well hello friends and welcome to ask Zack today we're going to talk about Elden shamblin and his
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1954 gold Stratocaster that was given to him by Leo Fender so you might be saying
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I don't care about Elden chamblin well you should if Leo Fender counted him
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high enough to give him a firste Stratocaster in a custom color uh and
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there's no other gold strats uh from the especially from the early 50s so uh
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Elden was a very significant guitar player and so we're going to talk about the why of that we're going to talk
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about some of the gear he used through years and of course we're going to talk a lot about his gold 54 Strat
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and I was able to get access to that guitar before uh it's now owned by Joe bamasa
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but I had the chance to uh to look at it and actually JD Simo and I uh kind of
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you know took the neck off looked underneath the pit guard and such and took photos and so I'm going to share
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those photos with you and so we're going to kind of go in depth on this crazy
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cool 1954 gold Stratocaster made by you
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know Fender and given to Elden shamblin who was one of Leo's favorite guitar
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players playing in his uh favorite band Bob Wills and the Texas Playboys all
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right so before we dive in I need to thank my patreon supporters because they
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are what keeps the show going and if you'd like to join them there's a link in the
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description all right let's dive in so first we're going to talk about Elden so
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Elden was born Estelle shamblin which I'm guessing that was didn't really have
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a female connotation back then and I certainly understand why he started going under the name Elden uh he was
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born in Weatherford Oklahoma which is west of Oklahoma City and he was born on
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April 24th in 1916 and so this is the first guitar
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player that uh that I've talked about that's ever shared a birthday with me I'm born in born on April 24th but not
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in 1916 but uh so I'm I'm you know that's kind of a A plus cuz it's finally it's
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nice to have a guitarist with that shares a birthday with me that I uh enjoy their playing so let's let's get
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back to Elden so Elden uh was a self-taught guitarist he picked up the
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guitar at the age of 17 and he also taught himself to read music he moved to
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Oklahoma City to to make more money playing and he played for tips and such
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and then in uh in 1937 he moved to Tulsa to go to work on
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staff at a radio station so he was you know playing on air and singing and this
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radio station was ktl and I I wonder if that's still around later that same year
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in 1937 he uh caught the ear of the great Bob Wills and Bob Wills hired him
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to play in his band and at this point Bob was kind of making the
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transition from a kind of fiddle band as it were to more of a swing band and
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following the swing music that was popular of the day and he wanted a more sophisticated
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guitar player than his original guitarist and he wanted someone that could play in the swing style and Elden
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could so Elden was brought on and he uh you know
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was responsible for arranging the tunes because of course he knew how to read music and he knew how to do some
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arranging he uh also was working with the steel guitarist Leon mlli on these
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twin guitar parts and even was working with Leon on how to tune his steel
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so uh yeah Elden was responsible for some of of the uh you know what we think
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of as you know Western swing tunings on these you know kind of non-pedal Steels
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these uh you know kind of console Steels and such so Elden was extremely
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important in this band now when his style you know what what the style of
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guitar playing that he was kind of known for really takes shape is in
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1940 uh during this time a little bit before that uh Elden was really having to carry kind
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of the baselines on the guitar and the reason was is that Bob Wills did not put
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a lot of importance on bass players and so many times he would hire guys that were singers and then have them play
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upright base now you have to remember at this time uh there was very little
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amplification and certainly nothing that could really carry bass and so the bass
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really wasn't heard very well well at this point and so elden's job was to
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kind of help out with the baselines uh on the guitar but he would also play you know AR arpeggios or
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Rhythm or you know Rhythm stabs underneath it kind of like Freddy Green
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in the yeah in the count basy Orchestra so uh where we first get a
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recorded example of that is in 1940 they cut the tune take me back to Tulsa and
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Bob Wills told Elden specifically I want you to play a lot of runs and that meant
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playing base runs and really covering for the bass cuz also you have to remember this is early Recording
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Technology and uh bass frequencies really couldn't be Amplified or reproduced well and so it was really
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important for Elden to carry that and drive the tune now it's at this point I
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feel the need to kind of demonstrate this style so that you can kind of understand
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why it would be so important and why Elden would be so important in this band
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so I'm going to take uh a gut bucket simple tune that just has two chords in
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it it's called I to Red so uh it's we're going to take it in the key
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a and it just has two chords it has an e it has an A and an e so it has a one and
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a five and so uh I'm going to play it and so I'm just going to play a static a chord
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and then a quick E chord you know quick five just so you can get an idea of the
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tune and just how you know kind of simple it starts off
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um I red I read I'm plumful about I red
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red red I'm pump about I red
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okay you know and I I didn't sing a verse or anything like that it was just you know kind of uh giving you an idea
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so what Elden did was that would be kind of what the the the level one guitar
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part would be and that's probably what most people would have done well the
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Baseline for that would have been you know if it was a good bass player which
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of course they didn't have a good Bas player the Basse player probably would have walked it and probably
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gone done something like that so what Elden did was Elden combined the
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Baseline and moving chords to produce a much more interesting part so think
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about you know doing this ID red red I'm plumful about ID red versus this I red I
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red I'm PP about I red I red red I'm about
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red okay that is so much more interesting
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one you've got this great moving Baseline and you've got this harmonization underneath it that
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includes you know like a diminished chord and uh you know minor chord and
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you know some different you know different inversions and you have this wonderful moving Baseline and it is so
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much more fun for the singer like even just singing something you know over and over again like eye to Red ey to Red um
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for the rest of the band I mean it grooves Elden shamlin grooved he grooved
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he did that kind of thing and then that that's just like a gut bucket simple two Chord song he's doing that on even much
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more sophisticated songs that have you know 1625 changes or modulate to
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different keys and stuff like that like if you think about you know San Antonio Rose where it kind of it modulates you
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know on the chorus and such and then modulates back so I think from that you kind of get an
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idea of how important Elden is and Elden was known for his rhythm
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playing however and and he's known for his rhythm playing because it was kind of groundbreaking and was such an
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important part of the band and such an important part of the groove groove is really important I don't care what kind
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of music you're talking about whether it's Western swing or Soul or heavy metal or whatever if it doesn't have
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groove it doesn't have anything and Elden brought the groove to Bob Wills and the Texas Playboys he also brought
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great leads and he was a great soloist and so I made a Spotify playlist uh that showcases a lot of his
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soloing with the band A lot of it comes from the majority of it comes from the Tiffany transcriptions which are these
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amazing recordings that they did that were not Unearthed until um you know in
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the 70s or 80s and they started being released on albums and I have a couple of them back here
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and so if you listen to the Spotify playlist or just you know and and those
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things tend to either have Elden or Junior Bernard and so I purposefully of course looked really hard and did my
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research to make sure that I was always giving you Elden shamblin soloing not
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Junior Bernard who's another one of my favorites but you can kind of tell it's Junior because he plays more
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aggressively and he has a dirtier tone uh but uh Elden had a little bit of a
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sweeter tone so uh I mean we're going to talk about the Strat in the uh uh in the gear
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section you know that's going to come up in a bit but uh you know toward the uh
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you know the end of the in the' 40s you of course you have the Tiffany transcriptions you have some other things where they're working with
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MGM and by mid 1954 Elden is actually at the tail end of his time with Bob Wills
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there was a break in there where he didn't play with Bob and that was during the second world war when Elden was
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drafted and was an artillery captain and he uh he he served our country so uh but
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he he was with uh Bob Wills for quite a long period of time and he quit in uh in
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mid to late 1954 to work with a guy named Hy Nicks who had had a hit with a big balls in
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cow toown which of course youit tune that all the kids love and uh
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yeah and then after that Elden kind of disappears from the music scene part of it is that his style of playing is not
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really wanted anymore you know Bob Wills is not very popular at this point uh
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Western swing and that style of playing is not popular it's not until uh and
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just you know kind of staying on on course uh Elden actually starts tuning
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pianos and teaching music in Tulsa and and that kind of becomes his gig until
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the late 1960s when Merl Haggard starts putting together a a group of former Texas
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Playboys so that he can do a Bob Wills tribute album called best damn fiddle player in the
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world that album is a huge Touchstone and it starts a spark of a western swing
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Revival and that album is wonderful if you haven't heard it you need to hear it um and it brings about a reunion of the
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surviving Texas Playboys and even Bob is there even though he's had a a stroke and is not able to perform and it's
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called Bob Wills and the Texas Playboys for the last time and those are really great recordings after that you know of
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course uh or during that period of time you get you know things like Commander Cody and you get a sleep at the wheel
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and all these other bands that are heavily influenced by Bob Wills and you get a uh you know a Revival you know of
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Western swing uh you get Elden and Tiny Moore tiny Moore of course was the great five string mandolinist uh with the Bob
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Wills you know the two of them you know start uh playing with Merl Haggard off
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and on throughout the 70s and into the 1980s and you get uh you know a lot of
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the Bob Wills veterans performing together again
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sometimes as the Playboys to or under different names and uh and you get some
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tribute records from asleep at the wheel and others that uh that utilize as many of the old players as they can as are
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still alive and still able to play and uh Elden you know keeps playing into the
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'90s and uh what a uh what a great player and a uh and a great story
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um let's uh let's talk about his gear so I'm going to change Pages for this so uh
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one thing I I I should add is that uh of course elden's playing was uh was very
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influenced by Eddie Lang who played arpeggios and such and of course it had
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a lot of similarities his rhythm style had a lot of similarities with Freddy green all right let's talk gear so early
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on Elden played a Gibson LC flattop and then after that briefly played a
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rickenbacher frying pan guitar so this was the earliest solid body guitar it
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was you know of course called The Electro a22 and uh he briefly played it but of
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course it uh Bob Wills did not like the appearance of it and uh and so he said I
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want I want people to know that you're playing guitar and of course cuz it looked like that little frying pan with a neck on it uh as we can see in this
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picture um yeah it didn't it didn't cut the mustard even though it probably uh
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Amplified well and and you know certainly could be heard uh it didn't it didn't pass the the visual
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test so he began playing a uh Gibson super 400 that was owned by Bob Wills
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and so he uh he got it or you know wheeled and dealed with Bob and so here's a photo of uh you know of Elden
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and Bob early on with the uh super 400 and it's uh you have to remember those
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guitars were called a super 400 because when they were released they were $400 and so if you take the mid-30s and you
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paid $400 if you take inflation into account that's like $8,500 in today's
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money so that was an extremely expensive pro guitar that was made by Gibson in
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the 1930s so he played this 30s super 400 he tried using a crystal
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pickup and he said that that didn't work very well because it was very uneven with you know certain strings would be
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louder than others and then uh you know de arand releases their uh you know what
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we call the monkey on a stick which is that Chrome pickup that was on the the slider that mounts on the you know the
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end of the neck and the the tail in the uh the bridge and uh you know you're able to slide it around and it has a
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volume and tone control and so he uh used that so I think we have a picture here of him with the super 400 now with
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the monkey on a stick um then in uh in
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1940 he started playing a Gibson es-150 you know like a Charlie Christian guitar
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so here's a photo of that um yeah and apparently he didn't
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use it for a a real long time because he didn't really apparently he didn't really love the guitar I'm sure he had
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the matching amp to go with it and such um part of that rig was a volume pedal
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and so again this is like 1940 he you know El is using a volume pedal and the reason for that is that Bob Wills was
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Notorious for just taking his bow to his fiddle and he would just point at you and there wasn't enough time to hit the
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volume control especially on like some big archtop guitar and the volume control is you know way over here or something like that so uh they you know
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dearm made a volume pedal uh that they started you know selling in the in the 19 late 1930s and so uh yeah so he had
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his dearm pickup and his dearm volume pedal and he was ready to gas it up
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whenever it was his turn to solo uh he continued playing the Super
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400 and the of course the the es150 with the Charlie Christian pickup and you
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know those those two guitars kind of throughout that time period uh but more so the the super 400 with the dearman
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pickup than the uh the Charlie Christian es150 and uh then we get we get this
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picture which has to be at least 1949 because you have a TV TV front amp from
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Fender and you have a Gibson es5 you know triple pickup guitar so that's the
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first year for both of those so it's it's got to be uh you know the earliest
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it could be is 49 it could be a little bit you know later than that this is
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probably any you know at some point the super 400 kind of fell apart which is is
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awful but uh he said that the uh the bracing and it you know bracings came unglued and I guess there wasn't really
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repairman super available and he says he briefly played a uh another blonde Gibson for a bit but
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didn't like it and that gets us up to the 1954 Stratocaster so let's talk
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about Leo and Bob Wills in the Texas Playboys so Leo was a big fan of Bob
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Wills and his band and started supplying them with amplifiers uh we don't know if
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they were gifts or whether they were discounted but besides uh you know he
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would also service them and so whenever the uh the Playboys were in town they would go to the fender Factory and they
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would get their amplifiers fixed up you know New tubes whatever needed to be done and he was also working on their
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guitars to a degree even if they weren't fenders so Junior Bernard had a epone
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emperor that uh Leo added a pick up to and uh and some wiring and such and Leo
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was trying to get Elden to play the nocaster broadcaster Telecaster you know
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Esquire thing uh but Elden was not interested at
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all and uh Leo tried to give him one and Elden wouldn't take it so Elden was not
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interested at all so in 54 Leo had a special Strat built and he
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had it painted gold and it's the only gold 54 Strat and uh and he gifted it to Elden
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and Elden at first was taken back because he still didn't you know he
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still didn't know whether this was something he wanted to play or not cuz he had been an a Gibson or epone I guess
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archtop guy and uh wasn't really interested in becoming a solid body
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player but Leo and insisted and he finally just said look take it with you
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and if you don't like it just bring it back the next time yall are in town the next time you stop by the factory to
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have stuff serviced so Elden took the guitar and he ended up loving it and he
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kept it uh unfortunately it wasn't long after this after getting the guitar that
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he left Bob Wills and of course started playing with Hoy Nicks of big balls in cow toown Fame so we don't have any
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pictures that I've been able to unearth of Elden playing with the Playboys in
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the 50s with that guitar and I'm not sure you know about you know recording
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so I uh you know we don't have any for sure recordings from the 50s that that I
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I would you know stake my life on that that feature the Strat however there are
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there's tons of recordings of him using the Strat with you know of course Merl
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Haggard and with uh you know all sorts of characters and so there are later recordings also on the uh Spotify
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playlist but yeah you can listen to the best damn fiddle player Merl Haggard record or Playboys for the last time or
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you know all you know the tribute things that have been done Through The Years also there's there's some great footage on YouTube of uh where Elden was filmed
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in the 1980s playing uh like mcow blues and some other Tunes you know where
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there's the video guy is just right on him and you get to see him the whole song and you get to see him work the
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neck of that old Strat so let's talk about that Strat finally for all of you
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that have been waiting so the guitar uh elden's 1954 Strat
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castra Elden sold it to um to Strings West to Larry Briggs the owner of
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strings West in Tulsa Oklahoma and and uh and he started
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playing like a a strat plus you know with like lace sensors and and such and so that's kind of what he played at the
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very end of his life and Larry owned the guitar for a long period of time and
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then you know probably a let's see about 2015 or so it started
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floating around and started changing hands so there were a number of highlevel collectors that would get the
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guitar and then pass it on on and uh it was during this period of time that my
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good friend JD Simo had access to the guitar and had it at his home for uh for
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a day or two and while he had it he called me up and said hey you've got to
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come down here and so JD will periodically do that and uh whenever he calls it's like you know it's going to
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be something cool like I mean it's been like a real flying V or a burst or different things like JD will come upon
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you know and get access to these things and and uh he's been kind enough to include me so I was very glad that he uh
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that he did that and so he called me up and he said you got to come over now and so when I got over there you know here's
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the guitar so here's a shot of me in JD's uh on his like back porch uh
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holding the Strat you know giddy you can tell it's around 2015 cuz I have uh you
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know darker hair so uh yeah but uh and a nice uh flowery
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shirt uh then we uh we basically took all the strings off and we took it apart
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and so here we get to photo number two where you can see the piece of masking
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tape that's in the control cavity and it says Gloria was a common name uh that
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she was one of the the workers she was Hispanic and she uh you know wired up a
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lot of guitars and so there's her name and it has a dat of
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6554 so uh we know that that's the earliest the guitar you know could have
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been uh you know finished out so uh you know June 4th of
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1954 the next shot is the back of the pots and some of the electronics and uh
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you know here of course you get to see the old you know the old original uh cap
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it's one microfarad uh looks like you you a little phone book thing is what they call them uh I don't know whether the
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pots are all original uh the pot that we can see a a date code on it looks like
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it's the 42nd week of 1953 which would make sense cuz that's late 53 that they could still have some of those pots
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around but it looks like it's 100K of course that's the bottom tone control I don't know uh the other thing
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that's really curious about it is it has those chicken head knobs which I mean we'll talk more about that later but of
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course chicken head knobs would have a set screw and while the or original style you know Stratocaster knobs would
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just be press on and you'd have a knurled pot so one of the things I wish that I had done was look closely at the
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pots while I had access to them to see if they were knurled you know split Shaft or whe they were smooth you know
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which would make sense with those chicken head knobs also there's a lot of
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um we believe you as far as we know that those
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chicken head knobs are original to the guitar you know which of course would have been used on Fender amps at that
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point in 1954 and onward so uh who knows are they split shaft are they solid
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shaft you know smooth ones regardless they have cool chicken head knobs which are uh I must admit they're a lot cooler
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than just the regular you know Stratocaster knobs even if they are the short skirt you know from
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54 uh but yeah uh let's see next shot you you get uh you get another shot of
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the electronics and you can see the uh the masking tape that's on there that uh
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that's kind of wrapping some of the wires and kind of keeping them clean and together uh let's see our next photo or
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photo number five as it were we get a shot of the back of the pickups and you can see those those big magnet alo3
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pickups and of course you see more masking tape uh you know around the the wiring on the pickups uh which makes it
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seem like it hasn't been you know messed with a whole lot even though there is a video out there where a guy says he
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changed out the neck pickup uh I don't know if this is after that or or not but
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uh it doesn't look like it's been monkeyed with a whole lot because all that masking tape is still on there on the
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wiring uh here shot number six you get to see uh you know the Gloria uh masking
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tape again uh shot number seven we get to see
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the uh the neck pocket shim and uh in there was you know of course I didn't
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take a a photo of the whole piece of paper kind of un unfurled as it were but
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it had a woman's name and it said call me so I guess Elden had a uh a
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girlfriend or something at some point or or someone that wanted to be his girlfriend and they gave him a piece
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piece of paper and he decided you know with her name and number on it and he decided to turn it into a neck shim so
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uh so there he have it I think that's hilarious uh of course the next shot we
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get one of the neck heel and uh yeah it's a pretty big shim on there so uh
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you know really lifting the neck up out of the pocket uh next we get a shot of the neck
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heel you know where you can see you know the uh the date and so you can see a you
29:30
know TG for too Gomez and you can see you know March of 54 so which would make sense it would
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make sense the neck would probably be done before the uh the wiring and electronics would have been
29:42
done uh next shot we get the back of the headstock and you can see just how dark
29:48
the Finish has gotten and you can see little peaking of tan lines you know where the uh the tuners meet and that's
29:55
that's really nice uh uh next we get a uh a nice shot of the fretboard and you
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can see just how much Elden played and how much he play he covered the whole
30:09
neck because the whole neck was worn down like crazy I mean just worn down uh
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I couldn't believe it I mean there wasn't a clean spot on the fretboard the he played the entire neck of course next
30:24
shot we get a little bit more of the neck going all the way up to the
30:29
nut uh then up next we get a shot of the nut and you can see that it has been
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changed out and maybe someone had some difficulty because you know on some of those early 50s guitars uh you know
30:43
early strats and and such some of them have a really weak little ledge right
30:49
here you know only the tiniest bit of wood here on the headstock end you know
30:55
where uh where the nut is so this area is really really thin and you can see
31:00
that on on that guitar it had that problem and so you've you know lost some wood as probably people replaced the nut
31:08
Through The Years uh certainly seems to you know when I played it it seemed like it had the original Frets on it which
31:14
were worn down to to nearly nothing and you had to use really light strings on it because uh yeah it you that was kind
31:22
of the only way to play it with with No Frets really all right
31:27
uh next we get uh we get a shot of the upper horn where you can see it kind of
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the the uh very anod or you know kind of faded oxidized you know gold going into
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green which is just really gorgeous and so it's kind of similar to the uh early gold top L Paws that you would see that
31:47
do kind of the same kind of thing where that it turns from gold into green uh and then you know just a you
31:56
know also I guess on this photo we'll stay on that and say you know of course the early 54 55 strats had uh pickup
32:04
covers that were made out of a really uh fragile material and so it was very common for them to crack and to come
32:12
apart and so here of course you can see some cracking and that kind of ivory looking pickup cover that's really cool
32:20
uh and the final shot is you know nice shot of the whole guitar and you can see
32:26
again and those wonderful uh pickup covers that are kind of coming apart down at the uh the bottom edge here and
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uh and just those cool amp knobs and I would love to know if those you know
32:40
knobs were you know original to the guitar I mean it's it probably Leo or someone at the factory did put those on
32:48
but it's just was that done you know when Leo gave it to Elden or was it done
32:54
you know after the fact so was it done later on on cuz there's also photos of Elden at the factory with his Strat
33:02
where they're just restringing it for him um and which brings up an interesting uh you know just as far as
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his uh his gear is concerned you of course he played that Strat for a very long time
33:16
and he used later on you know throughout the uh 70s and 80s he used Ernie Ball
33:23
strings and they were gauged 12 through 53 with a wound third we believe and I
33:29
know it's 12 through 53 and uh which makes total sense
33:36
because that's the kind of set that would have been on the guitar originally and I'm just going to State it right
33:41
here I think Fender guitars always came with round wound strings I don't think flat wounds were ever on Fender guitars
33:48
maybe on the base six or something like that but I think uh round wounds and Elden used round wound strings that was
33:55
he never used flat wounds as far as we know so uh yeah and he always uh as much
34:02
as he could he used an old Fender amp because he felt like that was really the sound to have that 54 Strat with an old
34:09
Fender amp and that was the uh the way it was supposed to sound and what a beautiful sound it was and what a
34:15
beautiful uh player and style and I hope you will check out the links down below
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that have some uh you know some clips of him playing on YouTube uh the Spotify
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playlist if you want to look at all these photos you know up close uh or or
34:33
just longer than than pausing a video or something you can go to my website ask zack.com there's a link in the
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description also to there and you can the the photos are all going to be up on ask.com
34:46
so all right guys well I hope you enjoyed today's episode we did a a a
34:52
deep dive talking about Elden and his Strat and his significance uh I need to
34:58
give credit where credit is due and and a big hunk of credit needs to go to Rich
35:06
Kinsley who wrote a beautiful article on Elden in the March 1988 issue of Guitar
35:15
Player magazine has Chuck Barry on the cover this issue has also an article on
35:21
Ry cter and emry Gordy Jr my favorite country based player and uh I learned a
35:27
lot and used a lot of the material so I needed to give credit to Rich Kinsley for uh doing this interview he
35:33
interviewed you know of course Elden while he was still alive and uh and and playing so uh thank you Rich uh for that
35:42
beautiful article that you wrote for a Guitar Player magazine also I need to thank mint Morris so he is a educator
35:51
and guitarist down in Austin Texas that does a lot of lessons and he did a whole
35:57
series on Elden and he is who I stole the uh the cording that I did on Ider
36:05
red I stole that verbatim from mint so if you are wanting to learn more of that
36:11
style you know he you know shows how to how to do that on a lot of the different
36:16
Bob Wills tunes and uh yeah what a what a great player so I'll put a link to uh
36:23
to Mint and his uh his lessons and such you ought to ought to support him all
36:29
right guys thanks and we'll see you next time
36:52
bye-bye