Two weeks ago, I got a call to MD (music direct/bandlead) for CMT Campfire Sessions: Christmas Edition. It’s a fun series where country music artists perform an intimate acoustic set around a rustic campfire at night … surrounded by an army of camera operators, lighting techs, stage hands, hair/makeup artists, PAs, producers, and audio hidden just outside of the camera’s view.
For this Christmas special, CMT enlisted four fabulous singers—Caitlyn Smith, Brittney Spencer, Priscilla Block, and Tenille Townes—to perform two of their holiday favorites as well as one to-be-determined all-sing. I’ve played the CMT Awards with Caitlyn, Priscilla, and Tenille before, which made this a bit more comfortable. I hadn’t met Brittney but loved her work and couldn’t wait to hear her live.
The CMT network does music really well in that they give artists a lot of creative freedom and don’t micromanage every music decision. I’ve been MDing for CMT for 16 years, and it usually goes like this:
They tell me what they need, tell me the budget, then trust me to work out the musical details. We went with a four-piece including Rob Cureton for bass/BGs; Tori Allen (fresh off a long tour with the Killers) for fiddle/mandolin/BGs; Duran Crone to cover percussion/BGs; and your humble scribe on guitar/BGs.
Once the artists chose their songs, the production team, artists, and I discussed instrumentation, song keys, and what feel/vibe we wanted on each song. Then I wrote charts, sent them to the band, and we all talked over instrumentation and arrangement ideas.
At 10 a.m. the day before the shoot, the band had two hours to run the songs sans artists at Nashville’s Soundcheck rehearsal studio. Then, Caitlyn Smith, Priscilla Block, and Tenille Townes joined us individually for about 30 to 45 minutes and we worked out the nuances and harmonies. The main challenge in a show like this is to bring the singer’s artistic vision to life, while keeping it fun under pressure. If it’s stressed or forced, the audience will hear it. The artists are total pros with great ideas, and we had it sounding roughly ready for broadcast by the third run through.
“One of the artists also had her heating pad dimed and had to stop her performance because, as she put it, ‘My ass is on fire.’”
Brittney Spencer was in London, missing our rehearsal. She chose “White Christmas” and “Someday at Christmas” by Stevie Wonder, but her European tour left her incommunicado, so we had to come up with the arrangements as we were dialing in a mix around the campfire. When we finally met, I asked Brittney what she was thinking about for “White Christmas.” My instinct was to swing it, but she described an R&B groove that Cureton immediately picked up. The whole arrangement formed around Rob’s driving bass line (waaaay cooler than my idea). Next, we jumped into “Someday at Christmas,” which was complex with several modulations. Because Brittney missed rehearsal, she brought along her own guitarist, Bobby Wesley, who really helped shape the sound. I was grateful to have the second guitar so we could do that Motown thing of one guitar playing the percussive chinks and the other, the more open, strummy arpeggios.
The last part of the puzzle was the all-sing. They decided on “Silent Night,” but because the singers were not together until our soundcheck, we had to come up with something on the spot. There are four singers, three verses, so I pitched the idea of Priscilla and Caitlyn splitting the first, Brittney and Tenille splitting the second, and all four hitting the third acapella. They immediately fell into their harmony parts, and by the third time through, it was a genuinely moving performance.
Filming outdoors on an October night in Tennessee is usually a pretty safe bet. Tonight as I write this, it’s 65 degrees at 11:30 p.m., but last night when we filmed this show, it was in the low 40s by the time we wrapped. (The arctic melts, oceans rise, but Tennessee freezes: Thanks for nothing, global warming).
We were sitting out in it for roughly five hours between rehearsal and filming. The gas fire looked warm but produced as much heat as five 100-watt bulbs, though there were blankets on the seat with heating pads hidden beneath them. I kept mine cranked uncomfortably hot in hopes the heat would spread to my iced hands. A producer gave me some fingerless gloves that helped a bit. I switched to a thumbpick as I was having trouble holding the flatpick. One of the artists also had her heating pad dimed and had to stop her performance because, as she put it, “my ass is on fire.”
It’s the unexpected, out-of-our-control elements that make art and life so much more interesting. A well-rehearsed performance in a controlled environment can be great, or it can feel like a well-rehearsed performance in a controlled environment. But when things are not easy or predictable, you can have magic, or a catastrophe. Either way, that’s the stuff I like to watch.
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Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
