Clarence White practicing on the B-Bender/Pullstring (longest version)

[@FryingBurritoBro]

Thank you for this behind the scenes glimpse of a master musician!

[@rickgoode8315]

A real treat to hear a master of the pick-and-fingers technique in a behind-the-scenes run through of "Buckaroo", "Sweet Mental Revenge" and "Old Blue" along with many of his signature licks. Saw him live in '71 with the Byrds down in Cohasset MA. Blew me away then, and still does to this day. Thanks for sharing this, and thank you Clarence for the inspiration.

[@jakeg.3784]

Hey! Was that at the old South Shore Music Circus? I am guessing that it must have been and that it was most likely riveting. In 1971Clarence would have been 27 years old and (after having seriously practiced playing the Parsons/White string bender until he had mastered it) at the peak of his powers. Not sure when he had joined up with the Bryds exactly, but I am fairly certain he had been with them for quite some time and was comfortable enough with their repetoire that he could really stretch out on some songs. Were you able to get a good view of him playing during the show? And how was the sound? Back in 1971 they (meaning the sound engineers) were still behind the times with the available sound equipment, and, consequently, the band members' ability to hear what every one else was playing along with their own playing. Regardless, it must have been a wonderful time and you must appreciate your good fortune to have been lucky enough to see the Byrds and Clarence in particular. I have been living north of Cohasset (Boston!) for the last 36 years, having gone to college there and then subsequently deciding to reside and work there. Been extremely fortunate to have seen some incredible shows there (Stevie Ray Vaughan at the old Metro on Landsdowne street), Jerry Lee Lewis (with his constant guitarist, the great Kenny Lovelace supporting him) at the Channel club in South Boston, Albert King at Night Stage in Cambridge, Roy Buchanan at the old Jonathan Swift's pub on JFK street in Harvard Square, Danny Gatton at Johnny D's in Somerville during a very rainy night, Neil Young at the old Boston Garden, Buddy Guy at UMass Amherst, Ronnie Earl and Roomful of Blues at Johnny D's, Duke Robillard at the Tam in Brookline, I could go on and on and on, hahahahahaha!!!!!! Oh yeah, one more: James Burton supporting (of all people) Elvis Costello and it was truly great! Costello gave James B. alot of space to stretch out during the guitar breaks, and he took advantage of it, reeling off killer line after line with his Telecaster, it was magic!!! Anyway, do not know why I just wrote all of this but really it was because I have always enjoyed posts where the writer really gets into it in detail!

[@davebarrett5769]

Don't get any better really. RIP Clarence, your music lives on.

[@johnmitchelljr]

Thank you.

[@tacticaljackson]

00:54 this is the first time I’ve noticed him using the half step down bender on the high E.

[@chrislarcombemusic8445]

as much as it seems like he is, he's actually just fretting the notes on the high E. Not only is it not possible to actually hold the note on the B-string and gently release the bender mechanism in half steps AND simultaneously be operating the banjo tuner, if you slow the recording down you don't audibly hear any bending of the higher notes in that lick. He just releases the bender in half steps and walks up the frets as usual on the E. He also goes back to immediately hitting the bender box shape (barred sus2) straight afterwards, and riffs around it, which suggests he's still in standard tuning.

[@banjo570]

God bless Clarence & Roland White!

[@chrislarcombemusic8445]

🙏🙏🙏

[@oldtimetinfoilhatwearer]

Can you play it all?

[@chrislarcombemusic8445]

i wish!!

[@oldtimetinfoilhatwearer]

@@chrislarcombemusic8445 I've been listening through it again and he constantly adjusts the b string tuning. Do you think he's wearing in a new set of strings or detuning was just a constant problem with the original string Pull?

[@tacticaljackson]

@@oldtimetinfoilhatwearercould also be binding at the nut. Otherwise I would say likely stretching out new strings. If it was a persistent issue with the bender/pull string we probably would have heard more of it in the Nashville West album (Though maybe not). Also, Marty certainly doesn’t seem to have issues when he plays it now a days. I’m sure some internals have been replaced when necessary over the years, but with his very apparent deep respect for Clarence and the guitar, I don’t think he’s made any tweaking or frivolous changes.

[@chrislarcombemusic8445]

@@tacticaljackson There was no B-bender installed on the guitar for the Nashville West album. Infact, I'm pretty sure he was using a different guitar for that recording. Could be wrong tho - I think it's up for debate. In regards to tuning, I think the bender was stable, otherwise he simply wouldn't have been able to gig with it. Don't forget in the late 60's there were no tuning pedals...Clarence would obviously be used to tuning by ear and probably just tinkering as he went to make sure he was on the mark. Don't think it was anything deeper than that IMO

[@tacticaljackson]

@@chrislarcombemusic8445 🤯🤯