Wednesday, April 30, 2008

Guyatone Bass 1966

Here's a really interesting's a 1966 Guyatone Bass and I have no idea what model it is. But it's wacky and weird and really cool all at the same time. I found this for a whopping $40 at the Oceanside Swap Meet and left the parking lot feeling like the cat that ate the canary. Going to swap meets and garage sales and thrift stores hoping to find a gem is a LOT more about perseverance than anything else. I have been lucky enough to find some really cool items at these places, but more often than not I come home empty handed. But on those rare occasions that you do score big, you just can't help but feel like it's all worthwhile.

When I got this bass home I started trying to figure out what it was. There was no logo on the headstock, though later I noticed that there is the very faint mark left of a large "G" which can be found on old Guyatones. There are a lot of similar instruments to the Guyatones (though not this one) with a large "K" for Kent that look like the same art department made the logos. There was a sticker on the back of the dong-shaped headstock that just said, "Electric Bass No. 99-9920." It was actually in very good condition except for one area on the side that had lost a fair amount of finish. Otherwise it seemed good (more on that later). I took a bunch of photos and sent them to Mike Robinson over at My Rare Guitars. Mike is also the creative genius behind Eastwood Guitars and just happens to be an all-around nice guy. Mike knows a lot about these weird old guitars and has a lot of them for sure to click the first link and check out his archives of '60s and '70s oddballs.

Mike wrote back to inform me that from the looks of the inlays on the neck, and from his past experience with another similar instrument, he thought it was a Guyatone. It was only at that point that I recognized the faint outline of the G logo and confirmed that Mike was dead on. With this new knowledge at hand, I snapped a few more photos of the weird headstock, the odd bridge with actual cotton-like padding and a large screw holding things in place, and I listed it on eBay.

This thing was heavy, awkward to play, and although it was a great find, it was never something I was seriously going to keep for long. It was really more of a money maker.

To cut to the chase, the bass sold for a couple of hundred bucks (or somewhere in there...I don't remember exactly) and I shipped it out. Everything seemed to be in order. After about a week I got a not very nice email from the guy that bought it. He was really pissed off that "I had ripped him off...the neck was warped and bowed and the instrument was useless." I was really taken aback. I know a little something about guitars, but I would never claim to be anything close to a guitar tech or an expert of any kind. However I really think I would have noticed a warped and twisted neck. Since the bass was long gone and I couldn't inspect it myself, I just had to take the guy's word for it that I had made a colossal mistake and sold a faulty instrument. I don't remember the exact details, but I think we came to an agreement about how much I needed to refund him to make it worthwhile for him to try to get it fixed. Hopefully he ended up being happy about it...I really don't want anyone feeling ripped off from an eBay transaction. I know how I have felt about certain guitars that didn't meet my expectations.

Now to the question I ask myself about each and every instrument...would I want it back. I'll keep it short: no! Hell no, in fact. Heavy, uncomfortable, not great sounding, difficult to change strings, penis shaped headstock...need I go on? I think not.

Saturday, April 26, 2008

Epiphone Crestwood ET-275

I'm writing this story just a tiny bit prematurely. This one technically hasn't gotten away just yet, but it will in...wait, let me check...21 hours and 27 minutes. It's on eBay right now and I'm hoping the bidding jumps at the end so I can buy a decent Telecaster...again. The funny thing is that I have almost always owned a Telecaster since I bought my first one back in Oklahoma in the mid-'80s. But at this moment I do not and earlier this week I realized that, even though on January 22, 2008 I emailed my friend Rob and said, "I'm a Crestwood guy now. All I need is a Crestwood," I was wrong. Dead wrong and I'm not afraid to admit it.

I thought I was a Crestwood guy. It seems to be a great guitar. Enough so that I believed I had turned the corner on Teles. But something funny happened last Sunday night: I bought a Fender Blues Junior amp and took it home and plugged the Crestwood in. I realized, "Wait just a second here! Something is not right." I knew I was going to have to eat a little crow with my guitar friends, suck it up, and put the Crestwood on eBay to fund the next Tele.

There is really nothing wrong with this guitar. It's me. It's not you. I'm in love with my old girlfriend. You know...Tele. She's back in my life.

There is a previous post about another Crestwood I had that I really liked a lot. For a better description of Crestwoods, read that post...I won't repeat myself here. I think the other one was a slightly more deluxe model. This one is technically called an ET-275. I'm guessing the other one I had to be an ET-290. The 290 has a bound fingerboard and headstock, but is mostly the same. In that story that I wrote I declared that I would probably end up buying another one and I was right. I found this tobacco sunburst model on Craig's List for $225. The guy I got it from had a black one as well and just didn't need two. I was really happy to find it on Craig's List because they're not that easy to find, and not having to rely on a great description on eBay was a nice option. Sometimes you just don't have a clue what you're getting on eBay and you have to hope for the best. My experience has been almost all positive, but when it's not, it's NOT.

There is a small part of me that wishes I could hang on to this guitar and buy a Telecaster without having to sell something. But that's not possible and so the Crestwood goes. It's not really going to even afford me too much to spend on a Tele, but I have been much more impressed with the Mexican Fenders of late, and so I'm hoping to come across a good one. Today I discovered a model I had not previously seen called a Telecaster Special, which is really just like a Tele Custom...the one with the giant pickguard, the humbucker in the neck and the regular single coil in the bridge. However, this one has the humbucker, but visually looks like a regular Tele with the normal pickguard. I guess you could say it's more of a Keith Richards Micawber set-up, but I prefer to keep Keith out of it.

Keep your fingers crossed for me and we'll see how much I end up with from the Crestwood and what I can afford next week. I'll try to update the story with some dollar figures.

Story Update: The Crestwood sold for $365 on eBay tonight and I won the Telecaster Special I was hoping to get for only $340. So, I'm pretty happy right now.

Thursday, April 24, 2008

Gold Fender Stratocaster Frankenstein

The sum of it's parts was greater than the individual pieces. That sounds like something a football coach would say to motivate his team into playing better together. But that's probably the best way to describe this guitar.

It started out as a gold metallic Squier 20th Anniversary Stratocaster. However, the neck looked like something someone made out of some fresh pine 2 x 4's from Home Depot. The neck looked bad and felt cheap. But I liked the gold body. I found it for super cheap on eBay one night when I decided that a gold strat would be cool to have. But I had a specific picture in my head...the pickguard and other plastic parts had to be traded out for those vintage "mint green" replacement parts you can get. And I figured eventually the pickups themselves would need to be replaced.

I was talking to my friend Alan Deremo, who just happens to be the former bassist for John Denver and a lot of other famous folks, as well as the current bassist for Colin Hay of Men At Work. Alan is a lot like me in that he loves to look for and find interesting guitars and guitar parts and anything guitar related. The difference is, when you walk into his music room at his house, you are instantly jealous of the amazing guitars and basses hanging on his wall. He pretty much has a "one of everything" sort of collection. There's a Strat, a Tele, a Les Paul, an SG, a Rick, an Epiphone Casino, a J-200, a twelve string, and, well, you get the picture. He's got some nice instruments. Whenever we get together we just talk guitars.

I told him about my little Strat project and he told me he had an excellent neck for sale from a '62 Reissue Japanese Stratocaster. PERFECT. We worked out a deal and the neck was mine. I ordered the rest of the parts and started to put it all together. At some point I decided to have the fine folks at The Guitar Shoppe of Laguna Beach (which was near my office, lucky me) put the neck back on for me and set up the guitar. What a great decision that was. They told me later that the bodies of Squiers and Fenders are built ever-so-slightly differently, which means you can't just slap a Fender neck on a Squier body without some shimming and adjustments. They did it perfectly and the guitar played beautifully.

Quite possibly the best neck I've played on aside from my Nash Telecaster.

The next project for this guitar, had I not sold it, would have been to replace the pick-ups. This all came at a time when I decided to spend way too much money on the black Ehlers Jumbo that you can read about here, and it went on the chopping block. I really do wish I had this one back if for no other reason than to get that neck! Sorry Alan, the neck is gone.

Tuesday, April 22, 2008

'63 Fender Reverb Unit Reissue

Guest Story by Oliver Fiedler of Deliverance Machine

The one piece of gear that I really kick myself for selling is my ’63 Fender Reverb Unit. 10 years ago I bought one of these at Guitar Trader for about $360. The reason being that my Sovtek amp does not have any reverb, and I wanted something real vintage sounding and tube driven. Well, I got vintage sounding all right; I got sweet vintage reverb heaven!

There was no limit to the beautiful, lush sounds I could conjure from this thing. Plus, the brown tolex gave it a nice cool vibe and I got a lot of compliments on it. Life was good. Playing was good.

One day, however, I was incredibly broke and needed money for studio rent….ASAP! So, I go back to Guitar Trader years later, regrettably, with reverb unit in hand. They offered me $100 for it. $100!! “That’s highway robbery!!” I wanted to scream, but I didn’t. I took the money and walked out so I could pay studio rent. Needless to say I was saddened and angry.

I wanted to kick my own ass.

Well, it’s been 6 years since that fateful day and I still want to kick my own ass for selling that. In fact, if you see me around, kick me. Kick me hard and swiftly. No explanation needed.

Friday, April 18, 2008

Telecaster Nashville Sonic Blue MIJ

I remember exactly why I wanted this guitar. It fit four of my guitar "requirements" extremely well. If you've read any of the previous stories you know I love Telecasters (check!), I love the Fender custom color Sonic Blue (check!), I love Fenders made in Japan (check!), and it filled in that difference between a Strat and a Tele very nicely with the third pickup (check!).

I thought the Nashville Telecaster was going to be the answer to my prayers. In many ways it was...a nice blend of Tele meets Strat. The Nashville Teles features a nice contoured body much like a Strat, with the body contoured at the bottom and at the waist on the back. Much more comfortable than a standard Telecaster body. At the time that I bought this guitar, my previous guitars had almost exclusively been standard Teles. Up until about two years before I bought this one, I finally broke down my own self-imposed stereotypes and bought myself a Strat. And then another. And then after selling the first one I replaced it will another.

The first one I had bought was Fiesta Red, which at the time just didn't completely do it for me. However, now I think I would really love a sweet Fiesta Red Strat. I'd have to outfit it with a mint green reissue pickguard and matching pickup covers and knobs. I think that's a really cool looking guitar. As I've also mentioned previously, I will admit to liking or disliking a guitar based on looks alone. A Fiesta Red Strat with stark white pickguard, etc. just doesn't work for me.

Okay, back to the Nashville Tele. At the time I owned this guitar, I also owned a couple of other nice electrics. I got obsessed with a Strat project (which I'll detail in my next post), and needed to sell something to make it happen financially. For whatever reason, even though this guitar seemed to meet a lot of my criteria for a perfect match, it was just never the guitar I picked up and strummed when I went for a guitar. Maybe you know what I mean.

There was never any special mojo that drew me to it. So, when it came time to sell, away it went...vintage Italian pin-up girl water decal and all.

In a perfect world, if I could have ALL my guitars back to keep, I'd definitely love to have this one back. I might consider swapping out the pickups or something...just something to give it a little more personality. But all in all, it was definitely a nice guitar.

Tuesday, April 15, 2008

Truetone Archtop Acoustic

For most of the stories I've posted so far there has been a "story" in there somewhere. Something funny about how I acquired the guitar in question or something weird about the instrument itself. I guess the "story" of this guitar is that I really don't remember too much about it. I do remember that I found it at the Oceanside (CA) Swap Meet and it was cheap. I'm fairly certain I paid around $40 for it. There is a guy who is ALWAYS at the Oceanside Swap Meet in a sort of brownish-gold colored van who, somehow, always has a few cheapo guitars for sale. He NEVER has anything nice and expensive...always some old '60s Teisco or a cheap Squier or two or three crappy classical guitars. But no matter what, he always has guitars. Once I bought an entire pedal board full of pedals from him for $100 and resold them on eBay for about $250.

On this particular day, I headed directly over to the aisle that he is always on and checked out his weekly stash. This time he happened to have this Truetone Archtop. At that time, I was heading to the swap meet pretty much every weekend. So, after awhile, the guy sort of got to know me. Well, I mean he didn't know my kids' names or anything, but he did know that I knew a little bit about guitars. So, whenever I'd walk up and look at the selections for the week, he'd ask me how much I thought certain things were worth. I was always honest with him, which didn't really work to my advantage when it came time to make a deal. In fact, I'm not sure how I managed to get out of the place with this guitar for only $40. He usually had a pretty inflated idea of what his guitars were worth and I always had to talk him down from the mountain top.

For some reason he didn't seem to think this one was worth all that much and I got a deal. I'll be the first to admit, this one was definitely better looking than sounding. I always thought it would be cool to have an old archtop though and, at the very least, this one would look cool over in the corner.

It was made by Truetone, which was the house brand at Western Auto. Check out the "WA" logo included on the headstock badge. It was made by the same people that made Kay and Harmony and many other "house" brands at the big department store chains of the era. According to the catalog page I found, it originally sold for a whopping $25.95 and was the "Super Auditorium Standard" model. For an extra $10.50 you could get a "sturdy" case for it with a "luggage handle for convenience."

So, even though 40 years later I only paid $40 for it, that's still more than it cost new with a case back in 1964.

What happened to this gem? Well, since it didn't really sound that great and the action was just a tad bit high (and I'm no repairman), I eventually put it up for sale on eBay and, even with a very honest description of the guitar, it still sold for a fair amount over $100. I don't remember how much exactly to be honest, but I do remember being pretty happy with the whole thing. It was in pretty darn good condition despite riding around in that guy's van packed full of old surfboards, fishing gear, worthless stereo equipment and a bunch of scratched up aluminum softball bats. I'm sure whoever won it was pretty pleased.

P.S. I found the catalog page over at

Friday, April 11, 2008

Sho-Bud Diamond Model Acoustic Guitar

Here is one that I wish I had back but I can visit anytime I want to. I wrote a previous post about a Sho-Bud Club Model guitar that I bought that got me started into the obscure world of Sho-Bud acoustics. As mentioned before, at the time, there was next to nothing on the internet about these guitars other than a listing in the blue book of guitar values and a couple of mentions in forums about people owning one or the other of the five models. So, I started a website about them not only hoping to gather info for Sho-Bud acoustic owners, but also for my own greedy purpose: to buy these guitars from people who are interested in selling and go to the internet to find out info. I figured if I am the "expert" on these guitars, people will come to me when they want to sell.

Well my little pretties, the evil plan worked! Once. Sort of. I got an email from a guy who was interested in selling his guitar on eBay and was gathering information. I provided him with what I knew and figured at least I knew the guitar was going to be on sale on eBay. Otherwise I might have missed it. Long story short, I won the guitar for a decent price and was on my way of completing my goal of owning one of each of the Sho-Bud acoustic models. There is the Club Model, the Diamond Model, the Heart Model, the Spade Model and the Grand Slam model...the granddaddy of them all. Problem turned out to be: I've never seen any of the other models for sale except for a Heart Model which I was outbid on at the last second. Ouch. That one cured me of attempting to collect them all. I came to the conclusion it was never going to happen.

At that point, I decided to sell the Club Model, which I did, and to give the Diamond Model to my very good friend and amazing guitarist Dave Quillen. I have played with Dave in a couple of bands and although he has amazing electric gear, he'd never been able to spring for a nicer acoustic. I decided this was wrong and that as much joy as Dave has given me as a fellow musician, the least I could do was to put a really nice acoustic guitar in his hands one way or the other. Our current musical conglomeration, The Small Pox Mountain Boys, are an acoustic group of eight musicians who take turns playing in different configurations. So, getting a good guitar in Dave's hands was somewhat of a selfish move on my part as well. Dave sounds good, I sound good. Pretty simple.

The hard part was actually letting this one go. The Sho-Bud acoustics that were made in the 70's are really nice instruments. They were made in Japan at a time when the Japanese factories were kicking the USA factories asses. A lot of the knock-off guitars of the period are really fine instruments and these definitely fit that description.

In fact, every forum posting I found from Sho-Bud owners consisted of the owner bragging about how his guitar sounded as good as a Martin for a fraction of the price.

I think one of the reasons that these don't come up for sale often is basically that no one wants to let them go.

The Diamond model features rosewood sides and a 2-piece back with a spruce top and mahogany neck. It is based on a standard Martin dreadnought size and shape and plays beautifully. The inlays on the neck of all the Sho-Bud acoustics feature hearts, diamonds, clubs and spades and look very cool. On the headstock is an inlay of the particular model this case a Diamond. The inlays themselves are not the highest of quality up close..definitely not abalone and pearl. They appear to be some sort of synthetic material. There is an inlay at the 12th fret with the name of the model.

This guitar sounds fantastic, especially in the hands of Dave. At some point during my ownership of the guitar I installed a Sunrise pickup in it coupled with a Sunrise preamp. I'm not sure the Sunrise is for everyone, although they get amazing reviews by their owners and are used by tons of big named pros. But on this guitar it absolutely sounds great.

So, the guitar now resides with my buddy Dave and I get to see it every time we play a gig. Even though I now own some very nice acoustics, I'd love to own another Sho-Bud at some point. Maybe someday it will happen.

Monday, April 7, 2008

Send Me Your Stories

Hey, there are only so many guitars in my past. Eventually I'm going to run out. I welcome your stories to publish here...have you got a story of the one that got away? Send me your story, a few photos, and links to your band or music project! Email.

Cort Jim Triggs TRG2A Model

Here's an interesting one for you. Ever wish you could own a nice old Gibson ES-175 or a 335 or a Gretsch but you just can't afford it? I happened across this guitar on Craig's List and was immediately intrigued. I had read with some skepticism the reviews of Cort product in magazines like Guitar Player that painted a picture of a guitar company with a reputation as an "affordable" brand, but one that actually made nice quality instruments. Now I have known the name Jim Triggs over the years as one of the top luthiers in the jazz box business, with instruments costing in the tens of thousands of dollars. This guitar seemed like it just had to be one of those sleepers that sneak in under the radar and sound like a million bucks. I was right.

I answered the ad and apparently I was the only one. The guy was very happy to have me come look at the guitar. Super nice guy probably in his mid to late 50s who very much enjoyed the playing of guitars. He had bought this Triggs model a few years earlier and it never left the house. It practically looked brand new. But he had inherited a very sweet 1930s Martin OM size guitar and he just wasn't playing the Cort any more. We plugged it in and gave it a test run and I was sold. This particular guitar was one of a limited edition 2003 100th Anniversary of NAMM model. Normally Cort made this guitar in black and in transparent orange, but this Anniversary model came in a beautiful tobacco sunburst. It featured two humbuckers and a Bigsby, with a 16" wide body that is 1 7/8" deep. It had a nice spruce top and maple back and sides and it really could pull off everything from jazz to rockabilly to whatever you wanted to throw at it.

Now, being a Telecaster guy, I wasn't quite sure what to do with it. I'm not a jazz player by any means and cool rockabilly licks are something I only dream about. I have to admit, the first thought I had when I saw it advertised was that it was a smokin' deal and I could probably resell it for a profit. But the more I played it around the house the more I liked it.

I kept trying to talk myself into keeping it.

I actually felt kind of bad thinking about the guy who had previously owned it. I'm sure he sold it to me thinking it would be mine for many years to come. But I really had something else in mind and was banking (quite literally) on the fact that I could make a little extra off this guitar and put it towards something else. The bank finally won the argument and it went on eBay. I did make a nice profit on it, but it was a little bittersweet, both sweet and bitter, bitter and sweet.

I really do wish I had this one back. What a beautiful guitar that played exceptionally well. In retrospect it was a great lesson for me. Open your eyes along with your ears and don't be afraid to go outside the box of familiar instruments. I'm sure whoever bought this one from me on eBay got the last laugh. Whatever it was that I used the money towards is now long gone and who knows when you'll run across another one of these.

Sunday, April 6, 2008

Fender Telecaster Custom

As you can tell by many of the other posts, I like Telecasters. They are my favorite electric guitar of all time. But when it comes right down to it, Telecasters can sometimes sound a little on the thin side. Of course it can all depend on the rest of your rig. I had a late '60s Inca Silver Telecaster that I really liked that sounded less than beefy and I always used a Boss EQ pedal with it and it really sounded sweet. But there always seems to be this desire to kick it up a notch and the notch isn't there. That's when I bought a Telecaster Custom.

The first one I bought was about 12 years ago and it was when they first reissued them from Japan. I got one and it was fantastic. Nice beefy sound with the neck humbucker and still able to capture that signature Tele sound in the bridge. In fact, when my band at the time was lucky enough to open up for Cheap Trick, it was the guitar that made it on stage with me. But finances dictated that it be sold, and I've always wanted another one.

A couple of years ago a guy I play music with regularly bought one of the newer Tele Customs that are now being made in Mexico. I've never been too keen on the Mexico models to be honest, but when I played his it made me think that maybe I was just being silly about where it was made and I should worry more about how it feels and sounds. I got some money together and started watching eBay and Craig's List. A couple of weeks later a black Custom popped up on eBay at a really reasonable price and I put it on my watch list. My watch list is usually filled with things I will never own...never even consider bidding on. But things I think are cool or items that are similar to something I own and I want to monitor the value. When there was only one day left on the auction I was surprised to see it was still only at about $205. I kept waiting for it to go up. When it didn't I thought maybe I had better read the listing again.

Maybe I missed the part where it said the truss rod was broken or the pickups were backwards or the neck had been broken and repaired with glitter glue.

Nope. It all looked straight forward. I decided to do a little test bid with about 5 hours to go and entered $235. Surprisingly I had the high bid at only $227.50. And guess what? No one ever outbid me. Shock and awe.

I kept waiting for the guitar to show up and have some sort of major problem. This was a little confusing. What was wrong with it? It finally arrived and it was in great shape. It had a few scratches and nicks, just as described, but nothing else. It was sweet. Sounded good...not great...but definitely good. Really good for less than $230. Unfortunately I had no opportunities to play it on stage or even in a rehearsal room with the volume up. The entire time I owned it, which was a little more than a year, I only got to play it at low volumes or for recording. I had picked up an Epiphone Crestwood along the way and, when I needed to buy some drum gear for my acoustic group I had to decide...which electric to keep. The Telecaster was going to bring me more money and the Crestwood is definitely a good sounding guitar. So, the Telecaster went back on eBay and sold for nearly double what I paid for it.

So, as fake Senatorial candidate Tim Calhoun would say, "In conclusion and in summary..." this was a great guitar and I would (and probably will) own another one some day. Maybe, if finances allow, I'll get a nice vintage version instead of a MIM model. I'd be more than happy with a Japanese model though.

Wednesday, April 2, 2008

Fender FR-48 Resonator

Haven't you always, maybe secretly, wanted an old 1931 National Duolian that you can sit out on the porch and play old time blues on? What if you can't afford the three grand for an old (or new for that matter) National but you still want to at least try to play some old swampy music? What I did was find myself a nice, used Fender chrome resonator for about $250. It took me awhile, but I finally came across one in my price range and scooped it up. It didn't have a case, but the guitar was in excellent condition.

These things weigh a ton...I don't recommend taking them on a long mountain hike just so you can strum Rocky Mountain High in drop D tuning. Being Fender, they couldn't help using the script "F" logo for the F-holes, which makes them very obviously what they are. The first time I saw this, being a graphic designer who does a lot of marketing, I thought, "What a great idea!" The more I have seen them though, I have to admit I am less excited about the idea. The neck felt very good and the guitar was very playable.

But what about sound? I had played some of the wood body Fender resonators over in one of those odd cedar rooms at Guitar Center they call the acoustic room. You know the one...there's always two high school kids sitting around the center post actually playing songs together...usually an acoustic version of Staind or something.

There is another older guy sitting in the "high end" room playing the opening riff of the Beatles'
Blackbird over and over.

They have some Ovations and Ibanez acoustics in the main area and one token Applause mandolin, two acoustic basses, a messed up banjo and...a Fender resonator. Go to Guitar Center today and check it out and see if I'm right. Anyway, I've played the wood bodies and they sound pretty bad. Thin and weak and no volume. But the metal bodies sound pretty decent for the money. They are what they are...better than a Dean, but not as good as a National.

Like I said, this one came without a case, so I took a cheap chipboard case and decided to try to make my own case with a little mojo. I went to a fabric store and bought some purple fur and a glue gun. I carefully cut out the fur to fit and started hot-gluing it in. Getting the lid to close was a little tricky and I had to go back and do a little surgery on the fur, but all in all it came out good and funky...just like I wanted. I gathered up all the stickers I could find and put them all over the outside of the case and it looked just like something that had been sitting around for a good long time.

I wanted to use this guitar at gigs...I have a handful of bluesy/country songs in alternate tunings that this guitar sounded great on. However, I just didn't want to get into miking the guitar and I didn't want to spend the money and do the surgery required to put a pick-up in a resonator. So, as usually happens with me, I lost a little interest and wasn't playing it all that much. I thought it would be a good one to just hang onto and pull out for little jam sessions, but eventually I always start looking for ways to come up with a few hundred bucks for something else. So, like most (but certainly not all) of my guitars, it went up for sale online. I actually sold it for $350, which not only covered the price I paid for it, the crappy case, the purple fur and the priceless mojo I injected into also made me just a little extra profit.

Now and then, when I head over to Buffalo Brothers, I mozy on over to the resonator section and pick up an old National or a Beard and I think about the affordable Fender I used to have. Man, I wish I had that one back.