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A great instrument instructs the player . . .

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One of my more unusual guitars is a Hallmark Barris Kustom from Bob Shade. This guitar is shaped and painted to replicate custom-hotrod-builder George Barris’ personal crest. Barris, a buddy of Shade, is the fellow who designed what I consider to be the koolest kar ever made: The TV show Batmobile:

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Barris is called the King of the Kustomizers; he also designed and built the Munster Koach, the Beverly Hillbillies’ truck, the Kitt car, the Dukes of Hazzard General Lee, and the MonkeeMobile, among a host of others:

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Back to this guitar. Bob, whom I’ve known for 20 years, has given me some good deals and trades on guitars and in return I’ve given him my trifling skills as a photographer, writer, and/or sketch artist/designer. We have fun together because we love guitars and kool kars and we both have a wacky sense of humor. Since the Barris Kustom guitar Bob made as a six-stringed version of Barris’ crest is either a prototype or a mistake, it doesn’t have exactly the same control circuitry his production models have. It has a single knob for volume and a single Shade-recreation of the early 1950s Carvin AP6 pickup. No tone control.

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That being said, it is one of the best-sounding and playing guitars I have. It has a maple/rosewood neck of the Tele/Strat scale, though bound. It’s a solid body and fairly lightweight. It comes with Bob’s version of the old Mosrite tremolo. The Carvin-clone pickup gives it a spanky yet very articulate sound, especially since I use LaBella light-gauge flatwound strings on all of my electric guitars. It sure doesn’t look like a run-of-the-mill guitar, does it?

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Played through one of my old Fender tube amps at jams and such, this guitar is amazing. Like an acoustic guitar, the lack of tone controls or a second pickup forces the player to make any sound changes with his fingers: Where the pick or fingers strike the strings, how hard, how frequently. With that AP6-type pickup, all those dynamics come through and it just sounds great in any mix and on any song, whether it’s Blind Albert Reed, Buddy Holly, or John Denver.

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Kool guitar!!! Thanks, Bob and George!!!

Murphy Inspects . . .

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Tremolux & Barris Custom, Murphy

Murphy inspects my 1966 Fender Tremolux amp in its custom JD Newell cabinet with two Weber 12A125A speakers; the amp has been at Don Oliver’s studio for a couple of years and returned last evening.

Murphy hasn’t seen this amp before!

The Tremolux is not a Fender amp that’s often seen; they were only made for a couple of years. I had wanted one since I first saw the cover of the Blind Faith album; Clapton is shown here with that amp at the Rolling Stones December, 1968, Rock and Roll Circus event as a member of the one-shot Dirty Mac Band, consisting of Clapton, John Lennon, Keith RIchards on bass, and Mitch Mitchell on drums.

Clapton's Tremolux

I believe Clapton endorses a new Tremolux combo amp made by Fender nowadays, but I’m sure it isn’t much like the original ones. For one thing, they cost over two grand.

I have the original piggyback head cabinet for my Tremolux, restored by Rocco Egizio of Rockometer Amp Cabinets in Chicago, but I don’t have a proper speaker cabinet for that configuration, so it lives as a combo. One day I’ll find a speaker cabinet, but it has to be a 4-ohm one for the Tremolux.

The guitar is my Hallmark Barris Kustom, which sounds nice through the Tremolux. For you gearheads out there, the Barris Kustom has a single pickup with just a volume control; the pickup is Bob Shade’s recreation of the old Carvin AP-6 classic.