early 1990s.

They’re the most versatile of the bunch and have both done a lot of miles! The Strat is a truly grotesque purple sparkle but it’s beautifully resonant. The Ranger is a pragmatic, heavy chunk of wood that’s kind of hard to play but worth the effort.

I still have the 2003 Gibson Firebird VII that I used a lot in Lady Birdman. Although I love its shimmering sting, it tends to stay at home because it’s too big to fit in European cars.

And of course, I’ve been using an Eastwood Messenger quite a bit over the last few years. I’d always loved Mark Farner and after a fanboy purchase of this sort-of replica of his iconic guitar, was astonished at how good it was. The pickups are very similar sounding to the minis on early 1960s Epiphones before they started using the Gibson minis … lots of zing!

I’ve also got an Eastwood Sidejack Pro DLX, which is like a Mosrite you can actually play. Great for those garage tones with Los Revelators.

Lately, I’ve been favouring a Gibson 63 Les Paul SG Custom reissue. I’d never gotten over the one I played one way back in the early Birdman days and when the opportunity came up … well, I just had to grab it!

I’ve never been a particular fan of PAF type pickups, but the replica Alnico 3 pickups are low output and beautifully responsive and clean.

And finally, I’ve been recording with my new Gretsch G6136TG Pro PE White Falcon which my wife said I deserved. I’d never played a Gretsch before and am absolutely smitten with the sound of the pickups. I totally get it now!

I’ve got a nice Martin and a Fender 12 string acoustic guitar, a mandolin, and a dulcimer courtesy of my dad who “used to strum a banjo, but he couldn’t play a note”.

Plus, a couple of bass guitars that I use for writing.

For gigs, I grab whatever’s out of its case at any given moment.

Brokenmouth: What pedals are you using at the moment? Have you ditched any over the last few years - why?

Chris Masuak: I’m using the same small selection that I’ve been using forever. A Vox wah wah. Been using them forever and don’t see any reason to change.

A BOSS Tu-3 Chromatic Tuner.

Then into a Seymour Duncan Pickup Boost, which is mostly on all the time as a way to insult the front end of my amps, which I run hard but pretty clean.

Then the shits n’ giggles …

A BOSS Super Overdrive SO1, which I use only for solos or lead lines. It just makes the guitar sing a bit more and gives me a false sense of confidence.

Sometimes I swap that out for a BOSS Blues Driver BD-2w, which is more touch responsive and I think works better with single coil pickups.

Then, a BOSS Chorus CE-2w because I dig chorus and most other people don’t. And, it very faithfully reproduces the sound of those old Roland Chorus Ensemble units.

Finally, into a DigiTech Ventura Vibe. It pretty convincingly replicates a Rotary speaker (like a Leslie speaker), Univibe (like Hendrix used a lot in later years), and harmonic tremolo (like that guitar effect on “Lucy In The Sky With Diamonds”). It was cheap as chips but as it’s extinct now can only be bought with one or two kidneys and a lot of luck.

I’ve got a cupboard full of old pedals that I trot out for recording.

_{Dog Soldier on the road in Oz in 2023.}

Brokenmouth: What amp do you favour - and can you travel to Oz with it?

Chris Masuak: I’ve been using GEORGE amps for a lot of years now. After my back blew out I wasn’t game to lift my Fender VibroKing so parted company with the heavy fucker.

And while I still use my 64 Bandmaster for recording, I wasn’t comfortable taking it out on the road anymore. I really wanted a Class A amp, like a Vox. But, after blowing up four (!!) while recording one song I just didn’t trust them.

Someone told me about this builder in Barcelona who got fed up fixing and refixing classic amps and thought he could go the same route but more reliably. Long story short, I have a bunch of his amps now in various configurations. I run them pretty hard and he makes them “Masuak-proof”. The transformer isn’t wired for 240. It would work, but not efficiently.

Brokenmouth: If you had to take one guitar, one amp, and one pedal to a desert island with a mysteriously endless source of electricity, which would it be, and why?

Chris Masuak: I’m thinking, Strat, Ampeg Jet Reissue, Wampler Tumnus. Does a tuner count as a pedal?

Brokenmouth: The songs on “Chris Masuak’s Dog Soldier” are incredibly tight, yet you've never all been in the same room. How is this possible?

Chris Masuak: The wonders of modern technology and kindred spirit. I don’t know if we’d have gotten the same results if the players weren’t all Aussie.

Brokenmouth: We all grow and change our tastes, I think: could you tell me a little about your later and more recent musical influences - have there been any lightbulb moments?

Chris Masuak: Frankly, when I listen to newer releases it just makes me annoyed. Mostly, it sounds like they just can’t play together. And, being an old fart, it shits me when they trot out entire musical passages lifted from songs that they think no one’s heard before.

But, I like some of what I’ve heard from Spiritbox from Canada. Likewise, Deep Sea Diver from Seattle. Maybe some of Jim Jones’ stuff. I still get endless enjoyment and inspiration out of my collection. Plus, YouTube has a kazillion rabbit holes yet to plumb. No light bulb moments.

_{Up close and personal with the punters at The Federal Hotel in Bellingen in 2023.}

Brokenmouth: Finally ... do please make a selection and elaborate. Peanuts or Calvin and Hobbes?

Chris Masuak: Calvin and Hobbes is heartbreakingly whimsical and moving.

Brokenmouth: Lenny Bruce or Lenny Henry?

Chris Masuak: I still listen to and get a kick out Lenny Bruce.

Brokenmouth: Dave Mustaine or Dave Grohl?

Chris Masuak: I don’t think I’ve ever listened to more than 20 seconds of either, voluntarily.

Brokenmouth: Steve Vai or Steve Albini?

Chris Masuak: In the words of one of them, I find them both “a chore to listen to”.

Brokenmouth: Frank Gambale or Frank Zappa?

Chris Masuak: My 13-year-old self likes Zappa up to about 72. My immature adult self still does. I must be one of the few post 1990s guitar players NOT influenced by Gambale.

Brokenmouth: Captain Pugwash or Captain Beefheart?

Chris Masuak: I don’t know who Pugwash is. Beefheart’s music is always on high rotation in Casa Masuak.

Buy the "Chris Masuak's Dog Soldier" album here.