0:39
well hello friends and welcome to ask Zack today we're going to talk about how I ended up with uh really a total dream
0:48
guitar for me this is a 8s Glazer Bender
0:53
guitar that was taken from parts that were up in Joe Glazer's shop attic and
1:01
then my buddy Brad Paisley uh finished them out uh and then
1:07
the guys at the shop uh put you know Frets on it and stuff and and a bender and got some Seymour Duncan pickups and
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Music City Bridge on here and it turned into just an amazing guitar and again A
1:21
A Dream guitar for me cuz I uh you know of course grew up in the 19 you know started playing guitar in the 1980s and
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got into country music and of course loved Ricky skags and Steve Warner and
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you know Jeff King and Jimmy olander and all those cats that were playing Glazer Bender guitars and I thought they were
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the coolest thing ever so today just going to tell the story of uh of you
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know how I got obsessed with these things and then how I ended up with the guitar going to you know go through the
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all the sounds it has you know all the sounds it can make cuz it's got you know it's got like a five-way switch a a
1:58
tapped pickup up it's got a push pull to get the outside you know it's got all sorts of stuff it's got a blend control
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for the middle so I'm going to show how all that works it's got a bender uh yeah so I'm going to tell all
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about this guitar and uh we'll just have some fun before we before we begin begin I
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should just say uh thank you to all my patreon members and everyone that has supported the Channel Through The Years
2:24
thank you so much there's uh tip jar information there's merch you know t-shirts uh coffee mugs also uh yeah and
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I just appreciate it so thank you all right let's dive in so I really got into country music
2:41
through Albert Lee and through his playing on an Eric Clapton record called just one night and through the miracle
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of the great Guitar Player magazine uh I would buy them buy the the huge I'd buy
2:55
them by by the stack loads I would uh I would get them there was a half price books U you know kind of book and record
3:03
shop in Corpus Christie Texas and I would go there and they had used guitar
3:08
player magazines and I would buy them they were 25 cents each and however much money I had I would buy as many as
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possible and maybe buy a record or two also and uh found out that Albert Lee
3:23
had played with AMU Harris and then Ricky Skaggs and all these and it was kind of like one thing led to another
3:28
you know all of a sudden I get into James Burton and that gets me into Merl Haggard which gets me into Buck Owens
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and you know Ricky Skaggs and get into Steve Warner and all this so one of my
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favorite albums was Ricky Skaggs live from London and it was a great record
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had a lot of really good energy a lot of good playing and on the cover it showed skags holding a purple Glazer telly now
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I didn't know what it was at the time I just saw that it was a purple Telly and it was single bound had a flame Maple
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neck and had a it had a middle pickup and and it just looked i' had never seen
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a Telecaster that looked like that ever before and I couldn't really figure out what it was and you could kind of make
4:12
out the headstock in on the album cover and I was like I couldn't tell if it
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said Fender or something else cuz it was a spaghetti logo so in this one of my stacks of
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guitar player magazines there was a um this January 1987 issue of Guitar Player
4:34
magazine which was their 20th anniversary issue and they had this questions column and it was written by
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John severt and someone asked about Ricky Skaggs guitars specifically his
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Violet telecaster and a Telly style electric mandolin that had a fantastic sound and so in here um you know John
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sver you know he must have contacted Joe Glazer or you know Ricky's Tech and uh
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so they they indicate in there that you know Joe had made those instruments that they have a string bender and also that
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he was using old uh Martin guitars in fact it's a uh let's see what year was
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it of 1949 and a 1961 Martin D28 with takini pickups that's a whole another
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Rabbit Trail we could go down and talking about you know the the thing where Ricky would take uh takini pickups
5:28
he'd rip him out of those takini guitars and uh he'd put them in Martin's I thought that was hilarious anyway so
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then I had a name and uh and I knew who was making those guitars and then I also
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saw Steve Warner playing a uh he had a red Strat that had a matching headstock
5:48
that he was using and also he had a Telly that looked just like Ricky except it was red and so I knew that I wanted a
5:58
Glazer Bender guitar so I started playing gigs and by
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about 1992 I was 19 years old and I was gigging
6:09
regularly and I had saved up about $1,500 and back in 1992 $1500 was quite
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a bit of money and I didn't know if it was enough to get a Glazer guitar or not
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but I knew it was enough like you know it was likely enough to to be at least a deposit or something on on one and so I
6:29
got Joe Glazer's phone number and I called him up and you know someone else answered the phone and they brought Joe
6:36
on the line and Joe was very nice about it but he said I'm not building guitars
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anymore and I was you know I was pretty disappointed but uh you know getting to
6:47
know Joe over the last you know 20 plus years you know I know that he really
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didn't like manufacturing guitars he liked building these custom things for his friends like building that purple
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you know Telly for Ricky or you know or Steve Warner those were friends of his and people that he liked their music and
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liked what they were doing and like the the Mando cter with the Bender that he
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built for Ricky or like the lap steel that he built for uh for Jerry Douglas
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that looked like a little Strat but with just two pickups and yeah he built all these custom things or the the double
7:23
Bender guitars he built for Jimmy olander they were for artists that were making music and so here's this kid from
7:29
from Texas you know saying he wants something like he's already made before so I was disappointed but uh he
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said just buy a good telecaster and uh and send it to me and I'll you know I'll put a vendor in it so I said okay so I
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bought a James Burton Telecaster from Fender they had just started making it it was three pickups you with the lace
7:51
sensors and the black and gold Paisley finish and I sent it to to Joe and a
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couple months later you know I got the guitar back had a b bender on it and I had I was Off to the Races and shortly
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after that I moved to Nashville and I started going to Joe's shop uh actually
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he was working out of Corner Music um you know like two days a week and then he you know otherwise you'd have to go
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down to leaper Fork where his shop was and I kept looking for a Glazer guitar I
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kept thinking one was going to come up used but one never did I think the the only Glazer guitar that that I've ever seen
8:28
for sale was there was a black Glazer Strat with a bender on it that came up for sale you know probably 5 to 10 years
8:36
ago and I got to play it and it just you know that was not what I wanted you know I wanted the three pickup Telly thing
8:43
with the binding and the whole nine yards so you know fast forward to
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earlier this year was still looking but I just had kind of pretty much given up
8:55
because it's like I have all these killer telecasters and uh it's like you know I need another Telecaster like a
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hole in the head and uh and then there was this fateful episode of Tom bac's
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you know homeschooling show where he went up into Joe Glazer's
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attic and there were like bodies and necks and wood and stuff up there and
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that kind of started started me thinking then I would go by Glazer's
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shop and also some of my friends like JD Simo all of a sudden these different
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Glazer you know guitars started showing up so there was a uh there was a flame
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Maple neck Strat that was Fiesta red that JD Simo had you know was playing
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for a little while it wasn't his he was borrowing it from one of the guys at Glazer's shop and I found out that there had been
9:52
some finished Parts up in the attic that they had all been turned into guitars and they were kind of like owned by the
10:00
guys at the shop or by Joe or whoever but they weren't up for trade or
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purchase or anything like that well I happened to go down to the shop with Brad Paisley We were working
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on a project and and Brad needed to do a little bit of finish work and he was wanting Joe to show him how to do
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something because Brad does a lot of finish work if you I mean he did all this um so while we were
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there uh we saw this little stack of bodies and necks and we looked at
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them and we said could this be and so there was an alder
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body that was single bound and uh this half of The Binding was on it but the
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binding starting from here up to here had was like in pieces and some of the
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pieces were missing and it was already drilled out or routed out for three pickups
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uh and but it wasn't drilled for a bridge or any of the hardware or anything like that and then there was
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this bird's eye Maple neck that was huge it was it had you know roughed in a
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Telly headstock No Frets no dots no side dots uh no nut no no nothing on it and
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it was just huge uh kind of shaped on the back a little bit um but it was just
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gigantic it was like a baseball bat so so oh and we also found a pit guard
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there was this this pit guard was there and it was really cool looking cuz you could tell it was like old Celluloid and
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has you know was kind of a little bit wavy and grainy looking and uh and sure enough found out from Joe that this was
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a really old Celluloid that he got and that he had he had cut himself
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so Brad goes to Joe Glazer and he he has the body the neck and the pit guard and
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he very audacious ly says to Joe Glazer you need to give Zach
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this and Joe's response was I'm not building a guitar which is you know what
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he told me you know 30 plus years ago he said y'all can put it together y'all can
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finish it out I'm not having anything to do with it he said if it's a great guitar you can put the Glazer logo on it
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said but if it's not we're going to put it in the wood shipper so I walked out of Glazer's shop with
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Brad Paisley with a body and a neck and
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uh you know of course the body was missing you know half of its binding we had a couple pieces and we found some
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binding that matched up but it was too tall and uh so we you took it back to
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Brad's shop and we started working on it so we got the
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body and we started gluing this other binding on there and uh it was mainly
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Brad I was you know kind of holding some things and we'd put some little glue and kept you know gluing little bits at a
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time as we went all the way around and then later on he sanded The
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Binding down because it was too tall and so he just sanded down the top made it you know flush with the top of the
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guitar uh then Brad shaped the neck he shaped the
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headstock uh he even did kind of the the the too kind of uh you know shaping on
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the on the you know where the you know kind of neck goes into the headstock um did it in a soft v which is
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kind of my favorite shape uh he uh let's
13:44
[Music] see and uh then the the neck I'm trying
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to remember the right order on this I think he did some level of ricking on
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the neck then the neck went back to Glazer's shop so that they could put
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dots in it and side dots then he did some finish work then
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they put finish on it and then they put the Frets in I
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believe and then uh then of course it was drilled out for machine heads and we
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put you know they put clusin on there at Glazer shop put a string Tree on there and then um the neck was pretty
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much done got a nut then on the B body
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um once The Binding was on there we started experimenting with colors and so
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Joe Glazer was over at Brad's shop and the three of us were there and Brad
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started mixing up colors and he started I kind of wanted kind of a greenish blue color and kind
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of to turquoise um but you know Brad was kind of mixing
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up a number of colors together and he was he had a little bit of tal turquoise he had some Sonic blue had some other
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things in there and he sprayed a bit on this body and he showed it to Joe and I and
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Joe said no which was funny because he have to remember Joe had said he wasn't going to
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have anything to do with it but uh he he ended up being very opinionated about the color uh and I think it was because
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he wanted this guitar to not look like any of the other guitars that he had done he wanted to be a different color
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he wanted to be an individual you know guitar not a copy guitar and uh he also wanted to look
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like a color that he would have done so Brad kept kind of mixing up the colors
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and he kept spraying until he came up with this color and you know Brad was
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happy with it I was happy with it Joe was happy with it so Brad finished it
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out and uh you know scraped the The Binding and then uh he did some ricking
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on it which you can see back here which I thought was fun you know gave it some of that good belt buckle wear and uh you
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got some other little dings and such and he really didn't do any
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cracking of the Finish but yet the Finish started cracking when Glazer shop
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got the guitar back and they were drilling it out for the bridge so when
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they drilled the holes for the bridge all this cracking started that uh and
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also Brad had done some of this you know kind of brown stuff that's kind of come
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through the Finish or I don't know how he did this but more of it started coming through and so I don't know if
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that's coming from the wood or what but I love it so so we had pain on the body so I
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take it down to you know again it's it's down at Joe's shop and Aaron Parker is
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doing the Lion Share the work on this and so he uh he puts the bridge on he
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installs the pickups he puts the bender on there he he wires it up uh he he uh
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you know get lines up the pit guard and everything gets the neck on there um another another chap at the
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shop uh named Max put the Frets in and then Clayton pleck it and I think Nick
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did a little Nick drushel did a little bit of uh of work on on it and of course uh you know Joe kind of oversaw some of
17:33
it but uh you know he uh he he kept his distance so because he was a little
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concerned that the guitar wasn't going to turn out great but it really really
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did so again this was a a dream guitar for me something I always wanted to have
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you know as a as a teenager and well even up till today I I I love these
17:56
guitars and to finally be able to have a a real Glazer Bender guitar is a big
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deal uh I got to talk about the logo so I'd seen these guitars you know
18:08
through the years and I thought this was going to be a water slide decal and it
18:13
is but only the Glazer part the you know spaghetti Glazer is a water slide but
18:19
then the part that says Bender is actually these transfer letters that where you put it up against the
18:25
headstock and you rub a pencil on this sheet and then it trans on there and so
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Joe still had a sheet of that and so it was really funny I took the tuners off
18:36
and the string tree off and it was funny watching Brad uh use you know a pencil
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and holding this sheet up against the headstock and you know rubbing against it and actually ended up having trouble
18:48
with there was only one B left and we've got to do bender and the B ended up coming apart so he ended up using a p
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and an eight on there to to make the uh the Bender part of the uh of the logo
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but yeah and you know once it all came together it was just it was just like wow I have a a real Glazer Bender guitar
19:12
from the 1980s cuz that's when you know this body and neck was it was made in the 80s and then it was it was abandoned
19:19
for some reason and uh you I think just Joe was kind of moving away from manufacturing already from you know
19:26
actually building guitars and uh so I was fortunate and glad to be able
19:33
to to get it and so of course glad that uh you know glad that Joe was willing to
19:39
you know give the you know the the body and neck up and then grateful for Brad
19:46
Paisley for you know twisting Joe's arm and for doing all his finish work then of course again to Aaron Parker for
19:52
doing so much work on this guitar for Max and I've got some videos of these guys um I got Max to talk a little bit
20:00
so you'll get to meet him I got Aaron to talk a little bit about the guitar and then I was uh Joe Glazer was kind enough
20:08
to talk a bit and you need to understand that he there are no more of these parts
20:14
lying around this is it this was the last of it and uh so do do not call Joe
20:20
Glazer or his shop and say Hey I want you to build me a guitar or are there any more parts left there is nothing
20:26
left it is the bottom has been dread Ed so no that's all gone so I'm going to
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have a little clip of of me showing you all the sounds that this can make and uh again I need
20:40
to thank um Seymour Duncan pickups for giving me the pickups in here they are
20:46
fantastic um so you'll hear all all that the pickups do and the the Music City Bridge wiring harness does and uh yeah
20:55
and then you'll have uh you know Max talking a little bit about Fring it up and uh Aaron and then Joe and uh yeah I
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just really appreciate it here we are guys just finished up one
21:11
of the last Glazer Benders beautiful teal color this nice quilted curly neck and
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me this thing had been seasoning about 35 almost 40 years back just air drying
21:27
in the back there and uh we recarved the neck got the body up and running put a
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bender in it some new Frets new nut in there and you could feel you know how
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stiff that neck was when you're hammering in those Frets uh I me it's stiffer than most Tellies out there most
21:49
Maple necks it's a it's a real treat and uh excited for you guys to
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hear it got a great little Bender mechanism in there you can see the little finger
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moving when you when you pull the lever and
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uh all right guys so I wanted to talk about the electronics on this so um you
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know these guitars normally had three pickups and they had this hot Strat stack Duncan pickup in the middle wired
22:21
top coil only and uh I was trying to decide what pickups I wanted to use I knew I was
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going to use a Duncan in the middle and then earlier this year I ended up going to Santa Barbara and getting to
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tour the Seymour Duncan Factory and getting to meet I think I'd met Seymour Duncan in the past at probably at Nam or
22:41
something like that but I got to see Seymour and Mark Delorenzo who is the uh the CEO of Seymour Duncan and MJ maracel
22:50
wz that is the kind of master builder Master Winder there and it was a ton of
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fun to get to uh to tour the place and then also as a parting gift they gave me
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some pickups and uh and it was a set that they call the 53 tapped pickup and
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it's from the custom shop and it was a neck and Bridge and the neck pickup is kind of a
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normal vintage style neck pickup early 50 Style with that has a brass cover but
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then of course Chrome plated which creates kind of a a darker uh neck
23:27
pickup sound the bridge was tapped and so the tapped output was like six and a
23:34
half K which is you know pretty normal for certain black guards I mean there's
23:40
a lot of black guards that were made in 53 that have you know the mid mid 6K you know output and then uh when you get all
23:49
the the rest of the windings going it's about 9 and a2k and it's uh I was really concerned
23:58
when they gave me the pickup you know whether I would you know whether I'd even use it or not or whether I'd like it because normally you know what I
24:05
think of with ta pickups is you know one sound that's that's weak and anemic and another one that's overblown and Bloated
24:12
sounding and uh I I found that uh this one really sounded great the 6K which is
24:18
in the up position on my switch here it's just a really great Telecaster
24:25
sound um [Music]
24:46
then you can hit the 9k
24:53
[Music]
25:09
and you can hear it has more a little more output uh and has a lot more mid-range so it works great as a as a
25:16
boost as a solo boost especially if you're playing you know maybe something with some gain or if you just want a
25:22
fatter sound it's really nice because you know you could you could just stay on the back pickup and let's say even if
25:28
you were playing something on a ballot it just makes where the high strings sound like you know you went from 10 to
25:34
11s you know helps if you turn it
25:39
up 6K
25:48
9k so just very very usable very very much a fan of uh of this pickup the
25:56
other thing um so then of of course you have this hop Strat stack that's wired
26:01
top coil only and it's wired to this music City Bridge wiring harness and
26:08
this is not a tone control this is a blend control for this pickup but it only works in this position so only when
26:15
you're in this number five position Bridge pickup only does this come into play and turn all the way down it does
26:21
nothing and as you turn it up it brings in this pickup so here all
26:29
you know kind of hold a cord and hopefully you can kind of hear it as the as the bridge pickup comes in as the
26:35
middle pickup comes in I should [Music]
26:45
say and the magic of it is to just use some of it you know because if you want it full up on both you might as well go
26:52
to this position you know which defeats this control uh and the whole point of
26:57
that is to be be able to have this as a preset so what you do is you play [Applause]
27:03
something and you bring in just enough to kind of soften the high end because it kind of acts as kind of a an
27:09
interesting EQ and uh you know then it makes you play all those great Brent Mason legs
27:18
[Music]
27:32
then uh of course let's turn the blend off so it's back to just being this
27:37
pickup now I can pull this up and now I have the outside two pickups which
27:43
normally wouldn't be available when you're using a regular 5way switch unless you have a one of those super switches or something so uh again Bridge
27:52
pickup here's both pickups which you know to me always when
27:57
you do both pickups either makes me want to play shatkins or R&B you know so you can
28:03
[Music]
28:11
go or you can [Music]
28:26
go yeah you can put it in this number four position and now and with this
28:31
pulled out you've actually got all three pickups which to me is even more chit sounding then you can
28:38
[Music]
28:56
do all right and uh let's just hear this regular number four position which is just of
29:03
course this at 6K and this top coil only uh you know you kind of have the
29:10
[Music]
29:25
uh you know kind of your uh know pretty stratty sounding and then if you want to
29:30
take it to like a fat stratty kind of snarly tone you hit hit this to the 9k
29:37
and then you
29:43
[Music]
29:49
[Music] get which is kind of fun to do get that
29:56
uh fat slightly quacky you lose a little quack you know when you have a higher
30:02
output pickup uh this is the middle pickup by itself
30:07
[Music]
30:34
then of course you have the front two pickups uh you know for you know
30:41
[Music]
30:59
then we can go all the way to the neck by itself and uh you get
31:04
[Music]
31:26
uh and in this position you can still do the pull on the uh on that blend control
31:32
to get both [Music]
31:40
pickups again I was just I landed on the just doing the uh you know the the neck
31:46
by itself but yeah very very versatile uh wiring and uh and I kind of I usually
31:54
kind of shy away from anything you know I usually do kind of the two pickup traditional Telecaster thing the most I
32:01
do is you know have it where the tone control only works on the bridge and uh so this is a much more complex than I
32:08
would normally use however every sound on it is super useful and just to have
32:14
really good Strat sounds right there and have this kind of boosted you know Bridge pickup sound available you know
32:21
whenever I need it is a a really really nice and great thing it kind of makes for a a Do-it all all super Telly as it
32:29
were so yeah of course then you have the uh the Bender this is Joe's latest
32:37
iteration which has been out for I guess the last 5 to 10 years which is convertible it can be moved from uh from
32:44
the B string to the G string and of course I've got it set on the B and I've got you know brass Saddles uh these are
32:52
compensated looks like they're bent uh I don't know what manufacturer they are but they're nice and and this is a
32:58
Glendale bridge I really was kind of uh
33:04
trying to figure out what kind of bridge I wanted to use because normally I would have used a Fender bridge but being that this is a Glazer guitar I didn't want to
33:11
have a a Fender bridge on it and so um
33:16
uh friend of mine had this Glendale Bridge lying around and uh I saw it and
33:21
I remember remembered having a Glendale Bridge back you know 15 20 years ago and it was great and so I thought well you
33:27
know it starts with the G and it's it's good quality and we'll use that so yeah I really like this this bridge it's very
33:34
nice so yeah uh let's see anything else about the electronics and such you know
33:40
of course yeah I just love the Bender I've got it set to a short throw I'm not really into uh long throw or even medium
33:48
throw I I like it to be you know pretty you know quick
33:53
[Music]
34:11
yeah it just works and does what it's supposed to do it was cool to see these things come
34:18
from you know just sitting around up in the attic for 30 years or whatever it
34:24
was and getting to see gags and Steve Warner and Jimmy o Landers and everybody's that come through and you
34:33
can see how cool they are and how cool they were and uh we just got to thinking it's
34:39
like man there's still some up there they're still living and uh just getting
34:44
to bolt them together and hear them ring and they're lightweight you know they're
34:50
kind of kind of everything you want to tell him so so I didn't build this guitar
34:59
my guys went up into the attic and picked
35:05
through some of the bodies that were some of them were painted and leftover
35:10
bodies and necks some of them weren't painted they were like they put one or two of them
35:16
together I guess they just have around the shop
35:21
and somehow I think Jeff King is largely to blame he came in and saw one of did you do this first sack I go was Jeff one
35:29
of you guys came in and said I want that guitar and so number of bodies and necks were
35:36
pulled down from the attic finished up and turned into guitars this being one of them the Zach
35:41
child model already beaten up like God it's
35:46
unbelievable how rough you are on this stuff but here's the thing the things that
35:53
were in the Attic were either something that had a defect or something that were so good that I was holding on to them at
35:59
the end so I'm not sure which one whether this is a good body or a bad body but when it was finished and you
36:05
went and played it on the award show I was talking to you and Brad I was like is it any good tell me tell me the truth
36:10
is it any good because it's either it was either up there because it's particularly good body and I was you
36:16
know I was checking resonance and all that kind of stuff at the time or because it was not a good body so
36:23
apparently it all worked out um I play
36:28
steel and I like music I like country music and in the midst of
36:35
everything I sort of didn't get to listen to some of the old music I really love the old Buck Owens and Merl Haggard
36:43
and Mel Street and all these things all these years particularly things involving steel and
36:51
recently somewhat because of the cocaine in rhinestones uh
36:59
podcast and a couple other things I've gone back and listen to a lot of the old music I realize I really fundamentally
37:04
love it that the love is exactly the same even if I've been put off by some of the stuff that came out in the 90s
37:10
and the 80s and the T and the 20s and you know it's like I don't want to hear any more of that
37:16
stuff and looking at this bird's eye Maple neck I have the same feeling it's like
37:23
it feels exactly like looking it like listening to the steel that got me playing steel I remember looking at this why I
37:31
got absolutely Spellbound by Bird's ey Maple
37:37
and curly Maple and started using it at a point where almost nobody was Phil kii
37:42
was Paul Reed Smith was I was I don't know if anybody else was and I know Paul
37:47
probably got his fixation from Les Paul's I don't know where Phil kabiki
37:53
got his mine came from my show but steel which one of the two showd Ste I had had
37:58
a bird's eye had bird's eye necks and I just loved it and also growing up the
38:03
bed that I I slept my first 15 years in had a curly one of the posts one of the
38:09
N posts or whatever there was Curly Maple and it just mesmerized me so looking at
38:15
this after all these years having not made one of these in 30
38:20
years it just has an overwhelming power the neck is I guess you guys
38:26
finish shaping this NE NE but it's very it's it's very was this Square when you got it or was it pre-shaped a little bit
38:32
it was pre-shaped a bit so CU it's got a little bit of that too Gomez shape which
38:38
I was um I was really caught up in the too Gomez thing because of Billy holl
38:44
and who introduced me to tell anyway that that's it um you asked meach I'm I
38:51
know where the three pickup thing came in I've talked about that a lot about why I started building
38:58
where this idea of even putting a middle pickup came in into a Telly and blah blah blah but you asked about where the
39:05
single binding came from because I did Steve Warner and did a bunch of them like that and I
39:12
think it was just an aesthetic I liked I thought to binding on the front and the back was too busy I like to have I liked
39:19
having one curve and um I think that the white makes it stand
39:25
out in some in some beautiful just iconic Telly look I
39:31
didn't invent the The Binding but I certainly appreciated it and just doing one
39:36
side I did a really early on I did a a guitar for a guy in Germany Manfred
39:42
Peter and it was I believe front and back bound and I remember thinking that if I did another bound guitar I would
39:49
just do the front because it was too busy with front and back and not a lot of people I think Fender did some front
39:56
only ones but not a lot of people had done front only ones that I was exposed to I I just think it's for my own
40:04
taste it's much more elegant than no no binding and much more elegant than two
40:11
than being B front and back and then the rest of it is all just very copied very carefully from
40:19
Fender fake decal my decal Glazer Glazer whatever it says Glazer Bender done to
40:25
look exactly like Fender because the the point that point they weren't they weren't bothering they didn't people
40:32
like me weren't on the uh the list to be sued which I would be today if I made this headstock I think when people went
40:38
out and played these with Steve Warner and Skaggs and stuff played these these Tellies Ricky is was purple single bound
40:45
people in the audience thought that they were Fender and so it really I really sold Fender guitars so Fender had no
40:50
reason to be mad at me but the the details of how all this was shaped exactly how round that ought to be and
40:57
how how scooped this ought to be that all came from from closely studying the
41:02
early the Early Tellies and and having the influence of Bill holled who
41:08
explained to me why they were perfect why every little curve every little
41:14
curve that Fender did was perfect and you shouldn't mess with it and I didn't anyway that's my impression of
41:21
this guitar I'm glad you have it I'm glad it sounds good and uh you know it's the so this the Music City Bridge three
41:29
pickup blend yep and just the Classic middle pickup and then our
41:37
Bender I'm glad you have it if it didn't sound good by the way I would I would have taken it away and um put it through
41:44
the chipper so I'm going I'm kind of glad that this nice piece of some birds I didn't have to go
41:51
into the trash Aaron Aaron here Aaron Parker is one of the guys that put this together
41:57
again against my will because I stopped building sometime in the late '90s and
42:02
I'd had enough sawdust and lacker thinner and just didn't want to build anymore and um I'm glad they put these
42:09
together but there there aren't any more parts upstairs there's no more necks that that will become guitars no more
42:15
bodies to become guitars so don't call and ask if there's one more up there because they went through there and they
42:21
really thoroughly depleted the the final stash there was like six or seven of them and they're they're on but uh I'm
42:28
glad it happened but it did happen against my will and they're
42:35
gone all right guys well I hope you've enjoyed today's episode and of course that at the intro of the show was me
42:41
playing uh the uh wonderful Steve Warner part to uh some fools never learn a
42:49
great tune and a really great guitar part it's very steel guitar is with the
42:54
uh the second half where you you kind of start off with the the low string
43:00
stuff but then when you get to
43:06
[Music] the it's just a really great part and
43:12
you ought to you got to check that out I've made a uh a kind of Bender Glazer
43:17
Bender guitar playlist that's there's a link in the description so if you want to go down the rabbit hole of hearing
43:24
some Glazer Bender guitars some of the examples are like that one Steve's still
43:29
using a Glazer Strat with a with a bender but uh some of the other ones like uh baby yor uh and of course all
43:36
the skagg stuff is all the Glazer single bound Tellies so all right guys we'll
43:44
see you next time bye-bye [Music] [Applause]