Joe Walsh’s All-Rosewood Neck Stratocaster


Joe Walsh has often been seen with this instrument. It has toured with him and the Eagles, and perhaps most infamously, was his guitar of choice for the “Strat Pack” concert at Wembley, an event to mark the 50th anniversary of the Stratocaster in 2004.

Rumours about this Strat abound on the internet, but Alan Rogan, guitar tech to Joe, Pete Townshend, George Harrison, and the Rolling Stones among many, was stage manager for the Strat Pack concert, and gave an interview to Guitar and Bass Classics magazine, where the had this to say about the Strat:

“Joe likes the sound that rosewood gives… It’s very different from the usual maple. It’s really hard, so I had it refretted with Joe’s preferred frets, which are higher than normal so he can get under the string.

At first we had the neck on a ’54 reissue body, but now he’s put it on an Eric Clapton body and it’ll probably stay there, because it’s really working out. It’s from the Fender custom shop, and the pickups are noiseless.”

So there you are. For those still wondering about the origin of the instrument, it is a Rosewood neck from a ’54 reissue (something like the one pictured below), on a Clapton body.

Rosewood Neck Jason Smith MB full casevlcsnap-2017-08-20-22h05m11s164


Pete Townshend Strat Update!

sjm-l-oslsun-0813-18You don’t have to go any further than this very blog to know Pete changes his stage setup frequently, but recent times have brought a simple, unusual change to Pete’s stage guitars.

At the Outside Lands festival (perhaps earlier), Pete was sporting a series of his usual Strats, with a new feature.

Above the piezo volume knob behind the trem system, his Strats now feature an emory board, on which Pete can be seen sharpening his pick during the set!



Mark Knopfler’s Pre-CBS White 1964 Fender Stratocaster


One of the benefits of being one of the best selling songwriters, not to mention most famous and idiosyncratic guitarists, of the last hundred years is that Mark Knopfler has his pick of vintage instruments.

This is his white Strat. A 1964 Fender, in “too-good-to-be-true” condition.


This Strat toured with him on the Sailing to Philadelphia tour in 2001, being used for different songs at different times, and was one of the principal instruments in the recording of that album. It can be heard playing the lead parts in both the title track and “The Last Laugh” on the record.


For the more recent “Tracker” album, the guitar was set up for slide for the song “Lights of Taormina”


Note the cheeky “Money for Nothing” reference in the design on Mark’s slide!

Apart from it’s clean appearance, the most interesting detail on this guitar would appear to be the small ‘catch’ which has been installed on the pickup selector switch.


One would assume the switch is still the original 3-way selector, and this small ‘catch’ is to hold it in the in-between bridge/middle position.

To hear Mark talk about this guitar, check out the mini-documentary “Tracker: A Track By Track” on YouTube!


Review: Gretsch Duo Jet

20184092_1255977797858630_8443339013066063872_nGretsch guitars have always occupied a very specific space in my mind. Great for Chet Atkins, good for all that rockabilly jazz. A compromise for anything else.

You may already see where I’m going with this – I was wrong.

Despite placing them in such a small pigeonhole, there’s been an attraction to Gretsches for me which stems from seeing some of my favourite players use them to great effect.

David Gilmour proved the point that, despite my misgivings, they can amply handle a sustained lead tone, Pete Townshend made his entire signature sound with his own Gretsch, even employing both a Duo Jet and a 6120 for live work, and I don’t feel like I even need to mention the Beatles connection! Somehow the cover of George Harrison’s Cloud 9 is hard to shake from memory.


With all of that, actually buying a Gretsch never entered my head given the lack of examples to play locally and the hefty Australian import fees. But as luck would have it, I sold a Gibson Les Paul Deluxe to my brother on the same night I found a prime example of a Duo Jet on eBay.


VERY price reduced, due to “scratches, dents, rust and lifting paint” but with images (above) which showed no front-on view and seemed to reflect none of those issues, I was very wary, but reasoning that I wouldn’t have to worry about putting some dings in myself when gigging, I took the chance. I needn’t have worried.


I’ll save you the time of explaining the condition of my Gretsch, but it’s about fifteen years old, and has the wear you might expect. You can see from the photos that there is no cause for alarm over the condition.

The bridge isn’t pinned, but some double sided tape ($3.45AU) holds it in place with no movement. You can throw this thing around and not move the bridge, and the synchro-sonic has no intonation problems, unlike some of the other Gretsch offerings.

The bigsby is not one of my favourite tremolo systems by design, but the flutter it gives the sound of this guitar is brilliantly subtle. I like to play a lot with the trem arm in my hand, and although it’s a bit more of a stretch to where it sits than a Strat, because the arm doesn’t do a full rotation, it’s an easy adjustment to get used to.


The pickups are Dynasonics. They are single coils, unlike the more common Filtertron pickups, and the difference in tone is not insignificant. People often refer to the Duo Jet as sounding bitey like a Telecaster, and with Dynasonics, there’s good reason for that comparison. These are very dynamic pickups. If you play aggressive, you can get pretty close to the Tele sound, although these pups are a little fatter. But soften your touch and they sound more like a sweet, articulate Jazzmaster. The bigsby, too, puts me in mind of the more ‘reserved’ travel distance of the Jazzmaster tremolo.



The Duo Jet body is chambered, but not hollow, so it resists feedback a bit more than fully hollow or semi-hollow guitars with similar specs. Having said that, you wouldn’t want to push it too far, this is still a guitar for subtlety rather than heavy distortion. It’s more well-suited to crunchy Pete Townshend drive, and it’s anywhere between here and it’s beautiful cleans that it excels.

It’s also worth nothing the strangeness of using the master volume which is here located below the neck pickup. It’s a position I’m not used to at all, but it feels very natural. This feeling extends to most aspects of the instrument, it’s extremely well made. It’s my understanding that all Duo Jets are now made in Japan or Korea, and this Japanese model is extremely comfortable. The neck is very similar to a Fender standard ‘C’, not particularly fat, but not uncomfortably thin, and the fit and finish is perfect. There’s no fretting out, no sharp edges on the frets and fretboard, and tuning holds pretty well with the Bigsby, at least as long as you don’t go too mad with it. There’s a little more meat in your hand at the high end, so it’s arguably not so good for quick playing up there as something with a more accessible heel like almost any Fender or Gibson option.


The only problem I have in dealing with this guitar is the treble loss with the volume roll-off. It makes it hard for me to control the gain with my volume, because you lose clarity as you reach the cleaner sound you want. But if you prefer to change your dirt balance by tweaking or switching your pedals or amp, you won’t have a problem with this. And it’s probably quite easily fixed with a simple mod to the volume control.


So, to sum up. I’m blown away by this guitar. It handles any sound I’ve heard anyone else get with these pickups easily, and even does a passable imitation of the Filtertrons with the tone rolled off a little. It achieves everything I thought it would, while remaining far more versatile than I gave it credit for in the beginning. As long as you aren’t trying to do heavy distortion, this guitar has a beautiful, eloquent voice. For the foreseeable future, it’s not going anywhere.

(And if you enjoyed the photos in this article, follow my instagram at for more of the same, as well as sound and video of this guitar)


Roger Waters’ Black Fender Stratocaster


During the “Us and Them” Tour, Roger has been playing what appears to be a vintage Fender Stratocaster on a few tracks. There isn’t much information online, but it’s clearly a well-worn instrument, which if it’s a genuine Fender, suggests either a custom shop model or a real vintage instrument. There doesn’t seem to be a CS logo in pictures, so my bet would be on the latter.


The small headstock and Transition logo suggest a 60’s instrument, earlier than the large headstock came in (very late ’65). To my knowledge, Fender don’t produce anything like this guitar at the moment.



UPDATE 10/10/2017

Gus Seyfert, who worked on “Is This The Life We Really Want”, and toured on the “Us and Them” tour with Roger, often posts gear pictures on his Instagram page.

It would seem that both this Stratocaster and the interesting bass I posted about a little while ago belong to him.


Roger Waters studio bass*

IF you are enough of a Roger Waters fan to be reading this filler post, you might want to head over to @deadskinboy on instagram and follow his profile. He often posts fantastic, intimate and detailed pictures of Roger, which I gather he takes himself.


I wont post too much from his account, because it’s not mine to use, but he did post an image recently which piqued my interest, which I thought I’d share.


This is Roger, apparently in the studio, playing a bass which has been previously unseen in connection with him. No reason to assume it’s his, but for a gearhead, it’s certainly an interesting change. Perhaps he is taking a step away from the sound of the Duncan quarter-pounders in his original Precision, or perhaps this is an occasion of convenience. Time will tell!

Mike Oldfield’s Pink Fender Stratocaster

strat_1961_1Frequently spoken of by the man as his favourite guitar, Mike Oldfield owned this Strat from 1984 to 2007.

It is a 1963 Strat, serial number L08044, in fiesta red (visibly a very pink looking red, perhaps due to finish fading, perhaps due to a non-factory refinish either before or after original sale) over sunburst. During the time it was owned by Mike, it was used on 15 albums, and consistently for live work and music videos as well.

Mike has been known to use modified guitars (his 1959 sunburst Strat has an extra two way switch between the original pickup selector switch and the middle tone, a common mod for extra pickup combinations), But it seems from pictorial evidence that this is a completely stock Stratocaster, with the exception of the fact that the volume knob has apparently been exchanged for one of the tone knobs, perhaps because the numbers have worn off the volume.

It was reportedly last used during rehearsals for the 2006 Night of the Proms in Antwerp (this is borne out by photographs of these rehearsals), before it was sold via Chandler guitars to a fan for 30,000 pounds.

The pictures below are in chronological order, and show that the Strat picked up a little more cosmetic damage while in regular use by Mike. More pictures are available at



“To France” video, 1984


“Tricks of the Light” video, 1984


“Tricks of the Light” video, 1984


“Tubular Bells II” Premiere, 1992


“Tubular Bells II” premiere, 1992


“Tubular Bells III” premiere, 1998


“The Millennium Bell” Premiere, 1999


Night of the Proms rehearsals, 2006