THE FENDER ELECTRIC GUITAR BOOK 3RD EDITION. Tony Bacon
A COMPLETE HISTORY OF FENDER INSTRUMENTS
LIBRO ILLUSTRATO SULLE CHITARRE ELETTRICHE FENDER.
To mark the 60th anniversary of Fender, Backbeat's introduced a new, completely revised third edition of this bestseller. Fender guitars have long been the instruments of choice for artists such as Jeff Beck, Eric Clapton, Jimi Hendrix and Stevie Ray Vaughan. This book tells the complete story of Fender guitars, detailing classics such as the Telecaster, Stratocaster & Jazzmaster as well as lesser-known models. Dozens of photos reveal Fender's storied craftsmanship, while the text includes collector details for all models. The reference section lists all models and their statistics. This new edition has been refreshed and updated, with 56 extra pages and over 60 new photographs. The main text has added material and has been brought up to date to cover Fender's ever-changing history amid the fascinating developments for the company and its instruments during the eight years since the previous edition. 192 pages.
The Fender Electric Guitar Book - 3rd Edition
A Complete History of Fender Instruments
Series: Book
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon
Inventory #HL 00331752
ISBN: 9780879308971
UPC: 884088151201
Width: 8.5"
Length: 11.0"
192 pages
THE FENDER ELECTRIC GUITAR BOOK
is the only volume to tell the full story of all Fender's electric
guitars - from Telecasters, Stratocasters, and
Jazzmasters to Mustangs, Jaguars, and Showmasters.
• This completely revised and updated third edition
includes a wealth of new and unseen information, along
with a host of extra photographs.
• The book explains how Fender's guitars have inspired
generations of musicians hungry for stylish and
responsive instruments. Key events, such as the
CBStakeover in 1965 and the formation of Fender
Japan in 1982, are related to contemporary guitars,
and unique interviews with Fender people past
and present shed new light on decades of
musical history.
• An unrivalled collection of colour
photographs showcases the skill and
versatility of Fender's designers, and
meticulous listings for the collector
detail all of the company's electric
guitar models from 1950 to the
present day.
• This book is a thorough,
entertaining examination of the
world's premier maker of
solidbody electric guitars - and a
book that every guitar nut and
music fan will want to own.
"Great for the coffee table or
the reference library."
GUITAR PLAYER
HL00331752
presents
the definitive story of Fender's electric guitars
in a revised and updated third edition.
leo Fender introduced the world to the
solid body electric guitar in 1950 with the
instrument now known as the Fender
Telecaster and soon added another classic,
the Stratocaster.
Fender s sleek, adaptable instruments
fuelled the pop music boom of the 1960s and
have since been heard in the hands of virtually
every guitarist of note, including Buddy Holly,
Jimi Hendrix. George Harrison, Keith Richards,
Kurt Cobain, and Eric Clapton.
The book documents the past and present of
Americas supreme maker of solid body electric
guitars. profiling fine as well as freaky Fenders
through a wealth of detailed research and an
unsurpassed collection of superb photographs.
As well as the full story, and a sparkling
gallery of photographs, the book includes
meticulous listings for the player and collector,
detailing every Fender electric guitar model
from 1950 to the present day.
With its unmatched set of features, The
Fender Electric Guitar Book is the only must-
have book on the subject.
CONTENTS
THE FENDER STORY
The complete history from the earliest
days in the 1940s right through to
Fender's current instruments and
players, plus an accompanying gallery of
full-colour pictures.
REFERENCE SECTION
Every Fender model spec'd and
explained, from 1950 to 2007, made in
the USA, Mexico, Japan, and Korea. Plus
a chronological inventory and systems
for dating, including serial number keys.
INDEX
ACKNOWLEDGEMENTS
the fender story
mostly wooden - but from the metal bar used in the player's left hand to stop the
raised strings, which were generally tuned to an open chord. During the 1930s and
later the term 'Spanish' was used to identify the other type of guitar (less popular at
the time) which was played upright against the body. Leo would call this the 'standard'
guitar.
Doc Kauffman wrote later about the early days of K&F. "[Leo and IJwould go down
to the store, and at the rear was a metal building that housed the guitar department,
and we would work till midnight." This description of a guitar "department" is
certainly optimistic. Most people who saw the "metal building" remembered it as a tin
shack hastily and cheaply assembled behind Leo's radio store. Doc continued his
account: "I used to assemble all our instruments and string them up and playa few
steel licks, and Leo used to say he could tell how production was coming along by
counting the tunes I was playing." 3
Leo met another significant person at this early stage, one who would become a
key contributor to the later success of the Fender company. Don Randall was general
manager of Radio & Television Equipment Co (known as Radio-Tel),based in Santa Ana, just
15 miles south of Fullerton. One of Randall's customers was the Fender Radio Service.
FENDER ELECTRIC INSTRUMENT CO.
Leo had not served in World War II, because of a childhood illness that cost him his
right eye. Randall, who spent three years in the army, said that Leo was able to expand
his shop's trade in those war years. Randall recalled: "During that period there weren't
too many people about to do that kind of business. When I got out of the service I
came back and started doing business with Leo again, selling parts and equipment."
It was around this time that Leo and Doc Kauffman decided to split. "It seems Doc
was afraid to carryon with the business," said Randall.4
Leo was happy to work into the
middle of the night at the tin shack making the K&F lap-steel guitars and amps, but
Doc wasn't so keen to spend long hours locked away from the world.
Leo said later: "It costs a lot of money to get into large-scale production, and the
1930s depression was still fresh in Kauffman's mind, so he didn't want to get involved.
He had a ranch or farm ... and he was afraid [thatJ if we got over-extended on credit
he might lose it. He thought he'd better pullout while he had a full skin, so in February
of '46 he left it all with me."s
According to one colleague, Doc - who remained lifelong friends with Leo - was
asked later if he resented selling out, given the subsequent success of the Fender
business. "And Doc said no, he was never sore, because Leo would have killed him
before he got through with it anyway," referring to the exhausting hours. "Doc liked
to spend time with his family, he didn't like staying down the shack till 10 or 11 at
night, seven days a week. Anyone that worked with Leo had a hard time not over-
working, because Leo expected you to be on call all hours."
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