![Rig Rundown: Blackberry Smoke's Charlie Starr & Paul Jackson [2023]](https://www.premierguitar.com/media-library/rig-rundown-blackberry-smoke-s-charlie-starr-and-paul-jackson-2023.jpg?id=33228971&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Right now, they’re in Europe, but Atlanta-based rockers with a distinctly Southern musical accent, Blackberry Smoke, smoked Nashville’s Ryman Auditorium for two nights in February before jumping the pond.
Their latest album, You Hear Georgia, was produced by Dave Cobb in Nashville, and hit the top of the Billboard Americana/Folk chart when it was released in mid-2021. PG’s John Bohlinger caught up with guitarists Charlie Starr and Paul Jackson before their sold-out show at the Ryman to run down their ever-expanding universe of gear.
Brought to you by D’Addario XS Strings.
Battered, Not Fried
This 1956 Gibson Les Paul Junior was professionally refinished in the ’70s, but Charlie Starr has put some serious miles on this one-pickup wonder. The battered badass with a dog ear P-90 and all his electrics are strung with D’Addario XL Nickel Wound strings, .010–.046. He uses InTuneGP Heavy picks and a ceramic Charlie Starr Signature Osanippa Creek Slide.
Like Ernest Tubb and other guitarists from the classic annals of entertainment, Starr has a greeting on the back of his ’56 Junior for the fans.
Barnburner
For some semi-hollow tone and feel, Starr goes with his stock 1964 Gibson ES-335 in Cherry Red with a Bigsby. The guitar belonged to a friend’s grandfather, and when Starr acquired it, he says, “It had gouges at the C, G, and D,” positioning his hand over the open chord shapes. He had it re-fretted by Stan Williams in Georgia, who told Starr, “This guitar looks like it's been sitting outside in a barn since 1964. And I don't know how the dude was able to get a bird to shit inside that f-hole.”
Physical Advantage
Starr maintains that this 1965 Fender Esquire in factory black, like his other single pickup guitars, sounds larger than most as there are less magnets interfering with the string vibration. He adds, “I’m told that it’s a physics thing. And I’m a physicist, so I subscribe to that theory.”
The Rest of the Best
Here are the Starr's other main stage rides (clockwise from the top left): a 1956 Gibson Les Paul Jr., a 1963 Fender Esquire, a Fender American Nashville B-Bender Telecaster, and a 1964 Gibson SG Jr..
Tone Trifecta
“This is on all the time,” Starr says of his Echopark Vibramatic 23, which he pairs with a tall cab. “It's basically a tweed Deluxe, and it adds that 6V6 creamy sweetness all the time.” The maker of Blackberry Smoke’s 50-watt Germino heads, Greg Germino, personally recommended this Germino Lead 55LV (left) to Starr, and is paired with a 4x12 cab. And the other Germino is a Master Model 50.
Charlie Starr's Pedalboard
Starr’s pedalboard features a Cry Baby Wah, a PCE-FX Aluminum Falcon Klon clone, an Analog Man Sun Face, Chase Tone Secret Preamp—“a preamp that accidentally made everyone’s signal a little sweeter,”—Wampler Faux Tape Echo, Fulltone Supa-Trem, DryBell Vibe Machine, Analog Man-modded MXR Phase 45, and a Polytune 3. XTS XAct Tone Solutions supplies the juice. Starr tapes a few of the pedals’ knobs to make sure his settings don’t go missing in action.
Paul Jackson's Ol’ Reliable
Paul Jackson’s number one is his 1979 Les Paul, which has been modded with a Seymour Duncan ’59 neck pickup and a Pearly Gates bridge pickup. He says he got it at a Guitar Center in Atlanta about 18 years ago—it also sports Dickey Betts’ autograph. Jackson strings this and all his electrics with D’Addario .010-.046s.
Black Magic
This black Gibson SG Standard—one of Jackson’s pair of SGs—was a gift from Frank Hannon of the band Tesla, who signed the back of it.
Gibsons Galore
The other three touring staples for Jackson include a 1978 ES-335, a 40th Anniversary Les Paul Ebony 1991, and a 1998 Gibson SG Les Paul Custom Shop Historic.
De-Modded For Classic Tones
One of the two amps Jackson tours with is a pre-’85 Marshall JCM800 50-watt with a stock 4x12 cab. You’ll see it has a sticker that says “Paul Jackson Mod”—he had it modded at one point, but later took it to Andrews Amp Lab in Atlanta to have them “turn it back into a Marshall.” Along with the Marshall, Jackson’s Vox AC30 is on “all the time.”
Paul Jackson's Pedalboard
Jackson and Starr’s pedalboards have more than a few things in common—Jackson’s also equips his with a Cry Baby Wah, Wampler Faux Tape Echo, and a PCE-FX Aluminum Falcon Klon clone—although Jackson’s is an Aluminum Falcon III. Other pedals on his board include a Radial Twin-City ABY Amp Switcher, JHS 3 Series Reverb, MXR EVH Phase 90, Way Huge Overrated Special Overdrive, and an Ibanez Mini Tube Screamer. Power comes from a Truetone power supply. Of the EVH Phaser, Jackson says, “If you don’t know what you’re doing, hit the phase pedal. nobody will ever know.”
Since their debut, Before the Sun Goes Down, in 2014, Rob Ickes and Trey Hensley have made a name for themselves as some of the hottest country and bluegrass players in the business. As individuals, their credits range from Willie Nelson to Earl Scruggs to Merle Haggard—and as a duo, they’ve toured and recorded with artists including Tommy Emmanuel, Taj Mahal, Jorma Kaukonen & Hot Tuna, Luther Dickinson, and Molly Tuttle. It’s likely their forthcoming full-length release, Living in a Song, will only bolster their already impressive reputation.
Out on February 10th, Living in a Song is a new collection of two covers and 10 originals that were inspired by Ickes and Hensley’s life on the road. They collaborated with long-time producer Brent Maher (Merle Haggard, Willie Nelson) along with some award-winning songwriters to compose a total of 40 songs, which were then trimmed down to the resulting selection. That final cut of material leans into a classic country sound, with some Americana and bluegrass thrown in.
Along with the aforementioned credits, Ickes and Hensley have long been established, separately, as formidable musicians. Ickes has been International Bluegrass Music Association Dobro Player of the Year an incredible 15 times, and Hensley made his debut performance at the Grand Ole Opry at just 11 years old. In other words, the two have been around the block, and especially know their way around dobros and flattop acoustics.
Earlier this month, PG’s John Bohlinger met up with the duo at 3Sirens Studio in Nashville, where they played some mind-blowing music, and gave a rundown of some of their favorite guitars and gear.
Click here to pre-save Living in a Song which releases on Friday, Feb. 10.
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Mind-Bending Bender
This dreadnought was built for Trey by the Oregon-based Preston Thompson Guitars in 2018. It’s the company’s D-MA model, with sinker mahogany back and sides and an Adirondack spruce top. But what truly makes the guitar special is its StringBender B-bender, which was built into the model by former Byrd and StringBender founder, Gene Parsons, himself. It’s also equipped with an LR Baggs Lyric. As for accessories, Trey uses D’Addario Nickel Bronze .013-.056 strings on all of his guitars, Blue Chip TAD60 picks, a Dunlop Blues Bottle slide, and a D’Addario Rich Robinson slide.
The Guts
Here's a tight shot of the inner mechanisms that engage the B-Bender.
Fighting Spirit
Trey’s favorite guitar is his 1954 Martin D-28. “I’ve had this one for about 20 years now,” he says, “I think I’m the third owner of it.” The first owner wore the neck down so that “it’s real skinny and gets super fat right at the fifth fret.” He brings his D-28 to most of his recording sessions, and while it also has an LR Baggs Lyric, “This guitar does not want to be plugged in at all,” he says, “It just fights back.” It has Brazilian rosewood back and sides; as for the top wood, “Anybody’s guess is as good as mine.”
Ugly Duckling
Found at Fanny’s House of Music in Nashville, this 1965 Harmony Sovereign Deluxe H1265 makes a bit of a statement with its prominent pickguard and mustache bridge. Or, as Trey puts it, “It’s possibly the ugliest guitar I’ve ever seen.” He calls the jumbo-bodied model his “Taj Mahal guitar,” as the bluesman requested it when Trey and Rob joined him for a few performances late last year. “I really like it,” Trey says, smiling, “It’s the guitar that shouldn’t be.”
No. 610
“This is probably one of my other favorites,” Trey says of his 2015 Wayne Henderson dreadnought—the guitar maker’s 610th build. Its specced to a Martin D-18, with mahogany back and sides. The Virginia builder famously built a few models for Eric Clapton, and notoriously has a very, very long wait list—which is why Trey was so afraid to put a pickup in it and take it out on the road after he got it. And then…. “The first night I took it out, it wasn’t on the strap button good, and it fell and hit the concrete floor. This piece here was split,” he says, gesturing to an area on the top plate. Thankfully, he was able to get it repaired. “It sounded really good before I dropped it, but it sounded about a million times better after I dropped it,” he says, “So, the moral of the story is: Drop your guitar.”
Before the War
Another D-18 copy, this 2017 Pre-War Guitars Co. model has mahogany back and sides, and is outfitted with an LR Baggs Anthem SL. It bears Taj Mahal’s signature on the front, and Trey’s on the back. The latter choice was Trey’s way of imitating Earl Scruggs, since he saw Scruggs had done the same to a couple of his instruments when he performed with him as a kid.
Black Dove
Next, a 2022 Gibson Elvis Dove, is “probably the only oddball acoustic I have,” says Trey. “I wasn’t planning on flatpicking on this thing, but I’ve already used it for some sessions.” Its maple back and sides make it the perfect choice to emulate the J-200 he borrowed from his producer for a country record he and Rob just finished recording.
Tried and True
Last in the acoustic queue is Trey’s 2021 Martin D-41. “This one’s been my main guitar for about a year now,” he says. It’s equipped with an LR Baggs Anthem SL, and has a bit of a lower setup compared to his other guitars—but with medium gauge strings, he says, it doesn’t buzz.
Loud and Clear
When Trey isn’t going DI through his LR Baggs Voiceprint, he runs his acoustics through his Fishman Loudbox Artist.
Go-To Gibson
Trey’s go-to electric is his Gibson Custom Shop 1958 Les Paul Reissue VOS, which he got in 2008. He keeps this guitar and his other electrics strung with D’Addario NYXL .010-.046 strings, which can be a bit jarring to his fretting hand when switching over from the .013s on his acoustics. “It takes a minute to not rip the neck off,” he says.
Byrd Build
This 2017 Parsons StringBender T-style was one of Gene Parsons’ early prototypes when he started building guitars.
Headshot For the Headstock
Here's Gene Parsons riding proudly on his 2017 T-style build for Trey Hensley.
To the T
The newest addition to Trey’s electric arsenal is this Berly Guitars Telecaster, built with Rocketfire ’60s-style pickups and “frets basically as big as my Les Paul.”
Trey Hensley’s Pedalboards (Acoustic)
Trey’s acoustic pedalboard is set up with a D’Addario tuner, an EHX Nano Q-Tron Envelope Filter, a Boss CE-2W Waza Craft Chorus, a Boss HM-2W Waza Craft Heavy Metal, a DigiTech Whammy Ricochet, an EarthQuaker Devices Ghost Echo Reverb, a Grace Design Alix preamp, and an LR Baggs Voiceprint. Power comes from a Voodoo Labs Pedal Power 2. It might be a bit unconventional for him to have two DIs, but he says he uses the Alix “for some EQ and mainly a boost; I’m bypassing it as a DI.” And, referring to the Voiceprint, he says, “If I can only take one pedal, it’s going to be that.”
Trey Hensley’s Pedalboards (Electric)
“I’ll preface it by saying, I don’t know what I’m doing,” admits Trey. On his electric pedalboard, he goes into his Dunlop Zakk Wylde Wah, then his D’Addario tuner—“You want that, after the wah,”—then into an EHX Micro Q-Tron, a Keeley Super Phat Mod, a Keeley Sweet Spot Johnny Hiland Super Drive, a JHS PackRat, an EHX J Mascis Ram’s Head Big Muff Pi, a Keeley Dark Side, and an MXR EVH Phase 90.
Ol’ Reliable
Trey has several amps for acoustic and electric. Today he was using a Fender ’68 Custom Princeton Reverb Reissue for his electric.
Bold and Byrly
“When you play a really good dobro, it’s in your face super fast,” says Rob Ickes, describing his main axe, a Byrl Guitars Rob Ickes Signature Series resonator—an instrument distinguished by its half-and-half ebony and curly maple fretboard. It’s equipped with a Fishman Nashville Reso Series pickup, which Ickes says is probably the first pickup that he’s used that’s nearly 100 percent faithful to the dobro sound. He uses D’Addario Nickel Bronze strings, Blue Chip thumb picks, and Bob Perry gold-plated fingerpicks, as well as a Scheerhorn bar slide.
Scheer Invention
This resonator guitar, made by Tim Scheerhorn, has Indian rosewood back and sides and a spruce top. According to Ickes, Scheerhorn “was kind of the Stradivarius of the dobro.” He was the first to start using solid woods—as opposed to the earlier use of plywood—and put sound posts inside the body, like those in a violin. “He also does a little baffle that helps force the sound out of the sound holes,” explains Ickes.
Maple Flames
The second Byrl resonator Ickes shared with us is made from flame maple, giving it that distinctive look, and is actually the first guitar he got from Byrl. He tunes it to an open G chord, which he recently discovered is the original Hawaiian tuning. It has a Beard Legend spun cone made of an aluminum alloy and named after Mike Auldridge.
One Man’s Trash
Ickes found this 1930s dobro at a music store owned by a friend outside of Franklin, Tennessee. It’s made with a stamped cone. “It’s a little bit garbage can, in a good way,” he says, “I’ll use it on sessions if I want a trashier sound.” He normally keeps it in a lower tuning, such as open D.
Family Heirloom
This 1927 Montgomery Ward guitar has a story as intriguing as its sound. It belonged to Ickes’ grandfather, who was a fiddle player: He discovered it one day in the attic of his family home. “This one spoke to me right out of the box,” he shares,” It had that funk—times 10.” It sports signatures from Taj Mahal and Merle Haggard, the latter of whom Ickes recorded a bluegrass album with back in 2006. “I take this to a lot of sessions, in case they need that funky kind of dirt-road sound,” he explains.
Let Slide
“This next one is a more modern version of that,” Ickes says of another model, a Wayne Henderson guitar which he says is the first slide guitar Henderson built. “I just said, ‘Do what you do, but raise the action a bit here at the nut.’” It has a Fishman Nashville Series Reso pickup which Ickes has go into a Fishman Aura Spectrum DI.
A Flash in the Pan
One of the most interesting guitars in Ickes’ collection is his 1932 Rickenbacker Frying Pan, an electric lap steel that was one of the first ever of its kind to be created. “It just cracks me up how they nailed it right out of the box,” he comments. Its single knob is a combination of tone and volume—“As you move to the right, it gets brighter and louder. As you move to the left it gets quieter.”
Silver Surfer
As you can tell, several of the guitars that Ickes brought on this Rig Rundown are from the 1930s, including this Rickenbacker lap steel, nicknamed the “Silver Surfer.” Its mirror-like fretboard made it difficult for Ickes to see the frets when playing live, so he had them covered in red tape, which make them stand out much better.
Black and White
The last of Ickes’ guitars is another 1930s Rickenbacker lap steel, which he fondly refers to as the “Panda,” due to its black-and-white decor. He loves how it sounds, but admits, “This is great if you don’t leave the house [with it],” as it’s very heavy and doesn’t really stay in tune.
Dulcet Dairy Tones
Despite how Ickes typically favors vintage amps, he’s fond of this newer 20-watt Milkman Creamer, which he bought with a lap steel from a friend in California after hearing the two in combination. It has all the vintage vibe without the hassle of old amps.
Li’l Champ
Another amp in Ickes’ collection is his ’50s Fender Champ.
Small Yet Mighty
A third amp that Ickes shared with us is a vintage 1930s Rickenbacker.
Rob Ickes’ Pedalboards (Dobro)
Ickes has two separate pedal boards for his dobro and for his lap steel. Both boards are powered with separate Truetone 1 Spots. He keeps things simple on his dobro board, which includes a Fishman Aura Spectrum DI, an MXR Eddie Van Halen Phase 90, a Walrus Audio Mako Series R1 Reverb, and a ’80s era Boss DM-2 Delay.
Rob Ickes' Lap Steel Pedalboard
The simple setup trend continues with his lap steel pedalboard, which is made up of another four pedals: an EXH Micro Q-Tron, a Keeley Super Phat Mod, an MXR Phase 90, and a Keeley Omni Reverb.
