The Most Influential Guitar Band Is?

hey everybody a trick Beato I've got Keith Williams here Dave Onorato you guys don't know Keith Keith is a friend of mine of 30 years he's in town visiting and the three of us were just hanging out so I said let's make a video we're actually talking about the most influential rock band of all time and it's not the Beatles we came to that decision or at least I came to that decision and we're gonna talk about who the most influential rock band of all time is Dave what are your thoughts well I guess right off the bat to me there's only one band that really kind of comes to my mind every time I think about this and it's the art birds and it's because of all the bands that were spawned from that band obviously the guitar player lineup is iconic legendary you can't get it anymore you know you can't get any better than what they had so there's a few hundred bands right behind them but if I had to choose one yes the yardbirds hands-down yeah and it's that it's that they came through that band and I've seen a Dave Rick for we're rolling here if they didn't come through that band then all these other bands never would have happened in the way that they did well that's why let's talk about who was in the yardbirds there's there's people on here that are saying well who were the yardbirds well right off the bat you had three of the biggest guitar players involved rock guitar players from all time you had Eric Clapton and then you had Jeff Beck and then Jimmy Page so the holy trio went right through that band and they and I think the coolest thing about it was every time there was a different guitar player in that band the band did changed quite a bit hmm and so there's like almost like three different bands in one band in a very short period of time maybe like two or three years so what do you think about what people say well maybe what about Hendricks oh well Hendricks was his own man Disney to me he's Hendrix was the alien okay if you ask any of those guys they're gonna say the same thing because Clapton oh you know back all those guys who went to go see Hendrix when he arrived on tour Townsend they were all like we're out of a job because we can't who is this we don't even where do we start you know and at the time you know Clapton was God was was the things yeah so why she said if clapping was God well then great in a way Hendrix sort of lit a fire under all of those guys I mean they went home and cried into their wine for a night yeah and then the next day they got up and shedded riots they they're just like whoa what do I have to say right if that guy can do that all night and right there I'm not only that but I mean Hendrix made all of those guys that much better yeah so I actually said before we started the video I was telling him this idea of a video if Clapton is God then who was Jeff Beck and that kind of led us into this thing does the figure you're deciding that the yardbirds were the most influential rock band of all time because of the because of all the bands that they spot I mean you can directly there's a direct lineage well you have let's talk about Clapton's important yeah things that he went right from there into cream no he went to Mayall oh that's right then he went to cream and then he went to cream and then had a huge this biggest well he Domino's Delaney brought over and Delaney Bonnie yes and then had a solo career for you know tells the president yeah and actually to a great extent going over to me all and the sounds that you do with me all were the actions right he was asked to do yes and who seems they're always looking for the the most authentic blues unit and in a way he kind of never got there yeah and and but by not going there he ended up doing these incredible things that completely change the music yeah I mean every but everybody but everybody talks about a blues breaker amp and a Les Paul to this day and he always recorded and all that kind of stuff that was a reaction to the time he was in the yardbirds yeah and the next step the cream thing was like they promised one thing and they delivered something completely different and again he rebelled yeah right and then the greatest thing I always thought was great about cream was there was two different pans you hit the studio band they had the live band right and so much like The Yardbirds that was they did - they even live they've extended everything so they weren't just you know two-minute songs all time they actually you know especially one that got the band and some other lay a little bit later but well that kind of comes comes back to my - a talk I had done earlier this week about improvising versus versus right writing out your parts and the it's not like people in the 60s we're improvising all the time the Beatles the stones the stones improvise their their their solo yes but as soloists mode the Beatles a lot of their stuff was was worked out with the exception of things like the the jam on the end from Abbey Road yeah they had plenty of things that were sure that were improvisers years and years later though yeah I mean I mean you're talking about the time when three minutes would be Radio death you're talking about 2 min and 38 seconds tunes long to him yeah right so well let's talk about Jimmy about you me Paige next about what you know where he went after that and what he was doing before with the studio work that he did before the yeah he was well he was a studio guy who was did a lot of Joe meek stuff early on and then he started the yardbirds got into that was actually the bass player for a little bit in the yardbirds he wasn't just the guitar player so he kind of did his multifaceted thing in the yardbirds and and then there was a brief period where Beck and Jimmy were in the same time and one was playing bass one was my car which i think is great because that just shows you you know how those guys were thinking they were like you know okay well you know I don't have to you know I don't have to be the Duke guitar god I'll play bass you play guitar whatever makes the band great you know or good and we can move on so and I'm sure during all of that time those guys were so in and out and everything was kind of happening and becoming it so there wasn't any set you know parameters necessarily because all the psychedelic stuff just started kind of coming in and I think everybody was just sort of like a freak with a little bit of a free-for-all chaotic well it did you forget how small a scene it was yeah I mean I think your story about playing bass and playing guitar in the in the band same time it's like there aren't that many guys to go around there we're running in rebel and even have that that knowledge or like the three of us hanging out you know it's talking about things that other people maybe wouldn't immediately be interested in having a conversation because they just haven't done the reading they haven't done the research these guys were in exactly the same place they all sat around and listened to the same records and those were the places in town congregated like oh this guy had this amazing record collection yeah everybody went there and then those guys people were like well we're the ones who should play the music together that's where it came from well it's interesting to me we were talking about the strengths of each of the three musicians three guitar players because you had Jimmy Page it was an incredibly gifted writer and arranger producer and player of parts player of parts you had Jeff Beck that was what has such a unique style I mean out of the three yeah he had the most unique salt soloing style yeah I don't think that's there's any question entire career across his entire career yeah and then Eric Clapton was a you know a great singer songwriter and guitar player yeah very much so yeah and and even today I mean of the solo careers of all of those guys Clapton obviously was the most successful in the pop world you know but and and I think the thing with Clapton was I think as we were talking about before you know he was such a purist diehard blues guy that he kind of had to get all that it out of the system and then you see how like in the early 71 the other way a little bit you know he got very acoustic he got very you know the JJ killed Tulsa right connection and all that at the post country moment and yeah yeah yeah Delaney Ambani right so you know he kind of went off in a completely different direction for a long time where Beck obviously went off and did the stratosphere he he just continued where he was really wanted to go where he's still going we're still going which one ever was on the direction yeah which is there is no end to that and and and then obviously Paige you know I mean there's you know let's upload I mean it's you know you know how do you he covered every honey quantify Led Zeppelin's influence nice I mean it's at this point it's beyond legendary it's just it's almost like it's like we're talk about the jazz greats you know right you just that one band just it just changed everything and whether you want to admit it or not it it just changed everyone an amazing part of it and it's still done they weren't there very long no kind of like the Miles Davis quartet where people through the band they'd be there ten months and they'd be off like Coltrane off on his own changing the music completely sort of in the same way sort of bridling at the constraints that they created for themselves in the Yardbird yeah only to bust out on their own and then become these fully fledged very different artists outside of that band right which is an incredible thing to see you know transpire yeah yeah why why though what was the influences if you think about each of the players influences you talk to talk about Clapton well his influences versus well Clapton like I said was the dot was of all three of those guys was obviously a die-hard blues guy yeah I mean he was said numerous times that he said no I just want to be Robert Johnson yeah that was my you know catalyst I I think you know Clapton was pushed in a lot of different directions after that whole scene started you know after cream obviously they went to the roof and they were they were international band after that they weren't just in in England and you can see how he changed with that you know he he kind of took that to the hilt and then figured I can't do anymore in this you know that's actually why they added cream because they were all like well we were at the top how can we top this it kind of just said okay we're just going to disband which was unfortunate because I think it given some more time and maybe some time off the road they actually probably could have done some more stuff and maybe even done some other things that we've been just as good as what they left but like most great bands of that period one or two three years it came when it was like a flash and what they left was so impactful that it they didn't need a long career in that band because it's still ridiculously you know great today so I think Clapton's thing for me that I always loved about Clapton was he always went back to his roots no matter what he did you know there was always a heavy blues bass thing and matter no matter what he did even even in the most slicked pop out eighty stuff with Phil Collins he still if you listen to the solo a bit source that it's still obviously Clapton and he's fresh still playing the same Freddie King stuff right if you wanted to play when there's a team which I love and he made it work he yeah he had a career in every decade if you really think about it you know and he came back he did with a solo record unplugged dinner all that is that was mad you know you know I mean maybe his most successful selling records no way I think of yeah yeah so he as far as an artist I think I think his last his that make the thing makes this him last so long or the longevity is he always seems to bring it back just to the basics he knows he can take it out so far and but he still is always him you know yeah I mean it's like any great player you hear three notes yeah that's clapping you know you know and he never changed that you know he always had that no matter what it was interesting when we're when I was doing the videos on the rock guitar you know 1779 or you know the first one 1929 through 69 and then 70 through 79 and I had Jeff Beck clips clips in there and I was talking to my brother and he says because it was the best player in the video out of all those guitar players and I said Jeff Beck mmm and I'm we're not at my accounting Robert Johnson I'm not counting the early blues guys I'm talking about the rig I'm taking out the rock guys yes the rock guys and and he goes yeah for sure like no comparison right and and Jeff Beck was his playing is always been so original yeah I mean Clapton wore his influences on his yes yes page to a certain extent but page really was you know had many more influences outside of he had more eclectic and and Morgan it's a Celtic music and and well and Page was and he had a skiffle group yeah you know so he yeah he came from a lot of their very different background right off the bat I think then Clapton did and then back I mean Beck is you know I mean obviously he jazz was a big jazz was a big thing he influenced so many jazz players and fusion players and every fusion player yeah was influenced by back I think yes especially yeah the seventies I mean those records even today those records are the catalyst you know you put blow-by-blow wired any of those right you know you could if that was put out today you'd still be like you know you know yeah it's just like that's and I think the greatest thing about his plane - he's such an innovator but he does know when to still rein it in and you know he plays like a Blues player even when he's going completely gonzo out the door for the stratosphere he still has his roots and he keeps them you know well I think that his playing he has more control of the guitar in a way because of his his mastery of the whammy bar for example that he's able to do things you know when you think of Clapton and you think of Paige you don't that doesn't come to mind necessarily that right all the different effects that he spawned that so many people yeah used today here they used them from the 80s on you know really or seventies on yeah and like you said he can do the crossover thing I was sitting in my car waiting for my son to finish skiing or something and I put on good bike porkpie hat and you're just you speechless you you were running out of words you run out of words do when you're talking about lapped and I mean when you're talking about Beck you're talking about his approach and he would just cross your honor's and go well I'm not gonna kid myself that I'm gonna solo over these changes I'm just gonna solve over blues changes in the middle of this tune but when I'm playing this melody boy I'm gonna have your attention yeah and he absolutely does and it's just you said it's the mastery of the note and bending the notes around the nose his melody his when he plays covers his when he is very he sticks to the melody but he he is able to shape it in such a unique way of every note it's not only the beginning of the notes but it's the end of the notes too and I always say that that's what that's the real mark of the great player I mean all those guys are great above that that's that's extra part of certain but in fact definitely I mean perfect example is he's an 80s cover of people get ready right very straight ahead song he didn't go really super crazy on it but that song even with the Rahman tone a Jackson with a Kahler on it and in a drum machine you use listening when you're good and you're still like dead still in crowd I mean he's still forcing you know and I was not one of the interest things about that he's absolutely got a vocal tone yes yes thing to his playing and what you're describing is that vocal inflection that he's doing with the guitar Rod Stewart's not even doing that on that cut right it's like you know he's lucky to hit the notes just get in there like soaring over the is playing at the most vocal version right it's like it's like Stewart's just stating the melody and he's proud layout when I lay that when I bought that record as a teenager I remember you know because it was huge dialogue that fan and the record before that was their back and so which was a good cute I mean that was that was completely a fusion record basically yeah so when that came out it was like oh man you know the first thing I'm seeing like a paint Jackson on the front it gets all wrong I'm going okay well he could pull it off cuz he's back and then I heard you know then I start seeing he's got Donny Osmond singing a crack like yeah and I'm just going you know so but I heard but you know I saw the first saw the video that are the further people get ready and I was like I don't care if the rest of the record is a doormat I don't want to buy it because of that so in the womb and he's playing is s square on there right I mean on the video um yes yes buddy but it would seem you funnier because he's gone so any more star right right okay you're holding your I think was cuz it was black and white and it looked better probably I want my MTV moment about the guitar be employed so that in itself is just like all of all three of these guys they all to me the reason I love them so much is because they play like singers yeah like a horn player right yeah they are so lyrical they are similar even when they're going off the off the rails it's still it makes sense and it's musical and it's I think the best thing about all of these three of these guys even when they're just being sort of self-indulgent I don't get tired of them yeah it's I don't feel like well I'm just gonna do this to show what I never got the feeling that any of those guys were really showing off I think they were just so into that moment you know even the longest cream jams and some of that stuff they're always playing melodies right when you watch Jimmy Page listen to the video I love him listening to his you know he pulls out it has his record collection he's listening to music yeah and I can't remember he's listening to link wray or something but but he's he just is so into the music right now he's just a bill so yeah that piece from it might get loud we're yeah yeah yeah and he just is so immersed and that that's just another let's bring in all the is all those yeah it's yes all those yeah we were talking earlier about how Clapton really probably had the longest right career as a writer you know sort of page hit the scene gigantic explosion of influence and then not so much later well we had these Anna's eighties is eighties yeah he had some solo records out writer and and he did the page plant thing and right and the Coverdale page thing yeah which you know we all know was just a rehash of him trying to do what it did in the 70s and that's fine you know um but yeah I'd say as of late obviously he's not been you know doing a whole lot horse music I know he did a lot of scoring and stuff to he did some stuff for a Deathwish movies and some weird so weirdo stuff but um but yeah I'd say I'd have to say Clapton for you know his which is interesting because that's kind of the opposite of where he was coming out of the earth yes exactly he's like okay I have a few dollars together I'm gonna buy a cherry red Freddie King three three five as the British like descending I'm gonna buy my ultimate blues guitar right now goes into the next band hoping to the ultimate blues thing and then ends up doing the Blues breaker marshall completely different direction yeah he never ends up doing the plan you know yeah not really I mean and and and in his next band blind faith was a completely different yeah you know nothing but he's not gonna lie that was you know definitely a left turn yeah from what he was doing and and it was unfortunate really I love that record that's what yes yeah yeah and it's unfortunate that they they only lasted one record but yes it was an amazing band I think they just they had was too much expectations on them at the time but but there's some stuff in that record there there's just phenomenal well and again it's a huge writing moment yeah beginning of his career this big you know writing moment we're yet doing all this incredible tunes with Winwood yeah who was so much younger yeah yeah ridiculously yeah and no I mean those I know for for a long time you know clap they didn't want to sing and that was his mainly I did you know he kind of got thrown into it and then he really came into his own yes and that's really what you saw his writing that's right yeah skyrocketing so okay I'm gonna throw in a non-sequitur here there's a couple people in the comment section that accused me of not talking about Stevie Ray Vaughan okay so I want to take a minute so that is a non sequitur to talk about Stevie Ray Vaughan well we're sitting here it's just a girl named Jimmy now well I know people think that I don't like Stevie Ray Vaughan I love Stevie Ron because I didn't include Stevie Ray Vaughn in my rock guitar videos because I think of him as a blues guitarist and and that's and that's probably I that was probably not right of me to do this personally I know I think you're right I think I don't consider I yes can he cross over into rock of course yeah where he really did his thing was it was blues because heavy amplified blues yeah right down right down to his tone you know I mean brotherbrother was - I mean you know brother was in The Fabulous Thunderbirds who actually had some bigger songs than Stevie ever did right and they were still straight-up sort of a blues blues bass pop song yeah yeah you know so no I well Stevie Ray Vaughan I could talk about that for an hour I mean I live from a lot of angles but I'm because I was a huge fan and I saw many times and actually I'm you know I was good friends with Cesar Diaz who was his tech time and so here's tech now you know it's it's you know I I could definitely talk about if I die but I think you're right I don't think he's a rock player per se it's it's like saying is Hendrix a rock I love Stevie Ray I just haven't talked about him I didn't have him in those because he wasn't in my my 1982 89 video of rock guitar I was focusing on because I named it the guitar heroes yeah implying these were the shredder guys of the of the 80s well I mean he could definitely be in the 80s and he could I mean obviously I just know doing SRV video proper and as you're talking about that I think of SRV serve in the category with back because we were just talking about how Clapton and page are these writers and we kind of talk about their rhythm tones but also just the riffing that they wrote and in the way they played it they were clearly thinking of building songs and they all sing Quebec that way at all and they certainly don't think of me that way at all I don't think it's Stevie Ray as that he's writing in a blues formula I'm doing incredible technical things with the guitar kind of that same people had that same reaction to him people head to Jimi understandably a lot of a lot of sharing there yeah - Jimi Hendrix that's what I'm saying - yeah Hendrix sorry yeah yeah here / exam I mean you know SRV was debuted on Bowie's stuff right and all he did was play Albert English lights dance and because I remember hanging as a kid and being a huge ever King you thought it was and I was like no I literally thought okay who's playing our King because I never paid oh right and in every lick you verbatim right you know digitally do you think they'd lifted it yes so so I was like alright well who's that you know I know it's not it's not Earl slick and it's not his normal guitar players in that band and so people some people complained when I did David Bowie what makes his son great and I did let's dance and I really did it because I mean I'm a massively big Bowie fan but I wanted to play the solo the Stevie Ray yes I reckon just Europe by itself yes I think it's so great it's a happening guys know but I I think I mean look we could definitely go with any investor right man that's I mean to not say that he's it wasn't important is ridiculous because everybody who owns a strat now under the age of 35 lose right he's that generation how much would a tube scream to be worth if Stevie Ray had 75 bucks and we have reissues of it no would there be $400 ones oh man be doing one with oh they well of course not I mean really that that was defined that the the price of that of those things that I bought from you that I disappeared but that was really yeah okay so yeah well no that's not one you have a few right here I do theirs anyway your son yeah but yeah but definitely know that like super reverbs for a long time went way through the roof because of that tube screamers fuzz faces original Fox was you know in sixty strats I mean he he really helped that a late eighties strat boom come back because they were dead and I was doing vintage guitar at the time with my dad we would go to the shows and it was strat mania everybody wanted it yes right nobody would touch a Les Paul 334 all of that was dead because that was all considerable as sixty stuff seventy window you know everybody wanted to stretch so and he was right at that for from it and I mean he was leading the pack of lucky he talked about stress it was him and Hendrix and maybe Trower and a few other guys but he brought that back yeah the shadow was so long though I murdered a meeting an interview with David Grisman where he's talking about how he moved to Austin and he had a fiesta reg strat and he showed up someplace there like a strat really you know Stevie Ray Vaughan is here and literally went out and like put a strap and started cleaning PRS a dude and Grissom's no slouch absolutely apologize no no he's like everybody in town at a Duke was slinging a strat trying to do the SUV thing and it's like I can't I can't make a dent in this because you had to get in this SRV and you had Eric Johnson and that was they sealed the deal for strikes well they 80s he they're yeah they're right gushy there and and talk about stylistically different the two of them they've covered the whole gambit yeah yeah yeah I mean you know and there again I mean Erik Jones is another one who just as we were talking about the three holy grill that that's where he worshipped you know I mean if you listen to Erik I mean he he right off the bat his tone is instantly Clapton right right you know and then he's got obviously the Hendrix stuff totally does yeah does the the weird tuning stuff even a la page and it needs a Beck fanatic because you can hear what he does back stuff yeah and and to be fair and his own thing up he really had his own thing so of course trying to be in of course yes yeah well and it kind of brings it back to Clapton Clapton when he went to the strat was definitely the moment when he was moving away from the classic blue stuff and talking about it real just who was harkening back to the blues but that was Clapton's part parting with that one of course later he's like tweaking the thing to try to get his early tongues out of it yeah does whatever did I guess it's not doing well it's sad very sad but um yeah absolutely that was the party in the way so effort for that and but at the same time he went on to write amazing music through a period of time that I think we all would say was a pretty difficult time to put out a record where there was a much blues I mean people still talk about the journeyman record with great fondness there's great tones on that even though they're so identifiable is that decade yeah incredible blues counts the incredible towns cover that guitar okay so during out of those three guys I mean you know Beck played a Les Paul at a point at a point sure well really on and then yeah in the middle of the 70s yeah yeah the oxblood right now and obviously Clapton they all three had were burst guys yeah for a while now because that was the thing if you didn't have a burst in London in the late 60s you weren't a guitar player right and I mean literally all the guitar players from from the three we're talking about to Peter Green even even Martin Barve like Jethro Tull and lesser man all of them had sunburst yeah or some form of a Les Paul yeah and which harks back to a whole nother segment we could have just about that period alone and how that the Les Paul became you know although definitely the Dave show I'm always asking Dave about Les Paul's for example I've been looking for a white custom for forever and so I called and I got one and it was the headstock was broken that story it's a sad story but broken again but Dave talked a little bit about that while we're talking about this about the white Les Paul Custom the 74 yeah you had you had half well yet yet Edie had Randy Rhoads edge you had Lindsey Buckingham blazing Buckingham but why did they play the white because you told me that was the first year that they came out with white is that correct yeah Steve Jones of the pistols who was who've got that guitar from Sylvain from the New York Dolls but what happened talking about the maple neck on that what oh well I did they what Tom talk about that period because that's that's interesting well the customs were reintroduced in 68 they were basically a one-piece body teepees top mahogany neck yep and a three-piece mahogany neck no volute so it was very close to the 5859 custom yeah not quite the same but close and then like in 69 mid 69 they started changing a few things the body became a little different the neck became different they started putting volute on in 70 and as every year went by I got a little less and less of the original design and they started added things and I think personally cheeping some things up yeah sandwich the body had three four or five piece tops so but in 73 74 they came out with the white color which had never been offered in that guitar and actually did a one call a tuxedo which was cool too it was a white top but the back and the neck were black which is right which is pretty yeah I've seen those yeah and but the white ones were I like you as soon as I saw when I was like I love that yeah one of those and it's so yeah that was a interesting guitar and unfortunately we found a really nice one and then UPS decided they didn't want you to have it but then they went to the maple neck yes why in here and and in 75 they went to a maple neck stood mahogany and which drastically changed the guitar because totally true it's very different and and actually the neck joint is different too it has a different dovetail joint under though when and they change back in 83 is that right yeah 90 an 82 83 they went back to the original design actually when when Henry took over the company they kind of tried to go back to life it was 83 of them yeah it was 82 83 and and and they you know they were at least trying to bring it back because everybody much like the late seventies fender stuff of the time everybody was like these are junk so we every buddy was buying 50s and 60s that's why the vintage thing went so crazy because the new stuff was horrible so Gibson and fender and the early eighties started kind of getting a clue like hey we may need to you know make some changes here and they struggled for a while both couples did but they but Gibson got back on track and I consider a lot of the early mid 80s late eighties stuff to be really good guitars now and they've actually kind of aged well and I work on plenty of them and most of the ones I see are actually still a great you know there's still great guitars so well I'm talking about Les Paul's with each of these three artists each of them does a good story about how they end up with their Les Paul oh yeah so so page it's the Joe Walsh guitar where Joe Joe actually takes the guitar flies to England right and delivers it yeah Jimmy Page like you need to have one of these actually you need to have this one here and then he's got to be kicking himself all the way back to California like what do I just do well and Joe has plenty of guitar a change Joe Joe Joe's had a lot of good burgers Joe's even then Joe gave a lot of great guitars I mean he gave Townsend a really killer um I believe it was a 58 V or it was a Gretsch I can't remember which one Eve yeah just he just was like oh I saw this come on yeah you know he goes I just thought of you and you know Joe is the best yeah and we say such bad things about alcohol and here just give it away very giving to it is person really lovely and there again that's a show we need to have we need to have a jail wall show too big yeah he's talked about a job with a career that much like the three we're talking about just spanned over so many things that you have any bands right and just you know and it's still making really good records today even even you know in the state he's in you know or isn't in whatever you know that's left yeah right yes and then and then the back guitar if I remember right was a gold top refinished well back hacks no he had a early on he had a couple of different bursts and one of them got stolen which was a real beautiful top one it's one of actually one of the best-looking really 59s i've ever seen and it's very heavy pinstripe which was pretty unusual for really tight most of them are very plain and what that this one it you can find pictures of it and just even a black on my pictures it looks like it's drawn on stripes or so you know yeah and it got stolen so I think he did have another one it was plain or that he did strip the top on it wasn't gold time he was it was a burst but he stripped it okay for some reason and then ended up being like an aqua that I always thought was black I mean that covered well no now and that was a different guitar v o4 was a different one completely yeah that was a black one no it wasn't no it was a gold table is the 54 wraparound tail piece gold top that he was going through Memphis and he actually saw the guitar at st. blues music at the time we're actually Clapton used to go and buy a guitar so I suspect every you know they probably told right did talk to each other about that store and there's strings and things I'm sorry but they sold st. blues guitars but strings and things in Memphis had this he walked in this guitar des had already been done I guess it had been refinished and had been cut for humbuckers and I believe either I believe Seymour Duncan who was his tack at the time and if I get drilled for this and I know Seymour everybody enjoy this yes you can come see more I believe bought the guitar at strings and things and gave it to took it to Jeff because he was his tack I say I think you did this you know I could be wrong if I am alright sue me but that's as far as I know that Seymour was his Ted I know steamer definitely was his tack at that time and that's that guitar got into his hands because he did want a Les Paul again and Seymour at the time had routed a 5354 telly for two humbuckers right which has been dubbed the tele Gibb and traded it to Beck for his famous Yardbirds s far right and I think at that point that was in Warrenton humbuckers he was looking for a different sound much like Beck is he always tries to push his okay well I've done this to death what else can I do now so he was getting in the humbuckers for a time so for like the late 70's period he was using one humbucker Gibson but yeah the Oxbow guitar was heavily modified 54 going for originally at P 90s and a wraparound tail piece and and Frampton's was a 54 to write his play custom was his custom oh yeah it was routed which was routed for three yeah so it's it's hard to imagine that people were I mean those new guitars are just modifying emma.ware they were all guitars that were yeah yeah I mean the seventies those were you know they were cheap guitars they weren't a they weren't expensive that curtain and and the thing about like even the customs and gold types you know they never reached the height of the burst you know mania so yeah in the 70s you know even when bursts were you know 1500 bucks two thousand dollars you could buy a gold tie for like 200 bucks you know and a custom for about the same because nobody wanted because they know we're not the one that everybody wants you know so yeah that's not the right I don't know yeah and what's really funny if I heard if I really had to have my druthers I actually like a wraparound tail piece on a loss ball better than like a two nematic to me it sounds much better much more string to sustain it's just it's just more alive and I can I would surmise that's probably what BEC really liked that guitar too because it really did kind of simulate like a tele string through the body yeah and you know so well that's always the classic thing to talk about the burst air guitar sounding like really beefy Telly's yeah yeah true and and and you know obviously I think in England you know at the time when when the yardbirds were around and all that it was hard to get those guitars you know you I think I think it was more the reason why all those guys had Les Paul's is because they couldn't get fenders because really fenders at the time right that was the that was that you know you took a listen you talk to any of those guys and they were like I would go and look at this fender and the in the window it might at the shop it could never afford it so we just started playing all this other stuff we could afford sure because it was the Hank Morgan thing bro in England and and so there's a classic interview with Mark Knopfler talking about that where you would you know his dream was if I could just own a red Stratocaster I don't care if I ever make any more money than that I just have to have this yeah and I think all those guys were kind of like that and and so I think the Gibson's got bought up because they're you know they were around and they weren't too super expensive and then they started realizing oh wow this has got like some kind of tone to it especially the be no record obviously that was the catalyst of you know and same with the marshall amps you know that was and I think reversed here you know you couldn't get morsels here right and so that helped the Marshall thing in the dates at the time become you know so I know the story of the Les Paul that he plays on while my guitar gently weeps but I do know the story of the bino guitar the bino guitar was Clapton had that being a guitar for a very brief period he did the Beano record with it there was another one that was fooling around - that actually seen pictures a woman had a Bigsby on it and I believe it might have been Keith Richards or make Taylor's guitar okay but the Vino guitar got stolen okay and then he went to replace it and he I think Taylor or Richards gave him the moment the Bigsby on it but he let they like let him borrow it to like two gigs it the marquee and stuff to get throughout some gigs and but they didn't give it to him they were like well I want it back and so I think he clapped and later on he went and got his other you know the SG 335 yeah and and he had some other guitars too but but those were the main ones you know uhm but yeah the Beano guitar is still to this day not been officially fast somebody's got it if somebody has like a lost Van Gogh or something that's like dis incredibly there's a there's a few guys who know where it is and who has it but it's it's you know are you in one of those guys no but I do know somebody who does know and he'll never tell me but he's like I do know the guitar I've seen it in person and we've we've a be really good photos we could with grain okay so if anyone out there watching this knows the answer to where that guitar is what in the comments don't think moments we want to know what you think about anywhere that would is if you know where Billy Squires 58 is - they got stolen in the 80s that's another one that has a really high down one's never been counted heavily receive nobody has never come forth on that guitar and I know Billy has put a huge you know reward out for that guitar never ever never it was supposedly an inside job okay so so that put that in the comments as well let us know what you think who the most influential rock band of all time was and what screed thank you so much for watching see you later please subscribe here in my everything music YouTube channel if you're interested in the be out of book go to my website at wwlp.com and think about becoming a member of the Beato club if you want to support the channel even more thanks for watching [Music] [Applause] [Music]

Channel: Rick Beato

Views: 300,648

Rating: 4.7763929 out of 5

Keywords: the beatles, led zeppelin, top 10, Led Zeppelin, the yardbirds, Jeff Beck, eric clapton, eric johnson, Jimmy Page, Blind Faith, derek and the dominos layla, Cream, Les Paul, Custom, stratocaster, stevie ray vaughn, jimi hendrix, Albert King, freddie king, beano album, Blues Breakers with Eric Clapton, john mayall and the bluesbreakers, most influential rock bands, The Rolling Stones, Discussion, podcast

Id: PXISDwGlw18

Length: 40min 2sec (2402 seconds)

Published: Wed Mar 13 2019