Gear Breakdown: The Rolling Stones 1969 US Tour

The 1969 Rolling Stones’ tour of the United States, along with their subsequent concert album Get Yer Ya-Ya’s Out, is one of the most legendary tours and live albums in the band’s storied history. In this blog, we want to highlight the incredible gear used by the band during this period. The tour consisted of 24 shows over 30 days, marking the band’s first return to the States since 1966, following Brian Jones’ death and their infamous drug bust in 1967. Woodstock had just made shockwaves throughout the country in August, and with the Rolling Stones being one of, if not the hottest band in the world at this time, the stage was set for a tour of epic proportions. This tour is particularly notorious for the concert at Altamont Speedway in California, where clashes between the crowd and the Hells Angels ultimately resulted in a fan’s death. The concert, incident, and aftermath were captured on film and released in 1970 simply titled Gimme Shelter. For this blog, we will focus on the gear used by Keith Richards, and the band’s newest member at the time, Mick Taylor.

Starting with the legend himself, Keith Richards used a variety of guitars throughout the set to achieve different tones. Although he is well-known for his love of the Telecaster, Richards opted not to use one at all during this tour, favoring mainly Gibson instruments. The two guitars he used most were his 1957 Gibson Les Paul Custom for songs like “Jumpin’ Jack Flash” and “Street Fighting Man,” and his 1959 Gibson Les Paul in Sunburst with a Bigsby for other songs like “Honky Tonk Women.” Keith was one of the first to popularize playing a “Burst” in the 1960s, and he clearly favored this particular example with a Bigsby. The strong PAF pickups provided the aggressive attack needed to perfect his tone for those songs. We’re lucky at Well Strung Guitars to have several examples of these incredible guitars!

The last guitar we’ll focus on that Keith used during this tour is the newly acquired 1969 Ampeg Dan Armstrong Lucite guitar. This instrument gained significant exposure in Keith’s hands during this time and played a major role in popularizing both the guitar and bass models. These guitars were incredibly innovative, not only for their use of plexiglass as a body material but also for their easily interchangeable Bill Lawrence-designed pickups. We’ve been fortunate to have both the guitar and bass models, and we’re always amazed by their unique feel and sound; it’s no wonder Keith even showed Jimi Hendrix this new guitar during the tour!

Fresh from a short stint with John Mayall and the Bluesbreakers, Mick Taylor joined the Rolling Stones in June of 1969 after impressing both Jagger and Richards in the studio while recording Let It Bleed. In contrast to Richards’ arsenal of guitars, Taylor opted to use just one throughout the set: his 1963 Gibson SG Standard in Cherry. Taylor’s SG appears as an unmodified piece with a factory-fitted Bigsby B5 “Horseshoe.” He described his choice to use this guitar as follows: “I just remember loving that guitar – I must have loved it a lot, otherwise I wouldn’t have forsaken a Les Paul to play that. I played both, but I think I preferred that SG because it had a very wide neck, and a very flat neck, and the action was absolutely superb.” Based on the SGs we have from the same era, his assessment is spot on!

Bill Wyman also adopted a brand new instrument for this tour that later became his go-to model: the Fender Mustang Competition Bass. Wyman is seen throughout the tour wielding a 1969 Mustang Bass in the striking finish of Blue and another Mustang Bass in Orange. Charlie Watts played his newly acquired Gretsch Round Badge Kit in Black Diamond Pearl for the US Tour.

The Rolling Stones’ 1969 American tour, particularly the harrowing events at Altamont, marked a pivotal moment in the band’s history, reflecting the tumultuous spirit of the era. By examining the instruments used by the band, we gain deeper insight into their musical evolution and the unique sounds that define this iconic tour. Each guitar and bass tells a story, contributing to the raw energy and iconic performances that captivated audiences then and now. As we celebrate this remarkable chapter in rock history, we invite you to explore these incredible instruments and perhaps find one that resonates with you. Whether you’re a seasoned musician or a passionate collector, the legacy of these guitars continues to inspire. Reach out to us to discover the perfect piece for your own musical journey!

Works Cited

“Gibson | Les Paul Custom (Serial No. 7 7277) | the Metropolitan Museum of Art.” The Metropolitan Museum of Art, 2019, www.metmuseum.org/art/collection/search/754376. Accessed 25 Oct. 2024.

Gimme Shelter. Directed by David Maysles et al., Cinema 5, 6 Dec. 1970.

Marc Myers (16 November 2010). “The Rolling Stones at the Altamont Speedway – WSJ”. WSJ. https://www.wsj.com/articles/SB10001424052748704361504575552162427609400

“Mick Taylor – Gibson SG.” Iconicguitar.com, 2020, www.iconicguitar.com/2011/08/mick-taylor-gibson-sg.html. Accessed 25 Oct. 2024.

Stones Fan Channel. “1969 U.S. Tour – Gear Used by “the Rolling Stones.”” YouTube, 13 May 2019, www.youtube.com/watch?v=bj2ym7EFeoU. Accessed 25 Oct. 2024.

DeArmond Amps

With our recent addition of amps to our website, we want to shine a spotlight on one amp manufacturer we feel deserves way more attention for their unbelievable quality; DeArmond Amps. Most know the brand for its revolutionary archtop pickups, but in the late 1950s to 1960s, DeArmond offered an entire amp lineup with a groundbreaking tone. 

Based in Ohio, Harry DeArmond created his first pickup in early 1935 out of repurposed automotive parts, and later that same year officially started DeArmond Research. Soon after, DeArmond partnered with fellow entrepreneur Horace Rowe of Rowe Industries. Rowe specialized in manufacturing small motors and had a production facility in their shared town of Toledo, Ohio. At DeArmond’s insistence, Rowe used his experience with motor production to shift focus to guitar pickup manufacturing and thus began a multi-decade partnership that spawned many revolutionary inventions.

One of the most notable came in 1941, with the advent of the Model 60 Tremolo Pedal; widely regarded as the first effects pedal ever made for the public market. This pedal was immediately put to use by musicians for a unique sound, with notable early adopters such as Bo Diddley and Les Paul himself. 

With the rise of the electric guitar in the 1950s, DeArmond and Rowe decided to shift focus and create a new line of amplifiers in various sizes; with most models utilizing an onboard version of their popular Tremolo Control pedal. These new amps were referred to based on their wattage, with the smallest being the R5, followed by the R15, and finally the R25. Amps with the onboard Tremolo received a -T suffix, and all Tremolo-equipped amps featured rate and depth control knobs to further tune the sound to the player’s liking. This effect can be toggled on and off with the included brown footswitch, and most of the examples we have still retain the original switch! Internally, the circuits and components were very similar to the Fender amps of the era, with the R5 being the “Champ” of the line, the R15 as the “Deluxe” and the R25 as the “Super” equivalent. All featured Jensen speakers, and utilized 12AX7 preamp tubes and 6V6GTs, aside from the R25 which used 6L6 power tubes. Little is known about the production history of DeArmond’s line of amps, with exact dates and production numbers unknown to this day. Based on our inventory and what we’ve seen in the marketplace, these amps were likely only produced from late 1959 until 1964. 

The sound of all of these amplifiers is truly astounding, with bright clean tones at low volume, snarling overdrive, and great breakup the higher and harder you push the amp. The distortion sounds remarkably natural and full with an aggressive attack and searing top end. The onboard tremolo is useful as well; with the capability to add a subtle tonal dimension or an in-your-face tremolo effect. 

In summary, we’re extremely proud of our collection of DeArmond amplifiers, and we couldn’t be happier to offer these for sale! If you’re looking for a compact amp with a huge vintage tone, any of these models are for you! Be sure to check out our inventory of DeArmond amps HERE!

Works Cited

“DeArmond Numbered Products.” Music Pickups, www.musicpickups.com/dearmond-numbered-products/. Accessed 11 July 2024. 

“DeArmond Company History.” Music Pickups, www.musicpickups.com/company-history/. Accessed 11 July 2024. 

“History of DeArmond.” DeArmond Pickups, dearmondpickups.com/history/. Accessed 11 July 2024. 

The History of Gibson’s “Burst” by Year

Nearly 70 years after the first Sunburst Les Paul, hardly any other model rivals the desirability and fame of the iconic “Burst” produced from 1958-1960. At Well Strung Guitars, we’re incredibly fortunate to have several examples from each year of Burst production. In the following text, we’ll describe the year-to-year differences during this golden age of Gibson’s history. 

By the mid-50s, Gibson’s Les Paul production consisted of the Junior, TV, and Special as “entry” level options, the Goldtop as the “standard”, and the Custom as the “deluxe” model. While initially popular, sales and shipping totals for the Goldtop sharply declined after 1954, with shipping totals going from 2,245 units shipped in 1953 to 862 just two years later. Despite upgrading the Goldtop with humbuckers in 1957, it was clear Gibson needed to make a big change to keep the model interesting to consumers, and most importantly profitable. This change occurred during the summer of 1958 when the gold finish was deemed a big reason for this sales slump. Before the Summer NAMM Show, Gibson dropped their gold finish and instead offered a striking cherry sunburst option as the new Les Paul Standard. 

1958

Hardly anything besides the finish changed from the ‘58 Goldtops to the ‘58 Bursts, with all of the specs carrying. This translucent finish forced Gibson to adjust their maple top installation from mismatched pieces of wood and often off-center seams. Each Les Paul now received a book-matched maple top with a center seam for a clean aesthetic. Each top had its own identity, with some more figured or flamed than others. This created a lot of variety and personality from guitar to guitar. 

The 1958 Standard is notable for having the largest neck of the three-year production, with a few examples from our inventory measuring as big as .96” at the first fret and 1.02” at the twelfth fret. The fret wire used was the same standard Gibson sizing of .07” wide. The Kluson single-line Deluxe tuners and the ABR-1 bridge also remained the same from the 1958 Goldtop. The PAFs were all black bobbins at this time and used Alnico magnets and #42 enamel-coated wire for the windings. These early PAFs generally range in the 7.5K to 8.5K output range; great for crisp cleans and strong overdrives. Due to production starting mid-year, the 1958 Burst is the most limited with Gibson shipping ledgers putting the total for the year (including some Goldtops) at 434 guitars. The Les Paul Standard retailed for $265.00 in 1958, and the Brown Lifton Hardshell Case (instead sometimes a shapely case known as the “Cali-Girl” Case) went for $47.50. 

1959 

1959 marked the model’s first full year of production. Today, these are also the most sought-after examples due to a few minor spec changes. Bursts produced in early 1959 feature a slightly more refined neck shape, often measuring .92” at the first fret and 1” at the twelfth amongst examples found in our showroom. Later in the year, this change was paired with a slightly wider fret wire to make playing and bending easier. Another minor difference is that some of the PAFs now featured white-colored bobbins; simply because Gibson’s supplier had run out of black plastic! As a result, some PAFs are a mixed set of black and white bobbins (‘Zebra’) and some are both white bobbins (Double Whites). These changes are the only real differences over the year before, with everything else remaining more or less the same. Shipping totals for this year increased to 643 Bursts.

For 1958, 1959, and even some early 1960 examples, it was quickly noted that the aniline-based red dye used on the top rapidly faded. This dye was extremely sensitive to UV light, and could almost completely disappear if left exposed long enough. Since many of these guitars were displayed in shop windows to catch customers’ attention, as a result, many surviving examples from these years have faded tops. Remnants of the red are normally preserved under the pickguard and pickup cavities, and these areas more-or-less represent the original shade of the now-faded red.  

1960

This fading issue was addressed in the following year, amongst other small adjustments. Early 1960 examples (known as the ‘Double 0s’ for their ‘0 0XXX serial numbers) are extremely sought after because they share all of the same appointments and specs as the 1959 examples, fading and all! Early on in the year, the necks were thinned down to a very slim, almost flat profile. Some of our examples measure .8-.84” at the first fret, and the twelfth fret neck depth ranges from .88-.94”. The wider fretwire remained unchanged throughout the year, as well as the rest of the components. The biggest visual difference is the UV-resistant cherry red dye used for the sunburst in the second half of 1960. Many of these examples have nearly the same vividness as when they left the factory over 50 years ago, and have taken on the moniker of “tomato soup” burst due to the especially bright shade of red! Shipping records show that 635 Les Paul Standards were completed this year, for a total of roughly 1,500 pieces since 1958. 

At the close of 1960, despite the overhaul and striking Sunburst finish, sales did not improve and a more extreme change was needed to improve sales. The entire “Les Paul” design was abandoned across the entire line, and the bold “SG” shape was released under the Les Paul Model name. Thus ends the short, but indelible run of the Les Paul “Burst”. Most of the popularity of this legendary model came almost a decade later when the likes of Eric Clapton, Keith Richards, Jimmy Page, and many others were seen playing a Burst in the late 60s into the 1970s. Naturally, many players wanted to emulate these incredible players. Check out our other blog post on Led Zeppelin’s gear used on their Royal Albert Hall performance HERE to see one in action!

Works Cited

Duchossoir, André R. Gibson Electrics – the Classic Years. Hal Leonard, 1994. 

Fuzzfaced.net, Les Paul Standard – Burst Mania,    https://www.fuzzfaced.net/les-paul-sunburst-1958-1959-1960.html

Meiners, Larry. Gibson Shipment Totals 1937-1979. Flying Vintage Publication, 2001. 

“Vintage Gibson Solid Body Model Descriptions.” Vintage Guitars Info, www.guitarhq.com/gibson5.html. Accessed 22 Apr. 2024.

Guitar Highlights: Jack Penewell’s 1932 Gibson Twin-Six

We’re honored to have such an incredible piece of history – this remarkable guitar is a 1932 Gibson “Twin-Six” Double Neck, custom-made for guitarist Jack Penewell.

Born in 1897 in Madison, Wisconsin, Penewell began learning lap-steel guitar in high school, and it wasn’t much longer until he was performing in Vaudeville acts throughout the country. Penewell was an incredibly popular guitarist throughout the 1920s, appearing on numerous radio stations and recordings. These live radio performances marked his big break and expanded his audience greatly. In turn, Penewell became one of, if not the most popular guitarist in America during his time. His biggest hits include “Hello Aloha” and “Hen House Blues,” which both exhibit Penewell’s mastery and creativity on guitar. In the earlier 1920s, he placed a custom order with Oscar Schmidt Stella for a fretted ‘double six’ guitar, or as Penewell dubbed it, the “Twin Six.” Penewell explained his desire for a double-necked instrument as follows: 

“My main reason for inventing the Double-Neck guitar was to get a wider range of harmony and chords, as you were very limited on only six strings no matter how you tuned it… I used to do a lot of solo work, sometimes using four guitars on stage all tuned differently. Not only that, but if you should break a string on the stage in front of a large audience, you were up against it and it would throw the whole guitar out of tune. So here was a very good point for the double-neck. Also, combining the major and E-7th tunings together made a sensational effect”

Penewell is credited with inventing multi-necked guitars in both Hawaiian and Spanish styles and even developed a guitar with four necks as early as 1924. He continued to use this layout for the rest of his career, playing both Spanish fretted and Hawaiian Lap Steel styles! 

Looking closely at this example from 1932, we can see a few “firsts” for Gibson. This guitar is widely considered to be the first and perhaps only acoustic double-neck Gibson ever made. The words “Sample” can be seen inside of the body handwritten on the top bracing. It features a 4-3/4″ thick body with a spruce top, highly figured maple back and sides, and a gorgeous pair of curly mahogany necks with intense figuring throughout. One of the coolest parts of the guitar is the conjoined headstock, which is custom-inlaid with Penewell’s name and his signature name for this model, “Twin Six.” Adorning the headstock are twelve gold Grover Sta-Tite tuners that still work well and even retain some of their gold plating. Since this is a lap steel guitar, the “frets” on both necks are actually flat inlays. Luckily, we have one photo below of Mr. Penewell illustrating how he’d hold and play the guitar, wearing several fingerpicks on his right hand for quick and precise control. The neck closer to the player is tuned to standard ‘EADGBE’ and the further neck is tuned to ‘DGDGBG’. The original bridge seems to have been secured to the top of the body with three bolts but has since been replaced with a handmade bridge. The original still remains in the case. The guitar has been professionally and meticulously cared for, with a repair history included. This particular double-neck is truly a stunning piece of Gibson and music history. For more pictures and specs, head to the listing here!

Works Cited

“Jack Penewell and His Twin Six Guitar.” WISCONSINOLOGY, wisconsinology.blogspot.com/2011/02/jack-penewell-and-his-twin-six-guitar.html. Accessed 12 Mar. 2024.

Jack Penewell, ‘Steel Guitar Design Changes’, Music Studio News 14/1 (1956)

Jack Penewell Collection, 1897-1973 – Catalog – UW-Madison Libraries, search.library.wisc.edu/catalog/999825268902121. Accessed 12 Mar. 2024.

“Steel Guitar Ace: Photograph.” Wisconsin Historical Society, 19 July 2011, www.wisconsinhistory.org/Records/Image/IM83303. 

Guitar Highlights: Sandy Coker’s Leather Wrapped 1959 Telecaster

In the early 1950s, a new fad emerged that still excites and awes us to this very day; the hand tooled leather wrapped guitar! Deeply rooted in Country and Western, the leather wrapped guitar style became a way for stars to promote their brand and style. It paired extremely well with cowboy boots, hats and nudie suits and completed the look a lot of musicians were going for at the time. It also happened to protect the instrument from the wear and rigors of touring throughout the country night after night. Several mega stars of the time, such as Elvis Presley and Buddy Holly, were seen sporting guitars with leather wraps, and droves of other musicians soon followed. These wraps were often made by the artists themselves, like Buddy Holly who made a wrap for his J-45, or other local craftsman would perform the work.

In terms of construction, the leather wrap would just cover the body, with the front section of leather highly decorated with flowers, western themes and usually the musician’s name. This was done by moistening the leather, and pressing heated tools into the surface to permanently emboss a design. A long thin leather piece wrapped around the entire perimeter of the body, while the front and back pieces were stitched along the corners. Once installed, the wrap would be securely fastened and would require undoing the stitches to remove the wrap from the guitar body. We’re lucky to have a later 1970s leather wrapped guitar made for Roy Orbison, where the two halves are held together with velcro so the wrap could easily be removed! More often than not, electric guitars were the primary candidate to be leather wrapped, as covering an acoustic guitar would dampen the sound drastically. 

We’re extremely lucky to have a few original examples from the era, and we’d like to highlight this particular example from 1959 that belonged to Western Swing guitar player Sandy Coker! Sandy came from a very musical family where his older sister Alvadean, and father Alvis Sr. were both professional musicians. By the time he turned 13, the trio had moved to Hollywood, and were signed with Abbott Records as “The Coker Family.” Sandy and his older sister performed together throughout the 1950s, and later he ventured into his own personal projects. 

Looking at his guitar, right away we can see a beautiful contrast between the dark stained leather, and the white stitches and white raised design. Up close, you can see the sheer time and precision needed to work the leather to form the design, and running your hand over the wrap to feel the texture is unbelievable. The painted white flowers and “SANDY” have taken on a beautiful cream-like patina, and some of the black areas show traces of brown highlights. It also appears to protect the colors of the leather wrap, the whole shell has been clear coated for a slight sheen.

Underneath the wrap, we can see the untouched Blond finish poking through in some areas. The craftsman who performed this work for Mr. Coker signed his name on the back of the leather as Ron McCarn. This guitar must’ve went on to be Mr. Coker’s favorite, as evidenced by the wear throughout and that the back of the neck has been played to bare wood for an incredibly comfortable feel. Some other small modifications, such as the large screw string tree and wooden switch tip, really bring Mr. Coker’s personality to life; and they’re all perfectly preserved in this piece! On the back there seems to be two holes through the leather into the body, most likely from the “Go Around” Waist belt popular at the time. As if that all wasn’t enough, the matching tooled leather strap with “SANDY” in white is also included!

For more information and images of the guitar, check out the full listing here.

Works Cited

The Coker Family. “We’re Gonna Bop: The Complete Coker Family Recordings on Abbott and Decca: 1954-1957.” 

McKee, David. “Sandy Coker – Meadowlark Melody / Toss over – London – …” 45cat.Com, www.45cat.com/record/hl8109. Accessed 31 Jan. 2024. 

Sandy Coker | Discography | Discogs, www.discogs.com/artist/2050038-Sandy-Coker. Accessed 31 Jan. 2024. 

Gear Breakdown: The Beatles Rooftop Concert

Of all the legendary performances throughout the 1960s, few matched the spontaneity and uniqueness of the Beatles’ January 1969 concert on top of Apple Corps HQ in London. With the 55th Anniversary of the concert coming up at the end of this month, we felt it only fitting to spotlight this legendary event. With cables and equipment strewn about, all of the gear and instruments used during the performance were on full display. For this blog, we will focus primarily on gear used by John Lennon, Paul McCartney, and George Harrison.

This surprise concert is immortalized on the Beatles’ final album, Let It Be, including four (or five, depending on the version) tracks recorded during their rooftop performance. Providing an even more in-depth look, Disney+ released an AI-remastered documentary titled “Get Back” in 2021. Using footage shot before, during, and after the performance, this doc provides a detailed behind-the-scenes look at the events leading up to the concert. After several tense sessions at Twickenham Studios working out new material, the Beatles set the date, January 29th, 1969, to take to the roof and surprise Londoners with a sneak peek of their new material. After bad weather pushed the date to the 30th, it was now or never for the impromptu concert. 

For clarity, we will focus on each band member’s equipment individually, starting with Sir Paul McCartney. He uses his trusty 1963 Hofner 500/1 Violin Bass throughout the performance, sans pickguard, adorned with a blue (it appears green in the documentary due to the film restoration process) “Bassman” sticker, undoubtedly from the silver face Fender Bassman amp he’s plugged into for the duration of the performance. It seems that throughout the sessions and rooftop concert, Paul is using Rotosound black nylon tape wound strings on the bass for a slightly different output and feel. During rehearsals at Twickenham Studios, Paul used another one of his original Hofner basses that he had refinished (and was later stolen while he was with Wings). 

Moving onto John Lennon, he is seen throughout the studio sessions and live performance with his trusty 1965 Epiphone Casino. George and John acquired Casinos after seeing Paul play his small headstock 1964 Casino on the track “Ticket to Ride.” This instrument was initially finished in Sunburst. After using the guitar extensively throughout their 1966 live tour dates, John first modified this Casino while recording Sgt Pepper’s Lonely Hearts Club Band by spraying the back of the guitar with black and silver spray paint. Shortly after, the guitar was stripped down to its bare maple and mahogany wood finish and sealed with a thin clear coat. By this point, its pickguard was also removed. This is how the Casino appears during the Rooftop concert and how it remains to this day. John relied on the Casino’s hollow construction and dual P-90s to give a throaty, distorted tone, which he used to great effect, especially with his lead guitar track on “Get Back.” 

John is plugged into a silver face “drip edge” Fender Twin Reverb amp for the entire show. In the lead-up to the concert, John was seen playing presumably a 1967 or 1968 Fender Bass VI in Sunburst, mostly on tracks like “Let it Be” or “The Long and Winding Road” when Paul played the piano. 

Lastly, we have George Harrison, who used his custom-made Rosewood Telecaster. While John’s Casino and Paul’s Hofner are synonymous with the Beatles and famous in their own right, this Rosewood Telecaster became one of the most memorable instruments from the Rooftop concert. As explored in our other blogs, Fender feverishly experimented with the Telecaster model throughout the late 60s, as seen through their many prototypes and the development of the Thinline Telecaster.

Built by Fender Head of R&D Roger Rossmisel and assisted by Phil Kubicki, the Rosewood Telecaster prototype built for George featured a two-piece back and two-piece front, with a thin veneer of maple sandwiched between the two slabs of rosewood. To alleviate some of the weight from the incredibly dense rosewood, the guitar’s body was chambered to make it easier to play for long periods. The Rosewood neck is made like a slab-board neck, where the truss rod is inserted from the top, and the fretboard is glued over that. The electronics were completely standard for a catalog Telecaster at the time, and the overall guitar looks to be sealed in a matte finish. In the footage from the concert, you can see that George, like John, has his Rosewood Tele plugged into a silver face “drip edge” Fender Twin Reverb amp.

This Rooftop Concert would be the Beatles’ last public performance of their storied careers. All the gear used, clothing worn, and even the weather experienced are immortalized in the images and sounds recorded that day. Luckily, with modern technology, a new generation has been exposed to this legendary event in stunning high definition, thanks to Peter Jackson’s Get Back. If you haven’t seen it after reading this blog, check it out on Disney+!

Cover Photo Courtesy of Apple Corps

Works Cited

Babiuk, Andy. Beatles Gear: All the Fab Four’s Instruments, from Stage to Studio. Backbeat, An Imprint of Hal Leonard Corporation, 2015.

Jackson, Peter, director. Get Back, Disney.

Poulter, Rory. “The Beatles and Their ‘winter of Discontent’ in Twickenham Wins Fans around World in New Landmark Documentary.” Twickenham Nub News, 18 Apr. 2022, twickenham.nub.news/news/local-news/the-beatles-and-their-winter-of-discontent-in-twickenham-wins-fans-around-world-in-new-landmark-documentary.

Woolhouse, Luke. “Celebrating 50 Years – The Beatles Rooftop Concert Gear Guide.” PMT Online, PMT Online, 29 Jan. 2019, www.pmtonline.co.uk/blog/2019/01/29/celebrating-50-years-beatles-rooftop-concert-gear-guide/.

Early Guitar Plastics

Throughout the 20th-century guitar-building golden age, manufacturers continually pushed the envelope with their instruments’ craftsmanship, playability, and use of emerging materials, namely their plastics. At present, it’s outlandish to think plastic goods were once considered rare. However, it wasn’t until World War II that plastic was brought to the forefront of manufacturing materials. Before plastic, natural materials such as bone, ivory, and tortoise shell were used for various purposes, such as pickguards, inlays, and binding. Along with wartime complications, companies had long faced shortages and high prices due to overhunting and government regulation. This disrupted the means of production and supply chain and forced companies to modify the materials used in fabrication.

One of the first viable commercial “plastics” used was celluloid. This compound was commonly used in combs, small boxes, and other small household items towards the end of the 19th Century and was later utilized in film for cameras. Celluloid is synthesized by first “nitrating” cellulose, combining it with sulfuric and nitric acid that is then rinsed, drained, and dried. This leaves the chemist with nitrocellulose. Next, the nitrocellulose is then kneaded with fillers, dyes, and other chemicals, such as Camphor, to create a gel. This gel can then be pressed into a finished sheet and cut into squares of celluloid. This is obviously a very brief simplification of the full chemical process, so for anyone interested in the exact science, we recommend the journal linked at the bottom of this blog post in our works consulted.

Celluloid became the go-to material for components like binding and guitar picks. This material also became the standard for pickguards, especially in an imitation tortoise pattern commonly seen on guitars of the era. “Green” pickguards seen from Fender in 1959-1964 also use this celluloid material.

Aside from their flammability, one drawback to these early plastics is that they are prone to shrinking, warping, and “off-gassing.” Off-gassing can occur randomly when the plastic and trapped chemicals inside the object break down. You will often see fogging or an oily appearance on the surface, and the fumes commonly corrode metal components surrounding the plastic. 

The next giant leap in manufacturing came with injection molding, which allowed manufacturers to easily create 3D molded objects, like knobs and pickup covers. Essentially, liquid plastic is pumped into metal forms, leaving some of the mold’s marks and seams visible. Fender used this technology extensively, especially on the Stratocaster. We’ve written about this type of plastic specifically on our earliest Stratocasters in our blog post here. As discussed in our previous blog post, this well-known “Bakelite” plastic is actually polystyrene, infamous for being as fragile as porcelain. In some cases, you can see the swirling of poorly mixed plastics as they were injected into the mold. This flaw is easiest to see on pickup covers.

As Fender sought a more robust material to improve this fragility, they found their answer in 1957 with the newly invented ABS plastic. Still widely used today, ABS is a mixture of various compounds and chemicals forming a reliable plastic that can easily be used for injection molding. This also explains why plastics on Fenders of this era can have a yellow tint, as this plastic tends to yellow with time. 

To bring this full circle into the modern day, new plastic materials such as Delrin, PVC, and Nylon are currently used, in addition to ABS. There’s still something magical about those early plastics, and even more so in the way they age, whether it be the subtle warping of a celluloid pickguard, the smokiness of an ABS pickup cover, or even the fragility of a polystyrene tone knob. Each example harkens back to a time when the industry was just in its infancy! 

Works Consulted

Calvosa, Antonio. “Stratocaster Knobs and Pickup Covers.” FUZZFACED, www.fuzzfaced.net/stratocaster-knobs.html. Accessed 7 July 2023. 

Kelly, Martin, et al. Fender: The Golden Age. Cassell Illustrated, 2011. 

Reilly, Julia A. “Celluloid Objects: Their Chemistry and Preservation.” JAIC Online, 1991, cool.culturalheritage.org/jaic/articles/jaic30-02-003_3.html.

Smith, Richard R., et al. Fender: The Sound Heard ’round the World. Hal Leonard, 2009. 

Wheeler, Tom. The Stratocaster Chronicles: Fender: Celebrating 50 Years of the Fender Strat. H. Leonard, 2004.

Early Stratocasters with Tremolo Cover Serial Numbers

Following the 1950 release of their wildly popular “Blackguards,” Leo Fender wanted to design a new guitar that he hoped would soon eclipse anything else on the market. As local musicians often dropped by the Fullerton factory to show off their homemade modifications to their Fender guitars, a new iconic guitar emerged out of these suggestions.

One of Leo’s favorite “guinea pigs” to field test these new modifications was legendary Western swing guitarist Bill Carson. We have Mr. Carson to thank for the highly comfortable contours on the Stratocaster after he stunned Leo with the rounded forearm contour and hack-sawed tummy contour he added to his Telecaster. Fender borrowed the initial body shape design from the Precision Bass, further refined by Freddie Tavares, and combined it with Mr. Carson’s contouring to create an exceedingly comfortable and ergonomic body shape. The necks on this new model were identical in construction to that of the Telecaster and Esquire, made wholly of maple with a walnut “skunk stripe” in the channel for the truss rod. The significant deviation from Fender’s previous neck design was with the headstock. It still featured six in-line tuners on one side of the headstock but had a much more exaggerated shape than the Telecaster’s headstock. After perfecting the new Tremolo design and working out the pickups, Leo was ready to present the new guitar. All it needed was a name, and thanks to Don Randall, this model was dubbed: The Stratocaster.

To spread the word of the new model before Fender’s official announcement in April of 1954, roughly 200 Stratocasters were made and given to salespeople to take with them across the country. Fender hoped to dazzle dealers with the revolutionary model, prompting them to order store stock. One unique feature of these sales samples was that their serial numbers were stamped right into the plastic rectangular plate that covered the spring cavity, commonly known as the tremolo cover/plate. This serial series started at 0100 and terminated at around 0300. After this, any mainline Stratocaster received the standard neck plate serial number, this time starting over at 0001.

We’re incredibly fortunate at Well Strung Guitars to have multiple Trem cover serialized Stratocasters for sale in the showroom. It’s fascinating to see them compared to each other and later 1954 Stratocasters from the regular serial series! Since these Tremolo plate Strats were some of the first made, it was only natural that Fender would make changes and improvements as more feedback trickled back to the factory.

One of the most pronounced visual differences between the Tremolo plate Stratocasters and those made after is the absence of an amber tint to the natural wood of the Sunburst. Instead, the center of the burst is merely the coloring of the ash underneath, and only the last few of the Tremolo plate serial number Strats saw amber applied.

The next most notable difference is the shape and composition of the plastic components. More often than not, the plastic components on these early Strats are said to be Bakelite, but according to Tom Wheeler in The Stratocaster Chronicles:

“The single-layer pickguard, knobs, and pickup covers [and switch tip] were made of a brittle plastic similar to Bakelite; in fact, it is often mislabeled Bakelite”

In actuality, this material was a polystyrene thermoplastic; an early but very fragile medium for injection molding plastics at the time. All the plastic parts, except the pickguard and tremolo plate, were injection molded, while the pickguard and tremolo plate were stamped out of a different plastic formula. Even then, these Styrene plastics were brittle, and they definitely still are today! The specific shape of the knobs and switch tips were also unique to these early examples. The knobs were a bit more square, with no taper and a smaller space for the numbers, known as the “Short Skirt” knob. The switch tip had a “football” style shape. In age and time, the Styrene knobs and pickup covers can develop a type of translucency, where you can even see the flow of the injection molding process. 

Another trait all of our Tremolo Cover Stratocasters share is a chunky neck. They are quite consistent among the few examples we have. There’s a slight variance in the first fret neck depth, ranging from .93”-.97”, and a twelfth fret neck depth across the board at 1”. The weights of each are also more or less consistent, with them all being about 8 lbs. Like some Telecasters at the time, all of these early Stratocasters came in brown “Poodle” form fit cases made by Bulwin. Fender’s famous Tweed case didn’t appear until late 1954. Initial orders were slow, as Telecaster sales remained strong.

Some research suggest that less than 300 Stratocasters were shipped by the end of the year! As described in Fender: The Sound Heard’ Round The World:

“The Telecaster was still so new. Even when we came out with the Stratocaster, that newness hadn’t really worn off.”

Year after year, sales of the Stratocaster would increase, thanks to the likes of famous artists like Buddy Holly, who were seen performing with the Stratocaster throughout the 1950s. The rest, as they say, is history!

Works Cited

Calvosa, Antonio. “Serial Numbers: Strats Made in USA.” FUZZFACED, www.fuzzfaced.net/stratocaster-serial-numbers.html. Accessed 18 May 2023. 

Kelly, Martin, et al. Fender: The Golden Age. Cassell Illustrated, 2011. 

Smith, Richard R., et al. Fender: The Sound Heard ’round the World. Hal Leonard, 2009. 

Wheeler, Tom. The Stratocaster Chronicles: Fender: Celebrating 50 Years of the Fender Strat. H. Leonard, 2004. 

Gear Breakdown: Led Zeppelin at the Royal Albert Hall

At the end of 1969, one of the most eventful years in modern music history, no one could prepare for the sound that would emerge to define the new decade: Led Zeppelin’s performance at the Royal Albert Hall on January 9th, 1970. The concert meant a great deal to the band, as Jimmy Page describes: 

“The Albert Hall was a massive gig for us, and we really wanted to do the best we could. It was a magic venue. It was built in Victorian times, and you’re in there thinking about all the musical history that has preceded you. On top of that, it was something of a homecoming for John Paul Jones and I, because we had both grown up around there. So we were all really paying attention to what we were doing.”

This concert still stands as one of the best performances of all time because of the controversy around its professional filming. After the show, the footage was quickly abandoned due to technical filming errors and overall poor video quality. However, as with many other Led Zeppelin performances, concert-goers created bootlegs widely viewed for decades until the band eventually released the footage in 2003. 

Regardless of the medium – bootleg or official release – anyone who watches the performance cannot deny the musical power unleashed by the band. As a result, the gear they used throughout the show will forever remain in our collective memory. For the purposes of this blog, we will focus on the instruments used by John Paul Jones and Jimmy Page.

Starting with the band’s low-end thump, we can see John Paul Jones with his trusty 1962 Fender Jazz Bass in Sunburst, purchased new in 1963. Jones wields the bass throughout the show, and it continued as his primary workhorse during the Zeppelin years until he retired it in 1975. Like many musicians of the era, Jones has admitted to modifying and reworking some of his instruments, including this bass. However, at the time of the Royal Albert Hall gig, it appears all original, albeit missing the bridge cover and mutes, leaving four small holes under the strings. It seems the Fender headstock decal is also missing by this time, which could’ve easily worn off from the rigors of touring. We have a 1961 Fender Jazz Bass in Sunburst just like it, with removed mutes too! Although ours is the rarer “Stack Knob” iteration, whereas Jones’ has a three knob layout.

Moving on to the three guitars used by the legend himself, Jimmy Page. He used his famous “Number 1” Gibson Les Paul in Sunburst for the first three tracks. Since the back of the neck was sanded down and refinished, and the serial number went with it, there is a debate as to which year Jimmy’s guitar was made. Jimmy famously purchased this Les Paul in 1969, after strong insistence from Joe Walsh, and it’s remained with Jimmy ever since as his primary instrument. At this point, the guitar already had gold Grover tuners installed, and the bridge pickup cover was removed, showing off a double white PAF. He plays this Les Paul for most of the show and uses every aspect of the guitar significantly. As a comparison, below is our 1959 Les Paul in Sunburst, also without pickup covers, sporting a double white PAF at the bridge pickup and a zebra at the neck.

The next guitar Jimmy uses is his trusty 1961 Danelectro U2 in Black for “White Summer/Black Mountain Side.” This economically made instrument features a poplar core with a masonite top and back, vinyl sides, and two single-coil lipstick pickups. We have a similar, one-pickup model in the shop with a nice bit of wear and patina! Jimmy always used this guitar for “White Summer/Black Mountain Side” and any other song that required slide or alternate tuning, like “Kashmir” later in the decade.

Lastly, we have Jimmy using his 1960 Gibson Les Paul Custom in Black with a Bigsby for both encores, “C’mon Everybody/Somethin’ Else” and “Bring It On Home.” By the time of the Royal Albert Hall show, Jimmy had removed both pickup covers from the bridge and neck position, with a double black PAF in the bridge and a zebra PAF in the neck position. Later in 1970, Jimmy added two more toggle switches on either side of the factory switch for more tonal options and capabilities. Infamously, this guitar was stolen at the end of the 1970 US tour, and it would not resurface until nearly 50 years later. Our example is a clean 1959 Custom without a Bigsby. 

Below is a link to the entire performance, which we highly recommend to anyone who hasn’t seen it before!! On the other hand, if you have seen it, join us in awe as we watch it again.

https://www.youtube.com/watch?v=PvEYDUnAK7Y&ab_channel=MPL

Works Cited

https://www.metmuseum.org/art/collection/search/752453

https://www.ledzeppelin.com/show/royal-albert-hall-january-9-1970

https://www.royalalberthall.com/about-the-hall/news/2022/january/no-ordinary-rock-concert-watch-led-zeppelins-1970-hall-debut/

https://www.groundguitar.com/jimmy-page-gear/jimmy-pages-1961-danelectro-dc-2-3021/