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Discussion in 'Telecaster Discussion Forum' started by thunderbyrd, Aug 21, 2019.
Chris Adkins from MXPX. El Hefe from NoFX ( probably already been mentioned.)
@thunderbyrd can shoot this down: but I really don't think the point was to list guitarists normally associated with different guitars who happen to have picked up a Tele occasionally.
Nice call on Stinson, @hollowman!
That's pretty funny. At once both the most conventional and the most unconventional Tele player, the you se the picture with the string missing and the capo. Very witty, @slider313.
Bay City Rollers. Sorry!
Who Are Some Unconventional Telecaster Players?
Me : I still do not have bought a Telecaster... It's a personal dilemma... I'm lost...
(I sold my brand new 2010 MIM LPB Tele... In 2011 )
Tele into an HH amp in Bauhaus, classic Wilko Johnson combination.
I can see where at first sight it looks wrong but I think it's something you have to get used to.
I love how he just throws his guitar straight up in the air at the end...but WHO CAUGHT IT?!!
This is really a stretch, but definitely unconventional...
In the early years, Mark Mothersbaugh in DEVO played a miserable beat up Tele that only had a few strings, tuned to nothing in particular and there was an Electro Harmonix ring modulator gaff-taped to the front that was on all the time. Pure screeching noise machine... but about as unconventional as you could wanna be.
Then there was Jimmy Bryant, he was really more of a jazzer and used the soft neck pickup a lot, as does Jim Weider more recently.
I'll just go with Marc Ribot
The ' angular,' noisy, grumbly guitar we hear on Tom Waits albums- love it!
Ceases to be a tele if it doesn't have a "tele" bridge pickup,bridge,body
That's a super strat with t style body
I love how he made everyone forget why they came there in the first place. It was so not how George Harrison made his mark.
Reminds me of James Brown melting down mid-song and a handler putting a cape on him and trying to help him up for dramatic effect. Awesome.
I'm pretty sure someone has had to have already mentioned him. But in case not, the great, the legendary, the hilarious... Greg Koch!
Maybe a little left of the central theme, but, all of the Les Paul, super Strat, etc.,players who, for whatever reason, played my Tele (after a 10 second tutorial on on volume and tone control interaction). Put a smile on every face. You know I'm telling the truth. Hopefully I made a few converts.
As to the question: when does it cease to be a Tele? Imho, when it's an offset or other body shape. I'm a little on the fence about the double cuts, but Muddy Waters had a lefty in his band at one point who played a homemade double cut (saw pics, forgot his name) so there is a certain provenance to the idea.
Me. I came to learn guitar with the mindset of a synth player.I like unique/wierd sounds.Listen to the fx on Arthur Brown's Galatic Zoo Dossier album. Be Blown away by the intensity of Mr Browns voice on "Sunrise".You will never hear anyone sing with that much passion!
I think the original poster defines Snooks Eaglin to a "T".
True New Orleans Royalty.
We miss you Snooks.
"Golden Brown" is actually a prime example of difficult (or at least odd) time signatures! Try counting along to the entire song sometime. There are plenty of places where measures of 3 and 4 alternate, until they don't.
Actually it's pretty straight forward. The measures of 4/4 only serve to support that part of the keyboard melody, and only appear in the instrumental sections (including solo). That part really feels more like 7/8, which makes it even easier to track. The guitar solo only contends with the 6/8 part, once the measure of 7/8 appears at the end, the solo has ended.
Not as frustrating as say "Limelight" or some other tunes we could think of.
Not an argument, just observations.