WHY Did The BEATLES Suddenly Switch To NEW Fenders?

[@stevepierce2457]

The title is " Why did the Beatles suddenly switch to New Fenders" This is pimping great. Why did the Beatles switch to Fender?

[@timpierceguitar]

Don Randall of Fender was trying to get them to use the Fenders for quite some time…and they finally said yes :) Someone left a great comment that Brian Epstein had committed them to Vox and that they finally were able to break free. The title is simply a question, and a viewer answered it better than I did:) Thank you for your comment..:)

[@kkjhn41]

@@timpierceguitar The Fender Rhodes Suitcase model that Billy Preston was playing on the session was also part of that gift package from Fender.

[@stevelaferney3579]

Tim, thanks so much for this one! That “new” Rosewood Tele is great and I don’t really like ‘em. Design-wise that is. And since watching the movie I’m giving serious consideration to a Casino; dog-eared P90’s and bail piece; ) Kudos for info on the amp. Total score: Way Cool

[@smautomat]

Brian Epstein had promised the folks from JMI that as long as he was the Beatles’ manager, the group would use Vox Amps exclusively. After Epstein died, the Beatles were no longer obligated to honor that contract, and were free to use other brands, including Fender.

[@timpierceguitar]

Sam, Thank You...Tim

[@engineer909]

One fun fact, Roger Rossmeisl, who designed John Lennon’s first Rickenbacker 325 back in 1958, also designed this Fender Tele for George. It was his idea, apparently. So, he kind of bookended their career! Just some trivia.

[@fivewattworld]

And of course you’ve got a rosewood Tele on hand…love that Tim.

[@timpierceguitar]

Thanks Keith! Loved watching your new video about PRS ... Was fascinating....

[@michaelmele4888]

I just mentioned that Fender yesterday, and there you are holding one.

[@mykhedelic6471]

Rosewood Tele rules, it's like dark chocolate in more ways than one.

[@smelltheglove2038]

I just played one yesterday at my local Guitar Center. I HAVE TO HAVE ONE NOW!!!!

[@Swithyyyy]

Came down here to say the same thing hahaha

[@guitarcheology]

Trivia: The "Bassman" sticker Paul stuck on his bass was from his amp. At that time Fender put those stickers on the tops of the speaker cabs so they could be quickly identified. The dealers usually removed them after they unboxed them and set them up on display in the store. I had a NOS, in the box drip edge Bandmaster with it still in place. Later, they started putting plaques on the cabs for identification.

[@timpierceguitar]

Hey thank you so much

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@Barry101er]

Nice bit of info 😎

[@mr.smithgnrsmith7808]

Because Paul was the “Bass” man

[@timothysullysullivan2571]

@fastguitar He also put p1 in for p2. Seamless really...

[@gizmogeeks]

i was very lucky enough to actually have a play on George's Rosewood tele - I was and still am friends with Phill Taylor David Gilmour's Right hand man - Phil had the guitar at his home for a few days - it was being returned to George after being lent to the guys that made the film 'The Ruttles ' a sort of light hearted spoof of the Beatles - not sure of the exact details of the film to be honest - the first thing you noticed about the guitar was it's weight - i really don't know how George could stand for so long with it around his neck felt heavier than any les paul - i had a go of one of the new ones and it was totally different - the other thing i felt was that it was very positive maybe because it hadn't really been played that much - i didn't get chance to crank it up im afraid - A nice feeling when watching Get Back and seeing the guitar and knowing that I had a little play of the actual one that George had played - Happy Days

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@victorboucher675]

The Ruttles" is a British film about the pre-fab four. Not everyone "gets it" as a social commentary essay and they just enjoy the humor. My brothers had a '58 "Paul" and I would say that it was heavier than any Tele ever ... about '74 he bought a mid sixties Melody Maker and yes, size (weight) matters.

[@harrodsongs]

The Rutles "All You Need is Cash" is an early mockumentary by Neil Innes (Bonzo Dog Doo-Dah band) and Eric Idle. It is loving satire, released at a time when the clamor for the Beatles to reunite was at a fever pitch. It's brilliant stuff. I knew that Harrison was involved but never knew they used his guitar in it. I heard that all the Beatles loved it, but eventually there were lawsuits and Innes had to share 50% of the publishing.

[@lapelcelery42]

Weird that it should be on it's way back to George around the time of the Rutles film, because that would have been around 77-78, and George gave that guitar to Delaney Bramlett in 1969.

[@BeatlesCentricUniverse]

@@harrodsongs Paul did NOT like it at all.

[@zuperdee]

The use of Fender amps on “Get Back”/“Let It Be” probably accounts for some of the vastly warmer/different tone from The Beatles’ guitars versus their earlier albums that have that distinctive jangly Vox sound. I have a few corrections for you: 1) The blackface Fender era began in 1963, NOT 1967. Some Fender amp collectors will further distinguish between pre-CBS blackfaces (which say “Fender Electric Instruments” on the faceplate), and CBS-era ones, which say “Fender Musical Instruments.” (CBS bought Fender in 1965.) The silverface era began in 1967. 2) The Beatles had actually started using Fender amps BEFORE the “Get Back”/“Let It Be” project-for example, McCartney actually used a cream-covered brownface Fender Bassman as early as 1965 on the Rubber Soul album. 3) Apparently, Brian Epstein had a sort of gentleman’s agreement with Vox that the Beatles would only use Vox equipment in their concerts, and it was the death of Brian Epstein in 1967 (along with his verbal agreement) that cleared the way for the Beatles to start switching from Vox to Fender. I imagine the Fender amps were probably far more reliable than things like Vox AC-50 and AC-100, which were notoriously unreliable. 4) The rosewood Telecaster was designed at Fender by master builder Roger Rossmeisl, who formerly worked for Rickenbacker, where he designed the Rickenbacker 325 played by Lennon, and the 360/12 model played by Harrison.

[@Leel3ones89]

Listen to this guy.👏 Sorry if your not a dude, I kinda assume.

[@harveycan5820]

Nice post, but I would differ that the "jangly" sound was more the Rickenbackers than the Vox amps per se. McGuinn did not play Vox, he played Fenders - - but he used a compressor on his 12 string Ric, which had very specific pickups, and that is where the "jangly" sound came from. Play those pickups through a compressor into a tube amp and you will get that sound. The Beatles did not get the same "jangly" sound on the Rickenbacker 12 through the Vox. They got a very pure, ringing tone; I don't think they added the extra compression. When McGuinn had his signature Rickenbacker 12 string made he had them install a compressor into the control panel of the guitar - - as that is the essential ingredient of the "jangly" sound that was the trademark of the Byrds, not the Beatles. I don't think George played the Ric after If I Needed Someone or What You're Doing, one of those. No need to jangle after 65...Though he might have used it on 66 tour for If I Needed Someone.

[@Starch1b2c3d4a]

“Verbal agreement” 💰 👍

[@danlektro]

And, of course, George Harrison (at least) was using a Strat as early as the solo on "Nowhere Man" in 1965. I think that same Strat was painted psychedelic colors and used in the Magical Mystery Tour film and beyond. All of which was before the Get Back sessions.

[@timothysullysullivan2571]

@@danlektro yes, his 'Rocky', which he later set up for slide. Matching sonic blue strats were purchased by Mal during the Rubber Soul sessions. Which is strange, bc Brian insisted all instruments must be black, brown or wood grain. (Part of the live visual presentation.) So they were never used live, probably also bc strats were very noisy in those days and no noise gates or AC power cleanup available. He was ordered to get Strats, and they were probably all he could find- fairly rare in England at that point.

[@mikeo5657]

Speaking of the amenities, one of the most incredible things I saw was John friggen Lennon helping schlep in a full Leslie cabinet. Having worked in backline for treats years, I know two things... Leslie are heavy, and talent don't lift. Mind blown...

[@chrislestermusic]

I said the same thing! From what I have heard Michael McDonald is like that too. No one is “above” anything. 😉

[@brentgilbert4208]

I saw that too!!!

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@kkjhn41]

That Leslie was borrowed from Eric Clapton.

[@musicofanatic]

@@kkjhn41 The one that they were removing from the manufacturer's shipping carton?

[@marzipan5000]

I have a 68 drip edge twin, it was in bad shape when I picked it up in the early 90's but I had it restored a couple of years ago, as close as possible to original. It really is an awesome amp.

[@paulsr54]

Tim, I played the all rosewood Tele made by Fender for ELVIS. When fender presented it to Elvis, Colonel Parker asked Fender how much they were going to pay him to use it. Fender took it back and it wound up in the hands of a friend of mine named Scotty Turner who was a producer and songwriter in Nashville. I couldn’t believe how heavy it was!

[@harveycan5820]

I picked up a RW Tele in a store back in the 70s or early 80s and it was hands-down the heaviest electric I ever played. Easily 13-15 pounds.

[@joyousracket8767]

Loved this one Tim! The acoustic (I’m sure someone else already mentioned this) is a J-185, which I believe at one time meant it cost $185 back in the day. Great sound, next size smaller than the J-200 at the time, I think. Skip James played one, and I had a re-issue of it back in the 90’s. Great sound AND much more comfortable to play for me than the J-200. I think it’s also the same size as the Everly Bros. model. Keep up the great work!

[@timpierceguitar]

Yes thank you ! you're exactly right it's a 185.... Appreciate it

[@chuckhall1015]

Yep!

[@myyootube2]

George must have tired of his fabulous early Grestch/Vox sound. Making a switch going into Twickenham contributed to it sounding like he had perhaps misplaced his Mojo in those sessions, where he looked a bit lost and uncomfortable on the Les Paul. No such thing had happened of course. He looked in much better form on the tele and eventually found a way to make it all sing, but I much rather have seen what he would do with an ES-335 than the Les Paul

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@harveycan5820]

George was also seen playing "Rocky" his Fool-painted Sonic Blue Strat from around 1964. He and John both had one.

[@jptaylorsg]

Would love to see Fender re-release that rosewood Tele. Honestly, I'd be happy with a Classic Vibe Squire in that config, too. It's just a gorgeous guitar.

[@Tonetwisters]

I was already in a band when The Beatles broke, around January-February, 1964, so I was there during all of their music. My band played "Get Back" when it was on the radio. Of course we loved it then. But over the years, I came to realize that most of the material of John and Paul, was not really all that, on this album. Still, they were incredibly tight and driving. What a sound. BTW: I started playing Fenders back in 1960, first a Jazzmaster, then a 1954 Stratocaster I got for Christmas, 1963. People just played back then; they did not analyze tubes or speakers or anything else; they just bought stuff and played through it. In the early '70s, I visited a studio in Nashville where Brenda Lee and Roy Orbison recorded ... it was just bare concrete block walls. Back around the end of 1971 or so, I built what was probably the third custom shop "Telecaster" ever made, which sported two Gibson SG Standard humbuckings along with a standard Telecaster bridge on a mahogany body. Talk about heavy ... And that Casino is gorgeous! One of the best all-around guitars ever made; and with three plies, a great couch guitar. I am blessed to have a 1991 J-200 that is an incredible guitar.

[@willwetherell7265]

Very cool. Thanks for sharing. 👍

[@Tonetwisters]

Thank you! Been at it in one way or another for 61+ years, and lots of fun and lots of new things to always learn! Working out "Eleanor Rigby" now, and what a challenge!@@willwetherell7265

[@liberal4evermore]

It's a gorgeous guitar. Listening to the variety of tonal qualities George got through the sessions, the sound at the rooftop concert on his Dig A Pony solo was great. At times it sounded kind of SG. Really flexible axe.

[@timothysullysullivan2571]

I never hear anyone talk about George's lead/fill work on One After 909 in the rooftop. Astounding- it's live, it's cold, he didn't even want to do it and then delivers just perfect tone, timing, licks and choices all the way through it. I understand he loved the guitar, but didn't like the weight.

[@bobbyvox2352]

No Shit!🤣

[@lapelcelery42]

I sold my Dad a rosewood tele which was extensively chambered and if you play with it sitting down, it cuts off the circulation to your leg. When I got it back from a setup, the tech simply said "here's your anvil".

[@phillipasby9202]

I sure am glad you told us you were running this through your iso cab room - at that level where you’re sitting that Deluxe would have sent you through the opposite wall (and all your rack gear)! I run mine around 5-6 as well, but through a Fryette PS2 ;) As always a great video from the master.

[@halbertking2683]

Years ago I met Eddie Gray , original guitarist for Tommy James and the Shondells. When I saw them live in Pittsburgh, Pa. at the Civic Arena . They had White Sparkle tuck and roll Kustom guitar amp , bass amp , organ , pa head and 4 pa cabs with 2 15s and a horn . Eddie told me that Tommy would say " Ah ' the amps are the wrong color and Kustom would send him a whole new back line . Those were the days , tuck and roll catepillars .

[@davidpepper442]

Thanks for the excellent video Tim! I have a Limited George Harrison Rosewood Tele that I got in 2017. I ended up putting a humbucker in the neck position and it's my main guitar. My main amp is also a '68 Reissue Deluxe Reverb. In my estimation this is one of the greatest combinations and guitar sounds ever. The Get Back doc was so good and I'm sure Fender could sell another run of these in no time.

[@neil222222]

Sweet Harrison Rosewood Tele Tim. Definitely convince them to make more! Quite simply the best looking Tele ever made.

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@SirSneakerPimp]

Tim, Thank you for saying the same thing I’ve been telling people for ages. Our heroes walked into their music shops and bought what was on the wall. Not some ultra fancy schamancy item that is only designed to get more money from you. Back then an item was called used and sold as a once loved instrument. Today it’s (labeled) vintage and you need a mortgage loan to get it. Today’s (standard) Fenders, Gibsons, etc are fantastic, because of new ways to manufacture them. I wish people would stop being blindsided by geewiz gimmickry of things.

[@kellyc2425]

I agree. And don't get me started on the damn "relicing" craze. That is just ridiculous.

[@SirSneakerPimp]

@@kellyc2425 Oh yeah, I hate that crap too!

[@queenhenryviii]

Before you go shaking fists at the sky and cursing the younger generations there’s a few things to consider. For starters, rock n roll was barely pushing 20 years old in 1968…. The electric guitars we all love today like the Gibson SG, Epiphone Casino and Rickenbacker 360s and 12-strings were only like 7 years or less old. Vintage gear didn’t really exist. Stop. Before someone gives me the whole “well actually”… Yes, well aware electric guitars like Rickenbacker lap steels existed.. but the mass produced guitars only came about in ‘48. So, the kind of vintage gear as we collectively know it and are discussing wasn’t a thing because 1968 was still at the forefront of the industry. The reason why vintage gear is so treasured is because of our heroes. We cherish the sounds they created and so seek out the very instruments that were available to them. But, there’s only sooooo many left. A finite amount much less than the demand, which drives up their price tags to purposefully make them harder to obtain. My personal opinion on vintage gear depends case by case (duh dun tshh). No instrument is really the same. But for the most part, I don’t think it’s worth it considering all the wiring, tubes, etc.. are more than likely not aging very well… besides, no piece of gear will ever make anyone a better songwriter and that’s all that matters. [relevant side note: I write everything on acoustic for this reason. Because at its core, a good song is a good song stripped away of all superfluous noise] Now, relicing is something to shake fists at. That is a lousy trend. Like people who buy their jeans pretorn.

[@Starch1b2c3d4a]

What are you talking about? Fender was the best possible gear you could get at the time. New and built by Leo & Friends

[@Instramark]

Right on dude. I am your hero's age and that is how I bought stuff. You fronted the dough for a Marshall or Fender, Strat/Tele or Gibson and focused on your playing and gigging. I guess the problem today is no venue so having a crap load of expensive instruments is the next best thing. I wish the young folks could have played the clubs during the Vietnam era. There is nothing going on today thar compares to that era. Man! That was being alive! I played full time from 69 to 89 and owned exactly one guitar. More than a few amps but one guitar for twenty years. The focus was the craft, not the 'store". Loved your comment!

[@ThinDreamer30]

I think it is important to note that The Beatles were sitting right next to these amps whilst playing and still having full conversations. They were blowing their ears out. That is, those Twins being 85w were not anywhere near the “breakup point” on the volume knob.

[@BeerAndBeards]

I bought the current run of Rosewood Teles this year. It’s easily my favorite guitar and if I could only keep on guitar, it certainly would be the one. It’s an amazing playing and sounding guitar.

[@kingstumble]

I don't think The Beatles were too bothered about the gear they used--as long as it did the job. Certainly in the early 60s Fender amps weren't available in the UK and Vox was really the only choice if you wanted something reliable( or maybe Selmer if you were a bass player---at least that's what I had!)

[@blackdogrover]

Yes. Please! Ask Fender for another Rosewood Tele run. I had very close access to an old one, but it got away. I will leave it at that. All that gear sounds amazing, Tim. Thank you! 🎶🎶🌻🌻🎶🎶🌅

[@digiovannidesign910]

Hey Tim, you can tell Fender, that if they make a run of the Rosewood Tele at that pricepoint, I will absolutely buy one.

[@tedfriedl7498]

Me too. Drool factor of 10!!!

[@whale5767]

Absolutely.. Another run of these Beautiful Roseswood Tele's would be Awesome! I would love to add 1 to my collection!! 🔥🎸🔥

[@LeviBulger]

My buddy has one. It weighs about 50 lbs. Or at least it feels that way on the shoulder.

[@FabianSalomonsson]

Yeah I would buy one in an instant.

[@StevePrentice]

Yup. Me too. I liked it when you showed its front and played its sounds. I LOVED it when you showed the "wafer of maple" separating the two tones of body wood. A work of art.

[@vincenzoerriquenz2356]

Definitely Tim! You have the respect and authority to ask Fender an affordable( sort of) reissue of this Rosewood Telecaster! It' s amazing how rich and detailed it' s the combo with the fender Drip Edge amp!

[@somebodyelseuk]

The only way to do an affordable rosewood Tele is to make an alder/maple Tele and veneer it. There's a damned good reason why Fender/Gibson are shying away from using rosewood for fingerboards on everything, but the highend models.

[@jguitar29]

I could watch Tim play all day…. He always seems to play just the right thing for the part … not too much not too little… and the tone he gets gets out of whatever gear🔥🔥🔥🔥

[@donnellwalah5690]

Tim, been hooked since I heard you play that gorgeous 'turquoise' reliced Gretsch Jet. About that "They bought what they could get..." 1968 Bay Area, everyone was in a weekend band. My first gear was a Silverstone 1446 (Chris Issac) for $85.00 with the Gibson mini hum bucks and a real Bigsby that stayed in tune (!!) into a 25 watt Newcomb high school PA amp with the most delightfful sweet harmonic feedback you can imagine. Just having any electric guitar and any amp was enough to get playing quickly. Those were the days...and you TRULY still have that JOY of just playing. Bless you and being such a warm Teacher!

[@joetamm]

Great video Tim. The Get Back movie is truly great. When I was in junior high I used to cut school and hang out at the Sam Ash Music store on Kings Highway in Brooklyn. My parents had gotten me my second amp there, a drip edge Princeton Reverb. They had walls of drip edge Fenders as well as the whole line of their solid state amps. Not to mention every model of Fender and Gibson guitars. What a place. I got to check out one of the original rosewood Teles at King James Music on Flatbush Ave. in Brooklyn some time later. I remember when I first heard many of the songs from this film on the radio. This film brings back great memories. Thanks again. 🇺🇸👮🏻‍♂️🎸

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@bluesboyst]

Great video. I have 68 Bandmaster reverb drip edge.. Bought it in 1970 for 150.00 at Jack's Drum shop in Boston....with a layaway I paid 15.00 a month...No interest charge. Can't beat that...I still use it at most gigs....

[@timpierceguitar]

Very cool!

[@sixtyaffairs]

I remember George saying somewhere in Part 1 , that they had to pay for the Fender Stuff. I barely can't believe that, because it was planned to do a TV Show that would be broadcasted all over the world. And " Fender" would be seen on nearly everything the Beatles were using. A English Band with American Equipment ? Thats a great Deal for Fender.

[@timothysullysullivan2571]

Maybe that was his impression; I'm pretty sure Fender shipped it all gratis just hoping they'd use it.

[@Muddymikey]

I really enjoyed the "Get Back" documentary. Seeing the song "Get Back" go from Paul goofing around on his bass to the polished song was awesome. Kind of bitter sweet when you think that was their last album and performance together. Billy Preston's contribution was also pretty cool to see. That rosewood Telecaster is kind of a dream guitar for me (I have many).

[@jlsage4059]

Agree, but it wasn’t their last album to record though. Abbey Road was recorded after what we see in the documentary. It was released before Let It Be. Let it Be was the last one released however.

[@drutgat2]

Yes, Tim, PLEASE ask Fender if they will do another 'George' Tele run at the cheaper price point. BTW, Fender also made a Tele for Hendrix, but he died before they could get it to him. More trivia: George gave the Tele to Delaney Bramlett (of Delaney and Bonnie), and he put it up for auction in 2003, and Olivia Harrison bought it.

[@patrickfoster4586]

Correct about Fender sending Jimi a guitar but he died before receiving it and it's whereabouts have been unknown since. However, I believe it was a rosewood Strat not a Tele.

[@MrTee-hw7mp]

I’ve read in several places that the Beatle’s Fender Twin Reverb amps for the Get Back sessions were not the classic AB763 circuits but a new(at the time) AC568 circuit. I’m not exactly sure what the difference is but the AB763 is much more sought after in the vintage Fender amp market today.

[@davidoreilly7328]

As a Telecaster man, it delights me to no end to see Tim playing that beauty of a Tele Edit: Tim Pierce does indeed have legs 😂

[@VodkaSelekta]

Tim Pierce actually paid some guy on fiver to CGI his legs on. Contrary to belief Tim Piece actually has fins underneath. I read this on Wikipedia, so I know it must be true.

[@MashaT22]

I also wonder what’s under that Khaki baseball cap. Probably extra picks or something useful. Tim seems to really love that hat. More power to him!

[@adamski101]

Tim is Stavros.

[@TheStimpy60]

I’ve read that Phil Kubicki built the first Rosewood Tele and it had its own seat on the plane when Phil accompanied it to London to present to George.

[@kalebaldwin5398]

They had always wanted Fenders (both instruments and amps), George in particular. I don't think he plugged into another Vox amp after 1968. But they had Fenders before 1968; Paul purchased a 1963 Bassman sometime in late 64, and used it extensively for both bass and guitar, and they had Dual Showmans during the Revolver sessions. And, obviously, John and George had their matching Strats.

[@timpierceguitar]

Thank You!!

[@j_freed]

Those reissue Rocky Stratocaster’s are so goofy… It’s cool that George did his, but why would you want a fake goofed up Stratocaster that looks like that for 30,000 bucks? Just to be a display case Queen?

[@kalebaldwin5398]

@@j_freed If George was still alive and he hand painted each one, I would see the value in it. I'd rather have a replica of the Strat he used at the Concert for Bangladesh, which had all the finish sanded off. Anyhow, it's for the collectors, not players. And the Fender Custom Shop guys that worked on it got to play with the real Rocky, which I'm sure was a dream come true.

[@petertiffany8096]

I had the honor to hold the rosewood Strat made for Hendrix in the same time frame as George's rosewood tele. Hendrix died before he took delivery of it. They had it at Songbirds in Chattanooga. It felt like it weighed 15 pounds - it was crazy heavy!! That Casino is crazy - sounds just like the Beatles!

[@teledice1317]

I have the Rosewood Tele also,, It is my Holy Grail of guitars,, I love it, ,I usually play it thru a Deluxe Reverb or a Princeton . Great stuff Tim,, saw you a couple of times at GearFest. You rock man!! thank you!!

[@Corporations8MyBaby]

Rosewood Telecaster: An old colleague of James Burton and friend of mine has a 1970 Rosewood Tele. It's heavy. It really does have a sound electrically and acoustically that is nothing like any Telecaster you will encounter. It also really has a feel. What is it they say about the experience of the user interface? Casino: John rolled of treble (tone knob) to great effect. He called it "getting a drone". George Martin when asking John to do that asked him to "turn up the bass on it" - GIBSON ACOUSTIC: If you want to get that earlier sound... like on "Hide Your Love Away"... the trick is flatwound strings on the acoustic. You can even put George Benson steel flats on a cheap Asian Epiphone slope shoulder acoustic and it just NAILS that sound. Fun!

[@brianwells4507]

Years ago I had read that John Lennon recorded "Helter Skelter" with a blown Fender amp that played really distorted but John liked its sound? The article I read was probably from Guitar Player magazine in the 70's? Made sense to me at the time anyway. Plus it was a known fact that American made Fender and Gibson instruments were difficult to find in the UK, regardless if you had the money. Eric Clapton bought an armload of used Strats in Memphis around 1970 for that reason. 2 of them were Brownie and Blackie, the rest he gifted to George and Steve Winwood. Hell the only guy who really didn't like Fender amps was Leslie West. He said, " Fenders are for cars"!😂 But he ended up favoring Marshall's later in his career which were based on the '59 Bassman chassis?

[@frankb5728]

There's a bunch of bands who used beat up amps or trashed speakers, I've read some bands would slice the speaker cone. a lot of that early dirt is from the speakers and not the amp itself, not all of it but quite a few.

[@timothysullysullivan2571]

IIRC, Clapton bought 5 or 6 strats at Gruhns in Nashville, then cobbled together his favorite components into two which became Blackie and Brownie.

[@1twangmaster]

Great tone with the George Harrison Tele through the Fender Deluxe! Thanks for reminding me Tim why I love Fender amps so much! I have a Hot Rod Deville III and a Deluxe Vintage Modified from 2009 with a great drive channel, delay, chorus and reverb that I love... God Bless! Rob Ransom Appleton,WI

[@fhqwhgads1670]

That copy of the "Chester and Lester" album.... such an amazing guitar album!!

[@catsofsherman1316]

I made my own version of that telecaster. I used a custom body from warmoth which is chambered swamp ash with a shedua laminated top which has a similar dark brown colour but has a more distinct figured grain. I opted for a ebony fingerboard rather than rosewood. It's a sweet playing guitar. Vintage noiseless pickups from Fender sound great.

[@MashaT22]

Thanks SO much for making this gear video for the Get Back docuseries, Tim. I’ve been Tweeting Fender, begging them to make this sort of video on Twitter. I pointed out that nobody had talked about the gear in Get Back, a lot of which is clearly Fender’s - and they didn’t even seem to reply to my two Tweets. I’m very curious about those tall/long Fender speaker cabinets without buttons, which are what I’d like to assume are the P/A’s the producers and band kept talking about (are they?). I’d love to hear more about those because they are very unique looking/sounding and something I never have seen used in a studio. I’d love to hear a sound demo that illustrates why the band used them in addition to the amps you mentioned - like what would the music have sounded like with vs. without them? Same goes with Epiphone. I tried tweeting to ask for a video or blog post about their guitars. Got no reply either. I’m always curious why the band mostly chose Epiphone over Gibson (the latter of which they could have easily afforded). Any insight on that? Anyway, I’d think Epiphone and Fender would milk this documentary and The Beatles’ use of their instruments with history videos because it’s great advertising for their guitars and gear. I’m surprised they haven’t thought to do so. Thanks for speaking about the subject of gear in relation to this unique documentary, which I would have expected to hear more guitar KZbinrs and the brands themselves talking about. I think you’re the only one I’ve seen discuss this subject. If you have more info to answer my q’s above or wouldn’t mind delving a bit deeper with a follow up video, I’m sure lots of guitar gear enthusiasts would greatly appreciate it!

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@MashaT22]

@ thank you! However, does this video talk about the specifics and history behind the instruments, amplifiers, the studio equipment, and all that? I am going to check if I watched this video yet. Much appreciated.

[@xoxb2]

It would certainly be interesting if they did another run of these, perhaps to celebrate the documentary series? I'm lucky enough to have a guitar with a rosewood neck, and it's lovely. The other thing you mentioned, about buying gear new in the shop, and this was especially a UK issue, is the whole question of trying to get a *good* guitar. There's an interview on here with Hank Marvin pointing out that in the late 50s he couldn't find a Strat and so Cliff Richard had to bring one back from the states for him. I believe post-War import restrictions were still in place. Gone by late 60s, but still the tiny market for expensive instruments made them harder to find, and thus constant upgrading, circulating indivdual well-regarded specimens etc was normal..

[@NWGKevin]

The reason that Fender did a run of these guitars is that they 'inherited' a small supply of rosewood when they closed the Guild factory. The problem with doing another run is finding a supply of rosewood wide enough for the bodies.

[@mikefetterman6782]

Any of the three would be a dream to me (99 Mexi-Strat with the paint chipping off and 2 martin sigmas, Hofner bass converted to lefty) The Beatles basically taught me how to play guitar with their chord chard song books.

[@tracyblair3064]

The rosewood Tele is far and away my favorite sounding Telecaster, once again confirmed by this video.

[@mnpd3]

Your right about the interest in "vintage" guitars not existing in the old days. I never heard anyone refer to a guitar by it's year of manufacture, and I don't remember anyone even knowing the year his guitar was made. Today, the first question for a potential buyer is "what year?" My first real guitar was a sunburst Telecaster bought in the summer of 1969. I paid $75 for it at a local music store (new ones cost about $150 - ditto for Rolex watches, gas was as low as 17-cents and the minimum wage was $1.00). Never knew or cared what year the guitar was made, but a while back I did research based on its features and learned that it was a '57 or '58. The key identifiers were the sunburst color and the strings not passing thru the body... a combo found in only two years of production.

[@jimmyeatsword6421]

How can there be interest in something that did not exist? Vintage electric guitars did not exist in the 60"s---is this not obvious?

[@harveycan5820]

I'd say that "old" guitars existed and that jazz cats in particular were probably looking for those old Gibsons! Gibson stopped making the Les Pauls in 1960 because they did not sell very well - - but you can bet guys like Clapton and Page and Peter Green and Mike Bloomfield were snapping them up despite being "discontinued". Because of those guys the LP went back into production in 68 or so. Maybe not vintage, but high quality and fetish objects even then.

[@kkjhn41]

Fender was intending to make a whole line of Rosewood guitars at the time. The Tele was the first prototype that was finished and was given to George. They also made a Rosewood Strat that was intended for Jimi Hendrix. It was finished the month before he died but wasn't delivered. When he died the guitar just disappeared into history and to this day no one at Fender knows what became of it. Also, at the Get Back sessions Paul had both of his Hofner 500/1 violin basses, the first a 1961 model bought in Hamburg for the equivalent of $45 when Stu Sutcliffe left the band and Paul switched to playing bass and the second a 1963 model that was given to him by Hofner in appreciation for the business his use of their bass brought in. The '63 model is the one with the "Bassman" sticker on it. His '61 and a couple of George's guitars, his Rickenbacker 360/12 and Gretsch Tennessean were stolen from EMI during these sessions.

[@lapelcelery42]

Had Paul gotten rid of the gold plated Hofner by then?

[@timothysullysullivan2571]

@@lapelcelery42 IIRC it was right handed and he never actually used it. not sure what happened to it.

[@lapelcelery42]

@@timothysullysullivan2571 Babiuk's book has it as being left handed, and it ended up with a fan in pretty short order. You're right, we don't seem to have any evidence Paul actually used it on anything, but he has specifically mentioned owning it (who knows how long for) in interviews. Would be interesting to know exactly when he got rid of it and why.

[@timothysullysullivan2571]

@@lapelcelery42 maybe I'm confusing it- I think the first Ric they brought him was right handed. (NYC?)

[@lapelcelery42]

@@timothysullysullivan2571 Could be, I don't know much about the Rics. I've definitely heard and read about him owning a right handed Hofner a lot, but there doesn't ever seen to have been any evidence that he did. Just an urban legend I think.

[@sjazzp]

Very cool video! When I started watching the documentary I was surprised and intrigued to see Fender almost everywhere. At some point George is asked to use the Rickenbacker but he declined saying that he liked more the Tele because it was lighter. That guitar could be a chamber guitar as well or perhaps the Ricky was super heavy. George also used a bit his colourful Strat and John a Bass VI. Now, I guess this documentary will pump Fender sales somehow.

[@larryh.3173]

Yikes. From the very second Tim began playing thru that Twin, I was cringing and really _much_ more concerned about his ears than listening to what he was actually playing! I was SO relieved when he mentioned his “blast room” downstairs. Phew! Great playing and tone there, as usual, though! Thanks, Tim. But when he utilizes remote speakers like that, I have to wonder about how many types and cabs he actually has set up down there. Assumedly, there are several, and they get switched depending upon the amp involved. Were the speakers used here the same as in that Twin? And is ALL the audio we’re ever hearing on his videos always going down to the “blast room”? I’d really love to see a video of Tim giving us more details on this topic someday!

[@dougherbert7899]

He has done such a video, dig through his archives.

[@petegasper2806]

The guitar George Harrison called ” The worst guitar I have ever played” the Fender Rose wood Telecaster. George only played a Telecaster once for less than a week the disqusted gave it away to Delany Bramlet. The least used guitar of all in the Beatles recordings. George Harrison was the biggest fan of the Fender Stratocaster of all musicians though. His Rocky Stratocaster is easily the most used Beatle guitar. After wanting one and going to buy it in 1956 he found out there were No Stratocasters in England at all because of a US embargo. Finally in 1964 the first 13 Stratocasters arrived in England. From there on George Harrison almost exclusively recorded on Fender Stratocasters for the rest of his life. He owned 350 Fender Stratocasters when he died that he had bought himself as the Beatles did not lens themselves to commercials. He sat 7 days being interviewed for the official Fender Stratocaster book. A book he as a Beatle got the lion share of.

[@michaelmcewan5958]

As always lots of fun at Tim’s house. Maybe you can answer a question that has bugged me for 50 years. When they started filming at Twickenham studios between George and Paul is the green box, it lots like a cabinet, but it also looks like a space heater ( and I recall they said it was cold and drafty there), what the heck is it?

[@timothysullysullivan2571]

wild guess: power distribution or transformer box for the amps, since they are out in the middle of the stage floor in a film studio.

[@AlanHamiltonAudio]

Love that Tele and both the Casino and Tele sounded great in the Fender. I'm not sure whether to call that sound vintage... or "timeless"... :)

[@doctiberius2717]

I'm very intrigued and I can't wait to see this movie of unused footage that had been left on the shelf for all these years. I hope it is as enjoyable as you say Tim. They show that real talent is within them and us and not the need for expensive gear to make good music 🎼

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@theghostofsw6276]

Pssst.........(Pirate Bay).

[@Brammy007a]

For those into Fenders I encourage you to check ou: Fender Jaguar Thinline Limited Edition Model MIJ The scale is 24-inch as opposed to the standard 25-1/2-inch scale made popular by the Telecaster or Stratocaster. This is a BIG difference in feel. I have lots of high end guitars, but the Jaguar 24 inch scale feels the best.

[@jeffharmon1322]

Hey Tim- back probably about 2001 or so, I got a tip that Bekka Bramlett was playing a birthday show at 3rd and Lindsley here in Nashville, and that she had persuaded Delaney and Bonnie to get up and play a short set after she finished her set, so I went. It was absolutely amazing and turned out to be the first time they had played together in 18 years and was unfortunately the last time as well, as Delaney passed not too long after that. Larry Carlton was playing rhythm guitar that night. The reason I am telling this story is that Delaney was playing George's Tele that night and I think I was in awe of that guitar as I was of getting to see Delaney and Bonnie (who sounded amazing). I spoke with Delaney briefly and he told me before the show that he had just thrown up in the bathroom because he was so nervous...

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@crusheverything4449]

Wow! What an experience!! Larry Carlton on rhythm guitar is a head-scratcher, but is indicative of his humility and reverence for great music. I’m not a jealous person, but I’ll make an exception in this case!

[@hkguitar1984]

Great video, great to hear your take on the movie. 8 Lbs.! I'm fortunate enough to own a solid Indian Rosewood Telecaster, it weighs in at a touch over 11 pounds! The solid rosewood construction on my example really transformed the tone and character almost completely. It sort of sounds like a Telecaster however the modest bridge pickup now sounds like an angry P90! I've never been able to get a good sound out of the neck pickup (dark sounding), so I've decided to convert it to a solid rosewood Esquire!

[@stuffandthingsyoutube]

If they DO do another run of the rosewood Tele, I wish they would offer some in the original fretboard radius. It's weird to do a "reissue" that changes such a fundamental spec.

[@s2seltaeb]

The Masterbuilt one from 2016 has the 7.25” radius, as well as the 1/8” wider neck… but the artist series one (2017-2018?) has the 9.5”, I believe.

[@ScrewballMcAdams]

The original was glossy, solid rosewood with glossy rosewood neck+fretboard. It wasn't chambered nor did it have a slice of maple between 2 layers. Other than the pickups this one Tim's playing has little in common with the original. I had one when it was released in the early '70s. My apologies, I was referring to the retail music store version offered to the public that was selling in summer 1971, not George's guitar.

[@kellyc2425]

@@ScrewballMcAdams What happened to it??

[@tedruybalid2262]

@@ScrewballMcAdams I am under the impression that the original RW Teles had the maple slice in the middle too. I worked in a guitar store in the early 70s that had one of those (used) and it had the maple. It was shiny and had the 7 1/4 radius and yes, it was extremely heavy. We laughed about the maple as it was (we were told by the dealer) meant to be a weight reduction element. Haha, it didn't work. As Tim said, it was in the 12 to 13 lb category, more like Les Paul weight.

[@lapelcelery42]

@@ScrewballMcAdams The original did have a slice of maple between two layers - it's visible throughout the Get Back footage. It was also a satin finish - It has a gloss finish NOW because one was applied by Delaney Bramlett after George gave the guitar to him in 1969. Delaney also had a humbucker installed in the bridge and changed the tuners, though the Harrison estate has since reacquired the guitar and restored these features, but not the satin finish.

[@jibicusmaximus4827]

Tim you are the greatest player! I keep meaning to show you to my father whom I play in a blues band with, your intro solos and general playing is so structured and tastefull, it's always a masterclass!

[@rickgibson324]

Just finished watching the "Get Back" documentary, now consumed with revisiting some of these tunes! Great job Tim! One other question? There's a section George was non-stop playing with a wah... which one was he using and were there any other pedals in use during this recording?

[@joseegonzalez4894]

Very cool, glad to see you appreciate the Documentary for what it is a Historic Treasure for musicians like us who love the Beatles for their huge contribution to music in the XX century!

[@smsnc20]

Harrisons son told the story of how his father got that guitar. Said fender had no way to contact the Beatles and decided to ship ot hoping he would get it and use it. They didn't know he got it till they seen the rooftop concert. His son also said fender made a strat and shipped it to hendrix but he died and nobody knows where that guitar went

[@timothysullysullivan2571]

How could Fender not know to ship it to his own label/company, Apple Records on Savile Row London? I do believe they shipped it blind however.

[@smsnc20]

@@timothysullysullivan2571 well in the documentary it shows Apple wasn't setup yet and george had the guitar. When the george Harrison documentary on HBO came out there was a companion video on iTunes. Dahni Harrison showing all of georges guitars and telling the stories about them.

[@largeeng]

I had a luthier built replica rosewood Tele about 20 years ago, picked it up second hand for a song. It had the most amazing tone but not in the traditional Tele sense. But it was crazy heavy (I never weighed it), played it at rehearsals a few times but it really didn't do my back any good!! It lost favour and eventually got sold, of course I wish I still had it, but that is seeing it through rose tinted glasses.

[@erwinroman4217]

Gorgeous Tele. I’m lucky to have a ‘68 Blackline, Drip-Edge Pro Reverb. Fantastic amp and you’re dead on the money about running at 4 to 5 on the volume. Clean or driven controlled by the guitar volume knob.

[@raymondroberts8709]

Beatles always had Fenders in the studio. George played the iconic 'Nowhere Man' solo on his sonic blue strat, which in '67 would be painted psychedelic. Beatles dug Rickenbacker, Fender, and Epiphone instruments.

[@dodgedandle8311]

That Harrison Tele Absolutely Sings ,Beautiful clear sound especially with the Fender Amp. 🌞

[@natethebesttt]

“There was no obsession with vintage gear. These were just tools that made a particular sound.” “Tone” obsessed Boomers who occasionally touch one of their 5 70’S LP bursts: 🤯

[@ileutur6863]

I miss those times, not that I was alive then, but it must have been great to have tons of vintage guitars in pawn shops and people doing whatever they wanted with them instead of making everything into a museum piece

[@richsackett3423]

It's a stupid idea. There were no vintage electric guitars then. The Strat hadn't been around for 15 years yet. Or boomers who make all guitars they play sound the same.

[@Starch1b2c3d4a]

Well, this is still Fender at its peak dude. They made the best amps at the time.

[@madkeysfilms]

When I was at friar park I saw George’s Casino. It had a Bigsby and was still light sunburst.

[@TheBarroomHero321]

2:07 ACKSHUALLY, a casual observer may not know this, but in Get Back you can see one of the very guitars that created the vintage market. Guess which... That's right, George's red Les Paul that unceremoniously fell off the drum riser. That was a '57 Goldtop, refinished, that he'd gotten from Clapton in '68, which previously belonged to Ric Derringer.

[@antdwyer5679]

Respectfully, I'd have to dispute that the red Les Paul "created the vintage market." For one thing it was only about 12 years old at the time. Not even close to being "vintage." In fact every guitar I own now is older than that. It was also refinished, which today would make a vintage guitar worth way way less. Of course the fact that it was owned by Derringer, Clapton and Harrison would have had a huge effect on its value. Maybe that's what you meant?

[@kidlargo1]

Let's not forget the previous owner was John Sebastian of The Lovin' Spoonful who traded it to derringer for an amp to replace one of his that had blown. After Derringer had it refinished, he hated it and he sold it to Dan Armstrong's guitar shop in New York. Clapton bought it a couple days later.

[@TheBarroomHero321]

​@@antdwyer5679 ONE of the guitars that created it. Not in terms of age, of course, but like Tim said there weren't really "collectible" guitars at the time. What I'm talking about is guitars becoming collectible pieces rather than just the value of its utility as an instrument. Artists started trading humbucker equipped LP's around because they were singular instruments and at the time affordable, though already way more expensive than their original sale price (even adjusted for inflation). Not to mention the fact that you couldn't buy a new LP with humbuckers until around 1970, and then it would've been a goldtop deluxe you'd have to special order with humbuckers rather than mini-hums. Too big a pain in the ass for most people. Take Mike Bloomfield, for example. Trust fund kid. Amazing player. He had the money to buy pretty much any new guitar he wanted, but instead he hunted for months in late '67 til he found his Burst. This was not something that happened with most people in the market at the time, but it rapidly became the norm after Clapton, Harrison, Bloomfield, Joe Walsh, etc.

[@willemmoller6736]

I have that exact same silverface Deluxe . . . it's been my favourite amp for more than 30 years

[@davidbaker231]

I've always thought that the vintage obsession came about because of diminishing quality trends that happened at different times for different manufacturers, roughly during the seventies. By the early 80's or so it was getting difficult or maybe impossible to buy a brand new instrument that could hold a candle to an old one. I mean that was the phenomenon, in rough contours, behind the vintage obsession, right? For guitars and amps from the major manufacturers? Then at the very beginning of digital audio recording a separate but related thing happened. A "perfect" new medium was hyped, but the early converters sucked and the loveliness of tape saturation was gone, so you got a sound that was not good to say the least. It took many years for digital recording to start to sound good. Also the early digital synthesizers, while capable of all-new sounds, couldn't do fat, warm analog sounds. These three things kind of commingled into a general "vintage is way better" truism. It's been mostly accurate to say that this whole time. We're just now getting to a point where you can use brand-new instruments and digital stuff and get killer, no-compromise, results. I'm lately becoming leery of vintage gear fetishism. We've got new stuff that absolutely slays now. My buddy has a 2019 PRS McCarty that sounds amazing for almost anything. We use mostly newer amps and cabinets except for one amazing 50 year old fender twin which sounds so good we can't not use it. We record basics at a studio with an old Neve and a bunch of vintage mics and outboard, but then we do overdubs at my house with a UAD Apollo and modern mics and it's great.

[@frankmarsh1159]

In the eighties people were not thinking about that "vintage sound." The DX7 electric piano sound today is considered to be pretty obnoxious but at the time nobody had ever heard anything like it so people thought it was cool. Digital recording and effects sounded thin and brittle but people thought they sounded modern so they used them. Over time people started to realize those old 15 ips analog recordings with the old vintage mixing boards sounded so much thicker and warmer. Today you can use digital gear to get that thicker warmer sound but unlike in the eighties trying to get that "vintage sound" is the objective. The eighties sounds like the eighties because that's what people at the time wanted it to sound like.

[@jeffc4862]

@@frankmarsh1159 It's an interesting discussion, but I do remember 'vintage sound', and quality being a selling point when I worked in MI sales - the problem was availability, and expense - the moment a pre CBS Fender would come in (guitar, or amp), it wasn't around for very long, and anything with a three bolt neck was frowned on. Gibson was having some quality issues as well, and they were expensive - after 84 when they moved production to Nashville, they were an extremely hard sell, and the used market ramped up for them. As for keyboards/synths, I totally agree that the latest, and greatest was the norm. As for digital recording, I remember when ADAT's came out, and how they sounded - same with the Tascam DA88s (both early 90's) - that led to the whole 'tube' preamp/compressor bit, and actually mastering on VHS (hard to believe). We're lucky that now all the bugs have been worked out.

[@sunburstmike8745]

Very concise and informative video, as always! What struck me was how much they goofed around and all the while building up to playing so tight the complete songs ... it's as if they listened to the album and copied it! All those years playing SO MUCH together (Hamburg, British clubs, worldwide tours etc.) just kicks in on the roof. If we didn't already know the ending concert you would swear they were going to blow it ... haha! I kept saying to myself, "guys, come on ... you have a show to do in a few days ... get it together". Just a stunning and fun documentary.

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@fajrulnorman]

@ who are you and what have you done to Peter?

@@fajrulnorman just a musician who loves Fender, Gibson, Martin guitars!

[@Starch1b2c3d4a]

Its actually Lennon who plays the cool solos and guitar parts on a lot of songs. The documentary shows it really well. I thought it was Harrison, but no. He was really burned out in the documentary and basically stayed with rhythm playing and writing cool songs. 👍

[@KeithFinnie]

I love George's work in One After 909. As a group, to me they always played to fit the song.

[@Starch1b2c3d4a]

@@KeithFinnie I Me Mine is a cool song.

[@rhythmace1]

@@Starch1b2c3d4a Yeah I really like it. I understand it's the last song they all recorded together.

[@tbeau6663]

George's solo on Let It Be was outstanding

[@bigsby1]

Great video. Man, the Casino through the Deluxe sounds so great. One thing -- the Get Back doc shows them in 1969, and very early '69 at that, not 1970 (although the Let It Be album was released, finally, in 1970).

[@timpierceguitar]

Thanks for the info!

[@curbmassa]

I worked on an original rosewood Tele back around '75. It was without a doubt the worst Tele I've ever played. It felt like a cinderblock with strings and sounded like icepicks in your ears. Bit of trivia- it was Phil Kubicki who developed the finish they used on the original ones, according to a friend who had a phone conversation with Phil.

Things We Said Today episode #355. Some Quality Time With Peter Jackson.kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@timothysullysullivan2571]

a production model when Fender was at a very low point quality wise. George's of course was hand built, one off by a master.

[@markhunt3265]

Did anyone else notice the closeup of the Deluxe is not a shot of the one in the video and in fact has had a Master Volume mod. A volume pot has been inserted into the second input jack of the Normal channel. I have a Bandmaster head of the same vintage that was rescued from a dumpster. Someone had done the Master Volume mod but had drilled a hole in the faceplate for the pot, obscuring the Band part of the logo. I rebuilt the power supply and it sounds great. Still a work in progress.

[@geespar1]

That is THE tele sound! Very nicely demonstrated as well I might add

[@billchurch1145]

Tim, thanks for another informative video. Great content, as usual! I love reading and learning anything historical regarding the Beatles and, most especially, Fender. I saw the Beatles live in concert at D.C. Stadium when I was 16 and was gifted a very used '55 Strat the same year by my stepdad. I'm 72 years old now and I still have and play the '55. It is simply a work of art. Wouldn't sell it even if I was starving!

[@LAboomR]

I remember where I was when the radio announcer said “ the Beatles have broken up”. As a 15 year old, I thought how can life go on without a new Beatle album to look forward to. 🙂

Things We Said Today episode #355. Some Quality Time With Peter Jackson.kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@jmsmikey]

Wow~ that rosewood Tele is SO gorgeous! I've never liked rosewood fingerboards (I really like ebony or maple), but when the WHOLE guitar is rosewood? That's badass~ You studio looks like the history of guitar amplification Lol

[@bassadelica]

Phillip Kubicki told me the story of building that rosewood Tele for George.. He had ZERO idea if the Beatles had even received the stuff Fender had sent them. Not a thank you or anything so he’d forgotten about it.lol THEN he goes to the theater to see Let It Be and there on the screen big as day was the guitar up there and he said he cried. Love Phil. One of the greatest dudes. RIP

[@largelarry2126]

I remember riding my bike 15 miles to the Indiana state fairgrounds just to see the Beatles. I think it was in 1966 and I was in a little band back then and remember seeing that they had Fender twin amps sitting behind each VOX super Beatle amp that had no wires running to them. I was told later that the VOX amps just had no guts and weren't very loud, so they didn't use them, they were just for show.

[@glenkepic3208]

Nice. Thing i read was Don goes to London, meets Paul and things are great. Talking about new models, tone, etc. John shows up with Yoko and he's 'in a foul mood' and they're arguing. "So, wtf we doing here? You give us the amps and we'll play them. Are we done ?" yep. Not that The Beatles needed money but Don was going to present an endorsement deal.

Things We Said Today episode #355. Some Quality Time With Peter Jackson.kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@timothysullysullivan2571]

John had no business sense at all. Later he delegated all money matters to Yoko. That was something she has a talent for.

[@Terribleguitarist89]

Get Back was amazing! As for that Rosewood Tele, I love that thing, you can tell it's a tele but it has a unique voice for sure.

[@Corporations8MyBaby]

I loved the tone of Lucy (Les Paul) and Rocky (Strat) too.. but when he switced over to the Tele with the Silver Twin.. it was like angels singing. I was age 1 when the Album came out so I learned a lot more about it all as the 70s were ending (when you got here to LA) and I was obsessed. My teacher knew a lot and told me fine details. I got to record in the old studios when I was graduating music school... so I had the experience before it went away. I got to sing into an old Ampex for slap echo. Heaven! Have you heard the Giles Martin mixes? They have reignited my passion for this album and these sessions alllll over again.

[@gsbguitarsgsb679]

You are the king of the coolest riffs ever… I was ten in 1970 and a complete drive my mom and dad crazy with everything The Beatles said and did… but I have to thank them for funding my obsession with the Beatles and others at that time in music… if not for them I would not be the musician I am today… Thank you…

[@JamesWalshBristolKids]

Rosewood is heavy dense wood - good on ya , Tim. Another run of chambered Tele GH Model would be ok. "Imagine how good we could've been if we had Fenders sooner" ~ George Harrison. In the late 50's and early 60's finding a Fender guitar in England was a rare find due to import restrictions at the time. After seeing the Beatles Documentary series by Peter Jackson I realized they are great musicians and comedians; and I need the hard cover book The Beatles Get Back by The Beatles with the 4 lobby cards.

[@davel_ggw]

Absolutely would love to see them producing his signature Tele again! Would be an instant buy here. I also would be more than happy to see an 18 hour extended cut of the documentary lol. Thank you.

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@jarrodlewis123]

Tim, I have a solid mahogany tele that I built about ten years ago. I was attempting to get Les Paul crunch with tele twang. I succeeded!

[@robertmiller5392]

I'm sure someone has pointed out that the Gibson acoustic you show is a J-185, not a J-200 like George had.

[@johncox2552]

I noticed the album cover for “Chester and Lester”! Great album filled with great tunes and hilarious comments,… such as Chet telling Les Paul,.. “if your gonna play the damn thing you gonna have to play it faster “!

Things We Said Today episode #355. Some Quality Time With Peter Jackson.kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@josephbelcher2568]

I read that The Beatles had a meeting with somebody from Fender who was prepared to pay them to use Fender equipment. John wanted out of the meeting and before money came up said send us the stuff and we'll use it just thinking about getting some free gear.

Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@Cliffswanson]

I used to play pedal steel guitar through a 1967 Fender Dual Showman amp that was a drip edge silverface. I checked the serial number for the correct production date and it was indeed mid '67 but the transformer code dated '66. I got into a conversation with someone from Fender and they decided it must have been a transitional amp made during the change over from black face to silver face drip edge models. I loved that amp with Sovtek 5881s biased kinda hot pushing a 15" Weber California speaker. Headroom for years and perfect for twangy pedal steel guitar.

Cliff...Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@BriBeast8566]

Get Back has given me a revitalization as an old school fan of the Beatles. I can thank both of my parents for their music...i was only 4 in 1970. I also liked seeing all the old equipment which was new at the time.

[@mralgebro]

That jam in between talking totally sounds like Raining on Sunday type stuff. Love it

[@talldavid30]

I built a parts caster tele with brown stained ash, a roasted maple neck, lollar vintage pups and all nickel hardware. It looks pretty much the same as George's tele, and sounds really cool.

David...Peter Jackson film director. interview about The Beatles movie- Get Back. kzbin.info/www/bejne/h4Svk2qZpa2sZpI

[@denniscullen8528]

The Gibson acoustic is a J-185,little brother to the J-200.With a slightly smaller body,smaller scale 24 3/4 inch.Compared to the J-200,25 1/2 inch scale.The rest of the construction on the two guitars is the same,maple bodies with spruce tops,rosewood fingerboards.the J-185 has pearl parallelogram inlays,but the J-200 has pearl crown inlays,like a Les Paul Standard.Great video!

[@Andy_Fallon]

George Harrison said himself and John bought two identical sonic blue fender stratocasters in 1967. They sent Mal Evans to a music store to get them. George painted his to make ‘Rocky’. This is also used on Let it be sessions.