Like King Ghidorah, these rock fretmasters prove three heads are better than one.
After a five-year break in studio releases, Train came roaring back this year with AM Gold and a tour with dates stretching into 2023 that’s delivering their new songs and a sampling of the group’s 28 charting singles from their nearly 30-year history. PG’s John Bohlinger stopped in on the band’s two guitar players, Jerry Becker and Taylor Locke, and bassist Hector Maldonado, before their June 21 show at Nashville’s Ascend Amphitheater. They displayed the big bevy of instruments they use to recreate the Train sound live.
PS: Special thanks to techs Wayne Davis and Stephen Ferrera-Grand for help running down the rigs.
Brought to you by D’Addario Nexxus 360 Tuner.
Yellow Fever
Taylor Locke’s No. 1 is this all-stock, scarred Gibson Custom Shop Les Paul Special in TV yellow. For the record, Locke uses Shubb and Kyser capos, strings his axes with Dunlops, and uses the latter company’s picks and slides.
Hum-Doozie
When the song calls for a guitar with humbuckers, Locke goes with his all-stock Gibson Custom Shop R7 Les Paul Goldtop. It’s essentially a re-do of a 1957 Paul right down to the chunky C-profile neck and Indian rosewood fretboard.
Double Trouble
Some of Train’s songs require both electric and acoustic tones, and for those Taylor employs an Epiphone Casino, which tech Stephen Ferrera-Grand has outfitted with Fishman’s PowerBridge pickup system. The jack on the Casino is stereo, which enables splitting the stock electric pickups and a piezo pickup to two separate wireless packs, mounted side-by-side on Taylor’s guitar strap. The piezo signal hits a Sound Sculpture Volcano expression pedal volume controller that routes to an on/off switch on his Line 6 HX Effects stomper. The piezo sound is sent to front-of-house and monitors via a Fishman Aura Spectrum DI preamp.
Fab Filtration Across the Nation
When it’s time to go Filter’Tron, Locke straps on this tuxedo’d G6128T Vintage Select ’89 Duo Jet with a trusty Bigsby. In case the colors aren’t shining though in the photo, it’s an impressive black with metallic green sparkle, and Locke keeps it tuned a half-step down and strung with Dunlop .011s
Old Frontier
Locke aims for a couple of classic acoustic guitar tones, and for vintage vibe he reaches for this 1964 Epiphone Frontier. It’s from the original ’58 to ’70 run, with a Sitka spruce top and maple back and sides. These days, the model has been restored to the catalog courtesy of Gibson’s acoustic builders in Bozeman, Montana.
Clydesdale Tone
The workhorse sound of the Gibson J-45 resonates in the Train catalog, and this is one of many the band keeps in their 6-string arsenal.
Reso-Phonics
When the language of roots guitar needs to be spoken, Locke grabs his Gretsch resonator—part of the company’s Roots Collection of guitars. This one uses Gretsch’s patented Ampli-Sonic biscuit cone.
Playing the Dozens
When it’s time to wrangle acoustic jangle, this all-stock 1971 Ovation Glen Campbell 12-string gets to shine and shimmer. Unlike modern 6-string Campbell signature Ovations, this guitar lacks a cutaway. It has a Sitka spruce top, a walnut bridge, and an ebony fretboard—and sounds killer.
It’s Pronounced Oo-koo-lay-lay in Hawaiian
The hit “Hey, Soul Sister,” which reached No. 3 on Billboard’s pop chart in 2009, is guaranteed set-list material for every show. So, of course, Locke always has a requisite ukulele onstage. Here’s a look at the pair of Godin ukes in his rack.
Lean, No Cheese, 35 Watts
Locke uses a Top Hat King Royal 2x12 combo kept slightly off stage but loud enough to be audible. The 35-watter has three 12AX7s and four EL84 power tubes, and a GZ34 governing the rectifier. There’s a fat-off-bright switch, too. How does he run it? See the next photo.
All Set!
Here are his settings for the Top Hat. Note the master volume riding at 1 o’clock and his preference for the hi-input jack.
Is That a Banana, or….
Locke isn’t monkeying around: If his Top Hat goes down, he’s got a Vox C4 tucked aside as a spare. And a banana—maybe to snack on while Ferrera-Grand powers the amp up?
The Great Switcheroo
Locke’s electric guitar signal hits a Shure Axient Digital wireless and zooms into a Radial SW4 switcher. Tech Stephen Ferrera-Grand does the wireless switching on the Radial unit, in his guitar rack.
Above the SW4, you’ll see, peeking out, the acoustic boss: a Countryman DI. The Godin ukuleles follow the same signal flow as the acoustics, but along a different path into a separate Countryman DI.
Treading the Treadles
From the rack, the signal is sent out to a Pedaltrain ’board, outfitted with a Best-Tronics patchbay. The board contains a Dunlop DVP1XL volume pedal to a Line 6 HX. A second DVP1XL controls certain effects parameters, such as delay repeats and Leslie speed. The signal is then sent into a Boss NS-2 noise suppressor and on to the Top Hat amp.
Each speaker gets its own microphone: a Shure SM57 and an Audio-Technica AT4040.
For the majority of the set, Taylor keeps his HX set up with the following effects models: a Tone Bender fuzz (for leads and solos), a Klon Centaur (primary overdrive sound, almost always on), an MXR Timmy OD (neutral volume boost), EHX Deluxe Memory Man (modulated slap delay), Boss DM-2 Delay (long delay), and a Fender Vibratone (rotary). Taylor scrolls to other pedalboard scenes for song-specific effects, using tremolo for “Meet Virginia,” a Small Stone phaser for “AM Gold,” and so on.
Butterscotch Bliss
Another entry from the realm of the classics: Jerry Becker’s 2011 all-stock Fender American Vintage ’52 Telecaster has an ash body, a large U-profile neck, and, of course, a maple fretboard. It is strung with Dunlop DEN1046 Electric Nickel Performance+ string sets, running .010–.046. PS: Becker uses Levy’s straps and wireless pouches, Dunlop custom graphic signature picks, and Kyser Quick-Change capos.
Red Horse
This Gibson SG Classic from 2010 is stock and strung with Dunlop Performance+ .010–.046 sets—as are all his electrics. It has P-90s, a rosewood fretboard, and pearloid dot inlays up the neck.
Guitar of the Beast
This second-generation Gibson Les Paul Special reflects the body style that led Les Paul himself to cut ties with Gibson in the early 1960s. Nonetheless, with their two P-90s and lighter slab bodies, these are killer guitars. The double-horn cutaways make this 1973 a rare beast. It’s stock.
All Stock and Ready To Rock
Here’s Becker’s 1973 Gibson Les Paul Custom, left as it came from the factory. As you may recall, this model comes with “banjo”-style fret wire, to earn their reputation as—as Gibson put it on the model’s introduction in 1954—fretless wonders.
Modern Classic
This Gibson ES-339 was built in the first year the model was issued: 2007. The company introduced this guitar as a smaller—Les Paul sized—take on the ES-335, with a laminated maple-poplar-maple body, a maple center block, and spruce contour braces.
One More 45
Here’s yet another of Train’s Gibson J-45s. This one is a 2013 Custom Shop model in a wine red finish, and it is strung with Elixir 11050 80/20 Bronze Polyweb lights, gauged .012 to .053.
Nashville Tuning
Becker’s 1966 Gibson B-25 is set up in Nashville, or high strung, tuning. In this tuning, the wound E, A, D, and G strings are replaced with lighter-gauge strings tuned an octave higher than usual. In the old days, this had to be done by raiding 12-string sets, but some modern string makers produce Nashville tuning sets. So, Becker uses D’Addario EJ38H Phosphor Bronze .010–.027s.
Canadian Nylon
This 2017 Godin Multiac Nylon Duet Ambiance Natural HG has Fishman electronics that allows the internal blending of four microphone settings. It also sports a slim nut width (1.9"), a Richlite fretboard, and a chambered mahogany body. The strings: D’Addario EJ31 Pro-Arté Rectified Nylon Hard Tensions.
In the Pedal Pond
Becker uses a Fractal Audio Systems FX8 MkII combined with a Mission Engineering SP-1 Expression Pedal. There’s a Lehle D.Loop SGoS Loop Switcher, a Boss TU-3 Tuner, a Radial JR-2 Remote, and a Lehle P-Split Passive Splitter. It’s all powered by a Voodoo Labs Pedal Power 2 Plus.
But Wait, There’s More
Guitar tech Wayne Davis mapped out Becker’s signal flow for us. The electric guitars hit a Shure Axient Digital Wireless receiver and flow into a Radial JX62. There, the 6-strings can be directed into the Lehle D.Loop in and then out via a loop A send to the Fractal FX8. The loop A return then reroutes through a D.Loop out to the Radial again. Then there are amp options: a Matchless DC-30 or a Leslie combo preamp and 145 rotary speaker cabinet. Acoustic guitar arrives via the wireless and hits the PA via the JX62 DI out.
Green Sound Machine
This envy-shaded DC-30 is Becker’s big gun. It was the company’s first design and gets huff from four EL84s, with two preamp sections: one powered by two 12AX7s and the other by a single EF86. That’s a lot of tonal versatility.
The Understudy
This Vox AC30 acts as Becker’s back up.
Coming Up Roses
Bassist Hector Maldonado’s long search for an early ’60s P bass landed him this 1960 Fender Precision days before Train’s current summer tour. The gem was professionally refinished by Joe Riggio of Riggio Custom Guitars at some point, but other than that it’s as Leo intended over 60 years ago. Riggio helped connect Maldonado to the seller so he could acquire his dream bass.
No. 2
With the arrival of his new old P, this off-the-rack Fender American Vintage ’62 P bass reissue got demoted to the No. 2 slot. But Maldonado says it plays better than some of his vintage instruments, and this 4-string has been around the world a few times with Train. Both Fenders take D’Addario roundwounds (.045–.100).
Sir Paul’s Highball
If you’ve spent time with any of the last three Train albums, you’ve heard this limited-run Hofner Gold Label Violin Berlin model. It is made of German Nussbaum wood and has the company’s 511B staple pickups in a normal-spacing configuration. Hofner’s Gold Label instruments are highly limited editions.
Get Back!
For the ultimate Beatles’ vibe, Maldonado uses this Hofner B-Bass HI-Series Violin model. It provides the desired “pluck” sound of 1964. Both of his stage Hofners take D’Addario XL Chromes, flatwound (.045–.100).
Spanish Flair
“Cleopatra” off AM Gold has a flamenco guitar part. Maldonado is classically trained, so he was the obvious choice to handle it, plus Becker and Locke are already busy with their own guitar chores on the song. Hector’s setup on his Yamaha CG172SF is creative. He uses a blend of strings from his Fender Bass VI and nylon guitar strings to hold down the low end and shred fingerstyle.
Racked and Ready
A Mesa/Boogie Subway D-800+ powers his basses, while an Avalon U5 Class A Active Instrument DI give a clear signal to front-of-house. And like his compatriots, he’s running a Shure AD4D rackmount wireless system.
More on the Floor
Maldonado has more pedals on the floor than his fellow Trainmen. His stomp station consists of a trio of mini MXRs—a Carbon Copy, Phase 95, and Vintage Bass Octave—plus an Electro-Harmonix Holy Grail Nano reverb, a Tech 21 SansAmp Bass Driver DI, a DigiTech Bass Driver OD, an Origin Effects Cali76 compressor, and a Mesa/Boogie Five-Band Graphic EQ. A Dunlop Volume (X) DVP3 and a Boss TU-3s mini Chromatic Tuner keeps his instruments reined.
Blackstar Amplification AMPED 2
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NUX Amp Academy (NGS-6)
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MayFly Audio Sunrise Amp Simulator
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Friedman IR-D
The IR-D dual-channel tube preamp is an entire Friedman rig, inspired by the JTM45, in a compact pedalboard-friendly package.
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Strymon Iridium Amp and IR Cab Pedal
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Revv Anniversary Series G3
The new Anniversary Edition Revv G series pedals feature new aesthetics and even more amp-like feel and tone—modeled after Revv amps’ purple channel.
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B.B. King live, 1971.
Creative Commons: https://creativecommons.org/licenses/by-sa/2.0/
But there’s more to the tale. From 1935 to 1965, Nashville was arguably the epicenter of Black American music. Along the 30 blocks straddling Jefferson Street—Nashville’s own “Black Wall Street”—were a host of clubs, including Club Baron, Club Stealaway, the Del Morocco, and the Black Diamond, that showcased live music from 7 p.m. until 3 a.m. every weekend. And the roster of talent included a who’s who of national acts—Count Basie, Ray Charles, Ike & Tina Turner, B.B. King, Otis Redding, Etta James, Little Richard, Hank Crawford, James Brown—and formidable locals like Johnny “Blues Boy” Terrell, Gene Allison, Jimmy Church, Marion James, Charles “Wigg” Walker, Frank Howard, and two highly notable guitarists: Johnny Jones, the big dog of Nashville rhythm & blues guitar, and young upstart Jimi Hendrix.
Lorenzo Washington is the founder, guide, and curator of the Jefferson Street Sound Museum, where he provides a living introduction to the Black-music culture that first defined Music City.
But there’s stillmore to the story. In 1946, Nashville’s WLAC became the first major radio station to play R&B records, defying the city fathers and Jim Crow. Its signal reached 28 states and three Canadian provinces, making WLAC the platform by which Black music was introduced to the mainstream. WLAC’s impact on the sales of the indie labels recording Black artists at the time was tremendous.
Not only that. In 1964, Night Train, filmed at WLAC-TV, became the first syndicated R&B television show. Hosted and programmed by Noble Blackwell (who would eventually have an influential career in radio), and with an all-Black cast, Night Train featured local and national acts, and was the template for Soul Train.
“A host of clubs, including Club Baron, Club Stealaway, the Del Morocco, and the Black Diamond, showcased live music from 7 p.m. until 3 a.m. every weekend.”
After two years, pressure from the owners of the Grand Ole Opry caused WLAC’s owners to cancel Night Train, which the Opry perceived as a threat to ticket sales, according to Blackwell’s widow, Katie, and performers Church and Howard. And the radio station’s new management also pulled the plug on its R&B programming. At the same time, Nashville’s establishment—which had long waged a cultural war against the Black community along Jefferson Street—managed the coup de grâce they’d sought for decades by redlining and constructing Interstate 40 through the heart of Jefferson, where bridge abutments now mark the location of some of these historic clubs.
Today, most of the entertainers, DJs, and entrepreneurs responsible for Nashville’s—and therefore, in part, the nation’s—R&B revolution are dead, although on a lucky night you can still hear Walker, Church, or Howard turn back time onstage. But all of those memories and as much history as you can fit into the ground floor of a small house can be found at the Jefferson Street Sound Museum. For the past 23 years, the Museum at 2004 Jefferson has been the passion project of Lorenzo Washington. He secured the building in 2011 for a studio, but a year later felt a calling to create a temple dedicated to preserving Jefferson Street’s musical legacy—an urgency amplified as the local players who were there expired.
When you go to the Jefferson Street Sound Museum, you’ll find plenty of artifacts, from period-correct guitars to the old WLAC broadcast board, and handbills, posters, autographed photos, and ephemera. But the most important exhibit is Lorenzo. Beginning in the late 1950s, he was on the scene, as a fan and friend to the musicians, and even as a driver for songwriter and producer Ted Jarrett.
At 81, Lorenzo’s memory and storytelling skills are exquisite. Warm-hearted and welcoming, he can talk about Hendrix’s days as a maverick in the world of straight R&B, of the menus served while the musicians entertained, of B.B. King driving dancers to a frenzy, and even about the Nashville Stars, the city’s beloved Negro League baseball team that was bankrolled by Sou Bridgeforth, a numbers operator and the owner of the New Era Club, where Etta James recorded her blazing Rocks the House album in 1963. For his work preserving Music City’s foundational music culture, Lorenzo has been honored by the city with Lorenzo Washington Day and is the subject of a living legends exhibit at the National Museum of African American Music (NMAAM) in downtown Nashville.
So, if you’re coming to Nashville, you’ll want to visit Broadway, and the big attractions like the Country Music Hall of Fame and Museum and NMAMM. But if you really want to learn about the roots of Music City, go to 2004 Jefferson Street, and have a conversation with history.