
Lindsey Buckingham's new album, which bears his name, is a perfect reflection of him as an artist: contemplative and complex, but also direct in its lyric poetry and melodic heart, and full of fire.
The fingerstyle rock icon talks about the power of layering clean-toned guitars, direct recording, crafting arrangements, and the lessons of survival—all part of his first new solo album in a decade.
Lindsey Buckingham's career has seen the highest of highs and the lowest of lows. On one hand, it's full of classic albums, multiple Grammy awards, and his membership in one of the most legendary rock bands ever—and, thus, in the Rock & Roll Hall of Fame—as well as a successful solo career spanning four decades. Yet it's his breakups, firings, and Fleetwood Mac's inter-band turmoil that people often focus on. And, as you'll soon read, the drama continues.
Through it all, Buckingham proves himself a survivor with immense talent and an undying drive to create. As a guitarist, songwriter, and vocalist, he has never lost sight of his unique touch and sound. And those decades of perseverance offer him the confidence and wisdom that permeate his first solo album in 10 years, Lindsey Buckingham.
The album is a fiercely personal offering about the effects of commitment in relationships and music. And Buckingham knows a thing or two about time's effect on music. He's been obsessed with the guitar and crafting great rock 'n' almost roll since the genre first shook its hips.
Lindsey Buckingham - On The Wrong Side (Official Audio)
"There are certainly any number of people who ended up playing rock 'n' roll whose lives were changed forever when Elvis Presley showed up," says Buckingham. "One day, my older brother brought home all those records. This was 1956, when 'Heartbreak Hotel' blasted on the scene. That was just a life-changing moment for me. About a year later, I got a three-quarter-size acoustic guitar. I was always sitting in my brother's room, listening to his 45s, and learning to play and sing those songs."
But early rock 'n' roll wasn't Buckingham's only influence. The '60s had something new waiting in the wings. "When the first wave of rock 'n' roll fell off, folk music took over," he recounts. "That informed my musicianship differently, in that my fingerpicking became more pronounced. The whole orchestral style of playing was something that I grasped and took on for myself quite early. But whatever originality and vision that I have now are because I was completely self-taught and didn't ever take a lesson and still don't read music."
From the rockabilly vibes of the new album's "Blind Love" to his acoustic classic "Never Going Back Again" from Fleetwood Mac's Rumours, his marriage of folk and rock 'n' roll is readily apparent. These sounds beautifully coalesced during Buckingham's historic run with Fleetwood Mac. Joining the band in time for 1975's Fleetwood Mac album, Buckingham brought a new life and new sound to an already well-established organization. He also had a little help, demanding his then-girlfriend Stevie Nicks come with him. The band agreed and cemented the future of classic rock.
"Whatever originality and vision that I have now are because I was completely self-taught and didn't ever take a lesson and still don't read music."
If you wonder how a band known for blues-rock heroism was able to evolve so quickly into chart-topping hitmakers, according to Buckingham, it was all about his songwriting chemistry with Nicks. "If you take a song like 'Dreams,' for example, the way she presented it to me was playing it with two fingers on the piano. It's the same two chords over and over," Buckingham explains. "It's a beautiful song, and the vocal placement is brilliant. But it needed architecture around it to set the sections off. That was all done through me holding onto the vision with layered guitar work. Having the architecture fulfill the potential of the song is where a lot of that comes from."
That songwriting chemistry propelled Fleetwood Mac through eight albums and for over 40 years.It also spawned such mega-hits as "Go Your Own Way," "Rhiannon," "Little Lies," and many more. But it was Buckingham's second album with the band that, in many ways, defines his legacy. And not only for the music. That album was 1977's Rumours.
Despite nearly every song being a classic, history remembers it as the ultimate breakup album. Not only were Buckingham and Nicks drifting apart, but bassist John McVie and keys player Christine McVie divorced. And bandleader/drummer Mick Fleetwood was suffering a relationship crisis of his own. Yet Rumours persisted. And thank goodness it did. Those struggles created a rock 'n' roll masterpiece.
Lindsey Buckingham’s Gear
Rocking out with his Rick Turner—a guitar commissioned by Buckingham that's become an inseparable part of his musical personality. "I asked Rick if he would design me a guitar whose sound was a cross between a Les Paul's fullness and the crispness and percussiveness of a Stratocaster," he says.
Photo by Steve Kalinsky
Guitars
- 1964 Fender Stratocaster (studio only)
- Taylor 814ce with Fishman preamp
- Rick Turner Model 1
- Rick Turner Renaissance baritones
- Gibson Chet Atkins CE solidbody classical with MIDI pickup
Strings
- D'Addario XLs (various gauges)
Amps & Cabinets
- Two Mesa/Boogie Dual Rectifiers (electric)
- Trace Elliot TA 200 (synth)
- Fishman Loudbox (synth)
- Two SWR California Blondes (acoustic)
- 2x12 cab with Electro-Voice speakers
- 1x12 cab for acoustic guitar
Effects
- Boss SD-1 Super Overdrive
- Boss DD-3 Digital Delay
- Boss RC-30 Loop Station (live only)
- Roland GR-50 Guitar Synthesizer
As if time is cyclical, 44 years later, Buckingham finds himself in what might be a similar creative and emotional spot as he did back then. He was released from Fleetwood Mac in 2018 under closely kept circumstances. And once again, the split is part of the story behind a great album. "Well, ironically, this new album was done even before all this stuff went down with Fleetwood Mac. It was my intention to put this current album out so that there would be a somewhat smaller-scale project squeezed in and preceding yet another Fleetwood Mac tour," he explains. "But the politics within the band were somewhat prohibitive of my doing that. I was only asking for three months to tour and to do some TV and some press, and but not everyone was comfortable with that."
So once again, the Buckingham/Fleetwood Mac story is one of heartbreak. Today, the band is soldiering on with Mike Campbell (of Tom Petty and the Heartbreakers) filling the guitar spot. But many fans are asking, "Is there a Fleetwood Mac without Lindsey?" Not one to dwell in the past, Buckingham is asking a very different question: "Who is Lindsey without Fleetwood Mac?" Unfortunately, the album that now answers that question had to wait … and wait, and wait.
"It got put on the shelf after all this stuff went down with Fleetwood Mac," says Buckingham. "Then I thought, well, rather than put this new album out right now, let's do the anthology [Solo Anthology: The Best of Lindsey Buckingham]. I did that, and that was very cathartic for me, because I'd always known that I'd done a lot of good solo work. But I hadn't really revisited it and lived with all of that work in quite a long time. It was a more visceral response to everything. That was really a nice feeling to have."
TIDBIT: Onstage, Buckingham and his Rick Turner Model 1 are inseparable, but in the studio this time, he employed a '64 Strat and Taylor 814ce.
Little did Buckingham know that the anthology wasn't the only hold-up coming his way. Invasive heart surgery and the pandemic would also play a role. "Literally right after that, in the very beginning of 2019, I had surgery. We were gearing up to tour and to put this current album out, and I had a multiple bypass operation that kicked it down the road," Buckingham says. "Then COVID hit, and we had to kick it down the road even further."
Although the delays were many, the most captivating thing about Lindsey Buckingham is how timely and relevant the songs are. Every word and every note seem to point to this exact moment in time. From lyrics about disintegrating long-term relationships to father time's effects on us all, it's like 2017 Buckingham already knew where 2021 Buckingham would be.
"The album has been done for over three years. So, it's not like the last three years had any influence on the subject matter or the style," Buckingham points out. "But I think all of the things that happened enriched the subject matter for me. They've come home to roost as much more tangible elements of my life. I think people, in a way, are picking up on that."
"When Fleetwood Mac asked me to join, they actually did try to get me to use a pick. But I was 25 then, and I'd been playing for about 19 years. My style was pretty much written in stone."
Regardless of when it was written, there's no question that the new album is intensely personal. And it's not just the subject matter. Put on a good set of headphones and you'll hear a presence and energy that only Buckingham can deliver. And I mean only Buckingham. Having written, recorded, performed, produced, and mixed almost every song by himself, the album is a beautiful self-portrait of who and where Buckingham is as a guitarist and songwriter today.
But aren't those clearly female vocals on songs like "I Don't Mind"? Nope. Those, too, are reflections of Buckingham's production and arrangement techniques. "I still have the old Neve console that I got in 1986. It's the same console that we cut [Fleetwood Mac's] Tango in the Night on. And I was using an old Sony 48-track reel-to-reel that you can slow the machine down to do a lot of work with your voice. It will then come up to speed, sounding more female or smaller. That's just something I've always loved to do, and I've been using it for years and years."
By taking this truly solo approach, Buckingham had time to sculpt each song to perfection. His 6-string orchestrations of layered guitars perfectly play off each other, as do his famous vocal harmonies.
Rig Rundown - Lindsey Buckingham
"If you are working on an album with Fleetwood Mac, you've got to bring in a more or less completed song to present to them. Then, to get from point A to point B to point C, it's all got to be verbalized. It's a much more conscious set of steps and perhaps even a more political process," Buckingham explains. "When I work alone, I'm in my studio by myself. I'm engineering. I'm also playing everything, so it becomes a bit like painting. You're having this one-on-one with the canvas. The production and the songwriting become much more intertwined. You don't necessarily have to even begin with a concrete idea.
"You're free to explore as you start to put things down, record them, and start to assemble some form to what you're doing. The work itself, or the canvas, if you will, starts to take on its own life. It leads you in directions that you might not otherwise go. And the process of discovery is greatly enhanced if you're someone who values being outside your comfort zone, wanting to take risks, and wanting to discover new things."
Dressed to match his Gibson Les Paul, Buckingham digs into the low strings on tour with Fleetwood Mac in 1975—the year of "Over My Head," "Say You Love Me," and "Rhiannon."
Photo by Laurens Van Houten/Frank White Photo Agency
That process worked. The album is pure ear candy in the best way, while also covering a lot of sonic ground. Songs like the opener "Scream" are classic Buckingham. And the album even offers a few tips of the hat to his old band. "Maybe I'm harkening back to some Fleetwood Mac references to some point. You could maybe connect the dots between the guitar-chiming 'On The Wrong Side' and 'Go Your Own Way.'"
But just when you fall into Buckingham's familiar trance, tracks like "Swan Song" and "Power Down" take an inspired and unexpected turn—full of electronic drum loops, chaotic vocal harmonies, hip-hop-approved guitar parts, and angular solos. "The foundation of both of those is actually the same. I had this multi-track of a drum loop, and it had many different tracks. It's the same drum loop on both songs," Buckingham points out. "So, they are definitely soulmates. They represent the cutting-edge aspect that moves further to the left from that pop sensibility. I thought it was important to have that represented."
Of course, Buckingham's guitar tone and playing permeate every minute of the album, displaying his elegant, high-energy fingerpicking style. "When Fleetwood Mac asked me to join, they actually did try to get me to use a pick. But I was 25 then, and I'd been playing for about 19 years. My style was pretty much written in stone. The fingerpicking just became part and parcel with my own style.
"Eddie Van Halen, for instance. He was a brilliant guitarist. But you could make the case that he's playing over the track and not into the track."
"Even if you go back before the folk influences that I had, Scotty Moore, who was Elvis's original guitar player, used his fingers. There was an orchestral style that he presented on those early records, as well," said Buckingham. "And I was listening to very folk-oriented stuff, like James Taylor and Cat Stevens. Even some rock stuff that had acoustic considerations, like Led Zeppelin. Jimmy Page was a super producer."
Another Buckingham trademark is his immaculate tone. Few others have carved out a signature style with clean sounds. Though not afraid to kick in his trusty Boss SD-1 for leads, it is layers of sparkling cleans that define his guitar's voice. "The cleanliness is helpful if you're trying to approach guitar work in service of a song," says Buckingham. "Eddie Van Halen, for instance. He was a brilliant guitarist. But you could make the case that he's playing over the track and not into the track. If you really want to follow in the footsteps of the Scotty Moores or the Chet Atkinses, who always are in service of making a better record out of a song, then I think cleanliness is helpful."
Axes & Artifacts: Rick Turner Model 1 Lindsey Buckingham Prototype
Another essential of Buckingham's approach to tone is his famed Rick Turner Model 1. "The Turner has been around so long because it was something that I specifically asked Rick Turner to make," states Buckingham. "Before I joined Fleetwood Mac, I'd been using a Stratocaster, which was very well suited to the finger style I had. But when I joined Fleetwood Mac, its sound was thin and a bit too percussive. So, I started using a Les Paul, which is not as well suited for fingerstyle. A few years in, I asked Rick if he would design me a guitar whose sound was a cross between a Les Paul's fullness and the crispness and percussiveness of a Stratocaster. The Model 1 was what he came up with. That really was the ticket and has been my guitar onstage ever since."
When guitarists picture Buckingham, it's typically with one of his Rick Turners. It may come as quite a shock that none of them made it onto the new album. In fact, not a lot of gear did.Instead, he relied on a couple of other trusty guitars, plugged straight in. "I don't use the Turners that much in the studio," he admits. "I tend to use the Strats or acoustics. Sometimes it's even just a Roland synth guitar if I want to get a certain preset sound. And I don't use a lot of amps in the studio. There are no amps at all [chuckles]. I do a lot of direct. So, what you're hearing is either an acoustic direct into the console or a Stratocaster. Those would be the two main go-to guitars for sure."
Buckingham bends a note while Stevie Nicks swirls behind him on a 2014 Fleetwood Mac tour. The guitarist says the band's mega-hits during the mid-'70s were the result of the pair's songwriting chemistry.
Photo by Ken Settle
Even for effects, Buckingham only keeps two trusty Boss pedals close by: an SD-1 Super Overdrive and a DD-3 Digital Delay. "I look around at most guitar players who have 10 or 12 pedals, and I don't know what to do with them. I just stick to the basics [laughs]."
The one outlier to the album's DIY, straight-in ethos is the closing song, "Dancing," which breathes with an ambiance all its own. Even still, those pad-like chords are just Buckingham and his Taylor. "I just used some plate reverbs off of some outboard gear. I can't tell you which actual settings. And I probably used some slap echo." Buckingham notes that engineer Mark Needham added some sonic colors to the track and says, "I'm not exactly sure what Mark put on there. I think he added his own element of atmosphere to it. I just thought the mix was cool, and we went from there."
So, with Lindsey Buckingham out and free of Fleetwood Mac's demands, Buckingham now has solo dates scheduled through the end of this year and into 2022. But with COVID continuing to threaten live music worldwide, Buckingham's taking whatever may come in stride. "The way this Delta variant is going, someone could call me up in a week and say, 'Hey, we're going to cancel it.' But I don't think so. I think we're just going for it at this point."
Big Love (Live At Saban Theatre In Beverly Hills, CA / 2011)
Lindsey Buckingham rips through a version of Fleetwood Mac's hit "Big Love" on a synth-loaded Gibson Chet Atkins acoustic in this gorgeous, often close-up, study of technique and tone.
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Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackWith a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Georgia-born, Nashville-based roots-rock outfit Larkin Poe have had a busy year. Last summer, they toured across the U.S. supporting Slash, and released their seventh studio album, Bloom, on January 22. With a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Lovells grew up reading sheet music and learning violin via the Suzuki method—there was little room for going off the beaten path until they fell in love with Jerry Douglas’ dobro playing on Alison Krauss records. Rebecca took up the mandolin, while Megan went for the dobro and the slide side of things. It took a while for them to get comfortable turning up from their bluegrass roots, but eventually they built Larkin Poe’s amplified, blues-rock sound.
First up, Rebecca, playing a pristine ’60s SG, shows how she put together her stinging, fuzzy solo by “hunting and pecking out” melodies in her mind, building up the chops to follow her intuition. Then Megan, playing a Rickenbacker-inspired lap steel of her own design through a Rodenberg TB Drive, details her dizzyingly fast slide acrobatics, and her particular “rake” technique that she copped from Jerry Douglas and Derek Trucks.
Tune in to hear them talk about how to sustain family relationships while going professional, keeping music community-minded, and whether or not they’ll go back to bluegrass.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
The legendary Louisville rockers brought tons of vintage tone tools on the road this year.
My Morning Jacket’s Is, their 10th album, released on March 21, and as we reported in our feature on the band in our May print issue, it showcased a band exercising their classic strengths as well as newfound vision and curiosity. Helmed by superstar producer Brendan O’Brien, Is finds MMJ at their anthemic, psychedelic best.
We caught up with Carl Broemel for a Rig Rundown back in 2015, but on this year’s tour, PG’s John Bohlinger checked in with all three axemen—Jim James, Broemel, and bassist Tom Blankenship—to hear about their road rigs. In Broemel’s estimation, they’re lazy—they just like to bring everything.
Brought to you by D’Addario.
Three's a Crowd
This gorgeous Gibson Jimi Hendrix 1967 SG Custom, aged by Murphy Labs, initially had three humbuckers, but James kept hitting his pick on the middle pickup, so it got the yank—as did the hefty bridge and Maestro Vibrola system, which were replaced with a simple stopbar tailpiece.
Mirror Image
James picked up this 1998 Gibson Flying V right around when My Morning Jacket got started. He traced and ordered the flashy mirror pickguard himself. It’s got Gibson pickups, though James isn’t sure of the models.
Jim James' Jimmy
James plucked this one-of-a-kind from Scott Baxendale’s collection of restored vintage guitars. He guesses it’s either an old Kay or Harmony guitar, but the decorations, including the custom plastic headstock plaque, make exact identification difficult. But it was clear this one was meant for James, since it has his name on it.
Elsewhere backstage is James’ Epiphone Jim James ES-335, a custom shop Fender Telecaster and Strat, a 1967 Gretsch Chet Atkins Country Gentleman, and a Gibson Barney Kessel.
Make Love, Not War
James loves repurposing old military equipment for creative, peaceful purposes, which is how this old radar system came to be a part of his live amplification kit. Along with the old tech, James runs two 3 Monkeys Orangutan heads through a 3 Monkeys cab.
Jim James' Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps you see here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Arts and Crafts Night
One night while a bit tipsy, Broemel took out his paint pens and set to work on this Gibson Les Paul Standard Faded, resulting in this masterpiece. He also removed the pickup selector switch; even though the neck pickup remains, it never gets used.
Relic By Broemel
This 1988 Les Paul Standard predates the band, and Broemel has given it its aged finish over the years—on one occasion, it fell out of a truck. It’s been treated to a Seymour Duncan pickup upgrade and occasional refrets when required.
Carl's Creston
This Creston Lea offset has two Novak lipstick pickups in the neck, with a switch to engage just one or both, plus a low-end roll-off control. It’s finished in the same blue-black color as Broemel’s house and sports a basil leaf on the headstock in tribute to Broemel’s son, Basil.
Also in the wardrobe are a shiny new Duesenberg tuned to open G, and a custom shop Fender Telecaster with a fattened neck and Bigsby to swing it closer to Broemel’s beloved LPs.
Milk Route
Broemel routes his GFI Ultra pedal steel, which is tuned to E9, through a board which includes a Milkman The Amp, which is projected through the speaker of a Fender Princeton Reissue combo. Operated with another GigRig QuarterMaster, the board also includes an Eventide H9, Moog MF Delay, Fender The Pelt, MXR Phase 90, EHX Nano POG, Xotic Effects EP Booster, Source Audio C4, and a Peterson StroboStomp HD.
Side-Carr
This time out, Broemel is running two Carr Slant 6V heads in stereo.
Carl Broemel's Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
More From the Creston Crew
Blankenship, too, has brought along a few guitars from Lea, including these Precision-bass and Jazz-bass models. The dark-sparkle P-style rocks with GHS flatwound strings, while the natural-finish J-style has roundwounds.
Emperor's New Groove
Blankenship just got these brand-new Emperor cabinets, through which he cranks his Mesa Boogie WD-800 Subway heads.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Shop My Morning Jacket's Rig
EarthQuaker Devices host Echo Reverb Pedal
ISP Technologies DECI-MATE Micro Noise Reduction Pedal
Electro-Harmonix Mel9 Tape Replay Machine Pedal
EarthQuaker Devices Spatial Delivery Envelope Filter Pedal
Universal Audio UAFX Starlight Echo Station Delay Pedal
Universal Audio UAFX Astra Modulation Machine Pedal
Fender Custom Shop Stratocaster
Fender introduces the Stories Collection Mike Campbell Red Dog Telecaster, paying tribute to the iconic guitarist's heavily modified instrument. Featuring two signature humbuckers, a custom single coil bridge pickup, Bigsby tremolo, and a unique "Destruct" circuit, this Telecaster allows players to channel Campbell's legendary tone and style.
Today, Fender Musical Instruments Corporation (FMIC) and the Fender Custom Shop (FCS) introduce the newest member of the ‘Stories Collection’ family—a series of instruments that pays tribute to iconic Fender guitars and basses that have been uniquely modified by the legendary artists who played them. Mike Campbell, the tasteful and versatile player who is responsible for some of Tom Petty and the Heartbreakers’ most memorable riffs, has teamed up with Fender and the Custom Shop to develop the Stories Collection Mike Campbell signature guitars - the Red Dog Telecaster and FCS Limited Edition Masterbuilt 1972 “Red Dog“ Telecaster—two reproductions of Campbell’s stunning and heavily modified Telecaster that gives players the opportunity to create their own sonic identity through the framework of one of rock and pop’s greatest guitar players.
“Telecasters are the heart and soul of rock and roll music and this one is a beautiful instrument,” said Mike Campbell. “I could tell The Red Dog was special as soon as I picked it up. It felt like it was in the right place at just the right time. The humbuckers give it so much power and such a wide variety of tones while the destruct button really sets it apart from just about any other tele.”
The tale of the Red Dog Telecaster began when one of Campbell’s former students living in Florida offered to sell him a guitar. However, after seeing the guitar in question, it became clear that this was no standard instrument pulled from the rack. Campbell was presented with a bright red Tele equipped with humbuckers in the neck and middle position, a Bigsby tremolo and, perhaps the guitar’s most idiosyncratic flourish, an onboard electronic boost dubbed the “destruct” circuit. As any other lifelong guitar devotee would, Campbell bought this glorious Frankenstein of an instrument without a moment’s hesitation. The Red Dog was subsequently used most memorably on the Heartbreaker’s track “Refugee” and is prominently featured in the song’s music video. All throughout his storied career playing with Tom Petty, as a session guitarist, alongside Fleetwood Mac and touring the world with his solo act The Dirty Knobs, this singular Telecaster has been inextricably linked to Campbell’s career and legacy as one of rock and roll’s finest players.
The Stories Collection Mike Campbell Red Dog Telecaster offers the same level of craftsmanship and sonic capability at a more accessible price point. The two signature Mike Campbell humbuckers in the neck and middle position bring a low-end growl and high octane output that sets it apart from other Telecaster guitars. However, the custom single coil bridge pickup delivers the caliber of twang that people worldwide associate exclusively with Tele guitars. A Bigsby B5F tremolo allows players to extenuate riffs and solos with an additional level of flourish and attitude. Perhaps the Red Dog’s most exciting feature lies beneath the surface—the “Destruct” circuit. With the push of a sleek silver button on the control plate, an added 34 dB of gain can be activated for complete tonal dominance.
“It’s our mission to honor the legacy and sonic character that Mike Campbell has infused into every note played on his beloved ‘Red Dog’ Telecaster®,” said Justin Norvell, Executive Vice President of Fender Products. “Every scratch, modification, and battle scar tells a story, and with these meticulously crafted recreations, we’re giving players everywhere the chance to channel that same timeless energy and write their own musical history.”
While the Red Dog Telecaster came into his hands already modified, its custom features were universal and powerful enough to elevate Campbell’s personal playing style and the same can be said for Fender’s painstakingly detailed and powerfully crafted recreations. The FCS Limited Edition Masterbuilt 1972 “Red Dog” Telecaster is a jaw dropping representation of the instrument as it exists today—dings, paint chips, dents and all by FCS’s Senior Masterbuilder Dennis Galuska. Outfitted with vintage replica Arcane, Inc. pickups and signature “Destruct” boost circuit wired by Analogman, this custom Telecaster can achieve the same biting jangle heard on “Refugee.” Features include a flat sawn maple neck with custom Oval “C” back shape, 7.25” radius fingerboard, 21 vintage upgrade frets, 5-way pickup sector and vintage style Jazzmaster bridge with threaded saddles.
“The ‘Red Dog’ Telecaster® is a testament to how a heavily modified instrument can be both deeply personal and universally cherished,” said Chase Paul, Director of Product Development - Fender Custom Shop. “There’s an undeniable magic in an instrument that evolves alongside its player, and every modification on this guitar serves a purpose, working together to create something greater than the sum of its parts. Dennis Galuszka and the Custom Shop dedicated countless hours to faithfully recreating every detail, bringing players and fans as close to Mike’s legendary Tele® as possible.”
Stories Collection Mike Campbell Red Dog Telecaster® ($3,499.99) Revered for his tasty rhythms and fiery leads, Mike Campbell is responsible for many of the iconic hooks from the Tom Petty and the Heartbreakers catalog. For decades now his faithful Fender guitars have been at the heart of his trusted formula for award-winning tone.Campbell bought what became known as the “Red Dog” from a former guitar student in Florida, complete with Bigsby tremolo and a powerful onboard boost, known as the “Destruct” circuit. Mike’s iconic 1972 Red Dog Telecaster is featured on the Damn the Torpedoes track “Refugee” and can be seen in the accompanying music video. The Stories Collection Mike Campbell “Red Dog” Telecaster features an Heirloom™ nitrocellulose lacquer “Red Dog Red” finish, 1-piece maple neck with 7.25” radius fingerboard and 21 vintage-style frets as well as an onboard “Destruct” boost circuit. The custom Mike Campbell Red Dog pickup set features two vintage-style humbuckers and a single-coil Telecaster bridge pickup, Bigsby B5F tremolo and a custom Red Dog neck plate. Custom accessories include a vintage-style case, strap, picks and certificate of authenticity.
Unique, versatile and utterly original, The Mike Campbell “Red Dog” Telecaster pays tribute to a veteran Heartbreaker with a serious knack for writing extraordinary songs and delivering catchy, captivating and magnificent guitar parts.
Fender Custom Shop Limited Edition Masterbuilt Mike Campbell 1972 “Red Dog” Telecaster® ($20,000.00) With raw, powerful riffs and explosive leads, Mike Campbell firmly established himself as one of the greatest guitarists and songwriters in music history—and throughout his accomplished career, Fender guitars played in integral role in his creative expression. One of his most noteworthy instruments was his modified three-pickup Telecaster that would come to be known as the “Red Dog.” Fender Custom Shop Senior Masterbuilder Dennis Galuszka partnered with Mike to recreate this incredible guitar. From beautifully faded red metallic finish to the worn and Bigsby B5 vibrato tailpiece, every nick, ding and scratch was meticulously replicated to bring this tribute guitar to life. Loaded with vintage replica Arcane, Inc. pickups and a “Destruct” boost circuit wired by Analogman, this Tele plays, sounds and feels just like the guitar heard on “Refugee.” Its two-piece select alder body and custom-shaped, one-piece maple neck feature a well-loved Relic® lacquer finish, while the hardware is aged to look like it’s been played for the last five decades. Wonderfully unique and with a storied past, the Limited Edition Masterbuilt Mike Campbell 1972 “Red Dog” Telecaster is a fitting homage to such an incredibly captivating and inspiring musician. Other premium features include flat sawn maple neck with custom Oval “C” back-shape, 7.25” (184.1 mm) radius, 21 vintage upgrade (45085) frets, 5-way switch, 3-ply parchment pickguard, vintage-style Jazzmaster® bridge with threaded steel saddles, vintage-style “F”-stamped tuning machines, bone nut, two American Vintage ‘65+ string trees with nylon spacers, deluxe hardshell case, strap and certificate of authenticity.
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