Podcasts about Fender Telecaster

Marty Stuart rocked the country radio in the early 90s and albums that blended Steve Earle-esque country rock with badass guitar playing and a nod to traditional country. In this episode, we take a listen to the trajectory of Marty's music. Traditional country to modern country to where his music lives now: as rock music.   Did that really happen? Stuart has more than 20 studio albums, has charted more than 30 times on the Billboard Hot Country Songs charts, won five Grammy Awards, and is an engaged member of the Grand Ole Opry and Country Music Hall of Fame.  It is a fascinating truckload of music.  Let's go. Email the show: rockpoprollpodcast@gmail.com website: www.rockpopandroll.com   NOTES: The Fabulous Superlatives, Marty Stuart's band since 2002, includes Stuart on guitar and mandolin, Kenny Vaughan on guitar, and Harry Stinson on drums, and from 2002 until 2008, Brian Glenn on bass. From 2008 until 2015, Paul Martin was on bass. In 2015, Chris Scruggs replaced Paul Martin on bass, and also played steel guitar. Every member sings. Stuart's guitars also include "Clarence", a two-tone Fender Telecaster, once owned by Clarence White. This instrument is the original B-Bender guitar, built and designed by White and Gene Parsons (Byrds) in 1967, to allow the guitarist to manually raise the guitar's 'B' string one whole step to play in a style similar to a pedal steel guitar. Stuart bought the guitar in 1980 from White's widow.   Mavis Staples of the Staple Singers gave one of her father "Pops" Staples' guitars to Marty Stuart after Pop's death. "My father was Marty's godfather. My sisters and I took him in as our brother. He's the only one that I've heard who -- when he's playing guitar, sounds like Pop. He can play just like him."  

Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It's the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there'll be some tears of joy, too, because on this episode, Chris Shiflett talks with one of country music's greatest players: Vince Gill. Gill's illustrious solo career speaks for itself, and he's played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even stepped into the Eagles after Glenn Frey's death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 Fender Telecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992. Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn't love shredders, and why you never want to be the best player during a studio session. If you're able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:  https://guitarcenterfoundation.org https://www.cciarts.org/relief.htmlhttps://www.musiciansfoundation.org https://fireaidla.org https://www.musicares.org https://www.sweetrelief.org Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editor: Addison Sauvan Graphic Design: Megan Pralle Special thanks to Jon Romeo, Michelle Yoon, Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Rik Emmett's Latest Record is also a detailed and passionate book detailing the creation of the Guitar "Babs" and the record Ten Telecaster Tales. Rik joins us to dissect it and music at large. This is an amazing story from an amazing musician.

The Cars' self-titled 1978 debut record changed the world of power pop forever. Guitarist and co-vocalist Ric Ocasek penned all the tunes, but lead guitarist Elliott Easton transformed them with his tasteful 6-string stylings. This time on Shred With Shifty, Easton sits down with Chris Shiflett to show him how to play the solo from “My Best Friend's Girl.” Born in Brooklyn before winding up in Long Island, Easton washed dishes to save up for his first 1971 Fender Telecaster, and after high school he studied at Berklee College of Music in Boston, where he picked up key theory and technique that he still holds dear. Reared on country and rockabilly players like Roy Buchanan, Jesse Ed Davis, Gram Parsons, James Burton, and Roy Nichols, Easton brought a slick twang to Ocasek's new-wave gems. Easton tells Shifty how the band came to work with producer Roy Thomas Baker in London, while crashing at a label-provided mansion nearby and driving a loaned Jaguar and Land Rover to the sessions. Easton's celebrated leads didn't take long to come together. “On my mother's memory, I did all my guitar parts in a day and a half,” he says. All he had with him was a 1978 or '77 Telecaster with a Bartolini Firebird-style mini humbucker in it, a red Les Paul, a Martin acoustic, and two effects: the brand-new Boss CE-1 and a Morley EVO-1 Echo Volume pedal. His amp of choice in those days? An Ampeg VT-22 or VT-40. After running down his giddy-up guitar parts from “Best Friend's Girl,” Easton talks about which modern players impress him, why he doesn't consider himself a shredder, and the experience of working with Mutt Lange: “I spent as much time tuning with him as playing!” If you're able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:  https://guitarcenterfoundation.org https://www.cciarts.org/relief.html https://www.musiciansfoundation.org https://fireaidla.org https://www.musicares.org https://www.sweetrelief.org Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudion Video Editor: Addison Sauvan Graphic Design: Megan Pralle Special thanks to Jon Romeo, Michelle Yoon, Chris Peterson, Greg Nacron, and the entire Volume.com crew.

171 - Jock Bartley (Firefall) In episode 171 of Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with the original guitarist and leader of the band Firefall, Jock Bartley. In their conversation Jock discusses briefly what living in Colorado is like both now and early on… and why he never made the move to LA. Jock tells us about the two most recent Firefall releases both concept albums focusing on the songs of Firefall's contemporary bands that the original members were at times members of. Jock talks about his early musical experiences studying with guitarist Johnny Smith in Colorado Springs on a Gibson ES-140 he bought from Johnny's shop. Jock describes being hired by Gram Parsons and Emmylou Harris and touring with them. Jock tells us about his guitars: his 1958 Gibson sunburst Les Paul and his 1959 Fender Telecaster as well as a custom Paul Reed Smith that he plays through a Fender Super. Jock then explains the formation of Firefall which was a type of super group for the era and then after the heyday for the band how he kept the band alive to this point. Finally Jock tells us why he's considering selling his ‘58 Les Paul. To find out more about what Jock and Firefall are up too you can go to their website: FirefallOfficial.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #JockBartley #Firefall #GibsonGuitar #GramParsons #EmmylouHarris #VintageGuitar #Zephyr #Burst #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

Leo Fender was heavily influenced by the work of Paul Bigsby in the late 1940s, yet in all of the interviews he did, he never acknowledged it. Today we look at both the influences, and the reasons why Leo did not give the credit that Paul Bigsby deserved for his innovations that filtered into every Fender guitar. To help us, we have an amazing copy of the 1948 Bigsby "Merle Travis" guitar, that clearly spotlights the influence on the Fender Telecaster, Stratocaster, and just about every instrument that Leo designed.Amazon affiliate links:The Bigsby Book by Andy Babuikhttps://amzn.to/4iwxtO6Sixteen Tons, By Merle Travis & Deke Dickersonhttps://amzn.to/4hgE6mC Follow me on Instagramhttps://www.instagram.com/askzac/To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac Or check out my store for merch  - https://my-store-be0243.creator-spring.com/Support the show

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/bones-ukSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeJust ahead of the release of their second full-length record, Soft, the British trio Bones UK tore through the US on a summer tour. PG's John Bohlinger caught up with lead guitarist Carmen Vandenberg before their Nashville gig to see how she covers the band's slick, aggressive sonic territory.Shop Carmen Vandenberg's Rig:1963 Fender Telecaster - https://sweetwater.sjv.io/MmGYZ2Duesenberg Julia - https://sweetwater.sjv.io/75RB4dErnie Ball Regular Slinky Strings - https://sweetwater.sjv.io/0ZKWB3Dunlop Cry Baby - https://sweetwater.sjv.io/AWa9XxBoss TU-3 - https://sweetwater.sjv.io/jryA4MFulltone OCD - https://sweetwater.sjv.io/xkDxWdSupro Drive - https://sweetwater.sjv.io/q45G1NPigtronix Octava - https://sweetwater.sjv.io/DK9M5aEHX Micro POG - https://sweetwater.sjv.io/LX5qZ0Supro Chorus - https://sweetwater.sjv.io/QyZxBxBlackstar Dept. 10 Boost - https://sweetwater.sjv.io/9g4BNjEarthQuaker Dispatch Master - https://sweetwater.sjv.io/PyVNgMMXR Carbon Copy Deluxe - https://sweetwater.sjv.io/PyJqoNCatalinbread Belle Epoch - https://sweetwater.sjv.io/LX14BYBoss NS-2 - https://sweetwater.sjv.io/JzDdK2Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/bones-ukSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - Blu DeTiger & D'Addario0:15 - Carmen Vandenberg Playing Intro1:04 - John Bohlinger's Intro1:24 - 1963 Fender Telecaster3:08 - Duesenberg Julia5:54 - Blackstar CV30 Amps7:35 - Nita Strauss & D'Addario7:50 - Carmen Vandenberg's Pedalboard22:15 - Duesenberg Julia Demo with Pedalboard25:52 - Yvette Young & D'Addario[Brought to you by D'Addario: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2024#guitar #rigrundown #guitarist #guitarplayer #bonesuk #guitargear

One of my heroes returns with his genius new release "She Loved the Coney Island Freak Show" and we talk Tele's

111 - Elliot Easton (the Cars) In episode 111 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with Guitarist Elliot Easton, from the Cars, the New Cars, Creedence Clearwater Revisited, the Tiki Gods, the Immediate Family amongst others. In their conversation we discuss: His current activity filling in for Waddy Wachtel in the Immediate Family Band (while Waddy is the musical director and guitarist for Stevie Nicks). Elliot tells us about a Les Paul he had made, a concept guitar “what would a 1964 single cutaway look like”. Elliot tells us about his “Tiki Gods” project that ended up on the Jackie Brown soundtrack. Elliot takes us back to Massapequa Long Island and tells us about his parents influence on his musical taste and his upbringing and his experience at Berklee school of music in Boston. They discuss gear throughout the interview and Elliot talks about his signature guitars… 5 in total. They discuss the benefits and drawbacks of being a left handed guitarist.. and his relationship with the owner of Grayson's music store where Elliot bought his first Fender Telecaster. Elliot tells us about his relationship with Guitar manufacturers, Fender, Gibson, Martin, Dean and more! Elliot takes us through the beginning of the Cars and how they got their initial record deal. . Elliot has a strong social media presence and does a great job of explaining some of his iconic solos on YouTube and you can find out more about the Cars at their website: thecars.org . Please subscribe, like, comment, share and review this podcast! . #VintageGuitarmagazine #ElliotEaston #theCars #theNewCars #VintageGuitar #guitar #Guitar #theImmediateFamilyBand #FenderCustomShop #TikiGods #GibsonCustomShop #MartinGuitars #GuitarHero #theDeadlies #guitarfinds #haveguitarwilltravelpodcast #guitarcollector #Travelwithguitars #haveguitarwilltravel #hgwt #HGWT . . . Please like, comment, and share this podcast! Download Link

Featuring the latest joint from keys wiz Julius Rodriguez AKA Orange Julius; the ethereal sound of songstress Dolly Valentine; master of the Fender Telecaster, Jim Campilongo; a fresh release from NYC trumpeter Kenny Warren and his trio; an epic journey from Alice Coltrane's legendary 1971 Carnegie Hall concert; another cut from Erik's CDMX improv event Scorpio Sessions; and finally, the one and only Thelonious Monk.

In 1969, Kirchen took Commander Cody and the Lost Planet Airmen to California and they developed a reputation as musical "outlaws" that were praised by other outlaw musicians and bands like Willie Nelson, Waylon Jennings, The Grateful Dead and the Allman Brothers Band.Kirchen's band "played a collection of rock 'n' roll, hard-core country, boogie and rockabilly sounds produced in a "high-octane mix" that made them a "happening" group in the San Francisco Bay area. Kirchen began to develop as guitarist, vocalist, songwriter and performer. He became known for his vocal and guitar work on such songs as "Mama Hated Diesels", "Down to Seeds and Stems Again Blues" from the band's albums, Hot Licks, Cold Steel & Truckers' Favorites and Lost in the Ozone. His live performance work was captured on the 1973 album Live From Deep in the Heart of Texas, recorded at the Armadillo World Headquarters in 1973.Kirchen's Commander Cody band broke apart in 1976 and he formed a "swing orchestra" called the Moonlighters and began a decades-long collaboration with British musician Nick Lowe. Lowe produced the Moonlighters' second album Rush Hour, and Kirchen toured with Lowe and joined him in the studio from time to time. During this period Kirchen also worked on albums with Elvis Costello, Gene Vincent, and Link Wray. Kirchen was one of the musicians that pioneered the Americana movement in the 1980s, and also with being a founding father of "twangcore," along with Dave Alvin, Wilco and Big Sandy & His Fly-Rite Boys. Kirchen's signature sound has been dubbed "dieselbilly" and incorporates elements of country, blues, rockabilly, Western swing and boogie-woogie, laced with themes of American truck driving music. Kirchen's work in the early 1970s with Commander Cody and the Lost Planet Airmen helped set the stage for the singers like Waylon Jennings and Willie Nelson and other outlaw country bands with his recordings of songs like "Seeds And Stems."Kirchen is said to have "one of the most distinctive, pure-Fender Telecaster tone guitar sounds in modern music". Kirchen was named "The Titan of The Telecaster" by Guitar Player magazinefor his musical prowess on the Fender Telecaster guitar. He played a 1959 model with a maple fretboard and sunburst finish that he calls the "coal burner" and acquired in 1967 when he exchanged his Gibson SG with a stranger on a bus.He retired that guitar in the early 2010s in favor of a Telecaster with a wider neck.

Here it is, our first episode. Patty Pershayla and Lucas Powell of Patty Pershayla & The Mayhaps hang out awhile and discuss their first bands, their move to Nashville, what it's like writing new songs, recording and touring, and of course... guitars and gear. The outro song is "Spill" off their newest album Perpetual Motion Machine.https://open.spotify.com/album/1jW3IXDyCsvJsRJ4N2i45Q?si=wTRBWVINQSKgS7VVNXi4FwCheck out their upcoming show dates at... https://www.pattypershayla.com/tourhttps://www.instagram.com/pattypershayla?utm_source=ig_web_button_share_sheet&igsh=OGQ5ZDc2ODk2ZA==Buy us a cup of coffee to keep us going. https://www.buymeacoffee.com/thegrooveb7

President and Co-Founder of Fandiem Paul Peck is originally from Hartford, CT, and this now New Orleans based festival and concert producer served as chief creative officer and head of programming for the Okeechobee Music & Arts Festival, has worked with Superfly Presents, and helped to launch and develop the Bonnaroo Music & Arts Festival. Fandiem is a donation platform that harnesses the power of the fan community to make positive change. Paul has worked closely with Derek Trucks and Tedeschi Trucks Band and we dive into our love for the music as well as talk one of their latest sweepstakes, a chance to win a Warren Haynes signed Fender Telecaster, also signed by TTB from the Boston Garden Party. This is to honor Kofi Burbridge and support WhyHunger, a nonprofit that aims to end hunger and poverty. Fandiem.com/ttb, Latest Recorded Episodes & Clips on YouTube, Latest Livestreams on YouTube, instagram.com/tedeschitruckspodcast, tedeschitruckspodcast.com, adamchoit.com, tedeschitrucksband.com

“I think it's safe to say John Osborne is a fuckin' beast!” That's how Chris Shiflett kicks off this episode of Shred With Shifty, featuring bearded Brothers Osborne shredder-in-chief John Osborne. Osborne joins Shifty to dissect his blistering country-rock ripping on the band's breakout single, “Stay A Little Longer.” Osborne tells Shifty about failing miserably at guitar in college, where he learned to read and play bass clef but never got the hang of the treble clef. It's no surprise when Osborne admits he's taken notes from players like Stevie Ray Vaughan, Dickey Betts, Eric Johnson, and Skynyrd shredders Allan Collins and Gary Rossington, but his very first guitar influence? Kurt Cobain, and the Nirvana frontman's anxious energy. “I'm a little bit awkward, and I have social anxiety, but I can talk to people through music,” says Osborne. As far as technicality, though, he and Shifty agree that bluegrass guitar playing is “the Usain Bolt of musicianship.” To recap the “Stay A Little Longer” leads, Osborne plays a stock blackguard 1953 Fender Telecaster that he scooped from Carter Vintage Guitars. (Listen in to learn why it and some other Fenders from that era have an abnormally thick “Friday neck.”) He explains that he wanted the solo to have the same philosophy as legendary solos like those in “Free Bird” and “Hotel California”: hooky, repetitive, accented, and not too shreddy. Plus, he reveals the “un-Photoshopped” blips in the solo that stayed on the record. Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty  Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.

Music City Bridge Guitar Parts:https://musiccitybridge.com/collections/guitar-partsGlaser Bendershttps://www.glaserbender.com/To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - https://my-store-be0243.creator-spring.com/A look at my 6 Telecasters:1. 1982 Kubicki/Danocaster with Musi City Bridge 3-pickup blend wiring, Glaser convertible bender.More on my Kubicki/Danohttps://youtu.be/F9fjUeQtjUM2. 1967 Fender Telecaster - stock except for compensated saddles. Refret by Nick at Glaser InstrumentsMore on the 1967 Maplecap Telehttps://youtu.be/K62c9ycOTlU3. Crook Custom Paisley - Glaser Convertible Bender, Music City Bridge 3-string treeJoe Glaser installs a Convertible Bender in the paisleyhttps://youtu.be/JLBKjRpRA7U4. 1957 Fender Esquire with a 1954 neck pickup, and original bridge pickup. Restoration and Aging on the Body by Dan "Danocaster" Strain. Refret by Nick at Glaser Instruments. Both pickups were rewound by Ron Ellis. Pickguard design by Jay & Kristi Smith of Juicebox Designs.More on the 57 Esquirehttps://youtu.be/VHVlD_Ut0OU5. 1953 Telecaster - Ron Ellis 52T and Standard plus neck6. 1967/69 Telecaster with factory Bigsby - Bill Lawrence A400 neck, Ron Ellis 60T bridge pickup. Aging by Dan Strain, and refret by Nick at Glaser InstrumentsMore on my Bigsby Telehttps://youtu.be/sKNXOCRlaiYAmp:2023 Headstrong Lil' King with 12" Eminence GA-SC64 speakerhttps://headstrongamps.com/lil-king-ampStrings: D'Addario NYXL 95-44https://amzn.to/41rnl0VPick:Blue Chip TPR 35Effects: Amp reverb#askzac #zacchilds #telecasterSupport the show

To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comMy dear friend and mentor, Bill McCumber, contacted me a couple of weeks ago saying he wanted to give me his 1967 factory-equipped Bigsby Telecaster. I was blown away, not just by the gift, but also remembering the many kindnesses Bill had done for me through the years. I share about Bill and the modifications that he had done to the guitar since he bought it from Clawson's Music in Corpus Christi, Texas in the mid-1960s. Through the years, it received an electronics upgrade from Bill Lawrence, who did the modifications himself, and a neck change to a mid-70s model.I also show how Bill's Tele has aged differently from my 1967 Telecaster, as his 1967 has much less wear, yet is much darker due to the number of gigs he played in the smoke-filled Honky Tonks and Dance Halls of South Texas.Book Nook Amazon link - Fender The Inside Story by Forrest Whitehttps://amzn.to/3MidRQQGear used:1967 factory Bigsby-equipped Fender Telecaster with Bill Lawrence pickups, and a mid-70s neck.2023 Headstrong Lil' King with 12" Eminence GA-SC64 speakerhttps://headstrongamps.com/lil-king-ampEffects used:Mad Professor Deep Blue Delay #askzac #billlawrence #bigsbytelecasterSupport the show

In this episode of the Fret Files Podcast, Eric takes questions regarding tremolo springs on Stratocasters, correcting the excessive belly in a 12 string, the best cleaner and polish to use on nitro lacquer, making a bowed neck behave, and gluing a loose skunk stripe on a Fender Telecaster.

This week I sit down with Joe Branton of the Guitar Nerds podcast and talk about his telecaster search and why he should just sell some of his middling guitars and buy a custom shop telecaster. Hope y'all enjoy this episode as much as I did! Find Joe and The Guitar Nerds on:Internet: http://www.guitarnerds.net/Instagram: https://www.instagram.com/guitarnerds/YouTube: https://www.youtube.com/c/Guitar-nerdsNEW PARTNERSHIP! I've partnered with TourGear Designs to get you 10% off the best patch cables in the game! You can use my affiliate link (https://www.tourgeardesigns.com/discount/40WATT) or just use the code 40WATT at checkout to get 10% off your order! If you want to save even more, Patreon supporters of the show get 20% OFF!  Check out my post over on my patreon page for more information!Support the show at: https://www.patreon.com/40wattpodcast/​Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Subscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.Support the show

A 1974 Fender Telecaster, Cuba, and aliens

Larry Magid has used music as a vehicle to heal, to help, to cure, and to bring about change. Larry Magid, Co-founder of Electric Factory Concerts, and Derek Gillman RETURNS, Distinguished Teaching Professor for Art History and Museum Leadership at Drexel University, and the Executive Director, University Collections and Exhibitions which will mount ELECTRIFIED: 50 Years of Electric Factory, an exhibition celebrating and exploring the impact that Electric Factory and Electric Factory Concerts had on American culture September 21 through December 31. We discussed Philadelphia's music scene and the rise of Electric Factory Concerts which has now put on almost 17,000 concerts, including major international events like The Atlantic City Pop Festival, Live Aid and Live 8. Larry reminisces about staging these spectacles and talks about Philadelphia's unique ability to present these live performances. He remarks on its many venues and local artists and his founding of the Philadelphia Music Alliance to honor them. We discussed Drexel's programming for the music business, one of the reasons Larry is supporting this retrospective. Derek discussed the thrill we'll get in viewing these cultural touch stones; iconic images and objects from events that shaped generations of music tastes and created today's concert experience. We talked about the exhibition that will include a reproduction of The Electric Factory's psychedelic limo, the Buckminster Fuller stage design that revolutionized sets, original posters, photographs, archival graphics, and concert apparel from superstar artists.   Instruments on display include Bruce Springsteen's Fender Telecaster, played in Philadelphia more than any other celebrated guitar; the 6-string electric bass Jack Bruce used to record Fresh Cream and the Gibson Les Paul played by Mick Taylor at the Spectrum in 1972, seen on the cover of the Stone's album Get Your Ya Ya's Out.  The free exhibition can be at Peck Center Gallery and Bossone Research Center at Drexel with the public opening on September 22.

A lively rockabilly tune, Freddie's "Man on the Prowl" bops and jives like another tune before it. Though its familiar vibe feels less original and is certainly less complex, Freddie provides dynamic and impressive stylized vocals and piano, Roger and John hold it down with snappy live drums and a boogie woogie bass, and Brian rocks out on a Fender Telecaster. Bonus: The ending features some impressive piano glissandos, courtesy of guest musician Fred Mandel. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

A lively rockabilly tune, Freddie's "Man on the Prowl" bops and jives like another tune before it. Though its familiar vibe feels less original and is certainly less complex, Freddie provides dynamic and impressive stylized vocals and piano, Roger and John hold it down with snappy live drums and a boogie woogie bass, and Brian rocks out on a Fender Telecaster. Bonus: The ending features some impressive piano glissandos, courtesy of guest musician Fred Mandel. --- Send in a voice message: https://podcasters.spotify.com/pod/show/tater-thoughts/message

To Support the Channel:Tip jar:  https://paypal.me/AskZacOr check out my store at  - www.askzac.comFor my 50th episode, I take a look at the guitar reference books that have influenced me the most. I also continue my lick of the week showing some of Joe Walsh's faux steel licks he used in a recent concert with the Eagles on "Peaceful Easy Feeling." Some of the licks Joe used are variations of Bernie Leadon's guitar parts on the original recording.1. The Guitar Book, by Tom Wheeler 2. The Fender Telecaster by A.R. Duchossoir 3. Fender: The Sound Heard Round The World by Richard Smith 4. The Beauty of the Burst 5. The Blackguard Book: Nacho still has a few copies, but the prices are even higher than I stated in the video. Since my purchase of one a couple years ago, they have risen to $250. You can reach Nacho here: info(at)nachoguitars.comHonorary mention: Arlen Roth's Complete Electric Guitar Gear Used:2014 Crook Custom Vintage Paisley with Adder Neck, and underwound Florance TE60http://www.crookcustomguitars.com/Pick:Blue Chip TPR 35 RB Strings: Ernie Ball 10,13,15, 24, 32, 42. Nickel-Plated Steel.Amp:1967 Deluxe Reverb amp with Celestion V30 speakerEffects used:TC PolytuneMirage compressor pedalLine 6 Echo Park9v power via Truetone CS6 #askzac #guitartech #telecasterSupport the show

Six String Hayride Season 2 Episode 4 Mini Ride with the Fender TelecasterA look at the Fender Telecaster and the people who play them, a new drink recipe from John Wayne, and the usual fun with Chris and Jim.https://www.patreon.com/user?u=81625843

Episode # 197 Rock Bassist Billy Sheehan talks The Winery Dogs III Album, Songwriting, Tour, Yamaha Bass and more! While the all-out smokin' opening track and lead single “Xanadu,” title might evoke different imagery in more progressive-leaning listening circles, KOTZEN's zen-seeking, hard-rocking ruminations on “Xanadu” once again shine a light on the eternal power of good collaboration. “Coming out of the gates, that's a barnburner,” acknowledges PORTNOY. “It's one of the fiercest tracks on the album.” Incidentally, eagle ears will also delight in picking up on how definitively PORTNOY drops his drumsticks right as the song concludes. “At the end there, you're hearing me toss my sticks — not in frustration, but very much in satisfaction of what we had just done,” he clarifies with a laugh. From the clarion call for connection and societal understanding in “Mad World” to the door-opening personal realizations of “Breakthrough” to the undeniable muscle-flexing reign of the white-hot “Pharaoh” and the album-closing energy spillage of “The Red Wine,” all 50-plus minutes of III prove THE WINERY DOGS haven't lost a step when it comes to conjuring fresh hooks, gutbucket grooves, and bold harmonies. That said, it's been a long road back to the collective compound for guitarist/vocalist RICHIE KOTZEN, bassist/vocalist BILLY SHEEHAN, and drummer/vocalist MIKE PORTNOY. Back in 2015-16, they hit the road hard together to showcase their mettle as hardcore (you guessed it) road dogs in order to build upon the success of their well-received 2015 sophomore studio effort, HOT STREAK, by touring all across the globe. Eventually, the seasoned trio returned to their respective corners to focus on various other projects for the ensuing next few years. But when that live itch needed another scratching, these three working musicians knew just what they had to do. “We wanted to tour,” KOTZEN confirms succinctly of The Winery Dogs' 22-date run in early 2019 that was appropriately dubbed “Who Let The Dogs Out,” before adding, “We had to get those cylinders firing together once again.” Concurs PORTNOY, “That was a fun little tour that reignited our enthusiasm — and that's also when we knew a third album was definitely in the cards.” Adds SHEEHAN, “Getting back together like that was really refreshing. We could relax a bit and enjoy being together onstage, playing without any pressure. It was a beautiful thing.” Duly reinvigorated, THE WINERY DOGS were finally aligned to record again by initially ensconcing themselves together in KOTZEN's intimate, cozy home studio in Southern California to jam on new material that was mainly created in the moment during many hours of face-to-face musical interaction. Always the driven and intuitive songwriter, KOTZEN displays a definitive M.O. whenever he's working out new songs in the studio by scatting melodies and putting forth short bursts of semi-improvised lines and phrases that will soon enough transform into sharply honed subject matter. “My attitude is this: when I'm in the studio creating new music, the last thing on my mind is, ‘How am I gonna do it live?'” KOTZEN admits. “The reality is, I may never get to where I'll do it live. What's relevant is getting the vision that's in my head, in my heart, and in my soul to come out of the speakers. If it gets to the point where the tour is booked, the dates are confirmed, and we all get back in the rehearsal room together, that's when you figure out, ‘OK, how do I interpret this in a way it can be delivered live, and still be the same song?'” III is the follow-up to the band's critically acclaimed and Billboard-charting album, HOT STREAK, which was released October 2, 2015 on Loud & Proud Records via RED (a division of Sony Music Entertainment). After landing in the Top Five on many of Amazon's pre-order charts, including #1 on the Amazon BestSellers/Hard Rock chart and #1 on the Amazon Pre-Orders/Hard Rock Albums charts, it sold 30% more than their 2013 self-titled debut, landing them on various Billboard album charts including #2 on “Top Current Alternative Albums,” #5 on “Top Current Hard Music” and “Top Hard Music Albums,” #6 on “Top Current Rock Albums” and “Album Core / Genre Rock,” #15 “Top Current Physical Albums,” #16 “Top Current Albums,” and #30 on the “Top 200 Albums” chart.

To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comIn our first Viewer Mailbag episode, I answer some questions from viewers. First up, I was asked to compare the APC Adder Tele neck pickup in the Crook Paisley with the Ron Ellis "Julian Lage" neck pickup in the Danocaster Blackguard. For completeness' sake,  I also bring out my original 1967 Telecaster and demonstrate its original neck pickup sound. Next, I cover some practice tips, and what I wished I had practiced when I was younger. I then get a bit preachy about bringing new, untested gear to rehearsals.Gear Used:Guitars:2019 Danocaster Blackguard with Ron Ellis 52T (Bridge) and Julian Lage (Neck)https://danocaster.com/2014 Crook Custom Vintage Paisley APC Adder (Neck) Peter Florance TE-60 (Bridge)http://www.crookcustomguitars.com/1967 Fender Telecaster - stock pickupsStrings: All guitars strung with D'Addario 9.5-44 strings EXL120+  https://amzn.to/3a5qxViAmp: 1967 Deluxe Reverb with Celestion V30 speakerCables: George L's.Effects: Mirage CompressorPower: Truetone CS6  https://amzn.to/38S9rZK #askzac #guitartech #telecasterSupport the show

Although I've interviewed Bernie Labarge on previous episodes, I had no idea that he had been gifted Domenic Troiano's famous Fender Telecaster until recently.In this episode, we discuss that fabled guitar & more!

We are joined by legendary guitar author and journalist Dave Hunter (Guitar Player, Premier Guitar, Vintage Guitar, The Fender Stratocaster, The Fender Telecaster, The Tube Amp Handbook and many more titles). Dave talks us through his latest book, Fender - 75 Years, a fascinating look at the history behind one of the most recognised and influential guitar brands of all time. Fender 75 Years is published by Motor Books and is available through all the usual book retailers online and instore. This episode is brought to you by Fretboard Biology  Fretboard Biology - the online guitar college created by Joe Elliott, ex Head of Guitar at GIT and McNally Smith Music College. Fretboard Biology Guitar Speak Podcast #146 - Joe Elliott - ex guitar head of GIT - launches Fretboard Biology Guitar Speak Podcast Links PayPal Tip Jar Visit us at guitarspeakpodcast.com Subscribe and find previous episodes at: Apple Podcasts Spotify Stitcher   Follow us on Facebook & Instagram   Contact us at guitarspeakpodcast@gmail.com

Diese Woche zeigt uns Kurt Härtl seine modifizierte Fender Telecaster Deluxe. Hier erfahrt Ihr Vieles zum Thema Telecaster Pickups, Clapton Mid Boost, Kondensatoren und mehr! ✅ Als Newsletter Abonnent bekommst Du immer automatisch die neuesten Zusatzmaterialien: Einfach auf unserer Website ► https://www.supergain.de für unseren Newsletter anmelden und schon ist es unterwegs! Du möchtest alle Zusatzmaterialen zu unseren Sendungen? ✅ WERDE PATRON AUF PATREON ► https://www.patreon.com/supergain ✅ UNSERE INHALTE Für alle, die es ganz genau wissen wollen: Tonabnehmer: NOwaxx HB 38 (Bridge und Neck, Spezialanfertigung für mich in Wide-Range-Gehäusen), NOwaxx S60 (Single-Coil, mittlere Position) Stegtonabnehmer: 1x 1MegOhm-Lautstärke-Poti, 1x 500kOhm Ton-Poti mit 3,3nF Kondensator Halstonabnehmer: 1x 500kOhm-Lautstärke-Poti, 1x 500kOhm Ton-Poti mit 39nF Kondensator 3-fach Toggle-Switch für Neck- und Bridge-Tonabnehmer Toggle-Switch für Single-Coil (on/off) Der Single Coil hat keine weitere Regler Fender (Clapton-)Mid-Boost mit Reglern für die Boost-Lautstärke und den Mitten-Anteil; dazu noch ein Schalter für On/Off. https://www.nowaxx.de ✅ UNSERE SUPERGAIN ONLINE KURSE: Blues Improvisation Vol. 1, Gypsy Jazz Basics - Begleitung, Fusion in the style of Robben Ford, und mehr: ► https://onlinekurse.supergain.de ✅ UNSERE SUPERGAIN WORKSHOPS ► https://www.supergain.de/workshops/ ✅ UNSERE SUPERGAIN FACEBOOK GRUPPE ► https://www.facebook.com/groups/super... #egitarre #gitarrelernen #gitarrenunterricht Enrico Coromines Michael Vochezer

The Band: A History sits down with former guitarist of The Band Jim Weider. Jim joined The Band in 1985 and remained their lead guitarist until the group dissolved in 2000 after Rick Danko's death. Known as one of the premiere Fender Telecaster players in the world, outside of The Band, Weider has played with Robbie Dupree, Dr. John, Graham Parker, Keith Richards, Scotty Moore and Bob Weir. Weider was also a member of the Levon Helm Band from 2009 until Levon's death in 2012 and has since created The Weight Band, which originated inside the barn of Levon Helm in 2012 when Jim Weider and Randy Ciarlante (former members of The Band), were performing "Songs of The Band" with Garth Hudson, Jimmy Vivino and Byron Isaacs. The Weight Band is getting ready to release their second album "Shines Like Gold" on April 1, 2022. You can find out more about the band, their music and their tour dates here: https://www.theweightband.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

The Band: A History sits down with former guitarist of The Band Jim Weider. Jim joined The Band in 1985 and remained their lead guitarist until the group dissolved in 2000 after Rick Danko's death. Known as one of the premiere Fender Telecaster players in the world, outside of The Band, Weider has played with Robbie Dupree, Dr. John, Graham Parker, Keith Richards, Scotty Moore and Bob Weir. Weider was also a member of the Levon Helm Band from 2009 until Levon's death in 2012 and has since created The Weight Band, which originated inside the barn of Levon Helm in 2012 when Jim Weider and Randy Ciarlante (former members of The Band), were performing "Songs of The Band" with Garth Hudson, Jimmy Vivino and Byron Isaacs. The Weight Band is getting ready to release their second album "Shines Like Gold" on April 1, 2022. You can find out more about the band, their music and their tour dates here: https://www.theweightband.com/

The Band: A History sits down with former guitarist of The Band Jim Weider. Jim joined The Band in 1985 and remained their lead guitarist until the group dissolved in 2000 after Rick Danko's death. Known as one of the premiere Fender Telecaster players in the world, outside of The Band, Weider has played with Robbie Dupree, Dr. John, Graham Parker, Keith Richards, Scotty Moore and Bob Weir. Weider was also a member of the Levon Helm Band from 2009 until Levon's death in 2012 and has since created The Weight Band, which originated inside the barn of Levon Helm in 2012 when Jim Weider and Randy Ciarlante (former members of The Band), were performing "Songs of The Band" with Garth Hudson, Jimmy Vivino and Byron Isaacs. The Weight Band is getting ready to release their second album "Shines Like Gold" on April 1, 2022. You can find out more about the band, their music and their tour dates here: https://www.theweightband.com/ Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

The Band: A History sits down with former guitarist of The Band Jim Weider. Jim joined The Band in 1985 and remained their lead guitarist until the group dissolved in 2000 after Rick Danko's death. Known as one of the premiere Fender Telecaster players in the world, outside of The Band, Weider has played with Robbie Dupree, Dr. John, Graham Parker, Keith Richards, Scotty Moore and Bob Weir. Weider was also a member of the Levon Helm Band from 2009 until Levon's death in 2012 and has since created The Weight Band, which originated inside the barn of Levon Helm in 2012 when Jim Weider and Randy Ciarlante (former members of The Band), were performing "Songs of The Band" with Garth Hudson, Jimmy Vivino and Byron Isaacs. The Weight Band is getting ready to release their second album "Shines Like Gold" on April 1, 2022. You can find out more about the band, their music and their tour dates here: https://www.theweightband.com/

Welcome to Sugar Maple, an eight-episode dramatic fiction podcast that features an original soundtrack. Fred Savage stars as Terrance Woodridge, a diligent documentarian obsessed with finding an amazing guitar of legend—before it finds him. This podcast centers on a Fender Telecaster, rebuilt using a scrap of mysterious wood and dubbed Sugar Maple, which passes by strange circumstance to eight different owners over the years and decades. Each owner discovers the guitar and writes a single song on it ... or is it, Terrance wonders, that the guitar writes a song using each of them? What pattern do the songs form? What power do they hold? And what will happen if Terrance can't solve the puzzle in time? Part adventure, part fantasy, this show will keep listeners entertained and on the edge of their seats, pushing the boundaries with plot twists and original music. Each episode focuses on a different character from a different era and a different genre of music. From 1950s blues to 1970s Motown to 1990s metal, the story and soundtrack takes listeners on a thrilling journey.Premieres March 15. Presented by Osiris Media. See acast.com/privacy for privacy and opt-out information.

You know that Clyde Phillips produced some of the world's most beloved series; Parker Lewis Can't Lose, Suddenly Susan and Nurse Jackie. But what you don't know is that the Dexter producer is an avid collector of string instruments? He joined hosts Clare Kramer and David Magidoff on a special minisode to tell us all about the pawn shop purchase that started it all, the other exotic instruments he owns, and how a guitar helps him watch TV! Only on Fanaddicts!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sue Foley has been putting out music for the last 30 years, issuing a remarkable 16 albums in that time. She hails from Canada, but spent her formative years in Austin, soaking up the scene and playing with a host of legendary artists. She's won a Juno Award, many Maple Blues Awards, and most recently, A Blues Music Award in 2020, garnering the Koko Taylor award in the Traditional Blues Female category. When the pandemic hit, she grabbed her musicians and hunkered down in a Texas recording studio. The result is Pinky's Blues, named after her pink paisley Fender Telecaster, it's some of the rawest, most immediate music she's ever laid down. She's also hitting the road to play the album for the people.She talks about working again with her friend, Jimmie Vaughan, on her song "Hurricane Girl," plus recording several interesting music videos for the new record, and how she's put together some basic, "how to" guitar playing videos on YouTube.

GA-20 was formed by friends Pat Faherty and Matthew Stubbs in Boston, MA in 2018. The project was born out of their mutual love of heavy traditional Blues, R&B, and Rock & Roll of the late 50s and early 60s. Faherty and Stubbs bonded over legendary artists like Lazy Lester, J.B. Lenoir, Earl Hooker, Buddy Guy, Otis Rush and Junior Wells. Feeling a void in current music, the duo have set out to write, record and perform a modern version of this beloved art form. Joined by drummer Tim Carman in 2019, GA-20 is a trio of 2 guitars, vocals and drums. Raw, passionate and honest performance, both on stage and in the studio, is the only goal. In June 2021 GA-20 announced the new album “GA-20 Does Hound Dog Taylor: Try It…You Might Like It!,” a 50th anniversary celebration of Hound Dog Taylor, to be released August 20 via Colemine Records in partnership with the legendary Alligator Records. Stubbs has spent the past 13 years as guitarist for Blues legend Charlie Musselwhite. During that time he has also backed up and toured with such Blues giants as John Hammond, James Cotton, Junior Watson and James Harman. Stubbs also leads his own original instrumental psych-rock band, 'The Antiguas.' Hound Dog Taylor as per Wiki “Hound Dog” Taylor was born with an abnormality: he had a sixth, very pinky finger on each hand. He grew up around Tchule and Greenwood in the Mississippi Delta, as did several other black blues musicians ( BB King , Albert King , John Lee Hooker , Muddy Waters , etc.). He made his first musical experiences playing the piano. He didn't really start playing the guitar until he was 21 years old. His musical style was strongly influenced by the then rising Elmore James . In his twenties he played in the Mississippi area, where he could be heard with Sonny Boy Williamson on the legendary radio show " King Biscuit Time ". But Taylor was expelled from Mississippi by the Ku Klux Klan in 1942 because he had a relationship with a white woman. He worked in Chicago as an electrician and other part-time jobs until the late 1950s. He also appeared as a guitarist in pompous night bars in southern Chicago. He was called “Hound Dog” because he was so fond of women and chased the steppe wolfish after them. During this time he changed his previously classic e-tuning to an energetic bottleneck style. In 1957 he finally devoted himself only to his music career. In 1960 he met the guitarist Brewer Phillips . The two became friends and formed the band The HouseRockers . With the first singles such as Baby Is Coming Home, Take Five and Christine , however, they met with little interest outside of Chicago. In 1965, drummer Ted Harvey joined the band. With him, the HouseRockers found their typically loud, hard blues accent with Taylor's rough voice and his slide play (bottleneck) on cheap Japanese guitars as well as Phillips' bass lines, which, played on a Fender Telecaster , replaced the missing bass. Bruce Iglauer , later Taylor's manager, got to hear the band for the first time in 1969 in Chicago's Eddie Shaw's. However, Iglauer's boss did not want to sign a record deal with Taylor. With its own financial support, Iglauer made it possible in 1971 to release Taylor's first record on the Alligator Records label . Without knowing it, he founded the now world-famous blues label. The album was a success with 9,000 records sold. The singles Give Me Back My Wig and It's Alright became the most famous songs. In 1973 the second record Natural Boogie came out on the market. --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

Sue Foley grew up in Ottawa, Ontario surrounded by music and a family of guitar players. After graduating high school, Sue headed West to Vancouver where she spent a couple of years on the coast before transplanting down to Austin, Texas upon the insistence of the legendary Clifford Antone. Since her 1992 debut “Young Girl Blues” on the Antone's label, Sue has recorded for Shanachie, Ruf, Blind Pig, and Stony Plain Records. Sue Foley has been riding a larger wave of success since her 2018 album, The Ice Queen. She won “Best Traditional Female (Koko Taylor Award) at the 2020 Blues Music Awards in Memphis, was nominated for a Juno Award (Canadian Grammy), and she took home the award for Best Guitar Player at the Toronto Maple Blues Awards. The Ice Queen reached #4 on the Billboard Current Blues chart, #1 on RootsMusic Report's Top 50 Canada album chart and was in the Living Blues radio chart for four consecutive months, peaking at #2.Including that win for Best Blues Album in 2001 for Love Comin' Down, Sue is a 4 time Juno Nominee . Foley also holds the record for the most Maple Blues Awards with 18 wins to her credit. Sue's new record, Pinky's Blues was released on October 22. It serves as a raw, electric guitar driven romp through the backroads of Texas, with Foley's signature pink paisley Fender Telecaster, “Pinky” at the wheel. Pinky's Blues is a collection of 12 songs, both original and some of Sue's favourite covers, that demonstrate not only that Sue is one of the world's greatest Blues guitarists, but that the sheer joy of playing can be felt through the recording in an emotional thrill for the listener. A vinyl version of the album in hot pink provides a dream item for fans, audiophiles and collectors. For more on Sue Foley visit: www.suefoley.com

There are so many different types of electric guitar such as a Fender Telecaster, Gibson SG, Ibanez JEM. Each one has its strengths and in this weeks episode, I am going to explain what they are, the players that use them and which one would be the best for you to buy. So if you think every electric guitar is the same check out this weeks episode to get the full story.

Hazel Savage is originally from Northeast England. She attended university, and studied politics. She's played the guitar since she was 13, and started out as a self taught player. Her first guitar was a cherry red Fender Telecaster, followed by a Fender Cyclone and a Danelectro Hodad. Recently, she's started getting more into collecting, grabbing a Gibson Goddess for her collection. She used to play in an all girl punk band in London, called Ginkinta.She worked part time in HMV, a records store, stocking shelves, putting CD's out, and gaining an understanding of the music world from the perspective of a customer. And I find it interesting that she doesn't miss the physical music products, as a large collection of CD's tend to weigh a lot and are hard to move across the country.After joining an incubator, she was paired up with her now co-founder, who is deeply technical and well versed in AI. Combined with her extensive knowledge of the music industry, they set out to change the face of music... and the fingerprints found inside it.This is the creation story of Musiio.SponsorsCourierImg.lyRoutableCTO.aiCloudways offers peace of mind and flexibility so you can focus on growing your business instead of dealing with server management. With Cloudways, you get an optimized stack, managed servers, backups, staging environment, integrated Git, pre-configured, Composer, 24/7 support, and a choice of five cloud providers: AWS, DigitalOcean, Linode, Google Cloud, and Vultr. Get up to 2 Month Free Hosting by using code "CODE30" and get $30 free hosting credit.LinksWebsite: https://www.musiio.com/LinkedIn: https://www.linkedin.com/in/hazelrebeccasavageLeave us a review on Apple PodcastsAmazing tools we use:This podcast is hosted on RedCircle, a FREE platform for podcasts and brands to scale their message. Want to record your remote interviews with class? Then, you need to use Squadcast.Code Story uses the 1-click product ClipGain, sign up now to get 3hrs of podcast processing time FREEIf you want an amazing publishing platform for your podcast, with amazing support & people – use Transistor.fmCredits: Code Story is hosted and produced by Noah Labhart. Be sure to subscribe on Apple Podcasts, Spotify, Pocket Casts, Google Play, Breaker, Youtube, or the podcasting app of your choice.Support this podcast at — https://redcircle.com/code-story/donationsAdvertising Inquiries: https://redcircle.com/brands

It's All About The [Iconic Rock] Bass! (Part 4) This episode of #ITWWSS takes another dive into the deep end of a bass guitar shaped pool, where reaching the bottom, we find some of Rock N' Roll's greatest recordings. All the bass players in this show have great skill, soul and their own distinct sound and style. I started playing cello at eight years old. Later in the elementary school orchestra. I wanted to play the upright bass, but I was too small to carry it. I picked up the guitar next. By the time I went to high school in 1967, the Summer Of Love had just taken place. The British Invasion was a few years in. The Doors and Jefferson Airplane just played at a local high school's football field. I'd begun playing guitar in middle school bands, made up of friends. I was playing clarinet in the school orchestra. The Byrds, Monkees, Seeds, Love, Buffalo Springfield, Doors and others were all performing all around L.A. I didn't know at the time that many of those soon to be legends lived about 15 to 20 minutes away, in Laurel Canyon. At about 16 I bought a used Gibson SG Bass, at Saul Betnums Music. Within a day or two, one of the few working high school bands I knew needed to replace their sick bass player, Ed Elowe for a Halloween dance, at a local park. The highly talented Steve Elowe walked me through as many of their songs as possible, including In A Gadda Da Vida, by the Iron Butterfly. I somehow got through the gig, got paid, and became a professional musician. (LOL) As I've been putting together this series of (radio show type) podcasts, the hardest part is choosing what to leave out. There are countless performances by many more bass players that I could ever fit in, plus all the greats I haven't heard of, yet. Part 5 is coming together nicely and I'll do my best to publish it during Black Music Month. It will be the last podcast in the series, but not even close to the last time I'll feature great bassists. I play the bass on all of my original and cover songs. I've only owned three basses in my life. The Gibson bass was traded in towards a new Fender Telecaster. I didn't by another bass until 1994. After the Northridge Earthquake, lots of retail stores had millions of dollars worth of damaged goods. I bought a new Fender Precision Bass that had fallen off the wall and had a gouge in it. As you can imagine, it was sold at a bargain price. I kept it for several years and used it on a few demos, but ended up selling it to a friend in Reno, Nevada. I bought another Fender bass last year, but this time went for a Jazz Bass. I love it to death! Bass is in my bones and DNA. I hope you love it even half as much and enjoy listening to my shows. Perhaps, you'll be inspired to pick up a bass and send me something you've recorded? I'll definitely listen and possibly include it in a podcast. @stewstrauss on Instagram and Twitter In this show you'll hear music from… Jethro Tull, Yes, Queen, Fleetwood Mac, The Beatles, Cream, Free, The Who, The Clash, Rush, Muse, U2, and Joe Walsh. A heavily British slanted show, no doubt. I came of age during the British Invasion and was heavily influenced by the music that followed. Bassists include… Glen Cornick, Chris Squire, John Deacon, John McVie, Paul McCartney, Jack Bruce, Andy Fraser, John Entwhistle, Paul Simonon, Geddy Lee, Chris Woltenholme, Adam Clayton, and George “Chocolate” Perry. Thanks for your continued support and patronage! Happy Listening!!! --- Support this podcast: https://anchor.fm/stewart-strauss/support

It's All About The [Iconic Rock] Bass (Part 4)   This episode of #ITWWSS takes another dive into the deep end of a guitar shaped pool, where reaching the bottom, we find some of Rock N' Roll's greatest recordings. All the bass players in this show have great skill, soul and their own distinct sound and style.  I started playing cello at eight years old. Later in the elementary school orchestra. I wanted to play the upright bass, but I was too small to carry it. I picked up the guitar next. By the time I went to high school in 1967, the Summer Of Love had just taken place. The British Invasion was a few years in. The Doors and Jefferson Airplane just played at a local high school's football field. I'd begun playing guitar in middle school bands, made up of friends. I was playing clarinet in the school orchestra. The Byrds, Monkees, Seeds, Love, Buffalo Springfield, Doors and others were all performing all around L.A. I didn't know at the time that many of those soon to be legends lived about 15 to 20 minutes away, in Laurel Canyon. At about 16 I bought a used Gibson SG Bass, at Saul Betnums Music. Within a day or two, one of the few working high school bands I knew needed to replace their sick bass player, Ed Elowe for a Halloween dance, at a local park. The highly talented Steve Elowe walked me through as many of their songs as possible, including In A Gadda Da Vida, by the Iron Butterfly. I somehow got through the gig, got paid, and became a professional musician. (LOL) As I've been putting together this series of (radio show type) podcasts, the hardest part is choosing what to leave out. There are countless performances by many more bass players that I could ever fit in, plus all the greats I haven't heard of, yet. Part 5 is coming together nicely and I'll do my best to publish it during Black Music Month. It will be the last podcast in the series, but not even close to the last time I'll feature great bassists. I play the bass on all of my original and cover songs. I've only owned three basses in my life. The Gibson bass was traded in towards a new Fender Telecaster. I didn't by another bass until 1994. After the Northridge Earthquake, lots of retail stores had millions of dollars worth of damaged goods. I bought a new Fender Precision Bass that had fallen off the wall and had a gouge in it. As you can imagine, it was sold at a bargain price. I kept it for several years and used it on a few demos, but ended up selling it to a friend in Reno, Nevada. I bought another Fender bass last year, but this time went for a Jazz Bass. I love it to death! Bass is in my bones and DNA. I hope you love it even half as much and enjoy listening to my shows.  Perhaps, you'll be inspired to pick up a bass and send me something you've recorded? I'll definitely listen and possibly include it in a podcast. @stewstrauss on Instagram and Twitter In this show you'll hear music from… Jethro Tull, Yes, Queen, Fleetwood Mac, The Beatles, Cream, Free, The Who, The Clash, Rush, Muse, U2, and Joe Walsh. A heavily British slanted show, no doubt. I came of age during the British Invasion and was heavily influenced by the music that followed. Bassists include… Glen Cornick, Chris Squire, John Deacon, John McVie, Paul McCartney, Jack Bruce, Andy Fraser, John Entwhistle, Paul Simonon, Geddy Lee, Chris Woltenholme, Adam Clayton, and George “Chocolate” Perry. Thanks for your continued support and patronage! Happy Listening!!!

Hur man än vrider och vänder så hamnar man alltid tillbaka på denna klassiker. Fölster resonerar runt låsbara ABR-1 stall. I veckans pryl pratar Ulf om en pedal som fascinerar honom.   I detta avsnitt: Fender Telecaster, Penn gitarrer, Greenwich Village Custom Guitars, Protocaster, Tonepros Locking Bridge, Hologram Electronics Microcosm, Don Mare, T-Bear

Brian speaks to Jason Isbell on the occasion of the release of the Jason Isbell signature Fender Telecaster. When they meet online, Jason is in Oklahoma making his film acting debut in the new Martin Scorsese movie.

Esta noche visitarán el Torrón Pizarro: Magos de la Fender Telecaster, genios del pedal steel y colosos de las armónicas gigantes, presentándonos unos instrumentales de mucho provecho y relumbrón. Además, claro, el habitual elenco de figuras mayestáticas de sus géneros favoritos. A partir de las 23.00 horas en la sintonía de Radio 3. Escuchar audio

I surprise studio legend Louie Shelton as we recall his younger years by pulling out a guitar like the one that started it all for him as Little Junior Shelton back in Little Rock Arkansas - a genuine vintage 1952 Fender Telecaster. Full video version can be viewed over on my YouTube channel youtube.com/c/rickhollis where you can subscribe and hit the notification bell to catch the show live and ask my guests questions via the live chat room.

The city of Bakersfield served as an unlikely centre of a new kind of country music, one tinged with electricity, which catapulted musicians Buck Owens and Merle Haggard to international acclaim.  We take a different approach for this show and interview a practitioner - Dallas Good of the Toronto-based Sadies. The Sadies have cross-polinated a number of styles, creating their own unique brand of contemporary music, which draws upon 60s garage rock, psychedelia, surf, roots and of course country. The Sadies have collaborated with the likes of Neko Case, Andre Williams, John Doe and Neil Young.  In this 12-minute podcast, Good discusses the influence of musicians Merle Haggard and Buck Owens. He also reflects on the importance of the Fender Telecaster and Mosrite guitars in the music, and pays homage to Don Rich, Roy Nichols and Clarence White of the Byrds and to the lesser-known session player Alvino Ray, considered to be the father of the pedal steel guitar. The interview fades out with a portion of the song “The Trial” from The Sadies.   Next episode, "Re-Coding California" - urban development and its challenges in the Golden State with UCLA's Jon Christensen.  Thanks for listening, subscribing and sharing. 

Episode 9 - Jim Weider   This week on The Keep Calm and Rock On Podcast, the KCRO crew is joined by guitar great, Jim Weider. Born in famed Woodstock, New York, Jim Weider is a true master of the Fender Telecaster. A session player for many years, Jim would join The Band in 1985 when the group reformed several years after "The Last Waltz". With Jim, The Band would release their outstanding comeback album in 1993 entitled "Jericho". Check out the opening track "Remedy" for an example of Jim's song writing abilities. He's enjoyed such career highlights as performing at the Berlin Wall concert produced by Roger Waters of Pink Floyd, the Bob Dylan 30th Anniversary Concert, and producing 6 internationally distributed guitar instructional videos for Homespun Video. The list of artists Jim has worked with reads long and proud. In addition to Levon Helm, Garth Hudson, and Rick Danko of The Band, Jim has also performed and recorded with Keith Richards, Bob Dylan, Scotty Moore, Graham Park, Los Lobos, Dr. John, Taj Mahal, Mavis Staples, Paul Butterfield, Bob Weir and countless others. Jim also performs as one fourth of Project Percolator, releasing the album "Pulse" in 2009. Currently, Jim is helping uphold the legacy of The Band by performing with The Weight, performing the songs of The Band.

rock falls aka Annie Reese joined us in the studio on her Birthday and we had a wonderful time. CAU Publicist Hannah Frank brought her in and Jeff Brown also joined us for this show. Equally adept on the Fender Telecaster and the ukulele with a hauntingly beautiful voice reminisent of the Jazz era female vocalists like Billy Holiday, Annie mesmerized us with her beautiful music.

This week I continue jacking my jaw about the five core guitars. This time it's about the Telecaster! Check out the video below where I play a Telecaster and review the Glendale Guitar brass replacement saddles. I talk a little about developing your ear, so you can trust your ear. You gotta be able to trust your ear.