Clarence White: Tele B Bender Master; B Bender Holy Grail

Over the years there's been numerous developments and new offerings in the world of B Bender Telecasters and players....but for me when it all comes down it none of that matters.

Clarence White helped invent the very first Tele B Bender and he invented a style to play it all at the same time...literally within days of each other...way back in 1968 or so...

So while it's addicting and fun to obsess about the latest feature or contemporary B Bender offering from the comfort of our homes...(which I admit to sharing in)...When it comes down to it... No one has surpassed Clarence in sheer genius his playing and he did it with tools that were relatively stone age compared to what we have today....

Here's to Clarence White...Telecaster and B Bender Master and his one of kind Tele B Bender prototype

Check him out ripping it up on this great Byrds classic "Lover of the Bayou"

http://www.clarencewhiteforum.com/mp3/01_Byrds_Norfolk_LoverOfTheBayou.mp3


http://www.clarencewhiteforum.com/images/CWhite.jpg

http://www.clarencewhiteforum.com/images/cw_vg2_Medium.jpg

http://www.clarencewhiteforum.com/images/cw_vg5s.jpg

Brian is, of course, right in all respects. I've tried to gather and listen to every bender player ever recorded and it all starts with Clarence. I bring a few CW licks in two guitars every Sunday.

Fred Walecki at Westwood Music in L. A. told me that Clarence had the lightest touch on the strings of any guitarist he worked with. Said it was almost magical how he could glide along the neck so effortlessly.

Fred Walecki at Westwood Music in L. A. told me that Clarence had the lightest touch on the strings of any guitarist he worked with. Said it was almost magical how he could glide along the neck so effortlessly.

I've heard that Tony Rice also has an extremely light touch.

By the way, do I see a compensated middle saddle on the CW Tele? I didn't know it had that!

Clarence, Bob Warford James Burton and Albert Lee are the players I think of when I hear the SRV-derived "heavy gauge = good tone" argument. Another fiction.



Fred Walecki at Westwood Music in L. A. told me that Clarence had the lightest touch on the strings of any guitarist he worked with. Said it was almost magical how he could glide along the neck so effortlessly.

Clarence, Bob Warford James Burton and Albert Lee are the players I think of when I hear the SRV-derived "heavy gauge = good tone" argument. Another fiction.

Yep. Clarence played electric with a light touch and his amp volume cranked. He could completely control his dynamics right from his picking hand

What's even more amazing is his ability to do the same thing on his D18. Light touch and BIG tone on his acoustic .

Why did Marty have to put that dumb E string bender on there, that he never uses? Obviously it's his guitar to do with as he pleases, but I just wish he would have left the guitar as it was. He also moved one of the Keith tuners from the A to the low E string.

Now I see the picture of "the original B-bender" for the first time. Wow, there's quite a lot of wood removed there. I'd call it at least thinline, even a hollow body.

Actually, that's a lot of wood ADDED there..:wink:

Actually, that's a lot of wood ADDED there..:wink:

Actually so it seems. :oops: I stand corrected. But why not carve it all empty when installing one and not just conventional routes?

Because this was the original string bender....there were no "conventional routes"....... because there were no other string benders.........

Below is the story that Gene Parsons tells about the development of the original design. The guitar he is holding is one of his evolved P/W benders.

http://www.youtube.com/watch?v=pIilq3JdCT4

Are far as Clarence............ Brain F nailed it.......

No one has surpassed Clarence in sheer genius his playing and he did it with tools that were relatively stone age compared to what we have today....


As for Marty, there are a lot of discussion threads on that E bender, however, Marty still plays "Clarence" on stage and allows "fans" to handle and play the guitar. Of any guitar in history, this one deserves to be played...IMHO, I think Clarence White would approve...........

Now I see the picture of "the original B-bender" for the first time. Wow, there's quite a lot of wood removed there. I'd call it at least thinline, even a hollow body.

To make it clear...there was no routing at all done to the body except for a 1 in square hole cut through the body behind the bridge. The rest of the bender mechanism was simply attached right to the back of the guitar and then a separate rim was added around it so that a fake back made from masonite could cover it.

These are always great pictures to look at

http://www.pbase.com/jroy/inside_clarence_whites_telecaster

I'll go ahead and step in it............. If you go back in the last 25 yrs, Marty has done more with that guitar as far as playing and style than CW did, of course, there is no telling where CW could have taken it, but I always see and hear people slam MS for having that guitar and I think it could not have been played by anyone else today.

And that guitar is on the heavy side, ( I've held it) it can do the Spock neck pinch after about 3 songs, ha.

I wish somebody would make that type of bender availible. You know one that's not routed and is back mounted like the original proto-type Clarlence played.

I believe Gene Parsons has custom built 2 or 3 ( including the clockwork bender?) replicas...the original and replicas used parts from a Fender pedal steel....and I dont think that those parts are readilly availible...and what parts are availible maybe too dear to chop up to use in a string bender...I also understand that the Evans and subsequent Parsons White designs fixed some of the shortcomings in the original design...one of which was the stuff hanging off the back of the guitar, and the need for a housing on the back to cover it...

There is some interesting history relative to Clarence, Gene, and the origin of the b-bender as we know it, on Dave Evans site. I'm pretty sure it's: www.pullstringguitar.com Also, for a bender that's attached to the back of the guitar, look into the Paul McEwens bender. No routing required.

I love this thread.

Check out Bob Warford's reply to a similar question on the CWF....

http://www.bbenderguitars.com/CWforum/forum/viewtopic.php?t=816

....and I dont think that those parts are readilly availible...and what parts are availible maybe too dear to chop up to use in a string bender...I also understand that the Evans and subsequent Parsons White designs fixed some of the shortcomings in the original design...one of which was the stuff hanging off the back of the guitar, and the need for a housing on the back to cover it...

I know where one of those fender steels is. It's a double neck. Don't think I haven't thought about buying it and calling Gene.

As for the Evans design it looks a lot like Clarence's bender, some parts seem to be reversed like where the spring is, but if you look at the angle of the were the strap button connects to the bender device it looks almost exactly like Clarence's.

The pull hub on the Evans,,and the parsons white is different than the original..the original (and Bob Warford's guitar)have pedal steel fingers...whereas the evans and pw have a hub (altho on the evens its retangular)...note that on the original (and on Bob's)it was possible to raise (or lower?) any combo of strings 1-4, and they ultimately decided on a single step raise on the b string

To make it clear...there was no routing at all done to the body except for a 1 in square hole cut through the body behind the bridge. The rest of the bender mechanism was simply attached right to the back of the guitar and then a separate rim was added around it so that a fake back made from masonite could cover it.

These are always great pictures to look at

http://www.pbase.com/jroy/inside_clarence_whites_telecaster

Here are some other photos of Marty's (errr Clarence's) Bender:

You can see the "added" part (this guitar is thick!)
http://img.photobucket.com/albums/v704/tomtheguitarguy/marty2.jpg

http://img.photobucket.com/albums/v704/tomtheguitarguy/marty1.jpg

http://img.photobucket.com/albums/v704/tomtheguitarguy/marty1a.jpg

http://img.photobucket.com/albums/v704/tomtheguitarguy/marty4.jpg

The Paisley guitar wasn't Clarences..I believe Marty Stuart had a paisley built with the thickened body, etc, and that might be it....the innerds arent the same as the original bender guitar either.....the last picture looks like the original

Good post Brian.
Still digging the bender you did for me too. I love clarence AND marty.

It's all good.

Here are some other photos of Marty's (errr Clarence's) Bender:

You can see the "added" part (this guitar is thick!)
http://img.photobucket.com/albums/v704/tomtheguitarguy/marty2.jpg

http://img.photobucket.com/albums/v704/tomtheguitarguy/marty1.jpg

http://img.photobucket.com/albums/v704/tomtheguitarguy/marty1a.jpg

http://img.photobucket.com/albums/v704/tomtheguitarguy/marty4.jpg

This is Marty's Paisley Tele. The bender was built by Keith Gattis and Duane Marrs in Nashville based on Clarence's original guitar. It has Joe Barden pickups in it.

Johnny Isaacs

I believe that Paisley was the one Marty donated to the Country Music Hall of Fame, along with some other stuff from his collection. Him and his wife Connie Smith donated some of there stuff to the Hall of Fame on valentine's day as a love letter to country music.

Thanks for the clarification!!!

Those were some good pictures... Does tomtheguitarguy have anymore close up pictures of Marty's Gear? Amps, guitars, pedals?

Back to the topic of this thread...

I owe all of my bender interest and abilities to Clarence White.

As far as bender playing and building we're all standing on the shoulders of these two giants.. Clarence and Gene...

Everything/everyone else is great, fantastic and inventive in their own right all but it's all derived from these 2 pioneers.

http://www.clarencewhiteforum.com/images/CW69.jpg
http://www.nwilsonphoto.com/events/philo07/10629%20gene%20parsons_std.jpg

I wish somebody would make that type of bender availible. You know one that's not routed and is back mounted like the original proto-type Clarlence played.

This is similar I think to what you were saying. Back mounted, no route? I like the parsons type movement (unlike say.... Hipshot) I like the non-invasive approach. I'd like to see one.
http://www.pullstringsystems.com/id2.html

Last night I went to see Marty and his Fabulouse Superlatives at the RFD TV Theatre in Branson. I do not have sufficient vocabulary to adequately describe that show.

But........

The highlight for me came 2 hours and 45 minutes after the show began.

While everyone else was waiting to get their picture taken with Marty or obtain an autograph, I garnered the attention of Marty's Bassman, Apostle Paul Martin, and asked if I could perhaps have my picture taken with Marty's guitar. He asked if I knew the story with "that guitar"? To which I pretty much told him more than he knew about it. He took me to Marty's guitar tech, whose job it was to secure the axe for the return trip to Nashville. I inquired if I could get my picture taken with Marty's guitar, to which he replied, an emphatic, "No, Sorry, but thanks for asking."

I guess the disappointment on my face was obvious enough that the tech just simply laughed and said, "Gotcha! Anybody that knows the history of that guitar isn't going to be satisfied with merely walking past it on a guitar stand. How would you like to hold or maybe play it?" And proceeds to take it off the stand and hand it to me.

As I reached for the Holy Grail of benders, he stated, "Watch out, it's kind of heavy."

As I took possesion of the first bender guitar known to man, I can't help but begin to shake. I said, do you care if I go over here and sit down on the edge of the stage. He followed me to the edge of the stage and said that I could take all the pictures I wanted and we discussed the history of the guitar further as my wife was recording the biggest smile I know I've ever had. He told me about the E bender that Marty has added to the bender and showed me how the mechanism worked.

You really notice the extra weight, but overall the axe is pretty well balanced. That thing is THICK with the double body and all. The history that I held in my hands. I can't tell you the emotions and thoughts that were swirling around in my head.

Just like a star-struck teenager, the feeling was quite overwhelming to say the least.

I almost forgot to mention that Marty had a suprise guest appear on stage with him. None other than (Bender) Banjo legend Buck Trent. I also go to meet him as well. What a night! OMG! All this bender history, all this fabulaous music, and all this hospitality all in the same night.

Seeing Marty, his wife Connie Smith, Buck Trent, hearing Cousin Kenny Vaughn, Sundowner lead guitarist Rick Wright, and getting to actually hold and have my picture taken with the axe that started it all.......well this is gonna be pretty hard to top.

I'm as giddy today as a teenager who just met Hanna Montana.

:grin: :grin: :grin:

We Love IT!!!!!!!!!!!!!!!!!!!
Gotta post those pics!!!
WOW, I'm smilin' ear to ear!!!!
I hope he plays near me cause I'm going and I hope to get to hold and play Clarence too!!!
Phil

Ben Jammin',

I really enjoyed reading your story and the way you write almost makes me feel like I was there. The line I liked the most was "He asked if I knew the story with "that guitar"? To which I pretty much told him more than he knew about it." That's funny.

Thanks for sharing. :grin:

Nice story Ben. I think it's great the way Marty allows folks to handle that guitar!

Congrats Ben! I know people get upset that Marty has it and has done XY or Z with it, but I'll promise you this; if it was owned by someone else or behind a glass case NO one would get to touch it. I first played with Marty in 93 when I was 17 and I've ran into him a lot over the years. He introduced me to Clarence and his music and I am forever grateful.

Speaking of the topic at hand, I cannot pick up a guitar today and not be influenced by Clarence and his powerful playing. To be a master at the acoustic guitar in his teens to become a monster electric player in his 20's is mindblowing. To me, you can't plug a Tele into a Fender Amp and not hear Clarence. Just like, for me, when you play a Strat through a Fender Amp, there's Buddy Holly. Magical! My favorite thing about Clarence is that he played for the song, not just burning through a bunch of licks. Granted the Gosdin Brothers LP "Sounds of Goodbye" has a lot of noodling on it, but as Clarence's electric playing matured, it just got better and better.

I have lots of favorite Clarence recordings, Nashville West live record, Fillmore 69 with the Byrds, Johnny Darrell's California Stop-over, but I'd have to say one of my favorite things he ever record was the extended version of "The Ballad of Easy Rider". I can't for the life of me wonder why his electric was cut out of the single and on the LP but the 2003 Columbia reissue put his electric part back on the recording. It's simple and beautiful.

Johnny Isaacs

For those less familiar with Clarence White...check out this cool series in the Adios Lounge website

http://www.adioslounge.com/2009/07/clarence-white-strap-yourself-to-tree.html

and http://www.adioslounge.com/search/label/Clarence%20White

and also stop by the Clarence White Forum

www.clarencewhiteforum.com

There's so many trax and sonsg that are my favorites but a really good example of how far out and original a player Clarence was is displayed on this studio track that Clarence did for Freddy Weller...Birmingham

http://www.box.net/shared/static/9az31j7c0e.mp3

It's this sectin of the Adios Lounge series
http://www.adioslounge.com/2009/04/clarence-white-white-lightnin.html

"One night we were playing the Whisky, and when we were in the dressing room this really well-dressed black man wearing a hat with a feather in it walks in and says to Clarence, 'Are you Clarence White?' And Clarence says, 'Yeah." And the fellow adds, 'Well, I really love the way you play guitar. I've been listening to you for years and you're one of my favorite players.' So Clarence says, 'Wow. Thanks a lot. What did you say your name was?' The fellow says, 'I'm Jimi Hendrix.'"
--Gene Parsons to Rick Petreysik, "Echoes of a Country Rock Legend," Guitar Player, September 1992, p. 84


Sort of says it all..............................

For those less familiar with Clarence White...check out this cool series in the Adios Lounge website

http://www.adioslounge.com/2009/07/clarence-white-strap-yourself-to-tree.html

and http://www.adioslounge.com/search/label/Clarence%20White

and also stop by the Clarence White Forum

www.clarencewhiteforum.com

Brian

I can't thank you enough for the adios lounge link. REALLY!
OMG, and I hate when people say that, however, this time it is appropriate.

Some of the best forensic science I have ever read.

Tracking down all the bits and pieces of Clarence's work together with the Yahoo Player to back it up was a JOY !

The ability to filter out all the other posts and just listen to the Clarence thread while reading the history to me was a fulfillment of what what I've always wished for Music Journalism.

Please tell me who the writer is and if you know him pass along my thanks and highest praise.

And thank you for your own stellar contributions here at TDPRI

I'm :lol: with pleasure from reading and listening to the blog!