Willie G. Moseley

Showed the images to a knowledgeable guitar friend who worked at Peavey in the '80s and he said that the cap was "...definitely from a car."

^^^Excellent postulation. Its flat wide profile does make manipulation a lot easier, and I can visual that shape as something on the dashboard. Thanks

Prelims: During the most recent respite vacation coordinated with the local hospice folks, the Princess and I went to south central Kentucky to my mother's hometown. Elizabeth had never been there and I wanted her to know about her paternal grandmother's family (my Mom died when Elizabeth was 17 months old), so there was a visit to the home where my mother was born, the cemetery, etc. Plus we stopped by Cumberland Falls. We were a little ahead of schedule, so naturally I hit some pawn shops, and picked this '83 Peavey T-27. I had always been intrigued by this model, as it was of the few production model S/S/HB hardtails made (the only other ones I can recall off the top of my head were Gibson's short-lived US-1 later in the '80s (didn't Gary Richrath endorse that model?) and the Robin Medley. Seemed like almost all S/S/HB guitars had high-tech vibratos. And Robin made a S/S/HB Medley bass. The T-27 had Peavey's patented coil-rolloff circuitry but it's set up differently from the T-60 (I'm still figuring it out). But I'm wondering what the replacement toggle switch cap is, and the intrigue is admittedly the main reason I bought it. Its wide-and-flat configuration is easy to locale (by feel) and easy to manipulate. Any ideas? Thanks in advance.

Seems like most folks who purchase a Hofner Beatle Bass or Club, etc.( at all price levels) have been talking about using flat-wound strings, but is there something i should know if I want to use round-wounds? How would the sound differ, considering the body construction, scale, etc. Thanks in advance; I just got a present-day cheapo Club that's a lot of fun to play but it came with flatwounds.

Anderson is as much of a "humbler" as Danny Gatton, Roy Clark and Roy Buchanan were. Highlight of the first guitar show I ever worked for VG Magazine (Atlanta 1990) was a jam session with Steve Morse, Jeff Berlin and Anderson. He's one of Kentucky's best kept secrets

Couple of tunes from a San Diego club on 7 MAY 26

Maybe I oughta blow it away with a shotgun, on camera like Ted Nugent done to that Casio keyboard back in the '90s (somebody ought to post the link to that episode). Seriously. This thing feels "tainted" and I can rationalize the $ amount as "lesson learned."

Maybe I could send it to Gibson and let them run a steamroller over it. Hasn't that been a publicized event for the company in times past?

I think maybe I'll grab a Sharpie, write "COPY" on the back of the headstock, and donate it to a thrift store. Would that be acceptable?

In my neck of the woods "You Never Even Called Me By My Name" was a mandatory song for bar bands. It was a "learn it or get your ass klcked by the patrons

No, the title wasn't inspired by my first marriage. Per a March 6th thread here called "Pawn Shop Revenge" I jumped on what appeared to be a Gibson Dave Grohl DG-335. Turns out it's a "Chibson" but it's fine instrument---plays well, sounds good, is well made, balance nicely.And it's in mint condition. I acted quickly because I simply didn't it to let it get away. The Gibson authority I contacted afterwards (and sent jpegs to) cited the following "telltale signs": (1) The bridge has large-diameter height adjustment posts with a slotted screwdriver head, (2) the frets are over the binding (without nibs), (3) the tuners don't say "Grover" on them, and they look like Grover copies. I suppose it could hang onto it for personal use but this episode feels "tainted" for lack of a better term. Donate it to a charity? It would be hard to establish the tax write-off amount. Any other suggestions? Anybody else ever been thru a situation like this?

At least it's got the handrest. Contemporary version of the 4003 doesn't. If I was still gigging thart piece of hardware would be mandatory.

I just checked out that video and it's very informative. There aren't any historical photos of personnel, the plant or of famous players gigging with the instrument; just pictures of assorted models that don't coordinate with the narration. Still, it appears did an appropriate job researching the brand's history.

^^^One of the hype facets was that the trem was supposed to maintain the integrity of an entire chord, not just a couple of strings, when the vibrato was used. Wonder how it compares to later vibratos like Steinberger's Trans=Trem

As noted in a thread about a Peavey Dyna Bass I acquired a while back, I'll still poke my head into pawn shops on occasion if I'm out of town and ahead of schedule for some kind of business or medical appointment. There are certain sections of larger towns that have turned into combat zones, and I no longer look into shops in such areas. Made that (easy) decision after hearing nearby gunfire when I left such a store a few years back. So this '72 Micro-Frets Stage II came from an alternate location, and once again, I just stumbled into it. It's in Near-Mint condition and I paid too much for it but should be able to make it back if and when I flip it ...And it may be a while before I flip it on accounta this Maryland-made oddity has all sort of cool attributes and innovations: A "Calibrato" vibrato (feels like a Mosrite), a tuneable nut, and a reportedly-Bill-Lawrence-designed "Hi-Fi" circuit that suppresses 20% of the coil windings to offer a switchable tone shift. Neck profile feels like a Mosrite as well (YMMV), Instrument is fully original. Moreover, It's got the original plush-line hard case, instructions, and a November 1972 newsletter...checking out case candy is always a cool experience. Pickups are P-90ish (IMO) and it plays like butter. Micro-Frets only made about 3000 instruments during its initial existence. Finding one this nice from that era is probably a rare experience. HFC members from the Old Line State can probably relate.

One of the more prominent examples of forging a successful solo career after being in an acclaimed band. Maybe the psychedelic pressing of Alone Together was a gimmick, but it worked. always liked his melodious guitar style which fit his songs perfectly. He had a good perspective about being an aging rocker: "I tell the promoter: 'You're not paying me to perform. You're paying me to show up.'"

RE: 50 years "..and we're about to change that.", I got yer "change" right here: As inspired by the legendary house brand model for the largest national retailer back in the '60s, howzabout an amp-in-the-case with the output of a Marshall stack?

^^^This. Also true in journalism when some chain purchases small town paper(s) or smaller chain(s). The readership/consumers and longtime employees of a recently absorbed newspaper seem to be treated with indifference and/or condescension by the new owners. Been there done that Instead of asking the old guard "What can we do to keep the subscriber base growing or at least steady?", new owner says "Here's how we're gonna do it." Oftentimes it's a fatal mistake.

Look closely---that Les Paul has the Peter Green/Gary Moore configuration

I'll go with the Dictators' cover of "Search and Destroy" on Manifest Destiny. Methinks it had canned crowd noise and the guitar solo ain't long but 50 years ago it burned into my brain like a laser.

"Meh" RE "God Gave Rock & Roll to You", then and now. I've always thought that song relied too much on musical and lyrical cliches. Heard Argent do it live in 1973 and wasn't moved. Ballard's Swiss cheese Strat was cool, though. But "Hold Your Head Up" was almost everything that "GGR&RTY" wasn't---the earlier song had a nice introductory hook (crescendo organ and a thumping, insistent bass line). The riffs were decent but not overblown, and the song had a sing-along sensibility. The instrumental break was, perhaps as expected, Rod Argent's keyboard which purveyed a slight allusion to Keith Emerson, IMO. Really liked how chorus line creeped in after the organ solo, then Ballard's power chords came smashing back into the mix via the left speaker. The whole tune had an anthemic vibe, and while there were plenty of those types of songs around 50 years ago, this one was, at least for me, one of the more memorable. 3/29 EDITED TO ADD: "Hold Your Head Up" has cowbell!

They're no Sigue Sigue Sputnik.

This show has become one of my favorites, and one of the main reasons is convenience. The Williamson County Ag Expo Park is the right size and it's conveniently located right by I-65 in south Franklin. Always cool to note how the dirt floor gets completely covered with canvas. This year my health issues are stabilized somewhat, so I'm planning on working the Vintage Guitar Magazine space. This will also be another book signing event for THUNDER OUT OF TEXAS: The Illustrated History of Robin Guitars. And this sojourn is also gonna include a family first: My daughter is coming with me. She's never been to a guitar show before, so now she's gonna find out what Dad's been doing all those weekends he's been gone over the last 36 years. Should be interesting. Watch for us; we'll probably be wearing day-glo "gimme caps"...

I experimented a few times, including once with a new instrument that I got for a particular writing project. Call it the home version of N.O.S. When I opened up the case about a year later, my jaw hit the floor---the translucent finish had rotted, for lack of a better description. Discolored and krinkled. There was a silica packet in the case. The guitar had to go back to the factory for a refin. Maybe, with some brands, it pays to open the case every few months and let it air out.

Given the plethora of sub-genres of "heavy metal" rock music, it's probably difficult for guitarists to build their own (sonic) identity--tone, riffs, etc. Campbell played guitar in Motorhead longer than anyone else. 'Nuff said. https://www.foxnews.com/entertainment/motorhead-guitarist-phil-campbell-dead-64