Author Archives: JT

I Must Do Something Creative

 

I spend a few weekends a month gigging out. It’s really fun, and I get to play my electric guitars loud…which I love. Every now and then though I get the itch to do something creative for myself. It’s a demand from my wiring, really. If left un-quenched, it can turn into an almost neurosis-level rattle that makes me insane. It’s like having a ball baring rolling back and forth inside the dashboard of your car with every turn you make. Eventually the want and need to solve the problem heats to the fire of a nuclear blast. In the past, this has usually translated into me writing/recording music.

So, this very thing happened a few months back and I decided I wanted to learn one of my favorite songs. Then I decide to make a video of me singing and playing it. This really isn’t something I do regularly, if at all, much less share it on the blog…but hey what can I say? I’m getting older and care a hell of a lot less what people think…but as a musician I still crave peoples attention…life is messy, right? Here’s me, exercising creative demons and covering one of my favorite songs, “All Night Long” by Peter Murphy.

 

The Road To Minimalism II

Since the last post we have been busy, each weekend, hauling loads of stuff to Goodwill. It’s pretty incredible how much we have accumulated.

For me, I think my minimalist tendencies started a few years back, when I looked around me and realized I had something like 20 guitars. Simply keeping all these guitars around in a little 800 square foot house in south St. Louis was a challenge in itself. What happened was I began to realize, even playing multiple gigs a week, I couldn’t possibly utilize all of them. I got to a point where I stopped going to vintage guitar shops to look around, realizing I had way more than I ever needed, or deserved really. I then began getting rid of them.

Now, does this mean I’m cured? Not by a longshot. Take, for example, my pastime of building guitars (I really just part them together). The pic below is of 2 such guitars I’ve made since we got to Phoenix. One is my beloved pine Barncaster, the other is a highly functional and very playable Strat. It was a blast putting them together, a fun and intricate process. The problem is….I have managed to replace buying more guitars than I need with building more guitars than I need.

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Pine Barncaster, Superstrat. Sorry for the shitty pic

So now the idea is to get down to just a couple guitars. I already have a 95 Les Paul that my father gave me for graduating university. That one stays with me forever….so the question now is what else to keep? Is 2 or 3 guitars overkill for someone that wants to be less burdened by their belongings? Does my gigging regularly justify it? Hell I have no idea. Still adjusting to this whole thing.

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My 1995 Gibson Les Paul, equipped with 2 high-output Seymour Duncan pickups

The other thing I have focused on lately is selling all the little guitar parts that I have accumulated over the years working on guitars. None of it is worth a ton, but when I added it up, $10-$20 a pop, I had at least a few hundred bucks just laying around. I sell all this (along with the guitars) on my Reverb store. I’ve already sold a ton of stuff this way in the last few weeks, and I have a lot more to get listed!

Shop My Store on Reverb

Another major we are moving toward minimalism is getting a stall at the Thieves Market in Tempe, on December 3. This will be a great way to get rid of a great deal of the vintage stuff we have laying around. Expect a full report here soon. Alright, JT signing off. Stay sleazy.

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The Desert Trip

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Richard, Becky, CT and JT

I don’t think I’m exaggerating when I say this concert was a once in a lifetime experience. I was obsessed with every one of these acts at some point of my life. I was 22 when I could not stop listening to Exile on Main Street. I was in my late 20’s when After the Gold Rush and Everybody Knows This is Nowhere made perfect sense in my life. I WAS LIKE FREAKING 10 when I stole my brother’s Dark Side of The Moon tape (sorry Shane(sucker)).

That’s why it may be surprising that when the opportunity came up to see this concert, CT was more ready than I was. Shit at work was stressing me out, we just dropped a ton of money on an AC unit….all that crap. Anyway, she convinced me.

The real miracle is we got our best friends Becky and Richard to come with us. I don’t think I’m exaggerating when I say they are a couple of our favorite people to walk the planet. SO…they fly into Phoenix, we load in the trusty Tacoma and we hit the dusty trail for Desert Trip!!

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CT and the loaded Tacoma

We were car camping, which gave you a 10X30 spot for your car and tent/whatever else, which was really cool. We stayed right on the grounds of the Empire Polo Club, and simply walked in each evening to see the show. The only thing that wasn’t fun was the fact that it was pretty much 100 degrees every day. Each day was a bit of a struggle to stay cool. Also, this place every other day is a Polo club, so the ground is trampled into a fine dust, which gets into everything/everywhere. Everyone there was filthy within the first few hours! All part of the fun.

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Car camping…photo credit Becky

All the mess aside, we were with our friends, and had a crazy blast.

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Here’s us with the stage in the background. To give you an idea of size, we were at the front row of general admission. There were about 40,000 seats between us and the stage.

Here’s a great shot that Becky took during one of the shows. There were a ton of posts everywhere, the size of highway light posts. Each one had a speaker array pointing each direction, and lights on the top. The sound was really incredible.

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Here’s me and my boy Richard in a candid moment

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Videos!

Neil Young was a huge surprise. He had a great band, and sounded stunning. His energy was on par with anyone I have ever seen, and everyone in our party was thrilled with his performance.

Next up we have the Rolling Stones, with one of my favorites: “Mixed Emotions.”

And here’s The Who with “Behind Blue Eyes”

It was a great time, which I will never forget. Sometimes it makes the most sense in life to drop a ton of money, throw caution to the wind and just say to hell with everything else, I’m doing this crazy-ass thing and going to have fun! Remember to live your life everyone.

The Road to Minimalism

By now you may have seen CT’s mention on a previous post of the new air conditioner we just had to buy. It was a painful experience, but in the scheme of things it was something we had to do in order to “maintain” this home. Here’s a pic of the massive building-sized heat pumping robot terminator fandroid:

Over the past few months, CT and I have been thinking a lot about the things we have bought and surrounded ourselves with, and the lengths at which we have to work and stress the hell out just to “maintain” all of these things. In American society, it seems like our idea of standard of living can simply be boiled down to making sure you make enough money, virtually any way you can, in order to surround yourself with stuff you probably don’t really need. For a lot of us, that means working a soul-sucking and intrinsically meaningless job that causes us daily sadness and fear.

I’ve thought a ton about what it is that I need. I know I need CT. I know I need to eat everyday, and have some kind of indoor human habitat. I need to do work that has some kind of redeeming purpose, where I can be creative. I need to feel free and happy. That’s it.

Does a big screen TV fit into my needs? No. Do I have one? Yes. Do I need to own a huge house and fill it with furniture? No. These things can be super fun, but I don’t need them.

This being said, CT and I are going to begin our journey towards minimalism. We have chosen to not be held hostage by our things, and choose for the rest of our lives to be more of a journey. What does this mean? Well, that really remains to be seen. I think the answer to that might be different for all of us. Anyone else having the same feelings?

1975 Fender Precision Bass with Jazz Bass Neck

Sometimes getting clear dates on vintage guitars and basses is a mess. It’s an easy enough question; “what year was this made?” It’s not unreasonable to think doing a little research for about 20 minutes on the internet will answer it for you, but in a lot of cases (especially this one) the ride towards the truth is damn bumpy.

I came across this on craigslist, which was advertised as a 1976 Fender Precision Bass with Jazz Bass neck. Lot’s of parts had been replaced years ago, but with the first look I knew I could sell it. Sometimes mojo and sheer coolness make up for a ton of non-original parts. I’ll pocket that one for a future blog perhaps.

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The Story:
I was told that the original owner ordered this bass from Fender with an ash P-Bass body and a Jazz Bass neck. The previous owner took the bass to a reputable, Fender-licensed shop to have a new identical label placed on the headstock. Before Fender would release the label, the guitar had to be verified to be original, which it was, based on the details and serial numbers present.

I come across intriguing stories like this all the time. I know that back in the day you could call up the factory and order guitars however you wanted them. The major Detroit car makers did the same thing at the same time.

My thing is (I guess it’s a thing? What’s a thing, really?) I can’t really believe these things until I investigate myself. In a lot of cases these dudes don’t want you popping the neck and pickguard off to look at dating codes, so when negotiating a price you have to take that into consideration. I got a great deal on this one so I sprung for it.

The Facts:

Here’s where I turn into Professor Propeller-Head and you’ll have to pay attention to the details.

Around 1976, Fender started what we consider today to be the modern serial number system. It’s pasted on the headstock and the first two characters tell you the year (S7 = 1977, E1 = 1981). This is generally accepted to be the year the guitar was made, and you have little to worry about unless the neck doesn’t match up with the body or other shit like that.

So the guy whom I bought it from claimed it was a 1976. Great. That means the serial number is on the headstock….but wait…he didn’t like how “old” it looked so he did a pro refin job on the headstock, and had the label replaced with one identical. Nothing against this guy- he was nice…but why oh why do people to this?

So here is a pic of the “identical label” that was replaced. Notice anything? The label is actually a label from the early 70’s era (up through 1975).

Early 70's Era Label

Early 70’s Era Label

This led me to think that what I had here was not in fact a 76, but likely a 75 or earlier. Time to pop the neck off, and look at the date code on the heel:

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The code on the neck heel reads (from what I can tell) 02011713

Generally this means:
02 – Jazz Bass
01 – Rosewood Fingerboard
17 – Week code
1 – 1971
3 – Wednesday

1971. What the hell?

Here’s where you start banging your head against the wall.

It’s known that sometimes with these Fender neck heel date codes the last two numbers were transposed, so there’s a good possibility that the “3” actually represents 1973. It’s also possible that the numbers are faded enough that I’m reading them wrong. Take a look at the picture.

The neck plate serial number reads 508162, placing the date around 1973, 1974. I’m not a huge fan on relying on a removable part to determine the date of the guitar body, but in this case the date matches up to the era of the neck.

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Going a little further, the neck pocket, while not having any date codes to read, does have period-correct quality assurance markings. The name “FRANK” is the name of a dude that worked in the Fender factory and shows up on other period-matching guitars and basses.

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This is a huge hassle, and you might wonder, as I have, why Fender didn’t take better care in providing trackable dates?

Look- the answer is that these guitars were made in a mass-production factory environment. The folks putting them together grabbed parts from boxes, and it wasn’t uncommon to have a year-old neck slapped onto a new body. They worked with what was around. They also didn’t know that there would be nerds like you and me desperately working to curate and determine specific years of manufacture. They simply weren’t in the business of making that clear and traceable.

The bottom line is I could determine with some certainty that this was a body and neck from the same era. For Reverb posting purposes I called it a 1975, but the the fact is I don’t have a clue exactly what year it was assembled and sold.

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Why go through all of this? Well for one I can’t assess the value and place an accurate and fair price until I play this “who-the-hell-are-you” game. The biggest reason though is this is EXACTLY what sellers like me are responsible for. You have to commit to due diligence and make sure people know the full story. The folks I sell to aren’t collectors or high rollers- they’re dudes and ladies like me who don’t make a ton of money, but want and frankly deserve to play cool vintage guitars.

Just call me Ray Zalinsky: I sell guitars to the American working man because that’s who I am and that’s who I care about.

I sold this via my Reverb store to a fellow in Georgia, seemed to really like it. He asked for a copy of the research, and I was happy to comply.

1978 Fender Telecaster

The guitar in this post is available (although probably not for long) in my Reverb store. Check it out along with my other offerings at Thompson Guitar & Thrift by clicking this button:

Shop My Store on Reverb

All around the guitar-nerd thunder-dome I exist in, I hear a lot of bad-mouthing of guitars made in the 1970’s. I definitely get some of it, and anyone can see it in the bizarre offerings from Gibson especially in that era. Quality control standards and just the sad state of the economy in general are often cited as reasons for these “less-than” products.

I’ll admit I wasn’t around in the 70’s (CT and I were both born in 1980), so I’m quite honestly not sure what the big deal is? For example, I found this 1978 Fender Telecaster recently. This guitar is absolutely solid, totally playable and has that vintage look/vibe.

1978 Fender Tele in awesome brown finish

1978 Fender Tele in awesome brown finish

This is a great guitar that (as a player) I would put up against any pre-CBS era tele.

1978 Tele Close

So much value is placed around the pre-CBS (before CBS bought out Leo Fender) Fender guitars. So much so, folks like me (and likely you) have an almost impossible time buying or even playing them. The average guitar player, and certainly the average musician just don’t have the tens of thousands to get our hands on one.

What we do have however for vintage Fenders is the 70’s era guitars. As much trash talk as I have heard about them, I have yet to come across one that hasn’t been a delight to play. I played a 78 refinished tele for years and absolutely loved it. They look every bit as vintage, have the same tone as those a few years older, and are guitars that you wouldn’t think twice about bringing to a bar gig.

So what the hell is it exactly that makes them so inferior? Cheaper components?These were guitars made by hard-working Americans who I’m sure took great pride in what they were doing, and did the best with what they had. I for one would like to send my thanks out into the universe to those folks who made some great guitars. Not all of us think they’re sub-par.

1978 Tele headstock

Charvel Model 2 Project PART TWO

So I completed the Charvel Model 2 project! Totally awesome guitar, but since I started building my own superstrats (look for a future blog on this) I decided to sell it in my Reverb store. It’s on sale the weekend of October 8-11, 2015 if you’re interested- just use code GUITAR1 at checkout to save an extra 6%. Check out this and everything in my store by clicking this button:

Shop My Store on Reverb

Finished and in original case

Finished and in original case

Since it was gutted and the original tremelo was destroyed, the list of work is pretty long:

-Replaced original (and destroyed) Kahler tremolo with a Wilkinson (which fit the original bridge posts)

-Added Guitar Fetish VEH (Vintage Extra Hot) Brown Sound pickup

-New gold-plated Switchcraft input jack

-Push-pull split-coil pot

-All-rosewood volume knob

I gotta sat that guitar fetish pickups are where it’s at. This VEH has this amazing tone- just think of a hot PAF humbucker, or Eddie Van Halen’s mystery pickup he had on his frankenstrat. I loved this pickup so much I bought a white one for one of my superstrats (again- look for a future blog post).

Rosewood volume knob

Rosewood volume knob

The push-pull split coil pot was a first for me. It’s a complex wiring job, but I knew that the variance it would add to the tone would be necessary. With the split coil, simply pull the knob up and the hum bucker is now a single coil. It really sounds great and even with the single coil engaged there is minimal to no noise. This is such a great thing to have with a single-pickup guitar.

Completed wiring for push-pull volume pot

Completed wiring for push-pull volume pot

The brand new Wilkinson 2-point tremolo has a big block and keeps nearly perfect tune. What’s great about the Wilkinson is it matched the two posts that were there for the old tremelo. No drilling or filling. This is also great for anyone who would want to find an original Kahler tremelo, as it would fit right back on there.

Wilkinson tremolo mounted on original Kahler mounts

Wilkinson tremolo mounted on original Kahler mounts

This was a really great project, and a real treat to play if you’re into Kramer, Jackson, Charvel or Fender super strats.

Check out more pictures of it, along with a short demo video of me playing it at it’s listing here.

Tree Stump Table

So we have this amazing view of South Mountain in our backyard, but when we moved in it was blocked by two trees. Well, one tree and one sad-sack-of-shit tree stump that was totally overgrown with weeds. We were sure it was providing hiding places for snakes, coyotes, tarantulas, hikers, hipsters.

Big crappy trees

Big crappy trees

No more big crappy trees

No more big crappy trees

We had someone come out and cut them down, which they did in about 2 hours flat. One by-product was a couple logs, one of which I decided to turn into a tree stump table so I could contribute to CT’s living room design.

When I went to grab the stump, I found a giant bug on it. Maybe it was a molted shell, maybe it was alive……I don’t know. All I know is I saw something brown, green and about 5 inches long in a split second before I dropped it and jumped-jerked-pirouetted away. I then soaked it for about 3 minutes with the hose. From there I gathered up the courage to gather it up and set it in the sun for few days to dry out in the midsummer Arizona sun.

Sanded, ready for poly

Sanded, ready for poly

Once I got it into the garage, I began sanding it. Quite honestly I really didn’t know how much sanding I wanted to do. The whole idea of this project was bringing in a rustic touch, but at the same time I needed some leveling of the ends. My solution was starting with medium-coarse grit and finishing with 600 grit. Just enough to smooth out the real rough spots. I cleaned it off with a can of compressed air, and started in with layers of clear brush-on polyurethane. After a few weeks of curing, it was ready to bring in and enjoy.

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Charvel Model 2 Project PART ONE

New to Phoenix, with the itch to find guitars to work on, I have found one very surprising thing. What you can find on Craigslist in Phoenix is no where near what you can find in St. Louis. Perhaps it’s St. Louis Music/Ampeg being headquartered in STL? Not sure. All I know is I could consistently get my hands on great, cheap vintage and hard-to-find guitars in the midwest. In Phoenix all you get is a bunch of busted Squires and the occasional guy wanting $1000 for his sad-sack-of-shit partscaster. It’s alright buddy, I build them too.

Welp, old JT managed to find himself an awesome group of guys to play music with, and what’s really interesting is we are all in love with New Wave music. I finally get to play Duran Durn, Depeche Mode, The Fixx, Talk Talk…all the stuff I grew up with and listen to every day.

This got me in the mood for an 80’s guitar. Something somewhat flashy, but simple and refined. I was lucky enough to find exactly what I was looking for: a circa 86/87 Charvel Model 2.

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I’ve always wanted a one-pickup one-volume guitar, and I finally found me one.

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This guitar came completely gutted, with no pickup, no electronics of any sort or input jack. On top of everything else the original Kahler tremolo was totally trashed, like someone pulled it off the guitar and hit it with a shovel for a few hours.

Stay tuned for PART TWO!

Pine Barncaster Build Part 3

I gotta say, I had a lot of fun doing my first nitro spray. I started by picking up 3 cans of Behlen nitrocellulose musical instrument lacquer online. You really have to order this stuff- no store around the corner is going to carry it.

Nitro!

Nitrocellulose Lacquer was used early on by Fender, Gibson and all the other bastards making guitars back in the 50’s and 60’s. Basically each spray treatment ‘melts’ into the previous layer, forming a kind of crunchy candy shell (think M&M’s) as opposed to polyurethane, where each spray forms it’s own layer (think Gobstoppers).

Anyway- in order to use it, you gotta warm it up in hot tap water. Otherwise it will spatter and fart out big globs (which as it turns out it might do anyway).

Warm it up

Warm it up

The plan I developed was to spray 9-12 coats, 2-3 coats a day, 1-2 hours apart. From what I have read, this allows the layers to melt into each other. I would hold the guitar flat, spraying about 1ft from the body with the can at a slight angle. I started and ended each spray away from the body, doing a cross-hatch pattern on the front and back. Look up Will Kelly on Youtube for more details (I did).

Spray!

Once it cured for about 14 days, I wet-sanded it using 800-2500 grit sandpaper, to get it smooth and shiny. I wet the sandpaper and the body down with a detergent/water mix.  Again, Look up Will Kelly’s videos. They really helped me out.

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The end result was absolutely awesome. I love it. Just look at this monster.

Lacquered

 

Not sure these pics do it justice:

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I even brought it in the house and put it under sexy lighting to show the ridiculous colors:

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Close up of the ‘big red spot’

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Next up, I’m gonna show you how I relic’d all the brand new shiny parts using melt-your-face-acid…so stay tuned…

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