This rare 1941 Kay Carson Robison guitar bears traces of multiple repairs done over time.
If you were interested in playing guitar in the 1930s and 1940s, you were probably a fan of singing cowboys. The old Western teleplays on the radio were vehicles for marketing all kinds of products, like toys, costumes, and, of course, guitars!
Today, we’re familiar with the names Gene Autry and Roy Rogers, but back then, any cowboy fan would have also known Carson Robison. Robison was born in 1890 to a champion-fiddler father and a dance-caller mother. In the 1920s, he was one of the first cowboy singers to become a radio performer, famous for his virtuosic whistling ability. He wrote over 300 songs in his career, including his 1948 hit, “Life Gets Tee-Jus, Don’t It,” featured in episode 123 of the original Muppet Show, which is how I first heard of him.
The Montgomery Ward catalog offered Carson Robison-model guitars from 1930 through 1941. The 6-string changed a little every couple of years, ultimately ending up with eight different variations. The subject of this month’s column is the rare eighth variation, also called Model 964, made only for a short time in the fall of 1941 by the Kay Musical Instrument Company. According to the original catalog, it has a “Selected Spruce Top” and mahogany back and sides, and the top is solid wood as far as we can tell. The back and sides, however, are made of a few disparate pieces. The body on this guitar was shrunk from the previous grand auditorium size (41 1/4 x 16 1/4) to a smaller grand concert size (39 1/2 x 14), and it has a distinctive oval-shaped soundhole. Like the other Carson Robison guitars, it has his signature painted on the body, below the bridge.
Also known as Model 964, this version of the Carson Robison is the eighth variation on the original.
Photo by Madison Thorn
This particular example has had a number of repairs over the years. The tuners are newer, and it’s had a bone saddle installed. Its amber sunburst finish has some overspray, likely covering a past repair. It’s also had a refret and a neck reset, and it’s playing better than ever. The neck has a chunky V-shape, which is typical for these early-20th century guitars that were made before truss rods. It’s got a bunch of dings, finish-checking, and evidence of past repairs, which I think adds character. I like to imagine this guitar had a dynamic early life, being played and loved by some rowdy siblings.
While researching this model, we at Fanny’s House of Music in Nashville came across a clipping of the 1941 Montgomery Ward catalog this guitar was listed in and found something curious cut off on the left side of the page. Featured right next to the Carson Robison guitar was a 6-string bearing the name of Louise Massey. Could it be that not all singing cowboys were boys? I found myself in the throes of a deep Google search when our old friend Frank Hall came to the rescue.
“I like to imagine this guitar had a dynamic early life, being played and loved by some rowdy siblings.”
Frank Hall was a fixture here in Nashville. He was a member of the Serendipity Singers, a folk group that performed at Woodstock. He was also a lifelong guitar collector and one of the world’s preeminent “catalog guitar” experts. He came into Fanny’s often to tell us stories about these old guitars, and when we were lucky, he’d play us a song. Frank passed away in early 2021, but he left us with a wealth of knowledge, and importantly, for our purposes today, a tome called Cowboy Guitars by Steve Evans and Ron Middlebrook.
Time and wear have given this guitar a character as craggy as the old West.
Photo by Madison Thorn
The owners of Fanny’s, Pamela Cole and Leigh Maples, plopped it open on our front desk to page 106, where I read the history of Louise Massey and the Kay-made Montgomery Ward guitar that bears her name. Louise was known for her hit song “My Adobe Hacienda,” a beautiful tune calling back to the real heroes of cowboy culture, Mexican vaqueros. Her signature guitar was only made for a few short months in the fall of 1941, at the same time as our Carson Robison. As far as we know, it is the only cowboy guitar to feature a woman artist. Not even the Queen of the West, Dale Evans, had that honor!
This wonderful Kay acoustic took us on quite a journey. We love the stories in these old guitars, and we especially love seeing them write new stories with new owners. Sometimes all it takes is a neck set, and a little flattop like this one is all ready to inspire a new generation. Now, if you’ll excuse me, I must go scour eBay for a Louise Massey guitar.
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Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BØRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ‘40oz. to Freedom’ changed the way I listened to music. I’m so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." – Travis Barker
“Sublime has always been a huge influence on me and to be able work with the band has been inspirational and game changing…It has been a highlight of my life to work on such a seminal record with such talented people. I’m so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.” – John Feldmann
After Jakob Nowell’s debut as Sublime’s new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublime’s late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the band’s first top 10 hit on alternative radio since 1997 with their single “Feel Like That,” featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 – LIV Golf Miami – Miami, FL
- April 18 – Red Rocks Amphitheater – Morrison, CO
- May 3 – Beachlife Festival – Redondo Beach, CA
- May 16 – Welcome To Rockville – Daytona Beach, FL
- May 23 – BottleRock Napa Valley – Napa, CA
- May 25 – Boston Calling – Boston, MA
- June 14 – Vans Warped Tour – Washington, DC
- July 12 – 89.7 The River’s 30th Anniversary Show – Omaha, NE
- July 20 – Minnesota Yacht Club Festival – Saint Paul, MN
- September 14 – Sea.Hear.Now – Asbury Park, NJ
- September 19 – Shaky Knees Festival – Atlanta, GA
When Brandon Hagen broke his arm a few years ago, his life changed in an instant. He’d been fronting Boston indie rock outfit Vundabar since 2013, and suddenly, he was unable to do the things he’d built his life around. Recovery came, in part, in the form of a custom guitar prototype built by Mike Baranik of Baranik Guitars. Hagen deconstructed and rehabilitated his relationship to the 6-string on that instrument, an experience that led to Vundabar’s sixth LP, Surgery and Pleasure, released on March 7.
On tour supporting the record, the band appeared at Grimey’s in Nashville for a performance on March 11, and PG’s Chris Kies caught up with Hagen to hear about his journey and learn what tools the guitarist has brought on the road. As Hagen tells it, his setup is less about expertise and received wisdom, and more about “intuitive baby mode”—going with what feels and sounds good in the moment.
Brought to you by D’Addario.
An A1 B4
Hagen’s No. 1 is this Baranik B4, a custom job that he received two days before leaving for tour. Hagen’s arm was broken when Vundabar was playing a festival in California a couple years ago, and Baranik, a fan of the band, stopped in to see them. He offered to send a custom prototype to Hagen—who was new to the field of boutique guitars—and the B4 was born, borrowing from the Baranik B3 design used for Unknown Mortal Orchestra’s Ruban Nielson and the Hofner 176 played by Jamie Hince of the Kills. The guitar helped Hagen fall back in love with guitar as his arm healed.
Hagen was searching for Strat-style clarity and jangle but with a hotter sound, so Baranik put in Lindy Fralin P-90s in the neck and bridge positions, plus a sliding, unpotted gold-foil pickup in the middle, wound by Baranik himself. A wheel control on the lower bout beside the traditional pickup selector switch lets Hagen blend the pickup signals without outright switching them on or off. Along with traditional master volume and tone controls, the red button beside the bridge activates a Klon clone pedal built into the back of the guitar. Hagen used a Klon on every track on the new Vundabar record, so it made sense to have one at his fingertips, letting him step away from the pedalboard and still create dramatic dynamic differences.
Hagen uses Ernie Ball Slinky strings (.011s), a step up from the .10s he used to use; he was chasing some more low end and low mids in his sound. His guitars stay in standard tuning.
Jazz From Japan
Hagen also loves this 2009 Japan-made Fender Jazzmaster ’62 Reissue JM66, which splits the difference between classic Fender chime and a darker, heavier tone.
Blending Fenders
Hagen’s signal gets sent to both a Fender Hot Rod Deville and a Blues Junior. He likes to crank the Junior’s single 12" speaker for a nastier midrange.
Brandon Hagen's Board
Hagen runs from his guitar into a JHS Colour Box, which adds a bit of dirt and can be used to attenuate high or low frequencies depending on which room Vundabar is playing. From there, the signal hits a Keeley Compressor, EHX 2020 Tuner, EHX Pitch Fork, EHX Micro POG (which is always on with subtle octaves up and down to beef things up), Boss Blues Driver, Way Huge Swollen Pickle, MXR Carbon Copy (which is also always on), and a Boss DD-7—Hagen loves the sound of stacked delays.
